CHAPTER 5 Flashcards

1
Q
  • The upstroke of a looping ascender.
A

WHIRL

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2
Q
  • A writing weakness portrayed by irregular shaky strokes is described as ______
A

TREMOR

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3
Q
  • slant stroke
A

SHANK

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4
Q
  • long stroke
A

STEM

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5
Q
  • the upright long downward stroke that is the trunk or stalk, normally seen in capital letters.
A

STEM OR SHANK

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6
Q
  • Any major long downward stroke of a letter that is the long downward stroke of the letter “b”, “g”.
A

STAFF

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7
Q
  • A short initial or terminal stroke.
A

SPUR

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8
Q
  • Any part of a stroke which is super imposed upon the original stroke.
A

RETRACE/RETRACING

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9
Q

coming downward from the top to bottom will have a

A

RETRACE/RETRACING

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10
Q

any stroke which goes back over another writing stroke

A

RETRACE/RETRACING

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11
Q

In natural handwriting there may be instances in which the pen doubled back over the course.

A

RETRACE/RETRACING

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12
Q

Ex: vertical stroke of the letters “d”, “t”

A

RETRACE/RETRACING

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13
Q

-an interruption in a stroke caused by removing the writing instrument from the paper.

A

PEN LIFT

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14
Q

is common defect on forgeries.

A

CAREFUL PATCHING

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15
Q
  • retouching or going back over a defective portion of a written stroke.
A

PATCHING

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16
Q
  • a capital letter.
A

MAJUSCULE

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16
Q
  • a small letter.
A

MINUSCULE

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17
Q

–circle line structure

A

LOOP

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18
Q

may be blind or open.

A

LOOP

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19
Q
  • A oblong curve such as found on the small letter “f”, “g”, “I” and letters stroke “P” has two.
A

LOOP

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20
Q

A ________ is usually the result of the ink having filled the open space.

A

blind loop

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21
Q

-usually applicable to fountain pen

A

KNOB

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22
Q

-the extra deposit of ink in the initial and terminal stroke due to the slow withdrawal of the pen from the paper

A

KNOB

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23
Q
  • Upper portion of its letter “m”,”n”,”h”,”k”
A

HUMP/SHOULDER

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23
Q
  • the rounded outside of the top of the bend stroke or curve in small letter.
A

HUMP/SHOULDER

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24
Q

-It also sometimes occurs at the beginning of an initial stroke.

A

HOOK

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24
Q
  • It is a minute curve or a ankle which often occurs at the end of the terminal strokes.
A

HOOK

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24
Q

–it came from the term talon

A

HOOK

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25
Q

-In small letter “w” the initial curve is the ___

A

HOOK

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25
Q

-The terminal curves of the letters “a”, “d”, “n”, “m”, “p”, “u”, is the __

A

HOOK

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26
Q

the minute involuntary ____ like formation found at the commencement of an initial up stroke or the end terminal stroke.

A

talon

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27
Q

the minute involuntary talon like formation found at the commencement of an initial up stroke or the end terminal stroke.

A

HOOK

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28
Q
  • a gap occurring between a continuous stroke without lifting the pen.

-Such as occurrence usually occurs due to speed;

A

HIATUS/PEN JUMP

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29
Q

-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.

A

HIATUS/PEN JUMP

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30
Q
  • 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.
A

HESITATION

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31
Q
  • lower part which rest on the base line.
A

FOOT

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32
Q

-The small letter “m” has three feet, and the small letter “n” has two feet.

A

FOOT

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32
Q
  • a small loop or curved formed inside the letters.
A

EYE/EYELET/EYELOOP

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33
Q

–loop within a loop

A

EYE/EYELET/EYELOOP

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33
Q

-This may occur inside the oval of the letters “a, d, o”;

A

EYE/EYELET/EYELOOP

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34
Q

the small loop form by stroke that extend in divergent direction as in small letters.

A

EYE/EYELET/EYELOOP

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35
Q

-an element added to complete a certain letter, either a cross bar or a dot.

