HANDWRITING: it’s personal
an amateur’s guide to handwriting analysis as a window to the soul
HANDWRITING: it’s personal
an amateur’s guide to handwriting analysis as a window to the soul
written and compiled by
ALL RIGHTS RESERVED INCLUDING THE RIGHT OF REPRODUCTION IN WHOLE OR IN PART IN ANY FORM COPYRIGHT
Š
2014 BY LINDSAY RIFE
FIRST PRINTING
MANUFACTURED IN THE UNITED STATES OF AMERICA
SOURCES:
Foli, P. R. S. Handwriting as an Index to Character. London: C.A. Pearson, 1902. Print. Hagen, Hugo J. Von. Graphology; How to Read Character from Handwriting Studies in Character Reading, a Textbook of Graphology for Experts, Students and Laymen,. New York: R.R. Ross, 1919. Print. Meyer, Jerome S. The Handwriting Analyzer. New York: Simon and Schuster, 1953. Print. http://www.handwritinginsights.com/index.html
dedicated to my fourth grade teacher, Mrs. Rodgers
for always believing in me and my freakishly good penmanship
CONTENTS INTRODUCTION
1
SECTION 1
WHAT IS GRAPHOLOGY?
3
SECTION 2
THE SIGNIFICANCE OF HAND
6
SECTION 3
GENERAL CHARACTERISTICS OF ANALYSIS
9
MARGIN LINES SIZE & HEIGHT SLOPE & SLANT WORD ENDINGS ROUNDNESS
PLAINNESS REGULARITY WIDTH THICKNESS CONNECTIVITY
FIRST & END STROKES
ASCENDERS & DESCENDERS
PUNCTUATION
FLOURISH
a SYSTEM OF ANALYSIS: EXPLAINED
21
SECTION 4
STRUCTURES TO ANALYZE YOUR OWN
23
SECTION 5
ANALYSIS: JUXTAPOSITIONS
34
INDEX
46
COLOPHON
49
Basically, no two of us are alike. Neither is our handwriting. Have you ever thought about the fact that we may find just as many different kinds of handwriting as there are people in this world? Just as there are exactly 7,263,940,779 people alive as I write this, out of those literate humans, there are just as many handwritings that fail to be similar in every detail. But what makes us individually unique? As humans, it may be the way we walk, and swing our arms, or the lilt of our voices as we get excited. What do these motions and characteristics say about us? Have you ever considered handwriting to also be a recognizable personal trait? The thing is, the strokes of the pen or arm are significant. It’s not fortune-telling, but more so reveals the secrets of the soul. You’re probably wondering how on earth your chicken scratch says anything about you other than probably
failing second grade. But handwriting analysis is not a simple game. In its truest form it is a complex study of the arrangement, form and movement blended with a sensible psychology of human behavior. Evidence supports that graphology, the interpretation of the significance of handmade marks, indeed reveals consistency in people’s handwriting. But real questions have been raised of the reliability of such inferences based on handwriting, and note that the evidence remains fragmentary. The quality of research in the area is not high. All of that to say, interest in the application of graphology is increasing. Many people believe that inferences based on script samples can solidify qualification for a job, reveal the darkest secrets of the soul, and even match one with his or her soulmate. My less than two weeks’ experimental and scientific acquaintance with handwriting analysis warrants me this: to set forth, to the satisfaction of all wannabe graphologists like myself, a simple means of arriving at a better understanding of ourselves and others through the observation of simple, potentially truth-revealing characteristics.
i n t roduc t ion
All of us are aware that faces differ infinitely in detail from one another; and that, although certain people may resemble each other, by having a particular form of— say—a nose, or chin, or brow, nobody yet ever succeeded, so far as we know, in discovering any two persons precisely alike in feature or expression.
