Catch A Thief .com

Credentials-CV

Tue, 27 Nov 2007 18:09:40 PST

Synopsis CV of J. Lucas / Forensic Document Examiner

Russellville Arkansas 72801

Ofc. 479 890 5732 Fax 479 890 5646 -joe k lucas @ hotmail.com or catchathief.com

Involved in

Handwriting Forgery detection sine 1983

Court qualified Document Examiner

Member National Association of Document Examiners.

Member American Society of Law Enforcement Trainers

Master Graphologist State certified and licensed to evaluate handwriting by theInstitute of Graphological Science, Dallas Texas

Approved instructor of Handwriting Identification / Document Examination.

Approved to instruct CID Presonnel on handwriting identification in 28 States.

Commissioned By the Minnesota Fraud Task Force.

Commissioned By the Republican committee on voter fraud.

Commissioned By the New York State Department of Motor Vehicles.

Commissioned By the North Carolina Criminal Justice Academy

Commissioned By the National Health Care Anti Fraud Association.

Commissioned By the Midwest Consolidated Security Forum

Authored “Red Flags on Forged Checks”, a guide to the detection and defense of spurious checks. Published by Forensic Publishers of Joppa MD.

Teaching Handwriting / Document examination course at Kilgore Community College, Kilgore Texas.

Lectured For the National Association of Document Examiners, New Orleans conference

Certified Instructor for Law Enforcement officers.

Listed With the Technical Advisory Service for Attorneys

Listed Ozark Legal Services.

Affiliated VISA’s fraud training program.

Identity Theft CD

Wed, 14 Nov 2007 12:22:25 PST

A special "Thank You" to Law Enforcement agencies. This CD is for the departents that give civic presentations. The CD will have YOUR presenters name and YOUR Department name. A Great aid when giving presentations and a useful addition for your department library. CLick on the thumbnail to view. There is a sampling of 10 slides. CD is animated.

The CD contains 30 slides and is designed to last from 15 minutes to one hour depending on the information the presenter wants to elaborate on. Your agency pays S&H of 4.95. Works excellent with Segment #217 (see "segment CD's"). Your agency will be invoiced for S&H. All CD's are shipped seperately.

To order your copy go www.catchathief.com click on "contact form and leave contact information.

Pricing-Order

Tue, 13 Nov 2007 05:35:43 PST

For security reasons, all transactions are on an INVOICE basis. TO order go to http://www.catchathief.com , click "contact form" leave contact information.

Pricing-Order

ON LINE consists of 16 - 1 hour sessions on the web, available

24 / 7. 350 page manual, and an animated CD with 312 slides ( no sound) is available.

Pricing Schedule - On Line

1 Student $365 ea.

2 Students $315 ea. $630

3 Students $265 ea. $795

4 Students $215 ea. $860

5 Students $165 ea. $825

Manual and CD . $95.00 ea.

Manual and CD may be purchased separately.

Pre-paid only, no C.O.D'.s will be accepted.

(Manual is 350 pages and CD is 312 animated slides.) S&H :$13.00

Individuals testing for Certification must pass testing with a score of 70%. Students will adhere to agency rules and regulations in regard to testing procedures. State mandated credits are available in selected states.

Testing fee of $45.00 applies per testing session.

Individual student/case consultation is $ 35.00 per one hour session of live interactive session and applies to registered students only.

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Segments

Fri, 09 Nov 2007 17:45:34 PST

To busy to study or just need a refresher? See our Segment CD's below.

Segment CD's are $39 each + $4.95 S&H. Each CD comes with additional information in an 8 1/2 x 11 booklet for easy reference. ( CD, security features #217 is FREE ! You pay only S&H $4.95.) Each segment contains 30+ slides and a 8 1/2 booklet for easy reference. Segment CD Samples. All thumbnails are timed. Please allow for loading.

Level One Segment CD's

# 213 Contents of CD:Elements of handwriting....Forgers make it easier for the examiner....Where to look for differences....Zones....Reference points

#214 Contents of CD: Medial lettere....Margins....Placement....7 types of pressure....Pressure patterns.

# 215 Contents of CD: 6 conclusive indicators of forgery....Slant-unique, how to measure....identifying criminal writing....5 catagories of the writing movement.

# 216 Contents of CD: Connectives....Exemplars vs. Standards....Identifying sexual predators writing....5 types of writing....Initial emphasis-artificial / genuine.

