Thursday, November 3, 2011

more sketches


  1. Nice concept with the leg rest on the Bo Diddley plank. But how about a forearm rest for the picking/strumming arm as well?

  2. well the higher corner will be rounded and be the arm rest...

    I will tell you soon how it works, since I plan to build it in the coming weeks, as part of my planck series !

  3. That makes sense. May I suggest the leg rest of C rather than D - that'll give the option of a classical playing position.

  4. I like the way some of the drawings show your approximation towards the final shape. Do you use particular methods or principles for the flow of curves and lines or is it more of a subconscious thing?

  5. thank you for the suggestion, I will take it in account.

    About the sketches, I guess that it's both, I try things until I reach something that seems interesting, then I will redo the same drawing again again and the approximations of hand drawing might bring interesting variations or at least help to spot what is good or wrong...

    See G and H - G is the first draft, H comes next and is less good but helps me to see what works in G - I've made some more sketches of this design since, to be seen in the next batch!

  6. Thanks for explaining. It makes your designs even more interesting to get some insight into your thoughts during the process.

    I've been looking for a methodology, vocabulary, taxonomy or whatever you'd call it, of guitar design concepts. Something that explains why the "crest wave" horns of Rickenbackers work visually the way they do, how the "german carve" of the SG gives it a certain edgy look, etc, etc, I've googled it for years but found nothing.

    With all the interest there is about guitar design, I'd believe that someone had written an article or a research paper on it. But this seems not to be the case. Do you (or any of you other readers) know of such works?

    Not that I necessarily want to work in a more structured and methodical fashion, but it could be interesting and inspiring reading.

  7. well I spotted this book about guitar design but didn't buy it (yet) but its writer happens to having settled in Berlin where he has a luthier's business and organizes workshops - and I plan to pay him a visit in the coming weeks...

    but it's true that guitar design is usually so conservative that it cannot be a field of aesthetics questioning... maybe it's up to people like us to start thinking about it - I will see if some of my friends in design theory would be interested...


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