Handwriting Analysis

Instructor: Christina M. Schumacher

www.thesagewithin.com

PART TWO OF HANDWRITING ANALYSIS

Areas of Handwriting
To continue on with this course, you must understand the three areas of handwriting.
The first area is the MUNDANE area which covers our daily living. This is the area
that shows our every day thinking, ideas, habits, our ability to accept new ideas and our
willingness to communicate those new ideas. It also includes known and familiar
knowledge.
The second area of writing is the ABSTRACT. When we come across or consider
something that is out of routine, unknown and unfamiliar, our minds reach up into the
world of things we cannot touch. This area denotes the writer’s capacity to understand
and imagine philosophies, theories, systems, and the spiritual.
The third area of writing is the MATERIAL. This is where the writer is concerned with
the real, physical world - people, places and things that really exist. You will find traits of
material imagination, desire for friends, change and variety here. This area can also be
thought of as an “action” area as our determination and aggressiveness traits are found
here as well.

At times, you will see handwriting that appears to be only in the mundane area. Even
the upper loops and lower loops do not stray far from the mundane. These writers care the
most about the every day goings on in their lives such as what’s going on with their job or
at home, the new car they are buying, the bills that need to be paid, etc. These writers
would not have much knowledge or insight into abstract subjects and would not go far
from what they know when it comes to new experiences in the material world.

Writing that shows tall upper loops, when compared with the height of the mundane
letters, has the greatest interest in highly abstract ideas and concepts. These would be far
from the daily concerns of life. Oftentimes, the mundane area writing is quite small
(height-wise) in comparison.

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 Writing which shows long and full lower loops constitutes a person who wants a
variety of experiences and is willing to go a long way from home and daily life in order to
obtain them.

Occasionally, you will come across a writer who has a balance of all three areas of
handwriting. This means they are well grounded and can adapt to whatever comes their
way.

You will be learning more about these areas and the traits that are a part of them
throughout this course. This, however, gives you a start in understanding the basis of the
areas you will be working with and will allow you to understand certain measurements
that are required, and how to do them, as you work through traits.

Emotional Depth

The word “depth” in emotional depth has three specific meanings and these will be
what you consider when you are looking at the “weight” and “width” of the handwriting.
1) The capacity of an individual to absorb emotional experiences and retain their effects as
part of the personality.
2) The capacity for deep prejudices, loves, and hates, based on absorbed emotional
experiences.
3) The writer is deeply impressed by sensory impressions: color, tone, odor, flavor, and
touch. It is also, to some extent, a measure of sexuality.
These personality implications cannot be separated when considering emotional depth,
but you must also never assume that all heavy writers have all of these capacities
developed equally within them. For example, a heavy writer may not enjoy listening to a
specific piece of music if he is unfamiliar with music. The prejudices that are held will be
within the scope of what the heavy writer is familiar with.

