COMPILATION IN QUESTIONED DOCUMENT EXAMINATION

CHAPTER ONE:
INTRODUCTION

DOCUMENT
• Any material that contains a mark symbol or sign, visible, partially visible or
invisible that may presently or ultimately convey a meaning or a message
to someone. It is any written statement by which a right is established or
an obligation extinguished. (People vs. Moreno, C.A,38 O.G. 119)
• The term “document” applies to writings; to words printed, lithographed,
or photographed; to maps or plans; to seals, plates, or even stones on
which inscriptions are cut or engraved. In its plural form, “documents”
may mean; deeds, agreements, title, letters, receipts, and other written
instruments used to prove a fact.
• Latin word “documentum”, means “lesson, or example (in
Medieval Latin “instruction, or official paper”), OR
• French word “docere”, means to teach.

TWO CATEGORIES OF DOCUMENTS

1. Questioned Document – Document to which an issue has raised or

which is under scrutiny. The focal point of the examination and to which
the document examiner relies as to the extent of the problem. (also
referred to as disputed document)
2. Standard Document- Document in which the origin is known can be
proven and can legally be used as sample to compare with other things is
questioned.

TYPES OF STANDARD

a) Collected/ Procured Standard – Standard specimen executed in the

regular course of man’s activity or that which are executed on the day to
day writing activity.
b) Requested / Dictated (Post litel motam std.) – a standard document
which are executed upon request, they are prepare at one time.

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LEGAL CLASSIFICATION OF DOCUMENTS

a) Public Document – a document created, executed or issued by a public

official in response to the exigencies of the public service, or in the
execution of which a public official intervened.
- is any instrument authorized by a notary public or a competent public
official, with the solemnities required by law ( Cacnio, et.al. vs. Baens,5 Phil.
724)
b) Official Document – a document which is issued by a public official in the
exercise of the function of his office. An official document is also a public
document as a larger classification.
c) Private Document – a deed or instrument executed by a private person
without the intervention of a notary public or other person legally authorized,
by which documents, some disposition or agreement is proved, evidence or
set forth, (US Vs. Orera, 11 Phil 596) e.g Theater Ticket.
d) Commercial Document – any document defined and regulated by the
Code of Commerce (People Vs. Co Beng, C.A 40 OG 1913) or any other
commercial law.

Classes of Questioned Document

1. Document with questioned signature (most common)

2. Document containing fraudulent alteration (any form of changes either
an addition or deletion to the contents of a document.
3. Holograph Document- a document that is completely written and signed
by one person
4. Document questioned as to the material used in their production.
5. Documents questioned as to their age and date.
6. Documents involving typewriting
7. Documents which may identify a person through handwriting
8. Genuine documents erroneously or fraudulent attacked or disputed
9. Documents containing printing or type prints.

A. Disputed Document- A term suggesting that there is an argument or

controversy over the document, and strictly speaking this is true meaning.
In this text, as well as through prior usage, however, “disputed document”

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and “questioned document” are used interchangeably to signify a

document that is under special scrutiny.
B. Exemplar- A term used by some document examiners and attorneys to
characterize known material. Standard is the older term.
C. Holographic Document- Any document completely written and signed by
one person; also known as a holograph. In a number of jurisdictions a
holographic will can be probated without anyone having witnessed its
execution.
Holo “Hand” – Graph “writing”
D. Contemporary Document- documents which are not more than five (5)
years before or after
E. Reference Collection- Material compiled and organized by the document
examiner to assist him in answering special questions. Reference
collections of typewriting, check writing specimens, inks, pens, pencils,
and papers are frequently maintained.

Legal Basis of Documents

1. In the case of People vs. Moreno, CA, 338 O.G. 119: any written
document by which a right is established or an obligation is extinguished.
2. In the case of People vs. 2. Nillosquin, CA, 48 O.G. 4453: every deed or
instrument executed by person by which some disposition or agreement is
proved, evidenced or set forth.
3. In relation to Criminal Jurisprudence under the Best Evidence rule: any
physical embodiment of information or ideas; e.g. a letter, a contract, a
receipt, a book of account, a blur print, or an X-ray plate (Black’s Law
Dictionary).

Authentication and Proof of Documents

Classes of documents- for the purpose of their presentation in evidence,

documents are either public of private.
Public documents are:
a) The written official acts, or records of the official acts of the
sovereign authority, official bodies and tribunals, and public officers,
whether of the Philippines, or of a foreign country.

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b) Documents acknowledged before a notary public except last wills

and testaments and
c) Public records, kept in the Philippines, of private documents
required by law to be entered therein.
All other writings are private.

Proof of private documents- before any private document offered as

authentic is received in evidence, its due execution and authentic must
be proved either.

a) By anyone who saw the document executed or written; or

b) By evidence of the genuineness of the signature or handwriting of
the maker.
Any other private document need only be identified as that which it
is claimed to be.

CLASSIFICATION OF DOCUMENT ACCORDING TO DISTRIBUTION

A. GENERAL
- Are documents received in full and wide circulation like
reports and communication letters withing the
organization
B. LIMITED
- Documents where wide circulation is not necessary and
disclosing such information in a document shall be issued
upon the services of the authorized person just like in a
library. It is indicated with an “L” symbol.
C. RESTRICTED
- it applies to documents that must be treated as
confidential or that may be withheld from public
circulation. it is indicated with an “R” symbol.

ALBERT OSBORN the Father of Questioned Document Examination states that;

“A document is usually questioned because its origin, its content, or the

circumstances regarding its production, arouse suspicion as to its genuineness,
or it may be adversely scrutinized simply because it displeases someone by its

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expected provisions and a careful examination may show conclusively that the
document belongs in the genuine document class”

DETECTION OF DOCUMENT PROBLEMS

I. ALTERATION – refers to any form of changes or modification in any form to

the original content of the document either by addition or deletion to
replace it with substances which is not a part of its original preparation.
Methods of Alteration
➢ Erasure – refers to removal of writings or any part of a documents either
by mechanical or chemical process
a) Mechanical Erasure – done by means of abrasive methods through
rubbing or scrapping
b) Chemical Erasure - done with the aid or use of bleaching agent called
ink eradicator.
➢ Addition – by adding words or figure
➢ Substitution- by replacing the entire page with a new one
➢ Interlineations or Intercalation- addition of writings in between lines
II. OBLITERATION – the blotting out or shearing over the writing to make the
original invisible to as an addition

MISCELLANEOUS DOCUMENT PROBLEM

1. Detection of Alteration
2. Decipherment of Erased Writings
Usually examined with the aid of fuming, transmitted light, oblique light
and ultra-violet light examination

3. Decipherment of Obliterated writing

OBLITERATION -Done with the use of superimposing ink. Usually examined
with the used of infra=red light.

4. Examination of Charred documents and water-soaked document

Charred Document- refers to partly burned or brittle document.
Decipherment is usually accomplished with the used of infra-red-light
examination.

5. Development of invisible writing

INVISIBLE WRITING – writing that has no readily visible ink strokes. Made by
sympathetic inks such as acids, juice and others. They are possible of

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development depending on the ink used. Methods of development can be

by heat, water, chemical fuming or by ultra violet light process.

6. Decipherment of Contact writing

Contact Writing – refers to partially visible ink strokes cause by sudden
contact between a sheet of paper with another paper containing fresh
ink. Can be enhanced through fuming or ultra-violet light process.

PRINCIPLES OF FORENSIC DOCUMENT EXAMINATION

1. Given a sufficient amount of handwriting, no two skilled writers exhibit

identical handwriting features
2. Every person has a range of natural variation to his or her writings
3. No writer can exceed his or her skill level

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CHAPTER TWO :
WRITING INSTRUMENT

Papers _Latin “Charta”

• The word “paper” was originated from Egypt which they called as
“Papyrus” discovered by them more than 4,000 years ago. Papyrus was
made from a grass called” reeds”
• The first paper was made in China 2000 years ago out from the inner bark
of bamboo and hemp
• In the 2nd century BC., “vellum” was created as a writing surface which is
being crafted from the skins of goats and lambs
• Papers is later on spread all over the world and the first papermaking mill
was established in Spain in 1150
• In 1960 William Rittenhouse of Roxborough, Philadelphia founded the first
paper plant in America

Types of Paper
1. Newsprint - least expensive type of paper made of ground
wood
2. Offset - it is more expensive than newsprint due to its
content that can resist water
3. Bond Paper - it is a more and being used regularly in office
works
4. Safety Paper - minimize to successful forgery of erasure
5. Lightweight
6. Specialty papers
7. Gummed Papers
8. Text Paper
9. Coated Paper
10. Bristol
11. Kraft Paper
12. Tyvek

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Writing Instrument

refers to objects used in writing through the application of pressure

to the writing surface by means of an ink or engraving

Ink
Is a vicious liquid or dye applied in a pen that produces the visible
result of writing
Types of Ink
1. INDIAN INK - it is the oldest form ink made up of carbon
black. It is composed of soot, known as lamp black.
2. LOGWOOD INK- it is the cheapest form of ink. It comes from the
brownish-ed heartwood of a logwood tree used in preparing the a
purplish red dye.
3. IRON GALLOTANNATE- or known as “ iron gall ink”. It is a purple-
black or brown-black ink made from iron salts ad tannic acids
4. NIGROSINE INK- a type of ink made by heating a mixture of aniline
and nitrobenzene and used in negative staining of cells in a
microscope.
5. WATER RESISTANT WRITING AND DRAWING INKS - These inks are
special group of dyestuff inks. They consist of a pigment paste and
a solution of shellac made soluble in water by means of borax,
liquid ammonia or ammonium bicarbonate.
6. ALKALINE WRITING INKS - These are quick drying inks which possess
a ph of from 9 to about 11. They penetrate quickly through the size
of the paper allowing the ink to penetrate quickly into the paper.
The dyestuff in these inks consists of acid dyes, sometimes
combined with phthalo cyanide dyes.
7. STAMP PAD INKS - They are made with the acid of substances such
as glycerol, glycol, acetin or benzyl alcohol and water. Airline dyes
are added as coloring matter. For quick drying stamp pad inks,
more volatile organic solvents are used as acetone, ethanol, etc.
As a vehicle, dextrine, gum arabic, or tannin is sometimes added.
Through the addition of tannin, the stamp impression becomes
water resistant after drying.
8. HECTOGRAPH INKS - These inks very much resemble stamp pad inks
and are exclusively made with basic dyes. To the dyestuff solution

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several other substances are added such as glycerol, acetic acid

and acetone.
9. TYPEWRITER RIBBON INKS - These inks are usually composed of a
blend of aniline dyes, carbon black and oil such as olein or castor
oil. The two-tone ribbons however contain no dyes, but pigments
suspended in oil base. This is necessary because aniline dyes tend
to bleed and would cause the sharp division between the
differently colored halves of the ribbon to merge.
10. PRINTING INKS - Printing inks often consist of a mixture of colored
pigments, carbon black and a "base" which may consist of oil,
resins, synthetic resins or a mixture of these. It is possible to remove
printing ink from a document by scrubbing the document with an
aqueous solution of a suitable detergent. The rubbing and
breaking up of the surface of the ink and the detergent facilitates
the suspension and eventual removal of the carbon and other
ingredients by the water.
11. CANCELING INKS - These inks often contain carbon and this fact
should be burned in mind when it is required to decipher faint
cancellation marks on a postage stamp and wrappers. Carbon is
opaque to infra-red sensitive plate and be relied upon to improve
the legibility of any marking affected by a carbon containing
canceling ink. Erasure of canceling ink on valuable stamps is
usually affected by attack on the medium which bind the carbon
to the surface of the stamp and it is to be regretted that many
canceling inks are manufactured with media which offer
resistance to attack so that the resistant carbon can simply be
swabbed off. This can be usually be detected by infrared
photography which will reveal the traces of carbon, which almost
invariably remain on the stamp.
12. SKRIP INK - These are manufactured by W.A. Chaffer Pen
Company since 1955. The inks contain a substance that is colorless
in visible light and has a strong affinity for the fibers of the paper,
and yet is not bleached by hypochlorite ink eradicators or washed
out by soaking on water.

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THE CHEMICAL EXAMINATION OF INK

A. THE CHROMATOGRAPHIC EXAMINATION AND SEPARATION OF THE

DYESTUFFS IN THE INK

1. This is restricted to a comparison of the dyestuffs in the ink but

sometimes it is also possible to identify one or more of the
components of the dyes.
2. Regarded as the principal method of ink examination.
3. To identify a dyestuff, it is necessary to possess a collection as
complete as possible of the various dyes used in the
manufacture of inks.
4. The chromatographic separation of the dyes maybe carried out
by paper chromatography.
5. Procedure:
a. Collection of the ink material
(1) Extraction of the inks stroke by scraping fragments from
the ink stroke. Dyestuff inks can as a rule can be
extracted with water. Ball point ink can be extracted
with organic solvent such as ethanol, acetone or
butanone. Pyridine is the best solvent for ball point inks.
(2) It is also possible to cut a small pocket at starting line in
the chromatographic paper into which the ink fragments
are placed. The pocket is firmly pressed.
b. The vessel which is a beaker or a flask is filled with the solvent;
then the filtered paper strip containing the ink material is
lowered into the vessel with the ends just touching the surface of
the solvent and let it hang on the side of the vessel for 15-20
minutes.
c. The chromatography should be carried out in shaded light.

