I.L. Solomin

Method of drawing metaphors "My life path"

St. Petersburg

The technique of pictorial metaphors "My life path" implements a modern approach to psychological diagnostics and counseling of clients. The technique allows you to identify the emotional state of a person, some features of his temperament and character, the specifics of ideas about his life and attitudes towards it, determine personal problems and possible ways to solve them, formulate goals and plan ways to achieve them.

The technique of drawing metaphors "My life path" is a complex method of psychological diagnostics and counseling of adolescents and adults. The methodology consists of two parts:

the client's depiction of his own life in the form of a drawing,

discussion of this drawing with a counseling psychologist.

The technique is designed to diagnose the emotional state of a person, some features of his temperament and character, ideas about his life and attitudes towards it, identify personal problems, expand possible ways to solve them, determine goals and plan ways to achieve them.

The technique belongs to the class of projective methods of personality diagnostics. The technique is characterized by:

cost-effectiveness (the technique is compact, does not require special equipment and materials, is relatively easy to carry out, allows for a group form, takes no more than 30 minutes to obtain data, does not require complex processing methods),

the depth of the information received (the technique allows you to identify the individual psychological characteristics of the client and the features of his consciousness, hidden in everyday behavior and everyday communication and not always manifested in traditional counseling),

universality (the technique is flexible in application and can be used to solve a wide range of tasks of general and professional psychological counseling),

significant psycho-corrective potential in consulting work with a client.

The metaphorical nature of the tasks performed and the results obtained makes it possible to objectify the client's problems, gives him the opportunity to more freely and safely express his feelings and attitudes. The visibility of ideas about the content and dynamics of the client's relationship creates the conditions for a better understanding of the problems and their creative solution. In addition, the methodology

makes it easier to establish contact with the client, allows you to overcome barriers and the formal nature of relationships, is the material for a conversation and allows you to effectively structure it,

allows you to successfully distribute the roles between the client and the consultant, optimize the client's activity and overcome his consumer attitude to the consultation.

The methodology makes it possible to compare different categories of clients with each other, monitor the course and results of counseling, identify groups of clients who need various consulting services and forms of work.

The procedure for carrying out the technique of drawing metaphors "My life path" Instruction to the client

"The traveler walked along the road called" Life ". The road led him to a crossroads. The traveler stopped, looked around and thought. Which way to go next?

Imagine yourself in the place of this traveler.

What are you thinking about?

What do you feel?

You have a blank sheet of paper in front of you. Take a pencil and draw on a piece of paper your past history, where you are now, and your future life options. Use your memories, experiences, fantasies and dreams.

Where do you want to come?

What will you take with you on the road?

What will you meet on your way?

What are you going to learn?"

Conditions for the technique

Since the results of the technique largely depend on external conditions (posture, work surface, paper type, writing instruments) and internal conditions (condition, attitude towards testing), it is important to adhere to standard conditions.

Before starting testing, you should get to know the client and help him calm down.

We can say that the test does not require the ability to draw and artistic abilities.

The client must draw sitting at the table, or on a special flat and hard tablet.

It is necessary to draw on a blank sheet of A4 paper (210x297 mm). Reducing the sheet area is unacceptable due to the limitation of the amplitude of graphic movements and the loss of information about the size of the drawings.

You should only draw with a simple pencil or ballpoint pen. Drawing with ink, gel or felt-tip pen is undesirable due to the loss of information about pressure and the nature of the lines.

It is not allowed to erase the completed drawings or their details with an elastic band.

The task execution time is not limited. As a group, you can follow the drawing process and stop it when most of the clients have finished their drawings. But you can't rush your customers.

Registration of indicators of the client's behavior in the process of implementing the methodology

In the event that the technique is carried out in an individual form, it is advisable to register indicators of the client's behavior in the process of drawing, which are an additional source of diagnostic information:

Latent period (length of time from the end of the presentation of the instruction to the start of the drawing),

The duration of the task,

Pauses, stops in the process of drawing for more than a minute,

Returns to already drawn parts of the image,

Violations of the drawing sequence from the past to the future,

Spontaneous statements of the client expressing:

• Questions and clarifications, self-justifications,

  Seeking help or evaluation, self-criticism, apology,

  Criticism of the task or external conditions,

Refusal to complete the task

leading hand,

Client posture:

• torso tilt,

  body rotation,

  Distance from arm to body

  Covering the drawing with a hand,

Autonomic and motor manifestations of client tension:

• sweating,

  redness or blanching of the skin,

  Tremor, hand trembling,

  Swinging the trunk, head or limb,

  Biting or licking lips, biting a pencil.

At the same time, verification and discussion of the information received with the client in the form of comments and questions on various grounds is possible only after the end of the drawing process.

The technique of drawing metaphors "My life path" is a complex method of psychological diagnostics and counseling of adolescents and adults. The methodology consists of two parts:

• the client's depiction of his own life in the form of a drawing,
• discussion of this drawing with a counseling psychologist.

