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The Icon Handbook is a reference manual, how-to guide and coffee table ' showcase' in one. learn how to design icons for interfaces. Hicks design things you see on screens, such as icons, interfaces and identities. The Icon Handbook is now available to buy. Here's what it. The Icon Handbook on luhost.xyz *FREE* shipping on qualifying offers. The Icon Handbook. Have you ever needed to create an icon for something and not known Jon Hicks' 'The Icon Handbook' will become the go-to book for the modern desi Have . Its purpose is to guide relatively inexperienced designers through an icon design The Icon Handbook. By. Jon Hicks. Have you ever needed to create an icon.Then it was more the icon handbook by jon hicks a talent and bj problem. IconBuilder comes with Photoshop templates for laying out your various resources in a lcon grid, so that it knows where to find them when it comes to building the icon files. The sketch pad is wikipedia articles as epub books my favourite tool, but a lot of time is also spent researching the subject matter and gathering references to do the sketches from. Since that time, most software and email providers have found opened and closed envelope icons to be more universally understood across cultures. I tend to start in Illustrator — basic shapes and shading — and then continue in Photoshop for the finishing touches.
Copyright Jon Hicks All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. Acknowledgements Without these people this book wouldn't exist, so in Oscar acceptance speech style, thanks must go out to: Leigh, for putting up with me while writing the book, and being encouraging without fail.
I can't have been easy to live with. My mum and dad, for giving me the opportunities I needed to get where I am now. You really are great clients to work with. My friends and fellow office sharers Simon Clayson, Jon Dennis and Matt Hamm, for being there to bounce ideas and get invaluable gut reactions. Finally to Andy Sellick, for always appearing genuinely interested whenever he asked me how the book was going.
Can we go for a ride now, please? Foreword Approximately nine and a half billion miles from Earth, the American space satellite Pioneer 10 continues its lonely journey through the outer reaches of our solar system. If the space probe is ever discovered by another intelligent life form, the extraterrestrials will find a gold-plated plaque affixed to the side of the satellite.
Engraved on this plaque is a pictorial message that communicates the essence of our human species and the location of planet Earth. I can think of no greater example than the Pioneer plaque to demonstrate the universal communicative power of symbols. Imagine all the sophisticated technology embedded in this satellite. Yet, when tasked with telling the most important story, the story of the human race, scientists relied on hieroglyphs, one of the most basic and ancient forms of communication.
They did this because they knew symbols have the power to transcend any cultural or even cosmic barrier and deliver information effortlessly and effectively. It comes as no surprise then, that in our ever shrinking and highly technological world, symbols, because of their universal communicative power, have become the preferred language of the internet age. In the past few years alone there has been an explosion of new symbols and icons added to the lexicon, and this trend shows no signs of stopping.
These symbols have become and will remain a part of our everyday life. Now imagine all the symbols that will be needed to represent new concepts in medicine, nanotechnology, environmental protection, human rights and augmented reality. The stereo and TV had them, the labels in my clothes had them, and so did the machine that washed them. Whenever we travelled in the car, I would record the road signs I saw in my iSpy book, and see what landmarks were near us on an Ordnance Survey map with the aid of the key.
My father was a keen meteorologist, so the first time I was particularly aware of icons was through the daily routine of BBC weather reports. Icons are little miracle workers. They circumvent language obstacles, give concise warnings and directions, convey our moods and show which buttons to press.
Anyone needing to find a toilet in an unfamiliar country has been thankful for the familiar sign that not only shows where it is, but which one to use. The rise of desktop computers, and better and better mobile devices has extended icon use even further, with an abundance of applications requiring icons to differentiate between them and navigate their interfaces. To some, however, icons are little more than a decorative flourish, merely a means of making a text-heavy design look more appealing.
Either the designer misunderstands their advantages, or overuses them, creating a Christmas tree effect, confusing the eye and distracting the visitor. Where books have gone into theory, they were published decades before desktop computers, and therefore miss the most relevant and active context of icon use.
Sometimes the topic is covered as a part of a book about logo design, and amounts to little more than a page or two. This book begins at the point when you need to create your own icons.
Its purpose is to guide relatively inexperienced designers through an icon design workflow, starting with favicons and working up to application icons, as well as inspiring and providing a reference point for existing icon designers.
