Graphology. Graphological expertise
SHORT
Graphology is a science that studies the relationship of handwriting with a person's character, his abilities and emotional state. By examining the individual elements of handwriting, graphologists can create a detailed psychological portrait of a person.
Despite the fact that the history of graphology in Europe dates back centuries, in Russia this science began to develop actively only at the beginning of the 21st century. However, graphology is already being used in our country in recruiting, career guidance, psychology, medicine and other related fields. Graphological analysis has a number of undeniable advantages (speed of execution, impartiality, remoteness) over many psychological tests and studies, which opens up great prospects for the development and growth of the popularity of graphology in Russia.
NOT SHORT
Understanding a person can be difficult, but sometimes it is necessary.
What drives him in certain matters, how to establish contact, how to make interaction as productive as possible? Earlier, when people lived more closed, such issues were not so acute. The accelerated rhythm of life, constant work and personal meetings make us increasingly turn to personality psychology. And sometimes – when faced with life’s difficulties or facing an important choice – we may need to understand ourselves. Numerous psychological practices, an abundance of popular books on psychology and training schools are a characteristic indicator of the demands of modern society.
One of the sciences that helps to reveal the secret of human nature is graphology.
Graphology is a science that studies handwriting, its connection with the psychological characteristics, character, emotional state and abilities of a person. Graphology is widely used both in psychology itself and in related fields.
“Every idea that arises in the psyche, any tendency associated with this idea, ends and is reflected in movement,” said Ivan Mikhailovich Sechenov, a well-known Russian thinker, physiologist, and psychologist.
Now it's not a secret for anyone that there is a connection between a person's brain activity, his nervous system, mental processes and fine motor skills. According to many psychologists, in any motor activity of a person, his essence is manifested, including in handwriting. The nature of the movements depends on the involuntary tension of certain muscles, which in turn is directly related to the characteristics of the mental state of a person. Muscle tone is also reflected in handwriting, making it sharper or rounder, large or small, even or jerky.
In 1895, the German physiologist Thierry William Preyer conducted a series of studies on the handwriting of people who had received various hand injuries, as a result of which they had to learn to write with their mouths or feet. The handwriting before and after the disability matched. Based on this, the scientist concluded that a person's handwriting is more connected with his brain and consciousness than with purely physiological characteristics.
People began to pay attention to handwriting for a very long time. Confucius, for example, instructed: "Beware of a person whose handwriting resembles the movement of a reed swayed by the wind." Aristotle, Theophrastus, the ancient Roman historian Suetonius paid attention to the handwriting of a person. Emperor Nero wrote: "I am afraid of this man, because his handwriting shows that he has a treacherous nature."
The first known history book devoted exclusively to the analysis of handwriting was written by an Italian physician, professor at the University of Bologna Camillo Baldo in 1622. The word "graphology" itself appeared two centuries later thanks to the French abbot Jean Hyppolite Michon, who in 1871 wrote the work "The System of Graphology". In his book, the abbot tried to systematize the features of handwriting and connect them with the psychological characteristics of a person, Michon's method singled out and compared individual elements of handwriting - strokes, letters, words and lines - each graphological feature suggested the presence of a certain character trait, its absence - the presence of the opposite trait. And although at present this statement is considered to be only partly true, it is Michon who is considered to be the father of modern graphology.
Many prominent cultural figures of the past showed interest in the study of handwriting. Thus, the German poet, thinker, naturalist and statesman Johann Wolfgang von Goethe wrote: “there is not a shadow of a doubt that handwriting is related to the character and mind of a person and that it can at least give an idea of his feelings and actions.” And George Sand thought: “It is possible that I am mistaken in everything, since I do not have a system; but I receive many letters, and the instinct of the observer allows me, on the basis of the general impression, to judge the writer by the handwriting.
Graphology was highly appreciated by culturologists, physiologists, and psychologists. Sigmund Freud and Carl Gustav Jung tried to penetrate into the unconscious of a person with the help of graphology, the famous Austrian psychologist Alfred Adler also recognized the importance of graphology and himself analyzed the handwriting of his patients.
Currently, graphology is an officially recognized science in many European countries and the USA. In France, Italy, Germany, the Netherlands and other countries, graphology is studied in universities along with other disciplines. Graphologists are in-demand specialists in such areas as recruiting, career guidance, psychology, and medicine. Handwriting analysis is actively used in space medicine - experts analyze the records made by astronauts in orbit to assess the state of their nervous system.
In Russia, graphology is just beginning to develop actively. Despite the fact that as early as the beginning of the 20th century, our scientists made attempts to present science to the general public (a number of works were written on forensic and graphological areas in the analysis of handwriting), stagnation in this area followed in Soviet times. Graphology was rejected by the Soviet authorities as "bourgeois pseudoscience" and Soviet scientists not only did not have the opportunity to study it officially, but also to read the works of European colleagues.
In the 21st century, the situation began to change - a high interest in psychology and related sciences, the availability of foreign sources of information, the possibility of a freer choice of scientific interest play an important role in the development of Russian graphology. A fairly large number of books and articles on this topic have appeared in Russian.
There are two main directions in the analysis of handwriting: forensic and proper graphological.
The forensic direction - it is also handwriting - is engaged in the study of handwriting in order to solve the problems of forensic handwriting examination and helps to establish the authorship of the text, the authenticity of the signature, etc.
The graphological direction in the study of handwriting is graphology, i.e. the science of the relationship between a person's handwriting and his character. Graphology is widely used in business, medicine, education and other areas. HR specialists consult with graphologists when selecting employees - by handwriting, a graphologist will help determine whether the applicant matches the required position, tell about his strengths and weaknesses. In an interview, it can be difficult to understand how an employee will behave in the long term, graphological analysis is the fastest and most convenient way to find out the character and inclinations of a person.
Graphology can be of great help in career guidance. An analysis of the handwriting of a child or an employee allows you to understand in which area of activity he will best show his qualities and be able to fully reveal himself. Graphologists are also involved in family consultations, helping to identify the cause of difficulties and disagreements within couples, find a suitable solution and determine the degree of compatibility of partners.
Graphology has a number of indisputable advantages over psychological tests and consultations.
Firstly, graphology allows you to evaluate strangers without knowing anything about them, except for their handwriting. It takes a psychologist quite a lot of time to give an accurate and extensive conclusion, a graphologist just needs to look at a handwriting sample, the full result of the study can be issued in a couple of days.
Graphological analysis does not require the personal presence of the graphologist diagnosed during the work. This eliminates the possibility of a number of subjective factors affecting the diagnostic process: the appearance of the person being tested, its conscious or unconscious influence on the test results, it is impossible to lie or give pre-prepared and socially expected answers.
In addition, a graphologist can characterize a person regardless of the language in which the person speaks and writes. The graphologist does not care what language the document is written in, because he pays attention to the signs of writing, and not to its essence. (This does not apply to hieroglyphic writing, which is more drawing than actual writing.)
Aristotle noted: “Just as there are no people who speak the same way, so there are no people who write the same way,” and this cannot be argued with. However, graphology became possible precisely due to the presence of similar elements in the writing of different people. There are many of these elements and their endless combinations just create that dissimilarity of handwriting, which Aristotle spoke about.
In their work, graphologists use auxiliary tables compiled on the basis of numerous scientific works and studies. There are graphological tables of signs of various psychotypes, there are those that help you navigate the graphological signs themselves, some are devoted to the interpretation of various symptoms and emotional states. An important factor is the professional flair of a graphologist, which is developed by extensive practice during training.
Despite the fact that graphology in Russia is just beginning its journey, the advantages of this type of testing have already been appreciated by many.
Perhaps, if we try to give the most accurate definition of graphological analysis, it would be most correct to say that it contains elements of both.
Graphology is systematic, based on research, observation and study of patterns, as well as on special experiments. The theoretical basis of the graphological method are numerous scientific works.
Graphology is also scientific in the sense that it allows us to confirm theoretical assumptions in practice. This distinguishes it favorably from some other areas of psychodiagnostics, where it is very difficult to prove theoretical statements and proposed personality classifications.
In terms of the concepts used, graphology uses the terminology of a number of psychological disciplines - from personality theory to psychopathology. This is possible because it perfectly correlates with the main teachings of classical psychology, partly relying on them.
Of course, it is important to understand that graphology (like some other psychological and medical disciplines) is not an exact science in the mathematical sense of the word. Despite the theoretical basis, consistency, validity, tables, etc., a full-fledged graphological analysis of handwriting is impossible without the participation of a living specialist, whose experience and psychological instinct are indispensable for the most accurate understanding of various combinations and nuances of features in handwriting. One logical approach is not enough; it requires the ability to see and put together from numerous signs a holistic picture of the personality under study.
Therefore, the process of learning a graphologist requires long-term practice in order, firstly, to acquire a “trained eye” in recognizing the nuances of handwriting, and secondly, to learn how to effectively compare these features with each other.
Thus, graphology also contains an element of art!
In particular, a considerable share of professional flair and intuition is needed. Since each of the numerous phenomena in handwriting does not have one meaning, since it depends on combinations, the severity of phenomena, etc., a holistic approach is needed.
"Pure mathematics" will be mistaken, since in this case the totality of features can be equal to something other than just their sum!
Human intuition, based on experience and knowledge, is necessary here to the same extent as it is necessary for a doctor when making diagnoses. Medicine is also an inexact science, and often a medical reference book of symptoms cannot replace a living specialist, but it can fail. By analogy with determining the state of human health, when it makes no sense to draw conclusions only on the presence of temperature or nausea, and it is unacceptable for a specialist, so in graphology it is impossible to draw conclusions on one or another phenomenon (“symptom”) in handwriting, which, as a rule, has several different positive and negative meanings.
In connection with these features, there is still no error-free program for handwriting analysis. Like many areas that require not only knowledge, but also personal skills in their application (for example, medicine, psychology, some applied disciplines), handwriting analysis is practically not amenable to computerization.
Despite the great temptation to invent a computer program for automatic handwriting analysis, a high-quality program is just as unrealistic as using a polygraph without a polygraph examiner, or using data from analyzes, examinations and treatment without a living doctor.
It is absurd to rely on the "experience and intuition" of a machine that evaluates such subtle matters as interrelated or contradictory personality traits only from arbitrarily entered simple separate data. Not to mention compiling a truly adequate and consistent analysis “at the end”, and not a meaningless set of numbers or contradictory qualities, it will simply be incomprehensible what to do with all this.
The temptation to just "write a program" is great, but too much, if not all, depends on the level of skill, insight, understanding of the person processing the data - there is no guarantee that the program will not come to partially or even completely unreliable conclusions.
Serious work is underway to create such a computer system, but it will be just an auxiliary program for experienced graphologists. It will be able to greatly optimize the analysis process for a specialist, however, in no case will it give an “easy solution” that replaces an expert.
A Few Names Significant in Graph Analysis
It is not the purpose of this book to study and analyze in detail the development of graphology in a historical perspective. However, since many of the discoveries, terms and approaches discussed in this and my other books owe their appearance to specific scientists, pioneers and researchers in world graphology, I consider it my duty to mention the names of at least some of the most significant researchers in our science.
Jean Hippolyte Michon: invented "signology", then - the concept of "graphology". I collected all the information that was then (XIX century) on this subject. Michon was the first to put graphology on the rails of scientific and systematized research. Michon assumed that each feature in handwriting has a single meaning, and the absence of a feature means the absence of a character trait. The understanding that the found signs should be substantiated by the general combination of signs, that is, by the general picture, and not by individual elements in the handwriting, appeared later.
Note: today we know that the overall picture of handwriting allows us to identify several meanings for each of its features. So, kindness can stem from a person’s sincere attitude towards others, or be due to personal egocentric interests, or mask weakness of spirit and defenselessness: if a person is unrequited, unable to refuse others, it’s not about the ability to give (which is an indicator of true kindness), but about “giving away”, that is, about concession (an indicator of weakness)!
Crepier Jamin: is rightfully considered the founding father of the French graphological school. The main contribution to science is the discovery of the “law of result”: since there are personality traits that are not revealed through individual graphic features, you can come to them through a combination of several personality traits.
For example:
"rest" + "understanding" + "calmness" = "patience";
"weak will" + "effeminacy" + "stupidity" + "fantasies" = "laziness of personality".
In addition, Jamin discovered that the very fact of the absence of a certain graphic feature in the handwriting does not indicate the absence of some trait (characteristic) in the personality of the author of this handwriting.
Jamin's point of view on handwriting as a whole (Gestalt approach) led him to the conclusion: a certain graphic feature does not have a strictly constant characteristic meaning; a graphic feature can get slightly different values depending on the specifics of each particular handwriting. In other words, a constant value can only be given to a feature if it is repeated. in a certain handwriting constantly, systematically and in the same form.
Jamin conducted many graphological experiments and studies, including statistical ones, and, using the example of hundreds of schoolchildren's handwriting, he proved that even children who are not yet graphically mature (have not reached full automatism of writing skills) find significant differences in the writing (structure) of the simplest letters. individual differences. After that, he proved that the "form of handwriting" is directly related to the characteristics of the level of development of a person's personality, and also that no training and exercises at school can neutralize personal characteristics in a person's handwriting.
Ludwig Klages(philosopher) along with Wilhelm Preyer(psychologist) and Georg Meyer(psychiatrist) came to the idea of the mutual influence of graphological features in handwriting. Klages introduced the concept of "dualism of graphic features", the essence of which is as follows: the meaning of each feature is dual and determined by the level of handwriting: at a high level of handwriting, the interpretation is positive, at a low level - negative. Klages introduces the concepts of “level of form”, “level of handwriting”, “basic idea in handwriting”, however, he uses the interpretations of “negative” and “positive”. It would be wrong to consider Klages (as some people think) the father of German graphology, because, despite his fame and contribution to the emergence of graphological thought, his methods and research were not truly scientific, they were based on unprovable, still quite speculative foundations (he preferred intuition as a graphological tool).
Robert Sodek, unlike Klages, he is as realistic as possible in the direction of his research and adheres to a systematic approach. The main achievement of Sodek is the discovery of the speed of handwriting. According to Sodek, only at high speed can natural writing be created. He identified graphic features that allow objectively (based on the handwriting itself) to determine its speed. He discovered that in order to determine the general level of any handwriting, it is necessary to assess how a person copes with the problem of written space. Sodek showed that the knowledge of the standards of prescriptions of different countries is of decisive importance for graphic analysis and that differences in national prescriptions cannot be ignored when analyzing. Contributed to the definition of graphic signs of unreliability.
Max Pulver: discovered the principles of symbolism of spatial perception. He showed the significance of the division into left-right, top-bottom. In addition, Pulver was one of the first to apply the principles of psychoanalysis in graphology. Contributed to the definition of graphic signs of unreliability.
Karl Gross and Robert Hayes: each of the scientists, independently of one another, came to the discovery of three groups of components: movement (motion), form (form) and organization of space (space), representing different aspects in the personality. In addition, Hayes discovered the nuances of uniformity in handwriting and showed the importance of this feature.
Rudolf Pofal: neurologist, conducted research on the motor aspect (movement in handwriting) from the point of view of physiology. Opened "single" and "complex" movement. The second is earlier in terms of development, performed in a free, flexible and spontaneous way. The first is later, more conscious, fluency interrupted by a series of stops. Based on these types of movement, Pofal deduced five main “degrees of rigidity” that determine the psychophysical tension of a person: from the degree of relaxation and freedom to the degree of high control and tightness. Each of the five degrees of tension corresponds to its own specific part of the brain. The first degree, "lack of hardness", is characterized by a lack of control, lack of "inner core", lack of vitality and infantilism. The final, fifth, degree, "extreme rigidity," is a stiff, distorted, spasmodic handwriting, indicating great emotionality, insecurity, inability to make decisions and irresponsibility. Between the extremes are the middle degrees: the third degree indicates internal stability, self-control, balance, good adaptive abilities, etc. Each of the five degrees of tension has its own personality traits.
Wilhelm Heger: was engaged in the study of the quality of the line (stroke). The line is the fundamental component of handwriting, which is directly connected with the instincts of its author, with the primary forces that drive it - uncontrollably, without any conscious intervention of the person himself - forces. The process of creating a line with its specific properties is not subject to the writer, since it does not occur consciously. The conscious, representative aspect of handwriting is determined by the shape, size, distribution (width and on the sheet), and, of course, the content of the text itself is conscious.
The Heger system is based on four characteristics related to line quality:
1. Pressure: aspect of perception of the surrounding reality, approach to solving problems.
2. Stroke quality: clearness-fuzziness of the line. The quality of the stroke is controlled by the mental mechanism of activity-passivity, from the function of sensations to the clarity and independence of thinking.
3. Stroke movement: dominance of direct or circular movements; indicates the extent to which a person is able to manage his life. It may indicate independence, ease in making decisions, or a lack of practicality, fantasies - for such a person, a sheet of paper is an obstacle and rather a disturbing factor than an incentive.
4. Stroke speed: associated with intelligence, abstract thinking, motivation and energy reserves, a spontaneous and direct approach to one's activities (exceptions: artistic styles, printed, decorated fonts, etc. - they are analyzed using other graphic characteristics).
Thea Stein-Levinson: brought an objective basis for the well-known graphological phenomena. Created the CNT-RLS diagnostic model. I came to determine the place of “rhythm” (point of balance) in the graphological system: it is located at the central point between the degrees of contraction and degrees of relaxation. She divided the chain between contraction and relaxation into seven categories - three steps on each side and a point in the center, meaning balance. Contributed to the development of psychograms in graphology.
Note: Klages also talked about "rhythm", but he could not define it, and also indicate its location among graphic phenomena. According to Klages, this variable would have to be determined only intuitively, not objectively.
Israel Odem: is rightfully recognized as the founding father of modern Israeli graphology. Odem's doctrine of potencies was an exclusive know-how, giving a powerful impetus to the development of scientific graph analysis. This is the only typology built on graphology itself, while other typologies were based primarily on the psychological profile of each type and only then assumed the identification of graphic phenomena and syndromes necessary to study one or another psychotype within each specific typology.
Ursula Ave-Lellamant: revealed the concepts of "macrostructure" and "microstructure" in handwriting. She made a huge contribution to the graphology of children and adolescents, pointing out the dynamic aspect of development.
Bernard Witlich: created psychograms in graphology, generalized known approaches in a single integrated system.