It is intended to diagnose the emotional state of a person, some features of his temperament and character, ideas about his life and attitudes towards it, identify personal problems, expand possible ways to solve them, determine goals and plan ways to achieve them.

The technique belongs to the class of projective methods of personality diagnostics. The technique is characterized by:

• cost-effectiveness (the technique is compact, does not require special equipment and materials, is relatively easy to carry out, allows for a group form, takes no more than 30 minutes to obtain data, does not require complex processing methods);
• the depth of the information received (the technique allows you to identify the individual psychological characteristics of the client and the features of his consciousness, hidden in everyday behavior and everyday communication and not always manifested in traditional counseling);
• universality (the technique is flexible in application and can be used to solve a wide range of tasks of general and professional psychological counseling);
• significant psycho-corrective potential in consulting work with a client.

The metaphorical nature of the tasks performed and the results obtained makes it possible to objectify the client's problems, gives him the opportunity to more freely and safely express his feelings and attitudes. The visibility of ideas about the content and dynamics of the client's relationship creates the conditions for a better understanding of the problems and their creative solution. In addition, the methodology

• makes it easier to establish contact with the client, allows you to overcome barriers and the formal nature of relationships, is the material for a conversation and allows you to effectively structure it;
• allows you to successfully distribute the roles between the client and the consultant, optimize the client's activity and overcome his consumer attitude to the consultation.

The methodology makes it possible to compare different categories of clients with each other, monitor the course and results of counseling, identify groups of clients who need various consulting services and forms of work.

The procedure for carrying out the technique of drawing metaphors "My life path"

Instruction to the client

“The traveler walked along the road, which was called “Life”. The road brought him to a crossroads. The traveler stopped, looked around and thought. Which way to go next?

Imagine yourself in the place of this traveler.

What are you thinking about?
What do you feel?

You have a blank sheet of paper in front of you. Take a pencil and draw on a piece of paper your past history, where you are now, and your future life options. Use your memories, experiences, fantasies and dreams.

Where do you want to come?
What will you take with you on the road?
What will you meet on your way?
What are you going to learn?"

Conditions for the methodology

Since the results of the technique largely depend on external conditions (posture, work surface, paper type, writing instruments) and internal conditions (condition, attitude towards testing), it is important to adhere to standard conditions.

• Before starting testing, you should get to know the client and help him calm down.
• Next, you need to read the instructions for the test aloud.
• If necessary, read the instructions again.
• We can say that the test does not require the ability to draw and artistic abilities.
• The client must draw sitting at the table, or on a special flat and hard tablet.
• It is necessary to draw on a blank sheet of A4 paper (210x297 mm). Reducing the sheet area is unacceptable due to the limitation of the amplitude of graphic movements and the loss of information about the size of the drawings.
• You should only draw with a simple pencil or ballpoint pen. Drawing with ink, gel or felt-tip pen is undesirable due to the loss of information about pressure and the nature of the lines.
• It is not allowed to erase the completed drawings or their details with an elastic band.
• The task execution time is not limited. As a group, you can follow the drawing process and stop it when most of the clients have finished their drawings. But you can't rush your customers.

Registration of indicators of the client's behavior in the process of implementing the methodology

In the event that the technique is carried out in an individual form, it is advisable to register indicators of the client's behavior in the process of drawing, which are an additional source of diagnostic information:

• Latent period (length of time from the end of the presentation of the instruction to the start of the drawing),
• The duration of the task,
• Pauses, stops in the process of drawing for more than a minute,
• Returns to already drawn parts of the image,
• Violations of the drawing sequence from the past to the future,
• Spontaneous statements of the client expressing:
  • Questions and clarifications, self-justifications,
  • Seeking help or evaluation, self-criticism, apology,
  • Criticism of the task or external conditions,
• Refusal to complete the task
• leading hand,
• Client posture:
  • torso tilt,
  • body rotation,
  • Distance from arm to body
  • Covering the drawing with a hand,
• Autonomic and motor manifestations of client tension:
  • sweating,
  • redness or blanching of the skin,
  • Tremor, hand trembling,
  • Swinging the trunk, head or limb,
  • Biting or licking lips, biting a pencil.

At the same time, verification and discussion of the information received with the client in the form of comments and questions on various grounds is possible only after the end of the drawing process.

Interpretation and discussion of results

General principles for interpreting results

The indicators of the results of the implementation of the methodology can be divided into two broad categories. The first category includes indicators that characterize the formal, graphic features of the drawing, describing not so much what is shown in the drawing, but how it is shown. Indicators of the client's behavior in the process of implementing the technique in terms of their diagnostic characteristics are close to formal. The second category includes indicators that characterize the content of the image.

Formal indicators are more associated with stable individual psychological characteristics, temperament and personality traits, as well as with the emotional state of a person. Content characteristics to a greater extent indicate the peculiarities of a person's ideas and relations, the specific content of his problems.

