Genderfluid pride with a little crown, bunny ears and a clear anti-fascist message.

This edition frames a cheerful blonde character in flowing pink, white, purple, black and blue bands. Sparkling eyes and a blue-and-white dress add playful charm to the bold lettering.

Sticker details

• One sticker featuring original Cerebroscope Studio artwork
• Synthetic PP with a glossy protective laminate
• Water-resistant
• Printed, laminated and contour-cut in Germany

Available sizes

• Longest side 3.6 cm (Mini)
• Longest side 4.5 cm (Medium)

For decorating notebooks, journals, laptops and other smooth surfaces.

Explore Handmade Stickers, Pride & Protest Stickers.

From the Cerebroscope archive

Z.O.M.B. LABORATORIES

Graphic Archive Record — 092-GF

Designation: Fascism’s Not Cute — Genderfluid Edition
Record type: Pride slogan artwork; visual rhythm and apparent movement
Related record: 091-GQ, frame continuity study
Working question: What makes a stationary frame feel as though it is flowing?

Records

“This one looks as if it is moving.”

Omb looked at the Genderfluid design on the archive board.

Z. Omb

“The bands?”

Records

“Yes. Around the ears.”

Z. Omb

“Describe where you see that impression.”

I traced the alternating curves along one side. The bands widened, narrowed and changed direction together, carrying my attention from the upper lettering towards the hands.

The image remained still.

Records

“Movement of attention, perhaps.”

Z. Omb

“A useful possibility. We should distinguish that from movement in the image.”

The frame used pink, white, purple, black and blue. Its parallel waves curved around the familiar crown, hair, bunny ears and dress.

Omb made a simplified line study beside it.

Records

“The curves still feel flowing without the colours.”

Z. Omb

“To you. That suggests colour is not the only contributor.”

They made a second exploratory sketch with straighter bands. I found that version less lively.

We recorded the response without treating the sketches as a controlled experiment. Their spacing and shape had changed together, and I knew what we were investigating.

Records

“I am becoming a rather well-informed test viewer.”

Z. Omb

“Which is useful for discussion and less useful for an unsuspecting first impression.”

We added an independent viewer comparison to the future study page.

The narrower dark bands raised a different question. In places, purple and blue sat close to black outlines and black portions of the frame.

From farther away, some boundaries became harder for us to follow.

Records

“The pink and white stay clearer.”

Z. Omb

“Under these viewing conditions. Mark the sections you lose.”

Omb circled the difficult areas on the study sheet. They would become useful checkpoints for the physical proofs.

The frame’s wave pattern also needed careful wording.

Records

“May I say the genderfluid theme is represented by the flowing lines?”

Z. Omb

“As a possible visual association, with that phrasing. We have the supplied edition name and its pride palette. We do not have a statement explaining every artistic choice.”

The archive retained the intended Genderfluid context without inventing a design brief.

Likewise, the character’s fixed pose did not contradict the edition. A single illustration did not need to depict changes in appearance to represent genderfluid pride.

Records

“No costume sequence required.”

Z. Omb

“Correct. The dress is part of the shared artwork.”

The crown, pink heart ornament and long ears remained unchanged in their role as character details. We assigned no personal history or identity timeline to explain them.

Next, we examined the lettering.

Its large black shapes interrupted the waves at the top and bottom. The white surrounding areas and pink edging kept the slogan separate from the busy frame.

Records

“The words give the eye somewhere to stop.”

Z. Omb

“They do for me too. Put that beside the flowing-frame observation.”

That gave us two impressions within the same composition: a curving background that encouraged us to follow it, and bold lettering that held our attention.

Neither impression softened the explicit statement.

The transcription stayed faithful to the image: “FASHISM’S NOT CUTE.” The listing retained the corrected spelling.

Finally, I checked the variants.

Records

“Mini first, Medium second.”

Z. Omb

“Yes. Check both for dark-band separation as well as the text.”

Records

“The frame can look lively, but the proof should sit still.”

Z. Omb

“Preferably on a well-lit table.”

CURRENT RECORD

Identity: Intentional anti-fascist pride artwork, Genderfluid Edition.

Pride frame: Wavy pink, white, purple, black and blue bands surrounding the character.

Shared character: Crowned blonde figure with long pink bunny ears, sparkling eyes and a blue-and-white dress.

Viewer response: The frame produced a flowing impression for the observers. No actual image movement occurred.

Exploratory comparison: Curved and straighter study sketches prompted different responses from one informed viewer. Contributing features have not been isolated.

Boundary visibility: Some dark neighbouring sections became harder to distinguish at greater viewing distance.

Interpretation: The edition name establishes its intended pride context. A symbolic relationship between “fluid” and the waves remains a possible reading, not a documented account of artistic intent.

Character representation: No changes of clothing, appearance or invented identity history are required to accompany the edition.

Lettering discrepancy: Artwork reads “FASHISM’S NOT CUTE.” Customer-facing copy uses “Fascism’s Not Cute.”

Variants: 92.1 Mini; 92.2 Medium. Both belong to one product family.

Print verification: Dark-band separation, fine character details and lettering remain to be checked on physical proofs.

Margin note — Records: Apparent movement has caused no actual displacement of archive furniture.