The icons are, without a doubt, one of the most used graphic elements today in the interface design of digital products. And to make this statement with some degree of certainty, we do not even need a very robust statistical analysis. Just remember the interface of that application where we just ordered a transport, last night when we saw a movie through an online platform or even the most recent visit we made to our homebanking. The truth is that icons are everywhere in our daily lives, on or offline.

毫無疑問，圖標是當今數字產品界面設計中最常用的圖形元素之一。 為了使此聲明具有一定的確定性，我們甚至不需要非常強大的統計分析。 只需記住我們剛剛訂購運輸工具的那個應用程序的界面，昨晚我們通過在線平臺看電影或什至是最近一次訪問我們的家庭銀行就可以了。 事實是，圖標在我們日常生活中的任何地方，無論是在線還是離線。

It is also true that in terms of their design, the languages ??are the most varied and creative that we can imagine. There are icons for all tastes, shapes and forms. Whether you have a strictly functional mission to indicate a direction, or serve as a graphic reference in the hierarchy of information on a given page, icons are one of the visual tools most used by designers, in the most varied areas of activity.

就其設計而言，語言也是我們可以想象到的最多樣化和最有創意的語言。 有適合所有口味，形狀和形式的圖標。 無論您是要執行嚴格的功能性任務來指示方向，還是在給定頁面上的信息層次結構中用作圖形參考，圖標都是設計師在最廣泛的活動領域中最常用的視覺工具之一。

圖標的定義 (Definition of icons)

Although the drawing style of the icons can vary greatly (as we will see later), their definition is quite easy. Defining what icons are, at least in terms of their use in the interface of a digital product, is relatively simple. We can define an icon, as being an image constructed through its own visual language, with some degree of similarity but also of abstraction, in face of a figure recognized by a certain group of people.

盡管圖標的繪制樣式可以有很大的不同(我們將在后面看到)，但是它們的定義非常簡單。 至少在數字產品界面中定義圖標的用途相對簡單。 我們可以定義一個圖標，它是通過自己的視覺語言構造的圖像，在面對一定人群認可的圖形時，具有某種程度的相似性但也具有抽象性。

In this definition, a number of characteristics are evident, among which some are closely related to the dimension of the graphic design itself. When designing an icon or a complete iconographic family, for a wider use in the product, one of the most important points is the definition of the drawing style, or better saying, its visual language.

在此定義中，許多特征是顯而易見的，其中一些特征與圖形設計本身的尺寸密切相關。 在設計圖標或完整的圖像系列時，要在產品中更廣泛地使用，最重要的要點之一就是繪畫風格的定義，或者更確切地說是其視覺語言。

In addition, the definition also refers to the necessary and preponderant balance between two very relevant concepts with regard to icons: similarity and abstraction. Only with the determination of these two dimensions, it is possible to achieve a graphic language, visually interesting and capable of giving its own identity to the digital product interface that we are working on.

此外，該定義還涉及兩個非常相關的圖標之間的必要和優越的平衡： 相似性和抽象性 。 只有確定了這兩個維度，才有可能獲得一種圖形語言，它在視覺上很有趣，并且能夠為我們正在開發的數字產品界面賦予其自己的身份。

視覺語言 (Visual languages)

Trying to inventory all the graphic styles that can be used in the design of icon families, is a task condemned to failure. Whether due to the breadth of possible solutions or the difficulty of defining the boundaries of each graphic style, creating a library that manages to inventory, all the visual languages ??used today, is in itself an impossible task.

嘗試盤點所有可用于圖標系列設計的圖形樣式是一項注定要失敗的任務。 無論是由于可能的解決方案的廣度還是定義每種圖形樣式的邊界的困難，創建一個能夠管理庫存的庫，今天使用的所有可視語言本身都是不可能完成的任務。

More than being able to understand which language to use at any given moment, the fundamental thing, as in many aspects of creativity, is to define your own style of design, which is identical for each brand. It is essential to collect inspirations and collect references. However, this work is of no use if each designer does not succeed in creating an own design style for each digital product, almost as an alchemist.

在創造力的許多方面，基本的要點是能夠定義自己的設計風格，這對于每個品牌都是相同的，這不僅是能夠在任何給定的時刻理解使用哪種語言，而且還具有根本的意義。 收集靈感和收集參考資料至關重要。 但是，如果每個設計師都沒有像煉金術師那樣成功地為每個數字產品創建自己的設計風格，那么這項工作將毫無用處。

Not wanting to serve as a catalog of options, much less an inventory for styles of icon designs, here are some more examples, from iconographic families, that may serve as inspiration at some point. This set of references, goes through a scale that goes from more figurative representations using the graphic element of the line, to more abstract drawings where the spot predominates.

不想用作選項目錄，更不用說圖標設計樣式的清單，這里有更多來自圖像族的示例，這些示例有時可能會起到啟發作用。 這套參考書的使用比例從使用線的圖形元素的更多圖形化表示到主要占位的抽象圖紙。

兩行 (Two lines)

Very figurative design that seeks a greater similarity with the representation of the object. Therefore, the construction of shapes uses two thicknesses of lines, trying to create a greater rhythm in the design of each icon.

