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Les employés SAP face à la crise du Covid19

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Dans des moments comme celui-ci, la raison d’être n’est pas seulement un mot, c’est une responsabilité. Chez SAP, nous tirons parti de nos ressources et de notre réseau pour des solutions pragmatiques et innovantes, sur la base de valeurs et d’un objectif communs, mais nous vivons également notre raison d’être à travers nos propres actions pour aider le monde à mieux fonctionner et améliorer la vie des gens.

 

Les employés et les équipes de l’entreprise se sont engagés de manière utile pour répondre à la crise actuelle et montrer que l’objectif est de vivre au-delà des revenus et des bénéfices. En mettant l’accent sur la santé, le bien-être, la main-d’œuvre qualifiée et la promotion de l’entrepreneuriat social et inclusif, notre raison d’être ne répond pas seulement aux objectifs de développement durable des Nations Unies (ODD des Nations Unies), mais permet également de prendre soin des personnes dont nous nous soucions le plus.
Les employés de SAP dans les pays nordiques et au Royaume-Uni ont développé diverses idées sur la manière de se soutenir mutuellement pendant la pandémie – en tant que collègues, clients, partenaires ou bénévoles pour les personnes dans le besoin. Que ce soit pour un usage interne, local ou international, leur aide ainsi que leur créativité n’ont pas connu de frontières.
Poussé par l’envie de renforcer sa communauté locale Ottershaw, l’employé de SAP Mark French a puisé dans son expérience et son savoir-faire technique et a créé un site Web qui relie les personnes dans le besoin avec des voisins et des bénévoles. Grâce à www.ottershawsupport.com , chaque résident peut s’inscrire facilement pour obtenir de l’aide ou en donner, en recueillant des ordonnances, en faisant les achats essentiels ou en fournissant une assistance et des informations par téléphone.
Un autre exemple de dévouement sans limite a été la mise en place par un autre collègue de SAP qui a soutenu l’idée de son ami de longue date et artiste graffeur Keith Hopewell ( SP: zéro ). SP:zero voulait créer une pièce de collaboration sous forme d’illustrations avec des artistes du monde entier, démontrant la croissance du virus sous son titre « Spread art, not the ‘Rrona ». Ils se sont vite rendu compte que cette collaboration pouvait également apporter une aide financière.
«J’ai eu l’idée de vendre les tirages et de les donner aux hôpitaux britanniques qui nous soutiennent», explique Jago Livingstone. Sous le nom de «No Toys Allowed», il a conçu une boutique en ligne pour faciliter l’accès à leurs dons de charité. Les résultats ont été étonnants : de plus en plus d’artistes se sont impliqués, avec un pic à 163 artistes dans 21 pays sur tous les continents.
Les employés de SAP dans les pays nordiques et baltes ont utilisé leur créativité pour promouvoir la santé, le bien-être et l’inséparabilité, malgré la distance sociale. Vingt-deux collègues SAP d’une équipe de prévente ont livré une vidéo thématique en tant que contribution du Nordic Customer Solution Advisory à un événement à venir sur le thème «We Rise Up». La vidéo révèle une histoire personnelle sur la façon dont ils gèrent la situation actuelle et sur la façon dont chaque individu « se relève » ensemble pour ses collègues, clients et partenaires.
«Parce que c’est ce que nous faisons en ces temps difficiles, c’est dans notre ADN», dit Gitte Winther Bruhn, résumant l’essence de leur idée et montrant une fois de plus que chacun peut agir pour le bien commun, même avec les actions les plus simples.

Article posté pour la première fois en anglais sur news.sap.com

The post Les employés SAP face à la crise du Covid19 appeared first on SAP France News.

Source de l’article sur sap.com

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20 Unmissable Websites, July 2020

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After six months of uncertainty 2020 is finally beginning to find a style of its own. There are nods to Brutalism, a delightful blending of 80s pastels with 90s primaries, and the font style of choice is anything but geometric sans-serif.

In this month’s collection of the freshest sites from the past four weeks you’ll find tons of new portfolios, from big agencies to freelancers, and some amazing primal scream therapy. Enjoy!

Looks Like You Need Iceland

Looks Like You Need Iceland is an incredible site that asks you to record a scream, that they’ll broadcast for you into the wide open spaces of Iceland as therapy. And then perhaps you’ll visit Iceland for real. It’s brilliant marketing for the Iceland tourist board.

Riverlane

The abstract 3D animation on Riverlane’s site is a stunning introduction to a topic that’s hard to visualize. The rest of the site is equally well done, with great typography, slick brand assets, and a professional engaging tone.

Monokai

Wimer Hazenberg’s site features a simple pixelated text column. But scroll down the page and keep an eye on the awesome text dissolve effect, it transforms this simple design.

I Weigh Community

The I Weigh Community is a non-profit community activism initiative helmed by Jameela Jamil. It’s devoted to radical inclusivity, and it promotes its message on its site with striking graphics and bold, expressive typography.

WAKA WAKA

Waka Waka is a design studio specializing in wooden furniture. The noise effect and the mid-century typography evoke the radical design of 60 years ago. The random rotations on the thumbnail hovers are delightfully disruptive.

Dataveyes

Dataveyes is an information design studio that works with large datasets to give meaning to complex information. Its site features beautiful, full-screen animations that illustrate the type of information it specializes in.

