 QUESTIONED

DOCUMENT
EXAMINATION
 CHARACTERISTICS UNDERLYING
HANDWRITING IDENTIFICATION

1. FORM OR LETTERFORM – refers

to the shape or design of the individual letters.
Note:
 The pupil will conform to the letter design laid down
in the copybook, because any obvious failing in this
respect is immediately apparent to the teacher.
 The teacher is practically powerless to cope with
those departures from good practice which are
attributed to lack of muscular skill and
coordination.
 The writers tends to shorten his writing by
developing his own way of writing the letters most
easiest and convenient for him.
 In connection with letterform, the
following factors should be taken into
consideration:
 Mere similarities in a form or letterform
are not sufficient indication of identity.
 Basic difference in letterform is an
indication of two writings being made
by different writers.
A. ANALYSIS OF FORM
Steps:
1. To dissect normal forms of individual
letters into their components and to
describe and name each salient
feature practicable.
2. To analyze the usual deviations from
the normal forms.
B. Normal Form and Deviates
Normal form means the more or less
perfectly executed letter.
Any variance from these standards,
which may only be slight or quite
pronounced are called “deviates.”
C. OVAL IN FORM

Ovals have variety of form in

different writings, same being more
round than oval and others much
narrower than the normal. They may
be closed or open. The beginning of
the stroke forming the oval may be
above or below the end, or they may
intersect.
D. FOOT IN FORMS
Foot is that part of a down stroke
which result on the base line or near it
and the toe or terminal is the end of
the final stroke. When the terminal
stroke is connected with a following
letter, is then known as a “link” or
“connecting stroke”.
E. TICK IN FORMS
Is a short of a straight stroke
usually located at the beginning or
ending of a stroke. It is usually
ornamental only and is seldom
essential to legibility.
F. JUNCTION AND FORMS
Meeting of two lines, which do not
cross. When the lines cross each other,
it is known as an “intersection.”
 So the forgoing are just some of the
common characteristics with regards to
letterforms, marami pang pwede nagging
characteristics sa letterforms base sa
kung anong letters and gamit nyo.
Example: Ang letters na a, b, d, e, g, o, at
p ay karaniwang may oval
characteristics. Samantalang ang b, d, f,
g, h, j, k, l, p, q, tpero madalas ay
retracing ang sa t), y at z ay karaniwang
may loop formation kung isusulat sa
cursive manner.
Samantalang sa cursive writing ng
letter r ay may characteristic na hump
at sa letter m at n naman ay arc.
Parang maging significant o katangi-
tangi ang mga characteristics na ito ay
nilalagayan ito ng description.
Sa oval pwedeng gamitin ang round
oval, narrow, opened oval, closed oval
or filled oval, etc.
Sa loop naman ay pwedeng gamitin
ang long loop, short loop, broad and
narrow loop, needle-shaped loop,
rounded, flat loop.

At kung hump naman and idedescribe

ay flat hump, concave hump at convex
hump.
Para sa arch, pwede gamitin ang
rounded o angular arch.

At pwede nyo ding idescribe ang

relative height ng mga arches, pantay
ba ang parehong arch ng letter m o
mas mataas ang isang arch- first arch
man o yung second arch.
Kung may ilang mga characteristics sa
letterform ng pirma nyo o kung kanino
pirma ang nasa inyong exam at ito ay
wala sa mga nabanggit, maari kayo
mag pm ng tanong sakin.
C. MOVEMENT

 Is the action of the fingers, hands and

arms in penmanship
 basic motion in writing
Clockwise motion
Counter-clockwise motion
Straight-line motion
 4 DIFFERENT WRITING
MOVEMENTS

A.FINGER MOVEMENT
 Method of writing in which the letters
are made almost entirely by the action
of the thumb and the first and second
fingers.
 The actual motion extending to the
second and slightly to the third joints.
 Movement employed by children, or
illiterate and generally those with
whom writing is an unfamiliar process.
 It is a push and pull writing movement.
 4 DIFFERENT WRITING
MOVEMENTS