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 Heavy writers also have a “color sense” though these will be expressed in different
ways depending on what the writer is interested in and what talents they have. If they
paint, they will use rich colors. If they write or do public speaking, their words will be full
of colorful phrases and descriptions.
You cannot determine in handwriting if a person has a desire for sex. Both heavy and
light writers enjoy sexual relations. What we do know about a heavy writer is they have
the capacity for deeper sensual enjoyment and greater endurance when emotions are
aroused. In this area and in the areas of feeling, desire and motivation, a heavy writer feels
more internal pressure and frustration when emotions get riled up than do light line
writers.
Heavy and light writers will have a difficult time understanding one another as they are
opposite in their emotional makeup. Light line writers change moods and recover quickly.
Heavy line writers will hold a grudge for a long time. Light writers enjoy “small talk” and
heavy writers would much rather have meaningful conversations. Heavy writers tend to
prefer adult company and light writers enjoy the quick changing interests of children. The
heavy writer will revel in a well written article, but the light writer will toss it aside and
look for something else to entertain them.
Interestingly, the heavy writer will change in personality, over time, much more than
the light writer. Yes, the heavy writer has longer lasting feeling, but because the emotional
experiences are absorbed, there is a constantly changing composite of absorbed feeling.
Since the light line writer does not absorb or retain many emotional experiences, they have
less of a personality change. This isn’t always the rule of thumb. Remember, these things
are all capacities and other factors can change these areas.
A heavy writer is subjected through life to many different kinds of emotional stimuli
and develops strong feelings. Conforming is necessary so the heavy writer can control the
pressure and frustration. Strength is tested and, as it is tested, it grows. The strength is
required to combat that “inner adversary” and that strength can lead a heavy writer to
greatness. Of course, this potential for greatness could be in the sense of Hitler or
Mussolini.
As long as the pressure of strong depth stays controllable, it will be a driving force for
accomplishment within the norms of society. If it goes beyond that, it will cause
devastation.
Depth gives “sensuousness” to the personality. If, however, desires go to far, we get
“sensuality.”
Sensuality is a craving for excess amounts of stimulation to one or more of the senses.
This can happen when expression has been blocked somehow. The common
manifestations seen in the behavior of sensuality would be over indulgence in such things
as food or sex, but you will not be able to tell what the over indulgence is from the
handwriting.
Heavy depth writing is considered “sensuousness” as the line of writing is heavy and
clean. Writing that shows “sensuality” does not necessarily have to be in heavy depth
writing - you can find it in light writing too. The indication you are looking for is the
recurring excesses of ink in the writing. Blobs, blotches and filled in loops are signs of
sensuality.

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 Sensuousness Sensuality

There are exceptions to sensuality in handwriting and you have to look for these before
making a determination. Blobs and blotches could be caused by the paper the writer used
or the writing instrument. If they used a type of fine tipped marker, it may have spread on
the paper. Even some pens will do this on certain kinds of paper.
If a writer is old, has health problems or is just plain exhausted, their writing can
appear ragged or shaky. This is NOT sensuality even if there are some blobs and blotches.

Depth Variation
Another factor that is involved with determining depth is variation of pressure. Normal
variation comes in finding down strokes that are slightly heavier than upstrokes in a
writing sample. If you find the reverse - upstrokes heavier than down strokes - this is
unusual. This would tell you that the writer has more emotional intensity when looking for
facts or ideas than he does when bringing the facts back to his present reality.
A strong variation in pressure, including the down strokes and upstrokes mentioned
above, lets you know that the writer has strong desires and lasting feelings part of the time
and weaker desires and feelings that pass more quickly part of the time.

Emotional depth is determined by eyesight alone. There is no special measurement or

any tool that can do it as well as your eye. So, when looking at your handwriting, check to
see how wide the writing line is, how heavy the writing line is and whether or not it has
blobs, blotches or filled in letters or loops.
Your special trait sheets (found at the tail end of Part One of this course) shows depth
as follows:

___ Light
___ Moderate
___ Moderate-heavy
___ Heavy

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 Look at your handwriting sample and determine which of these best indicates the
handwriting throughout. Just place an X in the one or ones that apply. That’s all there is to
it.

STROKES
Handwriting is made up of a combination of strokes. These are upstrokes, down
strokes, forward and backward strokes, curves and hooks. There is meaning to a change in
length or a change in thickness in these strokes.
Straight strokes are the most valuable of all the strokes in understanding the nature of
the writer. They represent the writer’s “mental force.” When the words “force” or
“strength” are used here, it is not the physical body of the writer we are speaking of. It is
their mental force or mental strength.
In this section, you will study two types of straight strokes that are very important in
evaluating an individual’s personality.
1) The t-bar (the crossing of the letter t)
2) The down stroke that goes below the baseline

