PERSONALITY TYPES WITHIN THE WORKPLACE (LEADER, PERSUADER,

PERFECTIONIST, ORIGINAL THINKER AND TEAM PLAYER)

by Joyce Parkinson
DURING my career as a secretary, I have worked with a variety of individuals in different organisations. I still occasionally
temp which adds to my graphological pot of knowledge. It often provides me with humorous moments as personality types
come to life through their handwriting. For instance, the extreme behaviour of the dogmatic perfectionist (rigid regularity);
the slapdash headstrong individual (extremely irregular and illegible) and the bully boss (rigid angularity). Two solicitors
who worked in the same office Mr Connected and Mr Disconnected. The connected writer was totally absorbed in his
thoughts; he dictated with his eyes shut and you had to practically bang on the desk to get his attention! The disconnected
writer didnt mind breaks in concentration and was always coming out of his office to share a joke and keep abreast of office
gossip. However, sparks could fly as he was rather volatile and moody which I put down to his mixed slant.
It is fascinating to see such traits come to life but the main body of my talk featured personality types taken from Lesson 8,
Year 3 of Jacqui Tews BIG course.
The Leader General traits

Confident

Fast-moving and dynamic

Self-motivated

Goal-orientated

Likes quick results

Often unfeeling towards others (Bully type)

Ability to multi-task

Enjoys a challenge
Some movements: Medium to large size, upright or right slant, medium to heavy pressure, some angles, connected.
A BULLY BOSS large, heavy/very heavy pressure, v. angular
The Persuader

Suited to sales or training role

Enjoys socialising and working with people

Always seeking company or theyre on the phone

Quickly builds working relationships

Easily promotes and persuades

Spontaneous and adaptable

Seeks variety but hates routine

Prepared to bend rules

Some movements: Large size, right slant, med/heavy pressure, good spacing, rising baselines, some threading or
garlands, often quick
The Perfectionist
Conscientious, competent and persistent workers
Eye for detail.
Focus is on quality of work
Strives for excellence
Method is careful and methodical
Well organised and punctual
Follows rules and regulations
Prefers routine and hates sudden change
Some movements: Small/medium size, regular, rigid, legible, arcades, slow, clear spacing, good layout,
The Original Thinker

Creative, imaginative and full of new ideas

Highly valued for new concepts

Lost in own world

Enjoys working things out for themselves

Always talking about their new developments

Works to their own timetable

They will work on a project until it is flawless

Needs freedom, so hates rigid rules and deadlines

Some movements: Unstructured, primary thread, quick, lively, arrhythmic, some irregularity, can be loopy
The Team Player
Enjoys group involvement
Works harmoniously with different types
Loyal towards family and work colleagues
Good listeners
Co-operative
Hates confrontations or sacking
Hides stress and can be suspicious
Some movements: Medium size, some garlands, legible, medium/slow speed, fairly regular or slightly irregular, good
spacing, straight baselines
The following are examples of handwriting from individuals I have worked with or have analysed professionally. It is
difficult to show pure types as most people are a mixture of types. Therefore, I have chosen a few samples from a selection
of professions to illustrate where these different types appear. (Note: These samples feature in my book The Ultimate
Guide to Handwriting Analysis and the text has been approved by all contributors. Therefore, I am not at liberty to add
additional in-depth psychological interpretation, although I know they are there. My main aim in this article is to illustrate
the types listed above and to bring the personalities to life.)
CHARTERED SURVEYOR
I briefly temped for this chartered surveyor. Some of his traits were similar to that of a Perfectionist, e.g. attention to detail
and observing rules and regulations. However, these qualities alone would not provide him with the ability to carry out all
his duties, which amounted to a very busy schedule. He needed management skills and to work at great speed and cope with
a stressful workload. This example is written fairly quickly, although other samples I have seen were more interesting as he
also connected words too. However, the left slant shows caution so he is less likely to make an impulsive mistake. The
small compact middle zone letters indicate good powers of concentration and the low i dot also confirms a good memory
and attention to detail. Wide line spacing shows clear thought processes and the ability to plan and organise. The pressure
is firm indicating good energy levels, so he is able to keep up momentum and deal with a heavy workload. Baselines are
straight and slightly rising, so good self-control and optimism are evident.

THE BOSS
The next sample is of another surveyor and imagine my surprise when it dropped out of the envelope!

I was really surprised to see this expansive script indicating a smattering of Persuader/Leader/Original Thinker types. I
obviously felt that he was in the wrong profession because the Persuader loves social contact and forging workplace
relationships. Their focus is on the big picture which is confirmed in the very large style. Typically, they hate being
confined in any way by attending to detail and following rules and regulations. The Leader Type likes to take control and

get results, so a good combination if the writer is the boss. I was sent the script to comment on as part of a talk to the local
surveyors club, so I thought Id better speak to the writer in case I was about to make a horrible mistake! He immediately
confirmed what I suspected, that he had started life as a surveyor and hated it because he felt too restricted. He quickly
realised his mistake and started his own company which suits his Persuader/Leader/Original style of thinking. Fortunately
he has an excellent team and PA dealing with all the intricacies of the profession while he gets on with managing the
business.
Leader with firm approach: Below is the handwriting of an individual who has great presence, energy and authority
which is shown in the large size, large lower zone, upright/right slant, heavy pressure and angular/arcade forms of
connection. He is an accountant working for himself so he has many attributes connected with that profession. There is the
ability to plan and organise effectively and a good memory is indicated. Actions are thought through logically and
systematically. He shows a keen sense of duty and responsibility towards others, so he can be relied upon to be loyal and
trustworthy (upright/right slant, good layout, connected, regular and legible style).

PR CONSULTANT (ORIGINAL THINKER) (had been a reporter)

The sample below is of a businesswoman who runs her own PR company. Speed of thought and creative thinking is key in
her line of work. Firstly, the rapid pace it has been written and the simplified letters confirms her speed of thought and the
sharp horizontal crossings on i & t indicate a sharp wit! There is plenty of movement in the writing indicating
adaptability, so she is instantly able to change direction without too much trouble. Typical of an Original Thinker is her
liking for variety, so she probably dislikes too much red tape and sticking to restrictive rules and regulations. Her
individuality and freedom of thought are necessary components of her working life. The clear spacing between the lines
confirms clear thinking and the ability to plan and organise. The only down side is that the pressure is fairly weak pointing
towards lack of sustained energy and stamina. However, the change of letter shapes from angles, arcades and threads again
indicate speed of thought and the ability to charm her way out of situations. In other words, she is making life easy for
herself and does
not need to use unnecessary force or energy to get her way.

ADMINISTRATORS/PERSONAL ASSISTANTS (PERFECTIONISTS/TEAM PLAYERS)

Any disorganised Persuader type needs a good personal assistant or Perfectionist/Team Player to organise his/her day and
make sure that nothing is overlooked. The samples shown below indicate excellent administrative ability and interpersonal
skills because the writing is neatly laid out, clearly spaced and legible. These types work in a methodical and deliberate way
and hate being rushed. Refining existing practices is a speciality because they hate unnecessary change. However, they can
be rather suspicious and tend to hide anger.

