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Everyday we're permanently interacting with icons, from the TV to the metro station and our mobile, icons are present everywhere as an important element that helps people interact with their surroundings without using any spoken or written language. Creating an icon is a whole science that hundreds study, from semiotics to graphic languages, understanding how to represent something and make it universally understandable is a complete learning process.
Today we want to share our experience here at Iconshock and bring you a complete handbook that will show you all the steps that creating an icon leads, from listening to the client's needs to defining the fittest style, this article will show you how to begin and conclude an icon design process successfully.
Unless you're going to create an icon for personal reasons (enlarging your portfolio, experiment a new graphic style, offer a giveaway), you will always have a client with specific tastes and needs that you need to please. It's important to understand that even if you have the largest library of icons and cutting edge skills, the client only knows that he wants a 'compelling' icon to place on his website, so it's up to you to make him understand what an icon design process carries and also interpret the client as accurate as possible to provide excellent results in short times.
But how can you interpret what your client wants?, for start you can make him some key questions that will help you schedule the project and define the best way to approach the job:
These five initial questions will help you a lot to define the look and feel that the icon is going to have, so now you only have to worry about the technical part after figuring out how the icon is going to look like, it's very important to pass this first step of the process carefully to avoid later issues. If you're going to make a complete icon set, you can send a small requirements format to the client where he can give you some insights on how he want the icons to look like.
Once you know what the client wants exactly, you can proceed with the design process, we consider important to look at other people's work to see how they've solved similar queries and what's the current trend in that area. It's important to keep this as references-only and never fall into plagiarism.
It could be useful to share this stage with the client, as he will probably find new ideas in the process and the final results will be even better (this is only for reference, remember that you're selling the best icon design service that the client has ever had).
You can take a look at Iconshock – Icon Sets to find tons of great references
By this point the client has probably approved the project and you can start working on the icons. Now it's very important to establish the style that the icons are going to have and in order to do this, this means selecting the color palette, perspective, complexity level and more. Defining style means that you must establish the following aspects:
There are many different ways for representing the same object, some more complex than others but at the end they all represent the same thing. Once you start working your client, you must define the fittest style for the project, which does not mean necessarily using the most realistic style available.
To put an example, if you look into Iconshock you will find that for a single object we have several styles to represent it, ranging from the realistic Super Vista and Real Vista to the cleanest and simpler styles of Clean and Office. If your client is for example a web design supplier, the best style for his site will be something realistic that catches people instantly, but if the client wants the icons for his new blog, a simple and clean style works wonderfully.
Even if you have dozens of styles to work with, the best thing to do is make a previous filter by yourself before reaching the client, that way he will be able to make the decision with ease and you will also be able to aid him with the selection.
Although this is a trend that is starting to disappear along with the whole web 2.0 era, glossy icons are still present in our surroundings and that's we decided to talk about them.
Making a glossy icons is easier than it seems, you just need to dominate its key features. First of all, they all have a characteristic brilliant halo that is the result of adding an opacity shape on top the icon, just like the following example:
First you create a basic layout and fill it with vivid gradients, then you start adding highlights on the sides to add more brilliance.
Then you insert what is probably the most iconic feature of glossy icons, a transversal section that emulates a strong highlight that emulates a glass appearance.
Glossy icons play a lot with transparencies and overlapping shapes, you just need to add many highlights and keep the color palette highly contrasted to generate the glossy effect.
Glossy icons make a lot of use of lights and shadows to generate contrast, on this symbol you can notice that through the use of several lights and shadows, a 3D vibe is generated.
One final aspect that you should incorporate to create a truly glossy icons is insert light reflections and shadows using opacity masks, this detail will complete the creation of a glossy look.
As we said before, the glossy trend is starting to disappear, but still you can find some great examples in several websites, such as the ones we like to show you next.
As you can see, these icons reunite most of the features that you find in the glossy style.
As you can see on the dartboard icon, there are some subtle highlights and shadows on it, same thing happens with the earth globe icon.
The color palette icon is the clearest example of glossiness on this site with its little highlights, subtle shadows and vivid gradients.
These social icons are a clear example of the glossy look, as you can appreciate the brilliant halo on top of them and the vivid gradients.
On this site you can find the glossy look in both the icons and the 'Buy Now' button, the highlights and shadows are present in all the designs.
These icons are getting very popular nowadays, specially in mobile applications and web design. This style features simplistic shapes, basic details and reduced color palettes, usually displaying a matte palette and most important, focusing in abstraction.
There's no real technique on how to create clean icons like there is with glossy, though there are some points that you need to consider if you want to achieve this style. Clean icons have a minimum amount of details and yet they manage to represent what they're looking for, gradients must be smoother than in the glossy style as well as shadows. You can realize when a clean icon has been properly made if it does look good in most websites.
To give you a hint on how clean / simple icons look like, let's take a look at some websites that have implemented these elements on their interfaces.
This is a perfect example of clean style. By using white plus another color and very basic shapes, the designer has managed to communicate the message successfully.
As you can see on this icons, it's all about abstraction. You can interpret that the right icon is a transmission power even when it doesn't have lots of details and stuff.
This is as minimal as you can get in icon design, simple shapes, plain colors and effective abstractions.
Even a multitasking, highly complex device like an iPhone can be abstracted using pure basic shapes.
Social icons are very similar from one page to another, but still this site managed to reduce them to their minimal expression.
This tendency has been ruling lately in many spheres, realistic icons are elements that go beyond the basic iconography and generate highly complex and appealing designs that can be barely called icons instead of illustrations.
As you can see on the previous image, these icons defy the boundaries between what's real and what's not. Creating a realistic icon demands for you to have complete understanding of light properties, color control and minuteness for details.
To create a realistic icon, the ideal thing is to start from real life references, analyze how lights and shadows react on the object and how color is displayed under different environments.
Realistic icons are probably the most intricate designs on the field, often creating a single realistic icon takes the same time that several normal icons will take. Now let's take a glance at some of the best examples of realistic icons in web design.
This compass design is a remarkable expression of realism in icon design. Great light and shadows management, thoughtful color palette and just a very detailed development.
It's important to have a good control of perspective, as it is one of the most important aspects to create truly realistic icons.
Photoshop can be very helpful during the creation of realistic icons, as this website clearly shows.
A nice trick is to grab real life photographs and vectorize or digital paint them, that will give you a nice realistic effect.
You can combine realistic icons with photographs or real life elements to add even more realism to the design, as it can be seen on this example.
This style has been around for a while and every day is becoming more and more famous. Front perspective refers to those icons that have a 3D vibe but displayed as if the element was being watched from the front or an aerial perspective.
As you can see, this technique takes real life objects and displays them in a way that conserves their 3D look but at the same time are one-dimensional. The trick for making these icons is having a good reference and perspective notions, the rest is only technical skills.
To give you an idea of how front-facing perspective icons work, we have found a few websites that make use of this unique style of icon designing, let's see how they look before moving on to the next category of this article.
These are some of the beautiful front-facing icons we found while making our research, a well controlled color palette, little details and yet simple.
A nice appropriation of Twitter's icon that while displaying a realistic bird icon utilizes the front-facing perspective to show it one-dimensionally.
Another great example of front-facing perspective recreated in a beautiful icon design.
These two icons are a beautiful interpretation of front-facing perspective, the shadows' usage is remarkable.
On this site you can find some gorgeous front-facing icons with beautiful colors and subtle gradients.
Front-facing perspective can be harnessed for making icons that have naturally a plain perspective, e.g. sheet papers, clocks, etc.
Similar to the Realistic category but without strictly requiring a high detail level, 3D icons are characterized for a good use of perspective that represents objects as if they were part of the real life. You are not forced to create hyper realistic designs but just to emulate the perspective.
These icons are an excellent way of combining realism with fantasy, as you can create lovely textures and experiment with colors and textures while conserving a correct usage of perspective.
As we said before, the difference between 3D and realistic icons is that while realistic icons emulate real life objects in both perspective and details, 3D icons only emulate the perspective but without having to be extremely detailed on the process but instead developing crazier style, let's see some examples of this style.
This is a clear example of a 3D perspective than yet does not have the amount of details to be realistic, while still being a nice icon design.
On this site we find a great example of 3D style. While the chest has indeed a well done perspective, it has been beautifully garnished with colors and details.
Although these icons could be classified as realistic, the carefulness they have been made with, makes them worthy of getting featured on this section.
A lovely Chinese food icon that though utilizes plain colors only, it actually displays a well proportioned 3D perspective.
MediaTemple has some pretty cool 3D icons with great details and shadows / lights management.
This is one of the simplest styles in icon design, it uses only contour lines without fillings and is a very great solution for web design and mobile interfaces. These icons usually have monochromatic palettes and are often made using the pixel-perfect technique.
The premise for making outlined icons is not using fills at all, only contours and shapes must generate the icon and be capable of communicating the message. You can play with different line calibers in case you want to add depth to the design.
Now let's tale a look at some outlined icon examples from real websites around the world. We've chosen some of the best examples to help you get inspired on making nice outlined icons.
The portfolio of Oliver James Gosling features a nice couple of outlined lines on the contact section.
A beautiful set of outlined icons, you can notice the simplicity that they've been made with by using pure outlines and no fills at all.
Another lovely example of outlined icons, you can notice how with a few traces the designer has managed to represent the idea effectively.
Simple and clean, these outlined icons make a great job in communicating the message while keeping a sober design.
Another nice set of outlined icons, you might consider that they're actually using fillings but that's just playing with line's caliber.
Although the name may indicate that this is something very similar to the previous category, stroke icons are named like this because they have a strong line on their borders, just like when you add the 'Stroke' effect in Photoshop. This style is often used when you have mixed backgrounds and you don't want your icons to merge with the rest.
These strokes can consist in simple strong lines or be combined with other effects such as drop shadows or glows. The point is to make the icon stand out from the background.
To help you understand a little better how stroke icons work, let's take a peek at some examples of stroke icons that have been implemented in actual websites.
The Carbonmade website does not only employ strokes to make its icons to stand out but also generates a whole aesthetic that has become iconic of this site.
If you browse in Iconshock, you can find an entire collection of beautiful stroke icons that make use of a strong black line to stand out in front of different kinds of backgrounds.
Another nice set of strong icons, you can notice how the combination of strong white borders and shadow effects makes them stand out from the rest of the scene.
Black or white, either one of these choices work great when it comes to making an icon stand out.
Strong is specially useful when you small icons like these, adding a strong line on the border along with some shadows makes them stand out despite of being small.
No, it's not black and white. Monochrome icons make reference to those designs that whatever color they have, they will always look the same, which means that they have no textures or hues at all. Unlike outlined icons, monochrome icons can have fillings in their designs. These icons can be also considered as pictograms.
Simple and easy to read, these icons work specially well in mobile devices where you have to display several elements in small screens.
To give you a better approach to what monochrome icons look like, let's take a look at some of the nicest examples that can be found in some websites around the world.
This style also applies to social icons, as you can see on this example where they've been simplified to a one-channel version.
You can utilize subtle shading effects in monochrome icons as they will not affect the general idea of the design but instead will add some depth and richness.
The great thing about monochrome icons is that no matter where you place them, they will always look the same thanks to their simplicity.
Monochrome icons have the characteristic of being absolutely simple and display an excellent abstraction of complex elements by taking only their main features.
As you can see, even complex elements such as a digital camera can be abstracted by only taking its key features to transform them into monochrome icons.
One of the most popular styles of these days, handmade icons are all those designs that emulate or are actually created without any use of pixel-perfect of vector techniques. These icons usually have a sketch, oil or any manual technique appearance. Using these icons can give a lot of warmness thanks to the fact that they represent human hands behind them.
Although these icons give you more freedom than any other style, it's important to maintain a certain graphic level because a lame doodle cannot be considered as an actual handmade icon.
To give you a nice shot of inspiration, we have gathered a few examples of nice handmade icons used in web design, remember that as long as you conserve that manual texture that programs can hardly recreate, you can consider your icons as handmade, even if they're not.
Some Photoshop / Illustrator filters can help you emulate a nice sketch appearance to give your icons the handmade look.
Even if they're doodles, is very important that all your icons communicate effectively their meaning, otherwise they will be simple drawings.
You can take things even more far by making the whole site to look like a handmade creation, this site is a great example of lovely handmade icons plus a gorgeous search bar.
With the handmade technique you can even emulate famous artist styles. A while ago we developed this beautiful Picasso-like set of icons for our friends at Six Revisions.
Another great set of handmade icons, these beautiful designs have been made by Jonathan Patterson and emulate a lovely pen / ink texture.
Finally we have the pixel-perfect technique. this was the original technique for making icons back in the nineties and it still has a lot of people mastering the technique thanks to the boom of mobile devices where you need to create extremely sharp icons. The tool by excellence for making pixel-perfect icons is Adobe Photoshop, though Illustrator and Fireworks can work in a certain level.
As you can see, the pixel-perfect technique allows you to create some of the most beautiful icons with a sharpness level that makes them viewable even at some of the smallest screen resolutions.
Although many people prefer big, vectorized icons, there's still a selected niche that prefers pixel-perfect icons for their sites and applications. Our personal consideration is that both styles should be utilized to have a complete range of styles and sizes, now let's take a look at some of the best pixel-perfect examples that you can find on the internet.
Making pixel-perfect icons requires a lot of concentration and dedication, as every pixel is an important part of the design, a single pixel that you place wrong and the whole design will be messed up and therefore will also stop being pixel-perfect.
Pixel-perfect icons are specially useful when you want your icons to occupy the less amount of space possible while still looking good and being easy to read.
Another beautiful example of pixel-perfect design is Iconshock Social Icons, this beautiful set has been carefully made by our design team to bring you the highest quality level at all sizes.
These beautiful social icons have been carefully made pixel by pixel, thanks to that you can clearly see what they're despite of the fact of being extremely small.
And for the final example we have this amazing set of user icons exclusively by Iconshock, you can realize the amount of detail that has been put in every icon by our pixel art experts.
Although there are many ways of representing an icon's perspective, the two main styles that we often see are 3/4 and frontal. 3/4 icons are those elements whose perspective emulates real life objects and the angle between two of the axes goes usually around 120 degrees, this style works great when you want to represent complex objects from real life, such as vehicles, buildings, home appliances and others. It's not recommendable to utilize realistic perspective in mobile icons, as they will lose many details in the small mobile screens.
On the other hand we have frontal icons, this style is perfect for mobile devices and simple designs, this is also the most popular icon style due the fact that it can be implemented in different places with ease. Although using 3/4 icons lets you make a more realistic representation, frontal icons are easier to read and work almost everywhere.
A classic example of frontal perspective can be found in social icons, you don't have to create highly realistic elements to represent something like Facebook, you just need to keep it simple and make it easy to read by everyone.
Tip: If you're going to make both small and big versions of the same icon, you can use 3/4 for the larger version, while a frontal perspective will work great in tiny measures.
At this point we have defined if the icons is going to be in perspective or frontal style, we've also determined how we're going to work the lights and shadows, now it's time to think about color. Beginners often commit the error of adding color just to make an icon look 'pretty', this is a faux pas in icon design because colors must be actually used to fortify the icon's meaning.
There are different ways of working with color, though there are 3 main color styles that icon designers usually provide, and which is the usual package that we deliver to all the Iconshock clients, these color modes are hot, disabled and normal. The hot variation uses brighter colors and high saturation levels, this style was very popular during the heyday of the web 2.0, though the difference is that icons where excessively glossy during that era. Then we have disabled, which is just another way of saying gray scale, having a greyscale version of an icon is very useful for those cases when the app / website is going to be looked in black and white monitors, it's also helpful to remove all color distractions and concentrate on the form. Finally we have normal, which is simply the original version of the icon without any color changes.
There are some tips that can help you make a good use of chromatic palettes, some of them are:
If your strong is not color theory, we have found some very useful color tools on the web that can help you generate the perfect color palette for your icons:
After years of working on the design field, one of the most important lessons that we've learned is that no matter how many gadgets and tools we have, there's nothing better than the old pen and paper, even Harry Potter was first written in a napkin.
This stage is one of the most important phases when designing an icon, because you can experiment different styles, add or remove elements, discard ideas and finally come up with the first version of your design. Many designers make the mistake of jumping straight to Photoshop to try new filters and color combinations, leaving no room for the sketching process; usually when a designer skips the sketching phase, it will take him more time than it will to the person who spent a few minutes to draw down his ideas.
During the sketching phase you don't have to worry about lights, shadows or textures, because what really matters is finding the skeleton that will later become the icon, so don't worry about rough details and stuff. Another vantage of passing through the pen and paper phase is that your mind will not be influenced by other people's work, something that usually happens when you jump straight to the computer and image stocks.
