Appendix 1 a Brief History of Graphology Taken from the World Wide Web (Unless Otherwise Indicated)

Appendix 1 A Brief History of Graphology Taken from the World Wide Web (unless otherwise indicated): http://www.britishgraphology.org/history.htm

• Beginning of 17th Centuary - Alderisius Prosper made the first known systematic attempt to provide information about the relationship between character traits and specific graphic signs in handwriting in a published study entitled “Ideographia” (Marne, 1981). • 1622 - Camillo Bardi published the first recognised and known treatise on graphology. The treatise provided a method of judging the nature of a person from their handwriting (White, 2002). • 1872 - Jean-Hippolyte Michon discovered the meaning of “signs”, interpreted as outward indices of particular inner attributes. This ascribed a “fixed” and definite meaning to each sign (Marne, 1981). • 1877 - Jean-Hippolyte Michon coined the phrase “Graphology” from the Greek words “Graph” meaning “to write” and “Logus” meaning “doctrine” or “theory”. • Early 19th Centuary - Crepieux-Jamin defined 7 elements of handwriting (i.e. dimension, form, pressure, speed, direction, layout, continuity) and attributed a range of possible meanings to every element, and insisted that the value of any given sign is not “fixed” and that its significance and interpretation can vary depending upon the other features in the writing. • 1890 – Alfred Binet first tested the assumption that specific character traits correlate with specific handwriting traits. The affirmative results achieved with respect to graphic indices of honesty and intelligence brought new esteem to graphology. He also confirmed that neither the chronological age nor the sex of a writer can be conclusively ascertained from their script (Marne, 1981). • 1895 - William Preyer recognised that handwriting is in fact “brainwriting”. He correctly postulated that if a writer lost a writing arm and had to use the opposite hand, or even the mouth or foot as in the case of paralysis, the same basic tendencies will appear in script.

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• 1897 - Hans Busse formed the Association for Graphological Research. • Early 20th Centuary - Dr. Ludvig Klages created the first complete and systematic scientific theory of graphology following methodical empirical research. • Dr. Max Pulver made contributions in terms of the symbolism in handwriting, both in direction and in symbolism of space. He divided handwriting into 3 vertical zones; vertical movement, horizontal movement and depth. • Robert Saudek established the concept of “speed” in handwriting. • Hans Jacoby developed the “science of the expression of movements” revealing that gestures seen in the writer’s body language such as the manner of walking, expressive movements of hands and arms, for example, were also reflected in the handwriting. • Alfred Mendel demonstrated that the “pressure” of handwriting could be broken down into many different areas depending upon the writer’s personal proclivities, each of which indicated highly revealing aspects of the writer. • 1930’s - Robert Saudek used quantitative methods and experimentally examined handwriting movements. • 1931 - Klara Roman invented the graphhodyne which is a mechanical device that recorded quantitative and qualitative measurements of the dynamic components of the writing movement such as pressure, speed, interruptions of flow and variations of emphasis (rhythm). • 1942 - heralded a decisive step towards the introduction of an objective method in graphology when S. Lewinson and Joseph Zubin developed a system of scales which they applied in a clinical manner to the handwriting of normal and abnormal individuals (Marne, 1981). • 1985 - Professor Rudolph Pophal brought graphology into the area of research and made many discoveries related to brain and muscle structuring which confirmed the earlier assertion of Preyer (1985) that handwriting is indeed “brainwriting”

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Appendix 2 Validation Studies and Research This list is far from definitive or complete, but it does give an indication of the extent of the research that has been done, and is still being done, to validate handwriting analysis. The full list can be obtained on the World Wide Web at: http://compusysnt.compusys.iafrica.com/sandline/research.htm

Brown, N.K., & Scott, R.H. (1984). Validation of a personnel selection system to meet EEOS guidelines. Journal of Handwriting Psychology, 1 (1), 349-350.

Nevo, B. (1986). Graphology validation studies in Israel. Springfield: Charles C.Thomas.

Campbell, D.T., & Fiske, D.W. (1959). Discriminant validation by the multitrait- multiumethod matrix. Psychological Bulletin, 56, 81-105.

