We have already covered different kinds of websites in earlier videos in this video we are covering some good examples of Game Website Designs. We all love to play video games may be an online game. Do you know the importance of a game website? Making a game website is not an easy thing to do it really needs some talent and creativity. In this video, we gathered 26 Awesome Game Website Designs for Your Inspiration.
Hope You Like it 🙂
In this video, we’re sharing eye-catching and unique website designs that we stumbled upon online. Platforms like Behance, Dribbble and Awwwards offer tons of great webstie design ideas to use in 2020! This slideshow will be helpful to graphic designers, web designers, illustrators, and other creative professionals looking for inspiration.
❗This video is focused on different website designs (all the rights belong to the designers). All the website designs shown in the video were made by talented designers. This video is made to inspire you to create something new. You can consider this video to be a source of inspiration❗
Designers may be required to create something unique and it’s difficult to do that without any inspiration. It’s always great to see what other designers do – it can help you understand how to create an amazing website. Creative website design will be always appreciated by visitors. It would be great if you can create something that nobody has seen before. It’s important to check designs made by other people to see how they approach various challenges.
As a designer, it’s important to see what popular today to predict 2020 website design trends. You can create a successful website (the one that people will visit over and over again) if you know what people like today.
A modern-looking, properly-designed website will provide visitors with the best possible user experience and that’s extremely important, especially if you have an online store. If you lose a visitor – you lose a potential customer.
🔴Why Should You Watch This Video?
This video includes some of the most amazing web design solutions which you may want to study to create your design. As a professional, you have to advance your skills and learn something new. That’s the only way to stay competitive and create truly amazing websites.
The advantages of watching this video are:
✅You can see some amazing website design solutions
✅You get a source of inspiration
Focus on various aspects, you shouldn’t ignore UI animation design as well. Again, it’s important to “test” your design – the webpage should look amazing and be ergonomic. Show your page to other people and ask them what they think about it. After all, a website is for people to use, it should not only look great, but it has to be easy to use.
When he joined IBM seven years ago, Doug Powell’s job was to scale design across the company and to advocate for the power of design practices at the highest levels of IBM leadership. He spent meeting after meeting answering the same questions from budget owners: “What is design? And why should I pay for it?”
During Doug’s tenure, design at IBM has grown at an unparalleled velocity. Now the company has more than 2,000 designers deployed to hundreds of semi-autonomous product and client services teams, each funded by separate business owners with their own priorities, and their own views on the value of design.
Now, he’s facing a new problem: “Our business leaders look at our story from 30,000 feet and see more than 2,000 designers making an impact across the company, and they think, ‘Wow, we’ve arrived. No need for further investment, job done.’”
The problem with that, Doug says, is that scaling design capacity at IBM was only the first challenge. Achieving consistently excellent outcomes is the next.
Measuring maturity at the scale of IBM
Part of the problem with achieving the next level of consistent excellence is the decentralized nature of the IBM design organization, with designers scattered across teams and locations.
“If all IBM designers worked out of a single hub, the task of measuring maturity would be fairly simple,” Doug explains, “but we have designers and design leaders in virtually every part of IBM now, each with their own leadership, budgets, org charts, culture, and business objectives.” This makes it difficult to benchmark the health of the entire design organization.
In an effort to help articulate and measure growth, IBM conducts regular reviews of each design team, looking at designer staffing and ratios, global office locations, career experience levels, and other factors. But those reviews don’t go far enough in benchmarking one team’s practices and business impact against another team’s.
What we were lacking was a consistent and calibrated way to compare the maturity of our teams across the company, and then to hold that up against the broader design industry.
