In THE SHABBAT I KNOW, written by Chris Barash (Green Bean Books, 2026), Rinat Gilboa’s textured collage art evokes the warmth and joy of Shabbat. The illustrations are a perfect pairing for the rhyming text that welcomes young readers to explore Shabbat.
It’s always inspiring to discover an illustrator’s unique perspective on storytelling. I’m excited to chat with Rinat and learn about her creative process illustrating THE SHABBAT I KNOW.
Welcome, Rinat!
What was your creative process for illustrating THE SHABBAT I KNOW? What were your thoughts when you first read the manuscript?
When I first received the manuscript, I read it twice in a row — and then again. I immediately felt that it offered a fresh perspective on Shabbat. In a gentle, innocent way, the text brought me back to simple, intimate Shabbat moments.
I connected deeply to the movement that unfolds throughout the book — from a world that pauses for a moment (“sun sliding low”) to a family that steps out of the everyday rush (“family mine”), reconnecting with one another and with Shabbat itself.
In terms of process, my first attempt focused on the opening spread. I wanted to work with the image of the setting sun, which marks the beginning of this special time — the moment when Shabbat enters, the time in between day and night. I was particularly intrigued by the choice to introduce Shabbat through a wider circle — the circle of nature — rather than beginning immediately with the domestic or human sphere.
Stylistically, the illustrations in this book are a tribute to the wonderful work of Eric Carle, one of my great inspirations. This was intentional. I chose to work with paper-cut collage and gouache (digitally), using bold, saturated primary colors. I tried not to be overly precise, allowing the slightly rough, imperfect edges of the scissors to remain visible. There is something more human, childlike, and intimate in that quality.
How did you get involved in children’s book illustrations?
From early childhood, I was a child who drew at every possible moment — at school, in the afternoons, anytime possible.
When illustration and graphic design later became my profession, I came to understand illustration as part of a much broader world — the world of design and art. Conveying a story through illustrated imagery, composition, and color precision is central to how a narrative reaches its readers. I like to think of the illustrator as a kind of theater director — shaping the characters, the scenery, the atmosphere.
How is illustrating books different from the other types of art you create?
When I introduce myself, I usually say in one breath: illustrator and graphic designer. That’s not accidental — design is an inseparable part of my illustration language, and often plays a dominant role within the illustrations themselves.
That said, book illustration is a distinct genre. There is a sense of continuity — a series of images that must create a coherent world within the book. There are characters that need to be developed, along with the relationships between them. I especially enjoy embedding a subtle visual subtext in children’s books — something that exists within the illustrations but is not explicitly mentioned in the text, offering an additional layer to the story. Children notice these details.
In my design work, I often use symbolism and draw inspiration from ancient cultures and traditions. Perhaps this is why many of the projects that come my way relate to these themes — I come to them, and they come to me.
Are there any differences in your process illustrating books for a Hebrew-speaking audience versus an English-speaking one?
That’s an interesting question. In practice, most of my work in children’s books is actually for English-speaking audiences — for example, the Koren series, My First Bible Stories. Honestly, I don’t feel a significant difference in my creative process between the two.
Do you have a favorite illustration in THE SHABBAT I KNOW?
In fact, I have two favorite illustrations.
One illustration that I am especially fond of — and that both the author, Chris Barash, and the publisher, Michael Levethal, also loved — is the challah illustration (“Challah Braids Shine”). It is a close-up view of the challah quietly waiting beneath a cloth. A small, intimate Shabbat moment that receives full attention precisely because it appears without figures or surrounding details.
The second illustration is the sun — as mentioned earlier, this was the very first image I worked on, and it ultimately determined the visual language of the entire book. The illustration of the setting sun at the moment Shabbat enters — “Sun Sliding Low.”
That beautiful phrase immediately sparked my imagination. I envisioned a delicate, quiet moment of bein hashmashot (the time between day and night) when everything slows down until it nearly comes to a complete stop. The sun itself — powerful, full of warmth and life — pauses as well, welcoming Shabbat.
This is the place to say that I was fortunate to work with the author, Chris Barash, the publisher, Michael Levethal, and art director Michal Magen — all incredibly talented and inspiring professionals. Thank you!
Thank you, Rinat!
Rinat Gilboa is an illustrator and graphic artist based in Jerusalem. A graduate of Bezalel Academy of Art and Design, Rinat’s work combines traditional and digital techniques, such as free-hand drawing, collage and digital illustration, and is known for its unique and distinctive style. Alongside her work teaching at HIT – Holon Institute of Technology and at Musrara, School of Multidisciplinary Arts, Rinat has worked on various projects – big and small – for a diverse array of clients, including the Tower of David Museum, Koren Publishers, and National Geographic Kids.