Drawing test non-existent animal. A non-existent animal will tell about your personality. Examination of the depicted creature

Personality research method using projective test"Nonexistent Animal" is based on the theory of psychomotor connection. To register the state of the psyche, a study of motor skills is used (in particular, the motor skills of the drawing dominant right hand, recorded in the form of a graphic trace of movement, drawing). According to I.M. Sechenov, any idea that arises in the psyche, any tendency associated with this idea, ends with movement (literally, “Every thought ends in movement”).

If a real movement or intention is not carried out for some reason, then in the corresponding muscle groups a certain tension of energy is summed up, necessary to carry out a response movement (to a representation - a thought). For example, images and thought-perceptions that cause fear stimulate tension in the leg muscle groups and in the muscles of the arms, which would be necessary if the response to fear was to flee or defend with the hands - to hit, to shield. The tendency of movement has a direction in space:

Removal,

Approximation,

Straightening,

A fall.

When making a drawing, a sheet of paper (or a painting) represents a model of space and, in addition to the state of the muscles, fixes the relationship to space, i.e. emerging trend. Space, in turn, is associated with the emotional coloring of the experience and the time period: present, past, future. It is also connected with the effectiveness or ideal-mental plan of the psyche. The space located behind and to the left of the subject is associated with the past period and inactivity (the absence of an active connection between thought-idea, planning and its implementation). The right side, the space in front and above are associated with the future period and effectiveness. On the sheet (model of space), the left side and bottom are associated with negatively colored and depressive emotions, with uncertainty and passivity. The right side (corresponding to the dominant right hand) – with positively colored emotions, energy, activity, specificity of action.

Besides general patterns psychomotor connection and relationship to space, when interpreting the test material, theoretical norms of operating with symbols and symbolic geometric elements and figures are used.

By its nature, the “Non-existent animal” test is projective. For statistical testing or standardization, the result of the analysis can be presented in descriptive forms. By composition this test– indicative and is usually not used as the only research method and requires combination with other methods as a battery research tool.

Instructions

Come up with and draw a NON-EXISTENT animal and give it a NON-EXISTENT name.

Indicators and interpretation

Position of the drawing on the sheet

Normally, the pattern is located along midline vertically placed sheet. It is best to take a white or slightly creamy, non-glossy sheet of paper. Use a medium soft pencil; You cannot draw with a pen or felt-tip pen.

The location of the drawing closer to the top edge of the sheet (the closer, the more pronounced) is interpreted as high self-esteem, as dissatisfaction with one’s position in society, lack of recognition from others, as a claim for advancement and recognition, and a tendency towards self-affirmation.

The position of the picture in the lower part is the opposite trend: self-doubt, low self-esteem, depression, indecisiveness, disinterest in one’s position in society, in recognition, lack of a tendency to self-affirmation.

The central semantic part of the figure (the head or a part replacing it).

The head is turned to the right - a stable tendency towards activity, efficiency: almost everything that is thought out, planned is carried out, or at least begins to be carried out (if not even completed). The subject actively proceeds to the implementation of his plans and inclinations.

The head is turned to the left - a tendency to reflect, to think. This is not a man of action: only a small part of his plans are realized or even begin to be realized. Often there is also fear of active action and indecision. (Option: lack of tendency to act or fear of activity - should be resolved additionally.)

“Full face” position, i.e. the head is directed at the person drawing (at himself), interpreted as egocentrism.

On the head there are details corresponding to the sense organs - ears, mouth, eyes. The meaning of the “ears” detail is direct: interest in information, the importance of others’ opinions about oneself. Additionally, using other indicators and their combination, it is determined whether the subject is doing anything to win a positive assessment or is only producing appropriate emotional reactions to the assessments of others (joy, pride, resentment, grief), without changing his behavior. A slightly open mouth in combination with the tongue in the absence of drawing the lips is interpreted as greater speech activity (talkativeness), in combination with the drawing of the lips - as sensuality; sometimes both together. An open mouth without drawing the tongue and lips, especially a drawn one, is interpreted as the ease of apprehension and fear, mistrust.

Mouth with teeth - verbal aggression, in most cases - defensive (snarls, bullies, is rude in response to addressing him with a negative quality, condemnation, censure). Children and adolescents are characterized by a pattern of a drawn, rounded mouth (fearfulness, anxiety).

Particular importance is attached to the eyes. This is a symbol of the inherent human experience of fear: it is emphasized by the sharp drawing of the iris. Pay attention to the presence or absence of eyelashes. Eyelashes – hysterical and demonstrative behavior; for men: feminine character traits with the drawing of the pupil and iris rarely coincide. Eyelashes are also an interest in admiring others for their external beauty and manner of dressing, attaching great importance to this.

An increased (in accordance with the figure as a whole) size of the head indicates that the subject values ​​the rational principle (possibly erudition) in himself and those around him.

There are also additional details on the head: for example, horns - protection, aggression. Determine by combination with other signs - claws, bristles, needles - the nature of this aggression: spontaneous or defensive-reactive. Feathers are a tendency towards self-decoration and self-justification, towards demonstrativeness. Mane, fur, a semblance of hairstyle - sensuality, emphasizing one's gender and, sometimes, orientation towards one's sexual role.

The supporting, supporting part of the figure (legs, paws, sometimes a pedestal)

The solidity of this part is considered in relation to the size of the entire figure and shape:

a) thoroughness, thoughtfulness, rationality of decision-making, paths to conclusions, formation of judgments, reliance on essential provisions and significant information;

b) superficiality of judgments, frivolity in conclusions and unfoundedness of judgments, sometimes impulsive decision-making (especially in the absence or almost absence of legs).

Pay attention to the nature of the connection of the legs with the body: the connection is precise, carefully or carelessly, weakly connected or not connected at all - this is the nature of control over your reasoning, conclusions, decisions. Uniformity and one-directionality of the shape of the legs, paws, and any elements of the supporting part - conformity of judgments and attitudes in decision making, their standardness, banality. The diversity in the form and position of these details is the originality of attitudes and judgments, independence and originality; sometimes even creativity (corresponding to the unusual form) or dissent (closer to pathology).

Parts that rise above the level of the figure

Can be functional or decorative:

Wings, extra legs, tentacles, shell details, feathers, bows like curls, flower-functional details - the energy of covering different areas of human activity, self-confidence, “self-propagation” with indelicate and indiscriminate oppression of others, or curiosity, the desire to participate as possible in a greater number of affairs of others, winning a place in the sun, passion for one’s activities, courage in enterprises (according to the meaning of the symbol detail - wings or tentacles, etc.). Decorating details - demonstrativeness, a tendency to attract the attention of others, mannerisms (for example, a horse or its non-existent likeness in a plume of peacock feathers).

Tails

They express their attitude to their own actions, decisions, conclusions, to their verbal products - judging by whether these tails are turned to the right (on the sheet) or to the left. Tails turned to the right - attitude towards your actions and behavior. To the left - attitude towards your thoughts, decisions; to missed opportunities, to one’s own indecision. The positive or negative coloring of this attitude is expressed by the direction of the tails upward (confident, positive, cheerful) or the falling movement downward (dissatisfaction with oneself, doubt about one’s own rightness, regret about what has been done, said, repentance, etc.). Pay attention to tails consisting of several, sometimes repeating, links, especially fluffy tails, especially long and sometimes branched.

Figure outlines

They are analyzed by the presence or absence of protrusions (such as shields, shells, needles), drawing and darkening of the contour line. This is protection from others, aggressive - if it is done in sharp corners; with fear and anxiety - if there is a darkening, “smudging” of the contour line; with fear, suspicion - if shields, “barriers” are placed, the line is doubled. The direction of such protection is according to the spatial location: the upper contour of the figure is against superiors, against persons who have the opportunity to impose a ban, restriction, or exercise coercion, i.e. against elders, parents, teachers, bosses, managers; lower contour - protection against ridicule, non-recognition, lack of authority among lower subordinates, juniors, fear of condemnation; lateral contours – undifferentiated caution and readiness for self-defense of any order and in different situations; the same thing - elements of “protection”, located not along the contour, but inside the contour, on the animal’s body itself. On the right – more in the process of activity (real), on the left – more defense of one’s opinions, beliefs, tastes.

Total Energy

The number of depicted details is assessed - is it just the necessary amount to give an idea of ​​an imaginary non-existent animal (body, head, limbs or body, tail, wings, etc.): with a filled outline, without shading and additional lines and parts, simply primitive contour, - or there is a generous depiction of not only necessary, but “additional parts that complicate the design. Accordingly, the more components and elements (besides the most essential), the higher the energy. In the opposite case, energy savings, asthenicity of the body, chronic somatic disease. (The same is confirmed by the nature of the line - a weak cobweb-like line, “moving a pencil across the paper” without pressing on it.) The opposite nature of the lines - thick with pressure - is not polar: this is not energy, but anxiety. You should pay attention to sharply pressed lines, visible even on the back of the sheet (convulsive, high tone of the muscles of the drawing hand) - sharp anxiety. Pay attention also to what detail, what symbol, is made in this way (i.e. what the alarm is attached to).

