fgdg

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Pictogram/Icon Design

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 thelogo/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 ofthe 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.

Original Text

Rewritten Text

Simplified x 1

No. Paragraphs: XXNo. Lines: XXNo. Words: XXNo. Letters: XX



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 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,

Hi Emma!

Sorry for the delay, here are the answers to your questions about pictograms and icons.

My approach to design varies according tothe 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 thanthe 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

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.

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.

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.


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.


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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.

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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

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1. Real Data2. Data Driven3. Answer a Question4. Tell a Story5. Comparisons6. Variables7. Clarity8. Context9. Make it Stick10. Use Grids11. Scanable12. Keys

13. Black and White

Rules for Colour

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Colours should be logical.

Rules for Colour

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Rules for Colour

If you can use black and white do it.

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Rules for Colour


If your showing completely different things then use different colours.

If the data is progressive, the colour should be progressive.

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Rules for Colour




054. 1kilo

Infographics, Mapping www.1kilo.org [email protected] Switzerland

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Scanability054. 1kilo


“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.”

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Rules for Colour




054. 1kilo


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Scanability054. 1kilo



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Rules for Colour


If you’re showing completely different things then use different colours.


054. 1kilo


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Scanability


001. Feltron

Infographics, Reports, Interactive www.theofficeof.feltron.com [email protected] New York

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Pictogram Design

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 thelogo/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).

Original Text No. Paragraphs: 18No. Lines: 68No. Words: 530No. Characters: 2412

Rewritten Text

Simplified x 1

Simplified x 2

Simplified x 3

Simplified x 4

Chosen Option

No. Paragraphs: 13No. Lines: 70No. Words: 560No. Characters: 2565





Simplified x 3

you’ll have a perfect vector reproduction ofthe 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.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.

Hi Emma!

Sorry for the delay, here are the answers to your questions about pictograms and icons.

My approach to design varies according tothe 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 thanthe 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 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.


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.

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 fitto 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.

Pictograms & Icons

Design approach varies according to the brief. For instance, a single icon or a set.

Single icons are easier and have no specific rules.

Icon systems are much harder. They have to resemble the identity of the client and relateto one another.

Start by doing 3 to 5 icons and create them harmoniously, set rules to main consistency.

The ability to simplify design comes from practice.

Pictograms & Icons

Single Icon/Set = different approach.

Single icons easier. No rules.

Icon systems harder. Consistency.

Do 3-5 & set rules.

Practice.

p & i

icn st dffrnt

1 ez

2+ hrd

3-5 rls

prctc

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.


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

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 neededfor 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,

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.


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.

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.


Get an image. Retrace it manually. Repeat many times, simplifying each time.

Selection of images, progressively simpler.

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.

Get image, retrace, simplify, repeat.

Choose best from selection.

Colours & rules: clients’ identity.

Difficult to freelance.

Network.

Coherant brief.

gt img rtrce smplfy rpt

gt bst

clrs & rls clnts idntty

df 2 frlnc

ntwrk

chrnt brf

045. Rodrigo Muller

Pictograms www.cargocollective.com/rodrigomuller [email protected] Brazil

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Think Differently

Memorability

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100 Information Designers

Location

Type of Design

Type of Design (continued)

Type of Design (continued)

UK22/100

Infographics36/152

Pictograms9/152

Wayfinding9/152

Information Design2/152

contact@6/100

hello@4/100

StudioName@4/100

Other22/100

Unspecified7/100

Diagrams3/152

3D Visualization3/152

Publication2/152

Reports1/152

TheirName@33/100

info@18/100

mail@6/100

Mapping20/152

Interactive20/152

Environmental13/152

Visualization31/152

New York16/100

Germany13/100

Other42/100

Unspecified7/100

Email Naming Conventions

Email Naming Conventions (continued)

Information Design God: 1Collaborations: 3Designers: 6 Projects: 8Freelancers: 36Studios: 46

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Manually Creating Visuals

“Hand-creating information designs gives you a better connection to the information you’re working with. It helps you make decisions on the fly while you’re drawing. Above all it’s meticulous and fun. Like painting with data.”

025. David McCandless

Infographics, Visualization www.davidmccandless.com [email protected] London

§

*Corrections

Mistake

01. Miscount

02. Spelling

03. Inconsistency

04. Repetition/Miscount

05. Incorrect Data

06. Incorrect Data

07. Printing Error

08. Typo

09. Misreading Quote

10. Typo

11. Incorrect Data

12. Typo

13. Typo

14. Incorrect Data

15. Typo

16. Unequipped

17. Inconsistency

More Details

Collected 101 designers instead of 100.

Spelt 3 countries incorrectly; Pittsburgh, Luxemburg and Maldives.

Naming conventions did not match, ‘Netherlands’ and ‘The Netherlands’.

Repeated Jeffrey Docherty’s details. Should not have removed Sascha Elmers’ details.

Email address for David McCandless does not work. Wrong information given.

Website for project incorrect, does not work.

Wrong document sent to print.

‘Mortiz’ instead of ‘Moritz’ for email and web address.

Regarding mistakes within information design.

‘cargoollective’ instead of ‘cargocollective’

Website went out of date after collecting data.

Missed off ‘.com’ from www.russelldesign.com.

Missed off ‘t’ from Graphic Thought Facility’s details.

‘Information Architecture’ instead of ‘Information Architects’

Space between ‘Designers’ and ‘:’

Left list of mistakes at home twice

‘Interactive’ and ‘Interaction’

Action Taken

Deleted Sascha Elmers and reprinted.

Corrected and reprinted.

Corrected and reprinted.

Effects all visuals, correction post-poned.

Found alternative contact details.

No alternative site available.

Cancelled job and sent correct file.

PDF updated.

Attempted to find a new quote.

PDF updated.

No action taken.

PDF Updated.

PDF Updated.

PDF Updated.

PDF Updated.

Phoned housemate.

PDF Updated.

Action To Be Taken

Update all files/visuals

Update all files

Reprint

Find new quote

Reprint

Await new site.

Reprint

Reprint

Reprint

Reprint

Reprint

The integrity of a design relies on the information communicated being accurate and up to date. I would like to apologise for the mistakes highlighted below.

Mistake identifed after this went to print: