FAMOUS HANDWRITINGS ANALYZED
BY
JOEL ENGEL
Scott Peterson
Picture a man standing bolt upright--the very image of independence, separateness. In Figure 1, look at line AD-it is straight. When one writes in such a fashion more or less consistently, we say that his writing is vertical. The slant of writing is one of the most basic and important points in graphology. When you write, your intention is simple-to tell the other person what is on your mind, to communicate. When your approach is "cool," your head (as opposed to your heart) is in control. The vertical writer may indeed have intense emotions, but they are held in check.
Scott Peterson's handwriting is vertical.
Notice the left margin as it descends. It is perfectly aligned. This reflects order, organization, and control. To return consciously to the beginning of each line, starting exactly where the line above began manifests strong discipline. Every "T" bar is perched exactly on top of each stem and all are of equally halved. The middle stem in every capital "E" is exactly in the middle. These points plus the upright slant indicates excessive need to control. There is an unnecessary dot after the title, "VOLUNTEERS.” This displays precaution. The pace of writing is slow and deliberate.
In handwriting analysis, the base line-how straight the subject writes-reflects mood. In order to ensure that the base line is accurately read it is best that the paper be unlined, for lined paper has a way of guiding the writer in a course, which may not be his real self. There are two paragraphs, the first ascends and the second descends. This reveals inconsistency in mood swings between elation and depression. The beginning paragraph, "the face" put on for the outside world, clearly expresses the 'up' type of personality - one full of charm. The falling lines, in great contrast to the ascending lines, broadcast a despondent nature. A great disparity between excessive need to control and depression coexist. Yet he can seem deceptively attractive to women. When courting, it's hard to tell the difference between danger and love because he devotes so much attention to you. Nevertheless, this type of depression is held in check. The fact that, in spite of this, Mr. Peterson starts each line repeatedly aligned, discloses that he is very capable of methodical planning.
According to graphology, a word in a paragraph that is particularly set off drops a very subtle hint as to the writer's feelings. The key word in a written document, which the writer singles out for special speed or hesitancy, is characteristic of his true relation and particularly his immediate aims in relation to what that key word stands for. Such changes of pace are detected either through a change in slant or the position on the page, which the writer gives to such key word. An increase in right-slantedness is indicative of a (perhaps unadmitted) warm feeling, and a lifting up into a higher zone is characteristic of hope, joy, and elation. A sudden decrease in a profoundly upright slant that now turns leftward, against the normal direction of communication in writing, reflects the writer's opposition to this set off word.
Observing the word "felt,” (second paragraph, second line, first word) the first three letters stand perfectly upright, consistent with all of the text, except for the last letter "t" - it turns decidedly leftward. What subtle (unadmitted) hint is he revealing about his feelings by setting off this emotionally charged word? Why does Scott Peterson want others to think that he has strong feelings for Laci, when in fact, his 'feelings' for her are cold, turned off?
It is clear that Laci emotionally threatened Scott Peterson. The tension between them built up. Obsessed with control, no one (except a masochist) could continuously live harmoniously with him. Scott wanted, demanded to run his life according to his own rules - to control all. Laci got in his way. Becoming dangerously despondent, Scott Peterson systematically plotted to once and for all, be in control.
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Osama Bin Laden
The epithet, "the most hated person in America,” has been aptly attributed to none other than Osama Bin Laden. Many psychoanalysts have developed personality evaluations of him. Graphologists have noted that his large-size signature, especially when it is compared to his smaller, Arabic writing, reflects an enormous ego. He is also depressed and feels undervalued, indicated by the descending end stroke of his signature. Psychoanalysts and graphologists agree that having an enormous ego, yet feeling truly undervalued, triggered his depression. Like other, less notorious sociopaths, he takes his hatred out on society.
The first round shaped letter in his signature is encircled several times, reflecting the feeling that he is living in a world of his own imagination. Bin Laden is trying to protect himself by not allowing anyone in. He is extremely egocentric. His heavy-pressured writing reveals an above-average libido as well as intense anger.
In the image below: line 1 - "Your Brother,” line 2 - Bin Laden's name printed, line 3 - Bin Laden's signature
The graphological interpretation of this type of personality is that he would be likely to exhibit animosity. However, there are many people who possess similar styles of writings and they do not wage war on society. Is there some other factor in addition to Bin Ladin's handwriting that reflects the difference? In the same fashion that his written signature projects his anger and animosity, so, too, is the revealing visual of his signature weapon, the Kalatchnikov rifle.
