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Mission Transition


  

Life and nature are one big transition. The sun slowly rises to mark a new day and then slowly sets to mark the end of the day and the beginning of night. We are created in the womb and from small cells we grow, are born and gradually age until we die. Perhaps these natural transitions in life are what make artificial transitions feel… well, right. Sometimes, though, when something jumps from one state to another, it feels OK but doesn’t quite feel right.

Mission Transition

A transition that has been designed to be slow can feel awful. When designing an application, an interface or any type of structured content, we must ensure that users understand where they have come from as they arrive at the new page or state. The transition from one screen or group of content to another should feel natural and should be tested on devices of varying power and speed to get a wider view of how the transition feels. Too fast, and it may appear broken or jumpy; too slow, and it will be frustrating to use.

When discussing design, the word “transition� usually conjures up thoughts of overblown PowerPoint presentations or home-made movies made with cheap video-editing software. But there is more to transitions than meets the eye.

Transitions take us from one state to another all the time, many times a day in fact. Most of the time, these transitions feel completely invisible (as they should), and until they are taken away we don’t really know they are there. This article discusses transitions and how well-designed transitions can enhance the user’s experience by imparting a sense of control and easy navigation. We will also discuss how poor transitions can impair the user interface.

What Is A Transition?

By definition, a transition is “a change from one form or type to another, or the process by which this happens.� As mentioned, we make transitions all the time without really knowing it, and they certainly extend beyond our computer interfaces. A well-designed transition takes the user from point A to point B very quickly while conveying the path they have taken.

Transitions are common in interface design, as we know, but are also used in movies and product design. In product design, transitions are triggered by touch, movement or physical handling of the product; in interface design, however, transitions are triggered by navigating through the interface of the application or Web content. A transition should be designed to give the user a sense of their virtual position or location within the interface.

Examples Of Transitions

Cinematic

In a scene near the beginning of the 1971 movie Willy Wonka & the Chocolate Factory, winners of the golden ticket gather outside the gates of the mysterious factory to see the elusive Willy Wonka emerge.

Frames from Willy Wonka and the Chocolate Factory
Frames from Willy Wonka & the Chocolate Factory (1971).

As the scene unfolds, the viewer watches from behind the crowd, through the gates, towards the factory; the next camera angle takes us from behind the crowd to just inside the factory gates; and then we’re beside Wonka as he limps along the red carpet; and then we jump to watching him from behind. Although there is no visible “tweening� throughout these transitions in camera angle, we the audience still perfectly understand where we are.

We are watching the movie from our comfy chairs and yet we are made to feel as though we are physically present near the factory. This is an emotional transition.

Interface

If you have an iPad or iPhone, pick it up and go into the settings. Tap around between the menu options to see how the screen slides from right to left and left to right. Scroll to the bottom of any screen to see the soft bounce that indicates you have reached the end of the content. These simple quick transitions were carefully designed to give the user a sense of location within the operating system. Only when you slow these transitions down do you notice the detail that has gone into these in-between bits.


The iOS transition effect in slow motion, by Lim Chee Aun. (Watch this on Vimeo.)

Although we are not viewing a physical location, as in a movie, the OS still gives the user a sense of location by letting them know through the transition where they are navigating to and where they have come from. When you tap on a menu button, the screen shifts to the right to show the next step, and to the left to show the previous step.

Google Chrome on Windows shows us another simple transition, as seen in the video below. When opening a new tab, you see it open with a brief animation from the left. Closing the tab animates it back to the left before disappearing.

The Path app, which is available on both Android and iPhone, is packed full of interesting transitions between states. It’s worth downloading to see how it handles jumping between features.

When the app opens, you go from the splash screen to the actual content with a quick page turn. Clicking on the main menu will spring open the menu options, which spring back once you close the menu. This detail shows the user where those menu items come from, and while we may not consciously think about it, it’s an important detail in the overall user interface.

The Scorekeeper app has what appears to be a very simple interface. Solid colors and a lot of straight edges give the impression that the app is easy to use — and perhaps even that little thought has gone into the visual design. But look again. The transitions in this app are beautiful. When a player is awarded points in a game, the app updates their ranking in the list, using excellent transitions to move the player from their original position to their new one.

