Posts Tagged ‘ink drawing’

State Of The Art-s-s-s: When Is ‘Perfect’ The Enemy Of Good Enough’?

July 1, 2018

 

This week, I attended a Pittsburgh Society of Illustrators business meeting on the techniques of digital illustration.The presenters were several of my fellow illustrators, each specializing in a different area of our industry; editorial, technical, and medical illustration. I couldn’t help but be impressed with their talent, tech savvy and sense of adventure as they demonstrated many of the new digital devices and techniques available to us illustrators. Still, the evening had awakened the old beast of doubt in me, turning up the volume on many issues, even considering my long freelance illustration career. 

I’ve been working ‘tra-digitally’ (a blend of traditional drawing/painting with digital enhancement) for a number of years but came to this approach slowly as I grew more familiar with design software and accepted its promise of production efficiency. What I couldn’t anticipate was the seductiveness of a process that, like coffee, has since become a daily necessity for me as I produce assignment work for clients and publish my own books.

In fact, my use of digital techniques seems to be overriding my love for the unpredictable results and sensual feel of pen, pencil and/or watercolor on paper. Moreover, for better or worse, it has changed the way I think about and ultimately set down an image before declaring it finished.

Though I’ve become accustomed to exercising the endless options of digital ‘tweak-ability’, I now understand that these very options have caused a breach in my self-confidence when I must revert to drawing an image on paper for purposes other than print reproduction such as commissioned portrait.

Where once I was easily satisfied by the look and feel of my early creative efforts, I now automatically examine my work for ‘irregularities or imperfections’ that can be ‘fixed’ with Photoshop instead of appreciating those expressions for what they are; manifestations of my imperfect human creativity. With that thought, the question in the title of this essay, (‘when is ‘perfect’ the enemy of good enough’?) comes into play. Because it is becoming increasingly difficult to decide when an image is finished, the simple answer is ‘always’.  

I’ve often wondered whether working this way causes me to overthink my work, questioning its ‘rightness’ even as I embellish it with seemingly relevant images and stylistic details to the point where its core story or idea is obscured.

At such times, when I become obsessed with locating just the ‘right’ reference image or am impatient with the complexity of creating or digitally editing an illustration for print, those who have known me and my work for many years often remind me that I actually seemed more efficient when I produced my art traditionally from my imagination without the aid of digital software. They are probably right.  

With assignment work, I must consider my client’s requests concerning an illustration’s political and/or social ramifications. This often leads to extensive editing or discarding the image altogether. If I choose to retain the image, it sometimes has to be stripped down to its simplest form to satisfy the requirements of the assignment. This always precludes it from revealing the marks of my thinking/working process. Additionally, I am required to design and size my images so they may be set within a pre-determined space.

Certainly I’ve had to adapt to the tenets of graphic design which embraces the elegant expression of visual splash or memes as powerful as a Twitter ‘tweet’ for instant consumption as opposed to the detailed storytelling subtleties expected of traditional illustration. Is this a good thing? I’m not entirely sure. Yes, it forces the eye and mind to focus on the ‘message’ but perhaps something of its original concept’s character and intent has been lost in translation. 

I have to admit that I do enjoy a major benefit of digitally preparing my illustrations; it grants me more control over my finished printed product as opposed to the old mechanical methods where I had to depend on others for my desired outcome.

Although the new products are now able to simulate every known drawing and painting technique and have enabled me to become a ‘one-stop design shop, I still have questions. If I go totally digital with my art, will I be able to shed my prejudice against creating images on a glass surface that is less sensually direct than paper or canvas? And, should it matter anymore whether I no longer have a frame-able, completely ‘original’ work of art as ‘evidence’ of my efforts? 

One presenter at the meeting proudly proclaimed that he’d fully embraced digital illustration and had ‘gotten over’ his need for original tangible art products. Having appreciated the beauty and intense craftsmanship of his original works, I could, from a pragmatic standpoint, understand why he might have felt that way.

Corporate art collections have diminished over the last few decades while museums and most galleries rarely offer highly promoted exhibits to lesser known artists, preferring to host more profitable exhibits by either box office name artists or long-dead old masters.