Eunice Chung and Doug Powell worked together to roll out the InVision design maturity framework to nineteen design leaders at IBM. Photo credit: David Vox Avila
Teammates collaborate in the IBM Storage design hub in Austin. Photo credit: David Vox Avila
The IBM Cloud team work out bumps in the stakeholder review process. Photo credit: David Vox Avila
Enter: The New Design Frontier
The New Design Frontier report is the result of a full year of research into design practices and their business impact, led by Leah Buley (formerly principal analyst at Forrester, design education director at InVision, currently at Publicis Sapient) and a team of her fellow InVisioners. It includes self-reported data from over 2200 companies across 24 industries in 77 countries, the most wide-ranging study of its kind. The resulting design maturity framework describes five levels of design maturity, spelling out in detail the design practices and benefits that align to each level.
And it was published right in the midst of IBM design leaders’ search for answers.
“It was like Leah Buley was reading our minds,” Doug says.
In the report, Doug saw a shared framework, something he and design leaders at IBM could use as a lexicon for practices, gaps, and growth. He shared it in Slack right away.
The New Design Frontier study from InVision identified five levels of design organization maturity, with corresponding levels of business impact. Design maturity evolves continuously, as teams grow their influence and practices. In an organization as large as IBM, many maturity levels are represented across many design teams.
Then Doug reached out to Leah, and the two agreed that the distributed design organization at IBM could be an interesting environment in which to test the maturity framework as an assessment tool. Doug hoped it would help design leaders guide an honest conversation about where design at IBM stood, and where it could go next.
After Doug and Leah agreed on the initial assessment questions, nineteen leaders representing four separate IBM business units stepped forward to participate. They each spent an hour answering questions about their teams’ structure, relationships, practices, and impact. Leah and her team responded quickly with a readout of the results, including a gap assessment and notes about where their practices were particularly strong.
Here’s a sampling of what the IBM teams learned in the process, and how they’ve grown since then:
The IBM Storage team used the assessment to advocate for greater investment
JD Speer admits he wasn’t eager to volunteer his team for a design maturity conversation at first. He serves as the most senior designer in IBM Storage, an engineering-led organization dating back to the 1940s. While JD has been working in design since 1985, most of the designers on his team are still in the first few years of their careers, as new as the UX team they joined.
In the past, JD’s team struggled to get the buy-in they needed.
“We weren’t getting traction,” he says. “We had spent years trying to build a groundswell, and had achieved a certain amount of success. But we weren’t able to make radical changes in our products. We needed that clear message from the top, that design was important to the portfolio, that this was something we are investing in holistically, and that you need to learn to work with the design teams.”
We needed that clear message from the top, that design was important to the portfolio, that this was something we are investing in holistically, and that you need to learn to work with the design teams.
He was concerned that conducting a design maturity assessment so early in the UX team’s history might force unfair comparisons with teams in more design-forward business lines at IBM—teams who have had more time and space to establish themselves.
“I decided to look at the assessment as a tool for the storage team specifically,” JD explains. “It didn’t matter what was going on outside of that, because we weren’t going to compare our results with other teams. We made a decision to be truthful with ourselves.”
While he didn’t find any surprises in how the team’s practice measured up with the design maturity framework, he did discover a concrete tool they could bring into conversations with business leaders.
“All these ideas about what we’re doing with design thinking and maturity—these are discussions we have all the time, but it’s different when you have a forum, something tangible to look at.”
JD and members of the IBM Storage design team work through a new user experience.
JD put the design maturity framework to work right away, restructuring the conversation with business and development leaders who had previously been distant from their design partners.
“I took it as an opportunity to help our executives understand where we are and where we need support to improve,” he says. “We’ve seen some very strategic changes since then.”
One big change is a new level of interest from the general manager of development. He now asks to see Hills (statements of intent phrased as user outcomes–part of the IBM Enterprise Design Thinking practice), and is eager to hear about users’ reactions to concepts.
“Before committing to a new path, the general manager now wants teams to show they’ve run it past customers through design. We’re even getting a dedicated researcher for the first time.”
The IBM Security team used the assessment to reposition research and reimagine partnerships
Haidy Perez-Francis is the design director for IBM Security, overseeing both product and brand design. She was one of the first to volunteer her team for the design maturity assessment when Doug made the announcement.