General principles for discussing results

The discussion of the results of the technique of drawing metaphors "My life path" is based on the principle of analogy between the depicted characters and the author of the image. In other words, the life path image represents a metaphorical model of the client's real life path. The term "metaphor" (from the Greek. metaphora - transfer) means a figurative comparison, likening one phenomenon to another. Between the elements of the image on the one hand and the faces, actions, objects and events of the real life of the client on the other hand, there may be some correspondence. And if we are able to identify the client's attitude to certain details of the image, then we can assume that his attitude to similar objects or phenomena in real life is of a similar nature.

The main strategy for discussing the results of the methodology is to identify the goals, problems and resources of the client through the goals, problems and resources of the character. Thus, the three main objectives of the discussion are to help the client find out:

• the client's own goals, what he aspires to, what is most important for him in life;
• resources of the client, his capabilities, what could help him achieve the goals, methods and options for solving problems.

The main tactic is the sequence of discussion from the image (metaphor) to the real experiences and behavior of the client. In any case, the characteristics of the image are discussed with the client first, then the consultant uses one of the image indicators to move on to a discussion of the client's actual relationship. In this case, the client, as a rule, does not notice at what point he began to talk not about what is depicted, but about what he really feels or wants. As a result, the process of discussing the client's problems is facilitated, including those that, under other conditions, could be accompanied by negative or even painful experiences. The use of pictorial metaphors at the beginning of a conversation with a client helps to avoid excessive anxiety and resistance of the client, since the situation is not perceived by him as threatening. On the contrary, experience shows that the client may experience increased interest, surprise, and even joyful feelings, which increase his willingness to frankly discuss his true experiences and relationships. Thus, the client can not only see their problems in a new way and ways to solve them by connecting fantasy and creative imagination, but also get additional pleasure from this.

The discussion model depends on what indicators are used to communicate with the client: formal or substantive. However, regardless of the model, the discussion begins with general questions to the client, aimed at completing the metaphor. In the process of completing the metaphor, the consultant clarifies the content of the image as a whole and its individual details, and the client is actively involved in the process, updates the fantasy mechanisms, and, if necessary, in an imaginary plan, supplements the missing details. The following questions can be used as an example of helping the client complete the metaphor:

• What title would you think of for this painting? What does this name express? What feelings does it evoke?
• What can another person see and understand by looking at this picture? What feelings and thoughts can this picture evoke in him? What can she teach another person?
• If you were to draw a life path 10 years from now, how would your drawing be different from this one? What would disappear? What would be new?
• What is the difference between the past path, the present and the future of the traveler? What do they have in common?
• In what part of his life path is the traveler most happy, experiencing joy? Why? Due to what conditions? What contributes to this?
• What is the purpose of this path? What is the traveler looking for? What does he want to achieve? How does he know that his goal has been achieved?
• What can hinder a traveler? What obstacles might he encounter along the way?
• What does he need to achieve his goal? What are the conditions, means, possibilities?
• What is his itinerary? Could you name the main landmarks, stages, transitions, stops?
• What does he most need at the moment? Map? Conductor? First aid kit? Instruments? Equipment? Clothing? Food? Companion? Weapon?

The number, composition and sequence of questions are not standard, they can be determined by the consultant based on his experience, habits, subjective preferences, features of the image, the state of the client, the content of his problems, etc. The completion of the metaphor ends when the consultant finds out the general meaning of the image and the meaning of details that are incomprehensible to him, and the client gets used to the image. Already at this stage, an understanding of some of the features of his behavior, experiences, relationships and problems can occur in the mind of the client.

Interpreting and discussing indicators of customer behavior

Table 1. Indicators of the client's behavior in the process of implementing the "My Life Path" methodology