A.FINGER MOVEMENT
 Mainly employed in all printed style
of writing.
 There is a little freedom of
movement, so that when such writing
is hurried it degenerates into the
poorest kind of writing.
 Nearly employed in forged writing.
2. HAND MOVEMENT
 Involves the action of the hand as a
whole with the wrist as a center of
action, but with slight action of the
fingers.
 It involves action of the hand as a
whole, with fingers playing but a
minor role (role is for the formation of
small parts of the letter)
 Freedom is long strokes and
continuity of motion is not yet
possible.
3. FOREARM MOVEMENT
- movement from the shoulder, but the
movement of the hand and arm with the
arm supported by the desk on the
muscular portion of the forearm with the
elbow as the center of lateral motion.
4. WHOLE-ARM MOVEMENT
- action of the entire arm without rest
and employed in very large writing, such
as in ornamental penmanship and in
blackboard writing and by a few writers in
making all capital letters.
D. SKILL
Skill in the art of writing is
contingent upon many factors:

1. Manual dexterity: inherited or

acquired

2. Legibility and symmetry, the bases

upon which the skill or pictorial
aspect is judged.
 Note: A writing which presents a
pleasing picture must possess both
legibility and symmetry throughout. It
may extremely plain and ornate, but if
these two qualities (legibility and
symmetry) are wanting or defected, it
cannot be considered skilled writing.
Classification of skill
1. Poor skill reveals lack of both
legibility and symmetry, or one of
the features.
2. Good skills shows possession of high
degree of both features.
3. Medium skill is the classification
when the writing does not fall into
the poor or good class.
E. RETRACING
 refers to any stroke that goes over
another writing stroke.
Note: In natural handwriting there may
be many instances in which the pen
doubles back over the same course. This
retracing should be given careful
consideration as the writer unconsciously
makes them in the more minute details
of letters, and they are inconspicuous
that they cannot be readily observed by
the forger.
Note: Retrace is the SUPERIMPOSITION
OF LINE in the letter. This writing
characteristic is found on staffs of small
“d”, “p”, and “t” are normally for a
considerable distance.

Minsan nagiging significant ang retracing

lalo na sa mga letter na initially ay hindi
naman talaga naeexecute ng retrace.
Gaya nung letter o sa aking prima kung
natatandaan nyo.
F. CONNECTIONS
 Refers to the stroke or links that
connect a letter with the one following.

 These are unions of two or more letters

. In cursive writing they are prescribed,
merely by illustration in copybooks, to
occur between any two lower case
letters.
Four distinct types of connections:
 Arcade – a rounded stroke shaped like
an arch. It is a slow mode of
connections resulting from controlled
movement.
 Garland – links the downward stroke to
the upward stroke with a flowing curve
swinging from left to right. It is an easy,
effortless mode of connection, written
with speed.
 Angular connective stroke – where
the downward strokes and upward
strokes meet directly,
 Threadlike connective strokes – the
G. SIZE AND PROPORTION

Majority of people have a preferred

size that they normally employ in writing,
it is very easy for a writer to change the
size of his handwriting when space
warrants it.

ABSOLUTE SIZE – refers to the

approximation of the average heights of
the linear letter of writing, based on the
measurements of judgment of their
vertical dimensions.
Note: The absolute size of handwriting
may vary according to the circumstance
in which it is written but this variability
rarely extends to the relative sizes of the
letters.

RELATIVE SIZE – is the judgment of one

letter against itself in other locations, or
against the apparent standard size for
other letters within the writing.
PROPORTION OR RATIO – is the
relation to each other of at least two
measures along a single axis or a single
 Note: It is the relative height of short
letters to the tall letters. Proportions of
letters is one of the hidden features of
writing, it is unknown even to the writer
himself.

RELATIVE HEIGHT – is the relationship of

the measures, along separate axes, of
the vertical dimensions of two or more
discrete entities or components to each
other.
Note: Once a writer develop a particular
habit in writing this will remain constant
throughout his writing. Whether the
writer changes the size of his writing, the
ratio of each letter (big and small letters )
will be the same.
Kung ilalagay sa general description ang
size and proportion usually idenidescribe
ito as well proportioned, uniformed
ununiformed size.

kapag sa individual letters naman, gaya

ng nasa unahan, pwede sya sa specific
characteristic kung halimabawa ay
relative height ng arches ng letter n o
letter m.
H. SLANT
 Angle or inclination of the axes of
letters relative to the baseline.
 It is a fairly stable habit, and the
average slant varies but slightly if all
the writings are with natural hand.

