Advanced programming tips, tricks and hacks for Mac development in C/Objective-C and Cocoa.

Writing a parser using NSScanner (a CSV parsing example)

Comma-separated value (CSV) files are one of the most commonly used data formats for exchanging rows of simple data. There are many implementations of CSV parsing for Cocoa strings but the purpose of this post is to use the example of an RFC4180 compliant CSV parser implementation to show you the basics of writing a recursive descent parser for importing data into your Cocoa applications.


CSV parsers for Cocoa already exist: Drew McCormack at MacResearch has a good article covering his implementation of a CSV parser and cCSVParse will also do the job. Instead of CSV and the implementation itself, I'm going to try and focus on reading a parser grammar and adapting that into a program of your own.

Most common solutions for parsing CSV files involve quick parsers which don't consider the full format and instead just split strings into lines using -[NSString componentsSeparatedByString:@"\n"] and then split lines into columns with -[NSString componentsSeparatedByString:@","]. This will work for some cases but it does not handle all aspects of RFC4180 and is limited to simple CSV files.

The technical description of a CSV file

Adapting slightly from RFC 4180 - Common Format and MIME Type for Comma-Separated Values (CSV) files, the Extended Backus-Naur Format (EBNF) grammar for a CSV file is as follows:

    file = [header lineSeparator] record {lineSeparator record}
    header = name {separator name}
    record = field {separator field}
    name = field
    field = escaped | nonEscaped
    escaped = doubleQuote {textData | separator | lineSeparator | twoDoubleQuotes} doubleQuote
    nonEscaped = textData
    doubleQuote = '"'
    twoDoubleQuotes = '""'
    separator = ','
    lineSeparator = ('\r' | '\n') {'\r' | '\n'}
    textData = {characters up to the next double quote character, separator string or lineSeparator}

If you're not accustomed to reading EBNFs, the very first line here (the "file" line) states that a CSV "file":

  • optionally has a "header", which if used must be followed by a "lineSeparator"
  • must have a "record"
  • the first record may be followed by any number of "lineSeparator" plus "record" entries.

The grammar shown here is slightly less restrictive than RFC4180 in that it allows any data (not just the CSV subset of US-ASCII) in the "textData". I'll also implement the parser so that different separators (including any string that contains no new line or double quote characters) can be used instead of commas. The implementation will also support Unix newlines or classic Mac carriage returns can be used instead of DOS "\r\n" line separators.

Design of the parser

The parser will be a form of recursive descent parser, which is the easiest way to implement most simple grammars like the one above. The idea is that we write a method for each line of the grammar. If any line contains a reference to another line, the implementation method will attempt to descend into the method for the referenced line.

If you're accustomed to the lex/yacc school of thought and are curious to know if the approach will similarly split tokenizing and parsing into separate stages: yes, it will. Most of the tokenizing is done by NSScanner (although it presents each token as requested, not as a pre-prepared stream). The code we actually implement will predominantly deal with the parser/generator side.

Initialization of the parser will be handled by the following method:

- (id)initWithString:(NSString *)csvString
    separator:(NSString *)separatorString
    fieldNames:(NSArray *)fieldNames;

The structure of CSV files means that it is difficult to guess if the header line is actually present — so we need to tell the parser whether to look for it. An array of names for fields can be provided if there is no header (if no names are provided, they'll be given names with the format "FIELD_X").

The parsing will be initiated by invoking either:

- (NSArray *)arrayOfParsedRows;

where the result is an NSArray of NSDictionary objects or with:

- (void)parseRowsForReceiver:(id)receiver selector:(SEL)receiverSelector;

where the method receiverSelector must take a single NSDictionary parameter. This second method does not return the entire result but instead sends each row as it is parsed to the receiver. It is more efficient since it does not need to keep copies of all row data.

Parser methods

There are two types of parsing methods that we need to implement:

  • Structural methods which don't directly access the string (parseFile, parseHeader, parseRecord, parseName, parseField, parseEscaped, parseNonEscaped)
  • Tokenizing methods which use NSScanner to access the string (parseDoubleQuote, parseTwoDoubleQuotes, parseSeparator, parseLineSeparator, parseTextData)

I'm not going to show all of them here (you can download the full code to see them) but I will show one of each type.

The tokenizing methods are the easiest. All they do is invoke NSScanner methods.

- (NSString *)parseLineSeparator
    NSString *matchedNewlines = nil;
        scanCharactersFromSet:[NSCharacterSet newlineCharacterSet]
    return matchedNewlines;

The structural elements have a bit more to do but are still fairly simple. The "escaped" element in the grammar has the following structure:

    doubleQuote {textData | separator | lineSeparator | twoDoubleQuotes} doubleQuote

This structure is directly reflected in its implementation — it starts and ends with a check for "doubleQuote" and loops over checks for "textData", "separator", "lineSeparator" or "twoDoubleQuotes" in the middle.

- (NSString *)parseEscaped
    if (![self parseDoubleQuote])
        return nil;
    NSString *accumulatedData = [NSString string];
    while (YES)
        NSString *fragment = [self parseTextData];
        if (!fragment)
            fragment = [self parseSeparator];
            if (!fragment)
                fragment = [self parseLineSeparator];
                if (!fragment)
                    if ([self parseTwoDoubleQuotes])
                        fragment = @"\"";
        accumulatedData = [accumulatedData stringByAppendingString:fragment];
    if (![self parseDoubleQuote])
        return nil;
    return accumulatedData;

An interesting point to note is that most parsing stages return the text that they parse. However, when parseTwoDoubleQuotes is used, we instead append just one double quote character, since the two double quotes is actually an escape sequence representing one.


The most annoying feature to implement in a recursive descent parser is a lookahead — this happens in the parseTextData method.

Lookahead is required because of my choice to accept separator strings longer than a single character. This means that the "textData" element will end with any of:

  • \r
  • \n
  • U+0085
  • "
  • the separator string

Unfortunately, NSScanner can't scan until it reaches one of these 5 elements. The best we can do is create a character set from the first four and the first character in the separator string and use scanUpToCharactersFromSet:intoString:

When scanning through text data, if we reach the first character of the separator string, we need to scan ahead and see if it is actually the whole separator string. The whole separator string will terminate the "textData" without being added, otherwise we backtrack and add the character to the existing "textData" and continue scanning.

If NSScanner had a scanUpToStringFromArray:intoString: method, this lookahead could be avoided (or at least shifted out of our code and into NSScanner). But this method does not exist and it looked like too much work to efficiently implement as part of this post.

