Graphological Sign Of Plain Handwriting example essay topic

Handwriting analysis is also known as graphology. Graphology is defined as the study of handwriting, especially as used to infer a person's character. The interest in handwriting as an expression of personality is as old as the practice itself. "Chinese philosophers have been fascinated with handwriting since ancient times and have been especially interested in the distinct styles of calligraphy produced by different writers" (Sackheim, 1990, p. xv-xvi). The first methodical attempts to study handwriting took place in Italy in the beginning of the seventeenth century.

Alderisius Prosper published in Bologna a study called Ideographic. Camillo Bal do soon after tried making a formal recording which presented a way for judging the nature of a writer from his letters. These were all lost. But they obviously attracted readers.

It became practiced from "castle to castle" by people trying to make money from handwriting interpretations (Roman, 1952, p. 3). The surprising thing about graphology that is not all about handwriting analysis. "Graphology is the study of the graphic movement; it is not simply 'handwriting analysis" (McNichol and Nelson, 1991, p. 23). This is why graphologists can also study doodles, drawings, sculptures, and paintings to infer a person's character and the physical, mental, and emotional states of the subject.

These creations are called brain prints. These reveal who we are, how we think, feel and behave. These mind x-rays are very evident in handwriting since we for the most part don't think about how we write. Graphology is a good way to loosely judge people, who they truly might be. Whenever we take a write utensil and begin writing, much of what we " re doing comes naturally.

This is an unconscious act. But there are times when we " ll change how we write certain letters because we like the other way of writing it more. This is a conscious effort. Both of these can be analyzed. The latter can be analyzed just as well as the former because it is a conscious effort of trying to change unconsciously to a certain trait. The style of the changed letter seems appealing because the characteristic does, unconsciously or consciously (McNichol et al, 1991).

There are the fixed traits: IQ, aptitudes, temperament, and identity. And there are unfixed traits: ability, attitudes, moods, beliefs, motivation level, physical condition. All of these are certainly revealed in a sample of handwriting. All those traits fall into one of the three facets of man (McNichol et al, 1991) The first one is the physical aspect. Handwriting reveals our identities, the state of our physical health and the presence of intoxication of any type. The second facet is the mental facet.

Samples can tell us about our intelligence and our aptitudes also known as our natural abilities. The last aspect is the emotional facet. This had to do with how we think, feel, and act in a specified way. As far as identity goes, the signature is the best way to determine how people see themselves. The signature is influenced by a search for beauty and originality. Signatures represent peoples' ideas of what they are like.

Some people spend years trying to figure out how to make their signatures because they are trying to find themselves. We can also find out temporary emotional feelings comparing the signatures of people at a calm time and their signatures during tribulation (Santoli, 1989). Since writing involves a physical work too, when people are physically ill, their handwriting will show it. We are weaker therefore affecting our muscular motion (McNichol et al, 1991). Motor skills are also challenged when people are drunk or drugged.

Their handwriting looks sloppier, crazier, and mostly illegible. One would be certain to see this very quickly. It is also possible to see if there's a stimulant or depressant in the body. We can also see intelligence in writing. People whose handwriting tends to get a bit smaller as they progress in writing are more intelligent than people who keep a steady size. This is speculated because it means that they " re concentrating harder and harder on what they " re writing.

Aptitudes are also shown by the size of the writing. But this pertains to the steady size. People who have handwriting that's a size that is fairly legible they could either be into themselves or out there. People who have large handwriting are usually more outgoing, we call these extroverts.

Introverts are people who write smaller, they are more discreet. Extroverts are usually more ambitious and therefore have higher aptitudes (McNichol et al, 1991). People's handwriting can tell us their emotional states. People who feel strongly about themselves and strongly about sharing themselves will write big, legibly, tall, leaning to the right thorough and with added pressure (McNichol et al, 1991 & Santoli, 1989). This can tell us if a person is open, kind, easy-going and strong. If the opposite effects are shown, then they " re just the opposite, closed, greedy, taut and weak.

Graphology is used for many reasons. Five reasons are personal use, education, criminology, employment, and psychology. Under personal uses are the following concerns -Who is okay to go into business with -Who is okay to date -Who to trust around your prized possessions and children (McNichol et al, 1991). Graphology can determine all of this. Therefore making life easier for everyone who plans to do any of the things listed. Educations is an area where graphology is greatly needed and appreciated.

