Showing posts with label forensic handwriting. Show all posts
Showing posts with label forensic handwriting. Show all posts

Friday, August 5, 2011

Handwriting Detective Weighs in on Casey Anthony's Script

Michelle Dresbold
 by Andrea Campbell

I am thrilled to have found guest editor: Michelle Dresbold. Michelle has been called the Sherlock Holmes of handwriting. For the past 15 years, she has been helping law enforcement agencies around the country put away the “bad guys.” 

A graduate of the training program, Michelle consults to private attorneys, police departments, and prosecutors throughout the United States. She is considered one of the top experts in the nation on handwriting identification, (including anonymous letters and suspected forgeries), personality profiling, and threat analysis. She has testified in a wide variety of cases including arson, embezzlement, voting fraud, forgery, stalking, and murder. 

Michelle has examined Casey’s Anthony's handwriting and offers insight into who Casey really is.

Casey Anthony


by Michelle Dresbold

I am a handwriting detective. As I explain in my book, Sex, Lies and Handwriting, my specialties range from handwriting identification, (including anonymous letters and suspected forgeries), to threat analysis, to personality profiling. I have testified in a wide variety of cases including arson, embezzlement, voting fraud, forgery, stalking, and murder.

The media have been inundated with news about the Casey Anthony case. The prosecutorss theory is that Anthony suffocated her daughter, Caylee, so she could be free to “live the good life.” Their case presented evidence that suggested Casey stuffed Caylee’s body in her car trunk and drove around for days before she dumped her daughter’s body in the woods near her parents' home.

Casey Anthony had originally claimed that on Monday, June 9, 2008, she left her 3-year-old daughter with nanny Zenaida Gonzalez. However, when she returned to the nanny’s Florida apartment, Caylee was missing. Casey didn’t notify the police, she said, because she did not want to worry her parents and wanted to do her own investigation. Casey’s mother, Cindy Anthony, however, became worried and five weeks after Casey had allegedly “lost” her daughter, Cindy Anthony reported her granddaughter’s disappearance to the police.

After a five-month nationwide search, Caylee’s remains were found by a meter reader. In his opening statement, defense attorney José Baez told jurors that Caylee had accidently drowned in the family’s swimming pool. He suggested that Casey’s bizarre attitude and lying was a result of her alleged sexual abuse by her father and her brother.

Recently, I reviewed documents released by prosecutors in the murder case, including jailhouse letters between Anthony and fellow inmates.  I’ve heard numerous theories about what Casey may have done and why. As I learned a long time ago, people can say whatever they want, but handwriting never lies.

As a handwriting profiler, I’m interested in what Casey's handwriting has to say.
What stands out the most to me in her handwriting is her “bubble gum” script. Bubble gum writers have letters that are almost uniformly the same height. The middle zone (the lower case letters a, c, e, i, m, n, o, r, s, u, v, w, x and the part of the other letters between the upper loops and the lower loops) of her writing is exaggerated. When the middle zone is overly large, like Casey’s, the writer has a tendency to be childlike and self-centered. These writers like to be the center of attention. It is difficult for them to delay gratification. What they see is what they want. Today. This minute. Right now!

Also, her individual letters and words have practically no space in between. This narrow spacing indicates that Casey will crowd others for attention and can take up the time and energy of those around hers. Cramped spacing is also an indicator that she sees things from a very narrow perspective as opposed to seeing the big picture.

The artistic side of the word “Cookie” shows that Casey has a creative side. However, the letters “oo” show where this creative side may be put to use. The letters “o” and “a” are the communication letters. Think of these letters as little mouths. When a writer’s a’s and o’s are open at the top, the writer likes to talk and will find it difficult to keep a secret. When they are completely closed at the top the writer can take a secret to the grave. Casey’s “o’s” in “Cookie” are quite interesting because even in the artistic version of her script she wrote the “o’s” with a slash through them? Slashes through a’s and o’s, known as “forked tongue strokes,” are signs of a liar.

Casey actually makes her “o’s” three different ways. One is the “o” with the forked tongue slash through it (as seen in the words “cookie” and “on”). The second is an extra loopy “o” (as seen in the second “o” in the word “cool”)–an indicator that she rationalizes her behavior. But the third way she makes her “o’s” may be the most telling of all. You know that the o’s and a’s that are tightly closed at the top mean that the writer is tight lipped and secretive. Casey not only closes her o at the top, she makes sure it is sealed tight by finishing it at the bottom. There is no way she could even leave a slight gap at the top. She is so secretive that she won’t even tell herself the truth. 

Besides the slashes, extra loopy loops, and her overly closed o’s, Casey does something else that indicates that she is good at telling whoppers. Her writing looks readable; however, if you take words out of context many are ambiguous or unreadable. Look at the word between “So I” and “have this Super cool pen” in the first line underneath the word “cookie”. Can you read it? See if you can read the words labeled “A”, “B”, “C” or “D”.  In context, I’m sure you could easily make them out. But, out of context, what are they? People who are expert at tricky writing are like magicians. They make you see what they want you to see. They leave the interpretation of events vague and unclear, so that they have an out when they need it.

