I love talking about Judaism and design as well as design within Judaism. That is not just because it appears incongruous, since Judaism often emphasizes the spiritual and internal aspects of life, while design seems superficial. Design, rather, like Judaism, is most effective when it’s not limited to superficial looks; when it takes the user into account. Design actually mediates how we move through the world on a physical level and thus is connected to Judaism, which also dictates how we move through the world.

“And let them make Me a sanctuary that I may dwell among them” (Shemos 25:8). Hashem commands us to build His temple. Dictated by Hashem and brought into existence by Betzalel, the design of the Mishkan itself, as well as the items inside, is explicitly spelled out in the Torah because the details mattered. Materiality, physicality, and design matter.

Let us look, therefore, at the holiest day of the week, the time when we rest from creative work, and examine the centrality of design to that day, particularly the table. We are prohibited from sewing, dyeing, constructing, or embroidering on Shabbos because we did all of those things to construct our Mishkan. Shabbos symbolizes a rest that includes not only a physical relaxation but also a rest from creativity and design.

Nevertheless, it is on Shabbos that we are able to unwind and enjoy our creativity, whether through the cooking and baking we did earlier in the day, the arrangement of the table, or the use of the money we made from our occupations to buy the food that we serve.

Setting a beautiful table can be a spiritual act and a concrete way to welcome Shabbos. The tablecloth we lay down, for example, isn’t a specifically Jewish item. And yet when we use that tablecloth to beautify our Shabbos table, we elevate both our Shabbos and the tablecloth. For the Mishkan we used gold, silver, and copper; blue, purple, and crimson yarns, fine linen, goats’ hair; tanned ram skins and acacia woods. For our tablecloths we may use linen, cotton, vinyl, oilcloth, or polyester. We may incorporate larger trends or stay with a classic look. We may dress our table for the season, using velvet in the winter and linen in the summer, or use the same faux alligator-skin tablecloth all year round.

Design reflects our place — where we live at any given moment and how we are doing within that society. Are we wealthy enough to afford elaborately embroidered tablecloths, for example, or do we perhaps live in a place where hand embroidery is a common practice, or do we own one tablecloth of simple white muslin that we use week after week? Do we have servants, allowing us to set tables with an elaborate number of dishes that they will wash for us? We use the resources available to us to elevate the Shabbos table today, through design and creativity, to inspire a feeling of rest, kinship, and spirituality.

By no means does this mean that our tables are worthy of Shabbos only if we tablescape and coordinate our napkin rings with our floral arrangements and accent plates with our silverware. Rather, setting the table for our holy day is a way to set a tone and atmosphere, a mood and a readiness for the holiest day of the week.

Both the table covered with a plastic tablecloth and set the same way each week with simple paper goods placed a bit haphazardly by a young helper, as well as the meticulously planned table that coordinates the napkin rings with the floral arrangements, serve Shabbos equally, bringing to us that sense of calm, rest, and holiness that we associate when we see a table with a challah tray, a challah cover, and a clean kos, filled and ready for Kiddush.

Although solid tablecloths were trendy for the last decade or so, I’m noticing more floral and patterned fabrics incorporated into tablecloths lately.

Rose Sketch LINEN
worldofhart.com

A mixed metal cloth that is stylish, washable, and easy to coordinate.

Gold Stone
elegancetableware.com

Inscribed in Hebrew on the edges and in the center with a blessing for the well-being and livelihood of the members of the household; the names of the spices offered in the Temple are embroidered on the Golden Altar at the top. This tablecloth is silk-thread embroidery on cotton.

Sabbath tablecloth
www.imj.org.il

Partially embroidered tablecloth made by a Belgian Jewish woman; recovered postwar. It’s a square, lightweight, white cotton table covering, partially embroidered over a blue inked pattern in satin stitch, stem stitch, and French knots in light purple, gold, white, and brown satin floss.

Partially embroidered tablecloth
collections.ushmm.org

Shoshana Batya Greenwald is a educator, program associate, and design historian living in New Jersey. She is passionate about empowering Jewish women and fighting anti-Semitism.

(Originally featured in Family Room, Issue 31)

The post Jewish Design and the Shabbos Tablecloth first appeared on Mishpacha Magazine.

Congratulations, you’ve just moved into, or possibly have been living for a while, in a beautiful older home. You would like to make some upgrades but don’t know where to start. What can you do beyond the obvious coat of paint? Let’s break down some fundamental ideas that can enhance your home without restructuring any spaces.

First things first: Stay true to the bones of the home. One thing to always keep in mind is to maintain the actual structural style while making changes. For example, a Tudor-style house should generally not have a modern glass staircase. You don’t have to strictly stick to one style, but always remember to make sure all the elements flow cohesively.

Architectural Considerations

Look at your actual architecture. If there are any outdated decorative beams or architectural elements that are not structural, you may be surprised at the cost of their removal.

Prior to making adjustments, though, be wary if they are structural, as a contractor recently told me that he had to make rapid amendments in a scenario where a second floor started caving in. In that case, instead of removing the beams or other structural forms entirely, you can also add new elements that can bring the space more up to date, such as moldings and arch doorways. Keep in mind that some truly historic homes have beautiful architectural elements that should not be removed, as they bring true character and life to the space.

