“In the beginning, G-d created the Heavens and the Earth.”(Genesis 1:1)
Much has been made of our fascination with the written word and created image whether it appears on architecture, parchment, broadside or bound in book form. We are taught to understand that with iconic or alphabetic symbols, our subtle thoughts and ideas which reflect our development as a species, can be shared while acquiring powers of their own to influence others and by extension, their cultures. Images ranging from the most ancient cave paintings to public sculpture and political cartoons have provoked an array of emotions, political and civil actions that have in turn inspired a long cycle of written responses.
But how, exactly, does this happen? And could the perceived power of written words and images fuel a certain primitive fear of them, driving us to selectively ban books or art in schools to reflect current political doctrine or mores? Can absorbing the written thoughts and ideas or imaginative images of others really alter our mundane realities? In a sense, yes, if only to affect our perception of them.
Historically, written words and images were always considered powerful, from the earliest cave paintings to the development of written languages. When artisans were commissioned to carve, incise or paint them on stone, bits of wood, metal or clay amulets, the owners held great store in their power to afford personal protection and manifest wishes. In various cultures throughout the Middle East, prayers, blessings or magical incantations were written on the inside of clay bowls as a way to influence supernatural forces to protect a household, encourage fertility or promote healing from illness while some of these objects were imbued with curses or negative wishes* that were intended to vanquish enemies or bring about social and/or political change.
Incantation Bowl-Babylon
Hebrew Protective Birth Amulet
Mezuzah: Hebrew Doorpost Amulet
Rationalists dismiss such ideas and practices as magical thinking, pure fantasy. After all, aren’t words merely static marks on a two or three dimensional surface? Physically, of course they are, and yet…
How do our minds extract and engage their power? Reading and listening to public speech invites them to inhabit and work through us to reveal and accomplish what their creator intended. Despite their seeming static quality, they quietly captivate our synapses like viral entities. They provoke images, questions, connect ideas, arouse memories and activate emotions all in service to their author(s); all without leaving their walls or pages!
Several essays appear in this blog that address the interactions between words and images and their effect on the reader and viewer:
While these ideas are certainly not new, I intended this essay as a timely reminder for 2021 that words and images can be powerful, intertwined tools to use in altering existing realities and create perceptions of new ones. What’s not always obvious is that as often as they are employed altruistically, their subtle use can easily become weaponized for malicious intent. Globally, in the past few years we have seen ample evidence of their use in corporate and political misinformation campaigns and hate screeds promoted on social media, in print and by news organizations that have been allowed unlimited freedom to express their often harmful biases.
With benevolence or malevolence aforethought, the choice of words and images offered for public consumption is always ours and always will be. But the legacy our words create beyond our lifetimes may not always be.
As I worked to complete the final drawings and haiku for Codex Gastropoda: A Visual Meditation, I learned about Tim Pearce, Ph.D, the Assistant Curator of Molluscs at the Carnegie Museum of Natural History, here in Pittsburgh. When I contacted this walking encyclopedia of snail facts and lore, I was pleasantly surprised at his accessibility and eagerness to talk about the intricacies and nature of his favorite subjects. When I told him of my book in progress, we made arrangements to meet at his department for a private tour of the museum’s vast holdings of snails, shells, and other obscure, mysterious forms of life beneath the seas.
Here is a photo of the Snail Man himself wearing his favorite hat!
And what a collection! Giant conch shells once used as trumpets by ancient island tribes to gather their people for special events or war:
many varieties of cone shells that had contained carnivorous snails who project a tiny dart from their bodies that are loaded with a compound containing 50+ different toxic chemicals! Their shells are very attractive but don’t get too close, Mr. Pearce warned.
We think of snails as carrying their own houses, but this chitons’ shell reminded me of a knight’s armor or shield!
