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I am happy to be blessed with a terrible handwriting. Not too long ago, I realized aware of improving it by slowing down my writing towels and tried to comment on every letter more graceful writing "- the type of handwriting, which I usually only reserve birthday cards and love notes.
However, it was not long before I had released again, and returned to my usual semicygenable scribble that I can understand alone. I just did not have the stamina to maintain this pretty calligraphy.
There was another problem with my purified, foolish handwriting, that was that it was not my own.
The uniqueness of the handwriting of a person creates a kind of secret environment. If your handwriting is so gloomy like mine, you will understand what I mean. It gets like a secret code; Others can not easily access.
But there is more than only illegation ability.
When I write, I mainly do in notebooks, each of whom is replaced when the pages are full. I have cabinets with old notebooks, which I can not throw away because they both have sentimental and practical for me.
I like to bring everyone so often through these notebooks on the hunt for an idea or a new inspiration that is pleased to hear the half-forgotten voice speaking of the sides.
Each notebook is different: some are lined, some are simple, some hardback, other soft. The handwritten nature of the words is like pictures, accentuated by intersections and inserted words. These visual representations have a different kind of impact on memory and fantasy. Notebooks are like streets in a city, a whole environment that you can go through, take short cuts and will be creatively lost.
Some of the most important parts of pen and paper letters are the marginalia. Marginalia are all that builds up in the corners, margins and between the lines of a writing side.
They offer a messy story of annotations and intersections, of arrows, asterisks, doodles and comments. For me, they also include pages that are torn, and pages that are withdrawn, side-pages, bookmarks, newspaper cutouts, and other amendments that I could do on the physical side.
Even coffee stains and chocolate crumbs have a useful place in my marginalia, which gives me a hint (sometimes years later), what the circumstances of the scriptures are written.
The most useful marginalia for me is the simple question mark, which I can easily place about every word or besides any paragraph, which I'm not sure. So if I can read the text again or can enter again, I am repeatedly alarmed - previously designed - that this part could be improved. I've never found a tool in a text processor that has the subtly or skill of my own "?" Adequately used by a handwritten text.
The broader joy of Marginalia is that they offer a kind of narration or a meta account of the formation of a piece. This can be particularly useful if the text of paper is redirected to digitally, as these are the parts taken away. It's like picking up the stone from a sculpture, so the artwork is inside. The Marginalia are the memories of what was before.
I probably give the impression to be sentimental over pen and paper letter. In fact, one of my favorite levels of writing take the words from the handwritten side and tapes them.
All at once they lose their former subjective character and accept a more permanent, objective quality. The marginalia is removed, crossings are rejected.It is as if writing takes a new skin.
This is the "cleaning stage". I think it's also the best stage to revise and edit. I often flows when I introduce you if I met you more about the structure thought how to run a reader from start to finish to avoid the "Dead Zones", which can attract the attention of a reader, and that Piece on a widely conclusive note.
I hope to have a finished piece, which expresses exactly what I wanted to express - as far as my skills are possible as a writer.
A free guide to the essential styles in Western Art History , plus updates and exclusive news about me and my writing? Download here.
Christopher P Jones is a writer and artist. He blogs about culture, art and life on his website.
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