We think calligraphy has been silent for long enough.
Calligraphy Chronicles exists to make the case — loudly, beautifully, one issue at a time — that the pen belongs in the same conversation as the paintbrush.
Jill Burk
On why this magazine exists
Here's a sentence I've said out loud more times than I can count: "It's calligraphy, but like, the good kind."
Every time, I watch the same thing happen to a person's face. A flicker of politeness. A mental image of wedding invitations, or a chalkboard sign outside a coffee shop that says "But First, Coffee" in swoopy script. Nice. Charming. Craft-fair adjacent.
And every time, I have to fight the urge to grab them by the shoulders and say: no, you don't understand. I've watched artists spend a decade mastering a single letterform. I've stood in front of pieces that made me forget to breathe. I've met people who left entire careers behind because a pointed pen ruined them for anything else.
That's not a hobby. That's fine art that hasn't gotten its due.
So I started Calligraphy Chronicles because I got tired of watching this art form get filed under "crafts" when it belongs in the same sentence as painting, sculpture, and photography. I wanted a magazine that treats calligraphers the way Aperture treats photographers — with real profiles, real ideas, and the kind of design that makes you want to keep the issue instead of recycling it.
This isn't a magazine about how to make your handwriting prettier. It's a magazine about the people who've turned a pen into a life's work — and why the rest of us should be paying closer attention.
I'm so glad you're here for it.
— Jill
Calligraphy has spent too long in the craft aisle. We think it belongs on the gallery wall — and we're building the magazine, the community, and the case for it, one issue at a time.
Meet the Team
Calligraphy Chronicles is a small, obsessive team — and every one of us believes in this a little too much.
Dave Osbaldiston
Publisher & Contributing Writer
With over three decades of event planning experience, Dave brings the operational backbone — and a contributing writer's eye — to every issue.
Latika Tahiliani
Director of Marketing
Latika makes sure the right people hear about the right stories, at the right moment — and that Calligraphy Chronicles sounds like itself everywhere it shows up.
Jim Burk
Copy Editor
Jim reads every word twice, catches what the rest of us miss, and quietly keeps the whole publication honest.
Danah Garcia
Creative Director
Danah shapes how every issue looks and feels — the layouts, the pacing, the moments that make you slow down and look twice.
Monica Kua
Creative Director
Monica brings a second, equally opinionated eye to every visual decision — because a magazine about fine art has to actually look like one.
What guides every issue
Treat It Like Fine Art
Every feature is written and designed the way a serious arts publication would cover a painter or a photographer — because that's exactly what these artists are.
The Person Behind the Pen
Yes, you'll learn technique here too. But every feature starts with the artist behind it — the years, the obsession, the reason a pointed pen ruined them for anything else. The how comes wrapped in the why.
Built With the People Who Live This
The artists we feature help shape what we cover next. The readers tell us what's missing. This magazine gets built in conversation with the community it's for, not decided in a room without them.
Come make the case with us.
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