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Unit III

HANDWRITING IDENTIFICATION AND EXAMINATION

Specific objectives
After completion of the unit study, the students are able to;
1. Know the definition and kinds of Handwriting.
1. Enlighten on the different basis of handwriting identification.
2. Gain wisdom on the variations of handwriting
3. Understand and comprehend the handwriting characteristics and other
identifying features.

HANDWRITING - It is the result of a very complicated series of facts, being used

as whole, combination of certain forms of visible mental and muscular habits acquired
by long, continued painstaking effort. Some defined handwriting as “visible speech.”

I. KINDS OF WRITINGS:

A. Cursive – connected; writing in which one letter is joined to the next.

B. Script – separated or printed writing.
C. BLOCK – all CAPITAL LETTERS.

II. BASIS OF HANDWRITING IDENTIFICATION

A. In Wignore's Principles of judicial Proof, handwriting is defined as a visible effect of

bodily movement which is an almost unconscious expression of fixed muscular
habits, reacting from fixed mental impression of certain ideas associated with script
form.
B. Environment, education and occupation affect individuals so variously in the
formation of these muscular habits that finally the act of writing becomes an almost
automatic succession of acts stimulated by these habits.
C. The imitation of the style of writing by another person becomes difficult because
the other person cannot by mere will power reproduce in himself all the muscular
combination from the habit of the first writer.

Take Note:

Is handwriting/signature identification an “exact science”?

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In the hand of a qualified examiner operating under proper conditions, identification

by means of handwriting/signature is certain. Proper conditions include:
1. sufficient questioned writing
2. sufficient known writing
3. sufficient time
4. use of scientific instruments

III. PHYSIOLOGICAL BASIS OF HANDWRITING

In writing the pen functions as an extension of the hand. The fingers transmit to
the paper, the directive impulse and the variation in muscular tension that according to
the nature of tie writer's nervous organization occur during the act or writing. This center
near the motor area of the cortex is responsible for the finger movement involved in
handwriting. The importance of this center is that when it becomes diseased as in a
graphic, one loses the ability to write although he could still grasp a fountain pen, ball
pen or pencil. Thus, the ability or power to hold a fountain pen or pencil to form
symbols and words can be said to emanate from its cortical center.

Two Groups of Muscles Involve in Handwriting:

1. extensor muscles - push up the pen to form the upward strokes

2. flex muscles which push the pen to from the downward strokes.

Generally speaking, four groups of muscles are employed in writing - those which

operate the joints of the fingers, wrist, elbow, and shoulder. The delicate way in which
the various muscles used in writing work together to produce written form is known as
motor coordination.

IV. VARIATIONS IN HANDWRITING

A more or less definite pattern for each is stored away in the subjective mind but
the hand does not always produce a stereotyped duplicate of that pattern. The hand
ordinarily is not an instrument of precision and therefore we may not expect every
habitual manual operation to be absolutely uniform. The greater this skill in the art of
penmanship, the less the variations there will be in the form of individualize letters as
well as in the writing as a whole.

CAUSES OF VARIATION

1. Function of some external condition i.e. influence of the available space.

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2. Abnormal conditions such as physical injury, toxic effects, inebriation's, emotion

and deception.
3. Position of letter - all the letters are to be found initially, medially, and finally. The
fact of a different position, especially in combination with another and particular
letter, may modify any of them in some way or another.

IMPORTANCE OF VARIATION

1. Personal variation encountered under normal writing conditions is also a highly

important element of identification. The qualities of personal variation include
both its nature and its extent. It becomes necessary to determine the amount,
extent, and exact quality of the variations.
2. It is improbable that the variety and extent of the variation in handwriting will be
exactly duplicated in two individuals that such a coincidence becomes practically
impossible and this multitude of possible variations when combined is what
constitutes individuality in handwriting.
3. With a group of signatures of a particular writer, certain normal divergence in
size, lateral spacing and proportions actually indicate genuineness. Variation in
genuine writing is ordinarily in superficial parts and in size, proportions, degree of
care given to the act, design, slant, shading, vigor, angularity, roundness and
direction of stroke.

Take Note: “The most common error in the identification of handwriting is due to
the fact that the evidence of actual forgery is executed on the ground that there is
variation in genuine writing.”

V. DEVELOPMENT OF HANDWRITING OF AN INDIVIDUAL

1. Children learn writing by following the school copy or model.

2. After acquiring some degree of skill the children no longer follow the school
model.
3. As speed increases, conscious design and regularity begin to break down.
4. In the course of trial and error, modification are made, simplification and
elaborations, addition and omissions occur.
a. The writing pattern of each child embodies unique combinations of such
deviation from the standard letter forms or school model, and becomes his
personal habits.
b. Although  thousands  learn the same system and that  the  natural result  is
identity, but facts show that it is not because  those who  were  taught  the
same system or school copy  a  class  of writers, but such impairs does not
by any means produce a slavish uniformity.
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c. Variation begins as soon as writing begins and continues until each writer in
the way that seems best and easiest to him.