In addition, many galleries have upped sales commissions to sometimes more than 50%. The internet has also become a formidable rival to brick and mortar exhibit spaces. It offers an enormous marketplace with affordable entry fees that is overwhelmingly democratic for all creators. So we don’t really depend on exposure through museums and galleries anymore for our livelihood. For this reason, I don’t even carry around a weighty portfolio when I can post my work to potential clients and collectors on social media.

Historically, the disciplines of illustration and graphic design have worked together for both print and digital media. Now, I suspect that the internet (beneficial to our business as it is) is also a great disrupter. With its endless cacophony of sensational news, information, music and images it has of necessity rendered graphic design the dominant force over illustration in order to accommodate our tragically dwindling attention span and capacity for remembering things. 

From this perspective, I suppose I should be discouraged from pursuing my craft in the manner I’ve been trained to do; creating illustrations that intrigue the eye and mind on multiple levels with traditional materials. Of course I can still make intricate images with digital assist but they will appear obscure beside the flashy visual memes that are our current brain candy.

It’s been said that great art reflects the era in which it was made, yet the artist in me refuses to cave. My illustrations and drawings will inevitably emerge as they must because of the question that nips at my conscience; will today’s visual flash preserve and continue to tell future generations the myriad complex stories of who and what we once were or will they require an entire field of scholarship to create a new Rosetta Stone? 

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Codex Gastropoda: A Visual Meditation

July 26, 2017

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You know the old adage, “Time passes quickly when you’re having fun” ? Well, this sentiment truly described the years between 2007 and the present when I began thinking about snails. Now, why on earth would anyone care about snails except as a purportedly (I say ‘purportedly’ because these creatures are among those forbidden to me by religious doctrine) tasty dish served with garlic butter?  Because I actually find them fascinating since I am able to look at them objectively for their natural beauty and metaphoric value without planning how to cook them.

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These musings slowly inspired a series of eighteen drawings on several species of snail (a.k.a mollusca/gastropoda). Some of them appeared along with my thoughts/poems about them over those years in several blog posts here.* Later, during this project’s development, a friend loaned me an eye-opening book that proved very inspiring and that I now recommend to you: The Sound of a Wild Snail Eating by Elizabeth Tova Bailey (2010). http://amzn.to/2w18Zpc

My drawings are not strictly scientific but an amalgam of fact and fancy. Each tells its own story, inviting questions and second glances. At first, not knowing whether these drawings should become a book or simply a portfolio collection, I put out a query on social media.  Though enthusiastic early feedback suggested a book, I still liked the idea of a portfolio collection and decided to publish a ‘bookfolio’ (a portfolio in book form) as a sort of compromise.

In this light, I considered writing more thought/poems like those in earlier posts. However, I soon determined that haiku (seventeen-syllable non-rhyming Japanese poems), with their economy of language would better complement the nature of my drawings.  Slyme-TextGrid-8x10.jpg

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Now, I am happy to announce the release of Codex Gastropoda: A Visual Meditation. This 44-page ‘bookfolio‘ includes an introduction and has just been released from Imaginarius Editions in an initial small press run.

You can preview and purchase it (US$30) at my online gallery: http://bit.ly/2vzsSTM

Codex Gastropoda will soon be available at Amazon but for now you can also find it at my Etsy Shop: etsy.com/shop/Imaginarius

Given the experiences that inspired it, my goal for Codex Gastropoda: A Visual Meditation became to raise awareness of the wondrous details that inform Creation and their consequences for our world. I hope this visual journey and spare prose will also inspire you to appreciate our complex existence and perhaps add your own words and ideas to the continuum of human creativity.  

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* https://wordpress.com/post/imaginarius13.wordpress.com/754 https://imaginarius13.wordpress.com/2011/03/17/the-snail-queens-soliloquy/  

*https://imaginarius13.wordpress.com/2010/12/30/postscript-for-the-new-year-a-divination-of-snails/ 

*https://imaginarius13.wordpress.com/2010/12/26/codex-gastropoda-4athe-time-snails/ 

*https://imaginarius13.wordpress.com/2010/10/21/codex-gastropoda-2-the-snails-song/ 

Practical Matters: Illustration As Product?