Their names are a mouthful to pronounce but these Xenophoridae or carrier shells are worth a closer look for their ability to disguise themselves in the deep seas against predators by secreting a sticky substance which they use to glue many abandoned shells to themselves as camouflage! Below is the Xenophoridae spread from Codex Gastropoda which I’ve envisioned as a gathering place for a summit of snails:
Finally, I was introduced to Tony (i), a snail whose name Tim spells with both an ‘i’ and a ‘y’ because this tiny creature is an hermaphrodite; it hosts both male and female gender characteristics. If you can be patient for the three minutes it takes for this little video clip, you can see tiny Tony (i) emerging from his/her shell! Just click on this link to view the video:
I have a small edition of Codex Gastropoda: A Visual Meditation (Imaginarius Editions, 2017) available for preview and purchase with credit card or Paypal for $30.00 at my Magic Eye Gallery: http://bit.ly/2vzsSTM or at my Etsy shop: etsy.com/shop/Imaginarius
You may find that the images and haiku that comprise Codex Gastropoda: A Visual Meditation are a fine antidote to turbulent times like ours for they encourage us to patiently look, listen and THINK beyond the obvious…
Once upon a time, whatever news appeared in print or was presented by television or radio newscasters was taken as the veritable truth. It was disseminated and acted upon as if it personally affected everyone in this country, which of course it did in varying degree.The news, which is an acronym for ‘north, south, east, west’ was a force that galvanized and united us in our quest to uphold our national identity and position of strength and democracy in the world.
In these deeply unsettling times, politicians and pundits air their hopes, grievances and manifestos with ever coarser, less articulate language, often distorting truths and provoking our knee-jerk emotional responses rather than inspiring our better natures and actions.
But tempting as it is, I’m not going to rant here about the plague of fake news that has gone viral so to speak. Enough ink (traditional and digital) has been devoted to it to satisfy every news glutton and social media addict. Instead, I’ve been thinking about how our written and spoken communication has dramatically eroded in the last few decades and why that is so.
Historically, the erosion began as the telephone gradually replaced the need to write letters and notes to friends, colleagues and relatives in favor of quicker responses. Now, unsurprisingly, the most obvious symptoms of the decay of communication are found in text messaging and spoken media. Texting encourages immediate gratification though its efficiency is often characterized by lack of punctuation and fragmented sentences. With the ability to ‘text’ attachments, it is also replacing email as well. In spoken media, soundbites have become the takeaway from our information sources, relieving us of the personal responsibility for closer analysis and comprehension of what we are told. And as we viralize those more easily digestible soundbites, we dilute the true value of reasoned public discourse.
Though I don’t see any of these communication lifestyles changing any time soon, we might be overlooking a possible way to keep them in perspective; by reclaiming our abilities to communicate in writing and emphasizing the importance of teaching those skills to our children.
In my post of May 5, 2013, ‘The Demise Of Handwriting’,* I responded to a New York Times article that questioned the value of teaching classical cursive handwriting to schoolchildren in an era when easily accessible technology has mostly rendered it a vestigial skill.
I now realize that the desire of some in the education industry to end the once compulsory teaching of well-crafted handwriting has only exacerbated the downward spiral of quality in our written and verbal communication. The beauty, details and nuances of language, qualities that once defined great writing and oratory, are greatly in danger of becoming cultural artifacts. This is not to say that the revival of handwriting in our education system will cure the metastasizing mediocrity in communication. Still, doing so might reduce our dependence on word processing tools such as auto-correct software and re-instill the importance of careful thought and craftsmanship in self-expression, thereby helping the restoration of self-confidence in our contributions to that public discourse.
This notion is evident to me each day as I read the newspaper. I am frequently and unpleasantly distracted by numerous spelling and grammatical errors throughout the texts. Books exhibit the same lack of craftsmanship with multiple errors in texts or within indexes to those texts when I am directed to an incorrect location of a specific topic or page. Even as I question how mainstream publishers, who have traditionally employed a staff of professional editors and proofreaders, could allow such carelessness to pass unnoticed into the public eye, I am aware that from a practical and financial perspective, automation technology has relieved publishers of the need to hire them. Nevertheless, given the current imperfect state of artificial intelligence, this development can easily result in an inferior product. As an author with books published both in the mainstream publishing industry and the growing on-demand publishing market, I’ve noticed the growing emphasis on quick profit before quality and when preparing books for the latter, I must remind myself to very carefully edit my own manuscripts for errors before submission and printing.
