THE ZeroInfinity TAROT
As with everything essential, the creation of this tarot deck came about from a real necessity. Over the years working with many of the existing tarot decks of the time, it became very obvious that there was an extreme systemic limitation to all of them. Not only did each particular tarot deck have its own specific numberings and meanings for each image and color (according to what "school" they happened to belong to), but many systems had divergent understandings as to the nature of reality itself. Rather than an objectively universal set of symbols which can be readily understood by all of humanity, most tarot decks of today are a mish-mash of subjective meanderings that have very little to do with giving humans a reliable and consistent map of the nature of reality, and what exactly to be and do while "in it".
Each genuine tarot deck's knowledge system could be used as a spiritual guide by those willing to invest the time and effort in its application; but without the support of actualized initiates into all the keys, only random, and usually only superficial results could be realized. Too many possibilities were excluded because of the limitations of the form of each system. Specifically, if a being were to actually go beyond the human level, there was no real guidance to be gained from any of the existing arcana in the Western traditions. Although there is some knowledge of the post-human levels of consciousness available in the Far-Eastern teachings, even these do not give a balanced and detailed view of how to Be and Do as a trans-human form of consciousness.
The relentless results of unconscious existence produce their corresponding consequences. Over time, the images, and the values given to them within a unified whole, are altered, distorted or lost. The result is a patchwork quilt of many found and invented stronger and weaker fragments, rewoven into a caricature of what the tarot is intended to be. And what is the tarot intended to be? A simple, direct and universally understandable guidance system for everyone.
The only living tarot that has survived intact, at least in terms of the images, is the I Ching. Its attributions, meanings and applications have been just as distorted as in all the other systems, but the mathematical and logical precision of its form have enabled it to survive to this day. This primal system is the starting point from which the ZeroInfinity tarot has arisen - in a much extended color version!
VIEW THE COMPLETE ZeroInfinity Tarot
Following is the original 1980 set of instructions to hand paint a complete ZeroInfinity Tarot deck, as well as information on how the deck was made.
"This set of instructions is being written to clarify what the exact number of cards in a presently complete deck is, as well as to help in suggesting the colours that could be used in colouring the deck being worked on. The number of cards in a presently complete deck is four hundred and ninety eight (498).
The following is a short description.
- each card is a die-cut circular disc exactly three inches (3 in.) or seven point six two centimeters (7.62 cm.) in diameter.
(a seven inch (7 in.) diameter"meditation Yantra" version of the deck is also available.)
- each card has a die-cut circular hole at its center of exactly (as exact as the materials and the precision of the die-cutter will allow) one forty-ninth of the diameter or point zero six one two inches (.0612 in.) or one point five-five millimeters (1.55 mm.). The hole is 1.55 mm., but the die used for cutting the hole is slightly smaller (1.45 mm.) to allow for paper tearage and distortion. The seven inch (7 in.) or seventeen point seven eight centimeter (17.78 cm.) yantras have a central hole that is one forty-ninth of the diameter or point one four two eight five seven one inches (.1428571 in.) or three point six two eight five seven one four two eight millimeters (3.628571428 mm).
There are presently two (2) main design fields. One pattern starts from the outside edge of the circle going in toward the center with a black/white/black/white pattern. The complemetary field is white/black/white/black. The ratios of all elements are integrally interconnected, with three and seven playing a vital role. For example, the depth of the outer ring is one-seventh of the total diameter. The diameter of each of the three larger inner circles is also one seventh of the total, as is the larger circle in the center. The three larger circles appear to be contracting inwardly. Inside the larger central circle are three smaller circles whose diameters are one seventh of this circle. These small circles are one forty-ninth of the total diameter and they appear to be expanding outwardly. The ratios of the elements of large outer circles and the small inner circles are exactly similar... These are the common elements in all the cards throughout the deck. From hereon there are no two cards that are exactly the same although they do share exactly similar aspects.
In terms of numbers, each type of card will be represented on these pages with a number below it. This represents how many cards of each design there are in a complete deck. It will be noticed that there are a few extra cards present in the deck being worked on. This is just in case there are any "mistakes" made in colouring the deck, although this is obviously just a precaution as it is quite apparent that every effort at putting the colour on the cards will be, just as obviously, a perfect effort.