Assessing the nature of the line

Here you should pay attention to line duplication, negligence, sloppy connections, “islands” of overlapping lines, blackening of parts of the drawing, “smudging”, deviation from the vertical axis, stereotypical lines, etc.). The assessment is carried out in the same way as when analyzing a pictogram. The same – fragmentation of lines and shapes, incompleteness, raggedness of the drawing.

Animal character

Thematically, animals are divided into threatened, threatening, neutral (like a lion, hippopotamus, wolf or bird, snail, ant, or squirrel, dog, cat). This is an attitude towards one’s own person and one’s “I”, an idea of ​​one’s position in the world, as if identifying oneself by significance (with a hare, a bug, an elephant, a dog, etc.). IN in this case the animal being drawn is a representative of the one drawing. The likening of the animal being drawn to a person, starting with placing the animal in a position of walking upright on two legs, instead of four or more, and ending with dressing the animal in human clothes (pants, skirts, bows, belts, dresses), including the similarity of the muzzle to the face, legs and paws to hands - indicates infantility, emotional immaturity, according to the degree of severity of the “humanization” of the animal. The mechanism is similar (and parallel) to the allegorical meaning of animals and their characters in fairy tales, parables, etc.

Miscellaneous

The degree of aggressiveness is expressed by the number, location and nature of the corners in the drawing, regardless of their connection with a particular detail of the image. Particularly significant in this regard are direct symbols of aggression - claws, teeth, beaks... You should also pay attention to the emphasis on sexual characteristics - udders, nipples, breasts with a humanoid figure, etc. This is an attitude towards gender, even to the point of fixation on the problem of sex.

The figure of a circle (especially one not filled with anything) symbolizes and expresses the tendency towards secrecy, isolation, closedness of one’s own inner world, reluctance to give information about yourself to others, and finally, reluctance to be tested. Such figures usually provide very limited data for analysis.

Pay attention to cases of mounting mechanical parts into the body of an “animal” - placing the animal on a pedestal, tractor or tank tracks, tripod; attaching a propeller or propeller to the head; mounting an electric lamp into the eye, and into the body and limbs of the animal - handles, keys and antennas. This is observed more often in patients with schizophrenia and deep schizoids.

Creative possibilities are usually expressed by the number of elements combined in a figure: banality, the lack of creativity take the form of a “ready-made” existing animal (people, horses, dogs, pigs, fish), to which only a “ready-made” existing part is attached so that the drawn animal becomes non-existent – a cat with wings, a fish with feathers, a dog with flippers, etc. Originality is expressed in the form of constructing a figure from elements, and not from whole blanks.

The “Draw a non-existent animal” test is very popular among psychologists when working with schoolchildren. Using this diagnostic method, you can understand a lot about the mental state of the child. To do this, you need to know how to conduct testing and correctly decipher its result.

The essence of the drawing projective test “Draw a non-existent animal”

The purpose of the diagnosis is to determine the degree of anxiety of the subject, his self-esteem and other important characteristics of the growing personality. Testing is directly related to the inner world of the subject: all parts of the animal’s body, which the child is asked to depict, reflect processes occurring at the mental level. Their drawing is not controlled by consciousness, since the time period allotted for the test does not allow this mechanism to be activated.

This method of psychological examination is one of the most informative of all pictorial diagnostic methods. As a rule, it is used in parallel with other psychological testing- this allows you to get a complete picture of the child’s condition.

The procedure for conducting psychological diagnostics

To pass the test, the subject will need to be given a sheet of paper and writing aids - medium soft pencils (plain or colored). Pens, felt-tip pens and paints are excluded, since the lines they make make it difficult to decipher the drawing. The task completion time is limited to three minutes.

In order for the study to be as complete as possible, the child should be clearly instructed:

After the subject completes the task, you need to ask him to tell him about his animal (how it lives). If the narrative does not contain enough information for analysis, then the child is asked specific questions (the testing person must write down the answers in detail):

• Where does the creature live?
• What does it eat?
• What does he usually do?
• What does he like to do most?
• What doesn't he like to do?
• Does he have friends, who are they?
• Who lives with him?
• Who are his enemies, if any?
• What is he most afraid of?

Processing and interpretation of results

Analysis of the manner of drawing

The pressure can be used to judge the condition of the person being tested. Weak speaks of passivity, asthenia, preconditions for depression; strong means emotional tension, impulsiveness and rigidity. The firmness of pressing the pencil with such force that it even tears the paper symbolizes aggression, increased activity and conflict.

The quality of the lines also gives a certain characteristic of the child’s condition:

The ideal location for the drawing is in the center of a vertically lying piece of paper, this indicates the normal state of the human psyche. The displacement of the depicted animal in one direction or another illustrates some psychological aspects associated with self-esteem: an upward slope from the center means overestimated, downward - underestimated. If the creature is shifted to the right, this means that the subject seeks to control his actions and thoughts, a “transition” to left side means inactivity and low social activity, shyness. A picture located in the corner may indicate depression.

The animal “ran away” from the sheet and did not fit completely on it - this is a signal of acute anxiety and impulsiveness.

With a pronounced increase in the size of the picture, you can be sure that the child is in an anxious and stressed state. If the drawn creature is very small, then the subject is most likely depressed or has low self-esteem.

An unusual character located strictly in the center indicates that the psyche of its author is normal

Examination of the depicted creature

Animal type

The task is considered completed incorrectly if the subject drew a real animal and described its natural lifestyle (for example, a dog or a cat). This may be normal for a five or six year old, but when an older child demonstrates this result, it indicates a low level of imagination.

What types of animals are most often depicted in testing?

Body parts

Certain information can also be gleaned from analyzing parts of the animal’s body. Each element speaks about one or another state of the person being tested at the time of diagnosis and about his mental health in general.

Part of the body	Characteristics of the upper body (as evidenced by this image)
	Position	Absence	Size and quantity	Form	Additional moments
Head	Facing to the right - a man of action; to the left - the subject often worries and reflects, is not confident in himself; directly - a sign of egocentrism	Impulsivity or mental illness	Two or more – intrapersonal conflict, inconsistency	Distorted - organic brain damage, psychoillness; more body - a symbol of the subject’s intellectual abilities	Painted feathers - a desire to embellish reality; horns - aggressive attitude, protection; mane - emphasizing one’s gender or increased sensuality
Eyes		Asthenia		Incorrect - neurosis	With a black iris - fears; empty, without pupils - asthenia; with blood vessels - hypochondria, neurosis; with eyelashes - high self-esteem, mannerisms
Ears		Closedness, reluctance to hear others or make contact	Large and a lot - interest in obtaining information, suspicion, suspiciousness, dependence on other people’s opinions
Mouth			Disproportionately large - erudition, developed intelligence, rationalism	Round - anxiety, fear of something	A slightly open tongue is a sign of talkativeness; with lips - sensuality; without tongue and lips - fear, mistrust; with teeth - a symbol of aggression

The figure of the animal is an equally important detail that you need to pay attention to when testing. If it is replete with many details, then this indicates the powerful energy of the subject; there are very few components - such a drawing speaks of asthenia. A creature drawn with a large number of sharp corners is a sign of a person’s aggressive attitude; the predominance of rounded shapes speaks of the child’s isolation and closedness from the outside world.

If the animal has a tail, its position also needs to be analyzed. Facing to the right symbolizes the student’s attitude towards his behavior and actions, to the left - towards thoughts and decisions (up - positive, down - negative). Excessive beauty of the tail (for example, like that of a peacock) is evidence of demonstrativeness.

Inability to build relationships social sphere can be identified by the absence or insufficient number of paws. If, on the contrary, there are too many limbs, the person needs help, support. The same is indicated by thick or large paws drawn. Small legs indicate impulsiveness, frivolity, and a superficial attitude towards many things. The wider the limbs, the greater the likelihood that the student is balanced and knows how to not only make responsible decisions, but also be responsible for them. Paws of the same size and shape characterize a person who is not inclined to dissent and creativity.

The more detailed an animal is depicted, the more it can tell about its author.

Additional elements that may indicate:

• desire to protect yourself (scales, shell);
• aggression (needles, various thorns, drawn weapons);
• sexual significance (abundance of body hair, genitals, breasts, udders);
• demonstrativeness (patterns and drawings on the body);
• neurosis, hypochondria (presence of scars and wounds, image of blood vessels, internal organs);
• romantic and dreamy nature (presence of wings);
• difficulties in communication (parts of mechanisms in the body).

Even the nature of the connection of the limbs with the body has a certain meaning: if their clear outline is visible, a person is inclined to monitor his reasoning and take a responsible approach to decision-making. Carelessness in depicting the places where the paws attach to the body or the complete absence of this is an indicator of insufficient control over oneself.