VI. SCHOOL COPYBOOK FORM (school model) - refers to the standard of

handwriting instruction taught in particular school. Classes of copybook depend on
the standard school copy adopted by a writer.

A. SYSTEMS of Early American Handwriting

1. Old English round hand - an Italian hand popular in 1840.

2. Modified round hand - early edition of the Spencerian, and the Payson, Dunton,
and Scribners copybook - 1840 -1860.
3. Spencerian - there is simplification by the omission of extra strokes and
flourishes. And a general tendency toward plainer letters than the preceding
system, some of which were very ornate - 1860-1890.
4. Modern Vertical writing 1890-1900
5. The arm movement writing - the manner or method of writing, instead of the form
alone is especially emphasized.

Out of these five divisions of early handwriting, the modern commercial hand

systems developed. This is characterized by free movement.  And the forms adopted
are best suited to easy rapid writing. These are the Zaner and Blozer system of
arm movement writing and the Palmer system of American arm movement. The last
great revolution in American handwriting was the adoption of vertical writing which was
in fact a reversion to the old system of slow but legible writing. The connecting stroke is
based on the small circle and is the most distinctive "round hand" ever devised. It was
very slow compared with writing based on the narrow ellipse like the Spencerian in
which all connections were almost points instead of broad curves. Most
commercial handwritings tend toward straight connecting strokes and narrow
connections.

B. SOME MODERN SCHOOL MODEL FORMS

1. Palmer Copybook
2. D’Nealian Copybook
3. British Copybook
4. French Copybook
5. German Copybook

C. SIGNIFICANCE OF SCHOOL COPY FORMS or System Characteristics as

Basis in the Identification of Handwriting
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1. Similarities of form are not indicative of identity unless they concern unusual form

or what are termed deviations from the normal. Similarities are bound to occur in
different writings but such similarities exist only in letters which are normal in
form, the fact bears no significance.
2. All differences in form are indicated of non-identity
3. The likeness in form maybe general and simply indicate the class or genus or the
difference that does not differentiate maybe nearly superficial.
4. In many systems of writing, the date and influences of system of writing have an
important bearing on the question of genuine or of forgery and in other cases, the
presence of European characteristics in handwriting is a vital and controlling fact.

D. IMPORTANCE OF THE DESIGN OF THE LETTERS (System of Writing)

1. To the nationality of the writer.

2. To the system learned.
3. To the date when the writing was acquired and
4. To some of the influences that have surrounded the writer.

TERMINOLOGIES RELATED TO HANDWRITING IDENTIFICATION AND

EXAMINATIONS

ALIGNMENT - Is the relation of parts of the whole of writing or line of individual

letters in words to the baseline. It is the alignment of words or the relative alignment
of letters.

ANGULAR FORMS – Sharp, straight strokes that are made by stopping the pen and
changing direction before continuing.

ARCADE FORMS – Forms that look like arches rounded on the top and open at the
bottom.

CHARACTERISTICS - any property or mark which distinguishes and in document

examination commonly called to as the identifying details.

COLLATION - side by side comparison; collation as used in this text means

the critical comparison on side by side examination.

COMPARISON - the act of setting two or more items side by side to weigh their
identifying qualities; it refers not only a visual but also the mental  act in which the
element of one item are related to the  counterparts of the other.
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DISGUISED WRITING - A writer may deliberately try to alter his usual writing habits
in hopes of hiding his identity. The results, regardless of their effectiveness are
termed disguised writing.

DOWNSTROKE – The movement of the pen toward the writer.

FORM – The writer’s chosen writing style. The way the writing looks, whether it is
copybook, elaborated, simplified or printed.

GARLAND FORMS – A cup-like connected form that is open at the top and rounded
on the bottom.

GESTALT – The German word that means “complete” or “whole”. A good gestalt
needs nothing added or taken away to make it “look right”. Also a school of
handwriting analysis that looks at handwriting as a whole picture.

GRAPHOANALYSIS - the study of handwriting based on the two fundamental

strokes, the curve and the straight strokes.

GRAPHOMETRY - analysis by comparison and measurement.

GRAPHOLOGY - the art of determining character disposition and amplitude of a

person from the study of handwriting. It also means the scientific study and analysis
of handwriting, especially with reference to forgeries and questioned documents.

HANDLETTERING. Any disconnected style of writing in which each letter is written

separately; also called handprinting.

LETTER SPACE – The amount of space left between letters.

LINE DIRECTION – Movement of the baseline. May slant up, down, or straight
across the page.

LINE QUALITY - the overall character of the ink lines from the beginning to the
ending strokes. There are two classes: Good Line quality and Poor Line quality. The
visible records in the written stroke of the basic movements and manner of holding
the writing instrument is characterized by the term "line quality". It is
derived from a combination of actors including writing skill, speed rhythm, freedom of
movements, shading and pen position.
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LINE SPACE – The amount of space left between lines.

