Barack Obama’s colossal mark is attractive. Graphologically talking, this mirrors a colossal longing to be the focal point of consideration. The rightward expansions toward the finish of his first and last names (A1, A2) resemble a self-picture showing that there is something else to him besides a name.
A little center zone (B1, B2) in his John Hancock addresses solid powers of fixation. Individuals who have little center zone letters (a, c, e and any letter that doesn’t have an upper or lower circle), have extraordinary capability in taking care of business, expecting scrupulousness. Numerous researchers, Einstein among them, have tiny or even minuscule center zone letters.
These lines are likewise written in a wavy style, without unmistakable shape. This shows alterability. The negotiator, who should frequently dodge sensitive circumstances and not focus on a specific strategy, writes thusly. Wavy-lined composing additionally means flexibility.
There are no starting strokes in Obama’s mark (see C). This means somebody who gets directly down forthright without upheaval. It is the penmanship of the adult person.
His composing has a lot of musicality, appeal, strain and bob. Joined with the transparency on top of the “a” (see D), which shows familiarity, the President transmits fearlessness and energy and is a clever speaker.
Lopsidedly weighty tension is set upon the even stroke (E1), as the upward stroke (E2) is composed similarly more daintily. The opposite is the standard. Writing in a descending course overwhelmingly utilizes the flexor muscles, while in a rightward heading, the extensor muscles are essentially utilized. The flexor muscles are more grounded than the extensors, ordinarily creating heavier tension.
A heavier flat than vertical hub demonstrates that the mother is the effectively oppressive or forceful top of the family; the dad remains somewhat powerless and inadequate, however maybe a man of scholarly height, or he might be loathed, dead or missing. This penmanship trademark demonstrates a kid who feels ignored or overwhelmed by the mother, contingent upon whether her adoration is missing or overpowering.
Ordinarily, essayists who put a large portion of their tension in the level hub can’t consider their own limits – nor might they at any point quit “making the best of themselves” (overcompensation).
The manner in which a man signs his most memorable name uncovers the essayist’s thought process of himself. The manner in which he signs his last name alludes to his inclination toward his family – especially his dad, since the family name addresses him. The capital letter of Obama is composed significantly more modest than the capital of Barack, a sign of aggression toward his dad.
How one figures out how to compose and how one’s composing changes illuminate the graphologist with respect to why is the essayist unmistakable. A content can’t be named a simple variety when the essayist creates a remarkable structure. This has the greatest possible level of importance when built in one’s mark. This is an emblematic, and normally subliminal, self-assessment.
Obama composes the capital letter of his last name as a circle and divides it (F). The circle is the image for completeness. Albeit in science two parts equivalent an entire, when one feels genuinely split into two sections, deficiency and pessimism arise. One who has not settled weighty private matters may, though subliminally, not be totally objective when under tension.