"House-Tree-Man" (DDL) - one of the most famous projective methods of personality research. It was proposed by J. Buk in 1948.

The test is intended for both adults and children. A group examination is possible. The diagnostic procedure is as follows: the examinee is asked to draw a house, a tree and a person. Then a survey is conducted according to the developed plan.

R. Berne, when using the DDL test, asks to depict a tree, a house and a person in one picture, in one scene that is happening. The interaction between the house, the tree and the person is said to be a visual metaphor. If you put the whole picture into action, you can see what is really happening in our lives.

A special way of interpretation can be the order in which the drawing of the house, tree and person is performed. If a tree is drawn first, then the main thing for a person is vital energy. If the house is drawn first, then safety, success or, on the contrary, contempt for these concepts come first.

Example of test execution:

The house is an interpretation of signs

General

The house is old, falling apart - sometimes the subject can express his attitude towards himself in this way.

The house is far away - a feeling of rejection.

A house nearby - openness, accessibility and (or) a feeling of warmth and hospitality.

The plan of the house (projection from above) instead of the house itself is a serious conflict.

Different buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.

The shutters are closed - the subject can adapt in interpersonal relations.

Stairs leading to a dead wall (without a door) are a reflection of a conflict situation that harms the correct assessment of reality. Inaccessibility of the subject (although he himself may wish for free heart-to-heart communication).

The walls

The back wall, located unusually - conscious attempts at self-control, adaptation to conventions, but there are strong hostile tendencies.

The contour of the back wall is much brighter (thicker) compared to other details - the subject tries to maintain (not lose) contact with reality.

The wall, the lack of its base - a weak contact with reality (if the picture is placed at the bottom).

A wall with an accented contour of the base - the subject tries to displace conflicting tendencies, experiences difficulties, anxiety.

A wall with an accented horizontal dimension - poor orientation in time (dominance of the past or future). Perhaps the subject is sensitive to environmental pressure.

Wall: the side contour is too thin and inadequate - a premonition (threat) of disaster.

Wall: contours of the line are too accentuated - a conscious desire to maintain control.

Wall: one-dimensional perspective - only one side is shown. If it is a side wall, there are strong tendencies toward alienation and opposition.

Transparent walls are an unconscious urge, the need to influence (own, organize) the situation as much as possible.

A wall with an accented vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than desired.

Door

Their absence - the subject experiences difficulties when trying to open up to others (especially the home circle).

Doors (one or more), back or side - retreat, alienation, avoidance.

The door is open - the first sign of openness, reachability.

The door is open. If the house is residential, this means a strong need for warmth from the outside or a desire to demonstrate accessibility (openness).

Side doors (one or more) - alienation, seclusion, rejection of reality. Considerable impregnability.

The door is very large - excessive dependence on others or the desire to surprise with your social sociability.

The door is very small - reluctance to let in one's "I". Feelings of inadequacy, inadequacy and indecision in social situations.

A door with a huge lock - hostility, mistrust, stealth, protective tendencies

windows

The first floor is drawn at the end - an aversion to interpersonal relationships. Tendency to isolation from reality.

The windows are wide open - the subject behaves somewhat loosely and straightforwardly. A large number of windows shows a readiness for contact, and the absence of curtains - the absence of a desire to hide one's feelings.

The windows are closed (curtained). Anxiety about interaction with the environment (if it is significant for the subject).

Windows without glass - hostility, alienation. Lack of windows on the first floor - hostility, alienation.

There are no windows on the lower floor, but there are on the upper floor - a gap between real life and fantasy life.

Roof

The roof is the realm of fantasy. The roof and the pipe, blown away by the wind, symbolically express the subject's feelings that they are being ordered, regardless of their own willpower.

The roof, a fat contour, not characteristic of the picture, is a fixation on fantasies as a source of pleasure, which is usually accompanied by anxiety.

The roof, the thin contour of the edge - the experience of weakening control over fantasy.

The roof, the thick contour of the edge - excessive concern for controlling fantasy (taming it).

A roof that does not fit well with the lower floor is a bad personal organization.

