Behind the Scene : on Spatial Iconography
"In what ways could spatial computing challenge our preconceptions of icon design?"
Context
Forte Branding. Iconography
The logos and iconography of the past have been characterized by the application of symbolism and visual enigma to portray meaning. Generally rendered in two dimensions, designed for display on planar surfaces. The challenge, typically, is to ensure seamless reproduction across various mediums. In the modern digital age, app icons predominantly inhabit the space of screens. Yet, even as technologies for reproducing subtle gradients in print and complex multicolored embroidery have dramatically improved, the design of logos and iconography for the use of app icons have remained relatively traditional in their approach. Does the introduction of the spatial computer bring about hastened evolution of icon designs? The opportunity provided by the screen's high dynamic range could allow us to reconsider the typical design constraints by applying subtle visual cues not practical in the traditional sense.
In the new era of spatial computing platforms, the focus shifts toward the volumetric representation of contents. Apple's first iteration of VisionOS reflects this shift, emphasizing the transition from a two-dimensional window to a three-dimensional volume, much like the skeuomorphic techniques adopted during the early days of iOS. The provision for straightforward migration of millions of 2D screen-designed apps into the immersive spatial computing experience is a given; however, is a simple porting of a flat medium to an immersive space the best strategy for most designs?
Pondering upon the entry point, namely the design of app icons within the immersive context. if most of the experiences are consumed in this hyperreal space so thoroughly woven into our physical one. Could they not be “materialized” within this enhanced view of our new reality? Can the tried and tested design techniques be applied differently, forgoing the flat design as paper-thin panels in the spatial view?
Drawing inspiration from immersive game design, it seems more intuitive to introduce volumetric objects, which users can interact with, as an integrated representation in the dimensional medium. In focus here are applications of diverse functionality grouped into a family of lifestyle offerings, from creative to productivity tools as well as leisure content. It presents an exciting opportunity to experiment with spatial-forward icons that articulate the features and benefits of digital services.
For instance:
“App E, whose half-circle of light and dark form conveys its travel-related functionality as a visual metaphor of the globe illuminated by the sun; or app A, where the triangle symbolizes a designer color tool based on the trigonometric HSB attributes, with the fluid shape-shifting form inside the cone container signifying change. Finally, the half and quarter-circle of the R app echo the concept of half and quarter notes in musical notations.”
Utilizing visual metaphors is crucial in conveying these three-dimensional forms as icons for the spatial world. Further, animated versions could lend more context to their function. The example provided uses subtle gradations to suggest the dimensionality of these pseudo-3D forms as backward-compatible icons on screen-based platforms, yet easily convertible into 3D objects for the spatial format on platforms like VisionOS. As part of a visual experiment, dedicated translucent shapes are integrated into the icon, creating an intriguing dimensional and sculptural object. This subtle exploration as minimal of a gesture as they seem suggests a much bigger flat design reversion trend where the metaphors of forms, materiality, and dimensionality are back on the stage, as the adoption of spatial computers takes center stage for the next decade.
-SCH