Excerpts from: The Ultimate Guide to Handwriting Analysis by Joyce Parkinson MBIG (Dip)
An introduction to handwriting analysis with sections on personality types within the workplace.
Available direct from Joyce at 14.95 + 1.05 p&p = 16
Cheques payable to: Just Perfect Analysing Ltd, PO Box 1129, Bedford, MK40 4XT

Discussion of Integration of a Variety of Graphological

Methods
Stephen Borisoff, CGA, CG
STEPHEN BORISOFF has been working as a professional analyst for the past 38 years. In 1973, he became a
Certified Graphoanalyst with the International Graphoanalysis Society. A few years later, he studied with Charlie
Cole and learned the Roman Psychogram method. He has had a special interest in European Holistic and Gestalt
Graphology systems which include the methods of Ulrich Sonnemann, Robert Heiss, and Bernard Wittlich.
This is a piece that he submitted to the website groups and it merits being passed on to a wider audience, as his work
explains the differences of the approaches of various graphological analysis styles.
SOMETIMES I like to write about problems that beginners, and even more advanced graphologists
have to deal with in doing handwriting analyses utilizing a variety of existing methodologies.
Handwriting analysis is usually done by either a bottom-up versus a top-down technique (also
sometimes referred to as deductive versus inductive, integrative versus holistic, trait-stroke versus
Gestalt). There is also the symbolic approach developed by Max Pulver, as well as psychometric
(measuring) techniques like Moretti's system, or the Roman Psychogram. Then, there is the Gestalt
Method where you view the writing as you would a painting in a museum and interpret visually the
meaning of the gestures and guiding images of a writing.
First, I want to discuss the idea that no one factor in handwriting really means anything in and of
itself (This discussion refers more specifically to indicators in the holistic graphological systems, and
does not pertain as much to trait-strokes for reasons I will try to explain later in this paper when I
discuss the predictive power of syndromes and the fact that trait-strokes are micro-syndromes
which too possess a certain uncanny trait descriptive ability). In the holistic arena, when you see an
element, let's say, a thread, a garland, heavy pressure, or small size and while one or the other of
these features can have a certain general "absolute" meaning as small size may reflect Concentration,
for instance, or large size reflecting some psychological trend like "Biological Egoism" (Max
Pulver) and some sort of egocentrism, or pressure reflecting energy, libido or emotional depth -- more
commonly, most individual features alone are merely sign-posts implying a range of potential trait
indications depending on corroboration of other features and in the context of the writing as a whole.
The variety of possible meanings of the above may be narrowed by viewing what I call the "nuance" or
mode of execution (i.e., the particular way a feature is made the term nuance is my invention. So,
instead of just thread, you might specify a primary or secondary form of this feature; instead of just
garland, you might specify that it is a shallow, deep-dish, retraced type of this feature. By noting the
nuance or the particular mode of execution, you may be able to posit more definitive meanings, both
positive and negative, related to various levels of personality function. Also, by noting the intensity
and/or frequency of the individual feature, you may be able to tell if there is a more positive meaning
attached to a moderate amount of a single indicator or a more negative meaning which tends to come
along with an extreme presence of a single feature.
While the above may help to specify more precise meanings, actually a cluster or syndrome of
indicators is more indicative of a personality trend on this or that level of personality than any single
indicator. The fact is that when you attempt to find the meanings of a single indicator of holistic
graphology in a vacuum, you will usually find it an effort in vain because the meanings which you

may give that indicator are usually arbitrary. However, even when you are using the more correct
method of trying to interpret the meanings of an indicator relative to the group in which it resides, as
well as when you are attempting to determine the meanings for a particular syndrome of indicators in
which the indicator takes part (theory of resultants or Konstellationstechnik), even these meanings
derived from clusters may be modified or changed radically based upon the overall context of a good
or bad Gestalt in which the very same syndrome of indicators finds its true meaning.
Trait-strokes, because of their mode of execution, in this zone or that zone, made with a certain
amount of force (pressure) or endurance (length), for instance, are actually "micro-syndromes" (my
term) possessing a number of characteristics in their construction which lead to quite specific trait
indications, because most of them are articulate composites with certain gestural qualities which
make them sensitive tests of corresponding trait values. However, as with a cluster or syndrome of
most indicators in the holistic arsenal such as size, spacing, margins, speed, fluency, and so on, the
values of trait-strokes too change depending on all of the rest -- the totality of the writing. These
trait-strokes may also be clustered together to "evaluate" broader traits through evaluation using the
theory of resultants where the specific sign for that evaluated trait is not present in the writing.
There are two approaches to utilizing all of the above mentioned indicators whether global indicators
or trait-strokes, and they are the bottom-up or the top-down approaches. The bottom-up (also called
by other names like inside-out, deductive, or integrative) approach differs from the top-down (also
referred to as outside-in, inductive or holistic and sometimes Gestalt) approach in that in the first
method the single indicators, syndromes and/or trait-strokes gathered in the writing under scrutiny
are given orientational meanings which are compared, corroborated and integrated together to build
towards the big picture like a finished picture puzzle.
The "traits" determined from the bottom-up, deductive procedure above may be organized into groups
showing intellect, ego strength, emotions, controls, forces towards achievement, fears, defenses,
integrity, sociability and talents. These traits are further sub-divided into supporters and reducers of
the particular areas of personality, above, in which they take part. However, often the many trees in
the forest are described beautifully but the overall forest cannot be seen for all of the trees until the
end of the analysis in a summary statement if at all. It's kind of like going to a doctor who tells you
that you have red little hives showing an allergic or some histamine reaction, temperature or fever,
clammy skin or poor turgor, etc. and seventy other symptoms, but you as the patient are losing your
patience because you just want to hear from the doctor what disease it is that you have!
This is why in the top-down approach, as opposed to the bottom-up approach, the big picture is
deduced as early as possible. Sometimes, the main features are noted early on, not for their
meaning, but for their presence in determining psychological typologies like the Jungian Types, or Le
Senne's Types.
Holistic information gleaned by first determining the strength, weakness or disturbances in the
pictures (rhythms) of form, arrangement and movement of a particular writing are used by the
followers of Robert Heiss and Karl Gross. In this last procedure, the various features belonging to
each of the pictures are evaluated to verify the dominant picture(s) as appearing to be at first glance
either in a state of development, underdevelopment or disturbance. The picture of arrangement
(space) may show the degree of integration into the environment the writer has achieved, and the
amount of judgment and perspective he or she possesses, while the picture of form may show the
amount of ego strength, as well as the degree of development of a healthy ego ideal. The picture of
movement, coming from the basic levels of personality is the best indicator of spontaneity, functional
integration of mind, emotions and instincts.
By utilizing Jungian Types, Le Senne's Types, Pophal's degrees of stiffening tension and/or by
contrasting and comparing the data derived from the condition of the dominant pictures using Heiss's
method, the graphologist obtains a global tool known as an orientational synthesis or synthesis of
orientation (depending on how you translate it from French) which helps him or her to get oriented in
the often difficult quandary of deciding the correct interpretations and interplay of the many
dominants, counter-dominants, as well as the more subtle features, small details and signs in the
handwriting under scrutiny. With these overall syntheses of orientation, syndromes of indicators and
even single features which would otherwise only represent an array of potential and arbitrary
meanings get a helping hand in the choice of the meanings which fit the particular writing while
allowing the graphologist to cast out the meanings that obviously are not appropriate in a particular
case and do not apply.

