for Beginners “When I first saw your book [Handwriting Analysis for Sex, Love, refer to Handwriting University's Certification Level Course for a complete. Handwriting Analysis book. Read 9 reviews from the world's largest community for readers. Outlines a fresh approach to handwriting analysis designed to e. This book is written with a view to analyse personality traits rather than for document We can use graphology to determine a complete personality and character profile of . There are three known basic forms of enclosures, the loop, the circle, and the stem. If tvnovellas.info tvnovellas.info
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to draw, and there are many techniques and attitudes for us to.. clutch pencil. Drawing in soft The Complete Basic English Grammar Book 2. Handwriting Analysis The Complete Basic tvnovellas.info - Ebook download as PDF File .pdf), Text File .txt) or view presentation slides online. handwriting analysis. HANDWRITING ANALYSIS THE COMPLETE BASIC BOOK. Points at the Top of LOOPS are clues to a person of intelligence who thinks of him- self as being.
Plenty of eBooks is a blog with an aim of helping people, especially students, who cannot afford to download some costly books from the market. For more Free eBooks and educational material visit www. Copyright 0 by Karen Amend and Mary S. This book may not be reproduced, in whole or in part, in any form or by any means electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system now known or hereafter invented, without written permission from the publisher, The Career Press. The Career Press, Inc.
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This book is not yet featured on Listopia. Community Reviews. Showing Rating details. Sort order. May 10, Valerie Arnold rated it it was amazing. This is one of the best books on Handwriting Analysis that I have ever read, and I have read several other publications.
I was quite surprised at the less than stellar reviews from others on this site. In my case, graphology was an important part of my career, which gave me greater insight into many of the people I enco This is one of the best books on Handwriting Analysis that I have ever read, and I have read several other publications.
In my case, graphology was an important part of my career, which gave me greater insight into many of the people I encountered. I took multiple classes in graphology using this book as a text during my career and this is still my "go to" book for double checking what a specific letter or other handwriting component means. I don't remember every tiny nuance, but this book helps immensely. I have found the information that Karen Amend and Mary Ruiz shared to be quite accurate, even throughout the years.
It's as fresh today as it was back in the 80s when the book was first published. If you have a sincere interest in handwriting analysis, this is the book for you. If you are looking for fluff just to pass the time, this is not your book.
This book will change the way you think about your own handwriting, as well as the handwriting of people you meet along your way. Finally, keep in mind that just having a basic knowledge, while helpful, is not all there is to know. Judgments about people should be reserved for those who have extensive education in graphology.
Continuing studies are necessary to build proficiency in handwriting analysis. This amazing beginner's book sets you on a course for success. I highly recommend it. Apr 16, Jyotika Varmani rated it really liked it Recommends it for: It's a well-written and detailed book. The organization and style of presentation make for easy learning. I would have appreciated some exercises though. Nevertheless, excellent effort by the authors.
Jul 11, Kevin LaBrie rated it it was amazing. Love the book and use it often. Jul 27, Agoes rated it did not like it Shelves: Saya baca terjemahan bahasa Indonesia buku ini dan merasa sangat kecewa dengan hasil terjemahannya. Jelek banget. Jueleeeeek oke ini rada berlebihan. Sama seperti buku grafologi lain, buku ini nggak menjelaskan kelemahan-kelemahan grafologi dan batasan penggunaannya. Yah, namanya juga orang jualan lah ya. Di buku ini juga nggak dijelaskan bagaimana prosesnya bisa ditemukan diagnosis fragmental yang spesifik banget itu.
Intinya ini buku primbon, jadi nggak terlalu saya rekomendasikan. Buk Saya baca terjemahan bahasa Indonesia buku ini dan merasa sangat kecewa dengan hasil terjemahannya. Buku ini banyak muncul di toko buku, dan ini bikin saya khawatir Feb 23, S rated it liked it. The book presents some interesting ideas but Amend seems to pull a lot out of her ass too though that was expected in a book like this.