The IBM Security design organization is rapidly expanding its practice and influence, but it’s still a relatively new team. Their user research practice was relegated to late-stage user testing.
“The design maturity framework helped me see research in a different light,” Haidy reports. “One of the big opportunities we found was around innovation and customer advocacy. So we started to tighten up those processes.”
The team shifted to run more hack-a-thons and focus groups. Haidy encouraged researchers to build stronger connections with offering managers and to own the relationship with customers.
The design maturity framework helped me see research in a different light
As UX researchers on the Security team grew their practice, offering managers (IBM’s term for product managers) began to trust them with greater responsibility.
“Now we have teams doing extremely well together,” she says. “The offering manager knows what’s coming two or three sprints ahead and sends researchers out on location. It took the researchers a while to realize their job is to get the offering manager to trust them enough to send them out, to rely on them. Next year their conversations will be completely different.”
Beyond UX research, the report revealed room to grow design’s influence with stakeholders across every level of the organization.
“In security software there’s been a big focus on user experience,” Haidy says. “The VPs in my business unit care about winning market share, and getting users to love and advocate for our products. We’re seeing more competition from startups honing in on the security market, and when my VP asks me, ‘What can we do to be more successful at UX?’ I want to have an answer.”
Members of the IBM Security team gather around the big screen for a design review.
At the team level, that meant designers needed to rethink the way they approached their product and development partners. They started to work in the product team’s workspace, adopting the product team’s tools. They started delivering things that mattered to product and development, like blocks of code, more realistic prototypes, feedback from customers, and better insights. They embedded themselves completely.
Haidy reports the result was a more varied way of working, and more importantly, stronger partnerships.
“Yes, our design teams operate differently from one another, but it’s because their product teams operate differently—different tools, different agile ceremonies,” she says. “Instead of working consistently as a design team, we had designers working consistently with their product teams. They started working in Jira, learning to write user stories, learning to find the language their partners understand, and to find ways we as designers can solve their problems.”
“Next year, I’m hoping to push that a little further,” she adds. “The assessment helped me understand how I would do that. Not that it told me what to do; it just said, ‘You have an opportunity to grow relationships,’ and that inspired me to start thinking about it.”
The IBM Cloud team used the assessment to validate their impact
Bill Grady is design program director for IBM Cloud, one of the most established design organizations in the company. His team values growth, and tries to stay transparent around opportunities for improvement.
Bill used the assessment for just that purpose.
“Having the language from the design maturity framework helped articulate the transformation that we’re part of,” he says. “Designers love to understand the strategy. They want to know what we’re working towards, how we can grow, advance, learn new skills.”
He used the report to frame the discussion around the skills where the team could grow. “It’s not comfortable to change, but a study like this can help us understand the value designers can provide to the business. It gives a rubric for what we should be prioritizing.”
It’s not comfortable to change, but a study like this can help us understand the value designers can provide to the business. It gives a rubric for what we should be prioritizing.
When it was time to present findings to the team, Bill began by asking designers where they thought the gaps might be. By and large, they were right.
“That launched a discussion where people spoke up about what we needed to work on and what we were doing well,” Bill says. “It turned out that we were mostly on the right track. It was useful as documentation and validation that we had a pretty clear head about our own growth.”
In the coming years, Bill hopes to use their 2019 assessment as a baseline to anchor the changes underway.
“We’ve already seen change since we took that assessment. I think our business is getting more value from generative research than before, because we’ve invested in it as a design team. I think it would be really exciting to do this a year from now, and see how much we’ve grown.”
Bill leads a discussion with the IBM Cloud team about stakeholder review practices.
Many thanks to the generous people behind IBM Design who partner with InVision to share their stories and tools, for the good of the entire product design community.
What’s next? Scaling the value conversation.
Now that so many IBM design leaders are on the other side of their first design maturity assessment, Doug finds he has new tools for his daily conversations with business leaders.
