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Easy Steps To Better Icon Design

Icon and vector marketplaces like Iconfinder (where I work) are making well-designed vector icons1 an inexpensive and readily available resource for web and print designers. Thousands of high-quality premium icon sets and hundreds of great free sets are available.

Every icon set submitted to Iconfinder is reviewed and evaluated for potential appeal to our website users and for potential commercial value as premium icons. When reviewing icon sets submitted to the website, we have a responsibility to our designers and to our customers to make sure all premium icons on the website are of the highest possible quality. To achieve this, we are constantly aware of the difference between “not quite good enough” and “premium quality.” The difference is often very small and usually requires minimal changes, but it has a great impact on the design and value of the icon set. Unlike many other marketplaces, we rarely reject sets that don’t quite meet our quality requirements outright. Instead, we will share very specific, actionable suggestions for how the designer can improve the icons.

This article discusses a set of design guidelines in six steps. The steps follow the basics of sound icon design, including consistency, legibility and clarity. The principles of effective icon design have been discussed at length by icon designer John Hicks of Hicks Design in his book The Icon Handbook2, as well as by Google in its material design guidelines for system icons3. The six steps discussed in this article should be seen as a guide, not a dogmatic list of rules. Part of becoming a great designer is learning when to break the rules and when to follow them, as we will demonstrate here.

In the example images that follow in this article, the six steps discussed will be applied to a reworking of an icon of a dog (a Corgi, to be exact) that was recently submitted by an Iconfinder user named Kem Bardly. The icon had potential but was not quite polished enough to be considered “premium quality.” We provided Kem with some easy tips to follow, and, with a little reworking, his icons were ready for approval as a premium icon set. The image below shows the before and after versions of Kem’s icon. In the sections that follow, we will explain how to methodically go from before to after.

Corgi icon makeover before and after
The image on the left above shows the original icon. The image on the right shows the redesigned icon, which implements the principles in this article. (Image: Kem Bardly2423222120167654)

Note that while the guidelines discussed in the article are geared to web icons, they are generally applicable to print icons as well. The typical 300 dots per inch (DPI) of printed material makes pixel-perfection essentially meaningless. If you are a print designer reading this, all of the principles covered are applicable, but you can largely ignore the pixel-perfection pieces.

Three Attributes Of Effective Icon Design Link

Icons that are well designed exhibit a methodical and deliberate approach to the three major attributes that make up any icon design: form, aesthetic unity and recognition. When designing a new icon set, consider each of these attributes in an iterative approach, starting with the general (form) and proceeding to the specific (recognizability). Even if you’re creating a single icon, these three attributes are still implied and can be extrapolated from a single design.

No doubt, more than three attributes make up effective icon design, but the three elaborated below are a good place to start. For the sake of relative brevity, we have focused on what we consider to be the three main attributes.

Form Link

Form is the underlying structure of an icon, or how it is made. If you ignore the details of an icon and draw a line around the major shapes, do they form a square, a circle, a horizontal or vertical rectangle, a triangle or a more organic shape? The primary geometric shapes — circle, square and triangle — create a visually stable foundation for icon design. In our Corgi example by Kem Bardly, the dog’s head is made up of two triangles and two ellipses. Just as one would start a drawing by sketching the largest, simplest shapes and then refining towards greater and greater detail, one would start an icon from the simplest shapes and then add more detail — but only as much detail as is needed to communicate the concept being represented, be it an object, idea or action.

Corgi icon underlying form
The key lines in this image show the basic underlying shapes that define the design’s form. (Image: Kem Bardly2423222120167654)

Aesthetic Unity Link

The elements that are shared within a single icon and across an icon set are what we call the aesthetic unity. These elements are things like rounded or square corners, the specific size of corners (2 pixels, 4 pixels, etc.), limited and consistent line weights (2 pixels, 4 pixels, etc.), the style (flat, line, filled line or glyph), the color palette and more. The aesthetic unity of a set is the collection of design elements and/or choices you repeat throughout the set to visually tie it together as a cohesive whole. In the examples below, notice that each of the three dogs from Kem’s set share common elements, such as the 2-pixel rounded corners, the 2-pixel-thick stroke around the dogs’ faces and the heart-shaped noses.

