It has been quite a few months since the Express website picked up my analysis of several world leaders, and it is fascinating to compare what I said against developments in world politics since their article.

The headline was "Could we have predicted election with THIS? What Theresa May's HANDWRITING says about PM."

For example, I saw in Trump's handwriting a potential to project blame onto others, and how an image of arrogance and intransigence can be a compensation for inner anxiety.

Teresa May's handwriting I described as 'discordant' and restless.  Some people are comfortable 'in their own skin' whereas others used their inner insecurity as a motivating force, in order to prove everyone wrong.  They find a sense of validation in 'getting things done'.  I think Mrs May's writing falls into this camp.

My original contribution to the Blog of penheaven.co.uk was fun to write, but just rough sketches in terms of my analysis.  A full handwriting analysis takes 3-4 hours and involves a much fuller understanding of the personality involved.

As for Boris Johnson's handwriting, the small, spidery crawl lacks curves and roundness.  A possible weakness in this type of writing relates to the realm of feelings and emotions, which can be a minefield for some people.  This type of writing is more comfortable in intellectual matters.  There is a contradiction here too.  Privately, the small airy writing shows someone who enjoys their own space, but at the same time, the signature is flamboyant and wants to be at the centre of the action.  

What complex beings we humans are!

A statue to Millicent Fawcett, suffragist, has been erected in Parliament Square, to commemorate the 100th anniversary of the Representation of the People Act 1918 (where some women over the age of 30 were granted voting rights).

She has been described as a British feminist, intellectual, political and union leader, writer, and a tireless campaigner.  She was from a happy family where the children were encouraged to speak her mind and take an interest in politics. Interestingly, her elder sister Elizabeth became Britain's first female doctor.

Millicent's handwriting is fascinating, as it is more irregular than I would have expected (i.e. a bit messy) but at the same time her baseline (the horizontal lines of the writing across the page) are steady.  There are squeezed and narrow letters, words that vary in size and height (suspensions and superelevations), and some 'overconnections' (where she joins the two T-bars for example).  Some lines tend to droop down at the end, as if she is running out of space. 

For me, this handwriting reveals passionate lady who is is affected by events.  Her sensitivity and curiosity of mind motivate her.  She has a 'stiff upper lip' and has a strong sense of dignity, so attempts to channel her sensitivity into rational action.  She has a quick and restless intellect, yet is determined to see projects through to the end.  

What a talented lady and what a interesting companion she would have been.

As I write, National Stationery Week has just ended.  The stationery industry is big business, and there has been much discussion by retailers, consumer media and suppliers about the latest trends.

The average stationery consumer wants to keep in touch with friends and family, celebrate special occasions, and express their individuality with stylish and quirky stationery.  Journals, diaries and greetings cards all sell well to mostly female consumers.

Many products are linked to the themes of thoughtfulness, gaining a healthy work/life balance, organisation and the recording of spending or thoughts.  Emotions such as happiness and humour feature strongly.  As one expert puts it "Customers see stationery as an extension of their personal style."

Something that underpins most stationery products is writing by hand.  The industry has a campaign #writing matters which aims to celebrate writing by hand.  It was wonderful to see graphologist Christina Strang giving a talk at the London Stationery Show, and I hope the show uses graphology in the future to garner interest in handwriting and stationery in general.

By way of ending, I'd like to repeat two quotes related to handwriting:

"Social stationery inspires a powerful emotional response in both sender and recipient.  Digital junkies, Luddites and everyone in between all love to receive a handwritten note or letter." (Julia Faiers, Editor, Stationery Matters magazine)

"It's like dining by candlelight rather than flicking on the lights."  (Margaret Shepherd in her book 'The Art of the Handwritten Note') 

Have you ever wondered why everyone has a unique handwriting?  The range of handwriting types is huge: large, small, spaced out, squashed, narrow etc. (the photos below are just two examples). 

Some articles suggest that our educational and cultural background influences how we learn to write.  But that does not explain why siblings or even twins have very different handwritings.
​
Articles suggest that when a person speaks, only 15-20% of brain cells are activated, whereas when a person writes by hand, nearly 85- 90% of the brain cells are activated.  We know that hand writing is a highly complex bio-mechanical action, which takes years of practice to learn.  However, there are important links to the brain that neuroscience is only just starting to uncover.  Handwriting has been described as 'brain writing', because the brain is the ultimate controller of the writing gesture.

