Professional Calligrapher Spotlight: Wanissa Somsuphangsri

Roughly 10 years.

I'm based in Naarm/ Melbourne (Australia). Most of my work is face-to-face, and most of my clients are based here as well.

I got into Pinterest when it first started gaining popularity around 2010–2011. When calligraphy began appearing in my feed, I was immediately drawn to its elegance. I was already working as a graphic designer with an interest in type, and I loved the hand-finished, human touch that calligraphy has.

Yes — it was when I received my first commercial job, painting two large walls in North Carlton (Naarm/Melbourne, Australia).

Before that, I had only been doing small projects for friends, like wedding invitations. Being approached by an established business helped me visualise how my work could have a commercial application, and I realised I wanted to pursue this more seriously.

Copperplate calligraphy! I'm drawn to detail, and I love its elegance and delicate, elaborate nature.

I really admire Lisa Taniguchi, Jessica Hische, and Lauren Hom, to name a few off the top of my head. These were mostly online influences, but the most impactful figure for me was someone I could connect with in person — Maria Montes. I attended many of her classes, and it wasn’t just her teaching style or how knowledgeable she is, but also the passion she brought to her work that truly inspired me.

Actually, my current practice is tattooing. My tattoo style focuses largely on floral and ornamental designs rather than calligraphy, but I still enjoy undertaking live calligraphy work, primarily engraving.

I often work in-store with luxury brands such as Dior, Hermès, and Balenciaga, offering on-site personalisation of items like lipsticks and fragrances with names or messages.

Looking at references, good books and sometimes going to the library.

For calligraphy, it would be my engraving machine.

I'd say finding your own style is the biggest challenge.

Style and individuality can only develop through time, patience and perseverance. Copying and imitating seems to be a common way to learn, but I believe the real work lies in understanding the basics and learning how to make it your own.

Yes, I often hear people say, “Wow, you have nice handwriting.” In reality, my everyday handwriting isn’t particularly nice — my calligraphy looks the way it does because of deliberate practice and study. I think this applies not only to calligraphy, but to art practices in general. There’s a common misconception that talent appears naturally and effortlessly, when in truth, art is a choice that requires commitment, practice, and dedication.

How flexible and adaptable having this skill is. It’s refreshing to see that there are multiple ways to apply our work, if we can learn to adapt to the ever-changing demands and interests. The way the work has evolved and grown through the years has been pleasantly unexpected.

At the moment I do engraving and live calligraphy for brands through an agency, and also I run my own tattooing business, working from a studio in Naarm/ Melbourne CBD (Australia).

For calligraphy engraving, the most popular items at the moment include fragrances and lipsticks.

For tattoos, there is a big variety of requests, though the arm and leg tattoos are the easiest spots so that’s the most common service at the moment.

For calligraphy engraving, it’s 100% analogue - mocking up script using a fine line metallic pen, then going in with the engraving machine, and finally adding silver or gold shine to finish.

For tattoos, it’s a blend of digital and analogue. I use ProCreate to make stencils, refine tattoos and create occasional concept mockups for clients. The Flash can be done digitally too, though I’ve been loving working analogue lately, drawing designs on paper. When it comes to creating the actual tattoo itself, it’s of course 100% analogue, using a tattoo machine, ink and needles.

If I’m feeling blocked, I like to completely step away and take a few days off — enjoy good food, go to the park, watch a movie and spend time with loved ones. I’ve accepted doubt as a natural part of the work. The nature of what I do is highly competitive, and there’s no guarantee that what I’m doing will last, but my curiosity to create and my drive to continue always outweigh the doubt.

I also like to remind myself how lucky I am to be able to pursue art as a career.

Be patient with yourself. Good work takes time, and look for inspiration outside of Instagram.

Web:  https://www.wanissas.com/

IG:  https://www.instagram.com/wanisssa/