Furthermore, there is a wide range of pens available; the type you choose says a lot about your emotional atti­tude.

• Sensitive people still prefer a fountain pen, as do many executives and those in authority.

• Passionate types go for a thick heavy pen.

• Friendly sorts go for a medium pen.

• Critical and pedantic types opt for a thin-nibbed pen.

BLUE

Blue ink shows that you are basically a non-aggressive personality with a warm, friendly and outgoing nature. You are inclined to be sensitive, and there’s a caring side to your nature. You are often employed in areas such as nursing, social work and aiding the less fortunate.

A very bright blue pen shows a more sensitive nature, highly strung and sometimes lacking in physical energy and drive. You are very susceptible to atmosphere, people and places, and may have an interest in spiritual matters. Emotionally you don’t care for friendships that are too intense, and instead seek harmony and peace rather than frantic or erratic relationships that may be shortlived. You prefer your friends to keep their distance.

BLACK

Black shows the more dominant executive type of person­ality. Ambitious and anxious to make a name, you usually like to be in charge of your life, and are often found in a position of authority.

You are emotionally a tiny bit uptight, and don’t always give away your true thoughts and feelings. Your head is liable to rule your heart.

RED

Red ink is used by people who have large egos and who enjoy being in the limelight. If you choose red as your favourite colour ink, you have an exaggerated idea of your own image; you love to bathe in admiration, are energetic, emotionally passionate and highly active. Your enthu­siasm for new ideas can lead you into odd areas, and you tend to be self-opinionated and lacking in consideration for other people’s feelings.

Yours is a passionate and affectionate nature and your love life is often hectic and full of adventure. You have a sexy nature and enjoy the physical aspect of life very much. You don’t care for any form of restriction on your emotional feelings, but like to express them fully, some­times in a dramatic way.

VIOLET

‘A time and place for everything’ is your motto, and this includes sex. Because you aren’t spontaneous or impulsive in this area you can become somewhat boring, and are not a very adventurous lover.

BROWN

Brown ink is frequently used by artistic or creative people who seek attention for their efforts. There is an unusual mixture of insecurity and friendliness in your nature, and

THE INK AND THE PEN

you have a tendency to go for unconventional thinking, and even unconventional relationships. But you always keep an eye on your security.

GREEN

Green isn’t a favourite colour, although introspective types who wish to retreat into themselves now and again do like to use it. Although you are mentally agile you don’t always grasp opportunities as you could do. Emotionally you have a habit of analysing your feelings out of existence.

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Elvis Presley – American Entertainer (1935-1977)

Elvis Presley’s Handwriting

Elvis Presley’s Personality overview according to the handwriting analysis report

The large capital letters signify pride, but the undeveloped middle zone reflects a poor ego. Despite his success, Presley was not a well-integrated person. The writing is filled with restless’ activity on a disorganized page. However, while the baseline meanders, the tendency is to move upward, showing his sense of excitement and enthusiasm for the subject matter. The fluctuating height of the upper-zone letters indicate Presley’s conflicting feelings about authority figures. He had great respect for authority, but it was tempered by resistance to rules and regulations.

Elvis Presley’s Relationships
The lower zone is malformed and pulls to the left, with hooks, triangles, and a wide variety of forms. Presley was not comfortable in this zone, the area of physical urges. The personal pronoun, /, gives us a clue, with its odd little loop at the top and downstroke that curves to the left. It shows that he put his mother on a pedestal, and this affected his relationships with women. The left-tending lower-zone letters show that although he may have had strong drives, feelings of inadequacy led to dissatisfaction in sexual relationships.

Elvis Presley’s Intellectual forces
Presley’s emphasis on the upper zone, with its extra height, indicates a strong interest in the theoretical and philosophical aspects of life. He probably expended a lot of energy exploring the unknown and seeking out alternative realities.

Elvis Presley’s Physical drives
The lower zone is disproportionately long, showing that Presley was extravagant with his money, spending on impulse. In addition, he needed to be where the action was, and was unable to sit still for any length of time. This combined with his compulsion to engage in adventures—he was excited by the unexpected and this spurred him to try new and different activities.

