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Writing by Hand - A Journey of Creative Self Discovery Author Reed, Elizabeth M Published 2021-05-06 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/4189 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/404466 Griffith Research Online https://research-repository.griffith.edu.au WRITING BY HAND—A JOURNEY OF CREATIVE SELF DISCOVERY Elizabeth (Libbi) Reed Bachelor of Digital Media with Honours Submitted in fulfilment of the requirements for the degree of Doctor of Visual Arts Queensland College of Art Arts Education Law Griffith University Submitted: November 2020 KEYWORDS Calligraphy, creative block, creative identity, daily habit, decision making, hand lettering, journaling, memory, motor skills, self-development, self-talk, sensemaking, sketchnotes, typography. i ABSTRACT This research addresses the core objectives surrounding the action of writing by hand. It responds to the overuse of digital technologies which have led to a lack of everyday handwriting. The introduction of sketchnotes introduces an opportunity to explore and build handwriting skills as an everyday practice. Sketchnotes create the hand-to-brain connection. This exegesis outlines how the problem of deteriorating fine motor skills is addressed through a series of creative projects in which methodical and strategic exercises including repetition, play, and experimentation centre on the actions of writing by hand. The practice-based research consists of a multi-faceted creative exploration, experimenting with long-established traditional calligraphic study, and with newer technologies such as Virtual Reality (VR). I argue that building writing by hand skills strengthens creative expression, resulting in increased confidence. A sensemaking framework is implemented to help understand and organise the studio research outcomes. Sketchnotes become the principal method that promotes the writing by hand action while creating a rich and positive voice for creative self-expression. The sketchnotes process is a valuable method to make sense of complex information in visual form. The research outcomes capture the creative exploration of hand lettering, sketchnotes, and sensemaking to build a confident and creative identity. ii STATEMENT OF ORIGINAL AUTHORSHIP This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Elizabeth (Libbi) Reed November 2020 iii iv GLOSSARY Diagrammatic Representation: the use of diagrams, symbols and visual representation of information to understand complex concepts. Sketchnotes: images and text are used together to visually document information. Sketchnotes are multi-directional, making us of the whole page, including the margins. The idea is to capture primary ideas through visual mapping, comprehension and synthesis of complex information. Sketchnotes can be used as a visual storytelling tool. Sensemaking: a term used by Karl Weick1. Sensemaking theory introduced in the 1970s has been extensively used in organisational studies. Sensemaking involves making sense of a situation or circumstance for the purpose of understanding and generating actionable tasks. This sensemaking is an ongoing process.2 This concept has been incorporated into the research to provide a framework for the reflection process. Sense-Making: a term used by Brenda Dervin, refers to bridging the gap between situation (as outlined in the Glossary term ‘Sense-Making’) and outcome3. This concept has been incorporated into the research to understand a problematic situation. Dervin’s Sense-Making term is capitalised, and hyphenated, unlike Weick’s unhyphenated sensemaking term. Sketchnotes: images and text are used together to visually document information. Sketchnotes are multi-directional, making us of the whole page, including the margins. The idea is to capture primary ideas through visual mapping, comprehension and 1 Weick. E. Karl, Sensemaking in Organizations (Thousand Oaks: SAGE Publications, 1995). 2 Karl E Weick, Kathleen M Sutcliffe, and David Obstfeld, ‘Organizing and the Process of Sensemaking’, Organization Science 16, no. 4 (2005): 409–21, https://doi.org/10.1287/orsc.1050.0133. 