GOOD DAY!


STAY SAFE ALWAYS!!!
TODAY WE’RE GOING TO
DISCUSS ABOUT HANDWRITING
IDENTIFICATION AND
EXAMINATION.
HANDWRITING IDENTIFICATION
AND EXAMINATION
 Handwriting is the result of a very
complicated series of acts, being used as a
whole, combination of certain forms of
visible and muscular habits acquired by
long, continued painstaking effort.
 Some defined handwriting as “visible
speech.”
 Identification is the state of being
identical or absolutely the same as in
similarities of sources of authorship of the
questioned document and the standard
documents.
 Examination is the act of making a close
and critical study of any material and with
questioned documents, it is the process
necessary to discover the facts about them.
HANDWRITING EXAMINATION
Examination of signature and
initials.
Examination of anonymous
letters.
Hand printing examination.
WHAT IS HANDWRITING
IDENTIFICATION EXAMINER?

A common name for the

document examiner.
WHAT IS HANDWRITING
ANALYST?
These are psychology experts who
assess personality traits from
handwriting samples.
They’re also called graphologist or
graphoanalysts.
THREE KINDS OF WRITING
Cursive
Script
Block
CURSIVE
 Writing in which one letter is joined to the
next.
 Connected

SCRIPT
 It is separated or printed writing.

BLOCK
 Writing in which the letters are all capital.
BASIS OF HANDWRITING
IDENTIFICATION
 A.In Wignore’s Principle of judicial Proof,
handwriting is defined as a visible effect of bodily
movement which is an almost unconscious
expression of fixed muscular habits, reacting from
fixed mental impression of certain ideas associated
with script form.

 B.Environment, education and occupation affect

individuals so variously in the formation of these
muscular habits that finally the act of writing
becomes an almost automatic succession of acts
stimulated by these habits.
C. The imitation of the style of
writing by another person
becomes difficult because the
other person cannot by mere will
power reproduce in himself all the
muscular combination from the
habit of the first writer. ( )
Ishandwriting/signature
identification “exact science”? – In the
hand of a qualified examiner operating under
proper conditions, identification by means of
handwriting/signature is certain. Proper
conditions include –

1. sufficient questioned writing

2. sufficient known writing
3. sufficient time
4. use of scientific instruments
 PHYSIOLOGICAL BASIS OF
 III.

HANDWRITING:

Writing starts from brain

activity.
TWO GROUPS OF MUSCLES
INVOLVE IN HANDWRITING:
1. Extensor muscles
 Push up the pen to form the upward strokes.
2. Flexor muscles
 Push the pen to form the downward strokes.
Four groups of muscles
employed in writing: those
which operates the joints of
the Fingers, wrist, elbow and
the shoulder.
IV. VARIATIONS IN HANDWRITING
Variation is the differences on one’s
handwritings. The hand ordinarily is not an
instrument of precision and therefore we
may not expect every habitual manual
operation to be absolutely uniform. The
greater this skill in the art of penmanship,
the less the variations there will be in the
form of individualize letters as well as in the
writing as a whole.
 A. CAUSES OF VARIATION:

 1. Function of some external condition

- i.e. influence of the available space.

 2. Abnormal conditions such as physical

injury, toxic effects, inebriations, emotions
and deception.
3. Position of letter- all the letters are
to be found initially, medially, and
finally. The fact of a different
position, especially in combination
with another and particular letter, may
modify any of them in some way or
another.
B. IMPORTANCE OF VARIATION

 1.Personal variation encountered under

normal writing conditions is also a highly
important element of identification. The
qualities of personal variation include both
its nature and its extent. It becomes
necessary to determine the amount, extent,
and exact quality of the variations.
 2. It is improbable that the variety and extent of the
variation in handwriting will be exactly duplicated in
two individuals that such a coincidence becomes
practically impossible and this multitude of possible
variations when combined is what constitutes
individually in handwriting.
 3. With a group of signatures of a particular writer,
certain normal divergence in size, lateral spacing and
proportions actually indicate genuineness. Variation in
genuine writing is ordinarily in superficial parts and in
size, proportions, degree of care given to the act, design,
slant, shading, vigor, angularity, roundness and
direction of stroke
V. DEVELOPMENT OF
HANDWRITING OF AN INDIVIDUAL
 A. Children learn writing by following the school copy or
model.