Product Design

I’m afraid I have to use Apple again for this example. If you’ve ever bought an iPhone, you would have noticed the design of the packaging. The compact box with matte laminate finish has been thought through to the last detail. The vacuum effect that you get when lifting the lid means that you’re not just breaking a seal and cracking open a box; rather, the lid slowly slides open (similar to the experience of the OS), taking a good second or two to reveal the shiny new device. This unboxing could be described as a physical transition.

Though not an obvious transition, the MacBook’s power light gently pulses when the device is sleeping. The transition is interesting because its fading in and out mimics the natural breathing rhythm of a sleeping person. This can be considered a transition because it’s a visual indication of the state of a device that is neither on nor off, but in between the two states.

Automotive

Modern cars are packed full of excellent transitions that guide the driver through various states. For example, the cabin light comes on when you unlock the door, and then it gradually fades as you buckle the seat belt and start the engine. The subtle lighting takes the user from pedestrian to driver in one smooth transition.

Car interior
(Image credit: eduard_orbitron)

Nature

As I sit in my chair typing this article, I can turn my head from left to right. By doing so, my field of vision shifts. If I want to look at something to my left, I turn my head — in the process catching everything that crosses my line of sight — until my eyes arrive at the object of attention. My eyes and body have made a transition, and it’s important that we be conscious of our actions as human beings to discover more about natural transitions. Watch the video below to see how the human body transitions from one state to another.

Why Are Transitions Important?

As designers, we do our best to make content easy to find, easy to read and aesthetically beautiful. But as processors become more powerful and technology advances, the devices and systems people use to access this content will hurtle forward, and we’ll discover new ways to deliver this content. We’ve quickly adopted touch methods, and now gestures are becoming important, too. With this in mind, we need to give users a sense of location in our applications, and transitions will play an important part in this.

Most Web content now is organized as “pagesâ€�: clicking or tapping a link simply show the page behind that link (provided the connection is fast enough). There is rarely any form of transition from one page to the next, and we have become used to this method of displaying Web content. But we can introduce useful and beautiful transitions into Web content — such as by using jQuery ScrollTo — but these transitions can be clunky for a number of reasons, including slow connections, excessive processor requirements and the transition speeds defined in JavaScript.

Best Practices For Transitions

There are plenty of ways to incorporate transitions into a design. Here are some general suggestions:

  • Avoid any pause at the point of clicking, touching or swiping.
    Hardware speed will always be a factor, but it’s safe to say that chips, processors and memory are getting faster by the second, so test your code and loading times to make sure there is no lag.
  • Test in the real world.
    There is no better way to test transitions that by running them in the real world — especially if you are designing for mobile, because people on the go devote less time and attention to navigation. Load a prototype of your design in a supermarket or on the train, and test it to see how it performs under pressure.
  • Don’t reinvent the wheel.
    In general, follow the conventions of the operating system you are designing for, because transition styles that diverge greatly from what people are used to will likely cause confusion and frustration. Of course, don’t hold back on designing new transitions; just keep the standards in mind.
  • Mind the future.
    These days, we interact with apps by clicking, touching, swiping and speaking. However, gestures will likely become a new way of controlling content, so start considering them now. If people will be able to use their bodies (rather than their fingers or mice) in various ways to manipulate the screen, we will have to give thought to timing, pace and physics — that is, the speed at which a body performs a gesture to move content will have to be matched to the speed at which the content moves. Imagine the frustration of throwing a tennis ball as hard as you can, only for it to travel a few feet on release. Our users will feel this same frustration if the timings of our transitions are poorly designed.

Conclusion

A good transition should be almost invisible to the user. It should help the user understand where they are navigating to and where they have come from, but it should also be smooth and quick. A stall or stutter impairs the overall user experience and tells the user that something is wrong. There is such a thing as UI motion sickness, where the user gets so used to the fluidity of moving between screens that when a screen freezes for a second or two, the user feels like they’ve come to a sudden stop. It is these sensations we should avoid.

For help and inspiration on using transitions in your designs right now, check out the following resources:

(al)(fi)


© Mark Cossey for Smashing Magazine, 2012.


Print Loves Web

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A recent power cut highlighted the fragile and dated way I access content on the Web. I sit in front of a computer which has a number of hardware elements like a keyboard, mouse and monitor — all connected to a black box which houses a number of other smaller more complicated bits of hardware. To access content on the Web, I rely on all of these layers working, not to mention the parts outside of my control-like cabling and remote servers. As soon as one of these layers goes down (the electricity in my case) I’m left with nothing. A mobile device allowed for some surfing but eventually my batteries died and I was back to darkness.

