Free Introductory Notes on

In previous notes we have seen how the letter forms are individual movements, often produced to reflect a "model" provided by a school or teacher. These letters are combined of three basic movements: straight strokes, angles and curves. These movements are more or less balanced in the "copymodel" alphabet, with all letter forms comprising at least two movements, with the exception of the letter 's' which can be entirely curved according to certain copymodels. Psychological interpretations are implied when a writer (usually unconsciously) avoids one or more of these prescribed movements. For example, the "angular" writer who avoids curvature in his letter shapes, preferring the more definite and decisive action represented by the angle, and the so-called "wavy-line" writer who in contrast avoids any angularity in his script, preferring conciliation rather than confrontation in his interactions.

When the child is first taught to write, these letter forms are reproduced as closely to the school model as possible, until the child begins to gain some confidence in his writing and can reproduce the letter shapes from memory. At this point, these movements begin to change, as they are channelled through the child's own personal preferences, likes and dislikes, which in turn reflect his basic personality. The more emotional child will favour the rounded movements, while the more assertive child adopts a more definite movement, often with short straight strokes and angles.

So, these movements will generally follow the "form" presented by the teacher or the copymodel, even though with slight variations depending upon the individual child's proclivities. The "movement" and "form" of the writing must also be arranged on the page (spacing), in order that the written forms can be read.

These three elements of writing, the "form", "movement" and "arrangement" constitute all actions within handwriting. The way in which a sample of writing is set out, arranged, and its various parts co-ordinated is important for a number of reasons.

Holistic graphology, i.e. looking at the whole handwriting, which is greater than the sum of its parts, requires that we assess the writing as an overall picture. Hans Jacoby sums up basically as follows:-

Writing is a structured dark mass of varying density with a line pattern, set off against a more or less defined blank paper "frame" made up of margins. Either the arrangement of the whole shows rhythm of movement and balance of form, or it does not. If it does not then the problem is to find the reason behind, or the meaning of, any discordant features.

The density and shape of the writing mass is influenced by the spacing between words and lines and the rise and fall of lines. The consistency of the former feature (the spacing) with the width of the margins - or the discrepancies between them - are points which must always be kept in mind when assesing co-ordination.

The motives behind a form of layout, and the character deductions to be made from it, are often complex, since more than one element of handwriting is usually involved. For this reason, no individual area of handwriting can ever be taken to indicate definite characteristics, as all aspects of the script must be considered in relation to each other. This is just as true of the overall aspect of "movement" as it is of a single letter shape, such as certain 't' strokes.

Layout, taken as a whole, is the result of conscious effort in the first place, though it may well become a matter of training or of habit. A good layout therefore must derive from aesthetic choice, organizing and planning ability, integrative capacity, or a combination of them. Hence the universal recognition of layuout and co-ordination as a factor in the assessment of "Form Level".

It is also recognized, however, that the displacing of writing to the right or left of the paper, or envelope, with the consequent effect on margins in particular but therefore on layout generally, is largely owing to the subconscious urges of economy (or extravagance) in time, space, or money; or of introversive or extraversive tendencies such as affect other features (slant, width, right and left tendencies, etc.)

Sometimes the aesthetic and economic motives support one another, sometimes they conflict. There might be an effort to disguise basic niggardly trends by demonstrative extravagance. (Secondary width can sometimes indicate this.) But the same overall breadth of a line might derive from a bountiful nature trying to compete with the limitation of available time (space, money). (Primary width but narrow left margin.)

But for better understanding, a subject as complex as this must be broken down into as many component parts as possible:

Assessment of Co-ordination:

First impressions are important but they need to be broken down under the headings given below.

Full allowance must be made for any known pre-conditions that may have affected the layout, according to their being favourable or unfavourable to co-ordination, e.g. cramped or uncomfortable writing position, writing on an uneven surface or in a moving vehicle, limited size of paper, e.g. postcard, bad pen or ink, writing in haste or when tired or very formally, use of standard forms, lined paper (unless the writer's preferred choice of writing material*), transparent writing paper with lined guide underneath*. As already pointed out, a rigidly formal layout may derive from a drill or training (e.g. the young girl trained in layout for typing, but who may be muddle-headed anyway) rather than coming spontaneously from an orderly mind. Other features also need to be considered, such as:

• Overall appearance and 'symmetry'
• margins
• Punctuation, paragraphing and underlining
• Spacing between words and lines, i.e. "density"
• Straightness and evenness of lines
• 't' crossings and 'i' dots - accurate or otherwise
• Any other feature that enhances or detracts from the appearance of the sample, e.g. odd letters jumping out of line, sudden increased pressure in patches here and there, etc.

In setting out the assessment, the general impression should be described, followed by comments on any of the above features that confirm or modify that impression.

Significance and interpretation of 'Layout':

Co-ordinated Writing:

As a general rule, though, a good layout is something to be sought for and the negative meanings would need to be confirmed by other features.

Unco-ordinated Writing:

Paragraphing:

Underlining and Exclamation/Question Marks:

Reminder

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

---