Elvis Presley’s Motivating forces
Presley was motivated by the need for constant action, as seen in the uncontrolled writing movement and poor rhythm, even if this action did not actually lead anywhere. He thrived on excitement and adventure, without expecting anything more. The wildly variant lower zone also indicates a risk taker who would try just about anything at least once.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

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Edgar Allan Poe – American Author, Poet (1809-1849)

Edgar Allan Poe’s Handwriting

Edgar Allan Poe’s Personality overview according to the handwriting analysis report
The nature of the sample, a poem, probably makes the writing more formal than Poe’s normal style. The handwriting is well organized and shows good symmetry in’^the various aspects of space, form, and movement. There is greater regularity here than in other samples of his writing, and also more linear strokes, indicating unreleased tension. It is known that Poe was a heavy drinker, and he may have needed the release that the alcohol provided. Whatever other effects his drinking had, he generally remained functional. The fairly good spatial arrangement shows that he had enough control to plan his life and time so as to be able to accomplish what needed to be done.

Edgar Allan Poe’s Relationships
Poe’s writing is of medium size, with good proportions between the zones. This indicates the more or less conventional outlook of a person who is most comfortable following the standard rules of his social group. The space between the lines is close, but the loops do not interfere with each other. This shows that he allowed others to get close to him and was able to work cooperatively in a group setting.

Edgar Allan Poe’s Intellectual forces
One of the signs of a strong intellect is the sharply pointed letters in the middle zone and a well-developed upper zone. This is a person who would not simply accept what he was told, but had to examine the facts for himself. Poe’s handwriting shows intellectual curiosity. Since the upper-zone letters return to the baseline with great regularity, we can assume that he was able to take the information he uncovered and put it to practical use.

Edgar Allan Poe’s Physical drives
The lower zone is long, but not disproportionately so. Poe had strong physical drives that he was evidently able to satisfy in standard ways, as seen in the balanced lower zone letters. Some lower zone upstrokes do not return to the baseline, which suggests that perhaps the trauma of losing his parents at such a young age left a mark that never healed.

Edgar Allan Poe’s Motivating forces
Poe was motivated by his desire to achieve. The many angles, combined with strong regularity and the large capitals in the initials that replace his signature, indicate pride in his achievements and a genuine personality.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

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Marilyn Monroe – Actress (1926-1962)

Marilyn Monroe’s Handwriting

Marilyn Monroe’s Personality overview according to the handwriting analysis report
Apparently, this handwriting sample was written while Monroe was a psychiatric inpatient and this would affect her writing according to her emotional state at that time. Despite her obvious anxiety and frustration, the writing is fairly well organized, with a fair spatial arrangement on the page. The most disturbed area is the muddy pressure, which probably indicates some impairment in her moral judgment. From this it can be deduced that substance abuse would have been a likely outlet for her when the stress and pressure became too much. This sample is poignantly reminiscent of another icon who faced similar pressures and challenges during his lifetime, Elvis Presley.

Marilyn Monroe’s Relationships
At the time of writing, Monroe was clearly trying to live up to an impossible image. This is evidenced by the large capital letters and personal pronoun, /, which both reveal an idealized sense of self that has subordinated the “real” self. The otherwise retraced upper zone also sometimes balloons into wide loops, an indicator of the sensitivity she tried to keep hidden from the world but which still pushed its way out.

Marilyn Monroe’s Intellectual forces
The writing is basically copybook style, so, underneath the glamour, Monroe was quite a conventional person. She felt most comfortable operating within familiar parameters, where she knew exactly what was expected of her. She would probably not have been particularly adventurous or creative.

Marilyn Monroe’s Physical drives
Monroe’s physical orientation can be seen in the thick, heavy strokes and in the long lower loops. She clearly had strong drives and needed to be physically active, while at the same time had the stamina and ability to endure hardships. While her natural preference was probably to jump in and get started with any particular activity, the tall upper zone suggests that she was also able to plan ahead when necessary.