Crumbaugh, J.C., & Stockholm, E. (1977). Validation of graphoanalysis by global or holistic method. Perceptual and Motor Skills, 44, 3-410.

Eysenck, H.J. (1945). Graphological analysis and psychiatry: An experimental study. Brirish Journal of Psychology, 35, 70-81.

Eysenck, H.J., & Gudjonsson, G. (1986). An empirical study of the validity of handwriting analysis. Personality and Individual Differences, 7, 263-264.

Fluckinger, F. A., Tripp, A., & Weinberg, G.H. (1961). A review of experimental research in graphology: 1933-1960. Perceptual and Motor Skills, 12, 67-90.

Glbraith, D., & Wilson, W. (1964). Reliability of the graphoanalytic approach to handwriting analysis. Perceptual and Motor Skills, 19 (2), 615-618.

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Jansen, A. (1973). Validation of graphological judgements: An experimental study. The Hague: Mouton.

King, L. (1974). Graphology: An evaluation of some research performed in its investigation. Bountiful: Leslie King.

Kraus, R. (1993). Reliability and validity of handwriting analysis compared to the standard battery. PhD Thesis.

Lorr, M., & Golder, J.V. (1948). Validation of some handwriting scales against personality inventory scores. American Psychologist, 3, 262.

Mohl, A. M. (1952). Report on twenty three years of research in handwriting. Medical Woman’s Journal, 59, 409-411.

Neter, E., & Ben-Shakhar, G. (1989). The predictive validity of graphological inferences: A meta-analytical approach. Personality and Individual Differences, 10, 737-745.

Nevo, B. (1986a). Reliability of Graphology: A survey of the literature in scientific aspects of graphology. Springfield: Charles C Thomas.

Nevo, B. (1989). Validation of graphology through use of a matching method based ranking. Perceptual and Skills, 69, 734-745.

Thomas, D.L. (1966). Validity of graphology in the assessment of personality characteristics. Master’s Thesis, Colorada State University: Thomas.

Vestewig, R., Santee, A.H., & Moss, M.K. (1976). Validity and student acceptance of graphoanalytic approach to personality. Journal of Personality Assessment, 40 (6), 592- 598.

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Appendix 3 Journal of the American Society of Professional Graphologists The purpose of the journal is to present theoretical and research papers in scientific graphology according to traditional academic standards. Some random titles related to psychology are listed below. The full list can be obtained on the World Wide Web at: http://www.aspghandwriting.org/journal.htm

Volume I: 1989 • The Status and Future of Scientific Graphology (J. Fancy). • Alcoholism and Handwriting (T. S Lewinson). • The Preconscious in Handwriting (M. J. Seifer).

Volume II: 1991 • Children in Distress: The Graphological Viewpoint (L. Vaisman., & V. DeLeo). • Integrity and Handwriting (P. Siegel). • The Use of Handwriting Analysis as a Psychodiagnostic Technique (T. S. Lewison). • The Right Brain Approach To Handwriting Analysis (T. I. Seifer., & M. J. Seifer, Ph.D.).

Volume III: 1993 • The use of Handwriting in Psychotherapeutic Practice (H. O. Teltscher, Ph.D.). • Centenarians (B. Z. Lyons). • Drug Addition in Handwriting (V. E. Dileo).

Volume IV: 1995/1996 • A Scientific Approach for Research in Graphology (T. I. Seifer). • Indicators of Sexual Abuse in Handwriting (S. Ward). • Alcohol Abuse Therapy and Handwriting (E. E. Peeples., & G. Bishop). • Measuring Handwriting to Identify Thinking and Behavioural Styles in Four Quadrants of the Brain (J Farmer).

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Volume V: 1999 • A Research on Sublimation (R. Nezos., & The British Academy Research Team). • Motivations and Compensations (B. d’ Anglards). • The Planetary Types in Handwriting: A Typology for a Better Understanding of Behaviour, Personality and Motivations (E. Jeuffroy). • Assessment of Maturity and Distress in the Star-Wave-Tests of Five Year Olds (D.Yalon). • Neuroleptic Agents and Handwriting (M. Mateley).