MANUSCRIPT WRITING. A disconnected form of script or semi-script writing. This

type of writing is taught in young children in elementary schools as the first step in
learning to write.

MARGINS – The amount of space left around the writing on all four sides.

MICROSCOPIC EXAMINATION - Any study or examination which is made with the

microscope in other to discover minute details.

MOVEMENT – It is an important element in handwriting. It embraces all the factors

which are related to the motion of the writing instrument skill, speed freedom,
hesitation, rhythm, emphasis, tremors and the like. The manner in which the writing
instrument is move that is by finger, hand, forearm or whole arm.

NATURAL WRITING - Any specimen of writing executed normally without any

attempt to control or alter its identifying habits and its usual quality or execution.

NATURAL VARIATION - These are normal or usual deviations found   between

repeated specimens   of any individual handwriting.

PEN EMPHASIS - The act of intermittently forcing the pen against   the paper
surfaces.  When the pen-point   has flexibility, this emphasis produces shading, but
with more rigid  writing points  heavy point emphasis  can  occur  in writing w/out any
evidence of shading; the act intermittently forcing the pen  against  the paper with
increase pressure.

PEN HOLD – The place where the writer grasps the barrel of the pen and the angle
at which he holds it.

PEN POSITION - relationship between the pen point and the paper.

PEN PRESSURE - the average force with which the pen contacts the paper. Pen
pressure as opposed to pen emphasis deals with the usual of average force involved
in the writing rather than the period increases.

PRINTSCRIPT – A creative combination of printing and cursive writing.

PROPORTION or RATIO - the relation between the tall and the short letter is
referred as to the ratio of writing.
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QUALITY. A distinct or peculiar character. Also, “quality” is used in describing

handwriting to refer to any identifying factor that is related to the writing movement
itself.

RHYTHM – The element of the writing movement which is marked by regular or

periodic recurrences. It may be classed as smooth, intermittent, or jerky in its quality;
the flourishing succession of motion which are recorded in a written record.
Periodicity, alternation of movement.

SHADING - Is the widening of the ink strokes due to the added pressure on a
flexible pen point or to the use of a stub pen.

SIGNIFCANT WRITING HABIT – Any characteristic of handwriting that is sufficiently

uncommon and well fixed to serve as a fundamental point in the identification.

SIMPLIFICATION – Eliminating extra or superfluous strokes from the copybook

model.

SIZE – May refer to the overall size of the writing or the proportions between zones.

SKILL - In any set there are relative degrees or ability or skill and a specimen of
handwriting usually contains evidence of the writer's proficiency; degree, ability, or
skill of a write proficiency.

SLOPE/SLANT - the angle or inclination of the axis of the letters relative to the
baseline. There are three classes: Slant to the left; Slant to the right; and Vertical
Slant.

SPEED OF WRITING - The personal pace at which the writer’s pen moves across
the paper.

SPEED (SPEEDY) WRITING - Not everyone writes at the same rate so that
consideration of the speed of writing may be a significant identifying element. Writing
speed cannot be measured precisely from the finished handwriting but can be
interpreted in broad terms of slow, moderate, or rapid.

SYSTEM (OF WRITING) - The combination of the basic design of letters and the

writing movement as taught in school make up the writing system. Writing through
use diverges from the system, but generally retains some influence of the basic
training.
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TENSION – The degree of force exerted on the pen compared to the degree of
relaxation.

THREADY FORM – An indefinite connective form that looks flat and wavy.

VARIABILITY – The degree to which the writing varies from the copybook model.

VARIATION – The act or process of changing.

WORD SPACE – The amount of space left between words.

WRITING CONDITION – Both the circumstances under which the writing was
prepared and the factors influencing the writer’s ability to write at the time of
execution. It includes the writer’s position (sitting, standing, abed, etc.), the paper
support and backing, and the writing instrument; writing ability may be modified by
the condition of the writer’s health, nervous state, or degree of intoxication.

WRONG-HANDED WRITING. Any writing executed with the opposite hand that
normally used; a.k.a. as “with the awkward hand.” It is one means of disguise. Thus,
the writing of a right-handed person which has been executed with his left hand
accounts for the common terminology for this class of disguise as "left-hand writing".

WRITING IMPULSE – The result of the pen touching down on the paper and moving
across the page, until it is raised from the paper.

MOVEMENT IN HANDWRITING

A. KINDS OF MOVEMENT
1. Finger Movement - the thumb, the first, second and slightly the third fingers are in
actual motion. Most usually employed by children and illiterates.
2. Hand Movement - produced by the movement or action of the whole hand with
the wrist as the center of attraction.
3. Forearm Movement - the movement of the shoulder, hand and arm with the
support of the table.
4. Whole Forearm Movement - action of the entire arm without resting. i.e.,
blackboard writing.