Creature name

• “Flying crocodile”, “waterfowling lamb” and similar animal names indicate a clear understanding of the goals that a person strives for.
• Scientific-like terms with a “touch” of Latin - “zveroletius”, “ustrashonis” and others - are evidence of the child’s erudition and his desire to show it.
• The onomatopoeic names of the animals (“mamzyaka”, “karyaka”) are a sign of an easy attitude to life, a certain carelessness.
• If there is humor in the name of an animal, then this is an indicator of an optimistic attitude towards reality. Examples of such names are “bubble”, “clumsy”, “non-sapien ham”.
• When a name is very complex and long, it means that the person who came up with it is a great inventor and dreamer.

Interpretation of answers to questions

At the end of the child’s work on the task, you need to discuss with the subject the lifestyle of the creature he drew.

If a child comes up with a life for his drawn character that fully corresponds to the image, then this is normal and logically justified. A violation of the logic of thinking can be concluded if the drawing and the story about the existence of the animal are in no way connected with each other.

Fantasy, in order to compensate for any negative moments in the life of the subject, can be traced when idealizing or embellishing one’s character.

When a child claims that an invented and drawn animal lives on an island, abroad, in the subtropics, this speaks of demonstrativeness; an isolated area is named as the animal’s place of residence (space, another planet, cave, well, forest, etc.) - the test subject is alone and acutely worries about this. The subject’s aggression, fear, and desire to find protection are characterized by such answers: “in the taiga,” “in impenetrable swamps,” “in the thicket of the forest.” Neurosis can indicate an animal’s “settlement” in unpleasant conditions - mud, dirt, a puddle, a garbage dump.

“Tell me what you eat, and I will tell you who you are” - this expression can be fully applied to a person’s answers to the question of what a drawn animal eats. Here's what a student's remarks on this matter might mean:

• nothing, air, energy - introversion of the person being tested;
• everything that comes across - impulsiveness;
• inedible things (nails, stones, sticks) - violations of communication relationships;
• unpleasant elements (mucus, dust, bedbugs, cockroaches) – neurosis;
• internal organs of animals, blood - neurosis bordering on aggression;
• people - denial, negativism, aggression.

In a child’s stories, an animal can:

• sleep a lot, which indicates asthenia, chronic fatigue of the subject;
• destroying, breaking is a sign of aggressiveness, a negative attitude towards others;
• to have fun and walk - this definition of the creature’s lifestyle symbolizes the desires of the schoolchild;
• look for food - this characteristic gives a signal about any problems and life difficulties of the person being tested.

If the drawn creature loves extraordinary activities (like walking on its head or upside down), then the child who came up with such actions for the animal is not alien to the desire to go beyond the ordinary and violate standards of behavior.

Impulsiveness is present in the character of people who endow their drawn characters with the inability to sit idle.

When the description of an animal is associated with frequent mention of its enemies, we can conclude that there is a fear of aggression; excessive emphasis on problems with food is a symbol of trouble in the subject’s everyday life, attachment to material things. The creature, according to the test subject, is lonely, he has no friends - most likely, the same state of affairs is in the life of a child. A story about a large number of like-minded people indicates the importance of communication for the subject.

“Glamourous wingcat” - this is the name given to the creature by the author of the drawing

• A completely painted over iris of the eye is evidence of fear concentrated within the author of the drawing.
• The subject is fixated on himself, this is evidenced by direct location the animal's head and its open gaze.
• Warning signs are the shading of the tail and the location of the character on the edge of the sheet.
• Also, multiple lines in the image of some parts of the body (lower head, wings, hind legs) indicate anxiety.
• The wingcat's not-too-small ears are an indicator of dependence on other people's opinions and a desire to follow generally accepted norms.
• The author’s energy potential is very high, which can be judged by the large number of details of the animal’s figure.
• Large wings signal romantic aspirations and dreaminess of nature. Perhaps the author dreams of changing his life, but does not have the opportunity to do so.
• The test taker is prone to pragmatism and rationalism, because all parts of the body are clearly drawn and their connections are not blurred.

Conducting the “Draw a non-existent animal” test is a wonderful way to get an idea of ​​the child’s inner world, character and even his living conditions. The diagnostic results will help identify existing problems and adjust the work to eliminate them.

The use of the “Nonexistent Animal” test is mainly designed to study psychomotor connections and mental state - mainly identifying hidden ones - in children from five to six years old and adults.

Unlike most other drawing tests, this one is one of the most informative drawing techniques and can be widely used for psychological examination.

On a note:

There are test modifications that are additional to the “Non-existent animal” test and are used to clarify emotional state drawing. These are tests such as “Angry Animal”, “Happy Animal” and “Unhappy Animal”.

The “Angry Animal” test allows you to identify hidden aggressive and depressive states; “Happy Animal” will tell about the values ​​and aspirations of the subject; “Unhappy animal” shows the degree of resistance to stress of various kinds.

Exercise

To complete the test you will need a sheet of paper, a pencil, and an eraser. Ask the test taker to draw an animal that has never existed in nature. When the drawing is ready, ask the following questions: where does this animal live, what does it eat, what does it like most, what is it most afraid of?

Interpretation of the “Non-existent animal” test

Test indicators
(indicators of psychomotor tone)

Pencil pressure

Weak pressure – asthenia; passivity; sometimes a depressive state.
Strong pressure – emotional tension; rigidity; impulsiveness.
Extra-strong pressure (pencil tears paper) – conflict; hyperactivity; sometimes aggressiveness, acute agitation.

Features of lines
Dashed lines – anxiety as a personality trait.
Multiple lines – anxiety as a state at the time of examination; stressful state; sometimes impulsive.
Sketch lines - the desire to control your anxiety, to control yourself.
Missing lines that do not hit the right point - impulsiveness; organic brain damage.
Lines that are not completed are asthenia, sometimes impulsivity.
Distortion of the shape of lines – organic brain damage; impulsiveness; sometimes mental illness.

Size of the picture and its location

Increased size – anxiety, stress.
Reduced size – depression, low self-esteem.
The drawing is shifted upward or located in the upper half of the sheet, but not in the corner - sometimes inflated self-esteem; desire for high achievements.
The picture is shifted downwards - sometimes reduced self-esteem.
The pattern is shifted to the side - sometimes organic brain damage.
The drawing goes beyond the edge of the sheet - impulsiveness; acute anxiety.
The picture is placed in the corner - depression.

Animal type

Based on the typology of images of non-existent animals, we can note the most common of them.

1. The subject depicts a real-life animal and calls it by a real name, and the description of its lifestyle corresponds to reality. For example, a cat is drawn and the cat’s lifestyle is described. Such an image may be considered the norm for a five- to six-year-old child, but for teenagers and adults it may indicate a low level of imagination.

2. An extinct animal that once existed is drawn, for example a dinosaur, mammoth, etc.

3. Draw an image of an animal that exists in culture, but does not exist in nature, for example, a dragon, mermaid, etc. Drawings depicting extinct animals, as well as drawings depicting existing ones in culture, are the norm for children 8–9 years old. For adults, such a drawing of an animal indicates his low general cultural level and poverty of imagination.

4. A drawing of a non-existent animal is usually constructed from parts of different real animals: the body of a crocodile, the limbs of a monkey, the head of a hare, etc. Such an animal may have, for example, the name Krokozai. Such an image of an animal is more typical of rationalists rather than creative people.

5. Sometimes the image of animals has a humanoid appearance. This indicates a strong need for communication, which is usually characteristic of teenagers - 13-17 years old.

6.The animal depicted consists of various mechanical parts. Such an animal is usually depicted by people with unconventional thinking and approach to life.

7. An intricate, complex and original image of an animal, the image of which has not a composite, but an integral structure, with a difficult or unidentifiable resemblance to any really existing (existing) animal, is characteristic of a person with a well-developed, rich creative imagination.

Components of an animal

Eyes
No eyes – asthenia.
The eyes are empty, without pupils and irises - asthenia, fears.
Eyes with a blackened iris - fears.
Eyes with eyelashes - a demonstrative manner of behavior, the importance of one’s opinion about oneself.
Eyes with drawn blood vessels – hypochondria, a neurotic state.
The shape of the eyes is distorted - a neurotic condition.

Ears
Big ears – interest in information, in some cases suspicion, anxiety.
Lack of ears - isolation, reluctance to come into contact with others, to hear other people's opinions.

Mouth
The mouth is slightly open in combination with the tongue: without drawing the lips - greater speech activity, with drawing the lips - sensuality.
The mouth is open and blackened - ease of apprehension and fear, in some cases mistrust, anxiety.
Mouth with teeth or fangs - verbal aggression, in some cases defensive.

Head
An enlarged head is an assessment of one’s own and those around him’s erudition.
The head is absent - impulsiveness, in some cases mental illness.
Two or more heads - conflicting desires, internal conflict.
The shape of the head is distorted - organic brain damage, in some cases mental illness.

