Who are non-existent animals? A non-existent animal will tell about your personality. Examination of the depicted creature

Test method

To all the questions of the person drawing, you either repeat the instructions (“Can you draw a Cheburashka?” - “Cheburashka was already in the cartoon”) or say: “Draw as you imagine.” If the child still draws an already known animal, there is no need to discourage him; you will take this into account when interpreting the “type of animal” parameter.

Necessary materials : A4 sheet, medium soft pencil. 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. In this case, you can use paints, crayons, pencils - just to draw with pleasure!

After finishing the drawing, you need to ask questions. In the process of answering, the child can add or change something. These changes are interpreted as “what is now is changing to how I would like it to be.”
1. What will this animal be called? Come up with a non-existent name for it.
2. Is it a boy or a girl? How old is he? Is this a child or an adult? (an animal can be a child even if it is 100 years old)
3. Where does it live? With whom? Does he have a family?
4. What does it eat? What is he drinking?
5. What is his typical day like? What does it do?
6. Does he have friends? Who? How are they friends? (what are they doing?)
7. Does he have any enemies? Who? Why and how do they quarrel?
8. Imagine that your non-existent animal met a good wizard. And the good wizard says to him: “I can fulfill 3 of your most cherished wishes. What would it wish for?”
After answering all these questions, you will have a whole fairy tale! It must be written down and saved along with the drawing.

Indicators and interpretation

1. General characteristics of the animal.

Type:

an existing or famous animal is drawn (cat, mermaid, pegasus, unicorn) - creative thinking is very poorly developed;
the animal is built according to a folding pattern (for example, hare + wings or dragon + lion) - creative thinking is poorly developed;
original (non-standard) animal - creative thinking is well developed;
a super-original animal (for example, a reborn drop) - non-standard thinking, which sometimes may even seem strange;
humanoid animal - high need, interest in communication;
in an animal the living is combined with the non-living (dinosaur + airplane) - schizoid (originality of thinking, withdrawal into one’s inner world);
not an animal at all (flying cake) - reluctance to be tested, open up, talk about yourself.

What is the animal doing in the picture:
- sleeping, lying, sitting - fatigue, need for rest with increased activity or passive position, asthenia, reluctance to move;
- standing - posture;
- walking, running, jumping - increased activity, mobility or desire to move more, need for activity.
How to distinguish which option of the two is correct? Through conversation, the more information you collect about the life situation of the person drawing, the more complete the interpretation will be. And it will become clear whether a person now leads an active, mobile lifestyle or only dreams of it

2. The body structure of a non-existent animal.

The central semantic part of the figure(head or part replacing it).
Head 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.
Head turned 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 additionally.)
Full face position, i.e. the head is directed at the person drawing (at himself), interpreted as egocentrism.
From the back- negativism, withdrawal from communication, difficult experiences.
On the head there are details corresponding to the sense organs - ears, mouth, eyes. Part value "ears"- 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. Open mouth in combination with tongue Without drawings lips is interpreted as greater speech activity (talkfulness), in combination with lips drawn- like sensuality; sometimes both together. Open mouth without drawings tongue and lips, especially - drafted, is interpreted as the ease of occurrence of fears and fears, mistrust.
Mouth with teeth- verbal aggression, in most cases - defensive (snarls, bullies, is rude in response to a negative appeal, condemnation, censure). The pattern is typical for children and adolescents outlined mouth with a round shape(fearfulness, anxiety).
Particular importance is attached eyes. This is a symbol of the inherent human experience of fear: emphasized by a sharp depiction irises. 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- also an interest in admiring others for external beauty and manner of dressing, attaching great importance to this.
Increased(in accordance with the figure as a whole) head size indicates that the subject values the rational principle (possibly erudition) in himself and those around him.
On the head can also be located additional details: For example, horns- defense, aggression. Determine by combination with other characteristics - claws, bristles, needles- the nature of this aggression: spontaneous or defensive-response. Feathers- a tendency to self-decoration and self-justification, to demonstrativeness. Mane, fur, something like a hairstyle- sensuality, emphasizing one’s gender and, sometimes, focusing on one’s sexual role.

Load-bearing, 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).
Emphasize on the nature of the connection between the legs and the body: connection accurately, carefully or carelessly, weakly connected or not connected at all - this is the nature of control over your reasoning, conclusions, decisions. The 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 parts, feathers, bows like curlicues, 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, winning one’s place in the sun, passion for their activities, courage of 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 production - 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. 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.

3. Graphic features:

Position of the drawing on the sheet
Normally, the pattern is located along the midline of a vertically placed sheet.
The location of the figure is closer to 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, a tendency towards self-affirmation.
Position of the drawing in lower part- the opposite tendency: self-doubt, low self-esteem, depression, indecisiveness, disinterest in one’s position in society, in recognition, lack of tendency to self-affirmation.

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.

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.

4. 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 (in addition to the most necessary), the higher the energy. In the opposite case - energy saving, 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).

5. 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 this case, the animal being drawn is a representative of the one drawing. Likening 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 arms, 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.

6. 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.
Circle figure(especially if not filled with anything) 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. Such figures usually provide very limited data for analysis.
Pay attention to cases 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.

7. Title

The name can express a rational combination of semantic parts (flying hare, “begecat”, “fly-catcher”, 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”, “couscous”, etc.). The tendency to fantasize (usually of a defensive nature) is usually expressed by elongated names (“aberosinotykliron”, “gulobarnicleta-myeshinia”, etc.).

8. A story about an animal.

Age: Normally, it coincides with the age of the person drawing; if younger, there is a reluctance to grow up and take responsibility; if older, there is a desire to gain more freedom, independence, and opportunities.
Lives alone, in solitude, very far away, in unfavorable conditions and at the same time unhappy - loneliness, lack of close emotional contacts. If you live alone and feel great, it’s more likely fatigue from social life and a desire to be alone, alone with yourself. Lives with family - close family ties, lives with friends - desire to spend more time with peers, outside the family.
Food: If he eats regular human food, then there is nothing to worry about. If it eats people - this is a serious sign of aggression (possibly hidden) (you can specify which people in order to find out at whom this aggression is directed), if it eats something disgusting (dirt) or inedible (air, stones) - schizoid. He doesn’t eat anything - moral exhaustion, closedness (if you imagine figuratively, he doesn’t even let food in).
Lack of friends, as well as friendship “with everyone” is a sign of loneliness and lack of significant strong social ties. A very useful question is: “How are they friends?” - with its help you can find out the position of the person drawing: follower, leader or equal, as well as his idea of friendship in general.
Presence of enemies attacking a non-existent animal speaks of a feeling of danger, fear of attack and, possibly, a real threat (bullying from classmates). The enemies that the non-existent animal itself attacks are the people he would like to direct his aggression towards. Enemies can be larger than him (stronger, older), smaller (weaker, younger) or the same (peers).
Three wishes- this is what you want most at the moment. Desires can be “everyday” (more toys, a bicycle), personal (to find a friend) or global (to avoid war). Usually children name their desires quite sincerely and directly, but it happens that they avoid answering by naming standard desires. In any case, you can ask clarifying questions: “Why does he need this?”, “What will happen when this wish comes true?” etc..
The most important conclusion that can be drawn from the story is what prevents him from being happy.

“What should we do now?” or work after the test

You can not stop at interpreting the test and go further - to solving problems with the help of art therapy, i.e. we will make our non-existent animal happy. To do this, we will fulfill his wishes!
An important rule of art therapy is not to erase details or draw another drawing, but to complement, repaint, modify this one. If a non-existent animal does not have enough friends, draw them here, preferably in dynamics (what could they do together?). If there is not enough space, glue the sheet to this drawing, expand your capabilities, because the world is huge!
You can change and supplement the drawing until the animal becomes happy and its life situation is favorable.
From the resulting story and drawing (or a series of drawings if you take photographs of them during testing), you can make your own book and keep it as a keepsake.

Remember that the main thing when interpreting a drawing is - this is the general impression of him. What emotions are expressed in it? Joy, satisfaction or anger, fear, loneliness - what now lives in the soul of your child? What does he want to say with his drawing? In second place is the plot, and in third place are graphic indicators: color, size, location and pressure.