So, for those of us that bemoan the deterioration of our own handwriting, I would like this post to be a reminder that it’s not too late to refresh and restore those skills.Getting started may be as simple as forming letters of the alphabet as a telephone doodle, penning the few lines of a thank you note for a gift you received or to the host/hostess of a social event you attended. When you begin, don’t worry about your initial efforts being judged on the calligraphic quality of what you write. With practice this will improve. Instead, focus on its clarity and intent because ultimately that scrap of paper, not the mercurial texts or e-mails on your digital device, will be evidence of who you are. Or, in future, of who you were.
In an essay entitled ‘On The Shoulders Of Giants’, posted on May 5th of this year, I offered a glimpse of my new alphabetical book project in progress.Today, I am pleased to let you know that it is now complete! It includes alliterative text and illustrations for each of twenty-six letters, a preface and artist’s notes. On Wednesday of this week, my book proof arrived looking exactly as I’d intended, so I turned around and ordered my first small edition of twelve, scheduled for delivery early next week. I am accepting advance orders now at The Magic Eye Gallery: http://magiceyegallery.com/BookPage.aspx?id=8
Here are some thoughts on my process and a bit of backstory:
Ideas are mercurial; they may appear to our imaginations in glorious finished form, awaiting physical birth or, more likely, just float by our consciousness, merely hinting at their potential. The idea for Bestiary: An Imaginary Menageriesimmered slowly on one of my back burners for several years as sketches and project notes in one of my journals. It had begun as a casual suggestion for an illustrated alphabet book from my former agent. Projects like this one can be very greedy with one’s time and generally do not pay the bills! So although I had done a few concept drawings at the time, other less speculative projects continued to demand my attention.
Then, late in 2015, following publication of two other titles (An Illumination Of Blessings and Notes From London: Above & Below), I decided to revisit the alphabet book idea. Paging through that old journal, I paused at some drawings of a unicorn and an armadillo which led me to imagine an alphabet book built around the real and imaginary creatures that have been portrayed in illuminated manuscripts for centuries. These colorful hybrids of letterforms and fanciful illustrations first appeared in the 2nd century Greek Physiologus, a compilation of the ancient wisdom and symbolism of animals mentioned in the writings of naturalists such as Aristotle, Herodotus and Pliny The Elder. Later adaptations from the 11th-13th centuries elaborated on these bestiaries and were flavored with Biblical stories, mysticism and religious doctrine. Bestiaries reached their zenith during the medieval era, when artists were commissioned by nobility and wealthy merchants to interpret their naïve descriptions of strange creatures seen on their voyages to exotic lands. Wikipedia offers a fine, detailed history of bestiaries here: https://en.wikipedia.org/wiki/Bestiary
Eventually, my journal sketches became the basis of the finished illustrations below:
Yet, despite our greatly evolved knowledge of zoology since then, why does this timeless literary art form remain popular among the offerings of contemporary publishers? I propose that it does so because we have yet to fully understand the synthesis of our own evolving animal natures with the gifts of speech, writing and acumen.
That said, I’ve always loved to draw animals and have featured them in many original works of art. However, most of my animals are not portrayed realistically; I prefer to imbue them with qualities that reflect our human fortes and foibles. Those bestiary illustrations in which the animals display such attributes were important inspirations for this book. Their titles along with illustrated excerpts were discussed in my previous essay (http://bit.ly/2fjVcpi).
