Audio Content Notice
The featured audio tracks are cover versions, not the original recordings.
They are creative reinterpretations and sample-based works, free of copyright concerns.
It´s me - The Little Man
- (Current) Age: 46 (on Oct. 2025)
- Marital Status: Divorced (Thank God!)
- Place of Residence: Freyburg/Unstrut
- Citizenship: German (native)
- Language Skills: German, English, Danish
- Completed Trainings: Draftsman / CAD
- Professional Status: Freelancer since 2004
- (Main) Areas of Activity: CAD & Design
- Special Skills: BIM, GIS, Java/CSS Coding
- Preferred Tools: Autodesk® (in general)
Meet The Little Man – a restless creator, always building worlds between precision and chaos. He draws, designs, and dreams in equal measure. A graphic mind with the logic of an engineer and the heart of an artist. A visual architect who shapes stories out of pixels, steel, sound, and light. He sketches with a mouse, paints with vectors, constructs with CAD, and composes in rhythm and tone.
Every surface becomes a playground, every tool another instrument. The Little Man turns raw ideas into tangible experience, from bold visuals to intricate mechanics. He speaks the languages of typography and texture, of silence and motion. He doesn’t just blur the line between art and design – he redraws it, every single time. Always evolving, always making, always slightly ahead of the obvious.
- Image Kit 2025 (CV & Application PDF)
- PR Material
- Personal Images
- Band Material
The 80´s
The eighties were madness. Satellites and space dreams lit the sky while concrete walls split the world in half. Sputniks and cosmonauts were the heroes of bedtime stories, and The Little Man watched the stars through frosted windows, believing anything could fly. Behind the Iron Curtain, invention was survival. People built their own tools, fixed the unfixable, coded on clunky Robotron machines and turned shortage into style. DIY wasn’t a hobby – it was a lifeline. Plastic bags from the West were trophies, Intershops were temples of desire, and every cassette that crossed the border was a revolution.
And then - boom !!! - everything cracked open. Borders, minds, habits, all breaking at once, like a world remembering how to breathe. Streets filled with voices, lights, and a strange kind of electricity. Walls crumbled, signs changed, languages mixed. For The Little Man, it was dazzling – neon lights where there used to be shadows, toys and sounds and colors that felt almost unreal. The world flipped overnight: one system gone, another one not yet ready. Adults tried to understand capitalism, kids tried to understand everything.
Suddenly there were MTV, Pepsi cans, Sega games, and chaos wrapped in promise. The Little Man stood in the middle of it all, wide-eyed and electrified, sensing that anything could happen now – and probably would. Every morning felt like a reboot, every night like the trailer for a brand-new world.
The color of the decade: ACID GREEN
The 90´s
The nineties were wired. A decade that booted up like a brand-new operating system. The Cold War was gone, the walls had crumbled, and suddenly everyone was free to figure out what “free” even meant. IBM clones hummed on every desk, beige boxes blinking with possibility. Kids discovered Tetris, Doom, and dial-up tones that sang like digital sirens. The Little Man watched the world glow from inside a pixel grid - AOL logins, Netscape windows, endless space made of noise.
Grunge thundered from tape decks, graffiti screamed across concrete walls, and hip-hop rewrote language itself. The streets had rhythm, the screens had rhythm, even silence felt amplified. Adults were too busy catching up to tell the kids what not to do - and that’s when everything interesting happened.
The Little Man grew up between floppy disks and spray cans, between static and sound. Every click, every chord, every crash built character. It was the age of experiments — where nothing came with a manual and everything could be hacked, painted, sampled, remixed. The world was buzzing, raw, and endlessly new. Dial-up hissed like a secret handshake, fonts became identities, and ideas spread faster than anyone could understand. It was chaos, it was color, it was the future loading in real time. And in that beautiful confusion, The Little Man learned the greatest truth of all: creation doesn’t wait for permission.