Once you have the sketches, you can transfer them to the computer and show them later to the client. On this point you can utilize digital mockup/wireframing tools to create a more elaborated version of these sketches and show them to the client, we found a few mockup tools that you will probably find really helpful for drawing down your ideas.
Now that you know exactly how the icons are going to look, you can focus your efforts on the technical part, which is something that can only be mastered with patience and practice. Although we have established some key elements such as color, perspective and design style, we still need to determine something important, the size.
One of the main aspects that you need to clarify with your client from the beginning is the size, is he going to prefer small sizes, large or both?. Why is so important to know the sizes?, when the smaller size that the client needs is 128 x 128, you can calmly create all the versions in vector, but when things change and the client wants something as small as 16 x 16 pixels, then it's time to switch to Photoshop to create the small versions.
We're no longer on the era when everything was seeing in 800 x 600 monitors, now we have enormous resolutions beyond 1900 x 1200 but also tiny screens due the humongous success of smartphones, this means that now you need to make not only larger but also really small icons to fit the different screen resolutions. On case you purchase an icon from our collection, you will receive it in several sizes, ranging from 400 – 256 pixels to small versions that can go as low as 16 x 16 pixels.
Single vector icon resized
As you can see, this house icon has been shrunk from its original vector version, though the quality does not suffer severely, you can realize the fuzziness that appears as it gets reduced.
Vector icon with pixel-perfect versions for small sizes
On this second example, vector has been used only for large sizes, while the pixel perfect technique has been employed for 48 x 48 and below. You can realize the great sharpness of these icons, even at tiny sizes such as 16 x 16 pixels.
Illustrator is excellent for making grand design elements (icons included) thanks to its intuitiveness and easiness, but when you grab a 512 px vectorial icon and try to shrink it down to 32 x 32 pixels, the only thing you are going to get is a blurred snot. To prevent this from happening, you'll have to migrate to a bitmap-based program such as Photoshop and from there recreate the icon with just its basic components, so that's when you know the effectiveness of an icon design, if it can be simplified / shrunk and still look good, then the designer will have done a great job.
Concerning lights and shadows, it's important to know the site / application where the icons are going to be, because some sites make realistic icons look great, whilst others look better with simplistic elements. If you decide to utilize lights and shadows, you should use the same light source in all the icons, to prevent the site from looking odd.
When you're working for major companies such as Apple or Microsoft, they usually have their own icon design guidelines for you to follow. Another consideration you need to make is the kind of device where the icons are going to be displayed the most (PC, mobile, tablet, etc).
If you're going to make a pixel perfect icon, you might want to experiment with blurred textures and gradients to add graphic richness to the design, though you must not overdo it because the crispiness might get compromised. For creating realistic shades, it's recommendable to use Photoshop, but if you want to make some basic shadows, then Illustrator works fine.
Tip: For icons smaller than 64 x 64 pixels, it's not recommendable to utilize shadows as they will affect the original design.
In the case that you want to make realistic icons, you must understand how light behaves and in order to do this you need to comprehend its three main properties. The first property we have is reflection, which is the property that let us see objects even if they cannot emit their own light, if you want to understand how reflection works, just grab a few elements with different textures and point a light source over them, then you will be able to infer how light is reflected over different materials.
Secondly we have refraction, which is a phenomenon that makes light to change its course when moving from one medium to another (e.g. air to water), there are many elements that produce light to refract, such as glass, water, air or plastic.
And finally we have light absorption, which is the property that every object has to reflect and absorb specific light rays, if we see an object blue, it means that all colors have been reflected but blue. If an object looks white is because the material is able to reflect all light sources, while if an object looks black, it means that it's absorbing all the light.
As we said previously, larger companies have their own guidelines on how icons should look like, we have found the most important icon design guides that you should always keep in your bookmarks:
Gradients are one of the best solutions for generating realistic shadows. Photoshop and Illustrator have some differences on how they display gradients, though the essence is the same, the important thing is for you to understand how light behaves and then translate it into gradients.
To create a nice realistic gradient, you must consider three main light spots, brightest, darkest and middle point. Making a gradient is not as simple as placing a black to white gradient, because usually there's more than one middle point when light falls over an object, the only way to do this correctly is to stare at real life objects.
Tip: Try not to use 100% whites and/or blacks, because that will make your icon look artificial, so it's recommendable to go up to 90 % but never further. It's also not advisable to use gradients in small icons, it's better to use plain colors instead.
Regarding strokes, you are free decide whether use them or not, it basically depends on the level of complexity and the graphic style that you want to achieve. There's one thing that strokes are really good at, and that's helping icons stand out, you can create a realistic or a simple icon and apply the same stroke effect in case that you need to place the icon on top of a colorful background or one with a similar color palette.
As you can see, despite the fact that the whole icon has certain level of realism, a plain stroke has been placed outside of it to make it stand out in complex backgrounds.
There's another concept known as stroke icons, these elements consists in simple icons that are made using strokes only, no fills. Creating stroke icons is really simple, let's see how they're made in Adobe Illustrator. First thing to do is write a small rounded square with no fill and a thick stroke.
Then we expand the stroke to transform it into a fill, to do this you must click on Object>Expand and from there check the Stroke option.
And that's it for creating a stroke icon, now you just need to make the other parts of the icon until you have something like this:
These icons are among the most simple and easy to read designs around, they will put on test your abstraction skills because technically, you won't have to spend much time on the process.
If you already have some experience in graphic/web design, then you probably know that images can be classified in bitmap and vector, and that concept is highly important for any person who wants to start a career in icon designing. Let's talk about vector images, these kind of images are made up from mathematical calculations that define an image's location, color and size.
Unlike bitmaps, vectors are not pixel-filled images but a graphical interpretation made by the program based on advanced mathematical calculations, because pixels are not being affected, when you rescale a vector you're not going to lose quality as you're only changing some parameters in the formula. Something you have to know about vector images is that you're limited to 8-bit per channel color depth (256 colors) and you cannot see the images without proper software. Some of the most known vector programs are Adobe Illustrator, Inkscape and AutoCAD.
Another difference is that vectors have inherent transparency properties, while bitmaps require additional information. Because vectors are not dependent of resolution, they are indeed a great choice for making icons, though there's a problem when you scale a vector to small sizes such as 24 or 16 pixels, you will begin to see images kind of blurred. This happens because monitors are essentially pixel based displays, this means that when you're making pixel-art, you can have the certainty that what you're painting is what the monitor is actually displaying, vectors on the other hand, send a message to the software asking it to make a rendering of an equation on top of a preset pixel grid. There's no command in vector system that can force the software to place with Robin Hood accuracy a tiny vector equation over a pixel grid.
The power of vector graphics relies on the fact that you can resize your images without resampling. This happens because vector images don't fill individual pixels with information, they rather distribute the image on whatever size you tell them. This versatility and power is surprisingly what makes vectors flaw when scaled down to miniscule proportions. The same rule applies to typefaces. Vector fonts are indispensable in 99% of graphic work, but if you need a font below 9 px, then you'll have to use bitmapped fonts.
Now that we have learned the difference between pixel and vector images, we can proceed with the creating process. We don't have a Decalogue to share with you on how to make the best vector icons ever, but we can definitely give you some very useful tips for making vector icons in Illustrator based in our personal experience at Iconshock.
Gradients are very common in vector icons, they help designers to add lots of details and lighting effects with ease, Creating gradients is really simple, on the type bar you can define the style of the gradient, which ranges between linear (unidirectional gradient) and radial (concentrically executed gradient); the other parameters that you can define are the angle and aspect radio, which can affect the direction and size of the gradient. Also you can define the opacity for each color marker (they can be as many as they fit on the gradient bar) to create nice transparences and textures.
The trick with gradients is to emulate believable textures and lights unless you're looking for something fictional and/or unreal. Overlapping gradients often works well, so a good technique is to play with opacities to add more depth to your icons.
While pixel-art focuses on simplicity and abstraction, vector icons give you the freedom to add lots of details and small elements to enrich the quality of your icons. Creating complex shapes and elements is something very appreciated when purchasing a vector icon.
Despite the fact that vector gives you a lot of tools to create beautiful icons, there are some limitations such as making vector blurs. Vector programs are not the best option for creating these elements, though they have the option, thus is better to migrate these elements from a pixel-based program such as Photoshop.
There are different ways for embedding a bitmap image in Illustrator. The basic tactic is to copy paste the object but that usually damages the artwork; the most effective way is to export the bitmap into a PNG or TIFF file, which ensures a minimal lose of information once it gets imported inside the vectorial space. Make sure that you embed the file before sending it to your buddies because otherwise, your friend's Illustrator will ask for the specific bitmap file in order to display it.
A couple of versions before, creating icons in Illustrator meant big files with lots of layers and folders because there was no method for joining them. Now we have great tools such as the pathfinder and compound paths. This last element allow us to connect separated objects into a single group and change its values as if it was a single element. This helps you save lot of time and reduces the amount of layers and groups on your Illustrator files.
Compound paths are easy to make, first you need to generate the vector objects that will become part of the group and that you think are going to have a similar appearance. Once you have the elements ready, select them and right click, then choose Make Compound Path and the magic will happen in front f your eyes, don't worry if you regret later because you can always right click on the group and select Release Compound Path.
Blending mode is one of the nicest things that Photoshop and Illustrator have and still is one of the most forgotten elements by designers, who prefer to experiment with opacities and use the Eraser tool. Having blending modes is like having a cell sheet to play with in the old days, they give you many possibilities for playing with lights and shadows. A nice example of blending modes used on the creation of highlights can be appreciated on the next picture, where the highlight was created using a black and white gradient that thanks to the blending mode adjustment, has ended with this appearance.
You can combine blending modes in many ways, for example placing an object with a normal appearance and then a copy of it with color burn and a little higher size, that will give some sort of halo to the original object. There's also the option of combining blending modes and opacities to create very attractive textures and graphics; you can do all of this in the Appearance panel, which can be accessed from the Window menu.
Creating vector icons means complexity, you need to harness the chance of adding details and small elements to the designs, which is something that can hardly be achieved in small pixel icons. Take advantage of all the different Illustrator tools and try to make something that really explodes the power of vectors.
This is the most advanced technique in icon designing and something that only a few have mastered. Although many people think that doing small, simple icons is a piece of cake, the truth is that it requires experience and a fully consciousness of the pixel theory. After years of practicing and experimenting, our design team has dominated a great technique on developing pixel-perfect icons and now we want to share our key premises with you. There are some key concepts that you need to comprehend in order to dominate the pixel-perfect technique and now we're going to show you which are.
As vector graphics are designed for making complex, fully detailed icons, pixel is about simplicity and sharpness, so that's the first premise you need to learn – "pixel-perfect icons mean simplicity and extreme sharpness".
Photoshop comes by default with an improving quality that adds a feather effect to contours, this is one of the most hideous things as it completely messes up any icon or web design, so in order to prevent this you'll have to set up your Photoshop and leave it ready for working the pixel-perfect technique, the next picture shows you an example of the fuzzy feather that we're talking about.
As you can see on the picture, a simple square is instantly damaged once we create it, because by default, Photoshop adds a translucent halo to make it look 'better', unfortunately this is not what we need for making pixel-perfect icons, so let's see how to fix this once and for all. Go to Edit>Preferences>Units & Rulers.
Set up both the Rulers and Type units to pixels, then go to 'Guides, Grid & Slices'.
This is one of the most important aspects for properly configuring Photoshop in pixel-perfect mode. By placing a gridline every 10 pixels along with 10 subdivisions, you will have a pixel-perfect grid for start working with your icons, it's also a good idea to change the subdivision style to dots to help you visualize the process with ease.
This part is ready, now hit OK and go to View>Snap to and make sure that both Grid and Guides are checked, otherwise the changes that we did previously will be useless.
Finally, every time you make a new shape, make sure that the following 'Snap to Pixels' option is checked.
Once you have this set, you're workspace is ready for creating the most beautiful pixel-perfect icons.
Bonus tip: There's one problem that shows up even after you have configured your workspace, and that's concerning lines, look what happens when you draw a line using the 'line tool'.
As you can see, our beloved halo has returned, fortunately we can put and end to this once and for all, the trick is instead of using the 'line tool' to create lines (which is supposed to be the obvious), utilize the rectangle tool to generate a pixel-perfect line.
Although these guidelines will help you create pixel-perfect icons with ease, it's important to state that this is a very crafted job, because there will be occasions where no matter what you do, the elements will pixelate, therefore you'll have to adjust them manually, node by node, to create a 100% crispy icon.
Although we have Photoshop for making pixel-art, there are stubborn designers who prefer to do everything on Illustrator, if you're one of them, you probably know that there's a way for adapting your Illustrator to create pixel-perfect icons. This method gives great results, though it's still not the same as working pixels on a bitmap-based interface such as Photoshop's.
Illustrator has a 'pixel grid' option that lets you snap every pixel you make (remember that vectors are not based on pixel but math calculations) to the pixel grid, making your icons look crispy and similar to the ones you can make in Photoshop.
You can read more about snap to pixels on Illustrator by visiting our sister page Tutorialshock.
If you have read some of our previous articles, you've probably noticed that here at Iconshock we love Fireworks, it's a great program for web designers that despite of not having the stack of tools that Illustrator and Photoshop have, it has all the essential features and a very intuitive workspace that makes it a great solution for every web designer.
Making pixel-perfect in Fireworks is extremely easy, let's make a rounded rectangle without any special adjustments, you will see that it's not pixel-perfect yet.
Can you notice the blurry halo?, it's an attempt of the program to 'smooth' the shape's appearance by adding a subtle feather. To fix this problem, you just need to press Ctrl + K and voilà!!!.
Now that annoying halo is gone and your shape is pixel-perfect, this trick can help you a lot to create simple icons in Fireworks with ease, so we hope this can be useful for you.
Now that you have finished the icon, how can you turn it over to the client?, it's probable that he doesn't know a bit of Illustrator or Photoshop and hence he does not have those programs on his computer, which means that you'll have to export. There are many different formats for exporting an icon, though the most popular are: ICO, JPEG, PNG and ICNS.
ICO is a file format created for computer icons in Microsoft Windows, these files often contain several small images at different sizes and color depths. Every icon that you see on Windows' executable files is in ICO format.
By default Adobe Photoshop is not capable of exporting or working at all with ICO files, so you need to use format converters to transform other formats into ICO and vice versa, fortunately there's a Photoshop plugin that gives you the chance of working with this format directly on the program:
JPEG is the most common image format around, this format actually compress pictures with little quality loss (the compression level can go up to 10:1). Everytime you're going to turn over a new icon job, it's recommendable to include a JPEG version, as it can be opened in practically every computer around, though this format should be used only for previewing, never as a final result.
Considered the successor of JPEG, PNG is a bitmapped image format and video codec with a powerful lossless data compression system. Unlike JPEG, PNG is able to conserve transparencies, making it the ideal format for exporting average images, it can also support 24 and 32 bit color palettes, grayscale, alpha channels and RGBA images. This format is excellent for transferring images over the internet, though is not recommended for print work; along with JPEG, PNG files should always be included when exporting an icon set.
ICNS is the icon format employed in Apple's Mac OS X. It supports icon sizes that range from 16×16 to 512×512 pixels, it has also support for 8 bit alpha channels and multiple image states. Icons with the fixed-sixe property can be scaled by the operating system and then displayed at any intermediate size.
Photoshop is not able to export ICNS files by default, so we made a complete search and we found three useful links with tools that can help you work things out with this icon format:
Now we have reached the end of this article, the most thorough icon design guide that will help you master this technique, either if you want to make beautiful and complex vector icons or dedicate to pixel-art perfection. We hope you've found useful tips and secrets to make you a better icon designer, you are now an official icon-design apprentice and you're ready for start creating your own designs. To conclude, here are some essential icon design tips that our design team wants to share with you:
Good guide for icon design.
useful ultimate guide, thanks for post..
This is a very full of good info and examples article
Horrible "ultimate guide". You should have called this article "examples of different style icons" Can't believe I read through this junk.
I must agree in part with Scott! This is a great showcase of different styles and also a lot of great tips but this is just general stuff, not a start-to-end guide in creating these icons. For someone who looks to get started on making icons there isn't much to use here, sadly.
Awesome awesoem guide!!! I love it. While i'm leaning more towords logo design, this was really helpful. Now if you would just write a tutorial for logo design lol.
Wow – this is like taking a class! Very nice resource and overview for icon design.
Awesome write up Susana!
This is the best one on icon design i have seen yet!
Vaishakh Pushpoth
This is the comment of testing
Hey under the section about diagramming you omitted a very popular tool, Lucidchart. Great tool that can help with the creative process and very similar to the tools that you mentioned.
Thank you for the comment!. Indeed, Lucidchart is a great tool not very known back in 2011.
it's really good to see simple step-by-step guide for icon design. i've never found such a simple instructions for creating and using icon designs. thanks.
You are welcome. Thanks for reading us
If you are looking for a great software to convert these Icons to Ico files you can use these to great websites:
The quality is amazing!
Thank you for the input
Awesome write up Susana! a land for me. thanke a lot.
Excellent one.
Really a COMPLETE Icon Design guide.
Would love to recommend anybody interested in this field.
Kudos to the effort.
Thanks a lot for the kind words and for spreading the word! 😀


