Shubham Graphology!!!

Hello all you wonderful people out there.
We all know there are a lot of great

people out there. We also know that there are a lot of mean people. Have any
of you ever been lied to? ripped off? Have you ever wanted to kick yourself
afterwards for being so naïve? I have.
By now you’re probably saying, "What does all this have to do with
Graphology?" Well, getting ripped off for the umpteenth time was what finally
pushed me into an IGAS Graphoanalysis Correspondence Course, one of the
most satisfying and wisest decisions of my life. After completing the course I
took a good look at the receipt a Solar Heating System Installer had given
me. By then I was a Certified Graphoanalyst and a quick handwriting analysis
revealed to me what a scoundrel the guy really was.
To date, as far as I know, I am the only IGAS Graphoanalyst in all of Israel. I

hope that eventually there will be more of us here and that we will have an
IGAS Israeli Chapter able to meet for mutual analyses.
Although the IGAS offices are situated in the U.S.A. – today, in New
Kensington, PA – I was able to complete the course within the eighteen
months allotted. Sending and receiving the required course material was just
a post office away from my Kiryat Tivon, Israel apartment. My fingers used to
tingle with anticipation whenever I opened the packages.
Graphology re Hebrew handwriting is going strong here in Israel. An

important point, though, in Graphology is that the analysis must be done on
the person’s mother tongue handwriting. What better place to do such
analyses than multicultural Israel where so many people have immigrated
here from countries worldwide?
...........................................................................................................................
...........................................................................................................................
....................................................."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 down stroke, 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 (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.
1. Marked difference between down stroke 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 down strokes in a given writing have about the same width,
and so do all upstrokes.
2. Elasticity of strokes. The width of down strokes gradually increases

toward the baseline, where they connect with the upstrokes, and at the same
time the upstrokes thin out slightly along their course.
3. Uninterrupted flow of movement through down strokes and upstrokes.

Characteristics: Uniform, even density of ink throughout the length of down
strokes and upstrokes (1 and 2). Continuous, uninterrupted and unwavering
delineations of down strokes and upstrokes (1 and 2).
4. Uninterrupted flow of movement through area of transition (3 in Figure

3).
Characteristics are as above. Of specific importance is the uninterrupted

joining of down strokes 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 micro photographs 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 Strange 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. Author’s note: Please do not try to diagnose
yourself or others using this technique. It takes a professional to recognize
the nuances of change in a handwriting sample.
...........................................................................................................................
...........................................................................................................................
.........................................
Graphology at Home-Lesson 1-What is Graphology?
Handwriting analysis course. Reader friendly graphology lessons, covering

every angle of the subject.
Graphology is the study of handwriting and what it can tell about the mind
behind it.
When a person writes, it's his hand that does the writing, but his brain that
does the dictating. There have been many cases of amputees who, having
lost the hand or arm with which they wrote, relearned the art with either the
other hand, or the feet, or the mouth. Aside from a certain understandable
shakiness caused by the difficulties of the feat, the writings were extremely
similar to the originals. Trained graphologists had no trouble recognizing the
same individual.
From this, we see that it is the personality that is expressed on paper by the
handwriting. When a person writes in a given fashion, it represents a
particular personality trait, which comes directly from the brain. Thus
graphology shows the most in-depth parts of the personality.
For example, it does not reveal the age or sex of the writer, but it does show
his (or her) maturity and whether his (or her) personality traits are
predominantly masculine or feminine. A fifty-year-old man or a ten-year-old
child may produce mature writing, because it is the level of maturity that
makes itself known not the chronological age. Similarly, some graphological
signs point to a "masculine" type of personality, but many women write that
way-and vice versa. Some graphologists do attempt to reveal these two
factors of age or sex, but they are correct only 60 percent of the time, as
compared to being 90-95 percent correct when dealing with psychological
analysis.
Years ago, graphologists used to look for a common denominator in the
handwriting of groups of people known to display a certain character trait.
Having found it, they would conclude that everyone whose handwriting shows
this particular idiosyncrasy must possess the same personality trait. If,
among five hundred people, the majority wrote a t bar flung to the right and
had violent personalities, then it was assumed that every writer of a t bar
flung rightward had a violent personality.
This was known as the empirical method. Although modern-day graphologists

do not totally disagree with this method, they do believe that empirical facts
must be handled with care. The fact that the majority of the people in a
particular group write a certain way is not proof that all do. It is only an
indication, a hint of what else to look for. A single handwriting trait must be
only one part of a total analysis and is useful only as a brushstroke in
creating the total picture.
The following is a general list of what the graphologist will look for when
doing an analysis.
1. Direction (slant) of writing
2. Zones
3. t bars
4. i dots
5. Sexuality
6. Base line
7. Margins
8. Beginning and end strokes
9. Connected and disconnected writing
10. Forms of connection
11. Pressure
12. Loops
13. Letters
14. Personality traits
15. Signature
16. Physical health
The graphologist takes all the above evidence and puts it together, producing
the final analysis. This will be discussed in the following chapters in more
detail.
Note, please, that this course is geared in particular to the American subject.
It applies to other nationalities only insofar as their national forms of
handwriting are also taken into consideration. American students are taught
to write with a slight inclination to the right, and I have allowed for this
throughout the course. If the person whose writing you want to analyze is
from some other country, you must know the slant of writing natural in his
homeland and adjust the standard that will be used there to that angle. If, for
example, he went to school in England, where students are taught to write at
an upright angle, you must give somewhat more emphasis if his writing
slants to the right than I have given here and somewhat less if his writing
slants to the left.
Examination for Lesson 1
1. What is graphology?
2. Does a handwriting sample reveal the sex and age of the writer?
Yes? ___ No? ___
3. What degree of accuracy is attributed to trained graphologists? (What

percent)
4. What is the empirical method?
5. Are all Anglo-Saxon's taught a similar writing slant in school?

If you would like to view the images and answers to this article/lesson, please
send a blank email to engraph@netvision.net.il........
...........................................................................................................................
...........................................................................................................................
.........................................
Graphology at Home-Lesson 2-The Slant
Handwriting analysis course. Reader friendly graphology lessons, covering

every angle of the subject.
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. In
line AE, however, we have a picture of a man reaching out to speak with
someone, as though he were trying to meet the other person part way.
In line AF, we see the same as line AE, only more so. Now there is almost
desperation in his urge to communicate with the other party, his need for
other people. AF is quite a dependent person, all but leaning on the other
man for support.
In line AC, on the other hand, we see someone withdrawing from

communication, cooling off, a certain amount of rebellion present.
And in line AB, we see a kind of super AC, strongly defiant, a person who
wants and demands to be alone. AC leans so far away from the other person
that he is nearly falling on his back. 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.
When writing leans to the right, we call it inclined writing. The inclined writer
moves toward the party he is dealing with. The wider the degree of
inclination, the stronger the urge to communicate and the stronger the
feelings in general. When the writing angle is so forward that it moves into
the area marked "acute," we see a person whose emotions are almost out of
control, the sensitive one who blows up at the least little thing. His line of
reasoning is quite off at times, for he is too emotional to evaluate situations
properly. Often he becomes jealous, sentimental, and moody, and may be in
desperate need of help. His warmth makes him a likable person, but his
temper can easily rage. He is also a very romantic individual.
Writing with a leftward angle of inclination is called reclined writing (or

sometimes backhand). Left-hand writing (by which graphologists do not mean
something written with the left hand but an angle of writing that pulls toward
the left) is caused by a situation in the writer's childhood-usually a
relationship with his mother. The left-hand side in writing represents the past,
and the fact that a man still writes with a leftward reclination show that, in
one way or another, he has not grown. It may be something slight (and a
slight reclination), or it may have been a very powerful experience. But
whatever it was, it stunted his growth to some degree, and he now
withdraws, is cool.
The idea that the writer's life history may also be the history of his left-
slanted writing is not purely conjectural. In the interpretation of handwriting,
the left direction quite generally has been interpreted as the direction toward
the past, the mother, and oneself. If a writer chooses a left slant and
maintains it in spite of its difficulties, then the story of his past, his childhood,
and his relation to his mother, may tell us why. It has been my experience
that writers with a left slanted hand profess a very tender feeling for their
mothers.
When the writer leans into the leftward area of "acute," he is detached from
society, or on his way there. This angle of writing demonstrates coldness
toward others, but the coldness is actually what the writer feels within
himself. He is really reverting to the womb for protection, for reassurance, for
warmth. He is introverted, drawn back into himself, and thus is in retreat
from the rest of the world.
It is extremely difficult to get through to the acutely left-handed writer, for he

does not readily open up. He is usually quite emotional but his emotions
rarely show. To some extent this is true of all left-handed writers. AC, in
general, has the emotions of AE, and AB the emotions of AF (or of someone
midway between AE and AF), but unlike the inclined writers, who let their
emotions out, reclined writers hold them back.
It is interesting to note that people who write with their left hand rarely write
reclined, but there is a certain tendency among them to write a more vertical
hand than their right-handed counterparts. Notice the handwriting samples of
the ambidextrous M. K. Gandhi:
Figure 2A is written with his right hand; Figure 2B, with his left. The writing
with his right hand slants to the right, whereas the writing with the left is
vertical.
Although a graphologist cannot with absolute certainty determine whether a

particular writer is left-handed or right-handed (in the normal sense), there
are hints. For instance, in the majority of cases, when a right-handed writer
crosses the t bar, the left side of the bar will be thicker and the right side
thinner (Figure 3). The writer's mind is on the next word, so he quickly eases
up on the pressure and races on, and this is true of the left-handed writer as
well. But the latter usually crosses the t bar from right to left, so the right
side of the t bar will be thicker and the left side thinner (Figure 4).
What we have said about the fiery emotions of the acutely inclined writer
holds true also for AF, but not so severely. Conversely, the cold withdrawal of
the acutely reclined writer is similar to AB's state of mind, but to a lesser
degree.
Even the AD writer is not without problems. His control over his emotions
may be so complete that it is not easy for him to show feelings when they are
needed. The healthiest writing is somewhere between AD and AE. The head is
in control, and yet the writer is not completely detached emotionally.
In the United States, the writing that is taught in school is called the Palmer
Method. This is a round writing leaning to the right. When we examine
handwriting, we look to see how much and in what ways the writer has
deviated from this method. Variations give the graphologist much information
as to the nature of the writer. No American school teaches left-hand writing,
so when we see backhand, we understand how strong the person's rebellion
must be.
The so-called "coolness" of the Englishman seems to be expressed in his

