Icon Design: Create a Cohesive Icon Set | Adam Whitcroft | Skillshare

Icon Design: Create a Cohesive Icon Set skillshare originals badge

Adam Whitcroft, Designer, Iconographer

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26 Lessons (1h 59m)
    • 1. Trailer

      0:58
    • 2. Introduction: Overview

      0:48
    • 3. Introduction: Adam Whitcroft

      7:06
    • 4. Illustrator Basics: Setup

      2:04
    • 5. Illustrator Basics: Functions

      5:29
    • 6. Concepting: The List

      3:17
    • 7. Initial: Tent

      5:08
    • 8. Initial: Lantern

      4:23
    • 9. Initial: Backpack

      5:29
    • 10. Iteration: Tent

      4:16
    • 11. Iteration: Lantern

      5:02
    • 12. Iteration: Backpack

      9:34
    • 13. Presentation: Roughs

      3:36
    • 14. Photoshop Basics: Icon Workflow

      0:47
    • 15. Photoshop Basics: Functions

      3:57
    • 16. Remaking: Tent

      8:59
    • 17. Remaking: Lantern

      7:31
    • 18. Remaking: Backpack

      9:35
    • 19. Expanding: Compass

      9:01
    • 20. Expanding: Sleeping Bag

      3:53
    • 21. Expanding: Coffee Press

      9:45
    • 22. Presentation: In-Progress Set

      1:16
    • 23. Final Touches: Details

      1:30
    • 24. Final Touches: Path Cleanup

      3:54
    • 25. Conclusion: Final Set

      1:05
    • 26. Explore Design on Skillshare

      0:37
41 students are watching this class

About This Class

Create a custom set of icons that complements the needs and feel of any project. In this short class, designer Adam Whitcroft provides a behind-the-scenes look at creating a cohesive set of outdoor-themed icons.Ā Using Illustrator and Photoshop, he shows how to develop a theme, iterate on initial sketches, and polish a complete icon set that's perfect for clients, colleagues, or personal work. Whether you're a designer or an illustrator, this class is great forĀ strengthening skills in observation, design, abstraction, building an aesthetic, and designing icons that match your creative vision.