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We want to make sure that we understand your needs completely. That is why a consultation is done before each service.
Your cut will be beautifully designed to enhance your appearance, and workable for your care and maintenance needs. We will teach you how to style and maintain your look through simple techniques and product enhancements.
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text:
This is an extra training class for puppy raisers and sitters. We work on individual problems and new training. Also it's a time for interested puppy raisers or puppy sitters to come visit our club. Please join us! We meet the 3rd Thursday of every month for this extra class.
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Earlier Event: January 6Club Meeting: Oak Grove Elementary School
Later Event: January 18Outing: TBD


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The Ithaca 37 Field Grade Featherlight shouldered well and broke plenty of clays at the test range.
By Dan Shideler and Jim Schlender
Wisconsin: a field grade 12-gauge; a 12-gauge Deerslayer III and a new Grade AAA 28-gauge M37. We weren't disappointed.
Ithaca Deerslayer III Slug Gun
|The Ithaca Deerslayer III features a big, heavy fluted barrel, smooth pump action and a very good trigger. Plus, the barrel is locked up with the action for good slug accuracy.
First up was the Deerslayer III. Its 24-inch fluted heavy barrel made it look like a serious purpose-built slug gun, and that's exactly what it turned out to be. Our sample gun carried a Nikon 3×9 variable scope, and with some new premium Winchester Supreme Elite Sabots, we found that we could shoot sub-two-inch groups at 100 yards as long as our ammunition held out.
But it wasn't only its accuracy that really impressed us about the Deerslayer III; it was its remarkably crisp, light trigger pull and slick slide that put the smiles on our faces. Several shooters commented that they had never racked a smoother pump gun.
We wished that we had more time to spend with the Deerslayer III, because at around 10 lbs. with scope, it was a pleasure to shoot.
There's bound to be some debate about what is truly the Rolls-Royce of pump-action slug guns. Some will say it's the Remington 870-based Tar-Hunt DSG; others will choose the Deerslayer III. Since both guns perform so well, it's likely to come down to a matter of personal preference; but the Ithaca's extremely slick slide and snappy trigger pull will undoubtedly appeal to connoisseurs. At a suggested retail of around $1200, it's not exactly inexpensive, but you get what you pay for.
Ithaca 12-ga. Field Grade Featherlight
We then moved on to the 12-ga. Field Grade Featherlight. This is as close as you can get to the classic M37s of years gone by but, like the Model 87 that briefly preceded it, it has a 3-inch chamber and interchangeable choke tubes. Anyone who's ever shot a well-built M37 knows how slick their slides are, and the Field Grade was no exception. Clays just didn't stand a chance with it. Everyone shot it well, from tiny Corrina Peterson up to linebacker-size Tom Nelsen.
The Field Grade Featherlight 12 gauge retails for around $850. That's on the high side for pump guns, true, but few who shot the gun would maintain that it's not worth it. When a 5-foot-nothing young lady such as Corrina can pick up an M37 for the first time in her life and outshoot the rest of our staff with it, well, that gun's got some serious mojo.
Ithaca 28-gauge Grade AAA
|Gun Digest Editor Dan Shideler examines the Ithaca 28 ga. Grade AAA
Next came our chance with the new 28-gauge Grade AAA. It was almost as much fun just to hold this gun, with its slender scaled frame, as it was to shoot it (well, almost). Contributing Editor Jake Edson dusted every bird we threw up with the tiny, pointy little gun. If we had any suggestions for the Grade AAA 28-gauge, it would be to replace the dull black recoil pad with a plain horn or hard rubber buttplate. Who needs a recoil pad on a 28, anyway?
The new 28-gauge Featherlight starts at around $1000 in its Grade A dress; for that you get nice but not super-deluxe wood and a plain roll-engraved receiver. Those who favor the 28 gauge for upland hunting may decide that the Remington 870 Express is all they really need, while others will prefer the very elegant Browning BPS Hunter. We have shot all three and done rather well with them. Still – and perhaps for no other reason than plain old sentimentalism – we rather like the new 28-gauge Ithaca.
Some shooters may have issues with the red-orange Raybar front sights that graced both the 12 and 28 gauges, but to your editor, an Ithaca fan of long standing, they just wouldn't be M37s without them. Like them or not, you will certainly know they're there, even on overcast days. On bright, sunshiny days, the Raybar sights glow like a neon sign at midnight.
Your editor's very first shotgun, purchased back in 1974, was an Ithaca Deluxe Featherlight 20-ga.
Coincidentally, I had just dropped it off at Poly-Choke in Fond du Lac, Wisconsin, for a new rib just before I had a chance to shoot the new Ithacas. As fond as I am of that old 20-gauge, the quality of the new Ithaca M37s is even better. In terms of fit, finish and function, I found nothing to complain about and plenty to praise.
With annual production at around 3,500 M37s of all types, you won't see as many of them in the fields or on the lines as you would, say, Remington 870s. But if you get a chance to shoot one, I recommend you take it. In my opinion, it's the smoothest, slickest, sweetest pump gun on the market.
For more information on the new Ithaca 37s, I don't think the company would mind it one bit if you visited their website at www.IthacaGun.com.
Editor's Note: This is a sneak peak from an article slated to appear in the 2010 Gun Digest Annual book.
Recommended resources for shotgunners:
The Gun Digest Book of Shotgunning
Gunsmithing Shotguns: PDF Download
Shop GunDigestStore.com for more books, DVDs and downloads