Lighting

Lighting updates should be completed even before a new paint job.

At the very least, aim to change the lightbulbs — the best range is either from 2700–3000k for a warm glow, and 3000–4100k for a cool glow. It’s best not to mix the two different tones, as two opposing tones together will create an alien glow that just causes headaches.

Beautiful light fixtures will also completely change the ambiance of the home. You can add additional light fixtures, such as sconces, that add purpose and decorative elements. Adding spotlights should be done minimally, as historic homes can use a warmer ambiance and too many spotlights will add unnecessary shadows.

When updating lighting, consider the outdoor lighting as well.

Flooring

Changing the flooring can also drastically change the whole mood of the home. This can be accomplished either by staining wood, changing up tile, or completely renovating the flooring.

For an historic home, I recommend going for either a weathered white oak color or a dark walnut.

For staining red oak wood flooring, keep in mind that if stained a lighter color, it may still have some red tones. Carpenters seem to have two different mindsets on this. Some say that you can’t really see any red, some have a special method involving adding blue, and some say to just keep to a dark color, or redo the flooring because red oak will be red and adding blue will make the floor look blue.

While doing the flooring, keep in mind the easy update of changing the banister and balusters on your staircase.

I am loving metal mixed with brass right now. I think it would be a perfect way to bring in some modernity yet still tie in to the historic feel.

Kitchen

Moving on to the kitchen area, even if a full-gut kitchen job is not in the budget, pricing on painting cabinets can be affordable. I’ve had scenarios in which guests assumed the whole kitchen was new just because the cabinets had been painted and some new hardware was used. Even though the flooring was not changed, the kitchen looked completely new. However, be aware that painted cabinets are not a long-term solution.

Powder Baths

Powder baths can be a place to keep some of the historic charm. The tile may just need some regrouting, and the addition of whimsical wallpaper can bring the room up to date. You may simply need to freshen the vanity and call it a day.

Exteriors

Now, as for exteriors, removing shutters and painting brick or stucco may not be as big a job as you thought. You can also redo actual siding to bring out a more modern appeal and aesthetic. Updating the front door will also change the whole appearance of the exterior. I am gravitating towards a French glass pane exterior door. Redoing windows can also do wonders. If budget allows, consider making some windows larger.

Remember to enjoy the process and take things slowly. Rome wasn’t built in a day. Taking a beautiful historic or older home and updating it can be the perfect opportunity to make your home into what you have always dreamed of.

In her spare time, Miri Lichtman is an interior decorator with an emphasis on affordable yet unique design. To ask any questions, email her at mirilichtman@gmail.com.

(Originally featured in Family Room, Issue 31)

The post Beyond a Coat of Paint first appeared on Mishpacha Magazine.

I’m a big believer, as most designers are, in designing for your climate. As a born-and-bred Canadian, cold is in my bones. There is no doubt that that has influenced my design aesthetic: I want to be cloaked in warmth and layers, and I design with shades of cinnamon and nutmeg and paprika — colors as warming as the spices they’re named for.

Like every micro-decision we make in our lives, we are the sum of our histories and environments. I revel in the history and the conception of specific design eras; it should come as no surprise that I don’t want to create as if every decorating decision fell into execution exclusively in 2022. Traditional design connects me to design ideas that are far beyond my limited perspective, and it requires more creativity and inventiveness than cutting and pasting products that are trending. I love a challenge, and the soulfulness of traditional design ensures that I don’t take the easy way out.

Here are some of the tips I utilize to make traditional design feel fresh and current:

Use trendier colors in classic ways: Coral can feel elegant as a chair in sumptuous velvet with a well-worn Turkish rug in warm neutrals.

Use classic furniture profiles in trendier patterns: A club chair can feel fresh in a small-scale floral and a fringe skirt.

Layering is your best friend here. It allows you to create design dimension while also synthesizing trendy accessories with more traditional ones. Combining a range of fabrics, prints, colors, and textures in a manner that brings character and warmth to a room allows a house to feel lived-in and homey. Find one dominant fabric initially, then start layering by adding smaller-scale fabrics for other areas.

Stay away from cooler shades such as grays and icy blues.

Art is one of the best ways to curate a look, and the good news is, much antique art is very affordable. Peruse local vintage shops, or even find antique books with florals, maps, or floor plans, and frame the aesthetically pleasing pages.

Rivki

Editor, Family Room

A handsome chair in a silhouette we know and love, this chair is timeless for a reason. I’d pair it with linens in sea greens and woven textiles in Americana blues and whites.

Woven Seagrass Chair
shopsocietysocial.com

This iconic chair feels new again with its angularity and the scallops. I’d re-cover it in a russet, thick mohair-style velvet.

Chic “Méandre” Side Chair
1stdibs.com

If a sense of humor were a piece of furniture, it would be this classic Frank Gehry chair made of corrugated cardboard. With its showstopping quirks and edges, it’s far more than your average accent chair. Copper and black surrounding details would make this piece come alive.

