Passover "Pains" and Shavuot Grains

Passover Prep

Earlier this spring, I decided to look at all the secondary (economic, social, social-justice, and so on) issues caused by our politicians' and media's responses to CoV-SARS-2 (aka, COVID-19, the Novel Corona Virus, the 'Rona, etc.) as the modern equivalent of the Ten Plagues of the Biblical book of Exodus. My first design tried to put a bit of visual mnemonics: the "O" in the word "lockdown" looked like a keyhole, I had silhouettes of wild animals behind the line "wildlife incursions", and so on. I ended up with something looking a bit too much like the old "Ransom Note" aesthetic (or lack thereof!) of the early 1990s, so I started again from scratch. After playing around with a couple of different typefaces and moving the plagues around to avoid adjacent plagues of the same colors, I came up with something worth putting into vinyl:

While some of us might have chosen other plagues, or ways of expressing them, I had to keep in mind that my choices had to appeal to a broader, often progressive audience.

The seders themselves gave me more questions, some of which have brought me down an interesting rabbit-hole of published Biblical research. If I come to anything worth raising Ishmael, I'll probably write about it over on The Contrary Point of View.

Moving Towards Shavuot

Starting with the second night of Passover, Jews start a ritual called counting the Omer, referring to the seven-week period of the grain harvest. Conveniently, this period ends with the Biblical holiday of Shavuot (Pentecost) when, by tradition, the Law (the Ten Commandments and the start of the Oral Law that accompanies it) was received by the Tribes of Israel at Mount Sinai. The two-day harvest festival is relatively low-key for most Jews (stay home from work, add extra prayers, study Jewish Law, eat dairy foods), so it's not the sort of holiday that lends itself to a lot of holiday-specific decoration.

However, working at a craft store, and seeing religious designs that seem to focus on the Christian and the arguably-appropriated (dreamcatchers from Native American traditions, mandalas from Hinduism and Buddhism), along with designs that seem to align with Wicca and other European Earth traditions, I feel the need to create some balance with designs that celebrate Judaism.

Inspiration and Symbology

My original idea was to create a Mount Sinai with fire and smoke ascending or descending upon it, the traditional two tablets representing the Ten Commandments in the foreground, and 49 stalks of wheat, one for each day of the Omer. While this might have worked as a drawing or painting, it would have been way too busy for a t-shirt. I ended up with a rough outline of the peak of Mount Sinai, the two tablets (with the Commandments mnemonically reduced down to their numbers), and twelve stalks of wheat (one for each of the Twelve Tribes of Israel) divided into two groups of six, framing the Hebrew word "Shavuot". Those looking for a little more symbolism might recognize that the groups of six are further divided into two groups of three, with the two on the right side set up similarly to the Hebrew letter shin, the first letter in the Hebrew word for "Almighty". 

original Shavuot Design, including background

I didn't want another white T-shirt — I wanted a bit of "natural" color — but I also wanted to use a blank I already had in stock. After examining my stash, I hovered between Bella+Canvas crew necks in Mauve and Dusty Blue, and started putting them together with vinyl colors. I settled on the mauve, using metallic, foil, and glitter accents to create texture in my final composition.

I'm planning to wear it at least once to work before the holiday, and again for a Zoom-based holiday celebration.

Noshin' Hamantaschen

Oh how happy we shall be, noshin' Hamantaschen!

A snippet of a Purim song — all that I think my Dad remembered — floated through my mind this past week as we approached the Jewish festival of Purim. While the religious cause of the celebration is the Jews' escape from the genocide proposed by the Persian vizier, Haman (as described in the book of Esther), the celebrations are loud, drunken, and often in costume — to the point where it's best described as "the Jewish Mardi Gras".

The marquee food of this festival is Hamantaschen — a triangular shaped cookie or pastry, traditionally filled with poppy seed paste or prune butter, though modern filling variations range from fruit preserves (usually raspberry or apricot) to chocolate, peanut butter, or even pastry cream. Depending on which story you hear, the name refers to Haman's hat, his ear, or his pocket/money pouch. At any rate, when we eat them — just as we shout, stamp, and wave noisemakers (graggers) during the public reading of Esther — we are obliterating the name of the story's villain.

Purim T-Shirt with cardstock positioning template

I Googled the snippet I remembered, only to find that I had learned the first part of the snippet incorrectly, that the lyrics came from a 1940s-era pedagogue, and that the familiar children's melody came from a drinking song often heard at Renaissance faires. (The pertinent results here.)

Of course, I would bake Hamantaschen (how could I not?)... but I also had an idea for a fun Purim T-shirt. (Hey, I'm a bit old to pass for Queen Esther or Queen Vashti, and nobody dresses up as Haman's wife!) I was able to use the basic shapes in Design Space to create a bitten-into Hamantaschen and some scattered crumbs, along with Cookie Monster's patented "nomnomnomnomnom" for my design.

