How you fill out safety forms and write down those words or

you use those words to display what you are seeing it can indicate more than 5,000 different

personality traits, according to the science of graphology, also known as handwriting analysis.

Safety Paperwork Graphology - the study of handwriting and

handwriting analysis - is now an accepted and increasingly used technique for assessment of

people in organizations. Handwriting analysis is an effective and reliable indicator of safety

personality and behaviour, and so is a useful tool for many organizational processes, for

example: recruitment, interviewing and selection, team-building, counselling, and career-

planning.

1. What is the size of your handwriting?

Large, greater than 7mm

Middle size 4-6mm

Small 2-3mm

Extremely small, less than 2mm

2. How would you say your letters slope?

Left

Heavily towards the left

Straight up and down

Right

Heavily towards the right

Letters touching the line

Analyzing the handwriting

1. Letter Slope:

Notice how the words and letters slant. This feature gives insights into a person's

sociability. The greater the slant, the more extreme the personality.

• Right: Outgoing

• Left: Shy

• Straight: Mostly independent

Note: if left-handed people slant their words to the left, switch Right and Left characteristics

above).

2. Line Slope:

Notice the lines of handwriting slope on the page. Slope is influenced by a person's mood at

the time he or she wrote the sample.

• Rising: optimistic and energetic

• Falling: worried, lack of confidence

• Straight: self-controlled, reliable

3. Flow:

Notice how words are connected to each other. This gives insights into how a person thinks.

• All connected: rational, logical

• Some connected: imaginative, depends on hunches and intuition

• Few connected: not always practical

4. Pressure:

Does the writer press the pen hard or softly against the paper? Turn the writer's paper over

and check by using your finger to feel for grooves and ridges. This feature gives insights into

health and willpower.

• Heavy pressure: healthy, forceful

• Light pressure: physically weak

5. Capital Letters:

Notice how capital letters look relative to other letters. This feature gives insights into how

someone views him or herself.

• Very large: arrogant, dishonest

• Same size as small letters: humble

6. Writing Specific Letters:

a. "T" – This letter is one of the keys in analyzing handwriting. Notice how the "t" is crossed.

• Long line: overly aggressive

• Short line: fixated on ideas

• Thick line: wants to be in charge

• Thin line: timid, weak will

b. "I" – How is the "i" dotted?

• Dot is high above stem: focuses on tiny details instead of bigger picture

• Dot close to stem: doesn't share easily

• Dot centered above stem: over-precise

• Dot to the right of stem: tends to act quickly or hastily

• Dash – like dot: anxious

• Circle dots: stubborn, fussy

• No dot: reckless, poor memory

7. Signature:

Most people develop and practice a signature, which isn't like normal handwriting. A

signature is one's own personal "stamp" and often reveals what a person thinks he or she is

like (or would like to be like). Compare the signature to the rest of the handwriting

sample(s). Do the letters and/or capitals look the same? Is the signature decorated in any

way? Is the signature larger than the rest of the writing? What insights can you get into the

personality of a writer by examining his or her signature?

A person's handwriting - the script - and its placing on the page express the unique impulses

of the individual: logically, the brain sends signals along the muscles to the writing implement

they control. By examining a handwriting sample, an expert graphologist is able to identify

relevant features of the handwritten script, and the way the features interact. The features,

and interaction between them, provide the information for the analysis. (No single handwriting

sample will exhibit all 300 different features of course - a typical analysis will involve far less).

No single handwriting feature proves anything specific or absolute by itself; a single feature

alone can only identify a trend. It is the combination of features, and the interaction between

them that enable a full and clear interpretation.

Graphology is actually a very old and respected science - the study of handwriting and its

analysis was first developed by the Chinese 3,000 years ago. The Romans used graphology,

and through the centuries since then various civilizations and cultures have analyzed

handwriting to identify the essence of the person who produced it.

The modern approach to handwriting analysis was established by a group of French clerics,

led by Abbe Michon, who defined key aspects of the science in the 1870s, after 30 years of

study. This work formed the basis of modern graphology, although the science is still being

researched and expanded today.

