The Making of Yesh Lanu Machaneh by Meital Smith

the making of yesh l anu machaneh by meital smith

CONTENTS G LOSSARY

CONTE X T

R E S E A R C H

VISU AL P R O C E S S PRO D U CT I O N WRAPPING U P

YESH L ANU MACHANEH

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glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary glossary

GLO SSA RY

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Hebrew words are constantly interspersed into the day to day lingo at Camp Miriam. For those who grew up there, consider this a refresher. For those who have never heard of Camp Miriam before, here are some key words in Hebrew to help you understand what’s going on. Feel free to refer back to this page while reading!

glossary

YESH L ANU MACHANEH

yesh lanu = we have

machaneh = camp

chanich/a/ol = camper (s.)

tzrief = cabin

chanichimot = campers (pl.)

ohel = tent

madrich/a/ol = counselor (s.)

Shabbat = weekly Jewish holiday of

kvutza = age group

rest and relaxation. Goes from Friday afternoon to Saturday evening. chadar = dining hall chof = beach

peulat shicva = activity run by

shira = singing

madrichimot = counselors (pl.) tiyul = outdoors trip

madrichimot for their chanichimot

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context context context context context context context context context context context context context context context context context context context context context context context context context context context context context context context

CON TEXT

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Summer camp is a quintessentially formative experience for everyone who is lucky enough to important lessons learned at camp are often lost to time. They are oral histories that don’t really have a platform to be shared on.

introduction

YESH L ANU MACHANEH

My BFA project was centered on how to preserve this oral history. It resulted in Yesh Lanu Machaneh, a multi-volume graphic novel, which endeavors to visually document the real experiences of the Camp Miriam community, spanning all aspects and generations of Camp Miriam culture.

On a more personal note, as my time working at camp starts to wind down, I wanted to start getting closure on the 14 years I have spent at Camp Miriam. This project is a love letter of sorts to the place (and those involved with it) that has most shaped me into the person I am today.

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Camp Miriam is a Jewish summer camp located on Gabriola Island in British Columbia, Canada. It is a part of Habonim Dror North America, a socialist, Labor Zionist youth movement that runs five other independent summer camps around North America.

context

YESH L ANU MACHANEH

Camp Miriam was established in 1948 and has been in the same beautiful location ever since. Campers hail from all over North America and Israel, but the majority of campers live in the Vancouver B.C. area. The camp hosts kids from ages 8 - 15, with a counselors-in-training program for 17 year olds. The youngest campers stay only a week, while the oldest campers can stay for both sessions, totalling 7 weeks.

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YESH L ANU MACHANEH

There’s something inherently magical about being a kid in a space run by slightly older kids, with no adults in sight. It allows for self exploration and expression that can’t really happen with adults around, and also for a type of social education that is only possible when kids are left (somewhat) to their own devices.

context

Camp Miriam is entirely youth-led, with the exception of the volunteer Camp Committee, that handles the more administrative work. This means that everything from the activities planned, to feeding and caring for the campers, to the general upkeep and maintenance of the camp, is the responsibility of young adults aged 18 to about 25.

research research research research research research research research research research research research research research research research research research research research research research research research research research research research research research research

RE SEA RCH

HOW DOES ONE G IMMORTALIZING AN Ever since high school, I have been haphazardly collecting an oral history of Camp Miriam, mainly from the people I grew up with in my kvutza. A favorite memory here, a funny anecdote there, all recorded in cheesy photographs and low quality voice recordings.

research

YESH L ANU MACHANEH

But this time, I was determined to do it right. I wrote up a question brief so that my interviewees could have some jumping off points. I created a Google Form to get people’s information, availability, and permission to use their stories in a book. Then, I sent out the bat signal. I posted the Google Form on my Instagram, and in the Camp Miriam Alumni Facebook group. I ended up getting over 40 people interested! It was time for interviews.

GO ABOUT N ORAL HISTORY? By spending about 45 hours on Zoom.

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story pro m pts

YESH L ANU MACHANEH

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I conducted all my interviews over Zoom, so I could record them for easier transcription later on. I suppose the pandemic actually helped me out in this regard, because Zoom is a tool that is in everyone’s toolbox these days. The pandemic allowed me to connect with people from all over North America for this project, which would have been much harder otherwise.

interviews

YESH L ANU MACHANEH

I got the sense that everyone who had an interview with me was really grateful to be given a space to reminisce about their camp memories, especially because of the pandemic. Being guided through carefree, joyful, and meaningful experiences, remembering moments of profound unity with childhood friends, was a real gift during this time.

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interviews

YESH L ANU MACHANEH

after finishing all the interviews was listening back through them all. I had a stack of scrap paper next to me, and when I heard a story I thought would translate well to a graphic novel format, I wrote down the name of the interviewer, the start time of the story, and the topic.

step one

was organizing all the stories into topic piles. The topics included tiyul, Shabbat, educational activities, bonding times, special theme days, the lasting impact of camp, and of course, a miscellaneous pile.

step two

step three was deciding which stories to move forward with actually transcribing. I did this by organizing the story cards into a plot, figuring out which stories fit well together.

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Tali’s

Tali B

Origi n

. 1:15

Story

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T r jcua natea hace a ith w defnl rn iwt's mi dower I rneem hyhalssoa had hh. ,A noowut r m so t Y E SeH pL u votentr’km e abgepaI’u t s W a o w h AN U M A C H A N E H r a a o s t th b s t h g I d o e h d i ? s c s n e ’ i t he , s i a feuilr he h e itshaltf l an and weth is s I, ’cdam wat e fla MAn haocm eo,m p itdys oriyfe h hatnheis b unkiin h d l t f s t a m l n s er w ts o ofgM and nd h atst iatot’ s moh, A ce ev in ad f boo And oul edore Cam e cohmane ttlm y,toa ygoou’ doIfhexpick it hem. andin t l h l t t d u t w f p d l i , t t waran ed wac sh then ice on ne beaatuert adMir . Arne n d s iredto m

n the ly

is to wor uth o ld take us to N e anaim hat w so o. g, n i p l . he n The transcription process began in earnest. Over o tuati he si ing bully

the course of two to three weeks, I transcribed hours and hours and hours of Zoom audio. I was hoping to rely more on Zoom’s transcription software, but due to the high volume of Hebrew words used in our conversations, it was rarely reliable.

transcription

the deuacltliyo r m ns, ftroo begd, ngb,rin e o Heberseam th w and I thinkI ended up transcribing 60 stories in 68 pages of a g up n i h s t do Google Doc. Enough for a full length graphic novel! him, aond ering c i r d w a However, at the beginning of this project, I was in a go ans soaok,art to y r b a a e blissful state of denial. On some level I fully believed e e t th yh s m g tha that I would be able to visually render all 60 stories. rin he a t e h t i h do w d to quickly set in when it came time to cred to r ssai Reality a m Ta thi in your , d e sh ate aecalendar for our project, and I realized that I steas sejuid arios .to mak e ’ h t t ngld. I dceecnide w,have to do some major editing to give myself would r neih s htvenoto g i c r a g l a ue to in amount of work for 15 weeks. I ended thidhyolrm m. ak wceonhtainreasonable e ’ e u o o o t yI up choosing three stories to include in the graphic cre ttoehdyod d with neee,d“aW to novel. the three stories you see in the final m ngtiIlchose i l o s g not only because of their individual charm, and ’m product m, Iar, a w T o t they worked together as a trio to ancouup t.oN debut becauseeI ofelt kedthevneori,ces ma sical spwaec g y . So ethe d y ch h, nwide array of experiences that happen phrepresent vaechanspoo the astem re of the eM a , is Miriam. ca oflat Machaneh take al spaanctet ke th rying h c a woeetionn’t w I’d t t kid h wit m e h kid x g, toety d atcrmyian he ne acehaasnRtohsey id. h herm coht riem d nc en e pteeirhe h at we we , tghoeyt exann w y d e d my e wh re dyI’in e we an mo mTbhoen nd th yinrge, that’s e u r , on be sc m aro sly C O R N I S H D E S I G N 2 02 1 osh as to say go y dnaed wa eriou R d e h l o S b s m u y h . a verp isma in ying “ k and e Ros he wo I ac threa lit th ,s e c e wor tle gboit b hat, out it

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VIS UAL PRO CESS

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visual direction

YESH L ANU MACHANEH

Finally, time to start drawing! But before I could start making my graphic novel, I had to have a vision of what I wanted it to look like. So I borrowed some examples from some of my favorite graphic novelists to get inspired.