B. DETERMINATION OF THE AGE OF THE INK

1. In general, in order to determine the age of writing or the difference in the

ages of different writings, the document examiner makes use of a property
of the ink writing which changes in the course of time. This selection of

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properties will be determined by the composition of ink and the

circumstances under which the writing ages.
2. Procedure:
a. Ball Point Pen Inks
(1) If a document has been written with a ballpoint pen, the writing in
question is bound to date in all probability from a point of time later
than 1945.
(2) The analysis of ballpoint inks may yield an important clue to the age
of the ink.
(3) The first ballpoint inks were practically without exception based on
oleic acid. These inks will flow out when a drop of benzene or
petroleum ether is applied to them.
(4) Not until 1950 were these inks made on a basic of polyethylene
glycols, which are resistant to treatment with benzene or petroleum
ether.
(5) However, the presence of oleic acid is not yet proof that the writing
in question is old for oleic acid is sometimes also used in modern
ballpoint inks.
(6) In the later case, however, the ink will as a rule not flow out with the
petroleum ether because these inks, no water soluble coloring
matter is worked out. Instead pigments and dyestuffs are used that
will not dissolve in petroleum ether.
(7) The presence of phthalocyanine dyestuff is an indication of an ink
produced later than 1954-1956.
(8) Thus it is not possible to determine the absolute age of ballpoint inks.
Neither it is possible to determine the relative ages of two ballpoint
ink writings, not even if they are of the same kind. The ink dries
rather quickly because the base is absorbed by the paper.
(9) Recent ballpoint writing can be offset, and efforts have been made
to use the copying power for age determination.

b. Dyestuff Inks
(1) The dyestuff inks lack properties that would permit age
determination but the presence of an obsolete or modern dyestuff
may indicate age of writing.
(2) If a phthalocyanine dye is found in the ink, it would be improbable
for the document to be dated prior to 1953.

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c. Iron Gallotannate Inks - These inks show a remarkable change of color in

maturing. This based on the chemical change of ferrous to ferric in the
course of time. The following are the methods used to show the gradual
change of inks:
(1) Method based on the change of the Color of the Ink – This
method is useful in those cases where the ink writing
received for examination is too recent that the process of
maturing can be observed visually. The kind of ink must be
known and one or more writings of known age must be
available for comparison.
(2) Methods based on the Solubility of the Ink – The solubility of
iron gallotannate ink decreases considerably as the ink
matures. As with the color change, it can only be applied
successfully to a very recent writing. This method can
establish a difference in the age of writings on one and the
same document. The solubility is determined by a visual
estimate of the quantity of ink which can be withdrawn with
a drop of water from a stroke. It is necessary however that
the drop of water be applied to ink stroke of the same
intensity.
(3) Method based on the amount of ferrous iron in the ink – In
iron gallotannate ink, the iron is mainly present in the
complex bound ferrous form. As the manufacturing process
goes on, the ric gallotannate is formed. A drop of aa1-
dipyridyl reagent (1% of aa1-dipyridyl in 0.5N HCL (normal
hydrochloric acid)) is applied to the ink stroke. The reagent
is left in contact with the ink for 1 minute and then
recovered with a piece of filter paper. If ferrous iron is still
present in the ink, the paper will show a red zone of ferrous
aa1-dipyridyl around the stain of blue dyestuff. By repeating
this test daily, it is possible to check the decrease in the
ferrous iron in the ink by the changes in the coloration of this
red zone. However, this method is applicable when the
questioned writing is not more than a few days old.
(4) Estimation of age based on the detection of the dyes – Iron
gallotannate inks contain an organic dye, (soluble blue)

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which is oxidized or at least becomes insoluble complete or

partially as the ink ages. It is claimed that the organic dye
becomes completely insoluble in four to five years.
However, the application of this method appears to yield
results in practice.

Pen “Penra “ Feather

• THE REED PEN 4TH CENTURY

The First citing of pen dates back to the 4th century BC with the
ancient Egyptian scribes who would write hieroglyphics on papyrus.

• THE FEATHER QUILL 9TH CENTURY

made from goose , swan and turkey, was the most popular writing
instrument from 9th century up until the 19th it was especially popular
during the middle ages because they worked well with parchment.

• STEEL-POINT PEN
The reign of the quill ended when John Mitchell from Birmingham began
developing a machine-made steel-point pens on a mass scale.

These were still ink pens and functioned in the same way as quill, needing
to be dipped into ink, but were sturdier and much less expensive. Their
popularity took off and historians believe that by the 1850s half of all dip
pens were made in Birmingham. Even the development of education and
literacy can be attributed these more accessible writing instruments.

1827: FOUNTAIN PEN

✓ In 1884, LEWIS WATERMAN, a New York insurance agent, patented

the first practical FOUNTAIN PEN containing its own ink reservoir.
Waterman invented a mechanism that fed ink to the pen point by
capillary action, allowing ink to flow evenly while writing.
✓ Frustration is the real mother of invention, and that is precisely how
the fountain pen came about. The inconvenience of having to
keep dipping a pen to replenish its ink supply fuelled the creation of

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the fountain pen, which holds in a reservoir and passes it through to

the nib.
✓ It was first Petrache Poenaru, a Romanian inventor, who received a
patent for the invention of the very first fountain pen with an ink
barrel in 1827. However, the design was never perfected and had
major flaws: the flow of ink was not regulated and resulted in either
no ink at all or blotting
✓ It was in 1884 that Lewis Edson Waterman developed and gained a
patent for the three-channel ink feed fountain pen. The design
ensured a smooth flow of ink during writing, and revolutionized the
pen into a portable tool.
✓ Throughout the 20th century, the design underwent a number of
innovations, including the use of a replaceable and refillable ink
cartridge and range of plastic, metal and wooden fountain pens.

1888: BALLPOINT PEN HISTORY

✓ JOHN LOUD, in 1888, patented the first ball point writing tool. A ball
point pen has in its point a small rotating metal ball that continually
inks itself as it turns.
✓ The ballpoint pen was a turning point in the evolution of the pen
that takes us up to modern day. It was a durable, more convenient
writing pen that could write on surfaces such a wood, cardboard
and even underwater. At that time during the 19th century, this was
a revelation that essentially ended the era of ink writing.

✓ Now the most popular and widely used pen, the ball pen has an
interesting history that is first linked to American inventor John J.
Loud. Loud received a patent - one of many during the
development stages - but yet the design never actually produced
a satisfactory flow of ink for the writer.

✓ It was not until a couple of decades later in the 1930s that another
attempt at the ballpoint pen is made by Lazlo Biro, a Hungarian
journalist living in Argentina during World War II.

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✓ As a journalist, he was all too familiar with the annoyance of ink

smudging on paper. He came up with the idea to use quick-drying
ink instead of the usual India ink and to introduce a small metal ball
that rotated. The ball would work to keep the writing pen from
drying out and would distribute the ink smoothly.

✓ In 1943, Lazlo and his brother Georg, a chemist, were granted a

new patent. They went on to make their first commercial models:
the Biro pens - now a household name that has become
synonymous with ballpoint pen. The British government would then
go on to buy the rights for the pens so they could be used by Royal
Air Force crews. They favoured the ball pen since it was a sturdier
and could write at high altitudes unlike the fountain pen that would
flood under such conditions. The Biro was so successful in the RAF
that they became widely used by the military, which brought it to
the level of popularity it still has today.

FIBER TIP PENS -

✓ In 1963, fiber tip markers were introduced into the U.S. market
and have since challenged the ball point as the principal writing
implement.
✓ The first practical fiber tip pen was invented by YUKIO HORIE of
Japan in 1962. It was ideally suited to the strokes of Japanese
writing, which is traditionally done with a pointed ink brush.
✓ Unlike its predecessors, the fiber tip pen uses dye as a writing
fluid. As a result, the fiber tip pen can produce a wide range of
colors unavailable in ball point and fountain pen inks. The tip is
made of fine nylon or other synthetic fibers drawn to a point and
fastened to the barrel of the pen. Dye is fed to the point by
elaborate capillary mechanism.

FELT-TIP MARKERS

✓ are made of dense natural or artificial fibers impregnated with a

dye. These markers can be cut to a variety of shapes and sizes,
some up to an inch in width. A modification of the ball point pen

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using a liquid dye fed to a metal/plastic ball was introduced in the

U.S. from Japan in 1973.

MARKER PENS

- marker pens comes in four types of ink; pigment, water, oil and alcohol-
based.

- pigment and water- based inks are for traditional paper

STYLUS PENS

- Stylus pens are a two-in-one tool. One part is a traditional pen that writes
on paper and the other part includes a tylus

GEL PENS

- combine characteristics from ballpoint and rollerball pens.

-ink less likely to smudge but still flows freely enough for smooth writing

ROLLERBALL PENS

- the same designed as ballpoint pens but with water-based ink

DANIEL SCHWENTER

German inventor described a pen made from two quills, one

serving as a reservoir for ink inside the other quill

LEWIS EDSON WATERMAN (November 20, 1836 – May 1, 1901) was an American
inventor. He held multiple fountain pen patents and was the founder of the
Waterman Pen Company

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CHAPTER THREE :
HANDWRITING IDENTIFICATION

✓ VARIATIONS IN HANDWRITING

A more or less definite pattern for each is stored away in the

subjective mind but the hand does not always produce a stereotyped
duplicate of that pattern. The hand ordinarily is not an instrument of
precision and therefore we may not expect every habitual manual
operation to be absolutely uniform. The greater this skill in the art of
penmanship, the less the variations there will be in the form of individualize
letters as well as in the writing as a whole.

CAUSES OF VARIATION

1. Function of some external condition i.e. influence of the available

space.

2. Abnormal conditions such as physical injury, toxic effects, inebriation's,

emotion and deception.

3. Position of letter - all the letters are to be found initially, medially, and
finally. The fact of a different position, especially in combination with
another and particular letter, may modify any of them in some way
or another.

IMPORTANCE OF VARIATION

1. Personal variation encountered under normal writing conditions is also a

highly important element of identification. The qualities of personal
variation include both its nature and its extent. It becomes necessary to
determine the amount, extent, and exact quality of the variations.

2. It is improbable that the variety and extent of the variation in handwriting

will be exactly duplicated in two individuals that such a coincidence

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becomes practically impossible and this multitude of possible variations

when combined is what constitutes individuality in handwriting.

3. With a group of signatures of a particular writer, certain normal

divergence in size, lateral spacing and proportions actually indicate
genuineness. Variation in genuine writing is ordinarily in superficial parts
and in size, proportions, degree of care given to the act, design, slant,
shading, vigor, angularity, roundness and direction of stroke.

DEVELOPMENT OF HANDWRITING OF AN INDIVIDUAL

1. Children learn writing by following the school copy or model.

2. After acquiring some degree of skill the children no longer follow the
school model.

3. As speed increases, conscious design and regularity begin to break

down.

4. In the course of trial and error, modification are made, simplification and
elaborations, addition and omissions occur.

a. The writing pattern of each child embodies unique combinations of

such deviation from the standard letter forms or school model, and
becomes his personal habits.

b. Although thousands learn the same system and that the natural
result is identity, but facts show that it is not because those
who were taught the same system or school copy a class of
writers, but such impairs does not by any means produce a slavish
uniformity.

Variation begins as soon as writing begins and continues until each writer in the
way that seems best and easiest to him

A. COPY BOOK FORM

is an illustration of the basic design of letters that is fundamental to
the writing system

B. SYSTEM OF WRITING
It is the combination of the basic shape and design of letter and
writing movement which was taught in school. It is a design of letters

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that is essential in identifying the nationality of the writer which is

essential in ascertaining a persons identity.

SYSTEM OF WRITING

1. THE ROUND HAND SYSTEM- originated in England characterized by an

open flowing hand and a contrast of thick and thin strokes

2. SPENCERIAN SYSTEM - a script style that was used in the united states from
approximately 1850 to 1925 and was considered the American de facto
standard writing style for business correspondence prior to the widespread
adoption of the typewriter

3. PALMER METHOD- it is the simplified style of spenceria system wherein it

characterized by cursive writing with rhythmic

4. MODERN AMERICAN OR COMMERCIAL SYSTEM -a writing system is a set

of rules relating a given set of written signs to the linguistic units
represented (e.g sounds). the set of physical written signs is called script
(handwriting as distinct from print; written characters). bedtime routines
for children with autism. kallie breneman.

5. MODERN VERTICAL-a vertical writing mode is one with vertical lines of

text, i.e. a leftward or rightward block flow. latin-based systems are
typically written using a left-to-right inline direction with a downward (top-
to-bottom) block flow direction

C. WRITINGS

it is the visible result of a very complicated series of acts, being as a whole

or a combination of certain forms which are the very visible result of mental
and muscular habits acquired by long continued painstaking effort

PRINCIPLE IN HANDWRITING IDENTIFICATION

1. When any two specimens of handwritings contain a combination of

corresponding or similar and specifically oriented characteristics of such
number and significance as to preclude the possibility of their occurrence
by mere coincidence, and there are no unaccounted for difference, it

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may be concluded that they are similar in writing characteristics and

therefore written by one and the same person.

2. Handwritings are fixed habits.

3. These writing habits like habits of speech become so automatic and

unconscious that even by the most strenuous effort, it is almost impossible
to change them. It is one of the most permanent of human habits.

4. No duplication of handwriting by two individuals.

HANDWRITING PROBLEMS

1. A handwriting contested by its author which in reality is genuine

and corresponds perfectly to the ordinary, and habitual signatures of
that person.

2. A handwriting contested by its author which in reality was written

by him but in a way which was different from the ordinary manner and
which is more or less different from the common genuine signatures of that
person.

3. A signature/handwriting contested by its author which in reality was

written by a third person and which is a forgery written in an attempted
imitation of a model.

4. A spurious signature/handwriting written by somebody who did not

attempt to imitate the signature of a person and who uses a fictitious
name and this to give his work the appearance of a signature.

5. An uncontested signature/handwriting, in fact, genuine but written

by an unknown person whose name must be deciphered by the
document examiner

D.HANDWRITING

is a visible effect of bodily movement which is an almost unconscious

expression of fixed muscular habits. It is an act of writing using a pen, pencil or
any writing instrument

GRAPOLOGY- is the science that deals with the study of ones

handwriting and the characteristics binding on it.

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Types of Handwriting

1. Cursive – letters are joined together

2. Hand lettering – writings that are separate or disconnected in style
3. Natural Writing – executed normally and its has no attempt of
altering and disguising its usual writing
4. Disguised – writings that is executed with deliberate attempt of
changing its usual writing habits to hide ones identity
5. Guided/ Assisted Writing – writing in which the writers hand is at
steady while being assisted by another person

E. WRITING HABITS – refers to any repeated elements of once handwriting which

serves as an identifying characteristic. It is tendency to write in a certain manner
which is acquired by frequently doing it.

