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The "Dynamic Graphology" of Ursula Avé-Lallemant

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 The “Dynamic Graphology” of Ursula Avé- Lallemant

© Dafna Yalon

Abstract

The “Dynamic Graphology” method was designed by Avé -Lallemant as an anti-thesis to the Klagesian
principles of determinism and bio-centricity. It is designed to prepare constructive reports for the writer
instead of judgeamental ones on the writer. The assessment focuses on an active search of latent
potentials and remnants of strengths, even if they cannot be fully be expressed, temporarily or habitually.
Thus the bright side is extracted and stressed, and the personality is described “from within” and as having
free choices. The uniqueness of this system is its concentration on the dynamic growth of the personality,
considering that assessment is usually performed during problematic periods. A general dynamic pattern is
suggested, as a developmental process from childhood to old-age. The growing complexity and maturity of
the personality is described in an original phenomenological-psychological model of seven evolving
personality aspects. The theoretical model is supported by experimental results of a handwriting survey of
various age groups. Moreover, individual dynamic changes occur throughout all phases of life, as periods
of problems, crisis or re-organisation. These changes are revealed in the handwriting as temporary “signs
of distress” and as rhythm disturbances. Their identification enables differentiation between “state and trait”.
The overall method involves a full analysis of a series of handwriting samples from different ages,
according to the described guidelines, and integration of additional and supportive information, extracted
from current graphic tests (The Tree test, the Wartegg Drawing Completion Test and the Star-Wave-Test).

Introduction

Ursula Avé-Lallemant is a leading german graphologist, educational- psychologist and philosopher,

active in Munich. She is the inventor of the “Star -Wave-Test”, and author of the book by that name (Avé-
Lallemant, 1984), her only book available in English to date. She is also founder of the “Society of
Dynamic Graphology”, a small yet very active group with representatives from many countries, who have
adopted her principles in their graphognostic work and research. Their activities are held in the German
language, and have therefore remained quite unknown to the English-speaking professional
community. Avé-Lallemant has published 12 books and many articles, which include her creative
concepts and investigations (1970, 1988, 1993). This wealth of information, along with many unpublished
ideas constitute “Dynamic Graphology”, a theory which is still developing. This article explains the need
that gave rise to this theory, and a brief summary of its major concepts.

The Basis of Dynamic Graphology

Avé-Lallemant believes that psychodiagnostics should never be based on one test only. Therefore a
whole test-battery is needed, and she suggests that graphologists use the “Small Graphic -Test Batter y”,
including handwritten samples, the “Tree Test” (Avé-Lallemant, 1980), the “Wartegg Drawing
Completion Test” (Avé-Lallemant, 1994) and her “Star-Wave-Test” (Avé-Lallemant, 1984). The
drawing tests yield information on the deeper layers of the personality, and often sub-conscious material is
expressed and symbolized. This should be integr ated with the more conscious and socialised traits that
are expressed in handwriting. Often one specific test will surprise us by providing a new piece of
information that may give us a clue to the hidden problems or treasures repressed by wasted
energies. Avé-Lallemant claims that her method of handwriting analysis was not designed to be compared
with other methods but rather to act as an auxiliary tool in individual-consultation. While most
graphological methods were designed to produce a report on a candidate, this method strives to produce a
report for the writer. We deal with the same graphological information, but our view-point is shifted from
the critical, judgemental and clinical approach, based on outside-criteria, towards a more constructive
and future-oriented attitude. It is an existential approach, forcing us to experience our candidate from
within. Instead of listing signs-of-dishonesty we relabel most of them as signs-of-distress ( Avé-
Lallemant, 1982). Instead of squeezing a person into little drawers of psychological-types with their pre-
fabricated one-sided and pathological reports, we prefer to concentrate on the individual’s phenomenology
and unique interaction of traits. Working with Dynamic Graphology therefore demands a prior
reframing process: instead of looking at the half empty glass we turn our view to the half-full glass. Rather
than speaking of weaknesses and faults, we are encouraged to consider temporary difficulties and
current distress. Along this analytical process we are also instructed to actively search for hidden
potentials, new possibilities and ways to eliminate negative environmental influences. The Dynamic
Graphology can be considered as a revolutionary mile-stone in the development of graphology,
resembling the influence of Ronnie Laing, Milton Erikson, and the pioneers of Family-therapy on
psychology.