Year & Day

Year & Day is an ecommerce site that sells ceramics, glassware, and other choice pieces of tableware. It’s a colorful collection that perfectly complements your food and the stunning site takes its cues from the collection.

Dunderville

Dunderville is a motion design studio with an impressive portfolio of animation and live action films. Its site features a tactile paper fold detail, and as you would expect, some superb text, and vector animations.

André Venâncio

It’s been months since we last saw a creative developer’s site with a liquid effect. André Venâncio revisits the idea with a cool oil bubble effect, hover over the thumbnails to see it.

Thomas Prior

It’s not all 60s revivalism, pastels, and cute animations. There will always be room for minimalism, and nothing suits this style as well as portfolios for photographers; Thomas Prior’s site is a prime example.

Serra

Serra’s site features a really beautiful high-contrast typeface that sits apart from the usual sans-serif. The product page is all colored product photography. It exudes luxury and distinction in a saturated marketplace.

VYBES

VYBES is a CBD drink made in LA. Its site evokes the Californian spirit with baby pink brand colors and sun-bleached photography. It’s a cool, and ever so slightly Brutalist look for what is essentially a health drink.

Karina Sirqueira

We love the simplicity of Karina Sirqueira’s portfolio. The desaturated rainbow leads to a simple slideshow of projects, and it’s refreshing to see a minimal site that uses bold serif-based typography. The content feels fresh and honest too.

Smalls

Smalls produces healthy food for cats. The site, is packed with adorable pictures of kitties, which if you’re a cat person, is guaranteed to draw you in. There’s a definite Brutalist style to the site, and lots of color too.

Wildist

There’s a clear aesthetic beginning to emerge in 2020, with pastels creating a soft background for desaturated primaries, and Wildist gets it exactly right with this youthful, site that features just enough animation to bring it to life.

Kristen Kwong

We’ve seen a lot of OS-style sites recently, but Kristen Kwong’s is one of the slickest. It manages to take a simple metaphor for interaction and transform it with a vintage color scheme.

Stojo

Continuing the Miami-meets-Brutalism trend this month is the site for Stojo, a collapsable cup and bottle. The pastel shades block out a disrupted grid, but for our money it works better on mobile. The vintage typeface is a nice touch.

Hoang Nguyen

Hoang Nguyen’s site features a surreal 3D scene with mountains, a spinning planet, floating islands, a waterfall, and a floating dragon-boy. Click around the site and the scene transforms.

SMTH / Sam Smith

Sam Smith’s portfolio has a cool magazine style to it, with a nice blocky background on the text and a personality packed animated avatar taking centre stage.

Then I Met You

Then I met You is a site promoting a range of skincare products. In this case, the usual pastel colors are replaced with an 80s-style gradient. Watch the products as you scroll, the lighting changes creating an awesome, subtle 3D effect.

Source


Source de l’article sur Webdesignerdepot

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17 Tools I Can’t Design Without

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I think of a creative practice as a combination of an approach (a design philosophy) and a series of techniques (craft skills); a good tool facilitates a technique, which in turn supports an approach.

It wasn’t until I sat down to write a list of tools I can’t design without, that I realized just how many tools I rely on as an integral part of my creative process. The danger of tools is that they promote certain techniques, and that bias can alter your approach.

First and foremost a good tool does no harm, it does not dictate, or obstruct your approach. Secondly, a good tool offers flexibility in the techniques you choose. Thirdly a good tool is invisible, it leaves no marks on the end product.

If I’d written this post a year ago the list would have been different, and I hope that in a year it will be different again. These are the tools that I currently find enabling, that have contributed to my craft, and supported my approach.

Affinity Designer

I’ve always used Adobe products. Photoshop and Illustrator were the de facto graphic tools for half my life. I’ve never had an issue with the subscription licensing of Creative Cloud, which I think is proportionate for a professional set of tools. Then, around 18 months ago I got very frustrated with how sluggish Illustrator had become.

I’d written an early review of Affinity Designer, I’d been impressed at the time, so I decided to give it another try expecting the sojourn to last an hour or two before I gravitated back to Illustrator. Running the latest version of Affinity Designer was a revelation, I’ve simply never wanted to switch back.

Why not Sketch? Well, I do occasionally jump into Sketch, especially for pure vector wireframing. I was an early adopter of Sketch, but the reliability issues (long since resolved) poisoned my relationship with it. Why not Figma? Well, Figma’s real strength is in collaboration, something that I get with Sketch, and personally I find some of Figma’s features unintuitive.

Affinity Designer isn‘t perfect. I dislike the color tools, especially the gradient tool, which I find clunky. But it’s the first design app I’ve used in years that syncs closely with my creative process.

Affinity Photo

I don’t do a lot of photo manipulation, so when I switched away from Creative Cloud for design work, I was relaxed about switching from Photoshop to Affinity Photo.

In my experience, Affinity Photo is stronger than Photoshop in some areas, and weaker in others. Affinity Photo’s bitmap scaling is much better than Photoshop’s, largely due to Lanczos 3 sampling.

Affinity Photo also solves a lot of little irritations that Adobe has chosen not to address for legacy or philosophical reasons, such as the toggleable ratio setting when resizing the canvas — I’ve lost track of the hours I’ve spent in Photoshop manually calculating vertical whitespace so that it’s proportionate to the horizontal.