vertical handwriting. In Germany, until recently, students were taught an
inclined writing in an angular hand (round writing is "soft" writing, angular
writing is "hard, rigid"), and many people felt this represented the "blood and
iron" of the German national character.
One last note about reclined writers. Because their personalities are usually
negative, among the male reclined writers we find a certain degree of
femininity; likewise, in the women, a certain degree of masculinity. The
leftward inclination represents something opposite to one's true identity.
In spite of the inclined angle his generation was taught, note that the famed
revolutionary Karl Marx, author of The Communist Manifesto, wrote with a
leftward slant:
In Figure 6, we have the right-slanted writing, with heavy pressure (to be

discussed in a later chapter) of the late Sen. Hubert H. Humphrey. From his
script, we see his gesture of reaching out toward others, a most warm
personality. We also notice quite similar traits in the handwriting of Simon
Bolivar (Figure 7):
Though the body of the writing (Figure 8A) slants a bit to the right, we see by
the signature of Ronald Reagan (Figure 8B), which is vertical, a certain
degree of "coolness." In all fairness it must be said that this signature was
written quite a few years after the writing took place, so it may be said that
he has gone from a "reaching out toward the people" campaign to a more
conservative position.
1. Independence is reflected in which type of slant?
2. Does the inclined writer have a strong urge to communicate?
Yes___ No___
3. Withdrawal is shown in which type of writing slant?
4. Explain how to determine if the writing sample was written with the left
hand.
5. The type of writing that is taught in the American school system
is round and leans to the right. What is it called?
6. What type of writing slant exposes the ‘coolness’ of the Englishman?
7. Which writing slant reflects a certain degree of masculinity in women?
8. Consider the writing samples of Karl Marx and Hubert Humphrey. One
writing
reflects rebellion. Which one is it and why?
9. Which type of writing slant professes a very tender feeling towards

mother?
If you would like to view the images and answers to this article/lesson, please
send a blank email to engraph@netvision.net.il
Joel Engel is the author of Handwriting Analysis Self-Taught (Penguin Books).
For more information, please click http://careertest.ws

www.learngraphology.c
...........................................................................................................................
...........................................................................................................................
......................................
Handwriting Analysis
Enlarge ImageGraphology is the name given to the general subject of

personality analysis based on handwriting analysis. Just as in Psychology
there are various schools of Psychology – Behaviorist, Psychoanalytical, and
so on - so too in Graphology.
Graphoanalysis is one such school and, from my experience, the most

scientifically oriented reliable field of Graphology. Graphoanalysis is
personality analysis based on handwriting analysis of the slant, size,
measurement, pressure, spacing, and arrangement of letters and words on
the page.
Graphoanalysis is used to analyze Latin lettering languages usually written in

cursive handwriting (letters joined together). Printing can also provide
information as to the writer’s personality. To a certain extent, an expert
Graphoanalyist can analyze handwriting in languages written in letter forms
other than Latin lettering.
Graphoanalyists are experts in handwriting analysis. The International

Graphoanalysis Society (IGAS) is the full name of the school of Graphology to
which the Graphoanalyist belongs.
A Quick Handwriting Analysis can be fun at a party or a get-together. The

Graphoanalyst will usually convey to the people whose handwriting is being
analyzed the most outstanding features of their handwriting.
A Free Analysis is sometimes given to wet your appetite for more knowledge
on the subject of graphology in general and graphoanalysis in particular.
In-depth handwriting analysis requires many hours of measurement of letters

and analysis of the combination of traits appearing in the handwriting and is
used for more serious purposes such as determining a person’s job
qualifications. Graphoanalysts are professionals who do this type of work.
Handwriting recognition by courts of law is a well-known fact today. In court

cases handwriting analysis is used to determine whether or not a signature
on a document is valid. Graphoanalysts who have specialized in recognizing
forgeries are called upon to give evidence in such cases.
...........................................................................................................................
...........................................................................................................................
....................................................
Graphology at Home-Lesson 3-The-Zones

someone, as though he were trying to meet the other person part way…
The authoritative Swiss graphologist Max Pulver (1889-1952) composed the

chart below, showing many of the points discussed in the previous chapter.
But in addition to demonstrating slant, it also demonstrates the zones.
If we were to superimpose a written word with a t in it on the spot marked I

(Ego) Present, and the t coincided with the straight up-and-down line, we
would be talking about a vertical writer. If the t veered to the right, we see
from the chart that it would point toward the future. Were it to veer to the
left, it would point toward the past. But this same word-say, the word
"height"-also reaches into an upper and lower dimension. Upper, middle, and
lower areas are called dimension zones, and they make up the zonal area.
Think of a child's drawing-a boy standing on a piece of land, the sun shining
and some clouds above. Zones are something like that picture. The upper
zone represents sky, clouds, the sun-by extension what is high, spiritual,
religious, lofty. Conversely, the lower zone represents earth, solidness, what
is underfoot-things that are basic, common, earthy, materialistic, sexual. The
middle zone is the person, the ego, the me.
When handwriting is predominantly in one zone, we see a powerful key to

personality. Handwriting confined to the middle zone demonstrates the social
person, the today person, the one concerned with Number One and lacking
spiritual as well as physical drive.
Picture the word "height" laid out on a zonal chart; each zone is 3 millimeters
in height, which is the norm. If the rest of the writing is consistently in the
same zones, we say there is balance in this writer. Where the zones fluctuate,
the graphologist looks to see what the changes are and analyzes them. If the
writer constantly changes the angle of his writing, we see a moody individual,
unreliable in his reactions. Where the zones vary, it indicates a shift in
motivation.
Take, for instance, the case of a man whose upper-zone writing ordinarily
averages three millimeters in height-the norm. Suddenly, the upper zone
dwindles to an average of one millimeter. This represents a shifting away
from aspirations, spirituality as motivating factors. Usually such a change is
accompanied by increased size in one of the other two zones, as if the energy
normally expended in the spiritual zone has been shifted to the ego or sexual
zones. In addition to writing that consistently covers all zones and writing
where there is no consistency whatsoever, we have six other combinations of
zonal areas:
The upper zone as the largest. This reveals a person with high aspirations but
too little interest in social life, because he has a relatively small lower zone.
Although he strives toward high goals, it is doubtful if he will achieve them,
because he lacks stamina.
High aspiration coupled with physical stamina is evidenced by both the upper
and lower zones being large. However, since his middle zone is quite shrunk,
his handling of everyday affairs may be off, and consequently the two
positive aspects of his character may not take their proper effect.
A small upper zone shows that the writer probably has little spirituality and
few aspirations. His middle zone is average, which reveals a normal social
life, but because the accent in this writer's script is on the lower zone, we see
someone who is preoccupied with physical pleasures. If the lower zone loop is
long and straight down, it is the sign of sexual pleasure; if the lower zone
loop is inflated, it shows money, materialism. One of the greatest of all
heavyweight boxers, the "champion among champions," Jack Dempsey shows
by his signature great physical pleasure and much physical interest. His long,
heavy, lower-zone structures-this kind of writing is usually found among
super athletes.
The saddest picture is perhaps that of a writer whose script seems to have
everything but an upper zone, and who therefore has neither imagination nor
ideals, neither intellectual interests nor ambitions, no real pride, no ethics
and, I dare to say, no brains.
There seems to be no such thing as a well-developed single zone. If one zone

is clearly more strongly developed than the other two, it is usually
overdeveloped. Overdevelopment of one zone always occurs at the expense
of one or both of the other. Then we have a large middle zone, a large lower
zone, and a small upper zone. This person is a social butterfly. He has strong
physical desires, but whether these are material or sexual depends on the
shape of the lower zone loop. The small upper zone implies that he has little
aspiration.
At first glance, a praiseworthy sort of person will write the upper zone large
(strong aspiration), middle zone large (doing well socially) but the problem is
if hardly any lower zone exists. This is not healthy: the individual needs a
proper sexual outlet, and this writer does not seem to have a normal one.
Where there is strong sexual repression, sadism, masochism, or other
unlovely outlets for desire tend to appear.
Picture the middle zone that predominates. The upper and lower zones are
small, showing little spirituality and little desire for material pleasure. The
large middle zone hints that social life preoccupies the writer. This is found
more often among women than among men, who usually have a small middle
zone. In general, women are more interested in social affairs than men are.
A small middle zone, on the other hand, 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) show great ability at doing
work requiring attention to detail. Many scientists, Einstein among them,
have very small or even microscopic middle zone letters. Notice the writing in
Polish of Marie Curie:
In addition to the tiny middle zone, note the curly Greek d's, showing culture.
Some g's and y's are made without return strokes showing good judgment
and mathematical ability. And to top it off, the t-bars are bowed, showing
well-controlled basic instincts, a personality less emotional and more
objective than most. Thus, the fine qualities that made this woman a great
scientist are plain to read in her handwriting.
Now that we have covered both the slants and the zones, you will frequently
notice that zones have different slants.
Let us take an example. Sometimes handwriting will be dominantly right-

slanted or upright, but the astute observer can detect a regularly occurring
pattern of left tending strokes, particularly with the end strokes.
These must generally be interpreted as left-slanted writing with the additional

understanding that the father-protest is more deeply repressed in these
cases.
Similar left-tending strokes in generally right-tending or upright hands may

