1
Q
PRINCIPLES OF IDENTIFICATION
A
- No two writers write exactly alike.
The physical condition and position of the person, including their writing instrument, n ect handwriting characteristics, but these factors do not encompass all elements of identi 3 te amet exced their maximum writing ability or skl without serious efort and - The combination of handwriting characteristics, including those derived from form and
writing movements, are essential elements of identification. - Individuality in handwriting can only be determined through comparative examination with a standard written or prepared under comparable conditions.
- Similarity does not imply identity.
- Complete identity indicates forgery.
- Sufficiency of specimen:
a) Handwriting is deemed to have been written by one person when there are a sufficient number of identical writing habits and primary controlling
characteristics,
along with the absence of divergent characteristics.
b) Handwriting is deemed not to have been written by one person when there are sufficient divergent writing characteristics and an absence of identical
primary
controlling
characteristics.
2
Q
It is the result of a very complicated series of factors, encompassing a combination of visible mental and muscular habits acquired through long and painstaking effort.
Some define handwriting as “visible speech.”
A
Handwriting
3
Q
Kinds of Writings
A
A. Cursive - connected writing in which one letter is joined to the next.
B. Script - separated or printed writing.
C. BLOCK - all CAPITAL LETTERS.
4
Q
Two Groups of Muscles Involved in Handwriting:
A
- Extensor muscles - used to push the pen for upward strokes.
- Flexor muscles - used to push the pen for downward strokes.
In general, four groups of muscles collaborate in writing. Their coordinated effort to produce written forms is known as motor coordination.
5
Q
Causes of Variation:
A
- Influence of external conditions, such as available space.
- Abnormal conditions like physical injury, toxic effects, intoxication, emotional state, and deception.
- Position of letters - whether they appear initially, medially, or finally. Different positions, especially in combination with specific letters, can modify their appearance.
6
Q
Refers to the standard of handwriting instruction taught in a particular school. Different copybooks depend on the school’s adopted standard copy
A
SCHOOL COPYBOOK FORM (school model)
7
Q
The combination of the basic design of letters and the writing movement as taught in school make up the writing system. Writing through the use diverges from the system, but generally retains some influence of the basic training.
A
System of writing
8
Q
This refers to the shape or design of individual letters.
A
Form
9
Q
It is the angle or inclination of the axis of letters relative to the baseline.
A
Slope or slant
10
Q
a writing characteristi, it varies under different conditions and may have little nes the ration over pronounce example or a smal sample of writing like a signature
A
Size
11
Q
Individual characteristics in the relative proportions of letters or parts of letters, such as the relative height of one letter compared to another, can be found in different styles of writing. Proportion of letters is one of the hidden features of handwriting.
A
Proportion
12
Q
The relationship between tall and short letters is referred to as the ratio in writing.
A
Ratio
13
Q
This refers to the strokes that connect one letter to the next. In signatures, it is common for many writers to connect their initials without lifting the pen. In regular writing, many writers habitually drop these connections before certain letters, especially small letters within words.
A
Connecting stroke
14
Q
When a letter, word, or name (signature) is completed in free, natural writing, the pen is usually lifted from the paper while in motion with a “flying finish” (also referred to as “vanishing”, “9tapering”, or
“flourishing” terminal strokes).
Additionally, with many writers, the pen motion slightly precedes the contact with the paper at the beginning, creating a “flying start”, so that the strokes at the beginning and end of words gradually diminish or taper to a “vanishing point”.
A
Terminal Strokes and Initial Strokes
15
Q
is an interruption in a stroke caused by removing the pen from the paper.
A
Pen lift
16
Q
A gap between strokes due to speed in writing or defective writing instruments.
A
Hiatus
17
Q
Lateral spacing is considered a common characteristic when it conforms to the standard copy-book form.
A
Lateral spacing
18
Q
It is the widening of ink strokes with increased pressure on the paper surface.
A
Shading
19
Q
Refers to the visible record of the basic movement and manner of holding the writing instrument in the written stroke.
A
Line quality
20
Q
The relation of the parts of a whole line of writing or individual letters in words or signatures to the baseline.
A
Alignment
21
Q
It is the balanced quality of movements, the harmonious recurrence of stress or impulse.
A
Rhythm
22
Q
The average force with which the pen makes contact with the paper or the usual force involved in writing.