F. SIGNIFICANT WRITING HABITS – elements of ones writing that are sufficiently

unique and well fixed to serve as a strong basis of individuality.

History of Writings

• Cave drawing – early recorded history of writing , these cave drawings

are called PETROGLYPHS OR PETROGRAMS which was developed
between 20,000 and 10, 000 BC.

• Carvings as a means of communication gradually evolved into paintings

or word pictures or IDEOGRAPHS. in Egypt, the word picture is termed as
HIEROGLYPHICS.

• PHONOGRAPHS – are those word pictures which are translated to sounds

or syllables and later on developed into phonetic symbols called
PHONETIC ALPHABET

• SUMERIANS – was credited for the creation of the first alphabet

• PHOENICIAN ALPHABET –known alphabet spread by Phoenician alphabet

and adapted by the entire world during the 1700-1500 BC which consist of
22 letters and written from right to left.

• GREEK ALPHABET- derived from the Phoenician alphabet and developed

in Greece by 8th century BC. They changed the direction of writing from
left to right.

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• ROMAN ALPHABET OF LATIN ALPHABET – it is initially consisted of

disconnected capital and lower case letters.

• CYRILLIC ALPHABET – used in Russia, Serbia and Bulgaria . It was

developed in Greece but has an additional letters with sounds different
from Greek.

Physiological Basis of Handwriting

The development of writing first evolves on the impulses of the brain that
connects with the organs of the body which subsequently forms a writing
process. These impulses is formed from the writing center of the brain’s cortex,
the part that also controls our vision, hearing ,sight, talking, walking and other
fundamental movements of our body. The impulse from our brain is now being
transmitted to our finger and directs it to grasp the pen and bring it into motion
with considerable pressure. A center near the area of the cortex is responsible
for the fine movement in handwriting and if this important area becomes a
disease it will cause a person lose the ability to write which is called “agraphia”
the persons skill in writing involves the four group muscles which are the finger,
wrist ,elbow and shoulder and the combination of this movement will produce
written forms called “motor combination”. At first, a person starts to create
symbols and drawings since they have no idea with the system of writing .
through a guide and painstaking practice, a persons will eventually form his
own writing habits. After considerable time and effort, a person will
unconsciously develop his own unique writing habits which is called significant
writing habits.

WRITING MOVEMENTS

is the act of moving to form letters and symbols and all factors relative to the
motion of the writing instrument. it is a primary determinant of the speed of
writing of person.

KINDS OF MUSCLES INVOLVED IN WRITING MOVEMENTS

1. Extensors - muscles responsible for the upward movement of

fingers and tends to make it straighten out.
2. Flexors - muscles responsible for the downward
movement of the fingers

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3. Lumbrical - this are the combination of the extensor and

flexor muscles that forms a lateral or horizontal strokes

TYPES OF WRITING MOVEMENTS

1. Finger Movements - commonly employed by beginners. It is
the action of the thumb, index and middle fingers in writing. This writing
movement results into a rough lines and irregular connections between
letters. The motion of the pen appears slow and dull.
2. Hand Movement - writing movement that has limited
freedom and involves the action of the entire hand. The wrist is pivotal
point of the writing.
3. Forearm or Muscular Movement - considered as the most skillful
type of movement. It includes the motion of the arms, while the hands
and fingers are steady. This movement shows extreme speed and there
is force and continuity of the writing movement. It covers a wide range
and longer radius than the other movements.
4. Whole arm - it is used in ornament or large writings

Rhythm in Handwriting

Rhythm is succession of connected, uniform strokes working in full

coordination. this is manifested by clear-cut accentuated strokes which
increase and decrease in which look like perfect cones pressure is always in a
state of change moving from light to heavy

LACK OF RHYTHM

Characterized by a succession of awkward, independent, poorly

directed and disconnected motions.

IMPORTANCE OF RHYTHM

by studying the Rhythm of the succession of strokes, one can

determine if the writer normally and spontaneously or write with hesitation as if
he is attempting to go to another signature or from heavy to light

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LETTER CONNECTION

Letter Connection Illustration

• Arcade – a rounded stroke shape like an
arch. it is a slow mode of connection resulting
from controlled movements.
• Garland – links the downward strokes with a
flowing curve swinging from left to right.
• Angular connective form – when the
downward strokes and upward strokes meet
directly this type of connection imposes a check
on the continuity of movement which is
characterized by an abrupt stop and start in
each turning point.
• Threadlike connective form – the joining of
downward and upward strokes is slurred to a
threadlike tracing or where rounded turns used at
both top to bottom a double curve. these forms
appear both in the shaping of letters within the
word

CHARACTERISTICS OF WRITING

• Characteristics – refers to the distinguishing trait, quality and property

found in a writing that serves as identifying details.

Types of characteristics

1. class/gross characteristics – these are characteristics that can be found

commonly in the specimen writing of a person

2. Individual characteristics- characteristics which are highly peculiar and

personal which is unlikely to occur in other handwriting.

CLASSIFICATION OF INDIVIDUAL CHARACTERISTICS

1. Permanent characteristics - found always in his handwriting.

2. Common or usual - found in a group of writers who studied the same
system of writing.
3. Occasional - found occasionally in his handwriting.

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4. Rare - special to the writer and perhaps found only in one or two persons
in a group of one hundred individuals.

HOW INDIVIDUAL CHARACTERISTICS ARE ACQUIRED

1. Outgrowth of definite teaching

2. Result of imitation
3. Accidental condition or circumstances
4. Expression of certain mental and physical traits of the writer as affected by
education, by environment and by occupation.

SIGNATURE

• Is the name of a person written by him/her in a document as a sign of

acknowledgement

• It is a name or a mark that a person puts at the end of a document to

attest that he is its author or that he ratified its content

• Signed name – somebody’s name signed by him or her or by somebody

authorized by him or her to sign

• Signing of name

• A distinctive mark, characteristics, or thing that identified somebody such

as a signature song

Model signature – a signature which is prepared for a traced forgery

Evidential signature – specimen signature which was executed in the

particular date, time, and place under a particular writers condition and
for a particular purposely

Digital signature – electronic signature consisting of a transformation of an

electronic document or an electronic legal message having initial.

KINDS OF SIGNATURE

1. Guided signature – a signature that executed while the writers hand or

arm is steadied in any way. Such signature authenticates a legal
document provided it is shown that the writer requested the assistance.

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Guided signatures are most commonly written during a serious illness or on

a deathbed.

TYPES OF GUIDED SIGNATURE

• Inert hand – refers completely involuntary ;incapability of motor activity
and signatory may be conscious or even unconscious ( Illiterate persons)
• Guided hand – situation is one in which the person providing the
guidance usually dominates the writing process and provide greater
portions of control.
• Forced hand – signatory is forced to write against his will by threats ,
constrains , and the like
• Assisted hand – one in which the persons assisting provides help to a lesser
degree, perhaps only to the point of steadying a tremulous arm or hand,
without actually directing the movement of the writing instrument

2. imitated signature – synonymous with freehand forgery

3. Theory of comparison – the act of setting two or more signature in an

inverted position to weight their identifying significance, the reason being that
those we fail to see under normal comparison may readily be seen under this
theory.

The examination of signatures is considered a specialized branch of

handwriting identification for the following reasons

A. a signature is a word most practiced by many people and therefore most

fluently written

B. A signature is a means to identify a persons and have a great personal

significance

C. a signature written with little attention to spelling and some other details

CLASSES OF SIGNATURE

A. formal – complete , correct signature for an important document such

as will ( conventional or copybook form)

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B. Informal – usually for routine documents and personal correspondence

(cursory)

C. Careless scribble – for the mail carrier , delivery or the autograph

collector

FORGERY - Is an act of falsifying, counterfeiting or altering a material ,

document or currency notes with the intent of defrauding a person . In a legal
parlance, the element of forgery requires an “ intent to defraud”

FORGERY, COUNTERFEITING AND FALSIFICATION

A. COUNTERFEITING - It is the crime of making, circulating or uttering

false coins and banknotes. Literally, it means to make a copy of;
or imitate; to make a spurious semblance of, as money or
stamps, with the intent to deceive or defraud. Counterfeiting is
something made to imitate the real thing used for gain.

B. FALSIFICATION – The act/process of making the content/s of a

document not the intended content.

C. FORGERY – The act of falsely making or materially altering, with

intent to defraud, any writing which if genuine, might be of legal
efficacy or the foundation of a legal liability.

Take Note: In forgery, every person who, with intent to defraud, signs the
name of another person, or of fictitious person, knowing that he has no
authority to do so, or falsely makes, alters, forges or counterfeits any - checks,
drag - due bill for the payment of money or property - or counterfeits or forges
the seal forged, or counterfeited, with intent the same to be fake, altered
forged, or counterfeited, with intent to prejudice, damage or defraud any
person is guilty of forgery.

TYPES OF FORGERY

• Simple forgery – it is a forgery wherein a person does not try to copy any
model or facsimile of a signature they are attempting to forge.

• Simulated or copied forgery- it is a reproduction or imitation of signature

that resembles model signature copied through free hand. It is done

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through constant practice until he acquired the mental picture of the

model signature.

• Traced forgery – a forged signature that completely resembles the model

signature by the process of tracing the outline of the genuine signature.

METHODS OF TRACING

A. projection or transmitted light process – it traces a signature

through a transmitted light at the bottom of both paper then trace the
outline appearing at the bottom of the paper.

B. carbon outline process – the forger use a carbon paper . The

carbon paper will be placed at the middle of two papers then the
model signature at the top will be traced with dry pen or any pointed
instrument which leaves an imprint to the fraudulent document
bearing the exact pattern of the original signature.

C. indentation process – a forger will trace the model signature with

adequate pressure over a blank paper using a stylus or any pointed
writing materials that form an indent signature. The depression created
on a blank paper will now be overwritten with an ink to make the
indented signature visible.

INDICATION OF FORGERY
• Blunt starts and stops
• pen lifts and hesitation
• Tremor
• Speed and pressure
• Patching

ELEMENTS OF WRITING MOVEMENT

FORM

o Writer’s chosen writing style

o Design or shape
o Mere similarities in form are not sufficient indication of identity. But,
basic differences in form of letters are indications of two writing
being made by different writers

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SLOPE OR SLANT

o Angle or inclination of the axis of letters relative to the baseline

o Protractor measurements can determine the degree of slant
SIZE

o The overall size of the writing or the proportions between zones

o As a writing characteristics, size is somewhat divergent under
varying conditions and may have but little significance when
applied to only one example, or to a small quantity of writing like a
signature unless the divergence is very pronounced

PROPORTION OR RATIO

o The relation between tall and short letters refers to the ratio of
writing
o If the tall letters have loops twice longer than the height of the short
letters the ratio is described as high, if opposite the ratio is low

TERMINAL AND INITIAL STROKES

o When a letter , word or name is completed in a free , natural writing

, the pen is usually raised from the paper while in the motion with a
flying finish (or vanishing, tapering or flourishing terminal strokes)
o With many writers the motion of the pen also slightly precedes the
putting of the pen on the paper at the beginning with a flying start
so that the strokes as the beginning and end strokes gradually
diminish or taper to a vanishing point

ALIGNMENT

o Relation of the parts of the whole line of writing or line of the

individual letters in words of signature to the baseline
BASELINE

o Ruled or imaginary line upon which the writing rests

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PEN PRESSURE

o This refers to the degree of weight applied in a writing which may

be heavy or light
PEN EMPHASIS

o It is the act of intermittently or periodically forcing the pen against

the paper surface with an increase in speed
SPEED

o It refers to the rate of movement of a writer and interpreted as

either fast , slow, or moderate

Indications of speed (speedy) writing

a. Smooth, unbroken strokes and rounded forms.
b. Frequent signs or tendencies to the right.
c. Marked uncertainty as to the location of the dots of small letters "I",
"j" & crosses of small letter "t".
d. Increased spontaneity of words or small letter "t" connected with
the following words.
e. Letters curtailed or degenerated almost to illegibility towards the
end of words.
f. Wide writing - width of letters is greater than the connecting spaces
adjoining it.
g. Great difference in emphasis between upstrokes and down strokes.
h. Marked simplification of letters especially capital letters.
i. Rising line.
j. Increased pen pressure.
k. Increase in the margin to left at the beginning of the line.

Indications of slow writing

a. Wavering forms and broken strokes.
b. Frequent signs or tendencies to the left.
c. Conspicuous certainly as to the location of the dots of small letters
"I","j","or "t" crosses with scarcely perceptible deviation from the
intended direction.
d. Frequent pauses by meaningless blobs, angles, divided letters and
retouches.
e. Careful execution of detail of letters, toward the end or names.

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f. Narrow writing.
g. No difference in emphasis in upstroke and down stroke
h. Ornamental or flourishing connections.
i. Sinking lines

RHYTHM

o It is a quality of handwriting characterized by the harmonious

recourse or balance of motion of handwriting.
SKILL

o It refers to the degree of proficiency of persons writing.

CLASSIFICATION OF SKILL
Poor Skill - characterized by lack of legibility and symmetry or any of its
features
Good Skill - reveals both legibility and symmetry in writing
Medium Skill – it describes writing that does not fall into poor or good class

PEN LIFT

o Is the interruption of the strokes caused by sudden removal of the

pen and leaves a gap at certain points of a word or letter

SHADING

o It is the widening of a line in a letter because of the application of

pressure and there is an increase in the width of the strokes.
PEN POSITION

o It is the location and angle of the pen to the surface of the paper
PEN HOLD

o It is helpful in identifying the position of the pen by carefully

examining the ink strokes of the letters or words
PEN SCOPE

o It refers to the reach of the hand or the coverage of writing while

the wrist is at rest

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RETRACING OR RETRACED

o It is a stroke that goes back over another writing stroke that creates
superimposition of line in the letter
RETOUCHING OR PATCHING

o A strokes that goes back over the defective portion of the strokes to
correct or alter the words or letters being written
LINE QUALITY

o The term used to described the smoothness of a line and a writing

movement
The quality of movement can be distinguished into five classes;
a. Clumsy, illiterate and halting
b. Hesitating and painful through weakness or disease
c. Nervous and irregular
d. Strong, heavy and forceful
e. Smooth flowing and rapid

FACTORS THAT AFFECT WRITING CHARACTERISTICS

1. Natural Variations- is the usual or normal deviation in a writing specimen

of an individual handwriting

2. Transitory Change – those changes that exist because the factors or

causes that is still affecting the writer, the normal writing condition of the
writer will revert back to its normal form once that causes seizes to exist.

