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Vu Tran June 4th, 2010

Illustrator’s Tools and Palettes Used Most for Icon Creation

Initially, we didn’t intend to post this part, which is out of our unpublished book on icon creation, simply because we had thought that everything about this topic has been provided in the Adobe’s Help files as well as available anywhere on the Net. However, we thought twice and saw that it wouldn’t be superfluous at all if we shared and pinpointed what utensils needed most and particularly served for our making of icons. But above all, we also believed that this tutorial-meaning part could be useful for those who begin to take part in this icon-design area and might give some certain tips to all of you who care out there.

So, in this part, we’d like to show you around some basic tools and palettes in Adobe Illustrator and what we need to use for drawing our icons, including some nice stuffs from the Tools panel like the Pen tool, the Selection tool, the Scale tool to several inevitable sets in the floating palettes like Colors palette, Layers palette, Swatches palette. For each and every of these utensils, we will also provide you with what they aim for and how to deal with them.

(This post follows up the tutorial series “Icon Design Made Simple“.)

Getting started: Create a new document

We all already know about this first-thing-to-do and know how to do it, but it should be mentioned here because of one kinda important thing which is supposed to be carried out in Step 2. OK, here we go.

  1. Launch your Adobe Illustrator, go to File and choose New or press the keys combination Ctrl+N (Windows) or Command+N (Mac OS) to start a new document.
  2. In the New Document dialog box, you should see some settings like “Name”, “New Document Profile”, “Size”, “Width”, and “Height” or whatever but here in icon design, we only take care of the Width and Height settings and leave the rest at default. Type 128 or whatever unit you want in the Width and Height fields, and please always remember that the two fields must have the same value because that is required when you are going to draw an icon.
  3. Hit the OK button to get your artwork started.
  4. Once the new document is opened, choose File then Save as… and select a location to save it with a name like icon_tutorial.ai or whatever name you like, then click “OK” to accept the defaults in the Illustrator Options dialog box.

By default, the Illustrator interface shows a Tools panel on its left and some other palettes on the right, and your document window will appear between those palettes. Press the F key to switch to the Preview mode.

Adobe Illustrator CS3 User Interface

The Tools panel (or the Toolbox)

Thanks to the Adobe guys, the Illustrator’s Tools panel contains lots of various handy tools with specific functions, helping us accomplish our artwork fast.

Fig 1.1. The Tools Panel

However, followings are the ones we always rely on when making an icon.

The Zoom tool (Z) The Zoom tool

The Zoom tool allows us to enlarge or reduce the view of artwork we are viewing or when we want to edit everything in detail.

Select Zoom tool or press the Z key and right click on the canvas to select Zoom in or Zoom out, or we can press the keys combination Command/Ctrl++ to enlarge and Command/Ctrl+- to reduce.

The Hand tool (H) The Hand tool

We use the Hand tool to scroll to different areas of the document. This tool is usually taken right after our artwork has been zoomed in or zoomed out.

Click the Hand tool in the Tools panel and drag downward or upward in the document window. Everytime we drag, the artwork moves with the hand pointer.

The Shape tools

The Shape tools include the Rectangle tool, the Rounded Rectangle tool, the Eclipse tool, the Polygon tool and the Star tool.

1. The Rectangle tool The Rectangle tool

Use this when you want your path to be a rectangle or square shape.

Click on the Rectangle tool in the Tools panel (or press the M key) to select it. Click the left mouse button and drag on the artboard.

2. The Rounded Rectangle tool, the Eclipse tool, the Polygon tool and the Star tool

These tools are similar to the Rectangle tool and will be used when we want to change the Corner Radius (by using the Rounded Rectangle tool), or to change the Radius and side (by using the Polygon tool), or to change the Radius 1 or/and Radius 2 and the vertex of your star (by using the Star tool).

Select the appropriate tools then click on your canvas, a dialog box appears for you to type units in, hit OK and start drawing.

The Pen tools (P)

The Pen tools are the essence of Adobe Illustrator. We use the Pen tools to draw and edit curves. The Pen tools quartet includes:

  1. Pen tool, used to generate straight and curved lines.
  2. Add Anchor Point tool (+), allows you to add new anchor points.
  3. Delete Anchor Point tool (-), enables you to delete existing anchor points.
  4. Convert Anchor Point tool, used to change corners to curves and vice versa; it also allows you to tweak the exact character of a curve.