A

DIACRITIC

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36
Q

-The matters of the Indian script are also known as

A

DIACRITIC SIGNS;

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37
Q
  • “t” crossing and dots of the letter “i” and “j”.
A

DIACRITIC

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38
Q

-The portion of a letter that falls below the baseline of a typeface, not including optical adjustments.

A

DESCENDER

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39
Q
  • opposite of ascender, the lower portion of a letter.
A

DESCENDER

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40
Q

–this term came from the Kallikak Theory

A

CALLIGRAPHY

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41
Q
  • the art of beautiful writing.
A

CALLIGRAPHY

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42
Q
  • bad
A

KAKOS

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43
Q
  • beauty
A

KALLOS

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44
Q
  • a bad writing.
A

CACOGRAPHY

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45
Q
  • 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”;
A

BUCKLE/BUCKLEKNOT

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46
Q

-the horizontal end loop stroke that are often used to complete a letter.

A

BUCKLE/BUCKLEKNOT

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47
Q

Ex: the oval of the letter “O” is the body, minus the downward stroke and the loop.

A

BODY

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48
Q
  • The main portion of the letter, minus the initial of strokes, terminal strokes and the diacritic, of any.
A

BODY

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49
Q
  • fading of the end of the letter
A

VANISHING

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49
Q
  • the beginning and ending stroke of a letter (without hesitation).
A

BLUNT

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50
Q
  • is the rudimentary initial up stroke of a letter.
A

BEARD

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51
Q
  • maybe actually on a ruled paper, it might be imaginary alignment of writing;
A

BASELINE

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51
Q
  • Preliminary embellished initial stroke which usually occurs in capital letters.
A

BEADED

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52
Q

–loop before the initial stroke

A

BEADED

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53
Q

-is the ruled or imaginary line upon which the writing rests.

A

BASELINE

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54
Q

-Or any arcade form in the body of a letter found in small letters which contain _____

A

ARC/ARCHES

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54
Q

-a curved formed inside the top curve of loop as in small letters “h”, “m”, “n”, & “p”.

A

ARC/ARCHES

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55
Q

-The portion of a lowercase letter above the x-height of a typeface.

A

ASCENDER

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56
Q
  • is the top portion of a letter or upper loop.
A

ASCENDER

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57
Q

-It is one means of disguise.

A

WRONG-HANDED WRITING/ LEFT HANDED WRITING

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57
Q

-a.k.a. as “WITH THE AWKWARD HAND.”

A

WRONG-HANDED WRITING/ LEFT HANDED WRITING

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57
Q
  • Any writing executed with the opposite hand that normally used;
A

WRONG-HANDED WRITING/ LEFT HANDED WRITING

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57
Q

A presence of variation is

A

FORGED

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58
Q
  • The act or process of changing.
A

VARIATION

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58
Q

–differs depending on the culture

A

SYSTEM (OF WRITING)

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59
Q

-See also copy book.

A

SYSTEM (OF WRITING)

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60
Q

-Not everyone writes at the same rate so that consideration of the _________ may be a significant identifying element.

A

SPEED (SPEEDY) WRITING

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61
Q

___________ cannot be measured precisely from the finished handwriting but can be interpreted in broad terms of slow, moderate, or rapid.

A

SPEED (SPEEDY) WRITING

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61
Q

-Writing through use diverges from the system, but generally retains some influence of the basic training.

A

SYSTEM (OF WRITING)

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62
Q
  • The combination of the basic design of letters and the writing movement as taught in school make up the ______
A

SYSTEM (OF WRITING)

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63
Q
  • slope to the left
A

NEGATIVE SLOPE

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63
Q
  • slope to the right
A

POSITIVE SLOPE

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64
Q

-There are three classes: SLANT TO THE LEFT; SLANT TO THE RIGHT; AND VERTICAL SLANT.

A

SLOPE/SLANT

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64
Q
  • the angle or inclination of the axis of the letters relative to the baseline.
A

SLOPE/SLANT

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64
Q
  • In any set there are relative degrees, ability, or skill and a specimen of handwriting usually contains evidence of the writer’s proficiency; degree, ability, or skill of a write proficiency.
A

SKILL

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65
Q

SLOPE/SLANT three classes:

A

SLANT TO THE LEFT; SLANT TO THE RIGHT; AND VERTICAL SLANT.

