New art piece: If I Am Not For Myself, Who Will Be For Me? (2015 Edition)

I’m pleased to report that my Etsy shop, Schultz Yakovetz Judaica, is doing well. Not “quit my day job” well or anything, but I’ve literally sold more art in the last six months than I had in all the previous years—total—of selling via my website. (For that matter, it seems to have raised the profile of my own site, since a few of those recent sales came directly through my site rather than the Etsy shop. And even that was a statistically significant uptick.)

ifiam_originalMost recently, I happened to see a few orders in a row for one of my earliest pieces, a setting of Rabbi Hillel’s famous aphorism in Pirkei Avot:

If I am not for myself, who will be for me?
But when I am only for myself, what am I?
And if not now, when?
(Pirkei Avot 1:14)

Fun fact: I first created this piece in a handmade version as a gift for my dad back in 1994. The typeset version was designed some years afterward, but no later than 2001.

In other words, it’s gotten a little dated… especially as typographic decorative art has really come into fashion over the last few years (everywhere from Etsy to CB2 to Target) with a more contemporary aesthetic.

Looking at it with fresh eyes, I decided that it was really time for an update. So I created a new version.

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While I was at it, I posted a downloadable version so that buyers can print their own copy (at any desired size) locally, rather than have me ship them an unframed print. One download includes PDFs of all three pieces.

Carpe diem!

New for 2015: I’m in a book!

Last month, I received an email inquiry from a photographer named Susan Ressler, formerly of Indiana (she is Professor Emerita of Visual and Performing Arts at Purdue University) and now of New Mexico. elements

Susan was preparing to self-publish a book of her fine art photography from a recent trip to Israel, organized (as it happened) into sections based on the elements: Air, Fire, Water, and Earth. She had come across my 2007 piece Elements: The Holy Cities and wanted to include it in the introduction to her book, as a way of setting the stage!

Her completed book, Understanding Israel (subtitle: “Jaffa is More than Oranges”), is now live on a print-on-demand site called Blurb. It’s available in two trim sizes: 8×10 ($45.99) or the more luxurious 11×13 ($99.95), both in a dramatic landscape format. If you click on the title above, you can browse through the entire book. For the curious, my contribution is on page 10 :-) but the rest is well worth a look.

Below is the official Blurb “badge” for the book:

Understanding Israel (8x10
Understanding …
Jaffa is More than…
By Susan Rebecca Ressler
Photo book

 
(And also, since apparently this is my first post in the new year: Happy 2015!)

Designs for the Blue Hill Troupe’s 2014 Ruddigore

As many of you know, for the last two years I have been a Backstage member of the Blue Hill Troupe, Ltd., the only musical theater group in New York City to donate its net proceeds to charity.

Last year, I was privileged to serve as the Troupe’s Marketing Graphics coordinator, as well as the lead Program Designer. Since I’m still catching the blog up on all my projects from Spring 2014, here’s a look at the materials I produced for their April 2014 show, Gilbert & Sullivan’s Ruddigore.

[portraits]

The original Act II sketch.

Historically, the Troupe has often based show graphics on the concept sketches of the set design. For this Ruddigore, I was totally enamored of the richly toned watercolor artwork that the set designer (noted NYC architect Byron Bell) produced for the iconic Act II “ancestor portraits” set, so I was keen to figure out a way to work with that.

As a background for text, however, this selection presented some challenges: it’s not only very busy, it’s also highly discontinuous, the dark background being heavily cut by the white grid of the portrait frames. My techniques for adapting to this background included:

  • deepening the color values as much as I could without losing contrast or detail;
  • using white (or “reversed out”) text against the primarily dark background;
  • setting most of the text in the very simple and legible Myriad Pro (except for the ornate title, set in Blackadder) to help counteract the heavy texture of the background;
  • adding a subtle gray outline stroke to the letterforms to create a boundary against the lighter areas of the art;
  • strategically adjusting the composition (via cropping, sizing, and positioning) to create as much neutral space for the text as possible while preserving concrete elements of the stage set (table, candelabra, freestanding portrait) as a visible frame.

The first piece we produced was a 4×9″ postcard. Over the course of the year, I adapted this layout into several more single-sided pieces such as display ads, our Facebook cover page, other web graphics, and an 11×17″ window poster for our Brooklyn workspace. Later, there was a quad-fold 8.5×14″ brochure that included a ticket order form.

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Finally, I also got to serve as lead designer on the program booklet, which is a glossy 136-page perfect-bound extravaganza with a full-color cover. For the cover here, we turned to another of Byron’s sketches: the wrought-iron gates of the tiny Cornish fishing village of Rederring. (This elaborate set piece was incorporated into the overture, then dramatically flown out at the top of Act I.)

The program cover.

The program cover.

Since this was a simple line-art sketch, I placed it on a parchment background, then used a striking red shade to highlight the “ruddy gore” of the title text. This treatment produced a thoroughly different look that still worked thematically for our melodramatic period piece. For consistency, I kept the same title logotype as on the promotional materials, but I wanted the rest of the program to evoke the old-fashioned typography of a vintage newspaper, so I used Bodoni for both body and display text throughout.

Note that, having moved away from NYC to Indiana immediately after the show closed in April, I’ll be an Associate member of the Troupe for the coming year… though I’m still on call for the occasional design project! Their 2014-15 season includes Lucky Stiff this November (for which rehearsals are now in progress) and Gilbert & Sullivan’s Patience next April. Break legs, all!

New website project launch: Growing Minds

A good friend and colleague in the Boston area, Dr. Anya Dashevsky, is launching a private psychology practice, and I had the privilege of assisting her with her marketing materials.

She had already decided on a name for her new practice: Growing Minds. She made sure that the domain name growingmindspsych.com was currently available, so we moved forward with that. She specializes in assessment of children (starting as young as 18 months) through adolescents, so she had come up with a name that conveys both the objective (minds that are growing) and the process of assisting those minds to grow and develop.

My first task was to come up with a logo. I wanted to capture that same duality, so I used two contrasting typefaces:

  • a script face known as Banshee with a dynamic, organic feel, and
  • Book Antiqua (Microsoft’s knockoff of Palatino), which will also be suitable for general text use in her website and business materials.

For her branding colors, I chose green to represent optimal growth, and blue to connote a calming, supportive, and trustworthy presence for the presumably-anxious parents seeking her services. (Note that blue is a common choice among medical practices as well as financial institutions.) I provided a wide range of alternative concepts, but this jewel-toned scheme was the one my client was drawn to, so I knew we were on to something!

[Growing Minds]

The two-sided business card featuring the final logotype.

Next, we worked together to create a website for her practice that would provide substantive information as well as basic logistical details to inquiring new clients. We settled on a clean white background and a simple page template that would perform just as well for iPad visitors as for desktop browsers. All the text is in Book Antiqua to match her brand identity.

[GrowingMindsPsych.com]

The finished website frontpage. Look at that smile! Click to browse the full site.

This site build uses pure CSS, no JavaScript, to achieve both the dropdown main menu tabs and the click-to-expand bullet points on the front page. The menu code was adapted from this simple but effective version on CSSMenuMaker.com. The bullet point code was substantially adapted from this vertical accordion on sitepoint.net — they made use of CSS3’s built-in :target selector, and I had to change around the code to make it function under CSS2, but the basic structure remained the same.

The site is hosted on 1and1.com (Mr. Y’s recommended vendor for basic, economical web hosting). I had my client set up her own customer account, then went in myself to set up the domain name (growingmindspsych.com), post a placeholder page, and eventually transfer the files for the full site once the design and content were complete.

My client’s new practice officially opened this week in her Lexington, MA, office. Congratulations and best wishes for much success! (We’re still working on the coordinating brochure. I’ll post that as a follow-up when it’s completed.)

New art piece: To Everything There Is A Season

Today is Rosh Chodesh Elul (which means only one month to Rosh Hashanah). In honor of the new Hebrew month, I’m debuting a new art piece!

As a young teenager, I was deeply into the music of the 1960s, and I still remember getting goosebumps the first time I heard the Byrds’ 1965 hit recording of Pete Seeger’s “Turn! Turn! Turn! (To Everything There Is a Season)”.

I knew it was taken from a passage in the Book of Ecclesiastes, though I didn’t know much more about it than that. Much later, I experienced Ecclesiastes as the Hebrew scroll of Kohelet, which is traditionally ascribed (like the book of Proverbs, or Mishlei ) to King Solomon, and in many Jewish communities is read aloud in its entirety at Shabbat synagogue services during the fall holiday of Sukkot.

A couple of years ago, at a friend’s house, I saw a framed calligraphy piece based on this same passage, Ecclesiastes 3:1-8. That inspired me to want to do a version of my own.

The primary motif I had in mind was to set the English phrases as a sine wave or a helix, winding around the structure of the Hebrew. The above-and-below undulation would convey the duality in each of the pairings. Each Hebrew phrase is color-matched with its English equivalent to create a visual connection between the two levels. I chose to invert the Hebrew in these layers so that the text flow of both languages could run in the same clockwise direction — another way to echo the “wheel of time” feeling of the passage.

Ultimately, I arranged the text in a mandala of four nesting circles. The outermost circle is formed from the opening verse, which provides the conceptual frame for the whole passage. The second layer contains eight pairings, the third layer five pairings, and the last pairing forms the final circle with “peace” at its center… driving the whole composition, like Pete Seeger’s adaptation, toward an optimistic goal at its core.

One note on the translation: The well-known King James Version translates the second half of verse 1 as “and a time to every purpose under the heaven”. The Hebrew word used there, however, is cheifetz, which in other contexts is always rendered as “please” or “enjoy”. (Compare to Psalm 115:3, V’elokeinu ba-shamayim; kol asher chafetz asah. “Our God is in the heavens; He does whatever He pleases.”) Thus, some English translations give it as “to every delight” or “pleasure under the heavens”. Many other translations simply say “event”, “matter” or “activity”. I wanted to find a word that conveyed the semantic direction of “pleasing” without categorizing killing and destroying as “delights”, and settled on “to every impulse under the heavens.” I also tried to preserve the distinctions in the Hebrew between “a time to [verb]” and “a time of [noun]”.

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I created Version I using the classical Roman-style font Trajan for all of the English text, for a smooth and formal look. However, then I wanted to try to bring out the (literal) texture of the passage with a little more contrast, so I experimented with applying a calligraphic italic hand (a font called Aquiline) to accent the changing keywords in each English phrase. This resulted in Version II.

Both pieces are now available in my Etsy shop, along with a hi-res PDF download that includes both versions in case you prefer to print your own.

Which version do you think works best? Let me know in comments.

Chodesh tov!

How I make art, Part 1: Resources for Hebrew text

This week, I’ve been working on a new Judaica art piece, which I look forward to releasing next week! But before I get there, I wanted to talk about my process for making art out of text in Hebrew and English.

It starts where everything starts — with an idea. Some words catch my eye and fire my imagination. Most often, it’s either a Biblical text or a passage from the siddur, the Jewish prayerbook. (Frequently, it’s both, as Biblical quotations make up a significant portion of the wording of our formal prayers.) Occasionally, it’s a quote from the Talmud, about which more below.

But how do I get going from there? First, I go to the Internet!

… Why not start on my own bookshelf? I own numerous Bibles in both Hebrew and English (one of my favorite translations, incidentally, is Everett Fox‘s Five Books of Moses, a.k.a. the Schocken Bible). But here’s Confession #1: I’m not so strong on chapter and verse. So I start by doing a Google search for the English phrasing, in order to locate the verse I’m thinking of.