The Pen tools are not only the heart of Adobe Illustrator but also the core of our job. So we will pay much attention to these tools more than the others.

1. The Pen tool The Pen tool

With the Pen tool, we can easily draw straight or curved lines. Curved lines are also called Bezier curves (named after the French mathematician, Pierre Bezier, who developed a method for defining curves mathematically). Drawing Bezier curves, which is one of the tasks we do most, costs a little more time and effort. That means “practice, practice and practice”. And once the Pen tool is mastered, it becomes a really cool weapon for icon designers.


Bezier curves are made up of three components – two anchor points (begin and end), segment lines, and control handles. The control handles, attached to each anchor point and always in a straight line with them, shall determine the shape of the curve on either side of the anchor point.

Let’s play with it a little bit now.

Play with it

To draw straight-line segments:

  1. Select the Pen tool (P).
  2. Add your start anchor point by clicking one time with the left mouse button.
  3. Now add the end anchor point to make your first straight-line segment by clicking the mouse once again. From now on, you can make more straight-line segments with a few more clicks.

To draw a curve:

  1. Repeat step 1 and 2 above.
  2. Now add the end anchor point for your first curve by clicking and holding the mouse button down.
  3. Drag the mouse to bend the curve the way you want it to be, and then release your left mouse button when you see the curve is okay with you.

To create a shape with straight-line segments (a cornered shape):

  1. Select the Pen tool (P).
  2. Add your start anchor point and end anchor point to make the first line segment.
  3. Add another anchor point to make the second line.
  4. Position the mouse pointer over the start point, a small circle will appear next to the Pen tool pointer once it is positioned correctly. Click to close the path, making a complete shape.

To create a shape with curved segments (a shape with Bezier curves):

Similar to drawing a cornered shape but you need to drag the mouse instead (See how to draw a curve). Note that you normally encounter an opened shape, of which the start point and the end point don’t connect. To connect and close this shape, just click back onto the start point (make sure the Pen tool pointer has to change to a closed circle icon before clicking).

In Fig 1.2 below, the Bezier curve comes up with two points and control handles. When drawing some straight lines, you only need to select the Pen tool and make a few clicks on your artwork, and then some zigzag lines with no control handles will appear.

To draw a Bezier curve, right after one left-click is made on your artwork you need to hold down the left-mouse button and drag for the control handle to appear, and then release the mouse button. You can do these same actions two or more times until you have Bezier curves as desired.

Fig 1.2. Bezier Components

There are times when you need to edit a path to get it just right. There are also plenty of times when you have a complex path, and you want to modify it to create a new path that is less complicated. And editing a path can be done in several ways, and the following tools will help you do these tasks.

2. The Add/Delete Anchor Point tools (+/-)

These two tools give us more power and control to drive a path. Specifically, they help us easily edit our paths and Bezier curves. We will have to add some anchor points when we prepare to re-shape a path, and we can reduce the complexity of a path by deleting its unnecessary anchor points.


a. If you add one point to a straight path, the new anchor point will be a straight anchor point, and clicking a curved path brings about a new smooth anchor point.

b. A path with fewer anchor points is easier to edit and display, so it is not a good idea to add more points than necessary.

c. If you delete the corner or curve (smooth) points of a path, the shape of the path will transform; if you delete the points on a straight path, the shape of the path will be still intact.

Play with it

To add an anchor point:

  1. Select the path you want to modify.
  2. Select the Pen tool (P) or the Add Anchor Point Tool (+), move the pointer over the path segment and click.

To delete an anchor point:

  1. Select the path you want to modify.
  2. Do one of the two following ways:
    Select the Pen tool (P) or the Delete Anchor Point Tool (-), position the pointer over the anchor point and click.
    Or, select the anchor point with the Direct Selection tool (A) and click Remove Selected Anchor Point in the Control panel. (docked at the top of the work area, by default)

3. The Convert Anchor Point tool (Shift+C) The Convert Anchor Point tool

This is another wonderful tool that you will take over and over again when you draw an icon. What do you do when you already have an anchor point but you need to change it from this type of point to something different? The answer is using the Convert Anchor Point tool, which is the last one from the Pen tool quartet.

With this tool, you can convert an anchor point from corner to smooth, or vice versa. It works similarly to the Add/Delete Anchor Points tool.