Professional graphologists operate to a strict code of ethics, and these experts are constantly

in demand; those who use it recognize its value in the workplace as an additional method of

understanding character. It is therefore an extremely useful tool in identifying the quality and

capacity of an individual's talents and potential, particularly in career guidance and improving

relationships. Like other powerful behavioral or intuitive models, it is not easy to explain how

and why graphology works, nevertheless it continues to be used, respected and appreciated

by many because it achieves a high level of results.

Safety Paper Graphology - an introductory guide to handwriting features

Think what your workers are telling out!

slant

Right slant indicates a response to communication, but not how it takes place. For example,

the writer may wish to be friendly, manipulative, responsive, intrusive, to sell, to control, to be

loving, supportive, just to name some possibilities.

If the handwriting is generally upright, this indicates independence.

A left slant tendency shows emotion and reserve. This writer needs to be true to self-first and

foremost and can be resentful if others try to push for more commitment from them.

size

Handwriting is made up of three zones - or cases - middle, upper and lower. A basic average

measure - or benchmark - by which size can be judged is 3mm per zone. This gives a

benchmark for a non-remarkable full height of 9mm. More than this is large; less than this is

small.

Large size handwriting can mean extravert and outgoing, or it can mean that the writer puts

on an act of confidence, although this behaviour might not be exhibited to strangers.

Small size can, logically, mean the opposite. Small size handwriting can also indicate a

thinker and an academic, depending upon other features in the script.

If the writing is small and delicate, the writer is unlikely to be a good communicator with

anyone other than those on their own particular wavelength. These people do not generally

find it easy to break new ground socially.

pressure

Heavy pressure indicates commitment and taking things seriously, but if the pressure is

excessively heavy, that writer gets very uptight at times and can react quickly to what they

might see as criticism, even though none may have been intended. These writers react first

and ask questions afterwards.

Light pressure shows sensitivity to atmosphere and empathy to people, but can also, if the

pressure is uneven, show lack of vitality.

upper zone or case (as in l, t, h, etc.)

Tall upper strokes are reaching towards goals and ambitions or, if they are very extended,

there may be unrealistic expectations of what the person feels they must achieve.

If there are reasonably proportioned upper zone loops, this indicates someone who likes to

think things through and use their imagination in a sensible way. Wider upper zone loops

indicate more of a tendency to dream up ideas and mull them over.

If the up-stroke goes up and then returns on top of itself, the writer may be squeezing out

imagination and keeping to the basic requirement of getting down to the job in hand.

lower zone (as in g, y, p, etc)

Lower loops are also varied and have different meanings.

For example a straight stroke shows impatience to get the job done.

A 'cradle' lower stroke suggests an avoidance of aggression and confrontation.

A full loop with heavy pressure indicates energy/money-making/sensuality possibilities,

subject to correlation with other features.

A full lower loop with light pressure indicates a need or wish for security.

If there are many and varied shapes in the lower zone, the writer may feel unsettled and

unfocused emotionally. Again the handwriting analyst would look for this to be indicated by

other features in the script.

word spacing

The benchmark by which to judge wide or narrow spacing between words is the width of one

letter of the person's handwriting.

Wide spaces between words are saying - 'give me breathing space'.

Narrow spaces between words indicate a wish to be with others, but such writers may also

crowd people and be intrusive, notably if the writing lacks finesse.

line spacing

Handwriting samples are always best on unlined paper, and particularly for exhibiting line-

spacing features.

Wide-spaced lines of handwriting show a wish to stand back and take a long view.

A closely spaced line indicates that that the writer operates close to the action. For writers

who do this and who have writing that is rather loose in structure, the discipline of having to

keep cool under pressure brings out the best in them.

page margins

The sides of the page each have a meaning.

The left side margin shows the roots and beginnings/family.

The right side shows other people and the future.

The top is goals and ambitions.

The foot of the page shows energy, instincts and practicality.

Therefore margins are very informative.

If the writer has a wide left margin, the interest is in moving on. If it is narrow, caution and

wanting to avoid being pushed before they are ready is indicated.

Narrow right margin shows impatience and eagerness to get out there and on with things.

Wide right margin shows that there may be some fear of the unknown.

middle zone or case (as in a, c, e, etc.)

These middle zone shapes can give some particularly interesting information.

The middle zone in the script represents the ego - from it we get a lot of information as to how

the writer feels and acts in public settings - what makes them tick socially and at work.

Some people's handwriting consists of only one single style, but many people will have a

mixture of two handwriting styles or more.

