Some lovely little animation experiments from Cameron.
Sunday, July 22nd, 2018
Tuesday, June 26th, 2018
A walkthrough of the process of creating a futuristic interface with CSS (grid and animation).
While this is just one interpretation of what’s possible, I’m sure there are countless other innovative ideas that could be realized using the tools we have today.
Building More Expressive Products by Val Head
The products we design today must connect with customers across different screen sizes, contexts, and even voice or chat interfaces. As such, we create emotional expressiveness in our products not only through visual design and language choices, but also through design details such as how interface elements move, or the way they sound. By using every tool at our disposal, including audio and animation, we can create more expressive products that feel cohesive across all of today’s diverse media and social contexts. In this session, Val will show how to harness the design details from different media to build overarching themes—themes that persist across all screen sizes and user and interface contexts, creating a bigger emotional impact and connection with your audience.
I’m going to attempt to live blog her talk. Here goes…
This is about products that intentionally express personality. When you know what your product’s personality is, you can line up your design choices to express that personality intentionally (as opposed to leaving it to chance).
Tunnel Bear has a theme around a giant bear that will product you from all the bad things on the internet. It makes a technical product very friendly—very different from most VPN companies.
Mailchimp have been doing this for years, but with a monkey (ape, actually, Val), not a bear—Freddie. They’ve evolved and changed it over time, but it always has personality.
But you don’t need a cute animal to express personality. Authentic Weather is a sarcastic weather app. It’s quite sweary and that stands out. They use copy, bold colours, and giant type.
Personality can be more subtle, like with Stripe. They use slick animations and clear, concise design.
Being expressive means conveying personality through design. Type, colour, copy, layout, motion, and sound can all express personality. Val is going to focus on the last two: motion and sound.
Expressing personality with motion
Animation can be used to tell your story. We can do that through:
- Easing choices (ease-in, ease-out, bounce, etc.),
- Duration values, and offsets,
- The properties we animate.
Here are four personality types…
Calm, soft, reassuring
You can use opacity, soft blurs, small movements, and easing curves with gradual changes. You can use:
- scale + fade,
- blur + fade,
- blur + scale + fade.
Pro tip for blurs: the end of blurs always looks weird. Fade out with opacity before your blur gets weird.
You can use Penner easing equations to do your easings. See them in action on easings.net. They’re motion graphs plotting animation against time. The flatter the curve, the more linear the motion. They have a lot more range than the defaults you get with CSS keyword values.
For calm, soft, and reassuring, you could use
easeInOutQuad. But that’s like saying “you could use dark blue.” These will get you close, but you need to work on the detail.
Confident, stable, strong
You can use direct movements, straight lines, symmetrical ease-in-outs. You should avoid blurs, bounces, and overshoots. You can use:
- quick fade,
- scale + fade,
- direct start and stops.
You can use Penner equations like
Lively, energetic, friendly
You can use overshoots, anticipation, and “snappy” easing curves. You can use:
- overshoot + scale,
- anticipation + overshoot
To get the sense of overshoots and anticipations you can use easing curves like
easeInOutBack. Those aren’t the only ones though. Anything that sticks out the bottom of the graph will give you anticipation. Anything that sticks out the top of the graph will give you overshoot.
If cubic bezier curves don’t get you quite what you’re going for, you can add keyframes to your animation. You could have keyframes for: 0%, 90%, and 100% where the 90% point is past the 100% point.
Stripe uses a touch of overshoot on their charts and diagrams; nice and subtle. Slack uses a bit of overshoot to create a sense of friendliness in their loader.
Playful, fun, lighthearted
You can use bounces, shape morphs, squashes and stretches. This is probably not the personality for a bank. But it could be for a game, or some other playful product. You can use:
- squash and stretch (springs.
The easing curve for elastic movement is more complicated Penner equation that can’t be done in CSS. GreenSock will help you visual your elastic easings. For springs, you probably need a dedicated library for spring motions.
