LESSON 3.

PRINCIPLES OF IDENTIFICATION
 PRINCIPLES OF IDENTIFICATION

1. No two writers write exactly alike.

2. The physical writing condition and position of the person including his writing
instrument may affect the handwriting characters but they do not confine all its
identity elements.
3. A writer cannot exceed his maximum writing ability or skill without serious
effort and training over a period of time.
4. The combination of handwriting characteristics including those derived from
form and writing movements are essential elements of identification.
5. Individuality in handwriting can only be determined through comparison
examination with the standard written or prepared under comparable conditions.
 PRINCIPLES OF IDENTIFICATION

6. Similarity does not mean identity.

7. Complete identity means forgery.
8. Sufficiency of specimen.
a. A writing was written by one person when there is a sufficient number of
identical writing habits and identical primary controlling characteristics and
in addition, the absence of divergent characteristics.
b. A writing was not written by one person when there is a sufficient
number of divergent writing characteristics and the absence of identical primary
controlling characteristics.
 HANDWRITING

 it is the result of a very complicated series of facts, being

used as a whole, combination of certain forms of visible
mental and muscular habits acquired by long, continued
painstaking effort.
 Some defined handwriting as ‘visible speech’.
 KINDS OF WRITINGS

A. Cursive – connected; writing in which one letter is joined

to the next.
B. Script – separated or printed writing.
C. Block – all CAPITAL LETTERS
LESSON 3.2

BASIS OF HANDWRITING
IDENTIFICATION
 BASIS OF HANDWRITING
IDENTIFICATION

A. In Wignore’s Principles of judicial proof, handwriting is defined as a visible

affect 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.
 IS HANDWRITING/SIGNATURE
IDENTIFICATION AN "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
HANDWRITING

• In writing the pen functions as an extension of the hand.

• The fingers transmit to the paper, the directive impulse and the
variation in muscular tension that according to the nature of the writer's
nervous organization occur during the act or writing.
• This center near the motor area of the cortex is responsible for the
finger movement involved in handwriting.
• The ability or power to hold a fountain pen or pencil to form symbols
and words can be said to emanate from its cortical center.
 TWO GROUPS OF MUSCLES INVOLVE
IN HANDWRITING:

1. Extensor muscles - push up the pen to form the upward strokes

2. Flex muscles which push the pen to form the downward strokes.
• Four groups of muscles are employed in writing - those which operate the:
1. Joints of the fingers,
2. Wrist,
3. Elbow,
4. Shoulder
MOTOR COORDINATION - The delicate way in which the various muscles used writing work
together to produce written form.
LESSON 3.3

VARIATIONS IN HANDWRITING
 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,
inebriation's, emotion 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 some way or another.
 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 individuality 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.
LESSON 3.4
DEVELOPMENT OF
HANDWRITING OF AN
INDIVIDUAL
 DEVELOPMENT OF HANDWRITING OF
AN INDIVIDUAL

1. Children learn writing by following the school copy or model.

2. After acquiring some degree of skill the children no longer follow the school model.
3. As speed increases, conscious design and regularity begin to break down,
4. In the course of trial and error, modification are made, simplification and elaborations, addition and
omissions occur.
a. The writing pattern of each child embodies unique combinations of such deviation from the
standard letter forms or school model, and becomes his personal habits.
b. Although thousands learn the same system and that the natural result is identity, but facts show
that it is not because those who were taught the same system or school copy a class of writers,
but such impairs does not by any means produce a slavish uniformity.
c. Variation begins as soon as writing begins and continues until each writer in the way that seems
best and easiest to him,
SCHOOL COPYBOOK FORM (school model) - refers to the standard of handwriting instruction taught in
particular school. Classes of copybook depend on the standard school copy adopted by a writer.

A. SYSTEMS of Early American Handwriting

1. Old English round hand- an Italian hand popular in 1840.

2. Modified round hand-early edition of the 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 preceding system, some of which were very omate 1860-1890.
4. Modem Vertical writing 1890-1900
5. The arm movement writing - the manner or method of writing, instead of the form alone is especially
emphasized.