In the earlier graphologies, the first basic syntheses of orientation were developed to size up the
writing before interpreting a single feature, "graphological definition" or syndrome of indicators. Jules
Crepieux-Jamin used harmony -- an aesthetic approach, Ludwig Klages used rhythm or more
precisely Formniwo showing vital force according to his dogmatic metaphysical bipolar
doctrine, Ulrich Sonnemann gave Formniwo an aesthetic dimension that Klages never intended with
his recasting of Formniwo as level of form quality as the relative degree of originality plus the relative
degree of aesthetic balance. This definition is more in line with Robert Heisss Rhythm of Form.
Robert Saudek, who had a preoccupation with speed, used Standard Class, and Rhoda Wieser used
her concept of Ground Rhythm determined by the slackness or rigidity versus the elasticity of the
ductus.
The general steps in a lot of modern holistic graphological methods -- though every graphologist
should eventually follow his or her own way -- are 1) to allow the handwriting to talk to the
graphologist who in a passive, attentive mode allows himself or herself to form a general first
impression (good Gestalt, bad Gestalt as shown by figure/ground relationship, aesthetic balance,
rhythm and harmony, 2) isolation and analysis; breaking down the writing to determine dominants
and counter-dominants from global features (and even to the smallest detail), 3) Organizing the
elements into clusters or syndromes in which features usually have been seen to reside and form
meaningful relationships to psychological trends or character traits, and finally, 4) synthesis or
integration of appropriate meanings of features into a comprehensible whole.
All the time, after making the initial first impression, the graphologist tries to stand back and see if
the process of analysis and synthesis is jiving with initial first impression, or whether the initial
impression needs to be modified or even discarded after forming new hypotheses based on deepening
perusal of the writing (Note: the trait-stroke method known as Graphoanalysis uses a wholly different
approach than the above and when you use that system you must follow the rules of that discipline
which utilize a unique evaluation system of dividing the "traits" into supportive and reductive groups
in this or that pertinent area of personality under which they are gathered).
The graphologist usually has some question(s) in mind for which the analysis is intended to answer!
The whole above process is likened to a doctor who upon first examination gets an impression of the
possible disease(s) he may be dealing with by passively and attentively allowing the patient to talk to
him about what brought him into the doctors office. He examines the patient head-to-toe to find the
dominant symptoms which he may recognize as syndromes or sets of symptoms which tend to point
in one direction or another and verify or force him to modify his initial impressions. When he arrives
at an understanding of the totality of how the symptoms in their syndromes interact with one another
or why they are there, he confirms his initial impression and makes a final diagnosis.
I have first discussed the bottom-up deductive procedures building parts like puzzle pieces into a
larger picture. Top-down inductive procedures were next mentioned where an initial impression or
synthesis of orientation is laid down and verified all the while by selecting, modifying or casting out
meanings of the features in the writing, attempting to integrate them into a coherent whole -- again,
being on the look out for intuitive blind-alleys or lack of support for the initial impression which
would require it to be revamped and for the graphologist to start over until the parts support a
configurational whole correctly understood and utilized to answer the question(s) posited for which
the analysis was requested.
Actually, I think that the experienced graphologist can employ his mind which is very much more
versatile than you might at first think, using the symbolism of the written space, global indicators,
trait-strokes, and what not, to take turns working from both directions (top-down and then bottomup) back and forth in a mental juggling to arrive at the best analysis. This takes not only lots of
experience, but it takes respect for graphological rules about how and from what ingredients the
graphologist derives the most trustworthy and specific correct meanings and dynamic
interactions which fit into an equally correct understanding of the whole (Gestalt). Tools like the
Roman Psychogram are actually holistic techniques which synthesize a map of the over all
personality configuration which is built up utilizing measurements and judgments of the intensity of
40 indicators from a writing allowing for a more systematic approach in line with what is considered
to be a more scientific approach than by utilizing gut reactions and intuition. The more traditional
Gestalt Method used by older graphologists and the remaining true Gestalt graphologists of
today consider themselves separate and an elite who vehemently hold that the Gestalt is never

synthesized but simply grasped at a glance. A good Gestalt is a unified whole where the whole is
greater than the sum of its parts which they say resists having anything added or subtracted to make
it just right. Handwriting features using the principles of Gestalt Graphology where meanings are
never absolute but simply ever-changing makes the scientific validation and reliability testing of
certain specific indicator/trait assumptions impossible. However, there are alternative holistic ways
of validating this type of graphology utilizing the matching of personality pictures derived from
anonymous handwritings to the people who wrote those samples whose personalities the judges know
well.
My suggestion to graphology students and professionals alike, is to learn the rules of each specific
graphological methods since they often reside on mutually exclusive foundations and then follow the
rules of the particular method(s) which work best for you. Using one method's rules to work with
another method whose foundation is poorly understood can lead to errors and/or over-simplification
of a particular method. Take a method you learn well according to its rules and add it to your bag of
graphological approaches. One method may work better for one handwriting or type of analysis in a
given case than another method. When you know a lot of different approaches, you can pick and
choose. If you are the type who wants to discard certain methods because you think that they are
not useful or the like, I suggest that you keep them in your graphological bag anyway As Dor
Gauthier, graphological historian extraordinaire (and my mentor whether he likes it or not) told me,
dont throw the baby out with the bath water.
Bibliography
Cole, Charlie, Handwriting Analysis WORKshop Unlimited, 1974.
de Bose, Catherine, Rhythm in Professor Heiss's System, Translation by Edward O'Neill.
Gille-Maisani, Jean-Charles, The Psychology of Handwriting, 1992.
International Graphoanalysis Society, General Course, 1973.
Klein, Felix, Ground Rhythm and Beyond, 1980.
Lowe, Sheila R., Complete Idiot's Guide Handwriting Analysis, 1999.
Lowe, Sheila R., Independent Study Course in Gestalt Graphology, 2005.
Moore, Milton, Graphological Applications, AHAF Journal, Volume 19 Number 3 and Volume 20
Number 4, Lowe, Sheila R., ed.
Pulver, Max, The Symbolism of Handwriting, 1994, Translation by Edward O'Neill.
Roman, Klara, Handwriting: A Key to Personality, 1950.
Sonnemann, Ulrich, Handwriting Analysis As a Psychodiagnostic Tool, 1950.
Tajan / Delage, L'analyse des ecritures: Techniques et utilisations, 1972.
Vels, Augusto, Escritura y personalidad, 1982.
Von Cossel, Graphologishes Studiensbuch, 1966.
Yalon, Dafna, ed. Global Graphology, Volume 1, 2004.
Yalon, Dafna and Danor, Rudi, Scientific Graphology, 1999.

by Fiona Douglas
Fiona Douglas IGA Dip started studying graphology in early 1989. Originally trained in psychotherapeutic
counseling, and later in staff recruitment, selection and training within hospital and health services, she became
interested in Susan Dellingers theory of the Shapes after first hearing about how they could be applied in the
workplace. The Shape definitions can beguile even the most resistant of employees with the easy skill of combining
both postive and negatie factors in the personality in an acceptable and informative way, yet without losing any of
the clarity of definition.
I would like to introduce the Shapes as following:

The theory of the Shapes will be innately familiar to graphologists since they correspond to the Four Elements - Earth, Fire,
Water and Air and sit comfortably with the work of Gille-Maisani and St. Morand.
Graphological indicators such as the hugging of the baseline of Earth writing; strong flying strokes to the north east of Fire;
the toothpaste writing (Gullan-Whur) of Water and the innovative connectives and disconnections etc of Air, are all found
in the Shapes.
What is so refreshing is to rediscover the underlying meaning of many of these elements as seen dynamically interacting in
our daily life, particularly in the work place. Dellingers definitions are defined in terms that are easily understood, with
humour, and sit comfortably with the majority of people. They are also acceptable across the board, from the professional to
the manual worker.
PLEASE take a few moments to look at the following five shapes and place them in order of preference from 1 (favourite)
to 5 (least favourite).
Box

Triangle

Rectangle

Circle

Squiggle

The theory of the Shapes has been around for many centuries and is found throughout both the Eastern and Western worlds,
but it is probably most associated in the present day with pure Jungian theory.
Susan Dellinger, a leading lecturer in Management Training, tells of her fascination with the four Jungian shapes, the Box,
Triangle, Circle and Random Line (Squiggle) and how it was these shapes that consistently fired the imagination and
captured the interest of delegates on training courses at all levels. Of all the exercises it was this particular one that
delegates came back to her for more information. Subsequently Susan returned to university gaining a Phd. in the study of
these basic shapes. As a result of her studies a fifth shape was introduced, that of the Rectangle.
Although modern research shows the concept of brain dominance to be far more complex than stated below, it is easier to
understand the theory of the Shapes if we start from the stand point of Left, and Right Brain dominance.
Because order comes naturally to it, the Left brain delights in: order, detail, reading, writing, language, mathematics, logic,
analysing, thinking in a linear fashion, moving from a to b, from b to c, from c to d etc.
The Left-brain world is an organized world.
The Right brain deals with concepts, abstracts, symbols, dreams, creativity, emotions, syntheses and thinks in a non-linear
fashion, jumping from a to x or, b to p if it likes.
As Dellinger says: If you are a right-brainer living in a disorganised world, you have no need to worry the left-brainer
will organise you for you!
Theory
The theory of the shapes fits into other recognised psychology theories. The following are examples:
Shape:
Box
Triangle
Circle
Squiggle
Kolb:
Theorist
Pragmatist
Reflector
Activist
Holland:
Realistic
Investigative
Social
Artistic
MBTI:
Sensing
Thinking
Feeling
Intuition
Note: The Rectangle can be any of the above, sometimes all of them in one day!

