Schlagwort-Archive: Design

Delight Users with Animation

“Delight” is a word that we’re hearing and using more often to describe pleasurable moments in our products. Delight is the magic that makes us fall in love with a product. It’s a core element to strive for when designing. When it comes to providing pleasure or delight in our websites and apps, animations contribute a lot.


Digital design plays a crucial role in how customers experience a product. Modern design is highly focussed on usability, because usability allows people to easily accomplish their goals. However, designing for the user experience has a lot more to it than making a usable product. Good design is pleasurable and seductive. Good design is delightful. “At this point in experience design’s evolution, satisfaction ought to be the norm, and delight ought to be the goal,” says Stephen Anderson. Animation can help you achieve this goal.


Just like any other design element animation should contribute the user flow. Delightful animations are pleasurable for the user without detracting from the usability of the app. There are two cases when implementing delightful animation into your digital designs can strengthen UX:

  • Engaging and entertaining. Entertaining animation draws attention to our products by creating a strong first impression. It can make our products more memorable and more shareable.
  • Baking emotion in design. Showing the human side of your business or product can be a very powerful way for your audience to identify and empathize with you. The aim of emotional design is to create happiness. You want people to feel happy when they use your product.

Let’s look at a few ways animation can help create delightful moments:


Loading time is an unavoidable situation for most digital products. But who says that loading should be boring? When we can’t shorten the line, we can certainly make the wait more pleasant. To ensure people don’t get bored while waiting for something to happen, you can offer them some distraction: this can be something fun or something unexpected. While animation won’t solve the problem, it definitely makes waiting less of a problem: fine animation can distract your users and make them ignore long loading times.

Credits: Dribbble


First impressions count: people judge things based on how they look. Good animation throughout the onboarding flow has a strong impact on how first-time users will engage with the app. A good first impression isn’t just about usability, it’s also about personality. If your first few app screens look a little different from similar products, you’ve shown the user that your entire product experience will likely be different too. For example, animating an illustration for a new feature can educate the user about the feature in a memorable way.

Credits: Dribbble


Creative animation can make your user experience truly delightful: they can transform familiar interactions into something much more enjoyable and have the power to encourage users to actually interact. Attention to fine movements can increase the level of usability and therefore desirability of the product.


Focusing on user emotions plays a huge role in UI interactions. As Aarron Walter said in his book Designing for Emotion: “Personality is the mysterious force that attracts us to certain people and repels us from others.” Using animation you can establish an emotional connection with your users, and remind them that there are real humans behind the design. An example of animation from ReadMe is full of emotions.


‘Errors’ happen. They happen in our apps and they happen in our life. Sometimes they happen because we made mistakes. Sometimes because an app failed. Whatever the cause, these errors — and how they are handled — can have a huge impact on the way user experiences your app. A well-crafted error handling can turn a moment of failure into a moment of delight. When displaying an unexpected error, use it as an opportunity to delight with animation.

Credits: Dribbble


Animation is able to transform a complex task into an inviting experience.  Let’s take a MailChimp case for inspiration. What makes MailChimp awesome is its smooth functionality wrapped in cheeky humor and friendly animation. When you’re about to send out your first campaign, the accompanying animation shows how stressful it is. Mailchimp brings empathy to the design: by combining animated cartoons with tongue-in-cheek messages like “This is your moment of glory,” MailChimp softens the nervousness of sending your first emails.


People love to discover treats in interfaces just as they do in real life. The joy is more than the treat, it’s the discovery of the treat and the feeling that someone took the time to think of you.

Credits: Dribbble

People will forget what you said, people will forget what you did, but people will never forget how you made them feel.—Maya Angelou

Never underestimate the power of delight to improve the user experience. The difference between products we love and those we simply tolerate is often the delight we have with them.

Of course, before your application can create an emotional connection with the user it must get the basics right.  Thus, make your product a joy to use by connecting feelings with features!


How Design Is Shaping the Future at Tech Giants Like Facebook

Design is no longer riding back seat to business. The two are inextricably linked, as evidenced at almost every major technology company in existence today. This week at Semi Permanent, Australia’s premier arts and design conference, some of the world’s best design talent will take the stage to talk about what makes design so integral to their success. Below, we asked seven leaders at some of the biggest companies how design impacts their business—here’s what they had to say.