 B. After acquiring some degree of skill the children no

longer follow the school model.

 C. As speed increases, conscious design and regularity

begin to break down.

 D. In the course of trial and error, modification are made,

simplification and elaborations, addition and omissions
occur.
VI. SCHOOL COPYBOOK FORM
(SCHOOL MODEL)

-refers to the standard of

handwriting instruction taught in
particular school.
A. System of Early American
Handwriting:
1. Old English round hand – in fact an
Italian hand
popular in 1840

2.Modifiedround hand – early edition

of spencerian, and the Payson,
Dunton, and Scribners Copybook -
1840-1860
3. SPENCERIAN – THERE IS SIMPLIFICATION
BY THE OMISSION OF EXTRA STROKES AND
FLOURISHES. AND A GENERAL TENDENCY
TOWARD PLAINER LETTERS THAN THE
PRECEEDING SYSTEM, SOME OF WHICH
WERE VERY ORNATE – 1860 -1890

 4. Modern Vertical writing 1890 – 1900

 5. The arm movement writing – the
manner or method of writing, instead of
form alone is especially emphasized.
B. SOME MODERN SCHOOL MODERN
FORMS
 1.Palmer Copybook – commonly used in the United
States prior to 1980.

 2. D’ Nealian Copybook – commonly used in the United

States since 1980

 3. British Copybook

 4.French Copybook

 5. German Copybook
DEFINITION OF COPYBOOK
Copybook may refer to:
 Copybook (education)- a book containing examples and
space for writing down copies of the examples.
 Copybook (programming)- source code that can be
copied or included into other programs.
 Copybook(comics)- a comic book produced by a copy
machine instead of professional.
 Copybook (calligraphy)- a book containing rubbings of
famous calligraphy for students to imitate.
THE PALMER METHOD OF PENMANSHIP
 This penmanship instruction was developed and promoted by
Austin Palmer in the late 19th and early 20th centuries.
 The palmer method became the most popular handwriting
system in the United States.
 Under this method, students were taught to adopt a uniform
system of cursive writing with rhythmic motions.
HISTORY
 The method developed around 1888 and was introduced in
his book Palmer’s Guide Business Writing (1894). Palmer’s
method involved “muscles motion” in which the more
proximal muscles of the arm were used for movement, rather
than allowing the fingers to move in writing.
 Proponents of Palmer method emphasized its plainness
and speed, that it was much faster than the laborious
Method, and that it allowed the writer to effectively
compete with the typewriter.
 The method’s advocates emphasized regimentation, and
that the method would thus be useful in schools to
increase discipline and character, and could even reform
delinquents.
 The Palmer Method began to fall out of popularity in the
1950s and was eventually supplanted by the Zaner-
Bloser method, which sought to teach children
manuscript before teaching them cursive, in order to
provide them with a means of written expression as soon
as possible, and thus develop writing skill.
D’NEALIAN METHOD
 This method introduced in 1978, sought to address
problems raised by the Zaner-Bloser method, returning
to a more cursive style. The Palmer company stopped
publishing in the 1980s.
 D’Nealian, sometimes misspelled Denealian, is a style of
writing and teaching cursive and manuscript (print and
block) handwriting for English. It derived from the
Palmer Method and was designed to ease the learning of
manuscript and cursive handwriting.
 D’Nealian was developed by Donald Thurber, who
developed the system while teaching in a primary
school, and was first introduced in1978.
 The name of the script comes from Donald’s first name
contracted with his middle name (“neal”).
 The system was designed as a method to alleviate the
problems with the teaching children the standard Zaner-
Bloser script method and the subsequent difficulty
transitioning to cursive writing.
 D’Nealian manuscript from has many similarities to the
cursive version. In theory, it is easier for children to learn
and acquire basic handwriting skills using this method
than traditional cursive writing.
BRITISH COPYBOOK
FRENCH COPYBOOK
GERMAN COPYBOOK
C. SIGNIFICANCE OF SCHOOL COPY FORMS OR
SYSTEM CHARACTERISTICS AS BASIS IN THE
IDENTIFICATION OF HANDWRITING:

 1. Similarities of form are not indicative of identity

unless they concern unusual from or what are termed
deviations from normal. Similarities are bound to occur
in different writings but such similarities exist only in
letters which are normal in form, the fact bears no
significance.

 2. All differences in form are indicated of non – identity

 3. The likeliness in form maybe general and
simply indicate the class or genus or the
difference that does not differentiate maybe
nearly superficial.

 4. In many systems of writing, the Date and

influences of systems of writing have an
important bearing on the question of genuine or
of forgery and in other cases, the presence of
European characteristics in handwriting is a vital
and controlling fact.
D. IMPORTANCE OF THE DESIGN OF THE
LETTERS (SYSTEM OF WRTING) – May point:

1.To the nationality of the writer.

2.To the system learned.

3.To date when writing was acquired and

4.To some of the influences that have surrounded the

writer.
E. TERMINOLOGIES RELATED TO
HANDWRITING IDENTIFICATION AND
EXAMINATIONS

1. Alignment – the relation of parts of the whole of writing

or line of individual letters in words to the baseline. It is
the alignment of words. The relative alignment of letters.

2. Angular forms – Sharp, straight strokes that are made

by stopping the pen and changing direction before
continuing.

3. Arcade Forms - Forms that look like arches, rounded on

the top and open at the bottom.
 4. Cacography- Refers to a bad writing.

 5. Calligraphy- It is the art of beautiful write.

 6. Characteristics- Any property or mark which

distinguishes and in documents examination commonly
called to as the identifying details.
 7. Collation- Side by side comparison; collation as used
in this text means the critical comparison on side by side
examination.

 8. Comparison- The act of setting two or more items

side by side to weigh their identifying qualities; it refers
not only a visual but also the mental act in which the
element of one item are related to the counter parts of the
other.
 9. Disguised writing - It is a handwriting in which the
writer alters his handwriting characteristics to conceal his
identity.

 10. Down stroke - The movement of the pen toward the

writer.

 11. Form- The writers chosen writing style.

 12. Garland Forms- A cup-like connected form that is

open at the top and rounded on the bottom.

 13.Gestalt- The German word that means “ complete “ or

“ whole “. A good gestalt needs nothing added or taken
away to make it “ look right “.
 14. Graphoanalysis – the study of handwriting based on the two
fundamental strokes, the curve and the straight strokes.

 15.Graphology –the art of Determining character disposition and

amplitude of a person from the study of handwriting.

 17. Hand lettering – Any disconnected style of writing in which

each letter is written separately; also called hand printing

 18. Left-Handed Writing. See “ wrong hand writing”. Sometimes

called sanistrallity, which means you prefer to use your left hand
rather than your right hand for routine activity such as writing.
Most people who have studied left-handedness believe that
approximately 10% of the people in the world are left-handed.

 19.Letter Space – the amount of the space left between letters.

 20. Line Direction – Movement the baseline. May slant
up, down, or straight across the page.

 21. Line Quality – the overall character of link lines

from the beginning to the ending strokes. There are two
classes: Good Line Quality and Poor Line Quality. The
visible records in the written stroke of the basic
movements and manner of holding the writing
instrument is characterized by the term “line quality”. It
is derived from a combination of actors including writing
skill, speed rhythm, freedom of movements, shading and
pen position.

 22. Line Space – the amount of space left between lines.

 23. Manuscript Writing – A disconnected form of script or
semi-script writing. This type of writing is taught in young
children in elementary schools as the first step in learning to
write.