The first area you will look at here is “force” or “strength.” This is measured by the
weight and thickness of a stroke.
Imagine that you had to cross a deep ravine and what you must cross on is a bridge
made of thick, strong boards. Chances are, you will make it across without any problem at
all. What if, instead of the thick, strong boards, you had to cross on a bridge made of
small, weak twigs? It would take a lot of guts to even attempt this as you probably
wouldn’t make it across.
Now, consider this when looking at a t-bar in a writing sample. If the t-bar is heavy and
thick, this person has force or strength of will power. They have a great idea that they
would like to put into motion. We already know this person has the will power to do what
they envision, but do they have the endurance of “enthusiasm” to make it happen?
This is where you look at the “length” of the t-bar. If it is long, the person has great
enthusiasm which will last and they will have no problem reaching their intended goal. If
the t-bar is short, the person may get started on their project, but because there was no
endurance in their enthusiasm (the short t-bar), the project will never come close to a
finishing point. They lacked the “zeal and fervor” to complete their interests.
To review:
1) Weight and thickness on a t-bar = strength of force or will power
2) The length of a t-bar = enthusiasm and how long that enthusiasm will last

To explain this a little more clearly, in the “enthusiastic” t-bar (length) we see that
whatever will power (heaviness and thickness) is shown in the stroke, it continues for a
time once it is aroused. Enthusiasm lightens our load as we work. If the enthusiasm is a
light stroke and medium to long, it brightens our day and the day of everyone around us.
If it is a long, heavy stroke, it can sway people into joining the cause and working with us.
Will power is controlled by the weight of an enthusiastic t-bar. With higher goals, a
person should have heavier t-bars as this gives more emotionally lasting force behind their
will power. It will last for the greater length of time it takes to accomplish the higher

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goals.

If you listen to a light bar enthusiast writer talk (light, long t-bar), you will sense the
lack of force behind what they are enthusiastic about. The person may sound upbeat, but
they are vague, so you will sense that there isn’t much likelihood of things coming true as
this person describes them. Still, the light to moderate strength of the enthusiasm helps this
person feel good and they may view their work as more fun than actual work.
A person who has a long, heavy t-bar which changes weight as it moves along (gets
thicker toward the end) shows real force and a clarity of purpose which gets slightly
stronger as time goes on. If this t-bar also has a type of blob of ink at the end, this was an
instant of extra pressure in the writing. This means there is an extra reserve power this
writer can call upon if the going gets tough. It’s an “Oh, yes I WILL!!!” or “This won’t
beat me!” mentality.

This is what is termed a dynamic person. The t-bar is long, straight and goes straight
across. In going straight across, the stroke shows that the writer directs his force toward
his goals rather than toward people. If a forceful t-bar slants downward, the writer directs
will toward others in the attitude of “Do what I want!”
Examine the following five examples carefully. Each one indicates a completely
different aspect concerning will power and enthusiasm.

Sample A
The stroke making the t-bar was made slowly in comparison to the rest of the t. The t-
bar is thick, broad and short. A thick, heavy stroke represents strength of force or, at least,
an effort to give an impression of these qualities. The heaviness and thickness in sample
A’s t-bar represents strength of will. The length of the t-bar shows short endurance of
enthusiasm. So, whatever the writer had in mind, it was powerful, but short lived.
If you look at the writer, this would be someone who wants something quickly. Those
who know this writer might be overpowered by his short, intense display of will, but this

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individual wouldn’t gain many followers. Those who don’t know this writer may feel
uncomfortable being around him/her.

Sample B
The t-bar in this sample is very weak compared to the one in sample A, but it is also
quite a bit longer. The lightness of the t-bar represents a lack of force or a weak will
power. This is a writer who really doesn’t know what he wants. However, the stroke is
rather long, showing there is some endurance of will or enthusiasm.

Sample C
This t-bar is heavy and long and shows a great amount of strength and endurance
(enthusiasm). The t-bar is heavier than the t-stem and it’s less heavy than the t-bar in
sample A. It seems less heavy because of its length.
A writer with this kind of t stroke has a firm, clear purpose in mind and works at it
with real enthusiasm.

Sample D
The t-bar in this sample is quite long which, as you now know, states enthusiasm. It is
still weak and you can tell this by comparing it with the t-stem.
This writer has great ideas but does not have the strength of will to add action and
clear direction. He is enthusiastic, but doesn’t have the strength to make that enthusiasm
catch on.