Many graphologists have stated that the Western rules of analyzing handwriting do not apply to Arabic. Generally, this is correct. Size, pressure, etc., can also be analyzed. One's country of origin must be taken into consideration for an accurate graphological evaluation. Two identical writings of different people from different regions of the world may have different meanings.
A Middle Easterner's signature, regardless of whether a Western graphologist can analyze it, does broadcast the writer's personality. Preoccupation with profession and lifestyle are frequently symbolized in the signature. The deciphering of such symbols is important for psychologists and psychiatrists.
Certain graphologists, particularly the internationally known Rafael Schermann, have concentrated on this aspect of graphology. Understanding the politics and religions of the region into which Osama Bin Laden was born and raised assist in the understanding and interpretation of his signature and textual writings. Psychoanalysts, taking into account the intense hatred that Bin Laden possesses, recognize that he will try to strike again. Graphological ethics preclude predictions.
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Adolf Hitler
The vulgar-looking and ornate capital letter in Figure 68 has a vertical line added in unnecessarily between the left and right parts. Obviously, this writer displays an undue claim of self-importance. Adolf Hitler wrote this way. (Many graphologists believe that the vertical line represented his moustache.)
In the above images, we can observe many peculiar aspects.
1. The slant. By measuring figure 3A with a protractor, you will notice that the capital H measures 28 degrees of incline; at the end of his name, the incline has become an acute 14 degrees. (Any slant measuring under 55 degrees must be considered pathological.) Not only does Hitler's writing start out pathologically, it becomes more so as it continues. His last letter is almost horizontal. Considering that slant indicates the degree of approach to others, we see here an intense need of some kind or desperate grab toward his fellowman. The fact that the writing looks as if it were falling shows acute depression.
2. Pressure. The extreme pressure in both specimens indicates a powerful, physical dynamo of energy when dealing with his fellowman.
3. t bars. In Figure 3B, we see a thick, heavy, brutal-looking t bar, written in a downward direction. This t bar shows us how Der Fuhrer approaches the addressee. Hitler's down-flung t bar, written with heavy pressure (even without his acutely inclined writing) leaves us in no doubt how he could become the monster that he was. These down-flung t-bars indicate the writer's low opinion of others. It wasn't difficult for Hitler to do away with others.
4. Capital letters. The name is the ego, and any capital letter also indicates the writer's ego state. Consequently, the capital letter of the name has an especially important meaning in interpreting the writer's ego.
Look at both 3A and 3B. The name is already written with a thick hand. Then Hitler adds something quite unnecessary to the capital in his surname - a vertical bar. This ugly, vulgar-looking, heavy, down-flung line, a tasteless ornamentation to an already ugly character, proclaims a deformed and depraved ego. If the world had recognized this depravity in his writing before his rise to power, would it have made any difference? One wonders.
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President Barack Obama
Barack Obama’s huge signature is eye-catching. Graphologically speaking, this reflects a tremendous desire to be the center of attention. The rightward extensions at the end of his first and last names (A1, A2) are like a self-portrait showing that there is more to him than just a name.
A small middle zone (B1, B2) in his John Hancock represents strong powers of concentration. People who have small middle-zone letters (a, c, e and any letter that does not have an upper or lower loop), possess great proficiency in doing work, requiring attention to detail. Many scientists, Einstein among them, have very small or even microscopic middle-zone letters.
These lines are also written in a wavy fashion, without distinct shape. This shows changeability. The diplomat, who must often evade ticklish situations and not commit to a particular course of action, writes in this manner. Wavy-lined writing also denotes versatility.
There are no beginning strokes in Obama’s signature (see C). This signifies someone who gets right down to the point without commotion. It is the handwriting of the mature individual.
His writing has much rhythm, charm, pressure and bounce. Combined with the openness on top of the “a” (see D), which indicates fluency, the President radiates self-confidence and energy and is a quick-witted speaker.
Disproportionately heavy pressure is placed upon the horizontal stroke (E1), as the vertical stroke (E2) is written comparatively more lightly. The reverse is the norm. Writing in a downward direction predominantly employs the flexor muscles, whereas in a rightward direction, the extensor muscles are primarily used. The flexor muscles are stronger than the extensors, normally producing heavier pressure.
A heavier horizontal than vertical axis indicates that the mother is the actively domineering or aggressive head of the family; the father remains relatively weak and ineffectual, though perhaps a man of intellectual stature, or he may be hated, dead or absent. This handwriting characteristic indicates a child who feels neglected or overpowered by the mother, depending on whether her love is lacking or overwhelming.
Typically, writers who put most of their pressure in the horizontal axis cannot conceive of their own limitations – nor can they stop “making the best of themselves” (overcompensation).
