Dangerous Spacing /Margins

 In order to determine letter spacing, all that is required is to draw a box around the letters being measured and compare the sizes of the letters being compared between the two writings under analysis (see slides numbering 227 and 228 on your CD).

 There are more than one type of spacing involved in handwriting that needs to be investigated, in fact, there are a total   of eight (8).    They are  (1)“general spacing, (2) horizontal spacing (3) vertical spacing, (4) upper margins, (5) lower margin, (6) right hand margin and (7) left hand margins. (8) Letter spacing which will be excluded from this discussion as letter spacing is explained exhaustedly under the heading “Primary indicators of speed” in level 2.

 No two writers will write with the same type of spacing or margins in the writing.  Identification of a writer is made easier by not only identifying “spacing” but understanding the “whys” of spacing as well.

First lets distinguish between “general spacing, “horizontal spacing and “vertical spacing” . Where the margins are located is self explanatory.  All the analyst needs is to have an understanding of the “why’s”.

   General Spacing.

The general use of space is often conditioned by the purpose of the manuscript.  How important is the message that is going to be conveyed.  The writer subconsciously evaluates the following 4 factors.

            1            The writer’s feeling for the subject, is it a pleasant or unpleasant topic.

            2          How long will the manuscript be.  Most persons are inclined to get a fairly short text onto one page. If the writing becomes longer than    anticipated, most writers are reluctant to take the trouble of making a new page-adjustment for the sake of a couple of lines  If the text is becoming longer than the writer anticipated, he will prefer to write the last lines closer together rather than start a new page. (see bottom margin)

3          The absolute size of his usual handwriting, and his spatial conditions (the ratio of the space at his disposal determines automatically whether his text will be increased in length or shortened).

4            Placement, where the text will begin on the writing surface. The majority of times this placement is habitual. (refer to slides 227and 228 on the CD.)

 Horizontal Spacing

  Horizontal spacing is the spacing between the words written on the paper.

  NOTE: In connection with vertical spacing we must, when we are dealing with German handwriting ( that is, with texts written in the German alphabet, take into consideration   a national peculiarity.

  The German alphabet is , as we know, peculiar for size-ratios which differ from  those of any national alphabet written in Latin letters.  The medium letters are three times (instead of twice)  and the long letters five times (instead of three times) the height of the short letters.  Consequently the German system of handwriting tends, by it exaggeration of the upper and lower projections, to result in a “dovetailing” of the lines with the lines above and below.

 Vertical spacing

 By vertical spacing we understand the spatial separation of line from line.

Vertical spacing is the distance the writer maintains between the lines of writing. There are writers who will “dovetail” or “tangle” lines together. (lower projection from the base line touching the line below with consistency, and others will not dovetail at all.)

 Margins

 We must now distinguish between four additional features of the general spacing; the upper, lower, right hand and left hand margins.

 Upper margin

  Of these four we can control the upper margin in the most arbitrary fashion.  We know that the possibility of an arbitrary modification of the act of writing is greatest at the beginning. 

  Left hand margin 

A left hand margin which increases in width is as we know, a primary feature of speed and will be confirmed with a sentence impulse[1]:(see foot note#1)

    Right hand margin.

 Seldom will a wide right hand margin exist with the presence of a sentence impulse. These two factors, (sentence impulse and wide right margin) will rarely be found in a single script.

NOTE:   (A wide right hand margin in connection with a strong sentence impulse can occur only as the result of an aesthetic restraint of this sentence impulse.)

 Bottom margin

 In either a single page manuscript or multiple pages, when the lines crowd together at the bottom of the page, regardless of the size of the margin, this crowding is due to ;(1) in a quick act of writing sentence impulse), a brief postponement of the sentence impulse in order to facilitate the space left for the remainder of the text (2) in a slow act of writing this crowding adjustment is attributed to a lack of  adaptability.  Either way, the analyst can clearly identify two different writers, one quickly written, and one written slowly.

 Let us now compare two writings, one containing a higher degree of “negativism” than the other.

  "A" Click photo for better view.

 Figure “A” is a writing that borders on the furthest parameters of “normality”.

 The writing is slowly written, has poor spacing and erratic pressure. The base lines vacillate.  As we have already learned that the beginning of a writing is easier to alter (disguise) and in script “A” it can clearly be seen the artificiality ends on the 5^th line with the word “important”.  The attempt to appear “normal” is overshadowed by the poor use of the Horizontal spacing where the writing clings to the end of the page. This writer must always be kept busy, has a fear of being alone, is pushy and is in constant need of someone being near by.  The writer dwells on past experience and is apprehensive about the future. 

 In contrast, figure “B” reveals a different story. 

                                                                                   "B"  click thumb for view.

The writer of figure “B” has literally written off the writing surface.  This writer is clearly telling the reader that “I have no boundaries. I have no guide lines.  I will do as I please without concern for anyone.  The base lines are erratic, the pen pressure is erratic, letters vary in size,

 Also clearly telegraphed to the reader is that the writing was rehearsed by the addition of words that are squeezed in between lines 5 and 7.

 Many of the oval letters are open at the bottom, an accurate indicator of one who can take a life without ever suffering any afterthought or remorse, no guilt or conscience.

 As you learned earlier that you will read writing in the exact speed in which it was written.  As you “try” to read “B” notice how you haltingly stumble through the content.

 The vast majority of indicators of criminality you have thus far learned can be found in this writing.

Note: that not only has the writer literally written off the writing surface in both the left and right margins he allowed no room at the top or the bottom.