March 14, 2017

In July of 2010, well into the consequences of the 2008 economic collapse, I posted two consecutive essays* that explored illustration-related issues. One questioned the relevance of the illustration industry in the face of  those changes with many print and advertising venues giving way to online presences. Along with the ascendance of gallery and aggregate stock image/portfolio sites, my agent at the time decided to branch out into the product licensing marketplace with a plan to enhance her own fortunes with those of the illustrators in her stable. So the other essay** mused on whether such a ‘marriage’ could prevail.

In short, despite working intensely on many collections of designs for product applications and attempting to understand the mechanizations of the licensing industry, the enterprise was not entirely successful for me. However, the experience did force me to realize two things: my own naïvete in that area and the fact that individual artists stand little chance in the marketplace against corporate licensing giants like Disney, Mattel or Starbucks. To wit, I was told at an international trade show by a licensing agent that although he loved my work, he would not even consider doing business with me until my ‘brand’ had generated several hundred thousand dollars in revenue. Huh. What a classic chicken and egg situation!

Though my agent and I have since parted ways, I still believed in the integrity and originality of my work and thought that one day I might try again to generate life for my images beyond paper and print. I knew that for me, full retirement was not an option ( and that after a long freelance illustration career, I still had the drive to create new things. I also knew that age-wise, holding a full-time job was also not an option. Therefore, I had to find a way to generate income from my work. To that end, I embarked on a new venture: I decided to write, illustrate and publish my own books***. This is an ongoing activity that I think will always inform my work.

Today, in 2017, we are facing other issues regarding the ever-expanding online opportunities with their associated intellectual property concerns and the difficult challenge of attracting as many eyeballs as possible amidst the unbelievably vast competition out there. Much as I had held to the notion that licensing my images would compromise my artistic integrity by ‘selling out’ to commercial interests, I now see that to some extent, becoming business savvy is necessary to economic survival. It requires that we understand the strategies of these new corporate giants. They operate primarily by advertising revenue and tempting artists to post their images for ‘free’ with the future promise of a tiny percentage of market share if and when their images applied to products achieve any sales. Like any business adventure, it is risky, both to creators and site owners. But in my opinion, the greater risk is assumed by creators who opt for compromising their intellectual  properties and code of trust when dealing with a business partner simply because we are not directly privy to their accounting practices.

Still, the old adage of “nothing ventured, nothing gained,” often drives participation in new ventures. This is especially tantalizing in an era where the possibility of becoming internationally known for one’s work is but a few keystrokes and/or a credit card away.

However,  as the ‘Practical Matters’ portion of this essay’s title suggests, I have made every effort to copyright and /or trademark (as appropriate) any design I’ve released for commercial use. Though some expense may be involved, the urgency of these efforts cannot be overstated. Through my activities on the boards of the Pittsburgh Society of Illustrators and the American Society of Illustrators Partnerships I have become aware that under the current administration, the copyright environment in Washington DC is undergoing some far-reaching changes in favor of privatization of the copyright office. These changes will allow them to more broadly define the concept of public domain; a development that ultimately will not be friendly to creators. With the very dodgy security of the web, it’s now trivial to grab images from sites with impunity. It follows that using these images for profit comes with little consequence to the infringer. Protecting your intellectual property is essential as there have been cases where artists engaging in lawsuits against unethical corporations or individuals to reclaim their intellectual properties have taken considerable financial hits in the process. Though not an encouraging circumstance, it is a cautionary one.

Yet despite the potential pitfalls, the artistic spirit continues to be indomitable since most of us live on hope. In that light, with copyrights in place, I decided to reboot my licensing efforts when an illustrator colleague raised my awareness of a some potentially promising opportunities. I have since sold many designs for greeting cards at Greeting Card Universe ( http://bit.ly/2mWRXXI), have a t-shirt available at my Magic Eye Gallery (http://bit.ly/2mp1XW5and am now engaged at Society6 (https://society6.com/imaginarius13) with twenty unique collections of designs for an array of personal and home products. Whether this will all work out, I can’t know, but one thing is certain; if you understand the risks and throw enough effort at the wall, something’s bound to stick!

Here are a few selections from the Imaginarius Shop at Society6:

Alchymy Collection: Firebird Wall Tapestry                                                                                                                                              

 

 

 

 

 

 

 

 

 

The  Cluckfosters’ Step Out Collection: Clock

Sea Swans Collection: Shower Curtain with Towels & Bathmat

Sushi AlaCarte Collection: Allover Print T-Shirt

Alchymy Collection: Elementals Duvet Cover & Comforter

Salisbury Tiles Collection: Throw Pillow & Leggings

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tudor Vines Collection: Duvet Cover, Comforter, Throw Pillow, ToteBag, iPhoneCover

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*https://imaginarius13.wordpress.com/2010/07/12/practical-matters-is-illustration-still-relevant/

**https://imaginarius13.wordpress.com/2010/07/16/practical-matters-2-to-license-or-not-to-license/

***http://magiceyegallery.com/BookPage.aspx?id=8 (see all books under pull-down ‘Book’ menu)

A Thanksgiving Side Dish…

November 26, 2015

TheTurkey'sTaleThe aroma of fresh poultry wafted towards me as I entered the butcher shop on my annual Thanksgiving pilgrimage to secure a choice turkey. Holding my nose against this odiferous chore, As I navigated through the crowd towards the service counter, I heard a shrill squawk as I slipped on something squishy buried beneath the sawdust-covered floor, colliding with a strange, dark figure.

Recovering her composure, the elderly patron scowled and pointed a bejeweled, wrinkled finger at me. I shrugged and apologized but barely suppressed a grin. With her beakish nose and trembling, wattled chins, she looked like a tough old turkey in human disguise. Outlandishly clad in a turban-wrapped fez, an iridescent feathered cape over an embroidered vest and paisley knickers, her dignified bearing was mysteriously intimidating. I expected she would berate me for my rude, if accidental move, but instead, looked me up and down with contempt and turned dramatically back towards the counter, muttering to herself with a vaguely Middle Eastern accent.

“How weird was that?” I mumbled sub-vocally, reaching for a double-digit service number. My wait would be longer than I thought since several ‘pilgrims’ were ahead of me, including the ‘turkey lady’. When I took my place in line, I found my artist’s eye drawn to her burgundy velvet fez with it’s gently swinging silk tassel. Idly, wondering whether turkeys might really be from Turkey, I remembered a fanciful notion described by some sixteenth century English naturalists. It seems they imagined a resemblance between the turkey’s red head adornments and the fez, a tasseled cap worn at the time by Turkish men as a national headdress! Stirring the sawdust around with my shoe, I began to recall other bits of turkey trivia.

Actually, turkeys pre-date humanity by about 10 million years, having roamed throughout Africa and most of the Americas. However, history records that an exotic bird with a featherless head and white-speckled feathers on its rounded body was imported from the Guinea coast of Africa into Europe during the Turkish invasion early in the sixteenth century. This creature was later classified as a guinea fowl. Along with other strange products, such as coffee, a chewy confection called ‘loukoum’ and beautifully patterned textiles and carpets, the English dubbed anything that had never before been seen in the west as ‘Turkish’, including the ‘Turkie-bird’.

The line to the service counter finally started to move and the ‘turkey-lady’ waddled up to claim her order. Before depositing her payment on the counter, she opened her package to inspect its contents and immediately began to haggle with the butcher’s assistant. Flustered, he stared at her, then ran off to fetch his boss. The portly, ruddy-faced butcher emerged from the back room, wiping his bloody hands on his apron and glowered at his bizarre customer. “What do you mean, haggling with my prices?!” he roared. “My turkeys are the finest in town and worth every penny I ask! Furthermore,” he continued craftily, “my turkeys are so delicious, your guests will praise you to the heavens, swearing that you got twice the bird you bargained for!” Appearing to consider this, the ‘turkey lady’ suddenly assumed a mask of complete charm and proceeded to defend her point of view. “My dear Mr. Hogg,” she murmured, “I can see that you are very busy today, but if you would be so kind as to hear my little Turkish tale, then perhaps you will understand.” Intrigued, I joined the other customers as they moved closer to listen.

“Once, long ago in Turkey,” she intoned, “a ‘hodja’, or learned man went to the bazaar in his village. Strolling the aisles, he chanced upon a handsome curved scimitar that bore a price tag of three thousand ‘kurush’ . The hodja carefully inspected the scimitar but could not see why it should be so expensive. So he approached a table of patrons at a nearby coffee stand to see if they might offer an opinion. “That is a very special scimitar!” they exclaimed. “ We have heard that if you use it to attack your enemy, why, it grows five times its original length!”

Considering this, the hodja returned to his home, fetched the tongs from his fireplace and carried them back to the bazaar. Gathering a crowd, which included the coffee drinkers, he sang out, “Who will give me three thousand kurush for these fine fire tongs?” Curious, the coffee drinkers approached the hodja and asked to inspect the tongs. “These are rather ordinary tongs,” they frowned collectively. “Whatever has possessed you to ask three thousand kurush for them?”

“Well,” answered the hodja with an ingenuous smile, “when my wife is angry with me and she threatens me with these tongs, why, they seem to stretch to ten times their present length!”

The butcher stood there, a reluctant grin spreading across his broad chin. Shifting his weight from foot to foot in embarrassment, he agreed to accept her modest payment, but on one condition. “And what would that be?” she simpered. The butcher looked at his customers who were obviously fascinated by the ‘turkey lady’. “The condition is that you will return next year with another story.” “OK, she nodded. Then, with a triumphant smirk on her heavily lipsticked mouth. “I will, but only if you will give everyone here a fair price, too!”

Watching the other customers whispering among themselves, I thought, “Wow, that was impressive; could that hodja have been her ancestor?” Without waiting for an answer from Mr. Hogg, the old bird winked at me and secured her feather cape. Then, she gathered up her parcel and swept out of the shop, yellow sawdust rising in her trail.

The Turkey’s Tale was first published in 1993 as the Thanksgiving folktale feature in the Focus Magazine of The Pittsburgh Tribune-Review. It is one of my Visual Fiction stories published in the T-R between 1993-97.

Week 3: Notes From London: Above & Below

April 22, 2015

Here it is, week 3 of my Notes From London: Above & Below campaign: 17% funded with 17 days to go to meet my $3,000 goal. I’ve been busy publicizing here and wherever else I can think of, social media-wise and on the street, while heading towards the philosophical bent of mind. I love this project; not only has it been several years in the making, but it represents an important period in my life vis á vis a special family member who lived in London for many years and who has always been a great influence on my work; inspiring this book in no small measure. That said, the images I’ve chosen are not necessarily personal but they are intended as memes, as reminders for us to look beyond what is in front of us and ‘see’ or imagine a much deeper picture and story. So, as promised last week, here is another image for your consideration, a detail from ‘Neo-Medieval On The 343’:

I hope you all will continue to help this project gain momentum and spread the word to friends and colleagues worldwide! Every little success gives an artist hope and like fuel for your cars, that keeps us wanting to make things that make you smile!

Imaginarius Reflects: Glancing Backwards, Moving Forwards…

December 29, 2014

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Dear Readers: As 2014 slows to a stop, I would just like to thank all of you for taking the time to stop by, peruse my memes and musings and occasionally leave words of your own. To which I have done my best to respond. Though I’ve taken a couple of months rest from posting here to recoup from an intense Kickstarter book project, it was only to let my mind’s eye wander towards the next one! Yes, a new book is in the works, but will be preceded in appearanceby a project of an entirely different nature. Look for details mid-January 2015. Meanwhile, I wish you all a very healthy, happy and inspired New Year! 

Imaginarius

ps. if you click on the link below, you can avail yourselves of activities on Imaginarius for this past year.

Click here to see the complete report.

Sunrise, Sunset, So What?

May 6, 2014

ImageOn average, we spare little daily thought for the sun other than to its perceived influence on the esthetics of the next twenty-four hours. It is, therefore, we are. End of story.

But since the sun’s first appearance in the skies on the fourth day of Creation, according to the Torah (Book of Bereshis/Genesis), this story is not one with an ending; it is punctuated with the myths and folklore of every human culture from the beginning of recorded time and perpetuated across generations in forms apropos to each telling.

These tales comprise a portion of the collective effort to comprehend our origins amidst our mercurial environment, the relentless cycle of the seasons and our place in the cosmos. They are an amalgam of sincere theological speculation, intriguing scientific discovery with some millennial fear-mongering thrown in for spice.

In tribute to this timeless portrait of human curiosity, I’ve chosen to include a rare Jewish blessing for witnessing natural phenomena in my book, An Illumination Of Blessings.