The eaves of the roof, its accentuation with a bright contour or extension beyond the walls is a strongly protective (usually distrustful) installation.

Room

Associations may arise in connection with:

1) a person living in the room,

2) interpersonal relations in the room,

3) purpose of this room (real or attributed to it).

Associations can have a positive or negative emotional color.

A room that did not fit on the sheet - the subject's reluctance to depict certain rooms due to unpleasant associations with them or with their occupant.

The subject chooses the nearest room - disbelief.

The bath performs a sanitary function. If the manner of depicting the bath is significant, these functions may be impaired.

Tube

Absence of a pipe - the subject feels a lack of psychological warmth of the house.

The pipe is almost invisible (hidden) - unwillingness to deal with emotional influences.

The pipe is drawn obliquely in relation to the roof - the norm for a child; significant regression if found in adults.

Gutters - increased protection and usually mistrust.

Water pipes (or gutters from the roof) are reinforced protective installations (and usually increased distrust).

Smoke from the pipe

The smoke is very thick - significant internal tension (intensity depending on the thickness of the smoke).

Smoke in a thin stream - a feeling of lack of emotional warmth in the house.

Additionally

The transparent, "glass" box symbolizes the experience of exposing yourself to everyone. It is accompanied by a desire to show off, but limited to visual contact only.

Trees often symbolize different individuals. If they seem to "hide" the house, there may be a strong need for dependence when the parents dominate.

Bushes sometimes symbolize people. If they closely surround the house, there may be a strong desire to protect yourself with protective barriers.

Bushes are scattered chaotically in space or on both sides of the path - a slight anxiety within the limits of reality and a conscious desire to control it.

The path, well-proportioned, easily drawn - shows that the individual shows tact and self-control in his contacts with others.

The path is very long - reduced accessibility, which is often accompanied by the need for more adequate socialization.

The path is very wide at the beginning and narrows sharply near the house - an attempt to disguise the desire to be alone, combined with superficial friendliness.

The sun is a symbol of an authoritative figure. Often perceived as a source of warmth and strength.

Weather (what weather is depicted) – reflects the subject's environment-related experiences in general. Most likely, the worse, more unpleasant the weather is depicted, the more likely it is that the subject perceives the environment as hostile, constraining.

Color

Common use of colors: green – for the roof; brown - for walls; yellow, when used only to depict light inside a house, thereby representing night or its approach, expresses the subject's feelings, namely:

1) the environment is hostile to him,

2) his actions must be hidden from prying eyes.

Number of colors used: A well-adjusted, shy and emotionally detached subject usually uses no less than two and no more than five colors. A subject who paints a house with seven or eight colors is, at best, very labile. The one who uses only one color is afraid of emotional excitement.

Choice of color

The longer, more uncertain and difficult the subject chooses colors, the greater the probability of personality disorders.

Black color - shyness, timidity.

The color green is the need to have a sense of security, to protect oneself from danger. This provision is not important when using green for the branches of a tree or the roof of a house.

The color orange is a combination of sensitivity and hostility.

The color purple is a strong need for power. The color red is the highest sensitivity. The need for heat from the environment.

Color, hatching 3/4 of the sheet - lack of control over the expression of emotions.

The hatching that goes beyond the picture is a tendency to impulsively respond to additional stimulation.

The color yellow is a strong sign of hostility.

General appearance

Placing a picture on the edge of a sheet is a generalized feeling of insecurity and danger. Often associated with a specific time value:

a) the right side is the future, the left side is the past,

b) related to the purpose of the room or its permanent resident,

c) which indicates the specificity of experiences: the left side – emotional, the right side – intellectual.

Prospect

The perspective "above the subject" (view from the bottom up) is the feeling that the subject is rejected, eliminated, not recognized at home. Or the subject feels the need for a home that he considers inaccessible, unattainable.

The perspective, the picture is depicted far away - the desire to move away from conventional society. Feeling of isolation, poverty. There is a clear tendency to distance oneself from the environment. The desire to reject, not to recognize this picture or what it symbolizes. Perspective, signs of "loss of perspective" (the individual correctly draws one end of the house, but in the other draws the vertical line of the roof and walls - does not know how to depict depth) - signals the difficulties of integration that are beginning, fear of the future (if the vertical lateral line is on the right) or the desire to forget the past (line on the left).

