coherence warning @fjordblades - Tumblr Blog

cherry-yunas

Yeji reacting to fans chanting her name at Milan Fashion Week

fancam by @Panda526_YE

#itzy

jsuh

johnny for acne studios // paris fashion week 2024 (©sametgorgozfilms)

#nct #this borderlands look like woah

misscromwellsmonocle

Art in the Age of Digital Puritanism (2022) by Iness Rychlik The artist reposted it in 2024 "because it feels relevant in social media today".

#art

expiredcheese

windynebula

#What three hours of sun does to a nation

feamir

iceland’s two seasons: hibernation and mania

jennyyuu

#real

makrustic

Should I appeal to Tumblr's cross-stitch pattern crowd

makrustic

Ahem, here's the first pattern. Check it out here!

justarandomgirly

Matt Damon explains why they don’t make movies like they used to. Pls watch.

luna-rainbow

This is actually a really good perspective and explains why the MCU is the way it is. It is essentially one-off entertainment without the backup of DVD sales (of course Disney being Disney it is still backed up by massive merchandise and spin off sales). The movie is designed to be “disposable”. The rewatch value is low because it’s not intended to be sold on DVD for people to treasure and rewatch every year at Christmas (or whenever) with family. The idea is to generate hype, through manufacturing controversy or teases or gossip. Keeping spoilers under wrap is integral because the rewatch value is negligible. It hinges on surprise or shock (or wtf value) to entice audiences to give up their money to see it in theatres. It is about spectacle, about being loud and colourful and busy, so that for the first 30 minutes after you walk out your senses are still buzzing and you feel like that was worth your $30 or however much. It takes a while for your brain to come back online after the sensory overload to then try to pick apart the plot, and by that stage it doesn’t matter, you’ve already hyped it up to your friends.

And the story or characterisation doesn’t matter because no one is watching that again to care.

kradeiz

(x)

shrmptst

The full set of all of my LOTR pieces! they are currently available at Gallery Nucleus!

#lotr #omg this is what I’m currently stitching…. the og

ryudaeng

YEJI for ELLE KOREA (behind the scenes)

#itzy

oliviaalexandraamores

“La soirée” by Vittorio Reggianini (1858-1938).

schistcity

i come from the 8tracks generation where you weren't allowed to just dump three and a half twee indie folk/tswift records into a fanmix and call it done. on 8tracks you had 8+ handpicked songs in rigid chronological order and an accompanying mission statement and thesis defence detailing exactly why each one applied to your derek x stiles coffee shop au AND cover/track-list art hodgepodged from stolen pinterest/tumblr aesthetic photography, and all of this was done under constant threat of death because it was the DMCA wild west and the site was in a constant state of gradual collapse.

damazcuz

Certain words can change your brain forever and ever so you do have to be very careful about it.

comparativetarot

The Hierophant. Art by Eunice Choi, from Bard’s Arcana: The Tarot of Shakespeare.

Angelo, Measure for Measure

#measure for measure

uwmspeccoll

Shakespeare Weekend

Shakespeare’s comedy Measure for Measure, is volume twenty-two of the thirty-seven volume The Comedies Histories & Tragedies of William Shakespeare, published by the Limited Editions Club (LEC) from 1939-1940. The play was likely first acted in 1604. It was first printed in the folio of 1623.

Measure for Measure was illustrated by German Bohemian illustrator and stage designer Hugo Steiner-Prag (1880-1945). By his fifties Steiner-Prag had designed three hundred and sixty books and illustrated fifty-six books. He was for a time president of the Association of German Book Trade Artists. On illustrating this volume of he says:

I have always been deeply attracted by Measure for Measure with its bright and dark happenings, its glowing passions, its burlesque choirs, and with the frequently more than dubious personages that people this work with its threatening, fateful events that are the cause of such genuine pain and so many tears. It is therefore easy to understand my desire to illustrate it with pictures.

His vibrant and imaginative illustrations were made in lithography and were printed by Mourlot Freres in Paris.

The volumes in the set were printed in an edition of 1950 copies at the Press of A. Colish, and each was illustrated by a different artist, but the unifying factor is that all volumes were designed by famed book and type designer Bruce Rogers and edited by the British theatre professional and Shakespeare specialist Herbert Farjeon. Our copy is number 1113, the number for long-standing LEC member Austin Fredric Lutter of Waukesha, Wisconsin.