It's a fun read that'll probably inspire you to write the same sentence over and over in different ways just for the sake of comparison. The collection of 'celebrity' handwriting samples is easily the book's best feature; where else are you gonna see Liz Taylor and Ted Bundy side by side? View all 8 comments. Nov 29, Alex rated it really liked it. A very good book, with many sections covering a wide variety of topics. Due to the information contained, and possibly because i don't have a psychological background, i find i use it as more of a reference book, gradually adding to my knowledge of this fascinating subject, rather than being a 'one read' kind of book.
All in all very good, well presented for a complex subject. Nov 12, Debumere rated it liked it. I like this book but if intend to memorise it I'll never get anywhere.
Research has shown that they have an impulse to swing the left arm away from the body in a leftward direction. The most natural writing for a lefthander would be from right to left with reversed letter formations and a leftward slope of 35 to 40 degrees.
In order to conform to the writing style of the western world, he must continually fight the impulse to go to the left, and must come up with a more natural way of producing a rightward slant and direction. S o p e lefthanded writings reveal the frustration of their counter-movements while others do not. Why is this so? Physically, the angle of slant comes about as a result of body positioning.
The pen to the fingers and hand, the hand to the writing surface, the angle of that surface to the writers body-all are important factors. But body position is only the means of achieving the slant on life which has been dictated by the emotions.
It is possible for a lefthander to achieve a fluid, rightward motion by adjusting his body and the paper, so there is very little evidence to support the popular notion that lefthanders will always slant to the left.
In fact, there is only a small percentage of difference between the number of lefthanders who do so and the number of righthanders. This is not to deny that handedness plays a role in the social development of an individual. There is evidence that it does. Yet in the final analysis, we must assume that when a writer is allowed to adjust his body position to the pen and writing surface, he will, regardless of handedness, produce the slant that correctly describes his ability to express himself socially.
Begins with control but then quickly gets carried away. Starts off with enthusiasm, then gets more controlled. Sudden change of slant on one word indicates discomfort with the word-could be a lie. Repressive feelings are associated with this word. Expressive feelings associated with this word. Some writers manage to remain consistent in their angle of slant except for the personal pronoun I.
This is an indication of repression regarding the self-image. These people are better at understanding everyone elses problems than their own. They have a fixation on the mother figure which blocks the avenue to emotional maturity.
Lower Zones that Pull to the Right. In this example the lower-zone has taken a reclined position. This is an indication of repression of instinctual needs and feelings.
Sexual energy has been displaced into work or other goal-directed pursuits. The example above clearly illustrates both the reclined I and rightward pulling lower zones. Lower Zones that Pull to the L e f t. This indicates dependence on others for fulfillment of inner needs and drives.
Men with this type of lower zone slant change are dependent on their wives or lovers and feel shattered by any breakup of that relationship. They often marry young and will quickly remarry if the first union ends.
In this case the wife or partner is seen as an extension of the motherlson relationship. Women with this type of lower zone are also very dependent on their spouses. They continue to seek the security of childhood through their mates and expect a form of mothering from them.
Both sexes seem fixated on a need for maternal care. It is also the resultant thinness or thickness of the stroke and the relative pastiosity or sharpness of the inking pattern. Think of pressure as outward-pouring energy meeting the resistance of the environment. The energy pouring outward is the life force of the ego as seen in the writing stroke.
The resistance is everyone and everything else the ego encounters, and is symbolized by the writing surface. The degree of force can only be determined by feeling an original sample with your thumb and index finger.
After you have felt a lot of samples, you will begin to know when a writing is unusually heavy or unusually light in pressure. Your eye can aid you, but the eye is better at determining the thinness or thickness of the stroke or the relative pastiosity and sharpness of the inking pattern-the other two aspects of pressure.
It is very difficult to assess the force of pressure from photocopies. Upstrokes are release strokes and are indicated by dotted lines. Downstrokes are contracting strokes and are indicated by solid lines.
The contraction and release action of the fingers continually modifies the force o f the pen against the paper. It is natural for the upstrokes and the rightward strokes release to be somewhat lighter than the downstrokes contraction. Contracting strokes carry more strength. This can be demonstrated by the jaw or the hand. When you clench your jaw or your fist, more strength is exerted than is possible by opening your jaw or extending your fingers.