Yard of Arel: adapted graphological features to Jung's typology.
Clara Roman: was engaged in the development of psychograms in graphology.
Application of graphology
Graph analysis is used in the field of personnel management- first of all, it is the selection of personnel, head positions in the organization, the management team, the assessment of the most appropriate candidates in specific professions, as well as the assessment of the compatibility of business partners in the business.
The next most common direction in graph analysis is the appeal to it by individuals:
personal consultation in order to understand yourself, in your career;
couples consultation(diagnosing problems in relationships, checking compatibility in a couple, etc.);
trustworthiness and personal qualities of a third party(for example, babysitting for your child, etc.);
diagnostics of adolescents and children(use including drawings, projective graphic tests).
Graphological analysis in Israel is also used in special services, police, army, courts (forensic graphology).
Why graphology is special: advantages over other methods
Any reliable and high-quality type of psychodiagnostics or psychological testing must meet the following requirements:
Testing should be protected from the possibility of preparation for it by the test-taker.
Should not lose its effectiveness with subsequent applications to the same person.
It should reveal the personality characteristics that lie at the level of the subconscious and determine the actions of a person.
Graphological examination of handwriting answers all of the above requirements including the advantages of projective methods. For clarity, I give a comparative assessment with other methods. (Table 1).
Table 1. Features of handwriting examination
A brief summary of the above comparative assessment can be summarized as follows:
Graphology is a “laboratory analysis of personality”, as it allows you to look into the subconscious of a person.
Maximum objectivity - protection from involuntary subjectivity or the influence of both sides.
High certainty - you can't prepare.
Psychomotor basis of the method. Development of handwriting skills and deviations from the educational standard
Rules, laws and norms in graphology, its starting point is the standard of school copybooks of a particular language. But the main subject of study in graphology is not standards and prescriptions (otherwise it would already be the art of calligraphy), namely deviations from them. Graphology deals with non-standard, purely individual manifestations of a person in handwriting, that is, deviations - whether they are due to exclusivity or degradation, abilities or complexes, features of thinking or the world of feelings, etc.
Any deviation, difference, improvisation, distortion or strangeness, by its definition, always implies the presence of a basis, a standard that would allow you to pay attention and point out these features. These deviations are not developed immediately, only over time, with age, our writing becomes completely individual.
The formation of handwriting and the acquisition of personal personality traits include the following steps:
Stage 1 conscious learning to write in elementary school.
2. Acquisition automatism, inertia - in high school.
3. Graphic maturity of motor skills - after about 14 years of age.
At this stage, an individual handwriting is formed, deviations from the standard handwriting no longer reflects the consciousness, but the subconscious - a subconscious content appears. It can be analyzed from the standpoint of modern graphology.
Handwriting Analysis - Prerequisites
The maximum information content and reliability depends not only on the professionalism of the graphologist, but also on the quality and quantity of the studied material. Of course, in special situations, for example, if there is only a tiny piece of paper and it is impossible to get a handwriting sample that meets all the rules, the specialist works with what is. However, in such cases, even for a very experienced specialist, the percentage of error will increase significantly.
Our goal is to minimize this error. For a professional graphologist, it is realistic to achieve an error of 5-10%. But for this, the handwriting accepted for analysis must meet certain requirements as much as possible.
The best way to get acceptable material for analysis is to ask you to write a sample in front of you: you can comfortably seat the person at the table, provide the “correct” pen and paper, put a few sheets, personally verify that the person is not copying from a book or writing poetry.
So, below are the basic rules for obtaining a quality handwriting sample.
Rules for preparing high-quality material for handwriting analysis
1. Writing utensils, table.
Only a clean white sheet (without cells and stripes) of A4 size is suitable for the sample, under which several sheets of paper should be placed (too hard or soft surface distorts the handwriting). The surface of the desk is free of cracks and irregularities. Write only with a ballpoint pen (preferably blue), which does not leak and works well.
2. Condition, posture.
Posture - comfortable, sitting at the table; mood is relatively calm.
3. What and how to write.
Text: volume - arbitrary; the content is arbitrary, it doesn't matter. Any free topic that comes to mind will do: offer to write about yourself, vacation, children, etc. Explain to the writer that there is no need to worry about choosing a topic, since it does not affect the definition of intelligence, abilities or shortcomings. The most important requirement is to write at the usual pace, spontaneously, without copying, not from dictation, and not poetry in a column. Then - sign.
4. Language.
Write in your native language, for bilinguals write in both languages. Languages can be any (except hieroglyphs).
Age;
writing hand;
Does he wear glasses?
Health status (including: whether he is taking strong medications, whether there is a disability, with what or with which organ exactly the problems are associated, dyslexia, etc.).
Note. At first glance, you may be surprised that you need to indicate gender and age, because it seems that these are some elementary things for graphology! This is so and not so. The fact is that handwriting has “its own” gender and age, which can easily not correspond to biological ones. And if such a discrepancy is found, important conclusions can be drawn.
Handwriting analysis - basic concepts
Principles of working with graphological tables
Before you - one of the important professional "secrets". It is... no, not in interpretation tables! No, even highly professional knowledge of the material in itself does not guarantee its owner to obtain successful results. It's all about the ability to correctly, selectively operate, manipulate the available information.
There are special principles, without the knowledge and skill of applying which the use of tables practically loses its meaning. First, we will get acquainted with these principles theoretically, then you will have to practice in performing practical tasks.
1. First principle: Dualism of graphic elements.
Each element of handwriting has both positive and negative, sometimes opposite, interpretations! Everything is decided by graphological "circumstances". Moreover, each sign, as a rule, has several both positive and negative values.
The interpretation of signs depends on:
a) on their number;
b) on their severity;
d) from combinations and combinations with other various elements of handwriting.
2. Second principle: The law of mutual confirmation.
One single sign, like the only kind of signs, cannot claim to be true. "Cross" mutual confirmation or mutual exclusion by means of confirming or refuting additional signs is necessary. If a "syndrome" is formed, that is, a specific set of characteristics that correspond to each other, then the interpretation or set of characteristics can be considered reasonable. And vice versa: there is no evidence, "does not converge" - the conclusion is incorrect.
3. Third principle:
There is never a situation in which all values are true at the same time for any attribute, since in the same column there are sometimes incompatible values.
4. Fourth principle:
The more clearly, noticeably and with greater frequency a certain phenomenon is expressed, the more values we have the right to take from the table.
5. Fifth principle:
If the phenomenon is not just present, but clearly exaggerated, has excessive or hypertrophied forms, is not just expressed - it is expressed distortedly, extremely strongly or occurs too often, this is enough to immediately go to the end of the table, where negative characteristics are usually found. remember, that extremes indicate extremes.
6. Sixth principle: Moderation of the phenomenon = "golden mean".
In contrast to the extremes, if the graphic feature is expressed very moderately - so much so that at first glance it seems ambiguous, raises doubts and turns out to be “borderline”, the values are taken not only from the beginning of the table, but also at the same time from the beginning of the tables of other characteristics of this element.
For example, let's take a table, for example, a row direction table. Looking at it, try to imagine how you will act, which values to choose and which to ignore, guided by the above principles for working with tables.
Features of the direction of the lines indicate emotional stability, psychological state or fluctuations in mood (Table 2).
Table 2. Psychological interpretations of line direction
It is very important to pay attention to the fact that analysis or psychodiagnostics is not an analysis of individual elements of handwriting, but ready-made "portrait" of a living person, real person. It is not enough to approach analysis purely logically, as a set of elements and their meanings, without any synthetic, final conclusion and conclusions. This can only be a “shooting point” - the beginning of work in a draft, and not a “product” at the end.
Experience shows that in life, seeing in front of him only an inconsistent list of individual features and their meanings, sometimes inconsistent and saying little in isolation from any context of phrases, the analyzer, and even more so the customer of the analysis, is left with the feeling that there is nothing concrete did not understand.
It is a question of drawing up a clear picture, a description of the "psychological situation".
Therefore, the analysis and conclusion are not built according to graphic features or phenomena, but according to psychological criteria and competencies. For example, in short:
1. Intelligence and cognitive abilities.
2. Functioning, efficiency, to which areas of activity the inclination is, in what and under what conditions - the greatest productivity, what is endurance, learning, responsibility, diligence, honesty, loyalty to the team, resistance in stressful conditions or at risk, temptation, etc.
4. And finally - conclusions about the inner world and characteristics of a person, his psychological (ill-being, complexes, conflicts, congenital and acquired problems, defense mechanisms, about what hinders him in his personal life or career, etc.
In this form, your conclusion will be consistent and "ready for other people's ears", that is, for perception. It will be better understood, easier to assimilate and listen to your recommendations much more carefully.
General impression and dominants
Let's start our acquaintance with the analysis of handwriting with the concept of a general impression of handwriting.
Before starting a detailed study of the handwriting, it is recommended to formulate the so-called general impression that is created at the first, naked look at the handwriting. Subsequently, this unscientific device often turns out to be very important, since it gives an idea of the dominant features of handwriting (personality).
In order to make your initial impression more accurate, first of all, the so-called handwriting dominants are determined.
Dominants- these are the predominant features of a particular handwriting, to which attention is drawn primarily. It can be shape, location, pressure, size, distances, etc.
Gestalt, macrostructure and microstructure of handwriting
Now let's give a laconic formulation of what appears before us at the moment of a general look at the handwriting: this macrostructure and microstructure handwriting.
macrostructure of handwriting"Macro" is a look "outside". Gestalt approach (perception of the object as a whole), the general external impression "from a distance": organization, fields, general constancy, spontaneity, etc.
The macrostructure shows how a person is adapted in life, how fit he is, in order, whether his external functioning is successful in life. The macrostructure to a greater extent reflects how well the person is in such areas as the environment, work, family.
Signs of a healthy, prosperous macrostructure: looking at the handwriting, a feeling of aesthetics is created, the text is productively and evenly distributed on paper, margins and paragraphs are noticeable, the distances between words and lines are clearly distinguishable, the constancy (homogeneity) of the handwriting.
Handwriting microstructure"Micro" is a look "from within". Handwriting (personality) upon closer, detailed examination: features of the line, inclination, pressure, nature of the joints, kinks, angularities, etc.
The microstructure reflects the "content", the internal functioning and state of the individual. Reflects what matters directly to the person himself; how expressed (or not expressed) are internal problems, complexes, fears, suffering, personal problems (which is not necessarily noticeable to others, that is, it may be absent in the macrostructure).
Signs of a healthy, prosperous microstructure: when looking at the handwriting in detail, there is no feeling of disharmony. The inconsistency of details is not striking.
With problematic microstructure handwriting gives the impression that the hand of a person, as if not completely obedient to him. We are not talking about the ugliness of handwriting, but about its “illogicality”: about the inconsistency of slope, size, gaps, unjustified breaks or tremors of lines, about excesses of form, unreadability. These may be blots, non-specific or too blackened corrections. If you use a magnifying glass, you can find sudden interruptions in lines, unexpected sharp drops in pressure (healthy pressure increases in descending strokes and is weakened in ascending strokes). Excessively strong or extremely weak pressure (checked by touch from the back of the sheet) can also be signs of internal trouble.
Important! With a general impression, neither macroelements nor microelements are analyzed - only their very nature, severity, what catches the eye is noted (written out).
Thus, at this stage - the general impression - we only have to determine the relative well-being or disadvantage of the micro- and macrostructure, that is, whether (and to what extent) this person is well-off externally and internally.
Note! Combinations are possible: a) successful "micro" and "macro"; b) unfavorable "micro" and "macro"; c) a dysfunctional "micro" with a prosperous "macro". But there cannot be a combination in which an unfavorable "macro" is combined with a prosperous "micro"!
In other words, if a person is unwell and suffers from internal problems, but not very big ones, he is still able to live normally, function as a specialist, husband, father, etc. But if even the macrostructure is disturbed and dysfunctional, then the “micro”, internal the human world cannot be prosperous.
Looking at the samples below, practice determining the state of macro- and microstructures (whether they are the same, or one is more prosperous than the other, etc.). Try to assess the level of adaptation and functioning of a person in social life, as well as the level of internal, psychological well-being.
I remind you once again that at this stage we are not yet talking about understanding the specifics of graphic phenomena, we are just learning to notice them. That is why it will be useful to return to this topic from time to time, having a different amount of knowledge and understanding.
The first two samples are defined, define the next two.
The micro level (the level of internal, psychological well-being) indicates trouble: inconstancy of size, inclination of letters, pressure, reduced readability.
The macro level (the level of adaptation and functioning of a person in social life) - there are difficulties in this aspect: uneven lines, the distances between lines and words are unstable, the arrangement of the text is organized irrationally - the fields are uneven, the final fields are enlarged.
The author experiences internal and external difficulties: having psychological difficulties, it is not easy for him in communicative and social interaction, that is, in interaction (communication and relationships) with others, harmonious adaptation in the “external” life.
Macro level - formal well-being: text proportionally distributed in space, clear division into paragraphs, the presence of red lines. The lines are even, the margins are straight, the distances between the lines are clearly distinguishable, all formal norms are observed. However, this is too artificial well-being, everything written is “buried” in a thickened white frame framing the text (see especially the top and bottom margins), like a picture. The letter is more like a formal statement.
Microlevel - trouble: an obsessive stylized form, non-spontaneity of drawn letters, left-handedness, narrowness of letters, jumping letters in a word, large distances between words.
The author of the handwriting, experiencing internal conflicts, as a compensation for her spiritual discomfort, puts all her attention into the form, the external impression: outwardly, she manages to hold on, function normally, as long as it concerns the formal aspects of life and does not touch closer interpersonal relationships.
Degree of tension in handwriting: scale contraction (CNT) - release (RLS)
The CNT-RLS scale, which you should familiarize yourself with now, will greatly facilitate your initial orientation in handwriting analysis. I propose to get acquainted with the psychomotor approach "tension-relaxation" in handwriting. This factor is not related to speed, but helps to determine the innate personality traits.
Two poles: contraction (CNT) and release (RLS) - are indicators (indication) of the ratio and proportions of tension-relaxation forces in handwriting (Fig. 1).
Rice. 1. CNT-RLS scale
Ease, fluency, relative relaxation of motor skills speak of spontaneity, inner freedom of the individual. Tension and increased control in motor skills indicate its internal stiffness. These indicators determine the individual balance of internal control and freedom for each of us. In other words, the ratio of the internal “motor” and “brake” is determined, the degree of strength or weakening of the impulse and the deterrent in the personality is assessed, that is, the balance of forces of the conscious and the unconscious.
In handwriting, the degree of looseness (RLS) or stiffness (CNT) can at first glance be confused with the degree of speed, but these things are not synonymous.
On the one hand, indeed, there are signs that are both signs of CNT and signs that reduce the speed. But on the other hand, fast, even impulsive, handwriting can be accompanied by signs of stiffness and stiffness of movement, while slow handwriting can be characterized by complete relaxation.
The degree of control sometimes indirectly means a predisposition to fast or slow speed. For example, in a relaxed muscular state it is easier to write spontaneously, fluently and quickly, and in a constrained state it is more difficult, that is, this should slow down the process. But in a real situation, everything is not so obvious.
The degree of control or freedom in handwriting is determined by the presence or absence, as well as the ratio of all kinds of graphic "obstacles": angularity, tightness or narrowness of forms, any distortion in lines, movement, pressure, any sharp drops or heterogeneity in graphic phenomena. In other words, looking at the handwriting, we determine how freely, that is, smoothly or comfortably, the writing process went.
For example, if the writing process went smoothly and comfortably, then in a more “correct” case, this handwriting will most likely be fast enough, because it is more natural. However, if, despite favorable circumstances, the handwriting is actually slow, without progressive lines, etc., we will encounter a case of "false speed" due to excessive relaxation, limp, amorphous movement. Accordingly, the characteristics will be different.
Or the reverse example. If you can see that the writing process has a lot of evidence that it does not flow smoothly and comfortably, and strokes and movements are quite restrained, constrained, perhaps even strongly clamped and under control - this, it would seem, should slow down the speed of handwriting. Often this happens to one degree or another, but not necessarily!
It is important to understand that the presence, absence or number of obstacles “on the road”, although theoretically it can affect the speed of transport moving along it, practically only affects the noise level in the process of overcoming these obstacles. One will drive around or slow down, the other will rush, not notice.
In short, we can say this: only approximately the same proportions (of course, with a preponderance in one direction, but with a healthy preponderance) are evidence of the norm, that is, an indicator of a relatively harmonious personality and its healthy adaptation. Too high a degree of internal control or its absence will indicate the unfavorable personality and its adaptation in life.
In the first case (excessive control), we will talk not so much about thoughtfulness and balance, but about deep complexes and obsessiveness (hard obsession in thoughts). In the second case (excessive relaxation), it will be not so much about spontaneity and sincere openness, but about impulsiveness or inability to resist one's weaknesses.
Below I give handwriting samples showing the degree of tension-relaxation and my comments on them.
a) note - the sample is enlarged:
The handwriting, despite the legal inclination that appears from time to time, is not spontaneous, signs of tension, even overstrain, prevail: uneven angularity, inconstancy of lines, broken lines in letters (see almost any letter), unrelaxed pressure (!) (no nuances of color, free change tension-relaxation in strokes). Uneven, but at the same time slow (it happens when some inconstancy can be “forgiven” due to high speed), constrained handwriting, the shape of the letters is clamped, in various letters the line finds itself on the line, which is one of the strongest manifestations of a person’s distressed state of mind (for example , "r" - in "soon" or "death", "e" - in the "window" or "petals", "l" - in "sorry", "m" - in "dying", both "k" - in "like the night", etc.). Everything points to excessive internal control (the reasons for which the graphologist will discover later).
b) note - the sample is greatly reduced:
Handwriting demonstrates an almost complete lack of control and criticality. Movements are impulsive, speed is excessive. This is not just spontaneity or inner freedom and spontaneity, this is immoderation, but an extreme - loss of criticality, self-control, inability to control oneself, hysterical tendencies, uncontrollable impulses, desires and irrepressible temperament.
The handwriting is a little more controlled than the previous one. However, the presence of chaos, inconsistency and inconsistency (see lines, shape, slope, gaps, etc.), a reduced degree of organization, readability, together with impulsiveness and fluency of movements and strokes, indicate a significant predominance of RLS.
handwriting speed
So, we come to one of the most important problems in handwriting analysis: the problem of speed (tempo). What is it and why is it so important?
