Original Text
hi Emma! here I am finally replying your email. I’m so sorry, but there was a lot happening in my life.now, let’s get to it.
you can also start this exercise by printing an image and drawing over it using translucent paper.
my approach varies according to the brief. sometimes you’re hired to develop one single icon, others to develop an icon set or system as I use to call it.
about colours and rules, everything is based on the client identity. you can’t use more colour than it’s logo, neither use so few colours that the icons look lost in the client’s materials. the same applies for the complexity of the icons.
single icons are easier and have no specific rules, since they don’t have to fit to a system, only resemble the identity of the client. icon systems, on the other hand, are much harder. besides having to resemble the logo/identity of the client, they have to be graphically similar. you have to start by doing 3 to 5 icons for this system and create them harmoniously, set some design rules so that you don’t lose control of everything and have to restart the process. simplifying designs is really awesome, and the ability to do that comes from practice. it’s a design convention, really. let’s take a car, for example... a Smart. get an image and start retracing it (but don’t livetrace, do it knot by knot, manually). you’ll have a perfect vector reproduction of the car, right? now do it again, and again, and again, reducing the complexity each step of the way.by the end you’ll have several different graphic representations of the car, one simpler than the other. the real ability is choosing, from these several ideas, the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design.
Rewritten Text
Hi Emma! Sorry for the delay, here are the answers to your questions about pictograms and icons. My approach to design varies according to the brief. Sometimes you’re hired to develop one single icon, other to develop an icon set or system as I use to call it. Single icons are easier and have no specific rules, since they don’t have to fit to a system, only resemble the identity of the client. Icon systems, on the other hand, are much harder. As well as having to resemble the logo/ identity of the client, they have to be graphically similar. You have to start by doing 3 to 5 icons for this system and create them harmoniously, set some design rules so that you don’t lose control of eveerything and have to restart the process. Simplifying the designs is really awesome, and the ability to do that comes from practice. It’s a design convention, really. Let’s take a car for example...a Smart. Get an image and start retracing it (bu don’t live trace, do it knot by knot, manually). You’ll have a perfect vetory reproduction of the car, right? Now do it again, and again, and again, reducing the complexity each step of the way. By the end you’ll have several different graphic representations of the car, one simpler than the other. The real ability is choosing, from these several ideas, the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design. The real ability is choosing, from the several ideas, the middle, the perfection, the one that
Simplified x 1
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it’s your network of contacts that will spread the word about you and your works. it’s your network of contacts that will convince someone that you deserve that opportunity. briefs are your responsibility as much as they are the clients’. if you want to have a good time designing stuff, you have to demand a really complete brief from the client. also, if the client wants a good work, he has to cooperate and give you all the info needed for a good design and tell you what he really needs and wants. I think that’s it. I guess I’ve answered all your questions. if not, feel free to ask some more. (: sorry if I mistyped anything, I try not to. best regards and good luck on the design world,
passes the message that the icon is a car, with fewer elements, keeping a simple, good design. You can also start this exercise by printing an image and drawing over it using translucent paper. About colours and rules, everything is based on the client identity. You can’t use more colour than it’s logo, neither use so few colours that the icons look lost in the client’s materials. The same applies for the complexity of the icons. The practice of icon design is a bit complicated. Most design studios and advertising agencies have designers working on icons inside. It’s a bit hard to do freelance. I only did it a few times. You can also set a freelance partnership with an agency, so that they send you this specific kind of jobs and keep the other jobs flowing. Actually, the biggest secret of design - apart from being really good and posting your works somewhere on the web - is networking. It’s your network of contacts that will spread the word about you and your works. It’s your network of contacts that will convince someone that you deserve that opportunity. Briefs are your responsibilty as much as they are the clients’. If you want to have a good time designing stuff, you have to demand a really complete brief from the client. Also, if the client wants good work, he has to co-operate and give you all the information needed for a good design and tell you what he really needs and wants. I think that’s it. I guess I’ve answered all your questions. If not, feel free to ask some more. (: Sorry if I mistyped anything, I try not to. Best regards and good luck on the design world.
My approach to design varies according to the brief. Sometimes you’re hired to develop one single icon, other to develop an icon set or system. Single icons are easier and have no specific rules, since they don’t have to fit to a system.