The use of the “Nonexistent Animal” test is mainly designed to study psychomotor connections and mental state - mainly identifying hidden emotions - 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 modifications of the test that are additional to the “Nonexistent Animal” test and are used to clarify the emotional state of the person 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.

Instructions
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 (INDICES 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 FIGURE AND ITS POSITION

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 might be considered normal 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, a 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 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.
A thick tail means 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
The absence of legs, their insufficient number - passivity or ineptitude in social relationships.
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

Description of lifestyle
Corresponds to the picture - logical thinking is developed.
Does not correspond to the picture - in some cases, a violation of 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

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.

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.

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

Vadim has been living with his wife for more than 25 years, but family life has not worked out, and now he increasingly has a desire to change it by 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. It is generally devoid of organs that ensure communication - 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 educations; 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.

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.

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 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).

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 an unfavorable environment (“He likes 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.

Test "Non-existent animal" refers to projective graphic methods. Its construction is based on the theory of psychomotor connection, which believes that the current state of the psyche is reflected in the motor skills of the drawing dominant hand, this is recorded in the form of a graphic trace of movement, i.e. in the drawing.

Psychomotor coupling theory

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, every idea that arises in the psyche, any tendency associated with this idea, ends with movement (literally - “Every thought ends with movement”).

When real movement is not carried out for some reason, the tension of the energy required to carry out this movement is “summed up” in the corresponding muscle group. For example, fearful images and ideas stimulate tension in the leg muscle groups (to run away from danger) and in the arm muscles (to hit or shield). If a child often experiences an aggressive state, anxiety, fear, the accumulation of energy from unrealized movement manifests itself in convulsive, high tone of the muscles of the drawing hand. In the figure, this is reflected in the form of a sharply pressed (thick with pressure) line, which is visible even on the back side of the sheet.

In addition to indicators of psychomotor connection, the interpretation of the drawing is also carried out in relation to space. The sheet of paper on which the subject draws symbolizes a model of space. Space, in turn, is associated with the emotional coloring of an experience and the time period (present, past and future), as well as with a person’s tendency to act or reason. Therefore, the location of the drawing on a sheet of paper makes it possible to determine a person’s life style, the leading type of his worldview. For example, if the drawing is located at the bottom of the sheet and the head of the creature depicted on it is turned to the left, then this indicates indecision, lack of desire for self-affirmation, reluctance to actively act to implement one’s plans, a tendency towards reflection, reflection, low self-esteem, and self-doubt.

An important informative parameter is the size of the depicted creature, the contours of its figure, and the features of body parts (especially the head). Here, theoretical norms for operating symbols are used for interpretation. For example, if an animal has claws, horns, fangs, this is interpreted as a manifestation of aggression; feathers, eyelashes - a tendency towards demonstrativeness, self-decoration or self-justification. The name given to the animal and the answers regarding its way of life are also analyzed in a certain way.

Test material: A4 sheet of paper (or similar in size); colour pencils.

Instructions. They suggest using the entire sheet of paper (rather than folding it in half), giving it to the test subject (so that he can choose which plane to draw in) and not making any inscriptions on it. Commentary on the task: “Imagine and draw a non-existent animal or any other creature that does not exist in nature. This creature should not be a character from a fairy tale or cartoon, you must invent it yourself. Also come up with a non-existent name for him.” After finishing drawing, the child is asked questions:

Where does this creature live (what kind of home does it have)?
What does it eat?
Who does it live with (family, herd, alone)?
How does it behave when in danger, for example, if it is attacked?
Who are his enemies?
Who (among those living on Earth) are his friends?
What does he need to be completely happy?

Indicators and interpretation

Size

The interpretation of the size of the depicted animal is usually based on the spatial metaphor of “bigger size - more strength, more energy.” The larger the drawing, the more energetic, excitable, and self-confident its author is. Accordingly, a small size speaks of uncertainty, enslavement, etc. However, if the drawing is so large that it does not fit on the sheet, then this is also a manifestation of enslavement and external pressure on the author.

Position of the drawing on the sheet

Top-bottom axis

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

The degree of proximity of the drawing to the top edge of the sheet is directly related to the level of self-esteem: as dissatisfaction with one’s position in society, lack of recognition from others, as a claim to promotion and fame, a tendency towards self-affirmation.

The drawing closer to the bottom 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.

In addition, the location of the drawing relative to the top-bottom axis of the sheet can be deciphered using the following orientation metaphors:

Happiness is the top; sadness - bottom. (Sadness and despondency oppress a person, and he lowers his head, and positive emotions straighten him up.)
Consciousness orients upward; unconscious state - down. A person sleeps lying down, and when he wakes up, he gets up.
Health and life are oriented upward; illness and death down. (A serious illness forces one to lie down. The dead person falls down.)
Possession of power or strength orients upward; submission to authority or force - down. (The winner in a fight is usually at the top.)
The rational is oriented upward; emotional down. (In our culture, people believe that they are capable of control over animals, plants and the environment; it is this unique feature that places man above animals and ensures dominance over them.)

Left-right axis

The location of the picture on the far right is a tendency to insubordination, unpredictability, excessive conflict, and in extreme situations – self-aggressiveness.

If the drawing is located on the left side of the sheet, then the subject is characterized by introversion, an emphasis on the past, a pronounced feeling of guilt, and shyness. The subjects who exhibited this characteristic almost always avoided conflict situations.

Small picture in the upper left corner – high anxiety; often occurs in people who are suicidal.

When interpreting the location of the drawing relative to the “left-right” axis, it is also necessary to take into account two traditions inherent in our culture:

1. Tradition of reading from left to right. Accordingly, the left side is in the back, the right in front.

2. The future in Western cultures is on the right, the past on the left.

Based on these traditions, the location of the picture on the left is interpreted as a focus on past impressions, the location on the right is a focus on the future, extraversion. Obviously, on the basis of the same traditions, the central semantic part of the figure is interpreted - the head or a part replacing it. The head turned to the right is a stable focus on reality. Almost everything that is thought out and planned is carried out to the end. A person actively moves towards realizing his desires. Head to the left - a tendency towards reflection, reflection: only a small part of actions is implemented. The increase in relation to the head figure suggests that the author of the drawing values rationality, and perhaps erudition in himself and those around him.

The location of the sheet itself

If the author does not change the position of the sheet and the sheet is located vertically, this may indicate rigidity and reluctance to change anything. If he changes the position of the sheet depending on the drawing (for example, a tree is often drawn vertically, and a non-existent animal and people are drawn horizontally), this means that the person knows how to adapt and does not absolutely follow the instructions.

Shape of the drawing

The shape can be interpreted in accordance with the Freudian tradition, when all elongated objects were assigned a masculine principle, and rounded ones were assigned a feminine principle. Accordingly, when interpreting the drawing, the elongated shape characterizes the presence of male, masculine traits in the character (masculinity, activity). The compressed, rounded shape characterizes femininity and passivity.

The degree of aggressiveness is expressed by the number, location and nature of sharp corners in the drawing, regardless of their connection with a particular detail of the image.

The figure of a circle, especially an empty one, symbolizes the tendency to conceal, closeness of one’s inner world, and reluctance to be tested.

The emphasized human-likeness of the “non-existent animal” is seen as a manifestation of an unsatisfied need for communication. For teenagers, this phenomenon is almost normal: they are supposed to have such a high need for communication that it is almost never satisfied. Likening an animal to a human, any signs of anthropomorphization indicate infantility and emotional immaturity.

The mechanical appearance of the figure speaks of violations of the schizoid circle: normally, an animal is “not supposed” to have wheels, a stand or a rectangular body.

Symmetry - asymmetry

The asymmetry of the figure is interpreted as activity, extroversion, and energy. Symmetry is associated with passivity, staticity, and inertia.