B. QUALITY OF MOVEMENT
1. Clumsy, illiterate and halting
2. Hesitating and painful due to weakness and illness
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3. Strong, heavy and forceful

4. Nervous and irregular
5. Smooth, flowing and rapid

C. SPEED - Slow and drawn; Deliberate; average; and rapid

D. DIFFERENT MOVEMENTS EMPLOYED AFFECT WRITING IN – Smoothness;

Directness; Uniformity; Continuity of strokes; and Connecting or curves between
letters

MOTOR COORDINATION

It is the special way in which the various muscles used in writing work together to
produced written forms.

The Characteristics of Motor Coordination are:

1. Free, smelt rounded curves

2. Speed and gradual changes of directions
3. Pressure is always in a state of change, moving from light to heavy or from heavy
to light.
4. The shading impulse is distributed over a considerable length of the line whereas
in writing produced with a slow motion as in the finger movement, the shading
often has a "bunchy" appearance, in which the maximum width of the shaded line
is attained abruptly.

Faulty motor coordination’s are characterized by the following:

1. Wavering and very irregular line or strokes with uncertain and unsteady progress.
There is no freedom of movement along the strokes of the letter-forms. The
writing is obviously very slow and is typical of the writing of a young child or
for any one who painstakingly draws a picture of an unfamiliar form.
2. Angular Line - a very common fault of coordination. Curves, large and small are
not smoothly rounded and there is no gradual change of direction. On the
contrary, and angle marks almost every change are direction in the line.
Investigation has disclosed that angles are accompanied by a lessening of
writing speed.

RHYTHM IN HANDWRITING
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Rhythm is a succession of connected, uniform strokes working in full

coordination. This is manifested by clear-cut accentuated strokes, which increase and
decrease in which like perfect cones. Pressure is always in a state of change moving
from light to heavy or from heavy to light.

A. LACK OF RHYTHM - Characterized by a succession of awkward, independent,

poorly directed and disconnected motions.

B. IMPORTANCE OF RHYTHM - By studying the rhythm of the succession of

strokes, one can determine if the writer normally and spontaneously or write with
hesitation as if he is attempting to for another signature.

C. LETTER OF CONNECTIONS - Determine the essential expression of the

writing pattern. It is a mean indicator of the neuromuscular function. Words are
formed by connection letters to one another. Even letters are formed by the joining
of the upward and downward strokes. These types of connections are:

Arcade - a rounded stroke shaped like an arch. It is a slow mode of connection

resulting from controlled movements.
Garland - Links the downward stroke to the upstrokes with a flowing curve
swinging from left t right. It is an easy, effortless mode of connection, written
with speed.
Angular connective form- When the downward strokes and upward
strokes meet directly, angular connection is formed.  This type of connection
imposes a check on the continuity of movement which is characterized by an
abrupt stop and start in each turning point.
The threadlike connective form - the joining of downward and upward strokes
is slurred to a threadlike tracing or where rounded turns used at both top and
bottom produce a double curve.  These forms appear both in the shaping of
letters within the word.

HANDWRITING STROKE

STROKE is a series of lines or curves written in a single letter; one of the lines of
an alphabet or series of lines or curves within a single letter; the path traced by the pen
on the paper.