A dynamic view of both handwriting and personality

Unlike other graphological methods, the Dynamic Graphology entails a life-span developmental
overview - from childhood to adulthood. It presents different considerations for every age-group,
according to well defined developmental stages. The great advantage of this method is that the
theoretical aspects are based on empirical research of over 2000 handwriting samples , establishing the
norms for the relevant handwriting indicators from grade A to age 20. The combination of unique
psychological ideas with their empirical validation meets the highest standards of a serious scientific
method. The main issue of the method is its dynamic nature. Klages (1917, 1974) was the first to
define the dynamic nature of handwriting evaluation, speaking of the “expressive movements” in
terms of contraction and release. He also suggested that graphic indicators could only be interpreted in
light of their dynamic quality, namely as constituents of the holistic “Formlevel”. The interpretation of size,
width, concave margins and fine strokes, as of all other indicators, depends on possible rhythmic
processes of letter-formation and placement through movement. Every indicator is since considered
in light of the Gestalt. On top of this genuine idea, Klages performed two collosal mistakes based on
the ideology of the “Nature Philosophy stream” to which he belonged. First – he coloured the direct, basic
interpretations of the graphic indicators, as already described by Michon and Crépieux-Jamin, by
his ideology, arguing that every natural and spontaneous gesture was positive, while all signs of control,
tension and culture were negative and worthless. This ideology gave rise to many indirect meanings for
the indicators, that were also added in Klages’ tables, with their positive and negative columns, and
have been listed in many graphological textbooks ever since. Klages even considered unfortunate,
weak or rigid people, who have a low Formniveau, as responsible for deterioration of the human race and
the whole universe. This idea was later stressed by some Nazi graphologists. The judgemental
approach to the personality has also entered English-graphology through Saudek (1929). Saudek
modified the ideas in his “Standard-Class”. Avé-Lallemant strives to remove this false ideology and
misjudgement from graphology. Her interpretations are therefore very reductional, she confines her
graphological wor k to relatively few graphic indicators and to their primary expressive meaning only. The
indicators used are not simple and measureable indicators like size or pressure, but rather what she
calls “radical phenomena”. These are complex holistic qualities li ke harmony of the written-space as a
sign for psychic-balance, homogeneous-dynamic stroke as a sign of vitality, rhythmic movement
indicating undisturbed self-control of activity, etc. A balanced, alert and active person is, obviously,
lucky to possess these assets, but is not necessarily a better person than the one lacking these
characteristics. The second mistake of Klagesian Graphology, refuted by the Dynamic Graphology, is
the concept of determinism. Klages saw the components of handwriting as dynamic entities,
changing their meaning according to their interactions in the Gestalt. But the person itself was viewed
as static, his Character was considered constant, either good or bad, from birth to death. According to
Klages, a person showing a very low Formlevel in his handwriting is doomed to stay totally negative for the
rest of his life. Most of the existing methods in graphology also consider the personality as a
relatively static Gestalt. Moreover, most of the graphological work is performed on one or two
handwrritten-samples taken nearly at the same time. Avé- Lallemant, on the other hand, stresses the
well-established fact that the personality is dynamic. Not only does it change throughout life, but also
every little change in one aspect may cause a series of changes and a whole new inner -balance. We
should therefore not confine ourselves to one point at a person’s life span, but rather consider where he
came from and look for the possibilities open for further development. A consulting graphologist has to
check samples from many periods in order to be able to help his client. It is of special importance to
find out how previous crises and periods of distress were overcome. This is a humanistic theory, it
deals with personal growth and with a person’s ability to change, overcome hard periods and grow
as a result of crises. Moreover, a person might change even due to outside-changes in his
surrounding, as a change of neighbourhood, class, parents’ attitude, etc.