Wiggle Chair
chairish.com

A statement chair that pairs naturally with florals, plaids, and nubby wools.

Isabella Chair Simple Plaid Alabaster and Nutmeg Gingham
westelm.com

(Originally featured in Family Room, Issue 31)

The post Accessorize: The Traditional Issue first appeared on Mishpacha Magazine.

How do you feel when you enter an imposing sanctuary? For me, silence speaks louder than words as I imagine the tear-stained faces, the yearning eyes of those praying through traumas and challenges, the powerful prayers of fast-weakened voices on Yom Kippur, and the joyful dancing on Simchas Torah. It may have been unused for decades or centuries, but it’s filled with history and emotion to those who can see.

Does it matter — the tall ceiling, the artistic stained glass, the imposing chandelier, or the architect’s fame? To me, shuls are foremost a place to join in joint yet private, deep, and meaningful conversation with our Father in Heaven, to feel the imposing presence of our Creator.

But the topic is fascinating, so let’s explore some of the world’s most beautiful shuls — their uniqueness and their commonalities.

The Sophia Synagogue, Bulgaria (Photo Credit: Linda and Joel Berkowitz)

Moorish Design in Shuls: Culture or Irony?

Many of the world’s most beautiful shuls incorporate the designs of western Islamic, early Moorish architecture, featuring elaborate geometric motifs, domed roofs, and distinct arches. In the 19th century, this style was adapted in European and American design as Neo Moorish or Moorish Revival and used in many shuls.

The Sofia Synagogue in Bulgaria, featuring Venetian mosaics and Carrara marble columns, was designed in Moorish Revival, with a stunning 1.7-ton chandelier and topped with a large octagonal dome.

In Florence, Italy, the Great Synagogue, Tempio Maggiore, marries Italian architecture with Moorish elements. Travertine and granite created bold stripes that have since faded, and a massive dome with twin turrets tops the roof.

The Jerusalem Synagogue in Prague is a blend of art nouveau and Moorish revival. Destroyed during World War II, the building has since been restored, with triple arches and extraordinary color — a pink-and-white striped exterior, pale blue arches, and moss green walls.

Tempio Maggiore, Florence, Italy (Photo Credit: Linda and Joel Berkowitz)

Consistencies in Shul Design

Clearly, Moorish architecture was a favored style, carrying a stylistic tradition through the ages. Other design elements crossing continents and centuries include the use of the color blue, skylights, and natural or artificial light to evoke the heavens and inspire congregants to turn their minds and hearts heavenward.

The Star of David design is featured prominently in shuls new and old, and is said to have been used in the 1500–1700s by Jewish printers to mark their ancestry and separate their work from the competition. The six-pointed star is not limited to Jewish culture, but understanding the meaning behind the shape cements it as a symbol of Judaism. In Tehillim, King David refers to Hashem as “Magen David,” David’s Shield. Rav Moshe Feinstein explains that David found protection from Hashem in all six directions, represented by the six-pointed star.

El Ghriba Synagogue, Djerba (by IssamBarhoumi - Own work, CC BY-SA 4.0)

American Architects Break the Molds with Modern Designs

Brad Kolodny, author of Seeking Sanctuary, says that before World War II, American shuls were very basic; they usually included two rectangular levels, a sanctuary on the top floor, and offices or meeting spaces on the lower level. “After the war, there was more of a focus on design, and they had more land to work with,” he explains.

Percival Goodman and others were “wrestling with new ways to move the modern idiom beyond functionalism” [NYT article], leaving them with a blank slate on which to express modern ideas. Goodman famously said, “Imitation cannot be as good as the real thing, and so is an abomination. In design and structure, the work must be of our time.” His point is clearly made in the fifty shuls he designed around the country.

A shining example of modern shul design is my spiritual home, Congregation Beth Jacob in Atlanta. Designed by Benjamin Hirsch z”l, in 1963, the wood paneling above the sanctuary features twelve dome-topped stained-glass windows representing the twelve tribes. The wood beams extend to a vaulted ceiling that hosts a magnificent stained glass Magen David at its center.

Ibn Shushan Synagogue, Toledo, Spain (By kurtxio - originally posted to Flickr as Sinagoga Santa María la Blanca, CC BY 2.0)

Historic Shuls and Their Unique Features

One of the world’s oldest shul is the El Ghriba Synagogue in Djerba, off the coast of Tunisia. The shul, which may have included a door and a stone from the Mizbeiach, was likely founded by Kohanim who were exiled after the destruction of the first Beis HaMikdash. (The well-known Rebbetzin Shulamit Bitton-Blau, featured in the Taste of Shabbos article previously printed in Family Table, was born and raised in Djerba.) Featuring deep blue ceramic tile mosaics and pillars, a painted ceiling, gold leaf, and a large crystal chandelier, El Ghriba is a bold blend of Middle Eastern design and Jewish symbolism.

Also known as the Ibn Shushan Synagogue or the Congregational Synagogue of Santa María la Blanca in Toledo, Spain, built in 1180, is the oldest shul building still standing in Europe. The building was converted to a church in the early 1400s, and remains in the hands of the church to this day.