Three dog icons showing aesthetic unity
These three dog icons share common design and style elements, creating aesthetic unity. (Image: Kem Bardly2423222120167654)

Recognizability Link

Recognizability is a product of an icon’s essence or what makes an icon unique. Whether an icon works ultimately depends on how easily the viewer comprehends the object, idea or action it depicts. Recognizability includes showing the properties that the viewer commonly associates with that idea, but it can also include elements that are unique or unexpected, such as the heart for the Corgi’s nose. Remember that recognizability refers not only to comprehension of the object, idea or action being depicted, but also to recognition of your unique icon set. In this respect, aesthetic unity and recognition can, and often do, overlap. In the image below, we recognize each of the two dogs as a Corgi and Siberian Husky, respectively, because of their unique colors, head shape and ears, while still recognizing them as part of the same set because of the shared design and style elements.

orgi and Siberian Husky icons
The unique qualities of each dog make them individually recognizable, while the common design and style elements make them recognizable as a set. (Image: Kem Bardly2423222120167654)

Thus far, we have looked at what we consider to be the three main attributes of effective icon design. In the next section, we will look in depth at six steps to properly address these three areas of concern.

The Six Steps Link

Always Start With a Grid Link

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.

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

The outer 2 pixels of the grid are what we call the “no-go zone.” Avoid putting any part of the icon in this space unless absolutely necessary. The purpose of the no-go zone is to create some breathing room around the icon.

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.

Round icon showing alignment with grid and key lines
The alignment of circular icons with the grid and key lines (Image: Scott Lewis17111098)

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.

Round and square icons on a grid
The alignment and sizing of round and square icons relative to the grid (Image: Scott Lewis17111098)

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.

Vertical and horizontal icons on a grid
The alignment and sizing of vertically and horizontally oriented icons relative to the grid (Image: Scott Lewis17111098)

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.

Diagonally oriented icon on a grid
The alignment and sizing of a diagonally oriented icon relative to the grid (Image: Scott Lewis17111098)

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 — just do so sparingly. As Hemmo de Jonge, better known by his nickname Dutch Icon12, has said:

The essence of an individual icon outweighs the importance of set cohesion.

Start With Simple Geometric Shapes Link

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.

Basic geometric shapes of the corgi icon
Here are the basic geometric shapes, two triangles and two ellipses, that make up the Corgi icon.

By the Numbers: Edges, Lines, Corners, Curves and Angles Link

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-aliasing13 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.

Close-up of 45-degree angle anti-aliasing
Close-up of regular anti-aliasing of 45-degree angles

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 VectorScribe14 and InkScribe15 by Astute Graphics for even more refined control over bezier curves.

Hand-drawing corners yields inferior results
Hand-drawing corners yields inferior results. (Image: Kem Bardly2423222120167654)

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

Mathematically-precise curves
These very precise curves were created using Illustrator’s bezier tools, instead of being hand-drawn.

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.

Precisely rounded corners
Precisely rounded corners

Having started with geometric shapes, we have now added a 2-pixel outline, demonstrating how the shape tools, along with consistency in details such as the rounded corners, are improving the design.

Corgi icon, progress so far
The progress so far of our redesigned Corgi icon

This greatly improved version shows the gist of the new design, with uniformly rounded corners, smooth curves and a basis for the weights of the lines around the ears.

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.

iPhone icon demonstrating line weights
This iPhone icon demonstrates consistent line weights. (Image: Scott Lewis17111098)

Use Consistent Design Elements and Accents Across Icons Link

Hemmo de Jonge of Dutch Icon gave a brilliant talk at Icon Salon 201518 in which he spoke at length about this aspect of icon design. In his two-years-and-counting icon system project for the Dutch government, Hemmo and his design partner incorporated a notch in each of the icons. Not every icon has the notch, but most do. This kind of accent, used conservatively but consistently across an icon set, can really tie the set together.

iPhone icon demonstrating line weights
The use of common design elements (Image: Dutch Icon19)

In our dog example, we have employed a common stylistic element with the heart-shaped nose. The visual quirk of using a heart for a nose not only ties the icons together, but adds a whimsical element and communicates an affection for our four-legged friends.

Three dog icons showing common design elements
The use of common design elements with our dog icons (Image: Kem Bardly2423222120167654)

In many cases, even if major aspects of an icon set are changed — the style, for example — the elements that build aesthetic unity can still tie the set together, as seen below. We have recreated the same three dog icons in a glyph style, rather than a flat style, and they are still consistent in aesthetic.

Three dog icons in glyph style showing common design elements
The use of common design elements in our dog icons but with a different style (Image: Kem Bardly2423222120167654)

Use Details and Decorations Sparingly Link

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.