There was nothing for it but to pick up a book to try and satisfy my visual hunger. With all other distractions (the kinds that need juice from the wall) lying lifeless around my flat, I was able to really enjoy a book I’d been meaning to look at for some time. With many image filled pages the large hardback book (Supply and Demand by Shepard Fairey) was a real joy. Controlling the speed at which I let the pages flick with my thumb, the smell of the ink and paper and the subtle cracking noise of the spine as I opened the book wider, it was the best user experience I’d had in a very long time.

Smashing-book-smp2 in Print Loves Web

Reflecting On The Web

I started to think about not just the delicate nature of accessing Web content, but also what it feels like to look at and navigate websites and use applications via a computer. It’s clumsy to have to press keys to say what I want to say, then have to stop pressing the keys to hold onto a small bit of plastic which moves a tiny pointer on my screen, which I then have to click on stuff that makes other stuff happen. It also made me question my own trade of designing these sites that we expect people to use and enjoy.

All the effort that I put into styling buttons, spacing letters, creating harmony in colour and then building it to work in browsers I’m convinced don’t actually exist. A whole heap of work for a lousy user experience of clicking, typing, scrolling, then clicking again, then typing. A modern Web user is spending less time sitting at a desk in front of a screen and is constantly connected.

Web-loves-print-icon-smp1 in Print Loves Web

When Two Trades Go To War

In our industry, print design and digital/Web design are two very different trades. Print designers (or graphic designers if you want to get all old school) are seen to be folk that don’t have a place in a trendy digital agency with their mumbo jumbo talk of spot colours, bleed and ligatures, and Web designers are seen as a bunch of jack the lads that know nothing about typography and how to use colour, they simply talk of validation, hover states and hex values. This might be true in some cases but the real story is that these two trades better get together over a beer and make friends. The future of online content depends on it.

I don’t own an iPad or Kindle but I’ve used both and I do have an iPhone which I use a lot. If you take a step back from the technology of these types of device and just think about the function for a moment, it’s clear that they have been designed to be held and touched (haven’t we all) in much the same way as a book. Many apps that are available on the iPad and iPhone right now are based on physical objects that need to be touched to work like a piano or guitar. So what does this have to do with print and Web becoming best buddies?

Print-vs-web-thinking-smp1 in Print Loves Web

Web, Meet My Friend Print

I have a background in print and I’ve been lucky enough to work with some brilliant graphic designers who have taught me about paper types, printing techniques and good typography. These are skills the graphic designers have developed over a much longer period of time than the Web has existed. Good graphic designers are able to communicate a message visually in more than just two dimensions. Being aware of scale, environment, textures and light are all skills that are fundamental to graphic design.

Graphic designers were user testing their creative even before Tim Berners-Lee had even come up with the catchy mouthful WorldWideWeb. I’ve been involved in focus groups where participants have been asked questions about not just the message and content of printed direct mail campaign but also on the quality and finish of the paper.

Imagine creating a super team of forward thinking product designers, Web designers and print designers to re-think the way we deliver content online and digitally. Collaborative working with experts in these fields focusing on new ways to deliver and present a print style magazines in a digital format is an exciting prospect. Thinking beyond the faux page turn styles we’ve all seen in various book readers over recent years but moving more towards a device that can re-create fidelity of a printed page and content that can dynamically populate itself with location aware content and personalised messages.

Print-loves-web-thinking-smp1 in Print Loves Web

Future generations of the iPad could find a way of re-creating the sensations I experienced when I flicked through that book during the power cut. Tactile feedback and textures could be standard features and the way colours behave in certain lighting could be much more realistic. Devices will have a whole new approach to power consumption, too. Speech recognition is a dead donkey, and only ever used by sales reps who are happy to listen to sound of their own voice while weaving around on the M25. The ability for the device to connect to the users mind to cut out all the mundane key pressing and link clicking would be a wonderful feature — thinking and doing at the same time.

The Future Of Content Delivery

One thing most of us humans have in common is the ability to touch, talk, see and think so we should be designing for everyone. Hardware builders need to consider all environments on earth and think about things like battery life, connectivity and sustainability, too. I’d like to see the large hardware manufacturers that are celebrating massive financial profits exploring ways of making their devices usable by every human in every environment.