appear in the upper zone as t-strokes or in the middle zone, for instance, as
left-slanted r's. Their very inharmonious suddenness is ominous: an
unrepressed, clearly conscious and guiding protest amid what looks like,
peace and acceptance, characteristic of very difficult and unpredictable
personalities (Hitler).
Not only do the various slants and zones interrelate, the inflation and
deflation of the letters within play a prime role.
For example, this is Palmer's copybook a:
but this writer has deflated it to:
without adding anything: a conventional, unimaginative businessman;
while I believe the writer of this initial o:
suffers from social timidity. Deflation may progress to the point where the
two strokes meet each other. We then speak of concealing strokes:
Inflation, on the other hand, is an opportunity the hand of the imaginative (or
sometimes merely fanciful) writer never will miss: widening his circles,
"grasping and accepting" a new era, so to speak, comparable to the
pretensions of his intellectual horizon and the broadness of his imagination.
The handwritten P covers much more territory than Palmer's, and the same
holds true of the b. (both letters are from the hand of a professional journalist
and author; the inflation is therefore in the upper zone.)
Most inflated letters may be interpreted according to the zone in which they
stand. In the upper zone, the inflated letter indicates intellectual imagination,
in the middle zone, it bespeaks the writer's self-confidence.
The height of the two t's being approximately the same, the writer (female)
has inflated and widened her o; she also has widened the connecting link
between the t and the o; and she has split the t. She is receptive and aware
of her values, with a pet idea hidden within the purposely split t.
In the lower zone are the circular gestures that betray our unconscious drives
and urges. As is always the case with pressure, they speak for our instinctual,
sexual anxieties and hopes; without pressure, for our (unconscious)
preoccupation with a person's deep, instinctual, yet somewhat socialized,
needs for security, financial and otherwise. The former is exemplified by the
signature; the latter by the f.
Pulver described these highly inflated lower loops as "money bags,"

originating in a "money complex." The crass disproportion between this
hand's upper (intellectual) zone and the inflated lower zone loop seems to
confirm Pulver's view.
Sometimes, inflated letters give a hint as to their meaning because they are
"deformed" and the deformation "points" in certain directions.
The most frequent case in the lower zone is the unconscious mother fixation.
It is, of course, no accident that three out of the four samples of mother
fixation are taken from left-slanted handwritings; left slant and mother
fixation goes together.
Returning to the complete circular stroke, it may be recalled that one

meaning of the circle is that of defense. Neurotic writers sometimes use the
circle to "protect" themselves against the "outside forces" that cause their
neurotic f ears and anxieties, and in such cases they draw a circle or circles
around their name. Experience shows that these "magic circles" not only
protect their deep neurotic fearfulness, but may also contain anti-social
impulses, which lurk within the hidden recesses. Increasing Right Slant at the
end of words: Writer's interest in a thing grows the more he studies it;
inability to hide his true intentions; optimism overpowers his original reserve;
hot¬ headedness; when excited, writer loses self-control; quick temper.
Diminishing Right Slant at the end of words:
Writer's interest in a thing diminishes the more he studies it; pessimism

overcomes his original enthusiasm; skepticism is stronger than confidence;
he backs out or asks for additional security just when everything seems
settled; incurable pessimism.
Middle Zone Left-slanted
(upper zone and lower zone upright or right slanted):
Intellectually and emotionally drawn to fellow men, but has difficulty in

bringing himself to be one of them; sacrifices himself for a family claim (his
mother or sister)
Lower Zone Left-slanted (upper zone and middle zone upright or right¬
slanted):
Sexual inadequacy or resignation to an incomplete sexual life.
Increasing Left Slant (at the end of words in upright handwriting):
Pessimism overpowers initial interest in a thing.
Sporadic Left traits
(in upright or right slanted handwriting):
Skepticism; distrust; victim of inner conflicts; (together with split letters)

schizophrenic disposition.
Left-Slanted End Strokes (m upright or right slanted handwriting, with

pressure):
Unresolved father-protest, obstinacy, stubbornness.
1. What are the names of the three zones?
2. Handwriting confined exclusively to the middle zone reflects what traits?
3. When writing shows the upper zone to be the largest, the lower zone
relatively small, what character traits are indicated?
4. Which zone is emphasized in Jack Dempsey's script?
5. Describe Marie Curie's middle zone and its meaning
6. Which zone is dominant in the following script... what is indicated?
7. A handwriting can be dominantly right-slanted or upright, when there is a

regular occurring pattern of left tending (end) strokes, (as in the sample
below) these (left tending end strokes) are to be interpreted as left slanted
strokes.
True?___ False?___
8. Which type of writing slant is called not 'natural'?
9. When one deflates his writing, is he more apt to exhibit social timidity or
imagination?
A. Social timidity___ B. Imagination___
10. An inflated letter in which zone indicates intellectual imagination? Which

zone 'betrays' unconscious drives and urges?
11. How is the unconscious mother fixation detected from one's writing?
12. "Magic circles" enclosing one's name contain exemplary or anti-social

impulses?
A Exemplary___ B. Antisocial impulses___

Answers for Lesson 3
1. The upper, middle and lower zones
2. Handwriting confined to the middle zone demonstrates the social person,

the today person, the one concerned with Number One and lacking spiritual
as well as physical drive.
3. Strong aspiration; where there is strong sexual repression, as is the case

here, sadism, masochism, or other unlovely outlets for desire tend to appear.
4. The lower zone.
5. Small middle zone; strong powers of concentration.
6. The middle zone; the social person, the today person, the one concerned
with Number One and lacking spiritual as well as physical drive.
7. True
8. Left (reclined)
9. Social timidity
10. The upper zone
11. The lower zone
12. Writing that has inflated lower loops 'pointing' leftward
13. Antisocial impulses
Joel Engel is the author of "Handwriting Analysis Self-Taught" (Penguin Books)

http://careertest.ws http://www.learngraphology.com
If you would like to view the images to this article, please send a blank email
to engraph@netvision.net.il
Graphology at Home-Lesson 3-The-Zones

someone, as though he were trying to meet the other person part way…
The authoritative Swiss graphologist Max Pulver (1889-1952) composed the

chart below, showing many of the points discussed in the previous chapter.
But in addition to demonstrating slant, it also demonstrates the zones.
If we were to superimpose a written word with a t in it on the spot marked I

(Ego) Present, and the t coincided with the straight up-and-down line, we
would be talking about a vertical writer. If the t veered to the right, we see
from the chart that it would point toward the future. Were it to veer to the
left, it would point toward the past. But this same word-say, the word
"height"-also reaches into an upper and lower dimension. Upper, middle, and
lower areas are called dimension zones, and they make up the zonal area.
Think of a child's drawing-a boy standing on a piece of land, the sun shining
and some clouds above. Zones are something like that picture. The upper
zone represents sky, clouds, the sun-by extension what is high, spiritual,
religious, lofty. Conversely, the lower zone represents earth, solidness, what
is underfoot-things that are basic, common, earthy, materialistic, sexual. The
middle zone is the person, the ego, the me.
When handwriting is predominantly in one zone, we see a powerful key to

personality. Handwriting confined to the middle zone demonstrates the social
person, the today person, the one concerned with Number One and lacking
spiritual as well as physical drive.
Picture the word "height" laid out on a zonal chart; each zone is 3 millimeters
in height, which is the norm. If the rest of the writing is consistently in the
same zones, we say there is balance in this writer. Where the zones fluctuate,
the graphologist looks to see what the changes are and analyzes them. If the
writer constantly changes the angle of his writing, we see a moody individual,
unreliable in his reactions. Where the zones vary, it indicates a shift in
motivation.
Take, for instance, the case of a man whose upper-zone writing ordinarily
averages three millimeters in height-the norm. Suddenly, the upper zone
dwindles to an average of one millimeter. This represents a shifting away
from aspirations, spirituality as motivating factors. Usually such a change is
accompanied by increased size in one of the other two zones, as if the energy
normally expended in the spiritual zone has been shifted to the ego or sexual
zones. In addition to writing that consistently covers all zones and writing
where there is no consistency whatsoever, we have six other combinations of
zonal areas:
The upper zone as the largest. This reveals a person with high aspirations but
too little interest in social life, because he has a relatively small lower zone.
Although he strives toward high goals, it is doubtful if he will achieve them,
because he lacks stamina.
High aspiration coupled with physical stamina is evidenced by both the upper
and lower zones being large. However, since his middle zone is quite shrunk,
his handling of everyday affairs may be off, and consequently the two
positive aspects of his character may not take their proper effect.
A small upper zone shows that the writer probably has little spirituality and
few aspirations. His middle zone is average, which reveals a normal social
life, but because the accent in this writer's script is on the lower zone, we see
someone who is preoccupied with physical pleasures. If the lower zone loop is
long and straight down, it is the sign of sexual pleasure; if the lower zone
loop is inflated, it shows money, materialism. One of the greatest of all
heavyweight boxers, the "champion among champions," Jack Dempsey shows
by his signature great physical pleasure and much physical interest. His long,
heavy, lower-zone structures-this kind of writing is usually found among
super athletes.
The saddest picture is perhaps that of a writer whose script seems to have
everything but an upper zone, and who therefore has neither imagination nor
ideals, neither intellectual interests nor ambitions, no real pride, no ethics
and, I dare to say, no brains.
There seems to be no such thing as a well-developed single zone. If one zone

is clearly more strongly developed than the other two, it is usually
overdeveloped. Overdevelopment of one zone always occurs at the expense
of one or both of the other. Then we have a large middle zone, a large lower
zone, and a small upper zone. This person is a social butterfly. He has strong
physical desires, but whether these are material or sexual depends on the
shape of the lower zone loop. The small upper zone implies that he has little
aspiration.
At first glance, a praiseworthy sort of person will write the upper zone large
(strong aspiration), middle zone large (doing well socially) but the problem is
if hardly any lower zone exists. This is not healthy: the individual needs a
proper sexual outlet, and this writer does not seem to have a normal one.
Where there is strong sexual repression, sadism, masochism, or other
unlovely outlets for desire tend to appear.
Picture the middle zone that predominates. The upper and lower zones are
small, showing little spirituality and little desire for material pleasure. The
large middle zone hints that social life preoccupies the writer. This is found
more often among women than among men, who usually have a small middle
zone. In general, women are more interested in social affairs than men are.
A small middle zone, on the other hand, 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) show great ability at doing
work requiring attention to detail. Many scientists, Einstein among them,
have very small or even microscopic middle zone letters. Notice the writing in
Polish of Marie Curie:
In addition to the tiny middle zone, note the curly Greek d's, showing culture.
Some g's and y's are made without return strokes showing good judgment
and mathematical ability. And to top it off, the t-bars are bowed, showing
well-controlled basic instincts, a personality less emotional and more
objective than most. Thus, the fine qualities that made this woman a great
scientist are plain to read in her handwriting.
Now that we have covered both the slants and the zones, you will frequently
notice that zones have different slants.
Let us take an example. Sometimes handwriting will be dominantly right-