A
Pen pressure
23
Q
Means “deviation from uniform strokes due to lack of smoothness, perfec parent even without magnification
A
Tremor
24
Q
Variation due to the lack of machine-like precision of the human hand, fluenced by external factors such as the writing instrument and position, and physical and mental conditions like fatigue, intoxication, illness, nervousness, and age.
A
Natural variation
25
- Refers to additional unnecessary strokes not necessary for legibility of letterforms or writing, but incorporated for decorative or ornamental purposes.
Rubric or embellishment
26
The relation of parts of a piece of writing or individual letters in words to the baseline. It refers to the alignment of words or the relative alignment of letters.
Alignment
27
Sharp, straight strokes made by stopping the pen and changing direction before continuing.
Angular forms
28
Forms that resemble arches, rounded at the top and open at the bottom.
Arcade forms
29
Any distinguishing property or mark, commonly referred to in document examination as identifying details.
Characteristics
30
Side-by-side comparison; in this context, critical comparison through side-by-side examination.
Collation
31
The act of placing two or more items side by side to evaluate their identifying qualities; the counterparts of each other.
Comparison
32
When a writer intentionally alters their usual writing style in an attempt to conceal their identity. The results, regardless of their effectiveness, are termed disguised writing.
Disguised writing
33
The movement of the pen towards the writer.
Downstroke
34
The chosen writing style of the writer, encompassing how the writing looks, whether it's in a copybook, elaborate, simplified, or printed form.
Form
35
Cup-like connected forms that are open at the top and rounded at the bottom.
Garland forms
36
GESTALT
A German term meaning 'complete' or 'whole'. In handwriting analysis, a good gestalt refers to writing that appears balanced and harmonious without needing any adjustments.
37
GRAPHOANALYSIS The study of handwriting based on two fundamental strokes: curved and straight strokes.
Graphoanalysis
38
Analysis through comparison and measurement.
GRAPHOMETRY
39
The art and science of analyzing handwriting to determine a person's character, disposition, and authenticity, particularly in the context of forgeries and questioned documents.
Graphology
40
Any disconnected style of writing where each letter is written separately, also known as handprinting.
Handlettering
41
The amount of space between letters.
Letter space
42
LINE DIRECTION The direction of the baseline movement, which may be upward, downward, or straight across the page.
Line direction
43
- The overall character of ink lines from the beginning to the ending strokes. It is influenced by factors such as writing skill, speed, rhythm, freedom of movement, shading, and pen position.
Line quality
44
- The amount of space between lines.
Line space
45
A disconnected form of script or semi-script writing, often taught to young children as an initial step in learning to write.
MANUSCRIPT WRITING
46
amount of space left around the writing on all four sides.
Margins
47
Any study or examination conducted with a microscope to discover minute details.
Microscopic examination
48
It is an important element in handwriting, encompassing all factors related to the motion of the writing instrument: skill, speed, freedom, hesitation, rhythm, emphasis, tremors, and similar aspects. It involves how the writing instrument is moved-whether by finger, hand, forearm, or whole arm.
Movement
49
Any specimen of writing executed normally without any attempt to control or alter its habitual characteristics or usual quality of execution.
Natural writing
50
These are normal or typical deviations found between repeated samples of an individual's handwriting.
Natural variation
51
The act of intermittently applying increased pressure with the pen against the paper surface. When the pen point is flexible, this emphasis can produce shading. With more rigid pen points, heavy point emphasis can occur without evident shading.
Pen emphasis
52
The manner in which a writer grasps the barrel of the pen and the angle at which it is held.
Pen hold
53
name of a person written by them in a document as a sign of acknowledgment. Alternatively, it is a name or mark that a person places at the end of a document to attest that they are its author or that they ratify its contents.
Signature
54
Historically, many individuals who could not write signed with a cross mark or crude X. This authenticating mark is still used today by illiterates and, if properly witnessed, can legally stand for a signature. Ballot marks are also referred to as cross marks due to the common practice of marking with an X.
Cross mark
55
Not simply a signature, but one signed at a particular time and place, under specific conditions, while the signer was of a particular age, in particular physical and mental condition, using specific implements, and with a particular reason and purpose for recording their name.
Evidential signature
56
A forged signature where a person writes a name as a signature without permission, often with some degree of imitation.
Fraudulent signature
57
fraudulent signature executed purely by simulation rather than by tracing the outline of a genuine signature.
Freehand signature
58
signature executed while the writer's hand or arm is steadied in any way. In most jurisdictions, such a signature can authenticate a legal document if it's shown that the writer requested the assistance. Guided signatures are commonly written during serious illness or on a deathbed.