Outline of the drawing

The outline of the drawing is interpreted as a relationship with the outside world, the surrounding people. The upper contour is directed against superior people who actually have the opportunity to impose bans and restrictions. Bottom - against subordinates, or dependents. Lateral – undifferentiated danger and readiness to defend any order and in any situation. The same readiness for an unclear threat is evidenced by the protective elements, located not along the contour, but inside it on the body. Sharp angles on the outline of the figure indicate aggressive defense. Darkening and staining of the contour line indicate fear and anxiety. Screens, shields, double lines are associated with fear and suspicion.

The nature of lines and graphic movements

Solid lines characterize people who are consistent, self-confident, and do not experience hesitation or doubt. Broken lines can be associated with uncertainty, hesitation, and doubt. Lines with strokes, correction of own lines, shading within the contour indicate fixation on certain details. In this case, it is necessary to pay attention to the interpretation of the meaning of the highlighted details.

Hatching is closely related to anxiety, worry, and concern. Sometimes organic changes can be judged by the nature of the drawing line. Tremor, or non-connection of lines, or intersection - a violation of sensory coordination.

Epilepsy in graphic movements manifests itself quite rarely. It manifests itself much more clearly in the content of the drawing. As a rule, a large number of identical, frequently repeated details can indicate epilepsy.

Color

Color historically performs a signaling, communication, calling function in the world of plants, animals and humans (Gudin, 1992). Different human cultures have developed different traditions of using flowers. “Just as people have long learned to express their internal states through external impressions, just as precisely the images of fantasy serve as internal expressions for our feelings. A person marks grief and mourning in black, joy in white, calm in blue, rebellion in red” (L. S. Vygotsky). The use of a certain color or color scheme is interpreted as an expression of an unrealized emotional need. To determine this need, the methods used in interpreting the basic set of colors of the Luscher test can be used.

Design methods

The methods of constructing a non-existent animal characterize the type of imagination, the general approach of the author of the drawing to the creative task. There are three main design methods, not counting the zero level, when a real animal is simply drawn. In the first case, a new creature is assembled from parts of real animals. This method is characteristic of a rationalistic approach to a creative task. In the second case, in the image and likeness of existing animals, a complete image of a new non-existent animal is created, although it may vaguely resemble a dragon, heffalump, etc. This type is characteristic of an artistically emotional approach to a creative task. In the third case, with a truly creative mindset, an absolutely original creature is created. This method of design is found in any type of imagination - both rational and artistic - if a person has real creative capabilities. The difference between the second and third design methods is that the second is built according to a standard scheme: the animal is a head with eyes, a torso, and limbs. Therefore, it is always somewhat similar to something existing. With the third design method, the drawing may not contain the specified details of a living creature, for example, the animal can be drawn in the form of a geometric figure.

For each design method, levels are identified that are correlated with the levels of general intellectual development. For the rationalistic method of design, the degree of deviation from the real sample is essential. For example, combining elements of five animals is more difficult than drawing a dog with a bird's beak. To determine the level of the “artistic” method of construction, the expressive criterion is the degree of originality: a non-existent animal always resembles something, and the more it resembles something existing, the lower the level of execution. The level of the actual creative method of design determines the degree of naturalness. If the invention is too pretentious, then it is not so much a question of originality as of originality: not about genuine creative possibilities, but about demonstrative tendencies.

Creative possibilities are usually expressed by the number of combined elements. Lack of creativity - the same ready-made parts are attached to the finished form of an existing animal. Originality is manifested in a form built from elements, and not from whole blanks.

Design complexity

The complexity and redundancy of the design characterizes the overall energy. The more details, the more energetic the person. Accordingly, the more economical the drawing, the more clearly expressed is the desire to save one’s strength. This may be due to shyness or somatic illnesses.

Thematically, animals are divided into threatening and neutral. This is an attitude towards one’s “I”, an idea of one’s position in the world. The discrepancy between the size of the drawing and the size of the animal indicates an internal conflict. For example, an elephant-like animal the size of 1/6 part of a leaf or a fly that covers the entire leaf. The front position is interpreted as egocentrism.

Pets. The choice of pets to represent oneself indicates a tendency to “tame” one's life energy.

A dog is a tendency towards dependence, submission. Often identified on an everyday level with fidelity and service.

Cat - need for tactile contact, self-isolation, preference for non-verbal interaction over verbal.

Birds in cages and fish in aquariums (or animals similar to them) - a tendency to suppress signals from their body, self-suppression, a desire to subjugate their life manifestations, and narcissism is often present.

A cow and other useful animals that serve as a source of food - identifying oneself with the “breadwinner” or “nurse”, the desire to give more than to receive, leaving others in the role of debtors (often unconsciously).

A beast of burden – a negative attitude towards oneself (“everyone rides me”). The tendency to blame others, masking the inability to take responsibility for one’s life, giving others the right to decide for themselves, followed by making claims. With a positive attitude towards the character, one perceives one’s life and bodily manifestations as a source of energy and strength.

Wild animals . Their images may be chosen for various reasons.

By choosing a conformal image, for example a dove - a “symbol of peace”, the subject wants to express that he is a very kind person. It can be assumed that this indicates his refusal to study the problems associated with his own life manifestations.

The choice of despised, underground and nocturnal animals (mice, rats, worms, spiders, etc.) is the idea of life manifestations as the focus of everything negative and denied in oneself.

Dangerous animals (scorpions, wolves, etc.) symbolize a threat to human life, the perception of their life manifestations as unpredictable and threatening. Tendency towards self-suppression.

Animals symbolizing strength, power and special abilities (elephants, lions, eagles, etc.) - perception of their life manifestations as a source of positive energy, special resources and strength.

Animals - fairy-tale heroes (clients sometimes ignore the instructions) are interpreted in accordance with the role of a particular character.

Stylized and fantastic animals - characters from books and cartoons (Winnie the Pooh, Cheburashka, Mickey Mouse, etc.) - refusal to analyze your problems.

Images of specific animals belonging to humans. They are interpreted in accordance with the needs of a person that he satisfies in contact with a given animal. It should be remembered that a person who gets a pet satisfies in communication with it those needs that, from his point of view, cannot be satisfied in contact with other people.

Appearance of the animal

The appearance of the animal and the immediate impression of the drawing are very important for distinguishing between direct and defensive aggression. By its appearance one can judge whether it is drawn as scary, evil or not scary at all, harmless; does it intimidate or kill coldly; attacks and eats or intimidates. Any obvious accessories of attack, drawn but not declared as such, are a manifestation of aggression, and precisely one’s own, and not defensive aggression. The gigantic size of the animal is very characteristic of the fear of aggression. Or the drawing itself may be small, but in the story the author reports that his animal is “taller than the Ostankino Tower.” Giving an animal a large size may be “a simple and undisguised fulfillment of the desire to be big.”

If you have an assumption about a fear of aggression, and the child himself does not say anything about the size of his being, you need to specifically ask about this. Fear of aggression can manifest itself in the emphatically expressive aggressiveness of the depicted animal. In this case, the author is identified not with the drawn animal, but with the danger itself, fear. As a rule, this occurs only in cases of true neurosis.

Parts matching sense organs: eyes, ears, mouth

Eyes

Eyes are a symbol of human fear. This meaning is especially emphasized by the drawing of the iris.

Eyelashes are a hysterically demonstrative behavior for women; for men - feminine character traits, as well as an interest in admiring others for their external beauty and manner of dressing, attaching great importance to this.

Ears

The meaning of the “ears” detail is direct: interest in information that is significant to others. An unusually large number of eyes, ears - different sense organs, designed to closely monitor the world so as not to miss any danger or threat, signal an acute feeling of anxiety.

Mouth

A slightly open mouth with lips drawn is a sign of greater speech activity combined with sensuality. An open mouth without drawing lips and tongue, especially a drawn one - the ease of fear, apprehension, mistrust. Mouth with teeth – verbal aggression, usually defensive. For children and adolescents, drawing a round mouth indicates fearfulness and anxiety.

Horns

Horns are a symbol of protection and aggression.