The sample program

The sample program that I've provided uses this parser to parse a 1.7 MB CSV file containing 16,081 Australian postcode entries, names and longitude/latitudes (data from As results are parsed, they are entered into a Core Data SQLite file.

The whole process takes about 0.47 seconds on my Mac Pro with parsing taking 0.28 seconds of this time and Core Data object creation taking 0.19 seconds. I'm sure a more carefully coded parser could halve this time or better but it represents good performance for minimal effort.


You can download the CSVParser class and CSVImporter sample project (315kB).

The aim in this post was to present a complete, flexible CSV parser while making the code as easy to read as possible. I hope that it has shown how you can import data from unconventional formats into Cocoa-friendly formats easily while obeying the more minor quirks that many formats have.

The type of parser presented here is a recursive descent parser. This is the easiest parser to implement for simple grammars. However, this is not how commercial parsers are written — larger parsers use generated action and goto tables to handle their branches instead of manually written methods and code. Have a look at the Wikipedia entry on LR parsers for more on how this is done.

Performance tests: Replacing Core Data Key Paths

In Mac OS X 10.5, Core Data switched from using valueForKey: as the recommended way to access Core Data attributes and relationships to auto-generated accessor methods. This new approach is faster for fetching values but lacks NSKeyValueCoding's ability to coalesce the values extracted from every object in a "to-many" relationship in a single statement.

In this post, I'll look at replacing the NSSet traversal and NSSet coalescing abilities offered by NSKeyValueCoding with an approach that invokes accessor methods directly to see if I can bring some of the performance improvement of auto-generated accessor methods to situations involving NSSet traversals.

Accessing the attributes and relationships of an NSManagedObject

In this post, I'll look at performance in a Core Data program using the following model:


If you're not familiar with Core Data entity diagrams, the important point here is that every Company can have multiple Projects and every Project can have multiple Employees

Given this model, if I have a pointer, aCompany, which points to one of the Company objects, getting the company's name is straightforward:

NSString *companyName =;

The name property accessed here is implemented in an auto-generated accessor method that NSManagedObject provides for us.

Before Mac OS X 10.5, the only way of accessing values in Core Data was using key value coding:

NSString *companyName = [aCompany valueForKey:@"name"];

Why was the change away from key value coding made? The main reason was performance (although improved syntax and type-safety also helped). Fetching the name one million times using key value coding takes 0.284016 seconds but using the auto-generated property accessor method this drops to 0.109017 seconds — 2.6 times faster.

Set traversal

But key-value coding (the "old" method) still has one important advantage over the auto-generated methods: it's quicker when traversing a set returned from a 'to-many' relationship.

For example, if I want to get the full set of Project names used by aCompany it is easy with Key Value Coding:

NSSet *projectNames = [aCompany valueForKeyPath:@""];

This works because the NSSet implementation of the NSKeyValueCoding protocol automatically traverses into itself to get the names for each Project object it contains.

Using the accessor methods, the naïve equivalent would be:

NSMutableSet *result = [NSMutableSet set];
for (Project *project in aCompany.projects)
    NSString *name =;
    if (value)
        [result addObject:value];

Not only is this more code than the key value coding approach but it is actually slower. For 10,000 Company objects, each with 100 Project objects, the key value coding approach took 0.25692 seconds and the naïve approach using auto-generated accessors took 0.52873 seconds.

The new and improved approach has gone from 2.6 times faster to 2 times slower.

Fixing the speed problems

The old method got faster

Before I get to why the "new" method was slower, the first point to notice is that the key value coding approach (the "old" approach) was actually faster when using set traversal. Despite the extra work involved in traversing from the Company to the Project and uniquing the names to form a single NSSet, the key value coding took just 0.25692 seconds to fetch one million Project names, down from the 0.284016 seconds to fetch one million Company names.

This isn't a glitch; despite more work involved, Key Value Coding improves its performance when sets are iterated internally (as part of the key path) rather than externally (as I did when iterating over one million Company objects).

Despite its improvements, we should still be able to beat Key Value Coding with our approach using the auto-generated accessor methods but the margin is obviously going to be a lot closer than it was for the iteration..

Fixing the new method

Basic profiling quickly reveals that the problems here have little to do with the actual property accessors. The slow speed is primarily due to addObject:

After looking at the private methods on the stack in the profiler, it became clear that the reason was reallocation. Every time the NSMutableSet needed to grow in size, it was reallocating its internal storage, resulting in the poor performance.

We can pre-allocate the entire set based on the worst-case size (all Project names unique). The code then becomes:

NSSet *projects = aCompany.projects;
NSMutableSet *result = [NSMutableSet setWithCapacity:[projects count]];
for (Project *project in projects)
    NSString *name =;
    if (value)
        [result addObject:value];

Success! This version now runs in 0.19104 seconds (down from 0.52873 seconds) and is now 25% faster than the key value coding approach.

We're no longer 2.6 times faster but NSSet's internal implementation of Key Value Coding has some advantages over us here: since it has internal access to the storage, it can optimize the iteration over the "to-many" relationship and the building of the new set more than we can.

A category implementation

To reuse the above approach in future, we can implement a category on NSSet.

There will be two methods:

  • objectValuesForProperty:
  • coalescedValuesForProperty:

The first will implement the previously mentioned example (where the NSSet contains basic objects).

The second will replicate the Key Value Coding operator @distinctUnionOfSets (to handle the case where the NSSet contains an NSSet and you need to coalesce the objects inside the child sets).

An example of this second case is getting all the Employee objects at a Company. In Key Value Coding we would write:

NSSet *allEmployees = [aCompany valueForKeyPath:@"projects.@distinctUnionOfSets.employees"];

With the coalescedValuesForProperty: method, we could write:

NSSet *allEmployees = [aCompany.projects coalescedValuesForProperty:@selector(employees)];

The implementation is then:

#import <objc/message.h>

@implementation NSSet (PropertyCoalescing)

- (NSSet *)objectValuesForProperty:(SEL)propertySelector
    NSMutableSet *result = [NSMutableSet setWithCapacity:[self count]];
    for (id object in self)
        id value = objc_msgSend(object, propertySelector);
        if (value)
            [result addObject:value];
    return result;

- (NSSet *)coalescedValuesForProperty:(SEL)propertySelector
    NSInteger count = 0;
    for (id object in self)
        count += [objc_msgSend(object, propertySelector) count];
    NSMutableSet *result = [NSMutableSet setWithCapacity:count];
    for (id object in self)
        id value = objc_msgSend(object, propertySelector);
        if (value)
            [result unionSet:value];
    return result;


With the coalescedValuesForProperty: method we iterate over the whole set twice to get the size but this remains the fastest option — in fact, this method is about 35% faster than the Key Value Coding approach compared to objectValuesForProperty:'s 25% improvement.