B. SOME MODERN SCHOOL MODEL FORMS

6. Palmer Copybook
7. D'Nealian Copybook
8. British Copybook
9. French Copybook
10. German Copybook
C. SIGNIFICANCE OF SCHOOL COPY FORMS or System Characteristics as Basis in t Identification of
Handwriting

1. Similarities of form are not indicative of identity unless they concern unusual form or what a termed
deviations from the normal. Similarities are bound to occur in different writings but 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 likeness in form maybe general and simply indicate the class or genus or the difference the does not
differentiate maybe nearly superficial.
4. In many systems of writing, the date and influences of system of writing have an important bearing on
the question of genuine or of forgery and in other cases, the presence of Europe characteristics in
handwriting is a vital and controlling fact.

D. IMPORTANCE OF THE DESIGN OF THE LETTERS (System of Writing)

5. To the nationality of the writer.

6. To the system learned.
7. To the date when the writing was acquired and
8. To some of the influences that have surrounded the writer.
LESSON 3.5

RECOGNITION OF WRITING
CHARACTERISTICS
 THE PFOLLOWING ARE THE WRITING
CHARACTERISTICS:

1. Form - This refers to the shape or design of the individual letters. e.g.
M M M M M MMMMM
P P P P P P P PP P
2. Slope or Slant - It is an angle or inclination of the axis of letters relative to the baseline.e.g.

Richard T. Camara Richard T. Camara

 THE PFOLLOWING ARE THE WRITING
CHARACTERISTICS:

3. Size – as writing characteristics is somewhat divergent under varying condition and may have but
little significance when applied to only one example, or to a small quality of writing like a signature
unless the divergence is very pronounced. e.g.

Richard T. Camara
Richard T. Camara
4. Proportion – individual characteristics in relative proportion of letters or proportion of a part
of a letter or relative height of one letter to another letter can be found in different writing.
Proportion o.f letters is one of the hidden features of writing. e.g.

Richard T. Camara
 THE FOLLOWING ARE THE WRITING
CHARACTERISTICS:

5. Ratio – the relation between the tall and short letters is referred to as the ratio of the writing e.g.

Height Ratio
Height Ratio
6. Connecting Strokes – this refers to the strokes of links that connects a letter with the one
following: in signatures, it is a common practice among many writers to write their signatures with the
initials and connected without lifting the pen. In writing, many writers habitually drop the connection
before certain letters (particularly small letters within words)
Examples:
a. Circular – Richard T. Camara
b. Elliptical – Richard T. Camara
c. Angular – Richard T. Camara
 THE FOLLOWING ARE THE WRITING
CHARACTERISTICS:

7. Terminal Strokes and Initial Strokes – when a letter, word or name (signature) is completed in
a free, natural writing, the pen is usually raised from paper while in motion with a ‘flying finish’ (or what is
also referred to as ‘vanishing’, ‘tapering’ or ‘flourishing’ terminal strokes) and with many writers, the
motion of the pen also slightly precedes the putting of the pen on the paper at the beginning with ‘flying
start’ so that the strokes at the beginning and end of words gradually diminish or taper to a ‘vanishing point’.
e.g.
Initial Richard Terminal
8. Pen – Lift – it is an interruption in a stroke caused by removing the pen from the paper. e.g.
Richard T. camara
9. Hiatus – is a gap between strokes due to speed in writing and defective writing instruments.e.g.
Richa rd
 THE FOLLOWING ARE THE WRITING
CHARACTERISTICS:

10. Lateral Spacing – lateral spacing is considered as a common characteristics when it conforms to the
ordinary copy – book – form. e.g.
Richard T. Camara
11. Shading – it is the widening of the ink strokes with increase pressure on the paper surface. e.g.
Richard T. Camara Richard T. Camara
Good Bad
12. Alignment – is the relation of the parts of the whole line of writing or line of individual letters in
words or signature to the baseline. e.g.

Richard T. Camara T.
a r d
Goodic h
R a
Badr a
a m
 THE PFOLLOWING ARE THE WRITING
CHARACTERISTICS:

14. Rhythm – it is the balanced quality of movements of the harmonious recurrence of stress or
impulse. e.g.

Richard T. Camara Richard T. Camara

15. Pen pressure – it is the average force in which the pen makes contact with the paper or the usual
force involved in writing. e.g.