Three-dimensional perspective (three-dimensional, the subject draws at least four separate walls, in which even two are not in that plan) - excessive preoccupation with the opinion of those around him. The desire to keep in mind (find out) all connections, even minor ones, all features.

Placing the picture

Placement of the picture above the center of the sheet - the more the picture is above the center, the more likely that:

1) the subject feels the severity of the struggle and the relative unattainability of the goal;

2) the subject prefers to seek pleasure in fantasies (internal tension);

3) the subject tends to stay away.

Placement of the picture exactly in the center of the sheet - insecurity and rigidity (straightness). The need for careful control in order to maintain mental balance.

Placing the picture below the center of the sheet - the lower the picture is in relation to the center of the sheet, the more it looks like:

1) the subject feels dangerous and uncomfortable, and this creates a depressed mood;

2) the subject feels limited, shackled by reality.

Placing the picture on the left side of the letter is an emphasis on the past. Impulsiveness.

Placing a picture in the upper left corner of the letter is a tendency to avoid new experiences. The desire to go into the past or delve into fantasy.

Placement of the picture on the right half of the sheet - the subject tends to seek pleasure in intellectual spheres. Controlled behavior. Emphasis on the future.

The drawing goes beyond the left edge of the letter - fixation on the past and fear of the future. Excessive concern with free and frank emotional experiences.

Going beyond the right edge of the letter - the desire to "escape" into the future in order to get rid of the past. Fear of open free experiences. The desire to maintain tight control over the situation.

Going beyond the top edge of the sheet - fixating on thinking and fantasy as a source of pleasures that the subject does not experience in real life.

Contours are very straight - rigidity.

The contour is sketchy, used constantly - in the case of smallness, the desire for accuracy, in the worst case - the inability to indicate a clear position.

Man

Head

Sphere of intelligence (control). The realm of imagination. A big head is an unconscious emphasis of the conviction of the importance of thinking in human activity.

A small head is an experience of intellectual inadequacy.

A fuzzy head - shyness, timidity. The head is depicted at the end - an interpersonal conflict.

A large head in the figure of the opposite sex is the perceived advantage of the opposite sex and its higher social authority.

Neck

An organ symbolizing the connection between the sphere of control (the head) and the sphere of drive (the body). Thus, this is their coordinating feature.

An accentuated neck is the need for protective intellectual control.

Excessively large neck - awareness of bodily impulses, attempts to control.

Long thin neck - inhibition, regression.

A thick short neck is a concession to one's weaknesses and desires, an expression of unsuppressed impulse.

Shoulders, their sizes

A sign of physical strength or need for power. Excessively large shoulders - a feeling of great strength or excessive preoccupation with power and authority.

Small shoulders - a feeling of low value, worthlessness. Shoulders are too clumsy - a sign of excessive caution, protection.

Slouched shoulders - despair, despair, guilt, lack of vitality.

Broad shoulders - strong physical impulses.

Body

Symbolizes courage.

The body is clumsy or square - courage.

The body is too large - the presence of unsatisfied, acutely aware needs of the subject.

The body is abnormally small - a feeling of humiliation, inferiority.

Face

Facial features include eyes, ears, mouth, nose. It is sensory contact with reality.

The face is emphasized - a strong concern about relationships with others, about one's appearance.

The chin is too emphasized - the need to dominate.

The chin is too big - compensation is felt by weakness and indecision.

Ears are too emphasized - auditory hallucinations are possible. They are found in people who are especially sensitive to criticism.

Small ears - the desire not to accept any criticism, to silence it.

Eyes closed or hidden under the brim of a hat - a strong desire to avoid unpleasant visual influences.

The eyes are depicted as empty sockets - a significant desire to avoid visual stimuli. Hostility. Staring eyes - rudeness, callousness. Small eyes - self-absorption. Raised eyes - rudeness, callousness. Long eyelashes - flirtatiousness, tendency to seduce, tempt, demonstrate yourself.