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Ryan hates on 'Romneycare,' the highlights
Many conservatives have criticized the health care law Mitt Romney signed while governor of Massachusetts — and his new running mate Paul Ryan is complainer-in-chief.
The law, which requires most Massachusetts residents to obtain health insurance or face a fine, served as a template for President Barack Obama's Affordable Care Act — a fact the right has not let Romney forget.
Story Continued Below
Ryan, who has built his GOP street cred up with his own health care and budget ideas, has been vocally against the Massachusetts law for years, a key reason many believe he was tapped for Romney's VP slot.
Here's a highlight reel of his objections to Romney's health care
In February of this year, Ryan told the right-leaning CNSNews that the Affordable Care Act — the bane of the right — had "seeds" of Romney's health plan sown in it, although he seemed to pull back some of the heat on Romney himself:
"We have spent the last year in Congress passing various versions of repeal. We're gonna show how we would not only repeal but replace Obamacare. ... Were there seeds of these policy ideas in Massachusetts?
Sure, I think there were. But I think it's clear we're not going there and, we mean, we're not going to take the country down that path. We disagree with the policy architecture. I think the policy architecture of Obamacare has to be pulled up root, branch and everything if we're going to actually save this country."
In March 2011, Ryan told an American Spectator breakfast forum that he had a bone to pick with "Romneycare":
"It's not that dissimilar to Obamacare. ... And you probably know that I'm not a big fan of Obamacare ... I just don't think the mandates work. I haven't studied in depth the status of it, but I think it's beginning to death spiral, they're beginning to have to look at rationing decisions. I don't think this kind of a system works."
Ryan on C-SPAN in 2010:
"No, actually. I'm not a fan of the system ... I've got some relatives up there in Massachusetts. My uncle's a cardiologist in Boston and I've talked to a lot of health folks up there who — what's happening now is because costs are getting out of control, premiums are increasing in Massachusetts and now you have a bureaucracy that is having to put all these controls and now rationing on the system. So people in Massachusetts are saying, yes we have virtually universal health care — I think it's like 96, 98 percent insured — but they see the system bursting by the seams. They see premium increases, rationing and benefit cuts. And they are frustrated with this system. No. 1, they don't want to pay for another system on top of it ... No. 2, they see how this idea of having the government being the single regulator of health insurance defining what kind of health insurance you can have, and then an individual mandate, it is a fatal conceit, and these kinds of systems, as we are now seeing in Massachusetts, are unsustainable."
This article first appeared on POLITICO Pro at 8:27 a.m. on August 11, 2012.