TinyPng

Both Affinity Photo and Photoshop are poor at web format optimizations. Photoshop perhaps has the edge, but its output certainly isn’t acceptable for production.

I run bitmaps through TinyPng, which on average halves the size of the file without any appreciable loss of quality. (It stripped 66% off the images for this post.)

Fontstand

When I started to drift away from Creative Cloud, the one service that delayed me was Adobe Fonts (née Typekit). Not so much for the webfonts — which are faster and more reliable self-hosted — but for the ability to sync desktop fonts into my design apps.

I tried Fontstand when it was first released, and I loved the concept, but was worried about the small library. When I took a second look and discovered the library is now substantial for both workhorses and experimental typefaces, it was an easy decision to switch.

Fontstand is a desktop font rental service. Once you’ve found a typeface you’re interested in, you can activate an hour-long trial, then choose to rent the font for a small fee. You can auto-renew the rental if you need to, and if you rent the font for 12 months it’s yours forever.

If there’s one tool on this list I genuinely could not design without it’s this one. Fontstand makes working with fonts from independent foundries affordable for freelancers, and it’s enriched the typographic palette available to me.

Khroma

Every designer has strengths and weaknesses. Since day one of art school, my weakness has been color. It just doesn’t come naturally to me, and I have to work quite hard at it.

An incredibly helpful tool that I’ve been using for a few months is Khroma. It helps my eyes warm up before approaching color, and helps me find a starting point that I can then refine. Comparing my design work before, and after Khroma, the latter color choices are cleaner, more vibrant, and more interesting.

Atom

A good code editor is essential, and I’ve never found one that I’m completely happy with. For years I’ve flitted back and forth between Brackets, Sublime Text, and BBEdit. I think that probably reflects the changes in the type of coding I’m doing.

For now, I’ve settled on Atom. It’s fast, reliable, and it’s not biased to front or back-end code.

CodeKit

I held out on compilers longer than I should have, using apps like Minify to minify CSS and JavaScript, and the command line to process Sass (see below). Then I found CodeKit and it’s been essential to my workflow ever since.

What I like best about CodeKit is that it’s a GUI. Which means I can change settings while coding, like toggling off the JavaScript linting, without switching mental gears into another language.

MAMP

MAMP is a tool that allows you to run a local server environment, meaning I can run PHP and MySQL without the tedious process of FTPing to a server to test a change. Mac comes with Apache, so this isn’t strictly necessary, but it’s simple to use and works well with both CodeKit and Craft (see below).

There’s a pro version of MAMP, which allows you to switch seamlessly between projects, but it’s heavily geared towards WordPress. I’m still trying to find the time to evaluate Laravel Valet.

Dash

When you first start coding you try and memorize the entire language. It’s very possible to become fluent in the core of a language, but there are always nuances, defaults, and gotchas that you miss. As you grow more experienced, you realize that all professional coders Google the answer at least once per day.

When I got tired of Googling I started using Dash which is a superb app that combines the docs of numerous different languages into a searchable window. I use it daily for everything from SVG to Twig.

LambdaTest

It doesn’t really matter what you’re building, even the indy-web needs to be tested. Ideally you’ll test on real devices, but if you can’t afford a device library — and who but the largest agencies can — you need a live testing solution.

There are a few upstarts, but your choice is basically between BrowserStack and LambdaTest. I went for LambdaTest because I prefer the style of the UI, but that’s entirely subjective. If you’re not sure, toss a coin, you’ll get the same results with both.

Sass

I can’t write CSS without Sass — and I mean that literally. If I try and write vanilla CSS I guarantee I’ll nest something with @at-root and it will throw an error.

Craft CMS

Stating any preference for a CMS online that is not WordPress inevitably invites impassioned protests from developers whose career is built on the WordPress platform. So let me say preface this by saying: if WordPress works for you, and more importantly for your clients, then more power to you; I think it’s a dog.

Shopping around for a CMS is challenging, and I’ve gone through the process several times. A good CMS needs to be in sync with your mindset, and it needs to be appropriate for your clients — all of them, because unless you’re in a large agency with multiple coders, you need to commit to a single solution in order to master it.

I have looked and looked, and finally settled on Craft CMS. Craft makes it easy to build and maintain complex, high-performance sites. It has a shallow learning curve that grows exponentially steeper, making it easy to get started with plenty of room to grow.

Vue.js

Way back when Flash went kaput I switched to jQuery, and that was a really easy route into JavaScript — ignore the people who tell you to master the core language first, do whatever it takes to start using a language, that’s how you learn. But jQuery is heavy, and I found I needed it less and less.

These days 90% of the JavaScript I write is progressive enhancements in vanilla JavaScript to keep the dependencies low. Occasionally I encounter a job that requires complex state management, and then I fall back on Vue.js. JavaScript developers are as partisan as CMS aficionados, so let’s just say I favor Vue.js because it’s not controlled by a mega-corp and leave it at that.

Ulysses

As editor at WDD, I cannot emphasize enough that the right way to write copy for the web is markdown.

Markdown is faster to write so you don’t lose the thread of your thought process, and it doesn’t impose formatting so you can easily migrate to a CMS. If you’ve ever spent 20 minutes stripping the class, id, and style tags out of a file created in Word, Pages, or (by far the worst offender) Google Docs, then you don’t need to be sold on this point.