Belbins Team Types used in management training/assessment also fit the shapes:
Box:
Completer Finisher/Monitor Evaluator (Administrator)
Triangle: Shaper/Chairman (at the Top!)
Circle:
Company Worker/Team Worker (Team player)
Squiggle: Resource/Investigator/Plant (Creative, Independent )
Following are some descriptive comments on the five types although, as always, remember that each person is an individual
and will have characteristics of more than one type/shape. The descriptions are taken from various tapes, videos, and from
Susan Dellingers website. Where her exact words are known, they appear in parentheses.

The Box is a Left-Brainer.

The Box is the hard-worker and needs clear instructions about what is to be done and then to be left alone to do the job.
Give me the task, give me the guidelines, give me the tools, tell me the dead-line and I will get the job done for you, says
the Box.

THE BOX
The Box is conventional. He is likely to choose white notepaper, and black or blue black ink.
Things to look for:
First look at the writing as an overall picture. You might like to turn it upside down or sideways to get the idea.
Top

Right way up

Bottom

Upside Down

Side

Sideways on

The Boxs writing is organised. It moves across the page in an orderly fashion. It is simple and sober, neat and orderly.
The Box gets on with the job and gets it done!
The size is small. It is legible. The box likes clear communication.
The writing is well spaced with clear spaces between the lines and words.
The Box likes his own space and privacy and cant understand why the circles are always hugging and kissing al the
time. Dont touch me says the Box.
When you look at the whole page, turning it round to see it from all angles, the upper zone is likely to be larger than the
mid and lower zones.
The overall impression is one of order. The general layout of the Boxs letter is good to look at and is harmonious. The
writing is small, neat and legible and the letters are mostly connected.
The left margin is straight and narrower than the right margin, the top margin wider than the bottom margin.

Individual Box Traits to spot:

The Box is left brained. He is a logical thinker and he is organized. He likes to get on with the job. He is the hard worker.
The Box is organized:
Look at the letter f
Is the top half the same length as the lower half?
This shows organizational ability
Now look for loops in the letter f

Loops show imagination

f

with upper loop only, the downstroke has no loop

The Box has excellent planning ability and a flairfor writing those policies, procedures, directives, memo's etc.f with lower
loop only,
The Box is a natural born organizer. He will organize those events on the calender, rota, list etc. and ensure they run like
clockwork.
If the f has loops both above and below the base line
Watch out! Your Box can plan brilliantly and organise everything (including you) down to the last detail.
Now look at the downstrokes on the letters j, y, g:
If the downstrokes are without loops, then he will be happy to work alone.
Just pass my coffee under the door and leave me alone to do the task says the Box
Look at the dots on the is and js. Are they made close to the stems? Dots made close to the stems show attention to
detail. The Box just loves detail!
Are the i and j dots round?
Round i-dots show loyalty. The Box is the most loyal of all five shapes. He is also likely to be the best friend you will ever
have.
The Box is persistent
Tied strokes
When a stroke is tied like a shoelace it indicates persistence. The Box will try, try, try and try again and be perfectly happy
to do so.
Single, pleasing, well-rounded curves moving from left to right
These strokes indicate patience.
If the Box has this indicator in his writing then he will not get upset easily if things take longer to happen. He is
uncomplaining and refuses to be provoked by delays.
Look again at the m, n, and h. These letters show the ways in which we think.
When the tops are rounded, it shows careful logical thinking.
The Box builds information carefully and accurately, block by block. He wont speak out till he knows he is right.
Caution: He usually is right, particularly if there is a downward v in the m or n as well!
Are the tops of ms and n, and hs sharp pointed?
The Box enjoys seeking out information. Tell him the paint is wet and he will just have to touch it!
If the points rise above the height of the other small letters, then he will want to seek information for himself he will find
it difficult to delegate. He is also the perpetual student, the researcher, the scientist, the explorer.
The letter p is likely to be written with a single downstroke or a retraced downstroke showing a liking, ability for precision
particularly precision sports - such as shooting, archery, billiards, bowls, golf etc.
ps ,made with a looped downstroke show a desire for physical exercise.
Note: This indicator only shows a liking for physical exercise, it does not necessarily show the Box does take any exercise!
(Many wheelchair bound people have this feature in their writing.) However, it can be a good indicator that physical
exercise would be a good relief for stress for the meticulous Box.
The Box is cautious, he doesnt believe the spoken word. Look for long straight strokes at the end of lines or words..
Original connecting strokes between words can sometimes be found in the Boxs writing. These strokes show the ability
to think fluidly and creatively.
Look for flat connecting strokes between letters These strokes show manual dexterity. The Box usually has excellent
manual dexterity.

DOODLES
The Boxs doodles are likely to be organized, systematic, and will often have little boxes in them!

Traits
Positive: organised, meticulous, detail-orientated, knowledgeable, analytical, persevering, perfectionist patient.
Negative: not-picking, procrastinating, cool, aloof, resistant to change, loner, complaining.
Typical Box Jobs
Accountant , teacher, government worker, manual labourer, administrator, truckdriver, secretary, paper processor (by any
title), administrative assistant
, bank-teller, doctor (specialist), author/editor, computer programmer.
Box Under Stress suffers:
Disorganisation; disorientation; nervousness; forgetfulness; erratic body movements; indecision; insomnia; social
flamboyance; excessiveness; changing mind.
Sources of Stress
Wrong job, disorganisation (external); social demands; co-workers (boxes like to work alone); parenting problems (unruly
children and adolescence); relationship problems (does not like discussing feelings so will be the last to know the
relationship is floundering).

Common Words appreciated by the Box

Analysis, Logistics, Organise, Allocate, Assign, Monitor, Deadlines, Project, Plan, Database, Efficiency, Accurate, Right, I
did it!

Office/Work Likes
Manuals, Policies, Procedures, Schedules, Calendars, Charts, Filofax, every pencil in place, Computers with a data base
(within reason, but computers can go down so needs to have ample filing cabinets so that information can be printed out and
labeled and colour coded) Order and Details, details, details.
Dislikes
Delegating, Making quick decisions, Anyone touching their things.
Do not understand why people should hug one another in the workplace I just work for you. I am not here to be your best
friend says the box.
Other
The Box is the most conservative of all five shapes. Does not believe the spoken word, likes to see things in writing. Tends
to be the most religious. Is a slow decision maker as will want to consider every possible avenue before acting. Is always
prompt, neat, plans ahead, is precise, is a natural collector.

Motto
If you want a job done right do it yourself!

Comment
Though the box tends to be a loner in the workplace no office should be without a box. They are the data collectors, the
organisers, and provide the solid dependable background.
Lucky if you have a box as a friend. The box is the best friend one can ever have; they are exceptionally loyal and
dependable.

The Triangle is a Left Brainer

The Triangle is the leader. Strongest of all the shapes. Fast decision maker. Will make your decisions for you if you are
too slow!

