It therefore remains as the last vowel e to examine.

Since the small e located

completely within the sentiment, is it not surprising that the shaping of this vowel
predominantly provides information about emotions. While we refrain from some
special forms, which reveal physical diseases, one of which us namely the
smudged, e head as signs of a liver or biliary disease, already is known (see
Figure 18).
After we saw that the a first and foremost about the emotional setting other
people face to face the o something about own self-consciousness and the i
reveals essential about the ego, we want to anticipate that the e says among
other things about the emotional adjustment of the writer to his family. To avoid
misunderstandings, we want to clarify that the blood-related family of origin is meant
here and not the family of newly formed by marriage. This excludes also the own
children, if we in the interpretation of certain e speak forms of familial feelings.
These relate only to grandparents, parents, sibling, uncle, aunts and their children.
Of course have parents and siblings for obvious reasons that greater importance
than this relatives at distant is the case.
The manuscripts, which are very numerous e -Kp-fe completely missing (Figure
43), so that the e very easily with one i can be confused without point. This
feature is for missing feelings of the writer, as far as this his family concern (see
above definition). "In extreme cases, if in a larger document without exception all e
heads are missing, you comes to the conclusion that the writer has nothing to do
with his family of origin, or is emotionally all his family members to at least indifferent,
even if he has yet relations with them. The other emotional life of the writer is from
the missing e heads not affected.
The extreme case, that really all e heads are missing, but rare. A mixture of
normal shaped is more common, the school template corresponding e and those
with missing heads. The normal e reveals positive feelings for the family. The more
or less numerous e , where the head is missing, make restricting the interpretation
of normal e necessary. So you can formulate the overall interpretation of both
forms like this: in otherwise harmonious relations with the family, the feelings of the
writer to one or more members of his family must be cooled down.
The Figure 44 shows us repeatedly e , the one clear s1c1 aren opflfat and where
the paint is missing (what most matters for this characteristic). The writer seems to
hurry now to write here the e -Kopfes to start. This feature often found in writings
by people who are characterized by a very strong family feeling, developed beyond

the ordinary. It would us be difficult, the degree of normal to define; We

therefore content ourselves with noting that copyright of the one shown in Figure 44
e the members of their family have a striking, unusual love.
Here we must draw attention on it, that it is quite possible and not rarely occurs in
practice, that is in a typeface that shown in Figure 43 Figure 44 e shapes at the
same time find. While it behaves so that inference on exceptionally strong family
feelings in General retains its validity, where only one or a few members of family,
there is an aversion against the, are excluded. They have to avoid compromising the
original relationship of the writer and his family managed.
Much less common than the first two e is to observe the orm shown in Figure 45.
The word close shows very clearly that the characteristic trait of this e is that it
considerably dominates the other letters of the middle layer and resemblance to a l
Gets Such e write people seeking support in ilirer family. Give information also
features other, also mainly feel certain if also not specifically related to the family can
the small e. Figure 46 shows the rolled-up snails-e . Rightly, this form reminds
us of the rolled-up a (see Figure 24). Like this shows us the eingeroll te e the
tendency of the recorder,
something to hide.
No other letter so clearly gives information like that about a frequently occurring
property like the sensitivity e . People who are very sensitive, blamed for often
harmless Kleinigkeitenn and gernkt on each occasion personally respond, write
buckled (e), as she and the figure of 47 displays.
We see clearly, especially when the enlarged e , that the initial stroke made with
enthusiasm at the moment, where the e head to start, stopped and bent sharply
downward. If now this curve particularly sharply, i.e. If the resulting angle is
particularly acute, we must add our interpretation of the above yet, that tends to be
the writer from vanity to insincerity.
This interpretation has seemingly only those basic form is nothing to do with,
because in fact, the second interpretation is an increase in the first. As it shows
clearly in several of his works C. G. Jung, a conspicuous sensitivity is the result of an
inferiority complex. A feeling of inferiority is expressed but mostly by an increased
need for validity. What now the copyright of the sharply tilted e concerns, so we
have made the observation, their application need is happening mainly on intellectual
level. From suppressed vanity that springs from his exaggerated feeling of inferiority,
the clerk simply denies off certain facts, invents or conceals them.