Volume VI: 2004 • The Compatibility of the Couple (V. De Petrillo). • Graphology as Applied to Children (J. Peugeot). • A Graphological Picture of Creativity and Mental Distress (L. Vaisman). • Suicide: Graphological Perspectives (P. Siegel).

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Appendix 4 Examples of combined attributes reflected in an overall behaviour

Traits • Affable - upswinging end-stroke (affable lift). - open roundness of formations (receptive, co-operation). - pre-strokes (desire to please based on insecurity). - light-pressured t-bar (lack of firmness).

Characteristics • Confidence - sturdy capitals (consistent with or slightly larger than upper zone limit, clearly and simply formed). - a clear readable script (nothing to hide; security). - the absence of unnecessary strokes, especially pre-strokes (self- assurance, security). - a firm baseline (clear objectives, emotional security).

Attitudes • Determination - firm pressure. - strong t-bars. - heavier downstrokes.

Drives • Greed - pronounced use of aquisitive hooks. - tight over-crowding of letters and words, especially if combined with narrow to no margins (stingy). - over-inflated lower zone loops (material acquisitiveness), especially if found in an extremely angular script.

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Potential • Mathematics - Strong, regular pressure. - slight backward slant. - Regular size and shape. - Knotted loops. - Straight baseline.

Emotional States • Depression - descending, sagging and/or plunging baseline (depression plus pessimism). - descending signature baseline (self-blame). - weak pressured t-bars, especially if low on stem (lack of firmness, feelings of inferiority). - sagging final letters. - descending finals (ending strokes) on letters that do not have a lower zone (physical and emotional exhaustion). - crossing strokes below the baseline, especially if in the signature (drives cancelled).

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Appendix 5 Examples of combined attributes that serve as warning signs of psychopathology

Paranoia 1. Meandering baseline and light pressure (instability). 2. Descending baseline and end-strokes (depression). 3. Extremely generous irregular spacing (independence, isolation, indifference). 4. Tapered strokes (destructive tendencies). 5. Heavy i-dots (psychosis). 6. Altered letters (mental health disorder, dissimulation, lying).

Psychosis 1. Reversed slant and strokes, arcades, tangled script, irregular spacing, letter “o” written clockwise, heavy dots on the “i” (general signs). 2. Baseline is extremely meandering, varying slants (often reversed), altered letters, light pressure (more instability). 3. Tapered words and strokes, reversed angles, crossed out signature (suicidal wishes, greater destructive and self-destructive tendencies). 4. Speed, thread-like, difficult-to-read writing (remoteness from reality). 5. Very light pressure, unfinished letters, retouched strokes, generous and irregular spacing (insecurity). 6. Clubbed strokes (deviated emotions). 7. Altered letters and strokes (heightened anxiety). 8. Monotonous, slow writing (regression). 9. Very generous spacing and margins (isolation). 10. Odd spacing between letters or in the middle of the signature (schizoid state). 11. Three, four or more completely different handwritings in the same sample or in different samples from the same person (dissociative identity disorder). 12. Tight spacing and margins, confused writing (excessive attachment to friends). 13. Short stems and loops in the lower zone (weakened libido).

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14. Clubbed strokes, exaggerated lower zone, very coiled letters in the middle zone (excessive auto-eroticism, sexual obsession). 15. Very round or garlanded letters (in a male’s handwriting; sexual ambivalence).

Anxiety 1. Monotonous script. 2. Jumbled, twisted, reversed strokes 3. Broken letters. 4. Altered retouched letters and strokes. 5. Overlapping strokes. 6. Extremely meandering baseline. 7. Reversed slant. 8. Various slants. 9. Weak pressure.

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Appendix 6 Sexuality

Normal sexuality:

Sexual frustration:

Inhibited sexual desire, impotence, indifference:

Sexual ambivalence (Varying slant and clubbed horizontal strokes).

Homosexuality:

Fantasies of debauchery and perversions: Pasty, ink-filled letters.

