It is known that there are no two handwritings which are perfectly alike because of the simple reason that there are no two people alike. This chapter will show differences of such a high degree that one sample cannot be mistaken for an­other. Naturally, many similarities will be noticed in hand­writings of people who have similar characteristics in their personalities, but all samples deviate from each other.

After ascertaining the type and quality, the hardness or softness of the pen, we are able to learn the amount of genu­ine pressure. Clearly understand, therefore, that a genuine pressure can be heavy or light and realize that a genuine pressure results from the writer's own strength.

First of all, the natural and proper place for the applica­tion of pressure is in the downstrokes; the varying pressure of this downstroke movement expresses the core of the per­sonality. Displaced pressure means that the pressure is ap­plied in the side strokes or even the upstrokes, and those are the places in which it does not belong according to psycho-physical energy. This displaced pressure is graphically trans­posed from the downstrokes to the sidestroke which means psychologically that the ego is directed away from itself to the objective impulse.

The genuine pressure is a dynamic phenomenon; the heavy pressure produced by a broad pen is a mechanical one. The measure for the genuine pressure is gained by the dif­ference between light and heavy strokes. There is a deeper meaning for pressure than will-power; the significance of pressure has its roots in profounder causes than in mere manifestations of will-power. It has a creative function known in psycho-analytical expression as "libido." By libido we mean all our mental and physical energies driving us to activity. This is used in two connotations:

physical                   mental
sexuality                 intensity

HEAVY PRESSURE

Sample 1. Generally, manual workers write with heavy pressure, as do other men of great physical strength, great vitality, energy and activity, such as sportsmen and profes­sional athletes. In addition to these, passionate writers en­dowed with creative minds exhibit heavy pressure. Heavy pressure is also caused through excitement and depression.

LIGHT PRESSURE

The qualities manifested by the heavy pressure are lacking in the people who write with a slight or very light pressure, al­most pressureless. The light or poor pressure in handwriting shows a lack of sensual urge. It is pale and without depth. The third dimension and the libido are hardly expressed. Sexual desire is weak or absent and there is no natural driv­ing power. In such a pressure the spiritual qualities may dominate. There is an indifference towards material desires.

Light pressure does not necessarily indicate a weak char­acter, but when the character is weak we find a person who is easily influenced and of a fearful and timid nature. When weak pressure is accompanied by minus or poor traits, such as irregular and uneven pressure, we find an unstable person. Light pressure with accompanying plus or good traits can be the handwriting of a fine character with interests on the mental and spiritual side rather than with normal interest in material matters.

Sample 2. Light pressure indicates little impulse for com­bating life, a minimum of material desires for food and drink. Such a writer is not prone to demonstrate much en­ergy; any kind of exertion does not attract him, he wants to fit in without struggle or any desire of overcoming obstacles. Light pressure is often obvious in the writings of invalids and those physically exhausted; convalescents and anemics may have light pressure temporarily. These are cases where a person is confined to his bed through disability, as from an acci­dent. This type of "shut in" may retain his original pressure slightly diminished after many years of inactivity.

PASTY PRESSURE

Sample 3. A pasty pressure is an equal pressure in up and down strokes. A pasty pressure has no shadings. A pasty pressure, when heavy, looks like a dark stream of paste as when squeezed out of a hole the size of a pinpoint from a tube of paint. The so-called pasty pressure is used by people who are easily impressed by everything that stimulates and activates the senses. We find it in the handwriting of artists and those who are impressed by rich colors. People who are sensual in their personal lives, and those who are lazy and indolent, write with a pasty pressure. The latter write slowly, and perhaps without any individuality displayed in the script. The writer with pasty pressure will never leave the sensual world in favor of the spiritual one. He ac­knowledges the power of all sensual instincts and is easily prone to overemphasize the materialistic world. Regarded from this standpoint he is more related to the writer with heavy pressure. We can speak here of a libido which pene­trates each single element of his nature. Therefore, the artist finds his expression in the pasty pressure.

UNEVEN AND WAVERING PRESSURE

Sample 4. The uneven and wavering pressure shows inde­cision, unequal will-power; often there may be disturbances of the glands and digestive organs, or poor blood circulation may be the cause of this pressure. There is a lack of any purpose in life and a tendency to worry. The writers of this pressure are changeable, unreliable, and have little endur­ance; they are generally prone to petty jealousies and suspi­cion.