There are a few markdown-based writing apps available, I tested half a dozen, and the one I settled on was Ulysses. I like its distraction-free mode, I love its clean exports. Everything I write, I write in Ulysses.

Screenshot Plus

Much like markdown editors, there’s no shortage of screenshot apps. My current favorite is Screenshot Plus.

Screenshot Plus has one feature that makes it standout for me, and that is its Workflows. It sounds like a small problem, but when you’re taking screenshots of a dozen sites, the extra clicks to save, switch to your editor, and open the file are laborious. I have several workflows setup in Screenshot Plus that allow me to take a screenshot, save it to a specified folder on my local machine, and then open it in Affinity Photo, all with a single click.

Spark

I get a lot of email, a lot. At one point the influx was so bad I was using multiple email apps to segment it. Yes, I use Slack daily, but it doesn’t eliminate the need for email.

I‘ve been using Spark for around six months and it’s radically sped up my workflow. I’m a big fan of the smart inbox that allows me to compartmentalize email like newsletters, and email that warrants a reply. I like that I can switch to a chronological list if I’m looking for something specific. I love the ability to pin, or snooze messages, which helps me triage my inbox.

Todoist

I’m one of those people who can’t make it through the day without being organized. I need lists and sublists, and I need something native that opens automatically when I boot my Mac, and something that sits on the home screen of my Android.

There are as many to-do apps as there are things to do. When I’m working in a team I’ll use whichever task-tracking system it prefers. But by choice I always use Todoist thanks to its balance of simplicity and power. At this point it’s something of a meta-tool, and the app I open first every morning.

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Case Study: 8 Design Tips That Increased My Ecommerce Conversions By 42% 

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When it comes to increasing sales for your ecommerce store, there are 3 levers you can pull: You can increase your average order value; You can increase the amount of traffic to your site; You can increase your conversion rate.

While all of the above are important, the cheapest, most effective way to grow your sales is by improving your conversion rate.

For most online stores, low conversion rates are typically the result of a poor design or a bad user experience. Your visitors may not resonate with the look and feel of your website or they may have problems finding the information they need in order to make a purchase.

In this post, I will walk you through the exact steps I took to increase my desktop conversion rate by 46% and my mobile conversion rate by 39% with my last site redesign. I will also show you how you can apply these same design principles to optimize the conversion rate for your own online store.

Even if your ecommerce business is already performing well, this post will help you achieve even better results.

What Is Considered A Good Ecommerce Conversion Rate? 

Monitoring your conversion rate is crucial to building a profitable ecommerce business. And most analytics tools can help you measure this data out of the box.

Your conversion rate is calculated by simply dividing the number of desired actions by the number of website visitors in a given period. For example, if your website is getting 50 conversions for every 5,000 visitors, your conversion rate is 1%.

Depending on the specific type of online business you run, your conversions may include online sales, email signups, add to carts, or any other KPI you wish to measure. But in the case of an ecommerce store, your primary focus should be your purchase conversion rate.

On average, ecommerce stores have a purchase conversion rate of 1% – 2%. What’s more, experts say a good conversion rate is anywhere from 2% to 5%. This should be your baseline as you measure your online store’s success.

The Conversion Results of My Last Site Redesign

Before we dive into the nitty gritty details of how I improved my conversion rate, here are my overall results and exactly how I conducted my experiment.

First off, I run Bumblebee Linens, an ecommerce store that sells handkerchiefs online.

Because my site gets a ton of traffic from content pages that do not directly convert to sales, I measured my conversion rate based on my most predictable traffic sources.

As a result, all of my conversion data was taken from targeted PPC ad traffic sources like Google Shopping and Google Adwords. After all, my Google ads traffic is very steady and always converts at a consistent percentage.

Before I redesigned my site, the conversion rate for my ecommerce store hovered at around 3% which is above average. But the look and feel of the site was dated and desperately needed a refresh. Overall, the entire redesign took approximately 7 weeks and cost me roughly $1840.

Here are the conversion results from my updated design compared to the original:

  • Desktop conversion rates increased by 46%
  • Mobile conversion rates increased by 26% 
  • Tablet conversion rates increased by 32% 

The remainder of this post will highlight the specific elements of the redesign that contributed to these increases. (Note: I made all of my redesign changes live simultaneously so it’s difficult to determine which specific optimization contributed the most gains.)

8 Ecommerce Design Tips To Optimize Your Conversion Rate

If your ecommerce store is not performing as well as it should, there are many aspects of the user experience that could be negatively impacting sales. Even a seemingly innocuous design choice like your font size or the color of your buttons can have a significant impact on your overall conversion rate.

If you want to systematically improve the conversion rate for your ecommerce store, you should follow these 8 design steps.

1. Use A Consistent and Complementary Color Scheme 

Use color.adobe.com to choose complementary colors when redesigning your website.

A well chosen color scheme can instantly attract a customer’s attention, evoke emotion, and drive users to take action. After all, how a customer feels about your website can be the deciding factor between completing checkout or bouncing from your shop.

A well designed ecommerce store should utilize at least 3 complementary colors that are consistently applied across every page of your website.

If you don’t have a good eye for color, you can use a free tool like color.adobe.com which will help you mix and match different colors that go well together.

For my site redesign, I wanted a modern feel so I chose teal, hot pink, and yellow for my color palette.