極富比喻性的設計，尋求與對象表示的更大相似性。 因此，形狀的構造使用兩條線的粗細，試圖在每個圖標的設計中創建更大的節奏。

一條線 (One line)

Search for a representation, less figurative and more systematic of forms. This style of drawing also uses a single line thickness, predominantly thin in density, for the construction of shapes.

尋找一種表示形式，較少的比喻，更系統的形式。 這種圖形樣式還使用單線粗細(主要是密度較薄)來構造形狀。

一行，兩種顏色 (One line, two colors)

Starting from many common premises of the previous style, whether in the design or information density of the shapes, this style of drawing introduces the dimension of color. Through two different colors, the shapes gain a greater rhythm with each other.

從前一種樣式的許多常見前提出發，無論是在形狀的設計還是在信息的密度方面，這種繪畫樣式都會引入顏色的尺寸。 通過兩種不同的顏色，形狀彼此之間獲得了更大的節奏。

斷線 (Broken lines)

Using the line as a design element, this language opts for a stronger line density. In addition to this, the line is used with breaks, which help not only create several readings, but also introduce a greater rhythm to the drawing.

使用線條作為設計元素，該語言選擇了更強的線條密度。 除此之外，該線條還帶有斷點，這不僅有助于創建多個讀數，而且還為繪圖帶來了更大的節奏感。

模式 (Patterns)

Assuming the silhouette in a way, with some degree of simplification, the interior can be filled with different patterns. Using the line, or not, in the design of this pattern, in addition to the outline, the interior of the icon also serves as a drawing space.

以某種方式簡化輪廓，內部可以填充不同的圖案。 在此圖案的設計中，是否使用線條，除了輪廓外，圖標的內部還用作繪圖空間。

剪影 (Silhouettes)

Assuming the silhouette of the form as the main reference, this graphic language, comes down exclusively to that contour. As a rule, using an opaque padding, the shapes should contain some degree of simplification to facilitate reading.

假設表單的輪廓是主要參考，則該圖形語言專門針對該輪廓。 通常，使用不透明的填充物，形狀應包含一定程度的簡化以利于閱讀。

兩種顏色的剪影 (Silhouettes in two colors)

Using the same design assumptions of shapes as in the previous graphic language, this solution also introduces the color dimension to this type of design. Through different chromatic tones, the figure’s silhouette gains depth and rhythm of reading.

使用與以前的圖形語言相同的形狀設計假設，此解決方案還將顏色尺寸引入這種類型的設計中。 通過不同的色調，人物的輪廓獲得深度和閱讀節奏。

色彩 (Colors)

Keeping a degree of relative simplification in the design of the shapes, the color, applied to the stain, has the property of introducing texture to the design. This language can be constructed using a wide chromatic range or simply with tonal variations.

在形狀設計中保持一定程度的相對簡化，應用于污漬的顏色具有將紋理引入設計的特性。 可以使用較寬的色域或僅通過音調變化來構造該語言。

外接的 (Circumscribed)

For styles that take a certain geometric shape as a visual reference space for the icon, with or without color. In this case, the shape is assumed as the main visual reference, passing the interior design to the background.

對于采用某種幾何形狀作為圖標的可視參考空間的樣式(有無顏色)。 在這種情況下，將形狀作為主要的視覺參考，將室內設計傳遞到背景。

抽象 (Abstract)

Whether using geometric shapes or not, the design is constructed in a completely abstract way. Therefore, in this type of visual language, the drawing loses any representativeness with a known figure, passing exclusively the visual reference.

無論是否使用幾何形狀，設計都以完全抽象的方式構建。 因此，在這種類型的視覺語言中，圖形會丟失已知圖形的任何代表性，而只會通過視覺參考。

Always an incomplete inventory of visual languages, this selection of drawing styles can serve as inspiration for creating your own solutions. Therefore, it is essential to look at all of these approaches with some critical sense, but above all with the ambition to add new perspectives, perhaps even more creative, whether in the design of shapes or in graphic grammar.

總是不完整的視覺語言清單，這種選擇的繪畫樣式可以作為創建自己的解決方案的靈感。 因此，有必要以某種批判的眼光看待所有這些方法，但最重要的是要在形狀設計或圖形語法中增加新的觀點，甚至可能更具創造性。

There are also many platforms online — such as The Noun Project — where it is possible to look for inspiration for the design of icons or complete families. But, it is essential not to forget, that what makes the design of the icons interesting, is not only the graphic style itself, but also the way in which this language relates to the identity of the brand and the digital product.

在線上也有很多平臺，例如Noun Project ，可以在其中尋找圖標設計或完整系列的靈感。 但是，至關重要的是不要忘記，使圖標的設計有趣的原因不僅在于圖形樣式本身，還在于該語言與品牌和數字產品的標識相關的方式。

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閱讀并在 www.dxd.pt上 共享更多信息。