Psychological technique of drawing a bad and a good person. Correctional work of a psychologist at school
(projective tests to help parents, teachers, those interested...)
Projective tests are used in the work of a psychologist to: a) diagnose the internal emotional state of a child and b) pull out problems that are deep in the subconscious of an adult.
One of the most common projective drawing tests is DDH test- "House. Tree. Human". He works with archetypes and therefore very accurately diagnoses problems from our subconscious.
But the same can be said about adults! Smart reasoning by an adult about himself and his affairs does not clarify, and more often than not only confuses the situation even more. After all "language is used to hide the truth"...
For a more detailed introduction to this basic principle of psychoanalysis, I refer you to the article.
And we move on to the first part of the DDH test - actually, to the drawing Human.
I remind you that the drawing test should be created easily and naturally, without thinking that “You don’t know how to draw.” If you know how to draw, create a drawing in the “naive” style.
Nevertheless, no one should draw a “bummer” hastily either.
When creating a drawing, you need to try, you need to try to put all your momentary mood into it, you need to take your time, but also not worry about the fact that you are not drawing like a real Artist from the Academy.
1. Take a sheet of A4 paper.
2. Take a simple pencil.
3. Slowly draw your little man.
Now, if you have finished drawing, carefully study
Key to the test.
The first thing we will do is pay attention to
PENCIL PRESS.
Weak pressure diagnoses
- a) or general physical lethargy
- b) or emotional depression,
Strong pressure diagnoses
- a) strong emotional tension of the moment, or
- b) impetuous, impulsive character in general.
HATCHED/UNHATCHED drawing
Unshaded drawing(white background) means immaturity, infantilism, unwillingness to take responsibility for one’s actions.
A shaded drawing can be shaded in different ways:
Heavily “shaded” drawing (when the shading simply catches the eye) diagnoses:
Preoccupation with a specific problem, fixation on it;
- increased anxiety as a character trait.
Cross Hatching issues
Either hypercontrol (a person constantly controls himself, plays a role, does not take off his mask, does not trust anyone);
- or constant obsessive thoughts and an attempt to fight them.
Erase and correct lines- an attempt to control your anxiety and your behavior
Lines not completed- clinical asthenia, exhaustion of the body.
Lines that don't hit the right spot- hyperactivity in children, impulsiveness in adults.
Neat lines- the perception of one’s environment as threatening.
FIGURE SIZES
Large figure- anxiety and stress “here and now”,
Giant figure- desire for expansion (filling the whole world with oneself), inability to build boundaries (“Everything yours is mine”), impulsiveness
Small figure- depression, low self-esteem, chronic anxiety
LOCATION OF THE DRAWING ON THE SHEET
Picture above- a high self-evaluation
Picture below- low self-esteem
Drawing in the corner- guilt, depression
The drawing goes off the sheet- fear (or impulsiveness)
SCHEMATIC OR DETAILED
Lots of different details in the drawing- demonstrativeness or creative imagination (often one and the other are closely intertwined)
Many monotonous details in the drawing- it's either:
- a) rigidity (stubbornness, standing one’s ground, lack of interest in innovations),
- b) anxiety “here and now”,
- c) the desire for perfectionism.
The drawing is schematic- completely different options are possible (attention!):
Asthenia,
- still the same impulsiveness,
- low emotionality,
- isolation as trait,
- depression “here and now”
FIGURE VIEW (AN FACE, PROFILE...)
The figure stands with its back- negativism, conflict,
Figure in profile- negativism,
Three-quarter figure does not mean anything, it only means the Author’s ability to draw,
Figure face- means nothing.
TYPES
Rich/poor- fixation on the topic of money,
Military- aggressiveness (healthy or not - other details will show),
King, princess- very high self-esteem,
Robots and Aliens- they are drawn by people who experience loneliness in a group, who do not fit into the team, introverts,
Clown, jester- low self-esteem,
Caricature of a man- demonstrativeness, negativism, desire to “get away from the conversation.”
BODY PARTS
If (besides the genitals) any parts of the human body are missing in the picture, are missed - this always means one thing: the person denies the function of this part of the body. For example, by “forgetting” to draw ears, a person shows that he does not want to hear someone or something. This is often interpreted as being closed to criticism. However, this may also mean that a person is simply tired of criticism from a very specific person, and not from criticism in general as such.
Enlargement of any part of the body- always means increased interest in its function,
Distortion on the right side of the picture- non-compliance with social norms and conflicts with people who control these social norms.
Too large body- unsatisfied needs,
Too short torso- low self-esteem.
Too elongated figure can talk about:
- asthenia,
- or about the character of an introvert.
HANDS
Long arms- passion for hoarding,
Short arms:
- introvert character
- tendency not to go all the way, to “retreat”
Hands pressed to the body- strong internal tension,
Hands clenched into fists- an attempt to openly protest,
Palms missing- lack of communication or inability to communicate,
Very large palms- very high dissatisfaction with the need for communication,
Shaded (blackened) hands and fingers- conflict,
LEGS
Long legs- desire for autonomy from other people, family members (desire to escape),
Short legs- depression,
Wide Legs:
- either the character of an extrovert,
- or need for support
Tightly pressed legs- introvert character
Small or unfinished feet:
- impracticality, poor orientation in everyday matters,
- passivity,
- sometimes - dependence on other people.
- clearly drawn legs - self-confidence.
Exercise 1 on the “1000 Roads” maps: “Supposedly body parts.”
The need for this exercise is its high environmental friendliness, accuracy and novelty!
So, you remember the “golden basics” of this test: even when drawing a “little man” ineptly, the experimentee must remember to draw everything for the little man, except perhaps the genitals, which, out of modesty and fear of appearing “preoccupied,” usually no one draws and no one sane a psychologist, by the way, won’t require this :)
But! If something “ordinary and decent” is still missing, it means one thing: you are denying the function of that part of the body! There are no ears in the picture - it means that in life I don’t want to listen to anyone...
Let’s trust the Unconscious in the Jungian way and do the same thing, but with the help of the “1000 Roads!” cards
It’s even better - you don’t have to draw and embarrass yourself because you’re ridiculously unable to draw.
This, by the way (natural shame and irritation from the inability to draw - although psychologists deny this) is one of the reasons for “nervousness in pressing lines”, “evil shading” and the general poor quality of the drawing, including grotesque and satire in the depiction of figures.
It’s not that the client is “neurotic and psychopathic,” it’s just that he, an adult, is naturally infuriated right here and now that he wasn’t taken to drawing as a child, and now he’s being made a fool of and forced to demonstrate his ineptitude in some practice, like running in sacks or catching an apple on a string with your mouth.
Wouldn’t you be enraged by a psychologist’s request to “skate” or “sing something like Lensky’s aria” if you don’t know how to do it? A psychologist should not turn into an animator at a wedding and remember that he needs to work with the client in an environmentally friendly manner and try not to humiliate him with his creative requests to “present something” and other jokes.
That’s why we will work with the “1000 Roads” maps, thus “drawing” the parts of our little man’s body!
***
In our exercise “Body as a whole, Silhouette” there are only the following concepts-Positions:
Torso,
Arms and hands
Legs and feet
“Right” and “left” parts of the picture.
Shall we start?
FIRST POSITION RIGHT AND LEFT PARTS OF THE FIGURE
Ask the client to imagine (present) his Little Man using (spontaneous!!!) “1000 Roads” cards.
Explain to the client that a person (like any object) has a right and a left side, separated by an imaginary axis of symmetry.
Explain to the client that a living person is always asymmetrical, because his “left side” is always creative and “magical”, childish, and the right side is business, adult, serious and responsible for our communications with the world (and housing and communal services).
Now let the client pull out spontaneously (after thinking well) two cards and put them side by side - to the right and to the left, while saying:
This is how the “childish” part of my Little Man symbolically looks like,
and this is what his Adult side of personality looks like.
It’s as if he was created from these two halves!
Now let's analyze the cards!
How to read "right-left"?
This question is asked often, but here everything is very simple: we always read the drawing the way we, the audience, see it! This is the simplest and most correct (but if your client wants to argue, God bless him, let him read the drawing the way he “sees”).
Do you remember that: " Any distortions on the right side of the picture mean non-compliance with social norms and conflicts with people who control these social norms.".
What card did the client's hand draw? Harmonious? Peaceful? Or aggressive, problematic? How does the client interpret this card? (It is most important!)
So what is his relationship with the norms of society and with society in general? How does he resolve conflicts? How do you generally treat people? Are there people on this map at all?
Now is the time to carry out therapy - after all, you have seen the problems with your own eyes!
Together with the client, come up with a mini-fairy tale based on this card, the purpose of which is to extinguish the conflict, calm fears - help the client with this! A fairy tale based on a problem card may begin “for peace,” but it must end “for health”!