For example, a young student could be diagnosed with emotional problems at a young age by the way he writes. The direction of the lines would be going upward and downward. Their writing would be indicative of his turmoil and a teacher could pick up on this and do something about it. Or a child might have dyslexia so he writes the letter, "d" like the letter "b" (McNichol et al, 1991). Teachers could also notice other sort of characteristics, which aren't always burdens, of that student and therefore understand them better. Now let us apply this to college-level students.

They might study this as, I am, and essentially find more reasons to use this knowledge! The biggest and most expensive field that graphology is used for is criminology. This is perhaps also one of the most interesting. For me it was interesting to find out that most convicts have certain handwriting characteristics. Depending on their crimes the characteristics vary.

For example, a "hooked" letter, a letter with a certain hook at the start of a letter, is a sign for greed, egotism, avarice and revenge. A "clawed" letter is the same thing but the claw is at the end of a letter, this is tenacity, egotism, and self-admiration. These are basically the same. And they are all found on men who were incarcerated for theft (Roman, 1952). Some people bring graphologists to courts to prove something. Andrea McNichol has been consulted by law enforcement agencies across the country.

She was a key part in the Ted Bundy murders, the Howard Hughes will, the Hitler Diaries and the Billionaire Boys' Club case. (McNichol et al, 1991) It was recorded that 80% of European and 5-10% UK and US companies use graphology as part of their employment process (Greasley, 2000). Companies find it easier to do this. The employment process comes in phases. Handwriting analysis is the first phase (Sackheim, 1990). Some find it saves them the trouble of an interview.

I think this is absolutely ridiculous. Even more absurd is the fact that some companies or bosses use graphology to promote people. Whatever happened to just getting to know people. For example, in Andrea McNichol's book she gives three examples of employees who were up for a certain job.

She says the only person who is "hire able" is the first one because although he has a problem with emotional repression, he's stable, neat and pays attention to detail (McNichol et al, 1991). Now all this might be so, but I think this is stupid because people need jobs and to make a living. I think interviews are always the best, there's nothing like getting the sense of a person when you " re face-to-face with them. Nevertheless people continue to use graphology to evaluate people for employment.

According to McNichol, psychologist, psychiatrists and other mental health professional should get a sample of a prospective patient before they see that patient; this would tell them more than having therapy for two years (1991). For example, a girl has a relationship 5 years relationship with a guy. And for whatever reason whenever she writes his name it is mistake-laden, overly angular, illegible, or out of kilter with the rest of her writing. This is because the woman is not consciously aware of her hate towards her boyfriend.

She might want to break up because for example, he doesn't listen to her as attentively as he used to. She might be aware of the sadness that that brings her but not be aware of the deeply hidden hostility which shows up in brain-prints (McNichol et al, 1991 & Santoli, 1989). Now, we are going to look at ten different personality traits. they are characterized by many different handwriting styles and tendencies. A difference in the size of the letters leads us to believe that a person is original and not organized.

Disparity is to be depended on. If the letters are in proportion to each other or in harmony is essential. The differences should not be considered individually. If they appear frequently then they are important (Santoli, 1989). An intelligent person's handwriting is legible, a consistent form, has presence of margins and pleasing layout, fast, simplified, medium to small in size, and has lack of overlapping of letters horizontally (McNichol et al, 1991). Santoli defines systematic inequality as the harmonious difference in the size of the letters.

It indicates "originality, creativity, imagination, clear-sightedness, talent, brilliance, intuition" (1988, p. 38). People with this graphological characteristic usually have a unique personality, and they are inclined to the arts. They hate repetition and are always looking for something fresh. They are free spirits. They have trouble, no doubt, with being understood. These type of people should look for the best direction to channel their never-ending flow of ideas so they don't feel alone.

When systematic inequality is found, it should be interpreted in the context of handwriting as a whole. It modifies other signs and adds originality and brilliance to the meaning but it can be positive or negative. This comes about by inspecting other signs in the writing. If these are used in a spirit of good will, they point to creativity and social organization. But if they are used with insincerity and disloyalty, they " re usually woven in with deceit and dishonesty. Harmonious writing with variously sized letter shows artistic stylishness (Santoli, 1989).