Full lips on a man's face are femininity. A clown's mouth - forced friendliness, inadequate feelings.

The mouth is inflamed - passive meaning. The nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think in ironic social stereotypes.

Nostrils are primitive aggression. The teeth are clearly drawn - aggressiveness. The face is unclear, dull - timidity, shyness. The facial expression is flattering - insecurity. A face like a mask - caution, secrecy, possible feelings of depersonalization and alienation.

Eyebrows are rare, short contempt, sophistication.

Hair

A sign of courage (bravery, strength, maturity and the desire for it).

Hair is strongly shaded - anxiety associated with thinking or imagination.

The hair is not shaded, not painted, frames the head - the subject is controlled by hostile feelings.

Limbs

Hands are a tool for more perfect and responsive adaptation to the environment, mainly interpersonal relationships.

Wide hands (hand swing) - an intense desire for action.

Hands are wider near the palm or shoulder - insufficient control of actions and impulsiveness.

Hands, depicted not together with the body, but separately, stretched to the side - the subject sometimes catches himself in actions or deeds that have gone out of his control.

Hands crossed on the chest - a hostile and mistrustful attitude.

Hands behind the back - reluctance to give in, make compromises (even with friends). The tendency to control manifestations of aggressive, hostile drives.

The arms are long and muscular - the subject needs physical strength, dexterity, bravery as compensation.

Hands are too long - overly ambitious aspirations.

Hands relaxed and flexible - good adaptability in interpersonal relations.

Hands tense and pressed to the body - clumsiness, stiffness.

The hands are very short - lack of aspirations along with a feeling of inadequacy.

Hands are too large - a strong need for better adaptation in social relations with a feeling of inadequacy and a tendency to impulsive behavior.

Lack of hands is a feeling of inadequacy despite high intelligence.

Deformation or accentuation of the arm or leg on the left side is a social-role conflict.

Hands are depicted close to the body - tension. Big hands and feet in a man - rudeness, callousness. Tapering arms and legs are femininity. Long hands - the desire to achieve something, to take possession of something.

Long and weak hands - dependence, indecisiveness, need for care.

Hands turned to the sides that get something - addiction, desire for love, affection.

Hands stretched out on both sides - difficulties in social contacts, fear of aggressive impulses.

Hands are strong - aggressiveness, activity. The hands are thin, there is a weak feeling of the inadequacy of what has been achieved.

A hand like a boxing glove is repressed aggression. Hands behind the back or in the pockets - a sense of guilt, self-doubt.

The hands are unclearly outlined - a lack of self-confidence in activities and social relations.

Big hands - compensation is felt for weakness and guilt. Hands are absent in the female figure. - The mother figure is perceived as unloving, rejecting, unsupportive.

Fingers are separated (cut off) - repressed aggression, isolation.

Thumbs - rudeness, callousness, aggression. More than five fingers - aggressiveness, ambition.

Fingers without palms mean rudeness, callousness, aggression.

Fewer than five fingers - dependence, impotence. Long fingers - hidden aggression. Fingers clenched into fists - rebellion, protest. Fists pressed to the body - suppressed protest. Fists away from the body - an open protest. Thumbs like nails (thorns) - hostility.

The fingers are one-dimensional, circled with a loop - a conscious effort against an aggressive feeling.

The legs are disproportionately long - a strong need for independence and a desire for it.

The legs are too short - a feeling of physical or psychological discomfort.

The drawing is started with the feet and legs - timidity. The feet are not depicted - isolation, timidity. Legs wide apart - open contempt (disobedience, ignoring or insecurity).

Legs of different sizes - ambivalence in the desire for independence.

No legs - timidity, isolation. The legs are accentuated - rudeness, callousness. Feet are a sign of mobility (physiological or psychological) in interpersonal relationships.

The feet are disproportionately long - the need for safety. The need to show courage.

The feet are disproportionately small - stiffness, dependence.

Outside

The face is depicted in such a way that the back of the head is visible - a tendency towards closedness.

Head in profile, body full face - anxiety caused by the social environment and the need for communication.