About colours and rules, everything is based on the client identity. You can’t use more colour than it’s logo, neither use so few colours that the icons look lost in the client’s materials. The same applies for the complexity of the icons.
By the end you’ll have several representations of the car, one simpler than the other. The real ability is choosing the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design.
No. Paragraphs: No. Lines: No. Words: No. Letters:
actually, the biggest secret of design - apart from being really good and posting your works somewhere on the web - is networking.
fewer elements, keeping a simple, good design.
Simplifying the designs is really awesome, and the ability to do that comes from practice. Take a car for example. Get an image and start retracing it manually. You’ll have a perfect vetory reproduction of the car. Now do it again, and again, and again, reducing the complexity each step of the way.
XX XX XX XX
the practice of icon design is a bit complicated. most design studios and advertising agencies have designers working on icons inside. it’s a bit hard to do freelance. I only did it a few times. you can also set a freelance partnership with an agency, so that they send you this specific kind of jobs and keep the other jobs flowing.
Answers to questions about pictograms & icons.
Icon systems are much harder. As well as having to resemble the logo/identity of the client, they have to be graphically similar. Start by doing 3 to 5 icons and create them harmoniously, set some rules so that you don’t lose control of eveerything and have to restart the process.
No. Paragraphs: No. Lines: No. Words: No. Letters:
The practice of icon design is a bit complicated. Most design studios and advertising agencies have designers working on icons inside. It’s a bit hard to do freelance. You can also set a freelance partnership with an agency, so that they send you this specific kind of jobs and keep the other jobs flowing. Actually, the biggest secret of design is networking. It’s your network of contacts that will spread the word about you and your works. It’s your network of contacts that will convince someone that you deserve that opportunity. Briefs are your responsibilty as much as they are the clients’. If you want to have a good time designing stuff, you have to demand a really complete brief from the client. Also, if the client wants good work, he has to co-operate and give you all the information needed for a good design and tell you what he really needs and wants.
The real ability is choosing, from the several ideas, the middle, the perfection, the one that passes the message that the icon is a car, with
Pictogram/Icon Design
We always try to limit the number of colours on the minimum. If we can do it in black and white, we will do so. The colours should have a certain logic. If there are completely different things to show, the colours should be very different too. If there is a progression, the colours should be in a progression themseves (from clear to dark for instance). Also the use of grids can be helpful to differentiate information.
1. Try to limit the number of colours. 2. If it can be done it black and white do it. 3. Colours should be logical. 4. Different things to show = Different colours 5. Progression = Colour progression 6.
Rules for Colour
1. Real Data 2. Data Driven 3. Answer a Question 4. Tell a Story 5. Comparisons 6. Variables 7. Clarity 8. Context 9. Make it Stick 10. Use Grids 11. Scanable 12. Keys 13. Black and White
Rules for Colour
Colours should be logical.
Rules for Colour
Colours should be logical. If you can use black and white do it.
Rules for Colour
Colours should be logical. If you can use black and white do it.
If your showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
Rules for Colour
Colours should be logical. If you can use black and white do it.
If your showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
Rules for Colour
Colours should be logical. If you can use black and white do it.
If your showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
Rules for Colour
Colours should be logical. If you can use black and white do it.
If your showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
Rules for Colour
Colours should be logical. If you can use black and white do it.
If your showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
Rules for Colour
Colours should be logical. If you can use black and white do it.
If your showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
054. 1kilo
Rules for Colour
Infographics, Mapping www.1kilo.org do@1kilo.org Switzerland
“Keys and connections are hard to follow and reduce the scanability of a design. I try to keep labels and information as close to the visualization as possible, and rethink the design if I can't make that happen.�
054. 1kilo
Scanability
Infographics, Mapping www.1kilo.org do@1kilo.org Switzerland
Colours should be logical. If you can use black and white do it.
If your showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
054. 1kilo
Rules for Colour
Infographics, Mapping www.1kilo.org do@1kilo.org Switzerland
“Keys and connections are hard to follow and reduce the scanability of a design. I try to keep labels and information as close to the visualization as possible, and rethink the design if I can't make that happen.�
054. 1kilo
Scanability
Infographics, Mapping www.1kilo.org do@1kilo.org Switzerland
Colours should be logical. If you can use black and white do it.