1
so... wha
sec t ion
1
2
at even is
GRAPHOLOGY? What IS graphology, anyway? Interest and observation of the idiosyncratic nature of individual handwriting dates centuries back. Suetonius, the Roman biographer of 80 AD noted peculiarities in the handwriting of Emperor Augustus, and recorded them. Camillo Baldi, who lived in Italy in the 17th century, initiated the analysis of handwriting by its components. From a later period Goethe is known for reflecting the idea that a person’s character is projected in the way he writes. The term “graphology” was coined in 1871 by Michon, a French churchman who studied handwriting for more than 30 years. It has since been used as a term for the process of analyzing handwriting and its several features.
“The science of reading character,” if you will. Although handwriting cannot inform even the most expert of experts what the future may have in store for us—whether we will become rich or poor—if we will marry or remain single, and die in youth or old age—the subject of graphology has excited considerable interest for centuries wherever its principles are understood and practiced.
sec t ion
1
While few of us would care to accept or reject an offer of marriage solely on the strength of a “graphological analysis” of a potential mate, we do instinctively judge one another by handwriting.
3
Think about it: we notice illegibility or unclearness in the same way we would comment on the slobbiness of someone’s bedroom. We praise one for beauty of penmanship the same way we compliment a killer outfit.
Therefore, handwriting can be judged accordingly. Ever thought about how many letters have gotten lost in the mail or returned to sender due to the state of the writing on the envelope? Along those lines, I doubt whether the most urgent of emails has ever elicited the exuberance of emotion which the handwritten letter calls forth. How eagerly we rip open letters from friends and foes, and devour the personal touch with whoever our correspondent may be. This “personal touch” is the secret of the interest we take in handwriting. Emails, text messages, calendars, each has its purpose. But handwritten text possesses a special advantage over all these; they mean that the writer has expended time, thought, and personal effort upon their production. Consequently we value them.
sec t ion
1
4
Even old letters, or journal entries. What memories they awaken! As we turn them over in our own hands and compare the “hands” in which they are written, first in childhood, then youth, adulthood, and finally old age, we see how full of meaning they are, both to us and to the letter’s possessor.
sec t ion
1
excerpt from a letter written by James Dean, well known and beloved American actor (1931–1955)
5
THE HAND
and its signif icance A person’s handwriting is a photograph of his or her character. As long as we’re studying penmanship in school or at home it is a merely mechanical operation; we simply follow a chart or the white board letters written out by an instructor. But after we have “mastered” the art of writing with our hands, we become independent and write and form letters to suit our personal taste and ability. Our hand then becomes the unconscious instrument of our brain and merely transcribes into letters, words and sentences, recording the active thoughts as they are formed.
Kind of freaky, right? Our individual personality will therefore unconsciously form letters greatly at variance with the school copy sheet, by changing some letters either through the addition or the omission of strokes which we were initially taught to make. Through brain-activity we express unconsciously in our handwriting our feelings, our desires and our will. If we even tried, when writing, to conceal them, we could not do so. We can’t change our character overnight. We can’t counterfeit a real thought, feeling or will-effort observed in a real analysis of our own handwriting. (So that’s why you rarely really got away with forging your mom’s name on permission slips) sec t ion
2
6
Your individual style of handwriting can also be considered, interestingly enough, in relation to your type of hand. We may say something like, “it is a well-known fact that the largest hands produce the finest work,” but it’s just physics: the manner in which pressure is applied to the pen will depend on the way in which the thumb or either of the fingers is employed to drive it over the paper. Strong thumbs equal naturally firmer handwriting, along with more decided bars to the “t,” and indication of pulse beats in the fluctuations of pen pressure. Long forefingers may result in the “t” crossed high up, and “i”-dot flying far above the letter. Round, muscular versus square-set, angular hands lead us to look at the difference in movement and expansion of lines of writing, while “nervous” types may exhibit a more small and animated form. On the other hand, (ha) a flabby, soft hand will compose a series of rounded, inactive-looking lines. All of this said, we may regard handwriting as a registration of personal gesture. Therefore, wide discrepancies exist between such utterly different scripts and uniquely physically-built people.
sec t ion
2
Handwriting requires executing sequential strokes to form a letter. These sequential finger movements activate massive regions involved in thinking, language and working memory—the system for temporarily storing and managing information.