I also assigned each color a specific purpose on my site:

  • Teal was applied to give the site a bright, overall color for a young and hip feel;
  • Yellow was used to draw attention to marketing elements like free shipping and special offers;
  • Hot Pink was used for all action buttons on the site.

Overall, every single page of your ecommerce store should have 1 main call to action (using a bright color like hot pink) that guides a customer closer towards checkout.

For example on my front page, the hot pink button “Shop Our Personalized Collection” pops out of the page and catches a user’s attention right away. We want visitors to shop our personalized collection because our personalized products are the highest margin products in our store.

2. Simplify Your Navigation 

Is your menu too complicated? Is your navbar taking up too much screen real estate?

A good rule of thumb for an ecommerce store is to minimize the number of clicks for a customer to add to cart. As a result, you should avoid nesting your product categories in more than 1 level of hierarchy.

If you have too many categories in your shop to display all at once, choose your best selling categories for your main menu and lump your less trafficked categories in a separate tab.

For my store, I decided to use a top-level, hover style drop-down menu as shown in the photo below.

Top-level navigation is one way to organize and display your product categories.

My old design utilized left hand style navigation which took up too much screen real estate. And freeing up the extra space allowed me to blow up my category and product images by 300%. With my new navigation menu, every visitor can add to cart in just three clicks: One click to find a product category; One click to view the product description; One click to add to cart.

Once you’ve designed your menu, pretend that you are a customer and try to shop on your site. Is the content easy to read? Do the important elements pop out? Can you find the information you need right away? Analyzing your site from a customer’s perspective will help you improve your users’ shopping experience.

3. Display Trust Factors On Every Page 

Free shipping, easy returns, and trust are crucial to driving conversions. 

Trust is the most important value you must establish with your customer.

Unless you’re Amazon or a big box store, people have likely never heard of your brand and you have to reassure them that it’s safe to buy from your store.

Due to Amazon’s influence in the ecommerce space, most customers look for 3 things when shopping at an online boutique for the first time:

  • Fast and free shipping;
  • Easy returns;
  • A way to reach customer support.

Displaying your phone number and email address is very important! Adding your store hours also helps to make your site look legit to new visitors. If you don’t have a recognizable brand, customers will want to know that they can reach a real human in case of problems or questions.

In the above image, you’ll notice that I placed my trust factors in the header, so they can be seen above the fold on every single page. We’ve also been featured on the Today show and a bunch of magazines. So I made sure to display this social proof on the bottom of every page.

Don’t hesitate to flaunt your achievements to reinforce trust. 

In addition, customer testimonials provide social proof and credibility to your website. As a result, it’s important to regularly reach out to happy customers for testimonials and endorsements. On our redesigned site, you’ll find the testimonials section right below our press mentions.

Testimonials lend social proof and credibility to your website.

Remember, to generate conversions as an unknown store or brand, you first have to gain your customers’ trust. Make it easy for them to contact you or get a full refund if anything goes wrong with their purchase. By showing a genuine concern for customer satisfaction, you’ll be able to build a solid reputation over time.

4. Emphasize Your Unique Value Proposition

Users spend an average of 5.59 seconds looking at your website’s written content. And in those 5.59 seconds, you must capture their interest or else they’ll bounce from your page. Right off the bat, you must convey to a user exactly what you sell and why they should buy from your store over a competitor.

What’s more, every single page on your site should communicate your unique value proposition. A unique value proposition is a concise statement that describes what makes your business special and outlines what your store does better than anyone else. The best way to show off your unique value proposition is to use an eye-catching image alongside compelling copy.

For example, here’s the first thing a user sees on my home page above the fold:

Right away, a user is shown a large image of one of our best selling personalized handkerchiefs. And right beside that image is a clear and concise value proposition, followed by a call to action to shop in our store.

Displaying your value proposition should not be limited to your home page. We also include our unique value proposition on every category page as well. Overall, you should include your value proposition on every landing page on your website.

5. Optimize The Visual Hierarchy Of Your Product Pages 

Every page on your site should have a single objective. And for your product pages, your goal is to get a customer to add to cart.

When designing a product page, you must apply a logical visual hierarchy to your design. A visual hierarchy is the order in which a user processes information on a page and in the case of a product page, there must be a clear path to your add to cart button with as few distractions as possible.

Here’s a screenshot of my old product page:

As you can see, my old product page is overwhelming. All of the design elements try to grab your attention at the same time and there are many different calls to action that blend together. To improve my product descriptions, I freshened up the color scheme and enlarged my product image by 266%. I also changed the placement of the buttons in a more logical flow.

Here’s what the redesigned product page looks like today:

By adjusting the size, color, contrast, and alignment of the page elements, I now force the customer to process my product information in a set path that leads directly to my primary call to action. For example, the hot pink color draws attention to the “Add to Cart” button over the “Reviews” button. Also, by applying a blue text color and teal background, I reassure customers that shopping with us is safe and risk free.

Overall, rearranging the design elements this way nearly doubled my add to cart percentage.

6. Simplify Your Checkout Process 

With our old site design, we would regularly receive feedback from confused customers who weren’t sure if they needed an account to purchase our products.

Here’s what our old checkout page looked like:

As you can see, there are too many choices. After all, a customer doesn’t need 3 ways to checkout and the choices are a little overwhelming.