Indicators	Indicator values
1. Latent period	1.1. Too short (less than 30 sec)	Lack of plan, impulsiveness (0.6).	You started drawing pretty quickly. What enabled you to immediately begin the task? To what extent has a quick start helped or hindered further work? In what cases can you act without hesitation?
	1.2. Too long (more than 3 minutes)	Difficulties in planning and implementing the adopted plan (0.7).	You haven't started drawing for a long time. What were you thinking about before starting the task? What feelings did you experience at that moment? What do you think would help you get started faster or easier? When else do you experience hesitation?
2. The duration of the task	2.1. Significant (more than 20 minutes)	Interest (0.8).	You've been drawing for quite some time. What drew your attention to the task? What was the most interesting thing for you in this work? What else interests you in life?
	2.2. Minor (less than 5 minutes)	Indifference, indifference (0.7). Increased fatigue (0.5).	You completed your drawing fairly quickly. How interesting was this assignment for you? What would make you more interested and willing to work? What is the most interesting thing for you in life?
3. Pauses		Internal conflicts (0.7).	You stopped and lingered in this place. What exactly caused you to pause? What were you thinking and feeling at that moment? When do you experience such feelings? What does this lead to?
4. Returns		Significance, concern (0.7).	You are back to redrawing that part of the drawing. What exactly do you want to change? Why is this important to you? What else worries you in your life?
5. Breaking the drawing sequence from past to future		Start drawing from the easiest, most difficult, or most significant part (0.6)	How did you start your drawing? What did you draw next and how did you finish? Why did you draw in that order? What events in your life are the most important for you? The most difficult?
6. Spontaneous statements	6.1. Questions and clarifications. self-justification	Self-doubt (0.5).	When you drew, it happened that you asked questions (clarified, justified). What is it connected with? What do you want at this moment? What feelings did you experience? In what other situations do you experience similar experiences? What consequences can this lead to?
	6.2. Seeking help or evaluation. Self-criticism, apology	Auto-aggression (0.5).	In the process of drawing, there were moments when you were looking for help (criticizing yourself, apologizing). What is it connected with? What do you want at this moment? What feelings did you experience? In what other situations do you experience similar experiences? What consequences can this lead to?
	6.3. Criticism of the task or external conditions	Heteroaggression (0.5).	It happened that in the course of drawing you were critical about the tasks that you performed (the conditions in which you work). What is it connected with? What do you want at this moment? What feelings did you experience? In what other situations do you experience similar experiences? What consequences can this lead to?
7. Refusal to perform		Emotional shock (0.9).	You refused to complete the task. What prevented you from doing it? What did you think, what did you feel before giving up? What would happen if you did it? What would you draw if you didn't refuse? When have you given up on something in your life? What were the consequences of this?
8. Tilt torso	8.1. Strong forward lean	Tightness, stiffness, uncertainty (0.6). Insufficient endurance of the back muscles. Myopia.	When you drew, you leaned forward a lot. Why do you think you did it? What do you feel when you take this pose? When do you most often experience these feelings?
	8.2. tilt back	Negative attitude towards task completion (0.5). Relaxation.	When you drew, you leaned back. Why do you think you did it? What do you feel when you take this pose? When do you most often experience these feelings?
9. Torso rotation	9.1. towards the dominant hand	Desire for protection (0.5).
	9.2. To the side opposite the dominant hand	Openness (0.5).
10. Distance of the arm from the body	10.1. far removed	Negative attitude towards task completion (0.5). Farsightedness.
	10.2. very close	Tightness, stiffness, uncertainty (0.5).
11. Covering the drawing with your hand		Secrecy, embarrassment (0.7).
12. Autonomic and motor manifestations of tension	12.1. sweating	Emotional stress (0.7). Elevated ambient temperature. Too warm clothes. Increased body temperature. Exercise stress.
	12.2. Redness or blanching of the skin	Emotional tension (0.7). Vegetative-vascular disorders.
	12.3. Tremor, hand trembling	Emotional tension (0.7). Disorders of the central nervous system.
	12.4. Swinging the trunk, head or limb	Emotional tension (0.7). Muscle tension from prolonged immobility. Fatigue. Monotony due to the uniformity of the situation. physiological needs.	In the process of drawing, you sometimes swayed your body (head, arm, leg). What is the reason for this? What do you want at this moment? What feelings did you experience? In what other situations do you experience similar experiences? What consequences can this lead to?
	12.5. Biting or licking lips, biting a pencil	Emotional tension (0.7). Thirst. Hunger.

Interpretation and discussion of formal indicators

Table 2. Formal indicators of the results of the methodology "My life path"