***
And now we also analyze the “left” – the creative and childish-magical side of our Little Man.
What are our girls made of?..
What is the client’s imagination and “spiritual thoughts”, humor and “flight of consciousness”? By analogy, notice the problems of the second card (if any), listen to the client’s story about the card and compose a second, healing fairy tale with him.
Is symmetry harmonious?
You should be wary if both cards of the client are “adult”, or both are “fantastic”. In the first case, he himself blocked his channel of miracles, self-healing and growth, in the second case, he is simply unable to withstand the battle with housing and communal services, even the simplest one.
When writing fairy tales, level the balance, joyfully “ground” the card that requires healthy down-to-earthness (show the client that society is also healthy and not painful), and “raise” the card that requires Fairy Tales and Dreams.
SECOND POSITION ARM LEGS TORSO
The first two cards are like the “coat of arms” of your Little Man. They are displayed at the top of the table as a symbol of work, like a banner on a tower.
Now ask the client “ fold a man" from the cards "1000 Roads": body, two arms and two legs.
Let the client think slowly, savorily, tastefully, and say out loud: “Here are his hands (both cards are pulled at the same time), here are his legs, here is his white body...”
Now we look at the cards and remember the basics, adapting them (essentially) to our new work.
Legs. Legs are the most important thing.
“What does the little man stand on?” What is its support – symbolic, philosophical? Is it good for him where he finds himself (isn’t it a swamp)? Is it clean and safe? (Ask the client how he likes it). And who is there on the map - lying with his legs up in the air? Why doesn’t he use his legs for their intended purpose? Are you tired or something? From what?
Who left traces here? And who has been standing here for three hours, shifting from foot to foot?
And who here flies on wings without legs? Who's riding in a carriage using the legs of a horse?
Legs are grounding and support, lack of fear of existence, clarity and audacity, the ability to live and survive, not to fall face down in the mud.
Sometimes the weakness of the legs is compensated by something else (fantastic wings, for example, or a carriage with horses - you take me).
Your task is to find out how well this “other” compensates the client for the weakness of his “real legs”?.. Maybe it doesn’t compensate at all?
The client should tell the Story on the card, and you should record whether he has problems with the topics “Legs”, “Stability”, “Confident Movement” and “Grounding”.
How to strengthen a client’s legs? Correct his Story as you see fit, using in the story symbols and images of feet, shoes, magical medicines and potions - according to your feeling and spontaneous insight. The client must have legs. Strong. And walkers.
Hands
Hands are an attitude towards money and property, towards hoarding and greed. And also the attitude towards aggression, towards war, towards weapons. And finally, to communication, to friendship, to mutual assistance.
In general, there are hands: raking, pounding the head with fists and, finally, outstretched in a friendly manner, with a tangerine in an open palm...
And what kind of hands does your client have? What do the two "1000 Roads" cards say? What can be fixed here? How many sessions?
Torso. Heart or Womb?...
There are people whose heart is so huge that it takes up their entire body. And there are people for whom the main thing is their belly, their belly. And it’s best if everything is equal. And if not, then we either have an obnoxious hysteric or an animal, stupid and also obnoxious.
Your client pulled out one card - the torso of the Man. What does the "1000 Roads" map say? What does the client himself say about it? What is more there - heart or belly? Balance, psychologist, balance the client’s balance!
Ask the client: “What and how do your lovers eat?” Let him answer in detail.
Ask: “What does your billionaire dream about, what does he sometimes cry about?”
Exercise-2 Putting the Man’s Head or “Types”
So, we have everything ready, all that remains is to put the head on the shoulders. The head is a social thing... Therefore, we take the “1000 Lives” deck.
Let the client (after thinking carefully and taking a sacred pause) pull out the head of his Little Man at random from the “1000 Lives” deck! Ta-da-da-damm!!
And now the client must say a few words about his person. Pay attention to the following points:
theme “rich/poor” – the client is fixated on the topic of money,
theme “kings, monarchs, princesses and queens” – the client has high self-esteem, is childish,
the topic “military” is aggressiveness, but whether it is healthy, constructive or not, you will understand
the theme of any “fantastic fictional creatures”, “cyborgs” - the client is very lonely and a strong introvert, it is difficult to get him to talk, he is vulnerable,
the theme “not a person but a caricature of a decent person, a criminal, a scoundrel and a scoundrel” - strong negativism in general, reluctance to work with a psychologist.
In general, you better look not at the diagram, but listen to what the client himself says! You can adjust the “head” of the man in the same way as in the previous part of the work!
Do you want to know how else you can work with psychological maps? Come to ourofficial online store .
Elena Nazarenko
Test “Drawing of a Person”
(Av: K. Makhover, F. Goodenough)
Scales: self-image, sociability, anxiety, aggressiveness, interpersonal relationships, body image, gender-role identity, developmental pathology, intelligence
Tested
Purpose of the test
A person's drawing is given different meanings. Some consider the image of a human figureprojection of body image , otherreflection of self-concept . He is mistaken forprojection of the child’s relationship to a significant person from his environment, projection of the image of his ideal self, expression of habitual actions . It may be an expression ofhow a person perceives external circumstances, how he relates to life and society in general, or a combination of the above .
Test description
The “Human Drawing” test was developed by K. Makhover in 1946 based on the F. Goodenough test in order to determine individual personality characteristics.
Test instructions
The test procedure consists of giving the child a simple pencil of medium softness and a standard blank sheet of A4 paper (210 x 297 mm) and asking him to create a drawing: "Please draw the person you want ".
If the child refuses, you must try to convince him. All kinds of questions, which, as a rule, are of a clarifying nature (“what kind of person?”), should be answered evasively, for example: “anyone”, “draw whoever you want.” To any expressions of doubt, you can say: “just start, and then it will be easier...”
In response to your request, the child will not necessarily create a full-fledged drawing of a person. He can draw a person partially, like a bust, or as a caricature, a cartoon character, or an abstract image. In principle, any drawing can provide important information about the child, however, if the drawing does not meet the requirements, the child is asked to take another sheet of paper and draw the person again, now in full height, entirely: with head, torso, arms and legs.
The instruction is repeated until a satisfactory drawing of the human figure is obtained. You should record all the child’s questions and remarks during the drawing process, the peculiarities of his behavior, as well as such manipulations as erasing elements of the drawing and additions. The same goes for drawing time.
Observations of the child made while working on the drawing will provide important information about his characteristics.
How did he react to the task?
Did he express resistance or a sharp refusal?
Did you ask additional questions and how many?
Did he express an urgent need for further instructions?
If so, then in what way: did he declare it directly or was it expressed in his movements and behavior?
Maybe the child boldly began to complete the task and did not express any doubts about his abilities?
Or were his doubts and insecurities reflected in everything he did and said?
Such observations provide a lot of food for thought: maybe the child feels unprotected, he is anxious, restless, unsure of himself, doubtful, suspicious, arrogant, negativistic, extremely critical, hostile, tense, calm, trusting, curious, embarrassed , alert, impulsive, etc. and so on.
After the drawing is completed, ask the child if he has drawn everything, and then move on to a conversation that is based on the drawing and its features. During the conversation, you can clarify all the unclear aspects of the drawing, and through the attitudes, feelings and experiences that the child expresses during the conversation, you can obtain unique information regarding his emotional and psychological state. The conversation may include questions:
Who is this man?
Where does he live?
Does he have friends?
What does he do?
Is he good or evil?
Who is he looking at?
Who's looking at him?
Other questions to ask your child to get as much information as possible:
Do you know this person?
Who does he look like, who does he resemble?
Who were you thinking about when you were drawing?
What does the drawn man do, what is he doing? this moment busy?
How old is he?
Where is he located?
What's around him?
What is he thinking about?
How does he feel?
What does he do?
You like him?
Does he have bad habits?
Does he have any wishes?
What comes to your mind when you look at this drawn man?
Is this person healthy?
What does this person want most?
During this conversation with your child, you can ask him to clarify or comment on the unclear details, dubious or unclear places in the drawing. Also ask which part of the body, in his opinion, turned out best and why, and which part was the worst, why.
Another option for talking with your child is to ask him to make up a story about this person.
Interpretation of test results
Short version of graphical information processing
The answers to the questions below will make it clear whether the child is showing any obvious deviations or whether there are signs of psychopathology.
A man's head is drawn.
He has two legs.
Two arms.
The body is sufficiently separated from the head.
The length and width of the body are proportional.
The shoulders are well drawn.
The arms and legs are connected to the body correctly.
The junctions of the arms and legs with the body are clearly highlighted.
The neck is clearly visible.
The length of the neck is proportional to the size of the body and head.
The man's eyes are drawn.