slanted or upright, but the astute observer can detect a regularly occurring
pattern of left tending strokes, particularly with the end strokes.
These must generally be interpreted as left-slanted writing with the additional
understanding that the father-protest is more deeply repressed in these
cases.
Similar left-tending strokes in generally right-tending or upright hands may

appear in the upper zone as t-strokes or in the middle zone, for instance, as
left-slanted r's. Their very inharmonious suddenness is ominous: an
unrepressed, clearly conscious and guiding protest amid what looks like,
peace and acceptance, characteristic of very difficult and unpredictable
personalities (Hitler).
Not only do the various slants and zones interrelate, the inflation and
deflation of the letters within play a prime role.
For example, this is Palmer's copybook a:
but this writer has deflated it to:
without adding anything: a conventional, unimaginative businessman;
while I believe the writer of this initial o:
suffers from social timidity. Deflation may progress to the point where the
two strokes meet each other. We then speak of concealing strokes:
Inflation, on the other hand, is an opportunity the hand of the imaginative (or
sometimes merely fanciful) writer never will miss: widening his circles,
"grasping and accepting" a new era, so to speak, comparable to the
pretensions of his intellectual horizon and the broadness of his imagination.
The handwritten P covers much more territory than Palmer's, and the same
holds true of the b. (both letters are from the hand of a professional journalist
and author; the inflation is therefore in the upper zone.)
Most inflated letters may be interpreted according to the zone in which they
stand. In the upper zone, the inflated letter indicates intellectual imagination,
in the middle zone, it bespeaks the writer's self-confidence.
The height of the two t's being approximately the same, the writer (female)
has inflated and widened her o; she also has widened the connecting link
between the t and the o; and she has split the t. She is receptive and aware
of her values, with a pet idea hidden within the purposely split t.
In the lower zone are the circular gestures that betray our unconscious drives
and urges. As is always the case with pressure, they speak for our instinctual,
sexual anxieties and hopes; without pressure, for our (unconscious)
preoccupation with a person's deep, instinctual, yet somewhat socialized,
needs for security, financial and otherwise. The former is exemplified by the
signature; the latter by the f.
Pulver described these highly inflated lower loops as "money bags,"

originating in a "money complex." The crass disproportion between this
hand's upper (intellectual) zone and the inflated lower zone loop seems to
confirm Pulver's view.
Sometimes, inflated letters give a hint as to their meaning because they are
"deformed" and the deformation "points" in certain directions.
The most frequent case in the lower zone is the unconscious mother fixation.
It is, of course, no accident that three out of the four samples of mother
fixation are taken from left-slanted handwritings; left slant and mother
fixation goes together.
Returning to the complete circular stroke, it may be recalled that one
meaning of the circle is that of defense. Neurotic writers sometimes use the
circle to "protect" themselves against the "outside forces" that cause their
neurotic f ears and anxieties, and in such cases they draw a circle or circles
around their name. Experience shows that these "magic circles" not only
protect their deep neurotic fearfulness, but may also contain anti-social
impulses, which lurk within the hidden recesses. Increasing Right Slant at the
end of words: Writer's interest in a thing grows the more he studies it;
inability to hide his true intentions; optimism overpowers his original reserve;
hot¬ headedness; when excited, writer loses self-control; quick temper.
Diminishing Right Slant at the end of words:
Writer's interest in a thing diminishes the more he studies it; pessimism

overcomes his original enthusiasm; skepticism is stronger than confidence;
he backs out or asks for additional security just when everything seems
settled; incurable pessimism.
Middle Zone Left-slanted
(upper zone and lower zone upright or right slanted):
Intellectually and emotionally drawn to fellow men, but has difficulty in

bringing himself to be one of them; sacrifices himself for a family claim (his
mother or sister)
Lower Zone Left-slanted (upper zone and middle zone upright or right¬
slanted):
Sexual inadequacy or resignation to an incomplete sexual life.
Increasing Left Slant (at the end of words in upright handwriting):
Pessimism overpowers initial interest in a thing.

Sporadic Left traits
(in upright or right slanted handwriting):
Skepticism; distrust; victim of inner conflicts; (together with split letters)

schizophrenic disposition.
Left-Slanted End Strokes (m upright or right slanted handwriting, with

pressure):
Unresolved father-protest, obstinacy, stubbornness.
1. What are the names of the three zones?
2. Handwriting confined exclusively to the middle zone reflects what traits?
3. When writing shows the upper zone to be the largest, the lower zone
relatively small, what character traits are indicated?
4. Which zone is emphasized in Jack Dempsey's script?
5. Describe Marie Curie's middle zone and its meaning
6. Which zone is dominant in the following script... what is indicated?
7. A handwriting can be dominantly right-slanted or upright, when there is a

regular occurring pattern of left tending (end) strokes, (as in the sample
below) these (left tending end strokes) are to be interpreted as left slanted
strokes.
True?___ False?___
8. Which type of writing slant is called not 'natural'?
9. When one deflates his writing, is he more apt to exhibit social timidity or
imagination?
A. Social timidity___ B. Imagination___
10. An inflated letter in which zone indicates intellectual imagination? Which

zone 'betrays' unconscious drives and urges?
11. How is the unconscious mother fixation detected from one's writing?
12. "Magic circles" enclosing one's name contain exemplary or anti-social

impulses?
A Exemplary___ B. Antisocial impulses___
1. The upper, middle and lower zones
2. Handwriting confined to the middle zone demonstrates the social person,

the today person, the one concerned with Number One and lacking spiritual
as well as physical drive.
3. Strong aspiration; where there is strong sexual repression, as is the case

here, sadism, masochism, or other unlovely outlets for desire tend to appear.
4. The lower zone.
5. Small middle zone; strong powers of concentration.
6. The middle zone; the social person, the today person, the one concerned
with Number One and lacking spiritual as well as physical drive.
7. True
8. Left (reclined)
9. Social timidity
10. The upper zone
11. The lower zone
12. Writing that has inflated lower loops 'pointing' leftward
13. Antisocial impulses

http://careertest.ws http://www.learngraphology.com
By Joel Engel
Graphology at Home-Lesson 4 –The "t" Bar
To the graphologist, the two most important letters for analysis are the small
t and the letter i. In this article, you will find virtually every possible kind of t
bar. Any other t bar you may come across will probably be only a variation of
one of these, and with practice, you should be able to see into which
category of t bar it fits.
When we speak of the t bar, we mean the horizontal line crossing the stem of
the t. We are not concerned with the letter as a whole. The 'normal' t bar is
perfectly centered; meaning that the length of the bar is equal on both sides
of the stem, and the length itself is the normal length. It also crosses the
stem in the middle (measuring from top to bottom). This t bar shows
confidence and self-discipline. It is the kind of t we were taught to make as
children.
The post placed-rightward- t bar flies away from the stem. Often such writers
have quick minds. Their purpose is not exactness in detail; they want to finish
quickly. They are aggressive, often showing temper, impatient to reach their
goals.
The pre placed t bar-leftward- besides not crossing the stem, also does not
touch it. This writer procrastinates, often shows a lack of self-confidence, and
is fearful. It is difficult for him to make decisions. He would rather hold off, as
he held off from crossing the stem of the t.
The bowed t bar (also called a convex t bar) is usually found either in the
center or the top of the stem. It shows a strong desire for self-control- like a
hand holding back a certain desire the writer wishes to suppress.
When the bowed t bar is at the top of the stem, the bar is in the upper
(spiritual) zone, this writer wants to put a curb on his earthy appetites,
holding back primitive desires for deep religious reasons.
Wherever handwriting produces a knot, it shows persistence, stubbornness, a

desire to have one's own way. If, in addition to the knots, hooks appear in the
letter as well the persistence is accentuated, because the nature of the hook
is not to let go. The t bar that is above the stem, shows the writer to be
someone with strong imagination. He is adventurous, he has goals, he is
authoritative. If he is able to make his goal a reality, he will probably do so in
a great way, for he aims for the stars. (Notice that the t bar is in the upper
zone). Unfortunately, these people are usually unrealistic, so the goals they
set for themselves are often unreasonable.
An interesting note: Many graphologists have pointed out that when a person
is preoccupied with his occupation, his handwriting will often reveal some
kind of symbolism of the tools he uses. This particular t bar is commonly
found among pilots, as if they thought of themselves as flying.
When the 't' bar is flung down, the writer likes a challenge. This writer will not
give up; he is a dominant personality, and when he says something, he
means it. There is also cruelty in his personality, and he is often sulky, has a
low opinion of others, is resentful, and in general is disappointed in life. Even
though it is a masculine writing trait, many women write this kind of t bar
also.
When the 't' bar is only half of a bar-on the right side of the stem, which
represents desires and goals, there is a certain degree of guilt about the past
in this writer-not so severe that it prevents him from touching the stem, but it
will not permit him to make a complete bar. (Note: Whenever a t bar does not
cross the stem, regardless of which side it is located on, it shows repression.)
The t stem represents the present. Hence, when the bar appears only to the
left of the stem (not shown), it represents some lack on the right, some
shortcoming in his goals, his future. When the bar appears only to the right of
the stem it represents some lack on the left and indicates that the writer
prefers not to be in contact with the past, perhaps his childhood.
The t bar that descends in a "tough" way, but does not cross it, indicates a
certain degree of repression. The writer has guilt feelings, and he lives in the
past, as shown by the location of the t bar on the left of the stem. In reality,
along with aggression, there is also weakness.
Any t bar not crossing the stem shows a lack of confidence, fears about the
self, and, as we mentioned before, repression. In addition, if the stem is
looped, it will indicate sensitivity-often hypersensitivity. A loop, in general, is
blown up to whatever degree necessary for the writer to express his feelings.
Loops are signs of vanity. This person is going to be hurt quite often, since he
looks for compliments, and is very sensitive.
The concave t bar, is opposite in shape to the bowed t bar and basically
opposite in meaning. It shows fickleness, a person who is easily swayed, has
weak resistance and weak willpower. The concave-t-bar writer takes the
easiest way out and prefers not to fight.
A t that is not crossed at all may represent many possibilities: carelessness,