Jon Lax, Director of Product at Facebook

On design’s role at Facebook:
Quite frankly, Facebook is a technology company, but technology without design is just code. The balance of engineering and design is what makes great products. I think of our role at Facebook as trying to identify and solve problems people have. If we aren’t building things that solve problems for people then we’re not building the right things. Design is a major contributor and driver of this conversation at Facebook, but not the only one. Design does not exist in a vacuum.

Credit: Facebook


Dantley Davis, Design Director at Netflix

On designing outside the Silicon Valley Mindset:
One of the biggest lessons we’ve learned is not designing the service for ourselves. We spend a great deal of time talking to our customers and understanding how entertainment fits into their lives. As a company based in Silicon Valley, that means we put very little emphasis on feedback from people who live here because we do not feel the are representative of the broader country or the world. Designers at Netflix travel all over the world learning new insights from people from all walks of life. We visit them in their homes, go to their work, or accompany them on their commutes. These insights fuel our product instincts and provide a level of empathy that is immeasurable.

Credit: Dantley Davis


Jon Wiley, Director of Immersive Design at Google

On how designers will play a role in the growing virtual reality space:
Design is about problem solving, about understanding the needs people have and creating useful, usable, and beautiful solutions. That hasn’t changed and the overall process is pretty similar. The tools and the medium are very different. And I’ve had to call upon topics I haven’t studied for decades: architecture, interior design, set design, ergonomics and how people move through and perceive different spaces.

Credit: Google


Hector Ouilhet, Senior Design Staff Manager at Google

On how design can help shape the future of human-computer interaction:
The thing that excites me the most is building a future that my daughter can just use without having to learn how to use it. She can be how she is with me, or her classmates, or the dog. I want to be part of this vision and momentum that drives technology in a way that is tailored toward people’s needs. In a perfect world, technology shouldn’t shape people, but we’re not there yet. The ideal would be that tech adapts to each of us. Technology should be able and resilient and adaptable enough to allow that.

Credit: Hector Ouilhet


Philipp Steiner, Creative Director at Teague

On the value of designers in collaborative teams:
Designers have the ability to focus on the bigger picture and focus on what some of the opportunities and objectives might be, and how to get there through collaboration. So rather than assuming right from the beginning that innovation and intellectual property is something that needs to be protected and kept under wraps, there are scenarios where companies could jointly develop ideas with design teams that collaborate and then figure out, how do we make sure that everyone involved in this endeavor will have some kind of a benefit from this innovation? Designers are a small enough community and they know how the process works, and how innovation works, so they don’t have to reinvent the wheel. All they need to focus on is how to break down the barriers and allow freer communication between these companies.

Credit: Renata Steiner


Kelly Sawdon, Partner and Head of Marketing at Ace Hotel

On what role design plays in a hotel experience:
We see design as the foundation or backdrop for when a hotel comes to life. To start with a good beautiful foundation allows for the events and moments and activities and experience to be that much more memorable. In this day and age, people are really seeking out experiences more and more and see luxury more as something that’s a unique adventure or experience than it is necessarily an expensive item or good.

Credit: Lindsay Byrnes


Jurgen Spangl, Head of Design at Atlassian

On building an experience-led corporate culture:
We decided to be experience led, not design-led, deliberately. We had those discussions internally, and the reason we chose experience-led is because it’s about the experience our customer and users have with us. And experience is bigger than just design. It’s not semantics. I actually think it’s an arrogant view to saying it’s design-led because that would be saying that only designers own the experience and that is way too narrow. We together as a company, we together as a team, need to deliver an awesome experience. At the end of the day it’s every individual support engineer or support rep out there that delivers a great exp. Things like this only happen if you have them fundamentally in your company culture.

Credit: Atlassian

How Design Is Shaping the Future at Tech Giants Like Facebook

creating new product ideas – by creating new possibilities for the user

Jony Ive talking about creation process of new products, why Apply doesn’t use focus groups, and why the simple asking for problems doesn’t automatically produce good world-class products.

