Is the script clearly 'rigid' restrained as in this example? However, some writers produce 't' bars which point, slope or droop downwards See example.
SECRET An amateur graphologist pleads for at least a dry run on an assessment technique of potential value in intelligence. The reaction is at times so strong as to give a psychologist the impression that those who shrink from the idea do so because they fear exposure and those who eagerly embrace it are the kind who like to snoop and pry.
Whatever the psychological reasons, one thing is certain: The art of handwriting analysis-graphology, as it is more commonly called, especially in Europe--has two branches: The latter is the subject of this paper.
I am not a professional graphologist, but I have explored the subject enough to be convinced that this black art has a practical application in the assessment of persons to whom access for other character tests is limited.
Since character assessment as distinct from capabilities-testing is as complex as human nature itself, and the art of handwriting analysis is exceedingly difficult in its detail, the most that can be achieved in any short paper is to give an outline of the theory involved, in the hope that those readers who have serious limited-access assessment problems will be encouraged to explore the matter further, independently, either through study or by enlisting the services of a professional graphologist.
Plotting the Terms of Reference Anyone undertaking serious study or investigation of graphology--or of any assessment system, for that matter--must settle three formidable related questions before he can safely submerge himself in the "how" of the technique at all, to wit: Most executives appear willing to settle for any assessment system which will consistently and reliably tip them off to those peculiarities of a given individual which will be helpful and those which will be harmful in the job they are trying to fill.
From the purely practical point of view, then, assessment starts with the job description, and that job description should be supplemented by a list of desirable, undesirable, and fatal traits.
In the absence of such a guide, assessment becomes perforce an undertaking to describe all the traits of a given subject, an exceedingly unrealistic exercise in the present state of psychological knowledge and one which, if conscientiously carried out, results in massive handwriting analysis personality test online complicated reports, long delayed.
I should accordingly, without prejudice to the usability of graphology in the field of deeper research, answer the first question as follows: We should consider a reasonably acceptable result from this technique to be a report containing a reliable guide to those character-traits of the subject which make him fit or unfit for the job we have in mind, as specified by us, plus a warning on any character-traits that deviate strongly from the average.
For this with apologies to bank tellers we want a stable and mediocre person who is conscientious, able to stand dull routine, accurate, and honest, one who is not quarrelsome, thieving, aggressive, or imaginative. We assume that in other respects he will be run-of-the-mill.
Such a potentially dangerous factor ought to be reported to us, even if we have not required it. Our second problem, semantics, can cause a great deal of difficulty either in the exercise of the graphological art or in the study of it; it is a pitfall into which many have tumbled.
What is an "honest" man? What is a "brave" man? Definition of such words is a practical impossibility, since the third unknown, an ethical standard, is involved. If we could establish agreed ethical standards, we could, no doubt, compose definitions which would be adequate, but there does not now appear to be such a set of standards.
In fact, at this point in human history there seems to be more confusion than ever over whether the end justifies the means or is inseparable from them. We are accordingly, as far as I can see, limited in using characterological terms to those denoting specific acts such as talking, stealing, lying, etc.
Many writers and students on the subject have fallen into the ethics trap, so let both student and practitioner beware. It is necessary to add yet another caution: The analysis of handwriting is an art, not a science, and the quality of the result is dependent upon the caliber and capacity of the artist.
Consequently, the statistical evaluation of graphology according to the accuracy of the results obtained by a cross-section of its practitioners is meaningless.
The question whether graphology can be used reliably in assessment work seems to me to depend on whether even one person can do it consistently, not whether a majority of those who claim to be competent can get results.
The evaluator should be aware that a great many so-called graphologists are either dilettantes or charlatans, using an art of which they have a smattering to swindle or astound the gullible. It is, in fact, this swarm of fortunetellers and mystics, with a small but noisy retinue of supporters making extravagant claims, who have done that recurring damage to the reputation of graphology which has served to deprive many a harassed executive of its assistance.
Basis for the Art As the reader will see from the bibliography attached at the end of this article, much has been written on the "how" of graphology.
The bibliography could be much longer without exhausting the list of serious works. The student who reads these books will find that, while there is considerable divergence among them in the area of fundamental theory, there is striking unanimity on the more concrete technical level.
This situation no doubt reflects the general dilemma of assessment: We shall therefore try as far as possible to avoid the more abstruse aspects of the subject in discussing next the general validity of the thesis that reliable clues to the character and to some of the capabilities of a person may be derived from competent analysis of his handwriting.
If this individuality in writing were the result of mechanical influences only, then the enormous deviations from letter forms taught in school which some calligraphies exhibit would be due to extreme mechanical idiosyncrasies, not to say difficulties, peculiar to the writer.
The fact is, however, that writers with exceedingly peculiar handwritings perform all other tasks with about the same mechanical competence as the next man, and conversely, persons who are markedly unadroit often have more regular handwritings than those of considerable mechanical skill.
Mechanical skill, in fact, is one of the abilities which can not be deduced from handwriting. Handwriting is in reality brain-writing, as the following experiment will prove to any reader who cares to try it: Sign your name on a piece of paper.
Now take the writing instrument between your molars and sign; then put the instrument between your big and second toes and write your name that way. With some practice legible signatures can be produced in this fashion, which on comparison will be found to resemble closely with due allowance for mechanical factors!
Even if you cannot control your neck or leg muscles sufficiently to produce legible scrawls, you will be able to see that you are trying to direct the instrument held in teeth or toes to produce the image you have in mind.
I would warn the reader who attempts this experiment either to make sure of privacy or to let any possible intruder know beforehand what he is trying to do.Greetings!
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Usually, I refrain from analysing signatures unless they are accompanied by the writers’ handwriting samples. Yet, some people insist on signature analysis.I avoid it because if the signature is analysed in isolation, there are chances of me going wrong about the personality of the writer.
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