The most primary and natural mechanism in the process of writing is the impulse of expression, self-expression, which is directed outward. But the spontaneity of this process is often violated either due to the physical condition of a person, or due to existing internal complexes, difficulties, conflicts, artificial self-control and self-restraint - regardless of whether this happens consciously or unconsciously.
The impulse is primary, given by nature, that is, it is innate, and comes from a subconscious need (Id, according to Freud).
The complexes and all the restraining mechanisms are due to the acquired, conscious (Super Ego - according to Freud).
Very important! Contrary to what many people think, the pace, or speed, of handwriting is a subjective factor, which is determined not objectively by the clock or the physical speed of the writing hand, but by completely different criteria - by specific graphic features.
Strictly speaking, when graphologists talk about fast handwriting, they do not mean speed by a stopwatch, but spontaneous, dynamic, progressive, free handwriting. If the writer of such a fast handwriting has a complex shape of letters, or enlarged elements, or decorations, then when timing it, it may turn out to be slow, but this result will not give us anything or lead us on the wrong path.
Slow handwriting in graphological language means restrained, constrained, not free handwriting.
Handwriting speed gives us information about the core, psychophysical essence of personality. In particular, this is an indicator of the general level of motivation: what drives a person in life - the motivation to achieve success or avoid failure, evidence of the activity or passivity of the individual. Also, the speed of handwriting indicates the level of spontaneity, spontaneity or restraint, "artificiality" of the individual.
There is a “law of inertia” that is also relevant for handwriting analysis. Dynamic inertia is expressed in a spontaneous flowing handwriting, facilitating its flow.
Any interference or changes that appear in the handwriting slow down, hold back movement and take too much energy.
So, slow handwriting is due to the inhibition of impulses and natural instincts, spontaneity. It is characterized by control in everything or, as an extreme, by complete impotence and total passivity. It may also occur in disorders, physical or mental, as will be seen from the combination of symptoms.
A more temperamental person, whose original nature of impulse, spontaneity, is strong, will not be able to write slowly and restrainedly. If the strength of impulses is combined with weak internal control, we have before us another extreme, regarding total control, passivity or impotence: complete lack of control, excessive activity and a forceful way of behavior (powerfulness, aggression). This is too impulsive, imperious, hysterical person, unable not only to think about the consequences of his actions and words, but also to stop in time.
Important! The importance of the handwriting speed factor for orientation in interpretation tables cannot be overestimated, since this factor has a fundamental impact on the reliability of many statements.
When working with feature tables, we will always take speed data into account, since the same feature at a fast and slow pace means different things.
As a rule, increased speed “improves” interpretations, and reduced speed “aggravates”. Extremes (frenzy speed or freezing) - exacerbate the meanings of the elements much.
Determination (recognition) of handwriting speedWhen determining speed, you need to remember one important nuance in order to avoid possible confusion.
While it may sometimes seem that the handwriting speed components of the slow-fast concept correlate with the CNT-RLS components, this is not entirely true. As already explained in the relevant topic, the ratio of CNT - RLS speaks precisely about the degree of self-control, criticality - or lack of control, lack of will. Therefore, we must not forget about the options when:
a) RLS is not necessarily indicative of true speed. RLS can be found in a slow, sluggish, limp and amorphous handwriting, like an invertebrate jellyfish. In this case, the handwriting is relaxed not because of spontaneity and an excess of impulses, a driving force, but simply because of the absence of both impulses, energy, and restraining forces, the ability to control;
b) CNT does not necessarily indicate slow speed. CNT can also be found in fast, spontaneous handwriting. In this case, the handwriting is controlled not due to constriction and an excess of the restraining power of the complexes, but simply due to criticality, restraint, ability to control - with strong impulses and energy.
So, how is the speed of handwriting formed and how is it expressed graphically? For ease of assimilation, I offer you this information in the form of two tables. (Tables 3, 4).
Table 3. Handwriting Speed Overview
Table 4. 10 main features that determine the speed of handwriting
Important! Normal, mature handwriting (personality) will have 5-b signs from fast. Less signs - handwriting starts to be considered slow. More signs of a fast pace - the speed is good, provided that the handwriting is calm, clear and readable.
Quality analysis through speed featuresWe have come to the most important and most interesting table of handwriting speed: psychological interpretations (Table 5). This means that we are gradually beginning to come into contact with real practice.
We have already mastered the theoretical material necessary for understanding the speed factor in handwriting and learned how to independently determine the main signs of speed, so now we can begin to study the interpretation table.
Familiarize yourself with the table (you don’t need to memorize it, it is always in front of you) and start independent work. The task is to, using the knowledge of the criteria for fast and slow handwriting, determine the degree of expression of speed in arbitrary samples (you already tried to determine this above) and then mark or write out the characteristics inherent in the author of each handwriting.
Handwriting samples for this task are located after the interpretation table.
Finally, before you start your first practical exercise, an important hint: remember the principles of working with graphological tables! Let me remind them again:
Dualism of graphic elements and the law of mutual confirmation.
Each sign can have several meanings, up to unrelated and even opposite.
One sign, like the only type of signs, cannot claim to be true.
Not all table values are always correct.
The dependence of the number of values on the severity of the phenomenon.
The extreme of the phenomenon - we look from the end of the table.
Table 5. Psychological interpretations of handwriting speed
The degree of constancy (homogeneity) in handwriting
The degree of constancy in handwriting is a kind of uniformity, stability, regularity, comparability, similarity. Determining and studying this factor, one must take into account that a complete, ideal constancy of movements does not exist in any living creature, including humans. Even the beats of a healthy heart (more precisely, the pauses between them) constantly fluctuate. Ideal regularity is possible only in the actions of mechanisms and automata.
The constancy and regularity that we are talking about in handwriting allow for slight fluctuations and a slightly noticeable inconstancy of elements, but nevertheless imply a certain general harmony, unity of elements, their homogeneity. In disharmonious, irregular handwriting, irregularity is striking, disorder and inconsistency in style and various elements are more noticeable and break the aesthetic impression characteristic of a permanent handwriting.
If the handwriting is just perfect, as accurate as possible, calligraphic or creates the impression of a mechanical pedantic drawing (such handwriting is usually slow), this is a false constancy, a disguise ("mask") of the personality. A person lives like this, afraid to be himself, afraid to be caught and presenting a consciously and intensely maintained image instead of his true face. He lives, sacrificing a huge amount of energy, nerves to his perfectionism, sacrificing inner freedom, his face and satisfaction from life.
As a rule, this does not come from a good life and indicates a hidden very low self-esteem and, of course, a high dependence on the opinions of others.
The easiest way to determine the degree of constancy in handwriting is by such features as the uniformity of the size of the letters, the distances between words, letters, lines, as well as the slope, pressure and direction of the lines.
I repeat: moderate, non-dominant (in terms of the initial impression of handwriting) variability is allowed and is not considered variability.
The very fact of constancy, regularity of handwriting does not mean dominance volitional qualities or logical control.
However, the degree of expression of healthy (relative) constancy in handwriting is an important factor, since it gives an idea of the degree of general (relative) harmony of the personality, predictability in the good sense of the word, indicates emotional constancy, resistance to external “irritants” and the influence of life circumstances. In other words, we are talking about the degree and characteristics of internal adaptation and the reactions of the individual to external factors. In a favorable case, this fitness to life.
A person lives in accordance with his values and attitudes, reflected in the direction of thoughts, feelings and manifested in behavior. And therefore, if the constancy of handwriting is not due to pretense or artificiality (“mask”), then in combination with spontaneity, fluency of handwriting is evidence of a sense of duty, responsibility, devotion, reliability.
The lower the degree of regularity in handwriting, the higher the inconstancy of feelings and inconsistency of the mind of the writer, the weaker (or weakened) will, the more pronounced the inability to constancy in actions, the realization of the plan, the unwillingness to cope with difficulties and obstacles on the way to the cherished goal . Due to excessive excitability or exposure to the influence of external circumstances (“irritants”), with the best intentions and mental abilities, such a person is not able to adhere to a clear and consistent line of behavior, for this he lacks internal stability and system.
Unfavorable variants of adaptation appear at very low and very high regularity (homogeneity) of handwriting. We are talking about extremes in which a person abandons his individuality (as a style of protection).
1. Very low homogeneity of signs or its complete absence:
a) opportunism, when a person does not have an internal "core", he is weak-willed or not adapted, and his adaptation depends on the other or on the occasion. Such a person does not distinguish between landmarks, can "get lost";
b) another version of the same extreme is a person who ignores external factors and circumstances, following only his internal moods. Such a person is not able to maintain relative internal stability, he is unpredictable in his reactions. He is driven by uncontrolled impulses, desires, desires that are stronger than the applied volitional, restraining control of this person.
Which of these two types is in question in each particular case is checked by other criteria.
2. Very high homogeneity of features or total, almost mechanical identity of features: a hard regime, when a person, on the contrary (!), is so overregulated, “paralyzed” by perfectionism, prohibitions, fear or obsessiveness, that flexibility or manifestation of individuality, as well as naturalness, harmony of adaptation are simply impossible. A person is blinkered, maximally controlled, tense and focused, preoccupied. His field of vision is very limited, and he simply does not need a choice, since the "blinders" allow him to focus only on the "only true" path.
I will give examples of the degree of constancy.
Absolute constancy.
Absolute inconsistency.
relative constancy.
So, depending on the presence or absence of uniformity in handwriting, the following interpretations of personality can be given (Table 6).
Table 6. Characteristics of handwriting depending on its uniformity-heterogeneity
Four Basic Form Elements
Speaking about the four main elements of the form, it is important to know that they are due to nothing more than the four main mental functions of the individual in accordance with the teachings of K.-G. Cabin boy. We are talking about the following functions: logic (reasonableness), ethics (feelings, emotiveness), intuition (“feeling”) and sensory (“feelings”), of which one is dominant, two are auxiliary, and another one functions in the unconscious .
Without going into deep details of the Young functions, at this stage we give a brief definition of each of them.
Two rational functions:
1. Logics - when the worldview, behavior, decision-making and reactions are determined by the mental beginning, rational approach and considerations of expediency.
2. Ethics - the determining factors are the personal guidelines of the inner world and the subjective beginning.
Two irrational functions:
3. Sensory - direct sensory perception prevails, which is characterized by literalness and concreteness.
4. Intuition - speculative perception prevails, which is characterized by imagination, abstractness and variability.
Manifestation of rational functions1. Garland (concave) shape.
Ethics is a rational function, since it is based on a system of such values as beautiful-ugly, good-bad, like-dislike, etc. Graphologically, "ethics" is reflected by the predominance of concave forms, or garlands, in handwriting.
2. Arcadic (curved) shape.
Logic is rational, because it is based on a system of such values as true - not true, genuine - inauthentic, expediency - inexpediency, etc. Logic allows you to navigate life through concepts, analysis and conclusions about the essence of things. Graphologically, logic is manifested by a preference for arched forms, or arcades, in handwriting.
Manifestation of irrational functions3. Angles and straight shape.
Sensorics - orientation in reality through sensations. Surrounding phenomena and things are perceived as they are, directly (without preliminary analysis), passed through themselves. In handwriting, sensory is revealed by the predominance of straight lines and angles.
4. Thread-like form.
Intuition - orientation in life through direct penetration into the essence of things and the achievement of the essence of their hidden possibilities. In handwriting, intuition is expressed in thread-like strokes and shapes.
Important! All four mentioned functions (and accordingly forms) according to their specificity reflect different levels of consciousness in three zones of handwriting: upper (Super-Ego, ideal), middle (Ego, real) and lower (Id, hidden).
Please read the following table of psychological interpretations of the four main types of form (Table 7).
Of course, there are no handwritings consisting exclusively of one form, it is always a combination of various forms in different proportions. Saying that the handwriting is angular, we do not mean that it is absolutely angular and there are no other forms in it. We indicate the most characteristic form for this handwriting, relatively predominant over other forms available there.
Table 7. Options for shaping and their psychological interpretations
Important! With a moderately pronounced form, it is only about the basic, direct meaning of this form. While an immoderate, excessively manifested form will indicate the kind of protective mechanisms and compensations.
When naming the predominant form in each handwriting, it is necessary to clarify whether it is expressed moderately or more than necessary.
Three layers in handwriting
In the overall picture of handwriting, there are three separate pictures (or aspects) that carry information about different planes of personality functioning and, therefore, are analyzed separately.
It's about concepts. "movement", "organization", "form".
By proceeding directly to the study of each of the aspects, you will find out which personal plane they “manage”, you will receive detailed descriptions of possible options and explanations of the meanings and characteristics corresponding to them.
In addition to mastering the theory, you will have to learn to independently recognize the features of each of the three aspects, as well as compare and establish the ratio of these three “layers”: which (which) of them dominates (dominate), that is, what spends a large share of energy and directed inward person's attention.
And only then - to interpret using tables.
As a preface to the topic, I will just say that the secret of the expert's success is not in the possession of these tables, but in the ability to use them, in the selective choice of values and cross-matching.
Traffic
The term "movement" refers to the pace, as well as the dynamics in handwriting.
Movement pace is innate, individual and unchanged throughout life, however, the possibility of its expression in reality, and in particular in handwriting, can be influenced by various factors (such as upbringing, environment, diseases, etc.).
The movement gives us an idea about the innate reserves of a given person: about his temperament, about the level of physical and mental energy, about the strength of his libido (in the broad sense), the level of involvement, about stability, resistance.
The concept of handwriting tempo is wider than the concept of speed, which includes such categories as “fast” and “slow”: handwriting tempo has additional characteristics that allow you to more specifically determine what drives a person. It is not enough to determine whether the handwriting is fast or slow - you need to know the characteristic, the type of this fast or slow handwriting. The fact is that at any speed there is both a productive, active (positive, active, creative) version of it, and an unproductive, passive (negative, avoidant or destructive) version of it.
Fast and slow tempos of handwriting are positive, if they are moderate, close to the golden mean, that is, they take place with a relatively equal (with a slight margin) ratio of the driving and restraining principles in the personality.
Thus, with a normal (moderate!) preponderance towards innate impulses, we get a spontaneous, natural, fluent handwriting tempo.
With a normal (moderate) preponderance towards acquired restraining factors, we get a restrained, moderately controlled, calculated pace.
Fast and slow rates of handwriting are negative if they are such to an extreme degree and in the CNT-RLS coordinate system they are noticeably far from the center, that is, the advantage in the ratio of the driving and restraining beginnings in the personality is significant. In this case, with a strong preponderance towards innate impulses, we get a stormy, impulsive, uncontrollable (unproductive) pace of handwriting. With a very strong preponderance towards the acquired restraining factors, we get the pace simply frozen, mechanical, lifeless, a kind of static “mask”.
There is another special, negative version of the tempo, when in the coordinate system a person is, as it were, at zero: there are neither strong innate impulses, nor especially pronounced restraining and controlling acquired forces. In this case, the pace will be characterized as too relaxed, infantile, speaking of a decline in energy and weakness of the personality, the absence of any motivation, any core in the personality.
So, as a result, we have five types of movement, two of which are productive (positive in interpretation) and three are unproductive (more problematic in interpretation).
1. Spontaneous - progressive, living movement.
Spontaneous and free movement (handwriting "quick +"), its meanings:
Energetic person, vitality, liveliness (including intellectual), ability to cope with obstacles and difficulties, courage.
The desire for quick results while being ready (!) to make an effort for this.
High motivation, the need for success, the need for self-realization and self-affirmation (in psychology this is called the goal reflex, such a person is able to go far and usually has already gone).
Initiative, an inescapable internal motive to act (the need to do something, to be active, an active person).
Flexibility of thinking that allows solving problems (that is, not a conservative, open to various possibilities. In the presence of thin lines - possessing intuition).
Sense of duty and responsibility (handwriting flows freely and at the same time harmonious, moderate, relatively uniform).
Purposeful activity, but at the same time without dogmatism or inflexibility and rigidity. Ability to plan for the long term. Creative approach to problem solving.
Finding solutions quickly (thanks to flexible thinking and practical intuition. Solutions are born immediately, instantly, “from within”, but this in itself does not say anything about how smart or expedient these decisions and proposals are).
2. Measured - moderate, rhythmic movement.
Restrained and balanced movement (handwriting "slow +"), its meanings:
Knowing of limits.
Restrained expression of their feelings.
The approach of this person is cautious, serious and businesslike.
Social (general) and professional (in their work) responsibility.
Analytical (analyzing) thinking.
Careful and thoughtful decision making.
The ability to cope with obstacles through discipline, perseverance and responsibility. Control over his impulses and feelings allows him to cope with long-term activities.
3. Impulsive - stormy, "not tamed", hysterical movement.
Impulsive, violent, uncontrollable, "wild" movement (handwriting "quick -"), meanings:
Hard to control, strong internal impulses.
Impulsiveness.
It acts according to sensations and feelings, less - for reasons of expediency, rationality.
Man of moods.
Feels the need for quick satisfaction and quick results, without thinking about the consequences of his actions.
Important! There is no connection with the level of intelligence, this quality is associated exclusively with impulses!
Powerful emotions, enthusiasm or drama.
Important! Another thing, what kind it's emotions. For example, if the handwriting contains rounding,“warmth” of the lines, but also overly “bloated” elements, an exaggerated first letter in words, here we will talk not just about an emotional person, but about strong narcissistic emotions - about the need to stand out, selfishness, egocentrism. If, with emotional handwriting, they will, on the contrary, angularity and prickly "sharpening" of the lines, this already speaks of such strong emotions that own the author's handwriting, such as anger, anger and anger.
Lively, quick perception (especially with lightness, fast, rapid "transitions" and "bundles" in letters and between them, with original forms and spaciousness in handwriting).
Tendency to exaggerate.
Subjectivity.
4. Static - frozen, "frozen", "dead", "dug" movement.
Static, frozen, mechanical movement (handwriting "slow -"), meanings:
Low self-esteem (when the handwriting is either very small or very large).
Internal conflicts and hidden (since there is no change in the slope of the handwriting) strong complexes that strike at the spontaneity and free expression of a person and lead to self-doubt.
Difficulties in interpersonal communication.