Transcripts

1. Trailer: Welcome to Icon Design, a perfect class for designers, illustrators, and anyone interested in the behind the scenes look at the icon design that we see every day in apps, on the web, and even in print. In this class, you'll learn how to create cohesive sets of icons and present them in a way that's perfect for your portfolio, use in a project or to make available to other designers. It's a great way to practice skills and observation, design, abstraction, and building an aesthetic. It's also an opportunity to create icons that really match the needs and feel of your own work. We'll start by choosing a theme, brainstorming list of associations, and using Illustrator to create the first set of sketches and iterations. This will push our creativity and encourage new styles. Then, inspired by favorites from that first round, we use Photoshop to develop, polish, and present complete set of a dozen icons in a final well-designed grid that's ready for clients, colleagues, or even your own ongoing personal projects. My name is Adam Whitcroft and I'm a designer and iconographer based in the UK. This is Icon Design on Skillshare, let's get started. 2. Introduction: Overview: Hi, I'm Adam Woodcraft. Welcome to this class on icon design. Over the course of the next couple of videos, I'm going to take you through my process from start to finish. I'll begin by creating a theme and a rough list of ideas within that theme. Once I've got that done, I'll move on to roughing out some ideas in Illustrator. From there, I'll go over iterative development, and why exploring other ideas is a good way of finding happy accidents. I'll then move on to Photoshop to expand upon our theme, touching on a few things along the way like setting standards and reusing elements. The end goal is to show you how I go about designing icons. In the hope you will learn something from it. There are milestones for you to keep up with along the way, and you'll be presenting your own small collection to your fellow students at the end of the class. I'd encourage you to post updates often, as I'll be stopping in as much as I can to see how you're getting on. So, with that out of the way, let's get started. 3. Introduction: Adam Whitcroft: So, I thought before we begin I'll take a few minutes just to touch on who I am and give you guys a bit of background into me and some of the work that I've done. So, as I said my name is Adam Whitcroft, I'm a South African designer living in the U.K. at the moment. I've been designing professionally for about eight years now, unprofessionally, if you could call that, for quite a lot longer. I actually started designing in high school where I took art as a subject. I think that's when I first got introduced to Photoshop, was back in high school. So, I've been using it for years and years and years. After high school, I went and studied fashion design for four years in Johannesburg. So, I'm actually a qualified fashion designer. I'm not a qualified graphic or print designer, which is quite funny but yes. So, during one of the modules of my fashion degree, well, one of the modules was screen printing and I think that's where I really got hooked on designing patterns and making icons and illustrations, was during that module because we had to come up with prints fabric and then screen prints onto that fabric and then make garments out of that. So, I always enjoyed making very simple graphic illustrations for these kind of things. So, I think that's pretty where my love for icons started. I think jumping into some of the work I've done, climacons which is what you see here is the first pack I actually released to the wider public, if you will. The idea behind this just came from watching BBC Weather one night, they had some really cool icons and I thought I'd take a crack and make my own. So, I think this collection probably started out as about four or five icons. It was really small to begin with. I realized that there are obviously more than five weather conditions so I needed to expand out to include things like maybe hail, or snow, or fog, or wind, some temperature stuff, that's a tornado if you can believe that but I really like it, but whatever. So, this pack is cool. I'm still really happy with it when I look at it. There are some inconsistencies, well, not inconsistencies but some visual things that do stand out for me that I would like to fix if I ever remade this pack. Those are probably what I call the Kanye West classes. So, these three over here, I just don't like them. Yes, they used the same shapes and they are clearly identifiable as being part of this pack, so that's not a bad thing. I just don't really like them, it's that simple. So, I'll probably remake them if I could. I think of this collection, the icon that I like most is this one over here and the reason I like this one most, it's a moon behind a cloud with some wind. As someone pointed out that it looks like a little cat's having a nap. I didn't see that for months but I see it now and I think it's really cute. So, now when I come back to this page, I see a bunch of weather things and a sleeping cat. So, Climacons I'm still really happy with. I probably won't be changing these or adding to them anytime soon because I think we're all sick to death of weather apps. The next collection I made was Batch. So, Batch basically grew out of a personal need for some icons. Before Batch, I was using other people's icon packs, which is absolutely fine there's nothing wrong with that but I found that quite often I was having to mix and match these packs. So, I was getting visual inconsistency with the icons. So, I figured I'm a designer, I'm going to spend a week or two making a collection of icons that I needed. That really quickly grew to where it is now, which is over 300 icons. There's still icons I can add to this and that I probably will add at some point when I've got some time. But I still use Batch, not daily but I use it a lot in my concepts and stuff for the platforms that I design. I'm still really proud of Batch. I think it's a decent collection, it covers a lot of topics. I think there are a couple of holes in it. Maybe some e-commerce stuff but I think on the whole it's pretty solid. Batch to date has had just over a quarter of a million downloads, which is insane. So, if you've downloaded Batch, thank you very much for using it. I'm just glad to see people enjoying it. Moving on. The next thing I think this is probably the work I'm most proud of, is city icons that I did for Offscreen Magazine. Kai, the editor got in touch with me. Kai is a really cool dude. Just said, "We've got a really short deadline. We need a bunch of city icons made." They initially went to Tim who's a Dutch iconographer and he was busy so they came to me. That was really cool that they thought of me after Tim. So, they said, "We need a bunch of icons for different cities around the world. So, 14 cities. Do you have any ideas?" Obviously, I was like, "Yeah sure, I'll take on this project," not knowing at the time what I was actually going to do but this was Offscreen Magazine so I'd be pretty mental to pass it up. So, working with Kai was awesome. He was really relaxed. He didn't push me for deadlines or updates. He basically just let me do my thing, which was awesome. It did take a while to settle on the visual style. So, there were a bunch of iterations flying back between me and him. We actually use, I think was a Dropbox folder. So, basically at the end of each day, I would just drop down all the work that I'd done and if he had a moment that day, he'd leave some notes. But it was a very easy process. So, I'd work with him in a second again, any time. These icons, I really like them because they're not all confined to this sphere. Each icon has what I call a break out, which is just this little points of visual interest that I find it just draws your eyes to these icons way more than if they were confined within the circle. Your eye really is drawn to things that look out of place. So, the fact that it's breaking this bounding shape, looks out of place in a good way. So, that's why I really like these. If I had to choose a favorite, it would probably be Amsterdam or Tokyo. But I like Amsterdam just because I love windmills. I think they're awesome little buildings. The little flowers here were quite fun to make. But I think the reason I like it most is that all of these icons are aligned perfectly to the center of the sphere. This is symmetrical but it is still vertically perfectly aligned, whereas this one just sits off to the side of it. I suppose the same could be said for the flags. They sit off to the side but it's a very small amounts, whereas if you've got this big sail, that pulls your eye to the right of the icon. I find that really interesting. Barcelona was by far in a way the most difficult icon to make. I think I started this icon first and delivered it last. It took weeks and weeks and weeks. It probably doesn't look like it but if you actually look at this photo online, this building is insane. It's beautiful. So, trying to distill that down nearly drove me insane but it was good fun to make and I'm really proud of these icons. I think they turned out great and people still get in touch with me saying that they're using these for small projects and can I expand more cities. I'm trying to find time to actually expand and add a bunch more cities but as with anything, job comes first. So, that's just a brief bit about some of the work that I'm most proud of that I've done. So, with that, let's get going. 4. Illustrator Basics: Setup: All right. So, let's get going. I tend to start my process in Illustrator. I do this because I just find concepting in Illustrator to be much easier and quicker than in Photoshop. We care less about things like our pixel grid and those nasty Hoff pixels that can sneak in and just ruin your day. So, if I'm going to make a new document here and zoom out, this is another reason why Illustrator is so awesome for this kind of thing. This white area here isn't a full piece paper, and this is how big our working canvas actually is. So, you can see it's enormous. If we try to do this in Photoshop, our file sizes would just be insane. So, Illustrator is great for that because we just have so much space to explore with. We don't have to worry about trying to fit everything inside, just a little white box here. If I go over some of my settings quickly, I've got keyboard increments set to one pixel. So, what this means is, if I have an object selected and I nudge it up, down, left, or right, it's going to nudge by one pixel. In Illustrator, if you hold Shift and nudge, it will multiply the setting by 10. So, that means, I will be nudging by 10 pixels if I hold Shift and nudge. So, setting it as low as one basically means that it just gives us really fine-grained control over moving stuff around on our page. The guides and grid, I've got a grid line set to everyone pixel with one subdivision. So, if I turn my grid on, it will zoom all the way in each one of these blocks is one pixel. Now, this isn't incredibly important but it definitely helps us well with concepting because it gives us a reasonable and realistic scale for when we take our icons into Photoshop. There's nothing worse than spending a couple of hours coming up with a really nice design for an icon in Illustrator only to port it into Photoshop and see that it just doesn't work at the size your clients has asked them to be delivered at. So, having this reference good set up from the beginning, it just eliminates a potential stumbling block. 5. Illustrator Basics: Functions: So, before we actually get going in your icon designs, there are a few tools I just want to really quickly cover with you guys. If you use Illustrator a lot, then feel free to skip this short video. It's just going to be a crash course on things like the Pen tool, using Shapes and using Pathfinder. So, one of the things we are going to be using mostly I guess is our Pen tool, so that's this little nib over here where you can just hit P on your keyboard. I think this is probably the most basic way of creating shapes in Illustrator. It's basically just to connect the dots. So, wherever you click, Illustrator will just connect the dots for you. If you want to pick up a path, basically, where you left off, if you hover, you'll see next to the pen cursor, there's a little asterisk. If I go close to an anchor, it will turn to a minus and that means that yours is carrying on a path. If you want to close one off, you look for a little zero next to your cursor and that means that you've closed your shape. With our Pen tool, you don't have to just draw straight lines, you can also, if you click on hold, we will get our bezier curves. Now, we're not going to be drawing too many bezier curves by hand just because they're a pain in the butt. I prefer to actually just use some tools to draw them, but this is how you do it. So, if you after you've drawn Beziers and you want to say change this angle slightly, you would hit A on your keyboard or go to direct selection tool and select that anchor. If you move these around, you see that's how you can adjust your beziers. Beziers can be very powerful, but as I said they can also just be a real nightmare to work with. So, I don't think we're going to be using them too much. If you draw a shape and you want to make it a complete shape, because at the moment it's only got three of the four size. If we go into wireframe view or outline view, you'll see what I mean. So, we've got all three sides we want to close it. If you select these two anchors, you can just do with marquee selection. You'll see up along the top here we've got some more controls. So, we're going to be using this, one which is connects, selected endpoints. If you see now, they're not actually lined up nicely. If you want to line them up, then we have all our alignment options here. So, we'll just use that second one. I would advise you if you don't really know how to use the Pen tool, just spend a couple of minutes playing around with some of these just to see what happens. I'm not going to be using them a whole bunch, but it's just good to know. The next thing is going to be some of our shapes. So, we're going to be using the rectangle, the rounded rectangle, and the ellipse tool most of all. I don't see how we're going to use these just yet, but you never know. So, you can keyboard shortcut M for rectangle tool YM, I have no idea, that's just Illustrator for you. There is no keyboard shortcut for the rounded rectangle tool, which is pretty annoying. So, if you draw that out you see, I'm holding shift now, so I'm getting a perfectly square object or you cannot hold shift and you get that. If you want to change the border radius of this, you just use the up and down keys on your keyboard and you see it's very gently going up and down. You can also shortcut to the extreme. So, if you go left, it'll take them all away and if you go right it'll give you the maximum corner radius you can have for that shape. If we make the shape bigger and go right again. So, we won't be doing this a whole bunch, but it's just it is useful to know. I like a fairly gentle slope like that. The next is going to be our ellipse tool which is L on your keyboard, and that again basically, I'm just holding shift here to draw out a shape nicely. Rather annoyingly, unlike Photoshop, you can't select the top item in your list and then shift and cycle through. This you have to select these ones individually. It's a bit annoying but we'll get over it. The next thing I want to cover is just our Pathfinder tools. If you don't have that under window, just look for Pathfinder and make sure it's selected. So, what Pathfinder does is it basically just governs how shapes interact with each other. So, if we make a little blue square and we make a copy of him. So, to make a copy, I selected hold Alt and then just drag and I get a copy. Let me make it a little reddish one. I'm going to copy this four times, so, select everything Alt drag. Once you've done it once, if you hit command D on your keyboard, it will basically repeats exactly the same options, so you see all the spacing is accurate. Not important now, but it can be useful later. So, the four main operations we're going to be covering with Pathfinder is just these ones along the top. I wouldn't worry too much about these along the bottom, you can play with those on your own to figure out what they do, but for the top four. So, the first one is unite which is as it says on the tin if we're going to outline view, you can see it's taken those two shapes and made one shape. The second operation is called minus front. So again, fairly self-explanatory. It basically means whatever is on the in front of the object will be cut out of that object. So, if we do it, we get that. The third one is intersect and basically what that means is where these two shapes overlap, it'll give you that as a result and the fourth one is exclude which is the opposite of intersect. So, it will leave the shapes as they are except where they overlap. So, you can just do a hell of a lot of stuff with these tools. They're really really useful and I think we're going to be using them a lot. So, I just wanted to give you a quick primer in those before we carry on. 6. Concepting: The List: Okay. So, I guess the next step is going to be coming up with a theme for our icons and expanding on that. So, generally, what happens, obviously, if it's client work, they will come to you and say, "We need icons for XYZ theme." Or, if it's for a project that you do in person, you can set your own theme. So, what I'm going to do for this class is basically, make minor theme. I'm going to pretend that somebody has come along to me and they said, hey, we're going to make an app that people can use for planning, maybe, hiking or camping trip. So, we're going to need icons, maybe for categories, or for some visual packing list, something like that. I'm not quite sure yet, but I think a theme is a good place to start. So, what I will always do is I will make a list in my illustrated working file. So, that's hiking, camping. What this list is, is basically it's just a brain dump of ideas under the steam. I do this with every single project I've done just because it really helps me from the get-go just plan out and think ahead. More things will come along I'm sure as we're working, but always find this is a really solid place to start. So, I'm just going to rattle off a couple of things, basically just things that's come to my head when I think about being outdoors or camping. So, fire, firewood, maybe a flint, backpack, going to carry that stuff, maybe a blanket or a jacket if it's cold, trees, leaves etc. Maybe a guitar, I don't know about that. Some mountains, lake, maybe a river, a boat, a kayak, a torture lanterns can be good. Obviously, very important, thermos flask, so for hot and cold drinks, I guess, we need a stove for our food, maybe pots and pans, perhaps a day night cycle, or a hot, cold, maybe a radio. Obviously, we're going to need access and stuff for firewood, signposts, directions, or a map. Eating stuffs' pretty important, so that's like cutlery and crockery, etc. I think this is a good list. I don't want to spend too much time doing this now, just because you actually want to get to designing these icons. So, this is a good place to start, I think. So, what I'll do next basically, I'll choose a couple of items from this list. Yeah, and just to start coming up with ideas and expanding them out. 7. Initial: Tent: So, we've got our list ready. So, I think we can start designing some icons. Between videos I went and just found a couple of reference images. I don't always work from reference images but I think in this case because I'm showing a process, it's probably a good thing to do. The icons I've decided to make for this step are going to be a tent, a lantern, and then a backpack. I just went out and found some images that I like the style of. So, let's get going. Generally, what I do is I make what I call a reference square. My canvas it's just an arbitrary size square. I use that because I like all my icons to actually be bound by a square box. I think that makes them really easy to use, same web applications or whatever, because we don't have to worry about trying to squeeze odd shapes and we can just put everything in a square and be done with it. It's just personal preference again. But I've always found that to be super useful. So, yeah, I'll just make this reference square. What I tend to do is actually lock this object because if I draw another shape now and I want to select this one, you can end up selecting our reference square as well. So, if we lock it you just select it and go object lock. This way I can't select the shape. I can still actually use it to have, I can still interact with the shapes. I can use smart guides, whatever, to find the paths or the corners of the shape. But I can't actually select it and move it. So, it's just really helpful when you're using that as a base for your objects. So, I will start with the tent first. It should be fairly simple to do. I'd like to, before I start, basically just find a nice line color to work with. We don't want to fill shape. We want an empty shape that has basically a colored stroke. I'm fairly partial to orange. So, I'm just going to go with that. Let's pump this up a little bit. I haven't quite settled on the line weights that I want to use at the moment. So, I'm just going to go for arbitrary size. We can always adjust later on, I guess. So, that looks pretty good. So, I'm basically just drawing a triangle. I think that's going to be our tent starting shape, our TP starting shape rather. Yeah. So, this tent doesn't really have any poles that you see sticking out of the top of a more traditional TP. I like that. I think it's interesting. So, even our reference image doesn't have that, I'm going to add them in anyway. So, I just break apart the top two points here. Something like that. I'm going to try as much as possible to keep everything stuck to the edges of my bounding box just so with a point like this it doesn't really matter if it sticks out because that's actually just how the stroke is rendered. Our shape is still going to be contained within the box. So, when we remake that in Photoshop, that's not going to be an issue. I think we need to put a front seam in now. So, I think our most basic shape, almost basic, there's a tent obviously. I'm going to work in a little bit more but even that could be a fairly decent starting point. Oops. So, I think that's definitely a good starting ground for of the tent. So, we can always explore different variations so maybe you see this tent flap here. I think that could look like we are adding in a flap, maybe, taking out this background line. But we can do that when we get to the iteration part. 8. Initial: Lantern: So, I think next step is going to be doing the lantern. So, what I'm going to do is just unlock all so I can grab the shape. I will select those. The shortcut for your key, on your keyboard to lock things is command two. So, I'm just going to relocate shapes. So, I'm going to do the lantern now. I might not do a lantern that looks exactly like this, might be something slightly different. We'll see how we go, but growing up in South Africa, we used to get power cuts all the time. It's just one of the things of living there. We had these red paraffin lamps that my dad always used to bring out when we had power cuts. So, I always like the shape of those and that's what I'm going to try and remake now, from memory. I know we've got a reference photo but you'll see it's not too far off, but there are a couple of small differences. I'm just going to shoot for that for now, see how we get on. I'm not too worried about the width of the icons. I'm more concerned about the height. I want the height to always take up or as much as possible take up our reference square but width-wise, I am not too fussed for now. So, this bottom part of these lanterns used to hold the paraffin. There was a little a filler cap, I guess you could call it, the little gas tank. I'm going to drop that in as well, something like that and then there would be a little, it looks like a half circle in here where the wik could come out of. So, that's our wik. That was winder nobby thing stuck out the side here. So, you would twist that to make the wik go up and down. So, I'm just going to throw that in and I don't want to put more detail than that in and keep it, not abstract but just keep it fairly simple. So, I think the next thing is we need to make this little hat that all lanterns have. Now, if you want to isolate the shape, so basically, if you double-click on a shape, you can isolate it so you see now I can grab any of these points and only the thing that I've isolated, will be affected. So, that's quite useful of you got lots of shapes you want to work in between. Some image I can manage I can sit it nicely on there. That's looking all right. So, I feel I'm happy with that. I think the last thing we need to do for this is give it a little handle. So, there's a handle on top where you could hang it off the the veranda on something when you're sitting outside or even inside. There is no power. Something like that. Yeah, I'm happy with that. The last thing I want to do is, basically, you see we've got this line that cuts through here, so I just want to fix that. So, it's easier to see that this is an opening and not just maybe a piece of decoration or something, even something like that. 9. Initial: Backpack: So, same process again, I'm going to unlock everything. Let's grab this, move it over and then relock. Let's do that. So, we're going to take a crack of this backpack. I think shape-wise this might be the most complicated. The silhouettes of these are all fairly easy but I think there's a lot of detail in here, like we've got the zips, we've got these straps, these buckles, there's a badge here, even the little pull-tags on the zips. I think we're going to keep it fairly abstract, just so we don't get seriously bogged down in detail. Start by making shape, maybe that's a little bit narrower. So, I select this circle, so I can grab these points and maybe move it down. I need to work on the little flap I guess, sort of an opening, let's just grab the shape. I like this extending down, maybe a little bit further than it is here, just so you've got that nice facial break, I'm just going to stick with that. Let's try doing it exactly half way down. Yeah, I like that. So, I suppose next we need some of these straps. So, I'll move this out to the edge and then nudge it back just so I can get things lined up perfectly on both sides really quickly, pop-in, see how this works, add some zips. I'm not trying to copy this exactly, it's just for reference, if I make a couple of changes here and there. It's separated a little bit because we are not trying to copy images, we're trying to make our own icons here. So, let's try. I actually prefer that I think. It would be easy if we could work this buckle into the icon somehow, but it's just going to be really difficult to get the detail of that sort of opening and closing method, or mechanism, in such a small space. I'm just going to try something different. So, imagine if these are straps that come over the back, so your sleeping bag would fit through there or something. So, I think the last thing we should do, maybe let's just give us a little front pouch. Yeah, I'm happy with that, I think that's a good place to stop. But, I could spend some more time working on these ruffs but I really want to try and get through this as fast as possible. Yes, I'm going to put a fork in that now and then I suppose the next step is going to be starting the iterations. 10. Iteration: Tent: So, the next step is going to be iterating each of these icons down a little bit, just to see what maybe some other ideas come to us while we work. I've always liked iterates at least two times per icon, just because the first idea that comes to mind might be a good one, but you never know till actually just spend a bit of time going down a path and trying on a couple of things. So, what I'm going to do basically is just unlock everything. I'm just going to copy this down again. Let's just relock all of this, oops. So, I tend to work downwards, just then because then I can scan back through. It's almost like a path. So that I can see what I started with and then see what I ended up with. I just find it quite helpful. So, I'm just going to start with the tent if I can actually select this thing. So, as I said early on, I'd like to try the idea of putting in a flap over here just give the idea that this flap has been pulled away. So, that's going to be really easy to do, and nice and quick. I guess it looks okay, but at this flap looks a little bit awkward. So, I'm just going to can connect this back up, drop it back down. Let's try something a little bit different. So, maybe, instead of having both sides open, I suppose we could marry that flap over there as well. I was thinking about having more, just the one side open but have a much bigger flap because I think that might be a little hard to actually read at smaller sizes. Let me go ahead and put in something a lot bigger. So, just for shortcuts sake, I can't cut out the shape and make sure we don't have this line that goes through the background, but just to save time, I'm just going to slap you fill in this, because that'll let us see how it's going to look. I like that. I suppose that can may be work. I'm going to show. It was interesting actually. I'm not sure which one I'm sold on most at the moment. So, I rescale this down a little bit. There we go. Yeah, I really like this one. I think this is probably the one I'm going to push forward with. 11. Iteration: Lantern: So, we're going to spend a bit of time on our lantern now. When I was looking back at this, I think, I really like the shape. But I think, it might actually be too narrow. So, I'm going to spend a few minutes basically actually just almost completely remaking it. Just because I think if it was a bit wider, it would look probably better. So, there's going to be a very small change, just the sort of the narrowness of it kind of bugs me a little bit. Yeah. Now, already I'm preferring to sort of look at this one. Just grab this lid. That centered up, just stick it to the top. Yeah, now I much prefer that. It seems to sort of sit better. Yeah. Size two, another one. I actually really like that. I think, I might replace because the change between these two really is, I think, big enough to warrant having two versions. I think, we choose one and basically kill the other one. Just the change between say this one and this one is big enough to warrant two versions. So, I'm going to kill that and move these two up so that it just frees up an extra sort of path for us to play around with. So, maybe what we could do with this one is, make it an electric one like we've got in the reference picture. It won't be exactly the same, but I think, we could work and this is one of those sort of long-life bulbs you get, the weird shaped ones. Maybe something even sort of simple as that to work. 12. Iteration: Backpack: I will spend some time on a backpack now. Not too fond of those straps on the front if I'm honest. So, let's try something else. Try maybe a slightly different sort of opening because that's a little bit square. Everything is I think a bit too square. So, let's just try some different shapes. Yeah, I already prefer that. I thought about just trying a slightly different closing or closure, I guess, for the bag because these straps are maybe a bit ambiguous. Maybe sort of a buckle or something could work nicely here. Maybe something like that. Let's try something else. I think maybe what could be missing from these backpacks is a sleeping bag of some sort. Let's try making a sleeping bag. I was trying to think about a decent place we can put this. Maybe if we made this bag. Looks pretty cool, I like that. Space is out a bit. Just to kind of maybe emulate snoops, sort of creases or something in the sleeping bag. Something like that maybe. Not sure about this flap, so maybe something like that. What if, no, I don't think that. Really not so sure about this one, so I'm going to just try something a little different. There we go, yeah. I think that's going to be our keeper. Just give this a buckle. I'm actually quite happy with that. It's simple, but it's nice. Yeah, I think that's one more keep. 13. Presentation: Roughs: So, now that we've got our iterations done, I think let's just take a few minutes and make a really quick presentation. I'm just going to use 800 by 600 pixels so sort of triple size. Basically, just dump our icons in there. They're not going to be quote-unquote pixel perfect because we have made them in a vector program. But this is more than anything just to sort of share with the class what you've been working on, so they can give you feedback and then I'll pop in as much as I can to give people feedback as well. So, fixing up some of these colors. So, I think I'd like to present these on a colored background, just to kind of make them look a little bit nicer. Let me try a slightly different color just to go with the background nicely. Wow, yeah, that actually works. I'm just going to quickly go ahead and add this blue in, and yeah and there we go, so I think what we're going to do in the next section is basically choose maybe, one icon from each line as you will, so I think I'm probably going to take this one, and probably that one and I think this backpack and we're actually going to remake them in Photoshop. Now, that sounds really counterintuitive, but remaking them in Photoshop means that we're going to set up a really good standards for the rest of icons, so we're going to establish a uniform line weight, we're going establish sizing patterns, so spacing between the inside of the straps here should be the same as maybe the spacings there and the spacings there. basically, we're just setting ourselves up so that our icon pack is really uniform and you can see that there's really strong standards that run through them. This will just make the pack look way better than if they were visually inconsistencies. So, yeah, I think if you guys throw together really quick presentation as well, just share it with the rest of the class. So to save out your icons, you just go file export. I'm just going to save it on the desktop, and call it 3x3-grid, you can choose 72 PPI but I'm just going ahead and choose 300, just so we've got a really nice high-quality. If we go onto our desktop now and look there are icons. As I said, encourage people to leave feedback on your work. I'm going to be popping in as much as possible to leave feedback as well. So, I'm looking forward to seeing what you guys have got and we'll pick this back up a little bit later. 14. Photoshop Basics: Icon Workflow: All right. Welcome back guys. Today, we're going to be working mostly in Photoshop as I said at the end of the last video. We've pretty much finished with illustrator for now. The concepting is done. So, now we're going to move these icons into Photoshop, remake them to setup our standards for the rest of our packs, the things like our line rates, our spacing, measurements that kind of thing. We might pop into illustrator a little bit just to use some of its more advanced pattern techniques but I think most of what we're going to be doing is in Photoshop. As I explained at the end of the last video, the reason we're going to be making these in Photoshop again is we are delivering these icons to be used on screen. So, we need to make sure that they are pixel perfect and they look really really good at the size with delivering them. You could do this in illustrator but I prefer to do it in Photoshop. So, that's what we're going to do from here on forward. 15. Photoshop Basics: Functions : Okay. So, just like I did with Illustrator, I think I'll sort of spend a couple of minutes going over some of the basic tools we're going to use in this class. So, I'm just going to make a blank canvas. I think force of habit more than anything makes me always also put in center lines, just so I know where the dead center of my canvas is. We're going to be using paths and shape layers for our icons in this class. So, that's in this little fly out here. So, we've got a rectangle, a rounded rectangle and our ellipse. I don't think we're going to use polygon line tool or custom shape tool at all, so I wouldn't worry too much about those. But never say never. I've got it set this little drop-down here to shape, so if I draw out a new shape, you'll see it creates a new layer for it. If you have this set to path, it'll just draw the shapes unfilled in the same layer which is a little bit annoying. It's kind of hard to work with them that way, so I always just make sure that that's set to shape. Photoshop doesn't really have pathfinder. It's got path operations, which is similar enough, but I think I need to just go over them just in case because the interaction is slightly different. So I've got these two layers now. So what we would have done in Illustrator is basically select both and try and do our path operations. Now, weird things will happen when we try that because Photoshop basically requires the shapes to be in a single layer. So what we'll do