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PURPLE ALLURE

Please check out my tutorial :) http://www.youtube.com/watch?v=QPqs7UDYMFU

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jonathanmoore:

Architecture Type

Combining 3D art, graphic design, typography and architecture, Chris Labrooy created a series of renders inspired by the architectural style of Zaha Hadid, Tadao Ando, Oscar Niemeyer, and Toyo Ito.  The detail and imagination that went into each of the pieces is quite inspiring.

"Makeup covers faces, not personalities"
ChaosMakeupArtist.tumblr.com (via chaosmakeupartist)

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designersof: Here is an aluminium poster made in Bali for 2,50$.Again, bali cultural crafts are very inspiring, so here is an example of how beautiful their crafts are. And how open they are about trying out my designs. Inspired by the aluminium boxes used for offerings in their ceremonies, I brought them my design and ask if they could do a poster. And they did an amazing job. 146 photos of the same sign where taken. Just with different lightings, gels and flashes, we can achieve all sorts of variations. Karim Zariffa designersof: Here is an aluminium poster made in Bali for 2,50$.Again, bali cultural crafts are very inspiring, so here is an example of how beautiful their crafts are. And how open they are about trying out my designs. Inspired by the aluminium boxes used for offerings in their ceremonies, I brought them my design and ask if they could do a poster. And they did an amazing job. 146 photos of the same sign where taken. Just with different lightings, gels and flashes, we can achieve all sorts of variations. Karim Zariffa

designersof:

Here is an aluminium poster made in Bali for 2,50$.
Again, bali cultural crafts are very inspiring, so here is an example of how beautiful their crafts are. And how open they are about trying out my designs. Inspired by the aluminium boxes used for offerings in their ceremonies, I brought them my design and ask if they could do a poster. And they did an amazing job. 146 photos of the same sign where taken. Just with different lightings, gels and flashes, we can achieve all sorts of variations.

Karim Zariffa

designersof: some work for a typography class. see more at http://marcusdixon.tumblr.com/ designersof: some work for a typography class. see more at http://marcusdixon.tumblr.com/

designersof:

some work for a typography class.

see more at http://marcusdixon.tumblr.com/

(Source: talontaurean)

fuck-yeah-tumblrs-best-posts: girlinthegreenscarf: She remembers the moment. The photographer took her picture. She remembers her anger. The man was a stranger. She had never been photographed before. Until they met again 17 years later, she had not been photographed since. The photographer remembers the moment too. The light was soft. The refugee camp in Pakistan was a sea of tents. Inside the school tent he noticed her first. Sensing her shyness, he approached her last. She told him he could take her picture. “I didn’t think the photograph of the girl would be different from anything else I shot that day,” he recalls of that morning in 1984 spent documenting the ordeal of Afghanistan’s refugees. The portrait by Steve McCurry turned out to be one of those images that sears the heart, and in June 1985 it ran on the cover of this magazine. Her eyes are sea green. They are haunted and haunting, and in them you can read the tragedy of a land drained by war. She became known around National Geographic as the “Afghan girl,” and for 17 years no one knew her name. Names have power, so let us speak of hers. Her name is Sharbat Gula, and she is Pashtun, that most warlike of Afghan tribes. It is said of the Pashtun that they are only at peace when they are at war, and her eyes—then and now—burn with ferocity. She is 28, perhaps 29, or even 30. No one, not even she, knows for sure. Stories shift like sand in a place where no records exist. Time and hardship have erased her youth. Her skin looks like leather. The geometry of her jaw has softened. The eyes still glare; that has not softened. “She’s had a hard life,” said McCurry. “So many here share her story.” Consider the numbers. Twenty-three years of war, 1.5 million killed, 3.5 million refugees: This is the story of Afghanistan in the past quarter century. “There is not one family that has not eaten the bitterness of war,” a young Afghan merchant said in the 1985 National Geographicstory that appeared with Sharbat’s photograph on the cover. She was a child when her country was caught in the jaws of the Soviet invasion. A carpet of destruction smothered countless villages like hers. She was perhaps six when Soviet bombing killed her parents. By day the sky bled terror. At night the dead were buried. And always, the sound of planes, stabbing her with dread. Here is the bare outline of her day. She rises before sunrise and prays. She fetches water from the stream. She cooks, cleans, does laundry. She cares for her children; they are the center of her life. Sharbat has never known a happy day, her brother says, except perhaps the day of her marriage. Such knife-thin odds. That she would be alive. That she could be found. That she could endure such loss. Surely, in the face of such bitterness the spirit could atrophy. How, she was asked, had she survived? The answer came wrapped in unshakable certitude. “It was,” said Sharbat Gula, “the will of God.”  Submitted by wayne-twentyone fuck-yeah-tumblrs-best-posts: girlinthegreenscarf: She remembers the moment. The photographer took her picture. She remembers her anger. The man was a stranger. She had never been photographed before. Until they met again 17 years later, she had not been photographed since. The photographer remembers the moment too. The light was soft. The refugee camp in Pakistan was a sea of tents. Inside the school tent he noticed her first. Sensing her shyness, he approached her last. She told him he could take her picture. “I didn’t think the photograph of the girl would be different from anything else I shot that day,” he recalls of that morning in 1984 spent documenting the ordeal of Afghanistan’s refugees. The portrait by Steve McCurry turned out to be one of those images that sears the heart, and in June 1985 it ran on the cover of this magazine. Her eyes are sea green. They are haunted and haunting, and in them you can read the tragedy of a land drained by war. She became known around National Geographic as the “Afghan girl,” and for 17 years no one knew her name. Names have power, so let us speak of hers. Her name is Sharbat Gula, and she is Pashtun, that most warlike of Afghan tribes. It is said of the Pashtun that they are only at peace when they are at war, and her eyes—then and now—burn with ferocity. She is 28, perhaps 29, or even 30. No one, not even she, knows for sure. Stories shift like sand in a place where no records exist. Time and hardship have erased her youth. Her skin looks like leather. The geometry of her jaw has softened. The eyes still glare; that has not softened. “She’s had a hard life,” said McCurry. “So many here share her story.” Consider the numbers. Twenty-three years of war, 1.5 million killed, 3.5 million refugees: This is the story of Afghanistan in the past quarter century. “There is not one family that has not eaten the bitterness of war,” a young Afghan merchant said in the 1985 National Geographicstory that appeared with Sharbat’s photograph on the cover. She was a child when her country was caught in the jaws of the Soviet invasion. A carpet of destruction smothered countless villages like hers. She was perhaps six when Soviet bombing killed her parents. By day the sky bled terror. At night the dead were buried. And always, the sound of planes, stabbing her with dread. Here is the bare outline of her day. She rises before sunrise and prays. She fetches water from the stream. She cooks, cleans, does laundry. She cares for her children; they are the center of her life. Sharbat has never known a happy day, her brother says, except perhaps the day of her marriage. Such knife-thin odds. That she would be alive. That she could be found. That she could endure such loss. Surely, in the face of such bitterness the spirit could atrophy. How, she was asked, had she survived? The answer came wrapped in unshakable certitude. “It was,” said Sharbat Gula, “the will of God.”  Submitted by wayne-twentyone

