In ten lessons, the course participant learns how to assign various elements in a handwriting to various traits of character. The course is broken down into simple learning steps. It contains numerous self-test questions and its content corresponds to the level of a university lecture.

What the course includes:

  1. The standard work accompanying the course ist he manual by Gabrielle Beauchataud containing 217 handwriting specimens, charts of elements and a glossary providing definitions of the most important terms.
  2. Ten cassettes with a duration of approximately 10 hours.
  3. Valuable learning material amounting to over 250 pages with further handwriting specimens, additions to the manual and review questions for each lesson.
  4. A final examination after Lesson 10.

This course (German version) has been officially examined and reviewed by the Federal Agency for Correspondence Courses in Germany and has received authorization under the No. 7118/85.

The creator and writer of this course has had decades of teaching experience. He is the first Chairman of the Professional Association of Certified Graphologists/Psychologists and publisher of the German
journal “Applied Graphology and Personality Diagnostics“. He attended many international graphological conventions as speaker. He received his holistic graphological instruction from Dr. Lutz Wagner at the University of Munich, among others.
Price: € 650,- for payment by installments or € 600,- in one sum plus postage.


Basic Graphology Contents:

1. Preliminary Notes on the Methodology
2. Definition, Possibilities and Limits of holistic Graphology
3. Differentiation between Graphology and Tests
4. Summary of Graphological Systems
5. The Genesis of Individual Handwriting
Self-Test Questions

1. The Graphological Technique of Interpretation
2. The Basis of Interpretation
3. Graphological “Seeing“
4. The Handwriting Impression
5. The Development of the Interpretational Prodedure
6. Global Data (Movement, Form, Form Level)
Self-Test Questions

1. Movement, Form and Space as Interpetive Aspects
2. The Interpretation of Individual Elements
2.1 Handwriting Size
2.2 The Width of the Handwriting
2.3 Division in Length
2.4 Difference in Length
Annex: Interpretational Approaches of Depth Psychology

The Interpretation of Individual Elements (ctd.)
2.5 Handwriting Slant
2.6 Layout
o Word Spacing
o Line Spacing
o Margins
Annex: On the Psychology of Legibility
Is Graphology an Art or a Science?
Self-Test Questions

The Interpretation of Individual Elements (ctd.)
2.7 Initial and Final Emphasis
2.8 Richness of Form (Fullness, Dryness,
Enrichment, Simplification)
2.9 Strength of Form
Annex: Stiffening Tension Degree According to Pophal
Self-Test Questions

The Interpretation of Individual Elements (ctd.)
3.1 The Forms of Connection
3.2 The Degree of Connectedness
Annex: The Rhythm in Handwriting
Self-Test Questions

The Interpretation of Individual Elements (ctd.)
3.3 The Formation of the Stroke
(Pastiness, Sharpness)
3.4 Speed
3.5 Writing Pressure
Annex: Stroke Structure According to Pophal
Self-Text Questions

4. Special Characteristics of Style in Handwriting
4.1 Regularity
4.2 Direction of the Stroke
(Right and Left Tendency)
5 Dishonesty in Handwriting Expression
Self-Test Questions

1. Global Data (ctd.)
a) Originality
b) Harmony
2. Contraction and Release in Handwriting
3. The Six Basic Terms
4. Character and Characterology
5. The Technique of Writing a Handwriting Analysis
Self-Test Questions

1. Samples
2. A Sample Analysis
3. On the Question of Value in Graphology
4. Legal Acceptance of Graphological Analyses
5. Concluding Remarks

Graphological Aphorisms

Handwriting certainly does not reveal everything, but the most fundamental part of a person, the essence of his personality so to speak is shown to us in a snapshot. If we know how to see and read it, a collection of handwritings will automatically become for us a physiognomic knowledge of the world, a typology of the creative spirit.

Graphologists have invented a wonderful technique of handwriting analysis and more or less perfected it into an exact science. Although I have neither studied, let alone learned this technique, I have seen its worth proven in many a difficult case.

The more I compare the different handwritings I come across, the more I believe that an equal number of expressions and manifestations of the writer’s character have to be described.

As long as handwriting is free and not constrained by copybook style, it will almost
always expressthe intrinsic character of the writer in one manner or another.