A person sitting on the edge of a chair - a strong desire to find a way out of the situation, fear, loneliness, suspicion.

A person depicted at the moment of running is a desire to run away, to hide from anyone.

A person with visible violations of proportions in relation to the right and left sides - lack of personal balance.

A person without certain body parts indicates rejection, non-recognition of a person as a whole or his missing parts (actually or symbolically depicted).

A person in blind flight - panic fears are possible.

A person in a smooth easy step is good adaptability.

A person is an absolute profile - serious alienation, isolation and oppositional tendencies.

The profile is ambivalent - certain parts of the body are depicted from the other side in relation to others, looking in different directions - especially strong frustration with the desire to get rid of an unpleasant situation.

An unbalanced standing figure is tension.

Dolls - compliance, experiencing the dominance of the environment.

A robot instead of a male figure - depersonalization, a sense of external forces controlling.

A stick figure can mean evasion and negativism.

The figure of Baba Yaga is an open hostility to women.

A clown, a caricature - a feeling of inferiority characteristic of teenagers. Hostility, self-contempt.

Background. Environment

Clouds - timid anxiety, apprehension, depression. A fence for support, the contour of the earth - insecurity. The figure of a person in the wind - the need for love, affection, caring warmth.

The base line (ground) is insecurity. It is a necessary point of reference (support) for constructing the integrity of the drawing, provides stability. The meaning of this line sometimes depends on the quality given to it by the subject, for example, "the boy is skating on thin ice." The base is often drawn under a house or a tree, less often - under a person.

The weapon is aggressiveness.

Multifaceted criteria

Line breaks, erased details, passes, accentuation, hatching - the sphere of conflict.

Buttons, belt patch, accentuated vertical axis of the figure, pockets - addiction.

Contour. Press. Hatching. Few curved lines, many sharp corners - aggressiveness, poor adaptation.

Rounded (rounded) lines - femininity. A combination of confident, bright and light contours - roughness, callousness.

The contour is dim, unclear - timidity, timidity. Energetic, confident strokes - perseverance, security.

Lines of unequal brightness are voltage. Thin extended lines are voltage. An unbroken, emphasized contour framing the figure is isolation.

Sketch outline - anxiety, timidity. Disruption of the contour is a field of conflicts. Emphasized line - anxiety, insecurity. The sphere of conflicts. Regression (especially regarding the highlighted detail).

Jagged, uneven lines - audacity, hostility. Confident solid lines - ambition, impetuousness.

A bright line is rudeness. Strong pressure - energy, perseverance. Great tension.

Light lines - lack of energy. Light pressure - low energy resources, stiffness.

Lines with pressure - aggressiveness, persistence.

Unequal, unequal pressure - impulsiveness, instability, anxiety, insecurity.

Changing pressure - emotional instability, labile moods.

Stroke length

If the patient is excitable, the strokes are shortened, if not, they are lengthened.

Direct strokes - stubbornness, persistence, tenacity. Short strokes - impulsive behavior. Rhythmic hatching - sensitivity, compassion, looseness.

Short, sketchy strokes - anxiety, uncertainty. The strokes are clumsy, stiff - tension, isolation.

Horizontal strokes - emphasizing imagination, femininity, weakness.

Unclear, diverse, changing strokes - insecurity, lack of tenacity, perseverance.

Vertical strokes - stubbornness, perseverance, determination, hyperactivity.

Hatching on the right - introversion, isolation. Hatching from left to right is the presence of motivation.

Hatching from oneself - aggression, extroversion. Erasure - anxiety, danger. Frequent erasures - indecision, dissatisfaction with oneself. Erasure during redraw (if the redraw is more perfect) is a good sign.

Erasure with subsequent spoiling (deterioration) of the picture is the presence of a strong emotional reaction to the object being drawn or to what it symbolizes for the subject.

Erasure without an attempt to redraw (that is, to correct) is an internal conflict or a conflict with this particular detail (or with what it symbolizes).

Size and position

The big picture is expansiveness, tendency to vanity, arrogance.

Small figures - anxiety, emotional dependence, feelings of discomfort and stiffness.

