Why Hebrew Letters Work as Visual Design
The Hebrew alphabet has three structural properties that make it unusually well suited to visual composition. First, the letters are visually compact with strong hard verticals. They occupy a square block roughly evenly, unlike Roman letters that vary widely in width (compare m and i). Second, the letters include enclosed forms (samekh, mem-sofit, the bottom of qof and tsadi) that read as positive shapes at a distance. Third, the standard square-script forms have stabilised over two thousand years and carry deep visual recognition for any reader.
These three properties together mean that Hebrew letters can be arranged into composite shapes (a lion silhouette, a hand outline, a star geometry) without losing their identity as letters. The viewer reads both layers, the symbol and the alphabet, at the same time.
Why Roman letters do not work the same way
Roman capital letters can be arranged decoratively but they vary too widely in width and stroke weight to compose into clean silhouettes at scale. A composition built from twenty-six Roman capitals reads as a wall of mixed shapes. A composition built from twenty-two Hebrew letters reads as architecture.