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MALPERTUIS LENORMAND
BACKGROUND
SPECIFICATION
BACKGROUND
I’ll confess that for a long time I paid little attention to Lenormand. Probably like many others, I'd always concentrated on the subtlety and symbolism of Tarot and had never really considered that any of the other types of oracle were that important or necessary. I’ve never really regarded Tarot as ‘cartomancy’ – I’ve always believed that its archetypes activate one’s own inner consciousness without anything particularly mystical being involved. I believe that it’s quite possible to understand and use Tarot at a purely intellectual level,without needing to believe in any magic behind it.The images in what Lenormand decks I'd seenfelt random and arbitrary by comparison.
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So I initially found it hard to treat Lenormand seriously,and my limited awareness hadn’t led me to a particularly positive view. In this I think I was affected by my own studies of Tarot history: most of the reading matter I’d absorbed over the years had emphasised the heritage of Tarot while dismissing other, later, systems as the province of charlatans. I also had my own slightly superior theories about the Lenormand revival. Such a simple divination system seemed to me to be 'cartomancy for the Google generation' – in other words, the emergence of a new type of reader expecting instant answers without beingprepared to invest very much effort in either studyor interpretation. Ask your question andlay three cards... it all felt much too easy.
I was, therefore, coming from a pretty sceptical standpoint.But there existed many (intelligent, reasonable) people out there who were quite convinced that Lenormand did work – could they really all be wrong? The more I read about the topic, the more I realised that I needed to put aside my own prejudices and accept Lenormand as an entirely different system with its own philosophy, rules, and boundaries. Rather than dismissing it as a poor man's Tarot, I needed to accept Lenormand for what it was - Marcus Katz and Tali Goodwin’s distinction between the‘T-space’ and the ‘L-space’ was very influential on my appreciating this critical difference. Their book explains this very clearlyand simply, and can be found here.
Increased exposure to different Lenormand decks also helpedme feel much more comfortable with the images: as I studied many different styles of deck, I found it easier to recognise that I'd only been dismissing the images as random because I'd been so wedded to Tarot imagery for so long.
I began designing this deck in early 2014. I had very little idea at first of how I wanted the deck to look, other than the vague idea of its complementing my own Tarot deck, the Tyldwick. I'd seen readers using both Tarot and Lenormand decks together, and I'd received independent expressions of interest in a 'Tyldwick Lenormand'. So designing a deckwhich could sit beside the Tyldwick Tarotdid seem to make sense.
When I'd created the Tyldwick Tarot, I'd been very keenon the idea of the reader projecting themselves into the images, so had layered the designs with many different levels of information to create a very specific atmosphere. I'd set out to create a deck which didn't reveal everything instantly and which, ideally, would create something of a state of hypnosis in the reader to allow them to access their own intuition. Within the Tyldwick, every card was designed to contain a strong narrative of its own, and initially I intended to apply these same aims and principles to this new Lenormand deck.
Quite early on I discovered that I'd need to rethink thisapproach - suggestion or mystification just didn't fit with Lenormand. My earliest designs, which were much more complex than the final versions, were rightly criticised as being too difficult to recognise immediately - particularly within larger spreads. The smaller card size also meant that including too much information just looked messy and confusing. But, most importantly of all, I realised that trying to create a narrative within individual Lenormand cards wouldn't work in theway it can for Tarot. As soon as a narrative enters into a Lenormand card, the card immediately becomes lesseffective. So symbolism was out, and theimages needed to be relatively simple.
This involved quite a major change in style. While I stillhoped to maintain some connection to the Tyldwick in termsof overall 'feel', I realised that the best I could really aim for was for this deck to be a cousin rather than a sibling. I tried many different approaches before settling on the final style, and I won't deny that getting there was quite difficult. I'd thought that designing a Lenormand deck would be much easier than designing a Tarot deck, but at times it was actually harder. Without having symbolism and detail to fall back on(I recognise now just how heavily I'd relied on these togive the Tyldwick its distinctive flavour) imageswould have to stand up much more on their own.
The process of designing the deck constantly surprised me.I'd dreaded having to design cards with animals or people (Fox, Bear, Man, Woman, Child etc.), but these cards in fact came together quite quickly. Needing to give the Man, Woman, and Child costume forced me to decide in what era I wanted to set the deck - but overall those cards didn't present me with too many headaches. Instead, the hardest cards were the ones which I'd imagined would be easiest. The simpler card images (Ring, Book, Letter, Heart) were very difficult. The simplicity of these cards made it hard to 'fill the space' or to create any kindof atmosphere without resorting to the kind ofbackground detail which I'd already identifiedwouldn't work for this deck.
My solution came from a surprising source - the inserts.I debated for ages whether or not to include inserts, and took advice from many different colleagues. While I appreciated the advice I received on both sides of the argument, I don't feel that anyone's really got a definitive answer on what the inserts are actually all about. They're just 'there', and have been there for so long that they're now part of Lenormand's heritage... whether or not anyone can explain why. And - struggling as I was to create some atmosphere or mystery within the deck - I embraced inserts as a source of fascination rather than frustration,because I realised that they provided at least apartial answer to my problem.
Inserts would allow me to include a suggestion of intrigue(and it was intended as intrigue, not obscurity!) to cards which could otherwise just end up feeling too flat - without hijacking the main card image. I'll admit that this decision was something of a design trick, and that I'm laying myself open to accusations of including the inserts in an attempt to be deliberately obscure. Obscurity wasn't my intention - I'd rather say that I hope the inserts make the cards more interesting.
The court card inserts presented a particular challenge:traditional court cards didn't really suit the overall style ofthe deck. After many experiments with heritage decks(none of which worked) I decided thatI needed a different solution.
I used images based on the traditional French attributions:
King ofClubs
King ofHearts
Charlemagne
King ofSpades
King ofDiamonds
Queen ofClubs
Queen ofHearts
Queen ofSpades
Queen ofDiamonds
Knave ofClubs
Knave ofHearts
Knave ofSpades
Knave ofDiamonds
Sourcing insert images took time, especially given the needto identify only images which were available for use.I had to create three original images (Argine,La Hire, and Ogier), since no suitableartworks already existed.
One final note on the name of the deck. When I first started posting images of early designs online, some people immediately christened the deck the 'Tyldwick Lenormand'. I hope that I've explained sufficiently in the account above why I ended up not using this name. The final deck is, I believe, some way distant from what I'd originally intended, and to call the deck the 'Tyldwick Lenormand' just didn't feel entirely appropriate.It's travelled too far from the Tyldwick Tarot, and asserted its own identity too strongly, to share its name. Hence whyI've called it the Malpertuis Lenormand.
I hope you enjoy the final deck!
TECHNICALSPECIFICATION
Card dimensions are 63mm x 88mm.
Cards are printed on 350gsm board, finished withUV varnish, and edged with dark gilt.
The deck was printed and gilded by theWangjing Printing Company (Shenzhen).
Cards come supplied in a specially designed tuckbox.
Please note that the deck does not include a LWB(Little White Book or instruction booklet). A digitalinstruction booklet is, however, availablefor free download.
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