A very small figure with a thin contour - stiffness, a sense of one's own insignificance and insignificance.

Lack of symmetry - insecurity.

A picture near the edge of the letter - dependence, self-doubt.

The picture is the whole sheet - a compensatory elevation of oneself with imagination.

Details

Here, their knowledge, ability to operate with them and adapt to specific practical conditions of life is important.

The researcher must notice the degree of the subject's interest in such things, the degree of realism with which he perceives them; the relative importance he gives to them; the way of connecting these parts into a set.

Details are essential - the absence of essential details in a picture of a subject who is known to be of average or higher intelligence now or in the recent past, most often indicates intellectual degradation or a serious emotional disturbance.

An excess of details - "the inevitability of physicality" (inability to limit oneself) indicates a forced need to fix the whole situation, excessive concern for the environment. The nature of the details (essential, inconsequential or strange) can be a more precise definition of the specificity of the sensitivity.

Excessive duplication of details - the subject, most likely, does not know how to enter into tactical and plastic contacts with people.

Insufficient detailing - tendencies towards closure. Especially meticulous detailing - stiffness, pedantry.

The psychologist also monitors the behavior of the subject:

- The ability to critically evaluate a drawing when asked to criticize it - criteria for maintaining contact with reality;

- acceptance of the task with minimal protest - a good start, followed by fatigue and interruption of drawing;

- apology through a picture - lack of confidence;

- during drawing, the pace and productivity decrease - rapid exhaustion.

The name of the picture is extraversion, need and support. A trifle

The left half of the picture is underlined - identification with the female gender.

Persistently draws, despite difficulties - good prognosis, energy.

Resistance, refusal to draw - hiding problems, reluctance to reveal oneself.

Tree

The interpretation according to K. Koch comes from the provisions of K. Jung (a tree is a symbol of a person standing). The roots are collective, unconscious. Trunk - impulses, instincts, primitive stages. Branches - passivity or resistance to life.

The interpretation of a tree drawing always contains a permanent core (roots, trunk, branches) and decorative elements (leaves, fruits, landscape).

As noted, the interpretation of Do. Koch is mainly aimed at identifying pathological signs and features of mental development. In our opinion, there are a number of contradictions in the interpretation, as well as the use of concepts that are difficult to specify.

For example, in the interpretation of the signs "rounded crown", "lack of energy", "sleepiness", "nose picking" and immediately "gift of observation", "strong imagination", "frequent inventor" or: "insufficient concentration" - what?

What is the reality behind this concept? It remains unknown. In addition, the interpretation of signs contains an excessive use of conventional definitions. For example: "emptiness", "arrogance", "haughtiness", "flat", "vulgar", "petty", "short-sighted", "manner", "pretense", "importance", "quaint", "false" and immediately - "the gift of constructiveness", "ability to systematics", "technical giftedness"; or a combination of "self-discipline", "self-control", "manner" - "writing", "swagger", "indifference", "indifference".

We would like to draw attention to the fact that when communicating with normal people in the process of psychological counseling, it is hardly possible to pronounce such epithets against them.

Roots

The roots are smaller than the trunk - the attraction to the hidden, closed. The roots are equal to the trunk - stronger curiosity, which is already a problem.

The roots are larger than the trunk - intense curiosity that can cause anxiety.

The roots are marked with a trait - children's behavior about what is kept secret.

Roots in the form of two lines - the ability to distinguish and prudence in assessing the real; a different form of this root can be associated with the desire to live, suppress or express some tendencies in an unfamiliar circle or close environment.

Symmetry is the desire to appear in harmony with the outside world. A pronounced tendency to restrain aggressiveness.

Fluctuations in choosing a position regarding feelings, ambivalence, moral problems.

The location on the sheet is twofold - the attitude to the past, to what the picture depicts, i.e. to the act A double desire: independence and protection within the framework of the environment. The central position is the desire to find agreement, balance with others. Testifies to the need for strict and consistent systematization based on habits.

Location to the left - the focus on the outside world, on the future, increases. The need to rely on authority; search for agreement with the outside world; ambition, desire to impose oneself on others, feeling of abandonment; possible fluctuations in behavior.

