Analyzing the Writing of the Person across the Table from You: 3 Feet Away & Upside Down | Fiona MacKay Young | Skillshare

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Analyzing the Writing of the Person across the Table from You: 3 Feet Away & Upside Down

teacher avatar Fiona MacKay Young, Handwriting Analysis & Personal Growth

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (46m)
    • 1. 1 Introduction

    • 2. 2 overview

    • 3. 3 Size

    • 4. 4 pressure

    • 5. 5 slant

    • 6. 6 Confusion

    • 7. 7 Intuition

    • 8. 8 Margins

    • 9. 9 Imagination

    • 10. 10 Enthusiasm

    • 11. 11 Optimism Pessimism

    • 12. 12 Exercise 1

    • 13. 13 Exercise 2

    • 14. 14 Exercise 3

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About This Class


Any time someone is across a table or desk from you taking notes or jotting something down, even though you can't read it, there is a great deal you can tell about their personality from their writing.

In this course you will learn how to identify 9 personality traits that can be identified from "3 feet away and upside down." Each comes with clear illustrations and explanations, and there are quizzes for you to check your new gained knowledge. It's fun but it's also very informative and useful as I believe you will agree.

Meet Your Teacher

Teacher Profile Image

Fiona MacKay Young

Handwriting Analysis & Personal Growth


I've been involved for over 20 years in helping people move ahead with their lives through identifying their gifts, strengths and overcoming blocks or limitations. It is my goal to inspire those I meet to develop their potential to the fullest.

There are a wide variety of ways to do these things, and I love to explore, adapt and create new ways.

As a Graphologist and Grapho-Therapist (Handwriting Analysis),

And also as a Career Counselor and Personal Development & Law of Attraction Coach,

I love nothing more than to help people be the very best they can be, to realize their hopes and dreams and love their lives. 

I also love 'techie' things, and have worked as a Graphic Designer, creating websites (WordPress) and creating videos fo... See full profile