Play with it

To convert a corner point to a smooth point:

  1. Select the Convert Anchor Points tool.
  2. Click on an anchor point you want to convert and drag the mouse until you have a Bezier curve as expected.

To convert a point with control handles to the point without control handles:

  1. Select the Convert Anchor Points tool.
  2. Click on a smooth point you want to convert and release the mouse button.

a. Clicking on a smooth point will convert it to a straight anchor point.

b. Dragging a point will make that point turn to a smooth anchor point.

c. Dragging on a control handle will make a smooth point turn to a combination point. If you want to convert a straight anchor point to a combination point, you must first make the point become a smooth point, and then drag on the control handle.

The Pen tools quartet should be used along with the Direct Selection tool, completing an essential tool set in your icon-drawing process.

For now, let’s get started with a small exercise – how to edit a shape.

Process of editing a shape

  1. Draw a rectangle shape.

    Fig 1.3

  2. Add some more anchor points to the rectangle. Select the Direct Selection tool (A) and use it to move those anchor points you just made to your intended positions where your shape will be formed.

    Fig 1.4

  3. Select the Convert Anchor Point tool and use it to change the corner points to smooth points.

    Fig 1.5

…and here are our shapes filled with colors.

Fig 1.6

The Selection tool (V) The Selection tool

As named, this tool allows us to make selections on our paths or Bezier curves.

Play with it
  1. Select the Selection tool (V).
  2. Click on the outline of a path to see it highlighted with a different color.

In case the outline doesn’t appear, press Command+Option+B (Mac OS) or Ctrl+Shift+B (Windows).

The Direct Selection tool (A) The Direct Selection tool

It allows us to change the shape of a path by moving the position of anchor points, or it helps transform a curve by adjusting the length of control handles. This tool probably is the best of all in the Tools panel, we guess. It is a helpful and easy-to-use tool that you should use all the time you work with Adobe Illustrator.

Play with it

To move a straight segment:

  1. Select the path by using the Selection tool (V).
  2. With the Direct Selection tool (A), select the segment you want to adjust.
  3. Drag the segment to a new position.

To adjust the length or angle of a straight segment:

  1. Select the path by using the Selection tool (V).
  2. With the Direct Selection tool (A), select an anchor point you want to adjust.
  3. Drag the anchor point to the desired position.

To adjust the position or shape of a curved segment:

  1. Select the path by using the Selection tool (V).
  2. With the Direct Selection tool (A), select a curved segment or an anchor point on either end of the curved segment and some direction lines will appear. Note that some curved segments need only one direction line.
  3. Do one of the followings:
    - To adjust the position of the segment, drag the segment.
    - To adjust the shape of the segment on either side of a selected anchor point, drag either the anchor point or the direction point (the control handle).

The Scale tool (S)

Sometimes we need this tool to deal with our artwork when we want to change the size of a shape. Specifically, we need this tool to enlarge or shrink the paths of a shape, or scale two anchor points to make them symmetrical.

Play with it
  1. Press the V key to activate the Selection tool and select the shape you want to resize. You can select multiple paths/anchor points by holding down the Shift key and click.
  2. Double-click on the Scale tool in the Tools panel. The Scale dialog box opens, type some value to resize and check/un-check “Preview” to see how your shape has changed.

The Eyedropper tool (I)

This tool is to extract (or pick) color or gradient or stroke already filled in a path or image.

Play with it
  1. Select the Eyedropper tool (I).
  2. Click on a path or image that has color/gradient/stroke you want to extract (pick). The extracted will display on the Color/Gradient palette as well as on the Fill and Stroke of the Tools panel (look back at Fig.2. The Tools panel)

The Artboard Tool (Shift + 0)

Once you finish your icon, this tool allows you to export the vector format to raster-based image.

What about the other ones?

The Blend tool (W): A nice tool to use but you will have to meet this tool later in a single particular tutorial.

The Gradient tool (G): This tool has a close relationship with the Gradient palette so we will mention both of them later.

The Mesh tool (U):  This tool, as a matter of fact, is used when someone wants to draw a Mesh surface (visualized 3-D) like a leaf or a drop of water, for instance. Based on our experiments in the icon-drawing process, this tool really could not work it out and not worth our efforts with it. There are some other simple tools that could totally replace this one thanks to their flexible and straightforward use, and with these substitutes, our icon designs take less time and have similar outcomes as desired, and it is easier for us to re-edit anything when needed.

