1. Android 21: Material Design
Kirk Scott

9. Introduction
These overheads are based on a different part of the Google developer’s Web site
This is specifically taken from the design documentation, not the development documentation
It is about graphical design concepts and standards which are used to create user interfaces

10. Outline 21.1 Introduction 21.2 Environment 21.3 Material Properties
21.4 Elevation and Shadows
21.5 What’s New

11. 21.1 Introduction

13. We challenged ourselves to create a visual language for our users that synthesizes the classic principles of good design with the innovation and possibility of technology and science.
This is material design.
This spec is a living document that will be updated as we continue to develop the tenets and specifics of material design.

14. Goals

15. Create a Visual Language

16. Create a visual language that synthesizes classic principles of good design with the innovation and possibility of technology and science.

17. Develop a Unified Experience

18. Develop a single underlying system that allows for a unified experience across platforms and device sizes.
Mobile precepts are fundamental, but touch, voice, mouse, and keyboard are all first-class input methods.

19. Principles

20. Material is the metaphor

21. A material metaphor is the unifying theory of a rationalized space and a system of motion.
The material is grounded in tactile reality, inspired by the study of paper and ink, yet technologically advanced and open to imagination and magic.

22. Surfaces and edges of the material provide visual cues that are grounded in reality.
The use of familiar tactile attributes helps users quickly understand affordances.
Yet the flexibility of the material creates new affordances that supersede those in the physical world, without breaking the rules of physics.

23. The fundamentals of light, surface, and movement are key to conveying how objects move, interact, and exist in space and in relation to each other.
Realistic lighting shows seams, divides space, and indicates moving parts.

24. Bold, graphic, intentional

25. The foundational elements of print-based design – typography, grids, space, scale, color, and use of imagery – guide visual treatments.
These elements do far more than please the eye.
They create hierarchy, meaning, and focus. Deliberate color choices, edge-to-edge imagery, large-scale typography, and intentional white space create a bold and graphic interface that immerse the user in the experience.

26. An emphasis on user actions makes core functionality immediately apparent and provides waypoints for the user.

27. Motion provides meaning

28. Motion respects and reinforces the user as the prime mover.
Primary user actions are inflection points that initiate motion, transforming the whole design.
All action takes place in a single environment.

29. Objects are presented to the user without breaking the continuity of experience even as they transform and reorganize.
Motion is meaningful and appropriate, serving to focus attention and maintain continuity.
Feedback is subtle yet clear. Transitions are efficient yet coherent.

30. 21.2 Environment

31. Material design is a three-dimensional environment containing light, material, and cast shadows.

32. All material objects have x, y, and z dimensions.
All material objects have a single z-axis position.
Key lights create directional shadows, and ambient light creates soft shadows.

33. Material thickness
1dp
Shadows
Shadows are created by the elevation difference between overlapping material.

34. 3D world

35. The material environment is a 3D space, which means all objects have x, y, and z dimensions.
The z-axis is perpendicularly aligned to the plane of the display, with the positive z-axis extending towards the viewer.

36. Every sheet of material occupies a single position along the z-axis and has a standard 1dp thickness, equivalent to one pixel of thickness on screens with a pixel density of 160.
On the web, the z-axis is used for layering and not for perspective.
The 3D world is emulated by manipulating the y-axis.

37. Light and shadow

38. Shadow cast by key light

39. Shadow cast by ambient light

40. Combined shadow from key and ambient lights

41. 21.3 Material Properties

42. Material has certain immutable characteristics and inherent behaviors.

43. Understanding these qualities of material will help you manipulate material in a way that’s consistent with the vision of material design.

44. Material characteristics
Solid Occupies unique points in space Impenetrable Mutable shape Changes in size only along its plane Unbendable Can join to other material Can separate, split, and heal Can be created or destroyed Moves along any axis

45. Physical properties
Material has varying x & y dimensions (measured in dp) and a uniform thickness (1dp).

46. Do. The height and width of material can vary.

47. Don't. Material is always 1dp thick.

48. Material casts shadows.
Shadows result naturally from the relative elevation (z-position) between material elements.
Do.
Shadows depict the relative elevation between material elements.
[Online training has an animation]

49. Don't.
Shadows are never approximated by coloring material.
[Online training has an animation]

50. Content is displayed on material, in any shape and color.
Content does not add thickness to material.
Do.
Material can display any shape and color.
[Online training has an animation]

51. Content can behave independently of the material, but is limited within the bounds of the material.
Do.
Content behavior can be independent of the behavior of material.
[Online training has an animation]

52. Material is solid.
Input events cannot pass through material.

53. Do. Input events only affect the foreground material.

54. Don't. Input events cannot pass through material.

55. Multiple material elements cannot occupy the same point in space simultaneously.

56. Do. Using elevation to separate material elements is one method of preventing multiple material elements from occupying the same point in space simultaneously.