Unequal letter sizes and spacing and stopping and starting are featured in disorderly handwriting. People with this tendency are not able to deal with their environment in a moderate and orderly way (Santoli, 1989 & Mc Nichol et al, 1991). Santoli says that since there is no mathematical system of knowing the magnitude of this characteristic one should just come to the conclusion if it is disorderly or not. If it looks untidy then the person has this characteristic mildly; if it looks like big mess then this person has it severely (1989, p. 40).

This indicates a confused nature of thinking and disorderliness. People who exemplify a severity of this are swarmed with ideas but never know how to put them together. They are also never consistent in keeping those ideas. They don't pay enough attention to detail because they don't pay attention to style, form, and precision. They are unsuccessful at putting little events together to make a comprehensive overall picture. They " re absent-minded and inconsistently fickle.

This is shown by their disorganized handwriting (Santoli, 1989). If one is feeling disorganized, one's movements and productivity are haphazard (McNichol et al, 1991). If one's handwriting is naturally neat then according to Santoli one has a conformist and unimaginative personality (1989, p. 41). We have to become aware of the size, direction, and width of the letters and spacing between letters and words.

This is called meticulousness in a handwritten sample. If they are all equal in the whole sample then this is true. One who shows this characteristic works like a reporter in real nature. They are able to put extremely little or none at all of themselves into things. Nothing comes out with originality. Everything is mechanical and technically They " re obsessive about being neat.

They like routine so much that they show in it their handwriting by not adding any person touches which denotes repetitive intellectual activity. They register ideas which very seldom change. And they feel like they must always say stereotyped things that are appropriate and exact. They have no sort of compulsive passion to do anything. They " re very narrow-minded and traditional. They " re so traditional that when picking their clothes, food, and places to visit, they pick only the reputed best without ever stopping to think why.

They " re very self-conscious. Their gestures reveal the lack of mental flexibility This is only true if it is shown in the handwriting excessively. If it isn't, it signifies a tendency toward mechanical and impersonal imitation; it may not be a predominant characteristic (Santoli, 1989). The mind tells the hand of a person who is thinking clearly and coherently to write neatly, they are receiving calm messages. If a person is having difficulty with something, their handwriting is more likely to be ill-defined because they are receiving messages that are not controlled. They fail to consider spacing, distances and orderly essentials (Santoli, 1988).

Writing like this is a key characteristic of convicts (McNichol et al, 1991). In terms of intelligence, clarity is a characteristic of the way they speak and write and express themselves. They will never be careless. They can't put up with being confused. According to Santoli, they would make great teachers because of "the precision of the explanations" (1989, p. 42). In their personal life, they are honest people.

They only show their feelings in little spontaneous outbursts. And they are very concerned with hygiene not because of appearance rather because of its human importance (Santoli, 1988). People with obscure writing are mentally vague people. They might have good intellectual abilities but they have trouble expressing themselves (McNichol et al, 1991). This also affects them in romance because people might be confused by their attempt to express themselves. They often lack confidence due to all this.

They could, however, show their feelings with actions, instead of words (Santoli, 1989). When writing, we give external existence to inner mental activity (McNichol et al, 1991). So, the faster that is, the faster our graphic tempo will be. If the activity is slow, so is the graphic rhythm.

Fast handwriting is defined by letters of constant height and breadth, particularly if they are small. People who write quickly are spontaneous and witty. They stick to their decisions which they don't really think about in the haste of making them. They " re always where action takes place.

Their urgency might suppress their romantic and social life because everything they do is fast. They will however be successful because they can undertake new risks that will take them places (Santoli, 1989). Santoli says that, "when rapidity becomes the neurotic type, of course, the positive values expressed by the sign of speed are negated by excessive hastiness which can easily lead to mistakes". (1989, p. 43) The opposite of speedy writing is slow writing. This kind of handwriting is defined if the person isn't writing slow because of meticulousness but from not paying attention to what they " re doing. Other traits are needed to come about the intensity of this signs and the actual existence of it.

These signs are having no spacing between words or dynamism, slowness applies (Santoli, 1989). People with this sign lack willpower. They are sluggish, and cannot grasp concepts too easily. They are slow by nature and don't co mmit themselves to do anything big because they feel they won't be good at sizing up to it. They " re not reliable people and ineffectual (Santoli, 1989).