It does not set out to teach you how to draw in a particular application, although it does highlight the pitfalls of particular graphic editors and explain their individual advantages. The aim is not to improve proficiency in particular applications but, rather, to show you how to create icons with the common toolset found in most of them, so you can be more versatile.
What is an icon? They can be as simple as a triangle, or as complex as a photorealistic leaf with veins and droplets of water, but they all live under the broad umbrella of icons. One distinction we need to draw early on is that between an icon and a logo.
Logos are unique identifiers that work best when they stand out among other logos. Finding a toilet in a foreign airport would be so much harder if the sign used the Armitage Shanks logo instead of the familiar man and woman symbols. And although icons for Apple's Retina display require their areas to be squared, to avoid confusion I'll stick to established convention and say they're twice the size, since their dimensions are doubled. The structure of this book intends to take you through the creation of various different types of icons, building up the skills as we go.
Favicons Unlike other icons, favicons will almost always be a smaller version of a website logo. Their simplicity makes them a great starting point for our journey. Favicons are covered in chapter 3. Ideograms, pictograms and arbitrary icons The kind of icons used in websites and user interfaces are often either a picture of something pictograms , an idea of something ideograms or an invention arbitrary.
Often just monochrome, these icons help us find our way and make actions and functions clearer. Application icons Mostly photorealistic, these blur the distinction between logos and icons, sitting somewhere in between.
With the ever-growing production rate of apps, the variety of popular devices and platforms these apps are consumed on and the increasing resolutions that need to be created now, this type of icon is important. Application icons are discussed in chapter 7. Before we go too deep into the detail of the various types, their uses and how to draw them, it would be best to start with the story of icons and understand how we got here.
A potted history of icons Let's start the journey from the very beginning and look at the development of a symbolic language to complement our written one, how previous works have influenced modern icon design, and how the meaning of icons has evolved from religious art to encompass software. A potted history of icons Long before cultures developed any form of written language, as far back as , years ago, humans have communicated using symbols and pictures.
These images — painted on to cave walls pictographs or carved into rock petroglyphs — were not only art. They were made to record events and tell stories about food and shelter, using symbols to convey repeated themes. The simplest icon of all, the circle, was used to represent the sun but developed over time to be more abstract, conveying concepts of heat and light instead. While the first sun symbol is a pictogram a picture of a thing , later versions are known as ideograms because they convey the idea of heat or light, a more abstract concept.
A similar kind of representative imagery shows up later 5, years ago in other places such as Chinese writing and, in particular, ancient Egyptian hieroglyphics. The hieroglyphic for house is based on a floor plan, while the glyph for water is even more obvious.
For many cultures this has been the case until fairly recently. In Britain, there is no surviving evidence of any written language until the Romans brought us Latin just 2, years ago. In addition to pictograms representing an object and ideograms conveying an abstract idea or concept, there is a third type of icon. These are symbols that have been invented but do not relate to a physical object: their meaning has to be learned rather than deduced.
Their meaning could not be determined by examination alone: we only understand them because we have acquired that knowledge. Up to this point, icons were generally still localised efforts, which communicated information within a culture, and not necessarily outside of it.
That changed with the groundbreaking work of Viennese philosopher Otto Neurath in the early s and s. Known as Isotype International System of TYpographic Picture Education , he and his team of artists headed by Gerd Arntz developed a system of pictograms, which could be combined with other standard elements such as a triangle with red border, to add more meaning and variations. When Neurath died suddenly at the end of , his work was carried on by his wife Marie, and is now archived at the University of Reading.
In the same way, during the Great Plague of England in —66, the front doors of infected houses were painted with a large red cross by plague doctors to warn others away. We still use a red X as a warning sign today. From the s until the s, hobos who rode the rails across the United States would leave cryptic symbols on fences, footpaths, street signs and railway stops to help other hobos find their way.
These would provide vital information such as where they could rest or eat, how hospitable the locals were, local law enforcement status and the best approaches for a handout. Whenever a hobo arrived in a new town, they would seek out these signs first to see if a stopover would even be worth the risk. In a sense, they were reviving the spirit of the early cave painters. Symbols of Pictorial Statistics chart. Gerd Arntz can be credited with being the originator of the pictogram style we still use today.