Sample E
The t-bar stroke in this sample is a driving, powerful force with amazing enthusiasm
that will last.
This writer, with the dynamic combination of forceful will and enthusiasm of belief or
purpose, will carry people before him and sweep others off their feet.

You will determine the traits of will power and enthusiasm with the following formulas
using the handwriting sample you began with at the start of this course. Your final
numbers will be placed on your trait worksheet (found at the tail end of Part One’s .PDF
booklet). You will find “will power” under FORCES TO ACHIEVE. “Enthusiasm” can be
found under FORCES TO ACHIEVE - Intensifying Influences.

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For “will power,” you will look at your writing sample and use the first 10 t’s to determine
this trait. ONLY consider the “weight” of the t-bar here.

Will Power

Example 1 Example 2 Example 3 Example 4 Example 5

Frequency Value Intensity

1) no evidence (no t-bar) X 0 =
2) weak t-bar X 1 =
3) moderate t-bar X 2 =
4) strong t-bar X 3 =
5) very strong t-bar X 4 =
Totals F= I=
Will power intensity = (I x 10) divided by (F x 4) = _____________

EXAMPLE
Frequency Value Intensity
1) no evidence (no t-bar) 0 0 X 0 = 0
2) weak t-bar 111 3 X 1 = 3
3) moderate t-bar 1111111 7 X 2 = 14
4) strong t-bar 0 X 3 =
5) very strong t-bar 0 X 4 =
Totals F = 10 I = 17
Will power intensity = (I x 10) divided by (F x 4) = ______
Will power intensity = (17 x 10) divided by (10 x 3) = 1
170 divided by 30 = 5.6 which changes to 6 (anything above 5
goes up to the next number.)

Since your choices under will power are weak, moderate and strong, this number
would be put on the “moderate” line. Use the following as a guide when doing your
calculations for weak, moderate and strong traits.
1, 2, 3 = weak
4, 5, 6, 7 = moderate
8, 9, 10 = strong

There are two parts to determine “enthusiasm” - length and width. To determine the
length of “enthusiasm,” you must refer back to the different areas of handwriting -

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mundane, abstract and material. You will be gauging, with your eye, the length of the t-
bars in comparison to the height of the mundane letters in your handwriting. Look at your
handwriting sample and get the measurement for the first 20 consecutive t-bars.

Enthusiasm Length Factor

Example 1 Example 2 Example 3 Example 4 Example 5

Frequency Value Intensity

1) no evidence (less than 2 times mundane height) X 0 = 0
2) mild indication (2 to 3 times height) X 1 =
3) long (3 to 4 times height) X 2 =
4) very long (4 to 6 times height) X 3 =
5) extremely long (more than 6 times height) X 4 =
Totals F= I1 =
Length factor = (I1 x 10) divided by (F x 4) = _____________
Note: If length factor = 0, the intensity score for enthusiasm = 0 You needn’t bother to
determine the weight factor if the length is 0.
EXAMPLE
Frequency Value Intensity
1) no evidence (less than 2 times mundane height)
111111111111111 15 X 0 = 0
2) mild indication (2 to 3 times height) 11111 5 X 1 = 5
3) long (3 to 4 times height) 0 X 2 = 0
4) very long (4 to 6 6 times height) 0 X 3 = 0
5) extremely long (more than 6 times height) 0 X 4 = 0
Totals F = 20 I1 = 5
Length factor = (I1 x 10) divided by (F x 4) = ______
Length factor = (5 x 10) divided by (20 x 4) = 0.83
50 divided by 60 = 0.83 This would be
recorded as a 1 as it is over 0.50.

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To determine the “weight factor” for enthusiasm, you will only use t-bars that show
“enthusiasm.” Again, you will be using 20 t-bars in the specimen.