57. Don't. Multiple material elements cannot occupy the same point in space simultaneously.

58. Material cannot pass through other material.
For example, one sheet of material cannot pass through another sheet of material when changing elevation.
Don't.
[Online training has an animation]

59. Transforming material
Material can change shape.
[Online training has an animation]
Material grows and shrinks only along its plane.
Material never bends or folds.

60. Multiple sheets of material can join together to become a single sheet of material.
[Online training has an animation]
When split, material can heal.
For example, if you remove a portion of material from a sheet of material, the sheet of material will become a whole sheet again.

61. Movement of material
Material can be spontaneously generated or destroyed anywhere in the environment.
[Online training has an animation]
Material can move along any axis.
Z-axis motion is typically a result of user interaction with material.

62. 21.4 Elevation and Shadows

63. Objects in material design possess similar qualities to objects in the physical world.

64. In the physical world, objects can be stacked or affixed to one another, but cannot pass through each other.
Objects also cast shadows and reflect light.
Material design reflects these qualities to form a spatial model that is familiar to users and can be applied consistently across apps.

65. Elevation
Measured from the front of one surface to the front of another, an element’s elevation indicates the distance between surfaces and the depth of its shadow.

66. Resting elevation
All material elements have resting elevations. While components have consistent resting elevations across apps, they may have different resting elevations across platforms and devices.

67. Dynamic elevation offsets
Dynamic elevation offsets are the goal elevation that a component moves towards, relative to its resting state.

68. Elevation (Android)

69. Elevation is the relative depth, or distance, between two surfaces along the z-axis.
Specifications:
Elevation is measured in the same units as the x and y axes, typically in density-independent pixels (dp).

70. Because material elements have depth (all material is 1dp thick), elevation is measured in distance from the top of one surface to the top of another.
A child object's elevation is relative to the parent object's elevation.
The images and values shown are for Android apps.

71. Resting elevation
All material objects, regardless of size, have a resting elevation, or default elevation that does not change.
If an object changes elevation, it should return to its resting elevation as soon as possible.
Desktop resting elevation is 2dp below the listed values to accommodate mouse and non-touch environments.

72. Elevation (dp)
Component 24
Dialog
Picker 16
Nav drawer
Right drawer
Modal bottom Sheet 12
Floating action button (FAB - pressed) 9
Sub menu (+1dp for each sub menu) 8
Bottom navigation bar
Menu
Card (when picked up)
Raised button (pressed state) 6
Floating action button (FAB - resting elevation)
Snackbar 4
App Bar 3
Refresh indicator
Quick entry / Search bar (scrolled state) 2
Card (resting elevation) *
Raised button (resting elevation)*
Quick entry / Search bar (resting elevation) 1
Switch

73. Component elevations:
Components maintain consistent resting elevations across apps.
For example, the floating action button’s elevation does not vary from one app to another.

74. Components may have different resting elevations across platforms and devices, depending on the depth of the environment.
For instance, TV has a greater depth than desktop as it has a larger screen and is viewed from further away.
Similarly, both TV and desktop have a greater depth than mobile.

75. Responsive elevation and dynamic elevation offsets
Some component types have responsive elevation, meaning they change elevation in response to user input (e.g., normal, focused, and pressed) or system events.
These elevation changes are consistently implemented using dynamic elevation offsets.

76. Dynamic elevation offsets are the goal elevation that a component moves towards, relative to the component’s resting state.
They ensure that elevation changes are consistent across actions and component types.
For example, all components that lift on press have the same elevation change relative to their resting elevation.
Once the input event is completed or cancelled, the component will return to its resting elevation.

77. Avoiding elevation interference
Components with responsive elevations may encounter other components as they move between their resting elevations and dynamic elevation offsets.
Because material cannot pass through other material, components avoid interfering with one another any number of ways, whether on a per-component basis or using the entire app layout.