Additional details on the head
Feathers are a tendency towards embellishment and self-justification.
Horns – protection, aggression.
A mane, a similarity to a hairstyle, is sensuality, in some cases emphasizing one’s gender.

Figure
Many components and elements are powerful energy.
A small number of components and elements – energy saving, asthenia.
A figure consisting of sharp angles is aggressive. A circular figure means secrecy, isolation, closeness of one’s inner world.

Additional details and parts of the figure
Scales, shell - the need for protection.
Thorns, needles – defensive aggression.
A body covered with thick hair represents the significance of the sexual sphere.
The pattern on the skin is demonstrative.
Wounds, scars are a neurotic condition.
Built-in mechanical parts – introversion, difficulties in communication.
Cutting, piercing or chopping weapons – aggressiveness.
Wings – romanticism, daydreaming, a tendency to compensatory fantasy.
Internal organs, blood vessels - hypochondria, neurotic condition, in some cases mental illness.
Genital organs, female breasts, udders - the high significance of the sexual sphere.

Tail
The tail turned to the right is an attitude towards one’s actions and behavior.
The tail turned to the left is an attitude towards your thoughts and decisions.
A tail raised up is a positive, confident coloration of this relationship.
A tail hanging down is a negative connotation of relationships.
The tail is thick - the significance of the sexual sphere.
The tail is thick and covered with hair - a very high significance of the sexual sphere.
A beautiful tail, for example, a peacock, is demonstrative.

Legs
Lack of legs, insufficient number of them - passivity or ineptitude in social relations.
Excessive number of legs – the need for support.
Thick, large legs - a feeling of insufficient skill in social relationships, the need for support.

The nature of the connection of the legs with the figure (body)
Drawn carefully - the ability to control your reasoning, conclusions, decisions.
Carelessly drawn, weak or no connection of the legs with the figure – lack of control.

Description of lifestyle

Corresponds to the picture - logical thinking is developed.

Does not correspond to the picture - in some cases a violation logical thinking.
With idealization and embellishment - a tendency to compensatory fantasy.

Animal's place of life

Abroad, islands, subtropics (Bali, Cyprus) – demonstrativeness.
Isolated (space, another planet, cave, well, forest, etc.) – a feeling of loneliness.
A difficult to reach place (impenetrable forest, dense thicket of trees, etc.) – the need for protection, in some cases, fear of aggression.
Emotionally unpleasant (swamp, mud, mud, etc.) is a neurotic state.

Nutrition

Does not feed on anything or feeds on air, news, energy - introversion.
Eating everything - impulsiveness.
Eats inedible things (nails, sticks, stones, etc.) – communication disorders.
Eating emotionally unpleasant food (mucus, dust, cockroaches, etc.) is a neurotic state.
Feeds on the blood and organs of living beings (stomach, brain, etc.) – neurotic aggression.
Feeds on people – negativism, aggressiveness.

Activities, games

Breaks something (fence, trees, etc.) – aggressiveness, negativism, in some cases mental illness.
Likes to sleep a lot - asthenic state, accumulated fatigue.
Plays, walks, has fun - a projection of his desires.
Busy looking for food - a feeling of difficulties in life.
Doesn't like to sit idle - impulsiveness.
Walking upside down is a symbol of breaking the established order, going beyond ordinary standards, or the desire to do so.

Some features of the description

Mention of reproduction - the significance of the sexual sphere; about asexual forms of reproduction (budding, etc.) – tension in the sexual sphere.
An indication of the absence of friends is a feeling of loneliness; on the contrary, the message of having many friends is a high value of communication.
Mention of enemies - fear of aggression; about protection from any enemies or an emphasis on their absence - fear of aggression, in some cases a wary attitude towards others.
The message about the provision of food is a feeling of domestic distress, in some cases the importance of material values.

Analysis of drawings for the “Non-existent animal” test

IMPORTANT!
From the drawings of a non-existent animal, both children and adults can often judge their hidden problem, which is most often kept silent or not suspected when seeking advice on a completely different issue.

Tatyana, 35 years old

Tatyana is a pretty, charming, slender woman. He takes great care of himself, dresses fashionably, does business, and often goes on business trips to Moscow, Rostov and other cities; spends his holidays abroad. She comes for consultations mainly on business issues, but the main problem for her is the lack of love for her husband, with whom she has lived for more than 16 years. He dreams of breaking out of the vicious circle, but it doesn’t work out. This is clearly visible in Tatyana’s drawing (Fig. 3).

She named her animal the European Glamorous Wingcat. The animal vaguely resembles the author of the drawing and reflects her main problem – sexual. An excessively fluffy, thick and raised tail, as well as a chest densely covered with hair, speak, or rather, “scream” about the importance of the sexual sphere in a woman’s life and at the same time indicate trouble in this area. A completely blackened iris of the eye is an indicator of internal fear - a woman is afraid to imagine how her life could turn out without her husband, and is generally afraid of changes in life. Wingcat's wings are nothing more than Tatyana's protective fantasy: her escape from personal problems into the created fantasy world.

Rice. 3. European glamorous Wingcat

This is how Tatyana describes the lifestyle of her non-existent animal:

The European glamorous Wingcat lives in Europe, in extremely glamorous places - Paris, Milan, Nice, but individual individuals are found in Krasnodar, Moscow, Rostov. Prefers an idle and cheerful lifestyle. By nature he is sociable, cheerful, friendly, but is difficult to tame and is very independent. It reproduces rarely; it selects a pair meticulously, carefully and leisurely. He eats sweets and news, loves travel and new experiences.

This kind of fantasy desire - to escape to “glamorous” lands and find freedom, eating “sweets and news”, also shows Tatyana’s inner need to escape from reality.

Vadim, 50 years old

Fig.4. Amikrabos Vadim has been living with his wife for more than 25 years, but family life did not work out, and now he increasingly has a desire to change it, starting to live independently, separately. However, circumstances do not yet allow this to be done. Vadim is a soft person by nature and therefore has a particularly difficult time withstanding his wife’s aggressive behavior. Has great energy potential.

The animal was drawn by Vadim based on the original model (Fig. 4). It is generally devoid of organs that provide support - ears, mouth - and has a completely closed figure, which indicates introversion and difficulties in communication. Vadim named his animal Amikrabos, providing it with many legs for movement and covering it with scales; all this is an indicator that Vadim has a great need for support, protection, and is afraid of aggression. In addition, partially blackened scales indicate the author’s low resistance to stress.

Vadim's drawing is accompanied by the following story:

The animal is warm-blooded. Mixed habitat: water and land. Lives in the tropics and subtropics. It feeds on plants and reproduces by division. The method of movement is impulse, energetic.

The indication that the animal is warm-blooded speaks of Vadim’s desire to have warmth, family, and thereby be like others. “The method of movement is impulsive, energetic” - evidence of the difficulties in Vadim’s life, which he hides so carefully and to overcome (or resist) which he has to spend a lot of energy.

Irina, 54 years old

A short woman with a friendly and sweet smile on her face. Has two higher education; I received the second, medical, only a year ago. Now she doesn’t know why she needs it and doesn’t understand why she studied for so many years. At the same time, she is firmly convinced that her destiny lies in “eternal learning.” Her life consists of a series of fateful actions and plans with the help of which she wants to escape from reality. In my opinion, this is a kind of program for saving your own soul, just the case when we say: “Help yourself.”

The fact is that, having lived with her husband for 27 years, Irina unexpectedly learned about the existence of his second family: while married to her, her husband simultaneously lived with a young woman and his children. Nevertheless, Irina was able to forgive him and continue to live with him. It was her choice; why such a situation took place is another matter. Let's try to figure it out from the picture (Fig. 5).

If you look at this non-existent animal, it seems to be quite cute in appearance, if not for the distorted shape of the head and “hook hands”, similar to bird legs.

Irina named her non-existent animal Mihotron. In my opinion, the name resembles some kind of mechanism, and the drawing of the animal itself is an unusual mechanical bear. Most likely, Irina’s life reminds her of a life of inertia, similar to some kind of mechanism, far from the world of feelings and love. Limbs directed towards the body indicate introversion, claws indicate aggression, and an open mouth without teeth or tongue indicates the ease of fears and fears arising in her life. The irises of the eyes, partially blackened, only confirm the presence of fear in the author of the drawing.

This is what Irina says about her Mihotron:

The animal lives in the forest, reproduces by budding [very strange for an animal, isn’t it?]. He loves acorn porridge, which the gnome cooks for him. Afraid of sudden noises. Loves to play hide and seek.