1. ARC – a curved formed inside the top curve of loop as in small letters “h”, “m”,
“n”, & “p”.
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2. ARCH - any arcade form in the body of a letter found in small letters which
contain arches.
3. ASCENDER - is the top portion of a letter or upper loop.
4. BASELINE - maybe actually on a ruled paper, it might be imaginary alignment of
writing; is the ruled or imaginary line upon which the writing rests.
5. BEADED - Preliminary embellished initial stroke which usually occurs in capital
letters.
6. BEARD - is the rudimentary initial up stroke of a letter.
7. BLUNT - the beginning and ending stroke of a letter (without hesitation).
8. BODY - The main portion of the letter, minus the initial of strokes, terminal
strokes and the diacritic, of any.  Ex: the oval of the letter "O" is the body, minus
the downward stroke and the loop.
9. BOWL - a fully rounded oval or circular form on a letter complete into "O".
10. BUCKLE/BUCKLEKNOT - A loop made as a flourished which is added to the
letters, as in small letter "k & b", or in capital letters "A", "K","P"; the horizontal
end loop stroke that are often used to complete a letter.
11. CACOGRAPHY - a bad writing.
12. CALLIGRAPHY - the art of beautiful writing.
13. DESCENDER - opposite of ascender, the lower portion of a letter.
14. DIACRITIC - "t" crossing and dots of the letter "i" and "j".  The matters of the
Indian script are also known as diacritic signs; an element added to complete a
certain letter, either a cross bar or a dot.
15. ENDING/TERMINATE STROKE OF TOE - the end stroke of a letter.
16. EYE/EYELET/EYELOOP - a small loop or curved formed inside the letters. This
may occur inside the oval of the letters "a, d, o"; the small loop form by stroke
that extend in divergent direction as in small letters.
17. FOOT - lower part which rest on the base line. The small letter "m" has three
feet, and the small letter "n" has two feet.
18. HABITS - any repeated elements or details, which may serve to individualize
writing.
19. HESITATION - the term applied to the irregular thickening of ink which is found
when writing slows down or stop while the pen take a stock of the position.
20. HIATUS/PEN JUMP - a gap occurring between a continuous stroke without lifting
the pen. Such as occurrence usually occurs due to speed; may be regarded also
as a special form of pen lift distinguish in a ball gaps in that of perceptible gaps
and  appear in the writing.
21. HOOK - It is a minute curve or a ankle which often occurs at the end of the
terminal strokes. It also sometimes occurs at the beginning of an initial stroke.
The  terminal curves  of the letters "a", "d", "n", "m", "p", "u", is the hook. In small
letter "w" the initial curve is the hook; the minute involuntary talon like formation
found at the commencement of an initial up stroke or the end terminal stroke.
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22. HUMP - Upper portion of its letter "m","n","h" ,"k" - the rounded outside of the top
of the bend stroke  or curve in small letter.
23. KNOB -the extra deposit of ink in the initial and terminal stroke due to the slow
withdrawal of the pen from the paper (usually applicable to fountain pen).
24. LIGATURE/CONNECTION - The stroke which connects two stroke of letter;
characterized by connected stroke between letters.
25. LONG LETTER - those letters with both upper and lower loops.
26. LOOP - A oblong curve such as found on the small letter "f", "g", "l" and letters
stroke "f" has two. A loop may be blind or open. A blind loop is usually the
result of the ink having filled the open space.
27. MAJUSCULE - a capital letter.
28. MINUSCULE - a small letter.
29. MOVEMENT IMPULSES - this refer to the continuity of stroke, forged writing is
usually produced by disconnected and broken movements and more motion or
movement impulses than in genuine writing.
30. PATCHING - retouching or going back over a defective portion of a written
stroke. Careful patching is common defect on forgeries.

Take Note:

1. AIRSTROKE – The movement of the pen as it is raised from the paper and
continues in the same direction in the air.
2. COVERING STROKE – A stroke that unnecessarily covers another stroke in a
concealing action.
3. FINAL – The ending stroke on a letter when it is at the end of a word.
4. UPSTROKE – Movement of the pen away from the writer.
5. SEQUENCE OF STROKES - The order in which writing strokes are placed on
the paper is referred to as their sequence.
6. SUPPORTED STROKES – Upstrokes partially covering the previous down
strokes. Originally taught in European schools.
7. TRAIT STROKE – a school o handwriting analysis that assigns personality trait
manners to individual writing strokes.

QUALITIES OF THE STROKES

1. Expansion - whether the movement is extended or limited in its range with

respect to both vertical and horizontal dimension.
2. Co-ordination - whether the flow of movement is controlled or uncertain, smooth
or jerky, continuous or interrupted.
3. Speed - whether the movement has been rapid or slow and whether the pace
has been steady or variable.
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4. Pressure- whether the pressure exerted in the movement and its upward and
downward reach.
5. Direction-  Left ward and right ward trend of they movement and its upward and
downward reach.
6. Rhythm - in the sequence of movements that weave the total pattern, certain
similar phases recur at more or less regular intervals.

HANDWRITING PROBLEMS

1. A signature/handwriting contested by its author which in reality is genuine

and corresponds  perfectly to  the  ordinary,  and habitual signatures of that
person.
2. A signature/handwriting contested by its author which in reality was
written by him but in a way which was different  from  the ordinary manner and
which is more or less different from the common genuine signatures of that
person.
3. A signature/handwriting contested by its author which in reality was written by a
third person and which is a forgery written in an attempted imitation of a model.
4. A spurious signature/handwriting written by somebody who did not attempt
to imitate the signature of a person and who uses a fictitious name and this to
give his work the appearance of a signature.
5. An uncontested signature/handwriting, in fact, genuine but written by an unknown
person whose name must be deciphered by the document examiner.

GENERAL CLASSES OF QUESTIONED WRITING

1. Forged or simulated writings in which the attempt is made to discard one’s own
writing and assume the exact writing personality of another person.
2. Those writings that are disguised and in which the writer seeks to hide his own
personality without adapting that of another.

HANDWRITING CHARACTERISTICS AND OTHER IDENTIFYING FEATURES

Writing Habits - Writing by all its thousand of peculiarities in combination is the

most personal and individuals thing that a man does that leaves a record  which can be
seen and studies. This is what constitutes individuality in handwriting.