THE TRIANGLE
The triangle is likely to choose a designer pen and quality white or cream notepaper preferably with a watermark! The ink
will be black and the effect dramatic. Remember the Triangle is going places and will do it in style!
Things to look for:
The Triangles writing is full of vitality and movement. The writing line is often broad or heavy giving a strong positive
effect.
Although the writing is heavy the stroke can have a soft velvery or pasty appearance about it.
There may be occasional flooding with ink in the circles of the letters,
a, o, g, d. The Triangle likes the good things in life. He knows how to everindulge haute cuisine and fine wines!
The size ranges from average to large. It will be legible.
The layout is brilliant.
The Triangle likes order in common with the Box. (There is a lot of Box in the Triangle.)
The letters tend to be narrower than wide.
There may be angles in the letters.
The overall impression of the writing is one of dynamism and movement.
His signature will be underscored.
The right margin will be narrower than the left. Symbolically the right hand side of the page represents the future and the
left-hand side the past. The Triangle has left the past behind. He is future orientated. Look again, the writing might have
gone to the edge of the page!
Individual Triangle traits to spot
Look for the letter f This shows whether the writer is organized or not. The Triangle is focused on his goal. He will be
organised!
f balanced top half is the same length as lower half
Confirms the Triangles organisational ability.
f well balanced with loops both above and below the base line
Watch out! This Triangle will organize you for you!
It will be His way!
f with upper loop only, the downstroke has no loop
The Triangle has imagination to put into his ideas. He will delegate the organization of practical things.
f

with lower loop only

The Triangle can put imagination into material issues. He can give an exciting twist to your getting his everyday chores
done!
Is the writing forward slanting?
Forward slant shows outgoingness. The Triangle is outgoing and friendly. He gets on with people.

Now look for ms, ns and words that taper downwards in size to the right and which still remain clearly legible.
These indicators illustrate the art of diplomacy. The Triangle is the most skilled in diplomacy of all five shapes. He is the
best political player of them all. A smooth talker who can charm the birds out of the trees.
Look at the letter p
Does it have an unlooped upper stem that comes directly down from the upper zone?
The high stem in the upper zone reveals that your Triangle is confrontational and direct with his argument. If the stem has
a loop, watch out he will have imagination to add to his arguments.
Now look at the downstrokes which end on the baseline.
Are the endings firm? Has the pen been lifted off the paper leaving a clear strong ending?
This shows positiveness. Your Triangle knows he is right and will want to have the last word! Remember, the Triangle
likes to be right! However, once proved wrong, he will swiftly change his mind.
T-bars tell a tale of their own!
Look at the Triangles t-bars. Are they long, firm and sweeping? Do they fly up to the north east? These strokes show
dynamism and enthusiasm. The triangle brings energy and excitement into projects.
Now look at the letter t again. Do any of the t-bar crossings start at the baseline and move forward and upward? Here is
the initiative of the triangle.
Are the t-bar crossings short, sharp and heavy?
Here is the Triangles love of the military command. He wants things done at the double!
Downward slanting t-bars
Are any of the t-bar crossings downward slanting?
This trait shows the writer imposes his will on others. He is skilled at influencing them and in getting things done his way.

DOODLES
The Triangles doodles are likely to be angular and to portray sharp images such as pyramids, whips, guns, arrows, etc. All
are signs of the Trianglee energy and craving for action and adventure.
There may be ladders reaching up to other levels. The Triangles doodles are often
3-diamentional.

Traits
Positive: leader, focused, decisive, ambitious, competitiv, bottom-line-orientated, athletic.
Negative: self-centred, overloaded, dogmatic, status-orientated, political, impatient driven.
Typical Triangle Jobs
Executive, manager/supervisor (depending on career stage), hospital administrator, law firm partner, union officer,
entrepreneur, politician, business owner, orchestra conductor, pilot.

Triangle under stress

Frenetic activity, fury, dishevelled appearance, intensifies habit, hypercritical of everything, jerky body movements,
impatience, swearing, frequent colds, flu. Avoids family/friends.
Sources of Stress
One crisis too many, loss of direction, loss of status/or demotion, failure, change in the rules, no-win situations, wrong job,
holidays.
Common Words appreciated by the Triangle
Interface, Escalate, Jargon, Thrust Expletives, Smart, Re-organisation, Numbers, Percentages, You do it!
Office/Work Likes
Status symbols, Awards, Powerful, Large, square-footage, Top floor, Oversized desk, Private entrance and doorway leading
to the boardroom.
Dislikes
Wishy/washy people who cant make up their minds.
Other
The triangle is a fast thinker and processor. Its as if there is a third disc drive in the left brain! Can process a myriad of
information at lightening speed. Will always have something to say. Will always land on his feet. Witty. Highest level of
confidence of all five shapes. Is a risk-taker, which is the reason why he is so successful.
Data collector. Can lend self to dogmatism.
Motto
I dont get mad I get even!
Comment
Dellinger points out that true Triangles are few and far between. Many who are aspiring upwards choose this shape but are
not true triangles. The true triangle has a history of radically changing everything and everyone with whom they come in
contact, both personally and professionally. They are competitive, ambitious, athletic and never happy with the status quo.
If there is not a problem, the triangle will create one!
The energy, focus and determination of the triangle is enviable to others. The triangle is empowering to others.
***********

The Rectangle is a Left Brainer

The rectangle is called confused because it is in a state of transition and change.
The rectangular state is a period of ambivalence. It is difficult for them to choose a shape. May want to be several shapes.
Needs time to question: to re-examine.
Note: WE ALL FIND OURSELVES ENTERING INTO A RECTANGULAR STATE WHENEVER WE MEET A
SIGNIFICANT SIGNPOST IN LIFE.

THE RECTANGLE
The writing sample from the Rectangle may be a long time in coming because it is going to be difficult for him to decide
which paper and ink to choose!
Remember, he is in a state of indecision!

Things to look for

As far as the Rectangle goes, this is not so easy! It will depend on his mood of the moment. The Rectangle is in a period of
transition and the question is Who is he today?
The Rectangles writing may be disorganised. The overall impression may be variable with some letters slanting forwards,
others upright, or, the letters may be back-slanted. When asked, the Rectangle may admit that their writing seems to have
become very sloppy lately!
The size of the Rectangles writing varies, sometimes within the same word! Though the size can vary between small,
medium or large, teenage rectangles often write full, rounded letters with short strokes in the upper and lower zones.
Teenage Rectangles are very influenced by, and acutely aware of all that is going on around them.
When you look at the whole page, turning it round to see it from all angles, the mid zone is likely to predominate.
The line of the writing may waver upwards and downwards. This shows the uncertainty of the Rectangle.
The margins are likely to be uneven, which show the inconsistency of the Rectangle. He may change his shape several
times within the space of a morning!
DOODLES
The Rectangles doodle is likely to change on a daily basis, depending on who he feel or finds he is today. There are too
many possibilities to illustrate it here.
Traits
Positive: State of transition, exciting, searching, inquisitive, growing, courageous.
Negative: Confused, low self-esteem, inconsistent, gullible, unpredictable.
Typical Rectangle Jobs/Periods
New bosses, job applicants, university students, newly promoted/demoted employees, newly retired, mid-life crisis,
entrepreneurs, performers (stage/screen/radio/& musicians).

Rectangle Under Stress

Confusion, low self-esteem, mood swings, changeable/inconsistent/unpredictable, gullible, not genuine (plays all sorts of
roles he is not).
Sources of Stress
The world!
Common Words appreciated by the Rectangle
Unsure, Consider, Maybe, Delegate, Options, Wait, Why?, Analyse, Alternatives.
Why do we do it this way?
* Dellinger points out that, particularly in the workplace, it is the Rectangle who can be relied on to ask this vitally
important question, Why do we do it this way. It often results in a constructive and positive outcome.
Office/Work Likes
Disorganized, needs/preferences change daily.
Dislikes
Hard to tell.
Other
We can become a rectangle whenever we:
Meet any life signpost, eg:
Birth new parent
Adolescence, our own, our childrens
Marriage, our own/our parents if new
Mid Life

Death of any close relative or contemporary

Whenever we find ourselves in a new role
Motto
What do you think?
Comment
Brain working in overdrive!

The circle has equal access to the left and right brain function and tends to be the catalyst between left and right brainers.
The circle is the people person.