Indicators	Indicator values	Possible causes (probability)	Possible comments and questions
1. Sheet position	1.1. Vertical (portrait)	Predisposition to aggressive response (0.5)
	1.2. Horizontal (landscape)	Predisposition to defensive response (0.5)
	1.3. changing	Plasticity, adaptability (0.7)	In the process of drawing, you changed the position of the sheet. What is it connected with? How often do you change your behavior in different situations? What allows you to change your actions, ideas, attitudes? How useful is the ability to change for you? In what cases can you afford to change your habits, rules, principles, beliefs? When do you not change yourself? What does this lead to?
2. The position of the picture on the sheet	2.1. In the center	Poise (0.5)
	2.2. Above	Distance, negative attitude towards the environment, resistance, "repulsion" (0.6)	Your drawing is located at the top of the sheet. Why do you think you made the drawing in this particular place? What prevented you from making an image in another part of the sheet? What made you limit your choices? External circumstances or internal causes: habits, feelings?
	2.3. Down below	Acceptance of the environment, submission (0.6)	Your drawing is located at the bottom of the sheet. Why do you think you made the drawing in this particular place? What prevented you from making an image in another part of the sheet? What made you limit your choices? External circumstances or internal causes: habits, feelings?
	2.4. Left	Closure, desire for protection - in right-handers (0.5)	Your drawing is located at the left edge of the sheet. Why do you think you made the drawing in this particular place? What prevented you from making an image in another part of the sheet? What made you limit your choices? External circumstances or internal causes: habits, feelings?
	2.5. On right	Openness, emancipation - in right-handers (0.5)	Your drawing is located at the right edge of the sheet. Why do you think you made the drawing in this particular place? What prevented you from making an image in another part of the sheet? What made you limit your choices? External circumstances or internal causes: habits, feelings?
3. Drawing dimensions	3.1. Very large, does not fit into the frame of the sheet	Excessive excitement, incontinence, impulsivity, decreased self-control (0.8). No preliminary plan (0.7)	Your drawing is very large and does not fit into the frame of the sheet. Why do you think? What is it connected with? What are the reasons for such large image sizes? What prevents you from fitting into the existing framework? When else do you go beyond the generally accepted? What can this lead to? What does it give you? How can this be useful for you? In what situations can it interfere with you?
	3.2. Large	Predominance of excitation over inhibition, self-confidence, high self-esteem (0.6)
	3.3. Small	Predominance of inhibition over excitation, anxiety (0.6)
	3.4. Very small	Excessive retardation (0.8)	Your drawing is very small. What do you think prevented you from drawing bigger? What feelings are associated with this reason? When else do you experience similar feelings in your life? What does this lead to? What does it give you? How can this interfere? What can happen if you act more freely? In what cases can you refuse "brakes"? What can make you forget about caution?
4. General shape of the drawing	4.1 Closed loop	Pursuit of Protection (0.5)
	4.2. asymmetry	Activity, dynamism (0.6)
	4.3. Lots of sharp corners	Aggressiveness, irritation (0.7)	There are quite a few sharp corners in your drawing. What do you think this might indicate? What does it express? What feelings do you experience when depicting sharp corners? When else do you experience similar feelings? What consequences can this lead to? When might it be beneficial? And when does it interfere?
5. Pressing force, line thickness	5.1. Significant	High muscle tone, tension, effort (0.7)	You drew with quite a lot of pressure. What can this indicate? In what other cases do you also experience stress? What is causing this tension? What consequences can it lead to? What happens if you relax?
	5.2. Minor	Relaxation, calmness (0.6)
6. Pressure constancy	6.1. Same	Stability, sustainability (0.6)
	6.2. unequal	Instability (0.7)	Your pressure in the process of drawing changed, was either strong or weak. What is it connected with, what can it talk about? What can this lead to?
7. Dotted, broken lines		Uncertainty (0.6)	You drew with short, dashed, dotted lines. What is it connected with, what can it talk about? What can this lead to?
8. Re-tracing lines		Significance (0.7)	You have recirculated part of the drawing. Why did you do it? What exactly caught your attention? What would you like to highlight?
9. Connection inaccuracy		Negligence (0.7) Loss of coordination (0.6")	Some of the lines in your drawing do not connect exactly to each other. Why do you think this happened? How well did you try to complete this task? If you were in a hurry and did not draw very carefully, then what is the reason for this? How did this assignment make you feel? What was the most unpleasant or difficult for you? What would make you more interested and willing to work?
10. Trembling, tremor		Disturbance of coordination of movements (0.6)
11. Hatching	11.1. Significant Density	Fears, phobias (0.8)	You shaded part of the drawing quite tightly. What do you think, what is it connected with? What is the meaning of this dash? What does it allow you to do? What did you want to show or hide with this shading? What can this part of the picture correspond to in your life?
	11.2. Significant area	General anxiety, anxiety, tension, preoccupation (0.7)	You have shaded a significant part of your drawing. What do you think this might indicate? What does this shading represent? Why did you want to shade the image? When else do you experience similar feelings? What consequences can this lead to? When might it be beneficial? And when does it interfere?
	11.3. Geometric character	Presence of schizoid character traits (0.5)
12. Thoroughness, detail and quantity of details	12.1. A significant amount of detail	Motivation, interest, significance, attractiveness (0.8)	Your drawing has a lot of detail. What drew your attention to the task? What was the most interesting thing for you in this work? What else interests you in your life?
	12.2. Insufficient amount of detail, excessive sketchiness	Lack of strength, unwillingness to make an effort, weak interest (0.7)	There are few details in your drawing, it is very schematic. How interesting was this assignment for you? What would make you more interested and willing to work? What exactly interests you in your life?
13. Feature details	13.1. Repeatability	Stereotypical (0.7)	This detail is often repeated in your drawing. What meaning does it have for the traveler? What is it associated with in your life? What repeats in your life?
	13.2. Lots of minor details	Repression, the tendency to ignore problems, ignore goals, ignore significant circumstances (0.7)	You have depicted quite a lot of detail. What do you think they mean? How important are they to the traveler? What did you want to show by portraying them? From what more essential can they distract? What is it associated with in your life? What distracts you in your life?
	13.3. Strikethrough	Negative attitude (0.7)	You crossed out this detail. Why did you cross it out? Why are you not satisfied? What would you like to change? What does it mean for the traveler? What does it correspond to in your life? What would you like to cancel in your life?
	13.4. underlining	Significance (0.7)	You highlighted this detail. Why did you highlight it? Why does she get your attention? What is it connected with in your life? What would you like to highlight in your life?
	13.5. redrawing	Significance (0.7). No preliminary plan (0.6)	You have redrawn this detail. Why are you not satisfied? What would you like to change? What does this detail express in your life? What would you like to change in your life?
	13.6. framing	Significance (0.7). Pursuit of Protection (0.6)	You have circled this detail in a box. What do you think this might indicate? What prompted you to do this? What does this detail correspond to in your life?
	13.7. caricature	Negative attitude (0.6)	This detail seems like a caricature to me. To what extent does what you draw correspond to your intention? What attitude did you want to express by depicting this detail in a funny way. What is it associated with in your life?
	13.8. Crawling on top of each other	No preliminary plan (0.6)	These parts intersect, crawl on top of each other. What is it connected with?
14. Dividers (lines, folds)		Pursuit of Protection (0.7)	Your drawing has lines that separate parts of the image from others. What meaning do they carry? What did you want to express with them? What are these lines connected with in your life?
15. Inscriptions, symbols		Comments, difficulties in visual-figurative and practical activities (0.5)
16. Special Phenomena	16.1. Replacing a picture with text	The predominance of abstract-logical forms of thinking over visual-figurative ones (0.8)	You have replaced the picture with text. What prevented you from completing the image? What would happen if you did it? What would you draw?
	16.2. Non-differentiable images	Difficulties in practical activities (0.7)	How well does the image match your intent? It's hard for me to understand what is shown in your picture. What exactly were you going to draw?