Marilyn Monroe’s Motivating forces
The overblown capital letters suggest an intense striving for achievement and recognition. Because the form of the writing is disturbed, we can conjecture that this striving was overcompensation for an ego that had been damaged early in life.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

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John Hancock – Revolutionary Leader (1737-1793)

John Hancock’s Handwriting

John Hancock’s Personality overview according to the handwriting analysis report
The emphasis is on form, or the way the writing looks. As he intended it to, Hancock’s signature stands out with its large capitals, overall large,size, and ornate paraph (the flourish at the end of a signature) underneath. In addition, the handwriting in the text is elaborate, with unnecessary details added to the basic script. For instance, the final d in many words turns back to the left in a large loop and arcs back over the word. A form-conscious handwriting is adopted by one who likes to draw attention to him- or herself and make a big impression. Whether there is substance to back up the first impression is entirely another question.

John Hancock’s Relationships
Another aspect of form consciousness is that the writer maintains a facade and is afraid to let anyone see what is underneath. Consequently, although he was a people-oriented person, Hancock’s basic attitude was one of reserve and conservatism. He tended to bottle up his feelings and kept them to himself. He could not allow himself to be spontaneous, lest some undesirable part of himself accidentally be seen. This characteristic is evident in the arcade letter forms and slow writing speed.

John Hancock’s Intellectual forces
The showiness of the writing, especially the final strokes that go into the upper zone where they do not belong, suggests someone who was in love with his own rhetoric. Hancock had a flair for the dramatic and when he had something to say, it was never simple but an epic story. His thinking style was systematic and left no room for intuition, which he ignored in favor of logic.

John Hancock’s Physical drives
The lower zone is extremely long and thin and this is in conflict with the overall slow, picturesque style of the rest of the writing sample. Hancock felt restless and needed to be doing something physical all the time. It is difficult for this type of writer to relax and he was no doubt irritated by inactivity.

John Hancock’s Motivating forces
The arcade style of writing and steady return to the baseline indicate that for Hancock a major motivating factor was his need for security. The baseline represents the ground on which one stands, so for him it was important to feel that his feet were planted firmly on the ground and his material needs were properly cared for.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

The post John Hancock first appeared on Handwriting Analysis.

Charles Darwin – English Naturalist (1809-1882)

Charles Darwin’s Handwriting

Charles Darwin’s Personality overview according to the handwriting analysis report
Darwin’s handwriting has the light, airy quality often associated with the scripts of philosophers and other intellectual types. Light pressure and large intervals between words and lines create islands of space that serve to isolate him on a social level, but simultaneously give him room to think. Darwin was clearly a * loner who required a great deal of time and space on his own in which to develop the ideas that proliferated in his cerebral upper zone.

Charles Darwin’s Relationships
Considering the wide spatial arrangement and small middle zone of the writing sample, anyone in a relationship with Darwin would have had to be highly independent and happy to amuse themselves. He could be seen as an absent-minded professor type, with little patience for the niceties of polite conversation. He was probably the type of person who is most comfortable working for long periods of time alone in his study and who often forgets to come down for dinner. It is likely that Darwin was insensitive to the emotional needs of the people around him, not because he did not care, but simply because he was too wrapped up in his own ideas to be aware of them.

Charles Darwin’s Intellectual forces
Again, the wide spaces, coupled with the highly simplified forms, point to intelligence and the ability to simplify matters to their basic components. Many of the long f-crosses are placed at the tops of the stems, indicating idealism and high ideas, but because they stay in contact with the stem, Darwin’s ideas stayed within the realm of reality. The poor legibility suggests that he was so involved in complicated thoughts he might assume he had spoken an idea aloud, even when it was just in his head.

Charles Darwin’s Physical drives
Darwin lived life chiefly on an intellectual level. He might have had greater physical energy earlier in life, but at the time of writing (1871) his energy was directed into the mental plane, as evidenced in the upper-zone emphasis (long, high r-bars) and the strong simplification of form.

Charles Darwin’s Motivating forces
Forward-thinking, continually striving to improve his ideas and methods and make them more efficient, Darwin’s stunted lower zone shows that he had little use for the material world. Instead he was motivated by the possibilities inherent in any situation.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

The post Charles Darwin first appeared on Handwriting Analysis.