Corgi icon showing minimal details
Minimal detail communicates what the object is. (Image: Kem Bardly2423222120167654)

In the version above, we are pretty close to our completed, improved design. The black outlines around the ears have become the fur-covered brown area around the ears. The black lines around the face are gone but still detectable in the 2-pixel space above the white marking on the Corgi’s face. Notice, however, that we still have some elements from the “before” version, such as the plain nose. We will address that in the next step.

Make It Unique Link

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.

Corgi icon with a heart-shaped nose
The heart-shaped nose on the Corgi makes this icon unique and personal. (Image: Kem Bardly2423222120167654)

In the final “after” image, we have a unique touch in the heart-shaped nose, which adds a dash of novelty and lightheartedness to the design.

These simple steps should be seen as a starting point, not a definitive guide. There is no single way to design icons. In this article, we have outlined the basics of a consistent approach to design, but other designers certainly have their own opinions and techniques. The best way to become a better designer is to look at as many visual references as you can, to read a variety of material, to sketch regularly (carry a sketchbook wherever you go), and to practice, practice, practice.

Corgi icon makeover before and after
The image on the left above shows the original icon. The image on the right shows the redesigned icon, which implements the principles in this article. (Image: Kem Bardly2423222120167654)

Conclusion Link

We 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.

Do you have your own techniques, tips or fundamentals that you’d like to share? Leave them in the comments below.

Further Reading Link

(ah, ml, al, il)

Footnotes Link

  1. 1 https://www.smashingmagazine.com/2016/02/free-icon-sets-e-commerce-web-hosting-food-science-and-more/
  2. 2 http://iconhandbook.co.uk/
  3. 3 https://www.google.com/design/spec/style/icons.html
  4. 4 https://www.iconfinder.com/hern12
  5. 5 https://www.iconfinder.com/hern12
  6. 6 https://www.iconfinder.com/hern12
  7. 7 https://www.iconfinder.com/hern12
  8. 8 https://www.iconfinder.com/iconify
  9. 9 https://www.iconfinder.com/iconify
  10. 10 https://www.iconfinder.com/iconify
  11. 11 https://www.iconfinder.com/iconify
  12. 12 http://dutchicon.com
  13. 13 https://www.smashingmagazine.com/2009/11/the-ails-of-typographic-anti-aliasing/
  14. 14 http://astutegraphics.com/software/vectorscribe/
  15. 15 http://astutegraphics.com/software/inkscribe/
  16. 16 https://www.iconfinder.com/hern12
  17. 17 https://www.iconfinder.com/iconify
  18. 18 http://blog.iconfinder.com/flashback-icon-salon-2015
  19. 19 https://www.dutchicon.com
  20. 20 https://www.iconfinder.com/hern12
  21. 21 https://www.iconfinder.com/hern12
  22. 22 https://www.iconfinder.com/hern12
  23. 23 https://www.iconfinder.com/hern12
  24. 24 https://www.iconfinder.com/hern12
  25. 25 http://blog.iconfinder.com/category/icon-design/tutorials/
  26. 26 http://iconutopia.com/category/icon-tutorials
  27. 27 http://www.fivesimplesteps.com/products/the-icon-handbook
  28. 28 https://design.google.com/icons/

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Scott Lewis is the Head of Content for Iconfinder.com as well as a professional icon designer. Scott earned a degree in graphic design from East Carolina University and has been designing icons for more than 25 years. He can routinely be seen photographing icons seen in-the-wild everywhere he goes ... often attracting the worried stares of strangers.

  1. 1

    Heading says “Easy Steps To Better Logo Design” but article is “Easy Steps To Better Icon Design”. Good article but I was hoping it really was about logo design!

    20
    • 2

      Scott Lewis (Iconify)

      May 11, 2016 3:04 pm

      Hi Ian,

      Thanks for your comment. Yes, I’m not sure what happened with the headline. Many of the principles I have outlined can be applied to logo design, too. In fact, I spent several years designing logos before I decided to focus exclusively on icons. That said, some of the principles do not apply (set cohesion, for instance).

      Thanks again for taking time to comment.

      Scott

      10
  2. 3

    Thanks a lot! Really good information!

    4
    • 4

      Scott Lewis (Iconify)

      May 11, 2016 3:14 pm

      Thanks, Lui. It was a lot of fun to write and to work with Smashing Magazine.

      0
  3. 5

    Hi Scott, this was a great read. Well done. In regards to your comment, “The benefits of various grid sizes would best be handled in a separate article” — I would be interested in reading said article. Perhaps it is in the works?

