So... Baby Ink
That's all.
Translation: b*cth get away from my man ✨ 💅✨
Another sketch in sketchbook, getting the hang of it now I guess..
Killer belongs to @rahafwabas
Nightmare belongs to @jokublog
Ink, to the Squad: The real secret to immortality? Not dying. You want to be immortal? Okay, that’s easy. Just don’t die. That’s it. Refuse to die. There you go.
Blue: But how-
Ink, ignoring them: “But how”, you may ask. Well, easy. Just don’t do it. Refuse to. Say “no thanks”.
I like to imagine something bad happens and like- Reaper actually shows up to take em but he’s so sleep deprived and outta it that they try with “no thanks” and it just- works. He goes “ok, I’m goin home” and leaves, they gain immortality and Reaper regrets it the next morning lol
Give him offerings of coffee to continue your extended warranty of living.
Anonymous asked:
Guess who’s back back again
Does Killer is gay?
shittyutmv answered:
jk he has a bunch of pride pins i think . like a whole lot . collects them
killer belongs to rahafwabas
GOD the comments on this post TOOK ME OUT i had to do something with them
nightmare belongs to jokublog
killer belongs to rahafwabas
ink (barely there. can u spot him?) belongs to comyet
"This man ate my son" got me. 🤣🤣🤣🤣🤣
oh you're in a horror film/book and your phone died/has no bars? how boring. I think phones in horror SHOULD work. they should ding only to have the protagonist check and find nothing. they should get calls from somebody you don't know but is still somehow in your contacts. google maps should lead you to one place, no matter what address you type in.
phones are such a big part of our daily lives, removing them from horror removes the horror from our experience. what if the horror felt like it could happen to you, right here, right now? what if it felt like it was already happening?
Everyone gets “The 90s” look wrong so let’s fix it
If you weren’t here for part one, lemme sum it up real fast:
Okay, all up to speed? We’re being served 80s throwback stuff with the serial numbers scratched off, re-labeled as yo totally 90s. What we’ve got now isn’t completely wrong, but I’m telling you, there’s so much gold left unmined.
As we saw in part one with Memphis Milano, these things get messy. Trends don’t start and end neatly every ten years. The first wave of 90s throwback attempts focused on the early part of the decade, and nobody since really pushed to represent the other seven years. Well, if you really wanna do something, I guess you gotta do it yourself.
I have suggestions. Get your flannel ready, we’ve got a lot of ground to cover.
Analog Grunge
SURRRRRRRGE or uh, Grunge, is probably the look that defines the decade best. The big kickoff point here is Nirvana - after a shiny pop-dominated music scene in the 80s, Nevermind was like a breath of fresh smog.
Your design has to look like it survived a nuclear blast, then was run over by your parents’ Buick a couple of times.
- Rust. Dirt. Scuffs and scrapes. Signs of distress.
- Handwritten or scribbled illustrations.
- Low-rent aesthetics. Torn paper shapes, label maker or typewriter fonts.
If there’s a Comic Sans for the 90s, it’s “distressed typewriter font.” Seriously, it’s mandatory. When I pulled images for this post I could not escape typewriter fonts. I don’t think you couldn’t call yourself a respectable designer without it. Just look at how much mileage old-timey typewriters and label makers got:
Hell, it’s the giant X in The X Files!
I think another component to Grunge is sort of an anti-digital, pro-analog message. My pet theory is home computers went from being a semi-common novelty in 1990 to an essential gotta-have-it purchase in every American home by ‘99. Desktop publishing apps made it almost too easy to make pixel-perfect, clean, uniform designs. Digital photography and scanners meant you could now publish full color photographs with ease.
But digital perfection is the enemy of Grunge. Analog means authenticity.
So you had a whole gaggle of designers running in the other direction. Sure you could use a computer, but your work absolutely had to look like it didn’t come from one. As much as possible, incorporate hand-drawn artwork, scribbles, dust and splotches. Write text with chicken scratch if you have to. As much as you could make your multimillion dollar ad campaign look like it came from the margins of some high schoolers’ math homework, the better.