Expressing personality with sound
We don’t talk about sound much in web design. There are old angry blog posts about it. And not every website should use sound. But why don’t we even consider it on the web?
We were burnt by those terrible Flash sites with sound on every single button mouseover. And yet the Facebook native app does that today …but in a much more subtle way. The volume is mixed lower, and the sound is flatter; more like a haptic feel. And there’s more variation in the sounds. Just because we did sound badly in the past doesn’t mean we can’t do it well today.
People say they don’t want their computers making sound in an office environment. But isn’t responsive design all about how we don’t just use websites on our desktop computers?
Amber Case has a terrific book about designing products with sound, and she’s all about calm technology. She points out that the larger the display, the less important auditive and tactile feedback becomes. But on smaller screens, the need increases. Maybe that’s why we’re fine with mobile apps making sound but not with our desktop computers doing it?
People say that sound is annoying. That’s like saying siblings are annoying. Sound is annoying when it’s:
- not appropriate for the situation,
- played at the wrong time,
- too loud,
- lacks user control.
But all of those are design decisions that we can control.
So what can we do with sound?
Sound can enhance what we perceive from animation. The “breathe” mode in the Calm meditation app has some lovely animation, and some great sound to go with it. The animation is just a circle getting smaller and bigger—if you took the sound away, it wouldn’t be very impressive.
Sound can also set a mood. Sirin Labs has an extreme example for the Solarin device with futuristic sounds. It’s quite reminiscent of the Flash days, but now it’s all done with browser technologies.
Sound is a powerful brand differentiator. Val now plays sounds (without visuals) from:
- Outlook Calendar.
They have strong associations for us. These are earcons: icons for the ears. They can be designed to provoke specific emotions. There was a great explanation on the Blackberry website, of all places (they had a whole design system around their earcons).
Here are some uses of sounds…
Alerts and notifications
You have a new message. You have new email. Your timer is up. You might not be looking at the screen, waiting for those events.
Apple TV has layers of menus. You go “in” and “out” of the layers. As you travel “in” and “out”, the animation is reinforced with sound—an “in” sound and an “out” sound.
When you buy with Apple Pay, you get auditory feedback. Twitter uses sound for the “pull to refresh” action. It gives you confirmation in a tactile way.
Marking positive moments
This is a great way of making a positive impact in your user’s minds—celebrate the accomplishments. Clear—by Realmac software—gives lovely rising auditory feedback as you tick things off your to-do list. Compare that to hardware products that only make sounds when something goes wrong—they don’t celebrate your accomplishments.
Here are some best practices for user interface sounds:
- UI sounds be short, less than 400ms.
- End on an ascending interval for positive feedback or beginnings.
- End on a descending interval for negative feedback, ending, or closing.
- Give the user controls to top or customise the sound.
When it comes to being expressive with sounds, different intervals can evoke different emotions:
- Consonant intervals feel pleasant and positive.
- Dissonant intervals feel strong, active, or negative.
- Large intervals feel powerful.
- Octaves convey lightheartedness.
People have made sounds for you if you don’t want to design your own. Octave is a free library of UI sounds. You can buy sounds from motionsound.io, targetted specifically at sounds to go with motions.
Let’s wrap up by exploring where to find your product’s personality:
- What is it trying to help users accomplish?
- What is it like? (its mood and disposition)
You can workshops to answer these questions. You can also do research with your users. You might have one idea about your product’s personality that’s different to your customer’s. You need to project a believable personality. Talk to your customers.
Designing for Emotion has some great exercises for finding personality. Conversational Design also has some great exercises in it. Once you have the words to describe your personality, it gets easier to design for it.
So have a think about using motion and sound to express your product’s personality. Be intentional about it. It will also make the web a more interesting place.
Wednesday, June 20th, 2018
A collection of collections.
This site is dedicated to compiling and sharing useful resources for Designers and UI Developers.