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66
Q
  • May refer to the overall size of the writing
A

SIZE

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67
Q

the proportions between zones.

A

SIZE

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67
Q
  • Eliminating extra or superfluous strokes from the copybook model.
A

SIMPLIFICATION

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68
Q
  • Any characteristic of handwriting that is sufficiently uncommon and well-fixed to serve as a fundamental point in the identification.
A

SIGNIFICANT WRITING HABIT

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69
Q
  • 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.
A

SHADING

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70
Q

–stub pen is

A

FOUNTAIN PEN

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71
Q

-Periodicity, alternation of movement.

A

RHYTHM

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72
Q

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

A

RHYTHM

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73
Q

_____is used in describing handwriting to refer to any identifying factor that is related to the writing movement itself.

A

QUALITY

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73
Q
  • A distinct or peculiar character.
A

QUALITY

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73
Q
  • examination of letters to letters
A

RATIO

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74
Q
  • The element of the writing movement which is marked by regular or periodic recurrences.
A

RHYTHM

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75
Q
  • examination of the same letters
A

PROPORTION

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76
Q
  • A creative combination of printing and cursive writing.
A

PRINTSCRIPT

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76
Q
  • the relation between the tall and the short letter is referred as to ________
A

RATIO

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77
Q
  • It is an important element in handwriting.
A

MOVEMENT

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77
Q

-These are normal or usual deviations found between repeated specimens of any individual handwriting.

A

NATURAL VARIATION/ GENUINE VARIATION

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77
Q

-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.

A

MOVEMENT

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77
Q
  • Any specimen of writing executed normally without any attempt to control or alter its identifying habits and its usual quality or execution.
A

NATURAL WRITING

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78
Q
  • Any study or examination which is made with the microscope in other to discover minute details.
A

MICROSCOPIC EXAMINATION

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78
Q

-The manner in which the writing instrument is move that is by finger, hand, forearm or whole arm.

A

MOVEMENT

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79
Q
  • The amount of space left around the writing on all four sides.
A

MARGINS

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80
Q

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

A

MANUSCRIPT WRITING

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81
Q

-A disconnected form of script or semi-script writing.

A

MANUSCRIPT WRITING

82
Q

–used in beginner writer

A

MANUSCRIPT WRITING

83
Q
  • poor line quality
A

TREMOR

84
Q

-The visible records in the written stroke of the basic movements and manner of holding the writing instrument is characterized by the term _______

A

LINE QUALITY

85
Q
  • the overall character of the ink lines from the beginning to the ending strokes.
A

LINE QUALITY

86
Q

-THERE ARE TWO CLASSES: GOOD LINE QUALITY AND POOR LINE QUALITY.

A

LINE QUALITY

87
Q

LINE QUALITY TWO CLASSES

A

GOOD LINE QUALITY AND POOR LINE QUALITY.

88
Q
  • May slant up, down, or straight across the page.
A

LINE DIRECTION

89
Q
  • Movement of the baseline.
A

LINE DIRECTION

90
Q

-Sometimes, referred to as LINE SPACE.

A

LETTER SPACE

91
Q
  • The amount of space left between letters.
A

LETTER SPACE

92
Q

–it is calligraphy but not connecting letters

A

HANDLETTERING

93
Q

-also called HAND PRINTING.

A

HANDLETTERING

94
Q
  • Any disconnected style of writing in which each letter is written separately;
A

HANDLETTERING

95
Q

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

A

GRAPHOLOGY

96
Q
  • the art of determining character disposition and amplitude of a person from the study of handwriting.
A

GRAPHOLOGY

97
Q
  • analysis by comparison and measurement.
A

GRAPHOMETRY

98
Q
  • the study of handwriting based on the two fundamental strokes, the CURVE (loop), and the STRAIGHT STROKES.
A

GRAPHOANALYSIS

99
Q

GRAPHOANALYSIS the two fundamental strokes:

A

the CURVE and the STRAIGHT STROKES.