His nose is drawn.
The mouth is drawn.
The nose and mouth are of normal size.
The nostrils are visible.
Hair is drawn.
The hair is drawn well, it evenly covers the head.
The man is drawn in clothes.
At least the main parts of the clothing (trousers and jacket/shirt) are drawn.
All clothing shown other than the one above is well drawn.
Clothing does not contain absurd or inappropriate elements.
Fingers are depicted on the hands.
Each hand has five fingers.
The fingers are fairly proportional and not too spread out.
The thumb is quite well defined.
The wrists are well drawn by narrowing and then widening the forearm in the hand area.
The elbow joint is drawn.
The knee joint is drawn.
The head has normal proportions in relation to the body.
The arms are the same length as the body, or longer, but not more than twice as long.
The length of the feet is approximately 1/3 of the length of the legs.
The length of the legs is approximately equal to the length of the body or longer, but not more than twice.
The length and width of the limbs are proportional.
The heels of the legs can be seen.
The head shape is correct.
The body shape is generally correct.
The outlines of the limbs are conveyed accurately.
There are no gross errors in the transmission of the remaining parts.
The ears are clearly distinguishable.
The ears are in place and of normal size.
Eyelashes and eyebrows are drawn on the face.
The pupils are positioned correctly.
The eyes are proportional to the size of the face.
The person looks straight ahead, his eyes are not squinted to the side.
The forehead and chin are clearly visible.
The chin is separated from the lower lip.
It is very easy to draw conclusions. In general, the child’s drawing should correspond to the description given. The closer his drawing is to this model, the higher the level of his development. Give each positive answer one point and add up the points. A normally mentally developed child should score the points indicated below in accordance with his age.
5 years – 10 points.
6 years – 14 points.
7 years – 18 points.
8 years – 22 points.
9 years – 26 points.
10 years – 30 points.
11 years old – 34 points.
12 years old – 38 points.
13 years old – 42 points.
14 years old – over 42 points.
Additional details of the drawing, such as a cane, briefcase, roller skates, etc., speak in favor of the child, but provided that this detail is appropriate in the given drawing or even necessary for the given person depicted, for example, a sword for a warrior.
The picture may also containnegative signs , which you should pay attention to as they may indicate certain problems.
There are no eyes on the face; one eye on the face in full view; two eyes on the face in profile.
There is no nose, the nose is in the form of one vertical line or point.
No mouth or one-dimensional mouth as a horizontal line.
No torso or stick torso.
There are no hands (the figure has one hand in frontal view), no fingers.
Brushes in the form of mittens, stub brushes or fingerless circles.
No feet.
There are no clothes and no sexual characteristics.
The shin is wider than the thigh and other violations of body proportions.
First of all, note whether there are gross errors in the image of the figure, for example, those listed above. If we assume that the drawing of a human figure symbolizesbody image , which is considered very susceptible to external stimuli that disrupt the emotional state of the child, then the drawing will symbolically reflect the problems that he is experiencing.
The more significant the child's disorder, the more both his body image and his graphic representation of the latter suffer. Following the body image, the child’s drawing may suffer in whole or in part, or simply become slightly different from the generally accepted one. Serious deviations include the depiction of a figure with disparate body parts, completely inappropriate details, the depiction of another object instead of a person, the erasure of a drawn human figure, rigid, motionless, robot-like or very bizarre figures. Such cases indicate serious problems and disorders.
Another significant negative factor ischild's depiction of a figure of the opposite sex , which is not necessarily associated with homosexual tendencies, as is often believed. This may be an expression of confusion sexual role, strong attachment or dependence on a parent of the opposite sex, strong attachment or dependence on some other person of the opposite sex.
Symbolic meanings of the human figure
Each part of the depicted figure acquires a special symbolic meaning, since it reveals echoes of the emotional and social life of the child.
When interpreting this test, hasty conclusions are unacceptable. Research shows that the ways and manner of expressing emotions, experiences, conflicts and other aspects of a child’s mental life change depending on the situation and vary from person to person. Therefore, there is no need to make any diagnosis based on a single sign; in the process of analysis, it is necessary to take into account the drawing as a whole.
Head, forehead
The personification of the sphere of intellect, the place of localization of the child’s “I”, his mental center, therefore it is not surprising that maximum attention is paid to the head.
If the childpays little attention to the head - this may indicate problems of adaptation to the social environment, communication difficulties, or even the presence of neurosis, since the head and, in particular, the forehead are also a reflection of self-control and the sphere of social contacts. This is the part of the body that is always open to the gaze of others and through this is involved in the process of relationships with other people.
No forehead means that the child deliberately ignores the mental sphere. The ratio of the proportions of the head and body is the relationship between the physical and spiritual in the child.
If a persondisproportionately large head – this may be a sign that the child is suffering from headaches or other negative impacts in this area. Fixation on the head may be associated with weakening of intellectual abilities or control, as a result of which the importance of this part of the body for the child increases. A large head in this case acts as an expression of the desire to compensate for what is missing. Teenagers who are aware of their lag behind their peers in mental development, in the development of reading or writing skills, etc., or who suffer from adaptation disorders, also often draw a large head on a person.
Hair
Highlighting hair on the head may indicate a desire to emphasize the masculinity of a male figure.
Emphasizing girls' hair,careful depiction of voluminous hairstyles, long and cascading hair in combination with other obvious elements of decoration may indicate early sexual maturation.
Face
A symbol of the sphere of communication, the most important center of communication. It is considered to be the most social part of the drawing.
A child who has difficulty communicating, is timid, strives to avoid problems associated with conflicts in relationships with others, depicts facial featuresunclear, draws them poorly, depicts them very schematically , misses the image of facial features . At the same time, he can carefully and confidently highlight other parts of the figure.
Another indicative case is whenThe child draws the face last . The relationships of such a child are very superficial; he tolerates other people to the extent that he can. He is extremely wary, expects only bad things from others, and is often hostile towards others.
We can also talk about aggression and hostility in the case of depicting the corresponding facial expression:wide eyes, pursed lips, or an open mouth with bared teeth .
Well-drawn facial features They talk about self-attention and healthy self-esteem. On the other hand, focusing on this part, excessively emphasizing and highlighting facial features may be an attempt to create an image of a socially adapted, successful person with personal energy in order to compensate for one’s inadequacy and weakness of self-affirmation.
Painted face – a rather negative sign that correlates with a loss of identity, a loss of a sense of self. An equally disturbing fact is the image of an animal-like or robot-like face, as well as an impersonal, expressionless face, which can be said to be inanimate.
Chin
It has a stereotypical meaning, according to which we know that the chin is a reflection of willpower, authority, masculinity, etc.
Fascination with the image of the chin, which manifests itself in the fact that itoften erased, redrawn, outlined, or drawn prominently (in the pictures the figure is in profile) can be regarded as compensation for weakness, indecision, and fear of responsibility. This may indicate a desire for superiority and importance in the eyes of others.
This interpretation is even more justified if the strong, pressing drawing of the entire facial profile is combined with weak, light lines in the image of the remaining parts. In this case, we can assume that the author of the drawing actually does not possess such qualities and only imagines himself as such in his imagination.
Brows
Eyebrows are given the same importance as the scalp.
Neat eyebrows , just like a neat hairstyle, is evidence of caring about one’s own appearance, grooming, restraint, and moderation.
Thick, shaggy eyebrows they talk about rudeness of character, obstinacy, intemperance, primitiveness of morals, etc. Raised eyebrows are associated with arrogance and arrogance.
Ears
If they exist, then they indicate openness of perception or wariness in relation to the world around us.
Children begin to draw ears at a fairly late age, soskipping or hiding this part of the body hair is considered insignificant. A certain emphasis on the ears in the picture may indicate sensitivity to comments and condemnation and, indirectly, stubbornness and disobedience to authority.
Eyes
Eyes, as you know, are the mirror of the soul, a reflection of the child’s inner world. Just the look in the eyes can say a lot about a child: shy, dreamy, gloomy.
Intense, piercing gaze - an expression of aggressiveness.
Eyeslarge, with drawn pupils or without pupils with shaded sclera – a symbol of fear or anxiety. Large and carefully drawn eyes are mostly drawn by girls and much less often by boys.
Eyeswide open , but not exaggerated, can be a sign of curiosity. The gaze is not straight, but squinted, indicating suspicion.
Since with the help of our eyes we contact the world around us, in the case ofwith small eyes we can talk about secrecy, self-focus, preoccupation with one's own feelings.
Closed eyes aza is an attempt to isolate yourself from the outside world, from contacts with others. The absence of pupils and empty eye sockets probably indicate extreme egocentrism, that the child does not find anything around him worthy of his attention.
Beautiful, symmetrical, well drawn eyes are a reflection of the desire to be attractive and likable to other people.