 24. Margins – the amount of space left around the writing

on all four sides.

 25. Model Handwriting/signature – it refers to the

handwriting or signature which is the basis of forgery.

 26. Movement – it is an important element in handwriting.

It embraces all the factors which are related to the motion of
the writing instrument skill, speed freedom, hesitation,
rhythm, emphasis, tremors and the like. The manner in
which the writing instrument is move that is by finger,
hand, forearm or whole arm.
 27. Natural Writing – any specimen of writing executed
normally without any attempt to control or alter its identifying
habits and its usual quality or execution.

 28. Natural Variation – these are normal or usual deviations

found between repeated specimens of any individual
handwriting.

 29. Pen Emphasis – the act of intermittently forcing the pen

against the upper surfaces. When the pen-point has flexibility,
this emphasis produces shading, but with more rigid writing
points heavy point emphasis on occur in writing without any
evidence of shading; the act intermittently forcing the pen
against the paper with increase pressure.

 30. Pen Hold – the place where the writer grasps the barrel of
the pen and the angle at which he holds it.
 31. Pen Position – relationship between the pen point and the
paper

 32. Pen Pressure – the average force with which the pen
contacts the paper. Pen pressure as opposed to pen emphasis
deals with the usual of average force involved in the writing
rather than the period increase.

 33. Print script – a creative combination of printing and cursive

writing.

 34. Proportion or Ratio – the relation between the tall and the
short letter is referred as to the ratio of writing.

 35. Quality – a distinct or peculiar character. Also, “quality” is

used in describing handwriting to refer to any identifying factor
that is related to the writing movement itself.
o 36. Right-handed- Approximately 90% of the population is right-
handed. In French, the word right is droit and the word for left is gauche
clumsy and awkward. From Latin word ambidexter, which means right-
handed. In broader sense ambidextrous means “facile or skillful.”

o 37. Rhythm – the element of the writing movement which is marked by

regular or periodic recurrences. It may be classed as smooth, intermittent,
or jerky in its quality; the flourishing succession of motion which are
recorded in a written record. Periodicity, alteration of movement.

 38. Significant Writing Habit – any characteristic of handwriting that is

sufficiently uncommon and well fixed to serve as a fundamental point in
the identification.

 39. Simplification – eliminating extra or superfluous strokes from the

copybook model.

 40. Size – may refer to the overall size of the writing or the proportions
between zones.
 41. Skill – in any set there are relative degrees or ability or skill
and a specimen of handwriting usually contains evidence of the
writers proficiency; degree, ability, or skill of a write proficiency.

 42. Slope/Slant – the angle or inclination of the axis of the letters

relative to the baseline. There are three classes; Slant to the left,
Slant to the right; and vertical slant. There are also writings that
manifest variable slants.

 43. Speed of Writing – the personal pace at which the writers pen
moves across the paper.

 44. Speed (speedy) Writing – not everyone writes at the same

rate so that consideration of the speed or writing may be a
significant identifying element. Writing speed cannot be measured
precisely from the finished handwriting but can be interpreted in
broad terms of slow, moderate, or rapid.
 46. Tension – the degree of forced exerted on the pen compared to the
degree of relaxation.

 47. Thready Form – an indefinite connective from that looks flat and
way.

 48. Variability – the degree to which the writing varies from the
copybook model.

 49. Variation – the act or process of changing.

 50. Word Space – the amount of space left between words.

 51. Writing Condition – both the circumstances under which the

writing was prepared and the factors influencing the writers ability to
write at the time of execution. It includes the writers position (sitting,
standing, abed, etc.), the paper support and backing, and the writing
instrument; writing ability may be modified by the condition of the
writers health, nervous state, or degree of intoxication.
 52. Writing Habit – any repeated element in ones
handwriting.

 53. Wrong-Handed Writing – any writing executed

with the opposite hand that normally used; a.k.a. as
“with the awkward hand.” It is means of disguise. Thus,
the writing of a right-handed person which has been
executed with his left hand accounts for the common
terminology for this class of disguise as “left-hand
writing.