Shirt next to real homemade Hamantaschen

While a shift at work meant I was not going to get drunk enough to not know the difference between "Blessed is Mordechai" and "Cursed is Haman", I have another shirt design to share (my Design Space profile here).

More on Non-Western Alphabets, Bar Mitzvah T-Shirts

After talking with an Observant Jewish friend, I got the idea for a design I felt might be a bit more appropriate for a Bar Mitzvah t-shirt.

Design Sketch

Jewish men tend to have strong memories of the parshah (weekly Torah and Haftorah (Prophets) readings) they were required to learn for the public synagogue performance that defines most modern B'nai Mitzvah (Bar Mitzvahs). The readings are tied to specific weeks of the Jewish calendar. I came up with the graphic idea of a Torah scroll, open for reading, with the Bar (or Bat) Mitzvah's Jewish name, along with the parshah and date (intended to be written in Hebrew). I used "David ben Avraham" as a generic male name, and since my Hebrew and Jewish learning isn't that great and I wasn't at home when sketching, I chose the parshah "Vayyera" as one whose name I remembered, sketching it in English to be customized in Hebrew for any particular Bar Mitzvah.

Once I got home, I used a couple of brush markers to ink the outlines of the scroll, imported it into my graphics programs, and uploaded it into Design Space.

Note that the lines have been thickened, and the rollers colored in a single (flat) brown to make them easier to cut and weed. (I have since added a white underlayer for the parchment.)

Following the method I outlined in my previous post, I added my sample Bar Mitzvah boy's name and the words "Bar Mitzvah" in Photoshop and curved the text appropriately:

Vertical Text Typing Reversal

The problem came when I started trying to insert the vertical text in Photoshop: because I forgot to check the "switch orientation" icon, the letters were jumbled together, and when I started separating them by putting each on a separate line, they disappeared... and then they appeared, in reverse order. Even when I copied my text into vertical orientation, they were in reverse order... until I typed in my text into Character Map as it normally read.

So, if you are looking to include vertical text in a right-to-left language, you will need to remember to not reverse the order of your letters, with a notable exception:

"Ki Tetze"

I changed my sample parshah from "Vayyera" to "Ki Tetze" (כִּי־תֵצֵא‬) when I started blocking out my text. My main reason for this was a shorter name. That said, it's two words, and the last letter (yad) of the first word doesn't go all the way down to the baseline. 

Because I was having trouble getting vertical text in Photoshop, I selected a system font with Hebrew characters and copied my text into Design Space. At first, the typeface I'd originally chosen didn't show up in my system fonts there, but that was because I'd forgotten to refresh the tab to refresh my system fonts index.

Regardless of whether I entered text in Photoshop, Illustrator, or Design Space, I had to play around with line spacing to get the letters to appear as cohesive words, and with the size of my text box to make sure all those letters appeared in the text object. That said, the vertical orientation — and what I could do with it — varied from program to program.

Slanted Text

Because Design Space keeps each text block as a separately editable, but not warpable, object, rotating the text was sufficient to get it to align with the torah scroll. That said, the amount of difference in line spaces, along with the common use of the character yad as a vowel, required me to put "Ki" (kaf-yad) on a single line, with "Tetze" following as a separate vertically-aligned word.

Both Photoshop and Illustrator have better line spacing, however, keeping my letters as text causes them to handle text rotation differently from Design Space, as well as differently from each other.

Since Design Space treats each text object as a single, image-like object, using the rotation handle to rotate my vertical text ends up perfectly aligned to my slanted rolled parchment, even though each letter is on a separate line. If I place each letter on a separate line in Illustrator, rotating my object will cause my letters remain upright, but indent each line to follow the object's slant. 

Both Illustrator and Photoshop have text-orientation toggles that let you type normally, but format your letters vertically. In CS4, which is the (admittedly-ancient) version of Creative Suite I'm working with, the toggle is under the "Type" menu in Illustrator. In Photoshop, with the text tool selected, it's a small "T" with vertical and horizontal arrows that appears just to the left of the typeface selector on the text ribbon. That said, I had to rasterize my vertical text in Photoshop — making it ineditable — before I could rotate it. 

Finding New Faces

Being that I'm looking at doing some more artistic work with Hebrew text, I looked for and installed several dozen different free Hebrew typefaces I found at sources such as WebToolHub, FontSpace, Free Hebrew Font, AlefAlefAlef and the Open Siddur Project. I was looking primarily for a couple of faces in Hebrew "script", of which I had none in my collection, as well as some variations in display fonts that would make for interesting (and potentially marketable) items.

These showed up nicely in Photoshop and Illustrator as expected, but didn't show up in Design Space until I saved my project and reloaded the tab.

Dates?

I'm sufficiently unfamiliar with the system of using Hebrew letters for numbers that it's going to take some more work before I'm able to complete the left-hand scroll with a reasonable sample Hebrew date.