Note: A slight but persisting difference in

slant in two writing of considerable
length, maybe evidence that the two
writings are by two writers while
pronounced difference might be the
result of intended disguise.
KINDS OF SLANT

 Straight up and down

 To the left
 To the right
 Mixed or combination

Note: Whether writing slants are to the

right, left, straight up or down and a
combination of these; the degree of slant
that exists may be made by
measurement (protractor).
Ang slant ay sa general description din
usually inilalagay.
Paano ang Pakuha ng slant?
Lagyan lang ng gupit ang bawat gilid na
bawat letters gaya ng example sa
kasunod na slide.
I. SPACING
There are several aspects of spacing
within writing that become habitual with
the individual and of value in the
identification process. These include the
wide, narrow, mixed or uniform spacing
between letters and/or words.

Spacing between letters in words

depends upon the length of the
connecting strokes or links. Short
connections results in a compact writing
while long connections results in a
spread-out, extended writing.
SPACING is the average amount of
space placed between the words and
the formation of the letters
(connections of the letters).
Ang size at proportion ay pwedeng gamit sa
mismong spacing ng letters at words ng iyong
handwriting. Pwede ito describe ng narrow o
broad spacing.
J. PEN PRESSURE
 It is the average force with which the pen
contacts the paper surface.
 The amount of the pen pressure applied is
indicated by the “WIDTH OF THE PEN
LINE”.
 It is an individual habit that cannot easily
be changed by the writer, so that it is an
important factor in identification.
Note: It is an almost impossible task to
imitate successfully a writing containing
this vitality for this is not only a physical
organization of the same class but work
that must be done in perfect harmony.
K. SHADING
 This is the widening of the strokes
resulted from the increase of pressure on
the paper surface.
 This is known as the “effect” of the added
pen pressure known as the “cause”
Note:
 Can be done due to spitting of the pen-nib.
 The consistent variation in width due to the
variation in pressure of fine and delicate
lines is more specifically referred to as
“unconscious emphasis”.
 More often occurs on the down stroke of the
pen, its presence varies according to the
position in which the writer holds the pen.
Usually madali naman Makita ang pen pressure dahil
sa effect nito shading.
Dahil ang shading ay ang widening ng ink stroke
dahil sa added pressure sa pagsusulat. At usually may
mga part lang sa sulat natin at hindi ito simula sa
unahan hanggang sa huli. Dahil kung natatandaan
nyo ang pagsusulat lalo na ang pagpirma ay usually
ginagawa natin naunconscious sa sa total executions
nito kasi gamay na natin ang pagsusulat.

Ang kung ang isang prima ay may pen pressure

simula una hanggang sa huli ng pagsulat, indication
iyon na nakafocus ang tao sa pagsusulat nya at isang
indication na kaya sya conscious habang nagsusulat
ay dahil ayaw nyang may maligtataan sa bawat
stroke ng hangwriting na syang karaniwang ginawa
ng mga forger.
L. RHYTHM OR LINE
QUALITY
 Balanced quality of movement
producing a natural and not a
constrained or artificial result.
 Harmonious recurrence of stress or
impulse or motion;
 A “flowing hand” (term used to
describe a skillful, artistic writing
ability) coordinated succession of
movement impulses that glides into
each other with a rhythm.
 A signature executed with fluency
and done by reflex movement will
have a good rhythm while
 RHYTHM is the balanced quality of
movement producing a natural and not
a constrained or artificial result.
 It is the harmonious recurrence of
stress or impulse or motion;
Note:
 A “flowing hand” (term used to describe a
skillful, artistic writing ability) coordinated
succession of movement impulses that glides
into each other with a rhythm.
 A signature executed with fluency and done
by reflex movement will have a good rhythm
while disguised/copied will be of poor one.
LINE QUALITY is the term used to
described the relative smoothness of
the line.

Note: Handwriting is described good

in line quality when the writer is
concentrating his attention on what
he is writing rather than on how the
pen-point is moving.
Note: The unpracticed, unskillful writer
has to concentrate his attention on the
movement of his pen point. And as a
result, the reflex movement of the
hand and arm muscles are ruled out
with the pen being controlled largely
by the fingers.
WHAT IS TREMOR IN
WRITING?
 The deviation from uniform strokes are
ordinarily called tremors. These are
perfectly apparent without magnification.