forgetfulness, physical weakness, bad health, hastiness, and impatience-
someone who does not have the time to worry about details and wants only
to get his thought across. Generally, when the t bar is missing, we check for
other corroborating signs, such as inclined writing and diminishing size of the
middle-zone letters toward the end; if those signs are present, we say the
uncrossed t bar stands for speed.
Hypersensitivity is revealed when the writer will not even take his hand off
the page to cross the stem horizontally (goal-oriented). Instead, without
lifting his hand, he scrawls a vertical t bar from the bottom of the stem,
showing that he lacks strong goals for the future and is sensitive about this
area of his life.
The t bar in the form of a knot shows persistence. If the t bar is located above
the stem, the persistence concerns the self. As we know, the t bar in the form
of a knot shows persistence, but if the letter is composed of straight lines
(forming angles) it indicates that he will go on to his goals relentlessly.
There are three forms of the 'hooked' t bar, all indicating tenacity and
stubbornness.
a t bar with a hook at the left, shows a person who starts out strong but then
gives up.
At bar with a hook at the right, shows someone who may not start out
stubborn, but in the process becomes so. A t bar with hooks at both ends,
starts and finishes stubborn, and will fight on to the end of his own course.
People like this have a lot of energy and usually move around a lot.
The t bar that is placed quite high on the stem, shows self-confidence. If a t
bar is located beneath the middle of the stem: it shows lack of confidence in
the self, as though he did not feel good enough about himself to "stretch up"
to his normal height. The fact that the stem descends as it does with such
determination shows stubbornness, unwillingness to bend to another's
opinion. It is often difficult to get along with such a person; as you can see,
he descends to the lower zone to pick up a certain degree of strength.
Note: The height of the t bar as an indicator of personality is only relative to

what is normal. In some countries, students are taught always to cross their
t's somewhat lower, or somewhat higher, than is usual with Palmer Method
writers. So for them, relative height must be borne in mind.
When the t bar starts off thick and ends thin, it is a sign of one with a sharp
tongue and sarcastic personality.
When the t bar goes back to the left, representing the past, it shows
introversion. It also shows jealousy and lack of responsibility, and the hook in
the structure of this letter shows greed, egotism, and selfishness.
When the t bar crosses in the middle but veers upward, it shows social
aspirations and often a strong imagination. (This t bar points to the upper
zone.) It is also the sign of one who wants to improve his situation, and is
aggressive.
Where only a small part appears to the left of the stem the t bar may seem
similar to the previous one, but it has a different meaning. This writer is
ambitious to the point of having a fighting nature-he looks as if he were
holding a bat. He is often the one who would rather take you to court than
settle a suit outside. When the 't' bar begins moderately, not too dark, not too
muddy, but then the bar on the right side of the stem becomes extremely
heavy, danger is indicated Often this type of person does not show his
brutality in the beginning, but it can be provoked at a moment's notice,
without warning. If this trait is corroborated by other indications in the script,
such as muddy writing, and if it is written with the same strength with the bar
off the stem it may indicate a murderer. This is a common script found
among murderers. Needless to say, these people are resentful, and
(generally) have a low opinion of other people.
A wavy t bar is a sign of fun and gaiety, the practical joker mimicking others.
It is as if the stroke of the t bar was saying, "Ah, don't take me seriously."
The t bar with one-half of its length scrolled is quite different from the wavy t
bar. This person, though he answers questions in a more or less straight
fashion, does so sarcastically. The straight part of the bar represents his
answer to the question; the scrolling represents something of his own, which
is added on (his sarcasm).
When the t stem is looped, it shows vanity (preening oneself in the presence
of others). It also shows prejudice and superficial friendliness, a show-off. This
person is bound to make an impression. This low t bar indicates an inferiority
complex. The t bar by nature shows strength, determination, the will of the
individual, self-confidence. Its low placement on the stem shows this writer's
lack of self-esteem. Always on the intellectual level, short t-bars appear in the
script of timorous people who have little confidence in their own ideas and
therefore do not plan very far ahead. Similarly, the short t-bar is indicative of
the sober and matter-of-fact.
When the t bar goes down, around, and back toward the stem, it shows
greed, a hoarder. The shape of the arc in the t bar looks as if the writer was
trying to hold on to something.
When the t bar goes up and around and points toward the stem, this is a sign
of egotism.
When you have the t bar covering the whole word it is a sign of protection,
fatherliness. (Note: This particular t bar is found among many women, often
young widows or divorcees. The fact that they are bringing up children alone,
having added the fatherly role to that of motherhood gives us an
understanding as to why this "masculine" trait should appear in their
handwriting.) If the end stroke comes up and over toward the left it has the
same meaning.
Notes about the t bar and the i dot:
We have seen the relative importance of the t bar. There are times when the
t bar adopts no one stable form throughout a piece of writing. Some t's will
have a low-placed bar, others a middle placement, and still others a
somewhat high one or even an above-the-stem position. This writing
indicates a person who has not yet found his "thing" in life, but is looking.
When the writer post places the majority of the t bars, he usually post places
the i dots too. Similarly, when the majority of the t bars are pre-placed so are
the majority of i dots. I use the word "majority" because it is rare for a person
to write all his t-bars or i dots the same height or in the same position. The
graphologist looks for the overall average.
The i dot works in connection with the t bar. But the capital I, in the English
language, has another meaning. When we write the capital I, we are
visualizing in our minds what we think of ourselves. The I stand for the ego,
so the special shapes this capital letter takes will show you, in capsule form,
the writer's self-image. If you have wondered why a t bar or i dot should show
the many signs that they do, it is because both represent an additional mark
that the writer must stop and make. (The same thing holds true for native
writers of languages that are rich in diacriticals, such as the Scandinavian,
and their handling implies the same interpretation.) When the writer writes a
word containing a t or i, he must decide whether to cross the t bar (or dot the
i) in the middle of the word, or wait until he finishes the word and then go
back. The way he solves this little problem gives an important clue to his
individuality.
1. What does the post placed t bar reveal?

2. Which t bar reflects procrastination?
3. Which t bar indicates strong imagination?
4. Describe the t bar that discloses a dominant personality.
5. What type of t bar indicates fickleness?
6. What type of t bar can show forgetfulness?
7. Stubbornness can be seen in a t bar. What is the common factor to
look for?
8. The t bars in the following sample reflect what trait?
9. Many of Jacqueline Kennedy Onassis' horizontal strokes veer upward. What

does this reveal?
10. A t bar covering the whole word discloses what trait?
11. What is similar regarding the following t-bars and i dot?
12. What must the writer decide when writing a word containing a t or an i?
13. Describe the t bar that appears in timorous people who may have little
confidence.
1. Often such writers have quick minds. Their purpose is not exactness in
detail; they want to finish quickly. They are aggressive, often showing
temper, impatient to reach their goals.
2. The pre-placed t bar
3. The t bar that soars above the stem
4. It is flung down
5. The concave t bar
6. The t bar is missing
7. Hooks in the t bar
8. Sarcasm
9. This shows social aspirations and often a strong imagination. It is also the
sign of one who wants
to improve their situation, and is aggressive.
10. Protection, fatherliness
11. They are pre-placed
12. When the writer writes a word containing a t or i, he must decide whether
to cross the t bar (or dot
the i) in the middle of the word, or wait until he finishes the word and then go
back. The way he
solves this little problem gives an important clue to his individuality.
13. Short t-bars
...........................................................................................................................
...........................................................................................................................
............................................
Graphology at Home: Lesson 5 - The-i-dot
When the capital letter I-the ego-is written huge, this is the image the writer
has of himself. Surely he is extremely egocentric, a megalomaniac.
A block letter shows culture, someone who reads. This is the capital I found in
most books.
The unadorned I shows nothing extra and similarly indicates the person who
sticks to the simplest essentials.
The large, ugly I with hooks is the sign of egotism and greed. This writer is all
out for himself, willing to avoid responsibilities.
The I that looks similar to the number 1 shows a relationship to numbers.

Often these people are found to excel in mathematics.
When the I dot is to the right, it is referred to as the post placed i dot. This
writer's thoughts run in front of his actions, and his writing shows speed. His
urge is to finish his task without worrying about exact details.
The pre-placed i dot, which is to the left, shows procrastination, caution, lack
of self-confidence, repression. The left, represents the past (the writer lives in
the past), whereas the i dot to the right of the stem-the post-placed- i dot
represents the future.
The exactly placed I dot above the stem is the sign of accuracy, perfection,
excellent judgment, excellent memory, strong adherence to details. This
writer often has a matter-of-fact personality. He is not only careful in dotting
the i, but places it exactly where it belongs. This shows concentration. Many
judges and scientists dot their i's in this fashion.
The i dots which are exactly above the i stem are often found among people
who are considered highly moral people. They usually take strongly
conservative points of view, in contrast to the writers of the post-placed i
dots, who are more likely to be liberals. The post-placed writer lets himself
go, whereas the exacting writer weighs every action.
The high-flying dot shows the person whose thoughts are high in the sky. He
is generally unrealistic, but if he attains his improbable goals, he does so in a
big way.
When an i dot is not really a dot, but a vertical line, it is a sign of criticism, of
a person who has a strong concern with principles. Not only does the shape
of the dot seem like a descending knife, but it can also pass for an
exclamation point, demonstrating emphasis.
An i dot formed of a circle reflects the eccentric-sometimes mildly so,

