With roughly two-years worth of work throughout the research, design and production stages of the calligraphy, the level of detail and consideration Jenni brought to this art project is clear to see in the finished work.

“We spent a number of months finalising paper and ink choices, making sure that all materials were vegan and sustainably sourced. I wanted to make sure that the paper had a nice surface texture so that if there were any small ink mistakes, these could be erased. The ink also needed to be very durable, lightfast and create a strong contrast on the paper.”

“I opted for large margins and some acanthus filigree for the initial letters for each chapter. I also used acanthus design for the breaks that are seen inside some of the chapters and after each illustration. Much of acanthus ornamental design is based on the art of the infinity loop and being that infinity was the topic at hand, I felt these tied in nicely.”

Jenni Liandu Calligraphy

Scottish calligraphy began to take shape in the medieval period, influenced by the broader European trends. Monastic scribes in Scotland were integral in producing beautful illuminated manuscripts. Throughout its evolution, Scottish calligraphy has been characterized by its integration of local artistic traditions, including Celtic knots and motifs.

In the 20th century, Scottish calligraphy continues to adapt to incorporate contemporary styles and techniques. There’s been a growing interest in blending traditional calligraphy with modern design, and calligraphers have also engaged with digital media and new forms of artistic expression.

To bring these words to life on the page was the challenge proposed to skilled calligrapher Jenni Liandu. With an average project of work reaching 100 – 200 words, creating a 15,000+ word scientific/ theological text was a daunting prospect, but one in which Jenni was intrigued to take on.

Having created calligraphy for the Royal Ascot invitations, wedding invitations which were sent to members of the Royal Family and worked on project for Starbucks, Hermès and Jo Malon to name just a few, Jenni has come a long way since starter her calligraphy journey in 2015.

Jenni Liandu Calligraphy

On the nature and origin of universe and infinity.

In the very first moment of universe, a vast beyond vast quantity of electrically charged energy begins expanding away from an atom sized point, at near infinite speed. The quantity of energy, whilst vast beyond vast, is finite and unchanging.

The quantities of positive and negative electrical charge are equal. For the ensuing few moments of universe, almost all energy exists in the form of matter and antimatter particle pairs. Which, due to their fundamentally and most corrosively opposed natures, immediately embark upon a period of mass mutual annihilation. Whilst all antimatter particles are annihilated, one particle of matter in every billion survives, and it is the collective of all surviving particles of matter, which eventually combine to form atoms, then later moons, planets, suns and indeed all the forms of matter we see today.

Read more… https://thetwowolvesproject.com/essays/

Having decided upon a multimedia piece of art as the appropriate representation for this work, the project needed some parametres:

i] All visible surfaces should be either white or black and roughly equal, to reflect the concept of dualism, so influential upon my theory of everything.

ii] All materials used should be:
a] hardwearing, the artwork should endure.
b] vegan, no animal should be harmed in the creation of the project.
c] all material and labour should be ethically sourced.

iii] The overall ‘feel’ of the artwork should reflect a medieval epoch of European history wherein both artisans and the concept of dualism were an ever present part of society.

iv] All contributors should be resident in Scotland.

v] All contributors should be individuals as opposed to a firm. What I did not want, was quick, machine-made, soulless efficiency; what I did want, was slow, handmade, soulful artisan artistry.