Macrostructure and Microstructure

When people seek our help they are usually in a crisis situation and have realized that they are unable to
cope on their own. Our first aim is to ascertain how serious their problems are and what sort of help is
needed. We should therefore first examine two holistic structures of the written sample, the
Macrostructure and the Microstructure (Avé-Lallemant, 1988 I).

The Macrostructure is the manner in which the writer uses the written space, as a network of black
strokes on the white background. Here we consider only the inner-layout of the written space, not including
the margins. If there is a visual harmony in spacing of words and lines we speak of a good
macrostructure. This epresents harmonious adjutment to one’s environment. However, disturbed
Macrostructures disclose that the person does not live in piece with his surrounding. He either
egocentrically overrules everyboby else’s presence - when the page is flooded, or else – feels lost and
deserted, in a rather empty page. He might also feel as an object of outside-pressures - when the
arangement is too regular, similar to a computer -output. These disturbed Macrostructures show that
adjustment is impaired. This can obviously be the person’s own fault, if he is too egocentric, introverted
or compulsive. But in most cases it is the result of a “not good-enough” environment. Therefore, a
disturbed macrostructure indicates that the problems are generally not ver y deep, and can sometimes be
solved even by external manipulation, like a short-term family therapy, change of class or letting the
child to leave the hated violin classes. Deeper problems can be seen in the Microstructure. This is
the structure of the physically performed writing, namely – the movement, stroke quality and the formal-
design constituting the letters. To evaluate the micro-structure we must follow the written stroke as it
leaves its marks on the page, and see whether the ability to move and construct letters is maintained. If
form, movement and stroke are undisturbed, the good microstructure indicates a healthy, undisturbed
personality. Yet disturbances in this inner-backbone of the writing indicate that the problems that we are
about to face in our analysis are deep, they are rooted in the person, and the person will take them along
wherever he might go. Thus an individual psychotherapy is needed whenever the disturbances are
prominent.

Searching for latent potentials – the “state or trait” dilemma

Instead of dwelling on the question of who is to blame for the damage already done, Avé-Lallemant calls
for a new attitude of taking responsibility to overcome hardship and gain a better control over one’s life.
The theory stresses the freedom -of-choice, enabling a person to use his abilities more efficiently and to a
greater extent, to get in touch with his real needs and interests and fulfill his potentials. The
graphological counsellor has therefore to direct his search to the latent potentials and he must find out
what hinders his client from fulfilling them to their utmost. Avé-Lallemant therefore demands to
compare two possible levels for the basic traits that can be quantitatively assessed, like vitality,
intelligence, imagination, will-power. We should compare their frequent or mean level versus their maximal
level in the samples. For example: What is the general level of intelligence as seen in the writing-sample,
but also – what is the most intelligent single sign that can be observed? If there is a great difference
between these two levels – we should find out why this person is not always able to perform at his
best, and what could be done to remove the obstacles which hinder free expression of his potential.
Are his problems caused by environmental problems or by inner conflicts? Did these problems start a
long time ago, or are they evident only in recently written samples? Are they typical for the specific
age? These sort of questions, distinguishing between “state or trait”, are the most relevant for the
counsellor, because he has to help his client overcome such hardships and suggest pathways to
facilitate more success and a better life-quality. Ave’ -Lallemant has written two books on identifying
temporary problems and signs of distress and crisis in Handwriting. One book deals with “Alarm -
Signals in Schoolchildren’s Handwriting” (Avé-Lallemant 1982) and the other (1983) is more specific
and deals with Puberty as a crisis. Both books show that many indicators, which are listed among the
“Signs of Insincerity”, as in Saudek’s (1925) or Pulver’s (1949) lists, are not constant characteristics of
the writer, but rather signs of problematic phases which he goes through. Instead of infidelity and lying
they reflect actual inner insecurity and suffering. Thus, cover -strokes indicate, according to Avé-Lallemant,
that the writer feels that he looses hold, he tries to overcome anxiety or fear. A person in such an
insecure state might not always be able to tell the truth, but we, as searchers of the souls, should
concentrate on the primary feelings of distress and not on the reactional tendency for unsocial behaviour
(which might, in fact, never occur).