This uneven and wavering pressure is often found in the writing of those who are in the period of puberty and meno­pause. It is also found in the writing of unfortunate abnormal individuals. It is especially necessary to know the exact age of the writer in this case, although we always have to know the approximate age in any case of an analysis. The writer may be in the period of unrest as the result of the change from youth to maturity, or passing through the later change of life.

PERIODIC PRESSURE

Sample 5. Periodic pressure and the sudden pressure on an occasional stroke. This pressure discloses irritability and emotional unbalance. A violent nature sometimes lies be­hind the pressure which suddenly becomes deep, as plunging into the paper, or as in a brutal stroke. The graphologist must determine this periodic pressure from accompanying signs which we shall discuss in a later chapter. This periodic pressure is also a sign of sexual excitement in the very pas­sionate types.

SMEARY AND MUDDY PRESSURE

Sample 6. Physical weariness and various organic disturb­ances may be the cause of a smeary and muddy pressure. Alcoholism and drug-addiction may be expected in a smeary and muddy pressure.

Psychotics often display such pressure accompanied by oddities and startling movements in the handwriting.

HORIZONTAL OR DISPLACED PRESSURE

Sample 7. At the beginning of this chapter we learned that the proper place for the application of pressure is in the downstroke. The word "displaced" is an explanatory one for the displaced pressure. Through experience we have found that the displaced pressure introduces extreme complications for even the experienced graphologist. We must be cautious about drawing conclusions from horizontal pressure.

Displaced pressure means that the pressure is applied in the side stroke or even in the upstroke. Those are the places where it does not belong according to the action of psycho-physical energy.

Generally this pressure is a sign that the libido or all our vital energies which drive us to activity is directed more to­wards an active than to a sensual life. It indicates an over­powering urge towards a goal which must be satisfied. The desire to gain power and success is increased, while sexuality becomes less important.

In this case the displacement shows that the sex energy is directed towards a creative plan or pattern in an all-engross­ing expression, kindled with passion and directed towards a creative work. The sex energies are displaced for a creative expression of fulfillment. This is the constructive side of the displaced pressure.

On the negative side, we find that the displaced pressure means that sex energies are perverted and abnormal. It is not strange, then, that we find displaced pressure in the handwriting of those whose sex energies are misplaced. How­ever, the psychological interpretation of this pressure is only to apply as misplaced sex energies when it coincides with other graphic characteristics which will be explained in the chapter concerning abnormalities.

BASIC LINE

The basic line varies. It may be steady (Sample 1) or wavering (Sample 6); it may slope upward or downward; and sometimes it drops dramatically.

Unless there is a marked tendency off the steady basic line we may consider it as steady. When in doubt, we have to turn the page upside down; this is the best way to detect the basic line.

Sometimes the direction of the whole writing is upward or downward. This may be from placing the paper in a wrong position, causing the basic line to be directed upward or downward. Sometimes eye-strain compels the writer to write in an extreme direction upward. Again, the upward direction may be attributed to a genuine tendency towards optimism. The falling line may be attributed to extreme depression.

Sometimes a determined downward slope of the basic line coincides with the characteristics of a heavy-pressure writer, as in a nature which will not leave a stone unturned to gain its object.

REGULARITY

Absolute regularity cannot be found in any writing for the simple reason that it is produced by a living being. We may, however, speak of a relatively greater or lesser regularity of the writing movement.

Sample 1. Shows a degree of regularity, which means that up and down strokes are equal and the basic line is steady.

In regularity of the movements of the pen a capacity for work and concentration is disclosed. An equal height and width of letters give evidence of perseverance, physical re­sistance, diligence, self-control, and consistent energies. How­ever, regularity also is frequently a characteristic of poor impressionability and apathy.

Regular writing coupled with angularity shows indiffer­ence and a lack of sensibility. Often there is a rigid regularity exhibited in the writings of priests, monks, and nuns, and in that of persons who are obliged to live a severely disciplined life. Rigid and regular writings coupled with a leftward slant often reveals deceitful characters, imposters, defrauders or forgers. These individuals carry a mask over their turpi­tude. They must appear extraordinarily correct, therefore the rigid regularity in their writing is almost a symbol of de­ceit, a sheep's clothing thrown over the wolf. (Sample 89.)