Guided signature
59
Synonymous with freehand forgery.
Imitated signature
60
genuine signature used to prepare an imitated or traced forgery.
Model signature
61
act of comparing two or more signatures in an inverted position to assess their identifying significance. This method aims to reveal details that may not be apparent under normal comparison conditions.
Theory of comparison
62
Type of signature, which complete and correct signature for an important document such as a will.
Formal
63
Type of signature Usually used for routine documents and personal correspondence.
1. Personalized
2. Semi-personalized
Informal
64
A type of signature Typically used for informal purposes like mail carriers, deliver ersonnel, or autograph collector
CARELESS SCRIBBLE
65
Executed purely by simulation rather than by tracing the outline of a genuine signature. It can be referred to as freehand imitation or simulated forgery. Alternatively, it refers to free-hand drawing in imitation of a model signature.
SIMULATED OR FREEHAND IMITATION FORGERY
66
Forger works directly with ink.
Direct technique
67
Forger first works with pencil and afterwards covers the pencil strokes with ink.
Indirect technique
68
Used by forgers who have a certain skill in writing. After some practice, the forger tries to quickly write a copy of the model.
SIMULATED FREE HAND FORGERY (TECHNIQUE)
69
Tracing made by transmitted light.
Direct tracing
70
Forger uses carbon paper placed under the document bearing the model signature to trace the forged signature.
Indirect tracing
71
Forger does not try to copy a model but writes something resembling what we ordinarily call a signature. They use a false (spurious) name and make a rapid stroke, altering their usual writing in a disguise.
SPURIOUS SIGNATURE (SIMPLE FORGERY)
72
CLASSES OF FORGED SIGNATURES
A. SIMULATED OR FREEHAND IMITATION FORGERY
B. TRACED FORGERY (TRACED SIGNATURE)
C. SPURIOUS SIGNATURE (SIMPLE FORGERY)
D. FORGERY BY MEANS OF A STAMPED FACSIMILE OF A GENUINE OR MODEL
E. FORGERY BY COMPUTER SCANNING
73
INDICATIONS OF GENUINENESS
1. Carelessness
2. Spontaneity
3. Alternation of thick and thin strokes
4. Speed
5. Simplification
6. Upright letters interspersed with slanting letters
7. Upward strokes forming a threadlike tracing
8. Rhythm
9. Good line quality
10. Variation
74
INDICATIONS OF SIMULATED (Direct & Indirect Techniques) and TRACED FORGERIES
has emuld emporarten conneting strokes between letes, indieting pins here thewiter
2. Lack of rhythm.
3. Carefulness or unusual care and deliberation.
4. No contrast between upward and downward strokes.
5. Slow, angular writing.
6. Blunt beginnings and endings of strokes.
7. Diacritical marks placed directly over the stem of letters.
8. Absence of spontaneity; letters lack smoothness.
everythe made withere redu, he wine': mouments, giving the impresion that
10. Lack of variation.
75
INDICATIONS OF SIMPLE OR SPURIOUS FORGERY
1. Writing habits of the forger are evident in the forged signature.
76
INDICATIONS OF FORGERY BY MEANS OF STAMPED FACSIMILE OF A GENUINE SIGNATURE
1. Flat strokes.
2. No contrast between upstrokes and downstrokes.
3. Deposits of ink at the junction of two strokes or where strokes cross each other.
4. Lack of variation; all signatures appear similar or superimposed.
77
any medium of exchange widely accepted in payment for goods and services, and in settlement of debts. It also serves as a standard of value for measuring the relative worth of different goods and services. The monetary unit chosen as a measure of value need not necessarily be widely used as a medium of exchange.
Money
78
The crime of making, circulating, or uttering false coins and banknotes.
Literally, it means to make a copy of or imitate; to create a spurious semblance of money or stamps with the intent to deceive or defraud.
Counterfeiting
79
The act or process of altering the content of a document to misrepresent its intended meaning or purpose.
Falsification
80
act of falsely making or materially altering any writing with the intent to defraud. This includes creating counterfeit documents or signatures that could otherwise have legal effect or establish legal liability.
Forgery
81
Genuine banknotes are produced using an this process. This involves creating intricate designs on metal plates either by hand or with a machine.
Engraving process
82
In this method, letters and serial numbers are created on raised metal pieces. These pieces are inked and pressed onto the paper, similar to a rubber stamp or cliché. Serial numbers are typically added after the banknote has been printed using the engraving process.