 It is indicated by an involuntary, rhythmic

and recurrent movement in the pen.
These tremulous strokes are instant
changes from the desired direction of the
pen line and are attributed to nervous
impulses affecting the muscles.
KINDS OF TREMORS

A. Natural Tremors – fine tremors

a. tremors of illness/aged
b. tremors of illiteracy
c. tremors of nervousness
B. Tremor of Fraud
 CHARACTERISTIC OF TREMOR OF FRAUD
1. In equality in movement at any place in any
strokes or line with strokes too strong and
vigorous combined with a weak, hesitating
strokes.
2. Frequent interruption of movement
3. Un equal distribution of ink on upward and
downward strokes.
4. Varying pen pressure, due to change in
speed and interruption in movement, which
may occur in the middle of direct curves or
even in what should be straight line
5. Too many pen-lifts and/or pen-lifts on wrong
places.
 Characteristics of Tremor of Age
1. Unusual and erratic departures of the
line from its intended course.
2. Abrupt recovery and a general
indication of muscular weakness
3. Movements beyond the control of the
writer particularly in the downward
strokes.
4. Very uneven alignment
5. Occasional careless, unconscious
strokes
6. Too many or too few tremors or tremors
on wrong portion of the letters
 Characteristics of Tremor of
Illiterate Writing

1. More varied pen strokes caused by the

uncertainty, hesitation and unfamiliar
in its formation of the letters and the
process in writing.
2. The lines with sufficient strength but
without order or rhythm showing lack
of control.
M. PEN-LIFTS
 The interruption in a stroke caused by
removing the writing instrument from
the paper.

 One of those inconspicuous and

unconscious habits of writing, and are
entirely disregarded in a simulated
writing.
Note:
 Pen-lifts should be given a careful
examination in problems involving
anonymous letters containing
considerable amount of writing as
many writers develop distinctively
individual habits of pen lifting before
and following certain letters.
 Forged writing often shows too many
pen lifts and pen stops at wrong
places.
*So usually pag may pen-lift
naggagaroon ng gap sa pagitan ng
mga letters ay ito ay HIATUS.

Pero minsan may may pen-lift na kung

san nagkapen-lift ay dun ulit
magsisimulang magsulat ang writer,
pen pressure naman ang kakalabasan
nun dahil magproproduce iyon ng
widening ng ink.
N. ALIGNMENT OR
BASELINE HABITS
This is the relation of successive
characters or letters of a word,
signature or line of writing to an actual
or imaginary baseline.

Note: With or without the benefit of

ruled lines, majority of people exhibit
an ascending baseline in their writing.
Some maintain a horizontal baseline,
while others tend to descend.
Note: It may be general and occur
insofar as in a signature, word, or in
group of words. It can be determined
whether the writer writes a straight
line, a downward slope, an upward
slope, bent in the middle, etc.

*So sa pagkuha sa baseline dapat ang

unang letter ang pagbabasihan nyo ng
baseline para malaman kung upward,
downward or straight direction ba ang
sulat base sa baseline.
TRIVIA: McClay experimented signatures
and extended writings of 200 subjects on
both ruled and unruled paper. This is one
of the few studies regarding alignment,
the result was:

The study confirmed that baseline

alignment is a repetitious habit and
reliable factor in handwriting
comparisons for the purpose of
identification or elimination. This is true
more with respect to signatures that are
more habitual of one’s handwriting skills.
O. INITIAL AND TERMINAL
STROKE
 Refer to abruptness with which the
strokes START OR ENDS.

Note: In spurious simulation of

another’s writing, these strokes are
found to commence and terminate
abruptly, having noticeable blunt
endings, as the application of the
instrument to the paper is a more
deliberate and conscious act.
*Usually denedescribe and initial at
terminal stroke ng sharp at blunt, pero
meron din naming long running initial
stroke na usually ay parang nagkaroon ng
embellishment bago pa maisulat ang unang
letter. Pwede idescribe iyon ng long running
initial stroke or embellishment. Pero isang
characteristic lang dapat.

Sa terminal stroke naman ay pwedeng

vanishing terminal stroke kung pawala ang
ink o kaya ay flying finish kung paupward
stroke ito at pwede din abrupt finish o
abrupt end kung bigla na lang tumigal ang
execution ng handwriting.
P. FLOURISHES/
EMBELLISHMENTS
Additional fancy strokes in writing habits
such as in curls, loops, and in any manners
of writing the letter formations.
Q. PLACEMENT OF
DIACRITICS
Additional strokes esp. in small letters such
as crossing of t’s, dotting of i’s, j’s and other
punctuation marks.

