The icons for home, print, and the magnifying glass for search are such instances. There are a few icons that enjoy mostly universal recognition from users. They support the notion of a product family or suite when the same icons and style are used in several places.ĭespite these potential advantages, icons often cause usability problems when they are designed without consideration for their many potential downsides.Icons can be visually pleasing and enhance the aesthetic appeal of a design.
There is no need to translate icons for international users, provided that the icons are mindful of cultural differences (for example, mailboxes look very different in various countries whereas envelopes look the same, therefore an envelope is a more international icon for an email program than a mailbox).Icons are fast to recognize at a glance (if well designed) - particularly true for standard icons that people have seen and used before.Yet they save space: icons can be compact enough to allow toolbars, palettes, and so on to display many icons in a relatively small space.Icons make good targets: they are typically sized large enough to be easily touched in a finger-operated UI, but also work well with a mouse cursor (in contrast to words, which can suffer from read–tap asymmetry on touch screens).The benefits of icons in a graphical user interface (GUI) include: If that object, action, or idea is not immediately clear to users, the icon is reduced to mere eye candy - confusing, frustrating, eye candy - and to visual noise that hinders people from completing a task. Icons are, by definition, a visual representation of an object, action, or idea. Image Provided By The Alpern Collection, Rare Book & Manuscript Library, Columbia University.In addition to conveying brand personality through color and style, icons must first and foremost communicate meaning in a graphical user interface. One rule also held fast for him when he wore his fur coats: No sitting down in them!” Photo: Bruce Chernin.
Likewise, his coats were constructed with linings made with roomy, inside breast pockets where he could keep a paperback book or some such for reading matter, say, at ballet intermissions. “He would specify no buttons or closings of any kind, but rather enough ‘double-breasted’ overlap so he could hold his coats closed when he needed to as he moved about the frigid streets of NYC. “The lynx coat in this photo follows the lines of an oversized peacoat and was specified, and more or less designed at his favorite Seventh Avenue furriers (I recall a firm run by brothers one of whom was Harold), where he’d go and choose the skins he wanted before describing how he’d like his coats fashioned,” recalls Gorey’s friend, and Wall Street Journal dance critic Robert Greskovic. Edward Gorey at the New York State Theater.
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