Images on this moodboard are from Be Prepared by Vera Brogsol (top left two), Stepping Stones by Lucy Knisely (bottom left and top third), Koko Be Good by Jen Wang (second on bottom), and This One Summer by Mariko and Jillian Tamaki (leftmost images on top and bottom).

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experi m ents

YESH L ANU MACHANEH

My early experiments for Yesh Lanu Machaneh revolved around my own memories. I found it easiest (and quite fun!) to delve into my own past at camp in the first stages of this project. I tried using a close to monochromatic color palette, as you can can see on the left, to portray a memory of my first counselor I had at camp. To the right, I chose to draw myself as when I was around 12 to experiment with traditional linework paired with digital coloring. In the end, I didn’t use either of these methods, going with a more robust color palette and choosing to do both linework and colors in Photoshop. But these medium experiments were a key component in deciding how I wanted to create this book.

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eleia thu m b nails

YESH L ANU MACHANEH

Eleia A. told me about her overwhelming introduction to machaneh, how her brother’s support got her through it, and eventually, how the community she became a part of supported her through her brother’s death. I chose this story for Yesh Lanu Machaneh because it clearly exemplified the strong bonds and culture of care that is created there. I also chose it so the readers who are not familiar with Camp Miriam could experience their first time at machaneh right alongside Eleia.

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eleia in k ing

YESH L ANU MACHANEH

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eleia coloring

YESH L ANU MACHANEH

I made the conscious decision to have cool colors dominate this story’s color palette. By having blue-tinged linework and neutral colors, and by having Eleia herself being dressed in blue, it expresses a certain amount of melancholy. I strategically used the yellows in the palette to create a visual link to Eleia’s relationship with her brother, as well as to brighten up the pages.

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m arina thu m b nails

YESH L ANU MACHANEH

Marina L. is a dear friend of mine, and someone I grew up at camp with. She told me about her tiyul with her kvutzah on the Juan de Fuca trail when she was 14, and the challenges it presented them with. I chose Marina’s tiyul story because the fun-because-it’s-awful vibe exemplified in her experience is instantly relatable for anyone who has gone on a Miriam tiyul. For those who haven’t gone on a tiyul before, it’s a great story to introduce them to what they’re typically like, and why they are so important to the kvutzah process.

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m arina in k ing

YESH L ANU MACHANEH

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m arina coloring

YESH L ANU MACHANEH

Having gone on the Juan de Fuca four times myself, I am quite familiar with both the physical and emotional landscapes there. I knew I wanted a palette that was populated with blues, greens, and browns to reflect the temperate forest terrain. I chose to ink the pages in a dark brown and have a warm range 40 of neutrals to give the the story a foresty feel.

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k elley

& lisa 41

YESH L ANU MACHANEH

thu m b nails

Kelley K. and Lisa F. have been best friends since the 1970s when they met at machaneh. Despite living on opposite coasts of Canada, they are somehow still so in sync that they both independently decided to recall an extraordinary peula their madrich, Josh, ran for them. This memorable activity was a perfect example of machaneh’s out-of-the-box thinking when it comes to educational programming. It’s always a gift for current camp folks to hear camp stories from the old days; it feels like pieces of our cultural history being passed on to us.

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in k ing k elley

lisa

YESH L ANU MACHANEH

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coloring k elley

lisa

YESH L ANU MACHANEH

Because this story took place in the late 1970s, I wanted the color palette to be dominated by warm yellows, oranges, and browns to reflect the time. I made the effort to tie the older and younger versions of Kelley and Lisa together by having the older versions wearing undershirts that matched their younger versions’ shirts. I had to do the most visual research for this story out of all of them, mainly for the 1967 Ford Econoline and Josh’s hairstyle!

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rough sketch

cover type

digitally inked linework

converted to vectors and colored — but was too hard to read against the cover’s background.