Para maging significant din, magandang

idescribe ang diacritics base sa kung ano
ang hitsura nito.
TYPES OF COMPARISON
12 POINTS OF
COMPARISON
1. Rhythm / line quality (skill)
2. Irregularities
3. Size and proportion
4. Alignment
5. Spacing
6. Degree of slant
7. Pen pressure
8. Placement of diacritic marks
9. Stroke formation
10. Loop formation
11. Circle formation
12. Beginning and ending stroke
 2.) MLQ-SAPS METHOD OF
EXAMINATION
 Movement/Line Quality, Slant,
Alignment, Proportion and Stroke
structure is considered.
Note:
 If the question signature or handwriting
agrees in all respect to the standards, a
conclusions is reached that the same
writer wrote them.
 If it disagrees with the standards, even
with one factor, the conclusion is
reached that two different persons wrote
the two writings.
12 POINTS OF
COMPARISON
RHYTHM / LINE QUALITY (SKILL)
Does the questioned writing have
a skillful or rhythmic writing, free-
flowing writing?

IRREGULARITIES
If not skill writing, does the
questioned writing have awkward,
unnatural or sloppy appearance?
12 POINTS OF
COMPARISON
SIZE AND PROPORTION
What is the height of the overall
writing, or the individual strokes and its
proportion to each other.

ALIGNMENT
What alignment exist to a ruled or
imaginary baseline?
12 POINTS OF
COMPARISON
SPACING
Spaces between letters, words,
lines, the edge of margins and
paragraph indentations should be
made.

DEGREE OF SLANT
Whether it is a right hand slant,
left hand slant or mixed.
12 POINTS OF
COMPARISON
PEN PRESSURE
The general width of strokes in the
writings, having the pressure as the cause
and shading as the effect.

PLACEMENT OF DIACRITIC MARKS

How are the diacritics are being
placed? The t-bars crossed, the i-dots, j-
dots dotted.
12 POINTS OF
COMPARISON
STROKE FORMATION
How does the strokes formation
look like? Whether it is angular,
arcaded, garlanded, needled, wedged,
curved, rounded or flat shaped, ect.

LOOP FORMATION
How the loop formations are
made? Whether it is long, short, broad,
narrow, needle shaped or rounded
looped.
12 POINTS OF
COMPARISON
CIRCLE FORMATION
How the circle of a, o, b, d, g, e
are made? Whether it is opened or
closed, broad, narrow and filed or
retraced.

BEGINNING AND ENDING STROKE

How does one begins a letter
formation and where (location) and
how the store ends.
MLQ-SAPS METHOD OF
EXAMINATION
Known as Movement/Line Quality,
Slant, Alignment, Proportion and Stroke
structure method, we extend this to
the following:
General Formation
Relation to Baseline
Line Quality
Ration and Proportion
Variation
Note: See Illustration of Handwriting
Characteristics as guide.
EXAMPLE OF
COMPARISON CHART
Note:
Comparison
Chart is or may
consist of one
questioned
writing/specimen
and three or
more standard
writings/specime
ns.

But for the

purpose of
example, we
Specific Characteristic:
1. Blunt initial stroke
2. Garland connection
3. Wider distance
4. Open oval
5. Retracing
6. Retracing
7. Embellishment
8. Blunt terminal stroke
*Sa practice activity na ginawa nyo
(pinanapasa nyo pa din yan, hahanap
ako ng way kung paano) genuine
signature identification ang ipinawa ko
sa inyo kaya usually ay parehas lang
ang characteristic nyan.

Kung questioned signature naman na

fraudulent signature humabas pareho
characteristic pa din dapat ang
gagamitin nyo pero magkaiba na ang
description provided na magkaiba nga
sila ng hitsura.
• So alam nyo namang
genuine ito pero kung
halimbawa lang ng
fraudulent ang QS1.
may ilan dyan
magkakapareho ng
hitsura at merong
syempre na hindi.
Halimbawa na ang blunt
initial stroke ay blunt
initial stroke din sa SS1,
hindi nyo na sya isasama
sa characteristic kasi wala
silang significant
difference.
• Halimbawang ang retrace
na original characteristic
ng ang prima ay bigla
naiba sa QS1, hindi na
retrace ang hitsura at
nagkaroon ng circle
formation. May significant
difference na sya ngayon
so sa halip na retracing
ang ilalagay nyo ay
• QS – small oval (kung ano
ang hitsira
• SS1 – retracing in
O/retracing
Note:
Another
example
with
specific
description
s. Follow
the blue
circled
numbers
kung ang pirma nyo ay buong
pangalan gaya ng example sa naunang
slide, isang initial stroke at isang
terminal strike lang din yan. Ang initial
ay ang nasa unahan part at definitely
nasa huli ang terminal stroke.

