What seems to us to be most important in graphology is:

1. Rigorous observation of what is expressive and individual about the graphic movements of a writer, which are never identical with those of anyone else.

The combination of the various graphological elements can vary considerably. Yet it is the basic movements with their pressure, progress, form, movement, and layout on the page, which guide us in the choice of the elements to be retained, and enable us to base our interpretation on analogical reasoning.

Although some typologies can help solve some uncertainties, they are not fundamental to us; their systematic use seems to us to lessen, if not take away entirely, what is personal in our approach to a writing, as well as what is unique and, in the end, cannot be classified in each writing.

By choice, we always stay close to the writer's graphic movements, to enable us to make a concise definition, listing the signs in order of their importance, trying to understand how this graphological observation fits in with the history of the subject, or with his career.

2. Respect for the code of ethics and the acceptance of the limits of interpretation.

Essentially, graphology enables one to study a personality, including its motivations, but without making a pronouncement with regard to its specific talents and objectives, and its physical characteristics.

If one can assess the way mental energy is used, one cannot, on the other hand, legitimately make a medical diagnosis, or make any remarks on the sexual life of the writer, for we consider that we do not at present have any reliable graphological elements which would allow us to justify this.

Moreover, exactness of the level of intelligence, or the ability to memorize or to be creative, are very difficult to assess.

My personal experience has convinced me of the importance of studying children's and adolescents' handwriting, and even the scribbles done before and at the start of the acquisition of language - scribbles which are already very revealing of the symbolism of space and forms.

Observing the first, untaught movements of a small child can but convince one of the personal imprint included in a graphic pattern, however fugitive it may be, and make one consider what discipline is involved in learning to write, in relation to socialization.

With longitudinal studies, one really experiences how handwriting becomes organized. Such studies are particularly revealing of the personality of the subject, and make it possible to trace back the steps of an adult, in a way which no other method provides.

Relying on the data, we have introduced graphotherapy, which at the moment is raising serious interest in France .

We shall not conceal the fact that professional selection does not allow us to take these elements into consideration. However, we consider that they have a decidedly interesting place in the training of a graphologist, as well as in private graphological studies, where they are used to restore to a writer all the aspects of his personality. To be an adult is to become what one really is, an d this starts from childhood.