Again this provides useful information.

All of these features have potentially positive and negative connotations; the analyst uses the

flow and facility (ease, smoothness) of the script to infer a positive or negative interpretation.

arcade

This means that the middle zone of the writing is humped and rounded at the top like a series

of arches. It is in the basic style of copy-book, though it is not taught in all schools. Writers

who use this can be loyal, protective, independent, trustworthy and methodical, but negatively

they can be secretive, stubborn and hypocritical when they choose. The most important

characteristic is group solidarity against outsiders.

garland

Garland is like an inverted 'arcade' and is a people-orientated script. These writers make their

m's, n's and h's in the opposite way to the arcade writer, like cups, or troughs, into which

people can pour their troubles or just give information. The Garland writer enjoys being helpful

and likes to be involved.

angle

Angled middle zone is the analytical style, the sharp points, rather than curves, give the

impression of probing. The angle writer is better employing talents at work and for business or

project purposes, rather than nurturing, which is the strength of the garland writer.

As with any indicators of personality style, the interpretation doesn't mean that each writer

needs to be categorized and prevented or dissuaded from spreading their talents and

interests, but the analysis can helpfully show where the person's strengths can be best

employed.

thread

Thread handwriting is like unraveled wool, waiting to be made up into something fresh. These

writers are mentally alert and adaptable, but can also be elusive and lack patience. They are

responders, rather than initiators. They can be very clever at drawing together strands of

information and making something of them. Therefore they observe and bide their time, so

that decisions are made at the most appropriate moment.

wavy line

Wavy line handwriting is often an amalgam of all or most of the other forms and is usually

written by people who are mentally mature and skillful. It shows that they can call on a variety

of responses, to suit the occasion and indicates good coping mechanisms. They are adaptable

and resourceful.

1. ZONES

We will divide the individual letters into three zones to better understand how the

writer makes specific use of their mind (UZ), their emotions (MZ) and the physical

elements in their environment (LZ).

In the English alphabet, which is also used for most European languages, including

French, German and Italian, a part of every letter is found in the middle zone. The

upper zone has six bizonal letters: b, d, h, k, 1 and t. The lower zone has six bizonal

letters: g, j, p, q, y and z. The middle zone has thirteen single zone letters, the five

vowels, a. e, i, o, u, plus c, m,n, r, s, v, w and x. The letter "f" is the only trizonal letter

in the alphabet.

Wherever you find extra emphasis of size, embellishment, width, simplicity, force or

meagerness, this is the zone the writer is expressing most strongly at that moment of

writing. This is why we need more than one sample of writing for a full, in-depth

analysis; it eliminates a "mood-of-the-moment" interpretation.

Examples and what to look for are in the Handwriting Insights deck.

2. Connections

In North American schools, writing is usually first learned by using the manuscript

printed form. As the writer matures he learns the more sophisticated method of joining

letter forms called cursive writing.

The four most common connective forms are garlands, arcades, angles and thread. You

will learn to recognize each type of form and how to interpret its use within the writing.

None of us uses one connective exclusively. One form usually dominates and an

another is secondary. The other two forms of connectives may also be present to a

lesser degree. Combinations of writing form reveal the personality in each writing, but

only in part. You still must take into consideration the arrangement of the writing and

the symbolism of margins, zones, spacing and slant.

GARLANDS: The most common form of connective between letters is the cup shape of

the garland, curved at the bottom and open at the top. It can be found in all three

zones, between letters, within letters, even at the beginnings and endings of words.

The garland is a soft, easily stroked connective depicting the writer who is receptive,

compliant and easy going. He may be warm and sympathetic, empathetic and

sentimental. He is open and responsive to the people and the environment around him.

The writer who uses many garlands is often said to be "people oriented". He feels

before he thinks.

ARCADES: The arcade, or inverted garland, is shaped like an arch, curved on top and

open at the bottom. M's, n,s and h's are the most obvious arcade formations in the

alphabet. You may also find arcades between letters especially in the connection

between o, v and w and the letter which follows them.

Usually mixed with other connectives, the arcade is used by the creative personality.

This writer is a constructive thinker, one who deliberates before making up his mind.

He may use this slow and deliberate action as a form of cautious control and self-

protection. There is a certain dignity and formality in the writer who uses arcades to a

dominant degree.