Leaf shape

Round crown - exaltation, emotionality. Circles in the letter - the search for soothing and rewarding sensations, feelings of abandonment and disappointment.

The branches are down - loss of courage, refusal of efforts. Branches up - enthusiasm, impulse, desire for power.

Branches in different directions - the search for self-affirmation, contacts, self-distribution. Fussiness, sensitivity to the environment, lack of opposition to it.

Mesh leaves, more or less dense - greater or lesser dexterity in preventing problematic situations.

Leaves from curved lines - receptivity, open acceptance of others.

Open and closed leaves in one picture - the search for objectivity.

Closed leaves - protecting your inner world in a childish way.

Closed thick leaves - hidden aggressiveness. Details of leaves that are related to the whole - insignificant details are taken as characteristics of the phenomenon in general.

Branches come from one area on the trunk - a child's search for protection, the norm for a seven-year-old child.

The branches are drawn with one line - an escape from the troubles of reality, its transformation and beautification.

Thick branches are a good discrimination of reality. Leaves-loops - prefers to use charm. Palm - the desire to change places. Mesh leaves - avoidance of unpleasant sensations. Leaves as a pattern - femininity, friendliness, charm. Weeping willow - lack of energy, desire for solid support and search for positive contacts; return to the past and childhood experiences; Decision-making problems.

Blackening, shading - tension, anxiety.

Stem

Shaded trunk - internal anxiety, suspicion, fear of being abandoned; hidden aggressiveness.

A trunk in the form of a broken dome - the desire to be like the mother, to do everything like her, or the desire to be like the father, to compete with him by strength, a reflection of failures.

A single-line trunk is a refusal to look at things realistically.

The trunk is drawn with thin lines, the crown is thick - it can assert itself and act freely.

Leaves with thin lines - subtle sensitivity, suggestibility.

Trunk with lines with pressure - determination, activity, productivity.

The lines of the trunk are straight - dexterity, ingenuity, does not dwell on disturbing facts.

Trunk lines are curved - activity is inhibited by anxiety and thoughts about the insurmountability of obstacles.

"Vermicelli" - a tendency to secrecy for the sake of abuse, unexpected attacks, hidden rage.

Branches are not connected to the trunk - avoidance of reality that does not correspond to desires, an attempt to "escape" into dreams and games.

The trunk is open and connected to the leaves - high intelligence, normal development, the desire to preserve the inner world.

The trunk is detached from the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.

The trunk is limited from below - a feeling of unhappiness, a search for support.

The trunk expands downwards - the search for a reliable position in its circle.

The trunk narrows down - a sense of security in the circle, which does not provide the desired support; isolation and the desire to strengthen one's "I" against a troubled world.

The total height - the lower quarter of the sheet - dependence, lack of self-confidence, compensatory dreams of power.

The lower half of the letter is less pronounced dependence and timidity.

Three-quarters of a sheet is a good adaptation to the environment. The letter is used in its entirety - it wants to be noticed, to rely on others, to assert itself.

Image manner

Sharp top - defends against danger, real or imagined, which is perceived as a personal attack; the desire to act on others, attacks or defends, difficulties in contacts; wants to compensate for feelings of inferiority, desire for power; the search for a safe haven due to the feeling of abandonment for a firm position, the need for tenderness.

Multiplicity of trees (several trees on one sheet) is childish behavior, tested not following this instruction.

Two trees - can symbolize yourself and another close person (see the position on the sheet and other points of interpretation).

Adding various objects to the tree is interpreted depending on the specific objects.

Landscape means sentimentality.

Turning the sheet over is independence, a sign of intelligence, prudence.

Earth

The earth is represented by one feature - concentration of purpose, adoption of a certain order.

Earth is represented by several different traits – acting according to one's own rules, the need for an ideal.

Several common lines depicting the earth and touching the edge of the sheet - spontaneous contact, sudden removal, impulsiveness, capriciousness.

The earth rises to the right edge of the picture - passion, interest.

The earth falls to the right edge of the sheet - a decline in strength, insufficient aspirations.