Rudolf Pophal, a neuropsychiatrist in the 1940s, studied the physiological basis of handwriting.  He said that handwriting is a movement controlled by three parts of the brain:  the cerebral cortex, the palladium and the striatum.  All of these have an effect on handwriting, especially in the psychic tension produced in the written gesture.  He distinguished six degrees of 'Tension' in writing, which is still used by graphologists today.

Considering how much research in the psychology field is conducted on understanding the human brain and how it affects our personality, there is relatively little understanding of why people produce different handwritings.  Only graphologists seem to have an answer.  It would be great if there were more debate about this fascinating issue.

Despite the press lamenting the decline of handwriting, the Stationery Show held in London each Spring suggests that to some people at least, writing by hand is still relevant and pleasurable.
In this technology-driven world, there seems to be a backlash in certain quarters to digital communication, at least for the more personal events of our lives.
Sales of high-quality journals, pens, personalised stationery and greeting cards seems to suggest that we want to protect the most intimate and private of our communications, and 'keep it real'.
The London Stationery Show is a great way to see some sumptuous new stationery lines, meet some interesting people, and listen to some great talks about future trends in the industry.

I must admit my first reaction to Meghan Markle's handwriting was not positive.  I didn't like the showiness of it.  But first impressions can be deceiving, so I was determined to do a proper handwriting analysis, untainted by reading any of the copious numbers of press articles on her or indeed, any other graphology analyses of her writing.  Was my first impression wrong?

Firstly, calligraphic handwriting is notoriously difficult to analyse.  This is because Calligraphy is a purposefully aesthetic and consciously artificial art form.  If other handwriting samples by the same writer also follow this style, the graphologist must assume that this is the writer’s day-to-day handwriting.  The stylistic flourishes that abound are mere show, much like garnish on a restaurant dinner plate.  Putting that to one side, what does this handwriting reveal?

This is a strong, determined handwriting that wants to impress.  There is an emphasis on presentation (illustrated by the carefully constructed letter forms), rather than natural self-expression (how the writing moves across the page).

In other words, the writer needs an audience.  This makes her ideal for life in the public eye.  She is a natural performer, skilled at presenting the ideal image demanded by her role.

Her self-control and tenacity are formidable.  She is an independent woman who has strong convictions and a need to rise up in the world.

Her image-consciousness is all part of an identity unconsciously constructed, that helps her cope in a complex environment, and protects her inner self from the slings and arrows of an unforgiving world.  After all, we all use defence mechanisms to protect ourselves when we unconsciously feel that somehow we just ‘aren’t good enough.’  Her past has taught her to distrust the outside world and to rein in her emotions.

The writer has a desire for control and a need to play an important and prestigious role, as a way of proving her worth.  A proud, ambitious lady, she has the strength to overcome obstacles in her path and strive to reach her goals.  She is demanding of herself and others, and sets high standards that require effort and dedication to maintain. 

She sees the world in simple terms and is not one for delicate nuances or ‘grey areas’.  However, she is patient, meticulous and has strongly-held beliefs, especially concerning what is ‘right’ and ‘wrong.’

Regarding her future, I have some questions that will only be answered in the fullness of time:  Will she have the flexibility to listen to others and adapt to changing circumstances?  Will she be able to take a back seat and fall in line according to the needs of ‘the organisation’?  How will she cope when she has to step out of the limelight?

Only time will tell.  One thing is certain – this is a strong and principled lady.


FOR GRAPHOLOGY NERDS
Below are excerpts of my graphological process (i.e.  how I worked out the above portrait).  It is based on a procedure used by the British Academy of Graphology, and outlined in the 'International Manual of Graphology' (Keefe, Herbert, Stirling, Riley, 2013).  This will be of interest to graphologists, rather than the general public.

General Impression
An affected, calligraphic writing that appears to be trying to put on a stylish front.  It's forms and spacing are aesthetically pleasing but not altogether natural.  The large, curved regressive gestures that punctuate the writing have an artificial appearance.