The Flare tool: The Flare tool is rarely used to draw icons and therefore we can forget it.

Okay folks, that’s all you need to know about the Illustrator’s basic tools that you have to get used to and master, if you wish to shorten your study time as well as to facilitate the process of drawing and creating beautiful icons.

These tools must not only be comfortable with, but also be of combined use. This aims to increase your confidence with each tool and to help you get more flexibility in creating shapes. For example, to create a complex shape that requires highly-precise curves, we normally select the Shape tool first to create a simple shape, and then add some extra anchor points to the segments and transform the shape from simple to complex as expected.

What is more, icon-drawing means 2-D graphics application! Mathematically speaking, that is what they call Plane Geometry, which needs to be understood a little so that you can save more time for your icon-drawing process.

The Tools palettes

The Tools palettes are another great feature in Illustrator and not less powerful than the Tools panel.

From these palettes, you get quick access to many other different tools which assist in modifying your artwork. Thanks to them, we are able to manage layers, paths, objects, colors, gradients, swatches, pathfinder…,  our icon-drawing process would make us easier to breathe. Let’s float with these palettes now!

Look at the Illustrator CS3 User Interface again, there are a bunch of palettes on the far right side…

Adobe Illustrator CS3 User Interface

…and only a few of them are needed for drawing icons, though.

As we can see, all of these palettes are in the same form, which provides the same components. During the whole process of icon-drawing, we regularly remain in touch with their options, settings, and parameters. Followings are some common ways we frequently do in our practices:

-Moving a palette to any convenient location, by dragging on its title bar.
-Changing the size of a palette, by dragging this little triangle  appeared on the bottom-right corner of that palette.
-Clicking the little triangle appeared on the upper-right corner of a palette to call up a pop-up menu that allows us to unhide hidden options with many commands.

The Color palette

This palette consists of some color standards. The aim of using is to add color to your paths or change their color.

Fig 2.1. The Color palette

Play with it
  1. Draw one or two paths using the Pen tool or the Shape tool.
  2. Expand the Color palette and click on and choose RGB (as shown in Fig 2.3).
  3. Select a path and add some color to it by doing one of the followings:
    • Drag the slide bars, or
    • Type values in the color fields, or
    • Use the color bar, or
    • Use the Color Picker dialog box, by double-clicking on the Fill icon

a. The RGB (Red, Green, Blue) color mode should be selected for drawing icons (see Fig 2.3).
b. The color setting options are identical, meaning that if there is a change in one option. The others will change correlatively.
c. The path will turn in gray color when the color fields have the same values.

Fig 2.2. Choosing the RGB color mode

The Swatches palette

“All productivity secrets lie here in this palette”.

As named “Swatches”, this palette helps you build up and keep your collection of swatches (alias for colors and gradients), which are to be used and reused in the process of creating your artwork. When you want to create a set of icons with a specific style, which requires unification and consistency of colors, tones, materials…, you only need to choose your own swatches from the Swatches palette.

Fig 2.3. The Swatches palette

Play with it

To adapt yourself to the use of the Swatches palette -

  1. Draw some paths.
  2. Select one path or two you want to add color/gradient.
  3. Go to the Swatches palette, click on the color/gradient you like to add to the path(s). The swatches you picked now should appear in the path(s), and the swatch values will also display correlatively in the Color palette.
Here are some small tasks you are recommended to do frequently:

1. Make a habit of creating and using your own swatches – Whenever you add color/gradient to a path, and you are glad with the result, don’t forget to keep that color/gradient for later uses.

2. Save swatches to make your library – You can edit the Illustrator’s startup documents in order to customize your palettes, but this does not really help if you are constantly changing the sets of swatches. Instead, you are recommended to save and use libraries. Keep adding and deleting the swatches until the Swatches palette contains only swatches of your choice, and then call up the palette’s pop-up menu and choose “Save Swatch Library as..”. Name it and save it in the Swatches folder under the Illustrator Applications folder (e.g., Illustrator CS3>Presets>Swatches). Restart your Illustrator, and from then on you can access your library from Window>Swatch Libraries>your_library_name.

3. Clean up the Swatches palette – At some time the Swatches palette becomes full with your own libraries or the swatches that you may never use again, it is necessary to clean up the palette and your libraries. To delete multiple swatches, click on color/gradients while holding down the Shift key to select the swatches you do not want anymore, and then click the Delete icon or press the Backspace key (Mac OS) or the Delete key (Windows) to delete those swatches.