By request, here's the code used in the testing: (32kB). It's hastily thrown together to accompany this post, so it's not necessarily well written but it's there if you're interested.

I wrote this code and ran these performance tests because I have a lot of code that uses Key Value Coding for traversing "to-many" relationships. I was concerned that since Core Data advocates the use of the auto-generated accessor methods for performance reasons, that my use of key value coding in these cases would be significantly slower than it should be.

The result is that while it is possible to improve upon the performance of Key Value Coding for traversing sets in Core Data, the improvement is only 25-35%, not the 260% improvement from replacing Key Value Coding for individual property access. Key Value Coding is quite efficient when dealing with sets — certainly more efficient than it is when accessing single properties.

Of course, the 35% speed improvement offered by the approach presented here will certainly be beneficial in performance critical areas.

With regards to the implementation itself: never underestimate the performance impact of keeping memory reallocations at a minimum. Starting with a zero capacity NSSet and continually growing it using addObject: was 3 times slower than allocating once.

The capacity of the NSMutableSet allocated is large enough to hold all objects but if the objects are not all unique, this will be bigger than required. If this extra memory usage is a concern, you can copy the set once it is generated. The copy will be only as big as strictly required and you can release the original. The drawback is that this copying process will add another 10-15% onto the time taken.

A drop-in fix for the problems with NSHost

As pointed out by Mike Ash in his recent Friday Q&A 2009-11-13: Dangerous Cocoa Calls, NSHost is not thread-safe for use outside of the main thread and due to potentially slow, synchronous network access is not really suitable for use on the main thread either. Fortunately, in Cocoa there are often ways to transparently fix classes that don't work as they should. In this post, I'll show you how you can transparently patch NSHost using a drop-in solution and provide a non-blocking solution for NSHost lookups.


NSHost is a class with a simple API that fetches the names or addresses of an internet host. You can use it to perform DNS lookups but one of the primary uses is to get the name and address of the current host.

All calls to NSHost are synchronous — they block until the response is fetched. If a network error occurs, this could result in a 60 second delay before a timeout response occurs — definitely not something you want to do in your main thread.

Unfortunately, according to Cocoa's Thread Safety Summary, NSHost is not thread-safe — so we can't simply pass the functionality off to another thread.

Does this mean you must revert to NSHost's CoreFoundation equivalent, CFHost, which is explicitly thread-safe? Not necessarily.

The problems we need to fix

It is not the NSHost objects themselves that are the problem. NSHost objects are immutable once allocated and immutable objects are implicitly thread-safe for most purposes.

The problem is the cache of NSHost objects maintained internally by NSHost when any of the lookups are called — access to this cache is unprotected from the perils of threading.

In addition to this, we need to be able to perform NSHost lookups asynchronously.

Design of the solution

The key consideration in these changes will be a totally drop-in solution — NSHost will immediately and transparently become thread-safe. No further code will be required.

The solution to the threading problem will be to create a corresponding category method for every class method of NSHost which wraps all calls to NSHost in a @synchronized section and then in the load method for the category, swizzle each of these corresponding methods into the place of the original method.

The asynchronous invocations can then be handled like any other asynchronous operation — by spawning a new thread which will call back when complete.

Swizzling alternate implementations

If you don't know what I meant by "swizzle", what we need to do is replace the existing implementations of the NSHost class methods with our own implementations. The code for doing this is as follows:

static void SwizzleClassMethods(Class class, SEL firstSelector, SEL secondSelector)
    Method firstMethod = class_getClassMethod(class, firstSelector);
    Method secondMethod = class_getClassMethod(class, secondSelector);
    if (!firstMethod || !secondMethod)
        NSLog(@"Unable to swizzle class methods for selectors %@ and %@ on class %@",
    method_exchangeImplementations(firstMethod, secondMethod);

Then, in the load method for our category...

@implementation NSHost (ThreadSafety)

+ (void)load
    SwizzleClassMethods(self, @selector(currentHost), @selector(threadSafeCurrentHost));
    SwizzleClassMethods(self, @selector(hostWithName:), @selector(threadSafeHostWithName:));
    SwizzleClassMethods(self, @selector(hostWithAddress:), @selector(threadSafeHostWithAddress:));
    SwizzleClassMethods(self, @selector(isHostCacheEnabled), @selector(threadSafeIsHostCacheEnabled));
    SwizzleClassMethods(self, @selector(setHostCacheEnabled:), @selector(threadSafeSetHostCacheEnabled:));
    SwizzleClassMethods(self, @selector(flushHostCache), @selector(threadSafeFlushHostCache));
    SwizzleClassMethods(self, @selector(_fixNSHostLeak), @selector(threadSafe_fixNSHostLeak));

// category continues...

What this does is swaps in our new implementations, (e.g. threadSafeCurrentHost) in place of Apple's original implementation (e.g. currentHost). Once this is done, any call to currentHost will result in our new code getting executed. Similarly, the original code that we replaced is now reachable by calling threadSafeCurrentHost.

The implementation of each of these thread-safe methods takes the form:

+ (id)threadSafeCurrentHost
        return [self threadSafeCurrentHost];

This may look like the method is just calling itself but remember, after swizzling, the call to threadSafeCurrentHost will actually invoke the original currentHost code. So this method is actually running the original code but inside a @synchronized section to maintain thread safety.

Asynchronous lookup

The best way to perform an asynchronous lookup, now that NSHost will work in a thread-safe manner, is simply to perform the lookup in an NSOperation and have that operation call back when done.

To do this, the ThreadSafety category also adds the methods:

  • currentHostInBackgroundForReceiver:selector:
  • hostWithName:inBackgroundForReceiver:selector:
  • hostWithAddress:inBackgroundForReceiver:selector:

to perform lookups and call back when done. These methods take the following form:

+ (void)hostWithName:(NSString *)name
    [[self hostLookupQueue]
            [[HostLookupOperation alloc]
                receivingThread:[NSThread currentThread]

and the implementation of the HostLookupOperation's main method is extremely simple:

- (void)main
        withObject:[NSHost performSelector:lookupSelector withObject:parameter]


You can download the complete code for NSHost+ThreadedAdditions (3kB).