100
Q

-Also a school of handwriting analysis that looks at handwriting as a whole

A

GESTALT

101
Q

_______ needs nothing added or taken away to make it “look right”.

A

good gestalt

102
Q
  • The German word that means “complete” or “whole”.
A

GESTALT

103
Q
  • A cup-like connected form that is open at the top and rounded on the bottom.
A

GARLAND FORMS

103
Q

GESTALT came from what word?

A

German

103
Q
  • The writer’s chosen writing style.
A

FORM

104
Q

GESTALT came from German word that means

A

“complete” or “whole”.

105
Q

-The way the writing looks, whether it is copybook, elaborated, simplified, or printed.

A

FORM

106
Q
  • the movement of the pen away from the writer
A

UPWARDSTROKE/ UPSTROKE

107
Q
  • The movement of the pen toward the writer.
A

DOWNSTROKE

108
Q
  • A writer may deliberately try to alter his usual writing habits in hopes of hiding his identity or concealing identity
A

DISGUISED WRITING

109
Q

–conducting JUXTA POSITION or the side by side examination

A

COMPARISON

110
Q
  • 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.
A

COMPARISON

111
Q

-the act of setting two or more items side by side to weigh their identifying qualities;

A

COMPARISON

112
Q

-any property or mark which distinguishes and in document examination

A

CHARACTERISTICS

113
Q

commonly called to as the IDENTIFYING DETAILS

A

CHARACTERISTICS

114
Q
  • Forms that look like arches rounded on the top and open at the bottom.
A

ARCADE FORMS

115
Q
  • Sharp, straight strokes that are made by stopping the pen and changing direction before continuing.
A

ANGULAR FORMS

116
Q
  • Is the relation of parts of the whole of writing or line of individual letters in words to the baseline.
A

ALIGNMENT

116
Q
  • It is the result of 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.
A

HANDWRITING

117
Q

-Some defined handwriting as a.k.a “VISIBLE SPEECH”.

A

HANDWRITING

118
Q

–it is a two way process since we are using our mental and muscular habits

A

HANDWRITING

119
Q

KINDS OF WRITINGS

A

CURSIVE
SCRIPT
BLOCK

120
Q
  • connected;
A

CURSIVE

121
Q

-writing in which one letter is joined to the next.

A

CURSIVE

122
Q

-Came from Latin word CURSUS means “running”

A

CURSIVE

123
Q

-Characters are written in a joint-flowing manner for the purpose of making the writing faster.

A

CURSIVE

124
Q

CURSIVE came from Latin word _______ means ______

A

CURSUS means “running”

125
Q

CURSIVE came from what word?

A

latin word

126
Q
  • separated or printing writing.
A

SCRIPT

127
Q

-Characters were written in a separate manner making it easier for beginners to learn the shapes of each letters.

A

SCRIPT

128
Q
  • all are in capital letter.
A

BLOCK

129
Q

– used for business writing, engineering for their blueprint

A

BLOCK

130
Q

BASIS OF HANDWRITING IDENTIFICATION

A

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.

131
Q

_____ 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.

A

HANDWRITING

132
Q

In ______________, 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.

A

WIGNORE’S PRINCIPLES OF JUDICIAL PROOF

132
Q

-extension of fingerprint

A

HANDWRITING

132
Q

_____________ 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.

A

Environment, education and occupation

132
Q

__________________ because the other person cannot by mere will power reproduce in himself all the muscular combination from the habit of the first writer.

A

The imitation of the style of writing by another person becomes difficult

133
Q

TWO GROUPS OF MUSCLES INVOLVE IN HANDWRITING:

A
  1. EXTENSOR MUSCLES
  2. FLEXOR MUSCLES
134
Q
  • push up the pen to form the upward strokes
A

EXTENSOR MUSCLES

135
Q
  • which push the pen to from the downward strokes.
A

FLEXOR MUSCLES

136
Q

decrease the angle between bones on the side of the joint, such as bending the knee.

A

FLEXOR MUSCLES

137
Q

Directed by a ___________, the flexor surfaces are where folded skin can touch.

A

FLEXOR MUSCLES

138
Q

Generally speaking, four groups of muscles are employed in writing - those which operate the joints of the _____________

A

FINGERS, WRIST, ELBOW, AND SHOULDER.

