Luxurious black and white zine and full-color ebook on me collecting ‘pfand’ (deposit) bottles in Berlin, summer of 2012. Included in the physical zine is a map with gps coordinates of locations. Besides full color photography, the ebook contains previously unpublished photographs that remain exclusive for the this version.

Berlin 2012

18 pages (15 pages for ebook)

Fonts
Liberation Serif
Paper
Fastprint Fluor Orange 80grs
Fastprint Salmon 120 grs
Printing
Worm Rotterdam NL

In collaboration with Chiara Arkesteijn

Please Note: The price of the ebook is that of Berlin Einwegflaschen pfand (0.25 cents), but due to payment service provider limitations I’m forced to add one euro on top.

Cutting-edge production techniques are changing the way we think about design and manufacture.
The ‘Lasermarker™’ offers you that distinguished (lasercut) look without buying into tens of thousands dollars worth of equipment, let alone the safety hazards that comes with operating high voltage equipment and treacherous laser beams.

Just grab your trusty coping saw and finish off the edges of your work with the ‘Lasermarker™’. Can also be used for achieving the ‘engraving’ look.

Order below!

Laser engraved popsicle-stick business-cards. Get yours below!

Please email me the text and font you want engraved!

Sculptural Electronic Sound Discs (SESD)

SESD is a research and production project with live event on merging the sound source (electronic circuits) and the sound carrier (vinyl) into a dynamic sound object. Innovation and Do It Yourself play a leading role in this program.

Four artists, including me, experimented with electronic circuits, converted consumer electronics or self-designed electronic units that were used as a tool. The medium in this case, is a self-cut master plate which prints can be made by means of liquid plastics. These two elements were combined into an active sound composition.

In this framework we were challenged to increase our ability to innovative and to think conceptually, their affinity with the material or tactile, the Do-It-Yourself attitude, and the handling of sound as an artistic sculptural data insertion. The project can be seen as a metaphor of the in – and output we want to generate as a stage.

Exchange of knowledge with the artists, DE PLAYER and the audience is central to this innovative project. DE PLAYER now has a lot of knowledge and capabilities in the (re)production of sound recordings in small runs in the tradition of vinyl / LP (cutting, molds, casting). The contribution of the invited artists is their electronic specialization, their ability to everyday electronic objects a new meaning to the often elusive output that reflects the results of their practices. The combination of this knowledge resulted into physical and dynamic sound objects.

My contribution took on the perception of a vinyl record, the literal physical representation, the way it is being played, and the sound that the medium carries.  This resulted in a seemingly unplayable, ‘three dimensional’, parabolic record which carried a perfect (parabolic) sine wave of 1200hz. Using an old trick to play normal records backwards by turning the record-players cartridge up side down and placing a spacer underneath the record I could play my parabolic object. Besides the transformation of the physical notion of a vinyl record  the method of (re)production and the way of playing it had transformed the sound. Instead of the perfect sine wave I had cut to the master, the ‘bowl’ looped, skipped, scratched over the cast grooves, making the sine wave a ‘carrier’ of the medium’s materiality, making the whole process-from master to mold to cast-audible.

Available mid-december through deplayer.nl

Custom bicycles, price on request.

Minimalist single channel amplifier series based on used thrift shop hardware. Offering you a handmade alternative to over-expensive, mass produced, machined ‘designer’ gear.

Price on request.

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Creative Suite started  with ‘FILL’, a new publication focused on the concept of ‘filling’. Each edition of the square booklet will be ‘filled’ by a different artist and irregularly published in a limited edition.
This first edition’s pages are filled by using Adobe Photoshop ‘helper’ tools such as guides, slices etc.

Fill #1 tells the story of (web)designers, the graphical user interface, software, pixels, vectors and computer- and human-endurance.
The GUI, or Graphical User Interface, is the design of the on screen, two dimensional, user-interface which allows human interaction with the computer using input devices such as the mouse.
Today almost every designer or photographer uses pixel based tools like Adobe Photoshop to either create or edit images. In fact, most of the GUI one works with today, be it Mac OSX or Windows has been designed using these exact tools.
With the introduction of vector based image editors such as Adobe Illustrator a whole new world opened up since vector based graphics allow infinite scaling without loss of quality. Since then Photoshop also incorporated some vector based tools, such as the ‘Path’ tool. This is peculiar since pixels and vectors don’t mix well. This is manifested in Photoshop by creating a 1×1 pixel image. Zoom in 3200% and you can still create infinite paths using the ‘Path’ tool, while using any other, pixel, based tool (‘Pen’, ‘Brush’, etc ) will only allow you to completely fill the canvas.
In regards to this notion this projects explores the use of ‘unconventional’ tools such as the ‘Rulers’, ‘Annotation’ and ‘Count’ to fill a 600×600 pixel canvas. Most images are created by hand and captured at a fixed zoom level (66.666667%).
When viewed at this level, the canvas may appear filled with a solid color, but due to the fatigue of repetitive action, the relation of the human eye versus the resolution of the computer screen and the interpolation of Photoshop inconsistencies appear when zooming in.
To overcome the problem of human fatigue three images (‘Annotation’ tool and ‘Count’ tool) have been generated using scripts. (Not) surprisingly, Photoshop gave up when creating more than 20000 pixel-perfect counts, or 576(!) notes. A clear sign that Adobe never anticipated anyone actually using the not-so-well-known-tools intensively/extensively.
In December 2010 a book will be published incorporating all these exploits. This will also be the start of a series of ‘Fill’ books, where different artist are invited to ‘fill’ each page of a book using their own style.