The main advantage of this approach shown here is that you only need to add the files to your project — you do not need to add or change any other code to make this work.

These additions provide reasonably good thread safety for NSHost as they channel all use of the class through the thread-safe wrapping methods. The limitation to this is that Apple could add further methods in the future that circumvent the @synchonized sections we've added and the thread safety would be breached until swizzled methods were added for these new methods.

On the immutability of NSHost instances — technically, the private instance variables names and addresses of NSHost are allocated mutable but experimentally, I have verified that they are never mutated (in fact, there are no methods on NSHost that would do this). However, localizedName, available in Mac OS X 10.6, uses data from outside NSHost so might not be thread-safe.

In reality, you can avoid all of this code and simply use the CFHost API to achieve the same benefits. This ThreadedAdditions category for NSHost is an effort to continue using the simpler API of NSHost and at the same time, to demonstrate that just because Apple's implementation of something is not thread-safe in its internal implementation, doesn't mean you can't make it thread-safe in the greater context of your whole program.

Creating iPhone and Mac icons using Inkscape (Part 2 of 2)

In this part, I expand on the simple techniques presented in the first part by adding different line, effect and texture styles. I'll also present some Mac application icons and simple texturing.


This series covers the creation of the following different icon styles:


The first icon was created in the first part of the series. I'll go through the creation of the remaining variations on the checkbox/checkmark theme in this post.

I'll assume that you've read the first part or are familiar with the techniques involved.

Icon 2: A brighter, more colorful iPhone icon

Goals in this section
  • Use a radial gradient
  • Learn to adjust all of the common stroke properties
  • Learn to adjust a multi-effect filter

The icon developed in Part 1 is very simple — really just a couple white lines over a typical iPhone icon background — which is appropriate for a serious application but might not stand out as prominently against other icons.

In this variation, I'll have the background reach a bright point behind the checkbox element and change the effect on the lines so that the lines look embossed into this bright point — visually integrating the background and the overlayed element.

I'll also introduce a complimentary (opposite hues) color scheme with an azure blue and a red.

A radial background

Starting with a 57x57 document as created in Part 1, add a rectangle filling the document area.

Set the fill to a radial fill and edit the gradient. In the Gradient Editor, click "Add Stop" twice to make the gradient a four part gradient. Top to bottom, the four gradient colors should be:

  1. RGBA=(192,255,250,255)
  2. RGBA=(99,164,184,255), Offset 0.26
  3. RGBA=(5,74,119,255), Offset 0.62
  4. RGBA=(0,40,80,255)

We now have a bright spot in the center of the background.


Over the top of this, paste (or recreate) the starburst effect from Part — X,Y=(-15.7,-15.7) should center it perfectly.

In the Fill and Stroke palette, set the opacity of the starburst to 100%.

Now, to make the starburst smoother, open the Filter Editor (from the Filters menu) and find the starburst's blur effect (it should be selected in the filter column when the starburst itself is selected). Select the Gaussian Blur effect and set the standard deviation to 0.75.

Different stroke properties for the checkbox and checkmark

Create the checkbox and checkmark in the same way that they were created in the first part or copy them in. If you copy them in, select both the checkbox and the checkmark and choose Filters→Remove Filters to remove the shadow and bevel effect applied in the first part.

Remove the corner radius from the checkbox (select it using the rectangle tool and set the Rx and Ry to zero). In the Fill and Stroke Editor, select the Stroke Style Tab and set the Line Width to 4.0 "px" and the Join Style to rounded. The result of these steps is to create a slightly thicker line that is curved on the corners within its width.

Select the checkmark and set the stroke color to RGBA=(255,42,42,255) and the stroke width to 4.0 "px".

A customized "Cutout glow"

With both checkbox and checkmark selected, choose Filters→Shadows and Glows→Cutout Glow. Go to the Filter Editor and find this Cutout Glow filter. This filter will have 5 effect rows. Select the Offset row and set the X,Y offset to (0.8,0.8). Select the Gaussian Blur row and set the Standard Deviation to 1.0.


Now follow the instructions from the "Apply the gloss effect and round corners" subsection of the previous post to complete the icon.

Icon 3: A cartoonish style

Goals in this section
  • Directly edit paths for greater control
  • See a Path Effect (Spiro Spline) in action

This variation will forego the starburst effect and instead go for a smoother, more "cartoonish" approach. The checkbox and checkmark will then need to be more distinctive as they will be the only significant graphical elements

Creating a path

Start with the background rectangle from the "brighter, more colorful iPhone icon" created above (if you created a cloned version for the round corners, don't copy the cloned version as it will behave strangely).

Select the Bezier Path tool (11th icon down in the Tool Area). We'll draw the rough loop first.

You can use the Bezier Path tool in one of two ways: simple click-and-release to create corner points and straight line segments or click and drag to create curve points (the dragging then affects the curvature of each point).

For simplicity here, I'll show you how to create the path using corner points and we'll apply the curve as a second step. When you're more comfortable with the Bezier Tool, this can be done as a single step.

Create a point at the 12 o'clock position, then 9, 6, 3 and then underneath the original 12. Then another inside the second twelve and then inside the 3, 6, 9, and between the first and second 12's. Then close the path by clicking on the first point.

Bezier path creation: If you make a mistake with the path, you can either fix it later or press escape to cancel the whole path. Pressing the return-key will end the path without closing it.
Adjusting path control point properties

Using the Node Tool (2nd icon down in the Tool Area) ensure the path you just created is selected. Drag a selection box around the nodes at 3, 6 and 9 o'clock (don't select the nodes at 12 o'clock). In the toolbar at the top, select the "Make selected nodes smooth" button (should be 8th from the left in the toolbar immediately above the window).

Applying a path effect

Leaving the path selected, choose the Path→Path Effect Editor menu item. In the Path Effect Editor palette, select "Spiro Spline" from the popup menu and click the "Add" button. The "Spiro Spline" is an effect that makes smooth curved paths much easier than regular Bezier curves.


Once this is done, you can tweak the nodes in the path (using the Node Tool) until it is the exact shape desired.

In the Fill and Stroke Editer, remove any stroke, apply a faded yellow to faded orange linear gradient fill from left to right across the checkbox loop and it is done.