Mouth
The mouth is a multi-valued element. Ifmouth open , then this is considered to be a sign of aggression or verbal activity of an aggressive nature ifteeth are drawn , then this is obvious aggression. Perhaps it is protective in nature.
Selection of the mouth, which can be expressed in erasure, displacement, disproportionate sizes, underlining, etc., is generally typical for young children who, not so long ago, were in oral dependence on their mother. In older children, this already becomes a sign of dependence and lack of independence.
Mouth,marked with a single straight line , may indicate internal tension.
Lips
Lips are a generally accepted symbol of the sexual sphere. In children's drawings, lips are one of those details that convey the overall facial expression.
Plump lips the figure drawn by a girl is a sign of correct gender identification.
Drawn lips in a drawing of a teenager may indicate the presence of narcissistic tendencies.
Nose
The nose itself has no interpretive meaning. Often in connection with the nose, one recalls the psychoanalytic interpretation, in line with which it is considered a sexual symbol. Although practicing psychologists believe that a teenager experiencing sexual problems will most likely focus on symbols such as a tie or trouser pockets, rather than on the nose. The absence of a nose may indicate some degree of intellectual disability.
Neck
The neck is the connecting link between the body (symbol of animal passions, impulsive life) and the head (intellectual center, mind, control).
The neck area is given attention by those who are concerned about the relationship between bodily impulses and conscious control. Such people are not sure that they can always cope with their impulses. They are characterized by a state of certain duality.
Long neck associated with a clamped, constrained, moralizing, mannered person who has good self-control.
Short neck can symbolize naturalness, straightforwardness. The absence of a neck in children's drawings is a sign of immaturity.
Hands, palms, fingers
Hands are a symbol of activity, communication and contact. If a person's handsspread apart , as if for a hug, extended towards the environment - this is a sign of sociability, active interaction with the outside world.
If, on the contrary, handshidden behind the back, hanging sluggishly along the body, pressed tightly to the body, palms hidden in pockets - this may indicate unsociability and isolation. In combination with other features of the drawing, this may be a sign of withdrawal, narcissism and vanity, or strong internal tension.
Another important characteristic of the image of hands is their tone.Flexible, mobile, free-standing arms , probably indicate good social adaptability, ease of establishing contacts with the environment, and active integration into the environment. Rigid, inflexible, mechanically outstretched, bent at right angles arms can characterize superficial and unemotional contacts with the outside world.
Large, large palms is a sign of an active, explosive character, while the absence of palms indicates inability, lack of faith in one’s strength, and a feeling of unfitness. Poorly drawn palms indicate insufficient contact, limited scope of communication and low productivity in classes practical activities. Carefully drawn fingers mean the ability to control the situation, hold it in your hands, and manage it.
Long fingers with nails or emphasizing fists - a sign of aggression, belligerence. Fists on the hand away from the body - open hostility, rebellion, confrontation. If hands with clenched fists are pressed to the body, we can talk about a hidden, suppressed tendency to revolt. Fingers depicted as if the person is ready to grab something, like claws, can indicate aggression. bird of prey. Other possible symbols of hostility: hands raised, painted hands.
No hands – extreme degree of passivity, inactivity, unsociability, timidity, intellectual immaturity. In combination with such features of the design as the absence of a mouth, the absence of a torso and the general grotesqueness of the design, the absence of hands indicates a poor adaptation of the child.
For older children, the absence of hands is very unusual fact. In addition, this may express the feeling of guilt that the child experiences in connection with his aggressive, hostile attitude. Can mean the same thingheavily shaded hands .
Short arms may indicate isolation, turning inward, on oneself, and the desire to keep oneself within certain limits, not allowing one’s impulses to manifest themselves.
If a child drawsLong hands - this speaks of an orientation towards the outside world, contact, the desire to acquire, accumulate.
Big, muscular arms They are drawn by children who recognize the priority of strength, who strive to become physically strong; large and strong hands also appear in the drawings of those who are trying to balance and compensate for their own weakness in this way. On the other hand, a child who is aware of his weak physical condition can depict thin, fragile hands.
Torso
The torso is a symbol of the child’s idea of the physical appearance of a person.
A strong, muscular body drawn by a fragile, weak child - this is a sign of compensation for the missing, ideal physical appearance for him.
A large, strong body with powerful shoulders in a drawing of a child of normal build – inner strength, strong ego.
Broad, massive shoulders serve as an expression of physical strength and superiority. Teenagers experiencing sexual inadequacy may express this in their shoulders, which are very prominent in relation to other parts of the body.
If a strong childdraws a weak body , then perhaps this is due to some experience from past experience. A fragile body can be an expression of one's own weakness. A child who seeks to indulge his desires and ignores any manifestations of self-control may draw a weak, limp body with a disproportionately small head.
If Small child depictsnavel - this is a sign of egocentrism, if the navel is drawn by an older child - this becomes an expression of immaturity or a desire to withdraw into oneself.
Overall roundbody shape - balance, calmer character, some femininity. An angular, rectangular figure is associated with masculinity, energy and expressiveness.
Often the figure is decoratedadditional accessories (bows, buckles, etc.). This means increased attention to one’s own person.
An extremely negative sign -image of the insides of the body . It indicates serious mental disorders.
Legs
Legs are a symbol of support, stability, and practical orientation.
Iffeet drawn in profile - This is a sign of stability and self-confidence.
Feet with toes facing the observer or no feet express feelings of uncertainty.
teenagers, separating the lower half of the body in the figure with a thick line , can thus express the presence of problems related to the sexual sphere.
Weak, short, poorly drawn or shaded legs - an expression of uncertainty, weakness, one’s own worthlessness, loss of spirit.
Ifthe feet of a dressed man are depicted with toes , then this may indicate extreme aggressiveness.
Small, unsteady feet – a fairly common feature in the drawings of children experiencing a feeling of insecurity. Such children draw unstable figures, ready to fall at any moment due to the extremely weak stability of their tiny feet. The child unconsciously expresses in symbolic form the instability of a personality built on a weak, unreliable foundation. In the absence of a basic sense of security, personality development is impaired; Constant anxiety continues to hinder progress towards emotional maturity and mental health.
Genitals
Hiding the genital area often found in drawings by teenage girls. The female figure's arms are depicted shyly covering the lower abdomen, while the male figure's arms are boldly spread to the sides. One girl drew a picture of a bride holding a bouquet over the center of her body. Other objects may also be depicted above the lower abdomen.
Explicit depiction of genitals . The depiction of the genitals is so unusual that their presence in the drawing can be very significant. The refusal to reproduce genitals does not appear to be due to a cultural taboo. A more likely explanation may be a shift in interest from one’s body to the fascinating world around us, which is typical for the behavior of children during the period of hidden sexuality.
Between the ages of six and twelve, well-adjusted children become more and more involved in learning new skills and doing things that are in keeping with the habits of their schoolmates and friends. Drawings by children of the period of hidden sexuality in which the penis or vulva are depicted openly are very rare. The reasons for this unusual addition must be sought in cases which involve precocious children aware of the high emotional value invested in the genitals. Hernia surgery or circumcision after infancy can cause castration fears. Seduction by older children or adults or more subtle maneuvers can arouse a child during a period of latent sexuality, especially a bright, sensitive child. Whatever the reason for those rare cases of open depiction of genitals - and in most cases these were behavioral disorders of one kind or another (aggression, phobias) - this did not prevent children from developing and adapting well when reaching adolescence.
Position and size of the picture
Since the drawn figure is considered to be closely related to the author of the drawing and characterizes him in a certain way, the interpretation should cover as many features of the drawing as possible. Aspects of a person's drawing such asthe size of the figure, its pose and location on the sheet, the quality of the lines (pressure, hardness, duration or discontinuity), the consistency of the depiction of details, the use of background or background effects, as well as foreign objects , represent significant aspects of the child’s self-image and are also analyzed.The proportions of the body parts of the figure are taken into account , the presence of unfinished elements of the drawing, the level of detail, the presence of strong pressure and its localization, erasing, making changes to the drawing, emotions expressed on the person’s face and in his posture.
Size and location
Feeling insecure and anxious children tend to drawsmall figures , which modestly occupy only a small area of available space. A small figure can indicate depression and a feeling of inadequacy. In contrast, well-adjusted children with a strong sense of security draw freely and easily, creating designs that, through their size, scope, and conspicuous placement on the page, express freedom from anxiety and worry.
Unnecessarilylarge, bulky figure sizes , apparently, express weak internal control and expansiveness.
Bent figure may reflect a lack of mental balance, instability.
A figure shifted to the right on the sheet , speaks of orientation towards the outside world,left shift – means focusing on yourself. If a child spends most of his time drawingtop of the sheet , which means he is prone to optimism. The feeling of oppression, despondency is often reflected in the position of the figure inbottom of the sheet .