Fig.5. Mihotron

The story only confirms Irina’s inner fear and anxiety about the future, indicates some nervousness and withdrawal from reality, but, nevertheless, reveals to us the woman’s very real desires. For example, the expectation of care and attention. Her animal “loves the acorn porridge that the gnome cooks for him.” The fact that Mihotron is afraid of sharp noises indicates Irina’s fatigue and possible nervous exhaustion. According to Irina herself, she is tired of everything. But the fact that her Mihotron loves to play hide and seek means, oddly enough, another game of Irina with fate: now she is drawing up documents for America for permanent residence there.

Dasha, 13 years old

The girl looks calm, shy and quiet.

The drawing (Fig. 6) is located at the bottom of the sheet, which indicates the girl’s low self-esteem and her experiences. Multiple lines indicate anxiety in a seemingly calm teenager. Three eyes are heavily blackened - an indicator of fear sitting deep in the soul. The many legs, which are the supporting part of the animal, and the nature of their connection with the figure show that the girl is able to control her reasoning and actions.

Dasha describes the lifestyle of this animal as follows:

Three Eyes lives in South Africa. It usually feeds on fish, but when hungry, it can eat anything. He is very afraid of his rivals - sharks and whales. He loves to swim on the bottom and hates sitting idle.

He has no friends because he is too kind (others don't like it).

Fig.6. Three Eyes

Dasha's story clearly shows a depressive mood (“He has no friends because he is too kind”), fear (“He is very afraid of his rivals”) and a strong need for emotional warmth (“Three-Eyes lives in South Africa”). In addition, one can assume unfavorable environment(“He loves to swim on the bottom”). A child’s story about an animal almost always reflects what actually happens to him in life and, knowing how important communication with peers is for a teenager, one can now imagine how difficult life is for Dasha. The girl's drawing and story showed that she needed psychological help.

When seeing a person for the first time, people involuntarily pay attention to his appearance.

“Clothes make up ninety percent of what people see when they look at you,” says Debra Guy Cox, image consultant. Clothes affect others because, regardless of a person’s consciousness, they are instantly recorded by his senses. Therefore, it is not in vain that they say that a person is first judged by his appearance, then by his conversation, and then by the interior of his office.

Appearance, as a rule, reflects the inner, moral content of a person. “People make judgments about us—that is, who we are, where we live, and where we’ve been—based on just one look at what we wear,” Cox says.

A person's culture is emphasized by his clothing. It is, in a way, a person’s calling card. Clothes convey information to communication partners about a person, his tastes, and his membership in a particular social or professional class.

Tastefully selected clothes, accessories, and a neat appearance make him confident, collected, and energetic. It was not for nothing that Rockefeller started his business by buying himself an expensive suit with his last money and becoming a member of the golf club.

“The ability to dress is more important than the ability to enter a room or the ability to bow. “Nothing catches the eye more than a person’s clothes,” they taught in the old days.

Looking at an entrepreneur for the first time, one immediately gets an impression of him and his well-being.

The color of clothing is of great importance. The influence of color is a powerful psychological irritant: it can calm down, put partners in a “businesslike mood”, and in a certain situation can cause hostility or, on the contrary, positive emotions. Color signals are perceived by partners on a subconscious level. This explains the “secret” power of their influence.

According to M. Luscher, the creator of the color test, widely known in modern psychodiagnostics, each color has its own psychological meaning. This is confirmed by domestic psychologists.

Clothing must correspond to the place, time, and nature of the event. You need to know how to wear it correctly. The lighter the suit, the better quality it should be.

Clothes for men

Clothes shape the appearance of a business person. It attracts the attention of people concerned with interpersonal relationships. In the words of Alison Lurie, author of The Language of Clothes: “...sociologists tell us that fashion...is a language of signs, a nonverbal system of communication.”

The main thing in men's clothing is a suit. The most common styles of men's suits are:

English;

European;

modified European;

American "bag"

Common suit colors: blue - from dark blue to of blue color medium saturation; gray - from medium saturation to the color of dark gravel; Brown colors are allowed - from medium saturation - to beige, with small checkered patterns. Light colors demonstrate a minimum of authority. For special occasions, black is preferred.

Patch pockets on the jacket enhance the hips.

Jackets that button below the waist lengthen the torso and, accordingly, visually shorten the legs.

Men with short legs do not wear long jackets.

In a formal setting, a man's jacket should be buttoned. In a buttoned jacket, they enter the office for a meeting, sit on the podium or give a report, and also enter a reception or theater auditorium. But at the same time, the bottom button is never fastened, of course, if there is more than one. This emphasizes the waist.

You can unbutton your jacket while sitting in a chair or at a table, during breakfast, lunch, and dinner.

In winter, modern business men prefer sweaters instead of shirts. In this case, while working, the jacket may not always be buttoned, and it is not forbidden to keep your hands in your pockets. At the same time, the man feels more relaxed and at the same time businesslike.

A business man for various events must have at least three suits and 12 cotton shirts of various colors, mostly pastel. They should match the suits in tone. You definitely need to have white shirts, but an icy white color. Thin stripes or checkered patterns are allowed. The sleeve is long.

The shirt collar is classic. However, the choice of collar is important for

men with non-standard necks and face shapes. For slender men with long, thin necks, tapered collars (with close corners) or long, sharp collars emphasize features that need to be subdued. Wide collars suit them better. They seem to widen the neck. Men with a full face and a short neck look more impressive in shirts with narrow collars. Loop collars with a high neckline are good for men with medium necks.

On a shirt, as well as on a jacket, elements of a sports or military style are also not allowed - shoulder straps, patch pockets with folds or yokes. Let's say one patch pocket. Usually the pocket has a logo (word trademark) of the manufacturer.

John T. Molloy, in Dressing for Success, writes: “If you intend to take everything I write in this book seriously... you will never, in your entire life, wear a short sleeve shirt to a business meeting, regardless depending on whether you have recently worked as a simple courier or whether you are the president of a company. A short sleeve is a symbol of the lower social stratum of the middle class and therefore cannot purely psychologically evoke feelings of respect and power.”

Elegant shirts should have no pockets, but if they do, it is not customary to put anything in them.

When a tie is tied, the corners of the collar should not lag behind, as in cheap shirts.

Shirts have simple cuffs, fastened with a button, and double (French) cuffs, fastened with cufflinks. Double - add gloss to the image. Due to the width and details of these cuffs, the arms do not seem long.

Cufflinks should be gold, silver, mother-of-pearl, perhaps with natural stones of delicate color such as “Onyx”. Artificial materials are not acceptable.

Part of men's daytime clothing is a tie. It reflects individuality.

A tie is the only thing in a man's wardrobe that serves solely for decoration.

The width and length of the tie, the shape and size of its knot are subject to fashion. The color and pattern depend on the suit, place and time of day. In winter, ties are tied in deep and dark colors, in summer - light and bright. Each season dictates its own style of color.

Ties convey important information about men to other people.

Color and pattern speak about the mood in which its owner is. Ties look sophisticated when they are not conspicuous.

Molloy calls the tie "the heraldic shield of 20th-century America."

The ideal one is a grosgrain tie with diagonal stripes. This is followed by a tie with dots (small: the smaller, the more sophistication and sophistication), then a foulard tie (with small geometric shapes); “club” - with a repeating pattern of animals, emblems and badges. Ties with patterns of animals and people are appropriate on vacation.

Not only a tie, but also shoes indicate a man’s social status and luck. The suit is elegantly complemented by light lace-up low shoes made of genuine leather (top, bottom, insoles). Boots are worn with outerwear.

Moccasins are possible as long as they are made from premium quality leather and are simple in style. Do not wear high-heeled or patent leather shoes.

A business man does not wear velor leather shoes. They are not acceptable in business. Patent leather shoes only match tailcoats and tuxedos.

Shoes should always be immaculately clean, both inside and out. The leg produces 200 ml of sweat per day.

A business man wears thin woolen socks. By absorbing sweat, these socks remain dry to the touch.

Socks should be long. In this case, crossing your legs, your naked body (erogenous zones) is not visible from under your trousers.

Socks with patterns are not recommended.

The color of the socks creates a transition from the color of the suit to the color of the shoes and matches them. Dark plain socks are preferred. White socks are not acceptable. They are worn mainly by athletes. We read about this in one of the commandments on how a novice businessman should dress at a business school in Frankfurt am Main: “A gentleman does not wear white socks! A businessman, if he is a gentleman, too.”

Men wear a felt hat with a solid coat. The cap matches the suit.

A hat made of leather or fabric is worn with a raincoat or a sports jacket. Knitted hats are intended for sportswear.

A beret as a headdress in business attire is unacceptable.

Men's gloves should be black or dark and must match the coat or raincoat.

Outerwear must match the suit in color and texture, so that at the moment when business man takes off his cloak or coat, there was no disharmony in clothing. The preferred color for outerwear is gray, black, blue.

Men's umbrella – black.

Clothes for women

A woman’s desire to be noticeable is her deepest need. The color of a suit can increase or decrease a woman’s aura of power and charm.