# 217 Contents of CD: 12 causes of letter formation, Proportions in writing-habits, Security features-'all documents. Free CD is Security Features only.

# 218 Contents of CD: Line quality-for identification purposes... identifying drug usage in handwriting....Printing vs. cursive writing.

Segments will be added on a regular basis. Each Segment contains 60 slides and booklet and is the equivalent to a 150 page book.

Home page www.catchathief.com

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Slide content Lvl 1

Wed, 07 Nov 2007 06:59:45 PST

Slide content for Level -1 (Segments can be purchased seperately. See "Segments CD's)

4 Why use the internet

5 How to use the CD

6 Security Features-Why

7 Class Content

10 Competent Examiner

11 Security Features

41 Currency

42 What is Handwriting

43 Document Examiner-defined

44 4 Disciplines

45 Graphologist-defined

46 Graphoanalyst-defined

47 Statement Analyst

48 Evolution of Handwriting

51 History of Graphology

52 Areas of Forgery

53 Definitions

57 Phenomenon

58 Talking paper

59 Senate Bill 512

60 What’s on a credit report

62 Sources of Fraud

64 Dangerous Receipt

68 Penalties for

70 Elements of Handwriting

72 6 obvious errors

78 From Blindness

89 Intersection points

90 Currency security features

91 Guess work

95 Credit card information

96 Right or left handed

106 10 Doctrines of handwriting

107 Forgers make it easy for the examiner

108 What handwriting won’t reveal

109 Stick figures

114 Aggressive child

115 Dangerous writing

117 Ellie Smith

118 Only one way to write Capital “E”

120 Do not look For

123 Picture value

124 Letter “M” differences

125 Numbers

127 Re-tracing

129 Find differences

135 Picture value

137 Mechanics of writing, check classification

178 List of Differences

179 Zones

180 Medial Letters

181 Reference points

182 Plain paper

183 Balanced writer

184 Top line

185 No wrong way

186 Margins, placement

189 Pressure patterns

190 Subconscious

191 Terminology

194 7 types of pressure

195 6 conclusive indicators of forgery

196 Baselines

199 Slant

203 Exemplars vs. Standards

204 Psychological effects

205 Tri-zonal

207 Criminal writing

208 Terminal writing

210 Connectors

211 Gayle / Arcade’s explained

212 Connectives

214 Fingerprints vs Handwriting

216 Howard Hughes

217 Construction

218 5 types of handwriting

220 Initial emphasis

221 Spacing

222 5 categories of stroke movement

223 12 causes of letter formations

224 Conditioning of letters

227 7 types of spacing

228 Letter measurements

230 Line quality

232 Proportions

237 Speed in Handwriting

243 Analyzing Ripkey

244 Finding “differences”

245 Gayle, proportions

251 Drugs / Margins

252 How many writers

254 Newcombs theory

255 Harry Jones / speed

258 Candice, first analysis

259 Tips

263 Variations

269 Introduction to Statements.

281

Dangerous Margins

Tue, 06 Nov 2007 14:35:34 PST

Dangerous Spacing /Margins

In order to determine letter spacing, all that is required is to draw a box around the letters being measured and compare the sizes of the letters being compared between the two writings under analysis (see slides numbering 227 and 228 on your CD).

There are more than one type of spacing involved in handwriting that needs to be investigated, in fact, there are a total of eight (8). They are (1)“general spacing, (2) horizontal spacing (3) vertical spacing, (4) upper margins, (5) lower margin, (6) right hand margin and (7) left hand margins. (8) Letter spacing which will be excluded from this discussion as letter spacing is explained exhaustedly under the heading “Primary indicators of speed” in level 2.

No two writers will write with the same type of spacing or margins in the writing. Identification of a writer is made easier by not only identifying “spacing” but understanding the “whys” of spacing as well.

First lets distinguish between “general spacing, “horizontal spacing and “vertical spacing” . Where the margins are located is self explanatory. All the analyst needs is to have an understanding of the “why’s”.

General Spacing.

The general use of space is often conditioned by the purpose of the manuscript. How important is the message that is going to be conveyed. The writer subconsciously evaluates the following 4 factors.

1 The writer’s feeling for the subject, is it a pleasant or unpleasant topic.

2 How long will the manuscript be. Most persons are inclined to get a fairly short text onto one page. If the writing becomes longer than anticipated, most writers are reluctant to take the trouble of making a new page-adjustment for the sake of a couple of lines If the text is becoming longer than the writer anticipated, he will prefer to write the last lines closer together rather than start a new page. (see bottom margin)

3 The absolute size of his usual handwriting, and his spatial conditions (the ratio of the space at his disposal determines automatically whether his text will be increased in length or shortened).

