Movement, change, and animation are a lot more than ways to delight users: they are a functional method for design.
These examples are essentially animated wireframes, but extra detail isn’t needed. Designing how things change and move is enough for us to understand what they are and the relationships between them. You don’t need the heavy-handed metaphor, because the information is baked into the element’s behavior, not its aesthetics.
A designer’s work is not only about how the things look, but also their behaviors in response to interaction, and the adjustments they make between their fixed states. In fact, designing the way elements adapt and morph in the in-between moments is half of your work as a designer. You’re crafting the interstitials.
Animation gestures should emulate human ones for more complete meaning? I had this thought in a very small moment in iOS7 after tapping on a link in my email that opened up Safari. Mail shrugged its shoulders politely to me and quickly dropped out to the right, as Safari swooped in equally as polite and presented itself to me on the left. It definitely felt like an appeasing, enjoyable moment that made me appreciate what the device was doing for me - and all of a sudden, I grasped the Japanese’s obsession with cute devices. A basic principle in the study of HCI is that humans provide exponentially more non-verbal communication queues to one another. This essentially boils down to more information shared. We see early explorations of animatronic expressions in robots, but so far, this has yet to be properly explored in human interactions with digital interfaces. I am very eager to look at the potentials of the inclusion of human emulated non-verbal cues in digital interfaces and how much more information we can actually present to users in this fashion.
A brief experiment in 1980s commercial motion graphics, sampling what my young brain was indoctrinated with at the time: Robert Abel & Associates commercials, EPCOT Center promotion and New Wave nonsense. Featured in the 2013 CalArts Experimental Animation Showcase Animation: Jess Iglehart | http://bit.ly/16JLW0j Music: Sean Solomon & Pascal Stevenson | http://bit.ly/14JRVlJ WHITE HOT GRID © 2013 Jess Iglehart Made at CalArts (2013)
A short narrative about a divers flight of fantasy. Made in four weeks with my collaborator Sean Weston. www.jameslancett.com http://bit.ly/WMRoJ9 Music by Thomas E. Brown, check his work out here: http://bit.ly/12wSlxhwww.jameslancett.com http://bit.ly/WMRoJ9 Music by Thomas E. Brown, check his work out here: http://bit.ly/12wSlxh