139
Q

The delicate way in which the various muscles used in writing work together to produce written form is known as __________

A

MOTOR COORDINATION

140
Q

KINDS OF MOVEMENT

A
  1. FINGER MOVEMENT
  2. HAND MOVEMENT
  3. FOREARM MOVEMENT
  4. WHOLE FOREARM MOVEMENT
140
Q
  • The thumb, the first, second and slightly the third fingers are in actual motion most usually employed m children and illiterates.
A

FINGER MOVEMENT

140
Q
  • produced by the movement or action of the whole hand with the wrist as the center of attraction.
A

HAND MOVEMENT

141
Q
  • the movement of the shoulder, hand, and arm with support of the table (elbow)
A

FOREARM MOVEMENT

141
Q
  • action of the entire arm without resting.
A

WHOLE FOREARM MOVEMENT

142
Q

CAUSES OF VARIATION

A
  1. Function of some external condition
  2. Abnormal conditions
  3. Position of letter
142
Q

i.e., influence of the available space.

A

Function of some external condition

143
Q

_______________ such as physical injury, toxic effects, emotion, and deception.

A

Abnormal conditions

144
Q
  • all the letters are to be found initially, medially, and finally.
A

Position of letter

145
Q

The fact of a different position, especially in combination with another and particular letter, may modify any of them in some way or another.

A

Position of letter

145
Q

As speed increases, _________ begin to break down.

A

conscious design and regularity

145
Q

DEVELOPMENT OF HANDWRITING OF AN INDIVIDUAL

A

A. Children learn writing by following the school copy or model (copybook nung elem)
B. After acquiring some degree of skill the children no longer follow the school model
C. As speed increases, conscious design and regularity begin to break down.
D. In the course of trial and error, modification are made, simplification and elaborations, addition and omissions occur.

146
Q

__________ learn writing by following the school copy or model

A

Children

146
Q

. After acquiring some degree of skill the children no longer follow the ______

A

school model

147
Q

In the course of trial and error, _________ are made, simplification and elaborations, addition and omissions occur.

A

modification

148
Q
  • This refers to the shape or design of the individual letters.
A

FORM

149
Q

A highly visible dissimilarity in the _______ of the same letter found in both the questioned and standard material is an inherent fundamental difference in handwriting.

A

FORM

150
Q
  • It is an angle or inclination, of the axis of the letters relative to the baseline.
A

SLOPE OR SLANT

151
Q

–sliding of the letter

A

SLOPE OR SLANT

152
Q
  • Individual characteristics in relative of letter or relative height of one letter to another letter can be found in different writing.
A

PROPORTION

153
Q

is one of the hidden features of writing

A

PROPORTION

154
Q
  • generally refers to the symmetry of an individual letter.
A

PROPORTION

155
Q

-Using the letter “B” as an example, is the top “bulb” the same size as the bottom “bulb?” Is one portion of the letter thinner than another?

A

PROPORTION

156
Q

-This concept usually develops a relationship between one portion of a letter to another portion of that same letter

A

PROPORTION

157
Q
  • There are different ______ in writing letters; these are NORMAL, COMPRESSED, AND EXTENDED.
A

PROPORTION

158
Q

KINDS OF PROPORTION

A

NORMAL, COMPRESSED, AND EXTENDED.

159
Q
  • The relation between the tall and short letters is refund to as the
A

RATIO

159
Q

is used when the writing space is adequate;

A

Normal proportion

159
Q

when the space is too wide to write on.

A

Extended Proportion

159
Q

when the space is limited

A

Compressed Proportion

160
Q

-are a comparison or correlation of the height of one letter or letter segment to another letter, usually within the same word or signature.

A

RATIO

161
Q
  • In signatures, it is a common practice among many writers to write their signatures with the initials and connected without pen.
A

CONNECTING STROKE

161
Q

-combinations of various height ___ are often uniquely individual and habitual to a specific writer

A

RATIO

162
Q

the motion of the pen also slightly precedes the putting of the pen on the paper at the beginning with “flying start” so that strokes at the beginning and end of words gradually diminish or taper a “vanishing point”.