Stroke to path

Create the checkmark as for the previous icons but set the Stroke Width to 6 "px" and the Style Join and Cap to square corners. With the path selected, choose the menu item Path→Stroke to Path. This will turn the line into a filled path. Set the stroke of this path to "no stroke" and set the fill to an orange to red linear gradient fill from left to right across the checkmark.

Now we need to adjust the checkmark to have a looser aesthetic. Select the Node Tool and the checkmark. Drag the lines in the short stem upwards slightly and the lines in the long stem inwards slightly. Adjust the control points at the ends of each stem so that they are flared outwards a little.


Follow the instructions from "Bevel effect and shadow" from Part 1 to apply these effects. Follow the instructions from the "Apply the gloss effect and round corners" subsection of the previous post to complete the icon.

Icon 4: A document-based Mac icon

Goals in this section
  • See the common components of a Mac document-based application icon
  • Use multiple overlapping gradients to achieve softer gradients
  • Add a texture to a background by filling with text

In terms of colors and effects, Mac icons tend to be far more subdued than iPhone icons. Where iPhone icons are only shown on the Home screen but are small and need to stand out, Mac icons may sit in the Dock for extended periods and shouldn't be distracting during this time.

For this reason, Mac icon colors tend to be slightly more subdued than iPhone icon colors and are frequently much lighter overall.

While Mac icons are typically larger (an average of around 64x64) they can also be shown at smaller resolutions. The approach to satisfying the size range is normally to compose the icon from two key parts:

  • An object or item that is easily recognizable in silhouette or at small sizes
  • Texture or subtler elements that fade away at smaller sizes but add structure and context at larger sizes

Mac icons must also handle a range of different background colors as they may be shown against people's desktop backgrounds, white folder backgrounds or against the near black of a vertical Dock. To achieve good contrast against the background, most icons are generally light in color but with a subtle shadow behind them — not for 3D effect but to contrast with lighter backgrounds. Many icons also incorporate a frame or boundary into the representation which further adds to the strength of the icon's silhouette.

A rotated background

To start the icon, create a 64x64 px document. This size will help us optimize for the expected screen resolution.

Into this, draw a 44 by 50 rectangle. Give it an azure to deep blue linear gradient from left to right and a white 3px stroke.

Using the Selection Tool (first in the Tool Area), select the rectangle. Initially, this will show the resizing arrows around the shape. Click a second time to switch these arrows to the rotating arrows (don't double click as that will switch to the Node Tool). Click and drag one of the corner arrows to rotate the rectangle by 8° (the rotated angle should be visible in the status bar at the bottom of the window while dragging but the exact angle isn't important).

Some effects and another gradient

On its own, a single gradient isn't a very impressive effect. The trick in making a background effect that is both attractive and subtle, is normally to layer a few different effects on top of each other.

With the rectangle selected, select "Path"→"Union". This may seem like a weird thing to do but it actually recreates the object using a path at the rotated orientation. We do this because Effects in Inkscape (like the shadow we're just about to apply) look bad (pixelated) when rotated. Recreating the object at this rotation means the effect will not have a rotation applied.

Copy and paste this rotated rectangle and put the copy next to the original. Apply a drop shadow to the original with 50% opacity, Offset of (1,1) and radius of 1.5.

Now remove the stroke from the copy. You'll notice that without the white stroke covering 1.5 px of the copy, the gradient region of the copy actually looks slightly bigger than the original. We need this shape to be the same size as the colored area of the original, so use the Selection Tool and with the rezize arrows, adjust the two to match (set the color to a flat fill like red and overlap the two objects to make it easier).

Now set the second object to have a top to bottom (parallel to its rotated axis) linear gradient fill with four color points:

  1. RGBA=(168,247,249,255)
  2. RGBA=(144,198,215,0), Offset 0.30
  3. RGBA=(95,144,175,0), Offset 0.70
  4. RGBA=(18,49,106,255)

Since this second gradient is transparent in the middle, it will show the first gradient in varying amounts through the middle. Overlapping the two should result in a softer gradient that vaguely resembles diffuse lighting across a slightly convex surface.

A light text-based texture

The formatting of the following paragraph is not an mistake.

    As indicated before, it
    helps to add a texture to
    your Mac icons. It is best
    if you have a texture or
    image that is related to
    your application — for
    this icon I don't really
    have an application, so
    I'm going to use a block
    of arbitrary text (this
    paragraph, in fact).

The Text Tool is two icons above the Gradient Tool. Click on the document to create a text object and type the text shown and formatted as above. With the text object selected, choose the Zapfino font from the font popup menu in the top toolbar. I like Zapfino because when zoomed out, it seems ornate and indistinct.

Now use the Selection Tool to scale and position the text object over the other gradient rectangles.


To add a gloss effect over everything, create a 53 by 28 rectangle, with a flat RGBA=(255,255,255,60) fill and no stroke and rotate and position it over the top half of the existing shapes.

The "representative" element

For the representative element, I'll use a checkmark in an orange circle. Create a checkmark line (same as in previous icons) set a white 5 px stroke on the checkmark.

Create a 43 by 43 circle (unlike the Rectangle Tool, you can't specify the size of a circle with the Circle Tool selected. If you want to do this, you'll need to use the Selection Tool). Set a red-orange to yellow-orange radial gradient on the object and no stroke.

Using the Gradient Tool, drag the center control point of the gradient to the bottom-right corner of the circle's bounding box, the endpoint of the horizontal stem to the bottom-left corner and the vertical endpoint to the top-right corner.


With the circle selected, use the menu item Filters→ABCs→Diffuse Light. Then use the Filter Editor to set the Gaussian Blur effect of this filter to a Standard Deviation of 1.0. Then apply a drop shadow to the circle.

Finally, position everything together and the icon is complete.

Icon 5: A circular Mac icon

Goals in this section
  • See the common components of a Mac "appliance" application icon
  • Apply effects to a path to make the boundary shape more interesting and more distinct from the background
  • Create a texture using an effect

A circular icon is constructed in the same way as a rectangular backed icon. The only significant differences are:

  • gradients tend to be various kinds of radial gradient to give a convex feel to the round shape
  • the overlayed element will be more centered so it helps if it is less solid (thinner and lighter)
Compose a round icon

Since you've seen how to put together basic shapes and radial fills before, I'll just show you the components I used to create this icon as a graphic:


Notice how bright the elements all are: Mac icons are normally quite bright — you want to avoid a "muddy" effect with too many dark colors.