Fig 2.4. Working with the Swatches palette

The Stroke palette

“For stroke, we call it outline in icon design.”

The Stroke palette is a delicate function that provides information related to the stroke of a path. Throughout this guide, I will use this stroke function as a means to easily distinguish the drawn paths. Specifically, when drawing outlines, you also have to make 0.1pt thickness to the stroke (do it in the Weight field).

Fig 2.5. The Stroke palette


The Stroke palette is used only for making the paths stand out among them. But when you render your icon, the stroke value must be changed back to 0pt.

The Gradient palette

“Color-tweaking made simple.”

You have to befriend with this palette like you do with the Gradient tool before entering the world of icon design. Because icons love gradients and that is what is all about once you choose Adobe Illustrator to create icons.

Fig 2.6. The Gradient palette

Play with it
  1. Draw some paths using the Pen tool or the Shape tool.
  2. Select the path(s).
  3. Click the gradient shown in the Gradient Fill box (or you can pick one in the Swatches palette).
  4. Activate the Gradient tool (press G) then click and from one side, drag across the path filled with the gradient and release the mouse button when you get to the other side.

a. You can freely drag from any direction or angle.

b. You can hold down the Shift key while dragging to constrain the drag in a straight line, making the blend occur equally. You might as well keep dragging until the desired result is achieved.

If you don’t like the color of your gradient, you don’t have to call for the gradients that come from the Swatches palette. Instead, use the Gradient palette to change colors, add colors, remove colors, and change the way the colors behave.

By default, the Gradient palette shows only one slider bar and that limits us to exploit its power. So first we need to unhide its options that include Type, Angle, and Location. The Type option contains two types of gradient – Linear and Radical – which you need to take use of.

Play with it

To create a new gradient:

  1. Click on the Gradient Slider bar or the Gradient Fill box.
  2. Drag the gradient slider to create a color gradation.

To adjust the gradient color:

  1. Click once on the square icon below the gradient slider.
  2. In the Color palette, drag the Color sliders.

To add color to the gradient: Drag a color from the Color palette or the Swatches palette and drop it onto the Gradient Slider bar.

To delete color from the gradient, drag the square icon off the gradient slider.


If a gradient pleases you, don’t forget to save it as a swatch to reuse as necessary.

The Transparency palette

This is the palette you can hardly miss in the process of blending colors for icons. You will need it to depict bright or dark areas, making a variety of colors for the mono-colored pieces of the path you are drawing.

Fig 2.7. The Transparency palette

In the Transparency palette, there are some options and settings like Blending, Opacity…, and some commands in its pop-up menu like Make/Release Opacity Mask… But at the moment, we are going to focus on the Blending and Opacity options, the others will be mentioned later.

Although you can see all of the Blending modes in the palette, we would like to list them all here.

Normal Mode: Normal
Darken Mode: Darken / Multiply / Color Burn
Lighten Mode: Lighten / Screen / Color Dodge
Light Mode: Overlay / Soft Light / Hard Light
Invert Mode: Difference / Exclusion
Color Mode: Hue / Saturation / Color / Luminosity

Off these modes, we would love to pick up the Multiply (Darken Mode) for a dark area, and the Screen / Color Dodge (Lighten Mode) for a bright or highlight, and you will see them regularly used in the exercises later.

Play with it
  1. Draw some paths that pile up together and disorder.
  2. Add different colors or gradients to each path.
  3. Select one path or some more, then change the Opacity.
  4. Alternate the options of Blending.

a. Keep your eyes open to the changes of the heaped-up color layers.

b. Try to keep in mind on how the effects occur while you are changing the Opacity and the Blending modes.

c. This will give you a little bit experience in seeking out and creating multi-colored pieces. Practice this process as long as you feel acquainted with the effects generated from the Opacity and Blending options.

The Appearance palette

A path has certain attributes that can define the appearance of that path. When you specify such attributes as settings of stroke, fill, transparency, gradient, effect, etc. these attributes will appear listed in this Appearance palette. In other words, this palette gives you a way to every attribute of a path or a group of paths.

Fig 2.8. The Appearance palette

Play with it

Select a path or a group of paths then look at the Appearance palette. Could you tell me what attributes are in there?