The Eldridge Street Synagogue on Manhattan’s Lower East Side is one of the oldest shuls in the United States. Designed by Peter and Francis William Herter, it incorporated the Star of David, stained glass, and a domed ceiling, and it has been serving Kahal Adas Jethurun for decades.

One Final Word

After researching thousands of shuls, looking at breathtaking photos, and davening for four decades at multiple minyanim, I have concluded that shul design has almost nothing to do with my level of focus. Standing in a centuries-old shul with a vaulted ceiling that beautifully echoes the chazzan’s tenor can stir the soul — but a faintly musty room full of tallis-clad men and tear-stained women’s faces in the shul of my childhood can do more.

Yet, every effort to beautify and enhance the efficiency and comfort of our shuls is an honor and a mitzvah of the highest caliber. Combining modern design with timeless symbolism, and staying true to the halachic dictates of our faith, our shuls will always be where we come for the spiritual connection we need in our lives.

Sarah Faygie Berkowitz was born in Jerusalem, raised in Detroit, and currently lives in Atlanta with her Manhattan born and bred husband. She works in communications and marketing, and has been writing for Mishpacha long enough to be considered family.

(Originally featured in Family Room, Issue 31)

The post Designed to Elevate first appeared on Mishpacha Magazine.

As a vocally avid lover of color, pattern, and traditional décor, as a woman whose wardrobe has black within it least of all, the most common remark I hear when visitors enter my home is how soothing it is. I think therein lies the biggest misconception about color.

I do believe that once you instinctively understand color theory (or have the privilege of hiring someone who does), a color dwelling can feel as soothing as an all-neutral home. Colorful décor doesn’t have to be layered or loud or chaotic or daring or trendy; it can be nuanced and refined, which is how I personally like it.

Here are some of my fundamentals when working with color and pattern:

1.Utilize subtle color to create warmth in a space. My mother thinks I didn’t see the gulp she made when I told her that the ceilings throughout our entire home would be light pink, or that my office ceiling would be buttercream yellow. Once installed, though, the color was subtle enough that it did its job of adding depth and warmth. The pink ceilings read as creamy white in most lights, and my office ceiling is a true yellow only when all the lights blaze on. There are layers to the colors that create that subtlety, that cause you to look twice and not fully know why it feels “so cozy”!

2. Even for a maximalist, more is not always more. Restraint is more impactful than creating palettes with abandon. In one of my daughter’s bedrooms, there is a dusty pink floral wallpaper, and we painted all the doors and moldings in a light brown with hints of pink in it. While you may have thought I’d go for a contrasting color on the color wheel, monochrome can be your best friend when designing bold spaces. Here, utilizing restraint and choosing a focal point with a palette that bleeds into the rest of the room creates a thoughtful space.

3. Your home palette should feel like different chapters in a storybook. In that bedroom, we pulled from the wallcovering’s floral colors to choose bed linens, bed fabric, rugs, and lighting. If I described the colors in middle of the process, my sisters would glance at each other in that universal sister expression that says, “Are you going to say something to Rivki, or should I?” Yet, when walking through once the space was complete, they kept repeating: “This is so soothing! This somehow feels like a neutral space.” Much of that was because the same colors were recurring throughout the room — and throughout my house. The eye feels relaxed.

4. Pair small scale patterns with larger scale patterns. If you didn’t know, now you know.

5. Layering is the key to timeless design using pattern. Textures like divots in the flooring, a rippling effect in the tiles, or a detail within the cabinetry create the weighty foundation for your patterns.

Rivki

Editor, Family Room

My personal, perfect color palette, with the quirky use of vegetables as décor (my ideal way to decorate!), makes this my favorite tablecloth.

Veggies Tablecloth
avenidahome.com

This vase is showstopping enough that even without flowers in it, its décor purpose is served.

Wide Jumony Vase
libertylondon.com

This portable table lamp comes in that just-dusty-enough blue and various other colors, like a deep mustard. I love the covered bulb and the monochrome factor here.

Flowerpot VP9 portable table lamp
finnishdesignshop.com

This console is the perfect canvas for colorful decorative accessories and flowers.

Amelia Scalloped Wicker Table
shopsocietysocial.com

(Originally featured in Family Room, Issue 30)

The post Accessorize: The Color and Pattern Issue first appeared on Mishpacha Magazine.

In one of the first issues of Family Room, an article discussing personal palettes as they relate to interior design was published. Given the influx of feedback, this year we wanted to take a deeper dive into the connection.

Your face is an external reflection of your soul. It is, very literally, an embodiment — a physical representation — of your essence. The concept behind a personal palette is to create a wardrobe and an environment that reflect and harmonize our faces, and thus, our natures, so that our surroundings are in alignment with who we are.

While the starting point is color, the philosophy also extends to style, using visual design elements to communicate non-physical characteristics. For instance, cascading ruffles express the soft, flowing energy of summer, while large-scale, smooth-surfaced jewelry matches the sleek drama of winter, and so forth.