3 Brenda Dervin, ‘Sense‐makinG Theory and Practice: An Overview of User Interests in KnowledGe Seeking and Use’, Journal of Knowledge Management 2, no. 2 (1998): 36–46. v synthesis of complex information. Sketchnotes can be used as a visual storytelling tool. Typography: the arrangement of preformed letters. A type designer designs the typeface by first drawing letterforms. These are then digitalised and arranged into typefaces. Typeface is the collective name for a group of fonts. Fonts refer to the style of the typeface. Attention to detail is needed in order to complete and publish a well working typeface. The graphic designer will then rearrange the typography. Writing by hand: using a writing tool to create the writing action. Writing by hand has been worded to accommodate all writing action, including drawing. In some actions, pointed pen calligraphy letters are often drawn. This is also the case with hand lettering. The focus remains on the letterform. However, instead of writing where the tool is making the stroke, the letterform is revisited in some way. The focus with writing by hand is building manual dexterity and muscle memory through regular exercise. Both manuscript and cursive handwriting are valued in this research. Cursive has the potential to create flow when writing by hand with many different tools and processes. vi LIST OF FIGURES Figure 1 Libbi Reed, 2020. Sketchnote of the research timeline, Broad Overview. .... 4 Figure 2 Libbi Reed, 2020. Sketchnote map of the exegesis structure. ....................... 7 Figure 3 Brenda Dervin, 2008. Sense‐Making metaphor. Proceedings of the American Society for Information Science and Technology. ..................... 17 Figure 4 Libbi Reed, 2020. Diagrammatical sketchnote of a 4 Circle Venn Diagram to make sense of my ideas and concepts surrounding the research. ....................................................................................................... 18 Figure 5 Libbi Reed, 2019. A sketchnote instruction on how to create a personal affirmation that combats negative self-talk. ................................................. 20 Figure 6 Libbi Reed, 2019. Calligraphy example of pointed pen calligraphy inspired Madarazs script. ............................................................................. 21 Figure 7 Libbi Reed, 2019. Hand lettering example of expressive lettering created on the iPad. ................................................................................................... 22 Figure 8 Libbi Reed, 2019, an example of typography classifications. ..................... 23 Figure 9 Libbi Reed, 2019, handwriting practice focusing on rhythm and flow while stream-of-consciousness writing, re-used tissue paper and fine brush pen. ..................................................................................................... 23 Figure 10 Libbi Reed, 2020. Sketchnote of a full circle timeline of written communication history. ................................................................................ 25 Figure 11 Artist unknown, Administrative clay tablet from the third millennium BC: cuneiform script showing count of goats and rams from Tell Telloh (ancient Ngirsu), Iraq. .................................................................................. 27 Figure 12 Artist unknown, Jumilhac Papyrus, first century BC: treaty of mythological geography in cursive hieroglyphs. ......................................... 28 Figure 13 Artist unknown, Trajan’s column is the most famous example of Roman capitals. ............................................................................................ 29 Figure 14 Artist unknown, Uncials from the Gospel of Saint Matthew, eighth- century CE. ................................................................................................... 30 Figure 15 Artist unknown, Half-uncials, sixth-century CE.56 .................................... 30 Figure 16 Artist unknown, Carolingian minuscule script from the Freising manuscripts. ................................................................................................. 31 Figure 17 Artist unknown, Page from the Gutenberg Bible. ..................................... 32 Figure 18 Libbi Reed, 2020, Sketchnote of Typography Classifications .................. 34 Figure 19 Michael Sull, 2018. Handwriting Quotation. ............................................. 46 Figure 20 Michael Sull and Debra Sull, 1993. Learning Spencerian Script. ............. 46 Figure 21 Nina Tran, 2018. Example of Nina Tran’s Pointed Pen. ........................... 47 Figure 22 Schin, Loong. 2019. Example of Pointed Pen Calligraphy ...................... 47 Figure 23 Joseph Vitolo,2012. A script in the Copperplate Style. ............................. 48 vii Figure 24 Libbi Reed, 2018. Screenshot of video. Using an HTC Vive with Tilt Brush Application. Handwriting practice using grids in virtual reality. (https://mysketchnotes.com/journal/virtual-reality) ..................................... 54 Figure 25 Libbi Reed, 2018, Screenshot of video. Using Layar Application