It’s simple, because users of today are not aware of the usage possibilities of the future.
Only if you are at least a few steps ahead of the market
– with current todays‘ views – and you are really trying hard to achieve something that is not new, but solves one of the problems – you are not yet aware about that you are facing them – then you are likely to succeed.
dieIdee InnovationsAgentur, March 2012

Sir Jonathan Ive, Jony to his friends, is arguably one of the world’s most influential Londoners. The 45-year-old was born in Chingford — and went to the same school as David Beckham. He met his wife, Heather Pegg, while in secondary school. They married in 1987, have twin sons and now live in San Francisco.

(c) by

As Apple’s Senior Vice President of Industrial Design, he is the driving force behind the firm’s products, from the Mac computer to the iPod, iPhone and, most recently the iPad. He spoke exclusively to the Evening Standard at the firm’s Cupertino headquarters.

Q: You recently received a Knighthood for services to design – was that a proud moment?

A: I was absolutely thrilled, and at the same time completely humbled. I am very aware that I’m the product of growing up in England, and the tradition of designing and making, of England industrialising first. The emphasis and value on ideas and original thinking is an innate part of British culture, and in many ways, that describes the traditions of design.

Q: Is London still an important city for design?

A: I left London in 1992, but I’m there 3-4 times a year, and love visiting. It’s a very important city, and makes a significant contribution to design, to creating something new where previously something didn’t exist.

Q: How does London differ from Silicon Valley?

A: The proximity of different creative industries and London is remarkable, and is in many ways unique. I think that has led to a very different feel to Silicon Valley.

Q: Why did you decide to move to California?

A: What I enjoy about being here is there is a remarkable optimism, and an attitude to try out and explore ideas without the fear of failure. There is a very simple and practical sense that a couple of people have an idea and decide to form a company to do it. I like that very practical and straightforward approach.

There’s not a sense of looking to generate money, its about having an idea and doing it – I think that characterises this area and its focus.

Q: What makes design different at Apple?

A: We struggle with the right words to describe the design process at Apple, but it is very much about designing and prototyping and making. When you separate those, I think the final result suffers. If something is going to be better, it is new, and if it’s new you are confronting problems and challenges you don’t have references for. To solve and address those requires a remarkable focus. There’s a sense of being inquisitive and optimistic, and you don’t see those in combination very often.

Q: How does a new product come about at Apple?

A: What I love about the creative process, and this may sound naive, but it is this idea that one day there is no idea, and no solution, but then the next day there is an idea. I find that incredibly exciting and conceptually actually remarkable.

The nature of having ideas and creativity is incredibly inspiring. There is an idea which is solitary, fragile and tentative and doesn’t have form.

What we’ve found here is that it then becomes a conversation, although remains very fragile.

When you see the most dramatic shift is when you transition from an abstract idea to a slightly more material conversation. But when you made a 3D model, however crude, you bring form to a nebulous idea, and everything changes – the entire process shifts. It galvanises and brings focus from a broad group of people. It’s a remarkable process.

Q: What makes a great designer?

A: It is so important to be light on your feet, inquisitive and interested in being wrong. You have that wonderful fascination with the what if questions, but you also need absolute focus and a keen insight into the context and what is important – that is really terribly important. Its about contradictions you have to navigate.

Q: What are your goals when setting out to build a new product?

A: Our goals are very simple – to design and make better products. If we can’t make something that is better, we won’t do it.

Q: Why has Apple’s competition struggled to do that?

A: That’s quite unusual, most of our competitors are interesting in doing something different, or want to appear new – I think those are completely the wrong goals. A product has to be genuinely better. This requires real discipline, and that’s what drives us – a sincere, genuine appetite to do something that is better. Committees just don’t work, and it’s not about price, schedule or a bizarre marketing goal to appear different – they are corporate goals with scant regard for people who use the product.

Q: When did you first become aware of the importance of designers?

A: First time I was aware of this sense of the group of people who made something was when I first used a Mac – I’d gone through college in the 80s using a computer and had a horrid experience. Then I discovered the mac, it was such a dramatic moment and I remember it so clearly – there was a real sense of the people who made it.

Q: When you are coming up with product ideas such as the iPod, do you try to solve a problem?

A: There are different approaches – sometimes things can irritate you so you become aware of a problem, which is a very pragmatic approach and the least challenging.