Richard T. Camara Richard T. Camara

16.Tremor – means ‘deviation form uniform strokes due to lack of smoothness perfectly apparent even
without magnification’. e.g.
Richard T. Camara Richard T. Camara
Bad Good
 THE PFOLLOWING ARE THE WRITING
CHARACTERISTICS:

17. Natural Variation – variation is: due to lack of machine – like precision of the human hand, it is
also caused by external factors, such as the writing instrument and the writing position, influenced by
physical and mental condition such as fatigue, intoxication, illness, nervousness and the age of the writer,
due to the quality of the writing prepared in the course of time, variation in genuine signature appears in
superficial parts and does not apply to the whole process of writing. e.g.

Richard T. Camara
18. Rubric or embellishment – this refers to additional unnecessary strokes not necessary to
legibility of letterforms or writing but incorporated in writing for decorative or ornamental purpose. e.g.

Richard T. Camara Richard T. Camara

 TECHNICAL TERMS:

1. ALIGNMENT – is 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 or the relative alignment o 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. CHARACTERISTICS – any properly or mark which distinguishes and in document examination
commonly called to as the identifying details.
5. COLLATION – side by side comparison; collation as used in this text means the critical comparison
on side by side examination.
6. 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
counterparts of the other.
 TECHNICAL TERMS:

7. DISGUISED WRITING – a writer may deliberately try to alter his usual writing habits in hopes of
hiding his identity. The results, regardless of their effectiveness are termed disguised writing.
8. DOWNSTROKE – the movement of the pen toward the writer.
9. FORM – the writer’s chosen writing style. The way the writing looks, whether it is copybook, elaborated,
simplified or printed.
10. GARLAND FORMS – a cup – like connected form that is open at the top and rounded on the bottom.

11. GESTALT – the German word that means ‘complete’ or ‘whole’. A good gestalt needs nothing added or
taken away to make it ‘look right’. Also a school of handwriting analysis that looks at handwriting as a whole
picture.
12. GRAPHOANALYSIS – the study of handwriting based on the two fundamental strokes, the curve and
the straight strokes.
13. GRAPHOMETRY – analysis by comparison and measurement.
 TECHNICAL TERMS:

14. GRAPHOLOGY – the art determining character disposition and amplitude of a person from the study of
handwriting. It also means the scientific study and analysis of handwriting, especially with reference to
forgeries and questioned documents.
15. HANDLETTERING – any disconnected style of writing in which each letter is written separately; also
called hand printing.
16. LETTER SPACE – the amount of space left between letters.
17. LINE DIRECTION – movement of the baseline. May slant up, down, or straight across the page.
18. LINE QUALITY – the overall character of the ink 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.
 TECHNICAL TERMS:

19. LINE SPACE – the amount of space left between letters.

20. 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.
21. MARGINS – the amount of space left around the writing on all four sides.
22. MICROSCOPIC EXAMINATION – any study or examination which is made with the microscope in
other to discover minute details.
23. 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.
24. NATURAL WRITING – any specimen of writing executed normally without any attempt to control or
alter its identifying habits and its usual quality or execution.
 TECHNICAL TERMS:

25. NATURAL VARIATION – these are normal or usual deviations found between repeated specimens
of any individual writing.
26. PEN EMPHASIS – the act of intermittently forcing the pen against the paper surfaces. When the pen
– point has flexibility, this emphasis produces shading, but with more rigid writing points heavy point
emphasis can occur in writing without any evidence of shading; the act intermittently forcing the pen against
the paper with the increase pressure.
27. PEN HOLD – the place where the writer grasps the barrel of the pen and the angle at which he holds
it.
28. PEN POSITION – relationship between the pen point and the paper.
29. 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
increases.
 TECHNICAL TERMS:

30. PRINTSCRIPT – a creative combination of printing and cursive writing.

31. PROPORTION or RATIO – the relation between the tall and the short letter is referred as to the
ratio of writing.
32. 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.
33. 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, alternation of movement.
34. SHADING – is the widening of the ink strokes due to the added pressure on a flexible pen point or to
the use of a stub pen.
35.SIGNIFICANT WRITING HABIT – any characteristics of handwriting that is sufficiently
uncommon and well fixed to serve as a fundamental point in the identification.
 TECHNICAL TERMS:

36. SIMPLIFICATION – eliminating extra or superfluous strokes from the copybook model.
37. SIZE – may refer to the overall size of the writing or the proportions between zones.
38. SKILL – in any set there are relative degrees or ability or skill and a specimen of handwriting usually
contains evidence of the writer’s proficiency; degree, ability, or skill of a write proficiency.
39. 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.
40. SPEED OF WRITING – the personal pace at which the writer’s pen moves across the paper.
41. SPEED (SPEEDY) WRITING – not everyone writes at the same rate so that consideration of the
speed of writing may be 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.
 TECHNICAL TERMS:

42. SYSTEM (OF WRITING) – the combination of the basic design of letters and the writing movement
as taught in school make up the writing system. Writing though use diverges from the system, but generally
retains from influence of the basic training.
43. TENSION – the degree of force exerted on the pen compared to the degree of relaxation.
44. THREADY FORM – an indefinite connective form that looks flat and wavy.
45. VARIABILITY – the degree to which the writing varies from the copybook model.
46. VARIATION – the act or process of changing.
47. WORD SPACE – the amount of space left between words.
48. WRITING CONDITION – both the circumstances under which the writing was prepared and the
factors influencing the writer’s ability to write at the time of execution.
 TECHNICAL TERMS:

49. WRONG – HANDED WRITING – any writing executed with the opposite hand that normally used;
a.k.a. as ‘with the awkward hand’. It is one means of disguise. Thus, the writing of 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’.
50. WRITING IMPULSE – the result of the pen touching down on the paper and moving across the page,
until it is raised from the paper.
 DIVISION OF QUESTIONED DOCUMENT
COMMON TERMS EXAMINATIOM
AND DESCRIPTION OF LETTERS
COMMON TERMS AND
DESCRIPTION OF
LETTERS

1. ARC OR ARCH – any

arcade form in the body of
the letter.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

2. BEARD – rudimentary
curved initial strokes.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

3.BLUNT ENDING
OR BEGINNING –
blunt ending and initial
strokes are results of the
drawing process in forgery.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

4. BUCKLE KNOT –
the horizontal and looped
strokes that are often used to
complete such letters.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

5. CENTRAL PART OF
THE BODY – the part of
a letter ordinary formed by a
small circle that usually lies
on the line of writing.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

6.EYE LOOP OR
EYELET – the small loop
formed by strokes that
extend in divergent direction.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

7. FOOT OF THE
LETTER OR OVAL –
the lower portion of any
down stroke which
terminates on the baseline.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

8. DIACRITIC – an
element added to complete
certain letters.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

9. HITCH – the
introductory backward
stroke.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

10. HOOK OR
TROUGH – the bend,
crook curved on the inner
side of the bottom loop or
curve of small letter.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

11. HUMP – the rounded

outside of the bend, crook, or
curve in small letters.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

12. SPUR – short,

horizontal beginning strokes.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

13. KNOB – rounded

appearance at the beginning
or ending strokes.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

14. MAIN STROKE or

SHANK STEM –
downward strokes of any
letters.
COMMON TERMS AND
DESCRIPTION OF
LETTERS

15. WHIRL – the upward

strokes usually on letters that
have long loops.
 KINDS OF MOVEMENT IN
HANDWEITING

• Finger Movement - the thumb, the first, second and slightly the third fingers are
in actual motion. Most usually employed by children and illiterates.
• Hand Movement - produced by the movement or action of the whole hand with
the wrist as the center of attraction.
• Forearm Movement - the movement of the shoulder, hand and arm with the
support of the table.
• Whole Forearm Movement - action of the entire arm without resting. i.e.,
blackboard writing
 GENERAL CLASSES OF QUESTIONED
WRITING

• Forged or simulated - writings in which the attempt is made to discard

one's own writing and assume the exact writing personality of another
person.

• Disguised - Those writings that are disguised and in which the writer seeks
to hide his own personality without adapting that of another.
 WRITING HABITS

• Writing by all its thousand of peculiarities in combination

is the most personal and individuals thing that a man does
that leaves a record which can be seen and studies. This is
what constitutes individuality in handwriting.
• 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.

• 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 found in
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.
 TYPES OF HANDWRITING ACCORDING
TO MUSCULAR CONTROL

• Loose writing-this is characterized by too much freedom of movement and

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

• Restrained writing - there is lack of freedom and inhibited movements. It

gives you 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.
 INDICATIONS OF SPEED (SPEEDY) WRITING

• Smooth, unbroken strokes and rounded forms.