Conservatism and the need to stick to habitual ways of doing things.
Closeness, selectivity in relations with people, suspicion (does not trust).
Feeling mentally suffocated, driven into a corner.
Complexes that slow down a person and drive him into a dead end (a person is constantly “in himself”, he is afraid of mistakes, failure, he is always in doubt and not sure: about what is good, what is bad, and about any decisions, since they require time, effort , checks or comparisons).
Often a person is limited (“square”), boring and conventional (his environment can suffer greatly from him).
Difficulty with flexible adaptation, adaptation: the process of adaptation is very slow, if at all possible. Intuition and feelings are suppressed, “frozen”, and a person simply does not have the energy for this.
He loves and prefers in advance familiar and well-known, planned “framework” in everything: it is difficult for him to adapt to surprises, surprises, he is not able to perform several actions at the same time or flexibly, spontaneously move from one thing (or topic) to another. Prefers to be "left alone".
Man of habits.
Avoids everything unknown and uncertain, gets lost in unexpected situations.
Not friendly (it is not easy to be his friend, and it is difficult for him to be a friend himself).
Excessive (obsessive, obsessive) control over feelings - in a pathological form.
Lack of self-confidence (lives solely in accordance with clear rules).
Excessive accuracy and precision, obsessive keeping order.
depressive disorder.
anxiety disorder.
Neurosis: for example, obsessions (obsessions, fears), compulsions (rituals).
5. Sluggish movement - painful relaxation, weakness, soreness in movement.
Relaxed-limp movement (speed "indefinite -"), values:
Important! Such relaxation has nothing to do with pressure! This speaks only of weakness (as if the forces leave a person - sometimes suddenly, sometimes gradually), about weak-willed, lifeless lines, broken lines, without energy. About a person who has a lack of energy and vitality in a person by nature, or about a diseased condition.
Lack of energy, vitality.
Lack of mental energy, mental alertness.
Lack of initiative.
Carelessness in action.
Laziness and indiscipline.
Depression.
Low (reduced) moral level.
Organization
The term "organization" means the arrangement of the text, its distribution in space.
In terms of psychological interpretation, this aspect is directly related to the organization and management of one's life in general and one's resources (personal potential, time, material resources) in particular.
A person who organizes a handwritten sheet well and productively also organizes his life, routine, daily life.
The organization of the sheet gives an idea:
On the features of adaptation;
About adaptability in life;
About daily operation;
On the management of the resources at his disposal: space, time, material resources;
About how he handles it.
Balanced, good organization of space is expressed in moderate, standard intervals, constant observance of the grid.
The grid is a good organization, which preserves the normative (harmonious) proportions of vertical and horizontal spaces (including margins) of the sheet. The grid, in particular, includes: paragraphs, fields (and their form), spaces between lines, between words. This is evidence of a well-functioning personality.
Note. Although the normativity of the gaps depends on the size of the handwriting, when they are too large, this is no longer a productive, but a “leaky” organization, or an organization with voids.
So, as a result, we have four types of organization, one of which is productive (positive in interpretation) and three are unproductive (more problematic in interpretation).
Important! Different types of organization can be combined with each other in one handwriting.
1. Good, productive, that is, natural and efficient organization.
Means:
A person organizes his actions well (the constancy of the normal grid from the beginning to the end of the text).
Clarity of thinking, thoughts. When a person thinks clearly, clearly and judiciously, the clarity of thoughts naturally creates a good organization on the sheet.
Important! Lack of clarity in thoughts - does not necessarily indicate a small mind, low intelligence! This may be the result of a difficult mental state of a person or the presence of serious problems in life.
Self-criticism.
Judgments "on the case".
Good social adaptation (well adapted to life in society).
Respect for others.
Propensity to public affairs or to activities for the benefit of other people.
A person who is satisfied (satisfied) with his place in society. A certain harmony and satisfaction is expressed in good and constant spaces between words and letters (but not only in them!).
The ability to calculate and evaluate well (knows how to separate the main from the secondary).
2. Conventional and frozen, that is, artificial, obsessive, pedantic organization.
Means:
Excessive diligence, service to laws and regulations.
The need for constant public approval (due to uncertainty, stiffness).
Addiction.
Fear of failures and failures, the tendency to play it safe for any reason.
Overly selective, sometimes suspicious (not everyone will be in contact).
The need for clear directions, since there is no flexibility, no intuition, he is not able to open his eyes because of the blinders covering them - constant concern with himself and his problems. He is not able to understand people, to feel the dirty tricks that indicate the problematic nature of another person.
Diligence, pleasing, childishness (infantility) and dependence (with a frozen, correct, readable and motionless handwriting, as if a diligent elementary school student wrote).
3. Busy and disorderly, that is, disorganized, sloppy, sloppy, or heavily overloaded organization (little white space visible).
Means:
Impulsivity (mostly in fast handwriting, doesn't stop even for a minute!).
Quickly "boils" or "explodes".
Protesting or defiant behavior (“out of spite”) as a result of feelings of insignificance and discrimination.
The feeling of one's own greatness as a compensation for the feeling of insignificance.
A person who determines his place in society through aggression and conflict (rudeness, arrogance, vulgarity in behavior). Irritated and annoying, arguing - out of a desire to stand out. For example, in the insolent one can often find "outliers" in the secondary width in combination with the primary narrowness of the letters.
Thinking is chaotic, and actions are inconsistent (due to disorganization, it is difficult for him to plan a lifestyle, daily routine, work schedule, etc.).
Craving for adventure: not only not afraid to try, but also ready to take risks, but do not think about the consequences.
Fantasies, dreams and big plans that don't come true (see in slow handwriting with "bloat" and exaggeration).
Due to the inability to listen or understand, he is able to offend, offend, be rude or tactless.
A bore (with closely spaced letters).
4. "Holes" in the organization, voids - when the organization of text and gaps on the sheet is distorted and the resulting gaps create noticeable shapeless - or vertically crossing part of the lines - white voids.
Means:
Emotional problems, complexes (voids, "holes" not so much between lines as between words).
Difficulties with adaptation in society (voids, "holes" not so much between lines as between words).
Hesitations (doubts, uncertainty, “what will they think of me?”, “is this normal?”, etc.).
Increased anxiety due to the fact that it is difficult to cope with problems (temporary or permanent), lack of courage and initiative (note: organization dominates - not form or movement - and in a slow handwriting!).
The term "shape" refers to the style of formation of letters.
The form sends information:
About the intellectual level;
About self-awareness, about the degree of feeling of one's significance (or insignificance). Through form, a person reveals such qualities as self-confidence, selfishness, conservatism, protest, authority;
About the "role level", as well as the level and quality of the so-called social "mask". That K.-G. Jung called "persona".
"Mask" (or "persona") is an adaptive mechanism of personality, and in moderation, each of us has this "mask" to one degree or another. The necessary normative "mask" is called integrative, it is evidence of a healthy adaptation (fitness) to life. In this case, the person is in harmony with himself and others. (See the figure below in the paragraph "Original or individual, that is, an original and productive form.")
There are two extremes that speak about the problem of the integration of the individual in society:
Non-integrative "persona", when the proportion of the "mask" is excessively exaggerated. A person is preoccupied with the impression and image he makes. Such a "mask" replaces the real adaptation and is an extreme form of protection, compensation for difficulties. (See the figure below in the paragraph “Standard, banal (sometimes frozen, frozen) form”, ““persona” (“mask”), decorated or possessing excesses ...”).
Rejection of the “persona”, that is, the person does not want and is not able to adapt, to adapt in any way to society and others. The complete absence of a “mask” (with a “minus” sign) or a very small proportion of the “mask” is due either to active rejection, contempt for society (in fast handwriting), or weakness or depression (in slow handwriting). (See the figure below in the paragraph “Sparse, abandoned to the point of unreadability ... form.”)
So, as a result, we have four types of form, one of which is productive and optimal (positive in interpretation) and three are unproductive (more problematic in interpretation).
1. Original or individual, that is, an original and productive form.
Means:
Originality, individuality or originality (depending on the specifics of the form).
Purposefulness.
Setting realistic goals: well aware of what he is capable of and what he is not.
Mind, a good (or high) intellectual level.
Aesthetic flair (if the form is without exaggeration or excess).
Discipline (constancy and consistency in handwriting).
Knowing one's limits (perceives oneself adequately).
Balanced communication.
Conscious adaptation: adapts to the environment or conditions without losing its identity.
The ability to "remain oneself": does not change oneself and does not change others - does not follow others, but does not interfere with them either. Remains true to himself, his principles, opinion, style or taste.
Emotional, spiritual maturity. Good, healthy relationships with other people in different areas of life (including personal).
Note."Integrative Persona" (Jung).
2. Standard, banal (sometimes frozen, frozen) form.
Means:
Lack of dynamism (mobility), originality (shows interest exclusively in the most banal things in life).
Low intellectual level.
Banal and simplistic thinking.
Conservatism, conformism, conventionality (the handwriting is very ordered, unchanged, even and without nuances).
Subjectivity.
Attachment to the routine and his usual way of doing things (especially with frozen handwriting).
Emotional (mental) immaturity.
Prejudiced, inflexible person (handwriting close to standard, orderly and inflexible).
"Person": the handwriting is frozen, motionless, exaggeration in forms. Inflated, excessive forms, superfluous and emotional additions to the form, when the handwriting is constantly changing. Such a person cannot be trusted, as he acts according to his mood!
Note. Inconstancy and inconsistency in form is evidence of dissatisfaction with anything specific or with life in general.
The need for a framework (stretches for routine - it helps to cope with what is hard in life).
Lack of independence and childishness (childish infantilism or passivity, due to which there is a need for precise and clear directions or instructions).
3. "Persona" ("mask"), decorated or possessing excesses that do not contribute to readability, that is, a complicated, unproductive form when a person "serves" the form.
Means:
The desire to impress, to arrange a "performance" (especially with swollen forms, combined with a slow, motionless and lifeless handwriting). In general, the shape of the “persona” (without connection with bloat) can indicate a desire to look very smart, etc.
It is unproductive, as it is not able to distinguish the main from the secondary.
Fanatical.
A sense of form (provided a combination of more interesting decorations in handwriting with more lively, noticeable movement).
The need for attention through the creation of a special impression.
Arrogance, pride, compensating for low self-esteem (likes to brag and talk about himself at every opportunity).
Judgments are fuzzy, the very ability to judge is low (thinking is unsystematic and subjective).
The need to be popular or accepted due to self-doubt and the need to be appreciated.
Non-business approach, does not distinguish the main from the secondary.
unproductive action.
Lack of consciousness and self-criticism (inflated form and cramped handwriting indicate tediousness).
Self-centeredness (subject to a combination of swollen letters with tight spaces between lines).
4. Poor, careless, neglected and often unreadable form.
Note. Carelessness is not to be confused with simplicity! Readability - see for a single letter.
This form in quick handwriting means:
Active, active person.
Developed intuition.
Quick, without hesitation, decision making.
Rejection of the "person" (with a significant degree of unreadability and at the same time fast or impulsive handwriting):
- excessive independence, causing a serious blow to the adaptation (integration, adaptation) of a person in society;
- violation of the accepted framework and norms, the tendency to do whatever he wants. Disdains and disrespects social rules.
Disrespect for others, their comforts and rights.
Haste and carelessness.
This form with slow handwriting means:
Apathy, indifference (including in case of depression).
Neglect, carelessness.
Laziness.
Concentration problem.
depressive disorder.
A formula that allows you to determine the level of personality development
In graphology, there is the so-called “Development Scale”, which allows you to orient yourself regarding the level of harmony and internal development of the analyzed personality.
The correspondence of the signature and handwriting speaks about the degree of harmony of the personality. If the signature is written in the same style as the text, if it does not sharply differ either in slope or pressure, or in the shape of the letters or readability, then we have a person who is not trying to impersonate someone else, pretend, artificially create for himself image - he is who he claims to be. This is difficult to determine based on the signature alone.
As for the level of personality development, harmony and intelligence in general, there is a fairly quick and simple way to determine personality development. This is a formula consisting of a combination of four parameters: speed - readability - originality - organization.
The more of them in handwriting at the same time, or, more precisely, the higher your score for each of them, the higher the personal and intellectual level of a person. And vice versa. Note that it has nothing to do with inclinations or mindset per se.
Remember the fundamental influence of handwriting speed! Slow handwriting always lowers our score or “weight” on one of the four parameters: the slower the speed, the greater the reduction in score. The fact is that with extra time and therefore attention, it is much easier to write clearly, in an organized manner, etc. For example, order or clarity in handwriting written at a slow pace simply should not impress us! Another thing is if we find such data in a spontaneous, fluent handwriting - here the parameters should be evaluated to the maximum, without being afraid to overestimate the person.
1. Handwriting speed.
Means: fluency (not to be confused with negligence and other pitfalls). Speed is not the physical speed of writing, but the dynamism of writing.
2. Readability(degree of readability).
To check, they take one single letter (not in the context of the word) and try to recognize it. Readability is complete, if any letter is recognizable, partial - if about half of the letters.
3. Originality-originality(individuality).
Means: unusual from the point of view of the standard forms of letters or ligaments between them, spreads, etc., that do NOT interfere with readability and are NOT just excesses or decorations. Originality - in the invention of their own unique forms and style, individuality - with simpler options.
Note. If you do not have sufficient experience, be prepared for the fact that you are not immune from the mistake of mistaking one for the other, especially where there are subtle nuances that are difficult to accurately describe in verbal formulations due to the risk of their subjective perception. For example: “the originality of the shape of the letters” is a visual concept, you need to learn to feel it, you don’t need to take any deviation from the norm for originality (see above). Be careful!
4. Organization(location on the sheet).
It is considered excellent if, when looking at a sheet or text, there is no feeling of a “single mass”, confusion; lines and paragraphs are separated from each other, paper space is used logically and productively.
Each of the four parameters of the formula can be evaluated on a 5-point system:
5 - very high level;
4 - high level;
3 - average level;
2 - low level;
1 - very low level.
And then you can display the average score, which means the development (level) of the individual:
“Very high” (when everything is almost to the maximum in every point) - the highest level of personality development, an exceptional person.
"High" - a good level, development and intelligence above average.
"Average" - will mean a mediocre, or ordinary, average, level.
"Low" - the level of development and intelligence is below average.
"Very low" - the minimum, primitive level of personality development.
Attention! The level of development of personality, harmony and intelligence in general is of the same exceptional importance and influence on the characteristics and your work with interpretive tables, as is the speed of handwriting.
Three "dimensions" in handwriting
Vertical
The vertical is the height, the measurement along the page:
The vertical gives "internal", introspective information about the personality, about the person as he is in himself, about his self-perception. So, the vertical speaks about the internal structure of the personality, about its essence. The vertical reflects individuation, the need of the individual to develop his unique potential. The vertical reflects the motivation to strive to express one's individuality.
The main indicators of the vertical dimension include:
1. Three zones of letters.
2. Vertical sheet margins:
Top margins;
bottom margins.
3. Distances between lines.
4. The size of the handwriting (letters).
5. Vertical spread.
Three zones of lettersSpeaking of three zones of letters, we mean a letter divided into three parts vertically. Knowing the meaning of the vertical dimension, therefore, the three zones of letters give us data on three aspects of personality. This means that through the analysis of the three zones of letters, we will receive information "for internal use only", not directly related to the social aspect, behavior, communication or relationships.
The three zones of the letter together reflect aspects:
A person by himself, his sense of self in his own world.
The internal structure of the personality, its essence.
Individuality, the need of the individual to develop his unique potential.
Motivation for self-expression.
First of all, it is important to get an idea of the location of the three zones and what they include.
As you can see from the picture:
middle zone - these are letters or part of them located in a line (lowercase letters);
upper zone - the upper part of the letters (or "processes"), protruding above the line and lowercase letters;
lower zone - the lower part of the letters (or "processes"), protruding under the line and lowercase letters.
Note!
1. Not all letters of the alphabet (for example, "c", "b", "a", etc.) have a lower zone and not all have an upper zone (for example, "h", "d", "k", etc. d.).
2. Some letters (“o”, “s”, “n”, “m”, “g”, “e”, etc.) do not have either an upper or lower zone.
3. However, without exception, all letters have a middle zone (“b”, “b”, “y”, “g”, etc.).
4. At the same time, there is not a single letter that would have all three zones at the same time.
When we examine the upper zone of letters - of course, we will look only at those letters that should have it according to the standards of writing (for example, the letters "c", "b"). Any other strokes, lines and flourishes, "arbitrarily" soaring up (to the upper zone), we consider mainly as compensation. Similarly - with the lower zone of letters (such as "d", "p", "y").
1. Upper letter zone labeled SE (Super-Ego), because most of all it reflects our I-ideal, Super-Ego.
The upper zone is force that controls (restrains) our primary impulses. These include our consciousness, as well as factors such as education, ethical, moral norms and values laid down from childhood, conscience, intellectual interests, curiosity, curiosity, the world of ideas and theories, the desire for education, science, self-development, ambition, status, spirituality (faith or religiosity).
Here we are talking about internal positions, concepts, aspirations, or their absence in a person on his own, "alone with himself." Whether he is pulled up by vanity, ambition, the need for intellectual or spiritual self-development - or conscientiousness, moral or ideological values (this may turn out to be fanaticism in certain handwritings). One way or another, it is always a conscious presentation to oneself (and often an expectation from the outside world too) of increased demands and requests. It is always an internal effort, the application of some measures, principles (another matter who has what). Or, of course, the absence of all this, in its extreme manifestation meaning “my hut is on the edge”, “we are small people, where can we go” or “yes, for me - everything is fine, any order, as long as there is something to eat”, etc. d.
We can talk about the readiness or unwillingness to make some demands on oneself, to invest one’s strength somewhere, and in extreme cases, about obsession, being dominated by fixed ideas, dogmatism, isolation from reality, or about the absence of high principles and guidelines, about focusing only on the philistine level of interests.
Upper zone - standard upper processes of the letters "c", "b", sometimes "d" or any non-standard deviations from the upper zone from the point of view of writing: for example, the leg "r" going up, the crossbar "t" raised high, flying strokes " n", "k", etc.
Important! A highly developed upper (like any other) zone due to non-standard elements, deviations from the norm of prescriptions indicates compensatory needs in this area, so it is important to take this into account when choosing values).
