Handwriting Analysis: Graphology - Research Paper Example

and Number of the Teacher’s HANDWRITING ANALYSIS: GRAPHOLOGY Introduction Handwriting analysis or Graphologyhas been undertaken since antiquity, particularly by intellectuals in ancient Greece and Rome, and by other scholars since the middle ages. However, most of the important theory of Graphology has developed over the last century (Sackheim xv). Handwriting is a complex process. The impulse starts from the brain, the message passes to the arm, to the hand, and then to the fingers. “The pen merely acts as a recording device to reproduce the symbols that are in one’s head” (Sackheim 3). Thus, handwriting analysis theory is based on both physiology and psychology. Handwriting involves coordination of the eyes and hand muscles. The muscles contract and release alternately, with an upstroke requiring a releasing movement, and a downstroke using a binding or contracting movement. If both motions are well balanced, the writing appears rhythmic and harmonious (Nevo 61). Predominantly contracted movements will produce writing that appears rigid and cramped, while completely expanded writing appears disintegrated and unclear. The essential concept of handwriting analysis theory is that the type of movement producing the handwriting projects the personality of the writer (Lewinson 321). Thesis Statement: The purpose of this paper is to investigate the development of handwriting analysis, examine the theory of graphology, identify personality traits, and determine the validity of using handwriting for identifying personality traits and people. The Development of Handwriting Analysis Contemporary graphology dating back around 130 years is different from its ancient roots and long history. Michon’s laws of graphology formulated by Jean Hippolyte Michon, the founder of European graphology in 1875, continue to be valid today. His concept of the involvement of the brain and psychology in the process of handwriting forms the basis for the research conducted by modern graphologists. Michon believed that since the human being is a complex unit with a complete unity to the entire being, it was necessary to examine every minute element in detail. Thus, writing formed “the art of speaking to the eyes” (Bernard 4). Michon’s pupil Jamin emphasized the overall picture composed by the signes or elements in graphology. German scientists were forerunners in the field of graphology towards the end of the 19th century. Ludwig Klages who founded the first German graphologoical society in 1896, was the acknowledged leader in the field. He used his own philosophical theories as the basis for establishing laws and principles of graphology, characterology, and expressive behavior. He considered a rhythmic flow of handwriting to be most important. Klages introduced the term form niveau as an indicator of the writer’s intellectual level and cultural background. A high form of niveau indicated an individualist while a low form of niveau revealed a stereotypical person devoid of spontaneity and vigor (Bernard 4). Today’s scientific form of handwriting analysis was further developed by Wilhelm Preyer, Max Pulver, George Meyer, Robert Saudek, Rudolph Pophal, Ania Teillard, Robert Heiss, Rudolph Prophal, Rhoda Wieser, Robert Heiss, the Mueeler-Enskat team, and other researchers. They based their work on psychology, parapsychology, psychiatry, and physiology, considering handwriting as “a stable expression of an individual’s various traits or tendencies, a rhythmic movement that reflects the writer’s personality” (Thomas & Vaught 32) and hidden aspects of their ego (Bernard 5). Handwriting is considered as an expressive movement and a projective technique, similar to other projective techniques such as the Rorschach ink blot test used in psychological testing. Scholars based their work on the same fundamental principles involving the size of letters, words, or numbers, spacing between words or lines, slant of letters, margin size, and pressure on the writing instrument. However, the weightage they gave to different factors and their standards for assessing handwriting differed. Various penmanship systems have existed in the United States, with the earlier Spencerian school giving way to the Palmer Method and the Zaner-Bloser Methods in the early twentieth century. The Palmer Method is believed to help writers, particularly children achieve their individual style more easily (Sackheim 3, 4). Significantly, graphological information is not derived solely from theoretical knowledge and technical skill. The creativity of intuition has to be included, to provide a sense of the whole that the detailed analysis cannot give. Hence, a graphologist’s art lies in “his ability to see in the first impression the totality of the writing” (Bernard 6), which in turn gives special meaning to the details. Graphic structures in handwriting reveal personality behavior and traits; this forms the foundation for graphology. The Theory of Graphology According to Handwritingpro (1998), the theory of graphology is that each graphic structure is generated from primary graphic elements. The four primary expressive elements are the baseline, the enclosure, the imposed structure, and the stroke. The baseline is the imaginary line on which letters rest on, while dividing upper and lower areas while moving forward to the right. The baseline divides vertical placement and directs movement. It can be observed by flipping the written page upside down thereby rotating the page to the opposite direction. The baseline represents “reality, threshold of awareness, foundation for movement and living” (Handwritingpro, 1998), and represents the writer’s attitudes towards life experiences and activities. The vertical placement of writing above and below the baseline constitutes the division between one’s intangible and tangible values, between abstract and concrete ideas, between philosophical and tangible concepts, and between personal beliefs and personal relationships. Along the baseline, horizontal movement denotes the writer’s response to life experiences, values, time constraints, and learning. Right motion depicts advancement, expansion and progression, while left motion portrays reversion, constriction and regression. The handwriting slant is defined as “an angle formed by the baseline and a line segment