Supporting part of the figure

The supporting, supporting part of the figure: legs, paws, pedestal. The solidity of this part of the figure is considered in relation to the size of the entire figure and shape. Thoroughness – thoughtfulness, rationality when making decisions, reliance on essential, significant information, essential provisions. You should pay attention to the nature of the connection of the legs with the body: the connection is precise, careful or weak, careless, not connected at all. This is the nature of control over your judgments, conclusions, decisions. Uniformity and unidirectionality, as well as repeatability of the shapes of the legs and any elements of the supporting part, are evidence of stability and conformism in judgments and attitudes. Accordingly, the opposite (diversity in the shape and arrangement of the load-bearing parts of the body) indicates independence and impermanence.

Parts above the figure

Functional parts that rise above the level of the figure are interpreted as indicators of energy, covering different areas of human activity: self-confidence, the desire to lead, to dominate others. Decorating parts that rise above the level of the figure indicate demonstrativeness, a tendency to attract attention, and mannerisms.

Feathers

The presence of feathers indicates a tendency towards self-decoration or self-justification, towards demonstrativeness.

Mane, fur, something like a hairstyle

Mane, fur, and hair are interpreted as sensuality, emphasizing one's gender, and sometimes orientation towards one's sexual role.

Tail

Tails express the attitude of the drawer to his own actions and the results of his activities. Their score is indicated by the direction of the tail. Upward movement (tail with a pipe or a carrot) – confidence in your actions and their results. Downward movement (tail between legs) – dissatisfaction with oneself, depression, regret about what one has done. If the tail is directed to the right, then the feeling is caused by dissatisfaction with one’s actions. If the tail is directed to the left, then dissatisfaction is experienced in connection with one’s thoughts, a missed moment, one’s own indecision.

Character of lines

Weak, cobweb-like lines are associated with weakness and the desire to save strength. Lines with strong pressure signal anxiety. In this case, it is important to pay attention to which part is made with increased pressure in order to understand what is causing the alarm.

Name of a non-existent animal

The name of the animal is used to determine the type of thinking. Names composed of several names or parts of the names of other animals indicate a rational, scientific approach. The name by sound, consisting of several syllables or sounds that in themselves have no meaning, characterizes the artistic type of thinking. In addition, the name of a non-existent animal may indicate a way of presenting oneself to other people before the process of interaction.

Pseudoscientific - with Latin endings - is a demonstration of one’s education and one’s intellectual level.
Names with a repeated syllable are infantile.
The name has an ironic sound - an ironic attitude towards people and the testing situation.
A name that has no connection with the drawing is frivolity, superficiality

All described signs and their characteristics are summarized in a single table:

Levels of interpretation

Depending on the depth of the task, the experience and qualifications of the specialist, several levels of interpretation of the same projective drawing can be distinguished. At the most superficial level, in accordance with the interpreter table, a list of personality traits is highlighted. At the same time, the specialist does not care about drawing up a holistic portrait.

A deeper level involves the establishment of connections between certain features of the drawing, the primary hierarchization of the selected features. With this approach, only symptom complexes are considered as significant - properties confirmed by different elements of the picture. Thus, non-significant elements are not directly interpreted. For example, the presence of medium-sized eyes in the absence of any signs of aggression or defense, demonstrativeness, etc. may not be interpreted as fear. This level allows us to characterize the distinctive characteristics of a person.

The next level of analysis of the drawing allows us to draw a dynamic picture of the personality from the point of view of its main problems. At this level, a specialist is able to identify the main problems that shape a person’s character, behavior style and manifestations in various situations.

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:

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.

Size of the picture and its location

Animal type

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

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.

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.

Components of an animal

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.

Description of lifestyle

Corresponds to the picture - logical thinking is developed.

Does not correspond to the picture - in some cases, a violation of 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

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 has not worked out, and now he increasingly has a desire to change it by 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.

Irina, 54 years old

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.

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

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

Source: A. L. Wenger "Psychological drawing tests." - M.: VLADOS-PRESS, 2003.

INSTRUCTIONS: Draw a non-existent animal. Tell us what it is: good, evil, come up with a name for it. What does he eat, who does he live with, what kind of home does he have. Does he have friends and enemies? What three wishes does the animal have, etc.

When interpreting the results, pay attention to the qualitative analysis of the assessment of the implementation of the technique.

There are several common options for performing this test that are useful to become familiar with. The most primitive option is an image of a really existing animal, accompanied by a description of its natural way of life. Thus, twelve-year-old Liliana T. depicted a crocodile as a non-existent animal (Fig. 1).

The drawing has the following description:
"The crocodile is a waterfowl, can move both on land and in water. It feeds exclusively on meat. It grabs its prey and drags it under water. The body will lie there until it begins to decompose, and then eats it. Eats people "He mainly eats those people who are very afraid of him and run away from him."
This way of completing the task contradicts the instructions, so the examiner asked the girl to come up with another animal, and the requirement was emphasized that it be an animal that does not actually exist. After thinking a little, Liliana drew a cobra. It turned out that she was unable to follow the instructions.
The image of a real existing animal instead of an imaginary one is normal for preschool age, although with a good level of development even a preschooler is able to at least give his animal a non-standard name. At an older age, this is evidence of a particularly low level of imagination development. Such task performance is often found in cases of mental retardation or learning disabilities (mental retardation).
In some cases, the reason for departure from instructions is not so much a lag in the cognitive sphere, but very high anxiety.
An anxious person has difficulty completing uncertain tasks. Not understanding what the assessment criteria for such a task are, he expects a deliberately negative assessment in advance, which can completely block meaningful activity. Drawing an existing animal is in some ways safer than inventing something new. Therefore, an anxious person simplifies the task for himself, actually replacing the unusual task assigned to him with a more familiar one.
In Liliana, the action of both reasons blocking the imagination simultaneously manifests itself.
First, based on cognitive tests, she has a learning disability.
Secondly, the level of anxiety is increased. This is evidenced by both the shading of the drawing and the theme of fears that dominates the description of the animal’s lifestyle.
A slightly higher level of task completion, however, also in violation of the instructions, is an image of an extinct animal, for example, a dinosaur, or an animal that exists not in nature, but in culture: Pegasus, dragon, centaur, mermaid. Thus, eleven-year-old Senya V. drew a three-headed snake, whose lifestyle is quite consistent with the fairy-tale gorynych snake (Fig. 2).

Fig 2. Serpent Gorynych

Rice. 3 Non-existent animal - drachesha

This task is normal for children under 8-9 years old. Later, it indicates poor imagination and a low general cultural level (often with pedagogical neglect) or a learning disability (mental retardation). In this case, a learning disability was diagnosed.
The most common way to complete the task is to depict an animal that does not match any of the real ones, but is built according to a standard model: a horizontal body, a head with eyes and a mouth, limbs (legs, tentacles, arms, wings). Additional details are possible - ears, nose, neck, fins, trunk and other body parts of ordinary animals. Among such animals, two types are distinguished: composite and integral.
A composite animal is built from parts of different real animals. This is how, in particular, the winged fish and the animal composed of man, dog, horse and cat are constructed. The names of such animals usually more or less fully reflect their structure. In particular, an animal that has both human and dog elements is called chelsa (human + dog).
Inventing and depicting composite animals is typical for people with a rationalistic approach to a task, with low creative orientation, and a performative rather than creative attitude. This attitude is most typical at the beginning of primary school age (up to about eight years), but it does not represent a deviation from the norm even in adults. With the rationalistic method of creating an image, the assessment of the level of imagination is determined by the number of prototypes and the degree of their heterogeneity. Thus, a combination of four animals (see figure below) is a more complex invention than a winged fish.

The same fish would be more original if it were equipped not with wings, but, for example, with hare ears.
A complete non-existent animal is also constructed in accordance with the general scheme of the animal, but without involving the body parts of specific animals, although the result may resemble a dragon, a heffalump, a dog or something else. The name in this case does not include references to prototypes. Examples of such animals are the bumbuborousasu and the rabbi (see figure below).