Marie Curie – Polish-born French Scientist (1867-1934)

Marie Curie’s Handwriting

Marie Curie’s Personality overview according to the handwriting analysis report
Curie’s handwriting has a beautifully balanced flow and rhythm—there is neither too much emphasis on contraction nor too much on release. This indicates that she could express her feelings in appropriate ways and at the right time. The slight emphasis on the arcade form in this broad spatial arrangement tells us she was a private, conservative person who respected history and tradition, even while she may have challenged it.

Marie Curie’s Relationships
There is a good distribution of garland forms among the arcades, which is a sign of receptiveness. The rightward slant blends with a moderately strong degree of connectedness to reveal someone who cared about others, even though she might not have always been able to show it. That she was not very demonstrative is evidenced in the wide word spacing and long end strokes. The end strokes are sometimes used to fill up the ends of lines, signifying a degree of distrust in others.

Marie Curie’s Intellectual forces
The excellent arrangement of space, with balanced margins and line spacing, is the hallmark of one who knew how to create a reasonable framework within
which to operate. The writing has the quick tempo and smooth rhythm of one who could move rapidly from one problem to the next, using her intuition and resourcefulness, as seen in the original, simplified letter forms.

Marie Curie’s Physical drives
The overall writing rhythm is elastic, and the lower zone is well-formed in length and width, demonstrating an enthusiasm for life, an ability to roll with the punches and bounce back without undue stress. Add the long, well-pressured f-crosses, and Curie could handle a long day of work and still be ready for more. The hooks on the beginnings and endings of some words suggest one who could be quite persistent in the pursuit of her goals.

Marie Curie’s Motivating forces
The need to produce is evident in this vital, animated script. With the large capital letters, especially on her name, Curie was not averse to being acknowledged for her contributions. However, she signs only “M,” rather than her full name, so it is doubtful whether recognition was the motivating factor behind her efforts. Rather, she was proud of who she was and what that meant.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

The post Marie Curie first appeared on Handwriting Analysis.

Thomas Alva Edison –  American Inventor (1847-1931)

He was born in Milan, Ohio, the youngest of seven children. He was a poor student at school partly due to an undiagnosed hearing problem, yet, as an adult, he became the foremost inventor of his day. Edison was only 10 years old when he set up his first laboratory in his father’s basement. After working as a telegrapher, Edison moved to New York in 1869 to concentrate on inventing. He went on to patent more than 1,000 inventions and is credited with inventing the electric lightbulb, the phonograph, the Edison storage battery, the electric pen, the mimeograph, and the first motion picture projector.

Thomas Alva Edison’s Handwriting

Thomas Alva Edison’s Personality overview according to the handwriting analysis report

Edison’s handwriting combines strength and flexibility. The chief connective form is the garland, an adaptable, open form that illustrates one who is receptive and willing to listen. He had the capacity to make quick changes of direction and to try new methods when old ones were no longer working. On the other hand, the long, strong f-crosses are made by someone who had no difficulty giving orders, and the upright slant provides additional strength to the garlands.

Thomas Alva Edison’s Relationships
Some words have many breaks between letters, while others have a greater degree of connection. In some cases one word even connects to another, an indication of fluid thinking. Socially, though, Edison could not be counted on for consistency. He had a great deal of charm, but if an idea came into his head, he would abruptly turn on his heel and be gone.

Thomas Alva Edison’s Intellectual forces
Edison’s neat, well-organized handwriting reflects an organized mind. The spaces between words, letters, and lines are clear, which is a sign of an ability to see the big picture but also to
keep all the constituent parts in their proper perspective. There is a moderate amount of simplification in the writing, so he was able to go to the heart of the matter without the need for a lot of extraneous details. Edison also left room for intuition, which could burst through the smooth breaks at the baseline and blossom in the middle zone.

Thomas Alva Edison’s Physical drives
There is energy in the smooth, rapid movement. The narrow margins suggest one who filled his time with plenty of activity. The flat tops on the letter r are a sign of one who worked well with tools. The lower zone is mixed in length and width, and some downstrokes tend to thin out, so it would have been important for Edison to get enough rest, or his stamina might have given out.