Ang pag nanumber sa specific

characteristics ang simula sa kaliwa
pakanan.

*Magtanong kung may di nauunawaan.

Para naman sa general description o sa
comparative comparison, ito ang
description ang hangwriting as a whole.

Limang general description ang kelangan

nyong hanapin, ang general formation,
relation to baseline, line quality, ration and
proportion, variation.

*Kung genuine ang Questioned Specimen

nyo pareho lang sila ng description at
magkakaiba ito kung fraudulent ang
Questioned Specimen.
STANDARD SPECIMEN QUESTIONED SPECIMEN
GENERAL GENERAL
FORMATION: FORMATION:

1. Generally form in 1. Generally form in

embellishment with embellishment with
garland formation angular formation
and narrow loop and broad loop
formation. formation.
2. Dominated by 2. Dominated by
garland slanting to garland with mixed
right formations slanting formations
with flying terminal and flying terminal
stroke. stroke.
STANDARD SPECIMEN QUESTIONED SPECIMEN

RELATION TO RELATION TO
BASELINE:
BASELINE:

1. Indicative to straight
1. Indicative to writing direction.
upward direction of
terminal writing
execution. 2. –do-
This will indicate na pareho sila
ng characteristic. Tadaan na
2. Indicative to kung fraudulent and
signatureay hindi kelangang
downward direction magkaiba sila sa lahat ng
along the ending descriptive aspects dalhin may
magkakapareho at
portion of writing magkakapareho dyan dahil ang
execution. forgery ay pangagaya diba?
STANDARD SPECIMEN QUESTIONED SPECIMEN
LINE QUALITY: LINE QUALITY:

1. Lesser handwriting 1. Greater

pressure and handwriting pressure
harmonious strokes and harmonious
of writing execution. strokes of writing
2. Greater degree of execution.
handwriting pressure 2. Lesser degree of
and lesser degree of handwriting pressure
handwriting speed. and greater degree of
*usually pag madiin ang sulat handwriting speed.
mabagal ang execution. *usually pag hindi madiin ang
sulat mabilis ang execution.
STANDARD SPECIMEN QUESTIONED SPECIMEN
RATION AND RATION AND
PROPORTION: PROPORTION:

1. Small in size 1. Small in size

formation and formation with
constant distance in inconsistent distant
the midlle portion. at the middle stroke.
2. Wider distance of 2. Wider distance of
initials writings with initials writings with
narrow distance in extreme narrow
the middle and distance in the
increase in size of middle and increase
terminal writing in size of terminal
executions. writing executions.
STANDARD SPECIMEN QUESTIONED
SPECIMEN
VARIATION:
* May variation ang bawat VARIATION:
pagsulat at dahil hindi
natin mauulit na parehong
pahero ang pirma at
pagsulat natin.

1. Changes of 1. Changes of
writing execution writing execution
within primary beyond primary
controlling pattern controlling pattern
under simple under extreme
degree of degree of
modification. modification.
STANDARD SPECIMEN QUESTIONED
VARIATION: SPECIMEN
2. Changes of writing VARIATION:
execution within
primary controlling 2. Changes of
pattern under extreme writing execution
degree of modification. beyond primary
*usually hand movement ang
gamit natin kay withing primary
controlling pattern
controlling pattern kapag under extreme
genuine ang prima pero pwde
ding may extreme modification degree of
lalo na kung naiiba talaga ang
execution ng prima. Example,
modification.
sa opened oval minsan malaki *madalas beyond
ang pagkaopen minsan maliit at controlling pattern dahil
minsan ay parang wala na at conscious ang pagsusulat.
nagiging closed oval na.
*sa pagbuo ng comparative
observation, isang sentence lang na
may tamag gamit ng preposition gaya
ng with at and.
Hindi kelangan madaming sentence,
iconcise lang ang pag describe.

Isinama ko din ditto ang signature pero

kaya may bukod na examination ang
signature dahil ay mga characteristic
ito na sa signature lang makikita at
wala sa original nating sulat.
*Sa pirma ko ganyan ang execution ko ng
letters g at o sa normal writing execution
ko, iba ang formation ng g at o.