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Paul N. Leone
Chief Executive Officer
The Breakers Palm Beach and Flagler System, Inc.
While charting a career that has progressed from Certified Public Accountant to a world-class hotelier, Paul N. Leone has his eye on more than the bottom line. At The Breakers Palm Beach, Leone has restored a strong sense of pride and teamwork in the 120-year old company's 2,000 associates. Since he was appointed President in October 1994, his efforts have led to dramatic improvements in team members satisfaction, customer service and profitability at the 538-room, historic Italian Renaissance property. Leone has also successfully integrated corporate social responsibility into a deeply embedded value system of The Breakers' organization, by focusing on the quality of life of his employees, community engagement and service to those in need, and respect for environmental preservation and sustainability.
The sentiment that his employees are The Breakers greatest asset is at the very core of Leone's values. An excellent communicator, approachable leader and highly disciplined, Leone is dedicated to the highest standards of conduct and performance. A strong advocate of total quality management, and consistently delivering a superior, ever-improving product to his customers, Leone believes in hiring energetic, service-oriented, talented people, and nourishing them with responsibility and gratitude.
Born and raised in New York, Leone was exposed to the hospitality industry at an early age, having been raised in a family that owned and operated five local motels and two restaurants. He went on to study accounting in college to follow in his uncle's footsteps and became a Certified Public Accountant. After graduating from the University of Kentucky, Leone joined Coopers & Lybrand in Louisville, Kentucky. He later relocated to Coopers & Lybrand in West Palm Beach where he worked with various hospitality accounts, including The Breakers.
Leone joined The Breakers in 1985 as Controller and was later promoted to Vice President and Chief Financial Officer. In 1992, he was promoted to President of Flagler System Management and two years later became President of The Breakers Palm Beach and Flagler System, Inc. In January 2016, Leone was appointed CEO of Flagler System, Inc. and The Breakers Palm Beach, Inc. respectively. He is married and is the father of four sons.
His impactful leadership role at The Breakers and in the community at large, has been recognized with the following awards and distinctions:
- World Leaders Group: Servant Leadership Award (2014) – first recipient of this accolade
- HOTELS Magazine: Independent Hotelier of the World (2013)
- South Florida Business Journal: 100 Power Leaders (2013)
- Palm Beach Chamber of Commerce: Business Leader of the Year Award (April 2009)
- South Florida Business Journal: Palm Beach CEO of the Year Award (April 2009)
- Northwood University: Outstanding Business Leader of the Year (2006)
- The United Way: Alexis de Tocqueville Award (2003)
- The United Way: Business Leadership Award (2002)
- Town of Palm Beach: Proclamation of "Paul Leone" Day (April 15, 2002)
- Palm Beach Chamber of Commerce: One & Only Award (2001)
- Palm Beach Daily News: Business Leader Award (1996)
Leone is also involved in the following civic and charitable organizations:
- Vice Chairman, Alexis D' Tocqeville, Palm Beach Community Chest of United Way
- (Past Chairman, 2000 - 2002)
- Honorary Trustee, Palm Beach Day Academy (Past President, 2006 - 2011)
- Board of Directors, Startup Palm Beach
- Board of Directors, Palm Beach Civic Association (2011 – present)
- Board of Directors, Kravis Center for the Performing Arts (2013 – present)
- Board of Directors, Florida Council of 100 (2007 – 2009; 2013 – present)
- Member, Palm Beach Chamber of Commerce (Past President, 2004 - 2006)
- Member, Economic Council of Palm Beach County
- Member, American Hotel & Lodging Association Resort Committee
- Member, Florida Institute of Certified Public Accountants
- Member, Gregory Leadership Council, Palm Beach Atlantic University
- Member, Kravis Center for the Performing Arts Audit Committee
- Trustee, Raymond J. Kunkel Foundation


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Miami-Dade County Mayor Carlos Gimenez may get a red card from David Beckham's group after he informed them that they need to consider an alternative site to the planned stadium at PortMiami, according to the Miami Herald.
The Herald reported that Mayor Giminez instead proposed a different location that would be created by filing a large boat slip between Museum Park and the AmericanAirlines Arena. By filling in the slip, it would create enough land for the stadium, according to the Herald.
Several groups have come out against using the PortMiami site for a new stadium, most notably Royal Caribbean Cruises. Royal Caribbean would have been located next door to the planned PortMiami stadium.
Some Miami Beach residents have also voiced opposition out of fear of even heavier traffic delays along the MacArthur Causeway.
Beckham's group said it would "examine the feasibility of filling the slip and building a stadium," according to the Herald. Beckham has promised to build the new stadium with private funds, and also won a state subsidy in the legislative session that ended last Friday.
According to the Herald, the PortMiami site is still an option for the new stadium, but Gimenez's move shifts the debate, at least temporarily, down the street.
Beckham's group was given two weeks to look into the plan proposed by Gimenez.