A large, sweepingly drawn figure placed incenter of the sheet , speaks of inflated self-esteem.
If the childdraws a line to the ground and positions the person high from it , so that he seems to be floating in the air, then he is probably characterized by isolation from reality, a penchant for fantasy and games of imagination, and weak contact with reality.
Perspective
Boys (rarely girls) of adolescence sometimes depict a personbody in front and head in profile . This unnatural position of the figure is usually considered a sign of social tension. In addition, this may be a sign of a certain sense of guilt associated with the sphere of communication. If this position - head in profile, body in front - is aggravated by the image of the legs in profile, then in this case we can talk about low mental development and impaired spatial imagination.
Other Image Features
Transparency effect (the ability to see one detail in a drawing through another).
The presence of transparent elements in a drawing can be a completely natural factor if the drawing was made by a 6-year-old child.
At an older age, this may already have a negative meaning, since the transparency of details contradicts reality. We can talk about either a slight developmental delay or more serious disorders, such as personality disorganization or mental retardation. In a “soft” version, transparency may also indicate that the child feels deprived of support and protection. The negative value of transparency is assessed by the number of transparent elements and the size of the transparent part (the second case seems to be more indicative).
Optional Details
Among the optional details of the design are such as a cigarette or pipe, a weapon, a cane, buttons, pockets, and a hat.Weapon in the hands of a drawn figure is interpreted as a sign of a hostile, aggressive attitude.Buttons in the drawings of older children they can speak of insufficient maturity and infantilism. The same thing seems to be evidenced by the selectionpockets . Focusing on elements such as galknock and hat is generally believed to have sexual overtones. Other sexual symbols arepipe, cigarette and less often a cane . Selectionpants flies can be observed in adolescents preoccupied with masturbation.
Scattered body parts
Such cases undoubtedly indicate a deviation, since the vast majority of children, even from their earliest attempts to depict a person, draw an integrated figure. A drawing of a person in which parts are scattered without regard to each other is a clear deviation from the norm. This refusal to create a coherent drawing has been noted in children with serious disabilities and is an indicator of their personal disorganization.
Limited, ascetic, robot-like designs
Emotionally immature children draw limited, stereotypical figures. This disorder can take many forms, but the most typical for most children is a discrepancy between abilities and school performance. Many of them are quite bright, but are poorly receptive to academic pursuits. Often the origins of the problem can be traced back to a family situation marked by excessive tension.
Excessive shading
The emphasis on shading of the entire drawn figure or part of it can be observed in the drawings of anxious children. The shading may be limited to the face, lower body, or specifically the genital area.
Excessive, vigorous shading, sometimes directed towards the genital area, can be seen in drawings of repressed, overly controlled junior schoolchildren, at an age close to the period of hidden sexuality. For children who have passed this stage, that is, over the age of 13, who have reached an age when the child is prone to introspection and experiences anxiety about his abilities, such reactions are atypical. Incidents of shading in drawings may be indicators of emotional distress.
Drawings without people
Refusal to draw a person and depict inanimate objects must be considered as an unusual, possibly deviant act, suggesting difficulties in interpersonal relationships, abnormal indifference, emotional detachment, autism.
Dark clouds and shaded sun
Many well-adjusted children can illuminate a drawing of a human figure by adding a shining sun. Usually in one of the upper corners of the leaf, often in the shape of an arc. The lines emanating from the circle represent rays, and the sun may have a smiling face.
It's unusual for children to add rain clouds and shade the sun. These ominous signs have been seen in the drawings of unhappy, anxious, depressed children.
Erasing
Acts of erasure are considered an expression of anxiety and dissatisfaction. As a rule, erasures lead to deterioration rather than improvement of the drawing, thereby confirming that they serve as an expression of conflict.
Sources
Family Drawing Test / Taylor K. Psychological tests and exercises for children. A book for parents and educators - M., 2005.
Test "Draw a person"(Goodenough Draw-A-Man Test) - an intelligence test designed to measure the level of intellectual development of children and adolescents. Proposed by F. Goodenough in 1926
The subject is asked to draw a man on a piece of paper, and is asked to do it as best as possible. Drawing time is not limited. The assessment of the level of intellectual development is carried out on the basis of which parts of the body and details of clothing are depicted by the subject, how proportions, perspective, etc. are taken into account. F. Goodenough developed a scale by which 51 elements of the drawing can be assessed. There are standards for children from 3 to 13 years old, which can be compared with mental age.
The reliability of the test, which has been repeatedly tested using different methods, is quite high. The test-retest reliability coefficient is 0.68, and the splitting reliability coefficient is 0.89. Construct validity indicators, despite variability, exceed 0.50. G. "n. h." i.e. can be used both in individual and group research. Based on this technique K. Machover proposed a projective methodology for personality research (see “Draw a Person” test).
In 1963, the test was revised, expanded and published by D. Harris as the Goodenough-Harris Drawing Test. In the version proposed by D. Harris, after completing the drawing of the man, the subject is asked to depict a woman, and then draw his own portrait. Along with the well-known method of evaluating a pattern based on its elements, a simpler processing of test results is proposed - a qualitative assessment of the pattern as a whole by comparing the resulting image with 12 samples (based on the degree of similarity to the standard). The correlation coefficient between the data obtained when drawing a man and a woman is very high (0.91-0.98), which allows us to consider both options interchangeable. The subject's self-image was developed by D. Harris as a projective technique for personality research.
Instructions
Features of the research procedure
The child is given a sheet of white paper of a standard format and one simple pencil. Regular writing paper will also work, but thick paper specifically designed for drawing is preferable. A pencil must be soft, preferably brand M or 2M; It is acceptable to use an unworn black felt-tip pen.
The child is asked to draw a person (“man,” “uncle”) “as best as possible.” Comments are not allowed during the drawing process. If a child does not draw a full-length drawing of a person, he is asked to make a new drawing.
Upon completion of the drawing, an additional conversation is held with the child, in which the misunderstood details and features of the image are clarified.
Testing is preferably individual. For preschoolers - exclusively individual.
Keys
Diagnosis of intelligence using the Goodenough–Harris test
The scale of attributes for assessing a drawing contains 73 points. For completing each item, 1 point is awarded, for non-compliance with the criterion - 0 points. As a result, the total score is calculated.
Evaluation criteria (signs and their characteristics)
1. Head. Any sufficiently clear image of the head, regardless of shape (circle, irregular circle, oval), is counted. Facial features not outlined by the outline of the head are not counted.
2. Neck. Any clear image of a given body part other than the head and torso is counted. Direct articulation of the head and torso does not count.
3. Neck, two dimensions. The outline of the neck, without interruption, turns into the outline of the head, torso, or one or the other at the same time. The line of the neck should smoothly transition into the line of the head or body. The image of the neck in the form of one line or “column” between the head and torso is not counted.
Counts:
Doesn't count:
4. Eyes. At least one eye is drawn; any image method is considered satisfactory. Even a single vague line, sometimes found in the drawings of very young children, is counted.
5. Eye details: eyebrows, eyelashes. Eyebrows or eyelashes are shown, or both.
6. Details of the eye: pupil. Any clear indication of the pupil or iris other than the outline of the eye. If two eyes are shown, both signs must be present.
7.Eye details: proportions. The horizontal size of the eye should exceed the vertical size. This requirement must be met in the image of both eyes, but if only one eye is drawn, then this is enough. Sometimes in profile drawings high level the eye is shown taking into account perspective. In such designs, any triangular shape that approximates the examples shown below is counted:
8. Eye details: look. Full face: the eyes are clearly “looking”. There should be no convergence or divergence of the pupils, either horizontally or vertically.
Counts:
Profile: The eyes should be shown either as in the previous paragraph or, if the usual almond shape is retained, the pupil should be placed at the front of the eye rather than in the center. The assessment must be strict.
9. Nose. Any way to depict a nose. In “mixed profiles” the point is counted even if two noses are drawn.
10. Nose, two dimensions. Full face: Any attempt to draw a nose two-dimensional is counted if the length of the nose is greater than the width of its base.
Counts:
Doesn't count:
Profile: any most primitive attempt to show the nose in profile is counted, provided that the base of the nose and its tip are depicted. A simple “button” does not count.
Counts:
Doesn't count:
11. Mouth. Any image.
12. Lips, two dimensions. Full face: two lips are clearly depicted.
Counts:
Profile. Counts:
Doesn't count:
13.Nose and lips, two dimensions. An extra point is given if steps 10 and 12 are completed.
