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<table border="0" cellpadding="3" cellspacing="1" width="100%" class="forumline"> <tr> <th class="thCornerL" width="22%" height="26">Autor</th> <th class="thCornerR">Wiadomość</th> </tr> <tr> <td width="22%" align="left" valign="top" class="row1"><span class="name"><a name=""></a><b>ouboxi123</b></span></td> <td class="row1" height="28" valign="top"><table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="100%"><img src="http://picsrv.fora.pl/xeon/images/icon_minipost.gif" width="12" height="9" alt="Post" title="Post" border="0" /><span class="postdetails">Wysłany: Pią 8:32, 27 Maj 2011<span class="gen"> </span> Temat postu: GHD Flat Iron Graphology At Home-lesson 13-the Loo</span></td> </tr> <tr> <td colspan="2"><hr /></td> </tr> <tr> <td colspan="2"><span class="postbody">URE 1. <br /> Figure 1 shows neither an upper loop neither a lower 1, only unattached strokes. If there had been loops, they would not have made the letters more legible. This writer reduces everything to its simplest form. Any stroke namely is not necessity is omitted. As long as the word is readable, why multiplication loops? In however this writer does, his method is straight. <br /> Directness and comprehension are signified in Jean Shrimpton’s penmanship (Figure lA). Notice the simplified strokes: the h in wishes and in her surname; the d in “enclosed”; the downstrokes in “you” and “yours.” This is quite an uncluttered hand. <br />FIGURE 2. <br /> Figure 2 shows the same characteristics as Figure 1. There are no loops, but the top and base strokes are written thickly and bluntly, so we detect, in adding to directness, that the writer is insistent and anxious to achieve the job (the ponderous oppression accentuates what the strokes themselves have already shown, directness and speed). <br />FIGURE 2A. <br /> Figure 2A shows the handwriting of Arthur Conan Doyle. To be a top-notch investigator one have to destroy entities down to their essentials, gleaning the momentous out of the unimportant. Observe the key word “lean” in Arthur Conan Doyle's writing. The upper- and underlengths are both unlooped and thick, showing directness. Anything that is not essential (loops) is not there to clutter his idea, hence, the investigator. Sherlock Holmes's founder also reveals impatience at having these strokes thick (blunt). <br /> Notice the counterpart in the writing of Dr. Karl A. Menninger in Figure 2B: <br />FIGURE 2B. <br /> Figure 3 shows tall, thin loops. Thinness of the loop in the upper (mastermind) zone shows cautious meditative, skepticism. The elevation of the loop shows spiritual meaning and a absence of realism. <br />FIGURE 3. <br /> Figure 4 shows the upper loops both tall and broad. Like Figure 3,<a href="http://www.ghdhairnet.com/ghd-flat-iron" target="_blank" class="postlink">GHD Flat Iron</a>, this instance likewise shows aspirations, merely the emphasis is aboard the materialistic facet of ambition. Think of this upper loop as a balloon. The author is flying. He ambitions quite many to be noticed. <br />FIGURE 4. <br />FIGURE 5. <br /> Figure 5 shows a relatively short upper loop. This writer is cautious in his thinking. He is no ambitioning to indulge himself in flights of spirituality. When the recess of his writing shows unusual traits (peerless techniques, fashions not often base) we watch a human with strong concentration and fussy aptitude. The extra ornamented and full of flourishes the jotting, the less power of concentration the writer has. Here we watch tiny to obstruct the writer’s concentration. <br />Examination as Lesson 13 <br />1. Jean Shrimpton's writing shows directness. How is this noticed? <br />2. Arthur Conan Doyle reveals directness and impatience. Explain how this latter trait is found. <br />If you would like to view the images and responses to this article/lesson, please bring a blank email to</span></td> </tr> </table></td> </tr> <tr> <td colspan="2" height="1" class="spaceRow"><img src="http://picsrv.fora.pl/xeon/images/spacer.gif" alt="" width="1" height="1" /></td> </tr> </table>
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