The information available on the Web should and can be available to everyone on earth. With a new breed of mobile device that delivers this content in a whole new way will ensure that each and everyone, young and old will understand and enjoy accessing this content. We need to think physical and we need to think touch but we also need to review the way we behave online right now and decide what goes and what stays.

It’s up to us, the designers (both Web and print), to be pushing and nipping the heels of the hardware manufacturers to encourage these new ideas. Apple’s App Store is good at this; it’s still not perfect but the Web as a whole will allow these ideas and thoughts to trickle out and be picked at and improved.

Asking The Pros

I asked our industry experts in both print and Web what they thought about a future where print and Web designers join forces to create new form of Web content. Can it work? Should the age old rules of print be used in the next generation of Web content? What Web design rules can we safely leave behind and what new rules should we adopt?

Brendan Dawes

Brendan-dawes in Print Loves Web

Brendan Dawes is Creative Director for magneticNorth, a digital design company based in Manchester, UK. Over the years, he’s helped realize projects for a wide range of brands including Sony Records, Diesel, BBC, Fox Kids, Channel 4, Disney, Benetton, Kellogg’s, The Tate and Coca-Cola. Brendan was listed among the top 20 Web designers in the world by .net magazine and was featured in the “Design Icon� series in Computer Arts.

“I think in many ways we are still tethered to romantic notions of how things were in the past; whether that’s adding filters to digital photographs to make them look like Polaroids, or typing notes into apps that are made to look like their paper counterparts. There seems to be something warm and more human when you add these analog layers on digital things; layers derived from the things from our past and how things used to be. But for me I think it’s short-sighted to let the past bully potential new thinking in this way. Personally I hate digital page-turn effects — why are we trying to shackle digital interfaces to old paradigms? You turned a page because that was how a book was/is constructed, but there are no pages as such in the digital domain.

If we’re talking about making a deeper connection from a user experience point of view then trying to emulate the past is not the way we should be going — we should be exploring entirely new techniques that are born from the exciting possibilities of the new rather than the old ways of the familiar. But there is comfort in the familiar; familiar is easier, whilst new is harder and often scarier. Yes, I love holding a beautifully printed book in my hands, the feel of the ink on the printed page and all that, but I equally love holding a beautifully crafted, often magical app in my hands, too. Surely, it’s more exciting to create new things rather than Xerox the past? I know which one I’m more excited about.”

Steven Heller

Steven-heller in Print Loves Web

Steven Heller wears many hats (in addition to the New York Yankees). For 33 years he was an art director at the New York Times, originally on the OpEd Page and for almost 30 of those years with the New York Times Book Review. Currently, he is co-chair of the MFA Designer as Author Department, Special Consultant to the President of SVA for New Programs, and writes the Visuals column for the New York Times Book Review.

“Whenever I hear print and Web mentioned in the same sentence, it is usually a downer. Print is dead. Web is alive and weller. Well, I think the marriage of the two may not last into the 22nd century, but for this century, there should be happy bedfellows. Can’t wait to see the offspring. ”

David Airey

David-airey in Print Loves Web

Graphic designer and design author, David has been featured in Creative Review, HOW Magazine, Digital Arts, LogoLounge, and more. He also has been mentioned on the New York Times website, and was interviewed live on BBC Radio. David’s graphic design blogs Logo Design Love, davidairey.com and brand identity showcase Identity Designed attract more than one million monthly pageviews.

“A future where print and Web designers join forces happened some time ago. Today’s designer considers every aspect of a project’s deliverables. S/he might not take full responsibility over each touchpoint, but there should at least be some level of knowledge acquired about the project’s bigger picture — the main goal.

Compare it to a jigsaw puzzle that was pieced together by five different people. Each person focused on one specific area, but at the same time, before they began, all five knew what the completed puzzle was going to look like. This insight helped them to streamline the process, placing the pieces they were responsible for in the correct area within the overall frame. They saved time and effort, just as designers of today who specialize are at an advantage when they stand back and view a project from every angle.”

Conclusion

It seems there is no place for the traditional print designer, but then again, nor is there a place for the traditional Web designer who ignores our print design history. The modern designer is much more than a Web, print, digital or visual designer. Perhaps the modern designer is one that embraces all forms of design to create content that ‘knows’ where it is and ‘lives’ and behaves in a way that brings us as humans much closer to it.

What do you think? Feel free to share your thoughts with us in the comment section below!