Form takes centre-stage, in a writing where presentation is everything.  Movement is highly controlled, therefore there is little spontaneity.  The use of space is pleasing and the layout in orderly.  The stroke seems warm but taut.  Her signature is larger than the text but similar in style.  It is placed near the bottom right hand of the page.

Global Pointers
Tension: T5 (Rigid)
Structure: Overstructured
Open/Closed: Closed
Axes: Vertical
Movement type: Obstructed, some Static/Controlled

Signs
Stylised, Narrow, Artificial, Right Slant, Orderly
Tall, Large, Arcades, Clear, Lean, Ovoid 'o's, Bow Ties

​Initially, the graphologist needs to identify what is going on in the writing with regards to Form, Space, Movement and Stroke, as well as Tension, Structure, Openness and Axis. 

For example, how does a writing move across the page (e.g. with ease, with impatience, with discipline)?  Graphology terms for 'type of Movement' include 'Obstructed', 'Propulsive' and 'Static', all of which are clearly defined and have specific meanings.

There are more than 150 technical graphology terms that are used in describing a handwriting e.g. 'Large', 'Prolonged Up and Down' or 'Flowing', and these must be sifted through, and carefully chosen in order to describe the handwriting properly.

Each of these graphology terms has a meaning that is described in classic graphology textbooks, used by the British Academy of Graphology (such as 'The International Manual of Graphology' by Herbert, Keefe, Riley & Stirling).  

The graphologist needs to collate the meanings for these graphology terms and synthesise them into a personality profile, which explains how the personality functions in terms of Thinking, Activity, Emotions and Adaptability.

It is a complicated process, and a handwriting analysis normally takes a minimum of 3 hours from start to finish.  

Emma Hamilton to me seems a highly complex personality.   What struck me first of all was the blur of movement that seems to overwhelm the page.  To use a car-driving analogy, she is driving without breaks, rushing headlong forward.  It is a highly ‘masculine’ writing, not the subservient type that (I imagine) society expected of her!

Another striking feature is that Emma’s script does not conform to the school model of writing that was taught at the time.  Emma makes scant attempt to present an image of order, grace and refinement.  This is highly surprising considering the rigid social conventions of the time, and considering the importance people placed at the time on the quality of one’s handwriting.

So, in my view, it is a highly modern writing for the above reasons.  The ‘kamikaze’ movement of the writing to me speaks of a need to express the emotions, instincts and feelings that she struggles to contain.  She is a passionate, impulsive and lively personality.  Life would never be dull with her around!

One can see the great skill she uses in connecting letters and simplifying the shape of letters.  She seemed to have a very agile and sharp mind, and a desire to throw herself into projects.   However, the structure of the writing is fragile, and there is not enough solidity in the Form.  The writing seems to be running away from itself.

​From my analysis, I believe Emma had huge insecurities that undermined her self-esteem.  As a result, I believe that she wanted to be highly involved with the outside world, as a way of escaping her own fragile sense of worth.  'Acting', performance, excitement and public admiration were a way of avoiding depression that I think she may have been at risk from, along with many actors & performers.  

Nelson's handwriting with his left hand is fascinating.  He had to re-learn how to write after he lost his right arm in battle in 1797.  His writing became much more flowing and confident. On 29th September 1798, he celebrated his 40th birthday with the Ambassador of Naples and his beautiful young wife, Lady Emma Hamilton with a ball for 1,700 guests.  His life after that was going to change forever.  He was a national hero but his very public affair with Lady Hamilton scandalised the nation.
His handwriting is softer and less striving than his writing as a young naval officer.  It seems to me that by 1800, he had 'found himself'.  
The warm stroke, the 'Flowing' movement, and the simple, rounded forms of the writing show a lot of 'feminine' characteristics.  For a military man, he had incredible 'soft skills' in terms of his leadership abilities.  He was open to ideas, he listened to people, and became very much a 'people person'.  The size of his writing and positioning of his writing on the page shows him one that enjoyed the limelight.
It was a pleasure to present my analysis of his handwriting to the British Academy of Graphology this week.  255 years ago on this day, Horatio Nelson was born.  Happy birthday, Horatio.

You can follow me on social media by searching for the following:

• Facebook: Insight Graphology
• Twitter:  @InsightGraph
• Instagram: insightgraphology

There are photos of writings and drawings, both serious and fun.  Enjoy!