is we're going to cut the contents of this layer out. So, make sure in your selection fly out here that you have the path selection tool enabled. Grab that path and cut it out. Now, the canvas is flooded with that fill color because that shape was actually a clipping mask that Photoshop makes. So, when it doesn't have that clipping mask anymore, it'll just flood your canvas with the fill color. So, we can just go ahead and delete that. It's not a problem. If we paste a shape now back into this layer, you'll see it will have inherited the layer's fill color. That's really not a problem as well. Using the path selection tool here, so the top one, we can still actually move these shapes around. So if you want to do some fine tuning before we do our path operation, that's fine. So, now that these are both in the same layer, we can actually start using our path operations. So we've got subtract, intersect and exclude. I'm going to use subtract because let's pretend I want to make an L shape. Now, let's say I'm not entirely happy with this. I can actually still edit this shape, which is pretty cool. So you can make last-minute adjustments before you basically flatten this down into a new shape. So, when you're happy with how it looks, you just basically select merge shape components up here, and that will draw a new shape for you. So, you see we've got our L shape now all nice and done. We might be using the pen tool a little bit. That's probably more than anything going to be for connecting up anchors. So I deleted it all on there and I'm drawing out a new shape. But I think the vast majority of what we're going to be doing is based around additive and subtractive drawing using our shapes here. There are some quicker ways to do the additive and subtractive stuff using keyboard shortcuts. So, if we have our layers selected and I select a ellipsis, if I want to cut up from the shape, I push alt first and then draw, and it will cut out for me. I'm holding shift there to constrain the proportions. If you don't hold shift, then, basically, what you will get is just a sort of free shape. So I can squish it and that kind of thing. Whereas shift will make sure that it's a perfect ellipses. If I want to add to the shape, so let's say grab the rectangle tool, you're going to hold shift before you start drawing. If you keep holding shift then it will constrain as well. So, I think that's a bit weird on their part, design-wise. So shift adds and alt takes away, basically. You'll see that we've got a bunch of paths now making up the shapes. So, same thing again. Just go to merge shape components when you're happy and we have this abomination here. So, I think we've got everything covered, so let's go ahead and make some shapes now. 16. Remaking: Tent: Okay. So, we're going to set up our working canvas. I'm just going to grab the grid that we made at the end of last class. Now, we're going to be making the icons at 64 by 64 pixels, or at least that's the size I'm going to make them to. I always make them within a slightly larger canvas just so you know, I've got some some breathing room around the icons themselves. I think it's really important to make the icons at the size that you're actually going to deliver them at. It might be tempting to say, we're going to double the size, but I think that encourages you to maybe sneak in detail that might look cool at the largest size, but when the when you actually have to scale down the icon, it's just going to read really badly. So, I'm a big fan of guides, I use guides overkill probably. So, basically I've got the center of our camera is marked off here, and then I've got our, this is our bounding box. If you remember that I talked about that in the illustrator class. So, I'm going to make sure that every icon that I make sits within the square perfectly here. So, the first thing we're going to make following on from the other classes I think is this tent. If I remember correctly it was this tent, this lantern, and this backpack, that I want to remake. If it wasn't this backpack, then it is now because just looking at it I actually really like it. So, we'll start with the tent, which is probably actually going to be the most challenging. It might not look it, but Photoshop is weird with triangles. What we could do is draw out a shape like that using the pen tool, but we actually want a proper equilateral triangle for this. So, I'm just going to grab the colors off this camera quick, just so everything is uniform. So, we can make a triangle using the polygon tool, if you set the size to three. Photoshop draws these out in pretty gamy way, I don't really like it, but we've got to make it work. So, if you hold Shift, you'll see you get weird snapping origins. So, I'm just going to kind of draw it out until it snaps with the top there. I can't see that so I need to just give it a better fill. So, I guess that's okay. I'm just gonna make sure that all of our little anchors are snapped into their corners neatly here. We need to be really precise with icons in Photoshop, we want things to snap to grids perfectly here. Now, obviously this is no longer a perfect equilateral triangle because I've been nudging, but it's still close enough. So, I'm just going to duplicate the shape. What you can do is if you have your layer selected, you can just Command J, and you'll see it will duplicate it. Let's give it a different fill. Now, in slightly, I'm running version CC 2014 in Photoshop. In the older versions before that basically, if you had two shapes that were the same overlapping each other, and you use a direct selection tool to drag out, you would select everything that was in this maki area. They actually finally fixed that in CC 14, because that was incredibly annoying to work with. If you have a slightly older version of Photoshop, then what you can do is just make sure the layer you want to work with is selected, and you can, using this drop down, hit Select it. That will isolate this layer, which means that you have no interference from any of the other layers. So, that can be quite useful, but as I say, in CC 14 that's no longer an issue. So, I'm just going to go ahead, and start moving these around. I'm trying to get a uniform outline weight for this triangle. As I said, Photoshop is a bit finicky with triangles, but we will make it work. So, that looks good. I'm just going to go ahead and save this quickly. So, what we want to do now is just get the sticks popping out at the top. Looking back on this, I think I actually want to put a third stick, so, that'll give it a bit of depth because if this is going three times around the circle, we're going to need a third one out here. So, to do that, I'm just going to copy this. Copy that. Make sure I've got the Direct Selection tool enabled, and I'm just going to move this up to a point where it snaps to the top here. Don't need any of those lines. Close this shape up real quick. To see what I did there, if you select two layers, and then I have Direct or Part Selection enabled, you can actually see how the two parts interact with each other. So, that's lined up pretty well, I'm happy with that. So, I'm just going to copy that, flip it, move it over. Let's have a look. Another shortcut if you have a bunch of layers selected, you can basically just Command E, that will flap them all into one, and then we'll just go in Merge Shape. So, you see that's pretty much exactly what we've been looking for. Obviously, the sticks don't go outside of our shapes. So, I'm just going to subtract that out real quick. With Photoshop, from past experience I've learned it's important to save often. So, just make it a habit every time you do something, just save it, because I've had so many Photoshop crashes where I've lost hours worth of work just because it can be a little unstable at times. It's gotten much better though to be fair to them, but still I just mash save as often as you can. So, we need to do our little flap next. So, somewhat arbitrarily I've just gone with two pixel line weight for these icons. That's just, a line weights are really like working in, you can make yours as thick or thin as you like. So, to get a really nice 45 degree angle here, you can just join up these. So, if you see if I join up these shapes, that could be fine. I could probably live with that, but what I'm actually going to do is something I've been doing quite a lot recently when I want to get really nice 45-degree angles, and that's just draw out two little ellipses. So, if I make this radial, you'll see what I'm doing. So, I've got a red one there, and then I've got a red one there. What I want to do then is rotate them by 45 degrees. So, that's Command T, and if I hold Shift, it will constrain them to 15 degree angles. So, now if I join these up, we get this perfect line that goes right through the corner here, rather than being either below or out to the side of the corner. It's just a little thing, but I think it looks really, really, good for angles. So, the last thing is going to be just flipping out the shape behind our tent. That two color thing is actually cool. I'm sorry, this is a bit on the side, but I'm actually just going to save these two colors. I haven't figured out quite yet how I'm going to present my icons yet, but let me just save those off for now, just in case. While we're working, I'm going to keep things mono-colored, just I find that easiest. Yeah, so there we have it, there's our tent. Pretty simple. I think, next I'm going to start on the lantern, and then follow it up with the backpack before we move on with our other icons. 