Contemplate disconnected writing-this point, utterly disconnected. This writer tends to be impractical, moody, a daydreamer. Many artists write disconnectedly. The disconnected writer typically has disjointed thoughts, and his logical thought processes also are disconnected. He can be extraordinarily bright and will show interest in minor details when given a group of facts. He is sort of distant in social relationships and is seldom in touch together with his own feelings. As a result of of the way in which he thinks, he is typically looked down upon by the connected writer. Pressure that constantly varies, from light-weight to medium to significant or any different order, indicates a one that is in the process of adjusting. This does not necessarily mean a young adult, for many older individuals undergo changes in life-style, too. This illustrates why the graphologist cannot confirm the chronological age of the writer. Underlined words and phrases in personal letters aren’t typically seen. Normally, if would like be, the writer will phrase his sentences thus that the stress quite naturally falls on a sure word; to underline it would seem to be an improper overemphasis that offends 1st his, then the addressee’s, taste. After all, the habit of underlining words or phrases has forever been associated with individuals who put in force their own opinions, whether or not they thereby offend anyone, and who aren’t only prepared but additionally willing to fight anyone who is thus imprudent as to contradict them. And therefore the stable axis utterly devoid of any stress and pressure, in the presence of pressure in left-right strokes, has been found in the handwriting of men with “significant lapses of potency.” But once his personal interest is extinguished, he breaks away as easily and impetuously as he conceived, or joined in, the enterprise. For better or for worse, he is made of one piece, wholly with or against you. Thus, as an individual of convictions, he is willing to fight for his beliefs, and his most unshakable belief is his belief in himself. After all, he might be referred to as an egoist of the first water. Similarly, he is Don Juan, Julius Caesar, and King Solomon in one, and regardless of how recent he is, his mind remains young and bold. Since he has convictions, he can convince others. Since he has the strength to carry out his concepts, he additionally has the facility to eliminate resisting forces. He may be a man, a pacesetter, a “father ideal.” Such an irrational (and typically pathological) angle is indicative of the choleric or irascible (or paranoiac) writer to whom virtually every word (and therefore the thought it stands for) is emotionally stressed and fraught with repressed and suppressed meanings, thus that every doubt, even the mildest, or any counterproposal arouses in him all the resistance and emotional opposition he is in a position to muster. Imagine the top stroke turning back and truly crossing the first letter of the writer’s name, which represents his ego. He thus has deleted his ego, himself. He is greatly disappointed in himself, to the point where he might commit suicide, since he is stabbing himself (his ego) through the guts. It is typical of writers with most of their pressure in the mobile axis that they will conceive neither of their own nor, for that matter, of any limitations, nor can they stop “making the simplest of themselves.” (Overcompensation) The top stroke of George Bernard Shaw’s signature cuts sharply back through his initial. This end stroke shows that no matter his achievements, Mr. Shaw had problem feeling “necessary.” These points concerning pressure can be more de-escalated. Once we have light-weight pressure with tiny middle-zone letters, we have a tendency to see a writer who is creative (keep in mind that tiny middle-zone letters indicate the scientific thinker) plus sensitive. Light-weight pressure with larger and rounder middle-zone letters reveal sensitivity manifesting itself in helping others and cooperating with them. Writing can haven’t any end stroke. Since the top stroke represents the writer’s relationship to his fellowman, this person obviously doesn’t offer a drop of himself to others. He has done his “duty” by barely completing the word (any less and therefore the letter would not have been recognizable as an r). This shows meanness, one who does not relate well to others. Notice the pressure in the mobile (horizontal) axis in the t¬ bars and in the finals in the following sample: A significant-pressured writing that shows uniqueness, especially in the capitals (representing the ego), will indicate qualities of leadership. Such a writer thinks massive. The significant pressure indicates strength of personality, and his sense of his own uniqueness shows up in his capitals. These qualities combined build him a true leader. We have a tendency to underline a word to draw the reader’s special attention to it. The horizontal stroke underlining the writer’s name is interpreted as the writer’s unconscious want for greatness, importance, fame, immortality. The same pressureless stroke, but short and not below the writer’s name, is indicative of the writer’s unconscious want to dominate. It is the prerogative of feminine (female) writers, both the “domestic tyrant” and therefore the crank. Close scrutiny might reveal that these are sisters underneath the skin. The child feels neglected or overpowered by the mother, depending on whether her love is lacking or overwhelming. The child never very feels secure, is usually either slighted or fondled, emotionally starved or smothered; in one word, confused.