by Charlie Rainbow Wolf
Think of energy, preserved throughout history. How marvelous would it be to be able to go back in time and space and touch that energy with our own? What if we could touch those who walked before, hear their thoughts, get a glimpse of who they were, or perhaps leave our own energies for those yet to come? Most of us do this every day without even thinking. We leave behind traces of ourselves, frozen in time, for many to see. We not only convey our thoughts, but also glimpses of our personality, and yet we do so almost automatically. The mystery is in our handwriting.
The study of handwriting—called graphology—has intrigued many people over the years. The brain guides the hand to make marks on the paper, and in the words formed by those marks, energy is captured. Now the message becomes twofold; the interpretation of the words being written, and the interpretation of the handwriting itself. On a mundane level, it is just handwriting; a quick note, a shopping list, a signature on a document. On a deeper level, though, this is a snapshot of the person behind the writing.
The Signature
The way that we write words on paper can reveal a lot about who we are. Much of what is written today is electronically produced. Even though important documents are usually computer-generated, in most cases they still require an actual signature. We sign checks, receipts, contracts, licenses, and other permanent records. Our signatures are as unique as we are.
Many people will sign their name with a slightly different handwriting than their normal penmanship. Perhaps there is a flourish underneath the name or some other embellishment around it. Subconsciously, our signature indicates how we want others to see us. This also makes sense because our signature is the piece of handwriting that we share the most often with others—it is our public expression of who we are. We might not consider putting flourishes in our normal handwriting, but with our signature it seems okay to do so because it is accepted that we can be artistic with our name. Large signatures tend to belong to bold people who want to be noticed while smaller signatures might belong to those of a more introverted nature. The exception to this is a signature that is unusually small when compared to the rest of the body of handwriting. This can indicate that someone is seeking attention, but perhaps in a less obvious way.
The Body of Work
The main piece of writing—a note or a letter, for example—will often display very different characteristics than the signature. First, let’s look at the margins. They should be well balanced, so that the writing sits on the paper framed by empty space. If the margins are too wide, it can be a sign of insecurity or inhibitions on the part of the writer. If they are too narrow, this can indicate that the writer of the piece spreads himself too thinly in most areas of life. Wider left-hand margins can indicate that the writer is ready to leave the past behind; while if the right-hand margin is wider, it might reveal that this person was more comfortable in previous circumstances than the current situation—living in the past, perhaps. Sometimes the margins will start narrow and get progressively wider. A left-hand margin that steadily increases is often indicative of those who start out reserved but then find their confidence. The negative expression could be that this person is somewhat lacking in self-control; they mean well but then get carried away. The opposite tends to be true, too. A left-hand margin that starts wide but gradually narrows can indicate someone who may have big ideas but not the confidence or the diligence to see them manifested.
Encrypted in the Details
Another important factor in examining handwriting is the way that the lowercase i is dotted, or the t is crossed. Sometimes these will be precise and neat, showing self-discipline and control. Sometimes these marks will seem to be placed to the right of the letter, almost as an afterthought. This can be interpreted as a sign of eagerness or impatience. These writers are assertive and may also have a bit of a temper. It stands to reason then, that if the cross on the “t” or the dot of the “i” is too far to the left, it can indicate someone who lacks confidence, and may be indecisive. Markings that are too high above the letters can indicate imagination and a sense of adventure—or that the person may be setting unattainable goals. Some writers may curve these markings over the letters, indicating that they are trying to curb their own desires and goals. Sometimes the dot of the “i” or the cross of the “t” may look like a knot; this is usually a sign of persistence or stubbornness.
Loops—or lack of them—have a lot to say about a person, too. There are two kinds of loops in handwriting; those that reach up, such as on the lowercase letters h, k, or l ; and those that reach down, as in the lowercase g, p, and y. Loops that reach up indicate how the writer feels about his goals and ambitions. We touched on that briefly when we looked at the crosses and dots on the t and the i. Loops that reach high, but are in proportion to the rest of the writing, often point to someone who is ambitious—individuals who have both goals and the ability to achieve them. The lower loops indicate the writer’s relationship with more mundane things: their physical activity and possessions.
In both zones (upper and lower), loops that are wide and similar in size indicate that the individual is likely to be well-balanced and adaptable. Pointed loops can show that the writer has some discomfort with that area of life. Wide loops indicate an open-minded person, but loops that are unusually wide can show that the writer may be prone to daydreaming and fantasy. Narrow loops point to a narrow-minded outlook; thin and narrow loops often show an unwillingness to explore. Broken loops can point to areas that are missing, and that need specific attention.
The way that the words start and end is important too. They can tell us much about how the writer approaches their goals and aspirations. The lead-in strokes can reveal whether or not the writer is confident, easily led, or nursing a past hurt. When the lead-in stroke is long, it reveals someone who is sentimental, emotional, and who wants to be accepted; unless the stroke dips unnaturally lower than the rest of the word. A low lead-in points to low self-esteem and someone who may be quite gullible. If the lead-in stroke is angular, hurt may be being nursed.
If the ending strokes are truncated, rather than flowing to a close, it can indicate those people who are frugal, self-sufficient, and perhaps a bit closed to others. Ending strokes that point up relate to a person who is generous and optimistic; if they point up and out, this person may be prone to extravagance. If the word ending fills the gap between that word and the next, it can mean that the writer is responsive and giving, but perhaps trying to fill some gap in his or her life.
By now it should be apparent that, to the trained eye, our handwriting does more than just convey words. It shares who we are with others. Of course, there is much more to graphology than loops and hoops; handwriting analysis is a skill that takes much diligence and study to learn. Can changing our handwriting change who we are? Not really, but when we make changes in the way we approach life, it is often reflected in our penmanship. It’s fun to look back over the years and see how our writing changes as we progress and grow. This is particularly true in signatures, reflecting the way we adapt as we progress through our lives. Remember, writing is the energy of our thoughts, frozen in time: what impression do we really want to leave?
For Further Study:
Amend, Karen. Handwriting Analysis: The Complete Basic Book. Newcastle Pub. Co. Inc., 1980.
Branston, Barry. Graphology Explained: A Workbook. Weiser Books, 1991.
McNichol, Andrea, and Jeffrey Nelson. Handwriting Analysis: The Complete Basic Book. McGraw Hill, 1994.