3. Tremors – is the weakening of the strokes characterized by a wavering or

shaky strokes resulting to irregular pen lines attributed to brain impulses
which affect the muscles

A. GENUINE TREMORS

A. Weakness or sickness (Pathological Tremor) – characterized by a

convulsive manner of writing which is beyond the will and control
of the writer.

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B. Old Age – indicates muscular weakness in writing and shows

unusual departure of letters from its intended course. It also
shows carelessness and unconscious strokes
C. Illiteracy and Uneducated Person – shows different pen strokes
caused by hesitation in writing and unfamiliarity of the proper
formation of letters and words in a writing process. Heavier and
thicker pen lines may be found due to illiteracy in handwriting

B.TREMORS OF FRAUD

➢ The strokes are too heavy resulting to widening of the strokes of a

letter

➢ There are periodic interruption of the writing movement that causes

varying pen pressure

ELEMENTS OF FORMS IN WRITING

STROKE CHARACTERISTICS Appearances/

illustration
Arc – a curved formed inside the top
curve of loop as in small letters “h”, “m”,
“n”
Arch – any arcaded form in the body of
a letter found in small letters which
contain arches “a”
Beard – is an introductory up and down
strokes found in some capital letters.
Blunt – characterized by abrupt
beginning or end
Buckle Knot – is a horizontal or loop
strokes, made as a flourished which is
added to the letters, as in small letters “k
& b” or in capital letters A”, “K”, & “P” ,
the horizontal end loop strokes that are
often used to complete a letter
Central part – is a body of the letter
characterized by small rounded or
circular strokes

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Ductus-link or Ductus-broken – refers to

the connection between each letters
which are either joined or disconnected
Eyelet/ Eyeloop – refers to small oblong
strokes usually found on a lowercase
Hitch – an introductory backward stroke
found in capital and small letters
Humps – an outer curved portions or
surface of the letters
Knob – is a tiny pool of an ink found at
the beginning or ending strokes of a
letters, it is also called as “Blots”
Loop – an oblong curved such as found
on the small letters “f”, g’’, l”. a loop
maybe blind or open. A blind loop is
usually the result of the ink having filled
the open space.
Stem/Shank/Staff- known as the
backbone of the letters described as a
long downward stroke
Whirl – is the single upward strokes found
opposite the stem
Initial/ Terminal Spur- a long running
initial and terminal strokes of a letters (
Space pillar)
Through – refers to a garland form of a
letters
Embellishment / Rubics – flourishes and
designs useful only for ornamentation
but not essential or unnecessary to the
legibility of ones writing
Diacritics – an element added to
complete a certain letter, either a cross
bar or a dot
Hook – a minute curve or an ankle
which often occurs at the end of the
terminal strokes and sometimes it occurs

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at the beginning or initial of the strokes

Strokes – refers to the series of the lines or curved written in a single letter ; one of
the lines of an alphabet or series of lines or curve withing a single letter; the path
traced by the pen on the paper

➢ Strokes structure is the most apparent point in the comparative analysis of

handwriting. It is the only point that many people check when doubt a
particular handwriting. Strokes formation is usually the starting point for an
inexperienced student of handwriting examination. (PNP-CLO QDE Notes)

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CHAPTER FOUR:
QUESTIONED DOCUMENT EXAMINATION &
COURT PRESENTATION

SCIENTIFIC METHOD IN QUESTIONED DOCUMENT EXAMINATION

A. Analysis (Process of recognizing the characteristics of handwriting ) or the

identification of elements. Elements of the persons handwriting may be
known or unknown specimen must first be analyzed and examined which
includes the habit or behavior of writing that makes it different from other
people. ( properties or characteristics, observed or measured)
B. Comparison – properties or characteristics of the unknown determined
thought analysis are now compared with the familiar or recorded
properties of known items
C. Evaluation – similarities or dissimilarities in properties or characteristics will
each have a certain value for identification, determined by its likelihood
of occurrence. The weight or significance of each must therefore be
considered
D. Verification – it is the process of double checking the accuracy and
correctness of the examination usually conducted by other expert in the
said field.

The criteria of scientific examination of documents are:

A. Accuracy – correspondence between results obtained and the

truth.
B. Precision – measure of the consistency of results obtained in
repeated study or experimentation.

PRELIMINARY EXAMINATION OF DOCUMENTATION

it is the initial examination conducted on a document by a document

examiner to determine whether it is genuine or not. It is not a misnomer, for in
reality it consists of painstaking analysis more than looking at the document and
expressing an off-hand opinion.

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A. THE IMPORTANCE OF PRELIMINARY XAMINATION OF QUESTIONED

DOCUMENT
1. Ensure preparedness
2. Avoidance of delay
3. Ensure success of the case
B. Some principal points for consideration in the PRELIMINARY
EXAMINATION of questioned documents. Please note that these
questions may not be applicable in every case.
1.Is the signature genuine?
2. is the signature in a natural position?
3. are the signature of the witness genuine and were they
written in the order as they appear
4. Does the signature touch the other writings? Or was it
written last?
5. Are there remains of the pencil or carbon marks which may
have been an outline for the signature of other writings?
C. who is a QUESTIONED DOCUMENT EXPERT?
1. attained the appropriate education and training
2. sufficient knowledge on the technical , scientific and legal
aspects of the documents examination
3. a broad experience in handling questioned document cases.
D. REASONS FOR UTILIZING A QUESTIONED DOCUMENT EXPERT;
1. Assurance of preparedness
2. trial fiscal or judges are frequently confronted with document cases.
3. Avoidance of an “OFF-HAND” opinion.

E. What is an “OFF-HAND OPINION”?

Off-hand opinion is usually a conclusion that is not based on thorough
scientific examination.

F. THE DANGER OF OFF-HAND OPINIONS - It has happened in some cases

that an off-hand opinion, has sent an innocent man to prison, while a
murderer was given a chance to escape

TECHNIQUES EMPLOYED IN THE EXAMINATION OF QUESTIONED DOCUMENT

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1. Microscopic Examination – it is used in the detection of retouching, patching

and unnatural pen lifts especially in signature analysis. It aids in the
decipherment of erasures in a document with a very minute details.

2. Transmitted light examination – done by allowing the light at the bottom of

the paper to passed through . it aids in the detection of erasures

3. Oblique Light examination – it is done by reflecting the light that is pointed at

a certain angle to the paper surface.

4. Ultraviolet examination

5. Electrostatic detection – using the electrostatic detection apparatus (ESDA),

forensic document examiner will be able to detect indented writings

6. Video Spectral Comparator (VSC) – used in the examination of obliterated

writings and watermarks.

INSTRUMENTS AND APPARATUS USED IN QUESTIONED DOCUMENT

EXAMINATIONS

A. MAGNIFYING LENS – Bank personnel and other people involved in

currency examinations usually use and ordinary hand-lens; the maximum
diameter of which is four inches, and this appears big with its wide frame it has a
magnifying power of two times the original only. Magnifying lenses of five times
or more magnifying power, with built-in-lighting are more useful.
B. SHADOWGRAPH – a pictorial image formed by casting a shadow,
usually of the hands, upon a rightful surface or screen.
C. STEREOSCOPIC BINOCULAR MICROSCOPE – a tri-dimensional (3D)
enlargement is possible.
D. MEASURES AND TEST PLATES (TRANSPARENT GLASS) – those used for
signatures and typewriting.
E. TABLE LAMPS WITH ADJUSTABLE SHADES (Goose Neck Lamps) – used
for controlled illumination; needed in sidelight examination wherein light is
placed at a low-angle in a position oblique to plane or document.
F. TRANSMITTED LIGHT GADGET – a device where light comes from
beneath or behind glass on document is placed.
G. ULTRA VIOLET LAMP – this is usually used in the detection of
counterfeited bills but can actually be used to detect security features of
qualified documents.

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H. INFRARED VIEWER – primarily used to decipher writings in a charred

document.
I. COMPARISON MICROSCOPE – similar to that of the bullet
comparison microscope.

A. PURPOSES OF PHOTOGRAPHS IN QUESTIONED DOCUMENT

EXAMINATION

1. serve as record of the initial condition of a disputed document;

2. make clear what otherwise may be hidden or indistinct;
3. enlarge a writing in question so that every quality and
characteristics of it can be clearly and properly interpreted whether the facts so
shown point to genuineness or to forgery;
4. enable any number of accurate reproductions of document, thus
affording unlimited opportunity for study, comparison and evaluation by any
number of examiners, which would not be possible by using the document
alone;
5. allow cutting apart as may be desired and the various parts
classified for comparisons;
6. can show delicate discolorations due to chemical erasures or other
fraudulent changes, which may otherwise be overlooked, or misinterpreted;
7. can show very clearly any erasures by abrasions made by ordinary
rubber eraser and it can record in permanent form with the paper placed
obliquely to the plane of the lens and plate and inclined at just right angle of
reflection so as to show differences in the reflected light from different portions
of the paper surface; and
8. with transmitted light, photographs is useful in:
a. examination of watermarks
b. determining the identity, or the differences in paper by showing
arrangement of the fibers and the markings of the wire gauze and dandy roll
c. showing the continuity of strokes and
d. determining retouching or patching of a writing by showing clearly
the presence of added ink film and the uneven distribution of ink in interrupted
strokes.

HANDLING OF DOCUMENTS AND QUESTIONED DOCUMENTS

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A. THE CARE OF DISPUTED DOCUMENTS AND DOCUMENTARY EVIDENCE

1. It is a basic requirement, that when a document becomes disputed

and deposited in court or with the attorney, in order to maintain its original
condition, it should be kept UNFOLDED AND IN A SEPARATE, PROPER SIZE
ENVELOPE OR FOLDER. This is true not only for the disputed documents, but for
many other important documentary evidence.
2. It is also advisable that right after the document becomes
disputed, or questioned, it is important to make not only the usual photo static
copy (Xerox), but also a proper photograph or photo-enlargement, done if
possible by the document expert or under the supervision of the document
expert.
3. When working in the preparation of case, it is often necessary
for the lawyer or court to handle repeatedly the disputed document. Should
this be necessary, instead of handling and working with the original document,
the photograph should be used.
4. Every touching, folding, refolding or pointing to certain parts of a
document, can change the physical condition of the case. For example,
touching with wet hands or fingers can create smearing in the ink, pointing with
a pencil can leave marks that create a suspicion of previous pencil marks, or
experiments as proof of attempted forgery.
5. Pointing a document with any other instruments, such as sharp stick,
can cause slight damage which although it can not be seen by the naked eye,
can show definite marks under the microscope or on the enlarged photograph.
6. No test should be made to alter the conditions of the document; for
example, the old-fashioned ink test, which was used to determine the age of
the ink-writing.
7. Should any test be necessary, insist that it should be done in the
presence of a chemist, or in court, or in front of both parties involved the case.

HOW TO PREPARE AND COLLECT HANDWRITING STANDARDS?

Factors to Consider in the Selection of standards

A. THE AMOUNT OF STANDARD WRITTEN

B. SIMILARLY OF SUBJECT MATTER. If the questioned writings are hand
printed, then get hand printed standard or exemplar.

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C. RELATIVE DATES of the questioned and the standards writing

standard signatures or writing must be those written five (5) years before or five
(5) after the date of the questioned signature or writing.

The importance of contemporaneous standards are:

1. Helps to determine or trace gradual changes on one’s handwriting
or signature.
2. Aids in tracing the development of any writing variation

D. CONDITION UNDER WHICH BOTH THE QUESTIONED AND THE

STANDARD ARE PREPARED. Look for standards prepared under comparable
circumstances such as: paper rested on the knee; standing; sitting; lying down;
and/or while on moving vehicle.

E. WRITING INSTRUMENT AND PAPER. Same instrument used in the

preparation of the questioned document must be obtained in the standards

ADMISSIBILITY OF STANDARD WRITINGS

The following are standard writings which are admissible for comparison
purposes:

Standard writings witnessed, Standards writings admitted, Record

Maintained in Regular Course of Business as Standard Writings, Government
Document as standard Writings, Ancient writings, Other Writings Standards -
Among writings admissible as standard are signature on spelling motion or other
instruments, such as an appearance bond, which may without further proof of
genuineness be used as a standard. Familiarity sometimes establishes standard
writings.

Opinion Evidence - The court seem to be in general agreement that proof

of the genuineness of a standard cannot be established by the opinion of
experts testifying from a comparison of the writing sought to be used as
standard with another writing.
Genuineness of standard decided by court - The sufficiency of the proof
of the genuineness of a standard of writing is a matter to be decided by the
court

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SUGGESTED STEPS IN THE EXAMINATION OF SIGNATURE

A. STEP 1- Place the questioned and standard signature in the juxta-

position or side by side for simultaneous viewing of the various elements
and characteristics.
B. STEP 2 – the first elements to be considered is the handwriting
movement or the manner of execution (slow. Deliberate, rapid, etc)
the fundamental difference existing between a genuine signature and
an almost perfect forgery is in the manner of execution.
C. STEP 3 – Second elements to examine is the quality of the line, the
presence or tremors, smooth, fluent or hesitation. Defect in line quality
is only appreciated when simultaneous viewing is made.
D. STEP 4- Examine the beginning and ending lines, they are very
significant, determine whether the appearance blunt, club-shaped,
tapered or vanishing
E. STEP 5 - Design and structure of the letters – determine as to roundness,
smoothness, angularity and direction. Each individual has a different
concept of letter design.
F. STEP 6 – Look for the presence of retouching or patching
G. STEP 7 – Connecting strokes , slant, ratio, size, lateral spacing
H. STEP 8 – do not rely so much in the similarities or difference of a capital
letters, for these are the often changed according to the whim of the
writer.