Interpretation and discussion of meaningful indicators

Table 3. Content indicators of the results of the method "My life path"

Indicators	Indicator values	Possible causes (probability)	Possible comments and questions
1. View	1.1. Top (map)	Emphasizing ideas about movement in the horizontal plane. Difficulties in choosing one path from many alternatives (0.5)	You have drawn your path from above, as on a map. What gives you a top view? What can you see better and what is hidden from your view?
	1.2. Side (frieze)	Emphasizing ideas about movement in the vertical plane. Difficulties in understanding the existence and variety of alternative routes (0.5)	You have drawn your path on the side, as in a child's drawing. What gives you a side view? What can you see better and what is hidden from your view?
	1.3. Behind (perspective)	Volumetric, three-dimensional representation of the life path
2. Road	2.1. Absence	The idea of ​​the life path not as a continuous process, but as a change of static phases, stages (0.5)	There is no road in your picture. What is it connected with? What does this mean?
	2.2. Length	The idea of ​​the duration of the life path (0.5)	You have depicted a rather long (short) road. What does this mean. How long to walk this road?
	2.3. Width	The idea of ​​the ease of the life path (0.5)	You have depicted a fairly wide (narrow) road. What does this mean. How easy is it to walk this road?
	2.4. Straight, no turns	The idea of ​​the constancy of the life path (0.6)	The road you have shown is straight, with no turns. What does this indicate. Why was the direction of the path unchanged. Is it possible to change it. What do I need to do?
	2.5. winding	Perception of the variability of the life path, the influence of mood or circumstances (0.7)	The road you have depicted is winding and has many turns. What does this indicate. Why did the direction of the path change. Can it be straightened. What do I need to do?
	2.6. Crossroads and forks	Choice representations (0.7)	You have drawn a crossroads. What does it mean? What does it match. Which path will the traveler choose? Why will he do it?
	2.7. Number of paths	Ideas about the number of alternatives (0.6)
	2.8. turns	Representations of changing the path without the possibility of choice (0.7)	You have depicted a turn in the road. What does it mean? What does it match. What has changed or will change in your life after the turn?
	2.9. U-turns back	Ideas about returning to the past (0.6)	Your drawing shows the road turning back. What does it mean? What does it match. What will happen in your life?
	2.10. dead ends	The idea of ​​the end of the road, the hopelessness of the situation (0.6)	You have drawn a road leading to a dead end. What does it mean? What does it match. What happens when the traveler reaches the end of the dead end. What exactly are you stuck on. How can it be avoided?
	2.11. Cruciform (way forward, left and right)	Ideas about the alternative paths, the exclusion of one path from another (0.5)
	2.12. Radial (several paths leading from one point in different directions)	The idea of ​​a greater choice of paths (0.5)
	2.13. Axial (several paths leading in different directions from different points)	Representation of periodically occurring choices (0.5)
	2.14. Messy (several paths, turns, intersections)	The idea of ​​the complexity of choice, difficulty in orientation (0.6)
	2.15. Concentric (closed path, movement in a circle)	Notion of path repeatability (0.6)
3. Main direction of travel	3.1. No linear sequence of events from past to future	Difficulties in understanding the time perspective of events (0.5)	It's hard for me to determine what the sequence of events is. Where is the past, present and future? Why don't they follow one after the other?
	3.2. Back (down)	The desire to return to the past (0.5)
	3.3. Left	The desire to return to the past - in right-handers (0.6)	You seem to be walking backwards. How much would you like to go back. What would you like - to repeat or change past events?
4. Obstacles, barriers, boundaries	4.1. Pits, ditches, rivers, seas	Perceptions of difficult circumstances requiring "lowering", "lowering", associated with the risk of "falling" (0.6)	You have depicted a pit (ditch, river, sea) that prevents further progress. Can it be overcome. In what ways can this be done. Can you think of more ways. What does this obstacle actually correspond to? Can it be overcome. In what ways can this be done. Can you think of more ways?
	4.2. Walls, fences	Ideas about difficult circumstances requiring "lift", "jump" (0.6)	You have depicted a wall (fence) that prevents further progress. Can it be overcome. In what ways can this be done. Can you think of more ways. What does this obstacle actually correspond to? Can it be overcome. In what ways can this be done. Can you think of more ways?
	4.3. Ascents and descents (mountains, stairs, steps)	Perceptions of difficult circumstances requiring significant effort and time (0.6)	You have depicted a mountain (stairs, steps) that impedes further progress. What is needed to overcome it faster and easier. What do you have to overcome in your life. What do you feel about this?
5. Local items and technology	5.1. buildings	Cover ideas (0.6)	You have drawn a building. What is the purpose of this building. What can it give the traveler. Who or what is in it. Does the traveler want to go there. Can he get there. What's stopping him. How can you get in there. How do you take shelter in your own life?
	5.2. Furniture	Ideas about amenities and comfortable conditions (0.5)	You pictured the furniture. What does she express. What provides convenience in your own life?
	5.3. Doors, gates	Beliefs about controlled entry or exit (0.6)	You have depicted a door (gate). What does she mean. What is behind it. It opens freely or is locked. Whether the traveler wants to open it. Can he open it. What can be done to open it. What does this obstacle correspond to in your life? What do you feel when you are in front of the door?
	5.4. Bridges, tunnels	Ideas about ways to overcome obstacles (0.6)	You have drawn a bridge (tunnel). What does it mean. What does the bridge (tunnel) correspond to in your real life?