Enthusiasm Weight Factor

Example 1 Example 2 Example 3 Example 4

Frequency Value Intensity

1) weak X 0 = 0
2) moderate X 1 =
3) heavy X 2 =
4) very heavy X 3 =
Totals F = XXXX I2 =
Use the same Total F (frequency) as in the length factor calculation.
Weight factor = (I2 x 10) divided by (F x 3) = _____________

Enthusiasm intensity = (length factor + weight factor) divided by 2 = ___________

EXAMPLE
Frequency Value Intensity
1) weak 111111 6 X 0 = 0
2) moderate 11111111111 11 X 1 = 11
3) heavy 1 1 X 2 = 2
4) very heavy 0 X 3 = 0
Totals F = XXXX I2 = 13
Weight factor = (I2 x 10) divided by (F x 3) = ______
Weight factor = (13 x 10) divided by (20 x 3) = 2.1
130 divided by 60 = 2.1 This would read as 2.
Enthusiasm intensity = (length factor + weight factor) divided by 2 = ________
1 + 2 = 3 divided by 2 = 1.5 This would be recorded as a
2.

The measurement you would record in the space provided on your trait worksheet for
“enthusiasm” would be a 2. Remember, it can be found under “Forces to Achieve” in the
area of “Intensifying Influences.”

DETERMINATION
Now we come to the second straight stroke - the down stroke below the baseline. This
is, actually, the most important straight stroke and signifies DETERMINATION.
Determination is the writer’s intent to finish a project no matter what obstacles might
come their way.
A true determination stroke is a down stroke that begins in the material area (or action
area). It does not matter if the down stroke has a loop or not.

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 There are three factors that determine the strength of a writer’s determination. These
would be the length, weight and the straightness of the stroke.
You can see, by looking at the examples below, that the length of the down stroke
below the baseline in the first two letter g’s is not great in comparison to the height of the
mundane area structure (the circle of the g). This means that a writer’s intent to finish
something they’ve started stops after a short time. If the writer has low and practical goals
which don’t take much to accomplish, it would be enough support for them to do so.
The second example in the last two letter g’s shows that determination is good, but still
not a great length. It is only about three times the height of the circle of the g. Longer
lasting determination is suited for goals that are further away such as high and practical
goals.

The next examples denote the weight factor in determination. In the first two g’s there
is very little emotional depth (weight) in the down stroke. While this writer shows some
firmness of intent in how straight the stroke is, they will not put much emotional force into
the effort of finishing their project. The project will probably drag on and, since these
strokes are only of moderate length, it appears the person’s determination will end before
the project even gets close to completion. You would need a longer stroke before
suggesting that this writer would eventually finish a project if it can be finished.
In the second two g‘s, there is good emotional force (heavier weight) and even more in
the g with the loop. This means there is more emotional pressure on the writer and that
pressure makes the drive to work harder necessary.
In the third g is a rare stroke which weakens as it goes downward. This can indicate a
person who is just plain worn out, burned out or exhausted.

The next examples give you an idea of the differences in the straightness of a down
stroke. It is stated that straight strokes indicate mental vigor. In the first g, you see a
tensing of physical and mental muscles in the down stroke. This means the writer has a
tendency to stay with a project - not to relax until the project is finished.
The last two samples show a trait of yieldingness - a relaxing in the need to continue
moving ahead - because the stroke is curved. You might see this in the handwriting of a
person who is middle aged and has relaxed a bit, having gotten a broader view of life and
understanding they don’t have to get a job done by staying up all night to do it. A writer
with curved down strokes may not have weak determination, but you need to evaluate the

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handwriting as a whole to determine for sure. They would be considered weak if the
handwriting continually showed yieldingness, but if it shows energy and clear thinking,
weakness of determination is not as much of an issue.

Sometimes, you may see a down stroke getting thicker and heavier at the end. This is
the reserve of strength. A writer with this increased stroke shows someone who has extra
resolve to get the job done even if it means working longer to achieve the goal.
If the down stroke is heavy, long and straight with the extra weight at the end, you see
a person that just grows stronger no matter what obstacles or difficulties there are in the
way. This is someone who can carry some heavy loads. These people will never give up
and run. They take whatever comes with a grain of salt, not even recognizing the word
“defeat.” No matter what happens, they will plow through and they even have some extra
reserve to fall back on.