The Birkat Ha-Chamah or Blessing of the Sun is rare because it is recited only once every twenty-eight years, most recently in April of 2009. It is not to be found in standard prayer books; rather, it is distributed to participants at each recitation ceremony. The blessing dates back to Talmudic times (first century AD) when the rabbis, wishing to acknowledge the sun’s importance to life on Earth without inviting idolatry, addressed the star theologically without attributing divinity to it.

According to rabbinical opinion in the Babylonian Talmud, the blessing is to be recited every twenty-eight years on the vernal equinox* to commemorate the sun’s return to its original position (relative to the Earth) on the fourth day of Creation when it is fully visible above the horizon at dawn. They taught: “One who sees the sun at the beginning of its cycle…recites: ‘Blessed is the One Who made the Creation’.” (Tractate Berachot 59b)

My illustration for this blessing is set in medieval Europe when rabbi-scholars like Maimonides (the Rambam) and Samuel ben Judah ibn Tibbon engaged in lively discussions of Torah and Talmud, codifying their opinions for future generations.

On a grassy hillside against the backdrop of a castle fortress-town, a prayer shawl (tallit) clad man and his son are awaiting the full sunrise as they imagine a vignette of the fourth day of Creation framed within an astrolabe. The hand-shaped (hamsa) device from which the astrolabe is suspended is meant to represent the idea that its five fingers remind us to use our five senses to praise G-d. The hamsa is also referred to as the Hand of Miriam in remembrance of her as sister to Moses and Aaron.** The boy holds a ram’s horn (shofar), which will be sounded when the sun has risen.

This image was suggested by the Birkat Ha-Chamah ceremony of April 8, 1981, led by Rabbi Zalman Schachter-Shalomi who stood on the observation deck of the Empire State Building in New York and sounded the shofar amidst a crowd of 300 participants.

I think, perhaps, this is how we might understand our place in the cosmos. As witnesses to the wonders of created life, that is a dance of chaos and order, we are privileged to question it, but are never to know all the answers or the end of the story; at least, not yet.

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* Why every twenty-eight years? Although the sun rises and sets in the east and west respectively, its position shifts seasonally, moving to the north in summer and to the south in winter. The midpoints of this movement are the equinoxes which mark the autumn and spring seasons. To complete this cycle requires one solar year, the length of which varies by slightly more than a day in our calendar. So the rabbis calculated that when the equinoxes have moved forward exactly thirty-five days, they will occur on the same day and hour as on the first hour of the fourth day of Creation.

** Some of you may wonder why I have not included a woman in this ceremony. This is because the Birkat Ha-Chamah is a time-based mitzvah (commandment) which women are exempt from observing. You can read more about this tradition here: https://www.jewishvirtuallibrary.org/jsource/Judaism/woman_commandments.html Nevertheless, the Hand of Miriam attached to the astrolabe represents their spiritual presence.

Kickstarter-Final Update #6: An Illumination Of Blessings: The Blessing Of Words

July 5, 2013

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Dear Backers and Backers-To-Be:

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.

If you have not yet pledged your support at this point, please do so at this link: http://www.kickstarter.com/projects/1330347473/an-illumination-of-blessings

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.

Wishing you Peace and Blessings,
Ilene

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The Demise Of Handwriting?

May 5, 2013

GarrulousGothicAn 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.

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It’s really part of my regimen as an illustrator to keep my hand and drawing skills flexible. Imaginarius-TheCreativeAct 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.

 

The Evolution Of Choice: Tattoo Or Not To?

August 16, 2012

This week, in our reading of Parashah Re’eh in the book of Devarim (Deuteronomy) we discover a complex chapter that addresses the Israelites’ approaching settlement of Canaan. It is filled with cultural admonishments and exhortations designed to preserve the relatively fledging concept of monotheism. Because so much of the text recaps stories and strong points of the first four books of the Torah, I chose to focus on the brief section (14:1-14:3) that seemed pointedly relevant to contemporary life; the section that addresses choice in individual holiness.

As an illustrator and graphic designer, it is necessary to establish a unique brand identity within an extremely competitive market. This logo, or mark that represents our professional achievements and aspirations, though it may take the form of a simple graphic or phrase requires much thought. It becomes the face you present to the world. Though I have experimented with several designs over the years, a sun and moon motif remains my favorite, since it speaks to the timelessness of creative spirit.