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From Golf Magazine (May 2011)
Category: Game-Improvement Hybrids
We tested: 3h (20°), 4h (23°), 5h (27°) and 6h (31°) with Ping TFC 149H graphite shaft
Key Technologies: This design evolved from the G15. The iron-style head with offset creates a more dynamic launch than previous models and helps to get the ball in the air more easily. Ping designers took weight away from the center and placed it in the heel and sole, increasing inertia dramatically for improved forgiveness.
OUR TESTERS SAY: One of the highest-rated hybrids in the test; excellent sticks for players who need help achieving higher flight; blends seamlessly with K15 irons.
PLAYABILITY: Clear performance upgrade from a long iron; promotes a high draw; easy-to-hit clubs drive through deep rough.
ACCURACY/FORGIVENESS: Directional compensation might be its greatest strength; offset head with closed face prevents a slice without inflicting a hooking tendency.
DISTANCE: Predictable length; a few testers hit slightly longer shots than with their own sticks; pretty good distance on off-center hits.
FEEL: Lively, crisp impact sensation; responsive, well balanced; head stays very stable on off-center hits.
LOOK: Iron-like with a thick "topline" and silver-and-black color scheme; long face inspires confidence at address that you can't mis-hit it.
Overall look is hard to get used to for some testers; a few testers hit it shorter than their current hybrids.
From Sports Illustrated Golf+ (February 7, 2011)
A multimetal iron design combines a large, lightweight titanium face with a 17–4 stainless-steel body to increase forgiveness and improve launch conditions. Weight saved from the titanium face is allocated to the sole and perimeter to achieve more accuracy and higher ball flights. The K15 hybrids are available in 3H, 4H, 5H and 6H. They rely on an extremely high moment of inertia and a patent-pending feature that creates lower-spinning, higherlaunching shots that fly longer and straighter.
$159, graphite
More hybrids and fairway woods on Golf.com
Fairway woods
Better-player hybrids
Game-improvement hybrids


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TONY ABBOTT has promised to restore trust to Australian politics but refused to explain how he will balance the budget while delivering new spending and the abolition of some taxes.
He also promised to do whatever it takes to scrap the carbon tax, even if it means another election within a year should the Senate prove unco-operative.
''When I say there will be no carbon tax under the government I lead, I am telling the truth,'' he said.
Making a mockery of Julia Gillard's claim that electioneering would be limited to the month before the September 14 poll, Mr Abbott leapt from the blocks on Thursday with a broad-ranging speech long on rhetoric but short on funding detail.
Declaring ''I am ready'', his nationally televised stump-speech signalled an intention to dedicate the next 7½ months to the nation's longest-ever federal campaign.
''I'm ready for the election,'' he said. ''The choice has rarely been clearer or meant more for the future of our country.''
But his high-energy pitch before an audience at the National Press Club in Canberra loaded with Coalition loyalists and containing his parents, his wife Margie and daughter Frances was cruelled by an embarrassing security breakdown from within his own office.
A leaked email revealed internal disagreement over when to come clean on unpopular cuts to government programs.
Advice from his principal media adviser, Andrew Hirst, called for more of the ''vision thing'' in the speech, but counselled against detailing cuts to an unspecified program later identified as the schoolchildren bonus announced in the last federal budget.
Asked if he had glossed over the bad news in a bid to protect his standing with voters, Mr Abbott said the program cut had been mentioned.
''At the risk of dobbing in my principal press secretary, we did have a discussion via email about a matter, whether it should be in or out. It was the school kids bonus and as you know it's in the speech,'' he said.
''It's not going to happen under a Coalition government because it's a cash splash with borrowed money and nothing to do with education.''
The bonus pays eligible families $410 per primary school student and twice that for secondary school students.
The scrapping of the measure had already been flagged by Coalition frontbenchers.
However, at around $2.1 billion over five years, any saving would account for a only small part of the savings task ahead of the opposition.
Another saving reconfirmed was a pledge to scrap the low-income superannuation contributions scheme, which the government says would deprive 3.6 million low-income earners, many women, of up to $500 a year in extra superannuation.
The Coalition is coming under increasing pressure to explain how it will fund promises to abolish the carbon and mining taxes, spend billions on new roads and infrastructure projects, and support disability insurance while quarantining defence spending and other superannuation concessions.
Ms Gillard's unorthodox decision to set the election date so far in advance was designed in part to force Mr Abbott to reveal his costings once the budget provides an accurate and comprehensive snapshot of the national balance sheet.
But if that was the intention, Mr Abbott showed on Thursday he was not for turning, declaring ''the Coalition will reveal our costings after the government reveals theirs''. That suggests, as Abbott insiders had said previously, that the Coalition's costings will not be revealed until deep into the formal election campaign following the release of the Pre-Election Fiscal Outlook document.
Mark Kenny is the national affairs editor for the Sydney Morning Herald and The Age, based at Parliament House


text: Beaufort County Council Chairman Weston Newton was elected second vice-president of the South Carolina Association of Counties (SCAC) Board of Directors at the organization's annual conference recently on Hilton Head Island.Newton has been a Beaufort County representative to the SCAC for several years and was elected third vice-president of the board last year.He was first elected to County Council in 1999 and has been chairman since 2003. He represents District 4 in Bluffton."The association has been effective in offering county governments in South Carolina a unified voice when addressing our state lawmakers in Columbia. We don't always agree on the issues, but we face many common challenges and are stronger when we work together to better serve the people of our various counties," Newton said.SCAC is a nonpartisan, statewide organization which began in 1967. Its membership represents all 46 counties in South Carolina. It offers a variety of services in addition to bringing the needs and concerns of county governments to the attention of state lawmakers.SCAC officers are working to restore full funding to the state's Local Government Fund and to protect home rule.Newton also has worked for several years to initiate reform of the state funding formula for public education.


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Home | About Shari | Shari's Blog | Contact Me
Cruise Holidays Land and Sea
firstname.lastname@example.com | (919) 747-9996
If you plan to spend some time on shore during your next cruise, it's a good idea to have a little cash in your pocket. There might be some small purchases that you don't want to put on a charge card, or you may encounter shops, tour guides or local cafés that simply don't accept charge cards. The question is, what type of currency will you need?
In the Caribbean, the islands have a patchwork of official currencies. Some islands, including St. Lucia, use the Eastern Caribbean dollar. Some use the currencies of their sovereign nationals: for example, Guadeloupe uses the euro and the U.S. Virgin Islands use the U.S. dollar. Other islands – such as Aruba, the Bahamas, Barbados, the Cayman Islands and Jamaica – use their own currencies. However, you'll find that the U.S. dollar is widely accepted throughout the Caribbean, even when it isn't the official currency.
Mexico has tightened its currency policies in recent years, and some tourists find that they need pesos in order to do business with local merchants. Still, because U.S. currency is accepted by many businesses in Mexico's cruise ship ports, you may not need to exchange much, if any, cash.
In both the Caribbean and Mexico, Canadian currency is not as widely accepted as U.S. currency. Canadian travelers might consider changing some cash to U.S. dollars before leaving home, or to the local currency when you go ashore.
If you are taking a European cruise, it's unlikely that either U.S. or Canadian currency will be accepted on shore. A majority of the countries in the European Union use the euro, and that's what you'll want in your wallet for stops in Portugal, Spain, France, Italy, Greece, The Netherlands and Finland. However, some popular European cruise destinations – including Denmark, Sweden and the United Kingdom – are members of the European Union but use their own currencies.
Remember that you can change cash into the currency of your destination before you leave home; at the airport; at a bank, currency exchange or automated teller machine on shore; and sometimes on the ship itself. Be sure to ask for smaller bills, which will come in handy for tips and small purchases. Your Cruise Holidays personal cruise expert can give you more advice on the best ways to get the currency you need for a smooth onshore experience.
Learn how to budget for a cruise.


text: Fava Bean cleaning: for one cup of ready to eat beans you will need to start with about three pounds of bean pods, split open and remove the beans, next quickly blanch in boiling water for about a minute, plunge in ice water to stop the cooking process and to keep the bright green color, next pinch one side of a bean and squeeze the bean out of the thin shell. At this point they are cooked and ready to eat. Great in salads or my favorite way of pureed and spread on crostini with shaved Parmesan cheese.


