Free Introductory Notes on

FORMS OF CONNECTION - PART 1

Introductory Notes

While it cannot be stressed too often that no one characteristic in handwriting by itself is a reliable indication of character, there is no doubt that some things are more useful than others for illustrating the general rather than the particular in assessing personality.

Most graphologists are agreed on the importance of the forms of connection and it may be true to say that if this particular feature in a script has been accurately assessed and correctly interpreted, then the graphologist is not likely to go badly adrift in painting his word- picture of the whole.

Firstly, the form of connection in a script written at natural speed, or faster, is most difficult to change. As well as being typical of the writer's style, it seems to escape his attention and to be made subconsciously. Attempts at arcade formation by a natural garland writer, or vice versa, demand a strong, conscious effort that is difficult if not impossible to maintain consistently. So that the form of connection, especially in making small letter forms and joins, gives a partial picture that originates deep down in the personality.
Secondly, because it is the most frequent and decisive feature of the middle zone, the central part of the script that is included in the formation of every letter and which may be said to be the channel of the writing movement that leads from the "I" (the writer) to the "You", the form of connection reveals much of the writer's basic attitude towards life, towards other people, and towards the outside world.

There is a risk of rigidity and of over-simplification in trying to fit individual personalities into a limited number of classes or types. At the same time a broad classification can be very helpful at this stage, since the types of personality indicated by the general descriptions given below provide a good platform on which to base more individual interpretations, always bearing in mind the need to provide other 'back-up' movements to support all conclusions:

The conflict type will tend to use angular letter forms and connections
The receptive type is indicated by rounded forms and garland connections
The security type, with its sub-divisions into mask, mimicry and escape varieties, is reflected in the use of arcade, wavy-line and thread forms of connection.
Finally, the confused type of personality gives rise to writing forms, connections, slopes, etc., that are inconsistent, conflicting with one another, and generally arrhythmic.

In conclusion of this introductory section, it must be emphasised that just as few people fall into any specific class of personality without overlap, so it is rare to find consistency in letter forms or connections. Forms of connection can be one of the - if not "the" - most difficult areas of handwriting to assess accurately, and for this reason those just starting in this subject should expect some difficulty to begin with.

"Mostly one feels 'through a glass darkly', which is a pity because there is a lot to be learned if only one had the ability to see more clearly."

The different forms of connection in general use:

The founder of The British Institute of Graphologists, Mr Francis T Hilliger followed the generally accepted rule of six basic differences. There are other forms of connection described and interpreted by other graphologists, and some of them will be referred to briefly in these notes.

(The "Hilliger system" also ascribes interpretations to compound or "mixed" forms, which these brief notes cannot encompass. For this it will need an experienced and qualified tutor to assist you, and we recommend that if you are serious about learning graphology, you apply to our Education Officer for details of tuition.)

The formation and connection of letters necessitates frequent changes of direction. The way in which the changes are made is called the form of connection. The different forms are most evident in the construction of the small letters 'n' and 'u', but they also appear in other letters and must be looked for in all parts of an example, both within the letters themselves, and between and connecting the letter shapes. The individual writer's form of connection is, of course, most significant where it differs from the copybook form.

Copybook In this form, the curves and angles prescribed by the copybook used by the writer at school are followed throughout the script.

Angular In this form, the changes of direction are suddenly and sharply made, with a deliberate controlled movement both at the top and bottom of the stroke.

Garland The change of direction at the end of a down-stroke is made by a released movement and without abruptness. The resultant form is curved at the buttom but sharper at the top, giving the general impression of an open cup.

Arcade This form too, is the result of a prepared and gradual change of direction - this time at the end of an up-stroke: but the movement is to some extent controlled and is centripetal. The resulting arch-like form is rounded at the top but angular at the bottom.

Wavy-line This form of connection is devoid of angles and of sudden changes of direction, and takes the form of a serpentine series of curves.

Thread This connection has no real form at all. It usually takes the appearance of a horizontal and fairly straight line, without either angle or distinct curve. It is a released movement, involving a minimum of change of direction.

Forms of Connection: Illustration

ASSESSMENT

This is a matter of "eye", judgement and experience rather than any exact form of measurement but the following method may serve as a useful check on first impressions.

Generally, there will be more than one type of connection present in a sample. It may be necessary to estimate the percentage of each type to get an idea of their relative significance. Then it is not always easy, or even possible, to classify a particular form of connection under just one of the six headings. Qualified terms such as "wavy-line/garland" or "angle/arcade" may be necessary.

Take enough of the example to count out 100 successive small letters 'n' and 'u', plus 'm' and 'w' if you do not have a long sample, but omit all other letters for the time being. Classify each of them as well as you can under the six headings, giving half marks if necessary. You will then have at least a typical percentage of the forms of connection and an idea of the predominant feature.

At the same time make a note of any special angular, garland or arcade forms that appear elsewhere as in 't' crossings, or an arcade connection joining the 'o' and 'f' of the word "of", or neglected thread endings of words ending in "ing".

This will provide the data to work on. In the end the assessment may be something like, "More than 75% garland. Remainder thready with occasional arcade forms. Complete absence of angles".

Join us next time for Part 2 in which we look at the interpretations of each Form of Connection.

Reminder

These notes are intended to give some insight into the workings of graphology, and will be updated every few weeks. Join us again for the continuation of these guiding notes on "The Forms of Connection".

If you have enjoyed this brief introduction, and would like to take a serious course of instruction, details of tuition are available. The Institute offers a series of examinations leading to Diploma for those students who successfully complete all stages.

Other Lessons
Administration Manager
Secretary

Copybook		In this form, the curves and angles prescribed by the copybook used by the writer at school are followed throughout the script.
Angular		In this form, the changes of direction are suddenly and sharply made, with a deliberate controlled movement both at the top and bottom of the stroke.
Garland		The change of direction at the end of a down-stroke is made by a released movement and without abruptness. The resultant form is curved at the buttom but sharper at the top, giving the general impression of an open cup.
Arcade		This form too, is the result of a prepared and gradual change of direction - this time at the end of an up-stroke: but the movement is to some extent controlled and is centripetal. The resulting arch-like form is rounded at the top but angular at the bottom.
Wavy-line		This form of connection is devoid of angles and of sudden changes of direction, and takes the form of a serpentine series of curves.
Thread		This connection has no real form at all. It usually takes the appearance of a horizontal and fairly straight line, without either angle or distinct curve. It is a released movement, involving a minimum of change of direction.