    2
    • 6

      Scott Lewis (iconify)

      May 11, 2016 9:05 pm

      Hi Liz. Thanks for the kind words. The article is not currently in the works but I can look into it to. Thanks for the interest.

      1
    • 7

      Christopher

      May 13, 2016 9:15 am

      Hi Scott,

      Thanks for this great article, it was fun to read and very informative!

      I must agree with Liz here. It would be nice to have an article solely focusing on how to use a grid for icon and/or logo design!

      0
      • 8

        Scott Lewis (iconify)

        June 22, 2016 1:40 am

        Hi Christopher. There have been a few requests for an article on grid sizes so I will add it to my to-do list. I can’t promise when I will have it ready but I will start on it very soon. Thanks for the feedback.

        3
  4. 9

    The Creative Ruby

    May 11, 2016 11:51 pm

    Super great tips and resource. I’ll be applying this in my future graphic design endeavors for sure.

    4
    • 10

      Scott Lewis (iconify)

      May 12, 2016 3:20 am

      Thanks, Creative Ruby. I’m glad you like the article.

      0
  5. 11

    Thank you, a great and useful article!

    1
    • 12

      Scott Lewis (iconify)

      May 12, 2016 2:13 pm

      Hi Dalia. Thanks for the kind words. I’m glad you like the article.

      1
  6. 13

    Just a heads-up – the URL still says “logo design”. Great article, thanks!

    1
    • 14

      Scott Lewis (iconify)

      May 12, 2016 2:15 pm

      Hi IOIIOOIO,

      Thanks for the heads up. My understanding is that once the article is published they cannot change the URL without creating a lot of 404 errors. Hopefully it’s a small enough issue that folks will be forgiving.

      Cheers.

      1
  7. 15

    It’s a good article, but aren’t you supposed to state clearly any sponsored content ?

    -4
    • 16

      Martin LeBlanc

      May 12, 2016 2:19 pm

      This isn’t sponsored content.

      -1
    • 17

      Scott Lewis (iconify)

      May 12, 2016 2:21 pm

      Hi AlienSKP,

      Thanks for the feedback. I’m glad you like the article, at least.

      I don’t think this qualifies as sponsored content. We certainly didn’t pay Smashing Magazing to run the article. The article was required to pass a double-blind editorial review to make sure it meets with Smashing Magazine’s editorial guidelines for quality, relevance, and expertise. When the reviewers read our article, they had no idea by whom it was written. It was judged 100% on its merits. There has also been no attempt to disguise the source. In fact, we state in the very first sentence that I am an employee of Iconfinder.com.

      Thanks.
      Scott Lewis

      2
      • 18

        Nexii Malthus

        May 14, 2016 3:25 pm

        It’s just that the opening paragraph is very odd and reads like marketing drivel. Try see how much ‘premium’ and ‘quality’ is mentioned compared to anywhere else in the article.

        Say replace “Iconfinder” with a competitors name, like “The Noun Project”. How does it make you feel now? It doesn’t feel like it wants me to lead into anything useful, only that Iconfinder is somehow the most premium and high quality vector/icon marketplace out there.

        Opening paragraph with emotional marketing drivel highlighted:

        Icon and vector marketplaces like Iconfinder (where I work) are making well-designed vector icons an inexpensive and readily available resource for web and print designers. Thousands of high-quality premium icon sets and hundreds of great free sets are available.

        Here’s my own take on a rewrite per actual story in content:

        Icon and vector marketplaces like Iconfinder (where I work) provide thousands of vector icons to web and print designers. We implement a review system where we provide suggestions. Here is what we learned.

        4
        • 19

          Scott Lewis (iconify)

          June 22, 2016 12:39 am

          I don’t think that is a fair assessment at all. I am the head of content for Iconfinder not for The Noun Project. I wrote the article, they did not. But to be honest, ALL content of this type is marketing something and I have made no attempt to hide that fact.

          The reason I use the words “premium” is to distinguish between top-shelf quality and run-of-the-mill. My job is to make sure our customers have access to the best icons available.

          You are taking exception with perfectly legitimate descriptors. Should I give advice for how to create poorly-designed icons? Or just mediocre instead of premium icons?

          What I am sharing is not an attempt to sell you anything. My point is to establish my credentials and why you should consider my opinion at all. Second, I have shared what criteria we use and the process by which I personally design icons.

          But honestly, I don’t know why you seem to be so offended by it.

          If you would like to write a better article, I’m sure Smashing Magazine would be happy to consider your submission.