The way a man signs his first name reveals what the writer thinks of himself. The way he signs his surname hints at his feeling toward his family – particularly his father, since the surname represents him. The capital letter of Obama is written considerably smaller than the capital of Barack, an indication of hostility toward his father.
How one learns to write and how one’s writing varies inform the graphologist as to what is distinctive about the writer. A script cannot be classified as a mere variation when the writer invents a unique form. This has the utmost significance when constructed in one’s signature. This is a symbolic, and usually subconscious, self-evaluation.
Obama writes the capital letter of his surname as a circle and bisects it (F). The circle is the symbol for wholeness. Although in mathematics two halves equal a whole, when one feels emotionally split into two parts, incompleteness and negativity emerge. One who has not resolved heavy personal issues may, albeit subconsciously, not be completely objective when under pressure.
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Bill Gates
Bill Gates' high, upper zone extensions (A1, A2) as compared to his small middle zone letters (a, c, e, etc.) reflect a need to be on top of others-mentally. His fast-paced writing shows mental speed. The slashed j dot (B) and those unnecessary initial strokes (C1, C2) shout argumentativeness, cynicism and irritability. The right slanted angular writing broadcasts aggressiveness. The long, rightward extensions (D1, D2) tell of a sympathetic, generous personality. His left margin (E) is exceptionally even, this is indicative of a unique and exceedingly organized intellect. When coupling this with all of the letters that are shaped as numbers (F1-F4), it is not surprising how Mr. Gates has been so successful.
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Britney Spears
Britney Spears' handwriting is round, which reveals a childish, soft manner. Her middle zone letters (a, c, e, etc.) predominate, she is totally in the here and now. What are important to her are everyday matters. Her writing pressure is light, indicating a general lack of resistance. This can get her into trouble, as her 'inner strength' is weak. Her low upper zones (A1, A2) point to a practical, non-philosophical view of life.
Ear-minded people frequently spell poorly in English. The language has many words that sound alike but spelled differently, and others that are spelled alike but are pronounced differently. Such persons tend to spell words phonetically, but in English, this is frequently misspelling. Such people are likely to omit punctuation marks-comma, colon and exclamation point. Notice two misspelled words in this short note (B1, B2). Ear minded people are often very successful when selling to an audience. Aside from all of her other winning traits, Britney Spears is instinctively a musician.
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Albert Einstein
How does the writing of Albert Einstein reflect genius? It looks so simple! The truth is that simplicity is one of the keys to superior intellect.
A small middle zone is necessary for high powers of concentration. At some points, Einstein's middle zone becomes microscopic.
Notice how extremely even the left margin is as it descends, showing a sense of order. Add to this the many exactly placed i dots, and we have an extreme sense of order and an exacting memory. Cautious by nature (also indicated by the exactly placed i dots), Professor Einstein adds a dot after his surname-just a precaution.
His clear-mindedness and creative ability are shown by not allowing one letter to protrude into another in the lines above or below.
Yet the most striking characteristic seems to be his t crossings. Observe their individualistic, even strange, maneuverability in the upper (intellectual) zone. It is difficult to describe what Einstein does in this region, as it is to define genius.
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Secretary of State Hillary Clinton
An analysis of Clinton's signature reveals that she is not as cold as rumored. Many politicians, due to their public lives, feel the need to impose a safeguard, and although her bolt-upright signature shows a cool approach to others, the body of her writing, "the real Hillary," does lean somewhat rightward toward her fellow man, reflecting some warmth.
Her printed capital letters (G1, G2) denote intelligence and culture. The breaks between letters (H) imply intuition. The spacing between the lines (I1, I2) is a little wider than average. This, combined with those needle pointed tops (J1-J3), points to an analytical and sharp mind. There are virtually no beginning strokes before the letters; this person is to-the-point. The unizonal letters (a, c, e, etc.) are small, illustrating the ability to focus. No lines are tangled; this displays one who is clearheaded. These are the components of the "born lawyer.’"
At the end of the first line of a letter, a writer stops where it seems most appropriate and returns to the left margin to start a second line. Clinton moves the starting point of the written lines more and more to the right (K), toward the right margin; the left margin widens. This signifies both enthusiasm and impatience.
A wife who writes her husband's family name, or the initial of it, with considerably greater emphasis than that with which she writes her own initials, indicates that she thinks she has married "above her station." The converse is also true: If a woman writes her husband's surname smaller, or if she writes its initial noticeably smaller than the initials of her own name, she demonstrates a low opinion of him, his family or both. In this signature, the first name has considerably greater emphasis than the family name. This speaks for itself.