Puberty has become a major topic of interest for Avé-Lallemant, since it is a period of abundant conflicts
and inner -problems, many of which having physiological origins. Her study of indicators typical to
teenagers’ handwritings showed that there is a constant pattern of decrease in stroke elasticity in early
puberty, with recovery after a year or two. Other typical disturbances in puberty are regressive lower -
loops and “bottlenecks”. Adolescents’ handwritings show different disturbances, like progressive lower-
loops of peculiar forms or persona-writing. From childhood to adulthood – three developmental phases
Avé-Lallemant’s statistical research (1970) resulted in norms for many handwriting indicators typical of
individuals aged between 6 and 20 years. The developmental patterns that were found showed that
youth could be divided into three distinct phases (Avé-Lallemant, 1994):
Phase I – Childhood (age 6-12)

Handwriting gradually overcomes clumsiness and becomes fluent during the “Pre -calligraphic stage”
(the first 2-3 grades). In third grade the “Calligraphic stage” is achieved showing a childish,
schoolform handwriting, generally maintaining stability. This reflects the stable period of “higher childhood”,
or the “latent-period” of Freud. Disturbances found during this period are the result of health
problems or the reflection of psychological problems, caused by external forces.

Phase II – Puberty (age 12-14):

A very unstable period. Signs of distress occur very frequently and change rapidly. It is a period of an
endogenic- crisis, caused by imbalance in hormone-production and enhanced physical growth.
Handwriting changes also reflect the fluctuating body-image and self-image.

Phase III – Adolescence (age 14-20):

The handwriting shows gradual re-stabilization. In this process frequent periods of artificial writing
(“Role-writing”) occur, and typical signs of distress may constitute a second peak. This is typical for the
identity-crisis, usually occuring around age 16. Only at the end of phase III will a new stability, as known in
adult handwritings, be achieved and maintained.

These three developmental phases of child and teenager writing cannot be assessed by general
graphological laws. Special considerations are needed, taking into account both the specific age-
norms of handwriting maturity but also the normal psychological problems of ever y age-group.
Carl Frankenstein called youth “The Normal Pathology”. We should always remember t hat we are
dealing with temporarily -disturbed youngsters, undergoing a normal developmental crisis, and not with
psychopaths.

Avé-Lallemant’s research filled the gap in the graphological knowledge between handwriting
development in children, as the French Ajurriaguerra and Perron (1964) and Peugeut (1980) so thoroughly
investigated, and adult-graphology. Her work was the first to stress the need for special
considerations during the unstable times of phases II and III. She thus succeeded in drawing a gr
aphological curve of the whole life-span development, as depicted in handwriting.
 The seven aspects of personality and their developmental process

Having found the developmental pattern in Handwriting from childhood to adulthood, Avé-Lallemant (1970)
could correlate the handwriting data with her own new theory of personality-growth (1988). It is based on
the principles of the german school in phenomenology, as represented by the philosophers
Edmond Husserl, Nikolai Hartmann, and Max Scheller. Some similarity of ideas is evident in the books of
the psychologist Victor Frankl. Her personality-theory combines both a structural part, describing the multi-
layered personality made of 7 different aspects, and a process of development from childhood to
adulthood, with ever-growing complexity in the interplay of these aspects.

Avé-Lallemant explains in her books and essays all the details of the psychological theory and its
graphological implications. In this short presentation it is impossible to teach the whole system, and I have
to concentrate on the main ideas. I will therefore only explain what she wants us to find out about the writer,
to be able to give him the advice he needs. Qualified graphologists can answer these questions with
their own professional knowledge, in any other way as well.