IRREGULARITY

A certain irregularity appears in Sample 83. We see that the angle of up and downstrokes is extremely oscillating, coupled with a continuous change of slant.

Sample 4. Irregular writing together with uneven pressure:

This shows nervous sensibility and a nature open to im­pressions and excitement. Sensitive people who are easily impressed, and as easily exhausted, generally write in this fashion.

Unequalness of graphological traits may signify either a variety of ideas, or weakness of character. The artist and the intellectual almost always write an unequal hand. We notice unequalness in the handwriting of unstable characters and neurasthenics, in both of whom the energies are unbalanced.

SLANT IS THE INDICATOR OF THE EMOTIONS

Sample 7. The rightward slant in handwriting discloses initiative, activity, and an interest in the world. When this is coupled with simplified letters, it reveals an objective mind. An easy-to-approach writer reveals himself in this slant; his active ideas must be communicated to many friends. In do­ing this, however, he may flee from himself into a turmoil of activity where he is frequently submerged.

A rightward slant together with rounded and graceful letters indicates initiative, an enterprising mind, sociability, and an expansive character with an interest in progress. Very large and rounded letters with a rightward slant betray a restrained impulse in the writer, and an impatient and un-concentrated nature. While this handwriting shows strong and passionate feelings, it may also indicate an inconsiderate and thoughtless character as in Sample 6.

Sample 8. The leftward slant symbolizes a reserve and a fear for the future which we frequently see in adolescents and children. In the adult we recognize this as an expression of a reserved attitude, bordering on the attitude of self-defense which follows disappointment and misfortune. When these writing habits are added to special characteristics of false­hood, we recognize them as a clue to dissimulation and eva­sion. This will be elaborated in a special chapter. When an educated person writes a childish hand, he displays arrested development and a strong tendency to cling to familiar sur­roundings.

Sample 1. Vertical writing shows reserve, self-command, and a lack of spontaneity. This writer usually is a person with a highly critical nature, the mind rules the emotions.

TEMPO OR SPEED

In order to ascertain speed in writing we must see whether the strokes are smoothly and securely executed. In most cases the /-dots and periods are assuming the form of commas or little strokes. There is an increased tendency to the right, in­creasing left-ward margins, short and precise initial strokes, and prolonged, lively finishing strokes. It is important to notice that there is rarely a change of slant or direction in speedy writings.

Rapidity means activity; an active mind always writes fast. Quick, large, and well-connected writing with rightward slant and the i dotted ahead, together with large left mar­gins, reveals a character open to development and progress, as well as emotional expansiveness. (Sample 9.)

Slow, leftward and narrow script with exactly dotted i's betray the hesitation of a writer who procrastinates. Speed in writing discloses an alert, lively and impulsive character, en­dowed with quick thought and initiative. We have to dis­tinguish between the quick and the hasty writer, for the latter is ofttimes restless and unstable of character. Hastiness, together with irregular writing, discloses a lack of control.

Quick writing with a rightward slant reveals the extrovert, one who enjoys meeting people and finds his satisfaction out­side of himself. (Sample 9.)

Impulsive people, often unable to keep their thoughts on one subject without great difficulty, write a hasty hand.

He who writes slowly is also slow in his actions and reac­tions, and is cautious and prudent, pondering much before he acts. The introvert or the introspective person often writes a slow hand. The introvert is drawn more to his inner world, likes to be alone, and is involved in his own thoughts.

Sample 2. Slow and uniform writing belongs with pas­sive phlegmatic and indolent natures. A very slow and dila­tory hand is characteristic of melancholy, and slow, rigid, regular writing is almost always a symbol of deceit.

Pressure, slant, regularity and speed therefore indicate the writer's innate constitution and temperament. We learn from the forms, the loops and flourishes whether the writer has used his innate qualities and predispositions, affirming his capacities, or whether he has wasted them. The writer's environment is also reflected here, as well as his attitude and adaptability towards the demands of life.

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