          0
          • 20

            Scott Lewis (iconify)

            June 22, 2016 12:48 am

            The fact is that a big part of the reason why a professional like me writes articles IS for marketing purposes but you make that sound like there is something dishonest about it. That is simply the way the business world works and design is a business.

            The question isn’t whether my motive is to promote Iconfinder it is whether I have provided useful information. Judging from the comments on this article and the popularity I have done just that.

            You have not actually pointed out any errors or bad information. You have only stated that you personally don’t like the fact that I am promoting Iconfinder. But I will state it clearly: We ARE the best marketplace for vector icons. We also offer the best customer service to both end users and to our designers.

            I would also encourage you to communicate your displeasure with Smashing Magazine. In order to have the article published I had to submit it anonymously and go through a double-blind review. Their editors and subject matter experts decided solely on the merits of the article that it was worthy of being published.

            I would also point out, however, that every single article on this site is promoting something. In fact, the primary purpose of a magazine is to attract readers (eyeballs) in order to create a large enough audience to sell advertising. I truly do not understand why you have an issue with that. If it weren’t for the fact that magazines market goods and services they wouldn’t be able to pay their staff and their bills and there would be no magazine.

            My article is useful because I am a professional icon designer and have been doing it for nearly 3 decades. I make a substantial portion of my income from custom and stock icons. I am an expert on the subject in every sense of the word. If you think I have said something that is factually incorrect or that is bad advice then by all means point it out. But the content is solid. Clearly it is not to your liking but one cannot please everyone.

            But to your original point, it is NOT sponsored content. We did not pay to have the article published. I passed a very rigorous review process and I stand by my article 100%.

            0
          • 21

            Scott Lewis (iconify)

            June 22, 2016 1:59 am

            Actually, I think I’m going to back track here. I read the intros of a few other articles on the site and I can see what you all are saying. So, thanks for the feedback. I’ll try to be more critical in evaluating my own writing in the future.

            Cheers.

            1
  8. 22

    Still looks more like a bull terrier to me though

    1
    • 23

      Scott Lewis (iconify)

      May 12, 2016 5:02 pm

      I hadn’t thought of it, but now that you mention it I can see it. Very much beside the point, but I can see what you mean.

      0
  9. 24

    Ana Paula Bet

    May 12, 2016 6:25 pm

    Amazing!

    1
  10. 26

    Vinod Nanaiah

    May 13, 2016 7:39 am

    Very Informative , thanks!

    1
    • 27

      Scott Lewis (iconify)

      May 13, 2016 2:46 pm

      Thanks, Vinod Nanaiah! I’m glad you like the article.

      0
  11. 28

    It’s a good article but I really like the before icon more than the after one :)

    1
    • 29

      Scott Lewis (iconify)

      May 13, 2016 2:45 pm

      Hi Kircho,

      Thanks for your comment. Can you say what it is you like better?

      Thanks,
      Scott

      0
  12. 30

    Sky Blue Ocean Media

    May 15, 2016 6:54 am

    Do art directors follow this principle also?

    0
    • 31

      Scott Lewis (iconify)

      June 22, 2016 12:33 am

      Hi Sky Blue Ocean Media

      I think each designer’s process will be slightly different but the principles of good design are pretty well-established so I think there will be similarities between designers’ processes.

      Cheers,
      Scott

      0
  13. 32

    Jaychrist Teves

    May 16, 2016 12:46 am

    Love how you shared the technical part of how an icon can be made but not restricted the audience to just follow it instead break the rulea sparkingly. Keep it up! This is very impormative. Love this!!!!

    3
    • 33

      Scott Lewis (iconify)

      May 18, 2016 3:04 am

      Jaychrist Teves, thanks! I appreciate the feedback and the kind words. Glad you like the article.

      0
  14. 34

    So clear to create a logo, thanks!

    0
    • 35

      Scott Lewis (iconify)

      June 22, 2016 12:33 am

      Thaks, Lorraine. I’m glad you found the article useful and easy to follow.

      Cheers,
      Scott

      0
  15. 36

    Rebecca Eriksson

    June 12, 2016 2:54 pm

    This article is fantastic! Easy to understand with well explained crucial key points. Well done!

    0
    • 37

      Scott Lewis (iconify)

      June 22, 2016 12:32 am

      Hi Rebecca.

      Thank you so much for your kind words. I’m really glad you like the article. Keep an eye out for more like this one.

      Scott

      0
  16. 38

    Nice article, I agree with being consistent and unique!

    0
  17. 39

    Vwish Solution

    August 25, 2016 11:36 am

    Great Information please continue to share these information to us.

    2

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