In designing Bestiary: An Imaginary Menagerie,I’ve framed each illustration with an alphabetical alliteration both for organizational purposes and simply because it was great fun to do! My hope is that my efforts will complement the voluminous body of bestiaries throughout history that are tributes to the wonders of creation and to our human imagination…
A few months ago, I began following posts (and occasionally commenting) at a Facebook forum called ‘Forgotten Art Supplies’. I became intrigued because while much of my work now relies on digital tooIs, I had used many of the required traditional tools mentioned there for drawing and preparing my illustrations for reproduction during my career as an illustrator and designer.
Last week, however, I was about to respond to a post by Donald Simpson, a well-known cartoonist but decided that his plaintive concern was worth a more substantive response.
This is what he said: “What I find disturbing is the trend toward coloring books and coloring stations — they are everywhere in the college campus {where} I teach, but no drawing classes! Sad.”
Based on my own history and observations, I have to agree with Mr. Simpson to a point; but this scenario may not be as dark as it seems.
As a young child, my parents noticed my passion and ability to draw and casually encouraged me to continue doing so. However, when birthdays and other occasions rolled around, coloring books and boxes of Crayolas were always among the gifts I received. I never had trouble coloring within the lines, but soon became bored with confining my abilities to them; until I reached the age of seven and began to receive coloring books that provided thin paper between each spread. These allowed me to trace the images and perhaps add my own arbitrary enhancements. I sometimes tore out these sheets and traced illustrations from my favorite picture books like the classic Grimm tale of the Twelve Dancing Princesses, beautifully illustrated in 1954 by Sheilah Beckett:
This experience enhanced my enjoyment of the masterful works of others and though such features were an improvement in coloring books, I eventually lost interest when I realized my preference was for inventing and coloring images that I had created, an understanding that led me to become an illustrator.
Given the many comments I’ve heard over the years from those who bemoan a lack of artistic skills (‘I can’t even draw a straight line…’), I am not surprised that the need for adult coloring books has been recognized. A dazzling array of these have become ubiquitous in gift shops, the few remaining bookstores, even supermarkets and big box stores, not to mention everywhere online. Says a lot about the power of marketing, social media and profitability for publishers and creators. Here’s more on that from The New Yorker: http://www.newyorker.com/business/currency/why-adults-are-buying-coloring-books-for-themselves
Nevertheless, I don’t have a problem with coloring books per se or the profits they generate. Some of them are beautifully drawn and intricate such as those featuring Buddhist mandalas, optical illusions, plants and animals or one with a Pittsburgh theme done by my friend and former CMU student, illustrator Rick Antolic. While they provide a therapeutic outlet and/or a much needed esthetic experience for many, they may also heighten appreciation for the talent and skills needed to create them.
But like Mr. Simpson, I feel that the proliferation of adult coloring books underscores the need for more basic drawing skills to be offered in schools from K through college.
Though the ‘arts’ receive a modicum of funding from federal and private sources, those monies are more often directed at acquiring audio visual materials, computers and assorted electronic devices to be used for creative purposes. Tablets, 3-D printers and areas set aside for making things are a hot trend in schools right now. All of the above are fine. Still, passively watching videos often just fills classroom time unless follow-up interactive discussions or related project assignments that encourage personal exploration and experimentation are included. On that note, learning to master digital devices and the apps that empower them requires much more than navigating with a mouse or keyboard.
Without learning to develop and challenge manual drawing skills to enhance their understanding and appreciation of the work of masters through history, it is my opinion that students are inhibited from acquiring the inspiration necessary to express concepts, let alone create viable content so that art can continue to fulfill its purpose; to shed light on the time in which it is made and introduce new ideas for cultural understanding and growth.
Yet, how often do we hear of classes solely devoted to teaching young students classical academic drawing, painting, or sculptural skills? At the university level, catalogues from these institutions may typically offer art classes, even BA/MFA degrees, but many would-be artists can easily be discouraged by the implied emphasis on more hard core studies in math, science and technology that strongly suggest following careers in these fields rather than in the liberal arts. Having taught illustration in a university environment, I learned how difficult it would be to overcome this prejudice, yet happily a handful of my profoundly talented students prevailed and became quite successful illustrators.
In retrospect and with some irony, I understand that perhaps coloring books were created to teach and aid the development of manual skills in children but they do so with the risk of making their users dependent upon the visual structures and cues of others rather than encouraging them to mine their own imaginations.
All of the above said, I believe that by underestimating the importance of our desire and ability to make art, our society has discouraged development of a gift through which we can define and express our humanity.
Tangentially, I would imagine this idea as the raison d’être that motivates the prolific art of grafitti and the public intolerance of it.
What has happened in the course of time is that other forms of communication have largely conquered our need to express ourselves visually. The line that once flowed freely from our young hands to form images has been, according to French artist & filmmaker Jean Cocteau, ‘untied and re-tied in a different fashion’ to enable multilingual universal communication with words.
And therein lies the subtle promise of the current assortment of coloring books for their users. For those who may have forgotten how to reverse that process and unlock their flexible line, they can inspire us once again to tell meaningful stories without words.
Imagination, though we all possess it, is usually perceived as the defining quality and exclusive territory of creative individuals, particularly when we marvel at the art, music, literature, science and philosophy it inspires. But the analyst Carl Jung may have been onto something with his theories of our ‘collective unconscious’ which he claimed is the vast, virtual repository of all human thought, endeavor and possibility. In that light, imagination may be the ‘tool’ within all of us for unlocking virtual doors into this realm; enabling us to discover more about who we are and what we are capable of but also to teach us humility as we begin to comprehend all that came before us.
This engraving by the French writer and astronomer Nicholas Flammarion for his 1888 book, L’Atmosphère : Météorologie Populaire seems an apt illustration of the above comments:
A recent TED talk* on the theme of originality validated my instinctive understanding that originality is less about magic than it is about the speed and extent to which we are able to access and use our imaginations productively. With dedicated observation, listening and the use of our senses, aided by technology, we discover that the majority of human accomplishments are the results of ‘sampling’. They are based in sum or in part on the works of others.
Both the 12th century philosopher Bernard of Chartres and 17th century polymath Isaac Newton understood the concept of building on previous discoveries or ‘standing on the shoulders of giants’ in order to uncover their own truths. Accordingly, relatively little of what we have produced can be called ‘original’ by the strictest definition of the word.
So even though I always feel slightly uncomfortable creating a piece of art knowing that other versions of it already exist in different forms elsewhere, I usually persist in finishing the piece simply because I wish to contribute to that body of work in my own way. The theme might not be unique, but perhaps my rendering of it might be.
These thoughts are now driving my current drawing project, an alphabetical bestiary. Yes, bestiaries have been around for hundreds of years as have alphabet books; so this idea is far from original. Examples below are from the Aberdeen Bestiary(1200AD), the Tudor Bestiary (1520AD), ‘Adam Naming The Animals‘ from the Northumberland Bestiary(1250-1260AD), Jungle-Jangle by Peter Newell(1909)and from the 1968 Bestiario Moderno by Domenico Gnoli.
Yet the myriad artistic and imaginative combinations of letterforms and animals (both real and imagined)** continue to fascinate us. Could the mystery of our own animal natures combined with our gifts of speech, writing and comprehension be the reason? Maybe it’s a mystery best left unsolved giving us all the more reason to enjoy new additions to the rich body of works that ask the same question but answer it in their own ways.
Here are two pages from my own imaginary menagerie that I hope you will enjoy. To date, I have completed 11 of 26 letters so your comments, questions and suggestions for other letters are welcome!
In our visual media-oriented world, we often encounter posters, bumper stickers or heartwarming newspaper columns that urge us to ‘Perform Random Acts Of Kindness’. When these first began to appear around 1982, it might have been in reaction to the pervasive emphasis on individual needs and rights that characterized the ‘Me Generation’. Even today, with so much news of domestic and political strife reported in that same media, it seems we still haven’t learned how to do so easily.