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CHAPTER FIVE;
CURRENCY ( FORGERY, COUNTERFEITING
AND FALSIFICATION)

MAKING OF PAPER MONEY

A. ENGRAVING – It is the process by which the line to be printed are

cut into pieces of metal by hand or with a machine. Ink is rubbed over the plate
to fill the cuts in the metal and the extra ink wiped-off the top. The pressure of
the paper on the plate causes the ink in the holes to be lifted on the surface of
the paper. The ink lines will be felt to be raised above the surface. The
engraving process is used for the production of all genuine bank notes.

B. LETTERPRESS PRINTING – is the most common form of printing books,

magazine, letterheads and the usual printing in common uses. In the process,
the letters are made on raised pieces of metal which covered with ink and then
impressed upon the paper in the same form as a rubber stamp or cliché. The
serial numbers of a bank note are usually added by this letterpress process after
the note has been produced by an engraving.

C. OFFSET PRINTING – is the method a photograph is taken of the desire

material and a print is made on a specially prepared aluminum plate. The plate
is kept wet with water. When ink is applied, it sticks only these parts of the plate
where printing is desired. The aluminum plate is then put in contact with rubber
roller which transfers the ink to the papers. The offset process is quite used in
small printing plants. Because it was photographic process, it is the most
common modern used by counterfeiter to make false paper money.

BANK NOTE PAPER

Paper bank notes get a lot of handling. If a good grade of paper is not
used, they would soon wear out and have to be replaced. Even with the best
paper, the old two peso bill usually wears out and has to be replaced at the
end of thirty days. Government buy the very best grade of paper they can get,
in order that the paper will last as long as possible. Special paper also makes it

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difficult for the counterfeiter to duplicate it. It is usually the use of wrong paper
that causes the counterfeited bank note to be detected by ultraviolet light.

Take Note: In most modern printing, papers have chemicals added to

make look whiter. These chemicals cause brilliant fluorescence under ultraviolet
light. Bank notes paper does not have this filler and does not show.

DIFFERENT PARTS OF PHILIPPINE MONEY BILL

The Philippine one thousand-peso note (Filipino: Sanlibong Piso) (₱1000;

PHP1000) is a denomination of Philippine currency. It is the largest denomination
in general circulation in the Philippines. José Abad Santos, Vicente Lim, and
Josefa Llanes Escoda are currently featured on the front side of the notes, while
the Tubbataha Reefs Natural Park and the South Sea pearl are featured on the
back side of the note

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1000-Piso New Generation Currency Polymer banknote

Image Design Year

main of Usage in
Dimensions Revers
Obverse Reverse Colour Obverse First circulation
e Issue

Tubbataha
Reefs Natural
Park in Sulu
Sea; Pinctada
Philippine eagle (Pithecophaga April
160 mm × Light maxima, South
jefferyi), Sampaguita (Jasminum 18,
66 mm Blue Sea pearl;
sambac) 2022
Mindanao
design
for T'nalak (Ikat-
dyed abaca)

New Generation Currency Series (2010-present)

In 1995, a new set of coins and notes was issued In 2009, the Bangko
Sentral ng Pilipinas announced that it launched a massive redesign for current
banknotes and coins to further enhance security features and improve
durability. The members of the numismatic committee include Bangko Sentral
Deputy Governor Diwa Guinigundo and Dr. Ambeth Ocampo Chairman of the
National Historical Institute. The new banknote design features famous Filipinos
and iconic natural wonders. Philippine national symbols will be depicted on
coins. To provide a smooth transition from the New Design Series to New
Generation Currency series, BSP purposely retained some NDS features, such as,
the size, predominant colors and the featured personalities in the NGC, except
for the portrait of President Corazon Aquino which is an added portrait on the
500-piso note. The BSP started releasing the initial batch of new banknotes on
December 16, 2010. The NGC will co-exist with the NDS approximately until 2014,
while BSP is building up its capability to print and produce NGC banknotes with
the latest anti-counterfeiting security features incorporated through advanced
technologies, benchmarked worldwide. Color plays an important part in the
design, accentuating key elements such as value numerals, seals and note
edges. The inclusion of large intaglio printed numbers on the front differentiates
each denomination to provide assistance for the visually impaired.

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CHARACTERISTICS OF GENUINE AND COUNTERFEIT PAPER NOTE/BILL

GENUINE COUNTERFEIT
MAIN PRINT
Distinctive feel & embossed Generally smooth
effect
1. The fingers will readily feel 1. The fingers will hardly feel the
the the main print on the main prints of the front & back
front & back on fairly new even on new notes.
notes. 2. This is brought about by offset
2. This is due to the print the most common process
measurable thickness of the employed by counterfeiters
ink deposited on the paper 3. The prints are mere stains on the
which gives the prints an coating of the sensitized paper
embossed effect. which is glossy.

PORTRAIT
1. Appears life-like 1. It appears dead.
2. The eyes sparkle. 2. The eyes do not sparkle.
3. The tiny dots and lines 3. It appears blurred, dull, smudgy
(Vignette) forming the and poorly printed.
details of the face, hair, etc. 4. Hair is lifeless.
are clear, sharp and well
defined.
4. Each portrait stands out 5. The face and/or forehead are
distinctly from background. often naturally white or pale due
This is noticeable along the to absence of most of the
shoulders. details.
5. The background is 6. The concentric lines depicting
composed of multi-colored the eyes often merged into solid
fine pattern of lines in printed areas.
varying tones and shades 7. The background often blends
interlacing with each other. with the portrait and is usually
These shadings or toning are “scratchy.”
intricately printed in such a 8. The lines are thick with rough
way that the contrast or edges.
shifting of colors creates the 9. The multi-colored prints on

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impression of life & vividness genuine notes are extremely

to the notes. difficult to duplicate and as a
result, counterfeit notes are
usually off-color & not of the right
shade or tone.

WATERMARK
1. The watermark 1. This is imitated by printing white ink
underneath the security or dry block on the finished paper.
lacework on the right
hand side of the note is
the same on the colored
portrait.
2. The design is placed by 2. Sometimes wax or other oily
means of dandy roll medium is stamped to give
during the manufacture transparency to the portion where
of the paper. the designing appears.
3. Sharp details of the 3. Printed outline is placed on the
outline or the light & inner sheet where merely a paper
shadow effect are cutout is placed inside. As a result
discernible when viewed course or harsh and occasional
with the aid of irregular lines & sometimes-opaque
transmitted light. areas are very obvious.
4. The relief of the features
can be felt by running the
finger on the design.

METTALIC THREAD
1. This is a special thread 1. Counterfeit by means of printing on
placed vertically on the the back of the note, on the inner
paper during side of the paper, insertion of twin
manufacture. thread or simply folding the note
2. On the surface of the vertically where the thread appears
paper where this thread on the genuine bill.
is located are patterns of
short vertical lines.

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COLORED FIBERS OR SECURITY FIBERS

1. These fibers are scattered On counterfeit, this is simulated
on the surface of the by printed lines, cannot be picked off, but
paper (front & back) at can be easily erased with ordinary rubber
random & can be readily or by agitating with wet fingers.
picked off by means of
any pointed instrument.
2. The colors of these fibers
are red & blue.

LACEWORK DESIGN
The geometric On counterfeit, these
pattern which looks like a geometric patterns are often blurred,
delicate lacework along the round on the edges & blotch on the joints.
border on both surfaces, Its continuity could not be traced. The
embellishing the portraits, value color appears faded.
panel & vignettes are
multicolored & composed of
harp lines, which are,
continuous & traceable even at
the joints.

COLOR OF EACH DENOMINATION

Genuine notes have polychrome background with one predominant

color for each denomination. You should know whose portrait is/are printed on
each bill.
PhP 1,000.00 - Blue - Jose Abad Santos, Josefa Llanes Escoda,
Vicente Lim
500.00 - Yellow - Benigno S. Aquino
200.00 - Green (Dark in one side and light in another side)
100.00 - Mauve - Manuel A. Roxas
50.00 - Red - Sergio Osmena
20.00 - Orange - Manuel L. Quezon
10.00 - Brown - Apolinario Mabini &
Andres Bonifacio
5.00 - Green - Emilio Aguinaldo

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SERIAL NUMBERS
1. The prefix letter/s & 1. On counterfeit, the letters &
numbers (Six of them numbers are poorly printed. They
except on replacement are usually of different style.
note) are clearly printed.
2. They have peculiar style 2. Most often, they are evenly spaced
& are uniform in size & & poorly aligned.
thickness.
3. Spacing of the numbers is 3. The numbers are too big or too
uniform & alignment is small, too thick or too thin & in
even. certain cases shaded on the
curves.

VIGNETTE
1. The lines & dots 1. On counterfeit usually dull & poorly
composing the vignettes printed.
are fine, distinct & sharp.
2. The varying color tone 2. It appears dirty.
gives a bold look to the 3. The lines are comparatively thicker
picture that makes it with rough edges.
stands out of the paper.
4. There is no variation in color tone so
that the picture appears flat.

CLEARNESS OF PRINT

The registry of the In general, a spurious not

different printed features is exhibits a Second hand look. It is dirty due
perfect. The lines are very clear to the sputtering of ink on the interior
& sharp. There are no Burrs area. Over-inked areas are visible
clinging to the sides. instantly. The shadings & ornamentations
of the letters & figures are thick & usually
merged.

EXAMINATION OF SUSPECTED COUNTERFEIT BANKNOTE

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1. As well as inspection under ultraviolet light, the investigator should

look at the banknote with a hand lens.
2. He should pay particular attention to the quantity of the portrait in
the bank note. This is the one extremely fine detail of a good
engraved plate.
3. The color of the ink should be compared with the color of a
genuine banknote. It is very difficult for counterfeiter to match
exactly the same shade of ink by a genuine manufacturer.
WATERMARKS

1. Definition – It is a term for a figure or design incorporated into

paper during its manufacture and appearing lighter than the rest
of the sheet when viewed in transmitted light. The earliest way of
identifying the date of manufacture of the paper is by the
WATERMARK - a brand put on the paper by the manufacturers.

2. How watermark is made? The watermark was made when

the semi-fluid paper pulp (mixture of cotton or other fibers) was
being drained on a grid of laid (warp) and chain (woof) wires. Fine
wires forming the desired design were tied on top of the grid and
impressed into the pulp. This impression made the paper thinner,
and therefore, more transparent, where it appeared.

3. Origin. Watermarks first appeared on papers produced in

Italy around 1270, less than 100 years after the art of papermaking
was introduced to Europe by Muslims from the Middle East. Early in
the 19th century, papermakers began to solder the watermark
wires to the grid frame, thus insuring uniformity of impression and
aiding in the detection of counterfeiting and forgery. The first British
postage stamps of 1840 bore a watermark, but stamps of the
United States were not so marked until 1895. When paper began
to be machine-made, the watermark wiring was simply transferred
to the grid cover of the dandy roll, a turning cylinder that passed
over the paper.

4. Concept of document’s age detection thru watermarks.

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a. Sometimes a LIMIT may be placed to the age of the

document by means of watermark, the earliest known
dating from 1282. Unfortunately, however, not all papers
contain watermarks.
b. It is impressed into the paper by wires on the rollers
called “DANDY ROLL” that make the paper, and these
designs are changed from time to time.
c. Usually watermarks are requested by their
owners/manufacturers with the patent office.
d. If present, watermark is one of the most reliable means
of tracing the age of the paper. However, the questioned
documents examiner's finding is limited only to the
APPROXIMATE DATE (YEAR) of the paper manufacture.
e. In determining the age of the paper by watermarks, it is
necessary to ascertain the owner of the watermark in
question or its manufacturer.
f. In the FBI, this is done by checking the reference file of
the laboratory. Once the manufacturer is determined, then
consideration is given to changes in design and defects of
individual design.
g. In recent years, some large manufacturers have
cleverly incorporated inconspicuous changes in their
watermark design in order to date their products.
h. Obviously, document is fraud if it contains a watermark
that was not in existence at the time the document
purports to have been executed.

5. In case the watermark did not change, the following is

applied:
a. Consider any defect in the individual design may
furnish a clue as to the age of the paper.
b. The dandy roll, through constant usage, will somehow
be damaged. This damage is also known as caused by
WEAR AND TEAR which becomes progressively more and
more as time goes by.

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c. The damage on the dandy roll will leave some peculiar

markings on the watermark of the paper manufactured or
all papers that will pass through the damaged dandy roll.
d. The investigator, carefully determining the distinct
markings caused by the dandy roll's damaged surface, will
coordinate with the paper manufacture regarding when
such damage occurred on the dandy roll used.

DISCOLORATION

One way of tracing the age of the paper is through the

observance of the changes in its physical characteristics
particularly DISCOLORATION. Naturally, a paper will discolor after a
passage of time due to numerous environmental factors such as
moisture, temperature, dust, etc. In case of papers out of wood
pulp, they start to discolor at edges from 2 to 3 years. While RUG-
SHIP QUALITY papers, they are very old before discoloration starts.

CAUSES OF DISCOLORATION

1. due to process of oxidation brought about by natural means.

2. brown spots due to mold that are very obvious characteristics
both in appearance and distribution.
3. exposure to dust and dirt.
4. occasional staining of fruit juice, grease.
5. excrete of rats, mice and other insects.
6. may also due to heat, partial burning, etc.

DETAILED EXAMINATION OF WRITING MATERIAL

1. Collect standard document from the issuing institution,

company or individual and compare. Consider the physical
characteristics of both questioned and standard documents such
as the size, the thickness, the surface (glossiness, opacity, etc.) and
the general texture of the paper.

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2. Check with the issuing institution, company or individual

about the dissimilarity of writing material used in the questioned
document.
3. Conduct further physical or chemical examination such as
folding endurance test, folding test, bursting test, etc.