ANGLES: The speed and energy used by many writers often produces abrupt changes

of direction which create an angle at the baseline and sometimes at the top of the

letter. This sudden change of direction must also make a pause before the writing can

proceed. An angle interrupts smooth flow of thought and action, and an abrupt manner

is often the result. The writer who habitually uses angles is often analytical, tense and

self-disciplined. He usually can see more than one approach to a problem and therefore

often has some degree of executive ability. He uses will power to direct and control his

actions.

THREAD: Thread is the least used of the connectives, and sometimes is the hardest to

recognize. There are three general types of thread.

A. THE THINNING OF THE STROKE ITSELF. You may need to use your magnifying glass

to be sure you are looking at thread. It looks like a piece of thread that has been

broken rather than cut cleanly. It "feathers" out with lessening pressure of the pen.

Look for it between letters at the end of a word, and especially in i dots and t crosses

that are made with speed.

Interpretation of Type 1 Thread indicates a writer who is in too much of a hurry to do a

precise bit of work. He may complete the essentials of a job, but he evades

responsibility by neglecting the finishing details. He loses interest quickly and goes on

to the next thing. Impatience is a part of this writer's personality.

B. THE DIMINISHING SIZE OF LETTERS WITHIN A WORD. As Type I thins out the

individual stroke, Type 2 thins down the letters in a word. When a whole word or part of

a word "threads" the first letters are larger than each successive letter, and MZ size

progressively diminishes in a regular pattern.

This type of thread is associated with a diplomatic personality, one who is capable of

seeing the whole, broad picture of a situation. He elects to lessen the force of his

personality as he evaluates the situation, and he uses tact and diplomacy to do so. He

may even point out a different direction of thinking as his method of evading the

present crisis.

C. THE SINUOUS STROKE. This third type looks like a spool of unraveled thread. You

can see the undulations of the strand as it frees itself. This is a quick, fluid motion of

writing combining alternate garland and arcade formations. It can be found in all 1

three zones but is most apparent in the MZ. Paul uses it in the MZ and UZ.

Interpretation of Type 3 Thread shows a real evasion expert. The sinuous strokes of his

pen are as devious as the snake that slithers around obstacles. This writer seldom

faces an issue, but rather misdirects or eludes the reality with clever language, slight

of hand or a downright refusal to face facts.

2.

3. The SLANT of the writing indicates the Emotional Response. Letter slant can best be

seen in letters containing upper loops: the b, d, h, 1, k, and t. The more the letter slant

leans toward the right, the more emotional response can be expected.

Most people write with a slight right slant (B). This shows a willingness to comply with

company rules, an ability to get along with co-workers, and put up with the boss's

idiosyncracies. Writers with an extreme right slant can function well on the job, but

might become hysterical under sudden emotional stress. Extreme left-slanted writers

are sometimes antisocial, non-communicative, even defiant at times.

4. Baseline Slant = Goal Directiveness

Writing "uphill" reveals the applicant worthy of further Trait-match evaluation. He's

optimistic, ambitious and cheerful. This is a good start, and, if the other traits bear up

well under your scrutiny, a welcome addition to any office force or gang crew. Writing

''downhill" may be caused by a temporary depression, ill health, or physical fatigue. If

this applicant has special skills necessary in your business, it would be wise to have

him return on another day and obtain another sample of his writing. The first

downslanted sample could be just a temporary discouragement from job-hunting. If the

second sample has the same downslanted appearance, it is a warning of an ingrained

pessimism which keeps this applicant on the job-seeking circuit.

The writer of a firm, straight, even baseline controls his moods, allowing him to go

directly toward his goals without getting side-tracked.

While a very slight wave in the baseline is a common sign, an unusual up-and-down

fluctuation identifies the moody individual. A ruler placed under the first and last

letters in a line of writing is an excellent way to determine an uneven baseline. Be sure

you need this person's talents desperately before hiring him. He may be a go-getter on

his ''up" days, but if he's in a ''downer" mood, he probably won't even show up for work.

5. Spacing

Spaces in writing are just as important to the Traitmatch analyst as the writing itself.