Before going on with the numbers, it may as well be mentioned what colours might be used in the painting of the deck. There is no arbitrary colouring technique involved, although balance of the colours should be the prime consideration. Without the proper balance of each colour to all the colours, the subtlety and the full impact will not be as noticeable; as well, an imbalance in the colours can produce discordant harmonics. This particular aspect of working with this medium is very important in that a real and serious attention must be paid to creating as perfect a harmony between all the colours as it is possible for one to create. If this effort is not made, then that which could be of benefit to everyone, is diminished. Besides this all important point, the factors of attention to exactness, clarity and brilliance are primary to the transformatory of the equation. Or as may be said in another form, do as do nothing.
The following list of colours are all Liquitex acrylic paint colours. Liquitex is suggested as the colours are a bit more transparent than the Grumbacher, although any fine quality acrylic paint will suffice.
- prism violet
- phthalocyanine blue
- titanium white
- light emerald green
- cadmium yellow light
-naphthol red light
- brilliant orange
- some other additive colours are deep magenta (to darken the red) and iridescent white (to add a sparkly quality to the colours).
Another very practical suggestion might be to share the expense of buying the paints with as many people as possible, as only a small amount of paint is actually needed to paint an entire deck.
It may be noticed that there are thirteen (if there are any more, it is simply an extra) blank white cards. Of these, one (1) is to remain blank white. The other twelve cards are to be coloured the same as the colours in the deck. Specifically, two blank cards are to be coloured completely violet, two blank cards are to be coloured completely blue, two blank cards are to be coloured completely yellow, two blank cards are to be coloured completely red, and two blank cards are to be coloured completely orange. So the total number comes out to 2+2+2+2+2+2+240+240+1+1+1+1+1+1 = 498.
In colouring the cards, it is necessary to colour each card in the same way in terms of order. This is illustrated in the example below.
||(V = violet, B = blue, G = green, Y = yellow, R = red, O = orange)
V = 1; B = 1a; G = 2; Y = 2a; R = 3; O = 3a
BOTH FACE DECKS HAVE THE SAME 240 COLOUR SEQUENCES.
ONCE BEGUN, DO NOT CHANGE THE DIRECTION OF COLOURING.
For instance, if the sequence starts with the top circle in the white designated as 1, then 1a will then move either in a clockwise or counter-clockwise direction, but once a direction has been selected do not use another sequence of colouring, like changing the direction from clockwise to counter-clockwise or vice versa. The example given is going in a clockwise direction. Acrylic paints are recommended using Windsor Newton 0 or 000 brushes, or brushes which are of similar quality.