 54. Writing Impulse – the result of the pen touching

down on the paper and moving across the page, until it is
raised from the paper.
VII. MOVEMENT IN HANDWRITING
 A. Kinds of Movement
 1. Finger Movement – the thumb, the first, second and
slightly the third fingers are actual motion. Most usually
employed by children and illiterates.

 2. Hand Movement – produced by the movement or action

of the whole hand with the wrist as the center attraction.

 3.Forearm Movement – the movement of the shoulder,

hand and arm with the support of the table.

 4.Whole Forearm Movement – action of the entire arm

without resting. i,e., backboard writing.
B. QUALIFY OF MOVEMENT

 1. Clumsy, illiterate and halting

 2. Hesitating and painful due to weakness and illness

 3. Strong, heavy and forceful

 4. Nervous and irregular

 5. Smooth, flowing and rapid

C. SPEED
 Slow and drawn; Deliberate; Average; and rapid

D. Different Movements employed affect in writing –

smoothness; Directness; Uniformity; Continuity of stroke;
and Connecting or curves between letters
VIII. MOTOR COORDINATION

 The special way in which the various muscle used in

writing work together to produced written forms.
CHARACTERISTICS OF MOTOR
COORDINATION:
 1. Free, smelt rounded curves

 2. Gradual changes of directions

 3. Pressure is always in a state of change, moving from light to

heavy or heavy to light.

 4. Speed

 5. The shading impulse is distributed over a considerable length of

the line whereas in writing produced with a slow motion as in the
finger movement, the shading often has a “bunchy” appearance, in
which the maximum width of the shaded line is attained abruptly.
IX. RHYTHM IN HANDWRITING
 Succession of connected, uniform strokes working in full
coordination. This is manifested by clear-cut accentuated
strokes which increase and decrease in which like perfect
cones. Pressure is always in a state of change moving
from light to heavy or heavy to light.

A. Lack of Rhythm – a succession of awkward,

independent, poorly directed and disconnected motions.
B. Importance of Rhythm – one can determine if the
writer normally and spontaneously or write with
hesitation as if he is attempting to for another signature.
C. LETTER OF CONNECTIONS

 It is a mean indicator of the neuromuscular function.

Words are formed by connection letters to one another.
Even letters are formed by the joining of the upward and
downward strokes. These types of connections are:

 1. Arcade – a rounded stroke shaped like an arch.

Arcaded handwritings are usually connected with
ligatures on top of letters.
 2. Garland – links the downward stroke to the upstrokes
with a flowing curve swinging from left to right.

 3. Angular connective form – characterized by an

abrupt stop and start in each turning point.

 4. The threadlike connective form – the joining of

downward and upward strokes is slurred to a threadlike
tracing or where rounded turns used at both top and
bottom produce a double curve. These forms appear both
in the shaping of letters within the world.
X. THE WRITTEN STROKE
 A. Stroke
-refers to the series of lines or curves written in a single
letter; one of the lines of an alphabet or series of lines or
curves within a single letter; the path traced by the pen on
the paper.
 Stroke structure is the most apparent point in the comparative
analysis of handwriting. It is the only point that many people
check when they doubt a particular handwriting. Stroke
formation is usually the starting point for an inexperienced
student of handwriting examination. (PNP-CLO QDE Notes.)

 People develop certain habits of construction in their letter

formations ant the minute strokes, the pieces and parts of single
letters become quite fixed. The habitual stroke structures give
our handwriting its individual character, making identification
through handwriting more certain. (Ibid)

 Understanding how these stroke characteristics are structured or

formed is the key to identifying the indications of forgery and
genuineness in handwritings and signatures.
B. TERMINOLOGIES CONCERNING
STROKE CHARACTERISTICS
 1. Arc
- A curved formed inside the top curve loop as in small
letters “h”, “m”, “n”, and “p”.
 2. Arch

-Any arcaded form in the body of a letter found in a

small letters which contain arches.
 3. Ascender

-is the top portion of a letter or upper loop.