If you’re showing completely different things then use different colours.
If the data is progressive, the colour should be progressive.
054. 1kilo
Rules for Colour
Infographics, Mapping www.1kilo.org do@1kilo.org Switzerland
“Keys and connections are hard to follow and reduce the scanability of a design. I try to keep labels and information as close to the visualization as possible, and rethink the design if I can't make that happen.�
001. Feltron
Scanability
Infographics, Reports, Interactive www.theofficeof.feltron.com nicholas@feltron.com New York
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18 68 530 2412
hi Emma! here I am finally replying your email. I’m so sorry, but there was a lot happening in my life.now, let’s get to it. my approach varies according to the brief. sometimes you’re hired to develop one single icon, others to develop an icon set or system as I use to call it. single icons are easier and have no specific rules, since they don’t have to fit to a system, only resemble the identity of the client. icon systems, on the other hand, are much harder. besides having to resemble the logo/identity of the client, they have to be graphically similar. you have to start by doing 3 to 5 icons for this system and create them harmoniously, set some design rules so that you don’t lose control of everything and have to restart the process. simplifying designs is really awesome, and the ability to do that comes from practice. it’s a design convention, really. let’s take a car, for example... a Smart. get an image and start retracing it (but don’t livetrace, do it knot by knot, manually).
Rewritten Text
No. Paragraphs: No. Lines: No. Words: No. Characters:
13 70 560 2565
Hi Emma! Sorry for the delay, here are the answers to your questions about pictograms and icons. My approach to design varies according to the brief. Sometimes you’re hired to develop one single icon, other to develop an icon set or system as I use to call it. Single icons are easier and have no specific rules, since they don’t have to fit to a system, only resemble the identity of the client. Icon systems, on the other hand, are much harder. As well as having to resemble the logo/ identity of the client, they have to be graphically similar. You have to start by doing 3 to 5 icons for this system and create them harmoniously, set some design rules so that you don’t lose control of eveerything and have to restart the process. Simplifying the designs is really awesome, and the ability to do that comes from practice. It’s a design convention, really. Let’s take a car for example...a Smart. Get an image and start retracing it (bu don’t live trace, do it knot by knot, manually). You’ll have a perfect vetory reproduction of the car, right? Now do it again, and again, and again, reducing the complexity each step of the way.
Simplified x 1
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10 55 426 1992
Answers to questions about pictograms & icons. My approach to design varies according to the brief. Sometimes you’re hired to develop one single icon, other to develop an icon set or system. Single icons are easier and have no specific rules, since they don’t have to fit to a system. Icon systems are much harder. As well as having to resemble the logo/identity of the client, they have to be graphically similar. Start by doing 3 to 5 icons and create them harmoniously, set some rules so that you don’t lose control of eveerything and have to restart the process. Simplifying the designs is really awesome, and the ability to do that comes from practice. Take a car for example. Get an image and start retracing it manually. You’ll have a perfect vetory reproduction of the car. Now do it again, and again, and again, reducing the complexity each step of the way.
Simplified x 2
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13 22 124 652
Chosen Option
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12 12 0 97
actually, the biggest secret of design - apart from being really good and posting your works somewhere on the web - is networking. it’s your network of contacts that will spread the word about you and your works. it’s your network of contacts that will convince someone that you deserve that opportunity. briefs are your responsibility as much as they are the clients’. if you want to have a good time designing stuff, you have to demand a really complete brief from the client. also, if the client wants a good work, he has to cooperate and give you all the info needed for a good design and tell you what he really needs and wants. I think that’s it. I guess I’ve answered all your questions. if not, feel free to ask some more. (: sorry if I mistyped anything, I try not to. best regards and good luck on the design world,
you can also set a freelance partnership with an agency, so that they send you this specific kind of jobs and keep the other jobs flowing.
By the end you’ll have several different graphic representations of the car, one simpler than the other. The real ability is choosing, from these several ideas, the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design.
