Several graphologists theorized, if you can study someone’s handwriting and deduce ideas about his character, why can’t you reverse the process? By modifying his handwriting, perhaps you can modify his character.

Character sets the individual pattern of each handwriting and is inseparable from it; consequently, a voluntary handwriting change, once achieved, produces a corresponding change of character. How is this possible? The circuit established between brain and graphic gesture by the nervous system is two-way. Thus, the ability of the brain to influence the writing hand is reversible.

The treatment of personality and character flaws through deliberately made changes in the handwriting, offers a completely new field for the graphologist and subject alike.

The possibilities for giving quick and effective help where it is needed are almost boundless in dealing with the myriad problems that grow out of character defects. In the case of children, where character is in the process of being formed, graphotherapy is particularly effective. And this is true whether the child in question is ‘disturbed,’ delinquent or just an average youngster needing guidance to arrest undesirable tendencies and to develop good, sturdy characteristics to see him through life and permit him to make the most of his potentials.

The technique requires the subject to copy a handwriting exercise at least twice a day, morning and night, consciously modifying his script according to instructions supplied by a competent graphologist.

Graphotherapists have won the support of doctors, teachers and psychologists for success in clearing up mental disturbances in children by changing their handwriting. Graphologists have found that many of children’s ‘inner problems’ showed up clearly in their writing. The introverts had difficulty connecting their letters; the fearful tended to squeeze all theirs together. Gradually, graphotherapists concocted a set of corrective exercises designed to give children a sense of continuity, invention and equilibrium. They theorized that in overcoming a defect in any one of these elements, a child must first develop a feeling for rhythm, melody and harmony.

(See figure 1) 1)

Then they move on to variations: (See figure 2) 2)

Some ‘nervous’ children have found success with the following exercises: (Figure 3) 3)

Selected, ‘unstable’ children are asked to write: (Figure 4) 4) to develop continuity in a discontinued movement.

Those who squeeze their letters practice broad, sweeping motions: (Figure 5) 5)

Moreover, those who spread their letters too much through lack of a sense of harmony must develop a consciousness of space and balance by writing: (Figure 6) 6)

Later, each child is encouraged to find his own creative personality by forming his letters individually and to develop equilibrium by slanting his writing in one direction and making his letters all one size.

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