 4. Baseline

-maybe actually on a ruled paper, it might be imaginary

alignment of writing; is the ruled or imaginary line upon
which the writing rests.
 5. Bead
- preliminary embellished initial stroke which usually
occurs in capital letters. A letter having this is called
beaded letters.
 6. Beard

-is the rudimentary initial up stroke of a letter.

 7. Blunt

-the beginning and ending stroke of a letter (without

hesitation).
 8. Body

-the main portion of the letter, minus the initial of

strokes, terminal strokes and the diacritic, of any. Ex: the
oval of the letter “o” is the body, minus the downward
stroke and the loop.
 9. Bowl
-a fully rounded oval or circular form on a letter complete into
“o”.
 10. Buckle/Bucklenot

-a loop made as a flourished which is added to the letters, as

in small letter “k and b”, or in capital letters “a”, “k”, “p”; the
horizontal end loop stroke that are often used to complete a letter.
 11. Descender

-opposite of ascender, the lower portion of a letter.

 12. Diacritic

-“t” crossing and dots of the letter “I” and “j”. The matters of
the Indian script are also known as diacritic signs; an element
added to complete a certain letter, either a cross bar or a dot.
 13. Ending/Terminates Stroke of Toe

- the end stroke of a letter

 14. Eye/Eyelet/Eyeloop
-a small loop or curved formed inside the letters. This may
occur inside the oval of the letters “a, d, o”; the small loop
from by stroke that extended in divergent direction as in small
letters.
 15. Foot

- lower part which rest on the base line. The small letter
“m” has three feet, and the small letter “n” has two feet.
 16. Habits

-any repeated elements or details, which may serve to

individualize writing.
 17. Hesitation

- the term applied to the irregular thickening of ink which

is found when writing slows down or stop while the pen take a
stock of the position.
 18. Hiatus/Pen Jump
-a gap occurring between continuous strokes without lifting the
pen. It usually occurs due to speed; may be regarded also as a special
form of pen lift distinguish in a ball gaps in that perceptible gaps and
appear in writing.
 19. Hook

-it is a minute curve or a ankle which often occurs at the end of an

initial strokes and sometimes, it occurs at the beginning of an initial
stroke. It is also defined as the minute involuntary talon like
formation found at the commencement of an initial up stroke or the
end terminal stroke.
20. Hump
- upper portion of its letter “m”, “,n”, “h”, “k” – the rounded
outside of the top of the bend stroke or curve in small letter.
21. Knob
-the extra deposit of ink in the initial and terminal stroke due to
the slow withdrawal of the pen from the paper (usually applicable to
fountain pen and felt tip pens).
 22. Ligature (Connection)
- the stroke which connects two strokes of letter; characterized
by connected stroke between letters.
 23. Long letter

-those letter with both upper and lower loops.

 24. Loop

- a oblong curve such as found in the small letter, “f”, “g”, “l”,
and letter stroke “f” has two. A loop may be blind or open. A blind
loop is usually the result of the ink having filled the open page
 25. Majuscule

-a capital letter.
 26. Minuscule

-a small letter.
27. Movement Impulses
-this refer to the continuity of stroke, forged writing is usually
produced by disconnected and broken movements and more motion
or movement impulses than in genuine writing.
 28. Patching
– retouching or going back over a defective portion of a
written stroke. Careful patching is common defect of forgeries.
 29. Pen Lift
– an interruption in a stroke caused by removing the
writing instrument from the paper.
 30. Retrace/Retracing

– any part of stroke which is upper imposed upon the

original stroke. Ex. Vertical stroke of the letters “d”, “t”
while coming downward from the top to bottom will have
a retracing strokes; any stroke which goes back over
another writing stroke. In natural handwriting there may be
instances in which the pen doubled back over the course.
31. Shading
-it is widening of the ink strokes due to the added
pressure on a flexible pen point or to use of a stub pen.
32. Shoulder
-outside portion of the top curve small “m” has three
shoulders and the small letter “n” has one shoulder.
31. Shading
-it is widening of the ink strokes due to the added
pressure on a flexible pen point or to use of a stub pen.
32. Shoulder
-outside portion of the top curve small “m” has three
shoulders and the small letter “n” has one shoulder.
 33. Spur
-a short initial or terminal stroke.
 34. Staff

