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 Icon design:

                           Icon design is the process of designing a graphic symbol that represents some real, fantasy or abstract motive, entity or action. In the context of software applications, an icon often represents a program, a function, data or a collection of data on a computer system.

Style&Size:

                          Icon designs can be simple, with flat two-dimensional drawing or a black silhouette, or complex, presenting a combination of graphic design elements such as one or more linear and radial color gradients, projected shadows, contour shades, and three-dimensional perspective effects.

Many modern icons have a maximum size of 1024 by 1024 pixels or greater. The challenge of icon design is to create an image that is communicative, beautiful, and understandable, at every size from this maximum resolution down to the minimum resolution of 16 by 16 pixels. Many icon formats allow one icon to include hinting to ensure visual clarity at smaller resolutions, or even completely different subsidiary images for smaller sizes (for instance, a keyboard at larger sizes, and a single key cap at smaller ones).

I will share very specific, actionable suggestions for how the designer can improve the icons.

ALWAYS START WITH A GRID-

The benefits of various grid sizes would best be handled in a separate article. For our purposes, we’ll work with a 32 × 32-pixel grid. Our grid also contains some basic guides to help us create the underlying form of each icon design.

(Here, we see a 32 × 32-pixel grid, with a 2-pixel border (or “no-go zone”) for breathing room.)

Part of the form of an icon is the general shape and orientation. If you draw a line around the outside edges of an icon — the bounding box, if you will — the shape will generally be a square, circle, triangle, horizontal rectangle, vertical rectangle or diagonal rectangle.

Circular icons are centered in the grid and will usually touch all four of the outermost edges of the content area, without going into the no-go zone. Note that a common reason for breaking the no-go zone rule is if some accent or minor element needs to extend beyond the circle in order to maintain the integrity of the design, as demonstrated below.

(alignment of circular icons with the grid and key lines.)

 

Square icons are also centered in the grid but do not, in most cases, extend all the way to the outermost edges of the content area. To maintain a consistent visual weight with circular and triangular icons, most rectangular and square icons will align to the key line in the middle (the orange area in the image below). When to align to each key line is determined by the visual weight of the icon itself; getting a feel for when to use which size just takes practice. Look at the square layout image below. The three concentric squares mentioned above are shown in light blue, orange and light green.

(The alignment and sizing of round and square icons relative to the grid.)

 

Inside the 32-pixel square, you will notice the 20 × 28-pixel vertical and horizontal rectangles. We loosely follow these rectangles for icons that are horizontal or vertical in orientation and try to make the dimensions of any icons oriented thus, to match the 20 × 28-pixel dimensions of these rectangles.

(The alignment and sizing of vertically and horizontally oriented icons relative to the grid .)

 

Diagonally oriented icons are aligned to the edges of the circular content area, as seen in the image below. Notice that the outermost points of the saw are approximately aligned to the edges of the circle. This is an area where you do not need to be exact; close is good enough.

(The alignment and sizing of a diagonally oriented icon relative to the grid.)

Remember that you do not need to follow the grid and guides exactly every time. The grid is there to help you make the icons consistent, but if you have to choose between making an icon great and following the rules, break the rules.

 

START WITH SIMPLE GEOMETRIC SHAPES-

Start your icon designs by roughly outlining the major shapes with simple circles, rectangles and triangles. Even if an icon is going to end up being mostly organic in nature, start with the shape tools in Adobe Illustrator. When it comes to making icons, especially for smaller sizes on screen, the slight variations in edges that result from hand drawing will make an icon look less refined. Starting with basic geometric shapes will make the edges more precise (especially along curves) and will allow you to adjust the relative scale of elements within a design quickly, as well as ensure that you follow the grid and form.

BY THE NUMBERS: EDGES, LINES, CORNERS, CURVES AND ANGLES-

As much as possible without making the design look overly mechanical and boring, corners, curves and angles should be mathematically precise. In other words, follow the numbers and don’t try to eyeball or freehand it when it comes to these details. Inconsistency in these elements can diminish the quality of an icon.