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1. 1 Introduction: I'm feeling Makhaya welcome to three feet away and upside down, analyzing the handwriting of someone across the table from you. And the whole concept of this course is that if someone's taking notes across the table from you off anything, it could be a lot of notes for just a few notes. You could see them writing. And even without being able to read what they're writing, just by watching them casually as right, you could tell amazing amount. And I'm going to show you nine different traits personality traits that you can tell from the writing. Now I realize that I looked at the course after I push it together was that I have geared it verbally. I've talked too much it as though it's in business, and so you're looking at someone across the desk or even at a coffee shop in a business situation. But in actual fact, it works. Justus Well, if it's just a friend taking notes, it doesn't have to eat. This is at all. It's just anybody who's right here across the table from you. You can see it on. That gives you an idea about the personality on threes, personality, trade Also, I give you a que so they got this trade. So here's how to deal with that. This is a tip as to how to deal with them because you know they have this personality trait . There are also three exercises. There are nine different traits, so there are three exercises which look at three traits each. It's your choice how to do that after you've covered the 1st 3 traits. If you want to go on and do the course to make sure you remember it now, rather than wait till the end, then you can do it. Go into the first exercise, come back and do less than 45 and six. Do that exercise except truck or, if you prefer, go to and do all the lessons on, then do all the exercises at the end. Either way, it'll work. Whatever fits better for you. So have fun with this. All the exercises. All the traits are quite easy to tell. You don't need to be able to read the writing. You don't need to screw your eyes and look like you're sort of trying to work out whether right, you know, I think they're all very easy to see as you write of Joseph. Especially for that. So let's get going with three feet away. Had upside out how to analyze the handwriting off someone across the table from you. 2. 2 overview: on over a few as a handwriting analyst. The Communist complaint I hear is How do I get a handwriting sample? Everyone uses computers. Yes, it is an increasingly Elektronik world. But when you're meeting with a potential or exists inclined in a coffee shop or in your office, or just chatting with a friend, the chances are they don't have a computer at their disposal, so they may be making notes by hand. They're probably at that point sitting across the desk or a table from you about three feet away onto you. The writing is upside down. Hence the title of this course three feet away on upside down or 91.44 centimeters. If you want to go metric, here's some things you can tell about from this angle and why this information can be valuable to you. Depending on your background, you may be familiar with NLP Neuro linguistic programming, The technique off listening to how someone uses words. If they keep talking about how they feel, you respond using feeling words. If you keep talking about the here, you respond with Harry worths, or you may be familiar with mirroring off body language. If you companion leans forward, you do, too. If they cross your their legs, you do, too, but not so obviously as to make them aware that you're doing it. The goal of both East techniques is to connect and create empathy with the other person. Well, looking at their handwriting can give you clues of how to do exactly the same thing to connect more closely on formal, empathetic bond. So imagine you're watching someone writing a few notes in their day timer or even on a napkin across the table from you. It's upside down from your perspective on, Even if it was the right way up is probably too far away to read anyway, So coming right up is what you can tell about them just from watching your right at a distance. 3. 3 Size: first, we'll look at your focus for this. Look at the size off the writing. The size of the writing is the size off. The focus off the writer, so very small writing is focusing on small things on big writing is focusing on the big picture. Very tiny writing has a very narrow focus. The writer concentrates on one small part of the picture or one individual task shutting out everything else and probably will not respond to conversation about other things. So there's some very small writing and your cue when talking to a small script writer. Make your focus narrow speaking on Li about the item or the topic that relates particularly to them, do not it. Add in all your other opinions ideas or gravitate to the big picture because if you do, you'll probably leave them behind. And narrow focus is a must. When dealing with the large scriptwriter, you want to give them the big picture off all the options and alternatives you can think off here. Q. Don't lose your focus off what exactly it is you're talking about, but let them know you can see beyond this topic a swell. These writers get bored with having to focus too long on one thing or topic, so generalize. In fact, with a really large script writer like this one we have on the screen, you may find that they're veering off onto other topics and you have to drag them back onto the topic. If you want to continue the conversation on it, the moderate size writer obviously comes in the middle. Your cue. You need a re small mixture off both styles when you talk to them. 4. 