-any major long downward stroke of a letter that is the long

downward stroke of the letter “b”, “g”.
 35. Stem Or Shank

-the upright long downward stroke that is the trunk or stalk,

normally seen in capital letters.
 36. Tick/Hitch

-any short stroke, which usually occurs at the top of the

letters.
 37. Tremor

-a writing weakness portrayed by irregular shaky strokes is

described as writing tremor.
 38. Whirl

-the upstroke of a looping ascender.

C. OTHER TERMINOLOGIES CONCERNING
STROKES
 1. Air stroke
- the movement of the pen as it is raised from the paper
and continues in the same direction in the air.
 2. Covering Stroke

- a stroke that unnecessarily covers another stroke in a

concealing action.
 3. Final

-the ending stroke on a letter when it is at the end of a

word.
 4. Upstroke

-movement of the pen away from the writer.

 5. Sequence of Strokes
- the order in which writing strokes are placed on the
paper is referred to as their sequence.

 6. Supported Strokes
- Upstroke partially covering the previous downstrokes.
Originally taught in European schools.

 7. Trait Stroke
- a school on handwriting analysis that assigns
personality trait manners to individual writing strokes.
D. QUALITIES OF THE STROKES:
 1. Expansion
-whether the movement is extended or limited in its
range with respect to both vertical and horizontal
dimension.
 2. Co-ordination

- whether the flow of movement is controlled or

uncertain, smooth or jerky, continuous or interrupted.
 3. Speed

-whether the movement has been rapid or slow and

whether the pace has been steady or variable.
 4. Pressure
-whether the pressure exerted in the movement and its
upward and downward reach.
 5. Direction

-left ward and right ward trend of they movement and

its upward and downward reach.
 6. Rhythm

-in the sequence of movements that weave the total

pattern, certain similar phases recur at more or less regular
intervals.
XI. GENERAL CLASSES OF QUESTIONED
WRITING
A. Forged or simulated writings – in which the attempt is
made to discard one’s own writing and assumed the exact
writing personality of another person.
B. Disguised – those writings that are disguised and in
which the writer seeks to hide his own personality without
adapting that of another.

With these, the purpose of handwriting examinations is to

determine whether handwriting is forged or whether it is
genuine or that of another.
XII.HANDWRITING CHARACTERISTICS
AND OTHER IDENTIFYING FEATURES

 Writing Habits – these are the repeated elements on

one’s handwriting. In handwriting Identification, the
characteristics are the bases of examination. The hand
writing class characteristics are the initial points of
comparison and if similarity is established, the individual
characteristics are compared.
 Characteristics in handwriting pertain to any features or
distinguishing properties or qualities belonging to one’s
handwriting. In hand writing analysis, the usual characteristics
of considerations are:
 1.) Line Quality

 2.) Spacing of Words and Letters

 3.)Ratio and Proportion

 4.) Pen lifts and separations

 5.) Connecting Strokes

 6.) Beginning and ending Strokes

 7.Unusual Letter Formation

 8.) Shading or pen Pressure

 9.) Slant

 10.) Baseline Habits

 11) Flourishes and Embellishment

 12.)Didactic placement
 A. General (class) characteristics – these characteristics
refer to those habits are part of basic writing system or
which are modifications of the system of writing found
among so large a group of writes that have only slight
Identification value.
 B. Individual Characteristics – they are characteristics
which are the result of the writer’s muscular control,
coordination, age, health, and nervous temperament,
frequency of writing, personality and character, they are
also found in the following writing movement; form and
design of letters; motor coordination; Shading; Skill;
Alignment; Pen pressure; Connection; Pen hold; Rhythm;
Disconnections or pen lifts between letters, Speed; Slant
as a writing habit; Proportion of Letters as an individual
characteristic or habit; Quality of stroke or line quality;
Variation; and Muscular control or motor control.
C. TYPES OF HANDWRITING
ACCORDING TO MUSCULAR CONTROL

 A. Loose writing – this is characterized by too much

freedom of movement and lack of regulation. This is
noticed especially in tall letters forms.

