![]() iOS 9 category additions (from left to right), Row 1: Bank: Pound, Car Wash, Community Centers, Community Services, Electronics, Fashion, Food, Fun Row 2: Health, Home Decor, Home Services, Hospitals: Islamic, Hospitals: Jewish, Hospitals: China, Hospitals: Nanjing China, Juice Bars & Smoothies Row 3: Landmarks, Motorcycle Repair, Music & Drama, Nightlife, Parks & Rec, Popular, Professional Sports Teams, Ramen Row 4: Real Estate, Recreation Center, Schools: Japan, Services, Surfing, Transportation, Venues & Events Row 5: Urgent Care, Wetlands, Wine Bars, Yoga, Zoos: Bejing Disclaimer: It’s possible that some of the icons we’re noting as new at particular system levels were available earlier, and we didn’t discover them until a later version of iOS. Primarily because of the newly added ability to zoom in to airport terminal interiors, iOS 12 saw an uptick with 27 new icons. There was a fairly significant number of new icons added with iOS 9 (37) with fewer additions for iOS 10 (17) and iOS 11 (7). Since we first examined the POI icons with iOS 8, Apple has made several additions to the set in an attempt to improve Apple Maps usefulness and more accurately represent human interest. If you are interested in learning more about the history of the AIGA Symbol Signs, Atlas Obscura wrote about the symbols in detail in 2015, noting that the original nursery symbol (a baby bottle) drew complaints from nursing mothers, prompting a change to the “Helvetica Baby” symbol in 1979. Comparison of AIGA Symbol Sign iconography and Apple’s POI icons Most of the icons are almost one-to-one, with the most signifiant changes being a Ferry with more windows and less waves, the removal of the sash and passport perspective for Immigration, and a less crowded Elevator. Department of Transportation, were originally released in 1974 (expanded to 50 icons in 1979 and 55 icons in 1985) and were produced because as AIGA states, “While effective individual symbols had been designed, there was no system of signs that communicated the required range of complex messages, addressed people of different ages and cultures and were clearly legible at a distance.”Īpple’s icon set references almost half of the AIGA Symbol Signs in the POI system. The AIGA Symbol Signs, a set of 34 symbols designed by Roger Cook and Don Shanosky and commissioned by the AIGA and the U.S. In this instance, since Apple hasn’t collected these icons and presented them in a way that they can be viewed and considered as a collection, we did.Ĭurrent infographic systems such as this can often be tracked back at least in some small part to the AIGA Symbol Signs that were originally designed for the U.S. It is not unusual to see designers repeating mistakes made in similar applications that are no longer around to actively reference. The ephemeral nature of software can be disheartening at times. These applications live on now only through screenshots and the occasional video. However, with digital work like websites - and especially software such as the mobile applications we develop at Mercury - once a software update is pushed live or hardware becomes obsolete, previous versions all but fade away. Apps that we created just a few short years ago have long since had their backend services disabled and no longer run on newer hardware. With print, there is a physical artifact at the end of the process that is given a fighting chance at survival. Unfortunately with digital work, archiving in a way that the work can be experienced as originally intended is often even more challenging. You might think that in the digital world it would be easier to keep track of and archive past work. In the process they painstakingly digitally recreated emblems, mascots, and pictograms for past games, many of which had previously been recreated inaccurately and were being used incorrectly. Ben Hulse and Greg Durrell of design firm Hulse & Durrell travelled the world researching Olympic branding for past games - pouring over old artifacts and when available, graphics standards manuals - in an attempt to create as historically accurate and authentic a representation as possible of past games for the Olympic Heritage Collection. Little of a designer’s work is sacred. Highlighting this fact, take something as culturally significant as the Olympic games. On the print side, design work is quickly discarded, forgotten and lost to decay. The trade-off however is that the shelf life for our work is often exceedingly small. One of the rewards of our field is that our work has the potential to reach a mass audience. Because of this, creating some sort of documentation/historical archive for this icon set interested us. ![]() We’re also hyperaware of the fleeting nature of our work.
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