• Acquiescent
• Insincere
The Arcade
The arcade is the reverse of the garland connection. It resembles a cup turned upside down. The arcade is rounded at the top of the middle zone and angled along the baseline. It is a connective form that is slower in creation and movement. The arcade requires more caution and less spontaneity because you need control to produce it. It shows secretiveness and reserve. Writers of this form are less likely to be influenced by their emotions and more involved with formality, tradition, protocol, and conventions. Often artists, architects, and writers who are concerned with form and structure use this technique of connection.
The Angle
Both the garland and the arcade connections move toward the right of the page, but the angular form is more static and stilted. It takes longer to write in angles than any other connecting form because the pen stops at each intersection. The shape and rhythm of the angle connector are reminiscent of a military march. Angles are harder to create, require more intensity and discipline, and they are more likely to break the natural flow or rhythm of the movement.
Writers who use an angle connection love challenges, have strong willpower, and are not adaptable—they expect you to adapt to them! Angles show a need for control of both the self and others. Because they are often intense on the page, producing the most friction, angle connections show the need for conflict—and an opportunity to overcome it.
Donald Trump is an angle writer
The angle form is not open to influences of either the upper or the lower zone, and it is often more contracted than released. Because of an inability to adapt as easily as the garland writer, for example, the angle writer can be uninterested in the needs or feelings of others. Adjustment and flexibility are great challenges to the angle writer.
The Thread
The thread is not really a connector but, in fact, an avoidance of one. The advantage of the thread is that it allows great freedom, spontaneity, and very little need for focus. It permits speed and versatility, and allows the writer to see all sides of a situation before choosing to act. Use of the thread can reflect opportunism, manipulation, and diplomacy. While the writer may appear to obey all the rules, he or she often figures out a way to circumvent them too. Creative people, or people who have very quick minds, love this connection because it doesn’t slow them down. However, it can be used for deception, deviousness, ambiguity, lack of commitment, and disloyalty.
The thread signals a person who is a nonconformist and who is capable of dealing with any situation. This shapeless connection allows the writer to operate free from the restrictions that the other forms of connections require. This connection also signifies the writer’s need to choose his or her own path. Independence keeps this person happy.
There are two types of threads: primary and secondary.
The pressure of the pen on the page creates the primary thread. The final stroke in a word or sentence thins out but is still legible. This writer can act and think quickly on her feet. She is adaptable and intuitive.
The secondary thread is created by pressure of the grip against the nib of the pen on the page, so the handwriting is less legible. This writer can be seen as manipulative, selfish, and a bit of an opportunist. To confirm these qualities, the connection must be evaluated in the context of the total writing pattern.
Henry Kissinger is a thread writer
Different Strokes
The stroke is the path traced by the pen on paper, a visual record of the writing movement. Writing is, in effect, frozen movement on the page. The size, shape, and form of the stroke—the up, down, and across movements—leave their imprint on the page. The imprint reflects the smoothness, fluency, and firmness of the stroke. The hand usually applies more pressure in making the downstroke than in making the upstroke. The fingers are pointing toward the body for the downstroke, whereas they are stretched (involving more strain) for the upstroke. Strokes show us much about the person wielding the instrument. Let’s look at the types of strokes that form the written word.
Downstroke
The way the downstroke is made reveals the writer’s attitude toward outside forces and values.
Downstroke from the Upper to the Middle Zone
The writer brings his or her creative fantasies (from the upper zone) into conscious reality (in the middle zone) to make real an abstract idea.
Upstroke from the Middle Zone
The writer consciously wishes to move from today’s reality to future aspirations and ambitions.
Upstroke from the Lower Zone
The writer brings instinctive and primal needs and drives into conscious reality.
School Type (or Copybook)
The school type writer needs approval or prefers guidelines in order to fulfill responsibilities. This style may also show an aversion to taking risks. This writer generally is comfortable with the form of writing learned as a student or a schoolteacher—in fact, he or she might be a teacher.
Sharp Stroke
The writer values clear boundaries, is focused, articulate, and analytical. If the stroke is weak, the individual may be outwardly cold, easily offended, or lacking in energy.
Pastose Strokes
A pastose stroke is usually written with a felt-tipped pen, which makes it thick and brushlike, with a preference for reduced friction on the page. The writer is warm, natural, and open to the environment, and enjoys sensory pleasures.