2. Lower letter zone marked Id (It, primary, unconscious drives) for a reason - it reflects all the subconscious, as well as the innate content of the personality. Libido, temperament, innate level of vitality, vital energy, basic needs or compensations, vital things. The degree of earthiness, roots, foundations, material, sexual beginning, attitude to food, comfort, recognition, unconditional acceptance and self-realization, practicality.
The lower zone is the driving forces, impulses, deep motivation of the individual.
Lower zone - standard lower processes of the letters "y", "z", "d" or any non-standard deviations of the lower zone from the point of view of prescriptions (for example, the leg "g" going down, exaggerated loops "u", "c", etc.). e).
Important! A strongly developed lower (like any other) zone due to non-standard elements, deviations from the norm of prescriptions indicates compensatory needs in this area, so it is important to take this into account when choosing values).
3. Middle zone of letters- the most important in the personality, the most responsible place, the golden mean, marked as Ego (Ego, I, self, soul).
In fact, this zone conveys information about the balance between the two described opposite principles, “gas” and “brake”, about proportions and about which principle takes precedence over the human soul.
The middle zone is a mediator between opposites, it shows how the combination of "bottom" and "top" is expressed in a person, how in each specific case this mediator copes with its functions. What is the balance between what we want and what we have, what is our world of feelings, self-perception, self-confidence, etc.
Middle zone - standard middle letters “o”, “p”, “k” or any non-standard deviations of the middle zone from the point of view of prescriptions (partial capture of foreign territory by the middle zone, characterized by parts of letters going down or up, for example, in “g”, "s", "m", etc.).
Curious note. It is the three planes that make up the vertical - the top, bottom and middle of the letter - that can provide not only introspective information, but also tell about the psychophysical state of a person. A graphologist is not a doctor, and he should not try to make specific diagnoses, he can only try to check his assumptions informally, orally, in the form of a question, so as not to scare a person in vain. Solely for a general idea, I cite the principle of somatic correlation with the vertical, since it is still quite wide and requires a lot of recognition experience.
Top of the letters all strokes that go above the level of the line (above the level of round letters) indicate the state of what is at the top - from the top of the head to the level of the shoulders. This is the head and all the organs located on it: eyes, ears, sinuses, nose, as well as the throat, inflammation, adenoids, also the neck, facial and cervical muscles.
middle of letters associatively speaks of the middle of the human body, all those organs and parts of the body that are located from the neck (bronchi, respiratory tract) to the level of the abdomen. The middle is the “heart of the personality”, both literally and figuratively (soul, ego) sense. After all, the word "heart" - from the word "middle", "middle" of everything. In the middle - all the internal organs in the cavity of the chest, chest and abdomen, as well as the arms, arm muscles, joints. In women - female organs: above - the mammary glands, below - the ovaries and uterus. Signs of pregnancy can be noticeable in the middle zone.
bottom of letters symbolizes everything lower and primary, which is below the abdomen and to the tip of the toes. This is functioning in sex, and problems with the legs, hips, knees, ankles, feet, joints, muscles, problems of instability, weakness, etc.
If failures are visible in all zones, on any lines, it is worth checking the endocrine, immune system, pressure or blood circulation problems.
Now about how the pathology looks graphically. These can be almost microscopic signs: for example, as if there is a gap in the line, a broken line, as well as dots, tiny blots. But one important BUT: in order to suggest some kind of problem, you need to see this sign several times in order to exclude chance.
So, before proceeding to the tables of the meanings of the three zones, we will learn the rules for the correct definition of these elements of handwriting. Looking at the zones in letters, we pay attention to:
On the relative dominance of any zone (or two, or maybe the absence of a dominant);
On the size, length, "development" of each zone separately;
On the features of each zone separately - on the shape, deviations, stress, etc.
And only then we synthesize information from interpretation tables about all zones.
Having decided on the dominant zones of handwriting, we proceed to the choice of interpretations (Table 8), Of course, without forgetting about the rules for using tables.
Values will be more positive with a healthy, adequately developed zone (not always “longer” or “more” means “better”, it can be an infantile “bubble” or a boring lifeless “stick”). Adds points, of course, also the speed of handwriting, and the overall level of personality development!
Table 8. Three zones of letters
In the following sample of handwriting, determine the dominant (most developed) zone and, using table 8, select the most characteristic features for this personality.
Vertical marginsSpeaking about this aspect, one can find that the concept of "field" very successfully reflects both the sign itself and its psychological essence.
Top margins of the sheet (Table 9) characterize the value-ideological level: criticality, significance, justice, demonstration of status.
The top margins of the sheet, or, more precisely, the head margins of the sheet, reflect the approach of the writer to his field of activity (that is, in relation to the form or sheet), to the business in which he is engaged and which is usually associated with a certain interaction with others. Moreover, the beginning of the sheet also expresses the attitude of the writer to the "addressee".
In this sense, factors such as self-confidence, respect for others, or a cautious attitude towards them, moderate and responsible rationality, or impulsive attacks by the author of the handwriting, reducing its significance, but reflecting the ardor of its support or aggression towards the “addressee”, are determined. .
The title margins of the sheet also contain an aesthetic aspect, but often the motive is different: courtesy, solemnity, and sometimes arrogance (as always, depending on the specific handwriting). In order to more accurately judge the attitude of the writer to the "addressee", it is useful to know whether they are equal in social status, or whether one of them is in a dependent position in relation to the other.
The absence of upper margins does not necessarily mean impoliteness, aesthetic uncouthness, a contemptuous attitude towards others, etc. We must not forget about the option when the writer “calls” the pen directly to the very essence: forgetting about conventions, he gets down to business right away .
Table 9. Characteristics of the top margins of the sheet
Bottom margins of the sheet (Table 10) characterize materialism: calculation, solidity, sufficiency, use of opportunities.
The lower, final fields mean incompleteness, a certain blankness of the sheet to the very end. The reasons for this may be: aesthetic considerations, lack of content, restraint, modesty, shame, fear, excitement, etc.
The absence of lower margins in slow handwriting can be interpreted as an economical use of space (available resources), as pettiness, as an unbearable state when a person is psychologically and emotionally suffocated. In a quick handwriting, this phenomenon will speak of a sense of urgency (a person needs everything urgently), dissatisfaction, pretentiousness, protest, self-forgetfulness and detachment from objective limitations as well (ignores, crosses boundaries).
It is here, at the final stage, that the features of the author of the handwriting are most fully revealed, since directed volitional control is increasingly weakened.
In this sense, if you want to recognize the true content of any letter, you should read it in reverse order: one after the other, from the last phrase to the previous one.
Table 10. Characteristics of the bottom margins of the sheet
Line spacingLine spacing specifics (Table 11) testifies to the attitude, approach, perception and vision of a person's perspective: long-term, short-term, urgency, subject, object, subjectivity, objectivity, clarity or randomness in the approach, etc.
Table 11. Characteristic of the distance between the lines
Handwriting size (letters)Unlike the shape of letters, in the process of teaching writing, almost no attention is paid to the size of the handwriting. (Table 12). Although large handwriting can be found not only in a child or teenager, but also in an adult, there is a pattern. As a rule, most often small handwriting is found in adults, less often in young people and very rarely in children of the first or third grades, who write mostly in relatively large letters.
It is interesting to note that there is a definite trend regarding handwriting size depending on gender. Large handwriting is found in women (as well as more “feminine” men) more often than in authors who have more masculine qualities. Sometimes write small and women with such qualities.
The size of the letters is measurable and is determined by the height of the short letters of the middle zone (that is, without processes, such as "o", "l", "k", "i", etc.). The standard height of such letters is approximately equal to 3 mm.
It is important to know if the writer has vision problems, since nearsightedness can increase handwriting, and farsightedness can decrease it.
Of course, the handwriting size alone is not enough to judge the individual qualities of its author, and the final interpretations depend on the specifics of each particular large or small handwriting.
Table 12. Characteristics of handwriting size
Vertical letter span
Features of the vertical span of the letters (between the ends of the lower and upper processes) (Table 13) are an indicator of individuation (Jung): it can be the development of one's own identity, involvement, reduced identity, repressed individuality, denial of one's Self, etc.
Table 13. Characteristics of the vertical span of letters
Line directionRow direction features (Table 14) indicate emotional stability, constancy, psychological state or fluctuations in mood, tone, performance.
Table 14. Row direction characteristic
Horizontal
The horizontal gives "external" information about the person. It expresses the attitude of a person to the world around him, "from himself - outward." Allows you to get an impression of behavior, adaptation, reactions in the outside world, the social aspect, interaction in society.
Since the horizontal indicates how much a person strives for interaction and adaptation in society, whether he prefers to live more in his inner world or not, etc., it also speaks of “fidelity” (intro-extraversion of a person).
The horizontal reflects the motivation, degree of interest, involvement and participation of the individual in the life of society, in society. The horizontal dimension includes:
1. Tilt angle:
Acute (lawfulness);
Straight (no slope);
Dull (left-handedness).
2. Width or narrowness of handwriting (letter, its beginning or end).
3. Horizontal margins
Initial fields;
End fields.
4. Spacing between words.
5. Spacing between letters.
Tilt angleBefore directly measuring and studying the angle of inclination in handwriting, I consider it necessary to reveal to my readers one small professional secret. It boils down to the following: to paraphrase a well-known saying - the slope is not as terrible as it is painted.
The fact is that, since the slope is one of the most visually noticeable features of handwriting, especially to a non-graphologist, there is an involuntary tendency among graphologists to exaggerate the importance of this feature, or at least put it on the list of the most significant, because it seems obvious. In many popular articles, magazines and brochures, this is exactly what happens: the more noticeable the sign of handwriting, the more honorable place it deserves in the analysis.
Obvious, but incredible: in this case, the opposite is true! Including because the slope of handwriting should be interpreted, unlike most other signs, not only after determining the speed of handwriting and the level of personal development of its author, but also after taking into account other features first. And also because the values of the various angles of inclination are themselves numerous and contradictory.
And one more thing: the most obvious and noticeable to anyone features of handwriting, such as its slope, size, width, line direction, etc., are the most controlled and close to conscious, volitional influence. Therefore, do not rely too much on them. It is these signs that are most easily and often distorted by a person who, for whatever reason, decides to change handwriting. Don't forget about it!
Tilt angle (Table 15) correlates with the main approach to someone or something:
Acute (lawfulness) – personal aspects are closer: “outside”, society, assistance, mediation, participation, public opinion.
Straight (no slope) – personality closer aspects: organization, science, technology, independence, judiciary.
Dumb (left-leaning) – personality closer aspects: protection, diplomacy, espionage, insurance, burnout, suspicion.
Table 15. Tilt Angle Specification
Width or narrowness of handwritingWidth or narrowness of handwriting (Table 16)- constancy and consistency of self-promotion in society, apprehension, courage, restraint, development.
The standard, normative width of letters is one in which the height of the letters of the middle zone, that is, without upper and lower processes (such as “o”, “a”, “i”, “k”, etc.), is approximately equal to their width .
Of course, we are talking about relative equality.
Accordingly, if the width of most of the letters exceeds the height, the handwriting will be considered wide, if the height prevails over the width, the letters are narrow.
Table 16. Characteristics of handwriting width-narrowness
Horizontal marginsInitial fields(left in Russian) (Table 17)– personalities are closer to internal aspects: I, beginning, childhood, past, criticality, constancy, detachment, hostility, advancement, hesitation.
End fields(right in Russian) (Table 18)– personalities are closer to external aspects: you, society, future, attitude to the “external”, involvement, separatism, fear, courage.
Table 17. Characteristics of the initial fields
Table 18. Characteristics of finite fields
Distance between wordsDistance between words (Table 19)- conceptualization, thinking in concepts, abstract thinking, quality and organization of judgments, as well as interpersonal, social and interideal communication, the adequacy of the distance. From confusion of concepts and feelings, inability to distinguish, confusion of meanings, oneself and another - to a complete loss of connection with reality: alienation of concepts, denial of human connections, loss of involvement in meaning, "relationship to relationships", schizoid splitting (extreme separation of the mental from the real emotional).
Table 19. Characteristic of the distance between words
Letter spacingLetter spacing (Table 20)- calculation of reserves for the purpose, frugality, extravagance, vision or inability to see things as they are.
Table 20. Characteristics of the distance between letters
Depth gives information about deep energy: about sexuality, vitality, about the forces that allow you to cope with the problems of existence, to survive.
Depth characterizes material fulfillment, strength, grounding, reliability in life, as well as varying degrees of frustration, fixation or detachment from life, detachment.
Depth determines the presence or absence of cheerfulness, activity, motivation for action and self-expression. Depth measurement includes:
1. Movement- motivation, energy, applied abilities, good hands.
2. Pressure- the quality of deep energy: the invested energy, the stress of effort, the strength of embodiment.
3. The nature of the final stroke (pointed or blunt): openness, closeness, perception, (not) flexibility.
4. Continuity of touch (confluence of writing or separation of writing): analysis, deduction, synthesis, induction.
TrafficWe have already touched on the topic of movement, talking about motion picture and about handwriting speed, therefore, we will not repeat ourselves, and if you need to refresh your understanding of the movement, you can go back and reread the previous chapters, and then continue.
PressurePressure (Table 21) determined by touch. In order to feel it more accurately, they always put several sheets of paper under the main sheet, since on a hard surface the dents will practically not be noticeable either by eye or by touch.
To determine the degree of pressure, the sheet is turned over with the text down and the fingertips are passed along the surface of the paper. Only by comparing will you begin to really feel the difference between strong, medium, weak or inconsistent pressure.
Strong pressure will be felt immediately, often with electric light you can see that some dents even cast a shadow, not to mention paper breaks (but this is rare).
Medium pressure handwriting will make you double-check it several times, since there is no such unambiguous feeling as with strong or very strong pressure, you have to “listen” more.
Weak pressure either it is almost not felt (it seems to you that, “maybe”, there is pressure, but it seems that there is almost none), or (with very weak pressure) it is not felt at all to the touch and is not noticeable to the eye.
For the sake of justice, it is worth saying that force is not the only characteristic of pressure, there are nuances (natural, unnatural and unnatural pressure), but, speaking in this book about fundamentals graphology, we will not touch on the nuances, this is not necessary.
Table 21. Pressure characteristic
The nature of the final stroke (pointed or blunt)The nature of the final touch (Table 22) determined by the final strokes and lines of letters or words.
pointed a stroke is considered when it "fades" gradually, its color fades, and the trace narrows until it disappears. One feels spontaneity, freedom of movement. The shape resembles a point or "tail", "brush".
blunt a stroke is considered that breaks off abruptly, without thinning or changing the intensity of the color. With a blunt stroke, there is a clear, sharp and easily distinguishable border of its end. One feels a firm (“conscious”) stop of movement, control. The shape resembles a stump.
Table 22. Stroke characteristics
touch continuityContinuity of touch, or fusion-separation of writing (Table 23), not difficult to recognize:
separateness- in the absence of ligaments and continuation elements in letters and spaces between them;
fusion- on the contrary, the hand seems to practically not come off the surface of the paper.
Important! Like many other signs, fusion or separation is determined by the relative, or percentage, predominance in handwriting. If the handwriting is partially merged, the definition will depend on what dominates in this handwriting - fusion or separation.
This takes into account that the more moderate the graphic feature, its severity or presence, the better for interpretations, as this will direct us to the parts of the columns that have more positive characteristics. Moreover, if the graphic signs are equally divided, you will need to use the values of several tables.
And vice versa, the more absolute, the more unambiguous and extreme the graphic phenomenon is expressed, the worse it is from the point of view of groups of psychological interpretations.
Table 23. Touch continuity characteristic
The most important thing is a synthesis approach!
Putting all the features together
Handwriting analysis, as already mentioned, is more than a simple arithmetic addition of data, and an attempt to "measure harmony with algebra" would be an unfortunate line of thought.
Let me remind you that the set of individual personality traits that can be assumed using graphological tables is just an intermediate stage on the way to the final goal - a complete and consistent psychological portrait of the person under study.
By and large, you got acquainted with the principles of the synthesis approach at the beginning of the book, in the chapter describing the principles of working with graphological tables. Simply put, we are talking about the existence of interdependencies between features and their characteristics.
Unlike mathematics, where it is enough to understand a theory or a formula to be successful, synthesis in graphology is more of a skill that cannot be mastered without practice and training. Therefore, within the framework of the book, it is impossible to convey the art of creating an integral psychological portrait from individual features, because this would require describing all possible examples of the application of a synthesis approach.
Thus, this chapter is just an attempt to set the reader on the most correct approach when comparing various graphological data, but by no means a comprehensive explanation of all the subtleties of the synthesis approach.
So, not knowing about the need for a synthesis, that is, a combinational approach, or ignoring it, simply means reaching a dead end. By focusing on individual signs or some signal letters, you will end up with an endless, incoherent list of human qualities and characteristics, one half of which does not fit with the other or simply contradicts it!
In order to create a harmonious and clear picture out of chaos, skills such as a synthesis approach and graphological logic are needed.
The synthesis approach allows you to neutralize (accurately decipher) contradictions and incomprehensible aspects of handwriting.
Integrity of Handwriting Analysis
You can go both from the particular to the general, and from the general to the particular. The main thing is to take into account all the parameters and data holistically. If you do everything right and take everything into account, then the general conclusions should converge.
Impression of micro- and macrostructure, conclusions.
The ratio of 3 paintings is quantitative and qualitative (movement, organization, form).
Place on the scale CNT - RLS (plus moderation, extreme).
Characteristics of handwriting speed.
Check if a person is developed or primitive using a quick formula to determine this (speed - readability - originality (originality or individuality) - organization).
Move on to the analysis of particular graphic features in handwriting.
Landmarks in handwriting analysis
If you decide to conduct a complete analysis of the entire personality (in writing), then after the stage of compiling a holistic analysis of the handwriting, the final stage follows - the general information found about the author of the handwriting is “sorted” into main categories (spheres of life). For example:
Social and communication sphere, values and interpersonal relations.
Functional sphere and working qualities, cognitive sphere, features of thinking and intelligence.
Personal sphere, hidden inner world, self-awareness, personality problems.
For a more specific analysis, I recommend that you always have not just guidelines, but a detailed "grid" of qualities and categories that unite them. It will be easier for beginners in graphology to navigate the huge number of existing personality traits and characteristics.