A. GENERAL(CLASS) CHARACTERISTICS - These  characteristics  refer to those

habits  are  part  of basic writing system or which are modifications of the system of
writing found among so large a group of writes that  have  only slight identification
value.
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B. INDIVIDUAL CHARACTERISTICS - They are characteristics which are the result of

the writer's muscular control, coordination, age, health, and nervous
temperament, frequency of writing, personality and character. They are found in
Writing movement, Form and design of letters, Motor Coordination, Shading, Skill,
Alignment, Pen pressure, Connection, Pen hold, Rhythm, Disconnections or pen lifts
between letters, Speed, Slant as a writing habit, Proportion of letters as an individual
characteristic or habit, Quality of stroke or line quality, Variation and Muscular
control or motor control -
a. Loose writing - this is characterized by too much freedom of movement and
lack of regulation. This is noticed especially in tall letters forms.
b. Restrained writing - there is lack of freedom and inhibited movements.  It
gives you the impression that every stroke was made with great difficulty.
This writing is small. There is  distortion of letter forms which may lead to
illegibility.

Indications of speed (speedy) writing

a. Smooth, unbroken strokes and rounded forms.
b. Frequent signs or tendencies to the right.
c. Marked uncertainty as to the location of the dots of small letters "I", "j" &
crosses of small letter "t".
d. Increased spontaneity of words or small letter "t" connected with the following
words.
e. Letters curtailed or degenerated almost to illegibility towards the end of
words.
f. Wide writing - width of letters is greater than the connecting spaces adjoining
it.
g. Great difference in emphasis between upstrokes and down strokes.
h. Marked simplification of letters especially capital letters.
i. Rising line.
j. Increased pen pressure.
k. Increase in the margin to left at the beginning of the line.

Indications of slow writing

a. Wavering forms and broken strokes.
b. Frequent signs or tendencies to the left.
c. Conspicuous certainly as to the location of the dots of small letters "I","j","or
"t" crosses with scarcely perceptible deviation from the intended direction.
d. Frequent pauses by meaningless blobs, angles, divided letters and
retouches.
e. Careful execution of detail of letters, toward the end or names.
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f. Narrow writing.
g. No difference in emphasis in upstroke and down stroke
h. Ornamental or flourishing connections.
i. Sinking lines

C. EXAMPLES OF COMMON CHARACTERISTICS

1. Ordinary copy-book form
2. Usual systematic slant
3. Ordinary scale of proportion or ratio
4. Conventional spacing

D. CLASSIFICATION OF INDIVIDUAL CHARACTERISTICS

1. Permanent characteristics - found always in his handwriting.
2. Common or usual - found in a group of writers who studied the same system of
writing.
3. Occasional - found occasionally in his handwriting.
4. Rare - special to the writer and perhaps found only in one or two persons in a
group of one hundred individuals.

E. HOW INDIVIDUAL CHARACTERISTICS ARE ACQUIRED

1. Outgrowth of definite teaching
2. Result of imitation
3. Accidental condition or circumstances
4. Expression of certain mental and physical traits of the writer as affected by
education, by environment and by occupation.

F. EXAMPLES OF SOME OF THE INDIVIDUAL CHARACTERISTICS

1. Hook to the right and hook to the left
2. Shape, position, size and angle of "i" dots "t" crossing
3. Idiosyncrasies
4. Bulbs and distinctive initial and final pen pressure
5. Embellishment, added strokes and free movement endings
6. Abbreviation of letters
7. Simple and compound curves and graceful endings
8. Labored movement producing ragged lines
9. Terminal shadings and forceful endings
10. Presence and influence of foreign writing, with the introduction of Greek "e"

PRINCIPLE IN HANDWRITING IDENTIFICATION

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1. When any two specimens of handwritings contain a combination of

corresponding or similar and specifically oriented characteristics of such number
and significance as to preclude the possibility of their occurrence by mere
coincidence, and there are no unaccounted for difference, it may be concluded
that they are similar in writing characteristics and therefore written by one and the
same person.
2. Handwritings are fixed habits.
3. These writing habits like habits of speech become so automatic and unconscious
that even by the most strenuous effort, it is almost impossible to change them. It
is one of the most permanent of human habits.
4. No duplication of handwriting by two individuals.

CORRECT CONCLUSION

1. To reach the conclusion that two writings are written by the same hand,
characteristics or "dents" and scratches" should be in sufficient quantity to
exclude the theory of accidental coincidence; to reach the conclusion that
writings are by different hands, we may find numerous likeliness in class
characteristics but divergences in individual characteristics or we may find
divergences in both but the divergence must be something more than mere
superficial differences.
2. If the conclusion of identifying is reached, there must not remain significant
differences that cannot reasonably be explained. This ignoring of the differences
or the failure properly to account for them is the cause of the errors in
handwriting identification.
3. Although there is no specific approach, the document examiner always observed:
Analysis; Comparison; and Evaluation.

