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First impressions stare out from the page (large MZ, garlands, rounded forms, moderate right slant and wide letter spacing) to show a man who was affable and kind. Alfred Wilding was a good communicator and sociable by nature, he would show a pleasant front and an easy-going, courteous approach to those with whom he came into contact. Open and bright, Alfred Wilding was a man with energy (rhythm, speed, firm tension and rightwards movement) who made happy, spirited (sharp endings combined with the other movements in this paragraph) and interesting company.
The writer was a man of true intentions: not superficial in his sociability, not proud in his achievements, he believed in his vision and acted with determination. A genuinely open and kind man, he was self-motivated and did not use others for his own ends. These qualities can be seen in the simplicity of the script, a signature which is slightly smaller than the text, narrow letters and a lively movement to the right which is not carried away. The photocopy does not allow us to check pressure but we can still see a relief pattern throughout the sample which also points to determination.
Reserved in his intentions, cautious with his feelings (narrow letters), Alfred Wilding found inspiration from within himself (arcades) and acted upon it with almost humble constancy (regularity, moderate size of capitals and signature). He knew what he wanted and did not need to brag.
The script shows sharpness. Alfred Wilding was a man who could cut through superficial detail and unnecessary ramblings. He had a realistic understanding of things going on around him and he both knew how to make things work as well as having an ease of handling events in order to progress his ideas (sharp end strokes, firm tension, simplicity, regularity, connectedness).
The arcades mixed with the thread and connectedness of letters and words indicate that Alfred Wilding was an original man, wanting to promote and further his ideas. He was not stuck in a rigid belief system nor put off by possible hindrances.
'Original' some might have said was a euphemism for someone who could be difficult to pin down (thread with speed). As with maybe all men of vision and determination, Alfred Wilding also had his dark side. The script shows times of inner tension, rebellion and needing to go his own way. Essentially a sensitive man, despite his will to progress, Alfred Wilding suffered moments of scepticism and distrust. These elements to the personality are apparent in the narrow forms, the sudden leftward slants, the somewhat clenched signature, angles in the LZ and unsure LZ forms. There are also pressure changes showing moodiness.
Wanting to keep a control on things (strong relief pattern in places) he could be stubbornly obstinate (lines drop downwards), seeming to act in a contrary fashion to his usual self. Inwardly he would be feeling anti-everyone, different, not wanting to tow the line but not feeling comfortable with these feelings (thickening pressure with angles, left slant and coverstrokes against a background of easy flowing rightward, open movements).
At worst he would feel victimised while wanting to be the best. He would become sarcastic, hasty, contrary and both those who knew him socially or professionally and those more intimate would find him impossible to fathom.
These dark but driving forces only go to make the whole man, one who was essentially vibrant and magnanimous, even if a little childishly violent in his determination to have things his way (there are coiled/narcissistic forms which indicate spoiled behaviour). Admirably, he gave all to his work for the sake of progression, not for his own material greed. Alfred Wilding had aspirations of a higher order (rightwards movements in the LZ and end strokes that end upwards and high). Of creative and practical intelligence, with an understanding of social need (medium-large middle zone), he wanted to create and was essentially honest.
He was patient up to a point but not sentimental. As a man of ambition he would have expected people to work along side him, seeing things through and getting them right (regular, garlanded, sharp, progressive). He put himself into his work and no-one could have faulted his own personal active involvement (again, the simplicity, connectedness and signature of moderate size, equal to the text and legibility).
Clear in his judgement, he was capable of shrewd calculation (clear spacing coupled with thread and sharpness). A certain amount of emotion was involved in his decision making but he was driven more by perspicacity and logic than intuition (connectedness, steady baseline, pressure on downstrokes). He was quick and imaginative and that he could be a successful man, we have the living proof!
Charlotte Alergant is one of our foremost graduate members, having been trained to diploma level by Mr Erik Rees, Chairman of the Institute, and then working with him for several years as his assistant. Charlotte may be contacted by Tel/Fax: 0181 969 6130. |
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