Kung sa pag sagot ng Part III ng exam ay

may tanong ay iPM sakin. Salamat.
 FORENSIC
EXAMINATION OF
QUESTIONED
SIGNATURES
WHAT IS A SIGNATURE?
 A genuine signature is a personal
mark of an individual.
 It normally serves to indicate
his/her acceptance of some set of
circumstances or to be the symbol
associated with such agreement.
Note: By placing a signature on a
document we are implying intent
on our part to agree with
circumstances provided by a
document.
KINDS OF SIGNATURE
 CONVENTIONAL - the signature
which is readable and the form of
letter stroke are complete.
 HIGHLY INDIVIDUALIZED - the
signature which is more often
not readable and has a series of
ornamental strokes.
SIGNATURE
IDENTIFICATION
The identification or verification of
signatures is a specialized branch of
handwriting examination.
 Known signatures may contain
certain elements and features not
common to the writer’s other classes
of writing.
 Factors of identification given closest
study of signature examination may
not be given the same special
emphasis in general writing.
REASONS WHY SIGNATURE EXAMINATION
IS A SPECIALIZED BRANCH OF
HANDWRITING IDENTIFICATION:
 A signature is a word most practiced by
many people and therefore most fluently
written;
 A signature means to identify a person and
has a great personal significance;
 A signature is written with a little attention
to spelling and some other details;
 A signature is a word written without
conscious thought about the mechanics of
its production and is written automatically;
 A signature is the only word the illiterate
can write with confidence.
Note:
 The identification of signature
depends very largely on the manner
on how it was written.

 And the design or forms of letters are

the eye-catching features, the forces
of factors that contribute to the
manner of writing of the signature
are the cornerstones of its accurate
identification.
WHAT ARE THE TWO VERY
SIGNIFICANT PARTS OF SIGNATURE?
 Two very significant parts of a signature,
or any writing under investigation are the
First and Last strokes of words and
separate capital letters.

Note: If evidence of attention to the process

of writing and inequalities in pen pressure
and movement continue to the very end of
the last unimportant stroke of the word or
letter, this usually indicates self-
consciousness of the writing process, which
may be a strong indication of forgery.
Note: If the very beginning of the
signature also shows delicate hesitation
and changes of direction inconsistent with
the standard signatures, this unnatural
condition is evidence of a drawing
movement of a writing movement.
CLASSES OF SUSPECT
SIGNATURES
 Forged signature with no attempt has
been made to make a copy of genuine
signature of the person purporting to
have signed the document;
 Forged signatures of fictitious person;
 Forged signatures which closely
resemble the genuine signature since
they have produced by tracing process;
 Forged signatures which resemble the
genuine signature written in free hand
to produce what is known as simulated
forgery;
 Genuine signatures which have been
obtained by trickery;
 Genuine signatures which the writers
are honestly are honestly unwilling to
accept it as genuine; and
 Genuine signatures which have been
deliberately written illegibly or in an
unusual manner so as to afford the
signatories some plausible grounds for
disclaiming them should they deem it
expedient
CHARACTERISTICS OF
GENUINE SIGNATURE
 Degree of skill - Genuine signature
even if showing tremors will show
some free, connecting and terminal
strokes made by the momentum of
the hand.
 Firmness of strokes - In genuine
signatures, hesitations and pen stops
are on natural places.
 Habitual speed of writing - Even in
slow and unskillful signatures, there
will be consistency in speed.
 Fundamentals Muscular Movement -
In genuine signatures, the upward
strokes show more smoothness and
freedom than the downward strokes.
 Pattern of Shading and Pen
Emphasis
 Presence of Natural Variation - As no
two signatures are exactly alike, a
certain amount of natural variation is
expected and consequently allowed for
letter design;
 Coordination, continuity, and
rhythm in writing; and
 Carelessness in strokes and movement
GENERAL INDICATION OF
FORGERY (NON-GENUINENESS)

 Blunt starts and stops

 Pen lifts and hesitation
 Tremor
 Speed and pressure
 Patching
WHAT IS “FLYING FINISH” AND
VANISHING POINT IN WRITING?
 The pen is usually raised from the paper
while in motion that produce a flying
finish.