78. On a component level, components can move or be removed before they cause interference.
For example, a floating action button (FAB) can disappear or move off-screen before a user picks up a card, or it can move if a snackbar appears.
On the layout level, design your app layout to minimize opportunities for interference.
For example, position the FAB to one side of stream of a cards so the FAB won’t interfere when a user tries to pick up one of cards.

79. Component elevation comparisons

80. In this diagram, only the elevation dimensions and layout for components are accurate. Other dimensions and overall layout of components are for illustration only.

81. An example app layout with cards and a floating action button, along with a cross-section diagram of its component elevations along its z-axis

82. An example app layout with an open navigation drawer, along with a cross-section diagram of its component elevations along its z-axis.

83. Shadows
Shadows provide important visual cues about objects’ depth and directional movement.
They are the only visual cue indicating the amount of separation between surfaces.
An object’s elevation determines the appearance of its shadow.

84. Don't. Without a shadow, nothing indicates that the floating action button is separate from the background surfaces.

85. Don't. Crisp shadows indicate the floating action button and the blue sheet are separate elements. However, their shadows are so similar that they imply they are both at the same elevation.

86. Do. Softer, larger shadows indicate the floating action button is at a higher elevation than the blue sheet, which has a crisper shadow.

87. In motion, shadows provide useful cues about an object’s direction of movement and whether the distance between surfaces is increasing or decreasing.

88. Don't. Without a shadow to indicate elevation, it’s unclear whether this square is increasing in size or increasing its elevation.

89. Do. The shadow grows softer and larger as the object’s elevation increases and grows crisper and smaller as the elevation decreases.

90. Do. In this case, the consistent shadow helps the user understand that the object is changing shape as opposed to changing elevation.

91. Component reference shadows
The following component shadows should be used as canonical references.
If there are any differences between the following reference shadows and component shadows found elsewhere within this spec, defer to these reference shadows.

92. App bar
4dp

93. Raised button Resting state: 2dp Pressed state: 8dp
For desktop only, raised buttons can have an elevation of: Resting state: 0dp Pressed state: 2dp
See raised buttons for more information

95. Floating action button (FAB)
Resting state: 6dp
Pressed state: 12dp

97. Card
Resting state: 2dp
Raised state: 8dp
For Desktop only, see Content blocks.

99. Menus and sub menus
Menus: 8dp
Sub menus: 9dp (+1 dp for each sub menu)

101. Dialogs
24dp

102. Nav Drawer & Right drawer
16dp

104. Modal bottom sheet
16dp

105. Refresh indicator
3dp

106. Quick entry/Search bar
Resting state: 2dp
Scrolled state: 3dp

108. Snackbar
6dp

109. Switch
1dp

110. Object relationships
[Online training has two animations, with the following captions, which illustrate the concept]
[1] As the parent sheet scrolls, the raised button (its child) scrolls off screen with it.
[2] As the card collection scrolls off-screen, its child cards scroll off-screen with it.
The floating action button remains in place because its parent is not being scrolled.

111. Object hierarchy
How you organize objects, or collections of objects, in an app determines how they move in relation to one another.
Objects can move independently of each other or be constrained by objects higher in the hierarchy.

112. All objects are part of a hierarchy described in terms of a parent-child relationships.
The “child” in each of these relationships refers to an element that is a subordinate to its “parent” element.
Objects can be children of either the system or another object.

113. Parent-child specifics:
Each object has one parent.
Each object may have any number of children.
Children inherit transformative properties from their parent, such as position, rotation, scale, and elevation.
Siblings are objects at the same level of hierarchy.

114. Exceptions
Items parented to the root, such as primary UI elements, move independently of other objects.
For example, the floating action button does not scroll with content.
Other elements include:
An app’s side nav drawer
The action bar
Dialogs

115. Interaction
How objects interact with one another is determined by their place in the parent-child hierarchy.
For example:
Children have minimal z-axis separation from their parent; other objects do not get inserted between parents and children.

116. In a scrolling card collection, the cards are siblings of each other, so they all move together in tandem.
They are children of the card collection object that controls their movement.

117. Elevation
How you determine the elevation of objects – their position in z-space – depends on the content hierarchy you want to express and whether an object needs to move independently of other objects.

118. 21.5 What’s New
[It turns out that there is no information in this section worth spending time presenting in class]

119. Summary and Mission This set of overheads had no technical content
Your initial mission is to observe these things when using Android apps
In the long run, if you develop more advanced apps, your mission will be to learn the technical aspects of applying these graphical design concepts in your user interfaces

120. The End