17. Remaking: Lantern: So, for our lantern, I just renamed our layer to Tent. I think obviously just trying to keep their layers name something so relevant not just layer one, layer two, layer three, just makes it much easier for you to actually work with. I've been handed some Photoshopped documents in the past that have 100 of layers all with completely random names which is just an absolute nightmare to work from. So, on the assumption that we're going to hand them over to someone let's just be kind and give them nice layer names. So, with these icons, we've actually got a slightly round corner here but I think what I might do for style sort of reasons because I gave the top list tent pole here, a flat edge, I think I'm probably just going to square those off rather than go around. So again, it's just drawing shapes and using subtractive methods or additive methods kind of furnishing those shapes. Now, I'm sure you can see on your screen there are all these little blocks. I'm sorry about that but that's just how Photoshop renders the canvas because it harass the program. If that's annoying or sort of distracting to look at, I apologize and not actually sure that can be disabled. So, you just have to bear with me on that one. So, you'll see I flicked in and out of 100 percent zoom in full zoom quite a lot. The reason obviously is that I just want to make sure that if we're viewing this at a 100 percent that these icons are readable. So, it's just to have it as well. I tend to check a lot as I'm drawing because you don't want to spend hours zoomed in a sort of thousands of percenters or l percent's only to zoom up and see that your icon doesn't work. So, I want to sent to the shape now within our gas tank here so the laziest way of doing that is just to make another shape, select the two and then align and delete that shape. So now, we know that within the inside here this is perfectly aligned. There is our little gas tank, that's done so now we can start on our lantern. So now, I like reusing sizes, and shapes, and icons, I think it just gives them a nice sense of cohesion. So, I'm actually just going to use this exact same size full. The base of our wick for the component top of the lantern, just thing I think have a nice relationship with each other. I'm not quite ready to make the hook just yet because we haven't finished the top but I'll just draw out a placeholder hook for now, something like that. Even though I'm going to merge these layers, I'm still just going to name them. So, as I'm flicking up and down I can see what they're doing. I think we need to just extend this out a little bit. I'm just going to draw these down into the shape of our glass just so then we emerge. So if you look now, these are overlapping really nicely so that means that they'll just merge really cleanly. So yeah, that's good. I've made the, you see here the wick bulb isn't as prominent, but I've given it just a bit more height just like something interesting to look at. So, make a little hat. Next, I don't know what it's actually called. I'll call it the hat, because why not. So, I'm actually going to hand draw a shape now inside here that we can tweak. This is going to be the cut out shape. Yeah, that's good. Let me move this out just a little bit further. That's cool. I'm happy with that. So, make sure I merge all this. So now, we just quickly throw in a wick. Now, in our original lantern, we've put a little wick to there. I'm not sure it's strictly necessary. I mean it is actually a nice little bit of interest. Let's have a look before you decide not to include it. Let's see how it actually looks first. Yeah, that actually works quite nicely. So, disregard what I was about to say, I was actually going to say I think we can leave it out but kind of like it. So, there is our lantern, so there we go. That's a Tent sort of lantern on already. The nice bit about having actually concept of this before is the remaking part is really, really quick. So, we can just start shooting through this onto the backpack. 18. Remaking: Backpack: Next up, we're going to make our backpack. Same thing again, our backpacks have rounded edges. I'm going to kick those out in favor of square edges, for no particular reason. Again, we just add some redundant points there from when we join the shapes. I'm just going to quickly get rid of those. Obviously, a nice thing about this is you see here like I drew these shapes a little bit off. It doesn't have to be perfect because we can just nudge everything around. Okay. Sorry. I just want to check if these are the same. Are they same two? No. Like that. In our concept one here, I was thinking, we've got the straps off the top of the backpack, but I want to add in something that hints of shoulder straps. I'm going to move most of this down a little bit. You see now, I'm just giving us a bit more space to throw the straps in. Something I do quite often, sorry, I just skipped over there is, if I want to make quite a drastic change to a shape that I've spent a little bit of time working on, I'll just make a duplicate of it, so Command+J, hide out the first one. That way, if the idea I'm trying is a catastrophe, I don't have to go back and remake that shape. It's just being a little bit smart with how we use our time. What I'm doing here is, I'm using the spacing that we've got here as a reference file for our straps or for our things that are going to hold our sleeping bag in place. Reusing I think spacing and icons, it's just a nice way again to give a mood of cohesion, make the set look really good together if there are common elements. I'm just quickly scanning for any points that we've got that we'd need to be there. Everything looks good. Sorry, my throat's a bit scratchy. It's looking cute. I like that. Okay, so for these straps, what if we just did something like that? No, I like it being a bit more squared. I tend to do a lot of nudging with this kind of stuff. Basically, what I'm trying to see is if a happy accident comes out of moving stuff around randomly, which actually happens quite a lot. Yeah, there we go. I like that. I'm happy with that. You see, our straps here, so this is a typical white gap, and here we've got four, and the spacing there is four. Spacing there is two. Spacing there is two. It's little things like that I think that probably are hard to even see, but I think it just makes everything look much stronger if there's dimensions we're reusing commonly. 19. Expanding: Compass: So, I think next up we'll make maybe a compass, because just looking at the range of shapes. We've got something square, something triangular, something narrow. So, I think something round might be a nice complement to the shapes we've got appearing at the moment. So, just like we have with the backpack I'm actually going to space these point mark as two pixels in from the edge. Just again to carryover that uniformity that we're looking for. Excellent. I lost my color there, it seems like. I don't mind that, but I think maybe what we could do is give it just something a little extra. Just going to size this down just a little bit. I think proportion wise it probably works just a little bit better. So, obviously not a problem but this isn't filling up the whole heights of our shape. So, we need to do something about that. So, what I'm thinking about here is maybe drawing some little eyelet or something. A little eyelet where some rope has been passed through or something. So, this is a little group to carry the compass. I think that might look quite nicely. That worked out quit nicely. See these. We've got a two pixel gap there, two pixel gap there. So, things are looking pretty good for us uniform-wise which is always good. So, what I'm doing here is basically, I'm going to make a bend for the ropes like a corner. This thing will behave itself. So, if we join all this up. I think maybe can we just do one more here as well. There we go. So, this could maybe be like a little safety pin for your clothes, or it could just be a little bit of rope that's curled up. I think it's abstract enough that it doesn't really matter, but it just gives a nice bit of just something else outside of the compass shape. So, I'm happy with that. 20. Expanding: Sleeping Bag: So, I think next up, I'm going to take a crack at this Sleeping Bag. I think given me the space that we're working with, I think having a rolled up one might not work out so well. So, I'm actually going to make one that's kind of been rolled out already. For this one, I'm actually going to use a rounded rectangle so I know I've been keeping away from it with the other ones. But I think this will be a nice way to give our sleeping bag that quilted feel that we're going for. So, if you look at the shape here, we get these just this nice little indents to kind of show that this is maybe a soft object. So, what I did there is we were basically two pixels over. So, this just didn't quite fit, if all these are exactly the same height. So, I resolved to two-pixel over sheets into these two middle sections. Which means that the two outer sections are going to be one pixel higher than that. If we zoom right up, no one's even going to