fuck-yeah-tumblrs-best-posts:

girlinthegreenscarf:

She remembers the moment. The photographer took her picture. She remembers her anger. The man was a stranger. She had never been photographed before. Until they met again 17 years later, she had not been photographed since.

The photographer remembers the moment too. The light was soft. The refugee camp in Pakistan was a sea of tents. Inside the school tent he noticed her first. Sensing her shyness, he approached her last. She told him he could take her picture. “I didn’t think the photograph of the girl would be different from anything else I shot that day,” he recalls of that morning in 1984 spent documenting the ordeal of Afghanistan’s refugees.

The portrait by Steve McCurry turned out to be one of those images that sears the heart, and in June 1985 it ran on the cover of this magazine. Her eyes are sea green. They are haunted and haunting, and in them you can read the tragedy of a land drained by war. She became known around National Geographic as the “Afghan girl,” and for 17 years no one knew her name.

Names have power, so let us speak of hers. Her name is Sharbat Gula, and she is Pashtun, that most warlike of Afghan tribes. It is said of the Pashtun that they are only at peace when they are at war, and her eyes—then and now—burn with ferocity. She is 28, perhaps 29, or even 30. No one, not even she, knows for sure. Stories shift like sand in a place where no records exist.

Time and hardship have erased her youth. Her skin looks like leather. The geometry of her jaw has softened. The eyes still glare; that has not softened. “She’s had a hard life,” said McCurry. “So many here share her story.” Consider the numbers. Twenty-three years of war, 1.5 million killed, 3.5 million refugees: This is the story of Afghanistan in the past quarter century.

“There is not one family that has not eaten the bitterness of war,” a young Afghan merchant said in the 1985 National Geographicstory that appeared with Sharbat’s photograph on the cover. She was a child when her country was caught in the jaws of the Soviet invasion. A carpet of destruction smothered countless villages like hers. She was perhaps six when Soviet bombing killed her parents. By day the sky bled terror. At night the dead were buried. And always, the sound of planes, stabbing her with dread.

Here is the bare outline of her day. She rises before sunrise and prays. She fetches water from the stream. She cooks, cleans, does laundry. She cares for her children; they are the center of her life. Sharbat has never known a happy day, her brother says, except perhaps the day of her marriage.

Such knife-thin odds. That she would be alive. That she could be found. That she could endure such loss. Surely, in the face of such bitterness the spirit could atrophy. How, she was asked, had she survived?

The answer came wrapped in unshakable certitude.

“It was,” said Sharbat Gula, “the will of God.”

 Submitted by wayne-twentyone

(Source: National Geographic, via siskyy)

goldenwolf:

INDONESIA RPRZNT