Never having been one to blindly accept convention, I asked why it even
mattered if I had decent handwriting. It’s probably no surprise that I
thought
handwriting was “stupid,” even “a waste of time.” I was too young to
respect
the merits of something at which I had no hope of succeeding (though seriously, grading on penmanship is stupid and a waste of time).
No matter how many times I asked, I was always told the same thing: “When
you grow up and get a job, you’ll need to be able to communicate clearly.
You
need good handwriting to communicate clearly.”
Th ank goodness computers took over. My handwriting is still terrible. Oh,
I
can draw letters, but I certainly can’t write them.
Today I understand that at the root of my educators’ intentions was
something valuable: Clear communication is critical to success. Luckily for me, I
rarely have to rely upon my handwriting to communicate clearly. I can simply type an e-mail, make a slide presentation, or write a book, and it will be
rendered in crisp, beautiful typography. Many of these letterforms were perfected over
500 years ago, and they still carry words with strength and clarity today.
Additionally, I have spent years studying the subtleties of visual
communication.
I passed countless boring Nebraska days as a child, drawing in my room. I got
my degree in graphic design, while exhausting the university library’s
supply of
typography and design books – skipping keggers so I could conduct
experiments with typography and geometry. I studied the very origins of
modern typography in the ruins of the ancient Roman Empire. I’ve even
discussed the hidden meaning of something as simple as a brick or a piece
of
wood, while working at an architecture fi rm. Finally, I’ve implemented the
fruits of all this practice and analysis in the fast-paced environment of
Silicon
Valley startups. Design and visual communication is so deeply embedded in
my brain that I’m hardly aware of its presence. My
handwriting still sucks, though.
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