In the writings of Karen Kingston, one hundred strokes were measured for slant and plotted in the form of a perspectograph. With only one exception, Prudence, Chapter 17, the writings show good internal consistency of slant throughout the body of each handwriting specimen.
This means that the graphic data showing the slant of each specimen can be compared visually. When this is done (see accompanying table), the significant differences between the characteristic slant for each handwriting specimen indicate considerable variation in this important underlying feature of handwriting.
The writing of Williams, Chapter 6, is slow. Although lined paper was used, the baseline is erratic and the spacing is irregular, indicating an insecure emotional base. The personality is basically extroverted but immature and somewhat hostile. The writing indicates slow, undeveloped thinking patterns typical of a person who is easily influenced by his surroundings. Nevertheless there is considerable evidence of a push for independence and freedom. This presents a conflict because the writing shows a strong need for approval and affection–a desire to be liked–which may be easily frustrated due to a resistive attitude of a part of the personality.
The writing of Linus, Chapter 7, is characterized by over-control. The writing is somewhat faster than the first specimen and slants more to the right but the cramping together of narrow letters accompanied by considerable retracing of lines reveals an overall inhibition of affect. The regularly spaced lines, precise margins, and careful i-dots reveal this compulsive personality which is beset with much anxiety and struggling to reestablish order and stability.
Considerable fear is shown by the extremely compressed script, the feather-like endings on words and the tail humps on m’s and n’s. Failing to integrate in a socially positive and emotionally satisfying way, this personality has become negatively extroverted and is now beginning to retreat into itself by drawing an emotional curtain between itself and others. The writing is not unlike that of some suicidal individuals.
The writing of Elizabeth, Chapter 8, shows a troubled personality with much anxiety. In some ways, the ego is even more fragmented in this writing than in the previous one as shown by an increased effort to withdraw emotionally. Less energy is expended in relating positively with others.
Despite a strong need for close emotional support (love and affection), this personality is characterized by hostility and emotional isolation–a feeling that “nobody cares for me so I will not let anyone close enough to hurt me.” This deep inner conflict may be responsible for the indications of self-blame in the writing. While the intellectual level of the writer is fairly good, the seriously disturbed overall pattern of the personality is debilitating.
The drawings of Wellesley, Chapter 9, are those of a very intelligent person. There is no sign of retardation at all, that is, the drawings indicate at least normal intelligence. This is indicated by the great details in the figures and by the oblique angularity and the complicated synthesis of parts. The first and third figures are more masculine forms in that they are angular.
The first figure suggests a torso with dotted lines as buttons and a cube-like figure for a head. The retracing and restructuring in these two angular figures suggest confusion and a disturbed quality. Prominent retracing is also evident in the flower figures. The house and flower drawings seem to fit together. The curvier linear form of the flowers together with their detail are like those that would be produced by an adult female.