The requirements for the clothing of a business woman are, in principle, not much different from the requirements for the clothing of a business man. However, business etiquette allows a woman to deviate from strict male standards.

A women's business suit can be in traditional colors (red, yellow, brown, green, blue, white, black). almost any color, except bright shades and sharp contrasting combinations.

The best colors for a business dress are dark blue, tan, beige, dark brown, gray, medium blue, light blue, etc.

The black business suit has recently been replaced. It is suitable for conferences, board meetings and other events that are more formal in nature than ordinary work activities.

A woman’s clothing should correspond to the place, time, and nature of the event. You need to know how to wear it correctly. For example, it is not customary to receive guests or visit people in evening dresses during the daytime. For this occasion, an elegant dress or dress-suit is suitable, but not a jacket and skirt.

Good taste requires the ability to combine existing clothes. The set can be supplemented with a new skirt, jumper, scarf, shawl.

The skirt is worn with a leather belt, matching the color of the suit. If a woman has a high waist, then the color of the belt is matched to the color of the blouse; if it is low, the color of the skirt is matched.

A businesswoman should not wear a cheap or ill-fitting jacket. Sloping, shapeless shoulders at work look sluggish and helpless. Therefore, small hangers are used. But at the same time remember that the shoulders narrow the sides.

A buttoned jacket should be comfortable and fit properly. Its optimal length is not below the hips. For women with a high waist, long jackets are recommended, and for women with a low waist, short ones. Don't forget about fashion trends.

Blouses should be simple, elegant and look expensive. A complex blouse design does not harmonize with a business jacket. Ruffles and lace add femininity. Transparent or tight-fitting blouses are only suitable under a jacket.

Summer clothing should be made from natural materials or with a small amount of synthetic or acetate fibers.

Ladies with bare shoulders and a large neckline at work look unprofessional and defenseless. They say about the neckline of a dress: “The more you reveal, the less authority you will gain.”

Tight clothes and tight skirts are undesirable in a work environment.

Knitted jumpers, vests, etc. are excluded from business clothing.

A plump person looks even plumper in a suit or dress made of cross-striped fabric, with a large pattern, very light. A-shape skirts will flatter any figure. Tall women do not look businesslike in wide, fluffy skirts. It is better to wear a long skirt cut along an oblique line.

For women, shoes are the most important part of the toilet. The most elegant are pumps with closed toes and heels. In business, white shoes are unacceptable. They look cheap and are not a symbol of success. Ivory, beige, beige-gray, etc. shoes are desirable. Dark shoes go with dark dresses.

Shoes with colored details, metallic colors, or decorations are unacceptable in business. Shoes with flared heels, as well as closed shoes, are worn only with trousers.

Patent leather shoes are preferable in the evening.

In summer, sandals with an open heel but a closed toe are acceptable.

As a rule, stockings and tights are combined with the color of shoes. They should not have a pattern.

Shoes and dark-colored stockings visually make the feet smaller.

A woman's headdress is a means of self-expression. The style of the hat must match the outfit and the place where this outfit will be shown. According to M. Dietrich: “Hats can bring a lot of joy and put a woman in a good mood. Anyone who chuckles ironically has no idea of ​​the importance of this little thing.” WITH

No hat is worn in evening dress.

It is not customary for a hostess to wear a hat to either daytime or evening receptions.

For outerwear, coats, raincoats, and fur coats are preferred. The scarf must only be factory-made, not hand-knitted. Jackets as a type of sportswear are excluded.

Accessories

A business person always has the highest quality accessories that he can afford.

A woman’s handbag or case should be made of the best grades of genuine leather, just like a man’s briefcase, folder, purse (wallet).

A portfolio is necessary for every successful person.

Folders are used only for internal use (meetings, meetings, etc.).

In business, a woman must wear a watch, otherwise she makes it clear to others that she does not value time. She prefers watches with a clear dial and a classic design. They are selected according to the fullness of the wrist. Small watches are small, large ones are heavy and inconvenient. Electronic watches, as well as those with a pointer, are inelegant.

A watch is the most important, expensive and prestigious accessory of a business man. In classic business style, preference is given to elegant mechanical watches with hands. Quartz ones are more practical and easier to use, but mechanical ones are more prestigious.

The image of a man is distorted by watches made of plastic, rubber, with various decorations, emitting ringing, squeaking, and an unclear dial. Watches with glass on the same level as the case are convenient. The convex glass is subject to the greatest friction, darkening the dial. A strap made of calfskin or imitation crocodile leather is recommended, as well as a metal bracelet. A pocket watch is worn with a tailcoat.

In the business world, it is customary to wear jewelry made of gold, silver, pearls, or combinations thereof. Jewelry with precious stones is worn only in the evening.

The rings should be in harmony with the owner’s toilet and appearance. They are usually worn on the ring finger. It is undesirable to wear small rings, as they cut into the finger, leaving a deep mark that remains for a long time, even if such rings are no longer worn.

A ring worn on the little finger shortens and widens the hand. Small, elegant rings significantly emphasize the width of the hand.

A ring on the index finger is a sign of bad taste.

The grace of the hand is emphasized by a small stone in a thin frame, while a large one always emphasizes only its own beauty.

Any rings look good on a narrow hand with long fingers. On such a hand, a ring with a stone in a convex setting looks beautiful even on the middle finger.

Rings with stones of rich colors are suitable for all hands, and dim, transparent ones are suitable for dark-skinned hands.

Jewelry on men has a deterrent effect on clients. You are allowed to wear two rings: a wedding ring and a signet ring. Preference is given to jewelry made from the most “masculine” precious metal – platinum. It is advisable that the cufflinks be combined with a tie clip.

The frame of glasses should not exactly copy the shape of the face, but only maintain its line. The top of the frame should be in line with the eyebrows, and the eyes should be located in the middle of the glasses.

The frame should not be wider than the face and below the middle of the cheeks, that is, below the level of the nostrils, so as not to distort the shape of the face.

It’s good when the frames of your glasses are in harmony with the color of your hair, eyebrows, and clothes. Choose a dark frame for dark hair and dark eyebrows. But remember that heavy dark frames make the nose appear larger.

Metal or softly tinted plastic frames suit light hair.

Business men and women pay no less attention to the pen than to other accessories. Along with Swiss watches and elegant glasses, a good pen belongs to the category of things that can reveal the true social status of its owner. Among the prestigious companies that produce expensive fountain pens, the most popular in Russia are Parker, Sheatter, Mont Blanc and Cross.

Description of the technique

Projective methodology for personality research; proposed by M.3. Drukarevic. The subject is asked to invent and draw a non-existent animal, as well as give it a previously non-existent name. From the available literature it is clear that the examination procedure is not standardized (sheets of drawing paper of different sizes are used, in some cases the drawing is done with colored pencils, in others - in one color, etc.). There is no generally accepted system for assessing drawings. The theoretical premises underlying the creation of the technique coincide with those of other projective techniques. Like many other drawing tests, the test is aimed at diagnosing personal characteristics, sometimes its creative potential.

This is one of the most popular drawing techniques. It is widely used by domestic psychologists when examining children and adults, sick and healthy, most often as an orienting technique, that is, one whose data allows us to put forward some hypotheses about personality characteristics.

History of creation

The method of personality research using the “Nonexistent Animal” projective test is based on the theory of psychomotor connection. To register the state of the psyche, a study of motor skills is used (in particular, the motor skills of the drawing dominant right hand, recorded in the form of a graphic trace of movement, drawing). According to I.M. Sechenov, any idea that arises in the psyche, any tendency associated with this idea, ends with movement (literally - “Every thought ends in movement”). If a real movement or intention is not carried out for some reason, then in the corresponding muscle groups a certain tension of energy is summed up, necessary to carry out a response movement (to a representation - a thought). For example, images and thought-perceptions that cause fear stimulate tension in the leg muscle groups and in the muscles of the arms, which would be necessary if the response to fear was to flee or defend with the hands - to hit, to shield. The tendency of movement has a direction in space: moving away, approaching, tilting, straightening, rising, falling. When making a drawing, a sheet of paper (or a painting) represents a model of space and, in addition to the state of the muscles, fixes the relationship to space, i.e. emerging trend.

Space, in turn, is associated with the emotional coloring of the experience and the time period: present, past, future. It is also connected with the effectiveness or ideal-mental plan of the psyche. The space located behind and to the left of the subject is associated with the past period and inactivity (the absence of an active connection between thought-idea, planning and its implementation). The right side, the space in front and above are associated with the future period and effectiveness. On the sheet (model of space), the left side and bottom are associated with negatively colored and depressive emotions, with uncertainty and passivity. The right side (corresponding to the dominant right hand) – with positively colored emotions, energy, activity, specificity of action. In addition to the general laws of psychomotor connection and attitude to space, when interpreting the test material, theoretical norms for operating with symbols and symbolic geometric elements and figures are used.

Procedure.