Letterpress process
83
This technique involves photographing the desired image onto a specially prepared aluminum plate. The plate is kept damp with water, allowing ink to adhere only to the areas where printing is intended.
Offset printing
84
COLOR OF EACH DENOMINATION
1,000.00 - Blue: Jose Abad Santos, Josefa Llanes Escoda, Vicente Lim
500.00 - Yellow: Benigno S. Aquino
200.00 - Green (Dark on one side, light on another side)
100.00 - Mauve: Manuel A. Roxas
• 50.00 - Red: Sergio Osmena
• 20.00 - Orange: Manuel L. Quezon
• 10.00 - Brown: Apolinario Mabini & Andres Bonifacio
• 5.00 - Green: Emilio Aguinaldo
85
These are pieces of metal stamped by government authority for use as money or collectively referring to metal currency.
Coins
86
Casting is the most common method of making gold coins. Plaster molds bearing an image of gold coins are filled with an alloy made of lead or tin at low temperatures. Some molds are used for high-temperature metals such as copper or silver alloys.
Casting
87
Stamping is the process of making an impression on a coin or metal blank using pressure.
Striking or stamping
88
show an even flow of metallic grains. The details of the profile, the seal of the Republic of the Philippines, letterings, and numerals are in high relief, allowing them to be distinctly felt by running fingers over these features. The beadings are regular, with deep and even readings.
Genuine coins
89
feel greasy and appear slimy. The beadings, composed of tiny round dot urrounding the genuine coin, appear irregular with elongated depressions that are not as shar ind prominent as in genuine coins. The letterings and numerals are shallow and worn out du o the lack of sharp details. The readings are uneven and may show signs of filin
Counterfeited coins
90
What are the crimes of forgeries??
1. Counterfeiting the great seal of the Government of the Philippine Islands, forging the signature or stamp of the Chief Executive (Art. 161).
2. Counterfeiting coins (Art. 163).
3. Mutilation of coins (Art. 164).
4. Forging treasury or bank notes or other documents payable to bearer (Art. 166).
5. Counterfeiting instruments not payable to bearer (Art. 167).
6. Falsification of legislative documents (Art. 170).
7. Falsification by public officer, employee, notary, or ecclesiastical minister (Art. 171).
8. Falsification by private individuals (Art. 172).
9. Falsification of wireless, cable, telegraph, and telephone messages (Art. 173).
10. Falsification of medical certificates, certificates of merit, or service (Art. 174).
91
What are the crimes under counterfeiting coins?
Making, importing, and uttering false coins (Art. 163); Mutilation of coins - importation
and utterance of mutilated coins (Art. 164); Selling of false or mutilated coin, without connivance (Art. 165).
92
ACTS OF FALSIFICATION (Art. 171 & 172)
1. Counterfeiting or imitating any handwriting, signature, or rubric.
2. Causing it to appear that persons have participated in any act or proceeding when they did not in fact so participate.
3. Attributing to persons who have participated in an act or proceeding statements other than those in fact made by them.
4. Making untruthful statements in a narration of facts; altering true dates.
5. Making any alteration or intercalation in a genuine document which changes its meaning.
6. Issuing in an authenticated form a document purporting to be a copy of an original document when no such original exists, or including in such copy a statement contrary to, or different from, that of the genuine original.
7. Intercalating any instrument or note relative to the issuance thereof in a protocol, registry, or official book.
3rd Year 1st/Sem
flashcards
Decks in class (27)
# Cards
-
CRIMSOC 591
-
LAW 172
-
FORENSIC CHEMISTRY45
-
CDI-3 Crime Investigation63
-
LAW ENFORCEMENT OPERATIONS AND PLANNING WITH CRIME MAPPING (LEA 489
-
Forensic 4- Questioned Documents43
-
MIDTERM LAW 149
-
CDI5 Prelim43
-
Cdi528
-
CDI3 Midterm128
-
CA3 Midterm50
-
FORENSIC 3 Midterm107
-
LEA Midterm16
-
FORENSIC 465
-
CDI4 Prelim56
-
CA3 Oral35
-
CRIMSOC 5 Prefinal26
-
Forensic 3 Prefinal88
-
LEA4106
-
CDI3 Prefinal64
-
Law1 Prefinal59
-
LEA4 Final132
-
CA3 Final61
-
Forensic 3 Final42
-
FORENSIC 492
-
CDI4 Traffic Final107
-
Lie Detection Midterm75
