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Logotype and skateboard design for Berlin based company Angst. Each deck will include a pair of Wayfarer style red/cyan 3D glasses (I bet u haven’t seen any Berlin Mitte hipsters wearing these yet). The skateboards are currently in production, so stop by again to see some real photos of the finished decks.

I also recommend that you check Mirko Mielke’s expose decks: The designs have been projected directly on the skateboards using a sophisticated analog photo-technique that involves spraying a light sensitive emulsion on the deck’s surface and exposing it for 24 hours…

Manuel Bürger, Tracky Birthday, Konrad Kuhn and I teamed up to create “Best before - A Dsico Fanzine”.

The fanzine is a playful hommage but also a critical examination of Disco culture. It boasts of 52-pages, screenprinted by hand, limited to 250 copies, plus a poster inlay. The title “Best before” indicates that even if the validity of Disco music is long expired, it’s still around. Many people consider it dead - while there’s all kinds of ghosts that prove it’s stayin alive! Who will finally kill it?

To order your copy or download some fresh mixes visit the fanzine’s oldskool website (made by me): www.dsico-fanzine.com

A selection of GIF-icons I made for an application that has sadly never been realised. Feel free to spread these on the web and use them on your homepage as I don’t want them to go mouldy on my harddrive. Some of them could be used as favicons.

I designed some fictive TV channel logos and a fake ringtone commercial screen for Denis Kundic’s short film “Supermoviechannel 7″.

I was commisioned to do the artwork for several MP3-albums on the netlabel Up It Up Records. Click the images to go to the corresponding release pages.

In the design of contemporary music software, a strategy of simulation has been established: Functionality and appearance of analog instruments are imitated by means of complex algorithms and photorealistic graphics. Instead of recognizing the specific qualities of the computer as a musical instrument, one recurses to approved aesthetics and traditional methods of operation when designing digital sound tools.

My thesis elaborates on the intrinsic differences between traditional and digital instruments in order to explore the aesthetic qualities of the computer as a musical instrument. As with any software, music software exactly defines the possibilities of what can be expressed with it.

The aesthetical and functional decisions made in the design process undoubtedly exert an influence on the user‘s mode of working. The interface can therefore be considered as a musical ideology. To address the question, how the creative work is impacted by the tools being used in the production process, critical positions of contemporary electronic musicians are gathered and evaluated.

The text pages of my thesis were printed with a Riso RC 4000 while the pictures pages were printed with a Xerox digital printer. I chose these techniques to create an aesthetic correlation with the topic.

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Pictures

Flyers for a rave party hosted by our radioshow _Hyperground depicting various views of a deflating smiley balloon. Screenprinted on heavy industrial cardboard in fluorescent and phosphorescent colours, chopped off edge.

Glibber stirred by Tracky.