The less the created animal resembles something that really exists (in nature or in culture), the higher the level of imagination is assessed.
A special group consists of anthropoid animals. Their torso is located vertically, with legs below, head on top, and arms on the sides (instead of arms or legs there may be wings or tentacles). It is possible to increase the number of arms or legs, or include additional organs. A humanoid animal can be called a robot or a cyborg, can resemble a devil, can be declared an alien, etc. The image of such animals is typical of a high need for communication. In particular, it is especially typical for adolescence, when the need for communication is highest.
Much less common are images of non-existent animals, which are essentially mechanical structures or include individual mechanical parts. Examples would be a Martian and a strange animal that serves as a home for humans (see picture below). Such images are typical of non-conforming people with unique thinking and a non-standard approach to the world and to life, with a low level of socialization.
Often these are people with schizoid accentuation and difficulties in communication.

And finally, some people have animals built according to an original model that does not correspond to either the animal, the person, or the technical designs. These models can be very complex and intricate: multi-headed, aura, or they can be extremely simple (see figure below).

This method speaks of a creative personality. It is possible both with a predominantly rationalistic and predominantly artistic approach to reality, if only a person has real creative capabilities. In children under 9 - 10 years old, this method of constructing an image is quite rare. When approaching a task creatively, the level of imagination is assessed by the degree of naturalness of the resulting creature and, in particular, by the degree of correspondence between its appearance and the description of its lifestyle.
The most non-standard animals, equipped with unusual organs or without organs at all, are often found in people with schizoid accentuation.
If the image is too pretentious, then this usually indicates not so much creativity and originality, but rather a desire to demonstrate to others that you are different from others.

AGGRESSIVENESS

LOW LEVEL OF AGGRESSIVENESS

The most complete information about the level of aggressiveness of the subject is provided by comparing the classic version of the “Non-existent animal” technique with the additional option “Angry animal”. In particular, such a comparison allows us to identify hidden, including deliberately hidden, aggressive tendencies.
In addition to drawing an animal, ask to draw an angry animal in order to see the level of aggressiveness of the child you are examining. The instructions are the same as in the first case.
An indicator of the absence of such tendencies is the absence of aggressive symbols (weapons of attack) in the main drawing and a slight increase in aggressive accessories when moving to the “Evil Animal”. An example of this is the drawings of eighteen-year-old Polina Sh. As an ordinary non-existent animal, she made a drawing that corresponds to the generally accepted scheme, devoid of signs of aggression (pic. below).

Aggression is also completely absent in the description of the animal’s lifestyle, which Polina called the striped round log: “A very kind and sweet animal, very devoted to people. Loves to eat grass, eats apples and wild berries. A very smart creature. Lives mainly in villages closer to the forest He himself is brightly colored, and can be seen from afar. He himself is a hybrid of various most beautiful animals. He lives in a hut with his family and children.”
In the drawing of the “most evil and terrible” animal, a very moderate symbolism of verbal aggression appears: a toothy mouth (pic. below).

In the story about her animal sorcerer, Polina provided him with many negative characteristics, but there is no aggression among them: “This creature lives in deep space, away from people. A rude, arrogant traitor and a liar. A very big pretender - a chameleon. Hates people and seeks to destroy the earth. It feeds on small organisms that live on his planet, where he lives alone, called Koldumania."
The statement that the “most evil and terrible” animal “feeds on small organisms” is a sign of a very low level of aggressiveness. Sometimes similar statements (for example, that the animal eats vegetables and fruits) appear among subjects who deliberately hide their aggressiveness. However, in this case, such an assumption would be extremely doubtful, since Polina conscientiously supplied her animal with negative signs and even reported that it “hates people and seeks to destroy the earth.” This message itself is not a sign of aggressiveness, since the girl, neither in the drawing nor in the story, did not give the animal any means that would allow him to realize his inhuman aspirations.

INCREASED AGGRESSIVENESS

One of the most common signs of increased aggressiveness in a drawing of a non-existent animal is the presence of sharp protrusions and outgrowths, regardless of what they represent (horns, ears, tentacles, claws). An example of such a drawing is the drama robot depicted by eight-year-old Arthur S. (Fig. below).

The sharpest outgrowths pointing upward are the arms. As Arthur explained, “his hands are iron. They strike. His head can rip someone’s head off. His saliva is poison. If someone fights against him, he immediately melts (that is, his opponents melt from poisonous saliva). When he tears off his head, blood comes out, he feeds on blood.” When asked what the drama robot likes to do, the boy replied: “Attacking enemies. He himself is scary and powerful. He attacks unnoticed. He can attack from a tree.” When asked why he would attack “unnoticed,” the answer was received: “Because enemies also attack, they can kill. They seem to take revenge on other enemies.” When asked who his enemies were, Arthur replied: “I don’t know. Maybe cyborgs,” and about his friends he said that they were “the same as him and of a slightly different species.” He also said that the dramabot lives in another galaxy and that the three things he would ask from the wizard are: “To have very powerful troops to attack enemies”; “Endless life, so that it would be very difficult to kill him”; "So that he becomes bigger - in appearance, in height."
Such a clear manifestation of aggressive tendencies in a story about an animal’s lifestyle is relatively rare. Usually it is inhibited due to social control.
In this case, social control is weakened because Arthur has serious socialization disorders. In addition, Arthur is only eight years old, and at this age the control mechanisms are still far from fully developed. In the above story, in addition to one’s own aggressive tendencies, one also manifests a fear of retaliatory aggression from others. It can be assumed that this fear was acquired as a result of the accumulation of negative experiences. Probably, it was this that led to the fact that recently (the last year and a half), the boy, according to his parents, began to fight much less than before.
Fourteen-year-old Volodya S., following the standard instructions (to draw a non-existent animal), depicted a boxer, writing an extremely short story about him: “This is a boxer. He defeats everyone” (which is also noted in the inscription on the drawing itself: “Hurray - Victory”).
Emphasized muscles, fists and particularly broad shoulders indicate the high importance of masculine (male) values. In combination with the main activity of the depicted creature (boxing is an aggressive sport), this allows us to suspect an increased level of aggressiveness. However, the direct symbolism of aggression is represented in the drawing quite little: these are fangs and fists (boxing gloves), drawn with strong pressure. The particular brevity of the story seems to serve as a means of avoiding self-disclosure. It is very likely that it is aggressiveness that is hidden. An additional basis for this assumption is that in the drawing Volodya set a socially acceptable form of aggressiveness. A pronounced tendency to control external forms of behavior is indicated by the sharply emphasized fence around the depicted figure (ring ropes). Any doubts about Volodya’s true level of aggressiveness disappear when looking at the evil and scary animal he depicts (pic. below).

Since in this version of the test the instruction itself legitimizes aggressiveness, that is, makes it permissible, this time the corresponding symbolism is presented in full. There are two sharp horns on the head and one on the nose, long spikes on the shoulders and knee, claws on the feet, a jagged dagger or sword in one hand and a mace with large spikes in the other. All these accessories are emphasized with a line with strong pressure, partially blackened.
The story about the evil animal is somewhat more detailed than about the usual one: “This is Vikongorigosaurus. He lives in the mountains. He is evil, he defeats everyone. He lives alone. He feeds on people.”

Angry animal - Vikongorigosaurus

Interestingly, except for the aggressive symbolism, Vykongorigosaurus looks exactly like a boxer. It’s as if they are telling the viewer: “This is how I try to look (a boxer), but this is how I really am (a Vikon-gorigosaurus).”

TENDENCY TO VERBAL AGGRESSION

In the drawing of a non-existent animal, the tendency towards verbal aggression, as in the drawing of a person, is expressed in emphasizing the teeth. Like general aggressiveness, it can be hidden when depicting a simply non-existent animal, appearing only in the drawing of an evil and scary animal. Thus, seventeen-year-old Lena, according to standard instructions, depicted an animal called a merry fellow (pic. below)

She wrote the following about her animal: “A cheerful, kind, cute animal. His name speaks about this. He lives in a land of laughter. In this country you cannot be sad or cry. A merry fellow helps everyone have fun, comes up with various funny games, activities, stories.”
The drawing showed anxiety (hatching, especially large ears); possible fears (large blackened eyes). The story, one might assume, expresses the girl’s own attitude towards not allowing herself to be sad (“you can’t be sad in this country”). Apparently, like her character, she usually tries to distract herself from her inherent negative experiences. There is no aggressive theme in either the drawing or the story.
In the depiction of an evil and scary animal, the symbolism of physical aggression is presented very moderately: these are claws drawn with strong pressure. However, the symbolism of verbal aggression is clearly expressed in it: a huge mouth with underlined (shaded) teeth.
The story goes as follows: “The Scarecrow lives in a land of fear. He is very mischievous, loves to lie, avoids everyone, and on full moon nights he loves to scare everyone, this is his favorite pastime.” The statement that the “scarecrow” loves to scare everyone, as well as the general appearance of the drawing, indicates a tendency towards verbal aggression.

FEAR OF AGGRESSION AND DEFENSIVE AGGRESSION

In addition to the level of one’s own aggressiveness, the drawing of a non-existent animal shows one’s attitude towards possible aggression from others. Fear of attack leads to a desire to protect the imagined animal. As protection, a shell, scales, armor, or especially thick skin can be depicted (it may not be in the picture, but it is described in the story). The image of quills, like those of a porcupine, or spines is very widespread. An example is an animal called a dragon (picture below). He has two arms, six legs, thorns on his body, “so that no one bites him,” and numerous bites, depicted in the form of circles with a dot in the center.

Grisha spoke about the animal’s lifestyle as follows: “He lives in the mountains, in a cave. Only he has already died. He is a dinosaur. He loves meat, a lot of meat, he loves to eat.” When asked what this animal eats, the boy replied: “Other dragons and men that were a long time ago.” When asked to describe the size of the animal, he said that the dragon was "fearful, and big, and huge; like three houses." When asked about friends, there was a clear answer: “No. He lives alone.” Dinosaurs were named as enemies. When the inspector asked what this animal likes to do, Grisha answered: “Eat.” When asked to name any other favorite activities of the animal, the boy said: “Fighting, biting,” and when asked what it doesn’t like, he said: “Eating stones.” It also turned out that the “dragon” is afraid “of being eaten and having huge stones thrown at it.” The inspector asked who could do this, and Grisha explained: “There are dinosaurs even bigger than him.”
Three wishes of the “dragon”: “To be big”; “So that they don’t eat him, so that they don’t throw stones at him”; "So that he has friends."
Regarding the first wish, the inspector expressed some surprise: “It’s already very big.” “No, little one,” Grisha answered. “It needs to be bigger than everyone else.”
The state of anxiety is also diagnosed by the image of a non-existent animal (greatly enlarged in size). Depressive symptoms did not appear in the drawing, but were reflected in the story: this is the theme of death (“only he has already died”).
Based on the drawing and story, one can more specifically determine the nature of the anxious fears characteristic of Grisha. This is, first of all, the fear of aggression: the animal is afraid “of being eaten and having stones thrown at it”; his desire is “not to be eaten, not to have stones thrown at him”; despite the thorns, it was all bitten. The image of bites, like any wounds, is an expressive sign of a neurotic state.
Apparently, Grishin's fear of aggression is associated with his inability to communicate with peers. It is reflected in widely spaced arms with very large hands (high unsatisfied need for communication), empty eyes. The “Dragon” lives alone in a cave, he has no friends, one of his wishes is to have friends. The topic of eating stones is also typical in cases of communication disorders.
Fear of aggression is characterized by a description of the gigantic size of the animal (in Grisha it is “huge, like three houses”) and the desire to become even larger (“you need to be bigger than everyone else”). At the same time, the drawing itself can be large (as in this case), or it can be small, so that the theme of gigantic dimensions occurs only in the story.
In the story, Grisha repeatedly tries to counter the external threat with the aggression of the dragon he depicts. He is "scary", eats "other dragons and people", loves to "fight, bite." This manifests a tendency towards defensive aggression (the desire to defend oneself by attacking). However, judging by the absence of truly aggressive accessories in the drawing and the extreme conciseness of the aggressive theme in the story (it is heard only in answers to questions), this trend is not being realized.
A more pronounced tendency towards defensive aggression is manifested in fourteen-year-old Ilya R. (Fig. below). The “three-horned monster” he depicted is completely covered with thorns. Along with this, he has five large sharp spikes on his back, which could be used not only for defense, but also for attack. The thorns themselves are also protected by spines.

In the story, themes related to the fear of aggression are combined with aggressive themes themselves and with statements reflecting a feeling of loneliness: “This is a three-horned monster. It is very evil and eats everyone.
It is very large, about the size of an elephant. It is protected by thorns so that no one attacks it. He has another mouth with teeth on his body." From the answers to the questions, it turns out that the three-horned monster lives in the forest, alone. He has neither friends nor enemies. When asked about who it protects itself from with its thorns, if it has there are no enemies, Ilya replied: “For example, from a tiger.”
Ilya reported that the animal would express the following wishes:
“So that all the animals that he likes come to him; for example, he likes to eat rabbits”; “He doesn’t look scary so that they don’t fear him; someone comes to him and he eats him”; “To have his eye done from behind.”
When asked why the three-horned monster needs an eye at the back, the boy replied: “To see the prey.” The desire to increase sensitivity is a characteristic sign of anxiety and fear. The motivation indicated by Ilya (“to see the prey”) reflects attempts to overcome fears using one of the psychological defense mechanisms - rationalization.
Ilya's parents brought him to a psychological consultation with a complaint that he did not communicate with anyone. If, while walking down the street, he sees one of his classmates, he tries to hide so as not to meet him, although, according to his parents, his classmates treat him well. Not only communication with peers is disrupted, but also communication with teachers. In particular, Ilya does not answer in class, although he copes well with all written work. All these complaints can be explained by greatly increased anxiety and fear of aggression, on the basis of which a fear of any communication has developed. In Ilya’s behavior, his parents did not notice the tendency toward defensive aggression that appeared in the test materials. This can be explained either by the fact that it is suppressed by fears, or simply by the absence of conflict situations in which it could be realized. The absence of conflicts is ensured by Ilya's tendency to exclude contacts, combined with a good attitude towards him from his classmates.
Defensive aggression is not always so harmless. There are often cases when it actively manifests itself at the behavioral level. Despite the fact that the person himself perceives it as protective, in reality it can become proactive: expecting an attack (perhaps without any reason), the person is in a hurry to attack first.

NEUROTIC AGGRESSION

Neurotic aggression, like defensive aggression, is a response to an unfavorable external situation. However, this is a much more generalized reaction than defensive aggression: it is directed not directly at the source of a potential threat, but at the entire environment. In such cases, they say that the person is angry with the whole world because of his failures. A sign of neurotic aggression in the “Nonexistent Animal” test is a combination of neurotic and aggressive manifestations. At the same time, it is a very common case when in the original version of the test (simply a non-existent animal) only neurotic symptoms are present, and aggression is manifested in the drawing of an angry and scary animal (Fig. below).

Hatching with strong pressure indicates high anxiety and emotional tension. The particular care of the shading suggests that Valera is also distinguished by a high level of rigidity. A carefully emphasized contour is evidence of a high level of control. An image of a long neck is also considered an indicator of good control.
Consequently, neurotic symptoms should not be particularly noticeable in the boy’s behavior, since at the level of external manifestations they are inhibited due to increased self-control.
The story he wrote says: “My non-existent animal lives in the swamps. It is a flying turtle. It eats worms and algae. Its enemies are snakes and some people, and its friends are fish and birds. Fleeing from danger, it flies into the air and disappears from sight in the blink of an eye."
This story contains typically neurotic themes. This, firstly, is an emotionally unpleasant place of life - a swamp (the indication that the animal lives in mud, in mud is also interpreted). Secondly, this is a mention of unpleasant food - worms (eating slugs, garbage, muck, etc. is interpreted similarly). And finally, certain types of fears are typical for a neurotic state - neurotic fears. These include, in particular, fear of small animals (insects, mice, etc.) and fear of snakes. The presence of such fears may appear when answering the question of what the animal is afraid of, or (as in this case) when describing its enemies. Valera’s story also reflects unspecified anxious fears (“fleeing from danger...”).
Valera depicted the most evil and terrible animal in the form of a sea serpent with an open mouth (pic. above). He refused to give it a name. The picture contains signs of both defensive and active aggression. The former are represented by spikes (or ridges) on the animal's back, the latter by a gaping toothy mouth (a sign of verbal aggression) and sharp tusks. The signs of anxiety, emotional tension, rigidity and high control noted in the first figure also remain.
The story has an aggressive theme, but in rather moderate expression: “My animal lives in the depths of the ocean. It feeds on sharks and other large fish. It reaches 20 meters in length. Sometimes it attacks ships. His friends are the same as him, and he has no enemies (an animal has not yet been found that could overcome him).”
It seems that Valera is inclined not to real aggression, but to demonstrating an aggressive position in order to scare off a possible enemy. This position of his is associated with a neurotic state, creating a general feeling of discomfort and an uncertain threat emanating from the world around him.
A significantly different impression is made by the drawing of an “angry and scary” animal, for which the author, the girl, did not come up with a name (pic. below).

She wrote about this animal: “This monster feeds on land animals. With its long arms, it pulls them out of the ground. It also poses a danger to animals. It sucks the blood out of them with its sharp stings.”
This time both neuroticism and aggression were clearly evident. The entire drawing is painted over in an even gray tone; individual parts of the drawing have been erased and redone. These are signs of high anxiety. There is a desire to defend against a possible threat (spikes on the body and tail).
Gross distortion of the shape of the eyes (in this case, turning them into aggressive points) is one of the indicators of neuroticism. Neuroticism also manifested itself in a sharp change in the style of description. If the description of a simply non-existent animal is done in a completely literary manner, in detailed phrases, then when describing an evil and terrible animal, chopped, extremely simplified phrases are used; Coordination is disrupted, gross errors of attention appear ("these monsters feed on...").
Descriptions of this method of feeding as sucking the blood of victims are often found among people prone to neurotic aggression. Aggressive symbolism is also represented by sharp stings, pointed eyes, and forked claws at the ends of the arms. The tail also ends with a point. As already noted, a massive, upturned tail is a sexual symbol. Therefore, it can be assumed that in a girl’s perception, sexuality is closely related to aggression. In the drawing of a simply non-existent animal, although there is a tail, it is by no means as massive as that of an evil and terrible animal. Manifestations of aggressiveness in Lyudin’s drawing of an angry and scary animal significantly exceed the level typical for girls of her age. They are combined with signs of neuroticism, which makes it possible to qualify aggressiveness as neurotic. Such manifestations are absent in the drawing made according to standard instructions. This suggests that Lyuda’s neurotic aggression is not constant, but arises in response to emotional stress.

REACTION TO EMOTIONAL LOAD

The standard instruction (“draw a non-existent animal”) is emotionally neutral. Additional assignments introduce topics that could potentially be emotionally charged. The proposal to come up with “the most evil and terrible animal” actualizes fears and concerns associated with an external threat. The task to draw “the most unfortunate animal” is addressed to negative experiences associated with one’s own internal state. Therefore, a comparison of the results of performing these three variants of the task makes it possible to identify the subject’s reaction to different types of emotional stress.
Tatyana N., according to standard instructions, depicted an animal called “pancake” (pic. below).

She said the following about her animal:
“It is a type of flat living matter. It moves with the help of small legs. There are no sensory organs. Should I tell you how it reproduces? No way. How the Lord God releases them... - but there is no activity of its own. They do not take part in this. Very passive and not ... there is no meaning in his existence." When asked what this animal eats, Tatyana replied: “Water. He lives in the forest. The water drips - and it contains enough nutrients that he needs.”
The drawing shows high anxiety (hatching, multiple lines). The main theme of the story is the passivity of the animal. Along with the extremely low detail of the drawing, this suggests an asthenic state. There is also a lack of meaning in life. Apparently, Tatyana’s need for meaning in life is acutely unsatisfied, which indicates some infantilism (this problem is typical for early adolescence). The story presents an extensive, verbose avoidance of the topic of reproduction. Although the inspector did not ask any questions on this topic, the girl seems to ask again: “Should I tell you how it reproduces?”, after which almost half of the story is devoted to explaining that this animal does not reproduce at all. This indicates trouble in the sexual sphere, leading to attempts to avoid it.
Symptoms similar to Tanina’s (except for the attitude towards the sexual sphere and the problem of the meaning of life) are found in the drawings of Anya K., 4 years 8 months. For her age, Anya is very well developed. The non-existent animal she depicted corresponds to the level of performance of 6-7 years of age (Fig. below).

Anya named her animal Galya and said that it lives in a cage in a zoo. To prevent the cage from falling, it has supports on top and bottom. Anya also explained that “he has food there - hay, straw.” When asked what Galya usually does, the answer was: “Eats and sleeps. It still remembers how it lived with its parents, and does everything like them.” It turned out that sometimes Galya goes out for a walk and then returns to the cage.
The drawing and story show increased anxiety: shading of the drawing, the desire to provide the animal with maximum safety (supports) and a supply of food (two stacks of hay). Life in a cage (moreover, so carefully drawn) reflects both the need for security and the feeling of lack of freedom and dependence. The story directly indicates the source of this dependence: the patterns set by the parents (“does everything as they do”). For Anya’s age, such topics are not typical, but in this case there is a combination of an advanced rate of mental development with strong overprotection. Anya is the only child in a family that, in addition to her parents, also includes grandparents; all four adults are actively involved in her upbringing.
The drawing of an angry and scary animal showed acute anxiety and a neurotic reaction to emotional stress. This is evidenced by the complete collapse of the form (Fig. above).

Drawing vertical strokes, Anya says: “These are the teeth!” She says about the drawn animal: “It lives in the sea and eats everyone. No, it doesn’t eat strong fish. It doesn’t eat sharks. And it doesn’t eat dolphins.” When asked who this animal eats, the girl answers: “Small ones,” and shows with her hands the size of approximately 10 cm. In an effort to get away from the unpleasant, frightening image of an all-consuming creature, the action of psychological defense mechanisms is manifested.
The neurotic reaction to emotional stress is clearly manifested in the drawing of the most unfortunate animal. Following these instructions, Anya drew a “fish” that “lives in an aquarium” (pic. below).

In response to the question why this fish is unhappy, the girl explained: “For herself she is happy, but for us she is unhappy, because she swims in gas. If you swim in gas, you can die, but she doesn’t know that.”
In contrast to the drawing of an angry and scary animal, this time depressive symptoms were clearly evident: a decrease in the size of the drawing, the theme of death in the story. The emotional tension is very high, as evidenced by the random lines and strokes in the drawing, the blackening of some of its areas (the pattern on the body of the fish, the unexplained spot next to it).
The data obtained allow us to conclude that Anya has very low resistance to stress. Depending on the nature of the stress, neurotic reactions of various kinds can be expected: the appearance of either acute anxiety or depression. There is also a very high probability of their combination - the occurrence of anxious depression.
The desire to isolate one's animals from the outside world (cage, aquarium) and a neurotic reaction to aggressive topics serve as indirect indications of a fear of aggression. This assumption is confirmed by the parents’ complaint that he does not communicate at all with other children. Having met a peer, she begins to growl at him (claiming that she is a tiger cub), and if he still tries to make contact, he runs away. Generally speaking, playful transformation into animals is absolutely normal and natural for Anya’s age. However, in this case, playing tiger cub is clearly a means of preventing contact.
Parents are recommended to gradually accustom Anya to independence and reduce the level of guardianship. It is also important to reduce the number of requirements placed on it. To overcome difficulties in contacts with peers, it was proposed to teach Anya to communicate with one or two partners during a game organized and directed by an adult. It was explained that all educational activities should be carried out very carefully so as not to cause stress in the girl. For the same reason, any sudden unprepared changes in her lifestyle are unacceptable. It is recommended to begin emotional preparation for school very early and, despite the high level of development, not to send Anya to school until she is seven years old.