Isn’t it strange and sad that we should need to be reminded? But given the complex duality of human nature, the need to be reminded is nothing new. Morality stories dominate the Old and New Testaments with the patriarch Abraham most commonly cited as the archetype of kindness for his hospitality to three Angels in human disguise. For this next page in An Illumination Of Blessings, I initially thought to present his story for this blessing, but for the reasons explained below, decided that the tiny tent above the Hebrew text would suffice as a meme for it.
The concept of kindness was later refined and codified in the Book Of Ruth (Megillat Ruth).* Upon being told to return to her people after being widowed, Ruth, a Moabite woman insists on remaining with her widowed Israelite mother-in-law, Naomi. Her statement, “Where you go I will go, and where you stay I will stay. Your people will be my people and your God my God,” became the takeaway message that defined love, loyalty and the sincere concern for another human being’s welfare. It also painted Naomi as possibly the best mother-in-law in history!
I decided to illustrate this story not only because it exemplifies our capacity for personal empathy, but because it also references the concept of ‘gleaning’; a mandated** act of kindness towards the entire community of impoverished men, widows and orphans. Gleaning is the practice of allowing these individuals to reap the corners of one’s fields and orchards following the initial harvest. The stone wall (which represents the parameters of a field) behind Ruth and Naomi, the sprigs of barley, olives, figs and grapes are memes for this idea, as are the sheaf of wheat and pomegranate branch in Ruth’s hand. I included the pomegranate here for two reasons. First, because of its association with fertility. In the story, Ruth will enable the continuation of Naomi’s line, becoming great-grandmother of King David. Second, because of its decorative presence throughout Judaic art and history. With its alleged 613 seeds, it serves as a metaphor of the 613 mitzvot or commandments that we are expected to perform throughout our lifetimes. Through performing these mitzvot, often referred to as ‘sparks’ (nitzotzot) we collectively ‘lift them up to light and repair the world’ (tikkun olam).
The additional significant image in my illustration is the small Hebrew letter ‘chet’ (pronounced gutturally) formed by three sheaves of wheat that hovers above and between the two women. This letter is from one of the Hebrew alphabets that I designed in 2012 called ‘Shefa’(abundance) shown below:
The letter chet begins the words ‘chittah’ (wheat) and chesed which means kindness or benevolence. It suggests the limitless loving-kindness that characterizes G-d and which, by extension, suffuses all of creation. The verse from Pirke Avot 1:2 (Ethics of the Fathers) attributed to the Second century High Priest Shimon HaTzaddik (Simon The Righteous) makes this clear: “The world exists through three things: Torah, Avodah (Temple service) and acts of loving kindness.” No matter how small or insignificant these may seem when they occur, each one is ultimately a part of the larger purpose for which we were created.
I am reminded here of the phrase ‘a state of grace’, which in Christian theology denotes an absence of sin in an individual. From my perspective, while Judaism dwells less on sin and redemption than on ‘kavanah’ or intention, this phrase can also describe the ideal, altruistic state of mind surrounding the performance of a mitzvah, an act of loving kindness.
May you be blessed with abundant mindful opportunities to fulfill and receive acts of loving kindness and, if you’ll permit me a bit of wordplay, a ‘taste of grace’.
* found in Ketuvim or the Writings volume of Torah.
** “And when ye reap the harvest of your land, thou shalt not wholly reap the corners of thy field, neither shalt thou gather the gleanings of thy harvest. And thou shalt not glean thy vineyard, neither shalt thou gather every grape of thy vineyard; thou shalt leave them for the poor and the stranger: I am the Lord your God.” –Leviticus/Vayikra 14:9-10
Last week, after completing the blessing for installing a mezuzah, I decided to follow it with the traditional blessing for the home, the Birkat HaBayit. This brief blessing is usually found on decorative plaques or hand-shaped hamsas (amulets) near the entrance to Jewish houses worldwide. It is meant to drive evil spirits (negative emotional projections) from the house and to protect the individuals residing in it. Such items are often given as gifts to one who has just moved into a new house.
Since the text of this blessing is commonly presented on a ceramic tile or other surface enhanced only by pleasant floral or geometric decorations, I wanted my interpretation to be something more; to reflect additional levels of meaning in the text.
In the initial research phase of my illustrations, I often leaf through my collections of aphorisms and quotations for my first clues in understanding the subject of my work and the direction I will take to develop it. These comments are never interpreted literally; they only serve as metaphorical touchstones, suggesting levels of meaning in that subject which invite visual interpretation.
So I turned to the Book of Proverbs which told me: “A house is built by wisdom and is established by understanding; by knowledge are its rooms filled with all precious and beautiful things.” -24:3
Ok, I thought, that’s a powerful idea; but do these qualities also define a ‘home’? Generally speaking, yes. But having visited the homes of many friends and acquaintances around the world, each with its unique flavor and ambiance, I’ve learned that the difference between a house and a home is subtle, yet tangible.
Beyond its physical structure and plain or beautiful interior surroundings, a house that can be called a home glows with an aura of peace, laughter and love. These qualities color its walls, furnishings and inhabitants in a way no skilled decorator can truly emulate.
The desire for a home of one’s own is universal to all species on this planet from the ant to the elephant. It’s first cultural documentation among humanity quite likely originated in the tale of Adam and Eve whose first ‘home’ was the Garden of Eden, the womb of our world, so to speak. Even as the story relates their shock and fear upon exile from this holy place, the budding comprehension of their newly bestowed mortality soon becomes the powerful desire for shelter and stability in the chaotic world beyond Paradise.
Though the Torah offers many other examples of our developing survival instinct from Noah’s post-diluvian resettlement to the long quest for a Jewish homeland, one of the most picturesque appears in in the Book of Exodus (Shemot Parashat T’rumah 25:8-9). Here, G-d requests that Moses establish a sanctuary of a very specific design for the Divine Presence in the earthly realm so that “I may dwell among them (you).” It would seem that even the Source of all Life has need for a place to call ‘home’!
After much consideration, I decided to model the house in this illustration as an idealized amalgam of residential architecture drawn from several areas around Jerusalem because it is the spiritual home for so many of us.
The pomegranate and etrog (citron) trees flanking the doorway are metaphors of beauty, good health, fertility and mitzvot or good deeds that one would wish for the residents of the house. A midrash or commentary suggests that the pomegranate contains 613 seeds, a number equivalent to the categories of mitzvot incumbent upon us to perform in our lifetimes. The etrog, one of the four species honored on the holiday of Sukkot, symbolizes our connection to G-d through our hearts.
The cypress trees and the doves are symbols of sacrifice, but rather than the sacrifice attributed to religious ritual, mourning or death, I included them because sacrifices must be made on many levels by all within a household to insure peace and stability.
The fish-shaped mezuzot on the doorpost and near the text symbolize blessing and abundance as drawn from the verse in Genesis (Bereshit 48:16), “And they shall multiply like fish in the midst of the earth.”
The Hebrew letter bet is included in this illustration for several reasons. First, its original form in the proto-Semitic languages of the Middle Bronze Age resembled a tent-like shelter or ‘house’. Second, it begins the Torah with the word B‘reshit (In the Beginning) and represents the dualities that define Creation (dark, light, good, evil, male, female, etc). Third, betbegins the word ‘baruch’ for blessing. I formed this letter from the leaves and fruit of the fruit trees for the same reasons the trees themselves were included, but also because in a sense, trees were the prototypes of shelter from weather and predators.
Finally, the antique bronze key is shown here because with it we enter the idea that when a house becomes a home, it also becomes a metaphor of memory; a repository of touchstones that connect us to ourselves, to each other and to the larger world beyond our doors.