4 pressure: depth off emotion. Next, look at how heavily they're writing. How heavily do they pressed on the page as see right with a fella to roller pen? This can't be identified, but with a ballpoint your pencil, it can. The heaviness off the writing is an indication off how deeply the writer take things to heart, and the deeper it goes, the longer it lasts. A very light line writer may feel things very strongly, but it will pass quickly. You're cute if you're selling anything to this type of writer, you had better get them to sign on the dotted line today because by tomorrow they probably won't care, says someone who doesn't press heavily on the paper. When the right, If it's something that upsets somewhere, they're angry or whatever, they may be intense and the motion at that point, but it will go away or fade. It will disappear really, really fast, So it's an emotion you want take advantage of it today because it won't last. The heavy line writer will take things to heart, and especially when combined with an upright or back cancer, Lance will probably want to take time to think things over to let things sink in before making a decision. And there is some heavy writing. You just see this press hard when they're pretty putting the pen to the paper, your cube for this writer, give them the color off what you sell that benefits. How will make them feel what Giant will bring to them and then tell them you'll let them think about it and get back to them on what? Every day you choose the other side of the heaviness. Our depth of writing is how soon the writers will get over something. If there's something that's being a problem between you, the light line writer will be ready to let bygones be bygones pretty fast. But the heavy writer will take longer than perhaps they need more feeling reasons to let go . 5. 5 slant: emotional expression. One of the most obvious things you can identify I've is the slant off the writing. I'll discuss this land as if the writing was the right way out for you. The slant of the writing shows how emotionally expressive the writer is. Upright Writing is someone who, on the outside at least, will be cool, calm and collected. What's going on inside? It's another matter, but they won't let you see that anyway. So there's writing that is upright and you're cute. Handle. This is this type of individual will be very uncomfortable if you allow emotions to obviously show in your communication. They prefer cool, objective language, no matter what the topic. So when you're dealing with someone who is cool, calm and collected without bright writing, they prefer you not to be too emotional. If the writing has a backhand are leftward slant, the writing actually holds your feelings in. This is even less responsive than the upright slant, and there is someone with a backhand sent, and it doesn't matter if they're left handed or right handed. It doesn't matter one bit your cue. Not only will this person appreciate objectivity, they will also prefer not even vague intrusion on the feelings area off their life. The farther the writing slants to the right, the more expressive the person will be off emotion. So there's a moderate right hand side there, your cue to a fire rights land writer. Pure objectivity equals cold and unfeeling on Although you may be Sally Widgets, this writer still wants to see your humanity and warmth that goes for any right hand slant . But the further it is to the right, the more they want to see that you may be thinking that in business, emotional emotion plays no part anyway. In theory, this is often the case. In practice, it is not the feeling person will show how you feel about anything personal or business. By gauging their slam from mild to far right, you can get a night idea for how much feeling, how many feeling words on how warmly to come across act Lesson 12 exercise One is for the three traits we've just covered, namely, focus emotional depth on emotional expression. You may go to that lesson now and do the quiz if you would like to, or you couldn't wait until you finish the entire course under all three exercises at once. The choice is yours 6. 6 Confusion: confusion off interests. Does this person right with her lines of writing far apart, close together or ready into each other? And that's another thing that should be quite easy to see from someone writing across the table from you. So the one on the left has writing far apart. The one on the right has writing running into each other. This shows whether confusion of interest is present or not. Confusion their interests shows where the lines off writing run into each other. Justices, writers interests are activities will run into each other on the hours point where the tails off a line above run into the writing in the line below. The more often this happens, the more confusion of interest there is. And your cue is to make sure any discussion you have with them is very clear and any agreements given in writing, if appropriate, This person may have the best will in the world to do things, but they're just got so much going on around them and in their life that they just thought seemed to get one thing finished before it's pumped out the way. By the next day, where the lines of writing are close but not touching. The writer is a fighting actual confusion, but it is still having trouble handling everything. And there's example there. These letters don't actually touch, and you'll see the L of Blue actually goes up into the word amounts, but it misses touching the other letter. So this is somebody who's managing, but they're just managing your cue. Still, make sure agreements are clearly discussed because this person also has a lot on their plate. They're handling it, but they're just managing it and no more. The further apart the lines of writing are the better. This writer is handling all the demands put upon them, and you'll see that writing there has lots of space. There's almost room for another line of writing between each line of writing. So when it's well, space, it doesn't need to be quite a space is that one? But we're a swell space, and there's no danger of the writing hitting the line above or below. Then they're handling things. There is no confusion. You're cute. This person is not likely to be overwhelmed, so relax arrangements may be possible 7. 