Factory Pomo
Not everyone was running away from digital, though. Many designers were embracing computer apps - and I think that’s where Factory Pomo first came into being. Coined by designer Froyo Tam (that’s their logo up above!) Factory Pomo is one of those things that once you see an example, you can’t stop seeing it.
- Strong, basic geometric primitives with inverted, contrasting colors
- Tall typography
- Art Deco style rivets and spikes
Want your logo to look futuristic and modern? Stick it in a circle and put some triangles around. Invert half the colors, then another half.
Max Krieger has a great writeup on the probable inflection point: Tomorrowland. As the story goes, Tomorrowland at Disney - the part of the park meant to look like it’s from the future - would very quickly look very outdated each time they tried to update it. Instead, in 1994 they decided to own being outdated. They came up with a ridiculously fun “timeless” futuristic look, mixing industrial design with Jules Verne. Factory Pomo’s signature was all over the blueprints.
The look quickly escaped the theme park and was especially prevalent in the booming mid 90s home computer market. It’s the Packard Bell cyborg, it’s the logo in Video Toaster. If you caught that The X Files logo earlier is both Factory Pomo with the tall type and X in a ring AND Grunge with the typewriter X in the background, you win 5 bonus Pogs.
And it’s a stretch, but one could draw a line between Factory Pomo’s inverted black and whites and the Ska movement’s two-tone checkerboards. Maybe. Possibly. I’d have to call Tony Hawk to double check.
Back to Froyo Tam for a second, but that bit about them coining the term? That was in 2017. “Factory Pomo” didn’t have a name for like… 25 years. How’s that possible, you may wonder? Weren’t designers following a defined style? Well, yes and no. I think people were designing stuff to look a certain way, but it’s less a game of “this is what the aesthetic looks like” and more like a game of telephone.
If you do an architecture tour in a major city, you’ll learn that every building and skyscraper is classified to a specific architectural movement. Every building that is but ones built in the last 20-30 years. Newer buildings have to wait a few decades for official classification. Historians need time and perspective to figure out what emerging trends in architecture are going on, whose work influenced who, that sort of thing.
Designing a logo for Slim Jims or Cherry Coke takes considerably less time than constructing a skyscraper, but I think the same principle holds true. It’s really difficult to tell what’s a trend and what’s a fad when you’re living in the moment. I couldn’t tell you what’s the defining aesthetic for the 2020s right now. It’ll be obvious in 2053, but right now, no clue.
Enough time has passed between the nineties and today that we can pick this stuff apart easily. Maybe if you’re lucky, you can be the first to classify these design movements, too.
Working on a part three! I’ll look into a few other trends and address the big question– Is the Y2K aesthetic actually a 90s thing? More to come.
*A ton of these examples above are from the CARI Institute, which you should totally check out, they’ve been cataloging this stuff for years.
Everyone gets “The 90s” look wrong so let’s fix it
If you weren’t here for part one, lemme sum it up real fast:
Okay, all up to speed? We’re being served 80s throwback stuff with the serial numbers scratched off, re-labeled as yo totally 90s. What we’ve got now isn’t completely wrong, but I’m telling you, there’s so much gold left unmined.
As we saw in part one with Memphis Milano, these things get messy. Trends don’t start and end neatly every ten years. The first wave of 90s throwback attempts focused on the early part of the decade, and nobody since really pushed to represent the other seven years. Well, if you really wanna do something, I guess you gotta do it yourself.
I have suggestions. Get your flannel ready, we’ve got a lot of ground to cover.
Analog Grunge
SURRRRRRRGE or uh, Grunge, is probably the look that defines the decade best. The big kickoff point here is Nirvana - after a shiny pop-dominated music scene in the 80s, Nevermind was like a breath of fresh smog.
Your design has to look like it survived a nuclear blast, then was run over by your parents’ Buick a couple of times.
- Rust. Dirt. Scuffs and scrapes. Signs of distress.
- Handwritten or scribbled illustrations.
- Low-rent aesthetics. Torn paper shapes, label maker or typewriter fonts.