A little story: Once, years ago at a neighborhood shop I purchased some stones and beads that I could fashion into a necklace. As I reached into my purse to pay for these items, one of my business cards inadvertently fell onto the counter. A young patron behind me caught a glimpse of it and immediately inquired if she might have one so that she could copy the design for a tattoo. For a moment I was flattered and somewhat amused, but my inner ‘Nitzotz Ha-Yehudi‘ quietly nudged me. “This tattoo (K’tovet Ka’aka) would be so not kosher!” it seemed to say. I offered a crooked smile and told her, “It’s nice that you like my work; thanks. Maybe you are not Jewish, but I’m afraid my religion doesn’t permit tattoos and I would not feel good about letting my work be used for them.” The young woman stared at me. “Oh,” she said with a frown. “Too bad, it’s a great design.” Something about her narrowed eyes told me she would have some version of it made anyway. Oh well.

Though tattoos are as old as the history of many cultures (full body coverage is a fine art in Japan called horimono), they’ve become ubiquitous in our urban landscape with less clothing worn in public being the norm. I began to pay special attention to the numerous young people sporting a variety of tattoos and body piercings when I left the shop. At that time, I hadn’t seen any tattooed Jews, but maybe they weren’t as bold about them as they are today given the caché of magen-david studded tabloid celebrities who profess to be ‘into’ kabbalah.

Anyway, I found some of the wide array of designs interesting, even technically brilliant from an artistic perspective, but deeply disturbing otherwise. Perhaps it was their aura of permanence (though removal is easier these days), but in retrospect I think that my fickle artistic sensibilities would soon grow weary of any design I chose despite my passion for it at the time. Not to mention how age and wrinkles would distort it.

I was prompted to check out the Torah to verify this prohibition. Though the Torah views tattooing, body piercing and shaving portions of the head as evidence of ancient cultic death rituals and a form of idolatry (Avodah Zarah), other subtle issues around it such as cosmetic tattooing are addressed in rabbinic discourse. Rabbi Chaim Jachter, faculty advisor at The Torah Academy of Bergen County, NJ suggests that our bodies do not belong to us, but are loaned to us that we may perform mitzvot; not to do whatever we wish with them. There are some who scoff at the law barring Jews with tattoos from burial in a Jewish cemetery and by extension at that law requiring that only Jews of good conscience belong in such hallowed ground. No one is perfect, they say. Saints and liars may not be kosher fellow dirt-nappers but who’s going to argue after the funeral? I don’t know the technicalities, but that argument sounds pretty disingenuous to me while it attempts to sanction undesirable behavior.

The young Goth woman about to eat a scorpion kebab accompanies the quotation on the opposite page to demonstrate another important prohibition of this parashah; polluting our inner purity with forbidden foods. The grid below her displays a selection of animals that permitted (full color) and forbidden (mauve color). As world travelers  know, these foods (scorpion kebabs are a common street food in Beijing) are readily available and many find them appetizing. But again, eating such things raises the question of choice. Are she and the tattooed man with the skull Jews? Hard to tell, but for my purposes, they are, since they might easily reflect the growing trend among young Jews to adopt this form of body modification. Nevermind that we have always been a people apart; is it really necessary to blatantly remind the world of that fact? What Holocaust survivor still alive wouldn’t shudder at the sight of a young tattooed Jew? Even if said tattooed Jew loudly proclaims that he/she is proud of their Jewishness and wishes the rest of the world to know it?

That is why I’ve placed a Holocaust witness in the background; for perspective. He might be their ancestor observing their assimilation into our surrounding culture. Yet he seems to say that as much as we try to disguise our ‘Nitzotz Ha-Yehudi’ or even to silence it with sheer rebellion, such choices may again become our undoing.

At the end of the day, it seems to me that being ‘cool’ is knowing you don’t need to be.

The illustrations above may be found along with additional footnotes in my book, Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate, 2009).The book is distributed internationally and may be purchased directly from the publisher by calling: 1-800-227-1428 (US), {+44} 0 1926 430111(UK) or visiting http://www.pomegranate.com/a166.html.