BLUFF
Before ending this section of the course, you need to see what an extremely heavy and
exaggerated down stroke is about. Strokes like this can only be made with a flexible nib
pen. It is not possible to do this with a ball point or rigid pen tip.

When you see a stroke like this, you can easily see that it is far out of proportion to the
rest of the handwriting and is no longer considered determination. It has become a
different trait - BLUFF.
A writer with bluff will brag about his abilities to do more than he is capable of or even
cares to do. This is done to cover fears and doubts. It’s possible for this writer to finish
whatever he set out to do, but you will know that he’s totally bluffing his way through.

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MEASURING DETERMINATION

As with enthusiasm, there are two measurements in handwriting for determination -

one for length and one for weight.
For length, you will be using your handwriting sample and using 15 consecutive
strokes that go below the baseline (g, j, q, y, z). These are letters that can descend below
the baseline, so use whatever ones you have in your sample. You will be comparing the
length of the down stroke to the mundane portion of the same letter.

Determination Length Factor

Example 1 Example 2 Example 3 Example 4 Example 5 Example 6

Frequency Value Intensity

1) immediate, abrupt bend at baseline X 0=
2) less than 1 times mundane height X 0.5 =
3) 1 to 2 times mundane height X 1 =
4) 2 to 3 times mundane height X 2 =
5) 3 to 5 times mundane height X 3 =
6) greater than 5 times mundane height X 4 =
Totals F= I1 =
Determination Length Factor = (I x 10) divided by (F x 4) = _____________

Using the same 15 strokes, determine the weight factor of determination by judging the
lightness or heaviness as shown below. This can be easier if you judge the down stroke
weight in comparison to the weight of the handwriting in general.

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Determination Weight Factor

Example 1 Example 2 Example 3 Example 4

Frequency Value Intensity

1) light X 1=
2) moderate X 2=
3) heavy X 3 =
4) very heavy X 4 =
Totals F= I2 =
Determination Length Factor = (I x 10) divided by (F x 4) = _____________

Determination intensity = (length factor + weight factor) divided by 2 = _____

This ending sum will be the amount you put on your trait worksheet under “Forces to
Achieve.” Use the following as a guide when doing your calculations for weak, moderate
and strong traits.

1, 2, 3 = weak
4, 5, 6, 7 = moderate
8, 9, 10 = strong

No examples have been given this time as you should be getting the hang of doing
these calculations.

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Determining Bluff

To determine bluff, you will use all opportunities within your handwriting sample for
the letters g, j, q, y, and z.

Example 1 Example 2 Example 3 Example 4

Frequency Value Intensity

1) light X 1=
2) moderate X 2=
3) heavy X 3 =
4) very heavy X 4 =
Totals F= I2 =
Determination Length Factor = (I x 10) divided by (F x 4) = _____________

Place your final calculation on your trait worksheet. Bluff can be found under
“Defenses.”

It is now time to take your examination for this section. It is imperative that you
understand the basic principles that have been shared in Part One and Part Two as they are
the foundation of handwriting analysis. If you do not understand these areas, you will have
a difficult time once you reach the point of doing an evaluation. Go back and re-read as
often as necessary and work on these principles with as many handwriting samples as you
can. The more practice you get, the more it all flows together and makes sense.

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 EXAMINATION 3

Note: You can find the answers to this exam at www.thesagewithin.com/HAAnswers.htm

You will have to type this address into your computer browser to reach the page.

Directions: In the columns underneath each question, place an “X” next to the letter
indicating the one best answer to each of the following questions.

1) Check the incorrect completion.

The heavy line writer
A. would very likely be compatible with a person who responds readily to aesthetic
qualities.
B. can express his appreciation for color in his own creative medium.
C. is deeply impressed by the pressure of emotional impacts.
D. has a high capacity for sensory stimulation.
E. is inclined to involve himself in light conversation.

A( ) B( ) C( ) D( ) E( )

2. Select the specimen that reflects the greatest degree of color appreciation.

A( ) B( ) C( ) D( ) E( )

3. Below is a specimen of the handwriting of Martin Luther. Which statement relating to

him is erroneous?

