rosewong:

Secret Garden, The Great Gatsby, Frankenstein, 1984, Lolita, The Princess and the Goblin, Moby Dick ’ Rose Wong

ink and digital

Book Cover designs for my final Senior thesis! 

Super excited to do more illustrated type design stuff~*~*~

I remember reading this book on mythology—like, the mythropes in writing—and it blew my mind that all of that mythology is basically men writing about men and great myths for men, of which there are so many. And then there are only a handful of myths about women and they’re also written by men, so you start to realize that so much of storytelling has been lost in male perspective and you’re either Persephone—innocent, naive, and kidnapped by Hades into the underworld and has to be rescued; or you’re like Athena—unapproachable, vicious and there’s no gradient. And for me, it’s an amazing thing to begin to think about what it means to tell feminine mythology because it needs to be invented, it doesn’t exist; and also, what does inherently feminine storytelling and structure look like?

—Brit Marling for Violet Magazine
Interview here starting pg. 202 (via versavis)

“The closer he looks at the child, the less he sees … The more he looks at it, there’s nothing there. He fears that the more you look at him the less you see. There isn’t anything there.” - John Hughes

Ballerinas, Edgar Degas, part III.

thatenglishmajorquestion:

"what are you going to do with a degree in english?" wow I guess you don’t want an invite to the parisian literary salon oh well alice more absinthe and picasso for the rest of us

vintageanchorbooks:

Arthur Rimbaud by Pedro Covo

vintageanchorbooks:

Arthur Rimbaud by Pedro Covo


An edition of Mary Shelley’s Frankenstein laid out using characters and glyphs from PDF documents obtained through internet searches. The incomplete fonts found in the PDFs were reassembled into the text of Frankenstein based on their frequency of use. The most common characters are employed at the beginning of the book, and the text devolves into less common, more grotesque shapes and forms toward the end. (via The Frankenfont project reconstructs Mary Shelley’s classic Frankenstein using parts of incomplete fonts found in PDFs from the internet. | Fathom)

An edition of Mary Shelley’s Frankenstein laid out using characters and glyphs from PDF documents obtained through internet searches. The incomplete fonts found in the PDFs were reassembled into the text of Frankenstein based on their frequency of use. The most common characters are employed at the beginning of the book, and the text devolves into less common, more grotesque shapes and forms toward the end. (via The Frankenfont project reconstructs Mary Shelley’s classic Frankenstein using parts of incomplete fonts found in PDFs from the internet. | Fathom)

fallonelizabeth:

Madeline at the Paris Flower Market, Ludwig Bemelman, 1955. 

fallonelizabeth:

Madeline at the Paris Flower Market, Ludwig Bemelman, 1955. 

georginakincaid:

HERMES » He is quick and cunning, and moved freely between the worlds of the mortal and divine, as emissary and messenger of the gods, intercessor between mortals and the divine, and conductor of souls into the afterlife. He is protector and patron of travelers, herdsmen, thieves, orators and wit, literature and poets, athletics and sports, invention and trade. In some myths he is a trickster, and outwits other gods for his own satisfaction or the sake of humankind.

modcloth:

Why is Rizzo our fave? Let us explain on the ModCloth blog

theme