7 Intuition: intuition, something that you may have trouble seeing an already written text from resistance but which will probably be quite easy to notice. If you're actually watching the other person, right? It's where they're not. They joined together all the letters script, none of the latter's printing or some of the lectures print script. Now a lot of people who do Prince script think they're pretty. So pay attention to whether some letters, air joined or no electricity joined because Prince script has a lot of positive positive things in it. So you don't want to be thinking is printing. I'm not saying printing is negative, but Prince Strip shows a lot more than just printing. If he joined together all their letters in script, intuition is not present. It's not being used. Everybody has intuition, but they're not letting it him on that writing There has no gaps whatsoever between the letters. You're cute. Don't respect this writer to read between the lines, get everything necessary clearly discussed if they joined together. Some but not all, of their lectures. This is Prince script than intuition is present. The more gaps there are between letters within script, the stronger the intuition off that writer on the more attention to it they're paying, and I haven't put arrows to all the gaps, but where the hours are, there are gaps. But you'll also notice some of the letters air joined together. And that's what makes a prince Script and Prince script is the type of writing that shows intuition more than anything else. Your cue. Expect this writer to pick up on things, not said, and to understand easily where you're coming from. When a writer just prince, meaning that every single letter is separated from the next by a space, whether or not there is intuition cannot be identified. So your cue to that one is you don't know whether this writer is intuitive or not. So to be on the safe side, treat them as if they are not 8. 8 Margins: Marchionne's marches are easy to spot, even if they just write a couple of lines of writing. Where did they start to write? How far down from the top? How far in from the left? And if you don't several sentences har far to the right. Did they go? Let's first assume they write just one or two lines. They started the very top of the page on. Did the first line of writing start close to the left edge of the paper? People who leave white margins like their space they don't like, feel crowded or rushed here. Q Is to give this person space on time to make the decisions. Narrow margins are people who are not so worried about their space. But if they generally right with practically no margins, is an indication off thriftiness. Your cue expecting to be focused on making the best use of what they have a reluctant to branch out as spend or give more. Obviously, if they have, for some reason, to cram a lot into a small space that will live in the eliminate thriftiness as a reason, there's really all you can tell for the margins if they just write a couple of lines. But if you write to write several lines, or better yet, an entire page of writing, there are other things you can also tell. Is the margin relatively straight at the left? A. Straight is it could recently be on the right. If so, this person is comfortable with where they are in life. They're neither clinging to the past nor charging towards the future. You're cute. Expects Ability had come, assuming there are no strong traits to the contrary present. I left margin that gets narrower as it goes down. The page indicates that the writer is clean to the past in some way the leftist surpassed. So this writer starts further out, but they come back. They're clinging. They've just got to get back to the past. Somehow. Your cue. Don't push new ideas to strongly with this writer or give them a lot of time to get used to them. Before you do push them. Just take the one step at a time into something you I left march and the guest whiter as it goes down. The page indicates that the writer is actively moving towards the future. The right is the future. They may be a risk taker, or they may just be motivated to keep moving forwards. You're cute. This is great if you're proposing new ideas, but be careful that they're not taking unrealistic risks, the right margin is more difficult to gauge, since it's never even so. I haven't really brought it up in this discussion very much exercise Lesson 13 which is exercise to, is for the last three traits we've just covered, namely confused to interests, intuition on margins. You may go to that lesson, Andrew. The exercise now and then come back and do the next lesson, or you may wait until you've completed the entire course. 9. 