Further Reading

  • Mike Matas: A Next-Generation Digital Book (Video)
    Software developer, Mike Matas, demos the first full-length interactive book for the iPad with clever, swipeable video and graphics and some very cool data visualizations to play with. The book is called “Our Choice” — Al Gore’s sequel to “An Inconvenient Truth.”
  • Flexible Phone Made From Electronic Paper
    A prototype flexible smartphone which has been created by Canadian researchers with the help of electronic paper.
  • Microsoft Surface 2 CES (Video)
    A demonstration of Microsoft’s second generation of Surface.

(il)


© Mark Cossey for Smashing Magazine, 2011. | Permalink | Post a comment | Smashing Shop | Smashing Network | About Us
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The Designer’s Cross-Training Toolkit

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I watched a TV documentary the other day about a professional soccer player. As well as his normal soccer training he mixed in training in other sports like boxing and yoga and I thought this sounded a bit odd. Why would somebody that earns his (considerable) daily bread playing soccer spend time learning and training in areas that are not directly related to his profession?

Well, it turns out that they are related in a round-about way. The athlete and his coaches went on to explain that training in other sports and physical activities, as well as regular soccer training keep certain parts of the brain active and stimulated, and this in turn improves soccer performance and prevents the brain and body slowing down.

What Does This Have To Do With Design?

This soccer player got me thinking about my own profession in design and made me analyse the way I deal with life as a designer. I mostly design for web these days and that can mean anything from interface design, banner advertising, as well as branding and logo design. It’s easy to drift into the same old routine for each project especially when work is coming in thick and fast — and when projects tend to overlap.

It turned out I wasn’t spending enough time “designing” away from a computer screen and out of the office. When I use the word “designing”, I don’t just mean putting together wireframes and pushing pixels in Photoshop — I mean actually gathering creative thoughts, images, videos and other forms of inspiration whilst living life.

Collect, Gather and Cross-train

As designers, we have an instinctive desire to collect things, from action figures to postcards to t-shirts and posters — it’s just something we do, right? Taking photos, recording videos, bookmarking web pages, ‘like’-ing and ‘favorite’-ing are all forms of collecting and it’s these things that shape us as designers.

Looking for inspiration can also be treated as a form of cross-training. Taking yourself away from your normal (daily) routine is a useful technique. Since my kids arrived a couple of years ago, we’ve found ourselves watching kids TV and movies as well as reading children’s books. Being exposed to these new forms of entertainment meant seeing a whole new world of animation and illustration and it was fun. Treating yourself to a show or a trip to the cinema to see something you wouldn’t normally watch can also be fun.

Intro-image in The Designers Cross-Training Toolkit
Some useful items for a designer’s cross-training toolkit

My brother-in-law took me to a soccer match in Amsterdam recently and I have to admit that when he originally proposed the idea I wasn’t overly excited. I was interested in finding out what it would be like to attend a proper European soccer match and I was promised it would be quite exciting as the teams that were playing were old rivals. I’m glad I went as it was an incredible experience and I found myself getting completely wrapped up with the other fans and cheering on the home side. It’s these kinds of experiences that bring out ideas and inspiration from the best of us.

The point I’m making here is to break away from normal routine. Designers are expected to read particular books, magazines and websites and attend certain conferences. I’m not suggesting we stop doing these things but we should add other things to the recipe too and explore other opportunities.

The Designer’s Toolkit

Let’s think about that soccer player again. He plays soccer and trains mostly in that sport but also cross-trains in yoga and boxing as they help his brain and body stay focused and sharp and prevent him from getting injured. What can we as designers do to accomplish the same thing? Developing skills in other creative areas will help keep you motivated and fresh. Below, I’ve compiled what I think is a good designer’s toolkit for a well-designed cross-training lifestyle:

A DSLR and a Point-and-Shoot

Investing in a good digital SLR and a good point-and-shoot camera with plenty of manual settings can really get the creative juices flowing. Being able to compose a good photo and control the light is not easy but when you start to understand how the camera works you can have a lot of fun taking photos. I’ve included the point-and-shoot camera as it’s not always feasible to carry a DSLR around with you.

Photography in The Designers Cross-Training Toolkit
A DSLR type camera and a point-and-shoot type camera with plenty of manual settings

Developing a photographer’s mind will condition you to be constantly looking for the perfect shot wherever you are and whatever you’re doing and it will also become your second nature to never leave the house without a camera.