14. Chin and forehead. Full Face: Both eyes and mouth should be drawn, leaving enough space above the eyes and below the mouth for the forehead and chin. The assessment is not very strict. Where the neck meets the face, the position of the mouth in relation to the tapering lower part of the head matters. The pictures below illustrate the position of the mouth.
Counts:
Doesn't count:
15. Chin. Clearly separated from the lower lip. Full face: The shape of the chin should be emphasized in some way: for example, a curved line passing below the mouth or lips, or the entire shape of the face. Beard covering this part person does not allow a point to be awarded for this item.
Note. Not to be confused with Item 16. To score on this item, there must be a clear attempt to show a “pointy” chin. Most often, this point is counted in profiles.
Counts:
| paragraph 15 and 16 | |
| paragraph 15, but not 16 | |
| paragraph 15, but not 16 |
16. Jaw line shown. Full face: the line of the jaw and chin runs across the neck, and it should not be square. The neck should be wide enough and the chin pointed enough so that the jaw line forms an acute angle with the neck line. The assessment is strict.
Counts:
Doesn't count:
Profile: The jaw line runs towards the ear.
Counts:
17. Bridge of the nose. Full face: the nose is correctly shaped and positioned correctly. The base of the nose should be shown and the bridge of the nose should be straight. The location of the upper part of the bridge of the nose is important - it should reach the eyes or end between them. The bridge of the nose should be narrower than the base.
Counts:
Doesn't count:
18. Hair I. Any image of hair, even the roughest one, is counted.
19. Hair II. The hair is shown as more than just daubs or scribbles. Just a line of hair on the skull without any attempt to paint it in does not count. A point is given if the child made an attempt to at least somehow paint over the hair or show its wavy outline.
Counts:
Doesn't count:
20.Hair III. Any obvious attempt to show off a haircut or style using bangs, sideburns, or a hairline at the base. When a person is drawn wearing a headdress, a point is scored if the hair on the forehead, behind the ear or behind indicates the presence of a certain hairstyle.
21.Hair IV. Careful depiction of hair; the directions of the strands are shown. Point 21 is never counted if the child’s drawing does not meet the requirements of point 20. This is a sign of a higher rank.
Counts:
Doesn't count:
22. Ears. Any image of ears.
23. Ears: proportions and location. The vertical size of the ear should exceed its horizontal size. The ears should be positioned approximately in the middle third of the vertical dimension of the head.
Full face: The top of the ear should extend away from the line of the skull, with both ears widening towards the base.
Counts:
Doesn't count:
Profile: Some detail of the ear should be shown, for example the ear canal may be depicted as a dot. The auricle should expand towards the back of the head.
Note: Some children, especially mentally retarded ones, tend to draw the ear as if it is upside down - expanding towards the face. In such drawings the point is never counted.
Counts:
Does not count:
24. Fingers. Any evidence of fingers other than the arm or hand. In the drawings of older children, who tend to make sketches, this point is counted if any sign of fingers is present.
25. Correct number of fingers shown. If two brushes are drawn, it is necessary that both have 5 fingers. In the "sketch" drawings of older children, points are counted even if all five fingers cannot be clearly seen.
26. Correct finger details. “Grapes” or “sticks” do not count. The length of the fingers should clearly exceed their width. In more complex drawings, where the hand is shown in perspective or the fingers are only sketched, the point is counted. A point is also given in cases where, due to the fact that the hands are clenched into fists, only the knuckles or parts of the fingers are shown. The latter is found only in drawings of the highest complexity, where great importance has perspective.
27. Opposing thumb. The fingers are drawn in such a way that you can clearly see the difference between the thumb and the rest. The assessment must be strict. A point is also counted when the thumb is clearly shorter than all the others, or when the angle between it and the index finger is not less than twice the angle between any two fingers, or when the point of attachment of the thumb to the hand is significantly closer to the wrist, than other fingers. If two hands are shown, the above conditions must be met on both hands. If one hand is drawn, then if the specified conditions are met, the point is counted. Fingers must be shown; a mitten hand is not counted unless it is obvious (or established in a subsequent conversation) that the child has depicted a person in winter clothes.
Counts:
Doesn't count:
28. Brushes. Any image of a hand, excluding fingers. If there are fingers, there should be space between the base of the fingers and the edge of the sleeve or cuff. Where there are no cuffs, the hand should flare out somehow to represent the palm or back of the hand, as opposed to the wrist. If both hands are drawn, this sign must be present on both. An example of an extreme case that counts positively:
29. Wrist or ankle drawn. Either the wrist or ankle is drawn clearly separately from the sleeve or leg. Here, a line drawn across the limb and showing the edge of the sleeve or trouser leg (this counts in point 55) is not enough.
Counts:
Doesn't count:
30. Hands. Any way to depict hands. Fingers alone are not enough, but a point is scored if there is space left between the base of the fingers and the part of the body to which they are attached. The number of hands must also be correct, with the exception of profile drawings, when one hand can be counted.
31. Shoulders I. Full Face: A change in the direction of the outline of the upper torso that gives the impression of concavity rather than convexity. This sign is assessed quite strictly. The usual oval shape is never scored and is always negative, unless it is obvious that this is an indication of a sharp widening of the trunk below the neck, which is formed by the scapula and collarbone. A body that is clearly square or rectangular in shape does not count, but if the corners are rounded, a point is given.
Counts:
Doesn't count:
Profile: the assessment should be somewhat softer than in full-face drawings, since it is much more difficult to correctly depict the shoulders in profile. A drawing that shows not only the head, but also the torso in profile can be considered correct. A point is scored if the lines forming the outline of the upper torso diverge from each other at the base of the neck, showing widening chest.
32. Shoulders II. Full face: assessed more strictly than the previous sign. The shoulders should flow continuously into the neck and arms and should be “square” and not drooping. If the arm is away from the body, the armpit should be shown.
Profile: The shoulder must be attached in the correct place. The hand should be depicted with two lines.
Counts:
Doesn't count:
33.Hands at your side or busy with something. Full face: young children often draw their arms rigidly apart from the body. A point is counted if at least one hand, drawn from the side, forms an angle of no more than 10° with the common vertical axis of the body, unless the hands are busy with something, for example, holding an object. A point is counted if the hands are drawn tucked into pockets, on the hips (“hands on hips”) or behind the back.
Counts:
Profile: A point is scored if the hands are engaged in any work or the entire hand is raised.
34. Elbow joint. There should be a sharp bend in the middle of the arm, not a smooth one. Enough for one hand. The bend and folds of the sleeve count.
Full face. Counts:
Profile. Counts:
Doesn't count:
35. Legs. Any way to depict legs. The number of legs must be correct. Profile designs can have either one or two legs. When assessing, one must proceed from common sense, and not just from a purely formal sign. If only one leg is drawn, but the crotch is sketched, the point is counted. On the other hand, three or more legs in a drawing or only one leg without any justification for the absence of the second one do not count. One leg to which two feet are attached is rated positively. Legs can be attached to any part of the figure.
36. Thigh I (perineum). Full face: the crotch is shown. Most often it is depicted by the inner lines of the legs meeting at the point of connection with the body. (Small children usually place their feet as far apart as possible. This method of depiction does not receive points for this point.)
Counts:
Profile: If only one leg is drawn, then the outline of the buttock should be conveyed.
Counts:
37.Hip II. The thigh must be depicted more accurately than is necessary to receive a point in the previous paragraph. Here options b and d from paragraph 36 are counted, but ai c are not counted.
38. Knee-joint
. Just as in the elbow, there should be a sharp (rather than smooth) bend approximately in the middle of the leg or, as is sometimes found in drawings of very high complexity, a narrowing of the leg at this point. Knee-length trousers are not a sufficient sign. A crease or strokes that show the knee are rated positively.
39. Feet I. Any image. The image of the foot is counted in any way: two feet in front, one or two feet in a profile drawing. Young children can represent feet by attaching socks to the bottom of their feet. It counts.
Counts:
40. Feet II. Proportions. The feet and legs should be shown in two dimensions. The feet should not be “chopped off”, i.e. The length of the foot must exceed its height from the sole to the instep. The length of the foot should not exceed 1/3 of the total length of the entire leg and should not be less than 1/10 of the total length of the leg. The point is scored in frontal drawings where the foot is shown to be longer than wide.
Full face. Counts:
Doesn't count:
41.Foot III. Heel. Any way to depict the heel. In frontal drawings, the attribute is formally accepted when the feet are depicted as shown in the drawing (provided that there is some kind of dividing line between the leg and the foot). Profile drawings should show rise.
Counts:
42.Foot IV. Perspective. Attempt to maintain an angle for at least one foot.