Martin Luther
A. was readily stimulated by strong hues, rich materials and vibrant tones.
B. curbed much of his natural expressiveness by repressing unpleasant thoughts and
feelings.
C. was highly responsive in his approach to life.
D. was generally governed by his intense emotions.
E. found it difficult to act with objectivity in an emotional crisis.

A( ) B( ) C( ) D( ) E( )

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4. Which statement is illogical?
A. A continuous study of numerous specimens trains an analyst to detect traits
accurately and readily.
B. The accuracy of Handwriting Analysis is largely dependent on the intuitiveness of
the analyst.
C. The principles of Handwriting Analysis are accepted because they are based on
research.
D. The accuracy of Handwriting Analysis is based on the principle that the meaning of
a basic stroke is constant.
E. Shorthand notes can be analyzed since they consist of strokes.

A( ) B( ) C( ) D( ) E( )

5. Which specimen best illustrates the first step in slant measurement?

A( ) B( ) C( ) D( ) E( )

6. Which statement is incorrect?

A. The FA writer may be very friendly and generous, but not in an emotional way.
B. Modern writing instruments present problems in assessing depth in writing.
C. The meaning of a basic stroke may change when it is combined with another stroke.
D. Chalk writing is less revealing than fountain pen writing.
E. Personal testing of the principles of Handwriting Analysis is significant in learning
the techniques of the science.

A( ) B( ) C( ) D( ) E( )

7. Which statement is incorrect?

When determining the calculation for Determination,
A. we use both length and weight
B. we use 15 strokes above the baseline
C. length is measured in comparison to mundane height
D. the calculation is (length factor + weight factor) divided by 2
E. curved stems are considered 0

A( ) B( ) C( ) D( ) E( )

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8. How many upstrokes in this specimen qualify for slant measurement?

A - 15 B - 17 C - 19 D - 14 E - 18

9. Check the specimen in which a slant line is incorrectly drawn.

A( ) B( ) C( ) D( ) E( )

10. Which writer would have the most difficulty in restraining his emotions?

A( ) B( ) C( ) D( ) E( )

11. Which specimen illustrates this statement?

“Heavy writing combined with intense emotional response indicates that the writer is
likely to become physically exhausted through emotional force and expression.”

A( ) B( ) C( ) D( ) E( )

12. Check the number of letters in this specimen showing repression.

A-9 B-6 C - 10 D-5 E-8

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13. Which slant line is most incorrectly drawn? (Specimen reads “I would”)

A - 10 B-7 C-4 D-2 E-1

14. All of the following statements concern slant measurement. Check the true statement.
A. All strokes which originate at the baseline should be measured.
B. A crucial point in constructing slant lines is where the upstroke begins to go down.
C. Only upstrokes that begin at or below the baseline can qualify for slant
measurement.
D. Short upturned final strokes should be measured.
E. Upstrokes that complete a lower loop should be measured.

A( ) B( ) C( ) D( ) E( )

Identify the slant area indicated by the following six statements, problems 15 through 20:

15. “While there is a lower class, I am in it.”

A - AB B - BC C - CD D - DE E - E+

16. His thinking is never entirely detached from his emotional reactions and he is
constantly affected by them.

A - FA B - DE C - BC D - CD E - AB

17. Like a baseball player with one foot on base, he is always ready to respond but keeps
one foot securely on his judgment.

A - DE B - FA C - CD D - E+ E - AB

18. Faced with an emergency, she will carry on with studied good judgment.

A - BC B - CD C - FA D - E+ E - DE

19. His mistrust of others has caused him to withdraw and evaluate situations from a self-
oriented point of view.

A - AB B - BC C - CD D - FA E - DE

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20. He acts without bias and on the premise of “What is best?”