So, it will be useful to make yourself such, or similar to the following, a grid for analysis.
I. Cognitive features:
Intelligence: level of intelligence, mindset, features of thinking and perception, worldview, degree of openness and flexibility, the ability to distinguish the main from the secondary.
Concentration.
Learning and understanding directions.
Imagination, originality (non-standard) and creativity.
The ability to clearly express one's thoughts - orally and in writing (oratory and literary skills).
Ability to plan and calculate.
Discretion.
Special abilities - for example, artistic flair, etc.
The level of excitability of the nervous system.
II. Performance characteristics (operability, diligence, activity):
Hard work and motivation.
performance.
Purposefulness.
Working pace (including the ability to keep up on time).
Consistency.
Organization.
Accuracy.
Constancy.
Accuracy, pedantry.
Technical ability.
Thoroughness.
The ability to make successful transactions.
Conduct diplomatic negotiations.
III. Social characteristics (interaction with others):
Interpersonal relationships - individuality combined with the need for integration, the ability to integrate in a society of people, the main characteristics of human interpersonal communication (in communication) indicating the boundaries of empathy, the ability to listen, courtesy, politeness and participation in collective affairs.
Acceptance of orders.
attitude towards criticism.
Refinement and thin skin - or thick skin and rusticity, etc.
The need for power and influence.
Ability to dialogue.
Willingness to serve, selflessness.
Reliability, morality and honesty.
Attitude to rules and laws.
IV. Personal-internal aspect (feelings, inner world, self-awareness and other specific personal content):
Basic driving forces of personality, ambitions.
Self-esteem.
Sense of security and emotional stability.
Self-awareness (a person is aware of himself: who I am, what I want, my goals, positions and principles in life).
Satisfaction with yourself and your own life.
The gap between the desired and the actual, expectations and self-realization.
Psychological defense mechanisms.
How does one deal with problems and conflicts?
Sexuality.
Extroversion and introversion.
Attitude to the unknown, to situations of uncertainty, the level of anxiety.
Own image in their own eyes (vision of their image).
Temperament, vitality.
graphological logic
Graphological logic is different from the obvious "common sense". If “symptoms” and “syndromes” in handwriting were explained exclusively “obviously-logically” (or, if you like, “intuitively-logically”), then graph analysis would not need to be learned, since it would be enough just to have “logic in general” and "psychological logic" in particular. But in reality, this does not work, and many fans of graphology are perplexed why they are mistaken.
I will give clear examples of how “obvious logic” can lead in the wrong direction:
“We have a very neat, meticulously written handwriting. It is obvious that this is a very serious, thorough and responsible person”;
“There is a great variety in the form and size of the letters in this handwriting. Obviously, this is a flexible and versatile person”;
- “There is a big unreadability, nothing can be disassembled. This means that a person is very smart, since even his own hand cannot keep up with his thoughts. And then, it’s not for nothing that doctors have problematic handwriting ... ”;
- "Beaded, very small handwriting - femininity, large and sweeping - masculinity." Another option: “Small handwriting is modesty, large handwriting is immodest...”;
- “Leaves wide margins - thriftiness, leaves no margins - spender” (or vice versa, it’s not so important).
Attention! Although under certain circumstances it is theoretically possible to meet in the same handwriting both the observed signs and the mentioned characteristics, such conclusions will be incorrect, since this coincidences, but not patterns!
Not with a single signature!
Speaking about the synthesis approach, it is impossible not to briefly touch on the issue of signatures (autographs). An iron rule: you can assume some things about their author for fun, but if you take personality analysis seriously and are interested in a scientific, reliable conclusion, then without a holistic, that is, synthesis, approach, it is IMPOSSIBLE to take on a signature.
Judging something only by an autograph without seeing the handwriting is very, very risky. Why? Because the handwriting
a) more informative
b) more reliable, that is, more reliable. Since the overestimation of random strokes is excluded (by one sign or its absence, as well as without its repetition in handwriting, we cannot judge anything!);
c) there is no huge layer of information obtained from all kinds of distances, organization, line progress, their gaps, filling out a sheet, etc. There is no information about dominants (form, or organization, or movement), it is not possible to reliably calculate the level of personality, etc .;
d) the signature is of particular importance only with text (handwriting), otherwise, there is no information either about its location relative to the text, or about its similarity or difference (and in what way) with the handwriting of the same person;
e) there is a very widespread opinion that a person’s signature is the same as his handwriting, that is, they are “of course” identical. It is also automatically assumed that the signature, autograph, is the same handwriting.
NO!!! The signature is precisely the "business card" of a person, that is, not what he really is, but how he SEES himself, how he wants to APPEAR (or seems) to others. Perhaps what he COULD be.
It is because of the conscious attention on the part of the author that the signature, as a rule, is more stylized or more effective than handwriting.
It is true that, unlike handwriting, in a signature one can less adhere to formal frameworks, one can more allow "amateur activities". But it is in these cases that, in addition to information about the creative possibilities or imagination of a person, it also gives out his idea of \u200b\u200bhimself - "what I strive to seem, to be."
Strange as it may seem, but a signature without handwriting provides only limited information about the identity. This happens because our signature is much more “conscious” than handwriting, and it is the subconscious that gives out the truth. An autograph is a kind of business card of a person and often depends on a variety of factors. Of course, it manifests ambitions, claims of a person or his feeling of inferiority, sometimes just his aesthetic feeling, but one way or another it's just a "wrapper".
It cannot be otherwise, because it is clear that everyone pays attention to the signature, so many are original, trying to show off, there are those who specially come up with a signature before receiving a passport. Of course, from this very fact we can conclude some projective things about the owner of the autograph, analyze the features of the image he wants for himself. But this just an image in which everyone is interested, and not "open cards".
Anyone who claims to be able to carry out graph analysis only by signature or stroke are not professional graphologists, since this is impossible to do! It's as if some employer said that he would be able to tell everything about a potential employee only "by clothes", that is, by the first interview and behavior during it!
In combination with text, we get much more information, seeing how and in what way the signature differs from the rest of the handwriting, if at all.
I will say a little about the correspondence (or lack thereof) of the signature to the handwriting. Definitely preferable when the signature and handwriting are similar. Not necessarily the signature in this case looks like a full name and surname. It can also be a less standard painting, with abbreviations or additional elements - the main thing is that there must be compliance with the main criteria (size and style of letters, handwriting slope, the same speed, lines, etc.). The foregoing does not mean that signatures that do not correspond to handwriting are worse, just that appropriate ones are easier.
As an example, I will cite a situation where handwriting and signature are a truly dramatic contrast.
The signature, it would seem, is spontaneous, fast, internally free and socially oriented, contact oriented, etc.! Great looking image!
And now imagine what a puddle we would be in if we didn’t see the handwriting, which is ... practically static, maximally slowed down, left-leaning, clamped - the author holds a pose and rebuilds himself from society, emphasizing: “I'm different! I'm not with you, I'm special!
Throughout the process of writing, a person is essentially controlled and artificially restrains himself. Here it is real, here is its essence! And not at all the “free” signature.
In such a case, the author wants and can be internally free, wants and can (potentially) achieve acceptance by others, “not bother”, etc. But nevertheless, in reality, he is not like that, something interferes with him (excessive control or protective mask of perfectionism, individualism, etc.).
This person simply does not allow himself to be himself, choosing the vise of conventions, restraining and limiting himself with his own hands in an unproductive, deliberate posture. The latter is not present just like that, it is always evidence of a defense mechanism.
What is internal conflict? Yes. What kind of person do we have? One that his handwriting testifies to us, and not a signature.
Having gone through the main theoretical topics, we turn to the definition of the most interesting or important specific features, various character traits or problems or personality traits.
Is it possible to form a general idea of a person without even seeing him? It turns out you can - handwriting .
And this opportunity provides Graphology studying the relationship between handwriting and personality.
Graphology(from other - Greek “I write” and “teaching”) - a doctrine according to which there is a stable connection between handwriting and individual personality traits. ( Wikipedia).
This connection began to pay attention in antiquity. Known saying Emperor Nero: "I'm afraid of this man, his handwriting shows that he has a traitorous nature".
At confucius: "P a sketch can reliably indicate whether he comes from a generous person or from someone who is vulgar ".
Handwriting can sometimes tell a graphologist about a person more than he himself is able to tell about himself. This happens because handwriting is formed not so much by consciousness as by subconscious processes of the brain.
Writing is a complex psychomotor skill, and if perfected in school, it is deposited in the brain and not lost.
How can handwriting tell about a person?
I invite readers to a small study of this topic.
As always, we will approach the issue systematically, starting with history and ending with a book review.
History of graphology
The relationship of handwriting with the personal qualities of a person was suspected in the era of antiquity. Aristotle wrote: “Just as there are no people who speak the same way, so there are no people who write the same way”.
Suetonius Gaius Tranquill(about 70-140 AD), the biographer of the Roman emperors wrote that the emperor Augustus did not start a new line of verse if the verse did not fit on one line, but added it under the last word of the verse.
A modern graphologist would define this as a property of a thrifty person who has a strictly deductive, practical mind.
After the collapse of the Roman Empire, interest in graphology disappeared, but it was revived again in the Middle Ages, when writing became the property of a wider section of society.
However, before the beginning of the XVII century. there were no independent works devoted to this issue.
The first known history treatise on the study of handwriting belongs to an Italian doctor, professor at the University of Bologna Camillo Baldo(Camillo Baldo), who lived in Bologna and published in 1622 his work “ About how by writing you can find out the character and properties of the writer ».
It was the first fundamental work on graphology. As an epigraph to his work, Baldo took the proverb " a lion is recognized by its claws ».
Camillo Balbo(1550 - 1637)
First time word "graphology« appeared in 1871 in the book "Graphology System", French abbot Jean Hippolyte Michon. He is considered to be the father of modern graphology.
Abbé Michon, systematized the features of handwriting and tried to establish correspondences between them and personal qualities. 
Jean Hippolyte Michon(1806-1881)
In 1879, the abbot began to publish the magazine " Graphology", he was one of the founders of the Paris Graphological Society. It is also known about Michon that for thirty-five years he studied the autographs of prominent Frenchmen and was able to recognize 350 feelings and abilities by handwriting.
The simplicity of Michon's method made it popular. He studied and compared individual elements of writing: strokes, letters, words, lines, etc. His method suggested that the presence of one graphological feature means one specific character trait, and its absence means the opposite trait. At present, this seems to be only partly correct.
Michon's followers, including his student, Jules Crepier Jamin disagreed with this principle, as well as with the practice of attributing rigid interpretations to individual features of handwriting. Crepier-Jamin assigned a range of possible meanings to each element in handwriting.
He argued that the meaning and interpretation could change depending on other features of the writing. Modern graphology accepts precisely this theory.
Despite the mystical touch, many prominent minds of that time turned to the topic of determining character by handwriting. Names such as Leibniz, Shakespeare, Goethe, Lavater, George Sand, Alexander Dumas son, Walter Scott, Edgar Poe.
Gottfried Wilhelm Leibniz(1646 - 1716) - German philosopher, mathematician, and also Johann Wolfgang Goethe(1749 - 1832) - a great poet and naturalist, recognized that the individuality of a person is reflected in his letter.
George Sand, in turn, considered: “It is possible that I am mistaken in everything, since I do not have a system; but I receive many letters, and the instinct of the observer allows me, on the basis of the general impression, to judge the writer by the handwriting..
Goethe wrote: " there is not a shadow of a doubt that handwriting is related to the character and mind of a person and that it can at least give an idea of \u200b\u200bhis feelings and actions».
C. Lombroso outlined his views on handwriting and personality in the book "Graphology", published in 1899.
Cesare Lombroso ( 1835 -1909) - Italian psychiatrist, founder of the anthropological trend in criminology and criminal law, whose main idea was the idea of a born criminal.
« Just as an idiot cannot get rid of a bouncing gait, and a paraplegic from a shuffling gait, so the ordinary "average" person cannot but show his own characteristics in hand movements when writing.».
The handwriting of the "criminal man", according to the teachings of Lombroso, is characterized by special graphological features, which are divided into two groups. Some signs allegedly characterize the handwriting of murderers, robbers and robbers, others - thieves.
But Lombroso's teaching about the handwriting of the "criminal man", like his whole theory, turned out to be scientifically untenable.
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In the future, graphology began to spread throughout Europe.
Wilhelm Preyer, professor of physiology from Jena, suggested that the brain, not the fingers, directs writing, and that the brain, not the hand, actually writes.
German graphologists contributed to the theoretical base of graphology Hans Busse and Ludwig Klages.
The most prominent figure in the Swiss graphological school is Dr. Max Pulver, a psychologist at the University of Zurich, who in 1934 discovered three zones in handwriting.
In England Robert Soudek, Hans Jaakobi and Hans Eysenck conducted studies that confirmed the validity of handwriting analysis.
Sigmund Freud, Carl Gustav Jung and Alfred Adler recognized the importance of graph analysis. Freud and Jung accepted graphology as a way to penetrate into the unconscious of a person, and therefore aroused their interest.
He also did graphology. Alfred Adler, he clearly recognized the importance of graphology and practiced handwriting analysis himself.
In the 1940s and 1950s, concepts appeared graphometrics and psychology of handwriting (Scriftpsychologie). Graphometricians are beginning to measure handwriting characteristics and use statistical methods to prove the truth of the conclusions about the relationship of handwriting characteristics with psychological qualities.
Over the course of the 20th century, graphology occupies an increasingly prominent place in European science as a tool for psychological testing.
Graphology in the world today
In many countries, graphology is accepted by the academic community and the state, and is studied as part of higher education.
Currently, in Europe, graphology is included in the compulsory curriculum in many countries. Universities in Heidelberg, Kiel, Munich, schools in Holland, Switzerland, Italy and France are officially licensed to work in this area. The latest courses are taught at the Sorbonne (France).
In Italy, Hungary, the profession - "graphologist" can be studied at a university, like any other specialty.
In Holland there are two professorial chairs (at the universities of Leiden and Utrecht) and two graphological societies (in Amsterdam and The Hague).
The Institute of Handwriting (New York) was established in the USA, as well as the American Graphological Society. In the US, a graphology course is taught at New York University, at the School of Social Research. At some universities, graphology is studied after completing a course in psychology; in others, it is read as part of a medical course.
Many firms use the services of expert graphologists who make up characteristics for specialists hired.
According to estimates by American graphologists, more than 500 US firms use handwriting analysis to determine the professional qualities of a person who is newly hired or promoted.
Graphology is successfully used in business, medicine, sports, pedagogy and other areas.
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The following facts speak about the status of graphology in other European countries:
The British Academy of Graphology (BAOG) was established in 1985.
The British Institute of Graphology (BIG) was founded in 1983.
In 1986, the Hungarian Society for the Study of Handwriting was established, in 1991, the Institute of Graphology in Budapest under the leadership of Tamas Agardi.
You can also call:
American Society of Professional Graphologists (ASPG).
Association of German graphologists.
French association of graphologists-consultants.
Swiss Graphology Association.
Italian Graphological Association.
Italian Association of Graphologists.
Spanish Graphological Association.
Israeli Graphology Association.
Graphology has been developed in many countries and especially in France, Germany, Holland, Israel and the USA.
Graphology in Russia
Before the 1917 revolution, Russia developed its own graphological school, which had two directions: forensic and graphological proper.
Graphological direction was presented by N.D.Akhsharumov, F.F.Tishkov, V.V.Mayatsky and M.I.Popyalkovsky. The theoretical substantiation of graphology is presented by I.F. Morgenstern.
Graphology was first introduced to the general public with the book Psychographology by Ilya Fedorovich Morgenstern in 1903.
In 1915, a brochure by V. Mayatsky "Graphology" was published.
Since the 20s of the XX century, graphologist-expert D.M. Zuev-Insarov has been working in this direction, having written many articles on graphology and monographs: “The structure of handwriting and character”, “Handwriting and personality”.
Forensic direction was founded by forensic handwriting experts E.F. Burinsky, S.M. Potapov and psychophysiologist-graphologist M.I. Popyalkovsky.
In 1903, a book by E.F. Burinsky " Forensic examination of documents, its production and use". He was the first to describe in detail the features of handwriting as a way of identifying a person from a manuscript. Thus, Burinsky was the founder of the current graphometry. He laid the foundation for forensic handwriting as a field of knowledge that studies methods for identifying a person in order to solve crimes or establish an identity in civil cases.
Evgeny Fyodorovich Burinsky(1849-1912) - an outstanding Russian forensic scientist, one of the founders of forensic science, the founder of forensic photography, technical research of documents and forensic handwriting in Russia.
Practically not developing after the revolution, in the USSR in 1940 graphology was officially declared bourgeois pseudoscience.
AT Great Soviet Encyclopedia (1952) said: " Graphology (from the Greek grapho - I write and logos - a word, teaching) is a pseudoscientific theory, according to which a person's handwriting can supposedly be used to judge his character and even appearance ... Such conclusions are not scientific».
But in an encyclopedia published later ( 1972) says: " Graphology (from grapho ... and ... logic) is the study of handwriting, its study from the point of view of the properties and mental states of the writer reflected in it. Graphology data are used to study the individual characteristics of a person in psychology, as well as in medicine and forensics.. Nothing has been said about the pseudoscientific nature of the theory of graphology.
The position of graphology and specialized literature did not change much after the collapse of the USSR.
In Russia, it is strong handwriting school, although the leading Russian forensic handwriting experts wrote that there is a rational grain in graphology. But further than this, the development of graphology somehow did not go.
The accessibility of foreign sources of information increased the interest and popularity of graphology, and the number of Russian-language books increased.
All this as a whole reflects a very heterogeneous state of Russian-language graphology.
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In Russia and the CIS, he is engaged in professional graphic analysis and training in it. International School of Graph Analysis. This is the Inessa Goldberg Graph Analysis School, it is the most authoritative graphological organization in the Russian-speaking space (www.grafologia.co.il)
Let's add also the Moscow School of Graphology. The founder and head of the School is T.V. Efremova (http://www.moscow-graphology.ru/).
Courses in graphology according to the author's methodology, conducted by Svetlana Sibirskaya (http://grafol.ru/swet/kursi.html).
Although, of course, I do not exclude that I missed something in my research and I will be glad if my readers correct me.