Man however observed for a font, the sharp buckled e contains, at the same time
open a and o , which are a sign of openness Yes in principle, so must the above
interpretation become something. Such scribes usually won't try to deny facts or
free to invent things. But because they still have the need to meet their increased
vanity, they go in depicting their experiences and deeds over the target. You give a
report, the core of which is true, while details but exaggerated and embellished are
reproduced to give a very positive picture of the Narrator.
Despite this unique interpretation of the characteristic, it is often not easy to estimate
correctly, like the buckled in practice e is to evaluate the overall assessment of a
character. Fonts, which are numerous namely only part e heads caved in, while
many others are quite normal. Here, it is important to determine the writer may be as
sensitive and properly to assess to what extent the sensitivity affects the others in the
displayed properties.
"To facilitate the overview, we are here waiting for some special uppercase forms of
a and the e there, although these forms of rrer importance to the property
groups that are discussed in this chapter have nothing to do more and actually
belonged to the chapter of the special features.
In make awkward fonts we observe that in Figure 48 shown large A . It reveals a
pronounced lack of originality. The writer has no own ideas.
The simplified, lace A , which shows us the figure of 49, is usually written by
people, who are very accurate, like to go to the bottom of things and thinking well
analytically.
The round or rounded but A (Figure 50) tells us that its author has the desire to
make the world better and helping other people.
One more A form shows us the figure of 51. This"A"has some similarity with an
easel. It is actually often have a good judgment in terms of artistic things written by
people, characterized by a developed sense of proportion, and tend to express more
vividly than abstract.
The last studied here AForm looks like an enlarged Latin small letter a to split his
belly through a loop is this figure 52. scribe act normally after their own, but
under foreign laws, and they are aware of. The higher the splitting loop sits, the writer
of its dependence on foreign ideas is so conscious.

The common printed large E can be written very differently, what is easy to
establish closer. The figure 53 shows ururdas pressed E , whose beams are all
about equal in length. Our figure shows that it is found in steep - as well as in italic.
This applies also to most other characteristics. Who such E writes, is usually a
hard-working man who can't, let. He is reluctant to the arbitrariness of fate, as well as
against foreign influence. He is a mentally moving man, very often an artist.
On this occasion, it is determining valid for all characteristics to make, that the nonexistence of a characteristic does not necessarily mean the non-existence of the
corresponding character property. Each property can be read often as much on other
characteristics of the font. It would be such an absurd conclusion to say: this writer
is not tilted e -heads, therefore he is not sensitive and easily hurt feelings. Our
conclusions can be derived only from clear, visible in the font characteristics, and not
from their non-existence.
But we return to the printed large E back. The figure of 54 shows us a variation of
this form, in which the lower transom is significantly longer than the other two. The
long bar is located in the emotional state, and the whole figure rests formally on this
lower bar. It therefore suggests the conclusion that the writer relies much on his
feeling. He reacts only with mind, if also his feelings can still resonate.
The following form of the printed large E is designed (Figure 55), that the top bar
marries hovers in the air. All writers of this E shape have previous experience the
common train to reject religious dogmas.
The Figure 56 shows us the great dickbauchige E , which go down most. The
main concern of the writer of such E is to create a secure material base at all
costs. For money, he is willing to much.
The us so-called"corkscrew-E (Figure 57) by humans write that oblige usually
without success, understanding very difficult contexts. The same corkscrew trend
can be seen by the way sometimes other uppercase letters.
Our interpretation is there, if the writing movement above begins with a drilling bit
and reminded the whole fabric of a corkscrew or another screw thread. In doing so,
this form must not necessarily impair the legibility of the letter.