CHARACTERISTICS OF U.S. PAPER MONEY

A. TYPES:

1. Federal Reserve note – with GREEN treasury seal and serial number.
2. United States Note – with RED treasury seal and serial number.
3. Silver Certificate – with BLUE treasury seal and serial number.

B. FEDERAL RESERVE NOTES - Each Federal Reserve Note also carries a

regional seal at the left of the portrait on the face of the bill. This
seal is printed in black and bears the name of the Federal Reserve
Bank of issue. Numbers and letters representing the Federal Reserve
District in which that bank is located, are:

1 - Boston - “A” 7 - Chicago - “G”

2 - New York- “B” 8 - St. Louis - “H”
3 - Philadelphia- “C” 9 - Minneapolis - “I”
4 - Cleveland - “D” 10 - Kansas - “J”
5 - Richmond - “E” 11 - Dallas - “K”
6 - Atlanta - “F” 12 - San Francisco - “L”

C. SALIENT FEATURES COMMON TO ALL TYPES: Portrait – every

denomination has the following

$1 - Washington $50 - Grant

$2 - Jefferson $100 - Franklin
$5 - Lincoln $500 - McKinley
$10 - Hamilton $1000- Cleveland
$20 - Jackson $5000- Madison

COINS

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These are pieces of metal stamped by government authority, for use as

money or collectively referring to metal currency.

MAKING OF COINS

CASTING is the most common method of making gold coins. Plaster

molds bearing an image of gold coins are filled (within a low temperature) with
alloy made with lead or tin. Some molds are used for high temperature metal
such as copper or silver alloy.

STRIKING OR STAMPING is the making of an impression of a coin or metal

blank by pressure.

COIN CHARACTERISTICS

A. Genuine coins show an even flow of metallic grains. The details of the
profile, the seal of the Republic of the Philippines, letterings & numerals are
of high relief, so that it can be readily felt distinctly by running the fingers
on theses features. The beadings are regular & the readings are deep &
even.

B. Counterfeit coins feel greasy & appear slimy. The beading composed of
tiny round dots surrounding the genuine coin appear irregular &
elongated depressions & are not sharp & prominent as in the genuine. The
letterings & numerals are low & worn out due to the lack of sharpness of
details. The readings are uneven & show signs of filing.

COUNTERFEIT METAL MONEY OR COIN

1. Coin made of gold was to widely use but are not now often see.
Government kept their gold in the form of heavy bars called bullions
and then issue papers for the value of gold.
2. Metal coins issued nowadays are mostly in amount for less than its
face value. In most countries, the possession of gold coins is now
forbidden except for coin collectors.

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EXAMINATION OF COUNTERFEIT COINS – should be examined by a

magnifying lens; comparing it with a known coin

DEFECTS IN CAST COIN ARE USUALLY CAUSED BY: formation of air bubbles,
or removal of small parts of the sole along with the coin. The best place to
examine a counterfeit coin is on the edge since there are usually special milling
marks or designs which are added to a genuine coin by machinery.

COUNTERFEIT PASSPORT
Passports are rarely counterfeit, because they are quite complicated in
design and manufacture. The most usual method of forgery is to steal a genuine
passport and make change in it. Many safety features are incorporated in
passport and are easily detected by close inspection. Ultraviolet light is very
useful in this type of examination. The investigator should look particularly at the
photograph in any passport as identification card. This is always necessary
because sometimes forgers remove and change or substitute the picture.
Hence, the position of perforation caused by staples and another pasting
device should be studied carefully.

LEGAL ASPECT OF FORGERY, COUNTERFEITING AND FALSIFICATION

(Pursuant to Title Four, Chapter One, Revised Penal Code – Crimes against
Public Interests)
A. FOREGERIES - What are the crimes called forgeries?

1. Forging the seal of the government, signature or stamp of the chief

Executive (Art. 161).
2. Counterfeiting coins (Art. 163).
3. Mutilation of coins (Art. 164).
4. Forging treasury or bank notes or other documents payable to bearer
(Art. 166).
5. Counterfeiting instruments not payable to bearer (Art. 167).
6. Falsification of legislative documents (Art. 172).
7. Falsification by public officer, employee or notary or ecclesiastical
minister (Art. 171).
8. Falsification by private individuals (Art. 172).
9. Falsification of wireless, cable, telegraph and telephone messages (Art.
173).

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10. Falsification of medical certificates, certificates of merit or service (Art.

174).

B. ACTS PUNISHABLE UNDER ART. 161: Forging the great seal of

the Government of the Philippines; Forging the signature of
the President; Forging the stamp of the President.

C. What are the crimes under counterfeiting coins? They are:

Making and importing and uttering false coins (Art. 163);
Mutilation of coins – importation and utterance of mutilated
coins (Art. 164); and Selling of false or mutilated coin,
without connivance (Art. 165).

D. Reason for punishing forgery - Forgery of currency is

punished so as to maintain the integrity of the currency and
thus insure the credit standing of the government and
prevent the imposition on the public and the government of
worthless notes or obligations.

E. ACTS OF FALSIFICATION (Art. 171 & 172)

1. Counterfeiting or imitating any handwriting, signature, or rubric;

2. Causing it to appear that persons have participated in any act or
proceeding when they did not in fact so participate;
3. Attributing to persons who have participated in an act or proceeding
statements other than those in fact made by them;
4. Making untruthful statements in a narration of facts; Altering true dates;
5. Making any alteration or intercalation in a genuine document which
changes its meaning;
6. Issuing in an authenticated form a document purporting to be a copy of
an original document when no such original exists, or including in such
copy a statement contrary to, or different from, that of the genuine
original; or
7. Intercalating any instrument or note relative to the issuance thereof in a
protocol, registry, or official book.

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CHAPTER SIX;
TYPEWRITER AND TYPEWRITING IDENTIFICATION

TYPEWRITER
A writing machine with a keyboard for reproducing letters, figures, symbols and
other resembling printed ones; a machine that can reproduce printed
characters on papers or that can produce printed letters and figures on paper;
a machine designed to print or impress type characters on paper, as a speedier
and more legible substitute for handwriting. .

HISTORY OF TYPEWRITERS

1. The first patent, however, was granted by QUEEN ANNE of

England to HENRY MILL in 1714 for a machine designed to
reproduce a letter of the alphabet.
2. In 1829, WILLIAM AUSTIN BURT of Detroit, invented the
TYPOGRAPHER.
3. In 1833 a French patent was given to the French inventor
Xavier Progin for a machine that embodied for the first time
one of the principles employed in modern typewriters: the
use for each letter or symbol of separate typebars,
actuated by separate lever keys.
4. In 1843, American inventor Charles Grover Thurber invented
a typewriter which prints through a metal ring that revolved
horizontally above the platen and was equipped with a
series of vertical keys or plungers having pieces of type at
the bottom. The machine was operated by revolving the
wheel until the correct letter was centered over the printing
position on the platen, and then striking the key.
5. Several other inventors attempted to produce machines
designed to make embossed impressions that could be
read by the blind. One such machine, developed by the
American inventor Alfred Ely Beach in 1856, resembled the
modern typewriter in the arrangement of its keys and
typebars, but embossed its letters on a narrow paper strip
instead of a sheet.

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6. A similar machine created by the American inventor

Samuel W. Francis, and patented by him in 1856, had a
circular arrangement of typebars, a moving paper holder, a
bell that rang to signal the end of a line, and an inked
ribbon. The keyboard arrangement of Francis's machine
resembled the black and white keys of a piano.
7. The development of the first practical typewriter begun in
1866 by CHRISTOPHER LATHAM SHOLES and was patented in
1868. He developed the first practical typewriter
in cooperation with two fellow mechanics, CARLOS GLIDEN
and SAMUEL SOULE'.
8. Six years later (1874), Christopher Latham Sholes entered an
agreement with ELIPHALET REMINGTON AND SONS,
GUNSMITHS & SEWING MACHINES MANUFACTURERS, the
company produced the REMINGTON MODEL I
9. Four years later, REMINGTON MODEL II was introduced
having both the lower and upper case of the alphabet.
10. MARK TWAIN (Samuel Clemens) was among the first to buy
a typewriter and the first to submit a typewritten manuscript
to a publisher.
11. GEORGE BERNARD SHAW recognized the importance
of typewriter when he became the first playwright to use it
as a stage prop in Candida in 1897.
12. When THOMAS EDISON visited Sholes to see his machine, he
forecasted that typewriters would one day be operated by
electricity.
13. Soon afterwards, Edison built such a typewriter. He used a
series of magnet, which made the machine cumbersome
and too expensive to be marketed.
14. The first practical electric typewriter was invented in 1914 by
JAMES F. SMATHERS of Kansas City.
15. In 1933, the International Business Machines, Inc. (IBM),
introduced the first commercially successful electric
typewriter to the business world.
16. The latest development in electric typewriter is one which
not only eliminates type bars and movable carriages
but can use six interchangeable type of type faces.

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17. The first basic change in typewriting operation appeared in

1961. Despite of the revolutionary advances in typewriting
capabilities, one essential element has remained
unchanged since the first Remington. The keyboard
arrangement, nicknamed QWERTY for the top line of letters,
was designed to make it easier for salesmen to use the
machine.
18. A much more efficient arrangement was devised in 1936 by
AUGUST DVORAK. The process of
changing over the DVORAK seemed so difficult that it was
never even begun.

IDENTIFICATION AND EXAMINATION OF TYPEWRITTEN QUESTIONED DOCUMENTS

HAGAN in 1894, made the first comment on typewriting

examination. He wrote that all typewriter machines even when using the same
kind of type become more or less peculiar by use as to the work done by them.
These peculiarities positively connect them with the printing done by the
machine.

This exposition of the principles of typewriting identification was

followed in 1900 by AMES who wrote that the identity of writing by different
operators as well as that done on different machines can be done with
considerable degree - Different operators have their own peculiar methods
which differ widely in the location of date, address, margins, punctuation,
spacing, signing as well as impressions from touch.

In several articles written between1901 to 1907, ALBERT S.

OSBORNE, the foremost document examiner of the early 20th century, defined
the principles of typewriting identification used today. He called it “THE
LANDMARKS IN TYPEWRITING IDENIFICATION.”

THE LANDMARKS IN TYPEWRITING IDENTIFICATION

1. The type faces used by the different type

writer manufacturer can be differentiated on the basis
of design and have dating significance.

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2. Through usage, typewriters develop individuality which can serve

to identify the typewriting of a particular typewriter.
3. The gradual development of typewriting individuality plus ribbon
condition and typeface. Cleanliness can be used to date a
document of fix it written a period of time.
4. Horizontal and vertical alignment, tilting characters, lack of
uniformity of impression (off-footedness); type-face score,
breadths, defects and deformities all serve to identify the type
writing of a particular machine.
5. Peculiar habits of striking the type writer keys,
spacing, arrangement, punctuation, mistakes, corrections, can
be used to identify a typist or differentiate typists.
6. A sheet of paper cannot be reinserted in a typewriter in exact
register with previous typing done on the sheet of paper.

TYPES OF TYPEWRITERS

A. CONVENTIONAL TYPEWRITERS USING TYPE BARS

1. Pica Type - 10 letter/inch
2. Elite Type - 12 Letters/inch
3. 6 Letters/inch
4. Teletype Machine
5. 14-16 letter/inch - specials typewriters

B. TYPEWRITER USING SINGLE ELEMENT OR BALL - A machine, capable

of typing 10 or 12 characters per inch. Change of horizontal spacing is
done easily by the flip of a switch.

C. TYPEWRITER USING A PRINT WHEEL (ELECTRONIC TYPEWRITER) –This has a

disc type device called a print wheel, The printwheel contains all of
characters represented on the typewriter keyboard. This machine has
the capability of typing 10, 12 and 15 letters per inch.

CLASSIFICATION OF TYPEWRITERS BASED ON LETTER DESIGNS

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A. The small “w” – depending on the presence or absence of a center

serif, height of central peak and design of the two central diagonals.
w-1 – central peak is the same height as the top of the outside stroke
and is capped by serif.
w-2 – same with w-1 but has no central serif.
w-3 – central joining is below the top of the sides.
w-4 – low center but the two central diagonals join the sides well
above the base of the letter.

B. Crossbar of small letter “t” – cross bar is either longer on the right or on
the left side and or equidistant on each side. The curved lower
extension of the “t” is either turn upward at a point the left of, to the
right of, or about even with the right terminus of the crossbar of the “t”.

C. The small letter “g” – upper oval is either much smaller or the same
and/or different or the same in shape than the lower oval. Upper and
lower ovals are either very closely spaced or not.

D. Small letter “r” – right arm is either long with very small curve at its end or
a long right arm with full curve at the end and/or the right arm is short
with its curve moderate to full.

E. Small letter “y” – has three distinctive designs:

lower stroke has a broad turn which forms a very shallow trough.
lower stroke has a deep full curve which clearly curves right ward.
Lower stroke turns sharply upward like forming a narrow trough.

F. Small letter “i” – has two distinctive designs:

center of the dot is aligned with the central line of the vertical staff.
Center of the dot is set off to the left of the central line of the vertical staff.

G. Upper and Lower Strokes of Capital Letter “E” – maybe equal or the
bottom stroke maybe longer than the upper stroke. The serif is either
vertical or oblique. The small “e” may have its straight stroke either
horizontal or oblique.

H. Figure “7” – horizontal stroke is either straight or curve.

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I. Figure “5” – horizontal stroke is either straight or slightly or fully curved.

J. The comma “,” – tail may extend to the left of the dot or only very
slightly to the left of the dot.

K. Parentheses – may vary in curvature.

Take Note: Two typewritten documents are said to be typed from one and the
same typewriter if they agree in type face style, design, spacing, alignment and
three or four scars or damaged type faces.

IDENTIFICATION OF TYPEWRITER BY THE DEFECTS OF THE STROKE

Each typewriter has its own individual characteristics that enable one to
differentiate the typed characters from a similar machine of the same make.
Typewriter of the same make and model but of different age have differences
attributed to wear.

