J.K. Rowling scribbled down the first 40 names of characters that could appear in Harry Potter in a paper notebook. J.J. Abrams writes his first drafts in a paper notebook. Upon his come back to Apple in 1997, Steve Jobs first cut through the complexity that is existing drawing a simple chart on whiteboard. Needless to say, they’re not the ones that are only…
Here’s the notebook that belongs to Pentagram partner Michael Bierut. All of the pages in his notebook resemble the proper side, although he has said to Design Observer that he had lost a particularly precious notebook, which contained “a drawing my then 13-year-old daughter Liz did that she claims is the original sketch for the Citibank logo.”
Author Neil Gaiman’s notebook, who writes his books — including American Gods, The Graveyard Book, plus the final two thirds of Coraline — by hand.
And a notebook from information designer Nicholas Felton, who recorded and visualized ten years of his life in data, and created the Reporter app.
There’s a reason why people, who have the choice to use a computer actually, elect to make writing by hand a part of their creative process. And it also all starts with a big change that we may easily overlook — writing by hand is extremely unique of typing.
Written down Down the Bones, author Natalie Goldberg advises that writing is a physical activity, and thus impacted by the equipment you employ. Typing and writing by hand produce very writing that is different. She writes, I am writing something emotional, I must write it the first time directly with hand on paper“ I have found that when. Handwriting is more connected to the movement regarding the heart. Yet, when I tell stories, I go right to the typewriter.”
Goldberg’s observation may have a tiny sample measurements of one, however it’s an observation that is incisive. More importantly, studies in the field of psychology support this conclusion.
Similarly, authors Pam A. Mueller and Daniel M. Oppenheimer students notes that are making either by laptop or by hand, and explored how it affected their memory recall. In their study published in Psychological Science, they write, “…even when permitted to review notes after a week’s delay, participants that has taken notes with laptops performed worse on tests of both factual content and conceptual understanding, in accordance with participants who had taken notes longhand.”
While psychologists figure out what actually happens when you look at the brain, artists, designers, and writers all have felt the difference in typing and writing by hand. Many who originally eagerly adopted the pc for the promises of efficiency, limitlessness, and connectivity, have returned back again to writing by hand.
There are a selection of hypotheses that exist on why writing by hand produces different results than typing, but here’s a prominent one that emerges through the world of practitioners:
You better understand your work
“Drawing is a way that i can’t otherwise grasp,” writes artist Robert Crumb in his book with Peter Poplaski for me to articulate things inside myself. This means, Crumb draws not to express something already he already understand, but to produce feeling of something he does not.
This brings to mind a quote often attributed to Cecil Day Lewis, “ We do not write to be understood; we write to be able to understand.” Or as author Jennifer Egan says to your Guardian, “The writing reveals the story if you ask me.”
This sort of thinking — one that’s done not just with all the mind, but also utilizing the hands — can be applied to all types of fields. For example, in Sherry Turkle’s “Life in the Screen,” she quotes a faculty member of MIT as saying:
“Students can go through the screen and work at it for a time without learning the topography of a site, without really getting hired inside their head as clearly because they would should they knew it in other ways, through traditional drawing for example…. When you draw a website, when you put into the contour lines additionally the trees, it becomes ingrained in your head. You started to essay writers know the site in a way which is not possible using the computer.”
The quote continues in the notes, “That’s the manner in which you become familiar with a terrain — by tracing and retracing it, not by allowing the computer ‘regenerate’ it for you personally.”
“You start by sketching, then chances are you do a drawing, then you definitely make a model, and after that you head to reality — you choose to go towards the site — and then you go back to drawing,” says architect Renzo Piano in Why Architects Draw. “You build a kind up of circularity between drawing and making after which back again.”
In the book, Orbiting the Giant Hairball, author Gordon MacKenzie likened the creative process to a single of a cow making milk. We can see a cow making milk when it’s hooked up to your milking machine, therefore we understand that cows eat grass. But the part that is actual the milk has been created remains invisible.
There clearly was an part that is invisible making something new, the processes of that are obscured from physical sight by scale, certainly. But, elements of what we can see and feel, is felt through writing by hand.
Steve Jobs said in a job interview with Wired Magazine, “Creativity is things that are just connecting. They did something, they feel a little guilty because they didn’t really do it, they just saw something when you ask creative people how. It seemed obvious to them before long. That’s simply because they were able to connect experiences they’ve had and synthesize things that are new. Therefore the reason these were in a position to do that was that they’ve had more experiences or they usually have thought more about their experiences than many other people.”
Viewed from Jobs’s lens, perhaps writing by hand enables people to do the latter — think and understand more info on their own experiences. Just like how the contours and topography can ingrain themselves in an architect’s mind, experiences, events, and data can ingrain themselves when writing down by hand.
Only following this understanding is clearer, can it be better to come back to the computer. In the center of the 2000s, the designers at creative consultancy Landor installed Adobe Photoshop on the computers and started deploying it. General manager Antonio Marazza tells author David Sax:
J.K. Rowling used this piece of lined paper and pen that is blue plot out how the fifth book when you look at the series, Harry Potter and also the Order associated with the Phoenix, would unfold. Probably the most obvious fact is that it looks exactly like a spreadsheet.
And yet, to state she might have done this on the spreadsheet will be a stretch. The magic isn’t in the layout, that will be just the beginning. It’s into the annotations, the circles, the cross outs, and marginalia. I realize that there are digital equivalents to every of these tactics — suggestions, comments, highlights, and changing cell colors, but they simply don’t have the same effect.
Rowling writes of her original 40 characters, “It is quite strange to check out the list in this notebook that is tiny, slightly water-stained by some forgotten mishap, and covered in light pencil scribblings…while I became writing these names, and refining them, and sorting them into houses, I had no clue where these people were going to go (or where they were going to take me).”
Goldberg writes inside her book, that writing is a physical act. Perhaps creativity is a physical, analog, act, because creativity is a byproduct to be human, and humans are physical, analog, entities. And yet in our creative work, out of convention, habit, or fear, we restrict ourselves to, as a man would describe to author Tara Brach, “live from the neck up.”