Let’s take a look at how each season’s color and design connect to its personality, and how to integrate that connection into your home. It’s worth noting that although there are four broad categories, the system functions like a compass, so there are many people who will fall somewhere in between.

Spring

Springs are lively and outgoing people, with a casual, youthful energy. They tend to be straightforward and easygoing. Correspondingly, spring colors are warm, cheerful, and bright — like coral, peach, and lemon. The style of the season is airy, easy, and fun, and the design is simple, symmetrical, and lighthearted. Polka dots, stripes, nautical motifs, and realistic prints convey a sense of freshness.

Spring interior design is, likewise, modern, comfortable, and inviting. Color schemes that use multiple hues together, like coral with turquoise, and are accented with white, express the fun-loving nature of Springs. Wall art is often whimsical — decorative plates or macrame wall hangings convey a sense of lightheartedness. Details such as round coffee tables, circular lamps, breezy linen curtains, and mismatched table settings feel friendly, casual, and informal.

Winter

Winters are sophisticated, elegant, and sleek, with a commanding, stately energy. They are usually very poised, dignified, and decisive. Winter colors are strong, pure, and crisp — like lipstick red, emerald green, and royal purple — to match. The look of the season is minimal, chic, and formal, and the design is simple, symmetrical, and bold. Large-scale, uncluttered prints, like pinstripes, herringbone, and houndstooth, feel clean yet dramatic.

Winter interior design is stately and classy. Ideal winter color schemes use lots of black, lots of white, or a mix, with bold color accents. For wall art, one large-scale piece — abstract art in a sleek black frame — is better than a group of smaller frames. Marble coffee tables, velvet drapes, fine china, and crystal glasses create a sense of elegance.

Summer

Summers are soft-spoken, romantic, and gentle people, with a serene, graceful energy. They are often nostalgic, sentimental, and detail oriented. By extension, the colors of the season are soft and blended, like dusty rose, mauve, and taupe. Summer style is also flowing, detailed, and often vintage-looking, and the design is complex; floral prints with blurred edges or patterns with meandering, swirling shapes create the feel of another era.

Summer interior design is equally dreamy, fluid, and elaborate, and the best color schemes use multiple shades and tones of the same color, like lilac, lavender, and amethyst. Sentimental wall art — family photos, old prints of Paris — are consistent with the Summer aesthetic; many smaller images are better than one larger one. Details such as Victorian coffee tables, damask curtains, lace tablecloths, and ceramic dishes evoke old-world elegance.

Autumn

Autumns are dynamic, passionate, and fierce, with a strong, magnetic energy. They tend to be determined, energetic, and independent. Similarly, Autumn colors are intense and warm, like olive, terracotta, and chocolate. The style of the season is bold and eclectic, and the design is asymmetrical and complex; angular patterns, paisley, and animal prints feel fierce and vibrant.

Autumn interior design is earthy and interesting, with dark, rich color schemes, like forest green, brown, and rust. Gallery walls with many frames in different textures and mixed metals match the eclectic feeling of Autumn. Details such as rustic wooden coffee tables, brocade curtains, detailed tapestries, and pottery or wooden table settings convey a sense of rich, earthy substance.

Ruthy Procaccia is an image consultant based in Brooklyn, NY. Follow her at thepaletteperson for more on palettes and personal alignment.

(Originally featured in Family Room, Issue 30)

The post Palette Pleaser first appeared on Mishpacha Magazine.

All artists have their own unique perspectives, which is why we’ve curated a selection of incredible frum female artists whose art has caught our eye, and posed some fundamental questions to them. Enjoy their responses and feast your eyes on their work.

1. What is your process? 

Chaya (Hazan) Carlebach: I like to call my art intuitive. It begins in my heart and then makes its way to the canvas. I am self-taught, and I believe that in the art world, rules are there to be broken. Yes, there are certain important bases and techniques, but it’s so important to take those and make them your own.

I must feel what I’m painting; I love using thick layers of paint and creating textured unique pieces that stand out and are full of life and color.

Chaya Toron: I view my painting process as a bunch of grounding actions to bring my dreamy visions to reality. It’s a subtle dance of the creativity aspect and also taking the paintbrush and using it! I create mostly Judaic-themed artwork with different mediums such as watercolor, oils, acrylics, and ink. Soft, muted colors speak to me most.

Ruthy Procaccia: I start with a rough sketch, followed by a more defined sketch. I then outline my illustration in black and fill in sections of base color. Finally, I add texture, highlights, and small touches to complete the picture. Occasionally, I will skip around, adding base colors to some portions before I’ve finished outlining other portions.

Raizel Chaiton: While painting is a meticulous journey, filled with decisions at every step, I believe the creative flow comes from letting the brush do the work. I absolutely love seeing a painting’s brushwork, its direction, the texture it creates, its layers. That’s where the magic happens, and it’s what makes staring at a painting so mesmerising.

Raizel Chaiton

When I paint, I start with the base layer, covering the canvas in the most predominant colors I want the painting to display. Although this layer might not show at the end, its color seeps through and affects the colors on top of it and surrounding it. From there, I ensure all the proportions are accurate and that there’s an intriguing composition. It is at this point that I add various texture mediums to add interest and dimension, and combined with layers of color and brushwork, the piece comes to life!