Notice that the cross bar joins the following letter (L1-L4). This reveals a clever combination of thoughts, the quality of the crossword puzzle-player, who can solve abstract and intricate difficulties and has the capacity to be open to experience.
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Early Cancer Detection through Handwriting Analysis
“Handwriting is brain-writing.” Graphologists explain that the brain is the director of our physical as well as our mental activity. Just as our writing reflects our personality, so does it reflect certain aberrations in our physiology.
It is widely accepted in medicine that with the development of cancer, certain neuromuscular disturbances of coordination take place. Since handwriting constitutes the tracing of neuromuscular coordination, the microscopic characteristics of handwriting strokes become an important method for examining human neuromuscular development.
Alfred Kanfer, born in Austria and later imprisoned in Dachau concentration camp along with his wife, is considered the pioneer of the graphological neuromuscular test for determination of groups at high risk for cancer. He had an impressive 84-percent accuracy rate in detecting the disease through handwriting.
What the Kanfer test does is to apply a neuromuscular tool to determine the presence or absence of such characteristic neuromuscular disorders. The Kanfer test alone does not determine the presence or absence of cancer; it determines a factor associated with cancer.
Alfred Kanfer was released from Dachau; he emigrated to the United States. He was an outsider in the field of medicine-with a method for identifying cancer-prone individuals that was so highly unorthodox, that he had a stiff uphill battle to prove his method and find acceptance for it.
What is surprising is the cooperation he received, throughout his more then thirty-five years of work, from many prominent doctors and hospitals.
The Hospital for Joint Diseases in New York, the Preventive Medicine Institute-Strang Clinic in New York, the Equitable Life Assurance Society, the Metropolitan Life Insurance Company and the American Cancer Society provided financial and material support for Kanfer’s work. Their patients’ handwritings were submitted to him for analysis.
The “Heart Tick”
Graphologists have determined that certain breaks in writing, slight interruptions in the upstroke and in the downstroke, especially in letters with loops, can point to heart disease. They call this break a “heart tick” and find it particularly in the lower-case h
(see arrow, Figure 1).
Another sign is abnormal dotting in the course of the writing “trail” (see Figure 2).
In the act of writing, a person with heart trouble-which is often accompanied by shortness of breath-instinctively rests the pen on the paper, as one would do with a stick when walking.
Dr. Ulrich Sonnemann, a major contributor to the early development of professional graphology in the U.S. whose book Handwriting Analysis as a Psychodiagnostic Tool (Grune & Stratton, 1950) is highly respected in the field, confirms that a disrupted pattern of strokes can be indicative of cardiac disease. Sonnemann adds that the specific frailties and incomplete ataxias (the inability to coordinate voluntary muscular movements), which are marked by partial dotting of the course of strokes, have been discovered at very early and clinically undetected stages.
Variations of Normal Handwriting
The foremost tenet in graphology is analyzing the difference between a person’s handwriting and how he was taught to write. There are many shades of instructional technique in script, all of which would be classified under “variations of normal handwriting.” When the writing differs to the extent that it certainly was not taught to the writer this way, that difference is analyzed. The “normal” writing sample is provided as a basis for comparison.
Marked difference between downstroke and upstroke pressure in regular sequence throughout a given writing sample.
Characteristics: Downsrokes are broader and show greater ink density than upstrokes.
(1 and 2 in Figure 3).
All downstrokes in a given writing have about the same width, and so do all upstrokes.
Elasticity of strokes.
The width of downstrokes gradually increases toward the baseline, where they connect with the upstrokes and at the same time the upstrokes thin out slightly along their course.
Uninterrupted flow of movement through downstrokes and upstrokes.
Characteristics: Uniform, even density of ink throughout the length of downstrokes and upstrokes (1 and 2).Continuous, uninterrupted and unwavering delineations of downstrokes and upstrokes (1 and 2).
Uninterrupted flow of movement through area of transition (3 in Figure 3).
Characteristics are as above.
Of specific importance is the uninterrupted joining of downstrokes and upstrokes, which requires a maximum degree of neuromuscular coordination and is therefore of the highest significance.
Finding Cancer in Its Early Stages
A startling example of the accuracy of the diagnosis of cancer through handwriting analysis is the case of Mrs. B. By medical standards, Mrs. B. was found to be healthy from the date of her first handwriting sample to the date of the third. One year after the date of her third sample, at the age of 41, an advanced cancer was found, and she died at 42.
The following samples are microphotographs of Mrs. B’s handwriting.
The first one (Figure 5) was written at age twenty-eight, the second (Figure 6) at age thirty-three, and the third (Figure 7) at age forty.