	5.5. Transport	Ideas about the means of accelerating and facilitating movement along the life path (0.5). Means of labor (in the literal sense) or status attributes.	You depicted a car (train, ship, plane). What does it express. What can match him in real life?
	5.6. Other technique	Ideas about additional means of solving problems (0.5). Attributes of professional technical activity or hobby.	You have depicted a technical tool. How can it help the traveler? How can he use it. What resources do you need in your life?
6. Landmarks: road signs, signs, signs		Representations about rules (0.6). Ideas about sources of information.	You have a road sign (pointer, plate). What he says. Who placed it. Should I listen to him. Can it be broken. What can this lead to. What else can help guide you along the way? Who tells you where to go. What do you think about it?
7. Works of art		Attributes of professional artistic activity or hobby (0.6). aesthetic orientation.	Why did you want to draw this. How do you feel when you encounter this. How can this help you along the way?
8. Natural phenomena	8.1. Plants	Minor minor details (0.5). Objects that help or hinder on the way to the goal. aesthetic orientation. Attributes of professional natural activity or hobby.
	8.2. Animals	aesthetic orientation. Attributes of professional natural activity or hobby.	Why did you want to draw this. What feelings does the traveler experience when he encounters this. How can this help him along the way?
	8.3. The sun	Factors that help or hinder on the way to the goal (0.6).	You have drawn the sun. How can it help or hinder the traveler. What or who in your life corresponds to the sun?
	8.4. Clouds	Factors that help or hinder on the way to the goal (0.6). Source of anxiety, anxiety.	You have drawn clouds or clouds. How can they help or hinder along the way. What or who in your life corresponds to these clouds?
	8.5. Thunderstorm	Source of Fear (0.6)	How does a traveler feel during a thunderstorm? What or who in your life corresponds to a thunderstorm?
	8.6. Precipitation	Factors that help or hinder on the way to the goal (0.6)	You drew rain (snow) > How can it help or hinder on the way. What does it correspond to in your life?
9. Other people		Ideas about people around, helping or hindering in life (0.6). Attributes of professional social activity or hobby. Demonstration of social status.	You are depicting people. Who are these people. What are they doing. What they want. What can they do. How do they treat travelers? How does he treat them? What feelings do they evoke in you? Who can help you along the way. Who can interfere?
10. Image of a traveler	10.1. The size	Self-importance, > self-respect (0.7)	You have made a rather large image of the traveler. What does this mean. How strong and capable he is. How is he similar to you and how is he different?
	10.2. Number of details	Idea of ​​own attractiveness, attitude towards oneself with sympathy, self-acceptance (0.7)	You have made a detailed image of the traveler. What does this mean. How handsome and cute he is. How is he similar to you and how is he different?
	10.3. Movement	Activity (0.5)
	10.4. Designation	Lack of self-confidence (0.5)
	10.5. clothing	Demonstration of acceptance of social norms (0.5)
	10.6. Objects of activity, means of labor, tools, etc.	Self-image as a subject of labor (0.6)	The traveler holds these things in his hands. What does this mean. How much he needs them. Can he get rid of them. How they can be useful along the way. How is he similar to you and how is he different?
	10.7. Status attributes (gender, age, profession, occupation, etc.)	The idea of ​​own belonging to a certain category of people (0.6)	Who is this traveler? What does he want to be. What does he have to do. What would he like to do. Will he succeed, will he achieve what he wants. Why?
	10.8. Traces	The idea of ​​the results of their activities (0.5)	The traveler leaves traces behind him. What do they mean. What mark will you leave in your life? What would you like to leave behind?
	10.9. Absence of a traveler	Displacement of ideas about oneself, ignoring one's personality, needs and opportunities, depreciation of oneself (0.6)	You didn't draw the traveler himself. What is it connected with? What prevented you from drawing it. How does this traveler make you feel? What would happen if you drew it. Where and how would you portray it. How is he similar to you and how is he different?
11. Text content	11.1. Lack of mention of own goals, motives, feelings ("I want")	Difficulties in setting goals (0.5)	In your text you do not say anything about what you are striving for. However, could you tell us about them? What exactly are they?
	11.2. Lack of mention of means, abilities, opportunities ("I can")	Difficulties in identifying resources (0.5)	In your text you do not say anything about what you can, are able to, are capable of. And how are things really? What are you able to do?
	11.3. Lack of indication of one's own actions ("I do")	Difficulties in the implementation of resources (0.7)	In the text you are silent about what you specifically do. What exactly are you doing? What do you do?
12. Symbols	12.1. Question marks	Doubts, difficulty in making decisions (0.7)	You drew a question mark. What does it express. What feelings do you associate with it? What could be the consequences of these feelings. What benefit can these feelings bring you? In what situations can these feelings interfere with you. What question would you like to answer. What is needed to answer this question?
	12.2. exclamation marks	Painful experiences or aggression (0.6)	You drew an exclamation point. What feelings do you associate with it? What circumstances led to the emergence of these feelings. What could be the consequences of these feelings. What benefit can these feelings bring you? In what situations can these feelings interfere with you?
	12.3. Arrows	Ideas about directives, instructions, rules, norms (0.6)	You have an arrow. What does she say. Should I listen to her? Can it be broken. What can this lead to. Who tells you where to go. What do you think about it?
	12.4. Numbering	Ideas about the sequence or significance of events (0.5)