YESH L ANU MACHANEH

I wanted the cover type to reflect the ramshackle but well loved structures we have at camp. At machaneh, we constantly emphasize the value of labor. The campers participate in work groups almost every day that maintain existing structures of camp (such as cleaning the bathrooms or sorting the recycling), or creating new ones, like painting murals or building the dock you see on the cover. In my initial draft, I had hands in the process of building the word machaneh to demonstrate this value, but it ended up being too hard to read against the already busy background. So I changed the style of machaneh to reflect the first two words for better consistency and easier reading.

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YESH L ANU MACHANEH

hand m ade type

I decided that I wanted to have handwritten type integrated into the headers and other parts of the book, to give it a more personal feeling. What I didn’t anticipate was how hard it was to handwrite type that I was actually satisfied with! What you see to the left is just a fraction of my attempts to write out the translation of the Yesh Lanu Machaneh song at the beginning of the book. I have to thank Natalia Ilyin for making us practice calligraphy for 30 minutes every Friday in her classes, as these letterforms are definitely influenced by that routine. After spending so much time trying to get it perfect on paper, I eventually decided that it worked with the book better to handwrite the translation and the headers digitally, but this looks good for process, so I guess it wasn’t a total waste.

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PRO DUC TION

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production

YESH L ANU MACHANEH

Once I finally finished inking and coloring the book, I formatted it and sent it off to Gorham Printing in Centralia, WA to get printed! One of the most important things I learned through this process was how to account for color shifts between the computer screen and what shows up on paper. Since screens are backlit, color always appear darker when they’re printed than they are on screen. By making the correct adjustments in lightening up a dark photo on screen, it came out exactly how I wanted it to look in person.

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An unbound, printed proof of Yesh Lanu Machaneh. YESH L ANU MACHANEH

selling the b oo k

I originally decided that I was only going to order 40 printed copies of Yesh Lanu Machaneh. I didn’t want to over order and be stuck with a bunch of books that wouldn’t find homes. But when I sent out a pre-order form to the camp community, I was completely overwhelmed about how much interest the project was getting, and how many people were interested in buying the book. At the time of writing this, I have sold 134 copies of Yesh Lanu Machaneh just in the pre-order stage. 30 of which are going to the Camp Committee of Camp Miriam so they can use them as gifts for donors. I also discovered that I could register the book with a LCCN (Library of Congress Control Number) so the book can be circulated in libraries! I am planning on donating a couple of copies to the library on Gabriola Island and in Vancouver, just to get them out in the world. It’s very exciting to think that something that I created will live in a library, because I love libraries so much!

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w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p p i n g u p w ra p -

WRAP PING UP

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wrapping up

Back in December, I was blissfully ignorant to how long a graphic novel actually takes to make. In some part of my brain, I was actually convinced that I would somehow be able to illustrate all 60+ stories I had transcribed from my interviews in 15 scant weeks. After having done the labor of love that is creating a graphic novel, I know how long and taxing the process can be.

YESH L ANU MACHANEH

I have plans to make future volumes of Yesh Lanu Machaneh. I think the stories that people shared with me about Camp Miriam’s impact on their lives deserve to be shared. I have no idea how long it will take, or where my life is headed, but I do know that if this project truly matters to me, I will make time for it. This was a really meaningful project to finish my undergraduate degree with, and I am so grateful to my fellow classmates and all my professors for helping me along the way.

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YESH L ANU MACHANEH

The Making of Yesh Lanu Machaneh was created to fulfill the BFA project critera at Cornish College of the Arts in Seattle, WA. Text and illustrations copyright © 2021 by Meital Smith, unless otherwise specified. Cover and book design copyright © 2021 by Meital Smith. Photos courtesy of many of Meital’s camp friends. Primarily created for online reading. Typefaces used in this book are Skippy Sharp, designed by Chank Diesel, Perpetua designed by Eric Gill, and Brandon Grotesque by Hannes von Döhren. Yesh Lanu Machaneh was inked and colored in Adobe Photoshop. This book was created in Seattle, WA, USA using Adobe InDesign. The picture on the left is dedicated to Robynne Raye, who got a kick out of it and will hopefully laugh when reading this colophon.

YESH L ANU MACHANEH