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Our Customer Assistance Center is here to answer your Sales and Service questions around the clock, 365 days a year. Contact us using the phone numbers or e-mail address below and one of our representatives will contact you soon.
Global Service Numbers
Europe, Middle East & Africa
Tel.: +49 7541 90-77777
Tel.: +65 6860 9669
North and Latin America
Tel.: +1 248 560 8888


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CFOs Say Recruitment in Emerging Markets Is Their Top Talent Challenge
Chief financial officers of companies expanding overseas say their biggest challenge is often finding local financial staff quickly enough who are able to scale those businesses for growth.
"The biggest place we've been adding talent is developing and emerging markets," said PepsiCo Chief Financial Officer Hugh Johnston. "As quickly as you can fill the positions, you have new needs because the businesses are just growing that rapidly," he added.
PepsiCo runs local businesses in about 200 countries and Mr. Johnston expects developing and emerging markets to comprise two-thirds of the company's business in the future. But in rapidly-expanding emerging markets the company is often competing directly against other firms for a limited number of skilled financial professionals, Mr. Johnston said. In that case, firms can face a trade-off between hiring local staff that understands that country's consumer and business environment and bringing in costly expatriate staff that can quickly scale a business, he said.
Robin Washington, chief financial officer of Gilead Sciences, says she has opened offices this year in locations including Russia, Japan and Korea and is planning further expansions into Latin America. The drug company generally has to open a small office in a new region to seek regulatory approval to sell its products before it fully launches, Ms. Washington said. So in those circumstances, she says she looks for hands-on managers who also have the capability to scale a business quickly when it needs to grow. For example, she'll look for an employee who has experience at both a start-up and in a larger company.
"Ensuring we have the right type of financial talent on day one when we go into that new market is important," Ms. Washington said. Finance staffers with strong communication skills, understanding for regulatory environments and strong project management experience are also critical, Ms. Washington said.
The company often looks for "someone that's not afraid to pick up the phone and ask for help," Ms. Washington added. When Gilead launched its Russia office, she said she created a mentoring relationship with an employee that had just gone through a similar process in Poland so that they could more easily acquaint themselves with the new territory.
Still, CFOs say they see benefits in the traditional model of rotating staffers around different departments and countries to give them exposure to new challenges and keep their work interesting.
"When people get different experience they're more motivated, they get more interested in what they are doing and they also develop better perspective," said Pamela Craig, chief financial officer at global consulting firm Accenture who is retiring later this year after 34 years at the company.
At PepsiCo, regional CFOs, for example, are often expected to have spent some time in a financial planning & analysis group, where they can see all aspects of the business come together, and balance that skill with an international rotation. While Mr. Johnston said he moved locations about eight times in his career, he says he now works though 10-year development plans with his high-potential finance staff to make sure they can find the time to get an international rotation in. And when ex-pat finance staffers arrive in a new location, they are often tasked with making sure they can find a local replacement.
"We do rotate people in [to international assignments], but it's always with the idea of grooming a successor that's local," Ms. Craig said. "Perpetuating ex-pats is costly and you want to have local leaders in business because business leaders in those countries want to work with local people."


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Some of Chicago's news personalities are moving from in front of the camera to the theatrical stage.
Chicago Lights is hosting Newsprov for the Arts, a benefit series featuring an hour of improv with news anchors, reporters and Second City-trained actors.
The first of three shows will be held April 5, with NBC 5's Marion Brooks hitting the stage April 12 and Mary Ann Ahern on April 19.
The shows combine the reporters' on-air experiences with ideas from the audience.
Tickets are $15 in advance and $20 at the door and all proceeds benefit the Chicago Lights Academic Success in Schools (CLASS) program.


text:
Greenpeace Japan whale campaign coordinator Junichi Sato, with the whale meat that was stolen from Japanese taxpayers, and which he provided as evidence to the government -- only to be arrested and charged for doing so.
Download document
Executive summary: The Greenpeace evidence shows a systematic, large scale operation on board the whaling factory ship Nisshin Maru, to steal whale meat processed from the Southern Ocean hunt. It is believed the practise has been taking place for many years. During the course of the investigation, Greenpeace obtained a box of stolen whale meat as proof of the fraud.The box contained 23.5kgs of whale meat. Known as "Unesu" in Japanese, the meat is preserved in salt, rather than the official preserving method of freezing. The box obtained by Greenpeace was one of four boxes, claimed to be "personal baggage" sent to a home address via an express delivery company by an employee of Kyodo Senpaku who was a crew member on board the Nisshin Maru during the 2007/2008 Southern Ocean expedition. The value of this one box is between 100,000 yen (US$1,000) and 300,000 yen (US$3,000 ). Further investigation has established that more than 23 crew members sent at least 93 boxes of "personal baggage" to at least 30 destinations.
Num. pages: 30


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Kenn Motors
Ken Sparks
1516 North Columbus St
I hereby consent to receive text messages from or on behalf of dealer at the mobile phone number I provided above. I understand that I am opting in to receive text messages from dealer or their employees. I include consent to receive phone calls at the mobile phone number I provided. I understand that message and data rates may apply.
Prices are subject to change with approved credit. Dealer is not responsible for data ommissions and/or errors. See dealer for details.


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Salsbury 3600 series 4B Plus standard horizontal mailboxes are available in units with standard A doors and large B doors. 4B Plus mailboxes are available in 5, 6 or 7 doors high units. Each aluminum door includes a cam lock with two (2) keys and a 2 in. W x 5/8 in. H clear plastic card holder to identify the tenant's name and/or box number. The mailbox compartments are made of sheet aluminum.
- 4B plus horizontal mailboxes for private access
- Made entirely of aluminum
- Feature a durable powder coated finish
- Doors include a 5 pin cylinder cam lock (with 2 keys)
- All openings are usable
- Ideal for colleges, schools, private postal centers, corporate mail centers, military bases, government agencies and many other applications


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|August 7th, 2017, 06:32 PM
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Location: Portland, OR
Posts: 386
|August 7th, 2017, 06:33 PM
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Looking at the results 32 and 33 mins is really fast by the way
|August 7th, 2017, 07:30 PM
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It's off topic of 125s, but I'll give a quick recap of how I saw it. Kelin threw in a few early jabs. I decided before the race started that I wasn't strong enough to go with every move that Kelin AND Steffen AND Steve made, so I would focus my efforts on Steffen since he was a nearly unbreakable machine at Chicago, and Kelin wasn't his normal self there. That was a big mistake. Kelin had already taught me 2 other times in St Paul that you can't underestimate him, but that's exactly what I did.
On Kelin's 2nd or 3rd jab, Steve and I were pulling him back when Steffen attacked us and bridged to Kelin solo. I chased back the two of them before the first turnaround, and I think Steve was hurting from a lack of warmup because he got gapped. I had pretty much just gotten across the gap when Kelin attacked again. I thought Steffan and I would be able to bring Kelin back, but it didn't play out that way. Out of the first turnaround Kelin had an 8 second lead on us, and he basically pulled away from us the rest of the time.
In hindsight (which is always 20/20) I should have never let Kelin get more than a 10 second gap. I should have dug as deep as I could when the gap was 8 seconds to see if i could catch him. Maybe i could, maybe I couldn't have. It's pretty clear to me now that I showed up without putting enough work in. Kelin was obviously the strongest that day and got to win in front of the hometown crowd. Good on him.
Steve ended up catching Steffen and I. I figured we'd have better luck with 3 than two. He worked really hard to try to catch, and so did I. In the sprint for 2nd, I think Steffen and I went too early. Steve made his move at the right time and schooled us.
In racing, the strongest doesn't always win; but I think he did at St Paul Saturday. Steve put in some realyl hard work during the race, and took a well deserved 2nd. I'm not sure what I deserved. I certainly wasn't happy with 3rd, but I'm not sure what I should expect when I show up underprepared and try to race against great athletes like the other guys in the top 5
|August 7th, 2017, 07:48 PM
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In the large 50-59 group, it looks like Jeff T got 2nd place. I wasn't there, but I'm guessing he was probably on 110's.
|August 7th, 2017, 07:53 PM
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|August 7th, 2017, 08:00 PM
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edit: Looking at the start photo, there appears to be less 125s in the first wave than 110s. I'm not that surprised, since 125s are still relatively new. 110s feel more stable and overall they are probably nicer to skate on... but, I'm faster on 125s and I'm not willing to give that speed up.
|August 7th, 2017, 08:09 PM
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And, I would say St. Paul is one of the better courses for 125 wheels, especially if you are skating solo. I think Chicago is probably one of the worst for 125s. Duluth will probably be amazing for 125s, especially with the new pavement and if you get a tailwind. As long as the pace is high throughout, I think 125s are probably the way to go. But, if you're losing momentum (for turns and hills) and changing speeds a lot for breaks and attacks, I just don't know. Clearly, they are working out well for a lot of skaters. I did a 13 mile TT last weekend and I'm not in as good of shape as I was a couple years ago. But, my time was within a minute of what I did my best TT on 125s. Again, I have no idea how the conditions played into that. I don't remember wind speed or temperature, but I know I'm not in as good of shape and I still put up one of my best solo efforts on 110s. I'm thinking of buying a new 125 set-up and trying to do some testing of my own. I'm sure I will be faster on the 125s...
|August 20th, 2017, 03:42 PM
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Join Date: Nov 2014
Location: Spring, TX.
Posts: 179
Anyone skate TLTF 125s "outdoor" yet for at least a few weeks? Not interested in indoor reviews.
Thanks d
Spring, TX.
|August 20th, 2017, 08:26 PM
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Join Date: Apr 2014
Location: Chandler, AZ
Posts: 283
125 Mota wheels, I picked up a set for practice, $13 delivered for a banded wheel is worth a try. My first impression was very positive. The road surface I tested on is smooth asphalt. The first 20 miles they felt great and compared to a new set of Black Magic another very good wheel I'd rather save the money for a set of race wheels and use the Mota for practice wheels. The Mota could be raced on if you're not inclined to spend the big money for wheels.
Temped to spend the money for the 125 TLTF as the last set of 110 TLTF I had was one the best wheels i'd ever felt.
One of our group just got a complete set of the Mota carbon boots, frame and 125 wheels, he's a very strong veteran skater and loves the skates. His comment was if you don't need custom boots the other MFG are pricing themselves out of the market.
You may have a different experience but so far Mota has delivered high quality off the shelf stock equipment at very good prices. Truly my first experience with high quality skate equipment with very competitive prices. Usually the lower cost equipment isn't worth the packaging it's sent in. My point is for those wanting to step into very good speed equipment on a small budget there are opportunities to do so without breaking the bank account.
I haven't put on the Atom Boom Magic, saving them for a race but I have high expectations, hopefully i'm not disappointed.
My test of the 125 Black Magic was confirmation these are quality wheels, they felt similar to the Mota. I'm still not convinced the 24mm are faster than the Matter 22mm for outdoor. I'd like to try a new set of the G13 125, my hunch is they would lay down some fast times.
Pinnacle Stealth boots, 3 X 125 Simmons frames. Chandler, AZ
|October 23rd, 2017, 01:03 AM
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Join Date: Apr 2014
Location: Chandler, AZ
Posts: 283
The TLTF XXF feel OK on a very smooth road but not the road we had to race on.
My 2 cents.
Pinnacle Stealth boots, 3 X 125 Simmons frames. Chandler, AZ
|October 31st, 2017, 02:47 PM
Senior Member
Join Date: Nov 2014
Location: Spring, TX.
Posts: 179
Hello Jimmy, I really like the Momentum 125s so far.
Some feedback. For non banded wheels, the Momentum 125s are an excellent choice for those looming for a cost effective non race/training wheel.
1. Best value on the market at $80 a set.
2. Best overall quality per set of any 125s I've seen to date.
3. They look great.
4. The hub feels great, do not feel any flex.
5. All 6 wheels are true and balanced.
6. They roll well for the dollar.
7. Grip is very good considering they're very soft.
7. Profile feels very good, easy to control.
8. Bearings seat well and level in the hub.(what is the recommended spacer width .406"? ) .409" worked best for this set.
While they do not come close to race wheel performance, I'm a fan of the TLTF Momentum, mainly because of the overall quality and cost.
Please keep us posted on any new 125 race wheels be it in or outdoor.
Thanks d
Spring, TX.
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edited March 2011 in Non-Animal Collective Discussion