What is more difficult is when you are intrigued by an opportunity. That, I think, really exercises the skills of a designer. It’s not a problem you’re aware of, nobody has articulated a need. But you start asking questions, what if we do this, combine it with that, would that be useful? This creates opportunities that could replace entire categories of device, rather than tactically responding to an individual problem. That’s the real challenge, and that’s what is exciting.

Q: Has that led to new products within Apple?

A: Examples are products like the iPhone, iPod and iPad. That fanatical attention to detail and coming across a problem and being determined to solve it is critically important – that defines your minute by minute, day by day experience.

Q: How do you know consumers will want your products?

A: We don’t do focus groups – that is the job of the designer. It’s unfair to ask people who don’t have a sense of the opportunities of tomorrow from the context of today to design.

Q: Your team of designers is very small – is that the key to its success?

A: The way we work at Apple is that the complexity of these products really makes it critical to work collaboratively, with different areas of expertise. I think that’s one of the things about my job I enjoy the most. I work with silicon designers, electronic and mechanical engineers, and I think you would struggle to determine who does what when we get together. We’re located together, we share the same goal, have exactly the same preoccupation with making great products.

One of the other things that enables this is that we’ve been doing this together for many years – there is a collective confidence when you are facing a seemingly insurmoutable challenge, and there were multiple times on the iPhone or ipad where we have to think ‘will this work’ we simply didn’t have points of reference.

Q: Is it easy to get sidetracked by tiny details on a project?

A: When you’re trying to solve a problem on a new product type, you become completely focused on problems that seem a number of steps removed from the main product. That problem solving can appear a little abstract, and it is easy to lose sight of the product. I think that is where having years and years of experience gives you that confidence that if you keep pushing, you’ll get there.

Q: Can this obsession with detail get out of control?

A: It’s incredibly time consuming, you can spent months and months and months on a tiny detail – but unless you solve that tiny problem, you can’t solve this other, fundamental product.

You often feel there is no sense these can be solved, but you have faith. This is why these innovations are so hard – there are no points of reference.

Q: How do you know you’ve succeeded?

A :It’s a very strange thing for a designer to say, but one of the things that really irritates me in products is when I’m aware of designers wagging their tails in my face.

Our goal is simple objects, objects that you can’t imagine any other way. Simplicity is not the absence of clutter. Get it right, and you become closer and more focused on the object. For instance, the iPhoto app we created for the new iPad, it completely consumes you and you forget you are using an iPad.

Q: What are the biggest challenges in constantly innovating?

A: For as long as we’ve been doing this, I am still surprised how difficult it is to do this, but you know exactly when you’re there – it can be the smallest shift, and suddenly transforms the object, without any contrivance.

Some of the problem solving in the iPad is really quite remarkable, there is this danger you want to communicate this to people. I think that is a fantastic irony, how oblivious people are to the acrobatics we’ve performed to solve a problem – but that’s our job, and I think people know there is tremendous care behind the finished product.

Q: Do consumers really care about good design?

A: One of the things we’ve really learnt over the last 20 years is that while people would often struggle to articulate why they like something – as consumers we are incredibly discerning, we sense where has been great care in the design, and when there is cynicism and greed. It’s one of the thing we’ve found really encouraging.

Q: Users have become incredibly attached, almost obsessively so, to Apple’s products – why is this?

A: It sound so obvious, but I remember being shocked to use a Mac, and somehow have this sense I was having a keen awareness of the people and values of those who made it.

I think that people’s emotional connection to our products is that they sense our care, and the amount of work that has gone into creating it.

Article quote from :

Additional reading from: Waugh, Rob (20 March 2011). „How did a British polytechnic graduate become the design genius behind £200billion Apple?“. London: Dailymail. Retrieved 2 January 2012.

Innovation in der Design-Branche

Ein Stuhl für mehr Selbständigkeit

Den Stuhl neu zu erfinden, war die Aufgabe, die sich das Salzburger Startup camarg vor drei Jahren vorgenommen hat. Personen mit Aufstehschwierigkeiten waren bislang auf menschliche Hilfe angewiesen, wenn sie sich an einen Tisch setzen wollten. Zwei Designer Martin Bliem und Christian Miletzky wollten dies ändern – mit Erfolg.