If there’s a Comic Sans for the 90s, it’s “distressed typewriter font.” Seriously, it’s mandatory. When I pulled images for this post I could not escape typewriter fonts. I don’t think you couldn’t call yourself a respectable designer without it. Just look at how much mileage old-timey typewriters and label makers got:
Hell, it’s the giant X in The X Files!
I think another component to Grunge is sort of an anti-digital, pro-analog message. My pet theory is home computers went from being a semi-common novelty in 1990 to an essential gotta-have-it purchase in every American home by ‘99. Desktop publishing apps made it almost too easy to make pixel-perfect, clean, uniform designs. Digital photography and scanners meant you could now publish full color photographs with ease.
But digital perfection is the enemy of Grunge. Analog means authenticity.
So you had a whole gaggle of designers running in the other direction. Sure you could use a computer, but your work absolutely had to look like it didn’t come from one. As much as possible, incorporate hand-drawn artwork, scribbles, dust and splotches. Write text with chicken scratch if you have to. As much as you could make your multimillion dollar ad campaign look like it came from the margins of some high schoolers’ math homework, the better.
Factory Pomo
Not everyone was running away from digital, though. Many designers were embracing computer apps - and I think that’s where Factory Pomo first came into being. Coined by designer Froyo Tam (that’s their logo up above!) Factory Pomo is one of those things that once you see an example, you can’t stop seeing it.
- Strong, basic geometric primitives with inverted, contrasting colors
- Tall typography
- Art Deco style rivets and spikes
Want your logo to look futuristic and modern? Stick it in a circle and put some triangles around. Invert half the colors, then another half.
Max Krieger has a great writeup on the probable inflection point: Tomorrowland. As the story goes, Tomorrowland at Disney - the part of the park meant to look like it’s from the future - would very quickly look very outdated each time they tried to update it. Instead, in 1994 they decided to own being outdated. They came up with a ridiculously fun “timeless” futuristic look, mixing industrial design with Jules Verne. Factory Pomo’s signature was all over the blueprints.
The look quickly escaped the theme park and was especially prevalent in the booming mid 90s home computer market. It’s the Packard Bell cyborg, it’s the logo in Video Toaster. If you caught that The X Files logo earlier is both Factory Pomo with the tall type and X in a ring AND Grunge with the typewriter X in the background, you win 5 bonus Pogs.
And it’s a stretch, but one could draw a line between Factory Pomo’s inverted black and whites and the Ska movement’s two-tone checkerboards. Maybe. Possibly. I’d have to call Tony Hawk to double check.
Back to Froyo Tam for a second, but that bit about them coining the term? That was in 2017. “Factory Pomo” didn’t have a name for like… 25 years. How’s that possible, you may wonder? Weren’t designers following a defined style? Well, yes and no. I think people were designing stuff to look a certain way, but it’s less a game of “this is what the aesthetic looks like” and more like a game of telephone.
If you do an architecture tour in a major city, you’ll learn that every building and skyscraper is classified to a specific architectural movement. Every building that is but ones built in the last 20-30 years. Newer buildings have to wait a few decades for official classification. Historians need time and perspective to figure out what emerging trends in architecture are going on, whose work influenced who, that sort of thing.
Designing a logo for Slim Jims or Cherry Coke takes considerably less time than constructing a skyscraper, but I think the same principle holds true. It’s really difficult to tell what’s a trend and what’s a fad when you’re living in the moment. I couldn’t tell you what’s the defining aesthetic for the 2020s right now. It’ll be obvious in 2053, but right now, no clue.
Enough time has passed between the nineties and today that we can pick this stuff apart easily. Maybe if you’re lucky, you can be the first to classify these design movements, too.
Working on a part three! I’ll look into a few other trends and address the big question– Is the Y2K aesthetic actually a 90s thing? More to come.
*A ton of these examples above are from the CARI Institute, which you should totally check out, they’ve been cataloging this stuff for years.
struubrry asked:
can you make an emoji that is crying so hard it's practically screaming?
like this kind of energy but more intense:
maybe make a version that's surrounded by hearts too?
i hope that's not too much to ask!! please take your time aaaa
thank you in advance!! i love ur emojis
kipstarr answered:
sure, here u go! and ty <33!! /p