Casey Anthony also uses ambiguous letters in her signature. Her first name is spelled “CASEY.” So, given the fact that Casey knows how to spell her own name, why does it look like “CAESY”? That, my friends, is ambiguous or “tricky” writing.

Look closer at the signature and you will notice that the “a” in Casey’s first name is blown out of proportion. When a lowercase “a” is extra large it indicates that the writer is very concerned about his or her physical appearance. And, if you look carefully, you will see that there is a sharp point inside of Casey’s “a.” That point is called a “stinger.” Writers with stingers tend to be extreme in their sexual lifestyles – they either abstain from sex entirely, or they become sexaholics.

Also, do you see that Casey made her last name into a great big “X”? When a writer’s signature or personal pronoun “I” turns into an “X,” it shows that the writer feels as if his or her life has been ruined. These sad “x’ed-out” people worry and fantasize about death. Sometimes these gloomy thoughts are about other people’s deaths and sometimes these morbid feelings about the writer’s own demise.

Many people have asked if Casey's writing shows that she has been abused. It’s hard to say for sure if a person has been abused. However, she does have a number of signs that suggest she has major trust issues, including, but not limited to, the letter “c” in the word “cool.” The letter “c” is the trust letter. The more the letter “c” is closed the more the writer is closed off and less she can trust. Notice that Casey’s “c” is almost completely closed. Her narrow, compressed spacing also stems from insecurity and fear. And, of course, the extreme secretiveness that we saw in the letter o shows, that like many people of abuse, they feel it is imperative to never let their “secret” out.

If you’d like to learn more about what you can tell from deciphering handwriting or to read my communication analysis of Casey Anthony’s statement to the police, please check out my website: michelledresbold.com.

About Michell's Book:
She is the author of Sex, Lies, and Handwriting, published by Simon and Schuster’s Free Press, and writes a weekly syndicated column, "The Handwriting Doctor," which appears in newspapers throughout the US. Michelle is also an accomplished artist who has shown her work in galleries and museums across the country. 

She has been featured on the "CBS Early Show," the "Today Show," the "FOX Morning Show with Mike and Juliette," the "O’Reilly Factor," FOX News, The History Channel and The ID Channel. 

Her press includes: Pittsburgh Magazine, Pittsburgh Tribune-Review, the Pittsburgh Post-Gazette, Philadelphia Magazine, The Washington Post, MarieClaire Magazine, Martha Stewart’s Blueprint Magazine, Woman’s World magazine, Psychology Today, and The Ladies Home Journal. 

Michelle graduated with honors from the University of Michigan with a degree in fine arts and psychology.

For more write to: info@michelledresbold.com


Monday, November 9, 2009

Handwriting Analysis: An Interview with Sheila Lowe

by Andrea Campbell

I studied handwriting analysis extensively and wrote a novel about a handwriting analyst character over 14 years ago, but could never get it published. Today I’d like you to meet our guest, Sheila Lowe, who has managed to do what I could not. (Sheila Lowe, pictured at left)


Q.: Sheila, for readers who don’t know you, could you talk a little about your background as a forensic handwriting specialist?


A.: I started studying handwriting more than 40 years ago while I was in high school, and subsequently spent 10 years reading every book I could find on the subject. Finally, I discovered Charlie Cole, an expert who taught correspondence courses in graphology, which I greedily devoured. I became certified by the American Handwriting Analysis Foundation in 1981 and four years later became qualified in the court system to testify as an expert in the field of handwriting. Dare I use a cliché and say, “the rest is history”?

Q.: What is the difference between graphology and handwriting analysis?


A.: Graphology is the generic term for handwriting analysis; however, the study of handwriting is generally broken into two different areas: personality assessment and handwriting authentication.

Q.: How are these disciplines used?

A.: Graphology is the study of handwriting to learn about behavior and personality—which includes the effects of life experiences on handwriting, as well as of illness, medications, aging, drugs, etc. Another aspect of handwriting analysis is forensic handwriting authentication, which is used in cases involving forgery. So, if you want to get better insight into your own or someone else’s motivations and needs, graphology can help. If someone has stolen your identity and forged your name, you need a handwriting analyst trained in the authentication side. Some analysts do one or the other, some (like me) do both.

Q.: Graphology gets a bad rap; can you explain?


A.: Because there is no licensing and no controls over the practice, anyone can set up shop and start analyzing handwriting after reading a book or two. There are thousands of web sites hawking graphology, many of them by people who would not be able to get a license, if only there were a requirement to get one! They have done a great deal of harm to the field and their clients. Also, there’s long been a misconception that graphology has something to do with fortune telling or occult arts. It doesn’t.