Counts:
Doesn't count:
43. Foot V. Details. Any detail, such as laces, ties, straps, or the sole of a shoe, shown as a double line.
44. Connection of arms and legs with the body I. Both arms and both legs are attached to the body at any point, or the arms are attached to the neck or to the junction of the head and body (when there is no neck). If the torso is missing, the score is always zero. If the legs are attached to something other than the body, regardless of whether the arms are attached, the score is zero.
45. Attaching arms and legs II. The arms and legs are attached to the body in appropriate places. The point is not counted if the attachment of the arm occupies half or more of the chest (from the neck to the waist). If there is no neck, the arms should attach exactly to the upper torso.
Full face: if sign 31 is present, then the point of attachment should be exactly on the shoulders. If the child received a zero based on attribute 31, then the attachment point should be exactly at the place where the shoulders should be drawn. The assessment is strict, especially with a negative assessment on item 31.
46. Torso. Any clear representation of the torso in one or two dimensions. Where there is no obvious distinction between the head and torso, but the facial features are shown at the top of the figure, a point is scored if the facial features occupy no more than half of the figure; otherwise the score is zero (unless there is a crossbar showing the bottom of the head). Any figure drawn between the head and legs counts as a torso, even if its size and shape are more like a neck than a torso. (This rule is based on the fact that many children whose drawings have such a feature call this part the torso in response to the appropriate question). The row of buttons running down between the legs is scored as a zero for torso, but as a point for clothing, unless the transverse line shows the boundaries of the torso.
47.Torso proportionality: two dimensions. The length of the body must exceed its width. The distance between the points of greatest length and greatest width is measured. If both distances are the same or so close that the difference between them is difficult to determine, the score is zero. In most cases, the difference is large enough that it can be determined by eye, without measurement.
48. Proportions: head I. The area of the head should be no more than half and no less than 1/10 of the area of the body. The rating is quite lenient. See below for a series of standard shapes, including the first figure in
2 times larger than the second in area.
49. Proportions: head II. The head makes up approximately 1/4 of the body area. The assessment is strict: it is not counted if more than 1/3 and less than 1/5. Where the crotch is not shown, as, for example, in some profile drawings, a belt or waist is taken at approximately 2/3 of the bottom of the total length of the body.
50.Proportions: face. Full face: the length of the head is greater than its width; a general oval shape should be shown.
Profile: The head has a clearly elongated, oblong shape. The face is longer than the base of the skull.
51. Proportions: hands I. The arms are at least equal to the length of the torso. The tips of the hands reach the middle of the thigh, but not the knee. The hands do not necessarily reach to (or below) the crotch, especially if the legs are unusually short. In frontal drawings, both arms should be this length. The relative length, not the position of the arms, is assessed.
52. Proportions: hands II. Conical hand shape. The forearm is narrower than the upper arm. Any attempt to narrow the forearm counts, unless it is done right at the waist. If two hands are drawn entirely, the constrictions should be on both.
53. Proportions: legs. The length of the legs must be no less than the vertical size of the body and no more than double the size of the body. The width of each leg is less than the width of the body.
54. Proportions: limbs in two dimensions. Both arms and legs are shown in two dimensions. If the arms and legs are two-dimensional, the point is counted, even if the hands and feet are depicted linearly.
55.Clothes I. Any evidence of clothing images. Typically, the earliest methods are a series of buttons running down the center of the torso, or a hat, or both. Even just one thing counts. One dot or small circle in the center of the torso almost always means the navel and does not count as an item of clothing. A series of vertical or horizontal lines drawn across the torso (and sometimes across the limbs) is the most common way to depict clothing. A point is awarded for this. Dashes that can be interpreted as indicating pockets or cuffs are also counted.
56.Clothes II. Having at least two opaque items of clothing, such as a hat, trousers, etc., that conceal the part of the body they cover. When scoring a drawing on this point, it should be kept in mind that if the hat just barely touches the top of the head, but does not cover any part of it, the point will not be counted. Buttons alone without any other indication of clothing (eg coat, jacket) are not counted. The coat must be depicted using the following two features: sleeves, collar or neckline, buttons, pockets. The image of the trousers must include: a belt, a belt, a fastener, pockets, cuffs or any way of distinguishing the foot and leg from the bottom of the trouser leg. The representation of the foot as an extension of the leg does not count if the line across the leg is the only feature indicating the difference between the foot and the ankle.
58. Clothes III. There are no transparent clothing items in the drawing. Both sleeves and trousers should be shown separately from the wrists and feet.
58. Clothes IV. At least four items of clothing are drawn. Items of clothing may be the following: hat, shoes, coat, jacket, shirt, collar, tie, belt, trousers, jacket, T-shirt, work robe, socks.
Note. The shoes must have some details - laces, straps or a sole depicted with a double line. Heels alone are not enough. Trousers must have some details, such as fasteners, pockets, cuffs. A coat, jacket or shirt should show a collar, pockets, and lapels. Buttons alone are not enough. The collar should not be confused with the neck, which is shown as a simple insert. A tie is often quite inconspicuous; its presence is clarified by careful examination or during a conversation.
59. Clothes V. A complete suit without any absurdities (incompatible items, details). This can be a “uniform” (not only a military uniform, but also, for example, a cowboy suit) or a casual suit. In the second case, the suit must be impeccable. This is an "incentive" additional item and therefore should show more here than in item 58.
60. Profile I. The head, torso and legs in profile must be shown without errors. The torso is not considered to be drawn in profile if the center line of the buttons is not shifted from the middle of the figure to the side of the torso or unless there are other indications, for example, in the form of the appropriate position of the hands, pockets, or tie. In general, the drawing may contain one (but no more) of the following three errors: 1) transparency of the body - the outline of the body is visible through the hand; 2) the legs are not drawn in profile; in a full profile, at least the top of one leg should be covered by the other leg, which is closer; 3) arms are attached to the contour of the back and extended forward.
61. Profile II. The figure must be shown in profile absolutely correctly, without errors or instances of transparency.
62. Full face. Includes a partial profile where the painter attempts to show the figure in perspective. All major body parts are in place and connected correctly, except for parts hidden by perspective or clothing. Essential details: legs, arms, eyes, nose, mouth, ears, neck, torso, palms (hands), feet. The feet should be shown in perspective, but not in profile, unless they are turned in different directions. The parts must be shown in two dimensions.
63*. Motor coordination in line drawing. Look at the long lines of the arms, legs and torso. The lines should be firm, confident and without random bends. If overall the lines give the impression of being firm, confident and indicate that the child is in control of the pencil's movements, the point is scored. The drawing can be very inept, and still the point must be counted. Several long lines may be outlined or erased. The lines in the drawing do not have to be very even and smooth. Small children sometimes try to “color” a picture. Carefully study the main lines of the drawing. Older children often use the sketchy, sketchy method, which is easily distinguished from the unsteady lines that arise as a result of immature coordination.
64. Motor coordination in drawing connections. Look at the points where the lines connect. Lines must meet precisely, with no apparent tendency to intersect or overlap, and with no space between them (a design with multiple lines is judged more strictly than a design with frequent changes in line direction). A sketchy, abrupt drawing is usually counted, despite the fact that the connections of the lines here may be vague, since this feature is inherent almost exclusively in drawings of the mature type. Some wiping is allowed.
65.Higher motor coordination. This is an “incentive”, an additional point for skillful use of a pencil both in drawing details and in drawing basic lines. Pay attention to small details as well as the nature of the main lines. All lines must be drawn firmly, with correct connections. Drawing fine details with a pencil (facial features, small details of clothing
etc.) indicates good regulation of pencil movements. The assessment must be very strict. Redrawing or erasing will void the point for this item.
66**. Line direction and shape: head outline(quality of lines in drawing shapes). The outline of the head should be drawn without obvious signs involuntary deviations. A point is counted only in those drawings where the shape is achieved without incorrect preliminary attempts (circle, ellipse). In profile drawings, a simple oval with a nose attached does not count. The assessment should be quite strict, that is, the contour of the face should be drawn as a single line, and not in parts.
* Items 63, 64 and 65 reflect the child’s quality of pencil control. These points evaluate the firmness and confidence of the lines, the quality of the connections of the lines, “angles”, etc.
** Items 66–69 reflect the degree of voluntary use of a pencil in drawing a shape. The child’s work should show that he clearly and confidently regulates his movements with a pencil.
67. Quality of lines in drawing shapes: contour of the body. The same as in the previous paragraph, but for the torso. Please note that primitive shapes (stick, circle or ellipse) are not counted. The lines of the torso should indicate an attempt to deliberately move away from the simple egg shape.
68. Quality of lines in drawing shapes: arms and hands. The arms and legs should be drawn without distorting the shape, as in the previous paragraph, without a tendency to narrow at the points of connection with the body. Both arms and legs should be drawn in two dimensions.
69. Quality of lines in drawing shapes: facial features. Facial features should be completely symmetrical. The eyes, nose and mouth should be shown in two dimensions.