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Sadism:

Repression, neurosis:

Infidelity: Varying shapes and lengths in the lower zone.

Potential rapist: Clubbed, irregular stems.

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Appendix 7 Ward’s Graphic Indicators of Sexual Abuse

PPI = personal pronoun I. L-PPI = left lateral loop on PPI. LZ, MZ & UZ = lower zone, middle zone and upper zone.

1. a confused for o (or visa versa). 2. Arcade - broad. These could be found within letters such as m’s and n’s, as arched t-bars, in connecting or end strokes: 3. Baseline - abnormal. Baseline may descend excessively, be irregular, vary, be convex or concave or ascend excessively. 4. B-printed in cursive writing. 5. Covering strokes - extended beyond the base of the letter:

6. Crowded spacing - between letters, words and lines; signs of compression. 7. Capital letters inserted - in inappropriate places. The letter k, in particular, printed in cursive - or out of proportion to rest of the writing. 8. Drooping garlands - below the baseline. 9. Flames - upper and lower zone loops with well defined, particularly retraced flame- shaped points: 10. Figure 8’s - and fluid strokes (not in PPI). 11. Isolation - very wide space between words, lines or margins. Isolation of PPI. 12. Left trend - narrow left margin, LZ and ending strokes pulled leftward, letters tied or finished to the left, lack of finals to the right, movement within letters counter to copybook 13. LZ deviation from copybook - for example, tangling of lower loops with line below, any indicator in the LZ which is unusual or distorted. LZ excessive or out of proportion to rest of handwriting. 14. m’s and n’s distorted: 15. Margins unbalanced or non-existent; uneven, decreasing or increasing. 16. MZ inconsistent in size. Height of MZ letters vary.

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17. MZ increasing in size: 18. MZ decreasing in size: 19. MZ/LZ to UZ - any unusual connections from MZ or LZ to UZ. 20. Ovals - looped: - Overinvolvement within circle letters: - Initial loop within ovals: - Final loop inside a circle letter: - Double loop within circle letters: 21. Ovals - intruded: 22. Ovals - pinched/retraced: 23. Precise letter structures - perfectionism, rigidity. Consistency in all areas, even spacing, even margins, patching, rhythm, lower UZ, artiticial balance (through euality) or three zones, persona writing. 24. p and g - distortions: 25. p - retraced stem. 26. PPI – deviation: Horizontal figure 8 creation on L-PPI; reverse forms and counter

strokes:

Other deviations: 27. Retracing in MZ such as in m’s, n’s, h’s, k’s. 28. Restricted movements - extreme narrowness within looped letters such as e’s. 29. Retracing in UZ excessive: 30. Rigidity of initial strokes - inflexible copybook initial upstroke originating at or below the baseline.

31. Rockers - 32. Signature or PPI poorly formed - illegible or weak - and other signs of poorly formed letters. 33. Slant excessive. Extreme right or left slant. 34. Slant inconsistent. Slant varies considerably. 35. Stroke at end of letter ending below line - particularly in m or n (Do not measure ending stroke here).

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36. Stopping below baseline of lower zone loops - arcaded turning down of endstroke on lower zone forms: 37. Soldering - corrections, patching, retouching, excessive corrections. 38. t and d stems foreshortened - less than two times the size of MZH. 39. t-bar bowed - convex or concave. 40. Top of c’s and z’s closed or extremely narrowed or distorted:

41. UZ excessive: 42. UZ non-existent or extremely underdeveloped. 43. Underdeveloped, uneven pressure, soft, formless letters, particularly in the s, p or b.

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Appendix 8

Ward’s Graphic Indicators of Sexual Abuse

Indicator Description Examples Explanation

1 a and o a) a for o: Confusion of sexual identity and confused roles (Ward & Johnson, 1992, p.10). (Note: All references, except (b) o for a: Hollander (1999) and Santoy (1994), are taken from Ward & Johnson (1992) – see Bibliography) 2 Arcades broad (a) Within letters such as: Emotional protection (Amend & Ruiz, 1980, p. 79).