7
GENERAL CHARACTERIST
TICS
lines margin
When analyzing handwriting, specimens are always preferred which are written on paper with-
The width of margins shows
out lines. Of course, there are
one culture, aestheticism and
people who seem to be unable to
sense of values or the lack of
write at all, except on lined pa-
them. Margins also reveal self-
per; nearly all such writers may at
consciousness and extravagance.
once be set down as being rather
A very wide left margin
weak, helpless and dependent
shows a somewhat
natures, who like to lean upon
impractical person of
others for support and advice.
refinement with a deep appreciation for the best in art and music. Narrow left margins show the reverse. No left margin at all shows a practical nature, a wholesome economy and a general lack of good taste. A very wide right margin shows a person afraid to face reality, oversensitive to the future and
Others again, even if forced by circumstances to use lined or ruled paper, do not follow the printed lines but write above, between or below them. Such writers possess an independent character which enables them to cut out their own way in life, or to use a cliche: they “paddle their own canoe.”
generally a “poor mixer.”
The slope of lines, whether they
A very narrow right margin shows
run uphill or downhill, deter-
the reverse.
mines the spirit and ambition of
Margins that grow wider at the
the writer.
bottom show inability to save money as well as haste and
UPWARD
impatience. Margins that grow narrower
margins shows a person of extremely delicate sensibilities with a love of color and form; one who is aloof and lives in his own dream world of beauty and form. Such a writer is “highly impractical.”
EXTREME UPWARD AVERAGE DOWNWARD EXTREME DOWNWARD 3
All-around wide
sec t ion
at the bottom show the reverse.
9
size We call a writing ‘large’ when both the capitals as well as the small letters are broad and long. It is called ‘small’ or ‘fine’ when both capitals and small letters are narrow and short. If the small letters are longer than usual, the specimen may be considered ‘large’; when not so, ‘small’.
Large: Characteristic of noble-minded men and women. Extravagant, high strung and temperamental. Restless and somewhat spoiled. Love of admiration and attention. May be generous, courageous and enthusiastic.
Extremely large: Used frequently by famous people, by many poetically inclined individuals and by the conceited writer who is often erratic. Love of grandeur; superlatives. Loud and long talker. Small: Fine intelligence and powers of concentration indicated. No mediocre person writes this size. Usually the writing of scholars, philosophers, creative writers, scientists and all others whose mental equipment is far above the average. Can concentrate on details and grasp and size up a situation correctly. The writer thinks much and says little. He or she is tolerant and peaceful but may be lacking in self-confidence.
sec t ion
3
10
Average: Shows adaptability and a well-balanced mind. The writer is very careful and accurate.
slope & slant The average slope of handwriting is slightly to the right. Since this is the easiest way to write, being in the direction of reading, you can say with assurance that the right slope is the one of ‘least resistance’ and is therefore the conventional slope. As the writing slopes more to the right the emotions of the writer become stronger, until, in extreme cases, they get out of control and irresponsible. Just as the normal slope shows convention the backhand slope shows defiance of convention—a resistance to doing what everyone else does. The vertical slope shows control and a healthy self-reliance.
RIGHT
SLIGHT
VERTICAL LEFT
word endings Incre a s i n g: Characteristic forgetfulness. Garrulous and tedious in company, maybe a victim of “self abandoning” in terms of sensuousness and skill. Dimin i s hi n g: Shrewd, cunning, smart. Implies constant effort to conceal or retain parting thoughts or expression. If ending in a horizontal line or dash— secretiveness and ability to disguise feelings is employed with great cunning. Slightly diminis h i n g: Prudence and reserve indicated of people who learn greatly
Think about it: does excessive use of emoticons following a word or sentence make one a victim of self-abandonment?
sec t ion
Even: As a rule, trustworthy and upright.