SIGNS OF POSSIBLE MENTAL PATHOLOGY

Below are some signs that may suggest that the person being examined has a mental illness. None of them, taken separately, can serve as a basis for such an assumption. This can only be done if there are several such signs at the same time, and they are quite strongly expressed. The animal depicted by twelve-year-old Sergei B. is humanoid, which is quite common for this age. At the same time, the shape of the head is grossly distorted compared to the standard design. Distortion of the shape of the head, as well as the absence of a head or, as in this case, the absence of eyes while maintaining the general outline of a person or animal, is often found in mental illness.

The animal is depicted as if in a section or in the form of an x-ray photograph: according to Seryozha, “the brain, muscles, bones, intestines, all sorts of nasty things” are visible. Images of internal organs can also occur in borderline conditions (neurosis), but such a detailed study of them, and especially images of the brain, are more likely in cases of mental illness.
In the story about the animal, Seryozha said that it “lives in the forests, where you can hide from opponents.” When asked who his opponents were, he replied: “People. Or rather, he is their opponent.” The next question asked was what this animal usually does. “He eats all sorts of people,” said Seryozha. “He hunts large living creatures, humans, for example. A cruel killer: he kills anyone anyway - and eats.” It turned out that this animal thinks about “who else to eat, where to set up an ambush.” Answering the question of what this animal could ask the wizard for, Seryozha said that it would “devour the wizard”, “wants not to be killed” and “so that it can kill more.”
In the story there is an exceptionally strong “stuckness” on the theme of killing and devouring victims, primarily people. This may be a manifestation of the distortion of drives characteristic of some mental illnesses. From this point of view, the discrepancy between the crudely aggressive themes of the story and the absence of pronounced aggressive symbolism in the drawing is especially suspicious. Normal aggression associated with immediate emotional impulses is usually much more pronounced in graphic symbols.
The possibility of mental illness is also indicated by gross violations of logic in the story about the animal. Life “in the forests, where you can hide from enemies” contradicts the main occupation of the animal - hunting people. Eating a wizard makes it pointless to contact him with subsequent requests (“so that they don’t kill him” and “so that he can kill more himself”).
The presence of Seryozha’s mental illness was confirmed by other data from a psychological examination and a subsequent psychiatric examination.
The animal, depicted according to standard instructions by fifteen-year-old Andrei R. and called by him “half-man” (fig. below), makes a rather unpleasant impression, which is an unfavorable sign (although such an assessment is very subjective).

There is pronounced aggressive symbolism: something like sharp claws instead of hands. However, the drawing does not contain obvious signs of pathology.
The description of the animal made by the boy is also quite neutral: “Half-human. Lives on other planets. Feeds on microorganisms. Friends are creatures similar to themselves.” When asked to explain certain details of the image, Andrei pointed to a large claw with the words: “This hand is a way of protection.” When asked whether the half-man had enemies, the answer was negative. Then the question was asked who he needed to protect himself from, to which the boy replied: “You never know who will fly from another planet.”
The presence of a claw, necessary for protection, contradicts the statement that the animal has no enemies (the explanation for a possible invasion from another planet is given only after a special question from the inspector and sounds unconvincing). However, this cannot be considered a particularly gross logical contradiction that would suggest the presence of mental illness.
The emotional stress caused by the task of inventing and drawing the most unfortunate animal led to significant impairments in activity. The drawing made according to these instructions remained unfinished, with an open outline (pic. below).

During the drawing process, sharp emotional changes were observed, reflected in the very different nature of the lines. The body, eyes and mouth are drawn with a confident line with strong pressure. The hands are also partially drawn with strong pressure, but the line is uncertain (with numerous corrections). The head, neck and part of the arm are drawn with a very uncertain, sometimes disappearing line with particularly weak pressure. The amount of detail is minimal, but in contrast to this are the knuckles drawn (a detail that is very rare).
Such a strong reaction to emotional stress indicates Andrei’s unfavorable psychological state. An unfavorable sign is also the almost disappearing distorted contour of the head, especially in combination with sharply emphasized empty eyes and mouth, so that the overall face resembles a skull.
Andrei wrote the following story about the unfortunate animal (the text is reproduced with spelling errors made by the boy): “Mutant. A man of a post-nuclear civilization with degraded thinking. Sees almost the usual way of life of a person, but with the habits of an animal. Friends are people. Has immeasurable muscle mass.” When asked what his “misfortune” was, the boy replied: “His appearance upsets him. He doesn’t look like people, he’s changed. People treat him differently.” Then he was asked what the “animal habits” he wrote about in the story were. Andrey replied: “He can climb a tree. Sometimes he thinks about one thing, and then switches to another. He forgets something.”
Themes of alteration of the animal, strange attitudes of others (“people treat differently”) and disturbances of mental activity (degraded thinking, unmotivated switching of the direction of thoughts, forgetting) are often found in procedural mental illnesses. The previously noted signs of high emotional stress when depicting a head echo the theme of degraded thinking. Inaccuracy in the use of concepts is also typical for mental illness, in this case manifested in the fact that “animal habits” include such manifestations as “thinks about one thing and switches to another”, “forgets”.
Andrey's mental illness was confirmed by a subsequent psychiatric examination.
The drawing, made according to standard instructions by sixteen-year-old Pavel P., is not completed. It represents a three-eyed bird's head with a long sharp beak (aggressive symbolism). The head is located on a very long neck with detailed vertebrae. The circuit is not closed (Fig. below).

The story written by Pavel is very short and has almost nothing to do with the animal depicted: “He has hearing aids, he listens with them, he is blind. Everything that the imagination creates is strange, like fantasy.”
Warning signs in the drawing are its incompleteness and the depiction of internal organs (vertebrae). In the story, there is an actual departure from the task: instead of describing the way of life of an animal, Paul sets out his views on the nature of images created by the imagination. Another unfavorable sign is the contradiction between the picture and the story (the picture shows several eyes, but the story says that the animal is blind).

The most unfavorable impression is made by the absence of a head in an image that is otherwise completely consistent with the standard design of the animal. In the story about this animal, Pavel wrote: “This is an animal from another world - the world of monsters. It seems harmless... But... It is capable of deafening any moving object with a sound wave. Afterwards, small tentacles suck out all living tissues and organs from the body. in the form of a man, it barks like a dog, and then... Hallelujah!.."
Sucking “living tissues and organs” as a method of nutrition is a sign of a disturbed psychological state (pathological or borderline). As already mentioned, similar signs include the discrepancy between the high aggressiveness of the story and the absence of pronounced aggressive symbolism in the drawing. The message that when it sees a person, this animal “barks like a dog” completely falls out of the general context of the story.
All these signs together are too numerous and heterogeneous to be explained only by a borderline (neurotic) state. One possible explanation is a combination of a neurotic state with a psychopathic personality type. Another likely explanation is the presence of mental illness.
Pronounced signs of mental illness (in the acute phase) are observed in the drawing of twelve-year-old David G. (Fig. below).

The animal he depicts is headless. The animal's paws are pierced in several places by arrows. Apparently, this reflects the boy’s extremely difficult sense of self. In any case, the image of wounds and injuries is one of the common signs of mental illness. The severity of David’s condition is also evidenced by the graphic features of the drawing: shading with particularly strong pressure, blackening of individual parts of the image.
During the drawing process, David was completely immersed in the activity, but at the verbal level, contact with him remained limited. He refused to say anything about the animal he had invented and did not even come up with a name for it.
A huge wound forms the center of the drawing of fourteen-year-old Vitya K. (pic. below).

The comment he wrote also refers only to this wound, although he was asked to write the name of the animal and describe its way of life. The text is very short and emotionally extremely unpleasant: “The stomach was cut open, but it is alive, blood is flowing out of it.” Thus, the text contains an indication that the source of the wound is someone’s actions (“the stomach was ripped open”). It is possible that this reflects the boy’s pathological ideas about the hostility of others towards him (possibly ideas of persecution).
The drawing is not completed. The lines are “ragged”, in some places with strong pressure, and in others disappearing. The drawing is poorly placed: it seems to extend beyond the bottom edge of the sheet. Along with meaningful indicators, this serves as a sign of the severity of the condition.
Eyes located outside the face are also an unfavorable sign.
Vita is recommended to consult a psychiatrist.