“What we see in the study reveals that—while we’re certainly seeing some examples of excellence—as a whole our teams are middle-ish of the pack compared to the industry at large,” Doug says. “We need to get to the next level of work and commitment from designers, and more importantly from our non-designer stakeholders and investors, to create the conditions for great work to happen consistently. That’s a great starting point for a conversation with a leader who thinks of design in a one-dimensional way.”
But the real power of a shared framework for maturity shows itself in the conversations he doesn’t have to have at all.
“Increasingly I’m in the background and our embedded design leaders are having these value conversations with their stakeholders on their own. They own the relationship now, and that’s a real signal of maturity.”
There’s a legend among the cheese connoisseurs of New York City. In most of the US, it’s illegal to sell raw (non-pasteurized) dairy products. The reasons why are complicated, but many non-Americans who were raised on fresh milk and cheeses are often surprised when they come stateside and are unable to purchase anything that came purely from a cow.
Nevertheless, there are pockets of independent retail shops in New York who have been quietly staging their own cheesy rebellion for years. These renegade shops continue to sell raw cheeses – preferred among gourmets for their supposedly superior taste and texture.
However, you can’t simply walk into one of these shops and pick up a raw round of cheese off the shelf. You have to specifically ask for it. Most people wouldn’t think to ask, and so they never know about the whole world of illicit flavor hiding in plain sight.
This, my friends, is an example of design mythology in action. A compelling story that piques your natural curiosity and makes you wonder if you yourself could ever stumble across something so unusual.
The best part is that it’s not merely something for cheese sellers – designers can master this skill as well, using their own personal stories to craft a compelling narrative that captivates clients as well as viewers. Maybe not as cool as illegal cheese, though. I mean, come on. That’s pretty epic.
The British street artist Banksy is known for his anonymity almost as much as he is known for his work. This is done deliberately – it builds up a powerful persona that people recognize (or in Banksy’s case, don’t recognize) immediately. They will hear your name and instantly recall how weird you are, or how many risks you take, or how excited you get when talking about your work.
Whatever your unique personality and communication style is, you can use it to transform your persona from dull to dynamic. Even if you think you’re not that exciting, you can still capitalize on some quirk of yours that will grab people’s attention.
Even being “boring” can be fascinating as a persona. American comedian Jerry Seinfeld is quite famous for being an average, everyday Joe. It’s how he built his comedy empire and became a legend on television screens across the country. So don’t be afraid to be exactly who you are, and never underestimate your appeal to your niche market.
What others may fine dull or strange or confusing, your audience will absolutely love.
Design As Performance Art
You can definitely harness the same process for your design work as well, and create a compelling experience around the production of your work for your clients and your users.
Many artists and designers have used video to display their creative process to the fans of their work. People love to watch a creative person working; if you’ve ever tried to sketch in a public place like the zoo or the subway, you know this. Many strangers won’t be able to resist tilting their heads around trying to get a good look at your sketchbook.
When you display your own unique production style, clients and users will take notice, and your work will take on a life of its own in the stories people will tell each other about it.
You want those stories – that mythology – to take root in every aspect of your production and your marketing. It’s the single most important part of your reputation as a designer.
Sure, you have to get good at telling your own story. But it’s also important to consider the stories other people are telling about your work.
What people say about your designs, and how they say it, is vital to getting the best clients. You can definitely influence people’s opinion of your work based on the mythology surrounding it. People are more likely to respond positively to design that has a good mythology around its creation, than to design that has little to no mythology.
Sources of Inspiration
If you really want to stand out from the crowd, don’t take inspiration from the same things everyone else in your industry is. Find something else to embrace, perhaps from a different industry or discipline, and co-opt it for your own work.
If every designer is obsessed with one particular trend or style, and you’re just not into it, that’s perfectly okay. Read books, look at new and different designs, and discover even more things that will help you develop a totally unique visual style.
It takes more work, but if you’re willing to dig deeper, you’ll stand head and shoulders above all the copycats who are too lazy or afraid to strike out on their own.