Here’s what the checkout page looks like now:

Instead of offering 3 separate options for checkout, I consolidated them all into one and added a separate Paypal option (more on this later). First off, less than 6% of customers create an account so there was no reason to offer account creation as a separate option. Furthermore, displaying a login form was causing more headaches than it was worth because the majority of customers don’t even have an account. As a result, I decided to hide the form altogether by default.

Overall, when you are designing your checkout process, keep these optimization principles in mind.

Principle #1: Remove all unnecessary elements from the page. Don’t make the customer think and hide all elements that are not frequently used.

Principle #2: Display trust logos to assure customers of a secure checkout. In the image above, you’ll find trust logos on the right-hand side of the checkout page.

7. Optimize The Checkout Process For Mobile Users

4 out of 10 mobile users abandon their carts if they have a hard time entering their personal information. People don’t like entering their contact and credit card information using a tiny keyboard. What’s more, small buttons and too many form fields drive away mobile users. 79% of smartphone users shop online with their mobile devices, which is why you should optimize for mobile.

These days, a responsive design is par for the course but you can still screw things up if you are not careful. Here’s what my checkout process looks like on a desktop:

And here’s how the checkout page looks on a mobile device:

On mobile, the user’s cart contents are collapsed so it doesn’t occupy the entire screen. Overall, here were the mobile optimizations I made to checkout:

Optimization #1: Keep Your Checkout Form Short And Sweet

A mobile user should be able to tap buttons on your checkout page without accidentally hitting another option. Also, the buttons should be large enough to tap on a mobile device.

Given the smaller screen size of a mobile phone, keep your checkout form short and sweet with no extraneous options. Also, make sure you turn off autocorrect for your form fields. Otherwise, your phone’s autocorrect feature may frustrate users when they try to enter their address. In fact, we once had a customer get so frustrated trying to type in their city on their iPhone that they called us up and complained in frustration.

To fix this, you simply need to add the following tag to all of your text input fields.

<input type="text" name="name" autocorrect="off">

And to reduce frustration, you should also turn off auto-capitalization and auto-complete by adding auto-capitalization=”off” and auto-complete=”off” to all of your forms as well:

<input type="text" name="name" autocorrect="off" auto-capitalization="off" auto-complete="off">

In addition, for phone number entry, you should always display a numeric keypad as opposed to a regular keyboard:

Optimization #2: Automatically Import Your Customer Data If Possible

The less information mobile users have to enter in, the better. Payment options like Paypal Express and Amazon Payments can simplify the checkout process. These third-party payment processors automatically fill out a customer’s billing and shipping information which reduces typing and increases conversion rates.

To offer a more convenient checkout, I implemented PayPal One Touch, which alone increased my mobile conversion rates by 31%.

Here’s a quick tip when implementing Paypal: Make sure you display the Paypal button early in the checkout process before a user has entered in their information. Otherwise, it defeats the purpose of importing their information! In the first step of my checkout process, I explain each payment option in depth.

These simple changes made a huge difference in my conversion rate. And the number of PayPal users on my site nearly doubled from 13% to 23%!

8. Add A Sense Of Urgency

Most customers like to window shop and the best way to get a visitor to take action is to create a sense of urgency.

Whenever I run a sale, a big yellow countdown timer is displayed on every page of the website.

Note: It’s important to note that we only utilize this timer when there is actually a sale going on. Otherwise, you risk desensitizing your customers or losing trust.

In addition, I also display a countdown timer on the checkout page to create a sense of urgency to complete the payment process:

These extra design elements force a customer to take action sooner rather than later.

Final thoughts

Optimizing your conversion rate is an ongoing process. And testing your results is the only way to track your improvement.

Never go with your gut and always listen to the data. After all, sometimes an ugly site can out-convert a beautiful one.

Regardless, the design tips I demonstrated above will give you a solid foundation to start with. From there, you can further improve your website and optimize your conversion rate through repeated testing and tweaks. Good luck!

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How to Improve Largest Contentful Paint (LCP) and SEO

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Contentful; Webster’s Dictionary defines “contentful” as… not found. Clearly someone made up this word, but that is not necessarily a bad thing.

The world of user experience metrics is moving quickly, so new terminology is needed. Largest Contentful Paint (LCP) is one of a number of metrics measuring the render time of content on a web page.

What is Largest Contentful Paint?

Google defines LCP as “the render time of the largest content element visible within the viewport.” For what we are talking about in this blog, we will consider “content” to be an image, typically a JPEG or PNG file. In most cases, “largest” points to a hero image that is “above the fold” and is one of the first images people will notice when loading the page. Applying optimization to this largest content is critical to improving LCP.

It is probably more instructive to view LCP relative to other metrics. For example, First Contentful Paint (FCP) and Visually Complete book end LCP.

Each metric has its pros and cons, but LCP is a happy medium. LCP marks when web page loading starts to have a substantial impact on user experience.

In Google’s opinion, to provide a good user experience, LCP should occur within 2.5 seconds of when the page first starts loading. Poor values are anything greater than 4 seconds.

How Does Largest Contentful Paint Impact Lighthouse Scores and SEO?

LCP is now part of several “Core Web Vitals” scores that Google will measure in its ranking algorithm. Each of the Core Web Vitals represents a distinct facet of the user experience, is measurable in the field, and reflects the real-world experience of a critical user-centric outcome.