Angles –

In most cases, stick to 45-degree angles, or multiples thereof. Anti-aliasing on a 45-degree angle is evenly stepped (the active pixels are aligned end to end), so the result is crisp, and the perfect diagonal of this angle is an easily recognized pattern, which the human eye likes very much. This recognizable pattern builds consistency across an icon set and unity within a single icon. If your design dictates that you must break this rule, try to do so in halves (22.5 degrees, 11.25, etc.) or in multiples of 15 degrees. Each situation is different, so decide case by case. The benefit of using halves of 45 degrees is that the stepping in the anti-aliasing will still be fairly even.

Curves –

One of the most noticeable areas that can degrade the quality of an icon and that can mean the difference between professional- and amateur-looking is less-than-perfect curves. Whereas the human eye can detect very slight variations in precision, hand-eye coordination cannot always achieve a high level of precision. Rely on shape tools and numbers to create curves as much as possible, rather than drawing them by hand. When you do need to draw a curve manually, use Adobe Illustrator’s (or your vector software’s) constraint modifier key (the Shift key) or, even better, use Vector Scribe and Ink Scribe by Astute Graphics for even more refined control over bezier curves.

As we see in the “before” image above, hand-drawing lines creates irregular curves that detract from the quality of the design.

Corners –

A common rounded-corner (or radius) value is 2 pixels. In a 32 × 32-pixel icon, a 2-pixel radius is large enough to be clearly seen as rounded but does not soften the corners so much as to change the personality of the design (giving that “bubble” look). The value you choose will depend on the personality you want to give the design. Whether you use rounded corners is an aesthetic decision to be made considering the overall aesthetics of the set.

Pixel-Perfection –

Pixel-perfect alignment is important when designing for small sizes. Anti-aliasing on the edges of an icon at small sizes can make the icon appear fuzzy. Space between lines that don’t align to the pixel grid will be anti-aliased and appear blurry. Aligning the icon to the pixel grid will make the edges perfectly crisp on straight lines and more crisp on precise angles and curves.

As mentioned, 45-degree angles are best (after straight lines) because the pixels used to define the angle are stacked, or stepped, end to end perfectly diagonally. The same is true of corners and curves: The more mathematically precise they are, the crisper the anti-aliasing will be. Note, however, that pixel-perfection is less relevant, at least for anti-aliasing, at larger sizes and on higher-resolution screens, such as “Retina” displays.

Line Weights –

When it comes to line weights, two are ideal, but three are sometimes necessary. The goal is to provide visual hierarchy and variety, without introducing too much variety and thus destroying a set’s consistency. More than three and a set can lose its cohesion. The benefit of 2- and 4-pixel line weights is that they are multiples of 2 and, therefore, easily scale up and down in even increments. In most cases, avoid very thin lines, especially in glyph and flat icons. Unless you are deliberately creating a “line style” icons, rely on light and shadow, rather than lines, to define shape.

(This iPhone icon demonstrates consistent line weights.)

 

USE DETAILS AND DECORATIONS SPARINGLY-

Icons should quickly communicate an object, idea or action. Too many small details will introduce complexity, which can make the icon less recognizable, especially at smaller sizes. The level of detail you include in a single icon or set of icons is also an important aspect of aesthetic unity and recognizability. A good rule of thumb for determining the right level of detail in an icon or set is to include the bare minimum of details needed to make the meaning clear.

 

MAKE IT UNIQUE-

The number of talented designers who are creating high-quality icon sets, many of which are available for free, seems to be growing every day. Unfortunately, a lot of those designers rely too heavily on trends or the styles of the most popular designers. As creative professionals, we should be looking outside of the icon industry, to architecture, typography, industrial design, psychology, nature and any other area in which we can find inspiration. Because so many icon sets look alike these days, making your designs unique is ever more important.

 

I have shared the fundamentals of how to create premium quality icons. These fundamentals are technical skills; anyone can learn and master them with practice. Remember that to create better icons, start from the general (form) and work

toward the specific (recognizability). And keep your icons internally consistent, as well as consistent across the set, by paying attention to the shared elements (the aesthetic unity) of the icon or set. Once you have mastered the technical fundamentals, you can focus your energy on what makes an icon truly stand out: your unique creative vision.

Source-(smashing magazine& Wikipedia).

 

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