She considers the adult personality as a complex of seven personality aspects, which can be artificially
distinguished, yet they have a constant interplay, in which their relative importance might change
with time. To maintain a balanced and fulfilling existence, all aspec ts should function well. People
seeking our help are usually disturbed in one or more aspects. Help should be directed to that
particular sphere, relying on the healthy aspects and strengthening them. Thus the problems are defined to
a specific area, and the ability to solve them is based on subject’s own powers. This attitude differs from
typologies, which would concentrate on their few basic outide -criteria, which may, at times, reflect but one
disturbed aspect, and consequently judge the whole personality using this one-sided distorting filter.
Moreover, it is also important to determine the highest possible potential evident in the samples, so that
our demands and expectations will remain realistic. Personality growth, according to this model, shows
the development from relative deterministic inborn traits to higher functions, which show gradual
increase in free-choice. Maturity is hence achieved by addition of more and more personality-aspects, and
their integration gets more and more complex. The ultimate goal is self -actualization, and it is
achieved by this process of gradual increase in the impact of free-will instead of pre-determined destiny.
In this pattern of growth we can find some similarity to the humanistic psychology of Carl Rogers and
to the principles of Logotherapy of Victor Frankl.

PHASE I

The first three aspects are evident already in the toddler, even before he starts writing. We can learn about
them already from the Star-Wave-Tests in Kindergarten-children (Avé-Lallemant, 1984), but also during the
stable childhood years of the first five or six grades. These aspects are:

1. The Material Aspect.

It includes the inborn qualities that are essential for life. These are basic abilities necessary for sur
vival, and are therefore quantitative assets. The more you have of them – the better you are
equipped for the struggle of life. We speak of seven indispensible traits: Vitality, Intelligence,
Imagination, Sensitivity, Affectivity and Willpower. Intelligence and Vitality are considered the most
important traits, they enable solutions to the problems one faces in life and the power to get set and to
carry out these solutions. Avé-Lallemant considers these traits as the two legs that the personality
stands on. For these traits, instead of assessing the most frequent or the avarage level, we are
encouraged to seek its maximal level. We shall actively seek the highest graphic qualities in the
samples. These depict the hidden potentials, which could be better achieved in a more relaxed
atmosphere or period. The strength of all these material traits also enables us to give realistic limits to the
overall potential, and ascertain what can be demanded from a man having that particular trait
profile. The Material Aspect is the only deterministic aspect. One may teach a person to improve
his mental abilities, but only up to his inborn limits. One can also enable him to get in better touch with his
sensitivity, but it”s impossible to train a person l acking sensitivity to become sensitive.

2. The Formal Aspect

Deals with temperament: the form of input, processing and output of thoughts and feelings. These are
evident in the manner a person behaves and reacts. We ought to find out whether his experiences are
“written on sand or carved in marble”: Is he spontaneous or reserved? Is he affected by slight
changes and stimuli? Does he process information in depth and with differentiation? Is he active,
passive or reactive? Does he express himself through simple affect or with deeper feelings? Knowledge
of the temperament is essential for our suggestion of suitable activities and ways of life, in which the
potentials can be best expressed. The typology of Le -Senne (as described by Caille) is of great help in
assessing this aspect.

3. The Intentional Aspect

The way a person relates and adapts to the environment, his ability to take a proper space for himself and
direct himself within the limitations of his world. How does he relate to other people? Does he need
contacts, is he territorially an approacher or avoider? Does he accept other people, new ideas or is he
imprisoned in his own? Does he know where he comes from and where he is heading? This orientational
aspect enables understanding the subjective space the writer takes in his world. Recognizing unsuitable
placement and suggesting possible better environment must follow.