You are working with the first complete series using this particular design. The following rows of letters representing colours have been taken from a larger number of combinations. Due to the circularity, one card can represent 3 different colour relationships of six colours. That is why, in this set of colouring codes there are 240, not 720 possible combinations. The 720 are represented, but the redundancies have been removed from the list for convenience. Please take your time, do the best you can, and good luck. "
Following are the complete 720 permutations that 6 colors can take in relation to one another using the above design field.
|ROYGBV ORYGBV YROGBV GROYBV BROYGV VROYGB
ROYGVB ORYGVB YROGVB GROYVB BROYVG VROYBG
ROYBGV ORYBGV YROBGV GROBYV BROGYV VROGYB
ROYBVG ORYBVG YROBVG GROBVY BROGVY VROGBY
ROYVGB ORYVGB YROVGB GROVYB BROVYG VROBYG
ROYVBG ORYVBG YROVBG GROVBY BROVGY VROBGY
ROGYBV ORGYBV YRGOBV GRYOBV BRYOGV VRYOGB
ROGYVB ORGYVB YRGOVB GRYOVB BRYOVG VRYOBG
ROGBYV ORGBYV YRGBOV GRYBOV BRYGOV VRYGOB
ROGBVY ORGBVY YRGBVO GRYBVO BRYGVO VRYGBO
ROGVYB ORGVYB YRGVOB GRYVOB BRYVOG VRYBOG
ROGVBY ORGVBY YRGVBO GRYVBO BRYVGO VRYBGO
ROBYGV ORBYGV YRBOGV GRBOYV BRGOYV VRGOYB
ROBYVG ORBYVG YRBOVG GRBOVY BRGOVY VRGOBY
ROBGYV ORBGYV YRBGOV GRBYOV BRGYOV VRGYOB
ROBGVY ORBGVY YRBGVO GRBYVO BRGYVO VRGYBO
ROBVYG ORBVYG YRBVOG GRBVOY BRGVOY VRGBOY
ROBVGY ORBVGY YRBVGO GRBVYO BRGVYO VRGBYO
ROVYGB ORVYGB YRVOGB GRVOYB BRVOYG VRBOYG
ROVYBG ORVYBG YRVOBG GRVOBY BRVOGY VRBOGY
ROVGYB ORVGYB YRVGOB GRVYOB BRVYOG VRBYOG
ROVGBY ORVGBY YRVGBO GRVYBO BRVYGO VRBYGO
ROVBYG ORVBYG YRVBOG GRVBOY BRVGOY VRBGOY
ROVBGY ORVBGY YRVBGO GRVBYO BRVGYO VRBGYO
RYOGBV OYRGBV YORGBV GORYBV BORYGV VORYGB
RYOGVB OYRGVB YORGVB GORYVB BORYVG VORYBG
RYOBGV OYRBGV YORBGV GORBYV BORGYV VORGYB
RYOBVG OYRBVG YORBVG GORBVY BORGVY VORGBY
RYOVGB OYRVGB YORVGB GORVYB BORVYG VORBYG
RYOVBG OYRVBG YORVBG GORVBY BORVGY VORBGY
RYGOBV OYGRBV YOGRBV GOYRBV BOYRGV VOYRGB
RYGOVB OYGRVB YOGRVB GOYRVB BOYRVG VOYRBG
RYGBOV OYGBRV YOGBRV GOYBRV BOYGRV VOYGRB
RYGBVO OYGBVR YOGBVR GOYBVR BOYGVR VOYGBR
RYGVOB OYGVRB YOGVRB GOYVRB BOYVRG VOYBRG
RYGVBO OYGVBR YOGVBR GOYVBR BOYVGR VOYBGR
RYBOGV OYBRGV YOBRGV GOBRYV BOGRYV VOGRYB
RYBOVG OYBRVG YOBRVG GOBRVY BOGRVY VOGRBY
RYBGOV OYBGRV YOBGRV GOBYRV BOGYRV VOGYRB
RYBGVO OYBGVR YOBGVR GOBYVR BOGYVR VOGYBR
RYBVOG OYBVRG YOBVRG GOBVRY BOGVRY VOGBRY
RYBVGO OYBVGR YOBVGR GOBVYR BOGVYR VOGBYR
RYVOGB OYVRGB YOVRGB GOVRYB BOVRYG VOBRYG
RYVOBG OYVRBG YOVRBG GOVRBY BOVRGY VOBRGY
RYVGOB OYVGRB YOVGRB GOVYRB BOVYRG VOBYRG
RYVGBO OYVGBR YOVGBR GOVYBR BOVYGR VOBYGR
RYVBOG OYVBRG YOVBRG GOVBRY BOVGRY VOBGRY
RYVBGO OYVBGR YOVBGR GOVBYR BOVGYR VOBGYR
RGOYBV OGRYBV YGROBV GYROBV BYROGV VYROGB
RGOYVB OGRYVB YGROVB GYROVB BYROVG VYROBG
RGOBYV OGRBYV YGRBOV GYRBOV BYRGOV VYRGOB
RGOBVY OGRBVY YGRBVO GYRBVO BYRGVO VYRGBO
RGOVYB OGRVYB YGRVOB GYRVOB BYRVOG VYRBOG
RGOVBY OGRVBY YGRVBO GYRVBO BYRVGO VYRBGO
RGYOBV OGYRBV YGORBV GYORBV BYORGV VYORGB
RGYOVB OGYRVB YGORVB GYORVB BYORVG VYORBG
RGYBOV OGYBRV YGOBRV GYOBRV BYOGRV VYOGRB
RGYBVO OGYBVR YGOBVR GYOBVR BYOGVR VYOGBR
RGYVOB OGYVRB YGOVRB GYOVRB BYOVRG VYOBRG
RGYVBO OGYVBR YGOVBR GYOVBR BYOVGR VYOBGR
RGBOYV OGBRYV YGBROV GYBROV BYGROV VYGROB
RGBOVY OGBRVY YGBRVO GYBRVO BYGRVO VYGRBO
RGBYOV OGBYRV YGBORV GYBORV BYGORV VYGORB
RGBYVO OGBYVR YGBOVR GYBOVR BYGOVR VYGOBR
RGBVOY OGBVRY YGBVRO GYBVRO BYGVRO VYGBRO
RGBVYO OGBVYR YGBVOR GYBVOR BYGVOR VYGBOR
RGVOYB OGVRYB YGVROB GYVROB BYVROG VYBROG
RGVOBY OGVRBY YGVRBO GYVRBO BYVRGO VYBRGO
RGVYOB OGVYRB YGVORB GYVORB BYVORG VYBORG
RGVYBO OGVYBR YGVOBR GYVOBR BYVOGR VYBOGR
RGVBOY OGVBRY YGVBRO GYVBRO BYVGRO VYBGRO
RGVBYO OGVBYR YGVBOR GYVBOR BYVGOR VYBGOR
RBOYGV OBRYGV YBROGV GBROYV BGROYV VGROYB
RBOYVG OBRYVG YBROVG GBROVY BGROVY VGROBY
RBOGYV OBRGYV YBRGOV GBRYOV BGRYOV VGRYOB
RBOGVY OBRGVY YBRGVO GBRYVO BGRYVO VGRYBO
RBOVYG OBRVYG YBRVOG GBRVOY BGRVOY VGRBOY
RBOVGY OBRVGY YBRVGO GBRVYO BGRVYO VGRBYO
RBYOGV OBYRGV YBORGV GBORYV BGORYV VGORYB
RBYOVG OBYRVG YBORVG GBORVY BGORVY VGORBY
RBYGOV OBYGRV YBOGRV GBOYRV BGOYRV VGOYRB
RBYGVO OBYGVR YBOGVR GBOYVR BGOYVR VGOYBR
RBYVOG OBYVRG YBOVRG GBOVRY BGOVRY VGOBRY
RBYVGO OBYVGR YBOVGR GBOVYR BGOVYR VGOBYR
RBGOYV OBGRYV YBGROV GBYROV BGYROV VGYROB
RBGOVY OBGRVY YBGRVO GBYRVO BGYRVO VGYRBO
RBGYOV OBGYRV YBGORV GBYORV BGYORV VGYORB
RBGYVO OBGYVR YBGOVR GBYOVR BGYOVR VGYOBR
RBGVOY OBGVRY YBGVRO GBYVRO BGYVRO VGYBRO
RBGVYO OBGVYR YBGVOR GBYVOR BGYVOR VGYBOR
RBVOYG OBVRYG YBVROG GBVROY BGVROY VGBROY
RBVOGY OBVRGY YBVRGO GBVRYO BGVRYO VGBRYO
RBVYOG OBVYRG YBVORG GBVORY BGVORY VGBORY
RBVYGO OBVYGR YBVOGR GBVOYR BGVOYR VGBOYR
RBVGOY OBVGRY YBVGRO GBVYRO BGVYRO VGBYRO
RBVGYO OBVGYR YBVGOR GBVYOR BGVYOR VGBYOR
RVOYGB OVRYGB YVROGB GVROYB BVROYG VBROYG
RVOYBG OVRYBG YVROBG GVROBY BVROGY VBROGY
RVOGYB OVRGYB YVRGOB GVRYOB BVRYOG VBRYOG
RVOGBY OVRGBY YVRGBO GVRYBO BVRYGO VBRYGO
RVOBYG OVRBYG YVRBOG GVRBOY BVRGOY VBRGOY
RVOBGY OVRBGY YVRBGO GVRBYO BVRGYO VBRGYO
RVYOGB OVYRGB YVORGB GVORYB BVORYG VBORYG
RVYOBG OVYRBG YVORBG GVORBY BVORGY VBORGY
RVYGOB OVYGRB YVOGRB GVOYRB BVOYRG VBOYRG
RVYGBO OVYGBR YVOGBR GVOYBR BVOYGR VBOYGR
RVYBOG OVYBRG YVOBRG GVOBRY BVOGRY VBOGRY
RVYBGO OVYBGR YVOBGR GVOBYR BVOGYR VBOGYR
RVGOYB OVGRYB YVGROB GVYROB BVYROG VBYROG
RVGOBY OVGRBY YVGRBO GVYRBO BVYRGO VBYRGO
RVGYOB OVGYRB YVGORB GVYORB BVYORG VBYORG
RVGYBO OVGYBR YVGOBR GVYOBR BVYOGR VBYOGR
RVGBOY OVGBRY YVGBRO GVYBRO BVYGRO VBYGRO
RVGBYO OVGBYR YVGBOR GVYBOR BVYGOR VBYGOR
RVBOYG OVBRYG YVBROG GVBROY BVGROY VBGROY
RVBOGY OVBRGY YVBRGO GVBRYO BVGRYO VBGRYO
RVBYOG OVBYRG YVBORG GVBORY BVGORY VBGORY
RVBYGO OVBYGR YVBOGR GVBOYR BVGOYR VBGOYR
RVBGOY OVBGRY YVBGRO GVBYRO BVGYRO VBGYRO
RVBGYO OVBGYR YVBGOR GVBYOR BVGYOR VBGYOR