When composing elements, if one of them is at the wrong depth (overlaps other objects wrong) you can change the depth by selecting the object and using the Page Up/Page Down keys (or by using the "Object"→"Raise"/"Lower" menu items).

Make the checkmark look interesting

The checkmark must stand alone in this icon, which means that it should have a few special effects applied to it so that it doesn't look sterile and boring. I applied the following effects to the checkmark:

  1. Filters→Non-realistic 3D shaders→Comics
  2. Filters→Shadows and Glows→Inner Glow. For this filter, I changed the Flood color to a medium blue and reduced the Gaussian Blur (now the second blur in the Effects list for this object after the Comics blur from the previous effect) to a Standard Deviation of 1.0.
  3. A drop shadow.

To texture the circle, I used the RGBA=(176,112,42,140) circle (middle element shown above) and applied a Filters→Image effects, transparent→Marbled ink effect. This gives a slightly moon cratered look that matches the somewhat planetoid shape of the object.



You can download an Inkscape SVG file containing all the icons and their compositions (482kB).

This two part series has been outside the normal domain of programming information that I provide. However, applications programmers will regularly find themselves needing to create, edit or adjust artwork-related assets in their applications. I hope I've given some useful tips on the way artwork assets are composed and ways you can make your artwork look good, even if it is very simple.


With iPhone or Mac icons, they are typically composed from the same elements:

  1. A background gradient (or two).
  2. A texture or additional effect.
  3. A gloss or lighting highlight.
  4. A foreground element or symbol representing your application which, after the other elements are applied, need only be very simple.

With gradients and effects, it is helpful to use a few so that your icon seems rich on close inspection but to keep each one very subtle since they shouldn't distract or make the icon harder to perceive (in a quick glance, the user shouldn't even see the effects you've added).

Icons do not need to be complex; the most professional icons are often very basic. Lack of artistic skill need not be a hinderance if you keep it simple.

Creating iPhone and Mac icons using Inkscape (Part 1 of 2)

In this two part series, I'll give a beginner's guide to creating iPhone and Mac application icons using Inkscape — a free, vector illustration program. In this first part, I'll talk about the common styles and traits of icons on the Mac and iPhone and give a step-by-step guide to creating the first iPhone icon in Inkscape.


This series will cover the creation of the following different icons:


Only the first icon will be created in this part. The remaining four will be covered in the second part.

It may seem strange to be covering icon creation in a Cocoa programming blog but the icon is an important part of an application and Cocoa is primarily an application programming environment. While larger development teams have dedicated graphic artists to create icons and other artwork assets, the reality is that on smaller teams or on solo projects, a programmer may need to create icons themselves.

The goal of this series is to show non-graphics professionals how to create graphics of an acceptable level for their applications that follow the established visual trends for iPhone and Mac apps.

A vector approach

This post is partly a response to Elite By Design's "Design The iTunes Icon For The iPhone And iPod Touch" which produced an iTunes-style icon at 125x125 pixels in Photoshop.

I wanted to show an alternative approach to the one suggested in that article. This alternative approach has the following advantages:

  • Entirely vector artwork, so it will scale from 57x57 pixels up to 512x512 pixels as required for App Store submissions.
  • Rounded corners and gloss are applied to a separate clone of the base artwork so the submission to Apple can be non-prerendered if you choose.
  • Created using free software as non-professional artists don't always have access to Photoshop.

In addition to detailing iPhone icon creation, the second part will also cover basic Mac icon design.

Established styles

I continue to be surprised when I look at screenshots of the Windows 7 taskbar.


These are the first four icons that a Windows 7 user sees and they are the strangest collection of graphics I've ever seen. They share no obvious visual style; they are all drawn with different perspective, they all have different weights, some are glossy while others are matte, some have line edges while others are self-edged (no lines) and they don't share a color palette.

Icon styles on the Mac

By contrast, icons on the Mac tend to have more in common:


Ignoring the "Finder" icon (which is actually the "Mac OS" icon and predates Mac OS X by about 5 years), these icons come in three distinct styles:

  • Document applications (rectangular background angled 5-10° left).
  • Appliance applications (round — or at least non-rectangular — background).
  • Utilities (orthogonal rectangular background).

Originally, Apple had the guideline that utilities should look like they were "items sitting on a shelf" but only the disk utitilies still follow that guideline.

In addition to these three categories, the icons tend to:

  • Have approximately the same weight (fill roughly the same amount of their visual area).
  • Use soft gradients, sometimes (but not always) with a light gloss or highlight.
  • Use a generally bright but slightly desaturated palette of grays, azure blues, desaturated reds and sandy yellows (utility apps tend to use more blacks and darker colors).
  • Indicate their function or concept with an overlayed or nested element.
  • Are self-edged and have almost no internal lines (the outline of the icon is sometimes edged for contrast)

Of course, none of these are immutable but following them will make it easier to create a simple icon that looks like it belongs on the Mac.

Icon styles on the iPhone

The iPhone has a style that is distinct from the Mac:


Aside from the obvious round cornered background and top-down gloss effect, iPhone icons tend to use:

  • Strongly saturated colors
  • A bright gradient or colorburst in the background
  • White silhouetted representative elements over the background

There is certainly variation and some icons that follow their own rules entirely (the "Notes" and "App Store" icons have little in common other than the rounded corners) but the easiest path to creating an icon that looks like it belongs on the iPhone is to incorporate these elements.


The tool that I will use to create the icons is Inkscape. Inkscape is a GPL-licensed SVG-based vector illustration program that you can download from It is available in a Universal binary for Mac OS X 10.3.9 and newer.


A nice multi-purpose icon but clearly not designed with "standard Mac app" as its primary goal.

You will need X11 installed and pre-Snow Leopard users will need an updated version of X11 (download new versions from here:

Yes, Inkscape is an X11 program, which means that Open/Save dialogs are non-standard, windows may not come to the front when you expect them too and keyboard shortcuts are all Control-X instead of Command-X. Despite this, Inkscape is generally a good program — certainly far better than most X11 applications on the Mac.

If you prefer a different illustration program, most of the techniques in this guide will apply. The Filter Effects and the Path Effects are probably the points that will be most different but I'm sure you can find alternatives.

Page area

Let's start with a blank document in Inkscape.

A new document will appear when you start Inkscape or you can create a new document from the "File"→"New"→"Default" menu.

Go to the "File"→"Document Properties". Set the Default Units to "px" and the custom document size to 57 by 57.