notice. So, I'm really not too worried about that. I don't think it's an issue. Let me do this little pillow, I guess. So, what I want to do now is, is it was just to have a flap like you've got a flap on our tents. I think, adding one in here would be a nice way to reinforce that all these icons belong together, that this is a pack that's been designed together because the little inconsistencies are creeping here and there, and it could really just ruin that a little bit. So, I think if we can reuse elements as much as possible, even across different icons within the same pack that's going to look really really good. It just makes it feel much stronger. So, again, I'm just going to do that. Ellipse's a trick of mine to get a really nice reflagged degree angle here. So, I just need a clip. Just so we get that sense that there is an overlap in the fabric. Again, here we've got a two-pixel gap, there's a two-pixel gap, we've got a two-pixel gap around our pillow. As I keep saying, we're reusing elements throughout all of our icons, so everything is uniform. Just makes a pack really really strong. Yeah, I'm happy with that. Perhaps, the pillow could be rounded, but at the same time I like that it's just square. I'm a big fan of radio simple icons. Don't sleep in your icons. Sleeping bag. I like things to be as simple as possible. I think someone can look at this in the context of knowing that it's got to do with camping, and I think it will be fairly clear that this is a sleeping bag. 21. Expanding: Coffee Press: So, I think next what I want to make is maybe a coffee pot and some coffee or like a thermos or a plunger or something like that and some coffee or mug rather. I'm going to start off the mug pretty quick because that's super simple. This lines can be some steam or something like that, cool. Okay, so coffee, and maybe a plunger could be quite cool, let's see if I can figure that out, just going to key in some unnecessary points before I forget, there we go, okay so first of all, put a plunger. So make sure that this is an even number wide so we can get something dead in the center, that's centered, maybe we have just sort of pushed all the way down, because I don't really want to try to squeeze liquid in here I think I might, detail wise be overboard. But we'll see how we go. What we do need is a spout of some sort, maybe I can do something like that, I'm not sure about that, it's looking a little weird, let me just redraw this quick. Excuse me. Still looks strange again, and this might be the one, nice. I'm happy with that. I kind of want to just trim down the size of this sort of top lid thing, just a little bit I'm thinking it might be too big. I kind of like that, maybe what we can do, press this down just get a little stalk in there, there we go. That is good to say it is done, so again I'm just going to quickly remove redundant points, that's good, let's make sure that this is centered nicely so it's three, three, four in the middle. So, I just think having them touch the sides like that just kind of makes it look a bit strange, right? To me that's immediately clear what that is. So, I'm going to call that one done, so that's a plunger. Yes, now I'm happy with that, I like it. 22. Presentation: In-Progress Set: All right. So, I think we're about half way done actually. I'm aiming to make 12 icons for this class. You guys are obviously welcomed to make as many as you'd like, but I'm going to shoot for 12. So, just as a quick recap, the top three icons are the ones that came out of illustrates that we remade in Photoshop. We did this basically just to set ourselves standards moving forward for the rest of icons. So, that covers things like our line weights, interior spacing measurements, that kind of thing. Once that had been done, I pushed through and made three more fore lists, that's the compass, the sleeping bag and the coffee plunger. I think you can see that these all definitely belong to sets. So, taking that little bit of extra time in the beginning of Photoshop just sets up those base things really really helps. It makes a set look really nice and cohesive. So, what I'd like you guys to do is make an 800 by 600 canvass like I've done here. I've spend a few minutes just presenting your icons laying them out. What could be quite close to do similar to what I've done your original three in the top row and the next three in the bottom row. Once you've done that, you can upload it to the class, take some time to leave feedback on other student's work. I'm going to be dropping in as much as possible to leave feedback as well. So, yes. I'm really looking forward to seeing what you guys been working on, and I suppose I'll see you in the next step. 23. Final Touches: Details: Okay. So, before I show you the icons that I've been working on since we left off, I just quickly wanted to touch on a few things. I've gone back and had a look at some of the ones that I did in the class and what I'm really happy with them I think a couple of changes just needed to be made to just make them a little bit better. So, I'll just go over those with you now quickly. The first one is the tent. If you haven't look on the side here, I've just added this seem on the inside of the flap. I've done this just to give the idea that there's two sides to this piece of fabric. I think just gives it just a little bit of extra depth which I think it looks really, really good. Next we've got the lantern, I've added, as you can see, they're just a flame, inside here which again, I think just adds a bit more punch to the icon. Everything is still really, really simple, but it just shows in case there's any doubt exactly what this is. Next, we've got the backpack. I think the buckler on the original, it was just a little bit flimsy. It didn't look very strong. So, I beef that up a bit, just made it a bit wider and then put this strap that runs down the front of the bag. The idea behind this is, you know, this is a bit more secure and it looks like maybe this is a bit more of a rugged backpack. Lastly, we've got the sleeping bag. Again, just like we did with the tent some kind of copying the flap idea. So, because I put that seem on the tent I want to put it on the sleeping bag as well, just to keep things cohesive. Then you can see on the pillow here, I've just added these two little curve lines on the inside just to give this pillow a bit of depth, make it look like it's soft and fluffy. 24. Final Touches: Path Cleanup: So, what we're going to do now is just spend, I think, a couple of minutes just going through all of our icons to make sure that we don't have any stray points or unnecessary points in there. It's not super important, but it's just I like to keep my icons really a simple and clean as possible. So, you see here, we've got this little anchor here that we just don't need. So, we can go ahead and take that out. Same over here. Basically, if you just select the icon, you'll see all the anchor points will show up and then we can basically just use the delete anchor point tool here just to go through and just remove them, because they don't actually bring anything to the shapes. So, there's no point of them being there. So, we got on there. This means there is a pretty one in the same place over here. Yeah. That's fine. Yeah, that's fine. I guess it is from when we've joined this shape. You see this one's okay because this is actually sitting on a curve. So, if we remove that, it's going to alter the shape. So, we'll leave that one in. That's fine. So, as you can see, these are the new icons that I've been working on. So, you'll see those properly in the presentation shot. Originally, I did say I was going to do 12 but I got a bit carried away and I think I've ended up with 15 or so. But as I said, I'll show you those when we do the presentation. There's a bunch of them over here. I think I made this one when I was watching the Wimbledon finals and I might've missed quite a lot. That's fine. That's fine. That's fine. Yeah. So, that's done there we're good now. So, I think let's move on to the presentation. 25. Conclusion: Final Set: Okay. So, here's our final presentation. Some of you might recognize a slight nod to Wes Anderson here. He's one of my favorite directors, and Moonrise Kingdom is probably my favorite film. So I thought these icons would suit really nicely within a sort of similar theme. So, you can see now the colors and the fonts, so definitely a nod to him. As you can see, we've about 15 icons now. This has been a ton of fun to work on, and I probably could have made way more icons, but I have got to draw the line somewhere. I'd like you guys to do a summer presentation, so this again, making a 800 by 600 canvas layout to your icons. Give them a title, give them a footnote, a lot of copyright per se. We'll just say these icons are made by you. Feel free to put it up on Jibble. Definitely upload it to the Skillshare class because I'm going to be checking back as much as I can to see what you guys have been making, and even comments in that kind of stuff. I encourage you to do the same for the rest of the students. So, yeah, that's the end of this class. I hope you've had a good time and you've learned maybe something. I have really enjoyed teaching you guys, and hope you'll be back for another one fairly soon. So, yeah, thanks for stopping by. Cheers. 26. Explore Design on Skillshare: way.