(b) Arched t-bars:

(d) End strokes:

3 Baseline (a) Descends excessively: Depression, fatigue, perhaps abnormal fatalism

(b) Ascends excessively: Possible faking or pretending optimism

(d) Is irregular (erratic): Emotional instability, confusion

(e) Convex: Moody

Moody, depression, memory of (f) Concave: something that is going wrong or saddens (Ward & Johnson, 1992, p. 10; Hollander, 1999, pp. 19,23). 4 “b” printed in Emotional, philosophical, cursive intellectual detachment in sex, loss of interest in sex, intellectual versus emotional approach to sex (Ward & Johnson, 1992). 5 Covering Extended beyond the base of the Repression if retraced, verbal strokes letter: caution when the cover stroke overlaps the top, emotional protection, can be manipulative, anxiety, regression, profound inhibition affecting expression (Nezos, 1986, p. 99).

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6 Crowded (a) Between letters (compression): Fearful, dependent, protective, space insecure, possible confusion of thoughts and feelings (Amend & (b) Between words: Ruiz, 1980, pp. 53,156; Brush, 1985, p. 97).

7 Capital letters (a) In inappropriate places: Rebellious, hostile defence inserted mechanism, resistance to authority, often unable to verbalise, can only (b) The letter k in particular: internalise (Brush, 1985, p.133). - printed in cursive (or) First sketch from Holland (1999).

- the buckle of k is out of proportion to the rest of the writing:

8 Drooping Garland connection droops below Unconscious action motivated by garlands the baseline: inner drives. Indicates how the writer automatically reacts on an emotional level (Ward & Johnson, 1992, p. 15). 9 Flames (a) Upper zone (UZ) loops: Stress, anxiety, frustration, feelings (partially of isolation, prone to emotional retraced flame- thinking, may denote an intelligent shaped points) (b) Lower zone (LZ) loops: person who thinks of self as being different (Amend & Ruiz, 1980, pp. 14, 53).

10 Figure 8’s and Fluidity, quick thinking, quick fluid strokes reactions, can become deceitful (Not in PPI) (Ward & Johnson, 1992, p.11). 11 Wide space (a) Between words: Isolation, the writer needs distance from emotional contact, timidity, introversion, fear of contact (Amend (b) Between lines: & Ruiz, 1980, pp. 52, 55; Nezos, 1986, p. 50).

(c) Wide margins: Large left margin indicates avoidance of the past, fear of past. Large right margin shows fear of the future, pressure from the future (Amend & Ruiz, 1980, p. 55).

(d) Isolation of PPI:

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12 Left trend (a) Narrow left margin: Orientation or hang up with the past contributes to insecurity and fear, reflecting on the way things were or should have been (Roman, 1970, pp. 138-146). (b) LZ and ending strokes pulled leftward

(d) Lack of finals to the right:

(e) Movement within letters counter to copybook:

13 LZ deviation (a) Tangling of lower loops with Confusion, lack of inner harmony from line below: and balance, difficulty in copybook determining which instinctual needs must be met (Amend & Ruiz, 1980, p. 20; Brush, 1985, pp. 101-102). Sketch from Santo (1994).

(b) Any indicator in the lower zone Something is going on in the which is distorted: subconscious, instinctual area of the writer’s life (Karohs, 1985, pp. 20, 22 &141-143). Sketch from Hollander (1999).

c) LZ excessive or out of The writer is dominated by powerful proportion to rest of handwriting: unconscious forces which relate to survival needs, instincts (Amend & Ruiz, 1980, p.20). Dependence on others for fulfilment of inner needs and drives, need for maternal nurturing (Amend & Ruiz, 1980, p. 33). Sketch from Hollander (1999). 14 m’s and n’s Not able to develop good social distorted skills, may be fearful of relating to others.

Feels undeserving of space or oneself, emotional deprivation, pressure from future.

Responsibility and/or commitment due to fear of the future (Metsler, 1985).

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15 Margins (a) Non-existent: Intrusive personality seeking unbalanced or protection, immaturity (Santoy, non-existent 1994, p.50).