It takes time to develop a mythology around your designs. Don’t expect it to happen overnight – people need time to get to know who you are as a designer and to adapt to your unique offerings.
Attracting quality clients who will rave about your work will help tremendously, as it will lend your business a credibility that you can’t get any other way. Remember, people are willing to tolerate almost any amount of eccentricity as long as others can verify that you can be counted on to deliver the results they want.
Welcome to the next installment of Designer Confidential: our column sharing practical advice on solving your toughest challenges like transforming your organization, creating a better-connected workflow between designers and developers, and building a great team. Submit your questions via this form, email us at [email protected], or tweet at us at @InVisionApp.
Engineers often tell me my designs are difficult to develop or that certain features will slow down the system. What approaches can I take in creating more developer-friendly interfaces and UX solutions?
—Signed, Lost in Translation
This is a great question, and it’s something I’ve considered a lot throughout my career. I think this friction often stems from differing values for designers and developers. While designers are focused on the experience of a product, engineers often orient towards the overall feasibility of building a quality, performant product within a defined timeline. The first step towards creating more developer-friendly interfaces and UX solutions is to recognize that if a product ultimately cannot be built, it’s not going to meet any user needs.
As much as I’d like to offer a single cure-all for seamless designer/dev collaboration, the truth is that there isn’t a one-size-fits-all solution. The definition of a “developer-friendly interface” differs by organization and team. Not only is it affected by the unique product each team builds, but work culture, skill sets, tech stacks, and legacy issues also have a part to play.
With all this in mind, I think the second step is to zoom out and develop empathy not only for the individuals you’re working with, but also for how their team fits into the greater organization. I’ve found the best way to do this is conducting a series of interviews when starting to work with another team or on a new project.
Here are some good open-ended questions to ask developers:
Are there any back-end or front-end architectural constraints that would impact your ability to develop in certain ways?
What’s been hard for you in the past when working with designers?
What’s worked well? What hasn’t?
Chances are, engineering teams have experienced both good and bad design partnerships. In the same way that understanding your users’ needs helps you focus on the most important experience solutions, getting an understanding of how your development partners view the designer-development relationship and what incidents shaped it will better inform you on how to proceed together as a team.
Collaborate earlier than you think
With a strengthened design-dev connection, you can begin to optimize your processes together from the get-go. No longer will debates around what can be developed begin once designs are “finished”—your engineering partners will be able to identify trade-offs early and often, which you’ll be able to then input into your design. I’d recommend even involving the dev team as early in the conversation as conceptualizing user flows or information architecture. Regardless of visual presentation, the flow of information introduces the potential to add back-end complexity (such as underlying data structure changes), which will almost certainly increase the time it will take to develop.
Develop a common language
To aid collaboration, I’d recommend developing a common language (e.g. shared names for design primitives and components). If the terms used to refer to UI components and styles are reusable and consistent, they’ll circumvent developers having to manually translate a designer’s intentions into the equivalent code. I may be biased, but this is a huge argument for design systems, which clearly compile a collection of reusable components. Acting as a single source of truth, design and development teams can use the system to collaborate more quickly and easily.
Align on a shared definition of success
Even with planning and close partnerships, issues will crop up and lead to development delays. It’s not ideal, but it’s reality. Therefore, your joint design and development team needs to follow the same north star throughout the project: Will success be measured by speed of implementation, increased conversion, or user satisfaction? Understanding this early on can help a team weigh the relative trade-offs that exist from a value versus feasibility standpoint.
While being a good partner is important, I think it’s also critical for designers to remain advocates for their discipline, continuing to make “good design” less subjective in their organization. Though it’s easier said than done, here are some great resources to help you clearly communicate the value of design whenever possible:
Now, while it’s helpful to be aware of how other teams operate in order to minimize day-to-day friction, don’t let empathy towards dev cascade into design fading into the background. Both teams should be equal partners in understanding—all in the name of the user.
