Web Animation at Work . But as I spoke at more and more conferences and interviewed at more and more companies, I realized I would never be satisfied working as a traditional front- end developer. I am not excited by Angular. Canvas, SVG, the web audio API, web. GL. I started to see the browser as something more than a document reader, the internet as more than a series of linked documents. We use HTML to tell stories and communicate vast amounts of information. Just as hierarchy guides users through content, animation guides them through interactions by helping them understand relationships, structure, cause, and effect. This bibliography lists both monographs and articles from popular magazines and academic journals pertaining to comic books, comic strips and animation. Some of these articles have NOT YET been verified for accuracy or content. This bibliography lists both monographs and journal or magazine articles about comic books, comic strips and animation. Some of these materials have NOT YET been verified for accuracy or content; please contact the authors if.
Activists and authors. Saul Alinsky (1909–1972): American community organizer and writer. He is often noted for his book Rules for Radicals. Poul Anderson (1926–2001): American science fiction author. It is critical to communication. Another layer of information. Animation is powerful because it can create the . Reality is rich with sensual input that informs our brains about where we are and the things around us. Translating even a fraction of that information into a two- dimensional medium can help users infer more information about what they. Animation can be used to the opposite effect. With proper application, animation can indicate: Causality: When one thing happens just before another, our brains infer that the two things are related and that the first caused the second. For instance, when you click a submit button and the form disappears, you infer that you. This animated skeumorphic reaction to user input tells a user, . For example, when you open an app in your i. Phone in i. OS7, it zooms into the app instead of redrawing the page as in i. OS6. Now you remember where that app. A series of still snapshots of the road as you proceed down it would be harder to follow. Physics: Showing how virtual things would react in the real world is an active skeuomorph. As an example, when something . But transitions are invaluable for indicating changes of mindset, setting, or task, and most people have been trained from television and movies that the things following a transition are more or less tangentially related to the things that preceded. Animation as an enhancement. When Coin launched its preorder site, thousands opened their wallets to welcome it. After enjoying the site. What copy remains is carefully selected and doesn. The animations require less bandwidth to download than videos, and less commitment from the viewer: there. Even in copy- rich situations like Polygon. The navigation uses subtle animations to help you see where you are in the article in relationship to the other sections. The New York Times has been making valiant forays into interactive storytelling, from its in- depth coverage of the 2. Olympics to articles like “A Game of Shark and Minnow.”From desktop to touchscreen and back again. Back when RAM came in megabytes, animation wasn. Users were subtly conditioned to take mental . Then their brains would work overtime to follow what happened between pressing the mouse button and the menu appearing. This slight disruption can disorient a user as they shift from imagination to task completion. As interfaces became more complex, that disruption increased. Animation helped to connect the dots between those states, as computer interaction researchers Scott E. Stasko noted as far back as 1. By offloading interpretation of changes to the perceptual system, animation allows the user to continue thinking about the task domain, with no need to shift contexts to the interface domain. By eliminating sudden visual changes, animation lessens the chance that the user is surprised. Today, small, powerful touchscreen devices are forcing us to stuff interfaces into tiny spaces. But spatial relationships like these are hard for the mind to compute using the old- fashioned . In fact, large- screen experiences are now adopting them, overlaying and manipulating information in three dimensions. They cost time and money to develop and support. Not all browsers support CSS animations, SVG animations, the canvas element, and their friends yet. And even when the browser claims feature support, the devices running them may not be powerful enough to deliver a smooth experience. You have to do your research, pick your battles, and adopt mitigation strategies. It. If at all possible, get data on the sort of browser and device traffic you can expect. It makes little sense to invest time in interactions not suited to the audience. To an extent, we can fall back on our old friend progressive enhancement. Using tools like Modernizr, it. But performance is a real issue, especially on underpowered devices with high- definition displays. Often their heads are too big for their bodies: their processors don. Jank kills the precious illusion of life. At this time, your options are limited: Optimize your animations. If the animation is janking up, get out your dev tools and start analyzing the timeline. You may have to alter your design to make repaints easier (gradients and shadows are notoriously costly to animate). Offer an alternative. Some developers have the luxury of only serving a certain number of devices and browsers without worrying too much about a minority of users. For instance, developers who build HTML5 apps for Firefox OS or Kindle Fire don. There are times where providing a better experience for the majority outweighs catering to a minority, which is why it. But, if you have a large and even moderately varied audience, even your minority can be a majority. Don. We look back with disdain at the Flashy, difficult, or pointless microsites of yore, commissioned by clients with what my mother might call . But when we focus on our users, their needs, and their potential device limitations first, we can make smart interaction decisions that push the state of web animation forward without forgetting that just because we can, doesn. Fortunately, old- school animation has had decades to mature into an art form replete with educational materials and techniques handed down from the masters. One of those is storyboarding. On large projects, you need a bird. The illustrations could be removed and added as the story developed, and the board could be toted to different locations for different teams to work on. They help get people thinking about motion earlier, too. Movements are drawn directly on the board with colored arrows and delightfully descriptive phrases like . It is concise, covers the most important concepts, and won. Check out my ever- growing list of animation books on Goodreads. Codrops showcases experimentation, and Kirupa. CSS animation more deeply than anyone else. Libraries like D3 can take the mystery out of generating SVG charts and their transitions. For page- based animations, several companies offer visual user interfaces that ease timeline manipulation, from Sencha. For instance, canvas is an accessibility nightmare, as it is essentially an image tag that lets you shuffle its pixels however you like. If you think you need sound and animation together, consider a video tag. But if you need to decouple those elements, canvas and web audio might be the way to go. Rather than attempting to master every API you find, spend some time playing with a few things. Find ways to apply them to projects, and gain a broad yet shallow knowledge of many techniques. Then you can master the right tool for the right circumstance when it presents itself. Even one small yet authoritative book, like Boris Smus. I am so convinced of this future that I. I hope more of you will join me.
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