“You are invited to invent and draw a non-existent animal, that is, one that has never existed and does not exist anywhere before (you cannot use fairy tale and cartoon characters). And also call him by a non-existent name.”

Processing and interpretation

1) Position of the drawing on the sheet

Normally, the pattern is located along the midline of a vertically placed sheet.

It is best to take a white or slightly creamy, non-glossy sheet of paper.

Use a medium soft pencil; You cannot draw with a pen or felt-tip pen.

The position of the drawing closer to the top edge of the sheet (the closer, the more pronounced) is interpreted as high self-esteem, as dissatisfaction with one’s position in society, lack of recognition from others, as a claim for advancement and recognition, and a tendency towards self-affirmation.

The position of the picture in the lower part is the opposite trend: self-doubt, low self-esteem, depression, indecision, disinterest in one’s position in society, in recognition, lack of a tendency to self-affirmation.

2) The central semantic part of the figure (the head or a part replacing it)

The head is turned to the right - a stable tendency towards activity, efficiency: almost everything that is thought out, planned, carried out, or at least begins to be carried out (if not even completed). The subject actively proceeds to the implementation of his plans and inclinations.

The head is turned to the left - a tendency to reflect, to think. This is not a man of action: only a small part of his plans are realized or even begin to be realized. Often there is also fear of active action and indecision (option: lack of tendency to action or fear of activity - should be decided further).

“Full face” position, i.e. the head is directed at the person drawing (at himself), interpreted as egocentrism. On the head there are details corresponding to the sense organs - ears, mouth, eyes. The meaning of the “ears” detail is direct: interest in information, the importance of others’ opinions about oneself.

Additionally, using other indicators and their combination, it is determined whether the subject is doing anything to win a positive assessment or is only producing appropriate emotional reactions to the assessments of others (joy, pride, resentment, grief), without changing his behavior. A slightly open mouth in combination with the tongue in the absence of drawing the lips is interpreted as greater speech activity (talkativeness), in combination with the drawing of the lips - as sensuality; sometimes both together. An open mouth without drawing the tongue and lips, especially a drawn one, is interpreted as the ease of apprehension and fear, mistrust. A mouth with teeth - verbal aggression, in most cases - defensive (snarls, bullies, is rude in response to a negative appeal, condemnation, censure). Children and adolescents are characterized by a pattern of a drawn, rounded mouth (fearfulness, anxiety).

Particular importance is attached to the eyes. This is a symbol of the inherent human experience of fear: it is emphasized by the sharp drawing of the iris. Pay attention to the presence or absence of eyelashes. Eyelashes - hysterical and demonstrative behavior; for men: feminine character traits with the drawing of the pupil and iris rarely coincide. Eyelashes are also an interest in admiring others for external beauty and manner of dressing, giving this great importance.

An increased (relative to the figure as a whole) size of the head indicates that the subject values ​​the rational principle (possibly erudition) in himself and those around him. Additional details are also sometimes located on the head: horns - protection, aggression. Determine by combination with other signs - claws, bristles, needles - the nature of this aggression: spontaneous or defensive-reactive. Feathers are a tendency towards self-decoration and self-justification, towards demonstrativeness. Mane, fur, a semblance of hairstyle - sensuality, emphasizing one's gender and sometimes orientation towards one's sexual role.

Neck – having your own opinion. A long neck is an indicator of high self-control.

3) Load-bearing, supporting part of the figure

This includes (legs, paws, sometimes a pedestal). The solidity of this part is considered in relation to the size of the entire figure and shape:

a) thoroughness, thoughtfulness, rationality of decision-making, paths to conclusions, formation of judgments, reliance on essential provisions and significant information; b) superficiality of judgments, frivolity in conclusions and unfoundedness of judgments, sometimes impulsive decision-making (especially in the absence or almost absence of legs) .

The presence of well-drawn hands indicates the absence of problems in communication, if the hands are widely spaced, as if for hugs, this may mean a thirst for communication; the person lacks it. If the hands are not drawn, he does not particularly like to communicate, he is better off alone with himself.

Pay attention to the nature of the connection of the legs with the body: accurately, carefully or carelessly, weakly connected or not connected at all - this is the nature of control over reasoning, conclusions, decisions. If the legs are proportional to the body and look stable, it means the person has taken his position in society well and feels comfortable. If the legs are too small or, on the contrary, too long and unstable, this may mean the fragility of the position occupied, a feeling of inappropriateness.

Uniformity and one-directionality of the shape of the paws, any elements of the supporting part - conformity of judgments and attitudes in decision making, their standardness, banality. The diversity in the form and position of these details is the originality of attitudes and judgments, independence and non-banality; sometimes even creativity (corresponding to the unusual form) or dissent (closer to pathology).

4) Parts rising above the level of the figure

They can be functional or decorative: wings, extra legs, tentacles, shell details, feathers, bows like curls, flower-functional details - the energy of covering different areas of human activity, self-confidence, “self-propagation” with indelicate and indiscriminate oppression of others , or curiosity, the desire to participate in as many affairs of others as possible, gaining a place in the sun, passion for one’s activities, courage in enterprises (according to the meaning of the Symbol Details - wings or tentacles, etc.). Decorating details - demonstrativeness, a tendency to attract the attention of others, mannerisms (for example, a horse or its non-existent likeness in a plume of peacock feathers).

The symbolic meaning of the tail in the drawing of a non-existent animal in standard terms is considered from two positions: assessment of one’s actions, attitude towards one’s past.

1. In the first case, a person’s assessment of the internal (thoughts) and external (human actions, actions) forms of his activity is expressed by the direction of the tail of a non-existent animal. If the tail of a non-existent animal is directed to the right, the person is currently thinking about his actions and actions, assessing the results of external manifestations. If the tail of a non-existent animal is directed to the left, a person reflects on the missed moment due to his own indecision, evaluates the results of internal manifestations. In the case when the tail of a non-existent animal is directed upward (like a pipe or a carrot), the person is confident in his actions and their results. He has an optimistic, friendly and easy-going personality. A person has a positive self-esteem and strives for change and improvement. If the tail of a non-existent animal is directed downward (tucked in, falling down), the person is not interested in self-development. He is dissatisfied with himself, depressed, doubts his abilities, regrets what he has done (said or done), repents, and experiences fear. This is a pessimist who negatively evaluates his actions and actions. If the tail of a non-existent animal is directed straight, a person is satisfied with everything in life.

2. In the second case (relation to the past), the interpretation is given by the size of the tail. If the tail is large, the person’s past weighs on him and does not give him peace. If the tail is small, the person’s past does not bother him much.

3. Number of tails. If a non-existent animal has several tails, the same interpretation is given as in the case of a branched tail, that is, it indicates the inconsistency of a person’s self-esteem or dependence. If 2 tails are turned to the sides and the animal has large ears, a person’s self-esteem strongly depends on the opinions of others.

4. A method of depicting the tail of a non-existent animal. A branched tail indicates a person’s dependence or inconsistency in his self-esteem. If a non-existent animal has a long and bushy tail (there may be several of them), the person is pleased with himself. If the tail is short and thin, the person is not very confident in himself. If the tail is thick, this indicates a high significance of the sexual sphere.

6) Outlines of the figure

They are analyzed by the presence or absence of protrusions (such as shields, shells, needles), drawing and darkening of the contour line. This is protection from others, aggressive - if it is done in sharp corners; with fear and anxiety - if there is a darkening, “smudging” of the contour line; with fear, suspicion - if shields, “screens” are put up, the line is doubled. The direction of such protection is according to the spatial location: the upper contour of the figure is against superiors, against persons who have the opportunity to impose a ban, restriction, or exercise coercion, i.e. against elders, parents, teachers, bosses, managers; lower contour - protection against ridicule, non-recognition, lack of authority among lower subordinates, juniors, fear of condemnation; lateral contours - undifferentiated caution and readiness for self-defense of any order and in different situations; the same thing - elements of “protection” located not along the contour, but inside the contour, on the animal’s body itself. On the right - more in the process of activity (real), on the left - more defense of one’s opinions, beliefs, tastes.

7) Total energy

The number of depicted details is assessed - is it just the necessary amount to give an idea of ​​an imaginary non-existent animal (body, head, limbs or body, tail, wings, etc.): with a filled outline, without shading and additional lines and parts, simply primitive outline - or there is a generous depiction of not only necessary, but also additional details that complicate the design. Accordingly, the more components and elements (in addition to the most necessary), the higher the energy. In the opposite case - saving energy, asthenicity of the body, chronic somatic disease (the same is confirmed by the nature of the line - a weak cobweb-like line, “moving a pencil on paper” without pressing it). The reverse character of the lines - bold with pressure - is not polar: it is not energy, but anxiety. You should pay attention to sharply pressed lines, visible even on the back of the sheet (convulsive, high tone of the muscles of the drawing hand) - sharp anxiety. Also pay attention to what detail, what symbol is made in this way (i.e. what the alarm is attached to).