"Two opposing types of writing, dynamic and wavering, indicate personalities which are either consistent and quick at taking decisions or insecure and dependent on others" (Santoli, 1988, p. 44). Dynamic handwriting has spirally linked letters or letters that are cut off cleanly, with fast fleeting strokes. This indicates feverish activity of thought and action. They are fast learners and will draw conclusions quickly. They don't dwell on details. They are simple, plain and easily understood.

But they are very nervous people. They don't like going around in circles for anything. Everything they do is straight-forward. They will never go back on their word.

Their openness make them pleasant company. In love, they are sincere and loyal. They have a, "lively, attentive look and a firm, natural manner" (Santoli, 1988, p. 44). Wavering applies if the letters vary in groups so that one group leans to the right, the other to the left, and another in upright.

It's all about the differences in the direction of the stroke in almost every word. The sign denotes indecisiveness, difficulty in finishing things, limited spontaneity, uncertainty of judgement, and general instability (McNichol et al, 1991). They are insecure and they are embarrassed easily when making their decisions. Anything too difficult will be dismissed by them because they have lost their faith in their own abilities and potential. They are not mature and independent.

The subjects' logical and rational deductions are frequently incompatible with their emotionally-based decisions (Santoli, 1988). The most important part of handwriting analysis is the part concerned with beauty. This is so because it reveals what the person is really like; it also shows the image the person is emulating. The care which is put on the handwriting reveals the writer's manners, choice of dress, and the way he or she dresses and treats others.

If the writer is elegant, the writing is elegant. In turn, if the writer is careless, the writing will be for the most part, slovenly (Santoli, 1988). Polished Handwriting is described is defined by light pressure, small to medium letters, considerable fluidity, and signs of making it look elegant. If it lacks frills and curls, it is in its highest significance. Polished handwriting denotes a passion for methodology which never goes far enough to become meticulousness (Santoli, 1988, p. 46). People with this type of handwriting have considerable competence, great courtesy, clarity of thought, expression, charm and gentleness in personal relationships.

All of these though are covered by artificiality. They will be careful with their way of thinking and acting and don't fail to be accurate and precise but they are also lively and spontaneous. They express themselves with a suitable vocabulary. This trait is the same as precise handwriting mentally. That is to say, the reasons it happens are the same in the brain. But these writers add daintiness and refinement and it takes away the passion for organization revealed by precise handwriting.

They are emotionally fragile. They are diplomatic and they avoid violence, brutality, and primitive behavior (Santoli, 1988). The rhythm of handwriting indicates more than anything else the inner energy of the person at hand (McNichol et al, 1991). These energies could be considered good or bad, it depends on to what extent these energies exist. Graphologists like Santoli say that inner calmness is shown by a calm rhythm. Nervous tensions means impatience (1988, p. 48).

Calmness is apparent when the strokes are written, both horizontally and vertically, with no breaks. There is also no difference in pressure and no curls are evident. People who write like this have great self-control over themselves. They " re never hasty and rarely selfish.

They " re well-balanced people who aren't overwhelmed with any type of enthusiasm. This is not a sign of a cold human being as they simply wish to understand before misreading anything. At work, they work at a steady pace to avoid later frustration. They are sensitive individuals who may suffer from stress if a difficult situation is frequently repeated. From the intellectual point of view, calmness is not a determining factor. But calmness does allow the studiers to see the person attitude in work, punctuality, and self-control under complex circumstances.

They have piece-of-mind. Horizontal and vertical strokes with no breaks means these people are peaceful (Santoli, 1989). This is usual of handwriting with clear words and characters which are often lazily written and sometimes totally omitted. People with this characteristic will quickly reach an conclusion without thinking over the consequences. They don't take advice into account.

They often abandon projects and people who aren't attractive to them anymore. They " re fickle in that they lack loyal consistency. They find it difficult to overcome incoming obstacles on their short way towards a goal. 'The individual suffers from a lack of balance, is easily disoriented and tends to be unreliable' (Santoli, 1988, p. 48). Vague handwriting suggests impatience and a quick temper (McNichol et al, 1991).

In handwriting analysis, two temperaments are only evident from adolescence on. They are known as solemnity and arrogance (Santoli, 1989). Writing stiffness and pomposity are key essentials of handwriting known as solemn. When considerable pressure is exerted in the downstrokes, uprightness, largeness, and evident precision are apparent then solemn handwriting is in play.

