About The Victorian Scribe
While I don’t take myself too seriously, I don’t share the same sentiment about my work.
It’s my objective to create documents and scrolls that look authentic from years [hundreds]gone by using some of the methods and materials and still being able to make them in high numbers which in turn makes them affordable as invitations whether for ten or two hundred.
I have been a practitioner of calligraphy since 1982 when I received a Shaeffer Calligraphy set for my birthday. I loved it as soon as I wrote with it and although shamefully poor at it in the beginning, within two years I had created my first order, a wedding of fifty. I was hooked and for years after it would be my hobby and a large part of my life.
In 1995 I began studying Graphology and the science behind handwriting and the writer. After 3 years of studying and collecting handwriting I began accepting work from companies recruiting key personnel and looking for traits unable to determined through interviewing. It would answer questions as basic as how will this person fit in with the personalities already employed. You see, if you have the handwriting of two people in front of you it isn’t too difficult to accurately determine how their relationship will go.
Collecting handwriting became a hobby on it’s own, I couldn’t get enough. It seemed, then, a natural progression to collect writing from the Georgian and Victorian era’s. And this is where it all changed.
My Calligraphy (and I had written hundreds, maybe thousands of documents and words) was competent and neat. Every letter was perfectly formed and lines, spacing, colours were perfect, but there was something seriously lacking. My calligraphy lacked depth and soul, the very thing I was knee deep in with people handwriting, perfect was dull.
I studied Manuscripts from the 13th century the 14th and onwards. They are bright, vibrant and thoroughly filled with depth and tone, but the handwriting was individual as much as my handwriting was different from my sisters handwriting