Picture a chart of the fundamental letter M, comprising of its three protuberances. The principal bump addresses the essayist’s inner self; the subsequent mound addresses his societal position; the third protuberance addresses others. Should a specific protuberance not mirror the fundamental M, we search for varieties, as we searched for varieties from the school model (Palmer Method) and break down the deviations.
Envision the letter (‘m’) that shows a bend bending under the body of the letter. It represents the entertainer, the discourse producer; the bend seems to be an arm making a sort of motion to the crowd.
At the point when just two “tops” (bumps) are made, the first addresses the inner self and the second the other individual. At the point when the initial segment is higher than the second is, we see the author’s self image as of more significance than the other individual. He is likely pleased and prideful.
At the point when the initial segment of the letter is lower than the subsequent part, albeit the entire letter itself mounts close to the end, it shows aspiration. The essayist’s inner self is lower than the picture he has of the other individual. This demonstrates a feeling of inadequacy, one that is reliant upon others’ viewpoints.
Envision the letter (‘m’) circled and huge; circles are an enticing gadget. Also, the exploded size of this letter shows vanity.
Consider the capital letter (‘M’) that, in spite of the fact that it has the ‘chance’ to flaunt its self image by making itself bigger than the remainder of the word, doesn’t do as such. This demonstrates an essayist who is humble, basic, and resigning.
Clearly a letter made as a melodic note, shows melodic interest.
While the beginning stroke, rather than starting from the left, begins from the right, like the essayist required an additional twist to impart his contemplations, we see chattiness and a capable of humor here.
Picture the terrible looking letter, where the center stroke slides pointedly, showing realism. Its appalling shape shows profanity.
Envision the center mound is lower than the other two. Since the subsequent mound shows the economic wellbeing of the author, this structure suggests disappointment with his social position or his work. Individuals who feel as such will generally depend vigorously on popular assessment in settling on a game-plan.
At the point when the center mound is most noteworthy of the three, this author depends erring on his own perspective than on that of others. Since the subsequent mound is “moving” over the first and third, we see an aggressive individual who might step on others to achieve his objective.
Consider the letter (‘m’) written in a wavy design, without particular shape. This shows alterability. A negotiator, who should frequently sidestep sensitive circumstances, could write as such.
Picture the letter that is known as a “thready association.” Making the legitimate upstrokes and downstrokes was a real problem for this essayist. He takes the path of least resistance and keeps away from them all. Individuals who compose like this normally find it challenging to simply decide and are inclined to pass into craziness. Note: This thready M isn’t to be mistaken for the thready vanishing of a word, which suggests reluctance to commit oneself-an unpretentious contrast. (See Chapter 11, note 5.)
Envision the letter written in the festoon structure – open at the top. The festoon betokens a well disposed, agreeable, kind person, which doesn’t hide how he feels. Its round structure shows warmth and delicate quality.
At the point when the point transforms, we see an individual who can’t conclude whether he needs to live previously, present, or future. While the composing shows just two changes in point the hesitation isn’t quite so serious as while the composing shifts points in three bearings. By the by, the essayist is torn.
Think about the little, swarmed ‘m.’ Since the m addresses such countless social parts of the individual, this letter shows an extremist individual who decides to pack himself in. He is presumably bashful.
The adjusted letter (‘m’) shows somebody with a kind nature. Roundness suggests non-abrasiveness, similar to a bobbing ball, while precision infers hardness, sharpness, similar to the place of a blade.
There are cases when it is really smart to watch the author while he composes. He might grasp his hand off the page and settle on an almost cognizant choice regarding how the letter ought to be finished. On the off chance that one goes over the letter without lifting the composing apparatus, one needs to utilize what are hit concealing strokes-the upstroke and the downstroke share a similar line. Concealing strokes show that the author is concealing something. It generally includes conning in some way, and thus the author attempts to show as bit of himself as could be expected, keeping away from isolated up-strokes and downstrokes, since discrete strokes would show a greater amount of his actual character than he needs to uncover.