(b) Uneven: Instability, limited reliability (Santoy, 1994, p.3).

(d) Increasing towards the bottom: Spontaneity, carelessness, easily influenced (Santoy, 1994, p.3).

16 Middle zone Height of MZ letters vary: Caught up in current problems, lack inconsistent of judgement, can be emotionally unstable, moody, inconsistent emotional responsiveness towards others (Amend & Ruiz, 1980, pp. 16, 50). 17 Middle zone Increasing from small to large: Self-consciousness (Ward & increasing Johnson, 1992, p.13).

18 Middle zone Decreasing from large to small: Diplomacy (Ward & Johnson, 1992, decreasing p.13).

19 Unusual Need to assert one’s own will, desire MZ/LZ to UZ to dramatise one’s own ego (Ward connections & Johnson, 1992, p.13).

20 Ovals looped (a) Over-involvement within circles: Deliberate desire to deceive or mislead, may not know the difference between reality and illusion.

(b) Initial loop within ovals: Self-deceit, rationalising processes which changes wishes into facts, uses intelligence to deny the truth, defence mechanism to allow unconscious escape from reality, denial.

(c) Final loop inside a circle letter: Secretive, the writer doesn’t communicate everything he/she knows. A very large loop indicates a secret that has become a burden (Ward & Johnson, 1992, p.13). 21 Ovals Intruded Privacy of self has been invaded or intruded upon (Brush, 1985).

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22 Ovals pinched Feels undesirable to others, internal or retraced and external self concept is restricted, feels undeserving of personal compliments, vulnerable (Metsler, 1985). 23 Precise letter Rigidity, consistency in all areas, Low goals, fear of failure, usually structures even spacing, even margins, balance has a high degree of self-discipline, of all three zones: insists that everything be done well, perfectionism, defence mechanisms to avoid criticism and to earn love and approval (Link, 1987, pp.142, 217). Sketch from Hollander (1999) 24 p and g (a) p distortions: Represents the individuals ability to distortions accept and give love on the basis of his/her own sense of self-approval. The more rounded the circle part of the letter, the more deserving of physical love and attention the writer feels he/she deserves. Any distortion affects this part of the writer’s life (Metsler, 1985).

(b) g distortions: Represents what the writer thinks he/she is worth based on past and present experiences, heredity or physical standards. The more distorted the g, the less worthy the individual feels (Metsler, 1985). 25 p-retraced Rationalises defences regard being stem loved, exactness and conformity to the highest standards, compulsively precision orientated (Metsler, 1985; Brush, 1985, p.143). 26 PPI deviation (a) Horizontal Figure-8 creation: Dysfunctional relationship with dominant male, significant problem concerning father image, distorted opinion of males, disappointment in men (Green, 1988, p.143).

(b) Reverse forms and Major rejection of the father figure countertrokes: (Green, 1988).

(c) Other deviations: (1) Anger towards mother figure or nurturer (2) anger towards father figure (3) anger towards both (5) 1. 2. 3. 4. 5. take care of me (6) weak self- concept (Green, 1988, pp. 98, 299). 27 Retracing in In particular, retracing of: Unconscious restraint of MZ m’s, n’s, h’s and k’s unacceptable feelings and/or desires. Experiences are denied by habitual concealment/repression, inability to express inner feelings freely, emotional isolation (Brush, 1985, pp.145, 192, 221).

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28 Restricted Extreme narrowness within looped A defence mechanism to protect ego movements letters such as e’s from emotional stress due to resentment of others’ ideas, concepts or values that one is not comfortable with (Brush, 1985, p. 241).

29 Retracing in Reflects the writer’s unconscious UZ excessive need to hide his/her thoughts, actions or feelings. Anxiety, fear and tension are often involved (Ward & Johnson, 1992, p.15).

30 Rigidity of Inflexible copybook initial upstroke Anticipation of interference from initial strokes originating at or below the baseline: others who might try to impose their will or wish on the writer, a defence mechanism to prevent being taken advantage of, the writer’s guard is up, resentment, anger (Brush, 1985, pp.145, 225). 31 Rockers Need for support, possible “phallic” symbol (Ward & Johnson, 1992).