Actually, the biggest secret of design - apart from being really good and posting your works somewhere on the web - is networking. It’s your network of contacts that will spread the word about you and your works. It’s your network of contacts that will convince someone that you deserve that opportunity.
The real ability is choosing, from the several ideas, the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design. You can also start this exercise by printing an image and drawing over it using translucent paper.
Briefs are your responsibilty as much as they are the clients’. If you want to have a good time designing stuff, you have to demand a really complete brief from the client. Also, if the client wants good work, he has to co-operate and give you all the information needed for a good design and tell you what he really needs and wants.
About colours and rules, everything is based on the client identity. You can’t use more colour than it’s logo, neither use so few colours that the icons look lost in the client’s materials. The same applies for the complexity of the icons.
I think that’s it. I guess I’ve answered all your questions. If not, feel free to ask some more. (: Sorry if I mistyped anything, I try not to. Best regards and good luck on the design world.
The practice of icon design is a bit complicated. Most design studios and advertising agencies have designers working on icons inside. It’s a bit hard to do freelance. I only did it a few times. You can also set a freelance partnership with an agency, so that they send you this specific kind of jobs and keep the other jobs flowing.
By the end you’ll have several representations of the car, one simpler than the other. The real ability is choosing the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design. The real ability is choosing, from the several ideas, the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design. About colours and rules, everything is based on the client identity. You can’t use more colour than it’s logo, neither use so few colours that the icons look lost in the client’s materials. The same applies for the complexity of the icons.
they send you this specific kind of jobs and keep the other jobs flowing. Actually, the biggest secret of design is networking. It’s your network of contacts that will spread the word about you and your works. It’s your network of contacts that will convince someone that you deserve that opportunity. Briefs are your responsibilty as much as they are the clients’. If you want to have a good time designing stuff, you have to demand a really complete brief from the client. Also, if the client wants good work, he has to co-operate and give you all the information needed for a good design and tell you what he really needs and wants.
The practice of icon design is a bit complicated. Most design studios and advertising agencies have designers working on icons inside. It’s a bit hard to do freelance. You can also set a freelance partnership with an agency, so that
Selection of images, progressively simpler.
The ability to simplify design comes from practice.
Simplified x 4
the practice of icon design is a bit complicated. most design studios and advertising agencies have designers working on icons inside. it’s a bit hard to do freelance. I only did it a few times.
Design approach varies according to the brief. For instance, a single icon or a set.
Start by doing 3 to 5 icons and create them harmoniously, set rules to main consistency.
12 12 43 260
about colours and rules, everything is based on the client identity. you can’t use more colour than it’s logo, neither use so few colours that the icons look lost in the client’s materials. the same applies for the complexity of the icons.
Get an image. Retrace it manually. Repeat many times, simplifying each time.
Icon systems are much harder. They have to resemble the identity of the client and relate to one another.
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the real ability is choosing, from these several ideas, the middle, the perfection, the one that passes the message that the icon is a car, with fewer elements, keeping a simple, good design. you can also start this exercise by printing an image and drawing over it using translucent paper.
Pictograms & Icons
Single icons are easier and have no specific rules.
Simplified x 3
you’ll have a perfect vector reproduction of the car, right? now do it again, and again, and again, reducing the complexity each step of the way.by the end you’ll have several different graphic representations of the car, one simpler than the other.
Choose one that communicates the message best. Colours and rules depend on clients identity. Inhouse designers work on pictograms. Difficult to freelance. Networking is key to spreading word and gaining opportunities. Ensure you have a complete brief.
Pictograms & Icons
Get image, retrace, simplify, repeat.
Single Icon/Set = different approach.
Choose best from selection.
Single icons easier. No rules.
Colours & rules: clients’ identity.
Icon systems harder. Consistency.
Difficult to freelance.
Do 3-5 & set rules.
Network.
Practice.
Coherant brief.
p&i
gt img rtrce smplfy rpt
icn st dffrnt
gt bst
1 ez
clrs & rls clnts idntty
2+ hrd
df 2 frlnc
3-5 rls
ntwrk
prctc
chrnt brf
Simplified x 3
045. Rodrigo Muller
Pictogram Design
Pictograms www.cargoollective.com/rodrigomuller rodrigo.muller@gmail.com Brazil