 With many writers, the motion also

slightly precedes the putting of the pen
on the paper at the beginning with
“flying start”, so that the strokes at the
beginning and ends of words gradually
diminish to a “vanishing point”.
METHODOLOGY OF
FORGING A SIGNATURE
SPURIOUS SIGNATURE (Simple
Forgery)
- This kind of forgery is best termed as
“spurious signature”. In committing
fraud, the forger who is confronted
with the absence to produce facsimile
of the genuine, but merely signs the
name in his own, or in a modified
(disguised) handwriting, and then
contrives some means of passing the
document as his own with intent to
gain before obvious fraud is
discovered.
Note:
 This is commonly employed by the check-
chief who steals, endorses, and passes
government, corporation, or other checks,
or who procures printed check forms,
completes and endorses them with
fictitious signatures in order to pass them
of as genuine.
 The determination of the fraudulent nature
of this kind of forged signature becomes
very elementary when standards of the
genuine signatures are obtained. With
sufficient standards the identity of the
forger, thru his handwriting, may be
possibly determined.
SIMULATION (Simulated Forgery)
 freehand forgery
 In this type of forgery, the motion of the
pen is slow and careful.
 The beginning and ending lines are
usually blunt or clumsy in appearance.
Note: There are simulated forgeries
written by expert forger which are passed
off as genuine simply because untrained
eyes can only judge the signature by its
general appearance or pictorial effect but
cannot detect the details.
How simulated forgery is produced?
1. The forger study the genuine signature he
intends to copy. By this, he acquires the
mental picture of the letter design, lateral
spacing, and other obvious features;
2. By constant practice from the memory, or
the genuine model is placed in front of him.
Portions of the signature are mastered first,
and finally, the signature as a whole;
3. The study and practice are carried on until
the forger feels the capability of writing a
convincing forgery;
4. After each attempt, the forger compares it
with the genuine signature that he copied.
Defects or errors are corrected in the future.
Note: The forger labors under a strained
mental and muscular condition that makes it
very difficult, if not altogether impossible to
do his work in a skillful manner brought about
by:
 The realization that forgery is a criminal
act;
 Fear of discovery which certainly will
result to punishment and dishonor;
 Painful anxiety to do the work well.
Note: This forgery therefore, always plainly
natural results of strained condition by:
 Slow, hesitating and unnatural
appearance; and
 Too much attention on unimportant
details.
Fails in the elementary part of the process
when it is NOT even a good imitation of
form of characteristics.
Is a double process.
 The forger must be able to see
significant writing characteristics of the
writing imitated; and
 Be able to discard and eliminate his own
writing characteristics in the process.
TRACING (Traced Forgery)
 It is a result of any attempt to transfer to a
fraudulent document an exact facsimile of a
genuine signature or writing by some tracing
process.
 It is any fraudulent signature executed by
actually following the outline of a genuine
signature with a writing instrument.
 Generally created by one of these methods:
transmitted light, carbon intermediate,
pressure indented image and tracing paper
techniques.
Note: Total agreement between the model and
the questioned signature dictates that the
questioned signature was a product of tracing.
TRACING (Traced Forgery)

Manners to consider to depart traced to

genuine:
 In fluency, that is the result of greater
speed of execution in normal, natural
writing.
 In line quality that a tracing lacks.
 The presence of pen-lifts and or
retouching that is indicative of the
uncertainty of the writing movement.
 The attendance of guidelines in the form
of graphite or carbon lines or indentation.
TRANSMITTED LIGHT TRACING

 The simplest of the tracing to produce

and the one most often encountered.
 It is a result of any attempt to transfer to
a fraudulent document an exact facsimile
of a genuine signature or writing by some
tracing process.
 By placing the paper that is to receive the
spurious signature over a document
bearing the genuine signature.
 Then two papers are the held to a light
source and the transmitted signature is
traced on the receiving document.
CARBON-MEDIUM TRACING

 Carbon-outlined method
 A carbon paper is place between the
genuine signature (top sheet) and the
fraudulent document (below).
 Outline of model signature is traced with
a dry pen or pointed instrument to make
a carbon offset on the lower sheet.
 Outline is finally re-written or retraced
with suitable ink strokes.
PRESSURE INDENTED TRACING

 A “canal-like” outline of the genuine

signature is produced in the fraudulent
document by tracing (with suitable
pressure or force) the outline of the
genuine signature with a pointed
instrument.

Note: The outline is then directly inked in

some instances. The outline is first retraced
lightly with a pencil before it is finally
retraced with a suitable ink.
FIVE CARDINAL PRINCIPLES OF
HANDWRITING IDENTIFICATION
 A pictorial resemblance between two writing is
not significant when they stand alone
 Similarities between normal forms of letters
are not significant, but all the differences are
indicative of non-identity
 Those individual features which are made
habitually are more significant than those
which occur only occasionally.
 Those individual features which diverge most
from the normal are more significant than
those which diverge slightly.
 Those features which are the least
conspicuous are the most significant.