the hell's yr problem man? did you come here just to "shake things up" ??? if so then why this place? there's millions nay BILLIONS of other boards that you can do that one many that love people who try and out-do each other in regards to that or whatever what a weird battle to fight over
I love you. See? But not that way.
[img]http://www.wdexpo.org/wp-content/uploads/2009/05/cheese.jpg[/img] ...for your whine
That can't be younger than 10 years.
yeah that cheese does look older than wow years hee he ha
Five year old cheese is about as old as I like it. Once you get to that ten year stuff, it has a great flavor but it has this crystalline texture that I find unpleasant.
puppy superheros = not evil, no matter what anyone thinks
[quote="Dave"]Five year old cheese is about as old as I like it. Once you get to that ten year stuff, it has a great flavor but it has this crystalline texture that I find unpleasant.[/quote] I wasn't going to participate in this particular circus but your reflections on aged cheeses compelled me, Dave, I have found the same texture you speak of in younger aged cheeses, particularly cheddars, and believe that it is some aberration in the aging and storage process. I think the humidor settings are most likely in need of professional calibration. In general I like a nice creamy textured cheese rather than a lumpy or crumbly one, and the crystals just ruin any kind of satisfactory oral experience. For me. I wonder what the rest of the board thinks.
wow yous guys no a lot bout cheese. hopefully one day i can nos as much bout crystals and oral olfactory preferences. he ha
It's an interesting thought, Wini. The ten year old Tillamook I've tried is great in something melted (enchiladas, for instance. The cheese has a stupendous flavor.) I, too, would be curious about other peoples' experiences with olde cheese.
Tillamook, isn't that an Oregon cheese? I assume it is a cow milk base. I like goat milk based cheeses the best, I think. Has anyone had buffalo milk cheese?
this thread is getting a bit too cheesy! for my tastes!
I've had camel cheese. Good.
i've eaten cam hell! (not so good!)
Rattlesnake tastes like chicken. I've almost become a vegetarian... Dear, oh dear.
weird i'm thinking of changing over to ONLY eating meet no non-meat food! mmm MMM! tasty!
i LOVE steak and milk! and i wish i could have better steaks more often the ones that are soooo good you don't even want to use steak sauce / ketchup or whatever... adding anything else would be a dis-service to the TASTE!
i just want medium rare steaks and milk for my gurlzz
well done! __<" title="mad" />
from http://www.thebestpageintheuniverse.net/c.cgi?u=sponsor [img]http://www.thebestpageintheuniverse.net/images/bigpot6.jpg[/img] i prefer creamy strong cheeses -- bleu, etc. too aged and the texture is also a problem for me; i think it's poor storage and the loss of the fat from that which is the cause of that weird texture.
[quote="Dave"]Rattlesnake tastes like chicken. I've almost become a vegetarian... Dear, oh dear.[/quote] This is true. Same with gator. And, if you want to only eat meat like the Inuit, you have to eat it raw, or super rare. The Inuit started dying off because of scurvy after the idea of cooking their food came about. Uncooked animal meat has enough vitamin C to prevent scurvy. Pretty cool.
maybe chicken tastes like gator? which came first... the chick hen or the gator eggs? uh! SCURVY would be kind of an amusing almost pirate like way to go... haha! yar! shiver me timbers! and i wouldn't eat chimps or monkeys! so like us! dolphins aren't as smart as they want you to think they are! trust me!
so are you saying you would eat dolphins?
I live in the same neighborhood as the guy who made "The Cove," and because of that it was recommended to me. I'm not even going to lie about that one--I cried. Yukbon, ever tried Havarti?
The Inuit (and other indigenous peoples) eat the whole animal: liver, eyes, etc. An entire animal provides the basic building blocks for survival. However, you still need to eat, like, oatmeal or something for your fiber. Isn't that Haggis?
i love havarti or havarti w/ dill fuck dolphins, they're dicks no, really, they're horrible jerks: http://questionablecontent.net/view.php?comic=1780
I couldn't tell you with any certainty, Wini. Havarti is off the chain!
[quote="yukbon"]no, really, they're horrible jerks: http://questionablecontent.net/view.php?comic=1780[/quote] YUKBON! I used to read questionable content all the time a few years ago! Its crazy how much the art has developed! Oh my goodness i've missed it! Maybe i'll devote my entire night (until Top Chef is on) to reading it!!!!!!!!!!!!
jeph's gotten so much better; it's one of my few regular reads. i particularly love the guest strips.
gaw dangit you guys have made me hungry
[quote="yukbon"]jeph's gotten so much better; it's one of my few regular reads. i particularly love the guest strips.[/quote] I remember reading a guest strip by this guy who made a comic that's just basic black and white and there's a unicorn or something? or a gumby like guy with a unicorn horn? Or maybe there was just one strip with unicorns in it. I wish I could describe it better because I loved that comic.
cheese shit! TURN AROUND LOOK AT WHAT YOU SEEEEE TURN AROUND TO FIND OUT WHAT THAT MEANNNNNNNS


text:
Quick Easy Cheddar Vegetable Quiche Recipe
Such a Quick Quiche to make. Its easy and wonderful for brunch or anytime. Prep:19m
cheese, +broccoli, +pie crust
www.grouprecipes.com - Similiar recipes
Crustless Swiss Chard Quiche
I have been working on perfecting the perfect crustless quiche recipe for years. I always use spinach, but I bought some Rainbow Swiss Chard at the local...
cheese, +eggs, +olive oil, +black pepper, +salt, +skim milk, +onions, +swiss chard
Easy Quiche
The easiest quiche ever and delicious. Great cold for school lunches.
www.bestrecipes.com.au - Similiar recipes
Versatile Quiche
The quickest, tastiest quiche I have ever eaten.
www.bestrecipes.com.au - Similiar recipes
Mushroom And Broccoli Quiche Recipe
My family and I love this recipe for quiche. It's so versatile and you can add whatever veggies you want. Zucchini works well too. Prep:10m
cheese, +garlic, +eggs, +salt, +swiss cheese, +flour, +pie crust, +onions
www.grouprecipes.com - Similiar recipes
Cheddar Vegetable Quiche
cheese, +pie crust, +cheese sauce
recipe.aol.com - Similiar recipes
Basic Quiche
A very basic recipe for a tasty meal with endless possible variations.
cheese, +eggs, +pie crust, +milk
All Purpose Quiche
Easy to make. Add your own combination of fillings.
cheese, +eggs, +milk, +vegetable
Crispy Potato Quiche Recipe
cheese, +butter, +swiss cheese, +ham, +eggs, +salt
cookeatshare.com - Similiar recipes
Quiche - Master Recipe
Master recipe for quiche.
cheese, +egg yolks, +eggs, +heavy cream, +black pepper, +pie crust, +salt, +whole milk
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text:
Amy recently designed a princess party for Brooke Shields and daughter Grier, who celebrated her 4th birthday in style. She sent over these adorable pictures full of inspiration.
From Amy: "Grier is a girly girl and Brooke wanted Grier to feel like a princess at her birthday party. After all, what mom wouldn't want her daughter to feel like a princess on her special day? We swapped out the typical pink and purple princess party look with a sparkly light pink, rose, and gold color palette. We brought in lots of stars, wands and tiaras into the design. Of course, there had to be a sweets table! However, being that it was a kids party, we made a small dessert table so that the kids weren't overwhelmed with too many sweets. Included on the table were princess cupcakes, cookies, and some candy for the kids and adults. The little princess and her pals were twirling their wands and dancing throughout the party to princess music. It was really cute!"
The details are adorable! Amy Atlas never fails to impress.
More fun details in this People Magazine story about the Princess Party.
For the full write-up, including a few neat prepping pictures and behind-the-scenes moments, check out Sweet Designs (Amy's blog) and princess party posts part 1 and part 2. Photography by Allan Zepeda.