A

TERMINAL STROKE AND INITIAL STROKE

162
Q

“flying finish” or what is also referred to as

A

“vanishing”, “tapering” or “flourishing” terminal strokes

162
Q
  • When a letter, word or name (signature) is completed in a free, natural writing, the pen is usually raised from paper while in motion with a “flying finish” (or what is also referred to as “vanishing”, “tapering” or “flourishing” terminal strokes) and with many writers, the motion of the pen also slightly precedes the putting of the pen on the paper at the beginning with “flying start” so that strokes at the beginning and end of words gradually diminish or taper a “vanishing point”.
A

TERMINAL STROKE AND INITIAL STROKE

163
Q
  • is considered as a common characteristic when it conforms to the ordinary copy-book-form.
A

LATERAL SPACING

163
Q
  • It is an interruption in a stroke caused by removing the pen from the paper.
A

PEN LIFT

163
Q
  • Is a gap between strokes due to speed in writing and defective writing instrument
A

HIATUS

164
Q

-It is the distance of a letter in a word or of words in a sentence.

A

LATERAL SPACING

165
Q
  • It is the widening of the ink strokes with increase pressure on the paper surface
A

SHADING

165
Q

_________ are wide alphabets

A

m and w

165
Q
  • refers to the visible record in the written strokes of the basic movement and manner of holding the writing instrument.
A

LINE QUALITY

166
Q
  • It is the balanced quality of movements of the harmonious recurrence of stress or impulse.
A

RHYTHM

167
Q

–contrast of tremor

A

RHYTHM

168
Q

-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;

A

PEN EMPHASIS

168
Q
  • The act of intermittently forcing the pen against the paper surfaces
A

PEN EMPHASIS

169
Q

–smooth flow of writing

A

RHYTHM

170
Q

–the act intermittently forcing the pen against the paper with increase pressure.

A

PEN EMPHASIS

170
Q
  • relationship between the pen point and the paper.
A
  • PEN POSITION
171
Q
  • The place where the writer grasps the barrel of the pen and the angle at which he holds it.
A

PEN HOLD

171
Q

TYPES OF PEN HOLD

A

DYNAMIC TRIPOD
DYNAMIC QUADRUPOD
LATERAL TRIPOD
LATERAL QUADRUPOD

171
Q
  • the average force with which the pen contacts the paper.
A

PEN PRESSURE

172
Q

as opposed to pen emphasis deals with the usual of average force involved in the writing rather than the period increases.

A

PEN PRESSURE

172
Q
  • deviation from uniform strokes due to lack of smoothness perfectly apparent even without magnification.
A

TREMOR

173
Q

–not all _____ is a sign of forgery

A

TREMOR

174
Q
  • This refers to additional unnecessary strokes not necessary to legibility of letterforms or writing but incorporated in writing for decorative or ornamental purpose.
A
  • RUBRIC OR EMBELLISHMENT
174
Q

–kinds of tremors:

A

tremor of age and disease

175
Q
  • variation is due to lack of machine-like precision of the human hand
A

NATURAL VARIATION

176
Q

it is also cause by external factors, such as the writing instrument and the writing position, influenced by physical and mental condition such as fatigue, intoxication, illness, nervousness and the age of the writer, due to the quality of the writing prepared in the course of the time variation in genuine signature appears in superficial parts and does not apply to the whole process of writing.

A

NATURAL VARIATION

177
Q

-is a succession of connected, uniform strokes working in full coordination, pressure is always in state of change moving from light to heavy or from heavy light.

A

RHYTHM

177
Q

–determine the line quality whether good line quality or poor line quality

A

RHYTHM

177
Q

–in all kinds of writing, there is always this

A

RHYTHM

177
Q
  • Characterized by a succession of awkward, independent, poorly directed and disconnected motions.
A

LACK OF RHYTHM

177
Q

–presence of knob, tremors, hesitation

A

LACK OF RHYTHM

178
Q

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.

A

RHYTHM

179
Q
  • Words are formed by connection letters to one another, even letters are formed by the joining of the upward and downward strokes.
A

LETTER OF CONNECTIONS

180
Q

–exit and entry points

A

LETTER OF CONNECTIONS

181
Q

TYPES OF LETTER CONNECTIONS ARE:

A
  • ARCADE
  • GARLAND
  • ANGULAR CONNECTIVE FORM
  • THE THREADLIKE CONNECTIVE FORM
182
Q

-a rounded stroke shaped like an arch.