sometimes not so mildly. These people show mild neurotic tendencies and
are frequently unable to face reality. They go after fads quite often and are of
an artistic nature. The late artist Walt Disney wrote a similar i dot. It is
interesting that his circled i dot looks very similar to Mickey Mouse's round
ears.
The very light 'i' dot indicates a lack of willpower, possibly physical weakness
or even illness, as if the person did not have the strength to dot the i
properly. (A light t bar obviously shows the same meaning.)
When we see an i dot joined to another letter (and for that matter, any letter
that requires a dot or bar), it shows a clever combination of thoughts-doing
two things in one shot, so to speak. These are the personalities of chess
players, people who can solve abstract and intricate puzzles and make logical
deductions.
When the i dot is an arc that opens at the left side, it is a sign of the neurotic,
untrustworthy personality. He shies away from the system. The arc, which is
regarded as the eye, is looking toward the left indicating a lack of trust in
somebody he has been involved with in the recent past. (It is often the
untrustworthy person who does not trust others)
When the i dot is in the form of an arc open to the right, it is the sign of the
observer. The arc itself looks like an eye staring at something.
When the dot is directly over the stem and heavy, it indicates good memory,
sound judgment, and the ability to do detail work. You often find this writer to
be very materialistic and in a state of depression. (Heaviness in writing shows
the physical, and the physical brings on materialism.) Regarding the
depression, it seems to be a weight on the writer's head, carrying an extra
load.
When the dots are more like dashes, they signify energy, worry, and
irritability. If you go over these dots yourself, you can almost feel liveliness,
irritability, and also a certain degree of speed. When the i needs a dot and
precision is really necessary, this writer flings his pen in such a manner as to
make the dots into dashes. It shows he does not care, because there is
something bothering him.
When the i dots look more like commas or arcs, they are signs of humor, wit,
and gaiety. If you look closely at them, they resemble laughing mouths.
An i without a dot may simply indicate speed (which would have to be

checked with the rest of the writing). Otherwise, the dotless i shows
forgetfulness, carelessness, neglect. This is also true of the t bar without the
bar.
A note about genius: There is no hard-and-fast rule for recognizing genius
through a person's handwriting. However, certain signs often do appear in
the script of great-minded men: high upper-zone extension (without loops),
and/or very small, or even microscopic, middle zones. (There is no particular
guideline to the lower zones.)
Generally speaking, since the middle zone is the social area, the larger it is,
the less the powers of concentration. Thus, the great mind tends to show in
his handwriting a willingness to give up the social world for more intense
powers of concentration.
Since the average size of a zone is 3 millimeters, anything under this size we
call small and the smaller in size it gets, the stronger the concentration,
usually at the expense of sociability.
Other traits commonly found in the handwriting of the genius are tremendous
speed and sloppiness, indicating that the person's thinking is so far ahead of
his writing that he has no time for meticulous penmanship.
Although a genius may position many of his t bars and i dots well to the right
of the stem, he will place others with great precision, for, however rapidly he
may be thinking, much of his work requires exactitude as well as speed.
A form that frequently turns up in the writing of someone with a high IQ is a g

made in the shape of a figure 8, showing speed plus a certain grace.
May we digress to the subject of legibility?
The fact of legibility in handwriting and its degree are not so easy to
establish. We read whole words at a time, some of us whole phrases.
Consequently, one or even several illegible letters in a word will not prevent
us from correctly guessing what the word is from the context. As experienced
readers, we really do not mind a not wholly legible hand. As graphologists, we
must be less lenient.
To establish the legibility of handwriting, we must try to read it word by word.
Only when handwriting proves to be legible in a word-by-word examination
can it be pronounced legible.
To interpret a hand graphologically, on the basis of its legibility, we must ask

ourselves why a person may choose to write, yet at the same time write
illegibly. Lip service is the phrase that comes first to our mind. To let the
gesture stand for the act is the intent of one who writes but does so illegibly.
Or he may consider himself so superior that reading his missive is the
recipient's duty; conceit and arrogance, therefore, may also lead to illegible
handwriting.
Or we may write the message though we would prefer to keep its contents to
ourselves. In this case, it may be affectation of mysteriousness, or neurotic
anxiety, or psychotic suspiciousness, or perhaps even a persecution complex
that blurs our hand. It was distrust that created cipher or code writing.
Paranoia or persecution mania, to be sure, does not make handwriting wholly

illegible. On the contrary, paranoiacs often write meticulously legibly, as
though trying their best not to arouse any suspicion. But there
simultaneously appear certain isolated illegible characters or words; they
look like corrections, but the result is always almost complete illegibility.
Paranoiacs seem to be feverishly bent on improving themselves and
apprehensive over what might be misinterpreted and criticized by others, but
it probably is part of their mental disorder not to succeed but rather to make
things still worse.
A person with an illegible or neglected hand cannot be called either sincere or

co-operative. For if he has nothing to hide, or really wants to be understood
by his neighbor, why should he write illegibly? We must assume that he does
not care whether or not we can read his letter. This is not the way of a
considerate person. Indeed, inconsiderateness, carelessness, (in clothing,
too), insincerity, and even bad manners may be observed in people with
barely legible hands. Very probably, they would also be unpunctual,
disorderly, and indolent. There was a time when well-educated people, and
especially intellectuals, thought it beneath them to write a legible
handwriting. Freud interpreted the illegible hand of doctors, for instance, as
part of their professional pride and secretiveness; they do not want the
layman to understand their notes obviously reserved for other doctors or
pharmacists.
However, it is quite conceivable that some scientists or thinkers, very much

detached from the world, forget that others may also wish to read their
writings: (Einstein obviously is not one of these; his handwriting is legible).
People with little training in penmanship do not write illegibly or carelessly.

Their writing may look rather helpless, untrained, but it is often remarkably
legible.
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. (Only an anonymous ¬letter or a ransom note
goes well with an illegible signature.) A special kind of illegible signature, the
paraph, is used by people who think they are above the necessity of
identifying themselves by means of their signature. The best-known case is
Napoleon and the man with Napoleonic aspirations. If a man thinks of himself
as one whom everybody must know and blindly obey, why should he bother
to write his signature legibly? Indeed, a paraph will suffice. If examination of
the handwriting sample reveals that here and there, one letter stands for
another very plainly, for example, an l for a b or an h for a k, we know from
experience that the sample originated with a liar, a swindler, or a cheat.
("Adolf" in Adolf Hitler's signature)
Indistinct figures are made by careless people and people whose attitude in
financial matters is not clear. But figures that can be misread, for example, a
5 for an 8, or a 1 for a 7, and so on, are associated with fraudulent intentions
on the part of the writer.
Legibility, on the other hand, is characteristic of sincere individuals and of

people who have a good capacity for purposeful work. Legible handwriting
may also be associated with orators, teachers, and pedants; the style value
will tell us whether the hand is that of a great teacher or merely a pedant's.
There are some peculiarities regarding the pace of writing, which we must
know in order to draw correct conclusions.
For instance, Saudek found that tall letters, such as f, are always more
quickly written than minimum (small) letters, such as i; therefore, a small
script is always more reluctantly formed than a sizable one. The rounded
letters are produced "without pause," angular formations never without
"stopping for a fraction of a second before the transition from one direction to
the other." The angle writer, therefore, is always a hedger. The same holds
true of handwriting with many broken lines, or with many changes in
direction, particularly left-tending strokes (in a writing movement, which, as
ours, is mainly right tending). "No one is capable of making a dot when
writing at a high rate of speed, but will instead produce . . . a comma or
accent."
Similarly, a spontaneous writer will not place the dots exactly over the i's. On
the other hand, only spontaneity can produce a straight line, a slowly
executed straight line being necessarily broken. Moreover, spontaneity will
always slant its writing to the right; upright or left slanted writing is never
formed spontaneously.
Examination for Lesson 5:
1. What type of capital shows extreme egocentricity?
2. The 'unadorned' capital indicates what type of personality?
3. Which 'i' dot reflects procrastination?
4. Which type of 'i' dot discloses strong adherence to details?

5. What does the 'i' dot joined to another letter reveal?
6. Which 'i' dot reveals humor, wit, and gaiety?
7. Intense powers of concentration are frequently found in the script of the

genius.
Describe this unique type of writing and the zone.
8. Code writing was created because of trust-or the opposite?
9. When certain isolated illegible words appear, which type of mania is

suggested?
10. Sincerity and co-operating are more likely to be found in legible or

illegible script?
A. Legible B. Illegible
11. Who are 'known' to write illegibly so that the layman will not understand
their notes?
12. An illegible signature annuls or confirms the document it pretends to put

in force?
A. Annuls___ B. Confirms___
13. Do spontaneous writers place the dots exactly over the 'i's or not?
Answers for Lesson 5:

1. One that is enormous.
2. The person who sticks to the simplest essentials.
3. The pre-placed i dot.
4. The i dot that is exactly above the stem.
5. It shows a clever combination of thoughts-doing two things in one shot, so

to speak. These are the personalities of chess players, people who can solve
abstract and intricate puzzles and make logical deductions.
6. i dots that look more like commas or arcs. (They resemble laughing
mouths).
7. Very small, or even microscopic, middle zones. The middle zone is the
social area, the larger it is, the less the powers of concentration. Thus the
great mind tends to show in his handwriting a willingness to give up the
social world for more intense powers of concentration.
8. The opposite.
9. Paranoia or persecution mania.
10. Legible
11. Doctors
12. Annuls
13. They do not place the dots exactly over the 'i'.
http://careertest.ws and http://www.learngraphology.com
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
Graphology at Home: Lesson 6 - Sexuality
Sexuality, of course, plays an important role in our lives. The zone that
represents it is the lower zone, and the letter that reveals its quality most
effectively is the letter g. As people mature, they in one way or another drop
parts of the system they learned in school and acquire their own form of
writing, which reflects their particular sexuality.
Though the letters f, j, p, q, y, and z also reach into the lower zone, for
purposes of exactness graphologists concentrate their analysis on g and use
the other lower-zone letters for back-up corroboration. Often other letters are
useful only in certain specific areas, whereas the writer's method of forming
the g is always revealing. It is believed amongst graphologists that, of the
lower-zone looped letters, the g most nearly reflects sexuality.
The Palmer method is the kind of writing we were taught to write in school.
Normally, as people mature, they in one way or another drop parts of the
system they learned in school and acquire their own form of writing, which
reflects their particular personality. People who still write in their later years
the way they did in school are usually immature and fearful of change, but
naturally this applies to the handwriting as a whole, not just to the formation
of a single letter.
The g, which can pass for the number 9, shows an obvious feeling for figures.
People who write like this are often accountants and mathematicians.
A g that extends far downward, shows concentration and fatalism. This g and
the previous one both lack the loops of the Palmer method g. As we will see,
the upstroke of the g is what we use to measure sexual completion. 'g's that
have no upstroke at all (or, as many graphologists call it, a return stroke),
reflect a rejection of sex on the part of the writer.
Concentration is explained in this way: Since materialistic and/or sexual