• Frequent signs or tendencies to the right.
• Marked uncertainty as to the location of the dots of small letters "I", "j" & crosses of small
letter
• Increased spontaneity of words or small letter "t" connected with the following words.
• Letters curtailed or degenerated almost to illegibility towards the end of words
• Wide writing - width of letters is greater than the connecting spaces adjoining it.
• Great difference in emphasis between upstrokes and down strokes.
• Marked simplification of letters especially capital letters.
• Raising line
• Increased pen pressure
• Increase in the margin to left at the beginning of the line
 INDICATIONS OF SLOW WRITING

• Wavering forms and broken strokes.

• Frequent signs or tendencies to the left.
• Conspicuous certainly as to the location of the dots of small letters "I","J","or "t" crosses
with scarcely perceptible deviation from the intended direction.
• Frequent pauses by meaningless blobs, angles, divided letters and retouches.
• Careful execution of detail of letters, toward the end or names.
• Narrow writing.
• No difference in emphasis in upstroke and down stroke
• Ornamental or flourishing connections.
• Sinking lines
 EXAMPLES OF COMMON
CHARACTERISTICS

• Ordinary copy-book form

• Usual systematic slant
• Ordinary scale of proportion or ratio
• Conventional spacing
 CLASSIFICATION OF INDIVIDUAL
CHARACTERISTICS

• Permanent characteristics-found always in his handwriting.

• Common or usual - found in a group of writers who studied the
same system of writing.
• Occasional - found occasionally in his handwriting.
• Rare -special to the writer and perhaps found only in one or two
persons in a group of one hundred individuals.
 HOW INDIVIDUAL CHARACTERISTICS
ARE ACQUIRED

• Outgrowth of definite teaching

• Result of imitation
• Accidental condition or circumstances
• Expression of certain mental and physical traits of the
writer as affected by education, by environment and by
occupation.
 EXAMPLES OF SOME OF THE INDIVIDUAL
CHARACTERISTICS

• Hook to the right and hook to the left

• Shape, position, size and angle of "i" dots "t" crossing #
• Idiosyncrasies- behavioural attributes
• Bulbs and distinctive initial and final pen pressure
• Embellishment, added strokes and free movement endings
• Abbreviation of letters
• Simple and compound curves and graceful endings
• Labored movement producing ragged lines
• Terminal shadings and forceful endings
• Presence and influence of foreign writing, with the introduction of Greek "e"
 POINTS TO CONSIDER IN EXAMINING EXTENDED
WRITING (ANONYMOUS, THREAT, POISON LETTERS)

• Uniformity-Does the questioned writing have smooth, rhythmic and free-flowing

appearance?
• Irregularities - Does the questioned writing appear awkward, ill-formed slowly drawn
• Size & Proportion-Determine the height of the over-all writing as well as the height of the
individual strokes in proportion to each other.
• Alignment - Are they horizontally aligned, or curving, uphill or downhill.
• Spacing - Determine the general spacing between letters, spacing between words. Width of
the left and right margins, paragraph indentations.
• Degree of Slant-Are they uniform or not.
• Formation and Design of the letters, "t" (-) bars, "i" dots, loops, circle formation.
• Initial, connecting and final strokes.
DIVISION OF QUESTIONED DOCUMENT
Standard of exemplars
EXAMINATIOM
• Standard - They are known writings, which indicate how a person writes. A writer
manifests fixed habits in his writings that identify him. This fact provides the basis
for an opinion of conclusion regarding any writing identification problem.
• Exemplars - Specimen of the writing of suspects are commonly known as
exemplars. The term standards is a general term referring to all authenticated
writings of the suspects while exemplars refers more especially to a specimens of
standard writing offered in evidence or obtained or request for comparison with the
questioned writing.
• Sample - A selected representative portion of the whole is known as a sample. In
this text, the term «sample» follows closely the statistical usage
 TYPES OF HANDWRITING
"STANDARDS"

• Collected Standards - known (genuine) handwriting of an individual such as

signature and endorsements on canceled checks, legal papers letters, commercial,
official, public and private document and other handwriting such as letters,
memoranda, etc. Written in the course of daily life, both business and socials.
• Request Standards - are signature or other handwritings (or hand printings)
written by an individual upon request for the purpose of comparison with other
handwriting or for specimen purposes.
• Post Litem Motam Exemplars - writings produced by the subject after
evidential writings have come into dispute and solely for the purpose of
establishing his contentions