The first sample, Figure 5, shows the typical criteria of normality-that is, a mature neuromuscular condition with a normal range of coordination. Normality is manifested in the smooth, continuous flow of movement, both in the descending and ascending strokes (uniform flow of ink throughout the strokes and sharp, continuous delineations to both sides of each stroke). The strokes have an oval shape; the turns from descending to ascending strokes are narrow, curved, and show continuity of movement throughout.
A regular pattern of heavier (wider and darker) descending strokes and lighter ascending strokes prevails throughout the sample.
The second sample, Figure 6, shows a marked change. Although the overall pattern of heavier descending strokes and lighter ascending strokes is still preserved, the narrow turns have disappeared, the writing spreads out widely, the strokes are much weaker and highly unstable, and in most of the ascending strokes, clear segmentations can be seen.
(Segmentation means that continuity of movement is interrupted, and the direction of the stroke is seen on microscopic examination to be wavering.) Clear interruptions between descending and ascending strokes are also visible.
The third sample, Figure 7, shows a breakdown of every phase of the writing process.
The strokes are stiff or formless. The pressure is uneven, sometimes too heavy, and in other strokes too light. There are clear interruptions between descending and ascending strokes, and both types of strokes show marked, low-amplitude, high-frequency segmentations.
“With these (and many such) findings it was for the first time shown with statistical significance that the manifestations of cancer in handwriting precede the manifestations of cancer by clinical signs.” (Bulletin of the Hospital for Joint Diseases, April 1, 1958)
Setbacks
Although Kanfer’s handwriting test was remarkable, he did make some blunders along the way, which had to be corrected. While he was able to clearly separate the healthy handwritings from the ones indicating cancer or heart disease, he erred by diagnosing a considerable number of the heart cases as positive for cancer. In later studies, with sharpening of the cancer criteria, this cause of error was practically eliminated.
A second error involved inappropriate use of materials and turned up when three tests were conducted under the auspices of the American Cancer Society. The first and third test ranged between 84 and 98.4 percent in the accuracy of detection of cancer.
The second study was the only one that failed. It was carried out on samples gathered at a Detroit cancer detection center. The reason for this failure, as later established, was faulty technical arrangements. The patients were made to write with a hard glass plate as a writing support and had to use a rigid, fine-point pen, a combination that made the finer segmentations in the stroke practically invisible, even to the microscopic equipment then available.
When this error was recognized, some changes were made in the microscopic technique and some of the samples were re-examined. Kanfer’s results were then considered “very good” by the Cancer Society. Nevertheless, this failure set his work back many years and demonstrated the importance of technical considerations in research.
Unresolved Questions
Many questions remain unresolved. What about the problem of a handwriting that “tests positive” when there is no medical diagnosis? What effects does that information have? What psychological harm can it do when there is no detectable cancer to treat?
This problem affected Kanfer himself. He went to the Strang Clinic doctors to tell them that he saw positive indicators of cancer in his own handwriting. They couldn’t find the cancer until three weeks before he died.
Although graphology’s strength lies primarily in personality evaluation, in which it achieves up to 98 percent accuracy, the statistical significance attributed to the Kanfer test remains great. The need for more research is vital.
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Change Your Handwriting, Change Your Life?
Several graphologists theorized, if you can study someone’s handwriting and deduce ideas about his character, why can’t you reverse the process? By modifying his handwriting, perhaps you can modify his character.
Character sets the individual pattern of each handwriting and is inseparable from it; consequently, a voluntary handwriting change, once achieved, produces a corresponding change of character. How is this possible? The circuit established between brain and graphic gesture by the nervous system is two-way. Thus, the ability of the brain to influence the writing hand is reversible.
The treatment of personality and character flaws through deliberately made changes in the handwriting, offers a completely new field for the graphologist and subject alike.
The possibilities for giving quick and effective help where it is needed are almost boundless in dealing with the myriad problems that grow out of character defects. In the case of children, where character is in the process of being formed, graphotherapy is particularly effective. And this is true whether the child in question is “disturbed,’ delinquent or just an average youngster needing guidance to arrest undesirable tendencies and to develop good, sturdy characteristics to see him through life and permit him to make the most of his potentials.
The technique requires the subject to copy a handwriting exercise at least twice a day, morning and night, consciously modifying his script according to instructions supplied by a competent graphologist.
Graphotherapists have won the support of doctors, teachers and psychologists for success in clearing up mental disturbances in children by changing their handwriting.
Graphologists have found that many of children’s ‘inner problems’ showed up clearly in their writing. The introverts had difficulty connecting their letters; the fearful tended to squeeze all theirs together. Gradually, graphotherapists concocted a set of corrective exercises designed to give children a sense of continuity, invention and equilibrium. They theorized that in overcoming a defect in any one of these elements, a child must first develop a feeling for rhythm, melody and harmony.