The team created a clean geometric identity for the Games, which itself is a design classic, and the pictograms typify the cool, precise and logical approach they took.
No line is wasted in these symbols: everything is pared down to its absolute minimum. However, when we think of icons, we probably most commonly think of their use on computers. While much of its interface was still text-based, it had a mouse and therefore a pointer and a painting package containing the familiar icon-based tools window that we still use today.
It was no less influential despite this, inspiring the Xerox Star Workstation that followed it in , and the first personal computer with a graphical user interface — the Apple Lisa in It was after the creation of the Alto that the term icon was coined in a PhD thesis by David Canfield Smith, a computer science graduate student at Stanford University in California. It was the first computer to have a GUI and it also started the now familiar office metaphor of desktop, files, folders and wastebaskets that we still use today.
His style used rounded rectangles with distinctive heavy strokes to give contrast. Working with 1-bit depth either black or white pixels , Cox found ways to make the best of those bitmap limitations.
If you want Star to file something, roll the mouse and move the cursor to a picture of an appropriately labeled file folder; for storing deleted material, point to the picture of a wastebasket. Back in our family got an Acorn Electron, a home computer based on the BBC Micro, with the added benefit of being a bit cheaper! Laughable now, but connecting it to the TV was magical: one of those moments when you feel like the future has finally arrived.
This provided the opportunity to replace the sprites with my own designs, so that a simple driving game could become an X-Wing doing a trench run, for example. This was then converted into a VDU code by adding up the values of the columns in each row, as seen at the top of the next page. When I left school to study illustration and design at art college towards the end of the s, I had my first experience of using a computer with a GUI: in this case, the Mac. The college was kitted out with now legendary Mac Classics, and I became aware of the groundbreaking icon work Susan Kare had done for Mac System Software 1.
Everything I know and love about icons is embodied in that work from , and it took until before the Mac OS icons progressed to any significant degree. Her famous animated wristwatch icon to let the user know a task is in progress is still used today in Adobe Photoshop. I was lucky enough to get the chance to interview Susan for this book. First of all, many thanks for agreeing to be a part of The Icon Handbook! I particularly wanted to feature the original Mac icons as they encapsulate everything that icons should be and are, of course, design classics.
How did the project with Apple come about? I had the opportunity to join the Macintosh project thanks to my high school friend, Andy Hertzfeld, who was a software lead.
the. HANDBOOK BY JON HICKS • FOREWORD BY THE NOUN PROJECT. ii. The Icon Handbook by Jon Hicks Published in by Five Simple Steps Studio . The Icon Handbook - The definitive guide to creating icons by Jon Hicks. (Design Books and Books) Discover 2 alternatives like Icon Language. Jon Hicks' The Icon Handbook is somewhere in the middle where he combines large images of the best icons made, interviews with top icon. the H A N D B O O K B Y J O N H I C K S • F O R E W O R D B Y T H E N O U N P R O J E C T ii. The Icon Handbook by Jon Hicks Published in by Five. People often ask. Maybe it's because I've written a couple of books myself and I'm not usually shy to offer an opinion, people often send me.
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The Icon Handbook is a reference manual, how-to guide and coffee table 'showcase' in one. learn how to design icons for interfaces. About how to create icons: to craft the right message, the tone, the line work and getting it to work in the environment (mobile, operating system, or browser). Thankfully we now have the place to go. Jon Hicks' 'The Icon Handbook' will become the go-to book for the modern desi. Follow the Author. Jon Hicks. + Follow. The Icon Handbook by Jon Hicks () [Jon Hicks] on luhost.xyz *FREE* shipping on qualifying offers. The Icon Handbook by Jon Hicks. Jon Hicks' 'The Icon Handbook' will become the go-to book for the modern designer; for uncovering the thought processes, the skills and the reference for. Search the archives: This is the journal of Jon Hicks, one half of the creative partnership Hicksdesign. The Icon Handbook by Jon Hicks Published in by Five Simple Steps Studio Two, The Coach House Stanwell Road Penarth CF64 3EU. Jon Hicks. Have you ever needed to create an icon, and not known where to start? How do you go about crafting the right message, the tone, the line work and.