Graphology and handwriting
Graphology and handwriting are not synonyms.
handwriting is a practical branch of criminology, and graphology This is the doctrine of the connection between handwriting and character.
Handwriting expertise conducted by forensic experts and can determine, for example, whether two autographs belong to the same person, but in no case does it determine the nature of the writer.
Handwriting examination has a developed methodology that meets scientific criteria and has clearly defined goals, for example, to determine whether a handwriting or signature is genuine or fake.
The scientific nature of graphology
Graphology is not an exact science in the mathematical sense of the word.
Despite the theoretical base, systematic patterns, tables, etc., a qualitative graphological analysis of handwriting is impossible without the participation of live specialist whose experience and psychological sense are indispensable for the most accurate interpretation of the options.
Companion of Cesare Lombroso, Italian professor of forensic medicine Salvatore Ottolenghi wrote in the early 1920s: Graphology is not yet a science, although there is no doubt about its scientific basis...”.
In his book "In the wake of a crime" professor of criminology G Eza Cato and Imre Kertész write: " It is possible that in the future it will be possible to clarify certain issues, for example, to detect certain signs of temperament from handwriting, but today someone who claims to be able to determine character from handwriting is usually either a deceiver or a sincerely mistaken person.» .
Domestic criminologist O.M. Glotov characterizing the modern graphology flourishing in the West, he notes that it " most often borders on quackery, so to speak, in its purest form". (Glotov O. M. About criminalistics / / From crime to punishment / Under the editorship of N. S. Alekseev. L., 1973. p. 182).
The opinions of criminologists are understandable, graphology is not a scientific discipline.
Although studies show that handwriting analysis allows us to characterize some of the psychological characteristics of a person. In 1978, the U.S. Supreme Court upheld the use of graphology in hiring.
Nevertheless, it must be admitted that the assumptions about the possibility of diagnosing personality traits by handwriting have not received convincing scientific confirmation to date.
Perhaps Graphology is in the development stage and after some time the necessary arguments will be found that satisfy the academic authorities for recognizing it as a science. In the meantime, Graphology, according to graphologists, is a combination of science and art.
From general to specific
Any handwriting analysis should begin with an assessment of the general appearance of the handwriting. According to Zuev-Insarov, the general view includes: harmony, geometry and graphology letters. These three categories are present in all graphological schools of the world to this day.
1.
degree of harmony.
Pay attention to the overall impression of the handwriting: do you get the feeling of a unified whole?
Handwriting harmony is the degree of harmony between the individual letters that make up words.
The higher the degree of harmony of the letter, the higher the degree of giftedness of the individual.
2. The degree of geometricity.
The degree of geometric consistency of writing is determined by: the evenness of the lines of lines and margins, the uniformity of the intervals between words and lines, the uniformity of pressure.
A high degree of harmony indicates that a person has a large supply of internal energy, developed volitional efforts, which allow him to always maintain internal balance, inhibit unwanted emotions, and act deliberately.
3. The degree of graphology of the letter.
The degree of graphological writing is determined by the degree of deviation from the calligraphic sample.
1. Pressure when writing.
Strong pressure characterizes people who are energetic and ready to overcome obstacles on the way to what they want.
Weak pressure indicates a sensitive nature, prone to idealization, to the influence of someone else's opinion.
Uneven pressure is an indicator of imbalance, impressionability, impulsiveness.
If the pressure when writing is weak, and, moreover, still uneven, then the author of such a handwriting is most likely insecure, prone to constant doubts.
2. Consistency of the line.
The "direct" line speaks of the poise and restraint of the writer, the ability to bring the matter to the end.
"Wavy" lines indicate that a person has the flexibility of thinking and diplomacy, which allows him to get around difficulties, although he may lack purposefulness.
The lines rising towards the end belong to people who are energetic, self-confident, enterprising and striving for success.
If the lines, on the contrary, fall towards the end, then the author of the handwriting most likely has a lack of energy to bring the matter to the end.
3. The slope of the handwriting.
Too slanted handwriting - its owner can be expected to show extreme features and put his feelings and preferences on display, as well as enthusiasm in the perception of everything new.
Handwriting kneeling to the left often indicates a discrepancy between a person's personal inclinations and the external conditions of upbringing and life.
If the handwriting is vertical, without a slope, then this indicates a balance between the mind and feelings and at the same time restraint of a person.
4. The size of the letters.
Large handwriting often indicates sensuality of attraction, energy in communication and impracticality in life, as well as a lack of objective self-esteem.
Small handwriting is more typical for people who are reserved, observant and at the same time very closed, not inclined to talk about themselves.
Concise handwriting characterizes its owner as very thrifty, economical and reserved.
5. Spacing between words and lines.
If there are almost no gaps in the handwriting and it seems that the words are crawling on top of each other, then we can talk about a person's frugality, sometimes turning into stinginess.
If the text is full of empty spaces both between words and between lines, then this is evidence of generosity, sometimes bordering on extravagance.
6. Signature.
A signature without a stroke is evidence of taste and restraint.
If the signature is supplemented with a direct stroke, then this indicates the energy of a person, his determination and courage.
A wavy stroke testifies to diplomacy and the ability to bypass "sharp corners".
Emphasizing the painting is a sign of a developed sense of self-worth.
The signature rising up indicates ambition.
If the signature ends with a period, we are talking about a person prone to introspection and able to bring things to the end.
If the signature is made in very large letters, this indicates that its owner is concerned about his image and is probably trying to create a deceptive impression of himself among others.
Here are some of the highlights in a nutshell. Of course, one cannot judge a person only by them, there must be a comprehensive analysis of handwriting. For those wishing to expand their knowledge, there is literature, which we will consider below.
Calligraphic handwriting
It is believed that the excessive calligraphy of ordinary everyday handwriting (if it is not a congratulation on a postcard) reflects the manifestation of an enhanced Super-Ego to the detriment of a person’s individuality and originality.
Those. adherence to the standard, combined with decoration and stylization, reflects a stereotyped perception and thinking.
That is why teachers should not demand from students, especially primary classes, excessive external beauty of handwriting. It is much more important to teach the child to harmoniously distribute pressure in handwriting.
For information: Handwriting as an indicator of character and individuality was noted in the 11th century by the Chinese philosopher and artist Guo Zhuo Su in his book Notes on Painting.
Go Ruo-hsu. "Notes on painting: what he saw and heard." Publisher: Science. 1978
National features of handwriting
A small excerpt from the book I.V. Belova secrets of handwriting. 20 personality types 20 handwriting types.
“It is not difficult to see the differences in the spelling of the letters used by people from different countries. These handwriting features reflect only the most typical manifestations of national characteristics.
Spaniards tend to capitalize in a frilly and swirly manner, which speaks to their proud and romantic nature.
The French write much smaller and their handwriting reflects a more logical approach to life.
Italian writing, with its simple small letters and graceful large letters, testifies to a sense of rhythm and grace.
Russian emotional, sociable nature is reflected in a sweeping, large handwriting.
German handwriting is more angular and meticulous than that of other nations.
The British handwriting is restrained, simple, without flourishes and curlicues.
American handwriting - free and sweeping".
Mind and handwriting
A smart person is, first of all, a high level of individuality, independent thinking.
So how do these signs appear in handwriting?
The most important thing is not a banal handwriting. Not necessarily original, but certainly bearing its own individual traits.
Excessive exaggeration through various handwriting decorations is not a manifestation of the mind, but only a desire to impress, i.e. seem, not be.
"Smart" form of handwriting is productive, saves the effort of the hand, reduces the time of writing letters.
The higher the development of a person, the more aspects of the soul reveals his handwriting.
It turns out that there is so much hidden meaning in ordinary handwriting. Even so, it is worth taking a closer look at Graphology.
Temperament and handwriting
Each temperament, in addition to their inherent gestures and movements, has inherent features of handwriting.
People are refined, elegant by nature - this also affects the handwriting - refined, elegant with beautifully rounded letters, even and neatly arranged lines.
In straight, open natures, the handwriting is devoid of frills, the words are written out in jerky divergent lines.
In the writing of cruel, resolute people, the letters are usually sharp, in soft and good-natured people they are rounded.
Rude and vulgar people write floridly, decorating capital letters with ridiculous curlicues.
Here is an example of how Inessa Goldberg defines the preconditions for handwriting analysis in her book Handwriting Language, or Problems on Paper.
“Maximum information content and reliability depend not only on the professionalism of the graphologist, but also on the quality and quantity of the studied material”.
“Rules for preparing high-quality material for handwriting analysis.
1.Writing utensils, table.
Only a clean white sheet (without cells and stripes) of A4 format is suitable for the sample, under which should be placed several sheets of paper (too hard or soft onthe surface distorts the handwriting). The surface of the desk is free of cracks and irregularities.
Write only with a ballpoint pen (preferably blue), which does not leak and works well.
2. Condition, posture.
Posture - comfortable, sitting at the table; mood is relatively calm.
3. What and how to write.
Text: volume - arbitrary; the content is arbitrary, it doesn't matter. Byany free topic that comes to mind will come up: offer to write about yourself, aboutholidays, about children, etc.The most important requirement is to write at the usual pace, spontaneously, without copyingwai, not from dictation, and not poems in a column. Then - sign.
4. Language.
Write in your native language, for bilinguals write in both languages. Languages can be any(except hieroglyphs).
Why all this is needed - it is better to learn from the book itself And Goldberg.
So, we got a general idea about the subject of Graphology. To deepen our knowledge, we turn to book sources.
But let's remember that experience comes with practice. Of course, self-study deserves respect, but from time to time questions arise that require explanation, which are difficult to find in books. It is important here that these explanations be given by an experienced professional.
Review of books on the topic "Graphology"
Zuev-Insarov D.M. "Handwriting and Personality". Publisher: "LTD", "Perlit production". 1992
D.M. Zuev-Insarov - the largest Russian graphologist, chairman of the Russian Scientific Graphological Society.
Reprinted for the first time since 1929, the book outlines in a simple and accessible form the principles of assessing the handwriting of a person's character traits.
The book contains various samples of handwriting, their detailed characteristics are given. Characterological transcripts of handwritings of famous people are also given, for example, Sergei Yesenin, Leo Tolstoy, Maxim Gorky, Alexander Pushkin and others.
A bibliography of books published at that time in various countries is given.
You can start with this book, at least it is written by a practitioner.
One of the most famous books, published in St. Petersburg in 1903 and republished in 1994, is I.F. Morgenstern. "Psychographology. The science of determining the character and inclinations of people by his handwriting.
Two editions:
1.I. Morgenstern. "Psychography". Peter. 1994
2. I. F. Morgenstern. "Psychographology. The science of determining the character and inclinations of people by his handwriting. Typography "Science". 2006
The book of the famous psychographologist I. Morgenstern tells about the history of graphology, provides a psychographological description of several hundred handwritings.
Here are some interesting excerpts from the book:
Mind
« The letters are straight, one-piece, without decorations; the same distance between words; for the most part, the absence of large letters, illegible ones come across; round letters. Usually s, c, d come out not quite finished».
stupidity
« Elongated, sparsely placed letters with originally decorated hooks. Unequal spacing between words, sometimes pressing in capital letters - when trying to bring them out architecturally, to give them a rounded shape and make them thin and graceful; attention should be paid to unequal pressures.
High growth
“Letters at the end of the line end with a smooth stroke, the handwriting is not solid, but in places there is pressure. The letters are not tangled and go in even rows; most of the words are not transferred to another line".
low stature
“Letters decorated with sweeping strokes, strongly elongated, as if they wanted to give them growth; the end of the word is either not added, or transferred to another line, leaving free space ".
brunettes
“Rising lines; in addition, the letters are drawn very carefully, with a desire to give them a beautiful shape, which is especially evident in the hooks of capital letters; the letters themselves are raised".
Blondes
“Smooth lines, small letters; at the end of the line, the letters become narrower; The handwriting is legible, not stretched.
The book provides a detailed analysis of the psychographological laws of handwriting. All letters and their graphological features are described.
A separate chapter is devoted to children's handwriting. Handwritings of people with deviations in mental and physical relations are given.
An analysis of the handwriting of famous historical figures is given. The reader will learn how the nature of the letter changes with age, will be able to determine his own hidden possibilities by his own handwriting.
V. Mayatsky V. Graphology. Moscow, 1907. Reprinted in 1990 (reprint).
Mayatsky. "Graphology". 1990
A very simple, small book - a pamphlet written back in Tsarist Russia. Contains a microstructural typological analysis of each letter. As an addition to other books. Below is the contents of the book.
Author's series of books "Handwriting Secrets" by Inessa Goldberg includes 8 editions:
1. Tutorial "How to decipher handwriting or Graphology step by step".
2. Textbook "Handwriting and personality types."
3. The book "Handwriting and your success."
4. The book "Handwriting and your personal life."
5. The book "Handwriting is the Mirror of the Soul".
6. The book "Secrets of Handwriting - What is written in the family."
7. The book "Language of Handwriting or Problems on Paper".
8. Selected series "Psychology of Handwriting".
These are systematized textbooks on the basics of the graphological method, as well as popular scientific publications devoted to various aspects of the application of graphology.
Solomevich V.I. Ulasevich V.I. "Handwriting and Character". "AST" 2009
In addition to the basics, this book will introduce you to the graphological analysis of the handwriting of some famous politicians, athletes, and popular stage and film artists.
Judith Norman. What does the handwriting say. Graphology for Beginners. Vector. 2010
Sara Dorothy. “Secrets of handwriting. How to determine the traits of your character by handwriting. AST. 1998
Books by Ilya Shchegolev
Ilya Schegolev- a specialist in the field of graphology and psychology of management, educated at the Faculty of Psychology of St. Petersburg State University, author of the bestseller "Handwriting Secrets". Together with his team, he is working to popularize and disseminate applied methods of graphology in Russia and the CIS countries.
Ilya Shchegolev. "Handwriting Secrets". Phoenix. 2011
Ilya Shchegolev. "16 types of handwriting". Peter. 2005
Ilya Shchegolev. “Mysteries of handwriting. From a small letter to a great destiny. Phoenix. 2011
Books by Yuri Chernov
Yuri Georgievich Chernov— Candidate of Technical Sciences, software developer, psychologist with a certificate in business psychology, member of the Swiss Graphological Society, regularly takes part in various congresses and conferences on handwriting analysis.
Ilya Shchegolev, Yuri Chernov. "Handwriting Secrets"(+ CD-ROM). "Eksmo". 2008
On the disk is a unique program for analyzing handwriting and drawing up a psychological portrait of a person from handwriting.
Yuri Chernov. "Psychological analysis of handwriting". Genesis. 2011
The author considers the problem at the intersection of disciplines - psychology, medicine, forensics, touches on issues of diagnostics, forensic handwriting, etc. But the main attention is directed to the psychology of handwriting.
Yuri Chernov. "Handwriting analysis in work with personnel". BHV-Petersburg. 2012
The book talks about how to use handwriting analysis in frame diagnostics. The book systematically considers all stages of work with personnel through the prism of handwriting analysis.
1. I. Belov. "Handwriting Secrets. 20 personality types. 20 types of handwriting. Harvest. 2007
2. Isaeva E.L. "Practical graphology: how to recognize character from handwriting". Ripol Classic. 2010
3. Hayk Naj (O.K. Nadzhimov). "Know the character of a person by his signature or practical graphology".
4. Vladimir Taranenko. “Handwriting, portrait, character. Hidden psychodiagnostics in practical presentation. Nika Center. 2008
5. Irina Ulezko. "Character and Handwriting". AST. 2009
6. Vera Nadezhdina. “Secrets of handwriting. Step by step". Harvest. 2009
7. Alexander Farmagey. Graphology as a science and not only. Nika Center. 2010
8. A. Sokolova. Graphology is the key to character. Ripol Classic. 2013
9. E. P. Ishchenko. Let's talk about graphology. Handwriting is the mirror of the soul. Avenue. 2015
10. S.Yu. Aleskovsky, Ya.V. Komissarov. "Fundamentals of Graphology". Yurlitinform. 2008
The teaching aid discusses the main provisions of the graphological (psychological and handwriting) method of personality research, as well as the history of the formation of graphology and its current state.
11. T. I. Eremina. "Visual psychodiagnostics". Phoenix. 2012
In addition to physiognomy, other visual means of personality research are also given (psychogeometry, graphology, analysis of color preferences, clothes, interpretation of human drawings).
12. B. Higir. "Graphology. Recognize character by handwriting. Publisher: Amrita-Rus 2014
13. Potemkina O. F., Potemkina E. V. “Psychological analysis of drawing and text”. Publisher: Speech. 2006
14. E. Sudilovskaya. "Understanding the handwriting. Graphology (+ CD with the program). Peter. 2007
15. Kravchenko V.I. "Graphology: character from handwriting". Educational-methodical manual GUAP. 2006
16. Petrosyan A.E., Petrosyan Yu.S. "How to talk handwriting (practical graphology)". Publishing house of the Tver University of Business. 1995
And be sure to have a few books on handwriting.
17. Orlova V.F. (scientific ed.). "Forensic handwriting examination: general part". The science. 2006
18. Mantsvetova A.I., Orlova V.F., Slavutskaya I.A. "Theoretical (natural-science) foundations of forensic handwriting." The science. 2006
19. Bastrykin A.I. "A forensic study of writing". Tutorial. 2002
20. Orlova V.F. "Forensic Handwriting Diagnostics". Tutorial. Unity - Dana. 2012
And at the end of the review I will add a magazine "Scientific Graphology" http://inessa-goldberg.ru/portal-magazine/
The international journal in Russian "Scientific Graphology" is a non-commercial project of the Institute of Graph Analysis of Inessa Goldberg. She is also the editor-in-chief of the magazine.
This is how we got to know Graphology. I think a lot of people are interested in this topic.
Start with the basic books listed at the beginning. Each book gives something new, not in the sense of basic principles - they are repeated, but in the sense of nuances. But it is the knowledge of the nuances that defines the Master.
I wish you success in mastering new Knowledge!
If you liked the article, please let me know - click on the social button. networks.
There will be questions, write in the comments.
Sincerely, Nikolay Medvedev.
April 12th, 2018
In our age of computer technology, pen and paper are increasingly being forgotten - meanwhile, earlier the pen served human needs for several thousand years. There is nothing surprising in the fact that in the vast manuscript collection of mankind one cannot find two artifacts that are exactly similar to each other - after all, handwriting is as individual as the personality itself.