Talya Silver: I get inspired by many things — whether it’s an idea, a photo I’ve taken, or art that I connect with. Then, I roughly sketch out what I want to do in my sketchbook until I get a clear picture of what I want to paint.

I mix the paint colors, figure out which size brushes I need, and then I paint — sometimes for an hour and sometimes for six hours! I always come back to the painting many times to see it from a different perspective until I am happy with the outcome.

Shani Levin: I don’t have a straightforward process, to be honest. I generally use a variety of mediums to achieve my desired result. I often begin with a vague drawing or blocks of color, and sometimes I play around digitally to get a sense of where I’m going. I use layers of acrylic paint, metallic leaf, paint markers, sometimes even puff paint, and throw colors on the canvas until I feel it’s right!

Shani Levin

2. Where do find your inspiration?

Chaya Carlebach: This will sound absolutely cliché, but my inspiration is literally everything. My life, people, things I see, nature, stories, Judaism. I never know where the spark for a new piece will come from, or when the inspiration will hit.

Chaya Toron: Judaism, Torah, and the vast landscapes in the Holy Land. I want my work to reflect the things I am passionate about, which is all of the above. I’m inspired by the people who appreciate the meaningfulness in what I do.

Chaya Toron

Ruthy Procaccia: I draw inspiration from fashion, travel destinations, and the four seasons we have in New York.

Raizel Chaiton: You know that feeling when you’re so immersed in a task that it’s hard to stop? Or when you are so excited about something you just want to dance? The process of painting and completing a piece is one of the most wonderful feelings in the world, and it inspires me to continue. Being able to witness the reaction of a client and seeing my work complete a space in someone’s home is really a bonus.

That being said, doing something I utterly love from start to finish is what keeps me going and motivates me to pick up a brush and start painting all over again, every single time. As much as receiving recognition and approval is nice, being your own supporter and ensuring that you do the things that you love is the best thing you can do for yourself.

Shani Levin: I find inspiration primarily in the vibrancy of Jewish life. We are privileged to be part of a community with so many facets, approaches, and avenues to living life authentically. I try to transmit that joy and color through my work.

3. What is the hardest part of being an artist?

Chaya Carlebach: Being an artist is so closely connected to my inside world that inspiration and creativity isn’t always in a state of flow, so it’s not a given that I’m constantly in “create mode.” Sometimes I have to work extra hard to reignite it or to know when to press pause.

Chaya Carlebach

Chaya Toron: Oh, this answer can fill up many pages, but for me, I’d say the vulnerability of it all. I put so much love and devotion into my work and sometimes that’s scary.

Ruthy Procaccia: The hardest part of being an artist is that many people are unaware of the work that goes into each piece — not to mention the years spent cultivating this particular skillset.

Shani Levin: It can be difficult to create commissioned pieces that achieve the goal and vision of the client while staying true to my artistic aesthetic. Sometimes the two don’t meld so easily! I try hard to find a meeting point where the client and I can both be thrilled with the end result.

Talya Silver: Working through a creative block — but you just have to keep painting!

Talya Silver

4. Most memorable commission

Chaya Carlebach: My most memorable commission is my first one ever. I was excited to take the job, and although it was the most inexpensive price I’ve ever quoted for a painting, the commission was so significant because it paved the way to my art style. It deeply impacted the way I viewed art as well as my personal style — it was one of my first textured pieces that now is my signature.

Chaya Toron: I had the honor of creating an abstract watercolor piece for a beloved parent’s wedding anniversary. I painted 14 children surrounding the chuppah, with fifty stars in the sky signifying the years of their marriage. I was able to deliver it in person. That experience will always stay with me.

Ruthy Procaccia: My most memorable commission is probably my first one. Someone reached out to me — I had been sharing my illustrations for a while — and asked me how much I charged. I made up a price, and I was in business.

Ruthy Procaccia

Shani Levin: A few years ago, my shul, Aish Kodesh, produced a CD in honor of my parents (the rav and rebbetzin, Moshe & Myrna Weinberger). They were being honored at a dinner after 25 years of service, and a group of musicians came together to produce an amazing musical masterpiece in tribute. I was asked to create a painting for the cover art. Bringing together my passion for music and art in a piece that recognized the incredible work my parents have done in their wonderful community was a deeply personal and memorable experience for me.

Talya Silver: My favorite is a modern Jerusalem painting because I went into labor with my third child while I was in the zone painting!

Chaya Carlebach:

chayafineart

Chaya Toron:

paintsbychaya

Ruthy Procaccia:

ruthyprocaccia

Raizel Chaiton:

raizelpaints

Shani Levin:

shanilevinart

Talya Silver:

modernart_by_t

(Originally featured in Family Room, Issue 28)

The post Artist Compilations first appeared on Mishpacha Magazine.

We were the first of our social group to move back to North America from Yerushalayim. I had one little baby at the time, and I wasn’t working, so I was able to utilize a lot of the time she was napping to revisit my high school love of portrait drawing. I painted a lot.

