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December 22, 1989 - Image 108

Resource type:
Text
Publication:
The Detroit Jewish News, 1989-12-22

Disclaimer: Computer generated plain text may have errors. Read more about this.

I FOCUS I

e'Chagim

Art Of Marriage

Continued from preceding page

The later years are a time to come alive in every sense. A time to
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Thursday, January 18, 1990

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the

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Registration Fee:
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Join us for 2 days of exciting courses and challenges! Come grow with us!
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v0

CROSSWINDS MALL

Orchard Lake Road at Lone Pine
737.8899

100 FRIDAY, DECEMBER 22, 1989

HOURS:
Monday and Friday, 10 a.m.-6 p.m.
Tuesday, Wednesday, Thursday 10 a.m.-8 p.m.
Saturday 10-6
Sunday 12-5

Elissa and David Koppy.

or freeform — interwoven in-
to the design. The decoration
can vary as widely as the
tastes of the couples
themselves. Most of the ar-
tists will meet with the cou-
ple, discuss likes, dislikes,
ideas and style.
"Some couples don't know
what they want. But they get
into the spirit of things,"
Goldfine says.
Goldfine has been making
ketubot for eight years and
has handled some interesting
requests. Aside from floral
borders and Jewish images,
Goldfine has decorated
ketubot with scenes from the
couples' life — "Their
background, their courtship,
where they went to college .
I've done career symbols, pro-
fessional logos, the Capitol
building dome (in
Washington), people's apart-
ment buildings, the Brooklyn
Bridge!"

Goldfine says it's a
challenge to incorporate what
a couple wants into a viable
and acceptable design. It in-
volves not only actual
preparation but research to
find an appropriate image.
Lynne Avadenka calls it "the
art of compromise" — getting
the bride and groom to come
to terms with each other's
taste and then working it out
visually.
The artist will usually show

a portfolio to the couple, help
determine a design and text
content, then do initial sket-
ches for the couple's approval.
The next step is to design it
out on the large format paper
and do the lettering. The last
step is to actually illuminate
the ketubah.
There are also variations in
the medium of the ketubah. It
usually depends on the artist.
Goldfine uses watercolors on

Every time Elissa
sees her ketubah
"it reminds me of
our wedding day
and the lineage of
how we got there."

a heavy water color paper;
Avadenka uses gouache (a
type of watercolor) but prefers
parchment because of its
durability, smooth texture
and religious connotation.
"It's the same kind of paper
as the Ibrah," she says.
Dunst works with acryllic
paint, and Southfield
calligrapher Debra Waldman
does watercolors, paper cut-
outs and collage. Only
Waldman and Avadenka pur-
sue art full time.
Each artist hand letters the
ketubah text using
calligrapher's pens and black
ink. Some of the ketubot have

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