The Circles writing will be on paper of any colour. The circle would go for colour and the warmer tints. But, as the circle
is so deeply sensitive to others and likes everyone to be happy all the time, he may choose the type of note-paper and ink
that he thinks you like. His own personal choice of ink could range from a bright blue, green, or even purple. He will go for
the harmonious tones. He is likely to go for a fountain pen with a medium or broad nib.
Things to look for:
The Circle writing has a rounded look. It easily fills the page, the pressure is firm yet easy. The connecting strokes
between letters are cupped, garland shaped. Sometimes the ms and ns are so laid back they look like us.
The size tends to be large with short upper and lower strokes. The emphasis is in the mid-zone. Spaces between the letters
may be very narrow, almost non-existent. The Circle likes and needs to be close to people.
The overall imprssion is one of openness and often roundness quite circular in fact! The lines of writing may rise.
The left margin may not exist at all, or be quite narrow. The upper margin tends to be wider than the bottom margin and
the left margin narrower than the right. The general appearance is one of balance and harmony. The circle is well able to
cope with most people and situations.
Individual Circle Traits to spot:
The Circle is both a left brainer and a right brainer. He understands and communicates will with all the shapes. Many
indicators from the other shapes can be found in the Circles writing.
Are the t and d stem looped?
The Circle is deeply sensitive to criticism.
Look at the final strokes on words. Are they cupped and full?
Here is the generosity of the Circle.
Are the es well rounded?
This shows the open-mindedness of the Circle. The Circle has a wonderful capacity to listen with an open mind. The
Circle is the communicator.
Now look for well rounded large curves moving from left to right.

These confirm the Circles fabulous empathy.

The Circle smoothes the waters, tries to keep everyone happy all the time in his endeavour to create harmony.
Loops on the left hand side of the os and as and gs show that the writer is kidding himself about something. He
may be putting up with a lot and telling himself that all is well when really things could be better.
Loops in the right hand side of os and as and gs show secrecy. The Circle is safe with a secret, or he may have
a secret!
Loops on both the left and right of the circular letters
Oh dear! If your circle has loops to the left and right that cross over one-another in the same oval letters, he will be able to
cover things up well, remember the circle likes to please everyone all the time!
Circle letters open or closed at the top
Beware: If all the os. as, ds and gs are open at the top the Circle will be the gossip! Oh! Yes. As Susan
Dellinger says, he is likely to have heard everyone elses problems and is just as likely to explain them to others who are
interested. Just hope that your Circle doesnt turn into a triangle!
Some circle letters open and some closed with a loop on the right.
Then the circle knows when to speak and when to hold his peace. He will be safe with those important secrets!
Do any of the final strokes swing up and curl back over the word? The Circle suffers here is evidence of the Circles
tendency to blame himself Its my fault says the Circle. In her book Susan calls it the Suffering Circle syndrome!
Are the ss and pssoftly rounded?
This shows yieldingness. In his eagerness to ensure everyone is happy - all the time - the Circle finds it hard to say no, even
for his own good. He submits to others to keep the peace.
Downward v in Ms, Ns, ms, ns, and hs.
Look for a downward v. This is a sign of the Circles excellent ability to analyse a situation. He can spot a phoney a
mile away!
When the l and j dots are close to the i or j stem your Circle will pay attention to detail.
When the iand j dots are far from the i and j stems, your Circle sees the big picture and overlooks the detail.
Note: As the Circle is both left and right brain he can favour either or both of the above.
Are the connecting strokes between the letters cupped?
These cupped strokes show friendliness, kindliness and affection.
DOODLES

Circle doodles tend

to have a circular
aspect to them!
Smiley faces, round
fat trees, rounded
animals, etc. Often
they portray
romantic themes
such as hearts,
Traits
flowers, cuddly toys
Positive: friendly, nurturing, persuasive,
empathic, generous, stabilising, reflecting.
etc.
The Circle goes for
Negative: over-personal, melancholy, manipulative, gossipy, self-blaming, indecisive, apolitical, lazy.
harmony and peace
in his life.
Typical Circle Jobs
Secretary, counse/mental health worker, nurse/doctor, professional, teacher/trainer, housewife, professor/consultant,human
resource specialist, personnel analyst, sales person, waitress/clerk, nun, historian, boy/girl scout leader, astrologer,
teacher/trainer.

Common words appreciated by the Circle

Lovely, Gut-level, Comfort, Team, Co-operate, Feelings, Complimentary, Helpful, Nice, No Problem!
Office/Work Likes
Comfortable furnishings, nice equipment, homelike, plenty of plants, use of colour.
Will generously give time to colleagues.
Dislikes
Conflict, Getting tough and biting the bullet, Making quick positive decisions, Being alone, The circle will always find some
excuse to bring the coffee round in the office and to communicate with others.
Other
Easy going., Joiner of organisations, clubs etc. Loves a hobby, enjoys being in sloppy rig. Good cook, patriotic, TV
watcher, socialiser. Will spot a bluffer or a phoney a mile off.
Best team player of all five shapes. Most empathic and best listener.
Person to turn to if you have a problem. (If you havent dont worry, hell find one for you!)
Is the sufferer: will blame self when harmony is gone and only conflict left.
Should live with a triangle who will say Shut up, sit down, relax. Its not our fault!
Motto
Dont worry, be happy!
Comment
The circle smoothes the waters, works hard for harmony and to keep everyone happy all the time. Tends to blame himself
for everyone elses problems and may consequently need help to ward off depression. Circles really do make the world go
round! we are impoverished without them.
***********

The Squiggle is a Right Brainer

The squiggle is creative. The squiggle believes the world is a complex and exciting place to live in. There is always
something good around the corner. Squiggles know they will do something eventually, though they havent figured out
what it is they want to do, and take the tack that with luck they never will!

THE SQUIGGLE
THE Squiggles writing comes with a guarantee of excitement. It could be written on anything from a table mat to fine
quality notepaper or just whatever happens to be at hand when the moment strikes! The ink could be any colour, from
watery pale to rich blue or green. Brown is a colour often chosen by highly creative people. (It was the Squiggle who
invented brown ink, on crisp creamy-yellow writing paper!) The Squiggle is the most creative of all five shapes.
The Squiggles writing has a light, irregular appearance. It has an uncertain rhythm. The letters seem to swing around
freely sometimes fiving a jumpy of jitteryeffect.
The capital letters are often disconnected from the rest of the word and disconnections between individual letters may
abound.
The size is variable. The Squiggles writing covers all three zones. The Squiggle is an ideas person. Ideas are found in
the upper zone. He is also said to be sex-crazed. Sexiness is shown in the lower zone!
If the strokes and loops in all three zones are well balanced, i.e. roughly the same size, then you could just have the perfect
squiggle who will be both creative and well balanced!