Spaces are found around the whole page of writing (the margin); in the amount of room

that the letters take up (the letter size); in the generous or compressed usage of space

between letters, lines, and words. All offer many clues to detect the occupational

personality. A general rule-of-thumb is that the way in which a person uses space when

writing indicates his use of space in his work. Check the application form. How did the

prospect use the spaces within the blanks, boxes, or fill-ins? If he crowded the

letters to the left, he's fearful of his future. If he pushed all the letters to the right, he's

ambitious and eager for the job. If he couldn't contain his writing within the spaces

provided, he's not a good judge of time and space.

6. Margin = Attitude Toward Environment

The position of the writing on a page within a margin frame shows how the potential

employee regards his position or I space" within the company framework.

3. PICTURE FRAME MARGIN (even, well-defined) =

WIDE LEFT MARGIN (narrow right margin)

4. NARROW LEFT MARGIN (wide right margin) =

7. Letter Size = Ego.

Every letter takes up space, too. Some letters extend into the upper area of the writing

and are referred to as upper-zone letters: b, d, h, k, /, and t. The lower-zone letters are

the g, j, p, q, y, and z. Most letters are found in the middle zone of writing. The size of

the middle zone is the major factor considered in handwriting analysis. Almost all other

signs are compared to it.

f is the only letter that reaches all three zones.

Large writing and small writing refers to the middle-zone size, and are both easy to

spot. Most people's script falls somewhere in between, however. This ''average size" of

writing is found in the sample of applicants who can fit into almost any kind of job

situation for which they are qualified. Their uniqueness will be revealed in other writing

features. Large writing indicates a person who will need plenty of space in which to

operate. Don't try to put him behind a desk or in any small confining area.

8. LARGE MIDDLE ZONE (large writing) =

demand for attention

need for elbow room

Small writing reveals the individual willing to work behind the scenes. This writer can

also stick with a detailed job for long periods of time.

9. SMALL MIDDLE ZONE (small writing) = reserved

intelligent

modest, unassuming

ability to concentrate

non-spotlight job

10. Upper-Zone Extensions = Philosophy of Life

The upper zone of writing holds the philosophy of life. It contains the writer's thought

patterns including his ability to utilize abstract thinking in his daily routine. Most

people push their letters to a moderate height into the upper zone showing their ability

to think clearly about practical things. This writer fits nicely into a job where concrete

ideas are required, as long as they are not too technical.

TALL UPPER-ZONE EXTENSIONS =

abstract thinker

intellect

philosophical mind

Short upper-zone extensions are made by the writer who has

short term goals, and is not idea-oriented.

SHORT UPPER-ZONE EXTENSIONS =

practical, down-to-earth

mechanical

short-term goals

Lower-Zone Extensions = Physical and Sexual Drives

The prospective employee's interest in physical activity is the primary interest of many

companies. The lower-zone extensions reflect the applicant's physical and sexual

activity, as well as his concern for money and food. Large, full lower loops, especially

when they extend far below the baseline, are made by the person who wants to live life

to the fullest.

LARGE LOWER LOOPS =

extreme physical drive

sensual

hungry

active

Long lower loops disclose the person needing plenty of physical space.

LONG LOWER LOOPS = strong physical drive

Short lower loops expose the individual entirely disinterested in physical activity.

disinterested in physical

possible laziness

sedentary

"NON-LOOPS" (lower-zone extensions resembling sticks)

stoicism

simple tastes

gets the job done

11. Extreme Expansion = Self-Expansion.

Expansion is the horizontal extension of letters and space, presenting a stretched

appearance.

EXTREME EXPANSION =

need for room

generosity

freedom from supervision

(works best alone)

entrepreneur

Extreme Compression = Self-Limitation.

Compression is the squeezing of letters, words and spaces.

introversion

ability to work in small spaces

the office "tightwad''

12. Spaces Between Lines = Capacity For Thought Organization.

LINES SEPARATED, EVENLY SPACED =

clear thought

able to organize work

LINES CROWDED TOGETHER, OVERLAPPING LOOPS

confused thinking

poor organization of time and space

overly familiar

Spacing Between Words

Spacing between words should be about the same width as the middle-zone letters. If

spacing is consistent, it adds to the possibility of the writer being consistent. It is a

positive trait for any job.

