Other letter shapes come as a result of experiments writing without lifting the pen or brush. Thus the shape of aleph develops as you see here below  (from right to left), with the brush rendering below it

ABSTRACT HEBREW CALLIGRAPHY - CONT'D.

Personally, I find these forms exciting, especially as they allow for an almost jazz like improvisation while "composing" a calligraphic piece. Abstraction for me also allows for a certain mystery - suggesting there is always something deeper underlying the literal, face-value meaning of the words. To me it is a little bit similar to a Hassidic niggun. The niggun often begins with words, but then goes off on its own. To me it is the wordless tune of the niggun that resonates within a deeper place in me. So too I feel that the "energy" or spirit of the abstract Hebrew calligraphy, even though the letters and words might be not be legible can resonate deeper within the viewer.

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During this process I was also most definitely looking at Chinese and Japanese calligraphy (which moves me deeply even though I cannot read a word of it), to learn what makes for an interesting "line". This holds true for Islamic calligraphy as well. As opposed to traditional Western calligraphy, which sets as its ideal an even, uniform distribution of black and white rhythm throughout the line of writing (thus graphically every line looks the same as the next), far-eastern calligraphy sees its graphic composition almost like music - an asymmetric balance of color and shape, a building up of tension, followed by a releasing of tension - a dance of the brush with ever changing rhythms. I did want my Hebrew calligraphy compositions to have those qualities. Thus I continued with the entire Aleph-Bet. In this way I have built up a personal visual language, which allows me to be both connected to the roots of the Hebrew Aleph-Bet, yet allows for flexibility and improvisation while composing calligraphically. The specific shapes for each letter are not fixed. They are ever evolving as well as changing within each composition as the need, either energetically or spatially, demands.