Mit finanzieller Unterstützung von dem Austrian Wirtschaftsservice, der österreicheichen Forschungsförderungsgesellschaft, dem Business Creation Center Salzburg und der Fachhochschule Salzburg wurde ein ganz besonderen Stuhl namens Chelino entwickelt. Die größte Herausforderung in der dreijährigen Entwicklung lag dabei in der Berücksichtigung der körperlichen Einschränkungen, die man als junger und gesunder Mensch nicht hat und daher leicht übersieht. Darüber hinaus bedurfte es an viel Kreativität und Denkarbeit um die notwendige Sicherheit mit einem optisch schönen Design zu vereinbaren.

Es sollte ein Stuhl entstehen, der eine Lebenserleichterung integriert, aber nicht als Hilfsmittel sondern ein schönes Möbel wahrgenommen würde. Das Ergebnis kann sich zeigen lassen. Chelino hat mehrere Innovations-, Design- und Medizinproduktpreise gewonnen, darunter eine reddot Auszeichnung und eine Auszeichnung für eines der besten zehn in Österreich erteilten Patente im Jahr 2011.

Das Patent

Seit Anfang dieses Jahres wird dieser Stuhl nun erfolgreich an körperlich eingeschränkte Personen, Senioren und Pflegereinrichtungen verkauft. Da camarg mit Chelino weltweit neue Märkte erschließen möchte, wird in diesem Jahr das Patent auf die EU, USA, Japan und China ausgeweitet. So soll die Erfindung vor Imitaten geschützt werden.

Was macht diesen Stuhl so besonders? Chelino ist der weltweit einzige Stuhl mit integrierter Aufstehhilfe, der ohne Stromzufuhr auskommt. Die, in einer fixen nach oben verlaufenden Bahn bewegliche Sitzfläche ist mit vier, in den Sesselbeinen befindlichen Gasdruckfedern verbunden. Diese nehmen beim Setzen das Körpergewicht als Energie auf und geben diese beim Aufstehen wieder kontrolliert ab. Somit wird sowohl ein komfortableres Setzen, als auch ein erleichtertes Aufstehen ermöglicht. Die Hebefunktion wird durch zwei Knöpfe an den Armlehnen gesteuert. Sobald diese losgelassen werden, wird die Sitzfläche gesperrt und der Benutzer kann auf seiner bevorzugten Höhe bequem sitzen. Die Sitzfläche besteht aus zwei Teilen, wobei die vordere Sitzkante beim Hochfahren der Sitzfläche nach unten abknickt. So wird ein komfortables Setzen ermöglicht und auch kleinere Personen haben kein Problem sich auf die angehobene Sitzfläche zu setzen.

Des Weiteren bietet keiner der herkömmlichen Aufstehhilfen die Möglichkeit, ohne fremde Hilfe mit dem Stuhl an einen Tisch zu rücken. Der Aufstehstuhl Chelino ist mit eigens entwickelten Hinterrollen ausgestattet. Beim Aufstehen und Setzen sind diese hinteren Rollen automatisch blockiert, damit der Stuhl nicht nach hinten wegrollen kann und höchste Stabilität und Sicherheit gewährleistet wird. Erst wenn die Sitzfläche die unterste Position erreicht, werden die Bremsen automatisch gelöst. Damit der Stuhl auch bei angehobener Sitzfläche bewegt werden kann, gibt es zwei Knöpfe an der Rückenlehne, die die Bremsen bei Bedarf lösen.

Die gesamte Technik wurde innerhalb der Stuhlbeine verbaut. So wirkt Chelino wie ein gewöhnliches Möbel. Die Kombination aus Funktionalität, Design und intuitiver Bedienung sind die besonderen Merkmale von Chelino, an denen sich viele Anwender neben der wiedergewonnen Selbständigkeit beim Setzen und Aufstehen erfreuen.

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Jony Ive spricht über großartiges Design und die Zusammenarbeit mit einem der besten Innovatoren der jüngsten Zeit

Jony Ive spricht über großartiges Design und die Zusammenarbeit mit einem der besten Innovatoren der jüngsten Zeit.

Ideen beginnen als zerbrechliche Gedanken und werden im Innovationsprozess ständig gechallenged.

Nur eine Idee, die trotz 100fachen Widerstands mit aller Anstrengung weitergetragen wird, wird in letzter Konsequenz erfolgreich sein.