I think I must have felt a little displaced, in a twilight zone. On the one hand, I was home, back in the neighborhood where I’d grown up. On the other hand, my friends were still pushing strollers in Arzei park together, while my siblings who lived near me were already deeply settled into their multi-child routines – and I was perfecting the uniformity of pumpkin muffins with their sticky-smooth maple glaze, in a different time zone than my friends and on a different schedule than my siblings.

Time moved quickly, as it does. The easel got folded up, the brushes cleaned and dried, we moved, and moved again. It’s been eight years or so since I’ve really invested energy into painting. However, I’ll often doodle with my girls after school, and, aghast that this skill was lying dormant, they were the ones who motivated me to whip out the canvas again.

I’m doing a series of gedolim now — simple techniques, pencil on a sketchpad. My brain filters shadows and facial features into microscopic shapes; the brim of a hat and the veins on a hand are dissected into hundreds of little triangles of varied depth, size, and texture.

I believe in the importance of having a hobby of your own, or some pull towards creativity. I know — usually that feels like a pipe dream. But I think that as adults, being able to access the ingenuity and imaginative thinking we utilized as kids is exactly what will make us patient and empathetic partners, colleagues, parents, and children. Find a moment in your day to cultivate your creativity.

If you’re interested in becoming a sketch-head like I am, here are the products I use:

Rivki

Editor, Family Room

Black pencils in varied thicknesses create depth of shadow beyond graphite pencils.
Staedtler Mars Lumograph Black Pencils, gwartzmans.com

A fluffy brush of any kind makes blending an easy process. The result is completely streak-free.
Marseille Golden Camel Mop by Artist’s Loft, michaels.com

I’ll never sketch with another pencil. (I’m not high maintenance at all!)
Sketching Pencil Set by Artist’s Loft, michaels.com

A micro eraser works beyond cleaning up edges; it can create light ripples of shadow when used like an “eraser pen.”
Tombow Mono Zero Eraser Pen, deserres.ca

White gel pens provide the finishing dimension for portraiture — all those small details in hair and eyes come to life.
Gelly Roll Pens, deserres.ca

I love this for blending and somewhat intentionally messy blending. It’s a staple.
Tombow Mono Zero Eraser Pen, michaels.com

(Originally featured in Family Room, Issue 28)

The post Accessorize: The Art Issue first appeared on Mishpacha Magazine.

Prior to the finished product we see and the paintings we buy are hours of deliberations, days of customer coddling, and the dreaded creative block. We asked famed artist Yaeli Vogel to share a running narrative of what goes on in her mind in the process from concept to completion.

Concept

I should really paint… the ideas running through my brain are endless. Then why, when I’m standing in front of the white canvas, staring at it, does nothing come up for me? Maybe I should take a break for a few minutes. Don’t tell me staring may not warrant a break. It’s hard work staring down a stubbornly blank canvas.

Step one, okay. Refer to my list of inspiration ideas (the ones I jot down every second — you know). I pull out my phone to open the Notes app and there I go, tricking myself into a break: I can’t neglect this email, and I should ensure no important WhatsApp messages came through. Two unproductive hours later, and deep down the rabbit hole of my phone, I feel overwhelmed, so I shut off the phone. My brain is spinning off in a million directions. Why did I grab my phone to begin with? Ideas… right. Square one doesn’t feel great from this vantage point.

I flip through the potential concepts. This one? Too complicated. That? Save that for another day. No, not that one either. Too structural.

I catalogue my excuses and come up with one thought: just paint. The whiteness of the canvas simultaneously frightens and irritates me. It’s looking at me, like a conscience.

Paint

Today, I’ll allow instinct to guide me. What if I… make an entire painting with just blue? My heart skips a beat and I’m excited — that’s when I know I’m being guided. The entire palette is instantly transformed into a sea of blue. I dip my brush and scoop off the largest amount of paint and place it on the canvas.

Dark-blue waltzes around the middle, surrounded by cobalt and cornered by Prussian blue. It’s thick; I add some water to the brush while continuing to sway the brush back and forth, and it hits the consistency I’ve envisioned. Therapy is getting all that color off the brush and onto the canvas.

I twist in some phthalo blue and combine it with white. Oh, that’s so good. The depth of all the color combinations is making my heart sing. I continue dancing and my hand is moving to the music of color. The entire canvas is alive.

I stand back.

Interpretation

The beauty of color on a canvas never gets old. Sometimes I see something instantly, and other times it can take a bit for something to download. Today it’s not instantly clear. I walk away from the canvas for a bit and come back with fresh eyes and a clear conscience.

I take a break — this one well-earned and deserved, one that will serve me very well. Inspiration hits because I’d completely forgotten about the painting, and when I glance up from the corner of my eye, I see it: One musician with a double bass and another musician with a clarinet. Now I need to transfer the vision from mind to brush. This part gets tricky, because I don’t want to lose the energy of the first round, but I need to add more to the canvas to bring out what I see.

I tell myself: One step at a time. You will be guided. Relax into it. Just have fun. Don’t be so serious. That’s where the magic lies, right?