PHASE II

The three previously mentuioned aspects have their origin in early childhood, and they continue to
develop with age. At age 11/12, signs of puberty show their influence on the physical, emotional and
mental development, and are also evident in handwriting as “signs of distress”. During puberty
handwritings traits are often totally masked by disturbances. A new aspect may now overrules all other
aspects, and show enormous fluctuations during the puberty years. This is:
4. The Functional Aspect

It only deals with the state a person is in, not with traits. The bio-psychic balance and personal rhythm of
life are investigated in this aspect. Is our client allowed to live according to his powers and needs, taking his
own time and pace, or is he controlled, forced or repressed? Is he self-controlled or is there an
outside-control? Is he suffering, struggeling, paralyzed, lost, disintegrating? Disturbances in this aspect are
natural in puberty and adolescence, and are generally relieved in the adult personality. However, such
disturbances may remain or reappear at any other phase in life. The pers on seeking our help, having
many conspicuous disturbances in the global appearance of his handwriting: rhythm, continuity, flow,
arrangemenr, control and integration, shows that he cannot cope with the stress excerted on him at
this time and place. His distress is no longer a specific problem, but rather an unfunctional state. We
have to advice decreasing the demands and responsibilities and make some global changes in life-
style.

PHASE III

The three last aspects develop during adolescence, and continue to change and grow throughout adult life.

5. The Essential Aspect

This is the individual cocktail of talents, motivations, interests, tendencies, emotional attitudes, moods.
This aspect includes all special traits and characteristics that constitute the essence of writer’s being
and doing. The typical cha racteristics of the writer are those that “make him tick”. Here we learn about the
nature and levels of his ambitions and needs. This is the aspec t responsible for professional choice,
hobbies, friendships and partnership. Most of our regular graphological work is concerned with this aspect:
we analyse the expressive gestures as seen in the typical forms and the specific movements. In this
aspect we also evaluate the symbolic value of spatial phenomena. All these graphological details
constitute the map of needs, motivations and talents.

6. The Existential Aspect

This is the most private aspect, dealing with self -awareness and self-image. Is the writer authentic
and true to himself? Does he experience capability, inner-power, and some sense of value and
importance? Has he experienced safe separation and individuation or does he cling to foreign
expectations or norms?

The existential aspect enables the graphologist to get in touch with the innermost feelings of the
writer, and to meet him as he meets himself. We face his wishes, losses of megalomanic dreams
and sense of being, as seen from his own point of view. Young people are especially open to
suggestions directing them to a more realistic and true self-image.

7. The Qualitative aspect.

This is an integr ative overview of the entire personality. By quality we do not mean a judgemental
evaluation of a person relative to other people. We are not concerned if he is talented, creative, helpful
or good-natured. We rather ask whether the writer accepts himself and lives at peace with himself.
Is he balanced? Can he become empathic, touched by other people and new ideas? Is he mature,
deep, consciouse Is there integrity, fulfillment, integration? Is there an individual and distinct identity.
All these integrating questions lead to the experience of our client as a unique creation, a person
of many choices, and someone who is always in the process of growing, overcoming and taking
responsibility over the inevitable problems one has to face in life.

Looking on the bright side

Let us summerize the basic optimistic principles we should take home with us and include in every
consulting case, immaterial of our choice of professional methods: The scope of any assessment is limited
to temporary points along the dynamic lifespan. Signs of distress and the functional aspect reflect a state,
not traits. Difficulties should be defined beyond the age-, situation- and culture- specific problems. The
“identified patient” (child, spouse) may suffer projections of dysfunctions and unsolved problems in the
family. The best graphic qualities in the sample promise that latent qualities exist and could be
enhanced. Problems are confined to specific aspects of the personality, while other aspec ts remain
intact and enable the disturbed sphere to be repaired. The Dynamic Graphology enables us to lead
the people who consult us in their individual search for meaning. It teaches us to share their hopes and
fears instead of condemn and judge them. Through this method we may enrich ourselves as guides in
other people’s struggle for more awareness and true understanding. As we touch others, we are
touched and blessed.

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