A - FA B - AB C - BC D - CD E - DE

21. Which of these traits does not appear in the specimen?

A. Sensuousness
B. Determination
C. Withdrawal
D. Repression
E. Moderate will power

A( ) B( ) C( ) D( ) E( )

22. Check the incorrect statement.

A. Strength or endurance of will is indicated by t-bars (cross strokes).
B. A heavy, short t-bar indicates force of will expressed for a short time.
C. Endurance of will is indicated by the length of the t-bar.
D. The light, long t-bar indicates lack of endurance of will.
E. Long, heavy t-bars indicate that the writer exerts strong will power for a long time.

A( ) B( ) C( ) D( ) E( )

23. Check the incorrect statement.

A. Any straight stroke indicates the mental force of the writer.
B. Strength and endurance of emotion are shown by heavy straight strokes.
C. Force is shown by straight strokes.
D. Strength and endurance are synonymous.
E. Mental, not physical, force is represented by straight strokes.

A( ) B( ) C( ) D( ) E( )

24. This statement applies to which cross stroke?

This is a person with overpowering enthusiasm.

A( ) B( ) C( ) D( ) E( )

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25. This writing of sculptor Lorado Taft has four of the five traits listed below. Which trait
is not shown?

A. Repression
B. Enthusiasm
C. Color Sense
D. Determination
E. Expressiveness

A( ) B( ) C( ) D( ) E( )

26. Check quality that does not appear in this specimen.

A. Strong mental force

B. Indelible emotional impact
C. Enduring determination
D. Strong will power
E. Sensuousness

A( ) B( ) C( ) D( ) E( )

27. Check the error.

A. Strong will

B. High responsiveness

C. Sensuousness

D. Enthusiasm

E. Repression

A( ) B( ) C( ) D( ) E( )

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28. Basing your conclusion on traits you have studied, select the writer who shows the
strongest forces to achieve.

A( ) B( ) C( ) D( ) E( )

29. Check the correct completion.

Straight strokes in Handwriting Analysis are:
A. Widely prevalent.
B. Extremely variable.
C. A positive influence.
D. Informative, whether alone or combined with other strokes.
E. A, B and D.

A( ) B( ) C( ) D( ) E( )

30. Check the false statement.

A. All handwriting is a combination of strokes.
B. A stroke doesn’t always represent the same trait.
C. The straight stroke is of real value in understanding the nature of the writer.
D. In judging determination in lower loop letters, we should pay attention to the down
stroke portion.
E. Straight strokes may be cross or down strokes.

A( ) B( ) C( ) D( ) E( )

31. Check the wrong assessment of determination.

A( ) B( ) C( ) D( ) E( )

32. Check the incorrect trait identification.

A( ) B( ) C( ) D( ) E( )

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33. Check the quality which does not appear in this specimen.

A. Weak mental force.

B. Restricts expression of desires or thoughts.
C. Appreciates quality of tone, color, materials.
D. Inspires others by vibrant approach to his interests.
E. Responsive, but not impulsive.

A( ) B( ) C( ) D( ) E( )

34. Which trait may reduce the effectiveness of will power?

A. Responsiveness
B. Enthusiasm
C. Depth
D. Determination
E. Repression

A( ) B( ) C( ) D( ) E( )

35. Which one of the following may reduce the effectiveness of determination?
A. Sensuousness
B. Strong will power
C. Objectiveness
D. Enthusiasm
E. Light writing

A( ) B( ) C( ) D( ) E( )

36. Which statement regarding this specimen is false?

A. Every stroke can be measured for responsiveness.

B. She is warmly sympathetic.
C. She feels experiences deeply.
D. Her determination is outstanding.
E. Obstacles do not deter her.

A( ) B( ) C( ) D( ) E( )

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37. Check the incorrect completion.
Short heavy cross strokes indicate:
A. Strength
B. Force
C. Limited endurance
D. Determination
E. A, B, and C

A( ) B( ) C( ) D( ) E( )

38. Who is the bluffer?

A( ) B( ) C( ) D( ) E( )

39. This statement applies to which down stroke?

“He starts like a rocket but fizzles out too soon.”

A( ) B( ) C( ) D( ) E( )

40. Which description does not apply to its specimen?

A( ) B( ) C( ) D( ) E( )

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