Here’s a list of common deviations from the copy-book forms of the alphabet’s single letters, along with their corresponding indicative meaning. Graphologists have an explanation for some of these meanings based on the psychology of expression, whereas others have only been discovered by observation but have proven to be correct in practice. What was stated for general writing tendencies is also true for a single letter; when making an analysis, you must compare it to other signs to see if they support each other or point in different directions.
When conducting an analysis, you must consider each sign not only in conjunction with other signs, but also when considering each side and function of human personality, such as working capacity, social attitude, gifts and inclinations, personal likes and dislikes.
Of course, it goes without saying that the samples presented here, despite their size, represent only a small subset of the types seen most frequently in practice. However, if you absorb and retain them in your visual memory, you may be able to find the key to other samples. What is most important for the analyst is to be aware of the specific and unique movement required for the writing of each individual letter in order to draw conclusions from the way the writer solves the problem set for him by the specific movement required.
 | According to the copy-book form, the small letter a forces the writer to slow down by requiring him to draw a relatively small circle not higher than the m and n lines. Drawing a circle entails turning the pen 360 degrees to the left and writing in the opposite way. It also necessitates the writer bringing the two ends of the circle back together. |
 | The small letter b elevates an extension stroke to the top. |
 | The letter C (capital and small) necessitates the creation of an arc facing right. |
 | The small letter d addresses both the demand for the small letter a and the top extension. |
 | The capital letter E is composed of two arc segments that must have the same angle direction. The small letter e features the tiniest circle in the alphabet, which is extremely easy to fill with ink. |
 | In earlier copy-book forms, but not in the most recent, the small letter f is the only small letter that extends to the top and bottom. |
 | The small letter g is the first of the alphabet’s small letters which extends to the bottom. As the writer must first draw a circle and proceed slowly, he has some opportunity to prepare the way his pen descends and ascends. As a result, the small letter g is the most indicative of the writer’s attitude toward material possessions and sex expression. |
 | The distance between the two straight lines that make up the capital H is what makes it so interesting. The small letter h needs to move up after the down stroke in order to form the second part of the letter that looks like an arcade. |
 | The small letter i is interesting because of the dot, which isn’t connected to the letters before or after it and can be treated in a different way than the other letters. Because it is so simple, and because it looks like the figure 1. It’s also interesting because it’s linked to the word “I,” which could show how the writer thinks about himself. |
 | There is a semi-arc on the left of the capital J, which makes it interesting. The small letter j is also interesting because of the extension to the bottom and the dot. |
 | The capital and small K are very complicated letters. They have to move in three different directions. |
 | The small letter l is graphologically almost of the same character as the small b. |
 | Each letter, big and small, is important. The small letters are typical arcade letters. Second, both capital and small letters have three parts that should be written at the same height, according to copy-book patterns. |
 | Similar to m, except for two instead of three parts. |
 | As with small letter a, the letter o is interesting. Drawing a circle entails turning the pen 360 degrees to the left and writing in the opposite way. It also necessitates the writer bringing the two ends of the circle back together. |
 | The small p has the same strokes as h, except that it extends to the bottom instead of the top. |
 | The capital Q is unique because of the stroke that makes it different from the capital 0 and the break the writer has to make in order to write this stroke in the correct way. |
 | The small r looks a little like a small letter n that has been cut diagonally. |
 | The small s sharpens at the top and then goes down in a triangular shape. Only when it reaches the bottom does the stroke go away in a rolling move to the left, not before it reaches the bottom. Writing about all of this can be a little difficult because of how the next letter is connected and because small letters should not be higher than big letters. |
 | When a letter has an unconnected crossing on both sides, it’s called a “revealing” letter. This is because the small letter t allows the writer to move his pen in any direction he wants. The crossing itself also requires a certain level of toughness in how you go about it. |
 | The letter U, large and small, is a garland letter par excellence. |
 | In angular writing, the V, both big and small, is the standard letter for this type of text. |
 | The W is like an upside down M. |
 | If you want to write the letter X as a cursive or block letter, you can choose between two arcs that touch each other but don’t cross each other, or two strokes that meet and cross each other. |
 | The small letter y is made up of the letters u and g, so it looks like y |
 | The letter Z, whether it’s small or big, also lets you choose between the soft curves of the cursive form and the sharp lines of the block letter type. |