The type of people who write like this have all of these characteristics: pretentious, rigidity in affections, ambition, and need for social elevation. They are extremely aware of who they are and what they " re doing. They have to succeed over others at all costs and tend to do things or be places where they know they " ll be more popular. They demand respect above all. They like to be the center of attention. When they fell like they " re not getting what they want they will do anything to stop their obstacle.

They have excessive self-esteem. They only show the best of themselves to make an impression. Handwriting that is stiff and upright signifies aspiration. (Santoli, 1989) Arrogant handwriting is at hand when capital letters are exaggerated (McNichol et al, 1991). These type of people have a tendency towards: fantasizing of wealth, power, or authority, inflation of own character, rudeness, invasion of other's privacy. They are foolishly optimistic because they believe in themselves to much that they trick themselves into thinking they are God-like.

Money is no object when trying to get their way rather is a key way of getting their way. These people have little depth as they will always tend to support their own megalomania even if it means destroying those around them. They are materialistic, impersonal, self-absorbed and insincere (Santoli, 1989). Disciplined and loyal people are very simple people. They " re easy to spot because their handwriting is so honest looking and not complicated. 'The graphological sign of plain handwriting is the complete opposite of solemn and arrogant handwriting.

It is found in handwriting which is devoid in curls or embellishments anything and is small in size' (Santoli, 1988, p. 50). These people express concepts in a clear way and leave out minor details. They prioritize avoiding confusion. They are down-to-earth and are unlikely to become involved in misunderstandings. They are calm, loyal, considerate and direct.

They will stay away from any recklessness. They are respectable and responsible people in any sense because they have iron morals and are good at problem solving (Santoli, 1988). Self-moderation is when letters are clearly written with speed. To measure the degree of self-discipline, general signs must be taken into consideration.

These people desire order in their lives. The letters are very clear and don't deviate, except in very small details, from the copybook style. They are not boastful or shy when they have ideas but they are in fact proud of them. They " re organized and have good judgement about where people and things belong.

They know how to control emotional urges and they practice controlling their emotions. They have a lot of self-control (Santoli, 1989). The best type of samples for handwriting analysis are written on blank paper, with an ink pen and without the subject knowing that you are going analyze their writing. This makes a single-blind experiment, sort of to speak because they are not aware that you will analyze their writing so they can't consciously make it a certain way. An ink pen shows more pressure because the ink leaks out more than say with a pencil.

A blank unlined paper allows us to pick up on the baseline which tells us of emotional states (Santoli, 1989). In the 1991 version of Handwriting Analysis Putting It to Work for You, McNichol, the following guideline questions are provided: 1. What stands out to your eyes? What do you notice right off the bat? 2. Is the sample uphill, level, or downhill?

3. How would you describe the margins? 4. What is the slant? Leftward, vertical, rightward, or unstable? 5.

What is the style? Is it cursively written, printed, or a combination? Is it stable or unstable? 6. Does the size of the writing remain consistent, or does it keep changing?

7. Can you guess the writer's education level? 8. What can you say about the signature? 9. What words jump out, and what do you think that means?

10. What can you say about the writer's horizontal movement (work drive)? 11. Does the writer us two different personal pronoun I's?

Now it has come the time when you should be prepared to analyze your own handwriting. Before you do, I would like you to keep in mind some basic traits that allow for easy analyzing. And don't forget each graphological sign may be re enforced, diminished or neutralized when combined with other signs that are the same, the opposite or impartial respectively. This can make handwriting analysis very complex although it gets easier with practice (Santoli, 1989). Ask someone if they can read your handwriting.

If they can't chances are that you don't want to communicate. The clearer the handwriting, the better the communicator (McNichol et al, 1991, Roman, 1952 & Santoli, 1989). Does your writing lean towards left, not at all, to the right, or both? To what degree does it lean?

If your words are leaning towards the left you " re emotional repressed. If you do not lean at all then you " re calm and collected emotionally, you express feelings but in a moderate way. If they " re leaning to the right, you " re expressive. And if the words are leaning in every which direction then you " re an emotional "basket case" (McNichol et al, 1991, Roman, 1952 & Santoli, 1989). Hold the written page in front of you. You should now see the baseline.