9 Imagination: imagination. One thing you can probably see in the writing across the table is whether the writer makes large loops on their upper extenders. B, F, H, K and L Loops on operates Sanders. Being this writer is good at coming up with ideas. T and D do not apply to this as they have different meanings. So the be sought in there but additive in your imagination. B, h, l, K and F. Here are some examples of abstract imagination, which is the ability to come up with new ideas. So you see where the hours point is upper loops, and that is the ability to come up with ideas. Abstract imagination. And here are some more at the bottom. The bottom line. The last word that looks like a T. I'm not 100% sure of what that word is, but it looks like a T, so I haven't done it because A T would not qualify. You're cute. Expect ideas and suggestions on be willing to listen and consider them, and perhaps even easier to see its whether they're making loops on their lower extenders, half G y and J. When they do, it means they're good at taking an idea. I'm bringing it to reality, and that could be their idea or could be something else's idea. They just know that about this idea. Have the make it work. Ah, look on A P has a different meaning, so that doesn't supply. And there are some lower loops, he said. Lovely Big Lorelai. So this is someone who's really good at taking an idea and making it work. But if you look at the bottom line, there is please complete to worth. Please complete at the Ellen, please on the Ellen Complete do not have loops, so this person is not very good at coming up with ideas. But if they're told Martin Idea, or you find an idea that someone else has come up with, they are really good at making it happen. So you're Q is to expect practical suggestions for moving forward and innovator suggestions to make abstract ideas become a reality, whether it's upper extenders or Lorik senders or both. The bigger the loops, the stronger the imagination. And there are some that have really big loops if the big no loops a tall on their Lorik senders, but is that just make a line going town and ending at the bottom. They're loners. Need enjoy time alone. So there, Carson Laure extenders. Just a straight line down. It doesn't matter it straight or curved. It just goes down his stay stone, and there's another one. You're cute. Be careful not to crowd this writer a lot of in time and space to work things out on their own. Are the lower extenders very long? That means they have enduring determination on won't give up easily. So there's two that are long and another one was long, and it doesn't matter whether if you've got a loop or whether they don't have a look. All we're looking at is how long they are and their sub knitter shorter. The opposite is also true. If you have very short Lorik centers like the one on the far right, they will give up after only a short time on most things, unless they have a very strong reason to keep going. Your cue if you see shark lower extenders, being prepared to step in on, encouraged or support them to keep going. If you see long, lower extenders, know that they will keep at it until they get things done 10. 10 Enthusiasm: enthusiasm. You probably won't be able to see every T bar everyone writes at this distance, but you may well notice in making long, sweeping T bars. That means, if Fouzi as a missed presidents, I could sign. If this is a business meeting, it's also a good sign. If it's a social meeting, someone who's enthusiastic sweeps everyone along. In their energy, Uh, enthusiasm shows in a T bar, which is longer than it has to be. And you'll see all of the's ones are a great deal longer than they have to be. They don't have to be quite that long for enthusiasm. But that is terrific enthusiasm showing there and there again, long, sweeping T bars enthusiasm. You can't you just get the field and they're pushing their dragging you along, their sweeping you along, their encouraging You're taking you along with them. And I was so enthusiastic about enthusiastic T bars that I have some more for you. So there some more enthusiastic T bars and more. All the tea bars in this writing are enthusiastic. Have just put the arrows on top line. Same with this one on this one. So lots of enthusiasm showing there, you can see it doesn't matter what style of writing you have. Enthusiastic T bars can still fit in. So your cue, if you see enthusiasm, is be prepared to be swept along in the tide off their enthusiasm, but also be objective enough to identify if the enthusiasm is misplaced. Because if someone has enthusiasm, as you see in those two, they're there so extremely enthusiastic that we tend to go overboard and they may make something sound absolutely wonderful that really isn't there, just being over the top. Enthusiastic. So when someone is really, really, really enthusiastic, sort of draw back a little bit and trying me somewhat objective before you go along with them. 11. 11 Optimism Pessimism: optimism are pessimism, assuming he's writing on other line paper. Look to see if the right years going uphill downhill are straight across uphill writing and up Hill T bars show the optimists, so there's going uphill. There's going out Pittle. So the optimists always looks on the upside of things. They're always looking for the positive outcome. The positive, redone things they they're usually come across is being happier because they're always looking for the good. So lines of writing. You may not be able to see T bars going uphill so easily if it's across the table, but you should certainly be able to see the lines of writing going up hills so uphill to the right is optimistic. Your cue. Make your proposals time cheerful and expect a positive response even if they're not too keen on buying. Here's an optimist who writes with their tea bars going upwards towards the right, as well as the lines of writing. So their city bars and there is a line of writing now you may not, as I say, you may well not be able to see the T bar, but just in case you can, that's something else. to look out for, so you're. Q. It's important to always be positive with an optimist. They're not likely