Assessment of the nature of the line (duplication of the line, negligence, sloppy connections, “islands” of overlapping lines, blackening of parts of the drawing, “smudging”, deviation from the vertical axis, stereotypical lines, etc.). The assessment is carried out in the same way as when analyzing a pictogram. The same - fragmentation of lines and shapes, incompleteness, raggedness of the drawing.

9) Types of animals

Thematically, animals are divided into threatened, threatening and neutral (similar to a lion, hippopotamus, wolf or bird, snail, ant, or squirrel, dog, cat). This is an attitude towards one’s own person and one’s “I”, an idea of ​​one’s own position in the world, as if identifying oneself by significance (with a hare, a bug, an elephant, a dog, etc.). In this case, the animal being drawn is a representative of the person drawing.

Likening the animal being drawn to a person, starting with putting the animal in a position of walking upright on two legs, instead of four or more, and ending with dressing the animal in human clothes (pants, skirts, bows, belts, dresses), including the similarity of the muzzle to the face, legs and paws to hands, indicates infantility, emotional immaturity, according to the degree of severity of the “humanization” of the animal. The mechanism is similar to the allegorical meaning of animals and their characters in fairy tales, parables, etc.

10) Aggressiveness

The degree of aggressiveness is expressed by the number, location and nature of the corners in the drawing, regardless of their connection with a particular detail of the image. Particularly significant in this regard are direct symbols of aggression - claws, teeth, beaks. You should also pay attention to the emphasis on sexual characteristics - the udder, nipples, breasts with a humanoid figure, etc. This is an attitude towards gender, even to the point of fixation on the problem of sex.

The figure of a circle (especially one empty) symbolizes and expresses the tendency towards secrecy, isolation, closedness of one’s inner world, reluctance to give information about oneself to others, and finally, reluctance to be tested. Such figures usually provide very limited data for analysis.

Pay attention to cases of mounting mechanical parts into the body of an “animal” - placing the animal on a pedestal, tractor or tank tracks, tripod; attaching a propeller or propeller to the head; mounting an electric lamp into the eye, and into the body and limbs of the animal - handles, keys and antennas. This is observed more often in patients with schizophrenia and deep schizoids.

11) Creative possibilities

They are usually expressed by the number of elements combined in a figure: banality, lack of creativity take the form of a “ready-made” existing animal (people, horses, dogs, pigs, fish), to which only a “ready-made” existing part is attached so that the drawn animal becomes non-existent - a cat with wings, a fish with feathers, a dog with flippers, etc. Originality is expressed in the form of constructing a figure from elements, and not from whole blanks.

12) Title

Can express a rational combination of semantic parts (flying hare, “hipper cat”, “fly zher”, etc.). Another option is word formation with a book-scientific, sometimes Latin suffix or ending (“ratoletius”, etc.). The first is rationality, a specific attitude in orientation and adaptation; the second is demonstrativeness, aimed mainly at demonstrating one’s own intelligence, erudition, and knowledge. There are names that are superficial and sound without any comprehension (“lyalie”, “lioshana”, “grateker”, etc.), signifying a frivolous attitude towards others, the inability to take into account a danger signal, the presence of affective criteria at the basis of thinking, the preponderance of aesthetic elements in judgments over rational ones.

Ironic and humorous names are observed (“rhinochurka”, “bubbleland”, etc.) - with a correspondingly ironic and condescending attitude towards others. Infantile names usually have repeating elements (“tru-tru”, “lyu-lyu”, “cous-cous”, etc.). The tendency to fantasize (usually of a defensive nature) is usually expressed by elongated names (“aberosinotykliron”, “gulobarnicleta-myeshinia”, etc.).

Subject No. 1. Interpretation.

The subject is a student.

Age – 19 years.

Female gender.

Date – 02/23/2016.

1) The drawing is located at the bottom of the sheet (horizontally) and indicates low self-esteem, uncertainty, depression, disinterest in one’s position in society, and also indicates a lack of tendency towards self-affirmation.

2) The animal’s head is turned slightly to the right, looking at the person drawing. Speaks of a tendency towards reflection and reflection, as well as the egocentrism of the subject.

Large ears can mean that the subject is interested in incoming information, as well as the high importance of the opinions of others.

A drawn mouth on an animal indicates that the subject is timid and anxious about some reason.

The presence of eyelashes reveals hysterical and demonstrative behavior patterns, interest in the admiration of others in appearance and manner of dressing beautifully.

A long nose may indicate some kind of protective barrier, or, conversely, aggressiveness towards other people.

3) Body details. The animal has unusual details in the form of some feathers or fur along the body. The presence of these indicates the energy of covering various areas of human activity, the subject’s self-confidence, curiosity, desire to participate in as many activities as possible for those around him, as well as the desire to take a place for himself “under the sun.” It may indicate a demonstrative model of behavior, mannerism, and a tendency to attract attention. It should, however, be noted that these details surround the animal’s body, which may also indicate that the subject is putting up some kind of barrier protecting him from others, non-differential danger from the outside. Or about the subject’s readiness for self-defense, for example, in conflict, activity and in defending his opinion.

There is strong pressure with a pencil in the ear area, which indicates the subject’s anxiety about the opinions of others about him, as mentioned earlier.

Whiskers in animals also confirm a tendency towards general anxiety.

The resemblance of an animal to a person (upright walking) speaks of infantility and emotional immaturity.

The tendency of the circle of the drawing, as evidenced by the direction of the animal’s hands, indicates the respondent’s secrecy, the closeness of his inner world from others.

Subject No. 2. Interpretation.

The subject is a student.

Age – 20 years.

Female gender.

Date – 02/23/2016.

1) The position of the drawing closer to the upper edge of the sheet (the direction of the body and head of the animal towards the top) is interpreted as high self-esteem, as dissatisfaction with one’s position in society, lack of recognition from others, as a claim for advancement and recognition, a tendency towards self-affirmation.

2) The position of the head towards the beholder is interpreted as egocentrism.

Undrawn irises or their absence in this case in the figure indicates that the subject does not show signs of general anxiety.

There are additional details on the animal's head - a lush two-color mane. It can be interpreted ambiguously. On the one hand, mane, fur, and a similar hairstyle indicate sensuality, emphasizing one’s gender and sometimes orientation toward one’s sexual role. However, in this picture it is sharp, disheveled and gloomy compared to other colors of the animal, which may also indicate a tendency towards protection or aggressiveness from others.

The presence of hair as such in an animal also has a different interpretation, revealing the subject’s good nature and gentleness of character.

3) Hidden parts of the legs and arms or their absence indicates the superficiality of the subject’s judgments, frivolity in conclusions and unfoundedness of judgments, sometimes impulsiveness when making decisions.

The one-pointedness of the legs indicates the conformity of judgments and attitudes in decision making, their standardness and banality.

Decorating details (in this case on the animal’s body) are an indicator of demonstrativeness, a tendency to attract the attention of others, and mannerisms.

4) The animal’s tail is turned to the right, which indicates the attitude of the subject to his actions and behavior. It may indicate that he is currently reflecting on his actions and actions, evaluating the results of external manifestations.

The animal’s long and bushy tail indicates that the subject is pleased with himself.

The elongated neck of the animal indicates good control of the subject over himself.

5) The name of the animal is not complicated and is made up of different names existing words, which speaks of rationality, a specific attitude towards orientation and adaptation.

Subject No. 3. Interpretation.

The subject is a student.

Age – 20 years.

Gender – male.

Date – 02/25/2016.

1) The position of the figure is in the middle, which allows us to conclude that the person’s self-esteem is within average limits.

2) Head position “full face”, i.e. the head is directed at the person drawing (at himself), interpreted as a person’s egocentrism. There is no sharp drawing of the iris, which indicates that the person is not characterized by anxiety for any reason.

A torso that is too large compared to the head means that the subject values ​​physical qualities too much, without attaching much importance to intellectual ones.

A non-drawn mouth may indicate that a person does not like to talk or communicate much.

3) The superficiality of judgments, frivolity in conclusions and unfoundedness of judgments, sometimes impulsiveness of adoption are indicated by absent or almost absent legs, which, moreover, are weakly connected to the body - this is the nature of control over reasoning, conclusions, decisions. They are also interpreted as an indicator of the fragility of the position occupied, a feeling of inappropriateness.

4) Some semblance of wings or hands, which can be seen in the picture of this animal, speaks of high energy in covering various areas of human activity, self-confidence, “self-propagation” with indelicate and indiscriminate oppression of others, or curiosity, the desire to participate in as much as possible number of affairs of others, gaining a place in the sun, passion for one’s activities.

5) The subject does not show any signs of severe anxiety, because There are no clear and strong shading in the picture.

6) The figure of a circle symbolizes and expresses a tendency towards secrecy, isolation, closedness of one’s inner world, reluctance to give information about oneself to others, and finally, reluctance to be tested.