Digital HD Camcorder

Having a camcorder is also a good option though some good DSLR cameras now shoot quite good cinema quality videos as well. You have the same rules about light and composition but have the added element of timing and movement. You will certainly want to start editing the videos you shoot, so learning new softwares such as Adobe Premiere or Final Cut will let you create a masterpiece — you might even want to get into something like Adobe After Effects and create something really special.

Camcorder in The Designers Cross-Training Toolkit
From a simple pocket HD camcorder to a top-of-the-range ‘pro-sumer’ camcorder

Understanding more about cinematography allows you to appreciate the intricacies of those classic movies. It’s not just about the fonts used in the opening credits or the detail in the animation — it’s the timing of a scene, the expressions used and other details in the shots that make certain films memorable and great.

Smartphones

Having a smartphone such as an iPhone or an Android phone can be a really handy way of collecting visuals. I’m always snapping interesting signage, posters and graffiti, etc. Download an app like Evernote or Dropbox and you can sync with an online account to view stuff later on the big screen.

Cellphones in The Designers Cross-Training Toolkit
Smartphones from Apple, HTC and Google

There are thousands of apps out there to help you organize your creative lifestyle, so ask around and see what other people are using.

Sketchbook, Pencils, Pens, Markers and an Eraser

Drawing and sketching is great fun. I’m not great at drawing but I have a real desire to get better. Whenever there is an opportunity to sketch, I’ll grab a pen or pencil and get going. Your sketching tools need to be handy all the time, so get yourself a good bag to keep all this stuff in. Investing in some good coloured marker pens will also add a bit life to your web mockups and drawings and will help get your ideas across much better.

Sketching in The Designers Cross-Training Toolkit
Pens, pencils, marker pens, sketch pads, sticky notes, an eraser and a good bag to keep them all in

Using post-it notes and blutac can help with labelling. Why not sign up for an evening life drawing or comic book drawing course to really boost your skills? Sometimes it’s just nice to not use something digital to create and fall back to pencil and paper. I sat in a bar in New York with an artist just after the terrorist attacks in 2001 and he sketched on the back of a napkin what he saw on that day — it was one of the simplest yet most powerful sketches I’ve ever seen.

Google Maps

When I visit bookshops and news stands, I head for the design section or pick up a web design/creative magazine by default. This isn’t such a bad thing, but how about dropping into your nearest antique or second-hand bookstore and picking up a book or magazine — one you wouldn’t normally look at. I love looking at lifestyle magazines from the 80’s and 90’s and in particular the style of advertising used in them. We can learn a lot from looking back at old styles and techniques used decades before we were born.

It’s also fun to look at old packaging for kids toys and games or electrical items. The font usage, illustration and even printing techniques can offer ideas and inspiration. Open up Google Maps and find out where your nearest Antique or second-hand store is and drop in.

Graphics Tablet

With those re-discovered drawing skills, you’ll no doubt want to apply them to your designs on screen. Using a graphics tablet can add a whole new element to your working practice and making use of pressure and flow features in Photoshop will add detail and life to your designs. Though it’s down the individual, a graphics tablet can give you greater control of image manipulation — especially in Photoshop.

Scrapbook

A scrapbook is a must! Picking up leaflets, collecting magazine adverts and other printed material is a really useful way of gathering inspiration. It’s something you can look back to in years to come and you’ll be glad you kept them. Recognizing design patterns in print and advertising will certainly help you with your future projects.

Conclusion

So to conclude, taking photos, recording videos, drawing and collecting all manner of visual things are all things we can do everyday to keep us stimulated as designers. I’ve found that regularly attending Web and design related conferences help to keep my mind stimulated. Also, listening to people with ideas and thoughts and sharing them in an enthusiastic and passionate way will leave you feeling upbeat and excited about design even more.

We shouldn’t stop here though. Breaking the normal “design” routine can unlock new ideas and thoughts; so instead of dropping into the local for a pint, why not walk an extra block to the workers club and have a pint with the old guys over a game of dominoes.

Skip the freelancers weekly meetup this week and drop into an evening comedy workshop instead, switch radio stations, wear red instead of black, drink tea instead of coffee, buy a different newspaper… you get the idea! Drop in a bit of boxing and yoga and who knows what you could create — more often than not you will find yourself amazed by the innovative ideas you have come up with.

(ik) (vf)


© Mark Cossey for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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