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The gold standard fluid interactions on iOS are built using in-process client animations (like SwiftUI does it) and not render-server animations (like CoreAnimation does it). This is common knowledge inside of Apple’s UI framework and system experience teams. A close inspection of iOS’s evolution reveals the gradual upgrading of... system experiences written using render-server animations (that often disable user interaction) with ones using client animations (that are interruptible and interactive). The app switcher for iPhone X, the Dynamic Island, and Liquid Glass bars are prime examples of this trend. The other thing that makes these experiences feel so fluid is their use of spring animations that preserve velocity, rather than Bézier curve easing functions. To get velocity preservation, you need to be able to interrupt a spring animation and retarget it or drive it with a gesture. That’s a lot easier to do when the animation is running in the same process as the event handling. When we were first pitching SwiftUI, two of our go-to demos were a recreation of the iOS 9 navigation and Home Screen interactions which were fully interactive and interruptible, at a time when the actual implementations of those experiences in the OS disabled user interaction and ran server-side animations. CoreAnimation is great and the framework does much more than animation. You can build a fine app using its server-side animations. But if your UI framework can’t do efficient main thread client animations, there’s a ceiling to the quality of the experience your app can provide.show more

Kyle Macomber

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192,621 次观看 • 9 天前 •via X (Twitter)

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144,004 次观看 • 4 个月前

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30,484 次观看 • 2 年前

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Alex Barashkov

28,300 次观看 • 2 个月前

Burned 200k tokens just for "animations" and still AI couldn't do it well. I tried one of the expert animation design engineer's, Emil Kowalski's Agent Skill on my website to improve animation using Grok 4.5 It analyzed the UI, found issues, came up with a good plan, and iterated multiple times. The end result actually made parts of the UX worse. Also, it never suggested the animation experience I had in mind. So I explained exactly how I wanted it to feel. It got much closer, but still missed details like applying the same animation during keyboard navigation between cards. That silly. The lesson isn't about the model or the Agent Skill. But it's about, "Even the strongest models can't infer your taste yet." They can't and won't suggest it. AI only executes. You have to define the experience with enough details for it to execute. Otherwise, you'll end up with something that's almost okay, but still not what you wanted

Burned 200k tokens just for "animations" and still AI couldn't do it well. I tried one of the expert animation design engineer's, Emil Kowalski's Agent Skill on my website to improve animation using Grok 4.5 It analyzed the UI, found issues, came up with a good plan, and iterated multiple times. The end result actually made parts of the UX worse. Also, it never suggested the animation experience I had in mind. So I explained exactly how I wanted it to feel. It got much closer, but still missed details like applying the same animation during keyboard navigation between cards. That silly. The lesson isn't about the model or the Agent Skill. But it's about, "Even the strongest models can't infer your taste yet." They can't and won't suggest it. AI only executes. You have to define the experience with enough details for it to execute. Otherwise, you'll end up with something that's almost okay, but still not what you wanted

The Bugged Dev

26,416 次观看 • 2 个月前

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

69,389 次观看 • 4 个月前