In the case of the overall Google Lighthouse score, LCP represents 25% weighting on the performance score of Lighthouse version 6.0. This makes LCP the most important Core Web Vitals metric in determining the performance score.

While Google has indicated that content is still the most important factor in SEO ranking, a better user experience (as measured by Core Web Vitals) will generate higher rankings in a crowded field. If there are many websites competing for the top search engine spots, then Largest Contentful Paint will play a critical factor in rankings.

How to Improve Largest Contentful Paint

Now that you know that LCP is important, what can you do to improve it by making content load faster? Google provides a number of suggestions, but the most effective technique is to optimize content for the device requesting it.

For example, a website includes an 800kb JPEG image that is intended for high resolution desktops. On a smartphone, that would be optimized down to less than 100kb, with no perceptible impact on quality. LCP can improve by more than 60% — or several seconds — through this single optimization.

Find Savings in Largest Contentful Paint by using Image Speed Test

Image Speed Test is a great tool offered by ImageEngine.io that provides an analysis of LCP improvement opportunities. Just paste in the URL of the web page you are interested in optimizing, and the test will show you:

  • Image Payload Reduction
  • Speed Index
  • Largest Contentful Paint
  • Page Load Time (Visually Complete)

It also provides a video of the web page loading with and without optimizations. Finally, it analyses each image to provide an estimate of payload savings. In this case, the “largest content” on the page is this image. With optimizations, the image payload is reduced by 94%. That delivers a huge improvement in LCP.

How Does ImageEngine Improve LCP

ImageEngine is an image content delivery network (CDN) service that makes image optimization simple. Basically, for each image on the page, the image CDN will:

  1. Detect the device model requesting the web page;
  2. Optimize the image in terms of size, compression, image format;
  3. Deliver via a CDN edge server that is geographically closest to the user.

ImageEngine improves web performance for every image on the page, including the largest. You can learn more about ImageEngine here, and also sign up for a free trial.

Best Practices: Preconnect

In addition to using an image CDN like ImageEngine, a few other best practices can improve LCP. Using the resource hints to provide a preconnect for your content can streamline the download process.

For example, putting the following link statement in the HTML will accelerate the download process. The link statement will make the browser connect to the third party as early as possible so that download can start sooner. ImageEngine’s optimizations make each image download smaller and faster, but preconnect save time in the connection phase.

Best Practices: Minimize Blocking JavaScript and CSS

When JavaScript or CSS is “blocking” it means that the browser needs to parse and execute CSS and JavaScript in order to paint the final state of the page in the viewport.

Any website today relies heavily on both JavaScript and CSS, which means that it is almost impossible to avoid some render blocking resources. On a general note: be careful with what kind of CSS and JavaScript is referenced inside the <head> element. Make sure that only the strictly necessary resources are loaded in <head>. The rest can be deferred or loaded asynchronously.

When looking to improve the LCP specifically, there are some practices worth looking into more deeply.

Inline Critical CSS

It is not an easy task, but if the browser can avoid making a request to get the CSS needed to render the critical part of the page – usually the “above the fold” part – the LCP is likely to occur earlier. Also you will avoid content shifting around and maybe even a Flash of Unstyled Content (FOUC).

The critical CSS — the CSS needed by the browser to set up the structure and important styles of the part of the page shown above the fold — should in-inlined. This inlined CSS may also refer to background images, which of course should also be served by an Image CDN.

Do Not Use JavaScript to (lazy) Load Images

Many modern browsers natively support lazy loading, without the use of JavaScript. Because images usually are heavily involved in the performance of LCP, it is best practice to leave image loading to the browser and avoid adding JavaScript in order to lazy load images.

Lazy loading driven by JavaScript will add additional latency if the browser first has to load and parse JavaScript, then wait for it to execute, and then render images. This practice will also break the pre-parser in the browser.

If an image CDN is used to optimize images, then the benefits of lazy loading become much smaller. Especially large hero images that are above the fold have a large impact on LCP and will not benefit from being lazy loaded with JavaScript. It is best not to make JavaScript a blocking issue for rendering images, but rather rely on the browser’s own ability to select which images should be lazy loaded.

 

[– This is a sponsored post on behalf of ImageEngine –]

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The Designer’s Guide to Letter-Spacing

Most of the information we consume happens through reading, so it makes a lot of sense to pay attention to the words when designing. There are many aspects to typography, but one of the things that helped improve the quality of my design was letter-spacing.

Letter-spacing is about adding and removing space between letters. Some people confuse it with kerning, but these two are different; letter-spacing affects the whole line of text, whereas kerning adjusts the space between two individual letters at the time. Kerning is best left to type designers, besides which, unlike letter-spacing there is currently no way to control kerning in CSS.

I believe that practice and a lot of observation will change the way you treat letter-spacing in your work as well.

The Purpose of Letter-Spacing

The main purpose of letter-spacing is to improve the legibility and readability of the text. Words act differently depending on their size, color, and the background they are on. By adjusting letter-spacing to the environment you are working with you will help readers consume your information faster, and more efficiently. The fun part is that they won’t even notice it — that’s the whole point of the job.

Bear in mind that typographers think about letter-spacing and kerning when designing a typeface. It means you don’t have to apply it to all your text, but in order to have an understanding when it’s necessary, you should know some basic principles, and use good typefaces.