Simple form options allow shoppers to enter an address, payment information and promos, delivery options and confirm checkout on easy, quick screens. The best part? This type of checkout process works exceptionally well on mobile since users can see each form option on the screen.
Startup is taking all the guesswork out of an ecommerce website design for you. (And making it easy to create and customize.)
Thank you pages
Finally, Startup includes thank you and shopping confirmation pages so that shoppers will know their purchase is processing and on the way.
Designs allow you to add a thank you message and buttons to track orders or keep shopping. (Don’t forget to create more return engagement.)
Each page design is simple and direct, telling the user exactly what they need to know about the order they just finished placing.
We will continue to update Startup; if you have any questions or suggestions, please contact us!
Each month we roundup the freshest website designs released in the previous four weeks, all with an eye-out for hot new ideas.
January 2020 is picking up where 2019 left off, with lots of animation and even more bold, bright color schemes. We’re also seeing an unusual number of luxury sites this month, and as always there’s a strong set of startups trying to break into the market. Enjoy!
To take on giants like PayPal, you need a compelling brand and a simple message, that can also wow with its first impression. Plink hits the nail on the head with its 3D animation.
Are you wondering what 2020 will hold for you? Why wait to find out when Madame Turfu can predict the future with this wonderfully fun set of digital tarot cards.
What’s not to love about Nathan Taylor’s playful site? There’s so much to explore and do, but our favorite part is the different lighting modes.
Selling Meatable is a tough prospect; it’s real meat, grown in a lab instead of taken by animal slaughter. The simple step-by-step site does a great job of explaining.
Whatever your view of Harry and Megan, there’s little doubt that their website oozes class. For a promotional site that isn’t actually selling anything, it’s a strong presence.
This fantastic manifesto from design agency Emotive Brand illustrates an A–Z of potential brand emotions with simple animations that would grace the cover of a Bluenote release.
Swiss design agency UNREAL’s site is a wonderfully chaotic love affair with web animation. It’s the type of site we can click around for hours, enjoying the sharp transitions.
Sometimes the best design takes a step back and allows its subject to bask in all the attention. Kate Jackling’s site does this, letting her gorgeous photography take center stage.
Helias has fully embraced the blob trend with a flood-filled area of color supporting each of its various products. It’s appropriate, engaging, and breaks up the formal grid well.
Sometimes the hardest sites to design, are the ones for products about which there’s very little to say. Klokki is one such product, but its site is bold, confident, and persuasive.
Jonnie Hallman’s simple résumé site benefits greatly from the household names he’s worked for. We really like the details, like the way the monogram changes color as you scroll.
eaast is a design and development partnership from Paris that’s fully embraced the Memphis style. Their simple site proves you don’t need years’ worth of work to sell yourself.
Proving that elegant scrolling is still very much a thing in 2020, Pantheone Audio uses the scroll to seamlessly navigate a luxurious site with a complex grid underpinning it.
After decades of the best a man can get, the half of the species that shaves daily seems to be obsessed with reinventing the process. Leaf taps into that simple marketing approach.
Most sites that sell jewelry miss the spirit of the pieces by focusing on the financial value. Mocuin gets it right with an on-trend color palette and stunning product photography.
Jon Way’s portfolio features work from over a decade of art direction. There’s a clear, consistent aesthetic thanks to a lovely ‘static’ effect that plays across the whole site.
There’s some amazing work in Kato Yamaji’s portfolio, but what really strikes home is the amount of color he manages to squeeze in.
We’ve seen lots of animated vector avatars over the last couple of years, but rarely do we see one with as much personality as Robb Owen’s. The cursor tracking makes it feel real.
Glasgow International Festival 2020
The Glasgow International Festival takes place between 24th April and 10th May 2020. Its site features some distinctly celtic typography, and tons of bold color.
Megababe is taking on the beauty industry with a range of body products that are insanely popular, and as positive as its super-confident sales site.