Diagnostics of personality traits

The method of drawing metaphors "Life Path", developed by I. L. Solomin, belongs to the class of projective diagnostic methods. The uniqueness of this technique is that it was developed by a domestic author and takes into account Russian socio-cultural characteristics.

The technique allows: to establish the emotional state of a person, to identify the characteristics of temperament and character, personal problems and possible ways to solve them, to determine ideas about one's life and attitudes towards it, to formulate goals and plan ways to achieve them. The procedure for conducting the technique consists of two parts: the client's drawing of his own life in the form of a drawing and discussion of this drawing with a counseling psychologist. The methodology includes an atlas of drawings, which illustrates the main indicators of the methodology and examples of its practical use.

Purpose of the technique

The technique can be used to solve problems related to the diagnosis of psychological characteristics of a person and mental state, with counseling on self-determination and career planning. The technique has significant potential for corrective work with clients.

User Reviews

Psychologist - trainer of a private company in Chelyabinsk: “For many years I have been conducting personality development trainings. For the last five years in my practice, I began to apply the methodology of I. L. Solomin "Life Path" when conducting trainings. Discussion of the drawings of the training participants in the course of group work contributes to a deep study of their problems”

Equipment

Cabinet option

• Methodological guide
• Atlas of drawings
• Forms for fixing results
• Imaton quality certificate
• Information CD "Imaton"
• Branded pen "Imaton"
• Case box

The cost of this kit: RUB 5700

The study of the content of emotional problems.

Method of drawing metaphors "Life path", developed by I. L. Solomin, belongs to the class of projective diagnostic methods. The uniqueness of this technique is that it was developed by a domestic author and takes into account Russian socio-cultural characteristics.

The technique allows:

• reveal the emotional state of a person,
• identify the characteristics of temperament and character,
• personal problems and possible ways to solve them,
• define ideas about your life and attitudes towards it,
• formulate goals and plan ways to achieve them.

The procedure for conducting the technique consists of two parts: the client's drawing of his own life in the form of a drawing and discussion of this drawing with a counseling psychologist. The methodology includes an atlas of drawings, which illustrates the main indicators of the methodology and examples of its practical use.

Purpose of the technique

The technique can be used to solve problems related to the diagnosis of psychological characteristics of a person and mental state, with counseling on self-determination and career planning. The technique has significant potential for corrective work with clients.

Training participants "Find the door of your heart" Art therapy as a way to your own uniqueness and vitality » (teacher V. Grigaliunaite) discount is provided 10% for the Life Path methodology during the period of study.