32 Signature or (a) Signature illegible or weak: Poor self-image, lack of a PPI poorly wholesome feeling of satisfaction formed concerning one’s abilities, physical attributes, accomplishments, or self- (b) PPI poorly formed: worth (Brush, 1985, pp. 148, 180). Sketches from Hollander, 1999).

33 Slant (a) Extreme right: Dominated by emotions, restless, excessive impulsive (Amend & Ruiz, 1980, p. 30). (b) Extreme left; Emotionally unexpressive, the writer has been hurt, rejected, withdrawn for reasons of security and protection (Amend & Ruiz, 1980, p. 30).

34 Slant Slant varies considerably: Plagued by inner conflicts, very inconsistent insecure and untrusting, may not understand themselves (Amend & Ruiz, 1980, p.31).

35 Strokes at end Particularly in m or n - (do not Guilt feelings that make it difficult of letter ending measure ending strokes here) to express anger (Amend & Ruiz, below line 1980, p.31).

36 End stroke Arcade turning down of end stroke Depression, the writer feels sorry for stopping on LZ forms him/herself but won’t let anyone below baseline know, a grin and bear it attitude of lower loops (Ward & Johnson, 1992, p.16).

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37 Soldering (a) Corrections: Perfectionism, possible compulsiveness, uncertainty, lack of confidence, anxiety, nervousness (Amend & Ruiz, 1980, p.156; (b) Patching/retouching: Brush, 1985, p.142). Last sketch from Hollander (1999).

38 t and d-stems Less than two times the size of the Defence mechanism, may feel like foreshortened MZ height. an “object”. If the stems are extremely short, the writer’s social ego has been crushed (Amend & Ruiz, 1980, p.117; Brush, 1985, pp.139,181). 39 t-bar bowed (a) Concave: Submissive, follower, irresponsibility is often a means of escape from the need to face up to the unpleasantness of the real world, lack of faith in themselves and failure to take themselves seriously, lack of commitment to life, circumstances out of control, pressure from authority (Brush, 1985, pp.140, 164, 203).

(b) Convex: Trying to control a feeling, act or belief which the writer feels is detrimental to his/her best image (pressure from the subconscious). It serves to restrain impulses, desires and actions (Brush, 1985, p.148). 40 Tops of c’s (a) Circle part of c narrow: Fredom to be true to feelings, and z’s closed freedom in handling encounters, or extremely open to only those very few he/she narrow or can trust. distorted (b) Circle part of z narrow: Denotes degree of trust in ones judgement. When z is almost closed or distorted, this trust is restricted (Ward & Johnson, 1992, p.16). 41 UZ excessive Wide open loops in UZ Signs of overcompensation for feelings of intellectual inferiority and emotional needs for constant reassurance (Amend & Ruiz, 1980, p.12). 42 UZ non- UZ non-existent The writer is likely to lack existent understanding of his/her goals, self- image or the impression he/she wishes to make (Amend & Ruiz, 1980, pp.11,12). 43 Soft formless Particularly in the s, p or b Subject to influence from others, letters, uneven may lack good judgement at times pressure (Ward and Johnson, 1992, p. 17).

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Appendix 9

Score Sheet

Handwriting Sample Number: ………………………..

Indicator Ref. Frequency Score Indicator Ref. Frequency Score Number ≥ 3 = 1 Number ≥ 3 = 1 < 3 = 0 < 3 = 0 1 a 16 a b 17 a 2 a 18 a b 19 a c 20 a d 21 a 3 a 22 a b 23 a c 24 a d b e 25 a f 26 a 4 a b 5 a c 6 a 27 a b 28 a c 29 a 7 a 30 a b 31 a 8 a 32 a 9 a b b 33 a 10 a b 11 a 34 a b 35 a c 36 a d 37 a 12 a b b c c 38 a d 39 a e b 13 a 40 a b b c 41 a 14 a 42 a 15 a 43 a b TOTAL

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