I continue spreading that light-blue and turn that into his shirt. See the dark stroke over there? I enhance that and there you go — that’s his foot. I stand back. This needs a lot more. How will I ever find my way through? I push through, adding strokes, intensity, interest.

What do I want the viewer to be drawn into first? How will the viewer be moved? It becomes clear that the music needs to be the focus. It’s the song. It’s the energy! I butter some cerulean blue on my finger and tickle it onto spots that are calling for it. Add more there. And there. And there. Stand back.

I’m in love. And I tell that to whoever’s listening.

I leave it on the easel for another few days to see if there’s anything else that’s bothering me about it. Once it’s all good and I’m completely satisfied, I sign my name.

Completion

Then comes my favorite part. “I love this painting so much! The size isn’t right, though. Can you paint it again in my desired size?”

You want me to go on a journey again. How can I reenact all that emotion? It will be stale. I can’t. Each time, there’s one and only one. I can paint a brand-new painting, a similar one, maybe — but not this one. The magic is in the journey, and this journey was found here in this painting.

Or, “I’ve been searching for a painting that speaks to me and I just found it! I love this so much and need it in my home. Look, right for this spot! It’s meant to be! So, what’s the best price you can do for this one?”

A price that would be worth it for me to let go. I just left a piece of me there, on the canvas. I want to hold onto it forever, but I also want my paintings to grace your walls. That’s where they belong, and I completely understand that. My hands are a vessel, painting something that G-d wants onto the canvas, adding beauty and consciousness into His world, where each one is so unique and unknown. The curiosity gets me each time: What will be? How will this turn out? I never want to stop improving on this work. I see myself as 95 years old and still painting, taking this journey in perpetuity.

That’s living. It’s progress. It’s potential. And it’s priceless.

Finished product

Yaeli Vogel is an Israeli-born artist, now based in New York, who brings her unique contemporary artistic vision and expressionistic technique to a wide variety of Jewish subjects, including weddings, Jerusalem, and Biblical images. Yaeli works across multiple media, including acrylics and watercolors. Learn more at yaelivogel.com.

(Originally featured in Family Room, Issue 28)

The post The Artist’s Musings first appeared on Mishpacha Magazine.

What do you do?

I’ve always liked art museums and drawing, and I assumed I would pursue research-based work, like curatorial or other research-heavy positions. I changed directions in undergrad, after interning in museums and in the gallery where I currently work. I realized I enjoy hands-on work that involves all types of art, as opposed to whatever specific art period or style I would have to lock myself into if I chose a career in research or art history. That’s how I ended up working as administrative support at Central Galleries in Cedarhurst, NY. My job includes, but is not limited to, framing art, customer interaction, and working on the blog and website.

Ebgi Amram, Huppa
safrai.com

What are some tips for sourcing art?

1 When sourcing art, first and foremost, nothing really matters if you love the piece. If you have no specific artists or pieces in mind, visiting websites where you can describe your current décor and what type of art you want to find is a helpful start.

2 Let’s understand a bit about the value of some kinds of art.

A limited-edition piece is generally numbered in one of the bottom corners. The lower the bottom number, the more limited the edition, and therefore the higher the value.

An original piece usually does not have a number at all. (Although just because you don’t see a number, it doesn’t mean you are looking at an original piece.)

3 If the piece was previously framed, take a good look at the bevel on the matting. If it’s yellow, the mat is not archival, and you would likely find some acid burn on the art if you were to take it apart. In that vein, get rid of any cardboard backing, which could eat a paper piece over time.

4 When buying secondhand pieces, try to figure out a specific artist’s pricing structure or value. Google is an excellent tool for researching galleries as well as collectors who specialize in specific artists.

Edward Ben Avram,
The Western Wall
artsy.net

Sourcing Super Spots

Sourcing spots are incredibly subjective depending on what type of art you are looking for, and whether you prefer to look in person or online. That said, some people underestimate secondhand or vintage stores — I’ve found Agams, Ben Avrams, and Kadishmans in random thrift stores, and I recall my grandparents calling me excitedly when they found an Ebgi while thrift-shopping in Florida.

Trend Forecasting

Abstract art is on the rise, with artists Yaeli Vogel, Binyamin Basteker, and Yoram Ra’anan sharing their perspectives. Many people come in looking for abstract works for their homes, usually as a way of highlighting a specific color in their homes or modernizing their spaces. In terms of preferences, there is always an audience for specific works and obscure styles, regardless of how big or small you may think that pool is.

Any practical pointers for people looking to buy art among various budgets?

I’ve framed all types of things — postcards, puzzles, wallpaper. Anything, no matter the size, looks better framed.

Binyamin Basteker,
“The Heichal”
rosenbachgallery.com

Leora Goldfeder grew up in Cedarhurst, NY. She is currently Administrative Support at Central Galleries in Cedarhurst, NY. Leora is working towards her Master’s degree in Arts Administration at Columbia University. She can be reached at leoragoldfeder@gmail.com. Central Galleries can be reached at 516-569-5686.

(Originally featured in Family Room, Issue 28)

The post Resourceful Art first appeared on Mishpacha Magazine.