(See Figure 1)
Figure1
Then they move on to variations:
(Figure 2)
Figure 2
Some ‘nervous’ children have found success with the following exercises:
(Figure 3)
Figure 3
Selected, ‘unstable’ children are asked to write:
(Figure 4)
Figure 4
to develop continuity in a discontinued movement.
Those who squeeze their letters practice broad, sweeping motions:
(Figure 5)
Figure 5
Moreover, those who spread their letters too much through lack of a sense of harmony must develop a consciousness of space and balance by writing:
(Figure 6)
Figure 6
Later, each child is encouraged to find his own creative personality by forming his letters individually and to develop equilibrium by slanting his writing in one direction and making his letters all one size.
Like remedial reading, graphotherapy does not change the basic personality; it is merely one way to break down certain kinds of emotional barriers. Experts conclude that freeing children from the restrictions imposed by the fact of having to write can contribute to emancipating them from deeper problems and help their personalities to blossom.
Graphotherapy undertakes to break undesirable habits which the hand follows as it writes, replacing them through repetitious exercise with desirable graphic habits. The hand, if you will, is retrained in specific writing gestures.
Handwriting exercises have much in common with the finger exercises employed in learning to play the piano. In the latter case, as long as the pianist must consciously think where to place each finger on the keyboard as he reads the music, he proceeds slowly and painfully, making errors. It is only after repetitious practice, when his fingers respond automatically and without conscious attention that he can perform as an accomplished artist.
In graphotherapy, the goal is achieved when the desired handwriting change has passed the state of conscious application and imitation, becoming automatic and normal to the hand.
General Rules:
Establish a time, morning and night, to perform the exercise, and adhere to it. Writing is, of itself, an act of will. If you lack the energy to do the exercise regularly of your own accord, you should solicit the help of someone who will see that you accomplish the task. Regularity and persistence are salient ingredients of the treatment.
At the outset, exaggerate the change you are trying to achieve; but as it comes easier to your hand, cease to emphasize it and aim for naturalness.
If several changes are desired, accomplish only one at a time, unless they are interrelated.
A mother of a fifteen-year-old boy wanted him to be ‘cured’ of his shyness and low self-worth. She made an appointment with a graphotherapist. The graphotherapist must graphologically identify at first the desired trait to be modified and then proceed with the appropriate exercises. His mother was accurate in her evaluation. The following writing exercises are the instructions that the graphotherapist advised.
A graphologist, utilizing the recommended ‘gestalt approach,’ first notices what is obviously ‘different’ about this handwriting (figure 7). It is written with very light pressure (timidity, lack of confidence) and a wavering base line (unclear about direction).
The subject was asked to try to write with heavier pressure (figure 8). Lines were superimposed to point out to him that his writing ‘bobs and weaves.’ ‘t’ bars that were initially written particularly without pressure (lack of enthusiasm) were reinforced with heavy pressure.
8)
After a few weeks of exercises, his writing--he--is healthier (see figure 9).
9)
The writing has heavier pressure than originally, including the‘t’ bars. The lines are evenly balanced. And although the subject was not asked to change his personal pronoun “I,’ observe the prominence in both size and shape. In figure 7 (see arrow) the “I” is dwarfed, a personal reflection, in figure 9, the larger size and shape speak for itself. The astute graphologist would certainly take note of this enhancement of the writer’s self-image.
Does graphotherapy work? Perhaps this boy’s mother summed it up best. “To be perfectly frank, I am not sure. It probably does. I know that he would hesitate to go outside with friends, etc., and I would avoid asking him. Now neither of us has a difficulty with this. What I can say is that from the time he started these exercises, his self-confidence and motivation has greatly improved. He’s happy and that’s what is important.”
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Honesty and Dishonesty through Handwriting Analysis
In order to determine dishonesty in one’s handwriting, the ability to recognize honesty is a prerequisite.
Honesty
In general, the handwriting of honest people has clarity, simplicity and a firm, straight base line. (See Figure 1)
The writing in Figure 1 is more or less straight. You can see this by taking a ruler and placing it under the middle-zone letters-they are all equidistant from the ruler. When the base line is straight (and certain other factors are not present), we find an individual who does not go to pieces if something unexpected occurs. He is composed, not easily upset, straight thinking, and honest.
The more open the ovals are, the more talkative the writer is. When these letters are a regular feature of someone's writing, he can be said to be both open and honest. However, if there were no oval letters closed, it would be best not to tell the writer any secrets-he may have difficulty keeping them.