The reason why we set the units and use the actual pixel sizes in a vector program is this will let us align points to whole value boundaries and avoid unnecessary anti-aliasing. For example, drawing a shape with its edge at Y=0.5 will cause the actual shape border to anti-alias across two different pixels when we render at 57x57 pixels but if we set the shape border's Y coordinates to 1.0, it won't have this problem.

The page area will now look tiny in the window. You can zoom in using the middle mouse button (click and drag with the middle mouse button to pan) or the "+" key. Alternately, you can zoom the document area to fill the window by pressing the "5" key.

Zooming: you will need to be comfortable with zooming in the program. The "+" and "-" keys will zoom in and out at any time. The 3 key will zoom to the selection and 4 will show all drawn elements. Clicking and dragging the middle mouse button will pan the document, clicking the middle mouse button will zoom and shift-middle mouse will zoom out.

Creating the glossy round rectangle

The Tool Area is the column of buttons down the left side of the window. The 5th tool from the top is the rectangle tool.

Red round rectangle

Using the rectangle tool, drag out a rectangle to fill the document area.

Open the Fill and Stroke palette (menu item "Object"→"Fill and Stroke" or Control-Shift-F). With the rectangle we created selected in the window, select the Stroke tab of the Fill and Stroke Palette. Make certain there is no stroke (the "X" icon should be selected). Select the Fill tab of the palette. Set a solid color fill (the solid square icon) and use the sliders to set a bright red fill (this is just so that we can see the shape easily).

Quick colors: you can also set solid fill and stroke colors on the selected object by left clicking (fill) or shift-left-clicking (stroke) a swatch at the bottom of the window.

We now need to edit the rectangle properties. Using the rectangle tool again, click the rectangle to select it (if it isn't already selected). In rectangle edit mode, a toolbar will appear at the top of the window labelled "Change" with coordinates "W", "H", "Rx" and "Ry". Set the "W" and "H" to 57 — this will make the rectangle exactly 57 pixels wide and high (if the rectangle auto-locked to the edges of the document, these values may already be set). Set the "Rx" and "Ry" to 10 — this will set the corner radii to 10 (a round rect).

Numerical accuracy: I'm going to quote a lot of coordinates and color values in this post but this is only so I can communicate what I'm doing. Most of the time, you do not need to be pixel accurate and can do things more approximately if you prefer.

Using the selection tool (the first tool in the Tool Area) select the rectangle. The object's "X" and "Y" coordinates will appear in the toolbar at the top. Set these to zero. The rectangle is now exactly the size of the document with round corners.

The gloss round rectangle

Copy the red round rectangle object (select it and press Control-C) and paste it (Control-V) somewhere else (when pasted, the object will be centered where the mouse is, so place the mouse over a different part of the document).

Copy and Paste bug: if the Copy and Paste fails (you get a bitmap instead of a proper editable object or nothing seems to happen), then you may be seeing a bug in Inkscape due to recent X11 changes. To work around this bug, go to the X11 preferences and on the Pasteboard tab, disable "Update Pasteboard when CLIPBOARD changes". Alternatively, you can use "Edit"→"Duplicate" to duplicate without copying.

With the copy selected, go to the Fill tab of the Fill and Stroke palette. Set a radial fill for the object (4th icon from the left at the top). If you've set the red color, then the radial gradient will initially look like a red dot fading outwards.

Click the "Edit" button in the Fill tab to edit the gradient. In the "Gradient Editor" that appears, the popup menu at the top will contain two items (the opaque red color and the fully transparent red color). Hit the "Add Stop" button twice to add two extra items in the gradient.

Edit the topmost item in the list of colors (the opaque red color) and set it to white with an alpha value of 86. Set the second item to white with an alpha of 75. Set the third to black with an alpha of 60. Set the final item to white aith an alpha of 0.

You also need to set the offset of the two middle colors. The black color should have an offset of 0.63. The white color should have an offset of 0.62.

This round rectangle should now look like a faint gray donut. Select it and set its "X" and "Y" coordinates to (0,0) (so that it perfectly overlaps the original red round rectangle).

With the faint gray donut selected, choose the Gradient Tool (second last in the Tool Area — if your vertical screen resolution isn't very high, you may need to select the Gradient Tool from the popup menu at the bottom of the Tool Area). An "L" shape of control points should appear over the donut.

Drag the control point that appears in the middle of the donut to the middle of the top edge of the round rect (it should lock onto the point with the text "Handle to bounding box").

Drag the round control point at the end of the horizontal arm of the "L" to X=-50. You can see the "X" value of the cursor at the bottom right of the window. Hold down the "Control" key while doing this to ensure that the "Y" value remains the same. Similarly, drag the round control point at the end of the vertical arm to Y=12.


On the Stroke tab of the Fill and Stroke palette, set a linear gradient stroke (third icon from the left at the top) for the gloss object. On the Stroke Style tab, set the line width to 1.0 px.

On the Stroke tab, edit the gradient. Set the start color to white and the end color to RGBA=(255,255,255,0). Using the Gradient Tool, select the gloss object. There should now be an extra set of control points in a horizontal line across the middle of the object corresponding to the stroke's gradient. Drag the start point of this line (square control point) to the top right corner of the object and the end point of the line (circular control point) to a position three quarters the way up the right-hand side of the object.


Since the stroke added to the gloss object changed the size of the object, you will need to re-set the size of the gloss object to 57x57 at X,Y=(0,0).

You should now have a glossy red round rectangle in the style of an iPhone icon. If you know what you're doing in Inkscape, you can move these objects to another layer and hide them now however, it's probably easiest just to save this document and copy these objects when they are needed later.

The first iPhone icon

Blue-green background

Create a 57 by 57 rectangle at X,Y=(0,0) again, using the same approach as the red rectangle from the previous section but leave the corners square (you may need to explicitly set Rx and Ry to zero since it may remember the radius from before).

Set the fill of this rectangle to a linear gradient (third icon from the left at the top of the Fill tab in the Fill and Stroke palette). Edit the gradient and set the start point to RGBA=(15,112,126,255) and the end point to RGBA=(0,0,53,255).

Using the Gradient Tool from the Tool Area, select the rectangle and drag the gradient starting point (the square control point) to the center of the bottom edge of the rectangle. Drag the gradient end point (the round control point) to the center of the top edge of the rectangle.

