o Each of the previous letters has something different in its form and, therefore, in the interpretation given to it. Often times, the same meaning can be derived from several different letters in a person’s handwriting. This is because the same characteristic shape can appear in different letters. The reader should now be able to discern the meaning of any letter simply by knowing how it should fit.
Here are two examples of how it works:
o Consider letter A. This letter has two factors that concern us. It is a capital and is quite thin. The capital letter reflects the ego of the writer, and as he “becomes thin”, we say that he is shy. The same interpretation would apply, say, to a capital H: this lower case also implies that the writer is shy.
o Imagine the lowercase a, the bottom is open and the letter is oval. So the rule that applies here applies to any oval-shaped letter with an open bottom, perhaps the letter o.
o The letters ayo are letters of the middle zone, but the letters of the upper zone and of the lower zone also belong to this category, as long as they have round parts in the middle zone; for example, the letter d.
o Once you understand the principles, it should be easy to interpret all the possible variations in letter shapes.
o What the graphologist is really looking for when analyzing handwriting are the personality traits of the writer. A personality trait is usually made up of many different factors. For example, if the writing indicates a lack of self-control, passion, impulsiveness, and violence, the graphologist would summarize the personality trait as temperament. If self-control, passion and violence were present, without impulsiveness, temperament would still be indicated, but if violence were the missing element, the graphologist would be hesitant to say flatly that the writer has a bad character. However, you might admit that there is a possibility that you will get angry.
o There is a similar situation in the interpretation of lyrics. Before the graphologist weighs the shape of a letter in a total analysis, he looks for consistency. In other words, you must find the same shape in writing often enough to make it meaningful before including its meaning in the total analysis. Here’s the usual rule of thumb: If all the major components are present, we say the personality trait definitely exists. If all but one of the major components are found, there is a strong possibility that the personality trait exists. If only one major component is found, the writer has a tendency toward this trait.
o Small minimal letters (ie mid zone letters) show the focused, frugal, and masculine worker. Small and carefully executed minimal letters have been seen in the handwriting of first-rate researchers, teachers, scientists and thinkers, who are kept under the strictest control of themselves in order to achieve what they undertake (Nietzsche, Einstein). However, it should be noted that feelings of inferiority and temporary depressions are also expressed in lower case.
o A letter can not only be tall or small or deep, but also wide or narrow; it can widen in a left or right direction, or contract in these directions; It can also be widened to a reasonable extent or at the expense of your neighbors.
o To judge, for example, the width of a letter in an individual calligraphy, we must know the calligraphy models on which this calligraphy is based. In Palmer models, letters like e, i, o, a and s are assumed to be taller than they are wide, and m, n and w are assumed to be wider than they are tall. Only deviations from these standards can be considered “wide” or “too wide”, “narrow” or “too narrow”.
o Wide type, the letter that takes up more than its “allotted” space as it moves to the right, is typical of the spontaneous, broad-minded, “big” writer, who is sociable and understanding, eager to share with you and willing to let you share with him; Is extrovert”. But if the handwriting is “too wide,” if it seems to spread and unfold, so to speak, at our expense, the writer is nosy, insolent, or simply an intruder.
o The narrow letter, the letter that has given part of its “assigned” space, is characteristic of the inhibited, restless, narrow-minded, economic, not sociable, writer, willing to share with you or eager to have you share with him; it is “introverted”. But if a letter is “too narrow”, then our subject is shy, isolated, suspicious and greedy. A narrow initial letter of a word particularly gives away the socially shy.
o We often see narrow letters widely spaced, or wide letters closely followed. Obviously, this is a coincidence of two contradictory tendencies: closely spaced narrow letters reveal someone whose sympathy and generosity are simulated or imposed by circumstances. The wide, closely spaced letters indicate the liberal and understanding person who simulates the economical and concentrated worker, either voluntarily or due to circumstances.
o The letters between the first and the last letter, the body of the word, so to speak, portray the thought process that takes the writer from an intention to an achievement, a decision, an act. A clear and well proportioned last letter indicates a clear and reliable decision; an illegible, sloppy, or omitted last letter is a warning. A disproportionately high last letter is characteristic of the person who not only has an opinion, but insists on it, because he has character, or because he is arrogant, stubborn.