3
through experience.
11
roundness All handwritings are either round or angular. Even a layman could understand that a jovial person of easy going habits, with smooth conversational ability and a peace-loving nature, will write with a round, smoothly flowing hand. Conversely, the energetic, serene, stern, cold and hard-hearted person would naturally make rather angular letters with many sharp corners and points. You can see this quite accurately in the shapes of small m’s and n’s. If the letters are sharply pointed at the top: Aggressiveness and energy shown, especially if hurriedly written. If pointed at the base: Indicates a sarcastic, stubborn and irritable nature. If rounded at the top: Writer is docile and peace-loving, seldom doing things on his own initiative.
“It is advisable for both men and women to select as friends or life partners persons whose handwriting is composed of an equal number of round and angular letters or pen-strokes, for this proportion will insure the combination of the good, severe qualities with amiability, sociability, adaptability and courtesy.”
sec t ion
3
12
simplicity People of a strong and powerful intellectuality generally write
HIGH
with a very plain and simple hand. They have no time to think of how they write but only of what they are writing.
AVERAGE
LOW
regularity Specimens of handwriting which are regular throughout indicate a steady, constant character. People whose views and thoughts and ideals are not changed quickly by any chance misadventure of the moment, and therefore their letters maintain from beginning to end a uniform width and length. Whenever handwriting is irregular and varies, it indicates an eccentric or fickle character. Such irregularity however may be very limited, in which case it may simply denote activity and love of change and diversion.
sec t ion
3
Does your “fickleness of love affairs� stem from the irregular changes in your handwriting?
13
width All writing at first glance is either wide or narrow. “Just as one might extend his hand and come forward in greeting another while someone else would draw back and crawl into his shell under the same circumstances, so extended writing shows friendliness and warmth while compressed writing shows the reverse.”
a letter written by Abraham Lincoln, 16th U.S. President (1809–1865)
sec t ion
3
14
thickness Heavy down strokes of the pen in letters is considered thick writing, while thin and fine down strokes, made without much pressure of the pen, is called thin writing.” Of course, you have to consider the pen that was being used, but as a general rule, use your own judgment. “Usually, the heavier the pressure or the thickness of the writing, the more self-confidence and ‘push’ and energy the writer will have, and conversely. Thick writing nearly always shows a very healthy development of the physical senses with a love of physical pleasures. If heavy writing is also hastily done, it shows a person of great energy and perhaps, creative ability.
THIN
AVERAGE
THICK
SMEARY
connectivity
thinkers and reasoners. Such writers have good memories and easily seize and assimilate the ideas of others, but they are stubborn, more set in their ways and harder to convince than writers who disconnect their letters and keep them separate.
sec t ion
nect alltheirletters and sometimes even their words, are practical, logical
3
As a general rule endorsed by all graphologists, people who con-
15
first & end strokes There are many different ways of beginning and ending letters. Let me lay them out for you: No initial stroke: Start right out with a downstroke into the body of the letter; generally a positive nature; can concentrate their thoughts quickly and grasp immediately the point in question. Little love for preliminary details. Long horizontal initial strokes: Form of opposition, whether harsh, combined with angular style of writing, or milder, with rounded. Curved initial stroke: Indicate jollity, humor, wit and the ability to entertain. If large and elaborate, the writer is inclined to be talkative and carefree, with a fertile imagination. Sharp hooked initial stroke: A dangerous combination of envy, jealousy, and brutality. Backward-turned initial strokes: Generally made by writers who always endeavor to conceal their past history—public or private. May be considered double-faced. Very long and curved capital: Dreamers, fantastic persons, and many poets, authors, and artists. Inclined to soar into the upper air.