Are sentences going uphill, straight or downhill? Whether uphill, straight or downhill, this is indicative of the baseline. Uphill indicates positivity and optimism. A level baseline is neutral.

Downhill indicates fatalism, disillusionment, disappointment, and depression. Does the baseline go up or down on particular words or phrases? If it does, it means that there's a hidden emotion there that we need to decipher. Now look at the margins. If the margins are more to the left, it means you " re scared of the future. If more to the right, it means you " re optimistic about the future.

(McNichol et al, 1991) Is the spacing between letters, words, and lines wide, narrow, or normally spaced? Is it changing between certain words or phrases? Well, if they are narrow, it means you are narrow-minded. If they are wide it means that you are open-minded.

If it changes between words or phrases it means a certain narrow-mindedness or broad-mindedness about a certain something (McNichol et al, 1991, Roman, 1952 & Santoli, 1989). Now look at the pressure exerted on the paper. If it's heavy, you were feeling tense and strongly about something or if you do this often, it just means you " re just a tense person in life. If it's light, you weren't feeling intense at all. If a light pressure is the normal pressure then I means you don't take life or yourself too seriously. (McNichol et al, 1991) What is the overall size of your writing.

If it's small, then you " re an introvert. If it's big then you " re you " re extrovert. If it is medium, you " re right in between (McNichol et al, 1991, Roman, 1952 & Santoli, 1989). Now let us take a look at the zones in the sample. This refers to spacing between the lines, words and phrases but in look at it from a distance up and down. If you have an intense tightly together upper zone but loose lower zone it means that you live in a fantasy world and not in reality.

If it's the opposite, you are overly oriented towards the physical, libidinal, and material aspects of life (McNichol et al, 1991, Roman, 1952 & Santoli, 1989). Lastly, style can tell us if you " re a connected writer, a print-writer, or a combination. If you are a connected writer you are loyal and like to keep everything in life not necessarily organized but together and hate change. If you " re a print writer, you " re afraid of commitment and continuation of things, you have an "artistic" temperament and are non-traditional. If you have a combination of connected cursive and printing, then it means you " re fickle. You don't know which to do, so you " re indecisive in life or on a certain subject, if given a topic subject (McNichol et al, 1991, Roman, 1952 & Santoli, 1989).

Many people wonder if graphology is an art or a study. I personally think it is a little bit of both just like Sackheim (1990). Scholars argue that it is an art and not a science because it handwriting analysis requires a certain type of intuition therefore it can't be considered a respectable science. But they don't realize that precise measurements don't measure anything like this perfectly well because of there are certain things like shakiness of a stroke that can't be measured but can be seen. It is based on experience.

Intuition is a very important ingredient but then again it can only work if it is used along with reliable scientific methods and the foundation of the handwriting analysis theory (Sackheim, 1990). Some people even say that graphology isn't a legitimate study at all. In fact, they have held experiments in which they take some samples and give it to a random person to interpret then to a graphologist and the results were virtually the same (Koehler and King, 2000). I think this has a lot to do with intuition as I stated before. It is all within us but graphologists are a skilled, they are faster at it and they can catch little things that people with no graphological training will miss. I have learn lots of things about how people write.

If people feel a certain way or are a certain way, it " ll show up on their writing. The only problem is that now I can't stop analyzing everyone's handwriting. Now when I write, I think about it too much. I analyze myself too much and therefore don't write like I used to. All this information has affected my life tremendously. I found out who the people around me are according to graphology.

And it made me pick up on certain characteristics of myself that perhaps I need to change. If I change them in writing, eventually they will change in real life if I make that effort (McNichol et al, 1991)

Bibliography

Greasley, P. (2000).
Handwriting analysis and personality assessment: the creative use of analogy, symbolism, and metaphor. European Psychologist., 5 (1), 44-51. Koehler, Derek J., and Roy N. King. 'Illusory Correlations in Graphological Inference. ' Journal of Experimental Psychology: Applied Vol. 6.4 (2000): 336-348.
Roman, K. (1952).
Handwriting: a key to personality. New York: Pantheon Books, Inc. Santoli, O. (1989).
How to read handwriting. New York: Crown Publishers, Inc. McNichol, A., & Nelson, J. (1991).
Handwriting analysis putting it to work for you. Chicago: Contemporary Books, Inc. Sackheim, K. (1990).