4 Placement, where the text will begin on the writing surface. The majority of times this placement is habitual. (refer to slides 227and 228 on the CD.)

Horizontal Spacing

Horizontal spacing is the spacing between the words written on the paper.

NOTE: In connection with vertical spacing we must, when we are dealing with German handwriting ( that is, with texts written in the German alphabet, take into consideration a national peculiarity.

The German alphabet is , as we know, peculiar for size-ratios which differ from those of any national alphabet written in Latin letters. The medium letters are three times (instead of twice) and the long letters five times (instead of three times) the height of the short letters. Consequently the German system of handwriting tends, by it exaggeration of the upper and lower projections, to result in a “dovetailing” of the lines with the lines above and below.

Vertical spacing

By vertical spacing we understand the spatial separation of line from line.

Vertical spacing is the distance the writer maintains between the lines of writing. There are writers who will “dovetail” or “tangle” lines together. (lower projection from the base line touching the line below with consistency, and others will not dovetail at all.)

Margins

We must now distinguish between four additional features of the general spacing; the upper, lower, right hand and left hand margins.

Upper margin

Of these four we can control the upper margin in the most arbitrary fashion. We know that the possibility of an arbitrary modification of the act of writing is greatest at the beginning.

Left hand margin

A left hand margin which increases in width is as we know, a primary feature of speed and will be confirmed with a sentence impulse[1]:(see foot note#1)

Right hand margin.

Seldom will a wide right hand margin exist with the presence of a sentence impulse. These two factors, (sentence impulse and wide right margin) will rarely be found in a single script.

NOTE: (A wide right hand margin in connection with a strong sentence impulse can occur only as the result of an aesthetic restraint of this sentence impulse.)

Bottom margin

In either a single page manuscript or multiple pages, when the lines crowd together at the bottom of the page, regardless of the size of the margin, this crowding is due to ;(1) in a quick act of writing sentence impulse), a brief postponement of the sentence impulse in order to facilitate the space left for the remainder of the text (2) in a slow act of writing this crowding adjustment is attributed to a lack of adaptability. Either way, the analyst can clearly identify two different writers, one quickly written, and one written slowly.

Let us now compare two writings, one containing a higher degree of “negativism” than the other.

"A" Click photo for better view.

Figure “A” is a writing that borders on the furthest parameters of “normality”.

The writing is slowly written, has poor spacing and erratic pressure. The base lines vacillate. As we have already learned that the beginning of a writing is easier to alter (disguise) and in script “A” it can clearly be seen the artificiality ends on the 5^th line with the word “important”. The attempt to appear “normal” is overshadowed by the poor use of the Horizontal spacing where the writing clings to the end of the page. This writer must always be kept busy, has a fear of being alone, is pushy and is in constant need of someone being near by. The writer dwells on past experience and is apprehensive about the future.

In contrast, figure “B” reveals a different story.

"B" click thumb for view.

The writer of figure “B” has literally written off the writing surface. This writer is clearly telling the reader that “I have no boundaries. I have no guide lines. I will do as I please without concern for anyone. The base lines are erratic, the pen pressure is erratic, letters vary in size,

Also clearly telegraphed to the reader is that the writing was rehearsed by the addition of words that are squeezed in between lines 5 and 7.

Many of the oval letters are open at the bottom, an accurate indicator of one who can take a life without ever suffering any afterthought or remorse, no guilt or conscience.

As you learned earlier that you will read writing in the exact speed in which it was written. As you “try” to read “B” notice how you haltingly stumble through the content.

The vast majority of indicators of criminality you have thus far learned can be found in this writing.

Note: that not only has the writer literally written off the writing surface in both the left and right margins he allowed no room at the top or the bottom.

[1]Sentence impulse: The desire to complete the context and continue on to the next thought thereby neglecting to dot “i’s or cross the t’s until the journey to the next line begins which necessitates a movement across the page from right to left. The trail left by the writer will be “accent graves ( < ) for ”i” dots and left tending t-bar crossing and in cases the “ i” dots or t-bars are entirely excluded. Additional indicators of the line impulse writer will be the reduction of letters and words towards the end of the line, connectors that thread out and obliquity (slant) is increased and NEVER decreased..

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