The color of the decade: HYPERLINK BLUE
The Millenium
The 2000s came in like a glitch in the matrix - fast, bright, and slightly unreal. The century rebooted itself under a cloud of smoke and Wi-Fi signals. Skyscrapers fell, browsers opened, and everyone started searching for meaning through Google. The Little Man watched the world stream itself into pixels: YouTube, MySpace, MSN chats at midnight. Everything was connected, and nobody really knew to what. The air smelled like plastic and promise. People lived through screens, wrote in status updates, spoke in notifications.
Then came the pocket revolution - the iPhone, the touchscreen gospel. Suddenly, the entire planet fit in one hand. Music turned into files, friends turned into avatars, and truth started buffering. The old rules crashed, and remix culture took over: cut, paste, post, repeat.
The Little Man scrolled through the noise, eyes wide, mind wired, trying to decode what “real” still meant. It was a decade of collapse and creation, where chaos wore a clean interface. The 2000s were the first digital heartbeat - and everyone could hear it through tiny white headphones.
The color of the decade: BELTON CHROME
The 2010´s
The 2010s were a fever dream in high definition. The planet went online and never came back. Screens became mirrors, mirrors became stages, and everyone performed their best version of real. The Little Man scrolled through the noise, part witness, part participant, watching a new species evolve - half human, half Wi-Fi. Instagram turned breakfast into art, Twitter made outrage a sport, and truth learned how to trend.
Music streamed, culture looped, and the feed became the altar. Revolutions were tweeted, elections gamified, and emotions quantified in likes. Data became religion, algorithms the new priests. While the world argued in comments, the ice caps melted quietly in 4K. Netflix replaced news, memes replaced memory. Everyone had a voice; no one could listen.
The Little Man floated through the glow - designing, remixing, surviving the scroll. It was the decade of constant update, where identity came with a password and meaning expired like software. The 2010s were beautiful, broken, connected, and confused - a decade on autoplay, spinning faster and faster, until the whole world started buffering.
The colors of the decade: CYAN GLOW FUCHSIA
The 2020´s
The 2020s began with silence. Empty streets, grounded planes, faces behind masks. The world paused, held its breath, and rebooted itself indoors. The Little Man watched the planet flicker from windows and Wi-Fi. Work, love, learning - all pixelated. Reality shrank to a screen, yet connection exploded. Zoom became the new gravity.
But when the world came back online, it didn’t return - it reinvented itself. Cryptos rose and crashed, billionaires raced to space, protests filled the streets while algorithms wrote the news. Climate fires burned, truth melted, and memes became survival tools. Between fear and boredom, people built new identities - digital, fragile, endless.
Then came the age of the machines. AI began to write, to paint, to whisper back. The Little Man fed words into the void and the void answered with visions. Work changed, art changed, thinking changed. The line between creation and simulation blurred like breath on glass. It was chaos, beauty, acceleration - the world thinking out loud.
The 2020s were the decade of collapse and code, lockdown and awakening. Everything broke, everything rebuilt, everything remembered how fast it could change. And through it all, The Little Man kept creating - quietly, relentlessly - proof that even in a synthetic age, humanity still hums beneath the noise.
The color of the decade: PROTEST PINK
Energy, activism, the illumination of humanity in the digital fog
Today - 2025
Today felt like the future trying to multitask. Coffee prices climbed, AI drafted apologies faster than humans could feel them, and the news scrolled past like a fever dream. The Little Man watched cities hum with electric scooters, drones, and people talking to invisible assistants. Politicians argued about data, influencers sold calm, and everyone pretended the Wi-Fi was fine.
Somewhere, activists danced in the rain for the planet, while delivery drivers dodged puddles with tomorrow’s dinner. Emails multiplied like fruit flies, meetings looped, and even the sun seemed tired of being filtered through another app. The Little Man laughed softly — the world looked absurd, but it was still spinning, still glowing, still trying.