preoccupation can interfere in the thinking process, these factors are here
avoided, and the power of concentration is thus freed from being blocked. So
in addition to the negative personality we see in this writer, there is also a
positive factor.
Where there are open bottoms on ovaled letters (a,d,o, etc.) it shows
avoidance of sexual responsibilities. It shows the embezzler, obviously one
who avoids responsibility. Since this open oval is at the bottom of a "sexual"
letter, we see avoidance of sexual responsibility. As written here, this open
oval can be viewed as a circle, which is lacking something-the same part that
is lacking in this writer's personality.
When the upstroke does not go through the downstroke, it is a sign of

masturbation or of virginity, a sign of no really strong sexual fixation.
The downstroke indicates the amount of sexual strength in the writer, the
upstroke, how much of the downstroke is being completed. When the
downstroke measures 8 millimeters, and the upstroke measures only 2
millimeters, the gap is tremendous. The writer is very sexually incomplete,
considering the amount of energy he is putting out as compared to the
amount he is taking in.
When the upstroke crosses quite low on the downstroke, it shows completion-
to a certain extent. However, since the downstroke is larger than the
upstroke, it shows a gap in the completion-therefore, frustration. As a rule of
thumb, since the g is supposed to be in two zones (middle and lower) and
each zone's normal size is 3 millimeters, the part of the g in the lower zone
should measure an average of 3 millimeters for the downstroke as well as for
the upstroke. When the downstroke measures more than the upstroke,
regardless of whether it crosses the upstroke or not, the amount of
frustration can be measured by the difference.
If, for example, the downstroke measures 5 millimeters-2 millimeters longer
than the "normal" downstroke-then the upstroke should measure 5
millimeters, too. A "normal" 3-millimeter upstroke would represent 2
millimeters of frustration.
When the g is a closed triangle, it indicates someone who can be a tyrant in

his own home, usually because of sexual disappointment. All angles hint at
rigidity. When these angles are found in the lower zone, they show that the
writer's rigidity is caused by what the area represents, the sexuality.
Graphologists refer to this g structure as the "henpecker." Whenever a

triangular shape appears in the lower zone, it probably means
argumentativeness, bickering, et cetera.
Whenever a triangle appears, as is the case here, with the point at the
bottom, we see the writer, whether male or female, as having a strong
interest in the female body. When this sign appears in a woman' s writing, it
does not necessarily mean that she is a lesbian, for many clothing models
and women in the fashion field write like this. It simply implies a
preoccupation with the female figure. However many lesbians do write g's
with downward-pointing loops, and some women write "masculine" symbols
along with the triangular (female) loops, showing bisexuality.
The g with double loops is found among people with strange habits. It is
associated with drug usage, and it shows confusion, perhaps a drive so
strong that the writer has succumbed to it. Although many physical drives are
difficult to control, this one is doubly so.
When both the downstroke and upstroke are distorted, they probably
represent the sex pervert.
An extremely large loop shows a tremendous sexual imagination. Since the

lower zone reflects the sexuality of the individual, its size indicates that sex
dominates the writer's thinking.
When the g loop is sharp at the bottom, we see a piercing, penetrating one
who does not give up easily, one who wants his own way. This writer will also
be revengeful. He takes a hardened, rigid approach to sex, as is indicated by
the sharpness of the angles. (Notice how the shape resembles a knife blade.)
The flimsy-looking g shows a person who is weak and/or shy sexually. A

certain amount of physical strength is necessary for normal relations. This
writer is lacking in this area, as reflected by the feebleness of the loop, which
is an indicator of the physical (sexual) strength of the individual.
When the g has a large, triangular loop with a horizontal base in the lower
zone, it shows materialism, and the fact that it is set on a base shows that
the writer needs a solid basis for this materialism.
This bears a superficial resemblance to the triangular 'g' we discussed above,

but they mean different things graphologically. That one has the point at the
bottom, reflecting an interest in the female form. Here the bottom is flat,
horizontal.
The g in the form of an open 8 is often among lesbians. This structure can
appear as the female anatomy. The female form is on the mind of this writer.
When the loop comes up, around, pointing back to the left (the self) and the
underlength is inflated, it shows materialism. That, combined with the self-
pointing loop, adds up to greed and egotism.
When lower loops entangle themselves, it shows hypersexuality. This person

lives for pleasure, regardless of what may come of it.
As a rule of thumb, if the lower zone is either equal or smaller in size to the
upper zone, the sexual drive will be under control.
When the underlengths are short, we see a person who, if he is not a physical
weakling, lacks drive and sexual strength, one who becomes weary easily.
His situation is not a healthy one. He has aborted natural sexual energy, and
it would be advisable for him to get counseling.
When the upstroke and downstroke both meet at the point where the
downstroke begins-this being just under the oval part of the g, the same
basic amount of strength is used in the upstrokes as in the downstrokes (we
call this even-pressured). Usually the downstroke is a bit heavier, but that
does not matter as long as there are no marked differences. Here we have a
writer who started and finished with the same basic amount of sexual
strength-a healthy sex life.
Where the upstroke does cross the downstroke, but either somewhere in the
middle or toward the bottom, the writer does complete the act, yet he
habitually finishes before his partner. This often leads to frustration in the
relationship. There is selfishness in this writer's makeup, since he lacks
consideration for his partner.
The downstrokes can have much more pressure than the upstrokes, though
the upstrokes do cross the downstrokes at the "proper" place. This trait
shows that whatever strength the writer has is used in the beginning, but he
somehow manages to complete the act.
When the upstroke is hardly an upstroke at all, the action was started, but it
was not finished. Or perhaps the person does often "finish" with
masturbation.
What is classic romantic writing? His writing leans to the right, showing
warmth, and his long lower loops indicate strong sexual feeling. We generally
find a man writes with heavier pressure than a woman does.
If you look closely at 'g's, yet they can pass for a's, due to their extremely
short underlengths, we frequently find sexuality that has gone haywire. There
is no natural outlet (as indicated by having virtually no underlengths), so the
writer gets his pleasure from unhealthy forms of expression, such as inflicting
pain. It is the writing of the sadist.
The Marquis de Sade (from whom we got the term "sadist") wrote similarly.
When writing is significantly inclined, it shows a dependency on others. If this

writing is combined with an extremely pastose, smeary hand, as if an ink
blotter were used on it, indicating very strong sensuousness, the extremely
short underlengths of which we spoke above now tell of masochism. Leopold
von Sacher-Masoch (from whose name is derived the term "masochist")
wrote similarly.
Whenever there is extremely pastose writing, we are dealing with a sensually

abnormal individual. Lee Harvey Oswald, President Kennedy's assassin wrote
in such a fashion. His writing also has many angles and hooks, showing a
rigid, pigheaded approach. Rigidity, coupled with abnormal sensuality, can
trigger the possessor into a most barbaric act.
Examination for Lesson 6:
1. Which zone represents sexuality?
2. Which letter most effectively reveals its quality?
3. When the 'g' lacks a return stroke, what is indicated?
4. Should the downstroke (of the 'g') be eight millimeters, whereas the
upstroke
measures only two, what is reflected?
5 What type of (lower zone) loop is associated with drug abuse?

6. What writing indicates tremendous sexual imagination?
7. Which type of writing discloses a piercing, penetrating personality, one

who does not give in easily?
8. What does the underlength that is inflated and points back to the left (the
self) reveal?
9. Marilyn Monroe's writing shows hypersexuality. Explain how this is

indicated.
10. The Marquis de Sade shows sadism in his writing. Explain how this is
noticed.
11. What is pastose writing? What does it reveal?
Answers for Lesson 6:
1. The lower zone.
2. The letter 'g'.
3. A rejection of sex on the part of the writer.
4. Sexual frustration
5. Double loops
6. Extremely large loops (in the lower zone).
7. The g loop that is sharp at the bottom.
8. Greed and egotism.
9. The spacing between the lines in Marilyn Monroe's writing is quite large
and still the underlengths choke into the line below it.
10. The writing is excessively muddy and ink-filled, which indicates

sensuality. It also contains piercing end strokes, and since the end strokes
represent his relationship to his fellowman, this indicates the pleasure he
took in cruelty.
11. Muddy, blotchy, unclear writing. Sensuousness is revealed.
http://careertest.ws and http://www.learngraphology.com
:;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Graphology at Home - Lesson 7 - Your Moods
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.
Most writing has some degree of variation. The variations often occur in the
writing slant and also, but not as frequently, in the base line. When the
amount of change is insignificant (such as under 10 degrees), it is regarded
as the normal flexibility of the individual and merely indicates that he is not
stiff. But when the degree of change in the slant is significant, we most
definitely take this into consideration.
Generally speaking, 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. You can see this by taking a ruler and placing it under the
middle-zone letters-they are all basically equidistant from the ruler. He is
composed, not easily upset, straight thinking, and honest.
An ascending base line climbs toward the sky. This is the writing of an
optimist. People who write like this are not easily discouraged and are a
delight to have around, since they usually look on the bright side of life.
There is a problem with them, however often they do not look at facts too
closely, because of their optimistic personalities, and this obviously impairs
their judgment.
As the base line begins ascending, we see the degree of optimism: the higher
the ascent the higher the degree of optimism-along with a higher degree of
impracticality.
The descending base line is the writing of a pessimist. This person is always
down. The deeper his base line descends, the deeper the pessimism. Also,
the more angular the letters are, the more confirmed his pessimism.
If you ever wonder why, when you make a suggestion to a group of people,
there is one man who never wants to risk it, take a good look at his
handwriting. If you see a descending base line, you will know that by nature
he lacks enthusiasm for new plans or ideas, feeling that none of them will
work out anyway. His criticism is not necessarily directed at your suggestion;
he is, in general, a skeptic and will probably shoot down everybody's ideas.
Concerning two signatures of Napoleon, one was made at the time of his
triumph. The signature is extremely ascending, properly reflecting his state of
elation. The other was written at the time of his abdication, and its
downward, fallen fashion reflects his state of depression.
"Bobbing and weaving" writing is called the varying base line. There is no real
way of predicting this writer's next move. He is inconsistent, prey to mood
swings. It is difficult for him to hold a job or perform any function-requiring
steadiness. Others will have difficulty getting along with him, for one
moment, he is ambitious and aggressive, and the next depressed.
The mood of the writer reflects a great deal of his total personality, so the
base line is quite important for purposes of analysis. But it is useful for the
graphologist to have samples of the subject's writing done at different times,
so that the variations in it can be taken into consideration.
The base line and word that are particularly stressed drop very subtle hints
as to the writer's feelings. This idea needs explanation. Not all the words of a
letter are of the same importance. And those which are important are not
equally so to everyone. In the sentence: "All the evidence tends to suggest
that he went home alone and remained alone at least until after the first visit
of the postman next morning, for he had come downstairs barefoot and in his
wrinkled pajamas, and was reading a letter out of the morning mail when he
was shot," the reader receives all the information he needs to understand
and enjoy the paragraph from one word, "alone," and that is why Alexander
Woollcott repeated it; for, as a good writer, he enjoyed his story as a reader
would. To both the average reader and the writer the key word here is
"alone." To the murderer who might have written this passage, the key word
would be "shot," and to his defense lawyer it would be "evidence," whereas if
the laundryman had written this story in his leisure time, the words "wrinkled
pajamas" would have special emotional value.
Hence, 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
slower, joyless pace can be recognized through a decrease of right-
slantedness and a dropping of the word.
In this signature the first name is well placed, the family name markedly
dropped; the interpretation suggests itself.
In one case, an application for employment, I found that the name of the
former employer had been almost imperceptibly dropped below the line more
or less as in the above sample. Upon questioning, the applicant admitted that
she had left her previous position after a series of disagreements with her
former employer.
DIRECTION OF LINES
Theoretically, there may be as many directions of lines as there are writers.