The science of graphology is engaged in a comparative analysis of personality traits and handwriting traits.
Graphology is a field of knowledge about handwriting and methods of its study from the point of view of the mental states reflected in it and the characteristics of the personality of the writer. Various characteristics of handwriting together give valuable information about a person's temperament, his character, state at the time of writing, attitude to the subject and content of what was written. One of the tools in psychodiagnostics.
Psychological analysis of handwriting involves taking into account all known information about a given individual and the circumstances of writing the analyzed text. Thus, the peculiarities of the psychology of men and women are already manifested in various types of handwriting, which, as one might assume, can also be found in labor activity.
For example, male handwriting, according to graphology, is characterized by the following: carefree, non-timid; hasty, wrong (uneven); letters remain open; handwriting is ugly, looks bad; sweeping; wide lines and wide letters; firm, strong pressure; sharp corners; errors; individual - original; tilt forward; one-piece; free.
Female handwriting: careful; clean; uniform; accurate; definite; correct, letters without missing characters; beautiful; small lines without pressure; rounded off; standard; tilt back; compact; with closely spaced letters
The results of modern research confirm the existing relationship of handwriting with some mental characteristics of a person. According to many psychologists, in handwriting more than in any other physical activity of a person, his mental essence is manifested. The fact is that the unconscious tension of certain muscle groups accompanies all our mental movements. So, if a person is in some kind of persistent emotional state or there is a persistent tendency in behavior, then this will manifest itself in the persistent tension of individual muscle groups.
Differences in the tone of different muscle groups will also be a source of differences in the arrangement of lines on paper, which will manifest itself in the originality of handwriting. In addition, over the long history of mankind, some geometric concepts have turned into a symbol for us, to which we can relate differently, accepting or rejecting it. For example, "sharp corners", as a rule, are associated with persistence, sharpness, intransigence, which is often reflected in the writing of letters: but if persistence and sharpness are unpleasant for us, we will avoid sharp corners in writing, because we know about this associations.
Handwriting also depends on the type of nervous system, which is confirmed by modern research on the professional selection of people. After all, for writing, as for any other work, a certain amount of energy is needed, and it can be spent on this work more or less. The same thing can be written in large or small letters and at the same time press on the paper with more or less force. And it will depend on the "energy block" of the brain, with which affects and the general activity of the cortex are associated, which is manifested in the corresponding type of higher nervous activity of a person.
Graphological examination is widely used in the modern practice of personnel selection. For example, in the evaluation centers of the United States, when selecting new employees, a graphological examination of the applicant's questionnaires is used according to 238 criteria, which can be used to describe: the location of the text, the direction and inclination of the letters, their size and shape, the rhythm of writing, etc.
The main features of handwriting analyzed by graphological expertise:
Letter size: (very small, small, medium, large).
Tilt letters: (left tilt, slight left tilt, right tilt, sharp right tilt).
Handwriting direction: (lines creep up, lines are straight, lines creep down).
Sweep and pressure: (light, medium, strong, very strong).
The nature of the spelling of words: (a tendency to combine letters and words, a tendency to distance letters from each other, mixed style).
General assessment: (the handwriting is diligent, the letters are drawn neatly; the handwriting is uneven, some words are difficult to read; the handwriting is sloppy, illegible, the letters are written somehow).
By what signs of handwriting can you identify a leader?
- Increased speed - that is, a person writes as if in a hurry or running somewhere, speed in handwriting also determines the activity of a person, respectively, the leader must be active.
- The larger size of the middle of the letters - the letters are divided into three zones, lower, upper and middle.
- Stronger pressure - pressure speaks of a person’s energy, about its reserves, stronger pressure speaks of vigor, respectively, weak pressure vice versa
- Originality - that is, a person does not write as in writing, his letters take on an original look, individuality
- Relative readability
- Productive organization of the text - a person writes in an organized way, even lines, margins are clearly observed
- Right slope - the right slope indicates sociability, that a person is more turned to the outside world
- Relative constancy of handwriting elements - handwriting stability, uniformity.
Features and cuts
Historical documents eloquently testify that such extraordinary minds as the Roman historian Gaius Suetonius Tranquill and the thinker Confucius showed interest in studying someone else's handwriting. Subsequently, already at the beginning of the 17th century, the Italian physician Camillo Baldi made an attempt to investigate the relationship between handwriting and personality, setting out his research on this issue in a treatise with a long title "How to know the nature and qualities of a person by looking at the letter he wrote."
In the 20th century, an academic approach to the study of graphology prevailed. In 1939, the authors of the theory of personality traits Gordon Allport and Philip Vernon, who turned to the study of the relationship between writing and the movements of the small muscles of the hand, came to the conclusion that the nerve signals sent by the brain to our hand during writing are individual - like our handwriting. In Russia at that time, the well-known handwriting expert Dmitry Zuev-Insarov was actively engaged in the study of graphology, whose works formed the fundamental basis for the subsequent development of domestic graph analysis.
Currently, graphology as a discipline is included in many academic programs of European universities. This method is actively used for interviews in the selection of candidates for a particular position, is used for psychodiagnostics of students in schools. In a word, graph analysis is actively exploited in a variety of areas - from private to business.
What is written in pen...
Graphologists are often "rolled a barrel", accusing them of profanity. However, this is just a myth: graphology is a strictly scientific method, if only because it appeals to medical and biological research in the field of psychomotor and neuroscience. Graph analysis allows to establish the relationship between the "written behavior" of a person and the structure of his cognitive activity, making it possible to comprehend the issues of correlation of handwriting, behavior, and thinking.
Thus, graphology provides an opportunity to characterize a person from various angles: optimism and pessimism, flexibility and rigidity, confidence and uncertainty. It is paradoxical, but true: graphological studies eloquently indicate that representatives of different nations and ethnic groups are characterized by a different manner of writing. So, the handwriting of the Germans is small and neat, the British are restrained and angular, the Russians are wide and sweeping. However, of course, one should not forget that these data reflect only the general psychological characteristics of a particular people.
The global advantage of the graphological method lies in the fact that in order to put things in order in the confusion reigning in the head, bringing it to a harmonious, verified system, nothing is needed but a pen and paper. As the ancient Romans said, "Words fly away, the written remains." "Putting on the shelves" the details of our handwriting, graphologists, like psychoanalysts, make the unconscious conscious - and thus contribute to deep personal growth.
In the United States, special graphological bureaus are widespread, specializing in the analysis of the professional and personal qualities of applicants for various managerial positions according to their handwriting. Handwriting examination is a simpler, cheaper, and most importantly, reliable way of selection for companies and government agencies than traditional psychological tests.
As the studies of many foreign and domestic graphologists have shown, there is a high correlation coefficient between the graphological and morphological assessments of an individual, especially in assessing the relationship of the individual with the social environment, which are extremely important components of the overall human behavior. Handwriting is highly correlated with a person's overall body type. This makes graphology and handwriting expertise significant for the selection of personnel. You can say the following:
- Picnic handwriting is characterized by the absence of separately derived letters, and the word is one continuous, smooth whole, consisting of one or two complex curved lines, the letters are uniform in size, shape and slope, rounded. The general impression of lightness, ease, smooth writing, lack of micrography. There is a similarity between the handwriting of picnics;
- the asthenic's handwriting is characterized by one or more of the following properties:
1) the division of the word into several parts, into letters or parts of letters that are not connected to each other;
2) if the letters are connected, then it is bizarre, uneven;
3) individual letters are uneven, irregular in size, shape, slope, not rounded, pointed;
4) sometimes the letters are uniform and rounded, but there is excessive care and accuracy in the derivation of individual letters;
5) well-known "childishness", irregularity, uncertainty of handwriting;
6) micrography;
7) the fossilization of handwriting, its invariability either with emotions or with the speed of writing;
8) unusual inclination of letters;
- the handwriting of an athletic, in contrast to the handwriting of asthenics and picnics, is more variable and is largely associated with the role that the athleticoid chooses for himself in this or that case. The transformation of an athlete from one role to another is also manifested in the corresponding handwriting.
(Note: Picnic type - a body type characterized by a wide and stocky figure with a short neck, prone to obesity; asthenic type is characterized by high stature, a narrow and long chest and weak muscles. The athletic type is distinguished by well-developed muscle mass).
Sources:
NATALIA EROFEEVSKAYAGraphologists claim that handwriting helps to identify distinctive character traits. To understand the character, you need to know the signs of writing letters. It is noticed that people have different handwriting, as well as character.
What is graphology and who are graphologists
Graphology- this is a science that studies handwriting, as an example - a graphological analysis of a person's character according to his handwriting. Graphologists, as follows from the definition, are people capable of performing such an analysis. Although until the middle of the last century the methods of this science were considered in the form of those that help to explore the characters of people in psychology, in our time this doctrine of the inseparable connection between character and handwriting is considered pseudoscientific, it is referred to as protoscientific thinking. In medicine, this term occurs in the form of the possibility of studying handwriting as an auxiliary element for monitoring diseases of the brain and central nervous system.
Modern scientists are skeptical about graphology, despite the past merits of science.
The scientific community questions the validity of graphology. A large number of researchers graphology is a pseudoscience. The British Society of Psychologists put graphology on a par with astrology. Despite the fact that the science of studying handwriting and analyzing character was initially supported by the scientific community, and that individual studies support the validity of such a theory, most scientists are sure that graphology has no predictive ability.
But still there are many who believe in the ability of graphology to determine the main character traits. Of course, no one guarantees 100% probability and accuracy in judgments, but approximate description of a person indicated by handwriting.
Why do we need a psychological analysis of personality by handwriting?
It should be noted right away that the description of the handwriting makes it possible to probable conclusions, but not exact statements. In addition, the analysis of human handwriting in psychology with examples is common and is considered to provide a general characterization of human psychology, but not an exact one. In addition, graphologists need at least a page of text that is written by hand, and even better a couple that are written in dissimilar situations.
Why is analysis needed? Often, personnel workers need to identify the main personality traits, signs of character and the mental state of the applicant. This will make it possible to more accurately determine its compliance with the work. In addition, knowledge of graphology will help the individual to decide on the choice or when changing the field of activity. Remember that each sign should not be considered as an absolute dogma. It needs to be compared with other features.
Handwriting analysis will reveal the main character traits. Sometimes this is important when applying for a job.
An interesting discovery was made by Western scientists. It turned out that people who have lost their arms, legs and mouth are trying to display the same letters as they wrote earlier. It turns out that we write like this, as our brain tells us, and the hands only carry out orders.
For this reason handwriting is a mirror of a person. This fact is also proven by the biologist Preyer. He did an experiment using hypnosis. It was suggested to a person that he was evil or boastful, at the same time they dictated a text to him. As a result, the handwriting turned out to be different, with characteristic features.
What does handwriting depend on?
Many are interested in the question what does our handwriting depend on? According to the observations of scientists, our handwriting depends not only on age, but also on profession and position. Moreover, each of us has several handwritings. One is for personal notes, another is for important announcements, and the third is for congratulations and letters to friends.
But for graphologists, they are all the same, even the analysis of crooked handwriting (for example, as a result of illness or stress) is not difficult. In all the handwritings of one person, only the size of the letters and quality are changed, the internal structure does not change. It would seem, what is the dependence of character and these scrawl? Scientists have developed feature system, explaining the features of a person's handwriting and his character.
Some of them are immediately visible, others - if you look closely, but still others - have nothing to do with experience. There are many dark spots in this science, or, as scientists are sure, pseudoscience, but this does not prevent people from using graphology in practice.
Determination of character by a person's handwriting with examples
So let's consider signs for graphological analysis and find out what the handwriting of a person says with examples:
Incline
20-30 degrees to the right. This is the most popular slope. Such people can be called open, but it cannot be said that they are impulsive. A person is characterized by the ability to keep emotions in tense, emergency situations.
If the slope is stronger 50-60 degrees to the right- an indicator of the desire for communication and love of love. These people are more likely to try to show their feelings. A person with a similar handwriting is receptive to everything new. At the same time, possessive instincts are developed among the owners of such a slope.
Slight tilt to the left speaks of the predominance of reason over emotions. Such people are secretive, rational.
Big tilt to the left more common in lefties. Here there is a great control of emotions, secrecy, combined with sensuality.
If a no slope– balance of emotions and rationality.
Pressure
In our time, when there are many varieties of pens, it is sometimes difficult to determine the pressure. But if you can disassemble it, it will help a lot.
Strong pressure- evidence of perseverance, energy, ability to work. These are sociable individuals who love their work and people.
If a pressure is superficial and light, then such personalities are distinguished by sensitivity, subtlety of nature. These are more often introverts, whose self-control helps to cope with important tasks.
If a pressing force average, then such a person is more predictable, she likes to explore the outside world.
Combination of pressure and other characteristics
Smooth letters and light pressure - rationality of thoughts, high morality, discipline. Large round letters and light pressure - weak will, non-conflict, altruism. Strong pressure on capital letters - energy, leadership and creativity.
Line spacing
If the lines to the end of the sheet remain horizontal - balance in everything. Such people carefully think over all actions.
If the handwriting goes up - an optimistic nature. In a career, purposefulness.
The lines go down - a skeptic, realistically evaluates events.
Uneven line - changeability of mood, poor adaptability.
Roundness of letters
The decoding of round letters in a person's handwriting indicates the willingness of the individual to cooperate. Such a person is not persistent, he is open to others. But worse performs things that require perseverance.
Remember that all these qualities must be analyzed in a complex. Separately, it is impossible to make even an approximate portrait. Everything should be cross-checked against the rest of the features.
Space between lines and words
Often the density of words is an indicator of thrift. The farther the distance, the more wasteful the person.
Margin size
This is an indicator that helps to identify the level of wastefulness. Extensive fields everywhere - excellent taste, craving for art. If they are rational - an indicator of prudence. Narrow even on the sides - a tendency to frugality. If the text occupies the entire sheet, and the margins are very small - the desire to get the maximum.
Letter size
How to understand the character of a person by small handwriting or large?
small letters indicate the ability to concentrate in one direction. These are non-aggressive individuals. If capital letters are also too large - courage and pride. If they are too small - lack of courage. Small handwriting with small distances - the secrecy of nature, a person who loves loneliness.
Large letters found in expansive natures, somewhat aggressive. If the capital letters are graceful - the ability to attract people to oneself, the romance of nature.
Middle letters occur in many people, therefore they cannot be taken as a separate indicator for analysis.
Printed letters
What does handwriting mean? The nature of such a letter is to write printed letters where they should be written - which means that a person seeks to replace his outdated views on life with modern ones.
embellishments
How does curly handwriting characterize a person? The presence of various decorations in the letter (a curly "cap" near the letter "y", curlicues, vignettes, etc.) indicates a person's desire to attract attention and the superficiality of his thinking.
loops
If a no lower loops, then the person is distinguished by independence of thinking, prefers the search for simple explanations. They are resourceful and adaptable.
Loops at the bottom are narrow- an indicator of caution, spirituality, love for the family. Wide extended lower loops - the desire to satisfy material needs. Too big loops from below - the person does not like to be tied to something.
Loops too small at top and bottom- indecision to step on the path of independence.
Word breaks
If the gaps are located in each word, then the person tends to believe in intuition. Such a sign is correlated with another. If there are no gaps in the words - a sign of logic.
Letter sizes
If the words begin with capital letters and then decrease, the person is in a position where strict secrecy is very important. Words begin with small letters, and then increase - a person does not know how to keep secrets.
Graphology and signature
A special place in this science is given signature analysis. We have been inventing and modeling an autograph for a long time. For this reason, it is believed that the writing of the text determines the personality of a person, what he is, and by the signature - what he wants to be. This is the key to predicting changes in personality and character, in fate.
The signature we choose ourselves, it contains important information about our goals and aspirations.
Signatures, like handwritten text, are examined in terms of parameters, which include the length and sharpness of letters, interesting characters and the unity of letters, the distance between them and the pressure force, dots, hooks, etc. Consider some of the characteristics:
direction. Here, take a look at where the tip of the signature is pointing. If up - optimism of nature, energy, striving for goals. Direct - balance in personality. Down - pessimistic moods;
length. Long signatures speak of thoroughness, slowness, perseverance. Short - a person is constantly in a hurry, takes matters lightly;
letter size. If the first letter is noticeably different from the rest, then the person is capricious, too demanding of others. With a slight difference with other letters - modesty. Small letter sizes - rationality, frugality, concentration. Capital letters - a dreamy nature, trusting, impractical;
breaks and connection. If all the letters are connected - evidence of logic and consistency, conservative views. If a small number of gaps is noticed - adaptability and flexibility of thinking. A large number of breaks - daydreaming;
decorations. If a person likes to show off and embellish himself, then this is immediately noticeable in the signature, because it is also decorated with ribbons, curls, etc. The number of curls shows the level of insincerity of the person, secrecy. But decorations are found in creative personalities: actors, musicians. Then evidence of the richness of the imagination. Mathematicians often have bare signatures. The letters seem to lose some parts;
letter spacing. This sign determines the level of generosity: with a large distance - a high level. If the letters are almost on top of each other - stinginess and frugality;
ponytails, underlines. If the signature is underlined from below, then the person is characterized by pride, resentment, he is interested in the opinions of others. If the line is on top - pride, vanity, desire for a new one. But the length of the host at the end of the signature indicates the reaction of people to interference in their affairs. The longer the tail, the less a person tolerates comments and decrees. If the signature is crossed out - evidence of dissatisfaction with oneself, self-criticism, hesitation;
dot. This is a positive sign. If there is a dot in the signature, this is evidence of discipline, the desire to finish what you started. If it stands at the end, the person finishes what he started under any circumstances. At the beginning of the signature - the desire to receive complete data before starting work;
repetition of elements. The same signs speak of obsession in actions and thoughts, of established habits. Along with this, this sign is an indicator of perseverance, the ability to easily cope with monotonous work.
Conclusion
This article discusses the most important criteria, the so-called key points for working with handwriting and analyzing its elements that can shed light on the personal characteristics of its owner. But there are still many nuances that help determine the nature of the signature. If desired, it is possible to master such skills on your own, but for this you will have to analyze many handwritten texts of closely familiar people, whose character is known to one degree or another.
January 19, 2014
