Tiny

The small size accompanied by profundity of intelligence (Spacing between letters of at least 7/10) and without indicators of jerky handwriting constitute the graphological sign 'Tiny', the substance of intellect, indicator of "profound and sophisticated intelligence". (Moretti, 1972, p. 198)

  • Fig. 6 – Tiny handwriting: Charles de Foucauld
    Handwriting sample: Charles de Foucauld

It is already evident that the two basic requirements, profound intelligence (Letter width) sustained by the disposition to careful observations of particulars (small size) guarantee the fact that we find ourselves in front of a personality that is well equipped at a mental level. The following clarification concerning the absence of indicators of jerky handwriting confirms that meticulousness and fussiness over details do not belong to this graphological combination. Even excessive speed, rushing or any form of restlessness, damage the Tiny sign, because they distract it from concentration.
If we eliminate all the disturbance factors, and keep only the power of observation combined with profundity of intelligence, we enter directly into the psychological significance of the Tiny graphological sign, which represents the faculty of concentration expounded in the fullness of its power. On this point Moretti writes: "This graphological sign indicates very deep thought and, I would almost say, the refinement of thought"; "it brings the tendency to refinement of observation, discussion and logical conclusion. Those who have tiny handwriting tend towards philosophical studies and have the impulse to form a completely personal system in which, however, those who together with Tiny do not have around 8/10 of letter width are shipwrecked. This is due to the lack of profundity despite the extreme refinement of observation."
"If there is a above-average spacing between words it indicates mainly a mind that knows how to penetrate truth, in such a way as to nearly split hairs, it indicates very refined reasoning and the tendency to scientific and artistic exegesis." (Moretti, 1972, p. 198)
"It is the graphological sign of observing the substance and the boundaries of things. It tends, therefore, to employ mainly the mental instinct. The vital instinct tends to protest about being ignored and to take revenge – so to speak – by making metabolic functions difficult." (Moretti, 1962, p., 39)
With these definitions Moretti emphasises the mental intensification of the sign and which therefore opens a disequilibrium within the personality. Even sentiments are treated with the same strategy based on detailed observation of particulars and they come out compressed; moreover the refinement of observation makes the small size have rather fussy taste, and the sexual impulse can easily be absorbed by intellectual activity if the sign appears in combination with an intensification of spacing between words.