POINTS TO CONSIDER IN EXAMINING EXTENDED WRITING (Anonymous, threat,

poison letters)

1. Uniformity- Does the questioned writing have smooth, rhythmic and free-flowing
appearance?
2. Irregularities  - Does the questioned writing appear  awkward, ill-formed slowly
drawn
3. Size & Proportion- Determine the height of the over-all writing as well as the
height of the individual strokes in proportion to each other.
4. Alignment - Are they horizontally aligned, or curving, uphill or downhill.
5. Spacing - Determine the general spacing between letters, spacing between
words. Width of the left and right margins, paragraph indentations.
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6. Degree of Slant- Are they uniform or not.

7. Formation and Design of the letters, "t" (-) bars, "i" dots, loops, circle formation.
8. Initial, connecting and final strokes.

HANDPRINTING

The procedure and the principle involved are similar to that of cursive handwriting.
In block capital and manuscript writings, personal individual rests principally in design,
selection, individual letter construction, size ratios and punctuation habits. The initial
step in handwriting examination is to determine whether the questioned handwriting and
standards were accomplished with:

1. A fluency of movement and a certainty of execution indicative of familiarity with

and a measure or skill in handwriting of conversely.
2. A conscious mental effort and non-rhythmic execution denoting either
unfamiliarity with or disguise in the subject’s handwriting.

STANDARDS OR EXEMPLARS

STANDARD - They are known writings, which indicate how a person writes. A
writer manifests fixed habits in his writings that identify him.  This fact provides the
basis for an opinion of conclusion regarding any writing identification problem.

EXEMPLARS - Specimen of the writing of suspects are commonly known as

exemplars. The term standards is  a general  term referring to all authenticated
writings of the suspects while  exemplars  refers more especially to a  specimens  of
standard writing offered in evidence or obtained or  request for comparison with the
questioned writing.

SAMPLE - A selected representative portion of the whole is known as a sample. In

this text, the term "sample" follows closely the statistical usage.

TYPES OF HANDWRITING "STANDARDS"

1. Collected Standards are KNOWN (genuine) handwriting of an individual such

as  signature  and  endorsements  on  canceled checks,  legal papers letters,
commercial, official,  public and private document and other handwriting such as
letters, memoranda,  etc. Written in the course of daily life, both business and
socials.
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2. Request standards are signature or other handwritings (or hand printings)

written by an individual upon request for the purpose of comparison with other
handwriting or for specimen purposes.
3. Post Litem Motan Exemplars - writings produced by the subject after evidential
writings have come into dispute and solely for the purpose of establishing his
contentions.

TYPES OF STANDARDS DESIRABLE FOR COMPARISON USE IN THE TWO MOST

COMMON TYPES OF QUESTIONED DOCUMENTS PROBLEMS
1. Submit collected and request standards signature from both individual case.
2. When anonymous letter writings other than signature are in questioned:
a. Submit request standards writings of general nature from both victim and
suspect's (as much standards writing as possible to obtain within reason).
b. Submit request standards of the questioned text written (or printed) - at least
3 writings by the suspect/s and in some instanced by the victim.

SUGGESTED PROCEDURE FOR TAKING REQUEST HANDWRITING STANDARDS

IN ALL TYPES OF QUESTIONED-DOCUMENT PROBLEMS

1. Have subject seated in a natural position at table or desk having smooth writing
surface.
2. Furnish subject with paper and writing instrument similar to those used in
questioned writings, lie; paper should be same size, and ruled or unruled; as
questioned document:  if questioned document is in written furnish subject with
pen and ink, etc.
3. Never permit the subject to see any writing on the questioned document.
4. Dictate material to be written (or printed, if questioned material is hand printed):
give no assistance in spelling or arrangement on page. Dictate at a rate of
speed, which will produce the subject  natural writing habits.  
5. Remove each specimen upon completion by subject number in consequence,
date, time and identify by initiating each, and request subjects to sign each
specimen.
6. Observe all writing done by subjects and indicate any attempt of disguise, and
whether subjects appears to be normally right or left handed, etc.

SPECIAL PROCEDURE FOR TAKING REQUEST HANDWRITING STANDARDS

WHERE CHECKS FORGERY IS CHANGED OR SUSPECTED

1. Furnish subjects with check blanks similar to the questioned check/s.

2. Dictate the entries to be made on specimen checks as follows:
a. Date - Same as shown on questioned check
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b. Payee - - do -
c. Amount- - do -
d. Signature- - do -
e. Any other handwriting shown on questioned check
3. Give subjects to help or suggestions in completing specimen checks.

MISCELLANEOUS

1. The laboratory should be informed of the age apparent health and physical
condition of the time standards are written.
2. Do not fold, staple or pin document: handle questioned documents with care.
3. Indicate in the sample handwriting the time, place, date signature of writer as well
as witness of the handwriting.