to hang around too long if things sound unnecessarily gloomy. Downhill writing but not downhill T bars is someone who tends to look on the glue beer site of things, so there's some writing going a little bit downhill. This is someone who that little bit pessimistic, may just be discouraged, but they're not going to be madly happy and not beat it. Assuming everything's going to be all right, you might have to persuade them a bit that things were going toe workout. So you're cute. Don't be put off by unless an optimistic response. It may not mean they're not interested. It's just their way off being. If you've been doing the exercises, has you've been going through the course? Now's the time to do the last exercise that's less of 14. Exercise three. If you haven't done any of the exercises yet, just continue on to the next lesson here, which will be less and 12 and you'll be taken through all three exercises in turn 12. 12 Exercise 1: exercise number one emotional expression. Emotional depth on focus. In this and each of the exercise videos, you'll be shown three different samples of writing. Please pass a video at each one as Soviet to see how many off the three traits highlighted in this exercise, you can identify in each. The answers to each example will follow on the very next slide. So our first example of writing for emotional expression, emotional depth of focus is this one. So pause the video and have a good look at it on. Decide what you would rate each for each one of those three traits. How would you rate this handwriting? So I'm going to go into the next light now, which is the answer. So if you want of a better look at it, half of the busier Y pass so emotionally expression is the slant, and you'll see this is a moderate right hand slant, so this personally express Steve emotions moderately. The second thing we're looking at this emotional depth on that's if you remember, is the heaviness, the pressure the parson puts on the page when the writing on this writing is not really light, and it's not really heavy, so there is a moderate, most emotional depth this personal. Take things, the heart a reasonable about on elect Gore things reasonably fast and focus focuses, you'll remember, is the size off the writing, and I know it's difficult to tell on on the screen whether it's bigger, small, but this is average size. Rating is not huge, and it's not really small. This is average size writing, so the focus is moderate. And here's the second writing example. So again, pass a video until you've had time to look at it, because that side will have the answers for this one. So the emotional expression on this one is the writing is upright, so that is someone who is cool, calm, collected. They won't show much emotion. They may be feeling it in sight, but they won't show it. They'll generally come across as poise, emotional depth, which is the pressure of retired the page. When the writing is moderate, it's not really heavy. It's not really light. It's moderates or like the last rating this personal. Let things go after a reasonable length of time, and the focus is on the bigger picture. The writing is not really huge, but it's a little bit bigger than average. So this personal tend to focus more on the big picture than get really focused into details , have the last example again, pause and have a look as who's on the next side. So the emotional depth in this writing is that can slant. And that means this Parson holds your feelings in. It doesn't matter how you're feeling. They'll try not to show their feelings. It's an unconscious act, but at the same time, if they feel if you feel emotionally enough that they feel the emotion is coming out, they will deliberately hold it. Bacchus. Well, so it's unconscious to appoint as that it becomes conscious, have the emotional depth. This writing is heavier than the other writing we've looked at, so this person takes things more to heart. So just because you don't see the feeling, it doesn't mean it's thought. There is there for any strongly with this writer, and the focus is moderate. The right is neither big nor small. Now, as I said at the beginning, I know it's difficult to tell when you see it on the screen, but quite honestly, you looking at writing you Comptel as well as I can, whether it's big or small or in the middle. So just trust your own judgement if it's small writing at someone who's really focused. His big writing is the big picture. They're looking at this one's moderate. It's neither neither one or other is disorder, an average middle of the road focus. 13. 13 Exercise 2: exercise, too. Confusion, intuition on margins. Same instructions. As for the last exercise past the video, look at the writing and see how many of the tree traits mention you can identify in the writing. And, as always, the answers will be on the slide after each set of examples. So the 1st 1 confusion, intuition, margins Have a look at this writing. Pause the video until you've had a look at it long enough, and the answers are coming up right now, so confusion is not their confusion. Shows for lines of writing run into each other on these lines of writing are clearly, well apart. So no confusion, intuition. There are no gaps between the letters within the script. Every single letter is joined on to the next one, so there is no intuition showing in this writing at all. Now we're going to look at the margins in this example, and that's what the black line roamed the outside is for. So the margins in this one are quite white aside, they're not too big a the top by their quite white of the site, so this person likes a reasonable amount of space. It's not the marches are huge, so they're not really isolating themselves. But