13. PRESSURE

Pressure measures the degree of intensity the employee will put into his work as well

as his physical vitality and stamina. For instance, poets, speakers, politicians and

ministers often have heavier writing pressure because they put emotion into what they

have to say. The type of pen used will have some effect on the pressure. The soft-

tipped pen can conceal the light-pressured writer. The Traltmatch analyst can tell this

by turning the paper over and running his fingers over the back of the writing surface.

If you feel or see the embossing caused by pressure from the pen, you are assured that

the writer was using a ball point, not a soft- tipped pen and the pressure is genuine.

Pressure takes a certain amount of physical exertion, and the soft-tipped pen user

enjoys the easy flow of ink over the page. Soft-tipped pens are a cop-out for physical

labor. However, they are also used by artists and sensual people. Check with other

Traitmatch signs to determine if the writer is lazy.

HEAVY PRESSURE =

MEDIUM PRESSURE =

perceptive

good memory

conservative

LIGHT PRESSURE =

gentle, cultural

avoids confrontation

sedentary

prefers intellectual approach

14. SPEED

Speed is found in the flow of the writing and indicates speed of thought, action and

perception. Additionally, writing that has few or no beginning strokes shows the

stripping away of unnecessary details contributing to the applicant's efficiency in

getting the job done. Note the T-crosses. If the cross is longer on the right side of the

stem than on the left side, the writer is hurrying to complete his simple task of

crossing the t. 1-dots which fall to the right of the stem also indicate speed.

FASTWRITING =

alertness

perceptiveness

flexibility

maturity

rapid thinker

SLOWWRITING =

slow thinker

deliberate

cautious thinker

precision

15. CLARITY

Clarity involves all of the basic factors of handwriting analysis

in a positive way. It's a good idea to keep in mind that when

clarity in a written sample is combined with-

* A slight, right slant = interest in communicating with others;

* Medium size writing = willingness to contact others physically and mentally

*Balanced expansion = reaching out to become involved.

*Even margins = good sense of self-identity within the environment.

*Good spacing between letters = generosity of time, money energy.

*Good spacing between words = interest in social contacts.

*Good space between lines = ability to think clearly and separate ideas.

* Clear formation of letters = wish to impart information and consideration for others.

Illegible writing, whether scribbled by a world-wise scientist or by your inexperienced

job applicant, indicates the individual who doesn't have the time or inclination to

communicate. Someone once mentioned that the less legible the writing, the more

intelligent the writer. Ever since then, some people have hidden their laziness and

inconsideration behind that remark.

One secretary complained, ''My boss is such a terrible writer I can hardly make out

what he means. Last week he didn't read over a letter before he signed it and I had

typed something all wrong. I got bawled out. I think it was his fault, don't you?''

You bet! But secretaries aren't the only ones who suffer. Ask your local pharmacist, for

instance.

Illegible script is the curse of good communication, and writing is-first and foremost -

communication.

Many bosses have an executive type of mind; sharp, alert, quick. But the employer who

doesn't take the time or effort to make his written thoughts clear enough to be

translated by a secretary or anyone else is both inconsiderate and lacking in common

sense.

Speed is the prime offender. We think faster than our fingers can move. Unless control

is exercised over both thoughts and fingers, the results are usually unreadable.

There are, however, other reasons for illegibility in handwriting. It may be caused by

emotional stress or an illness resulting in muscular impairment or hysteria. Also, a

dishonest person hides his intentions behind poor writing.

Illegibility maybe caused by more serious reasons than speed or inconsideration. When

the physical or mental vitality of a writer is impaired through the use of drugs or

alcohol, illegible writing is often a result. The uneven baseline is usually the first clue,

signaling the lack of motor control. Letters not clearly formed due to speed may occur

in every writing at any time, but when a sequence of letters fails to make sense, there

is more than speed or inconsistency at work. If this is repeated on a page or two of

writing, drop that application in the round file. You don't need the problems that can be

brought to your workplace by this kind of employee.

III health often shows up in illegible writing especially if the writing also has weak

pressure. There just is not enough vitality there for the writer to get through a good

day's work. However, we all have our off days. If all other factors are favorable, and

you might like to have him on your work team, suggest he comeback another time to

repeat his writing sample.

As a child you were taught to write, but it's not likely that you still write in the way you were

taught. The fact that you don't helps to explain the reason graphology exists and why

graphology can be used to interpret safety personality.