Even the same page may show lines of different types. Still, there is no
reason to be bewildered or anxious. The main variations of the straight,
regular line are listed below with their interpretations. And whatever
experience offers in additional variations most probably can be interpreted by
means of the imitative method. Indeed, he who adopts the imitative method
cannot be permanently baffled by any of man's finest gestures.
1. In handwriting analysis, what indicates mood?
2. When analyzing one's script, which is a true sample, writing done on lined
or unlined paper? Explain.
3. If one would take a ruler, to determine how straight the base line is, under
which zone should the ruler be placed?
4. What does a straight base line indicate?

5. What type of base line is illustrated in the following sample and what does
it reflect?
6. What type of base line is illustrated in the following sample and what does
it reflect?
7. Which type of base line reflects falling prey to mood swings?
8. How can variation of one's mood be determined?
9. When the signature of the first name is well placed, and the family name is
markedly dropped, is the interpretation positive or negative?
A. Positive___ B. Negative___
10. Is it possible that many base lines of different types may appear on the
same page?
A. Yes___ B. No___
1. The base line
2. Unlined paper. Lined paper has a way of guiding the writer in a course,
which may not be his real self.
3. Under the middle zone
4. One who doesn't go to pieces if something unexpected occurs. He is

composed, not easily upset, straight thinking, and honest.
5. It is an ascending base line. It reflects the optimist.
6. A descending base line. It reflects pessimism and depression.
7. The varying base line.
8. Have as much written material as possible taken from different periods.
9. Negative
10. Yes.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Graphology at Home - Lesson 8 - How You Spend Money
The margin shows how the writer spends his money and his attitude toward
handling friends. At the end of the first line the writer stops, where it seems
to him most appropriate and returns to the left margin to start a second line.
Some writers will deliberately choose, point-by-point and line-by-line, a
straight left margin. Others are carried away by their enthusiasm, their
impatience, or whatever emotion accompanies the writing...
The margin shows how the writer spends his money and his attitude toward
handling friends. When we see a small left margin and a wide right margin,
the person is a real spender. He probably begins with a budget of some type,
but his true nature soon gets the better of him. The left shows where he
begins and the right shows where he is going. Since the right margin is left
blank (and the right, as we know, represents the future) we see that he
avoids thinking about the future and probably has a fear of it.
The opposite of the above is where the writer starts as a generous spender
and ends pinching pennies, as indicated by a cramped right margin. His blank
left-hand margin also indicates a fear of the past.
The writer that starts with a narrow margin but as it proceeds down the page,
it widens, begins with a budget, but is unable to maintain one. His true nature
is to spend. Interestingly enough, on the following page, this writer will once
again begin narrow and end wide.
Let's view this comprehensively. At the end of the first line the writer stops
where it seems to him most appropriate and returns to the left margin to
start a second line. While I concede that a few writers will deliberately
choose, point by point and line by line, a straight left margin, others are
carried away by their enthusiasm, their impatience, or whatever emotion
accompanies the writing; they move the starting point of the written lines
more and more to the right, toward the right margin-the left margin widens.
What about the individual who wants to be generous-at least, that is the
impression he would like to give. He may be sincere about donating, but
eventually, his real self (being thrifty) wins out, and he ends up counting
pennies. This is shown by the left margin beginning quite wide and ending
almost nonexistent.
A margin can have no particular order. This writer may indulge in excessive
spending and then suddenly go on a budget. He has no set order as far as
finances are concerned. When he has money, he spends-when he doesn't, he
does not take it to heart. To him, money is only a means, and he manages
quite well without it.
Small margins at both sides indicate that the writer uses accurate judgment
and thrift when shopping. A small margin or no margin at all shows a person
who is careful of every penny. Sometimes, in making certain that he is not
overcharged, he outwits himself and misses a genuine bargain.
The top margin-that is, the area at the top of the page-indicates the writer's
attitude toward the one he is writing to. The more space left blank, the more
respect he feels. If the top margin, reflecting the upper (spiritual) zone is
wide, it shows awe for the addressee (the writer does not wish to tread in the
spiritual zone). If the top margin is completely filled, it indicates a general
lack of respect.
The lower margin-the bottom of the page-is negligible in meaning. However,

if someone writes consistently at the bottom of many pages, it usually
indicates depression-especially if the signature sags to the bottom. The fact
that he writes at the down part of the pages represents his state of mind.
1. What do margins show?
2. When the left margin starts off narrow, but as it proceeds down the page,
it widens, what does this disclose?
3. When the left margin begins quite wide, and ends almost nonexistent,
what does this indicate?
4. Which margin location indicates the writer's attitude toward the person he
is writing to?
5. If someone consistently writes at the bottom of many pages and the

signature sags to the bottom, what does this usually indicate?
6. What types of margins reflect a conflict between fear of people and the
inability to remain alone?
1. Margins show how the writer spends his money and his attitude toward
handling friends.
2. His true nature is to spend. He is both enthusiastic and impatient.
3. The individual wants to be generous-at least, that is the impression he

would like to give. He may be sincere about donating, but eventually, his real
self (being thrifty) wins out.
4. The top margin-that is, the area at the top of the page.
5. It usually indicates depression
6. Left and Right Margins Narrowing.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Shubham Graphology!!!

Încărcat de

Informații document

Descriere originală:

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Shubham Graphology!!!

Încărcat de

Drepturi de autor:

Formate disponibile

Hello all you wonderful people out there.

We all know there are a lot of great

To date, as far as I know, I am the only IGAS Graphoanalyst in all of Israel. I

Graphology re Hebrew handwriting is going strong here in Israel. An

Alfred Kanfer, born in Austria and later imprisoned in Dachau concentration

The "Heart Tick"

Graphologists have determined that certain breaks in writing, slight

In the act of writing, a person with heart trouble-which is often accompanied

Variations of Normal Handwriting

The foremost tenet in graphology is analyzing the difference between a

1. Marked difference between down stroke and upstroke pressure in

2. Elasticity of strokes. The width of down strokes gradually increases

3. Uninterrupted flow of movement through down strokes and upstrokes.

4. Uninterrupted flow of movement through area of transition (3 in Figure

Characteristics are as above. Of specific importance is the uninterrupted

Finding Cancer in Its Early Stages

The following samples are micro photographs of Mrs. B’s handwriting

(Segmentation means that continuity of movement is interrupted, and the

Although Kanfer’s handwriting test was remarkable, he did make some

Many questions remain unresolved. What about the problem of a handwriting

Graphology at Home-Lesson 1-What is Graphology?

Handwriting analysis course. Reader friendly graphology lessons, covering

This was known as the empirical method. Although modern-day graphologists

1. Direction (slant) of writing

8. Beginning and end strokes

9. Connected and disconnected writing

10. Forms of connection

14. Personality traits

16. Physical health

Examination for Lesson 1

Yes? ___ No? ___

3. What degree of accuracy is attributed to trained graphologists? (What

4. What is the empirical method?

5. Are all Anglo-Saxon's taught a similar writing slant in school?

Graphology at Home-Lesson 2-The Slant

Handwriting analysis course. Reader friendly graphology lessons, covering

Picture a man standing bolt upright--the very image of independence,

In line AC, on the other hand, we see someone withdrawing from

Writing with a leftward angle of inclination is called reclined writing (or

It is extremely difficult to get through to the acutely left-handed writer, for he

Although a graphologist cannot with absolute certainty determine whether a

The so-called "coolness" of the Englishman seems to be expressed in his

In Figure 6, we have the right-slanted writing, with heavy pressure (to be

Examination for Lesson 2

1. Independence is reflected in which type of slant?

2. Does the inclined writer have a strong urge to communicate?

3. Withdrawal is shown in which type of writing slant?

5. The type of writing that is taught in the American school system

is round and leans to the right. What is it called?

6. What type of writing slant exposes the ‘coolness’ of the Englishman?

7. Which writing slant reflects a certain degree of masculinity in women?

9. Which type of writing slant professes a very tender feeling towards

Joel Engel is the author of Handwriting Analysis Self-Taught (Penguin Books).

For more information, please click http://careertest.ws

Enlarge ImageGraphology is the name given to the general subject of

Graphoanalysis is one such school and, from my experience, the most

Graphoanalysis is used to analyze Latin lettering languages usually written in

Graphoanalyists are experts in handwriting analysis. The International

A Quick Handwriting Analysis can be fun at a party or a get-together. The

In-depth handwriting analysis requires many hours of measurement of letters

Handwriting recognition by courts of law is a well-known fact today. In court

Graphology at Home-Lesson 3-The-Zones

Yes? _ No? _

A. Social timidity_ B. Imagination_

A Exemplary_ B. Antisocial impulses_