at the same time, they don't like to be crowded. So here's the second example. So again, pause video. Have a look answers coming up now, so there is no confusion. The J is pretty close to the electorate's below, so there's quite a lot going on in this person's life. But they are avoiding confusion. Intuition is there. It's not really, really strong. There are some gaps between the letters within the script, so some intuition and the marches were pretty narrow. The margin on the right hand side doesn't really show because the text has been cut off. But if you look at the top on the left, the margins are pretty narrow. So this person is pretty thrifty. And here's the third example. Pause and answers are coming up. So again, no confusion. There's a very clear space between each line there. There's not even a hint of confusion. This person has their act together, so the blue lines are pointed to intuition. I've only put them on the first line, but there's lords of intuition that it is prince script. So there are Electra's joined together It's not printing, but all the gaps. Each gap shows intuition is altering the writing and allowing a gap for the intuition to come in and the margins. The margins are very white, even of the top. It's not huge at the top, but it is quite white and that, besides, they're very white. So this person needs, unlike their own space, they don't like to be crowded. 14. 14 Exercise 3: exercise three versus a lasts exercise, and we're looking at imagination, enthusiasm and optimism or pessimism. So here's the first writing example again, pause. Have a good look. See if you can identify these three traits and go on to find the answers on the next slide . So here's the first example off imagination the lower look. There is only one opportunity for a lower look on. There is a look there, so there is some material imagination. It's difficult to say how strong it is with only one loop, because we can't tell if there were more with the all half loops or not. But in this exercise, all we're trying to do is identify if it's there and it is there, so there is material or practical imagination. There is no abstract imagination, however, worth mentioning the H, and she has a very small look. But it's not really enough to count because there are no other ones anywhere. The loop in the personal pronoun I first word doesn't count. It has different rules on the loop in the T on Don't again has different rules, so the only opportunity the only one that shows is a little when she on the other. Opportunities for it have none at all. So really, there is no abstract imagination worth counting at all. But there is material practical imagination. There are no blue arrows in this, because there are. It's no enthusiasm. The teas that go in and collect on to the next letter that Issa connecting stroke. It's not really an enthusiastic sweep. The only place in this writing you would see an enthusiastic sweep would be in the T and don't on the first line on that T bar is not particularly long, so there is no enthusiasm showing the writing or slightly downhill. So this someone who is a little bit down, it's not really strongly downhill. So it's more discouragement, the pessimism. But it's still the trait of pessimism. It's someone who's not feeling happy. They're a little bit down. And here's the second example again, Pause and Guan when you ready to see the answers. So imagination again is showing in a lower loop. This time is a really big lower look, so that is material imagination. The ability to take an idea and make it work on this is so big it's almost exaggerated in its quantity. There is only one opportunity to have that here, because the P, if it had a loop, is a different meaning anyway, So again we can't tell her frequently would occur. But it is there that it is very strong. There is so abstract imagination. There are no upper loops, and there are. Let's see, there are two opportunities h and her and be in about an H. And they're so there's three opportunities to have an upper loop when there are none, so there is no abstract imagination. This person is not very good at coming up with ideas, but when they take an idea and want to make it work, their over the top over the top good at it, just exaggerated enthusiasm shows in both lines. All the tea bars. They're all much longer than they need to be. For the size of the letter, I've only put the hours on the top, but bags of enthusiasm in this writing and again it's slightly pessimistic, a bit discouraged because it goes a little bit down Hill and the last example pause and then on to the next site. So the arrows here point to what is not there. There are no loops. Upper loops are lower lips. I've only put the hours to two of them, but there is a why in my there is an H in handwriting, as well as the ones that have points to on F could have both an upper and a lower look. But there are no loops, so this person does not use imagination. Now, if you remember, we did intuition. In another lesson, an intuition is very strong. This writing shows in gaps read letters within script on often intuition, substitutes for imagination. They come from a different source, but they do the same thing that give new ideas. So although this person is not imaginative, they are very intuitive enthusiasm again, The arrows point to fort is not there. The's T bars have very short, so no enthusiasm showing, and this rating is optimistic. It goes up Hill not drastically uphill, but nevertheless, definitely uphill. So optimism is showing. So how did you do it? These So now you know what you can tell from someone's writing three feet away and upside down. So have fun with it. I Congratulations on finishing this course