Zulu Hotel
This is my morgue file. I keep things that inspire me here. I make things here and here.
Zulu Hotel
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type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
type-lover:

The Reckless and the Braveby Mark van Leeuwen
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Album Art
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thetinhouse:

Kurt always says it best.

Kurt Vonnegut: 16 Rules For Writing Fiction
1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
2. Give the reader at least one character he or she can root for.
3. Every character should want something, even if it is only a glass of water.
4. Every sentence must do one of two things — reveal character or advance the action.
5. Start as close to the end as possible.
6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them — in order that the reader may see what they are made of.
7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.
9. Find a subject you care aboutand which you in your heart feel others should care about.
10. Do not ramble.
11. Keep it simple. Simplicity of language is not only reputable, but perhaps even sacred.
12. Have guts to cut. Your rule might be this: If a sentence, no matter how excellent, does not illuminate your subject in some new and useful way, scratch it out.
13. Sound like yourself. The writing style which is most natural for you is bound to echo the speech you heard when a child.
14. Say what you mean. You should avoid Picasso-style or jazz-style writing, if you have something worth saying and wish to be understood.
15. Pity the readers. Our stylistic options as writers are neither numerous nor glamorous, since our readers are bound to be such imperfect artists.
16. You choose. The most meaningful aspect of our styles, which is what we choose to write about, is utterly unlimited.
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a-bittersweet-life:

Each one of Andrei Tarkovsky’s films is an intense exploration of the possibilities cinema offers to storytellers. They also ask much of the viewer. With each invitation into their cinematic landscapes, there is in addition a challenge to learn the language of these film worlds and the essence behind the visually and aurally presented life. As a filmmaker, Tarkovsky’s touch is very much present in how I personally understand and relate to film, and coming from a background in poetry, for me, this acclaimed “poet in cinema” channels the true poetry that cinema is capable of offering to audiences.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality, said Tarkovsky. From the perspective of a filmmaker, Tarkovsky allures with his grasp for the art of cinema. Still, and more importantly so, from the stance of one who shares in this experience of human life, Tarkovsky allows us to connect with the heart of cinema through his portrayal of emotions and truth, in other words, what makes us human. In a Tarkovsky film, we face life.
Mirror is a true masterpiece and an unforgettable cinematic experience. It is a world that I enjoy visiting. Nostalghia and Stalker, masterpieces in their own right, share a close spot to it. It is difficult to rate the films of Andrei Tarkovsky; however, this order of these sculptures of time will have to suffice for now. To one of the great artists of cinema…cheers.
(original artwork by Mark Neil Balson)
a-bittersweet-life:

Each one of Andrei Tarkovsky’s films is an intense exploration of the possibilities cinema offers to storytellers. They also ask much of the viewer. With each invitation into their cinematic landscapes, there is in addition a challenge to learn the language of these film worlds and the essence behind the visually and aurally presented life. As a filmmaker, Tarkovsky’s touch is very much present in how I personally understand and relate to film, and coming from a background in poetry, for me, this acclaimed “poet in cinema” channels the true poetry that cinema is capable of offering to audiences.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality, said Tarkovsky. From the perspective of a filmmaker, Tarkovsky allures with his grasp for the art of cinema. Still, and more importantly so, from the stance of one who shares in this experience of human life, Tarkovsky allows us to connect with the heart of cinema through his portrayal of emotions and truth, in other words, what makes us human. In a Tarkovsky film, we face life.
Mirror is a true masterpiece and an unforgettable cinematic experience. It is a world that I enjoy visiting. Nostalghia and Stalker, masterpieces in their own right, share a close spot to it. It is difficult to rate the films of Andrei Tarkovsky; however, this order of these sculptures of time will have to suffice for now. To one of the great artists of cinema…cheers.
(original artwork by Mark Neil Balson)
a-bittersweet-life:

Each one of Andrei Tarkovsky’s films is an intense exploration of the possibilities cinema offers to storytellers. They also ask much of the viewer. With each invitation into their cinematic landscapes, there is in addition a challenge to learn the language of these film worlds and the essence behind the visually and aurally presented life. As a filmmaker, Tarkovsky’s touch is very much present in how I personally understand and relate to film, and coming from a background in poetry, for me, this acclaimed “poet in cinema” channels the true poetry that cinema is capable of offering to audiences.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality, said Tarkovsky. From the perspective of a filmmaker, Tarkovsky allures with his grasp for the art of cinema. Still, and more importantly so, from the stance of one who shares in this experience of human life, Tarkovsky allows us to connect with the heart of cinema through his portrayal of emotions and truth, in other words, what makes us human. In a Tarkovsky film, we face life.
Mirror is a true masterpiece and an unforgettable cinematic experience. It is a world that I enjoy visiting. Nostalghia and Stalker, masterpieces in their own right, share a close spot to it. It is difficult to rate the films of Andrei Tarkovsky; however, this order of these sculptures of time will have to suffice for now. To one of the great artists of cinema…cheers.
(original artwork by Mark Neil Balson)
a-bittersweet-life:

Each one of Andrei Tarkovsky’s films is an intense exploration of the possibilities cinema offers to storytellers. They also ask much of the viewer. With each invitation into their cinematic landscapes, there is in addition a challenge to learn the language of these film worlds and the essence behind the visually and aurally presented life. As a filmmaker, Tarkovsky’s touch is very much present in how I personally understand and relate to film, and coming from a background in poetry, for me, this acclaimed “poet in cinema” channels the true poetry that cinema is capable of offering to audiences.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality, said Tarkovsky. From the perspective of a filmmaker, Tarkovsky allures with his grasp for the art of cinema. Still, and more importantly so, from the stance of one who shares in this experience of human life, Tarkovsky allows us to connect with the heart of cinema through his portrayal of emotions and truth, in other words, what makes us human. In a Tarkovsky film, we face life.
Mirror is a true masterpiece and an unforgettable cinematic experience. It is a world that I enjoy visiting. Nostalghia and Stalker, masterpieces in their own right, share a close spot to it. It is difficult to rate the films of Andrei Tarkovsky; however, this order of these sculptures of time will have to suffice for now. To one of the great artists of cinema…cheers.
(original artwork by Mark Neil Balson)
a-bittersweet-life:

Each one of Andrei Tarkovsky’s films is an intense exploration of the possibilities cinema offers to storytellers. They also ask much of the viewer. With each invitation into their cinematic landscapes, there is in addition a challenge to learn the language of these film worlds and the essence behind the visually and aurally presented life. As a filmmaker, Tarkovsky’s touch is very much present in how I personally understand and relate to film, and coming from a background in poetry, for me, this acclaimed “poet in cinema” channels the true poetry that cinema is capable of offering to audiences.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality, said Tarkovsky. From the perspective of a filmmaker, Tarkovsky allures with his grasp for the art of cinema. Still, and more importantly so, from the stance of one who shares in this experience of human life, Tarkovsky allows us to connect with the heart of cinema through his portrayal of emotions and truth, in other words, what makes us human. In a Tarkovsky film, we face life.
Mirror is a true masterpiece and an unforgettable cinematic experience. It is a world that I enjoy visiting. Nostalghia and Stalker, masterpieces in their own right, share a close spot to it. It is difficult to rate the films of Andrei Tarkovsky; however, this order of these sculptures of time will have to suffice for now. To one of the great artists of cinema…cheers.
(original artwork by Mark Neil Balson)
a-bittersweet-life:

Each one of Andrei Tarkovsky’s films is an intense exploration of the possibilities cinema offers to storytellers. They also ask much of the viewer. With each invitation into their cinematic landscapes, there is in addition a challenge to learn the language of these film worlds and the essence behind the visually and aurally presented life. As a filmmaker, Tarkovsky’s touch is very much present in how I personally understand and relate to film, and coming from a background in poetry, for me, this acclaimed “poet in cinema” channels the true poetry that cinema is capable of offering to audiences.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality, said Tarkovsky. From the perspective of a filmmaker, Tarkovsky allures with his grasp for the art of cinema. Still, and more importantly so, from the stance of one who shares in this experience of human life, Tarkovsky allows us to connect with the heart of cinema through his portrayal of emotions and truth, in other words, what makes us human. In a Tarkovsky film, we face life.
Mirror is a true masterpiece and an unforgettable cinematic experience. It is a world that I enjoy visiting. Nostalghia and Stalker, masterpieces in their own right, share a close spot to it. It is difficult to rate the films of Andrei Tarkovsky; however, this order of these sculptures of time will have to suffice for now. To one of the great artists of cinema…cheers.
(original artwork by Mark Neil Balson)
a-bittersweet-life:

Each one of Andrei Tarkovsky’s films is an intense exploration of the possibilities cinema offers to storytellers. They also ask much of the viewer. With each invitation into their cinematic landscapes, there is in addition a challenge to learn the language of these film worlds and the essence behind the visually and aurally presented life. As a filmmaker, Tarkovsky’s touch is very much present in how I personally understand and relate to film, and coming from a background in poetry, for me, this acclaimed “poet in cinema” channels the true poetry that cinema is capable of offering to audiences.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality, said Tarkovsky. From the perspective of a filmmaker, Tarkovsky allures with his grasp for the art of cinema. Still, and more importantly so, from the stance of one who shares in this experience of human life, Tarkovsky allows us to connect with the heart of cinema through his portrayal of emotions and truth, in other words, what makes us human. In a Tarkovsky film, we face life.
Mirror is a true masterpiece and an unforgettable cinematic experience. It is a world that I enjoy visiting. Nostalghia and Stalker, masterpieces in their own right, share a close spot to it. It is difficult to rate the films of Andrei Tarkovsky; however, this order of these sculptures of time will have to suffice for now. To one of the great artists of cinema…cheers.
(original artwork by Mark Neil Balson)
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jasonlatour:

Hey comics, lets save words like genius for astrophysicists and folks like Jack Kirby. Happy birthday to the King. 
jasonlatour:

Hey comics, lets save words like genius for astrophysicists and folks like Jack Kirby. Happy birthday to the King. 
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design-is-fine:

Carl Otto Czeschka, labels for cigar boxes, 1923-1937. For Louis Wolff, Hamburg. Via plakatkontor.de
design-is-fine:

Carl Otto Czeschka, labels for cigar boxes, 1923-1937. For Louis Wolff, Hamburg. Via plakatkontor.de
design-is-fine:

Carl Otto Czeschka, labels for cigar boxes, 1923-1937. For Louis Wolff, Hamburg. Via plakatkontor.de
design-is-fine:

Carl Otto Czeschka, labels for cigar boxes, 1923-1937. For Louis Wolff, Hamburg. Via plakatkontor.de
design-is-fine:

Carl Otto Czeschka, labels for cigar boxes, 1923-1937. For Louis Wolff, Hamburg. Via plakatkontor.de
design-is-fine:

Carl Otto Czeschka, labels for cigar boxes, 1923-1937. For Louis Wolff, Hamburg. Via plakatkontor.de