WHAT TO CONSIDER?

1. A typewriter coming out fresh from the factory has already some
defects which give its own personality. Whatever the quality of the
manufacture, a typewriter is never absolutely perfect.
2. Later, through faults of the typist and also by wear, the typewriter
will acquire a stronger individuality by new defects which become
more and more prominent and in time, progressively overcome the
initial ones.

PROCEDURE

1. Conduct preliminary examination of the questioned document to

determine the make and model of the typewriter.
2. Then study the defects of the stroke which will distinguish the suspected
typewriter from the others.

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The defects of the typewriter maybe compared to ailment or sickness and

congenital deformation while its translation on the paper be compared to
symptoms of the defects. This comparison has the advantage of sorting out the
exact conditions of the control of questioned typewritten documents as follows:

1. First, it will show the actual state of the typewriter and

consequently that the aspect of the stroke is not immutable but
evolves progressively so that a good identification needs the
comparison of documents from sufficiently adjacent period.
2. The health of a typewriter tends to change and the defect
become more and more numerous and characteristics. From
time to time, an overhead or repairs may help the ailment
definitely or at least give a temporary or partial healing.
3. It will show that the expert does not see the defect of the
typewriter right away but only its translation on the paper by a
writing anomaly of which he must appreciate the cause
4. Lastly it will explain that certain anomalies are not even
ascribable to an organic cause of the type writer but to a
phenomenon outside it. For example, an error of manipulation by
the typist may give some anomalies of the stroke and have no
connection with the mechanism of the typewriter itself. Others are
due to a temporary sickness such as a torn ribbon which will give
an incomplete impression of the character or dust which may
choke the mechanism of the stroke. It is only the permanent faults
which permit of a positive identification.

DEFECTS OF A TYPEWRITER

Defects of the Character

a The character may show a distortion in its engraving, a

"break" which is shown by an alteration of the design.
Exceptionally, it means a defect of manufacture. Most
often, the break occurs when the machine is working. The
metal is locally damaged by the continued striking of the
letter against hard surfaces and according to the general
direction of the striking will dented or deviated. In the first

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case the altered sign will print an incomplete design

with broken or interrupted lines, in the second case it
prints a deformed sign. The predominant cause of the
defect is that corresponding bars one behind the other; the
character of corresponding bars strikes the back of the
first and crashes on it.
b Twist of the printing surface which comes in the course of
manufacturing. Irregular tempering gives an abnormal
contraction of the metal for the bearing of the character
again the plated and gives a local impression more intense
and more heavily inked.
c Misalignment of the two signs engraved on the same
character so that they are not set exactly one under the
other. This defect may be due to a bad engraving of the
mold.

Positioning of the Character on the Type-bar

a A bad position of the bar on the plate of the soldering

apparatus, results in a bad portioning of the character. It
will be bent forward, backward or sideways.
b Sometimes a solder fails in the course of typing. The
character turns over the slides along its support. The
changes of alignment become grater and
greater growing in frequency in proportion with the collar of
the solder. This defect is detected in the writing by the fact
that the top and the bottom of the letter are not printed
with the same intensity and mostly, the vertical
misalignment has a tendency to vary at each stroke and
becomes so important that often a part of both signs of
the deficient characters are impressed at the same time.

Defects of the Type-bar - The deformations of a type-bar modify the position of

the character in connection with the platen and alter the originally correct
writing.

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a Any error of place position of the bar in the basket gives an

incline to its head and to the character.
b The type-bars are outer sinuous. Under the effect of an
intensive working, the bends are modified, so that the type-
bar elongates or shorten and its head inclines forward or
backward. This deformation causes a misalignment of the
character and no longer allows a uniform impression of its
surface.
c Twist of the type-bars is caused by mistakes of the typist. In
depressing, by error, two neighboring keys, two
corresponding bars are moved towards the type-bar guide
1, each bar undergoes the lateral strike of the other and
bends along its longitudinal axis. One error in manipulation
does not great damage but its repetition certainly develops
the defect. The type-bar thus bent no long offers a
perfectly vertical surface to the axis of the platen and the
character strikes the paper more or less off its feet.

Defects of the Ring - On a worn type writer it is not exceptional to find that the
more active type-bars have depressed the metal of the ring at their point of
contact. It no longer has any effect on the type-bars corresponding to the
depression, it no longer stops them in their travel and it does not send them
back to their original position.

These bars strike directly at the platen, stoop their momentarily and fall back by
their own weight giving by this very slow motion a vibration to the character in
the vicinity of the platen. At this time the escapement has
already moved and the character gives two impressions instead of one. The
second impression, displaced in connection with the first and much paler
seems to be its shadow. The name given to it is 'veiled stroke'.

Disorder of the Type bar guide - If the position of the type bar guide is modified
for some reason, the result is a complete disorder of the writing. A guide moved
to the right will raise all signs on the right of the keyboard and will lower all the
signs on the left. If it is moved to the left, it will cause the opposite effect.

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Alteration of the Platen - The rubber of the platen gets old and hardens, the
surface formally smooth becomes more and more irregular and rough and does
not offer anymore intimate contact with all surface of the sign. The writing
becomes inconsistent and the same sign will print itself partially or entirely and
with a greater intensity and more intensively on the tight or the left, on the
bottom or the top.

General Wear of a Typewriter - The typebars are subjected to a lateral play

particularly felt at the top. This gives poor accuracy at the point of impact of
the character. The same signs print themselves on the right or on the left of their
theoretical point of impact.

TYPEFACE MISALIGNMENTS – synonymous to “alignment defects:

1. Vertical Misalignment - A character printing above or below its proper

position. Possible causes are:
a. a character soldered too high or too low on the typebar;
b. an unsoldered character;
c. a typebar having lost its correct curvature;
d. a type bar having an oval of axis bearing;
e. misalignment of the typebar guide to the right or to the left; and
f. disorder of the capital letter shift lock.
2. Lateral or Horizontal Misalignment - An alignment defect in which the
character prints the right or left of its proper position is known as horizontal
alignment.
3. Oblique Misalignment – The character leans towards the right or towards
the left.

TYPEWRITING STANDARDS OR EXEMPLARS – the procurement of typewriting

exemplars are grouped as follows:

1. Study of the questioned document by the investigator;

2. Procurement of the regular course of business typewriting;
3. Preparation of exemplar typewriting by the suspected writer;
4. Preparation of typewriting exemplar by the investigator on suspected
typewriter; and
5. The procurement of the suspected typewriter itself by the investigator.

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OBTAINING KNOWN TYPEWRITTEN EXEMPLARS - Properly prepared known

typewriting samples not only facilitate the examination in the laboratory but
they aid immeasurably in the demonstration in the court room.

HOW TO OBTAIN EXEMPLARS OF TYPEWRITING?

1. If the typewriter ribbon is obviously new, remove it from the typewriter

and send it to the laboratory with the typewriting exemplars prepared
from another ribbon.(the text of the material in question may still be
discernible of the ribbon)
2. Use paper of about of about the same size as the questioned material,
type out a full word for word copy of the message in question,
typographical errors, using as nearly as possible the same degree of
touch as that used in typing the questioned material.
3. After placing the typewriter in a stencil position or removing the cloth
ribbon, obtain samples of each character on the
keyboard by typing through carbon paper which has been inserted
carbon side down over a piece of white bond paper.
4. Make certain that each specimen contain the make, model and serial
number of the typewriter from which it was produced as well as the
date and initials of the officer.
5. Typewriter specimens should be taken from suspected
typewriter/s. It is usually not necessary to forward the typewriter to the
laboratory if complete known exemplars are obtained.
6. If possible, after a typewritten exemplar is obtained from a suspected
typewriter, the investigation should insure that the typewriter is kept in its
current condition.
7. With evidence thus obtained from typewritten documents, the
laboratory experts is in position to lend valuable assistance to the
solution and subsequent prosecution of many cases.

PHOTO MECHANICAL PRINTING PROCESS

METHODS OF PRINTING

A. RELIEF PRINTING (LETTERPRESS)

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In this method of printing, the image characters are raised above the level of
the non-printing areas. The ink is applied to a raised surface that in turn is
applied to paper. The letterpress process is the oldest of all printing procedures.
It prints with cleaner and sharper letters.
After the type has been set, the next step is the actual printing which is made on
one of three principles:
1. The platen or “flatbed press” opens and closes like a clam shaft; it has
raised type on one flat surface and paper on another flat surface and
the two are pressed together. Small hand presses are generally platen
presses.
2. Cylinder presses roll the paper around a cylinder and then across the
flat surface of inked type.
3. Rotary presses pass the paper between two cylinders, one of which
holds the curved printing plates.

B. INTAGLIO (GRAVURE PRINTING) – There are four types of printing which employ
the Intaglio principle of placing ink in an area, which has been cut out or
etched.

1. Gravure – This is a process in which the ink in recessed or sunken letters

is drawn out or sucked out under pressure. The process produces high
quality reproduction of photographs and half-tone illustrations, but the
letters of type reproduced have slightly fuzzy edges. The printing is
done from large copper plates or copper covered cylinders on presses
of two kinds; sheet-fed gravure presses and web-fed rotogravure
presses for longer runs. The copper plates or cylinders are produced by
making film positives of the art work to be reproduced.
2. Engraving – The paper her is forced into the sunken areas of a metal
plate where the ink is. A special plate is made by the artist who
removes or scratches areas in the metal itself into which the ink is
placed. The actual printing process is very slow, and after the paper is
removed from the plate, time must be allowed for the drying of the ink
to prevent smudging.

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3. Planographic – Lithography is the most well known printing process

which employs the principle of putting ink on a chemically treated
surface. The commercial application of lithography is known as offset.
In this process, the copy is placed in front of a big camera and
photographed so that the film is the exact size that the final result is to
be. The film is in turn placed over a sensitized plate make of paper,
albumen or chemically treated metal) and exposed to a strong light.
4. Stencil – Stencil sheets on which the copy is typed or drawn are made
of a porous lease tissue, covered with a coating which is impervious to
ink. The typing or drawing pushes the coating aside and exposes the
porous tissue. This stencil wrapped around an inked cylinder and the
cylinder is rolled across the paper, forcing the ink through the porous
parts of the stencil.

C. PLANOGRAPHIC (LITHOGRAPHIC PRINTING) – In planographic printing, the

image characters are in the same general plane as the non-printing areas. The
ink is applied to a dead level plate which has been chemically treated such as
lithograph and offset.
D. STENCIL – It is a process where the letters or image are holes cut in a sheet, or
a sheet is made more porous in the area of the letters and ink is applied to
paper through the holes or porous areas such as mimeograph.
E. HALFTONE BLOCK PRINTING – This is offset-related and is used for the
reproduction of pictures and illustrations in little covers. To prepare a halftone
block, the model is photograph and its image is transferred to a metal surface
by photo-printing.

IDENTIFYING CHARACTERISTICS OF PRINTING

A. LETTERPRESS
1. Study of this printing shows that the edges of the letters
are more sharply defined than offset printing.
2. Careful microscopic study and measurement may
reveal different “runs” of letterpress printing which have
been made from the same set-up; the “y” type face
may exhibit evidence of damage and the spacing and
alignment may be different due to pressure applied by
the frame.

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B. OFFSET
1. The edges of the letters are more irregular than in
letterpress;
2. The middle portion and the edges of the letters are
more or less of the same density; and
3. There is no indentation of the paper in the area of the
printed letters as is sometimes found in letter press
printing.

IDENTIFICATION OF PRINTING – The identification of printing is based on the

general principles which consider the existence of an adequate combination of
class and individual characteristics exceeding the limits of an accidental
coincidence.

A. CLASS CHARACTERISTICS – maybe grouped under body size and

type face designs.
1. Body size of a type – responsible for the width of a line
and depth of a column.
2. Unit measurement – six picas making an inch.
3. The body size in metallic type – varies from six points up
to seventy points, larger ones being made mainly in
wood.
4. According to the type face – there are eight main
designs

B. INDIVIDUAL CHARACTERISTICS – These come into existence as a

result of:
1. Defective setting in relative space positioning, slant and
weight of type faces; or
2. Due to mutilations and imperfections in the type faces.

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TERMINOLOGIES IN QUESTIONED DOCUMENT

EXAMINATION

QUESTIONED. Any material which some issue has been raised or which is
under scrutiny.
QUESTIONED DOCUMENT. One in which the facts appearing therein may
not be true, and are contested either in whole or part with respect to its
authenticity, identity, or origin. It may be a deed, contract, will, election
ballots, marriage contract, check, visas, application form, check writer,
certificates, etc.
DISPUTED DOCUMENT. A term suggesting that there is an argument or
controversy over the document, and strictly speaking this is true meaning.
In this text, as well as through prior usage, however, “disputed document”
and “questioned document” are used interchangeably to signify a
document that is under special scrutiny.
STANDARD a.k.a. STANDARD DOCUMENT - Are condensed
and compact set of authentic specimens which, if adequate and
proper, should contain a cross section of the material from a known
source.
EXEMPLAR. A term used by some document examiners and attorneys to
characterize known material. Standard is the older term.

HOLOGRAPHIC DOCUMENT. Any document completely written and

signed by one person; also known as a holograph. In a number of
jurisdictions a holographic will can be probated without anyone having
witnessed its execution.

REFERENCE COLLECTION. Material compiled and organized by the

document examiner to assist him in answering special questions.
Reference collections of typewriting, check writing specimens, inks, pens,
pencils, and papers are frequently maintained.

ALIGNMENT - Is the relation of parts of the whole of writing or line of

individual letters in words to the baseline. It is the alignment of words or
the relative alignment of letters.

ANGULAR FORMS – Sharp, straight strokes that are made by stopping the
pen and changing direction before continuing.

ARCADE FORMS – Forms that look like arches rounded on the top and
open at the bottom.

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CHARACTERISTICS - any property or mark which distinguishes and in

document examination commonly called to as the identifying details.

COLLATION - side by side comparison; collation as used in this text means

the critical comparison on side by side examination.

