We are here brought face to face with the old question that has confronted all investigators of sex-differences. It is evident, however, that the question of the social environment is, in this instance, a controlling one not merely in the discussion of the revelation of sex in handwriting, but also in that of the revelation of intelligence; for there exists a peculiar environment for talent as well as for sex. Indeed, it appears that the investigation of handwriting must be socio-psychological in nature. Unconscious imitation, social suggestibility doubtless play an important, if not all-important, part in determining writing characteristics. On the whole, therefore, it is not surprising that the experts were more successful in distinguishing marked differences in intelligence than in determining the nature of the individual superiority. They perceived the class characteristic, as it were.

The handwriting of any individual would be found to resemble the characteristic tracings shown by his pulse and respiration and fatigue curves. Nor is the interest in the variational aspect of handwriting restricted to recording the diversities in penmanship from individual to individual; it is also engaged in noting variations from day to day in the handwriting of any given person under the influence of fatigue or emotion or disease. But, however numerous, such observations and however legitimate the speculations they engender, it remains for the physiologist and the psychologist, with the aid perhaps of the sociologist, to compass the scientific study of the variational factor in handwriting.

Handwriting, bearing as it does the cachet of individuality, has always interested those to whom things human make their intimate appeal. Curious observations relative to it have long been current, the existence, for instance, of national as well as family and personal chirographics; the perversions of it that take form as mirror writing or even—it is said—as inverted writing; the whimsy shown by the bizarre characters, by the tendency to irrelevant and extravagant flourishes in the writing of those suffering from certain forms of mental disorder. Attention has been called to the similarity existing between a man's handwriting and the manner in which he walks or gesticulates. It has been claimed that age and sex and profession leave their impress upon writing, that the pen craft of the painter mirrors minutely the grace and distinction that marks the sweep of his brush across the canvas.

the beauty and nobility, the august mission and destiny, of human handwriting.

Variation in expression under emotional disturbance has long been a special subject of experiment. Little attempt, however, has been made to compare the results so obtained with the appearance of writing under emotional tension. To be sure, the graphologists cite a tendency to elevate progressively the line of writing as an evidence of mental exaltation, of joy or ambition, while a fall in the alignment is indicative of the depressive emotions, self-distrust, sadness, melancholy. Again, a strongly marked tendency toward centrifugal or centripetal movements is held to indicate, on the one hand, ardor, simplicity, activity, uprightness, and, on the other hand, slowness, lack of spontaneity, egoism.

Thus we may found the science for the study of the life of signs against the background of social life; it would form part of social psychology, and consequently of general psychology; we shall call it semiology (from Greek sēmeion — 'sign'). That science would explain to us in what signs consist of and by what laws they are governed. Since it is a science which does not yet exist, we do not know what it will be like; it has, however, a reason for its existence, its place is allocated in advance. Linguistics is only a part of that general science ; the laws which semiology will discover, will be applicable also to linguistics, which in turn will be linked with a domain clearly defined throughout the entirety of human affairs.

It was beyond imagining that bad font influences judgments of truth and improves cognitive performance, or that an emotional response to the cognitive ease of a triad of words mediates impressions of coherence. Psychology has come a long way.

It is to be regretted that no mental method of daguerreotype or photography has yet been discovered by which the characters of men can be reduced to writing and put into grammatical language with an unerring precision of truthful description. How often does the novelist feel, ay, and the historian also and the biographer, that he has conceived within his mind and accurately depicted on the tablet of his brain the full character and personage of man, and that nevertheless, when he flies to pen and ink to perpetuate the portrait, his words forsake, elude, disappoint, and play the deuce with him, till at the end of a dozen pages the man described has no more resemblance to the man conceived than the signboard at the coner of the street has to the Duke of Cambridge?

One of my primary goals in my own artistic expression is to avoid the abyss of being “cute”, “tasty”, “nice” and any other deeply rooted formalism (particularly in stereotypical motives/composition and superficial “spirituality”). On other hand, I am trying to reach direct, spontaneous, raw expression, with a heavy emphasis on personal and authentic artistic handwriting. Some people are focused on, or even obsessed with the “beauty” of line and its graciosity. And that is a legitimate intention and a necessary one in calligraphic writing, but it is not my path. At the end of the day, I will produce my own shape, my own drawing texture and my own morphology of a line. I do not care if it is “ugly”, almost always a subjective description, or “imperfect”, or not in keeping with a traditional view and a consideration of “craftmanship”. It must be a genuine and direct materialization and footprint of my mind’s flow and structure along with my feeling. And when such an “event” occurs, by default, it inherently contains clarity and artistic honesty. With this approach, I believe that I will create original art, original at its very root, my own artistic grammar.

The relation of the inner word to the outer visible one has long interested psychologists.

Preoccupation with style will not produce it. No amount of editing and polishing will have any appreciable effect on the flavor of how a man writes. It is a product of the quality of his emotion and perception; it is the ability to transfer these to paper which makes him a writer, in contrast to the great number of people who have just as good emotions and just as keen perceptions, but cannot come within a googol of miles of putting them on paper.

The study of race differences in intelligence is an acid test case for psychology. Can behavioral scientists research this subject with the same freedom, objectivity, thoroughness, and scientific integrity with which they go about investigating other psychological phenomena? In short, can psychology be scientific when it confronts an issue that is steeped in social ideologies? In my attempts at self- analysis this question seems to me to be one of the most basic motivating elements in my involvement with research on the nature of the observed psychological differences among racial groups. In a recent article (Jensen, 1985b) I stated:<p>I make no apology for my choice of research topics. I think that my own nominal fields of expertise (educational and differential psychology) would be remiss if they shunned efforts to describe and understand more accurately one of the most perplexing and critical of current problems. Of all the myriad subjects being investigated in the behavioral and social sciences, it seems to me that one of the most easily justified is the black- white statistical disparity in cognitive abilities, with its far reaching educational, economic, and social consequences. Should we not apply the tools of our science to such socially important issues as best we can? The success of such efforts will demonstrate that psychology can actually behave as a science in dealing with socially sensitive issues, rather than merely rationalize popular prejudice and social ideology. (p. 258)

Variation in the amplitude of written characters involves doubtless many important considerations relative to the facilitation and inhibition of movement.

The development of design principles based on objective visual tests, experience, and logic; the pursuit of research in the physiological and psychological effects of color; and investigations in perceptibility and readability in typography are being carried on in other fields... such a movement in cartography cannot fail to materialize