![]() Dont wait until the icon is in use to discover that it doesnt work unless its on a white background all by itself. Place these contexts on separate layers that can be hidden before export. If it needs to work on top of multiple colours, or be positioned on top of busy or unpredictable backgrounds such as a photo, include those too. If the icons need to sit on top of other elements, such as on a toolbar with a gradient, incorporate this into your artwork. Having said all that, there are two particular rules that I stick to, especially when creating a suite of icons for an interface: it makes sense to create them in context and in company. Even though I have my set ways of working, Ive definitely adopted some of the techniques gleaned from talking to other designers. The intention of this chapter isnt to lay down any rules, but instead to offer guidelines and possible ways of working, as well as show how various designers approach their work. The first rule is there are no rules!Goku, Dragonball Zĭrawing style is as personal as the tool you use to draw, and not everyone will use the same methods, even if the end result looks the same. This chapter will build further on that, introducing the concepts of balance and consistency. Weve already covered some basics of drawing to crisp pixels in Chapter 3 about favicons. Well start with simple pictograms and then move on to small colour icons. Now we need to tackle actually creating the icons! In this chapter well look at the drawing process, then in Chapter 6 well consider the final file format and deployment method for the icon which can have a bearing on how we create the artwork. At this point in the book, weve been through the initial process of reading the brief, checking for existing conventions, and deciding on the right metaphor to use. ![]()
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