This determines how the writer is able to project his available energy upon his environment. Pressure strong on directional change indicates that the energy level is consis- Pressure weak on directional change shows an inability to modify actions in time to meet environmerfal changes smoothly. Heavy Pressure. These types make an impression. There is a great deal of energy available to them for their actions. They express in a heavy manner, are strongwilled, firm and easily excited to hot-blooded actions.
Those with forceful pressure can inspire others. Negatively, they can be stern, stubborn and inclined to morose thoughts or depression. You definitely know when they are around. Extremely Heavy. This person falls into k category of reversal of the usual meaning of heavy pressure. He cannot seem to release the forces within to meet the environment and overcome its resistance.
This type is internally inhibited, and his power is blocked from expression. When extreme pressure is found in the vertical dimension up and down movement the writer adheres strongly to his principles. He is proud, even boastful, and self-reliant rather than trusting of others. He is tenacious, fearful of change, selfcentered and possibly even brutal. Expect intense sexual preoccupation from this writer as over-compensation for feelings of sexual inadequacy and inhibition.
Sometimes libertine behavior develops or the sexual energy is displaced and the writer is overly ambitious. He is critical, irritable and opinionated. The social self, the personality, will express erratically and often flamboyantly, sometimes striking out with vocal tirades or physical movements. Remember that it isn't natural to be heavy on these release strokes. This is one sign of the schizoid personality and is also seen in the writing of highly-anxious Sudden bursts of pressure within a generally heavypattern are displayed in the writing of the paranoid personality.
The paranoid is unable to take responsibility for the hostility he feels inside, and instead sees it reflected back at him from others. Pressure exerted at the top of a letter instead of increasing with the downward motion can be taken as another sign of anxiety. Remember that the above specific characteristics of pressure must be seen in combination with very heavy pressure in order to interpret the misplaced pressure pattern as extreme.
Medium Pressure. This is the norm between the extremes and is an indication of healthy vitality and willpower. These people possess a certain delicacy of feeling. The personality is sensitive and impressionable.
There is often great creative ability, but the potential is seldom fulfilled as these writers seem unable to absorb their experiences. The willpower is not strong, so the light-pressure writer can easily succumb to the dominance of a heavier writer. They are far more tolerant and genial than their counterparts, and though they can lapse into superficiality, their lack of inhibition can be refreshing.
When the rest of the writing is harmonious, the finest peaks of spirituality and idealism are reached. It takes a certain amount of strength and willpower to check pressure.
This passive resistance is expressed gently, but is a firm indication of a refusal to be committed. Very light pressure frequently turns up in the writing of actors or actresses, who must be able to drop their own force of personality in order to play the role of another. This aspect o f pressure has more to do with the manner in which a person grasps the pen than it does with muscular energy. One pen can produce different results in the hands of different people.
The following three examples were supplied by three different individuals using the same pen-a wide-point felt tip. Note the unique effect produced by each writer. One person can produce different widths with different pens.
The following five examples were penned by one individual using various instruments. It becomes obvious that the pen plays a role in the resultant thickness of the stroke.
Likewise, one who chooses a pen which draws a thin line has a preference for this thinner stroke. Four Widths of Stroke Standard. How do you recognize the standard width? As you study the sample you note that the strokes maintain an equality with the background of the pagethey arent thick or thin.
These types can be said to possess discipline, but without the creativity of either of the extremes. Their energy is displayed conservatively through conventional means. These strokes are soft and dark and appear to dominate the background of the page. They are made by those who apply their energy to everything they do. These writers have a vitality about them and seek a wide range of application for their energies. They become so involved in whatever they are doing that future obligations can be momentarily forgotten.
They are sentimental in nature and express it warmly. These strokes appear dry and sparse on the background of the page. Those who write with thin strokes are attentive to detail and concept. They are intellectual in their approach to life. They apply their energy with precision and efficiency.
Shaded Thick and Thin. Writing on a page is marked by two dimensions, height and width. Pressure with shading produces the third dimension, depth. When generally heavy pressure is accompanied by shading of the stroke, it is the mark of creativity.
These writers respond sensually to color, light and sound in the environment. Artists of all kinds, as well as individuals who are creative in their work, are to be found within this group. The shading of the stroke can be seen in both vertical and horizontal movement.