If the body of the writing is similar to that of the signature, we see an essentially honest and straightforward individual-one that is not trying to impress others or play a false part. When the signature varies from the body of the writing, graphologists first analyze the body of the writing, to discover what the writer really is. Then they check that against the signature to get an impression of the writer’s persona-the role he is trying to play.
Dishonesty
Although there are many indicators of dishonesty, which can be identified through one’s handwriting, graphologists always rely upon three signs.
*The sinuous base line. (See Figure 2)
He is inconsistent, prey to mood swings. It is difficult for him to hold a job or perform any function-requiring steadiness.
*Oval shaped letters, which are open at the bottom (see arrows in Figure 3). This reflects deceitfulness and hypocrisy.
*Figures that can be mistaken for others, reveals lack of clarity in money matters. (Figure 4)
When any one of these three signs are found in one’s writing, a question mark arises to the graphologist concerning the writer’s veracity. Two signs are considered as evidence.
It must be pointed out that the professional graphologist only relies upon these factors when:
they are significantly repeated and this is the writer’s natural handwriting.
A person's illegible signature does not admit of any complimentary interpretation. For how much trust can be placed in a document if the signature that is to prove the signer's determination to carry out his promises cannot be deciphered? In a sense, an illegible signature annuls the document it pretends to put in force.
In contrast, the illegible hand of doctors, for instance, is part of their professional pride and secretiveness; they do not want the layman to understand their notes obviously reserved for other doctors or pharmacists. As this is not the doctor’s natural handwriting, it certainly is not an indicator of dishonesty; it is to protect his patient.
Psychopathology in Handwriting
The Habitual Liar
The technique of lying, it seems, has at least three ways of achieving its ends. In the liar's presentation of the story,
l. one (essential) part is simply left out;
2. one (essential) part is left out and a freely invented part is substituted for it;
3. one (essential) part is left out and the gap is filled with chitchat, or meaningless or vague tales. In all three ways, the liar tries carefully not to appear as such; his story and approach must not arouse suspicion.
(Essentially, the habitual liar, as a social type, is unwilling to communicate frankly; he will not express himself without indirection or hesitation.) In writing, the liar's techniques remain the same. While the first letters of words look clear and often are written with great care (to deceive us and to draw our attention away from that part of the word where the lie “resides”), the body of the word behind that first letter is,
Incomplete: one or more letters are left out (“ad” instead of “and,” “Thanki” instead of “Thanking,” “neived” instead of “received,” “sicenly” instead of “sin¬cerely"),
or
One or several letters are replaced by letters that do not belong there (“eacl” instead of “each,” “mucl” instead of “much,” “costme” instead of “continue”),
or
3. One letter is left out and instead there is a thread (“fr-” instead of' “from,”) or something that looks like a letter but is not (“ar-y” instead of “army”).
The above samples are taken from one message, written by a habitual liar.
The Pathological Liar
These two seemingly different handwritings were written by one person, a pathological liar. She executed this writing for the doctor who had her under his care, in order to show “how clever she was.” From the standpoint of graphology, these handwritings are identical with the exception of the slant; neither contains a basic characteristic that the other lacks.
The pathological liar, to be sure, is not merely a person who tells many lies. He is almost completely identified with the false roles he unconsciously assumes. Consequently, he will characteristically show two or more different styles of writing, rather than merely the slips of the “habitual liar.” Such shifting of style is the clue to pathology, which the graphologist can discover.
Learn more: http://www.learngraphology.com
What Career Matches Your Personality?
Does your writing follow the copybook model taught in school?
Do you write letters that resemble numbers?
Do you always connect your letters?
Then you can become an excellent accountant, bookkeeper or cost estimator! Discover the perfect career for you through the secrets of your personality type.
Do you know if you are doing the work for which you are suited? What talents your teenage children are gifted with, which might be developed through the right course of education? Which is the right person for that special position in your organization?
Researchers have observed that most people have certain personality traits that can be categorized into professional careers. How well your personality and career match can significantly influence whether you find that career fulfilling, nerve-racking or boring. The first step is to identify your personality type. The more closely your type matches the job's requirements, the happier and more successful you will be.
What’s New
An evaluation of your handwriting will pinpoint your employment strengths and direct you to a profession that best compliments your unique personality.
How Does it Work?
A professional graphologist trained in vocational guidance will analyze your handwriting. For example, if the following traits are found, you are
• Sensitive
• Intuitive
• Nurturing
• Compassionate
• Very hands on
then the graphologist will recognize nursing as your best match, as these are some of the vital traits necessary for this profession.