SOME SOURCES OF SIGNATURES WRITTEN IN THE COURSE OF DAILY

AFFAIRS

1. Canceled Checks
2. Signature cards for saving, checking and charge accounts and safe deposit
boxes.
3. Credit applications and cards
4. Signature on sales slips, on job orders slips, requisition slips and purchase slips.
5. Court records and affidavits, such as naturalization papers, bankruptcy
proceedings, divorce papers. Probated wills and estate files, powers of attorney,
etc.
6. Passports, marriage application, license and affidavits.
7. Driver automobile chauffeur, and other types of licensee applications
8. Application   for gas, electricity, water and   telephone services
9. Loan application and receipts
10. Records from currency exchanges, check-cashing agencies and pawnshop
11. Time sheets, payroll, pay receipts and personal forms
12. Barangay registration, petitions
13. Signature for certain drug purchases, hotel registrations
14. Church, club and professional society record
15. Veteran records
16. Fingerprint records
17. School or University class records and cards
18. Application for firearm and licenses
19. Application for export and import and dollar allocations
20. ID cards
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HOW TO PREPARE AND COLLECT HANDWRITING STANDARDS?

Factors to Consider in the Selection of standards

A. THE AMOUNT OF STANDARD WRITTEN

B. SIMILARLY OF SUBJECT MATTER. If the questioned writings are hand printed,
then get hand printed standard or exemplar.
C. RELATIVE DATES of the questioned and the standards writing standard
signatures or writing must be those written five (5) years before or five (5) after the
date of the questioned signature or writing.

The importances of contemporaneous standards are:

1. Helps to determine or trace gradual changes on one’s handwriting or signature.
2. Aids in tracing the development of any writing variation

D. CONDITION UNDER WHICH BOTH THE QUESTIONED AND THE STANDARD

ARE PREPARED. Look for standards prepared under comparable circumstances
such as: paper rested on the knee; standing; sitting; lying down; and/or while on
moving vehicle.

E. WRITING INSTRUMENT AND PAPER. Same instrument used in the preparation

of the questioned document must be obtained in the standards

HANDWRITINGS/SIGNATURES THAT ARE DIFFICULT TO SOLVE - Some problems

are complicated and harder to solve that includes:

Type of Signature Remedy (Required Standards)

1. Signature of the careless or highly Collected standards
erratic writer.
2. Receipt Signature. Other receipt signatures
3. Near - Illiterate Writer. Requested standards if writer is still
living
4. Signatures of Physical Impaired a. Collect standards written in the
Writer same situation
a. The intoxicated signature b. Collect 2 or 3 times more
b. Old age deterioration standards
c. The sick bed signature. c. Similar to old age deterioration
5. Disguised signature or writing Specimen written in normal
condition could not be used
therefore consider collected and
requested standards.
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DISGUISES IN HANDWRITING

A. COMMON DISGUISES
1. Abnormally large writing.
2. Abnormally small writing.
3. Alteration in slant (usually backhand).
4. Usually variation in slant within a single unit of writing (with in a single
signature).
5. Printed forms instead of cursive forms.
6. Diminution in the usual speed of writing.
7. Unusual widening or restriction of lateral spacing.

B. KINDS OF DISGUISES
1. Change of slant - from right to left or vice versa.
2. Change of letter, either from cursive to block style or vice-versa.
3. Change from cursive (conventional style) to block form or vice-versa.
4. Change of style from small to big or vice versa.
5. Deteriorating one's handwriting.
6. Using the wrong hand (AMBIDEXTROUS).

EFFECTS OF ALCOHOL IN HANDWRITING

A. PHYSICAL AND MENTAL EFFECTS - Intoxication affects the physiological being

of an individual hence, the manner of handwriting is also affected.
B. EVIDENCE OF ALCOHOLIC INTOXICATION IN HANDWRITING - Bizarre letter
forms, Greatly enlarged writing, Illegible forms and writing generally, Uneven
baseline, Meaningless blobs or extraneous strokes in the writing, Inconsistency in
slant of writing, Inconsistency in the form of repeated letters.

ADMISSIBILITY OF STANDARD WRITINGS

The following are standard writings which are admissible for comparison
purposes:

Standard writings witnessed, Standards writings admitted, Record  Maintained in

Regular Course of Business as Standard Writings, Government Document as standard
Writings, Ancient writings, Other Writings Standards - Among writings admissible as
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standard are signature on spelling motion or other instruments, such as an appearance

bond, which may without further proof of genuineness be used as a standard.
Familiarity sometimes establishes standard writings.

Take Note

Opinion  Evidence - The court seem to be in general agreement that  proof  of the
genuineness of a standard cannot be established by the  opinion of experts testifying
from a comparison of the writing sought to be used as standard with another writing.

Genuineness of standard decided by court - The sufficiency of the proof of the

genuineness of a standard of writing is a matter to be decided by the court.