A

ARCADE

183
Q

-It is a slow mode of connection resulting from controlled movements.

A

ARCADE

183
Q

-m and n letters look like arches with rounded tops

A

ARCADE

184
Q

–rounded at the top, open at the bottom

A

ARCADE

185
Q
  • Links the downward stroke to the upstrokes with a flowing curve swinging from left to right.
A

GARLAND

186
Q
  • m and n letters are like cups, inverted arcades
A

GARLAND

187
Q

– open at the top, rounded at the bottom

A

GARLAND

188
Q

–cup like connected form

A

GARLAND

189
Q

-When the downward strokes and upward strokes meet directly angular connection is formed.

A

ANGULAR CONNECTIVE FORM

190
Q

-straight lines that cross each other or break

A

ANGULAR CONNECTIVE FORM

191
Q
  • 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
A

THE THREADLIKE CONNECTIVE FORM

192
Q
  • looks like unravelled wool
A

THE THREADLIKE CONNECTIVE FORM

193
Q

–used in medical field in medical prescription of the doctor

A

THE THREADLIKE CONNECTIVE FORM

193
Q

–has wider characters

A

THE THREADLIKE CONNECTIVE FORM

194
Q

-part of basic writing system or which are modification of the system of writing found among large group of writes that have only slight identification value.

A

GENERAL (CLASS) CHARACTERISTICS

195
Q
  • used as writing system in PH
A

ENGLISH ALPHABET

196
Q
  • used by Koreans alphabet
A

HANGUL

197
Q
  • used by Chinese wherein they don’t have writing system but they have characters that represents alphabets
A

HANZI

198
Q
  • used by Japanese alphabet
A

KATAKANA, HIRAGANA, KANJI

199
Q
  • they are characteristics which are result of the writer’s muscular control, coordination, age, health, and nervous temperament, frequency of writing, personality, and character.
A

INDIVIDUAL CHARACTERISTICS

200
Q

-They are found in the following:
1. WRITING MOVEMENT
2. FORM AND DESIGN OF LETTERS
3. MUSCULAR CONTROL OR MOTOR CONTROL
4. MOTOR COORDINATION
5. SHADING
6. SKILL
7. ALIGNMENT
8. PEN PRESSURE
9. CONNECTION
10. PEN HOLD
11. RHYTHM
12. DISCONNECTIONS OR PEN LIFTS BETWEEN LETTERS
13. SPEED.
14. SLANT AS A WRITING HABIT
15. PROPORTION OF LETTERS AS AN INDIVIDUAL CHARACTERISTIC OR HABIT.
16. QUALITY OF STROKE OR LINE QUALITY
17. VARIATION

A

INDIVIDUAL CHARACTERISTICS

201
Q
  • this is characterized by too much freedom of movement and lack of regulation.
A

LOOSE WRITING

202
Q

INDIVIDUAL CHARACTERISTICS ARE FOUND IN?

A
  1. WRITING MOVEMENT
  2. FORM AND DESIGN OF LETTERS
  3. MUSCULAR CONTROL OR MOTOR CONTROL
  4. MOTOR COORDINATION
  5. SHADING
  6. SKILL
  7. ALIGNMENT
  8. PEN PRESSURE
  9. CONNECTION
  10. PEN HOLD
  11. RHYTHM
  12. DISCONNECTIONS OR PEN LIFTS BETWEEN LETTERS
  13. SPEED.
  14. SLANT AS A WRITING HABIT
  15. PROPORTION OF LETTERS AS AN INDIVIDUAL CHARACTERISTIC OR HABIT.
  16. QUALITY OF STROKE OR LINE QUALITY
  17. VARIATION
203
Q

-This is noticed especially in tall letters forms.

A

LOOSE WRITING

204
Q
  • there is lack of freedom and inhibited movements.
A

RESTRAINED WRITING

205
Q

-It gives you the impression that every stroke was made with great difficulty.

A

RESTRAINED WRITING