Before the arrival of the internet, getting information about the activities that make up a job search was truly hard to find. Now, it is all at your fingertips.
Learn more: http://www.learngraphology.com
What Your Signature Reveals
The signature gives graphologists a great deal of information, much more than any other part of a subject's handwriting. The signature is the ego, but it goes beyond this point. The body of the writing represents what the writer really is, whereas the signature shows what he would like you to think he is.
If the body of the writing is similar to that of the signature, we see an essentially honest and straightforward individual-one that is not trying to impress others or play a false part. When the signature varies from the body of the writing, graphologists first analyze the body of the writing, to discover what the writer really is. Then they check that against the signature to get an impression of the writer’s persona-the role he is trying to play.
Figure 1
In Figure 1, the body of the writing is generally vertical, showing a cool approach toward people in general. The inclined signature implies anything but coolness. Grandma Ruthie wants you to think that she is warmer than she really is.
Notice that the text in the writing of Harriet Beecher Stowe (Figure 1A) is quite similar to that of her signature in angle, pressure, and size of capitals. This consistency between text and signature can also be seen in the writing of Albert Schweitzer (Figure 1B), showing them both to be “true types.”
1A
1B
By contrast to Figure 1, Figure 2 shows the body of the writing to be in¬clined (warm), whereas the signature is more or less upright (cool). Ted is warm and sensitive, but would prefer you to think of him as more indifferent than he really is.
Figure 2
Compare the right-slanted body of the writing of French composer Jules Massenet (Figure 2A) with his vertical signature. The real man was quite
warm, but he thought it better for others to think of him as being a bit more “cool,” perhaps for professional reasons.
2A
Figure 3 shows simplified writing, but displays an artistic signature. The writer, a person of simple tastes, would like you to think he is artistic.
Figure 3
Figure 4 contrasts the large writing of the main body with a tiny signature. Henry is far from being humble, but his tiny signature shows that he wants you to think he is.
Figure 4
When a person holds an image in his mind of someone he respects or likes, he tends to make that person’s appearance larger than it actually is. The opposite is also true: lack of respect for someone makes him reduce the image in size. These images are shown in his writing.
When the writer in Figure 5 addresses the person to whom she is writing, her handwriting shrinks in size in comparison to the body of the writing. Thus, this writer has low esteem for Mrs. Coll.
Figure 5
Figure 6
The body of the writing in Figure 6 is smaller than the name of the addressee. Therefore, the writer has a high regard for Bonnie.
Figure 7
Although the addressee's name in Figure 7 is unclear, the body of the writing is quite legible. The writer is confused, not sure of how he feels about his cousin.
Figure 8
In Figure 8, the addressee's name is “wiped out.” The writer would love to get rid of Dave somehow or other.
Figure 9
In Figure 9, the writer's own name is written much larger than that of the addressee. Charlie thinks much more of himself than he does of Nancy.
The way a man signs his first name indicates what the writer thinks of himself. The way he signs his surname hints at his feeling toward his family-particularly his father, since the surname does represent him.
When both names are equal in size, he demonstrates an equal regard for himself as an individual and for his family. When there is a variation, the writer is portraying how he feels about his relationship with his family.
Joseph Planter
Figure 10
In Figure 10, the first name is larger than the surname. The writer is more involved in his own affairs than concerned with being part of his family.
This trait can be seen in the signature of Miguel de Cervantes in Figure 10A:
Figure 10A
Figure 11
Figure 11 shows the surname larger than the first name. This writer considers his family first and thinks of himself as part of it, rather than as
an individual on his own. The signature of Alfred Nobel in Figure 11A shows this trait:
Figure 11A
When the capitals of both first name and surname are large and relatively even, as in the signature of Ted Kennedy in Figure 11B, it shows a person who is proud of his family as well as of himself:
Figure 11B
As the following examples show, a woman’s writing often demon¬strates her opinion of her husband.
Figure 12
Not only does the woman in Figure 12 sign herself with the title “Mrs.,” she writes her husband's name in a large hand. Mrs. Jay is very proud of her Joseph.
Mrs. Anna Smith
Figure 13
In Figure 13, a woman writes her title and husband's last name quite large in comparison to her own given name. She thinks much more highly of her husband than she does of herself.
Figure 14
Though the woman in Figure 14 did sign her name with the title “Mrs.,” it and her husband's last name are small in comparison to her own given name. She is prouder of herself than of her husband.
Figure 15
In Figure 15 (this happens to be the signature of a married woman) the writer writes her own given name much larger than her husband's. It is easy to see why, as she has little regard for her husband.
Learn more: http://www.learngraphology.com