Saturday, May 26th, 2018
There are some lovely animations in this year-long challenge.
The idea behind Daily CSS Design is to create one responsive design every day for a whole year. All shapes, patterns and colors are made by coding.
Monday, April 23rd, 2018
All of this reminds me of Jake’s proposal for navigation transitions in the browser. I honestly think this would solve 80% of the use-cases for single page apps.
Jonathan goes down the rabbit hole of trying to animate a
There’s a veritable smörgåsbord of great workshops on the horizon…
Clearleft presents a workshop with Jan Chipchase on field research in London on May 29th, and again on May 30th. The first day is sold out, but there are still tickets available for the second workshop (tickets are £654). If you’ve read Jan’s beautiful Field Study Handbook, then you’ll know what a great opportunity it is to spend a day in his company. But don’t dilly-dally—that second day is likely to sell out too.
This event is for product teams, designers, researchers, insights teams, in agencies, in-house, local and central government. People who are curious about human interaction, and their place in the world.
I’m really excited that Sarah and Val are finally bringing their web animation workshop to Brighton (I’ve been not-so-subtly suggesting that they do this for a while now). It’s a two day workshop on July 9th and 10th. There are still some tickets available, but probably not for much longer (tickets are £639). The workshop is happening at 68 Middle Street, the home of Clearleft.
A bit before that, though, there’s a one-off workshop on responsive web typography from Rich on Thursday, June 29th, also at 68 Middle Street. You can expect the same kind of brilliance that he demonstrated in his insta-classic Web Typography book, but delivered by the man himself.
You will learn how to combine centuries-old craft with cutting edge technology, including variable fonts, to design and develop for screens of all shapes and sizes, and provide the best reading experiences for your modern readers.
Whether you’re a designer or a developer, just starting out or seasoned pro, there will be plenty in this workshop to get your teeth stuck into.
Tickets are just £435, and best of all, that includes a ticket to the Ampersand conference the next day (standalone conference tickets are £235 so the workshop/conference combo is a real bargain). This year’s Ampersand is shaping up to be an unmissable event (isn’t it always?), so the workshop is like an added bonus.
See you there!
Friday, April 6th, 2018
Thursday, April 5th, 2018
Friday, March 30th, 2018
In this days of monolithic frameworks, I really like seeing modest but powerful patterns like this—small pieces that we can loosely join.
Wednesday, March 7th, 2018
Metaballs, not to be confused with meatballs, are organic looking squishy gooey blobs.
Here’s the maths behind the metaballs (implemented in SVG).
Thursday, March 1st, 2018
Browsers have had consistent scrolling behavior for years, even across vendors and platforms. There’s an established set of physics, and if you muck with the physics, you can assume you’re making some people sick.
Guidelines to consider before adding swooshy parallax effects:
- Respect the Physics
- Remember that We Call Them “Readers”
- Ask for Consent
Given all the work that goes into a powerful piece of journalism—research, interviews, writing, fact-checking, editing, design, coding, testing—is it really in our best interests to end up with a finished product that some people literally can’t bear to scroll through?
Tuesday, January 2nd, 2018
Tuesday, November 28th, 2017
Take a break. Build a sandcastle. It’s relaxing.
Friday, November 17th, 2017
What a great way to play around with CSS animations!
Thursday, October 19th, 2017
The end result is really impressive but there’s still the drawback that the browser history will be updated every time you click on an image thumbnail (because the functionality relies on
ID attributes referenced via
:target). Depending on your use-case, that may or may not be desirable.
Monday, October 2nd, 2017
Monday, September 25th, 2017
I honestly think if browsers implemented this, 80% of client-rendered Single Page Apps could be done as regular good ol’-fashioned websites.
Having to reimplement navigation for a simple transition is a bit much, often leading developers to use large frameworks where they could otherwise be avoided. This proposal provides a low-level way to create transitions while maintaining regular browser navigation.