COMPARISON - the act of setting two or more items side by side to weigh
their identifying qualities; it refers not only a visual but also the mental act
in which the element of one item are related to the counterparts of the
other.

DISGUISED WRITING - A writer may deliberately try to alter his usual writing
habits in hopes of hiding his identity. The results, regardless of their
effectiveness are termed disguised writing.

DOWNSTROKE – The movement of the pen toward the writer.

FORM – The writer’s chosen writing style. The way the writing looks,
whether it is copybook, elaborated, simplified or printed.

GARLAND FORMS – A cup-like connected form that is open at the top

and rounded on the bottom.

GESTALT – The German word that means “complete” or “whole”. A good

gestalt needs nothing added or taken away to make it “look right”. Also
a school of handwriting analysis that looks at handwriting as a whole
picture.

GRAPHOANALYSIS - the study of handwriting based on the two

fundamental strokes, the curve and the straight strokes.

GRAPHOMETRY - analysis by comparison and measurement.

GRAPHOLOGY - the art of determining character disposition and

amplitude of a person from the study of handwriting. It also means the
scientific study and analysis of handwriting, especially with reference to
forgeries and questioned documents.

HANDLETTERING. Any disconnected style of writing in which each letter is

written separately; also called handprinting.

LETTER SPACE – The amount of space left between letters.

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LINE DIRECTION – Movement of the baseline. May slant up, down, or

straight across the page.

LINE QUALITY - the overall character of the ink lines from the beginning to
the ending strokes. There are two classes: Good Line quality and Poor Line
quality. The visible records in the written stroke of the basic movements
and manner of holding the writing instrument is characterized by the term
"line quality". It is derived from a combination of actors including writing
skill, speed rhythm, freedom of movements, shading and pen position.

LINE SPACE – The amount of space left between lines.

MANUSCRIPT WRITING. A disconnected form of script or semi-script

writing. This type of writing is taught in young children in elementary
schools as the first step in learning to write.

MARGINS – The amount of space left around the writing on all four sides.

MICROSCOPIC EXAMINATION - Any study or examination which is made

with the microscope in other to discover minute details.

MOVEMENT – It is an important element in handwriting. It embraces all the

factors which are related to the motion of the writing instrument skill,
speed freedom, hesitation, rhythm, emphasis, tremors and the like. The
manner in which the writing instrument is move that is by finger, hand,
forearm or whole arm.

NATURAL WRITING - Any specimen of writing executed normally without

any attempt to control or alter its identifying habits and its usual quality or
execution.

NATURAL VARIATION - These are normal or usual deviations found

between repeated specimens of any individual handwriting.

PEN EMPHASIS - The act of intermittently forcing the pen against the
paper surfaces. When the pen-point has flexibility, this emphasis
produces shading, but with more rigid writing points heavy point
emphasis can occur in writing w/out any evidence of shading; the act
intermittently forcing the pen against the paper with increase pressure.

PEN HOLD – The place where the writer grasps the barrel of the pen and
the angle at which he holds it.

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PEN POSITION - relationship between the pen point and the paper.

PEN PRESSURE - the average force with which the pen contacts the
paper. Pen pressure as opposed to pen emphasis deals with the usual of
average force involved in the writing rather than the period increases.

PRINTSCRIPT – A creative combination of printing and cursive writing.

PROPORTION or RATIO - the relation between the tall and the short letter is
referred as to the ratio of writing.

QUALITY. A distinct or peculiar character. Also, “quality” is used in

describing handwriting to refer to any identifying factor that is related to
the writing movement itself.

RHYTHM – The element of the writing movement which is marked by

regular or periodic recurrences. It may be classed as smooth, intermittent,
or jerky in its quality; the flourishing succession of motion which are
recorded in a written record. Periodicity, alternation of movement.

SHADING - Is the widening of the ink strokes due to the added pressure on
a flexible pen point or to the use of a stub pen.

SIGNIFCANT WRITING HABIT – Any characteristic of handwriting that is

sufficiently uncommon and well fixed to serve as a fundamental point in
the identification.

SIMPLIFICATION – Eliminating extra or superfluous strokes from the

copybook model.

SIZE – May refer to the overall size of the writing or the proportions
between zones.

SKILL - In any set there are relative degrees or ability or skill and a
specimen of handwriting usually contains evidence of the writer's
proficiency; degree, ability, or skill of a write proficiency.

SLOPE/SLANT - the angle or inclination of the axis of the letters relative to

the baseline. There are three classes: Slant to the left; Slant to the right;
and Vertical Slant.

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SPEED OF WRITING - The personal pace at which the writer’s pen moves
across the paper.

SPEED (SPEEDY) WRITING - Not everyone writes at the same rate so that
consideration of the speed of writing may be a significant identifying
element. Writing speed cannot be measured precisely from the finished
handwriting but can be interpreted in broad terms of slow, moderate, or
rapid.

SYSTEM (OF WRITING) - The combination of the basic design of letters and
the writing movement as taught in school make up the writing system.
Writing through use diverges from the system, but generally retains some
influence of the basic training.

TENSION – The degree of force exerted on the pen compared to the

degree of relaxation.

THREADY FORM – An indefinite connective form that looks flat and wavy.

VARIABILITY – The degree to which the writing varies from the copybook
model.

VARIATION – The act or process of changing.

WORD SPACE – The amount of space left between words.

WRITING CONDITION – Both the circumstances under which the writing

was prepared and the factors influencing the writer’s ability to write at the
time of execution. It includes the writer’s position (sitting, standing, abed,
etc.), the paper support and backing, and the writing instrument; writing
ability may be modified by the condition of the writer’s health, nervous
state, or degree of intoxication.

WRONG-HANDED WRITING. Any writing executed with the opposite hand

that normally used; a.k.a. as “with the awkward hand.” It is one means of
disguise. Thus, the writing of a right-handed person which has been
executed with his left hand accounts for the common terminology for this
class of disguise as "left-hand writing".

WRITING IMPULSE – The result of the pen touching down on the paper and
moving across the page, until it is raised from the paper.

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AIRSTROKE – The movement of the pen as it is raised from the paper and
continues in the same direction in the air.

COVERING STROKE – A stroke that unnecessarily covers another stroke in a

concealing action.

FINAL – The ending stroke on a letter when it is at the end of a word.

UPSTROKE – Movement of the pen away from the writer.

SEQUENCE OF STROKES - The order in which writing strokes are placed on

the paper is referred to as their sequence.

SUPPORTED STROKES – Upstrokes partially covering the previous down

strokes. Originally taught in European schools.

TRAIT STROKE – a school o handwriting analysis that assigns personality trait

manners to individual writing strokes.

Expansion - whether the movement is extended or limited in its range with

respect to both vertical and horizontal dimension.

Co-ordination - whether the flow of movement is controlled or uncertain,

smooth or jerky, continuous or interrupted.

Speed - whether the movement has been rapid or slow and whether the
pace has been steady or variable.

Pressure- whether the pressure exerted in the movement and its upward
and downward reach.

Direction- Left ward and right ward trend of they movement and its
upward and downward reach.

Rhythm - in the sequence of movements that weave the total pattern,

certain similar phases recur at more or less regular intervals.

CROSS MARK. Historically, many who could not write signed with a cross
mark or crude X. This authenticating mark is still used today by illiterates,
and if properly witnessed, it can legally stand for a signature. Ballot marks
are also referred to as cross marks because of the common practice of
marking with an X.

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EVIDENTIAL SIGNATURE - Is not simply a signature - it is a signature, signed

at a particular time and place, under particular conditions, while the
signer was at particular age, in a particular physical and mental
condition, using particular implements, and with a particular reason and
purpose for recording his name.

FRAUDULENT SIGNATURE. A forged signature. It involves the writing of a

name as a signature by someone other than the person himself, without
his permission, often with some degree of imitation.

FREEHAND SIGNATURE. A fraudulent signature that was executed purely

by simulation rather than by tracing the outline of a genuine signature.

GUIDED SIGNATURE. A signature that is executed while the writer’s hand

or arm is steadied in any way. Under the law of most jurisdictions such a
signature authenticates a legal document provided it is shown that the
writer requested the assistance. Guided signatures are most commonly
written during a serious illness or on a deathbed.

IMITATED SIGNATURE. Synonymous with freehand forgery.

MODEL SIGNATURE. A genuine signature that has been used to prepare

an imitated or traced forgery.

THEORY OF COMPARISON - The act of setting two or more signature in

an inverted position to weigh their identifying significance, the reason
being that those we fail to see under normal comparison may readily
be seen under this theory.

ALIGNMENT - Alignment defects include characters which write

improperly in the following respects: A twisted letter, horizontal mal-
alignment, vertical mal-alignment, and a character "Off its feet".

ALIGNMENT DEFECT - Include character which write improperly in the

following respects: A twisted letter, horizontal mal-alignment, vertical, mal-
alignment and a character special adjustment to the types block.

CARBON IMPRESSION- Any typewriting which is placed on the paper by

the action of the type faces striking thought carbon paper is classed as
a carbon impression. Generally, carbon impressions are "carbon copies",

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but sometime original typewriting is made directly through a carbon

ribbon.

CHARACTER - In connection with typewriting identification, the term

"Character" is used to include letters, symbols, numerals, or points of
punctuation.

CLOGGED (DIRTY) TYPEFACES - With use the type faces becomes filled
with lint, dirty and ink, particularly in enclosed letters such as the o,e,p,
and g.

DEFECTS - The term defect describes any abnormality or maladjustment in

a typewriter which is reflected in its works and which leads to its
individualization or identification.

NATURAL VARIATIONS - These are normal or usual deviations found

between repeated specimens of any individuals handwriting or in the
product of any typewriters.

OFF ITS FEET - The condition of a typeface printing heavier on one side or
corner than over the remainder of its outline.

PERMANENT DEFECT - Any identifying characteristics of a type-writer which

cannot be corrected by simply cleaning the type face or replacing the
ribbon is classified as a permanent defect.

PLATEN - The cylinder which serve as the backing of the paper and which
absorbs the blow on the type face is known as a platen.

PROPORTIONAL SPACING TYPEWRITING - A modern form of typewriting

which resembles printing in that all of the horizontal space as they do with
the conventional typewriter. For example, the "i" occupies two units. The
"o" - three and the "m" - five. A typewriter of this design is known as a
proportional spacing machine.

REBOUND - A defect in which a character prints a double impression with

the lighter one slightly offset to the right or left.

RIBBON IMPRESSIONS - Typewriting which is made directly through a cloth

ribbon is called ribbon impression.

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RIBBON CONDITION - Typewriter ribbons gradually deteriorate with use

and the degree of determination is a measure of the ribbon condition.

TRANSITORY DEFECT - Any identifying typewriter characteristics which

can be eliminated by cleaning the machine or replacing the ribbon is
described as a transitory defects. Clogged type is the most common
defects in this class.

TWISTED LETTER - Each letter and character is designed to print a

certain fixed angle to the base line, due to wear, and damage to the
type bars and the type block, some letters become twisted so that they
lean to the right or left of their correct slant.

TYPE FACE - The printing surface of the type block is known as the type
face, with most modern typewriter this block is attached at the end of a
movable arm or type bar which propels the type face against the
ribbon and paper to make the typewriter impression.

TYPE FACE DEFECTS - Any peculiarity of typewriting caused by actual

damage to the type face metal is known as type face defect. These
defect may be actual breaks in the outline of the letter where the metal
has been chipped away sometimes referred to as broken type, or they
may be distorted outlines of the letter where the type face metal has
become bent or smashed, they can only be corrected by replacing the
type block

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ASSESSMENT
I. Please Identify the Elements of forms in writing

III. Please identify the parts of 1000 money bill

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IV. MOCK BOARD EXAMINATION IN QUESTIONED DOCUMENT

EXAMINATION

INSTRUCTION: Select the correct answer for each of the following

questions. Mark only one answer for each item by marking the box
corresponding to the letter of your choice on the answer sheet provided.
STRICTLY NO ALTERATION & OBLITERATION ALLOWED.

1. The art of determining individual characteristic traits of a person

based on his or her handwriting is called.
A. Calligraphy B. Graphlogic
C. Graphology D. Caligrapher

2. The art of writing letters and words with decorative strokes is

called
A. Calligraphy B. Graphlogic
C. Graphology D. Caligrapher

3. Handwriting samples made at the request and under the

supervision of lawyers, the police, document examiners and
investigators for the purpose of comparison with questioned
writing.
A. Collected writings B. Stolen writings
C. Request writings D. Forced writings

4. Samples the individual produced for some other unrelated reason

generally in the course of their day to day activities.
A. Collected writings B. Stolen writings
C. Request writings D. Forced writings

5. An attempt to disguise one's handwriting or copy someone else's i

A. Simulated B. Evaluated
C. Disguised D. Compared

6. Any signature, handwriting, typewriting or other mark whose source

or authenticity is in dispute or doubtful.
A. Requested Document B. Disputed Document
C. Collected document D. Questioned document

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7. Any abnormal repetitive shaking movement of the body usually the

hands which affects handwriting.
A. Tremor B. Epilepsy
C. Convulsion D. Parkinson

8. One of the following is not an indicator of forgery.

A. Smoothness of paper B. Penlifts and hesitation
C. Tremor D. Patching

9. The action producing a copy of a document, signature,

banknote, or work of art with intent to deceive.
A. Counterfeiting B. Simulation
C. Forgery D. Deceiving

10.Made in exact imitation of something valuable or important with

the intention to deceive or defraud.
A. Counterfeiting B. simulation
C. Forgery D. Imitating

11.Balance quality of movement of the harmonious recurrence of stress

of impulse
A. Line quality B. Baseline
C. Rhythm C. Pen Pressure

12.Additional unnecessary stroke for ornamental purposes

A. Embellishment B. Hump
C. Diacritic D. Knot

14. A type face ordinary spaced 10 characters to the horizontal inch

A. Pica B. Proportional spacing machine
C. Elite D. Adding Machine

15. Signature used to acknowledgement delivery, purchase of goods

and mail
A. Complete B. Cursory
C. formal D. Careless scribble

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