Well, we’re in the last stretch of this Kickstarter project at 72% funded with 22 hours to go. Not surprisingly, these are significant numbers. 72 represents twice’double chai’ or a very generous measure of good fortune, while 22 are the letters in the Hebrew alphabet/alephbet by which all Creation came into being. In the ancient system of Gematria or Hebrew numerology, interpreting numbers is seen as the key to our understanding of the Divine Will. Accordingly, every Hebrew letter is embedded with its numerical equivalent and spiritual significance. For example, the number 18 is the sum of the letters in the word ‘chai’ or ‘life’ while 36 doubles that value for a blessing of all good things to come. So today, for my final update of this project, I present to you two new illustrated Hebrew alphabets, Rimmon(Pomegranate) and K’Shutiy (Ornamental). I will be employing these original calligraphic alphabets throughout the book and I hope you will enjoy them as much as I do when I create them.
Throughout the development of exciting new work for this Kickstarter campaign, I’ve realized what a labor of love this book will be and truly hope that with your help, we can bring it to life as a significant portion of my artistic legacy for generations to come.
An Op-Ed article in the April 27th New York Times addressed the idea that teaching children to write in cursive is outmoded and no longer necessary in our technologically-oriented society. http://www.nytimes.com/2011/04/28/us/28cursive.html?_r=0
While it was interesting to see this as a topic of discussion, I was not surprised at how the prevalence of mediocre thinking has made it one. Many arguments both pro and con followed this article and while I had to agree that each presented some valid points, I remain in favor of retaining the practice in schools.
Of course, my communication method has changed to fit the times and social media. While I am saddened each time I scribble my mostly illegible ‘signature’ on a check or electronic payment device, yet I am still proud of the long, careful missives that I wrote to friends and family; notably an 18-page letter written to my parents that detailed my first trip with my husband to Europe and Israel in 1974. They and so many other recipients of my handwritten letters have made it clear over the years that these artifacts of an earlier age would be treasured and preserved.
Using a mouse and keyboard, tablet computer or smartphone requires different sets of muscles than writing or drawing with pen, pencil or brush. Sometimes, I will write reminders or shopping lists in longhand, or I’ll record thoughts in one of my tiny journals; just so I don’t forget how to do so.
It’s really part of my regimen as an illustrator to keep my hand and drawing skills flexible. Which reminds me of the innovative, fearless French artist and filmmaker Jean Cocteau who once referred to drawing as handwriting that has been untied and retied in a different fashion. If that is so, then in my opinion, without the disciplinary basis of handwriting, drawing might be less articulate. Without learning to discipline my own untamed line, I might never have become an illustrator nor would I have been able to create an alphabet like ‘Garrulous Gothic’ shown above this post. When we learn to write, we learn to do itprimarily in one language for efficient communication.
But what is truly lacking in standard education is the teaching of drawing alongside of handwriting so that one skill doesn’t quash the other. Not only would this practice allow our handwriting to become more personal and creative, it would leave us with an important skill that lets us express ourselves in a universal language that everyone can understand.
Ilene Winn-Lederer, a native of Chicago, attended The Art Institute of Chicago and The Chicago Academy of Fine Arts. She currently resides in Pittsburgh, creating original imagery that navigates the delicate bridge between the mundane and mystical theaters of human experience. A member of the Pittsburgh Society of Illustrators, Winn-Lederer’s clients include The New York Times, The Wall Street Journal, Hadassah, NY., Lilith Magazine, Children’s Television Workshop, Scholastic, Charlesbridge Publishers, Simon & Schuster and Cricket Magazine. Her unique drawings and paintings are included in public and private collections throughout the United States and Europe. The Magic Eye Gallery at www.magiceyegallery.com showcases original works and custom
gicleé prints with a wink from her mind’s eye…
*http://www.npr.org/programs/ted-radio-hour/321797073/what-is-original
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