When confronted with the easily refuted argument that handwriting analysis is ineffective because similarly educated people’s scripts are bound to be identical or nearly identical, a well-versed graphologist can point to the enormous variation found in the formation of the letter t as a powerful example that refutes this misconception. The different size, shape, and construction of this letter, even when compared to the handwriting of close family members, classmates, and other similar social groups, is a graphic representation of the function played by personal taste and judgment in our script.
You would believe that penmen who like the italic-style of script (which adheres to strict construction and proportion standards) are an exception to the preceding example, but you’ll notice that personal preferences can creep into even the most formalized writing. Every person comes up with their own solution to the t-problem.
By the time you’ve finished reading about this useful letter formation, you’ll be wondering how graphologists would function without the small t to assist them in so many ways.
In handwriting analysis, the little letter t is most likely the most crucial structure. There are several reasons for this. For starters, it has symbolic meaning since it precedes the Definite Article (THE) in English, which grammarians name the Definite Article (THE). Not surprisingly, English-speaking graphologists have focused a lot of interpretation on this key letter, just as French graphologists have spent a lot of time studying the small letter 1 that appears in front of the French Definite Article (le, la, les), and German graphologists have spent a lot of time studying the small letter d. (der, die, das, den, dem, des). Not unexpectedly, there is a lot of information regarding the minuscule letter t’s uses and meanings; other letters, on the other hand, appear to be nearly forgotten.
The letter t represents a natural break in writing; when it is crossed, the writer has the unique opportunity to form a line that does not have to connect to the letter before or after it; in fact, the t-bar can go in any direction the writer chooses – up, down, or even backwards – and can be placed low or high according to his sense of proportion. It is the flexibility with which we constructed this letter that we are interested in.
We may learn a lot about a writer’s mental power just by looking at the straight strokes that emerge in handwriting. Long straight strokes indicate mental force endurance, whereas heavy or wide straight strokes indicate mental force intensity or power. T-crossings are the most lucrative of these strokes, although any straight horizontal stroke has a similar value. . . t-bars, on the other hand, provide the finest opportunity to view this feature in its purest form, with less influences.
Mental force (or willpower, if you prefer) aids us in not just dealing with present issues and concerns, but also in planning objectives and projecting ourselves into different scenarios. Mental Force can help us achieve our goals, but it is a completely mental capacity that should not be mistaken with any of the physical urges that propel us toward task completion or states of change, as the name implies.
A heavy t-bar crossing denotes a strong willpower. If the stroke length is short, this combination indicates that the writer is capable of exerting a significant amount of willpower – but only for a short time. His imagery and projection abilities are strong, albeit they are likely focused on short-term goals. His demonstrations of mental activity may overwhelm his close companions, but he lacks the willpower to have a genuinely dynamic impact outside of his immediate group.
If the crossing stroke is weaker but longer, the writer’s force of will is correspondingly less – but it is longer, indicating more endurance. This writer isn’t as sure of what he intends as someone who uses heavier crossing strokes. Writers who use lengthy but weak crossing t-bar strokes show a combination of Mental Force and passion (endurance). These writers don’t always have the most mental vigor, but they can focus on their projects for longer periods of time and are more confident of their goals.
Writers that use lengthy and thick t-bars demonstrate Mental Force’s dynamic potency. The willpower of such authors is so strong and long-lasting that it extends to others. Such writers are known for their infectious self-confidence and will to succeed.
Various t-bars are also connected with a slew of other characteristics. T-crossings that bend or bow suggest that Mental Force is being diverted in some way. These distractions might come in a variety of forms.
A turning back or back-to-self stroke denotes egocentricity, or a desire to be acknowledged by others (which may point to personal insecurities). This sort of stroke can also be seen in other formations, such as the last strokes of words or characters, as well as decorations, ornamentation, or underlining (in severe circumstances).
Convex t-crossings imply self-control; this stroke is a visual sign that the writer is attempting to correct a self-perceived flaw. Concave t-crossings, on the other hand, suggest a real diversion of purpose – a shallowness of mental drive that might imply that the writer is either lazy or scared of responsibility in achieving his goals. If this feature is strongly shown in either case, it may suggest the type of person who is capable of throwing in the towel and abandoning projects if the effort no longer appeals to him.
T-crossings that fly away from the upright stem imply haste on the part of the writer, a proclivity to go on without thinking. Stroke-by-stroke analysts associate this symptom with actual rage, which may or may not be overtly exhibited (depending on other indicators present).
T-crossings with barbed or pointy ends denote sarcasm (wounding criticism and invective comment which is intended to hurt). Traditional graphologists link this sign with malice, however stroke-by-stroke analysts feel it is a self-defense mechanism based on personal vulnerabilities and concerns.
A propensity to dominate is shown by barbed t-crossings angled downwards. The author wants to force his will on others, but he lacks the mental clarity and dynamism to do it effectively. With sarcasm and stinging comments, he hides his lack of understanding and knowledge (and unconsciously displays his dissatisfaction).
A tendency to dominate is indicated by t-crossings without barbs that angle downwards. This writer still relies on others to carry out his wishes, but he can better direct them than the domineering writer, so he doesn’t feel the need to force them.
T-bars that trail behind the vertical stem imply purposeful procrastination. The writer who procrastinates does so because he or she is afraid of failure or some other form of insecurity.
Self-castigation is shown by t-crossings that lash back, mental force turned upon the subject. When this personality feature is well-developed, a writer will (often erroneously) blame themselves for errors and wrongdoing. It’s usually a sign of guilt: the writer wants to punish himself for some fault (real or imagined), and he’s looking for ways to do it.
The upright stem retracing signifies a desire for order or self-respect via proper behavior. Writers who have a strong case of this feature aim to live by a self-imposed code of behavior, and they feel good about themselves when they can stick to it. They’re also conscious of their public image and want to show themselves in the greatest light possible. In most circumstances, this is a beneficial feature; nevertheless, in cases of criminal mindset or distorted belief systems, it can assist to reinforce other bad character traits.
