If the current trend is towards flat design, which is easier to use than skeuomorphic interfaces with the widespread use of touch screens, graphic interfaces are fortunately not limited to two opposing concepts. For each reflection preceding a graphic interface proposal, the question of appearance arises. And the answer is often an in-between. This reflection is essential in our way of working, it imposes aesthetic and technical choices that are closely linked.
Software with hardware-like interfaces.
Being used to designing audio hardware, the obvious approach for us is to think of the software like the hardware. But only when it makes sense.
The example here is Seraphim, a virtual instrument for Kontakt.
If the software looks like hardware, it's because the two are related: the software is a virtual prototype of hardware under development. The two are intertwined and inextricably linked.
The KRISCHER Mini is an officially endorsed virtualized version of John KRISCHER's Monophonic Analogue Drone Synthesizer.
Our very first Kontakt instrument was the K-OSC, a virtual version of the KRISCHER Poly. This instrument did more than John KRISCHER who sent us a specimen of the MINI so that we could virtualise it in his turn.
Respect for the original aesthetic was of course essential. Our interface is a sort of still life, featuring the module with other hardware to recreate a typical setup.
It would have been possible to create a flat design interface but that would have denied the identity and masked the scale of the original instrument. In this staged interface, you can better appreciate the proportions of this nice little object.
What we propose is always marked by this duality, these complementarities, this open-mindedness too. The basic principle of any graphic interface is to propose the functions of the software through an illusion that is both ergonomic and comprehensible, without forgetting the notions of pleasure and reassuring comfort.