Thomas Alva Edison’s Motivating forces
Motivated by creativity, Edison’s handwriting has original, simplified forms, as well as what are called cultural letters. These are the Greek e and the lyrical d, which is also a Greek form of the letter. Greek letters are often used by writers and poets, and others who have a propensity for original thinking.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

The post Thomas Alva Edison first appeared on Handwriting Analysis.

Charles Dickens – British Author (1812-1870)

Charles Dickens Handwriting

Charles Dickens Personality overview according to the handwriting analysis report
Dickens’ handwriting has a wonderful, flowing rhythm within a speedy script, which indicates a mature integration of the various aspects of his life experiences. He was a man of grace and style, as well as sensitivity, as seen in the moderate variations of middle-zone size and in the well-developed upper zone. The literary d also appears in his script, a sign of a natural writer.

Charles Dickens Relationships
The moderate right slant reveals emotional response, but also emotional control. Add to that the wide spaces between words and the de-emphasized lower zone, yet strong degree of connectedness between letters, and we see a conflict. Dickens was someone who needed to feel connected with others, but who could not tolerate too much closeness. He would be an amusing companion so long as he was given space. Otherwise he would likely do something to create emotional distance, such as starting an argument, as seen in the downward-slanting f-crosses.

Charles Dickens Intellectual forces
The tall upper zone and creative connections into this zone indicate Dickens’ strong interest in mental
activity. He had a keen mind and could move rapidly from one idea to another. Using a combination of logic, as seen in the ability to connect several letters together, and intuition, found in the open, clear arrangement, he was able to lucidly express the many ideas that filled his head.

Charles Dickens Physical drives
The harmonious writing movement— with well-proportioned zones, strong left-to-right movement, and firm pressure—indicates good stamina and vitality. While the emphasis is on the intellect rather than the physical, material world, the warm, colorful ductus (writing line) suggests a sensuous individual with a deep capacity for romance and intimacy.

Charles Dickens Motivating forces
Dickens’ signature is large and illegible, a far cry from the text of the sample. This demonstrates a very different public character compared to his private persona, which is far more modest. The man he showed to the world was ultimately self-confident and proud. The simplicity of the text, however, tells us that, inside, he was comfortable with who he was and was more concerned with altruistic pursuits than self-aggrandizement.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

The post Charles Dickens first appeared on Handwriting Analysis.

Diana Princess of Wales (1961-1997)

Diana’s Handwriting

Diana’s Personality overview according to the handwriting analysis report
Diana’s handwriting is large and round, with an openness that suggests someone who was always ready for something new and different. While generally friendly, the variable spacing between the words indicates that she was not always consistent socially and could sometimes withdraw unexpectedly. Her emotional nature is seen in the loose rhythm, so she was quick to express how she felt and would laugh or cry quite readily. However, the upright slant, which is taught in British school models, provides some control over her emotions. She was able to wait for the appropriate time, so long as an emotion was not too strong.

Diana’s Relationships
The soft, released rhythm in rounded handwriting reflects a profound need to be loved, as well as to love. If a person withdrew their affection, it was probably devastating for Diana. The nonexistent upper zone suggests the lack of a close relationship with her father in childhood, resulting in a continual search for father-replacements later in life. The curved initial strokes also indicate that she looked to old friends for help and support when it was needed.

Diana’s Intellectual forces
Diana was a concrete thinker who learned best by relating new concepts to what she already knew. The emphasis on the middle zone at the expense of the upper zone reveals a greater interest in people and things than in ideas. Philosophical discussion would probably have bored her, but when the topic turned to more practical applications her interest could be aroused.

Diana’s Physical drives
The lower zone is moderately long but open, which speaks of strong physical drives not entirely satisfied. Her private hopes and dreams were left unfulfilled. The round style is called an oral writing, and is often seen in the writing of women with eating disorders.

Diana’s Motivating forces
Diana was motivated by a need to serve those she loved. Although the large overall size indicates someone who could also be quite demanding when it came to getting her own needs met, it was easier for her to give of herself than to ask for what she wanted. Her signature is congruent with the text of the writing, telling us that she did not try to hide her real self.

Source: Handwriting of the Famous and Infamous by Sheila Lowe

The post Princess Diana first appeared on Handwriting Analysis.