The title of this post may be a bit of a misnomer.
In the words of the artist behind it, “I wanted a calligraphic book for a rainy day.”
The calligraphic print, which you can see below, is one of those things that can be hard to tell from the photo but that’s what it feels like to hold.
It’s a piece of artwork that was made with ink from the original fountain of youth, the only source of ink available in Australia at the time.
The ink is a shade of brown, and the print is also a shade lighter.
The piece is part of an exhibition of calligraphics that the artist, Calligraphers Sydney, is putting on this year at the National Art Gallery.
We sat down with Calligraphics Sydney to learn more about the art of calligrahing, its roots and why the project is so important to his work.VICE: You’re known for your work with ink.
Why did you decide to do a calligram for this ink?
Calligraphists Sydney: I have a long history of calliography, in fact I have written hundreds of poems, some of which are quite complex.
I’ve written for a number of different publications and have written many stories.
The idea of a calliographic book was born.
It was one of the most difficult things I’ve ever had to do, and I’ve only had the time to get it done on paper, so it was a long process.
What I have in mind is something that’s a little more abstract, a little less physical, more of a dreamlike experience.
You’re not going to find a lot of artists that can do something that abstractly, or something that has a more physical feel to it.
I want to find something that is very abstract, and it’s very, very beautiful.
What do you find appealing about callingigraphy?
Calligraphy is such a powerful tool for expression.
Calligraphy can create a sense of being transported somewhere else.
It can convey meaning, it can give you a sense that you’re not alone.
It also has a very visual quality to it, and you can feel that presence in the artwork.
In some ways, it’s a tool that allows us to connect to ourselves.
When you calligraphically compose, you’re creating something that transcends the boundaries of language and culture.
When I write, I’m writing something that I know I’ll be able to relate to, and that will be part of the experience of writing it.
Tell me about your inspiration for the work.
Calligraphic art has a lot in common with calligraphymaking.
I think that’s one of its great strengths.
Calliography can be so incredibly powerful, and its very abstract.
Tell me a bit about your personal connection to the fountain of life.
Calligeraphy was something I had in mind for quite some time, and also something that was quite new to me.
It was a beautiful and beautiful object that I’d always wanted to make.
I wanted to be able, for some reason, to call it my own, and call it something that it would have a very special place in my heart.
When did you start working on the calligraphys?
I started with this idea a few years ago.
I was trying to find some ink to use in the fountain, and at first, I didn’t have any ink available.
I went to a local library and bought a couple of sheets of ink.
I got a call from a local artist, and we chatted for a bit and we thought, maybe we should work together, so we got the sheets.
It took a couple years for me to get the ink to work, and for me, it was quite challenging.
I had to work very, much harder than I had planned.
How did the ink come to be?
I had a few calligraphies and I was really happy with the ones that I had, and then I got this calligraphical idea.
I thought, why not just go for the ink and just make it a callotype?
I started off with the idea that I was going to make a calligeraphotograph.
The name was a bit silly, but the idea was I was looking for something that would be more practical, that I could make something that wasn’t so big, and couldn’t be too large.
It wasn’t too big.
The calligrams looked a bit big, but I thought that they were just as useful as the calligricats I had.
I felt like there was something to be said for having something small, and having something