Q.: Will you talk about some of the characteristics an expert can discern using handwriting analysis?


A.: The general categories I cover in a personality profile include ego needs and ego strength, social attitudes, thinking style, fears and defenses—things like that. A lot depends on the purpose of the analysis. If I’m doing a report for an employer who has sent me handwritings of applicants, I would examine the areas specific to the job description. If the report were for a couple getting married, or for a mid-life career change, or for a child custody issue, the focus would be different.

Q.: Let’s get to your writing. What are your books? May we have a mini-synopsis?


A.: I write both non-fiction and fiction books. My non-fiction works are The Complete Idiot’s Guide to Handwriting Analysis (Alpha), which teaches the gestalt method of graphology and is like a mini course, and Handwriting of the Famous & Infamous (Thunder Bay), which has my thumbnail sketches of the handwritings of 75 well-known people from Galileo to the Son of Sam, from John Lennon to Hillary Clinton, and a whole lot of others. I also write mystery fiction — The Forensic Handwriting Mystery series (Penguin’s Obsidian) featuring forensic handwriting expert Claudia Rose. Dead Write, the third book in the series, was recently released, and I’ve just finished the next book, Unholy Writ, for release next year.

Q.: Who is your protagonist and what type of character is she?

A.: Claudia Rose is a modern single woman entering her forties, who, in the first book, Poison Pen, becomes involved with LAPD detective Joel Jovanic. Her handwriting analysis practice brings her in touch with crimes such as forgery, and using what she knows, she’s better able to understand the people, both good and bad, who are involved. Claudia has a hard time staying detached in cases where kids are in jeopardy, which is the case in Written in Blood and Unholy Writ. She’s warm and compassionate, but she’s learning to be tough when she needs to be. And she’s learning to allow herself to open up in a love relationship — one of her big challenges at the beginning of the series.

Q.: Do you use the misconceptions about handwriting analysis in your books?


A.: Yes. Claudia regularly has to answer the same questions and misconceptions that I do. I hope the series will help clear things up.

Q.: Does your character go into the courts?


A.: In Written in Blood there is a major courtroom scene that is very similar to testimonies I’ve given in my own practice. Claudia has to face the same challenges and stress of testifying that I do.

Q.: On the business side, how did you find a publisher? Did you start with an agent?


A.: I’ve had seven agents, and now I have a good one. I sold my fiction books and the first two mysteries on my own. It’s a lot easier to sell non-fiction without an agent, but I did a lot of studying on how to go about it before setting out. In fact, I read The Complete Idiot’s Guide to Getting Published, and following its guidelines may have made the difference. I tried for a long time and, as I said, a number of agents, to sell my first mystery, Poison Pen, to a major publishing house. Finally, I had an offer from a small startup publisher, Capital Crime. They got the book reviewed in Publisher’s Weekly. I was lucky enough to get a starred review, which attracted the attention of my then-editor at Penguin, who made an offer for the first two books, and later, two more.

Q.: What can you tell us about your publisher and your experience (e.g., contract, editing, promotion, anything such as that) with them?

A.: Considering my good experience with a small press (for fiction), I encourage anyone having difficulty getting picked up by a large publishing house to try them. You’ll have control over cover art and work closely with your editor. At large houses, you’re likely to get your book cover with a note that says, “Here’s your cover. We hope you love it as much as we do.” Luckily, so far, I have! Regardless of the size of your publisher you will be expected to promote the book yourself (and pay for the promotion yourself). If you’re not willing and able to do that, don’t even bother looking for a publisher. They need to know that you’re willing to invest your (probably small) advance in promotion. That means creating a web site and/or blog, printing bookmarks, attending conventions and speaking on panels, visiting bookstores, etc. One note about bookstores: unless you have a very well-known name, book signings tend to be a waste of time and the big box stores discourage them. It’s often more effective just to do a “drop-in” signing. Call in advance to make sure they have your books in stock.

Q.: Do you have any advice for writers who want to break into the field?

A.: Learn your craft. If you’re writing genre fiction, find out what the rules are so that you can break them. Get into a critique group in your genre, hire a private editor to read your material, and listen to what that editor has to say about your work. Oh, and leave out most of the adverbs (those pesky “ly” words that make the writing weak).


Q.: Is there anything you would like to tell WCI Readers?

A.: Buy books! Whether they’re traditional books that you can cuddle up in bed with, or a Kindle that you can take on a plane (where I’m writing this, on my way to Bouchercon, a mystery convention), support your favorite authors. When someone tells me, “I love your books. I pass them around to all my friends,” I remind them that authors don’t get royalties on borrowed books, and it’s those royalties that allow authors to keep on writing the stories they love to read.

Thank you, Sheila.


http://www.sheilalowe.com/ for handwriting analysis;