Wiardgroup

hi all

i have to agree and disagree with mark on this one.
i'm in total agreement that an instrument's visual and tactile
design are as integral a part as anything else.
but i think what's being discussed here is a pretty simple
thing.
for example, les pauls and stratocasters come in different colors,
different fingerboard inlays, custom paintjobs...whatever. i don't think 
this
interferes with leo fender or les paul's vision...what i mean is that it 
only
alters the instrument in a superficial way. it doesn't really change the 
design
of the instrument. the same as a different color wiard modular or sans 
celtic
symbols would only alter the appearance, but not the sound or playability.
assuming that an MOTM front panel had the same layout as the original module
i would say the same goes for it. i don't really know why you'd want one...
in my opinion the wiard modules look sharp as hell. i think the blue is 
really great.
i don't particularly care for the celtic symbols, but i personally (like 
mark) feel that there
is a great value in having an instrument or work of art that you respect in 
the form that it's creator
intended.
but, whatever floats your boat, i say. whatever draws you to an instrument 
and makes
you want to play it is A.O.K. in my book.
as an aside, i thought i remembered grant saying that the design (the celtic 
theme)
was done by a college marketing or graphic design class as a class 
project...which would sort of
take a little emphasis off of the "artist's vision" argument.

jon



_________________________________________________________________
Send and receive Hotmail on your mobile device: http://mobile.msn.com

The marketing concept or the idea of combining ancient engraving style 
withfuturistic control panels was what they came up with. Grant himself 
drew all the celtic artwork.


I guess there is no harm in asking, but I still stand by the philosophy 
that if you don't like the yellow color, don't drink lemon aide.

mark

Rev Jon wrote:

>
>as an aside, i thought i remembered grant saying that the design (the celtic 
>theme)
>was done by a college marketing or graphic design class as a class 
>project...which would sort of
>take a little emphasis off of the "artist's vision" argument.
>
>jon
>
>
>

> The marketing concept or the idea of combining ancient 
engraving style 
> withfuturistic control panels was what they came up with. Grant 
himself 
> drew all the celtic artwork.

This is not correct.

The original Wiard faceplates had the "dorky learning lab look", I 
uploaded a picture to the Photos section.

The Wiard graphic identity was designed as the capstone project 
for Professor Alane Spinney's "Graphic Arts II" class, second 
semester seniors 96-97. I uploaded a photo to the photos 
section.

(L-R) Lynn Peyton, Sara Pippert, Heather Culumbatto, Jason 
Cirrincione, Erika Summerfeld, Chris Frump

Center: Alane Spinney - Grand Poobah
Project Leader: Jason Cirrincione

The class was given a CAD drawing of the faceplate and a 
series of photgraphs of historical synthesizers. Their instructions 
were to provide a design which met the following criteria:

1. It must be attractive to men, women and children.

2. It must NOT have a graphic identity visually assignable to any 
decade.

Decorative type is the American Uncial typefont as made famous 
in the Sequential Circuits Prophet line. Label type is Arial Black 
in 13, 11 and 9 point sizes as used on the original Aries 300 
series modules.

The engraving design is computer tracing of 11th century tomb 
rubbings, arranged by the class to fit the faceplate.

Blind acceptance testing was done with college students, 
elementary school children and senior citizens. All persons 
questioned prefered the current faceplate design to other 
historical varieties because it was more friendly and inviting. The 
blue and white color scheme was the most popular and 
considered the easiest to read in low light situations.

In retrospect, it would have been smart to survey some synth 
users....

Oh well, live and learn.

> In retrospect, it would have been smart to survey some synth
> users....
My thoughts exactly.
> 
> Oh well, live and learn.
Hey, everybody else seems to love it anyway.
I think we all agree that the music the instrument is capable of producing
is paramount.
CW

--- In wiardgroup@y..., "grantrichter2001" <grantrichter2001@y...> 
wrote:
> The original Wiard faceplates had the "dorky learning lab 
look"...

Call me a dork, but I want one like that! <G>

> The Wiard graphic identity was designed as the capstone 
project 
> for Professor Alane Spinney's "Graphic Arts II" class...

Had you considered hiring a professional, instead of using 
students?

> 1. It must be attractive to men, women and children.

There is no such thing, even within one of those groups, that is 
attractive to all. I'm sorry for saying, but I think this is an absurd 
premise. I would think that the students or at least the instructor 
would have questioned this concept.

 > 2. It must NOT have a graphic identity visually assignable to 
any 
> decade.

Okay, I suppose that criteia was somewhat met by brute force 
(ancient vs. modern vs. ???? - dare I say, wacky?) - though it 
does come off as hippy-ish and is therefore kind of late sixties 
for me.

> Blind acceptance testing was done with college students...

What did the sighted students think of it? ;-)

> In retrospect, it would have been smart to survey some synth 
> users....

Do ya think? :-)

Disclaimer: no offenses intended. Again, if I saw one of these in 
person, I might have a totally different opinion (probably not, but I 
am open to the concept).

I am now trying to see beyond the facade to the functional 
design.

Did anyone come up with some actual close-up panel shots?

Barry

--- In wiardgroup@y..., "grantrichter2001" <grantrichter2001@y...> 
wrote:
> The original Wiard faceplates had the "dorky learning lab 
look"...

Call me a dork, but I want one like that! <G>

> The Wiard graphic identity was designed as the capstone 
project 
> for Professor Alane Spinney's "Graphic Arts II" class...

Had you considered hiring a professional, instead of using 
students?

> 1. It must be attractive to men, women and children.

There is no such thing, even within one of those groups, that is 
attractive to all. I'm sorry for saying, but I think this is an absurd 
premise. I would think that the students or at least the instructor 
would have questioned this concept.

 > 2. It must NOT have a graphic identity visually assignable to 
any 
> decade.

Okay, I suppose that criteia was somewhat met by brute force 
(ancient vs. modern vs. ???? - dare I say, wacky?) - though it 
does come off as hippy-ish and is therefore kind of late sixties 
for me.

> Blind acceptance testing was done with college students...

What did the sighted students think of it? ;-)

> In retrospect, it would have been smart to survey some synth 
> users....

Do ya think? :-)

Disclaimer: no offenses intended. Again, if I saw one of these in 
person, I might have a totally different opinion (probably not, but I 
am open to the concept).

I am now trying to see beyond the facade to the functional 
design.

Did anyone come up with some actual close-up panel shots?

Barry