 B. Restrained writing – there is lack of Freedom and

inhibited movements. It gives the impression that every
stroke was made with great difficulty. This writing is
small. There is distortion of letter forms which may lead
to illegibility.
D. CLASSIFICATION OF INDIVIDUAL
CHARACTERISTICS :
 1. Permanent characteristics – found always in his handwriting.

 2. Common or Usual – found in a group of writers who studied the

same system of writing. Examples of these are -
a. Ordinary copy- book form
b. Usual systematic slant
c. Ordinary scale of proportion or ratio
d. Conventional Spacing

 3. Occasional – found occasionally in his handwriting.

 4. Rare – Special to the writer and perhaps found only in one or

two persons in a group of one hundred individuals.
E. HOW INDIVIDUAL CHARACTERISTICS
ARE ACQUIRED
 1. Outgrowth of definite teaching

 2. Result of imitation

 3. Accidental condition or circumstances

 4. Expression of certain mental and physical traits of the

writer as affected by education, by environment and by
occupation
F. EXAMPLES OF SOME OF THE
INDIVIDUAL CHARACTERISTICS:

 1. Hook to the right and hook to the left

 2. Shape, position, size and angle of “I” dots “t” crossing

 3. Idiosyncrasies – unusual features or writing habits

 4. Bulbs and distinctive initial and final pen pressure

 5. Embellishment, added strokes and free movement

endings
 6. Abbreviation of letters

 7. Simple and compound curves and graceful endings

 8. Labored movement and producing ragged lines

 9. Terminal shadings and forceful endings

 10. Presence and influence of foreign writing, with the

introduction of Greek “Σ”
XII. PRINCIPLE IN HANDWRITING
IDENTIFICATION
 A. When any two specimens of handwritings contain a
combination of corresponding or similar and specifically
oriented characteristics of such number and significance
as to preclude the possibility of their occurrence by mere
coincidence, and there are no unaccounted for difference,
it may be concluded that they are similar in writing
characteristics and therefore written by one and the same
person.
 B. Handwriting are fixed habits.

 C. These writing habits like habits of speech become so

automatic and unconscious that even by the most
strenuous effort, it is almost impossible to change them.
It is one of the most permanent of human habits.

 D. No duplication of handwriting by two individuals

CORRECT CONCLUSION

 1. To reach the conclusion that writings are written by

same hand, characteristics or “dents” and “scratches”
should be in sufficient quantity to exclude the theory of
accidental coincidence; to reach the conclusion that
writings are by different hands, we may find numerous
likeliness in class characteristics or we may find
divergences in both but the divergence must be
something more than mere superficial differences.
 2. If the conclusion of identifying is reached, there must
not remain significant differences that cannot reasonable
be explained. This ignoring of the differences of the
failure properly to account for them is the cause of the
errors in handwriting identification.

 3. Although there is not specific approach, the document

examiner always observed: Analysis; Comparison;
Evaluation; and Verification.
XIII. HANDPRINTING
 A. The procedure and the principle involved are similar to that
cursive handwriting.

 B. In block capital and manuscript writings, personal individual

rests principally in design, selection, individual letter
construction, size ratios and punctuation habits. The initial step
in handwriting examination is to determine whether the
questioned handwriting and standards were accomplished with:

1. A fluency of movement and a certainty of execution indicative of

familiarity with and a measure or skill in handwriting of
conversely.

2. A conscious mental effort and non-rhythmic execution denoting

either unfamiliarity with or disguise in the subject’s handwriting.