But if you look over it, you will know that the Appearance palette not only gives details about the settings of the paths’ appearance (such as stroke, fill, transparency and effects), but also brings about a visual interface for you to select and adjust any of these settings. You just need this interface to delete attributes you don’t want anymore or to add more effects to them.

  1. Select a path.
  2. Click on an attribute (Stroke or Fill) in this palette to highlight it.
  3. Click the “Delete Selected Item” icon to delete the attribute.

The Layers palette

Hold on. Why layers?

Okay, first, we have to give you a little bit of a lengthy explanation.

As you might know, or you can search on the net, when talking about any kind of Classical Painting (water color or oil color) and any technique used in the work like wet-in-wet, washes, glazing, transparent, etc., we could say that most traditional painters tend to create an illusion of depth through layering process in their drawings.

That is, to complete a perfect painting, they usually have to play through several painting stages, known as transparent layers, which include the layer of under-painting (also means “sketch”), the layers of form and composition, the layers of color, texture, depth, light and detail and so on. These transparent layers will be stacked on top of each other until the desired results are achieved. Through these painting stages, the layers help develop the images inspired or influenced from an image sequence, which is imagined by the painter. To comply with this sequence of images, the layers will be stacked in a certain order to produce a logical composition. As the process goes, some layers may be removed by the painter’s choice.

So it’s clear to see that layers are inevitable in a graphic depiction of paintings, or that’s to say, in forming a complete painting. Layers can be viewed sequentially or simultaneously to reveal relationships between the initial sketch (the under-painting), the finished work and any compositional change within the painting layers. Any viewer to a painting can themselves manipulate these layered images to look beneath the surface of a painting.

OK, that’s enough. Now go back to our main subject. When working on a complex artwork with lots of paths or groups of paths, it’s a challenge to keep track of all the paths in our document window. Small paths get hidden under bigger paths, making it hard to work with everything inside the artwork. And then here comes our savior – the Layers palette.

The Layers palette provides a way to manage all the paths that make up our artwork. Just relate the layers in Illustrator to those in the classical painting mentioned-above! By viewing only certain layers, you can concentrate more easily on the task at hand. Layers are extremely versatile and can really help keep our complex illustrations under control and manageable.

The structure of layers in your document can become as simple or complex as you want it to be. By default, all paths are organized in a single parent layer. However, you can create some more new layers and move the paths into them, or move the elements from one layer to another at any time.

The Layers palette also makes it easier for you to select, hide, lock, and change the appearance attributes of your artwork.

Fig 2.9. The Layers palette


You will have to work with multi-layers in a document where there are a great deal of icons. That means you won’t have to worry about multi-layers if you’re drawing one icon only.

Play with it

Create a new layer/sublayer:

  1. In the Layers palette, click the name of the layer above which or in which you want to add the new layer.
  2. Do one of the followings:
    -To add a new layer above the selected layer, click the Create New Layer button in the Layers palette.
    -To create a new sublayer inside the selected layer, click the Create New Sublayer button in the Layers palette.

Delete a layer: Do one of the followings:

-Click the name of the layer and drag it to the Delete Selection button in the Layers palette.
-Click the target button on the right side of the layer group and then click the Delete Selection button in the Layers palette.
-Click the target button on the right side of the layer or the group of paths you want to delete. When it appears as a double ring icon, press the Backspace key (Mac OS) or the Delete key (Windows).

Lock/Unlock and Hide/Show a layer/path/group: Look at the two boxes to the left of each layer – the left-hand box controls the view, whereas the right-hand box controls locking. An eye in the left box indicates that the layer is fully visible in your document. This task is usually carried out to check a path if it works or not, considering that the path will be deleted or kept then.

To lock or unlock a layer, check or uncheck the right-hand box.

To hide or show a layer, check or uncheck the left-hand box.

Select or un-select a layer/path/group: Position the mouse pointer at the far right of the path, and click. A little dot appears to indicate your selection.

Moving a layer/path/group:

  1. Click the name of the path to highlight it.
  2. Drag it to a new position inside the layer or another layer.

The Brush and Symbol palettes

These are rarely used so we bypass them at the moment. We will talk about these palettes later on when needed.

Final Words

That’s almost everything we wanted to share about our weapons for icon creation. Should we request you that you need to master these essential and simple tools?  No, because that is obvious, that is what we began getting us to do, if you want to quickly and properly learn how to draw and create beautiful and proper icons.

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