The overall impression is one of erratic and fluctuating writing. It may be light and nuancy. The Squiggle is impatient.
The Squiggle has flashes of brilliance. The Squiggle needs change and variety. His approach is happy go lucky and it
shows in his writing!
Many letters have an original form that was never taught in the school copybook. Here lies the creativity of the Squiggle.
The right margin is likely to be variable and erratic. The Squiggle flits from thing to thing. He cant be bound by
convention. He is individualistic and hates to be told what to do.
Individual Squiggle traits to spot:
The Squiggle is Right Brained. He is the most creative of all five shapes. When asked which shape to choose the Squiggle
says Im all five, Im all five! You will find many of the handwriting traits for the other shapes in his writing!
Does the writing have a forward slant?
Forward slant shows how outgoing a person is. The Squiggle is outgoing and friendly.
Are there any loops?
Loops show imagination. The Squiggle is a creative ideas person.
Are there large loops in the upper zone?
The Squiggle can easily be carried away with abstract or philosophical ideas. Susan says the Squiggle has 20 off the wall
ideas but the 21st is just pure gold!
Are there large loops in the lower Zone?
Your Squiggle is likely to be an exciting sexual partner!
Do the lines of writing rise? The Squiggle looks on the bright side.
If the lines of writing fall, then beware! The Squiggle may be depressed, that is, - just till the next thing comes along to
grab his interest.
Now look for long sweeping t-bars.
These show enthusiasm. The Squiggle literally bursts with enthusiasm.
Short t and d stems
These short stems show independence in thinking. The Squiggle cant bear being told what to do and does not need to seek
approval from others for his actions!
Look at the downstrokes on the letters j. y. g.
Are any of them without loops? This shows a liking to work on your own. The Squiggle finds it as hard to fit into a team
as the team members find it hard to contain the Squiggle!
Look for horizontal connectives. These strokes show good manual dexterity. The Squiggle is the most creative of all five
shapes.
Are there upper loops on the p stems?
Here is the Squiggles propensity for argument. He will argue the hind leg off a donkey!
Are the i and j dots placed far from the i and j stems? Do they fly all over the place? This shows inattention to
detail. The Squiggle is right brained and conceptual. He will see the big picture.
Are the i and j dots missing altogether?
This shows the absentmindedness of the Squiggle! When he is involved in his latest project he will forget that all-important
date!
Now look for a downward v in the Ms, ms, Ns, ns, and hs.
This v is a sign of analytical thinking ability. Once the Squiggles interest is aroused he will analyse a situation
thoroughly.
Do the humps on the m,s, ns and hs have slightly rounded points?
The Squiggle will enjoy seeking out information. Just as soon as he has the gist of the subject he will lose interest and fly
on to the next thing.

Are the as, os ds and gs open at the top?

This is a sign of talkativeness.
The Squiggle talks without listening.
Note: The Circle talks and listens.
Look at the letter t
Do any of the t-bar crossings start at the baseline and move forward and sharply upward? These strokes show initiative.
Look carefully at the words. Are some of the letters joined to one another and do some have gaps between them where the
pen has been lifted off the paper?
Pen lifts in the middle of words, except after a t or an i show intuition. The Squiggle is highly intuitive. He is happy
following his hunches

DOODLES
The Squiggles doodles tend to be highly original and
creative and to fill the whole page. It may feature ships, trains, aeroplanes, wings, planets etc all of which signify the
Squiggles need for freedom.
Squiggle doodles tend to be the most complex and creative of all five shapes.

Traits
Positive: creative, conceptual, futuristic, intuitive, expressive, motivating, witty sensuous.
Negative: disorganised, impractical, unrealistic, illogical, uninhibited, evangelistic, eccentric, nave.
Typical Squiggle Jobs
strategic planner, astrologer, artist/performer/poet, inventor/chef, musician, evangelical minister/preacher, entrepreneur,
university professor/theorist, new product specialist, scientist/researcher, international sales/marketer, expert, estate agent,
interior decorator, artificial intelligence-expert, promoter/PR director.
Squiggle Under Stress
Unanimated, listless, boring to talk to lacks usual enthusiasm, loss of sense of humour, uncharacteristic negative attitude,
critical of others (squiggles usually criticise themselves), forgetful, severely disorganized, wants to go wild and do weird
things never done before, disinterest in food and sex, obsessive TV viewing, asks advice of others (though this is healthy
strategy for people under stress, it is abnormal for squiggles), withdraws.
Sources of Stress
Working in a Box environment with routine fill out the form monotonous tasks, feeling undervalued for the work they
produce, lack of challenges in their life/work.
Common Words Appreciated by the Squiggle
Why? What? What if? Idea, experiment, try, challenge, inconceivable, develop, incredible, begin, create, superlatives of any
kind.

Office/Work Likes
The unique, the unusual, the cutting edge, crisis situations, emergencies, thinking on their feel impossible tasks no on else
will tackle, variety.
Dislikes
Being organised by others, (squiggles are organized but in a different way from others!), rules, order, routine, detail (they
feel bogged down by detail), policies, politics, 150 page reports.
Other
The squiggle is the most creative of all five shapes. Though he will have twenty lousy ideas, the twenty-first will be that
rare, genuine piece of gold.
Motto
This is the greatest!
Comment
Squiggles make us laugh and make us cry. They bring light and chaos into our lives. They are forward looking and bring
energy. They get bored quickly.
They have fabulous senses of humour. The squiggle needs freedom.
**********
Further theory of Psychogeometrics can be found on Susan Dellingers website:
http://www.psychometricshapes.co.uk/ and also in the book Psychogeometrics published by Prentice Hall, New
Jersey USA ISBN ) L3 732835:
and The Management Matrix by Christopher Rowe, published by Alfred Walker Ltd. UK ISBN 1-872474 02 0
This excellent and carefully crafted article from Fiona Douglas is the first part of a much wider coverage
of various ways of looking at the personality from a visual shape perspective. Many studies have been
done into this area, including the face and further journal articles are planned for next year, when
handwriting samples, descriptions of face shapes and more on the above information, will be blended to
add another area of knowledge to the tools and understanding of the analyst.

PRESENTATION SKILLS AND THEIR APPLICATION

by EDDIE PRESCOTT
EDDIE PRESCOTT received his British Institute of Graphologists diploma in 2003 and has gone from strength to strength
in getting the message across to those who have never encountered Graphology before.
His experience on the 'lecture circuit' in the article that follows is not only entertaining but is valuable advice to those who
are cautious about taking up requests to make presentations and also a useful reminder to regular lecturers that they may
like to refresh their own performance. Eddie has obviously put a lot of thought and hard work into his public appearances,
that make him an able ambassador for graphology and The British Institute of Graphologists in particular.
For those who are timid about spreading the word, this is a rallying cry.
I SUPPOSE that the main reason for doing presentations on graphology is because I enjoy it! In addition, the enjoyment is
always enhanced through a lively question and answer session at the end except for one memorable occasion. I was ready
to start my presentation to one of the Kent Women's Institutes when I decided to confirm that my 45 minute slot included
questions. This lot don't ask questions, whispered the organiser. Disbelievingly, I retorted I'll be a little surprised since I
always get several questions. We'll see said the organiser, with a wry smile.
As I drove home that afternoon, I consoled myself with the fact that whilst no questions had been asked, at the end, two very
elderly ladies had independently whispered in my ear That was very interesting, thank you so much for coming to talk to
us.
I will cover some of the golden rules that experienced lecturers will have used effectively, but there may be some readers
who are a little daunted at the thought of standing up in front of an audience, as they know it is essential to engage listeners'
attention with a lively start and then keep them interested. You know that you've been successful when people come up and

ask at the end, where they can get a good book on graphology. If you are wise, you will ensure that you have some with
you, either from the B.I.G. Bookshop or even some good second hand books that you've picked up in your travels.
Of course it is important to be aware of potential trip wires that are set for the lecturer. One of the worst falls that I ever
saw occurred during a visit of my previous company's World Wide President to the European HQ in Brussels. He and we
from all around Europe, were seated for the start of an overhead slide presentation to be given by a European VicePresident. The latter proudly switched on the projector and nothing happened. The panic that ensued was unbelievable as
vice-presidents, managing directors and other executives were flying in all different directions. Anybody in possession of
an overhead projector bulb could have sold it for a fortune!
This problem occurred simply because no one checked the overhead projector. Had they done so, they would have found
out that the main bulb had blown and the standby bulb had been removed and not replaced. First golden rule, check all
equipment. All these points make or break a presentation.

