Tag Archives: Illustrations

Grammarly: 7 Weird, Rare Words, Illustrated

Here’s just a taste of this enchanting grammarly post:


If you liked the “wabbit” illustration then follow the link below to see more like it: 


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Terrifying Covers for Lolita


Artists Max Temesu & Linn Olofsdotter each produced covers (shown above) truly befitting of Nabokov’s Lolita. Their illustrations are to remind readers that Lolita was never about a protagonist in love, but a man inappropriately obsessed with a young girl. Lolita was being relentlessly pursued throughout this entire novel; love wasn’t in the equation when Vladimir Nabokov penned this book. Vanity Fair’s Gregor von Rezzor says it best,

 “Lolita is not about love, because love is always mutual; Lolita is about obsession, which is never, ever love, and Nabokov himself was so disappointed that people did not understand this and take away the right message… For how could anyone call this feeding frenzy of selfishness, devouring, and destruction ‘love’?“

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Brain Pickings: Ralph Steadman’s Rare and Rapturous Illustrations for Ray Bradbury’s Fahrenheit 451


In his magnificent 2013 monograph, Proud Too Be Weirrd (public library), Steadman admits to having grown jaded with illustrating other people’s prose — “not much more than shameless self-indulgence” — but writes of having gladly completed the Bradbury project due to its “vitally important theme — the burning of all books.” He reflects on the significance of Bradbury’s masterwork:

As someone once said, I think it was me: There is nothing so dangerous as an idea. Particularly one whose time has come…

And who can forget the ever-timely ideas emanating from Bradbury’s glorious lines? “Stuff your eyes with wonder… live as if you’d drop dead in ten seconds. See the world. It’s more fantastic than any dream made or paid for in factories.” Here was a rare integrated man — even in his fiction, he channeled the wholehearted truths by which he lived his life.

* To see the rest of the article by  (as well as the rest of the illustrations) click here:


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The New Yorker: Holiday Covers Through the Years


( via newyorker:)

Helen E. Hokinson’s December 3, 1932, cover of the magazine. Take a look at more holiday covers from the archive:


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140 Years of Grimm Illustrations


The website Brain Pickings collected some of the best art inspired by the Brothers Grimm Fairytales. Follow the link to view them all:


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Illustrated by Andrew Ferez

Deviant Art page:


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Tales of Mystery & Imagination

Tales of Mystery & Imagination

(via uispeccoll:)

Want to get freaked out in style? This gorgeous edition of E.A. Poe’s Tales of Mystery and Imagination ought to do the trick. Each story features ornate illustrations by Harry Clarke which capture the liminal style of the 1920’s, hanging in the balance between Art Nouveau and Art Deco. Harry Clarke was an Irish stained glass artist and illustrator who played a big role in the Irish Arts and Crafts Movement. 2,500 copies of this edition were printed for American readers, and we are lucky enough to have one here. Take a sip of Amontillado for courage and stop by to see it. –L.H.

Poe, Edgar Allan. Tales of Mystery and Imagination, illustrated by Harry Clarke. New York: Brentano’s, 1923. Printed and bound by J.J. Little & Ives Company, New York. Special Collections Mabbott Poe Collection PS2612 .A1 1923

Illustrations here:


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Kerouac Illustrations

Kerouac Illustrations

An “illustrated scroll” of every page of Jack Kerouac’s On the Road. (via theparisreview).

See it all at The Paris Review’s website:


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The Lost Sketchbook of Guillermo del Toro:

The Lost Sketchbook of Guillermo del Toro:

(via fuckyeahbookarts)

Filmmaker Guillermo del Toro put all his ideas for `Pan’s Labyrinth’ in a notebook — then lost it.

The heavyset man ran down the London street, panting, chasing the taxi. When it didn’t stop, he hopped into another cab. “Follow that cab!” he yelled. Guillermo del Toro wasn’t directing this movie. He was living it. And it was turning into a horror tale.

The Mexican filmmaker keeps all of his ideas in leather notebooks. And Del Toro had just left four years of work in the back seat of a British cab. Unlike in the movies, though, Del Toro couldn’t catch the taxi. Visits to the police and the taxi company proved equally fruitless.

Del Toro’s films — “Chronos,” “The Devil’s Backbone,” “Blade II,” “Hellboy” — typically feature magical realism. Fate was about to return the storytelling favor.

The cabbie spotted the misplaced journal. Working from a scrap of stationery that didn’t even have the name of Del Toro’s hotel (just its logo), the driver returned the book two days later. An overwhelmed Del Toro promptly gave him an approximately $900 tip.

The sketches and the ideas in that misplaced journal — four years of notes on character design, ruminations about plot — were the foundation of “Pan’s Labyrinth,” a child’s fantasy set in the wake of the Spanish Civil War.

The director, who at the time wasn’t even sure he’d actually make “Pan’s Labyrinth,” took the cabbie’s act as a sign, and plunged himself into the movie.



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