Full face: facial features must be placed correctly and symmetrically, must clearly convey the appearance of the human face.
Profile: The contour of the eye should be correct and located in the front third of the head. The nose should form an obtuse angle with the forehead. The assessment is strict, a “caricatured” nose does not count.
70. "Sketch" technique. Lines formed by well-regulated short strokes. Repeated tracing of long line segments does not count. The "sketch" technique is found in the work of some older children and is almost never seen in children under 11–12 years of age.
71. Special drawing of details. Using special lines or shading, something (one or more) from the following list should be depicted: folds of clothing, wrinkles or tails, fabric work, hair, shoes, colors or background objects.
72. Hand movement. The figure should express freedom of movement in the shoulders and elbows. It is enough when depicting one hand. “Hands on hips” or hands in pockets do not count if both shoulders and elbows are visible. No action is required.
73. Leg movement. Freedom of movement in both the knees and hips of the figure.
Note. The criteria for drawing analysis were developed and formulated by the creators of the test. When analyzing specific material, individual criteria may seem insufficiently clear. Because of this, subjective interpretations are possible, and the resulting indicator may not fully correspond to the level of unconditional accuracy. The quality of processing test material increases as you gain testing experience and calculate the results.
Note. The criteria for drawing analysis were developed and formulated by the creators of the test. When analyzing specific material, individual criteria may seem insufficiently clear. Because of this, subjective interpretations are possible, and the resulting indicator may not fully correspond to the level of unconditional accuracy. The quality of processing test material increases as you gain testing experience and calculate the results.
Example
Let's look at an example of processing results for a specific picture.
This drawing was made by a 5 year old child. After calculation according to the specified criteria, it can be established that this subject scores 12 points. Points are counted for items 1; 4; 9; eleven; 22; 24; 35; 39; 44; 46; 47; 48; for the rest - do not count.
The result obtained is significantly higher than that corresponding to the lower limit of the norm. Thus, we can conclude that the state of the intellectual sphere of this child does not raise suspicions of insufficient development.
Analysis
As a result of large-scale testing of the test, its creators developed detailed tables for converting the scores obtained into indicators corresponding to the IQ. These criteria, however, were developed quite a long time ago and on a sample of American subjects. Therefore, a thorough correlation of the results obtained today on domestic material with these tables is not enough. Below are only the main reference points that serve as a rough guide for the assessment.
From the Goodenough-Harris tables, we took the ratios of scores and the “normal” IQ, corresponding to 100%, as well as those indicators that approximately correspond to IQ = 70% (i.e., the minimum value related to the norm). For these reasons, the use of the proposed material is permissible only within the following limits. In cases where the number of points is lower than the corresponding IQ = 70%, this provides grounds for a more detailed study of the child’s intellectual sphere in order to identify possible mental retardation. Let us emphasize once again that based only on this criterion It is unacceptable to draw conclusions about mental retardation.
At the age of 3 years, IQ = 100% approximately corresponds to a score of 7. (70% - 1 point.)
- 4 years - 100% - 10 points; 70% - 3 points.
- 5 years - 100% - 16 points; 70% - 6 points.
- 6 years - 100% - 18 - 19 points; 70% - 7 points.
- 7 years - 100% - 22 - 23 points; 70% - 9 points.
- 8 years - 100% - 26 points; 70% - 10 points.
- 9 years - 100% - 31 points; 70% - 13 points.
- 10 years - 100% - 34 - 35 points; 70% - 14 - 15 points.
- 11 years - 100% - 36 - 38 points; 70% - 15 - 16 points.
- 12 years - 100% - 39 - 41 points; 70% - 18 points.
- 13 years - 100% - 42 - 43 points; 70% - 21 points.
- 14 - 15 years - 100% - 44 - 46 points; 70% - 24 points.
As we understood from the previous article, by analyzing the drawing, you can understand the characteristics of the child’s emotional state and even individual character traits and personality orientation. However, this is not all the possibilities of the “Draw a Person” projective technique. By analyzing the drawing, it is also possible to determine the level of intellectual development of the child.
Photo © Huff Post
Research from the Institute of Psychiatry at King's College London found that children whose drawings scored high at age four tended to score higher on intelligence tests at age 14. The researchers also found that the drawings of identical twins in the study were more similar to each other than the drawings of non-twins, suggesting a link between drawing and then intelligence as influenced by genes.
The main idea is that already at the age of 3.5-4 years, a child draws a figure that psychologists call a cephalopod: this is a circle that is both a head and a torso, with eyes and a mouth, as well as with arms and stick-like legs ( like in the cartoon: “stick-stick-cucumber - here comes the little man”).
However, with age, a person’s drawing gradually becomes more complex and improved: after the “cephalopod” comes the stage of a schematic drawing (when it has basically all the necessary “details,” but as if “glued” together, representing a “set” of body parts).
This stage, after 7-8 years, is gradually replaced by an intermediate schematic-plastic one, and finally to adolescence the child “grows up” to the level of plastic drawing, when the arms, legs, body, and head blend into each other smoothly, and are not drawn with a schematic line, but begin to more and more resemble the original - by observing proportions and volume.
All these stages quite clearly and consistently replace each other and are directly dependent on age, which makes it possible to assess the level of mental development child: with disorders and delays in the development of the psyche and intellect, there is a lag in the level of development of the visual function.
So, to complete the “Draw a Person” test, the child is given a blank sheet of paper and allowed to place the drawing as it suits him - horizontally or vertically. Drawing in progress with a simple pencil, preferably not too hard (so as not to scratch or tear the paper and write easily), but also not too soft (so as not to “spread dirt”). An elastic band is placed, but no special attention is paid to it. Let the child decide for himself whether it needs to be washed or not, but remember that corrections are also an informative sign.
The child is instructed in this way: “Draw a person - all, completely. Try to draw as best as possible - the way you know how.” If a child asks clarifying questions on the topic “how should it be done,” simply say: “Draw the way you want.” But if he tries to draw something else instead of a person, say again: “Let's draw the way you were asked at first.”
During work, they note in what sequence the child drew individual parts of the body, what questions he asked or how he commented on what was happening, how much time it took to draw, whether there were corrections and where.
Each detail of the drawing is assessed in points, and the sum of points can be used to judge whether the development is adequate for age. Thus, the presence of a head, torso, eyes, nose, mouth, arms and legs in a drawing is worth 2 points each (and 2 arms or legs are 2 points, not 4). The presence of ears, hair (headdress), eyebrows, neck, clothes, fingers, feet (or shoes) is scored with another point for each drawn element. Correct number of fingers - plus extra point. The plastic method of depiction adds as many as 8 points, the intermediate one (a combination of plastic and schematic methods) gives 4 points, the schematic with arms and legs depicted with a double line - only 2. If the image is primitive-schematic or “cephalopodous”, points are not added.
Photo © Huff Post
So, the minimum score is 0, the maximum is 30.
For a child from 3.5 to 4 years old, the norm is from 4 to 13 points;
from 4 to 5 years – 8-17 points;
from 5 to 6 years – 14-22 points;
from 6 to 7 years – 18-25 points;
from 7 to 8 years – 20-26 points;
from 8 to 9 years – 22-27 points;
from 9 to 10 years – 23-28 points;
from 10 to 11 years – 24-30 points;
from 11 to 13 years – 25-30 points;
from 13 years and older – 26-30 points.
The higher the score, the higher the child’s level of development.
A significant lag from the age norm in test performance may suggest a lag in intellectual development, but is not direct evidence of this, since visual function and drawing ability are not the whole of intelligence. If the development of the visual function is ahead of age, you can be happy for the baby.
But there is a significant nuance: the picture will be much more truthful and closer to reality if the test was carried out professional psychologist, and not the parents themselves. Firstly, they are interested persons and therefore biased, and secondly, the child himself may overreact emotionally to the task received from mom and dad (for example, protest if the relationship is conflictual, or be afraid of upsetting parents and therefore work with fear , and not with pleasure if the baby is anxious and suspicious).
Therefore, do not ask, and even more so, do not force your children to draw “tests” for you: it will turn out to be nonsense. It’s better to take for analysis a drawing that the child completed without your instructions, or, if you really want to, ask your friends who are not too close to the child to help you. However, it is much better for a specialist to handle testing, and even more so with interpretation - after all, conclusions, of course, can only be drawn on the basis of a thorough comprehensive study (not only drawings, but also the child’s behavior and stories).
Therefore, dear parents: if something worries you in your child’s drawings, it is better not to engage in amateur activities, and do not be too lazy to consult with a child psychologist. The signs described in articles about drawing testing are only guidelines that can help parents pay attention to the inner world of their child - is everything going well with him?
Loading...