Research your audience and then plan and tailor your talk accordingly. Those who have come out for a relaxing
evening of social contact and interesting talk, don't want technical details they don't need.
Make your visual aids interesting. Go for clarity, simplicity, relevance and eye-appeal.
Voice Level always check that those at the back of the hall can hear you.
The Key Opening Statement is important because its purpose is the hook that catches the fish. Ask a relevant
question regarding your subject that makes them sit up, rather than telling them the subject of your lecture, which
they already know. If they feel included, anticipation follows.
Ask the audience questions during the talk also. It keeps them with you.
Eye Contact can be very effective in achieving a one-on-one level of communication.
Deliver the talk without reading notes and don't give a prepared handout at the beginning, otherwise they will be
looking at it, rather than at you.
The Listener Feedback Check - both observe their body language and whether they are looking at you and also
check on whether they are on your wavelength, by asking them!
Audience questions are not always ideal en route if they break the thread of your presentation, but you can offer to
answer them at the end, with the odd exception that illustrates your point.
Handouts are for the purpose of refreshing the memory of the listeners and shouldn't be a distraction from your
presentation so, as mentioned above, keep them until the end.
Talk structure should take an obvious route, where you build on your opening statement and keep things logical so
that an unfamiliar subject can become familiar as the talk progresses.

THE PRESENTATION - Graphology = The Write Way to Reveal Personality

One minute to go, the audience is almost settled, the overhead projector is working and ready and whilst the body language
suggests to the audience calmness, the adrenaline pump is working hard. Finally the gate goes up and the Key Opening
Statement comes out - I want you to imagine a situation where you meet someone for the first time (they are starting to
bite!). You talk to them, you listen to what they have to say, study their body language and overall behaviour and then form
a judgement of them based on your first impressions. However this can be a superficial and inaccurate approach. Why
Because the person may want to disguise his true nature and personality from you (they are hooked!). This is where
graphology can be of valuable assistance. It can remove the mask, see through the contrived behaviour and reveal the real
personality underneath.
On to the next part What is Graphology? What is its purpose? What can it tell you about a person?
At this early stage, the listeners should be starting to realise the apparent power of graphology. However, can it reveal
everything about an individual's personality? The answer of course is 'no'.

GRAPHOLOGY cannot tell us.......

A Person's AGE
A Person's GENDER
What the Future Holds

Fig. 1 shows what graphology cannot tell us. This is the point at which I start to interact with the audience by covering up
the answers and asking for suggestions. Age and Sex (whoops! Should it be GENDER). Are usually identified
sometimes with a little encouragement What the future holds is normally missed.
Before moving on, I aim to anticipate the question which I am sure is already in the listeners' minds - Why can you not
determine sex (or gender)? It also presents a good opportunity to demonstrate the application of psychology theories to
graphology. I introduce the name of Carl Jung, and since no-one says who? I can then proceed to explain the
Animus/Anima concept. Examples such as He is in touch with his feminine side and macho man helps to get the
concept across and I explain that graphological analysis can be used to investigate the contents of Animus or Anima.

When there is no relationship and balance between the masculine and

feminine principles, the masculine becomes pathologically exaggerated,
inflated; the feminine pathologically diminished, inarticulate, ineffective.
....................................................... Jung
I Complete my exposition with Fig 2. A quotation from Jung which eloquently explains the importance of a good
male/female balance i.e. Nature wants a man to have his maleness tempered by more sensitive and passive elements within
him, but a lot of men automatically confuse the natural female components of their natures with their fear of being gay or
effeminate. Now the audience gets the point and around the hall I see people nodding sagely!
(Throughout this Jungian journey I feel the guiding hand of John Beck on my shoulder)
I then return to reality and practicality and explain where graphology is used in the real world, i.e. Personnel Management,
Vocational Guidance, Partnerships Human Relationships and finally Human Development. All of these with lots of
suggestions as to different areas of these and handwriting samples to illustrate. I try to be comprehensive in my coverage
and relevant in the way graphology highlights ways of providing vital information to help and inform how to enhance
understanding.
On one occasion, when I was dealing with Vocational Guidance, a lady at the back of the hall tried to pass me on the blind
side by suddenly asking Surely the person will know whether they are determined, goal-oriented and all the other things
you said?
Following presentation rule No. 9, I responded by saying:- As I mentioned earlier, I will be happy to deal with question s at
the end of the talk, but as you have raised an interesting point, I will deal with this one now!.
I then explained that the individual may think that he/she has the required competencies or indeed may not be sure. The
opportunity therefore exists to take the gamble and proceed with the career change; it may work out, but it could be a
disaster. Because someone likes the idea of working in sales, it doesn't necessarily mean that they will succeed. Hence it is
surely better to be safe, rather than sorry so proceeding with a graphological analysis can be a sound investment. Is that
OK? I ask.
Time to involve the audience again by suggesting that if graphology was that clever, the listeners must be thinking that it
ought to be unique to each individual. So what are the chances of two handwritings being the same?

THE CHANCES OF TWO HANDWRITINGS BEING THE SAME?

1 in 68 trillion,....or.....
1 in 68 x (10 to the power 12).or.
cm in the distance to the sun
Fig.3. .No one wants to look a fool by offering a silly answer and so I throw out some suggestions, one in a 100, one in
1000? Perhaps one in a million?
Eventually someone dares to offer an answer and suggests one in three million. I uncover the 3 identical answers and
there is a collective gasp! Great audience feedback.
I explain that handwriting is akin to a fingerprint and although writing is a physical act, it is essentially a manual exercise
and is the visible and tangible result of impulses coming from the brain and central nervous system. Since handwriting is

effectively brainwriting, ultimately a person's personality characteristics will be apparent and independent of whether they
write with the hand, foot, mouth or whatever. A letter written by the acknowledged landscape artist, Charles Fowler, who
writes and paints with his mouth, exemplifies the point. Fig. 4.

We quickly pass through a history lesson covering Camillo Baldi, Jean Michon and Jules Crepieux-Jamin, which allows me
to explain the Gestalt approach to analysis as used by the British Institute of Graphologists. This is followed by John
Beck's quotation ,

Fig 5. which I describe as embodying the whole reason d'etre for graphology, since the variation of the writing from the
copybook style is a measure of the writer's individuality, maturity, originality, intelligence, ethical standards and general
lifestyle. This is an appropriate time for an interim summary (see Presentation Rule No. 11) before explaining the analytical
approach used by the graphologist.

The power of symbolism is evoked in Fig. 6. with the little chap leaning forward to demonstrate his wish to go out there and
meet people, to be receptive and go towards them.

Then Fig.7 with more symbolism:

The Past
Introversion
Mother Influence
Repression

The Future
Extraversion
Goals of Father
Expression

Back to the right slant for a minute to highlight how emotional expression can cover a whole spectrum of reaction and
response. Fig 8.

Initially the signature of Hitler in the bottom right hand corner, is covered and the sequence from the normal slant to the
very extreme slant is disclosed and shown to cover the range from emotionally healthy to fanaticism/emotional illness.
Ultimately of course the two dimensional aspect of writing will disappear and a horizontal line will emerge i.e. A
meaningless communication form.
I now uncover Hitler's signature and ask if anybody knows what it is. Usually someone does and they all get the point.
Before finishing with slant I show an acetate slide thatI copied from an early edition of the BIG magazine, Fig 9.

As well as demonstrating the left slanted writer's disinclination (or defiance) to be told what to do. It does lighten the
atmosphere post Adolf. The talk then progresses through a section on zones, t-bars, persona and signatures. Ending with
some examples of signature analysis, I briefly summarise the 45 minute talk (again see presentation rule No. 11) thank the
audience and ask them for questions.
Typically I am asked about left handedness, whether graphology is a science or an art, what about handwriting that
continually changes and this one, reflecting the anxiety that people have about children not being taught properly:
Having had a lifelong career in teaching, I am concerned about the way children are taught to write today. This practice of
teaching cursive writing encourages the children to write fast and this in turn leads to terrible writing.
My answer to this was Irrespective of how a child is taught to write in its formative years, it will ultimately develop a level
of connectedness, i.e. within the spectrum of fully connected to fully disconnected, that relates to its own particular
personality. However if one develops your point , it would suggest that all writers who have a high degree of connectedness
in their writing will display a poor quality of handwriting. In reality this is not the case, but whatever the quality of
handwriting it reflects the inherent nature and personality of the writer.

As a final point, I was taught to write with joined up writing and still managed to win the handwriting prizes at
school, based on a copperplate style.