generated from an upstroke above the baseline” (Handwritingpro, 1998). The line segment is formed from a starting point at the baseline intersection and the second point by its upper highest inflection point. The upstroke cannot be a final stroke or the end of a circle. “The slant represents emotional responsiveness or reactions to immediate circumstances and inner feelings” (Handwritingpro, 1998). An enclosure is constructed when a line or lines surround an area. It denotes imagination, concept enlargement, and expansion of ideas. Handwritingpro (1998) states that the three basic forms of enclosures are the loop, the circle, and the stem. A loop expresses concepts that are self generated. Upper and lower vertical loops are formed in different ways. An upper loop exemplified by the letters e and l is formed by a line enclosing an area by starting forward and upward, moving backward, and returning forward and downward, with the crossing strokes at the baseline. A lower loop such as the letters g and y is constructed by a line enclosing an area by starting forward and downward, moving backward, and returning forward and upward with the crossing strokes at the baseline. An inverted loop such as r crosses vertically away from the baseline, the non-crossing segment resting on the baseline (Handwritingpro, 1998). A circle portrays other perspectives or concepts generated from outside. “A circle is formed by a line or lines enclosing an area by starting backward and downward, moving forward, and returning backward and upward meeting or touching at the top” (Handwritingpro, 1998). The joined apex points vertically upward; the letters o and a are examples of upper circles. The lower second parts of the letters f and q depict lower circles. An inverted circle is an enclosure as seen in the letter s and the buckle in the letter k, where the meeting strokes are joined at bottom pointing downward. To form a proportionate enclosure, the “golden ratio” principle needs to be followed, containing horizontal left-right balance and symmetry. “A dangling enclosure does not intersect the baseline” states Handwritingpro (1998). The imposed written structures control conventional order. For example, the stem is an imposed structure or taught pattern and represents comparative learned standards for behavior. A stem is constructed by an enclosure that is taught to be restrictive. Stems are seen in the letters t, d, p. and i with their learned retraced closed loops. Other imposed patterns in writing represent relative group standards. Examples are a capital letter after a period; writing in a page by starting at the upper left, moving to the right; margin spaces; and individuals’ signatures (Handwritingpro, 1998). The stroke represents life force, energy flow, libido. The pressure with which the stroke is executed denotes intellectual vitality, physiological energy, emotional intensity and the capacity for vigorous activities. Pressure is defined by the amount of force applied to the writing surface with the writing instrument, and does not involve the hand grip pressure. The stroke’s thickness depicts ability for sensory perception. The stroke’s color contrast against the writing surface denotes sensory discrimination. The straightness of the stroke represents a firm approach, while a curve represents a soft approach. The stroke’s transition where the line shifts its direction and its slope is defined as the point of inflection. According to Handwritingpro (1998), “the line’s transition represents the degree of flexibility and cognizance awareness”. An upstroke from and a downstroke to the baseline respectively reveal the subconscious and the conscious response to maintain life movement. Stroke directions are upward towards top, downwards towards bottom, forward towards right and backward towards left. Writing speed differs according to the individual’s biological clock. “The writer subconsciously maintains a maximum stroke velocity with a superimposed variable oscillating profile” (Handwritingpro, 1998). The writer constantly adjusts the speed of writing with changes in the stroke’s length, direction, duration, pressure and acceleration. The basic unit of measurement is not the letter, thus computer-aided reading of handwriting is difficult. The secondary impacts on speed are caused by “grip pressure, distance of penhold to the pen point, pen slant to the paper, pen point rotation, and pen point pressure to the paper” (Handwritingpro, 1998). The fastest, thinnest stroke is a straight line at a forty-five degree angle moving up to the right, with the finger-thumb controlling the vertical movement, and the wrist controlling the horizontal motions. Significantly, fast writing is a catalyst to inner energy, improving the sped, thinking, and reactions. Writing size reveals the difference between inner and outer control of attention. Trait intensity results from the quality of the graphic stroke-structure pattern and its frequency of occurrence. The definition of the graphic structure explains each character trait. Each graphic element has a specific and unique value, and it cannot represent a different or opposite meaning. Each defined behavior is represented graphically and must comply with described graphic principles (Handwritingpro, 1998). This coherent theoretical foundation forms the basis for depicting traits, each empirically validated. Examples of Personality Traits Analytical thinking is the trait identified in the handwriting sample on the left. V-wedges for m, n. Bottom baseline intersections. The writer sorts and separates information to evaluate their value, assesses information and supporting patterns (Handwritingpro, 1998). Bluntness is the trait identified from the increasingly heavy downward and forward middle final. The individual brings matters to a conclusion and thrusts it upon others, in a forthright, impatient manner. Broadminded individual, as seen from the wide e-loop. Employs own perceptions which are liberal and free from prejudice. Concentration is the trait depicted by the sample of small handwriting on the left. The individual is prone to focus attention on one activity, while ignoring all other influences and impacts. Cultural refinement is recognized in this handwriting sample, with the middle letter written as capital. The individual integrates and discriminates creative artistic and