From there, I look up the Hebrew. Mechon Mamre maintains an excellent complete Hebrew-English online Bible, featuring the well-reputed standard English translation by the Jewish Publication Society (JPS). I will usually go here to copy and paste entire passages. Note, though, that they provide “pointed” text, with the nekudot: vowel marks and other punctuation that are positioned around the actual letters (or, in the words of psycholinguist Dorit Ravid, “diacritics ancillary to consonantal graphemes”).* This notation is essential for study purposes, but I generally go on to strip out the nikkud, because I prefer to use just the un-pointed letters in my artwork.

* However, the Ancillary Diacritics is totally my new band name.

My next stop is, perhaps surprisingly, a Christian Bible site, one called Blue Letter Bible. While I tend to steer clear of Christian-sponsored sites, this one offers a spectacular feature that I haven’t found elsewhere: a word-by-word breakdown of the original Hebrew, as well as the Greek from the Septuagint, for every single verse of the Old Testament.

[Blue Letter Bible tools screenshot]

The language tools at Blue Letter Bible. Careful observers will pick up a clue as to the forthcoming new art piece.

My own Hebrew skills are normally sufficient to match up the corresponding words from an English translation; in fact, this is an important element in my artwork, where I frequently color-code specific words or phrases to create explicit visual connections between the texts. But sometimes I feel like the English in front of me doesn’t quite capture the nuance I’m getting from the Hebrew. When I want to refine the translation I’m including in the piece, it can be amazingly helpful to see a range of English translations side-by-side, or to click through to the Strong’s Concordance entry to see how the same word has been interpreted in different contexts. Plus, they provide a box to toggle the “vowel points” (the aforementioned nekudot) on or off, so I can copy a whole verse with just the unpointed letters. Priceless.

Now, what if I am researching a Talmud quotation? Certain sections are easy to find in translation, like the tractate of Avot, better known as Pirkei Avot, or in English as “The Ethics of the Fathers”, which is reproduced in its entirety in most traditional prayerbooks. Often, however, I will see delightful quotes attributed solely to “The Talmud”… which may be technically accurate, but not very helpful! Google is my friend here again. Sometimes it turns out that quotes attributed to “The Talmud” (such as this one, identified here) actually come from Midrash Rabbah, which is a fantastic (and often fantastical) body of interpretive commentaries, but not part of the Talmud.

Once I can get a specific citation, I can look up the Hebrew in Mechon Mamre’s online Talmud Bavli (the “Babylonian” Talmud that is the version commonly studied). Some chapters are available in English at Halakhah.com, at Sacred Texts, and at the Jewish Virtual Library. If I’m looking for Midrash Rabbah, there’s a complete online Hebrew edition at Tsel Harim.

For Hebrew text from the prayerbook, I am more likely to turn to my actual bookshelf. However, there are several useful Web resources, such as the Online Siddur, the Open Siddur Project, and the Free Siddur Project.

There are many more great collections of links and scholarly resources at sites like the following:

One last technical note: I create my artwork in Adobe InDesign. Now, if I copy a line of Hebrew text from a web page, it is almost certainly in Unicode, which the browser knows to render right-to-left… but InDesign pastes in the character sequence from left to right. Because here’s Confession #2: I don’t actually use it to handle Hebrew properly. Now that I’ve upgraded to Creative Suite 6, its World-Ready Composer gives some built-in support for right-to-left sequencing at either the paragraph or character level… but the way it behaves still isn’t very intuitive for me, and I get frustrated after just a few minutes. It’s actually easier for me to cheat with an intermediate step: reversing the string in order to make it come out correctly. On a few old projects, I did this by hand (!), but these days I turn once again to the magic of the Internet, where there are handy web-based utilities for this purpose.

  • Reverse a String Online was my longtime quick-and-dirty favorite for single lines.
  • Text Mechanic’s “Reverse Text Generator” offers an additional option called “Flip Text”, which reverses each line (or technically paragraph), but keeps the lines themselves in the correct top-to-bottom sequence — just what I need for longer sections.

Once I’ve got all my text in place, in Hebrew and English, that’s my raw material. Only then can I start to play with it to create art. But that’s a totally separate process that I will try to address in another, less technical — and probably shorter! — post.

Shabbat shalom!