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.

毫无疑问，图标是当今数字产品界面设计中最常用的图形元素之一。 为了使此声明具有一定的确定性，我们甚至不需要非常强大的统计分析。 只需记住我们刚刚订购运输工具的那个应用程序的界面，昨晚我们通过在线平台看电影或什至是最近一次访问我们的家庭银行就可以了。 事实是，图标在我们日常生活中的任何地方，无论是在线还是离线。

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.

就其设计而言，语言也是我们可以想象到的最多样化和最有创意的语言。 有适合所有口味，形状和形式的图标。 无论您是要执行严格的功能性任务来指示方向，还是在给定页面上的信息层次结构中用作图形参考，图标都是设计师在最广泛的活动领域中最常用的视觉工具之一。

图标的定义 (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.

尽管图标的绘制样式可以有很大的不同(我们将在后面看到)，但是它们的定义非常简单。 至少在数字产品界面中定义图标的用途相对简单。 我们可以定义一个图标，它是通过自己的视觉语言构造的图像，在面对一定人群认可的图形时，具有某种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.

在此定义中，许多特征是显而易见的，其中一些特征与图形设计本身的尺寸密切相关。 在设计图标或完整的图像系列时，要在产品中更广泛地使用，最重要的要点之一就是绘画风格的定义，或者更确切地说是其视觉语言。

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，该定义还涉及两个非常相关的图标之间的必要和优越的平衡： 相似性和抽象性 。 只有确定了这两个维度，才有可能获得一种图形语言，它在视觉上很有趣，并且能够为我们正在开发的数字产品界面赋予其自己的身份。

视觉语言 (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.

尝试盘点所有可用于图标系列设计的图形样式是一项注定要失败的任务。 无论是由于可能的解决方案的广度还是定义每种图形样式的边界的困难，创建一个能够管理库存的库，今天使用的所有可视语言本身都是不可能完成的任务。

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.

在创造力的许多方面，基本的要点是能够定义自己的设计风格，这对于每个品牌都是相同的，这不仅是能够在任何给定的时刻理解使用哪种语言，而且还具有根本的意义。 收集灵感和收集参考资料至关重要。 但是，如果每个设计师都没有像炼金术师那样成功地为每个数字产品创建自己的设计风格，那么这项工作将毫无用处。

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.

不想用作选项目录，更不用说图标设计样式的清单，这里有更多来自图像族的示例，这些示例有时可能会起到启发作用。 这套参考书的使用比例从使用线的图形元素的更多图形化表示到主要占位的抽象图纸。

两行 (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.

极富比喻性的设计，寻求与对象表示的更大相似性。 因此，形状的构造使用两条线的粗细，试图在每个图标的设计中创建更大的节奏。

一条线 (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.

寻找一种表示形式，较少的比喻，更系统的形式。 这种图形样式还使用单线粗细(主要是密度较薄)来构造形状。

一行，两种颜色 (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.

从前一种样式的许多常见前提出发，无论是在形状的设计还是在信息的密度方面，这种绘画样式都会引入颜色的尺寸。 通过两种不同的颜色，形状彼此之间获得了更大的节奏。

断线 (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.

使用线条作为设计元素，该语言选择了更强的线条密度。 除此之外，该线条还带有断点，这不仅有助于创建多个读数，而且还为绘图带来了更大的节奏感。

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.

以某种方式简化轮廓，内部可以填充不同的图案。 在此图案的设计中，是否使用线条，除了轮廓外，图标的内部还用作绘图空间。

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.

假设表单的轮廓是主要参考，则该图形语言专门针对该轮廓。 通常，使用不透明的填充物，形状应包含一定程度的简化以利于阅读。

两种颜色的剪影 (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.

使用与以前的图形语言相同的形状设计假设，此解决方案还将颜色尺寸引入这种类型的设计中。 通过不同的色调，人物的轮廓获得深度和阅读节奏。

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.

在形状设计中保持一定程度的相对简化，应用于污渍的颜色具有将纹理引入设计的特性。 可以使用较宽的色域或仅通过音调变化来构造该语言。

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.

对于采用某种几何形状作为图标的可视参考空间的样式(有无颜色)。 在这种情况下，将形状作为主要的视觉参考，将室内设计传递到背景。

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.

无论是否使用几何形状，设计都以完全抽象的方式构建。 因此，在这种类型的视觉语言中，图形会丢失已知图形的任何代表性，而只会通过视觉参考。

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.

总是不完整的视觉语言清单，这种选择的绘画样式可以作为创建自己的解决方案的灵感。 因此，有必要以某种批判的眼光看待所有这些方法，但最重要的是要在形状设计或图形语法中增加新的观点，甚至可能更具创造性。

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.

在线上也有很多平台，例如Noun Project ，可以在其中寻找图标设计或完整系列的灵感。 但是，至关重要的是不要忘记，使图标的设计有趣的原因不仅在于图形样式本身，还在于该语言与品牌和数字产品的标识相关的方式。

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