No end stroke: Thrift, saving, and economy. Heavy, club like end stroke: Indicates great lack of consideration for the feelings of others—a nature completely wrapped up in self. Curving upwards: Symbolize courtesy, politeness and an amiable nature. Curving downwards: Internal unhappiness and discontent which the writer tries to conceal. Hooked end stroke: Egotism and love of flattery and praise. Long, straight end strokes: Liberality and generosity; careful people who try to fill up all available space. Horizontal strokes or dashes: Indicate exclusiveness, reserve and power of resistance; a love of fairness and justice. Circle or curve inward: Writer is inclined to be a tyrant at home and rather vain in small matters. Long and sharp endings: Critical mind and an inclination toward something like positive expression. Rising end strokes: Activity, enthusiasm and also more less love of a life full of fun and joy. sec t ion
3
16
Downward end strokes: Indicate a certain sad, depressed feeling in the writer; or very busy and cannot be disturbed.
sec t ion
3
a letter written by Ted Bundy, American serial killer (1946–1989)
17
ascenders & descenders Can be seen in a specimen of handwriting containing the letters
LARGER ASCENDERS
LARGER DESCENDERS
EVENLY BALANCED
EXTREME DESCENDERS
sec t ion
3
18
f, p, g, y
punctuation It is quite possible to outline a person’s character from a single mark he makes. Thus, from such an apparently unimportant detail as a period the graphologist is perfectly able to tell the temper,
flourishes
tastes, and even often talents of the writer. Periods and commas omitted:
sometimes carelessness.
Flourishes, which vary in form to a considerable extent, are exceedingly characteristic of the writer;
Carefulness in i-dots, periods,
the more so, as they are, for the
and commas: Order, system,
most part, appended to his signa-
promptness, attention to detail.
ture, which is the most important
Thin, sloping exclamation points/question marks: Sensitiveness Upright, strong, and heavy: Energy and self-control. Heavy and strongly marked: Add to
sample of handwriting which can be submitted to judgment. With all flourishes, no matter what may be their actual shape, or the manner in which they are disposed about the handwriting, we shall find associated
temper and explosiveness of
assertiveness of personality; the simpler the
speech under excitement.
flourish, the less artificial this self-
characteristics of anger, quick
a certain
insistence; the more elaborate it is,
desire to seem what one is not.
the greater will be the
3
concentrative power and
sec t ion
Forgetfulness, lack of
19
A SYSTEM FOR ANALYSIS DIRECTIONS: Place the specimen of handwriting that is to be analyzed underneath the following sheets so that any of the written lines line up with the characteristic being measured. Note carefully the following: BASELINE: whether the writing stays on the line or if it bobs continuously up and down, above and below the line. Occasional unevenness means nothing special. SLOPE & SLANT: within which space the writing rests on an up- or downhill scale / whether tall letters such as b, d, h, and l fit the slope of one of the slope diagrams provided. SIZE: which pair of parallel lines fit the small letters of your specimen in between. LEADING: about how far apart the lines of writing are compared with those shown. MARGIN: whether your margin width is narrow or wide based on lining up the edge of your paper and comparing the width of the margin on your specimen with the width of the margins shown.
After making your own observations and comparing your results to the characteristics listed in the previous section, congratulations! You are an amateur graphologist. Write yourself a certificate in the most enthusiastic and pretentious of manners.
sys t em f or a na lysi s
STYLE: degree of angularity/extension of letters compared to the writing specimen.
21
BASELINE
sec t ion
4
does your writing stay on a straight line? does it run up- or downhill?
23
SLOPE & SLANT
sec t ion
4
which way does your handwriting slope?
25
SIZE
sec t ion
4
how large are your small letters?
27
LEADING
sec t ion
4
how much space is between your lines?
29
MARGINS
sec t ion
4
how narrow or wide are your left margins?
31
STYLE
sec t ion
4
are your letters round or pointed? compressed or extended?
33
HANDWRITING: ANALYZ Both practical, straightforward, and dependable; careful and accurate.
Displays more powers of concentration, as well as a cool nature, repressing sentiment. More reserved and shy; thrifty.
DIRECTOR, AGE 50 sec t ion
5
34
ZED Both clear and efficient thinkers. Both show order, promptness, and attention to detail. More adaptable and sensitive as well as friendly and warm. Courteous and polite.
sec t ion
5
PHOTOGRAPHER, AGE 48
35
Both able to keep cool and control feelings; practical, functional.
Straightforward and dependable, however temperamental. More reserved, simple, unassuming and unaffected; less stubborn.
CLERK, AGE 42 sec t ion
5
36
Both might also be a bit forgetful.
Shows great diligence and hopefulness; careful and accurate as well as trustworthy and upright. Strong willed and resolute; logical reasoner. Shows a sense of humor.
sec t ion
5
CONSTRUCTION, AGE 28
37
Both seem to have cultural taste in art and music; both straightforward, trustworthy and sincere, as well as generous, courageous and enthusiastic. More upright, amiable, and well-rounded in character.
PhD STUDENT, 25 sec t ion
5
38
Both are polite and docile; peaceloving. Both may have a love of praise; both good-hearted in nature. More reserved but shows more extended friendliness and a greater inclination for practical matters.
sec t ion
5
STUDENT, 19
39
Both display natural good heartedness.
May display more discouragement and cowardice, as well as temperamental and restless. Reserved and secretive as well as conscientious. Tends to embellish; may need encouragement. More stubborn and greater attention to detail.
HIGH SCHOOL STUDENT, 16 sec t ion
5
40
Both are fairly docile and shy.
More straightforward composure. Adaptable, yet reserved and learns through experience. Practical; displays common sense. More uniform and less stubborn. May show habits of forgetfulness.
sec t ion
5
COLLEGE STUDENT, 22
41
Both may be highly sensitive; both trustworthy and upright.
Steadfast and dependable. Love of grandeur and superlatives; more aggressive and eccentric character. Liberal and generous.
ADMINISTRATOR, 60 sec t ion
5
42
Both may get caught up in details and embellishment, yet both are logical thinkers and reasoners. Displays more diligence and enthusiasm. Generous and love for attention. More peace-loving; constant character. Courteous and amiable nature.
sec t ion
5
ENGINEER, 55
43
Both ambitious and optimistic; display fine powers of concentration. Both polite and good hearted. Slightly more unreliable.
DESIGN STUDENT, 23 sec t ion
5
44
Both seem to be sarcastic and a bit stubborn in nature; clear, efficient thinkers. Both take initiative and are idealistic. Polite and courteous to strangers.
sec t ion
5
DESIGN STUDENT, 22
45
INDEX
i n de x
46
adaptability 10
hand 6
aestheticism 9
hypocrisy 11
ambition 9
initiative 13
anguish 9
intelligence 10
aristocracy 10
irritability 11, 12
carefulness 10, 19
jollity 16
certainty 9
laziness 9
creativity 9
materialism 15
culture 9
michon 3
dependency 9
nervous system 6
diligence 15
patience 9
discouragement 9
practicality 9, 13, 15, 18
economy 9, 16
prudence 11
energy 12
reservedness 11, 16
envy 16
self-consciousness 9
erraticism 10
self-control 9, 19
extravagance 10
sensitivity 9, 11, 19
fatigue 10
simple-mindedness 19
fickleness 13
sincerity 9
forgetfulness 11, 19
temper 10, 19
friendliness 14
tolerability 10
generosity 10, 16
trustworthiness 11
good heartedness 11
values 9
graphology 3
vanity 16, 18
Designer: Lindsay Rife Typefaces: Trade Gothic LT Std & ITC Stone Serif Std
colophon
Paper: Neenah Paper, Classic Crest Antique Gray Smooth
49
10
26 00 27 62 20