Gradient colors: almost every gradient you use should involve a hue shift. When you want an actual 3D or lighting effect, you can also apply a luminance shift. The gradient here shifts from blue into the green direction as it lightens (a common choice). The other most common gradient would probably be from a darker red or orange towards a lighter yellowy orange. Hues on the green side of yellow or purple hues are rarely ever used.
Starburst object

Now, using the Stars and Polygons tool from the Tool Area (8th from the top) and drag out a shape (it will probably appear as a 5 point star — if it isn't a star, click the star icon in the top toolbar). With the Stars and Polygons tool and the object still selected, you should be able to edit the properties of the star. Set the number of corners to 350, the spoke ratio to 0.3 and the Randomized property to 0.015. Choose the Select and Transform tool (first tool in the Tool Area) and select the star. You can now set the width and height both to 87 and the X,Y to (-15,-15).

In the Fill and Stoke palette, set the opacity of the star to 50%.

Then, set a radial fill on the star from a start color of RGBA=(255,255,255,0) to an end color of RGBA=(0,235,255,255). This radial gradient fades out in the middle which will help the checkbox stand out from the background more.

A blur effect on the starburst

With the star object still selected, select the menu item "Filters"→"ABCs"→"Simple Blur". Then select the "Filters"→"Filter Editor..." menu item. This will display the Filter Editor palette.

Space limitations: If the Fill and Stroke Palette is still showing when the Filter Editor appears, you'll notice that they don't fit well together down the right margin. I recommend you either close the Fill and Stroke Editor or drag the Filter Editor off into its own window.

There should be one filter listed in the list of filters — this is the filter you just created. When you select the filter in the list, the Effect "Gaussian Blur" will appear in the Effect column at the right. Select the Gaussian Blur and the "Effect Parameters" tab will appear at the bottom. Set the "Standard Deviation" to 0.25.


You can also apply "Blur" using the Fill and Stroke palette. The blur radius at the bottom of this palette is 2.74 times the Standard Deviation applied here (no, I'm not really sure why the difference is 2.74 times).

The checkbox and checkmark objects

Now create a 29x29 round rectangle with corner radius 4 at X,Y=(14,14). This is the checkbox. This time, set no fill (the "X" icon on the Fill tab of the Fill and Stroke palette) and set a plain stroke (second icon from the left at the top of the Stroke tab) with a white color. On the "Stroke Style" tab, set the width to 3.0 "px". While here, set the "Cap" to round. It won't matter as much for this object, but we're just about to draw a line and we want it to have round endcaps.

Select the Bezier Line tool (11th icon down in the Tool Area). Click the mouse and release to create points at X,Y = (19.5,30), (28.5,20) and (47,48). Press the return key when done to finish the path. This is the checkmark. Now select the Node Tool (second icon from the top of the Tool Area) and select the checkmark. Click and hold the mouse in the middle of each line segment and drag up slightly to give the lines a slight curve. You can use the control points to tweak the effect if you're not happy.

Bevel effect and shadow

Select the checkmark and the checkbox. From the Filters menu select "Bevels"→"Ridged Border". Then from the Filters menu select "Shadows and Glows"→"Drop Shadow", set the blur to 2.0, the opacity to 35%, the offset to (3,3), hit the "Apply" button and close the Drop shadow dialog.

Speed tip: when zoomed in on objects using effects, the rendering can get slow. To disable effects or to drop entirely into wireframe mode, choose "No Filters" or "Outline" from the "View"→"Display Mode" menu or press Control-Keypad5. The "Ridged border" effect is especially slow in the current version of Inkscape — I recommend zooming out before you apply it and turning effects off before you zoom in close.

If you want to fully integrate the checkmark and the checkbox, you can convert the checkbox object to a path, the checkmark stroke to a path and then create a union of the two. I'll leave that to you if you're interested.

Apply the gloss effect and round corners

Select the green gradient background, the starburst, the checkbox and the checkmark and group them all together (Control-G or menu "Object"→"Group"). This will let you select them all in one go (ungroup with Control-Shift-G or double-click the group to select objects within the group without ungrouping).

With the group selected, from the Edit menu select "Clone"→"Create Clone". This will create a copy that continues to update when the original updates. Move the clone to X,Y=(-115.7,-15.7) (this coordinate include extra padding of approximately 2.74 times the starburst's blur standard deviation of 0.25 which is the amount that a blur will expand an object's boundary).

Now we need the red glossy round rectangle. If you saved them in a different document, copy them into this document now. Select the red background and gloss (drag a rectangle around both using the Selection Tool) and set the X,Y coordinates of the two of them to (-100,0). This may make the two objects hidden behind the cloned group objects so press the "Home" key (or select Raise to Top from the Object menu).


Drag the gloss and the red rectangle off of the objects they are covering (it doesn't matter where you put them). Select the cloned group and the red round rectangle but not the gloss gradient. Undo the two object moves. This should leave the cloned objects and the red round rectangle selected but all of the objects on top of each other. From the Object menu, select "Clip"→"Set". This should clip the cloned group to the boundary of the red round rectangle, and make the red round rectangle disappear.

Clipping: when clipping in Inkscape, the topmost object is always used as the clipping boundary and all other selected objects are clipped to its boundary.

Export the bitmap

Congratulations, your iPhone icon is complete.

You can export the prerendered (cloned, glossed and rounded) version to a PNG by selecting the gloss gradient that's over the clipped shape and selecting "Export Bitmap" from the "File" menu. Make sure that "Selection" is highlighted in the window that appears and set the width and height of the exported image to whatever size you want. Use the Browse button to select a location then hit the export button.

If you want to send the non-prerendered version to Apple, then select the uncloned group and export from that. 57x57 for the application icon and 512x512 for the high resolution version in your App Store submission.

Resampling: You may get a better effect on the small icon if you export at a larger size and use another program (Preview, GIMP, etc) to scale it down. This may give better anti-aliasing performance — particularly if your resizing program uses Lanczos resampling.

If you'd like your icon as a PDF, SVG or a number of other vector graphics types, you can choose "Save As..." and save to the format of your choice.


You can download an Inkscape SVG file containing the final icon (122kb). Note: Safari and other programs will open SVG files but the effects (shadows, blurs, etc) will only appear if the SVG is opened in Inkscape.

In the second part, I will go through the steps for other icons, showing different stylistic options and explaining more of the effects and graphical elements you can use to create your icons. I'll look closer at filter effects in Inkscape, creating more sophisticated line paths, using gradients in multiple directions to achieve softer effects and creating simple textures to fill blank areas.