structural systems into their mode of living. A high level of emotional intensity is perceived in the writer, from the heavy average stroke pressure. The individual is believed to possess strong libido and passions, has an abundance of available energy and vitality, and is proactive. The missing t-bars denote forgetfulness, an inability to recall information or planned action, and absent-mindedness (Handwritingpro, 1998). The trait identified by this sample of handwriting is humor. The initial wavy upper area is followed by downstroke to baseline. The individual is amused by the contrast between reality and assumed values. This sample reveals rebelliousness, as shown by the inflated triangular forward inverted upper circle. The trait includes open hostility towards authority or any form of discipline; belligerent approach. Vanity is identifiedfrom the tall t, d-stem height. There is exceedingly high self-regard of one’s own conduct, and a sense of superiority (Handwritingpro, 1998). Identification of Person Through Handwriting According to Osborn (p.480), a basic assumption is that handwriting has a combination of qualities and characteristics sufficiently personal to provide the basis for identification. Identifying the genuineness or lack of genuineness of a signature, or deciding whether a continuous piece of writing was written by a certain writer, takes the above basic assumption into consideration. Perl (p. 596), reiterates the psychologist’s viewpoint that “handwriting is a product and permanent record of a person’s highly individualized motions”. On the other hand, Sackheim (p.5) believes that there is a great deal of ambiguity about the notion of consistency in handwriting. As a behavior or process worthy of scientific investigation, handwriting fulfills two basic requirements. “It is unique because no two samples of handwriting are alike and it is reliable” (Sackheim 6). Various factors such as age, physical illness, and emotional trauma invariably transform the appearance of handwriting externally, and reflect the writer’s current problem. Even under such circumstances, people can be identified by their writing. Usually less substantial changes can occur due to emotional growth. Research evidence confirms that handwriting remains the same over time. It is possible for a professional graphologist to analyse handwriting because after individuals reach graphic maturity, the handwritings of physically and emotionally healthy individuals remain basically the same throughout their lives. There are variations in everyone’s handwriting. These variations are personal and a product of habit. In the investigation of an alleged forgery, the primary task for a document examiner is to identify that variation. If a person’s group of signatures is too perfect, the examiner immediately suspects forgery. Subtle changes in handwriting may be a reflection of the individual’s moods. For example, momentarily upset feelings may reveal the frame of mind in the handwriting. Writing is also impacted by various external factors such as the “paper, the choice of writing instrument, medication, temperature of the room, the position of the writer and alcohol or other consumption” (Sackheim 5). A lay person may find the new writing to be very different from the original one, as caused by the resultant slight changes in slant, size, rhythm or neatness of the handwriting. On the other hand, the professional handwriting analyst would be able to identify the writer, considering the changes to be only subtle. The validity of identifying personality traits, or people through their handwriting is not completely reliable. Despite research psychologists providing statistics and measurable data while attempting to be scientific, and regardless of the amount of validity studies on any one test, the science of personality can never be exact. “Although personality does have structure, it is also dynamic and subject to change” (Sackheim 149). Other problems with personality testing by handwriting is that not every trait is observable by the individuals themselves or even by an outsider. Handwriting is a motor-expressive gesture classified as a projective technique in the field of personality assessment. Expressive behavior is categorized as the style of one’s response. Thus, the patterns of movement, rhythm and physiological patterns vary greatly between individuals. While some people concur with the concept of handwriting as a reflection of personality, others reject the idea. Sackheim (p.150) states that “those individuals who are literate, concrete and tend to take everything and everyone at face value” do not accept handwriting analysis as a personality assessment tool. Conclusion This paper has highlighted graphology, outlined the development of handwriting analysis, examined the theory of graphology, and identified personality traits through variations in handwriting. Further, the validity of using handwriting as a projective technique for evaluating personality traits in people, and for identifying the genuiness of signatures has been argued. In order to resolve the conflict on the reliability of using handwriting for assessing personality traits, future research should focus on validating, rejecting or successfully enhancing the currrent use of graphology as a personality test. Works Cited Bernard, Marie. The art of graphology. New York: Troy Publications. (1985). Handwritingpro. Handwriting personality profile. Graphology. (1998). Retrieved on 7th August, 2011 from: http://www.handwritingpro.com/graphology.html Lewinson, Thea S. The use of handwriting analysis as a psychodiagnostic technique. Journal of Protective Technique, 25.3 (1961): pp.315-329. Nevo, Baruch. Scientific aspects of graphology: A handbook. The United States of America: Thomas Publications. (1986). Osborn, Albert S. The problem of proof. 2nd Edition. Chicago: Nelson-Hall Inc. (1975). Perl, William R. On the psychodiagnostic value of handwriting analysis. American Journal of Psychiatry, 111.8 (1955): pp.595-602. Sackheim, Kathryn K. Handwriting analysis and the employee selection process: A guide for human resource professionals. Connecticut: Quorum Books. (1990). Thomas, Steven L. & Vaught, Steve. The write stuff: What the evidence says about using handwriting analysis in hiring. S.A.M. Advanced Management Journal, 66.4 (2001): pp.31-35. Read More