How Letter-Spacing Affects Legibility and Readability

The legibility and readability of your text depend on things like line-height, paragraph length, font size, typeface choice, letter-spacing, and much more. Regarding letter-spacing, if you are just getting into typography, the best thing you can do is not overuse it. What I mean by that is simply don’t make the distance between letters too big or too small; even if you think it looks good, people will struggle reading it, and that will ruin their experience.

Letter-Spacing Capital Letters

Capital letters are designed with the intention that they will appear at the beginning of a sentence or proper noun, in combination with lowercase letters. When capital letters are next to each other, the space between them is too tight. So in order to achieve better readability, space needs to be increased. This applies to both large and small font sizes.

Letter-Spacing Headlines

If you are using well designed fonts, you can be sure that they are calibrated well, and you won’t need to make any major adjustments to them. However, the problem with headlines is that at larger scales the space between letters looks unbalanced. It can be fixed by increasing or decreasing the letter-spacing value.

There are no strict rules for letter-spacing — there are a lot of typefaces and all of them require an individual approach — but if you look at how big companies like Google and Apple treat their typefaces, you can find a lot of valuable information there.

Let’s take a look at the “Roboto” and “San Francisco” typefaces (the first one is used in Material Design and the second one in Apple’s ecosystem). Headlines from 20 to 48 pixels have either a positive letter-spacing value or none. If the font size is bigger, letter-spacing becomes negative. These exact numbers are not going to work that well for other typefaces, but after trying different approaches I can state that it’s a common pattern.

I’ve tested several guidelines for letter-spacing and the one that was published by Bazen Agency works for a lot of popular typefaces. It will be a good starting point for you, but you can always apply additional adjustments:

  • H1 — 96px — -1.5%
  • H2 — 60px — -0.5%
  • H3 — 48px — 0%
  • H4 — 34px — 0.25%
  • H5 — 24px — 0%
  • H6 — 20px — 0.15%
  • Subtitle — 16px — 0.15%

If you happen to design a lot of apps or you’re planning to do that, one thing that helps me is using the default Material Design and Apple guidelines for their typefaces. They are well balanced and it saves a lot of time.

Letter-Spacing Body Text

If you ever read anything about letter-spacing, you’ve probably have seen this popular wisdom from typographer Frederic Goudy: “Anyone who would letter-space lowercase would steal sheep”. (There’s an argument that he was only referring to blackletter fonts.) Some designers took it as a hard rule and now never adjust the letter-spacing of lowercase text.

Based on my practice and by looking at the work of designers I can’t agree with Goudy, because sometimes small changes can make a big difference in how your text performs. Let’s take, for example, condensed fonts. At a small size, the letters are too close to each other, which leads to poor legibility. By increasing letter-spacing by 1.5% you will see that the text is now easier to read.

If we look at my previous example, in the guidelines for “Roboto” and “San Francisco” typefaces, letter-spacing is applied to body text; even though San Francisco has a dedicated “SF Pro Display” for headlines and “SF Pro Text” for body text, letter-spacing is still used to refine them.

There are a lot of different typefaces and a single rule doesn’t apply to all of them. Experiment with letter-spacing and do what seems right to you. There are some simple guidelines that will lead you in the right direction, especially when working with body text:

Keep in Mind Line-Height

If you have a line-height greater than 120%, most likely negative letter-spacing will lead to an unbalanced look to the paragraph. To refine it you would need to either keep it at 0% or only slightly increase it.

Light Text on Dark Background

On a dark background, white text looks overexposed and therefore letters appear too tight. To make it more legible, I would suggest you increasing letter-spacing a small amount.

General Values for Body Text

You can use the following guidelines for body text, which I have tested with several typefaces:

  • Body 1 — 16px — 0.5%
  • Body 2 — 14px — 0.25%

Letter-Spacing Captions

Unlike headlines and body text, smaller font sizes don’t have many variations in letter-spacing. It’s a common practice when a font size is lower than 13px to increase the space between letters to make it legible. But there are always exceptions (“SF Pro Text” guidelines suggest using positive letter-spacing only when a font size is 11px or below). Make sure you experiment with settings.

You can use the following values as a starting point and then edit them to what seems right to the typeface of your choice:

  • Caption — 12px — 0.5%
  • Overline — 10px — 1.5%

Final Tip

One of the things that helped me improve my skills in typography was looking at other designers and especially type foundries. By decoding their work you might notice some nuances of how they treat typography and it will help you in future projects.

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In Memory of Flash: 1996-2020

We are gathered here today….

Today I write in memory of Adobe Flash (née Macromedia), something that a bunch of people are actually too young to remember. I write this with love, longing, and a palpable sense of relief that it’s all over. I have come to praise Flash, to curse it, and finally to bury it.

We’ve been hearing about the death of Flash for a long time. We know it’s coming. December 2020 has been announced as the official timeframe for removal, but let’s be real about this: it’s dead. It’s super-dead. It’s people-are-selling-Flash-game-archives-on-Steam dead.

That last bit actually makes me happy, because Flash games were a huge part of my childhood, and the archives must be preserved. Before I’d ever heard of video cards, frames per second, and “git gud”, I was whiling away many an hour on disney.com, cartoonnetwork.com, MiniClip, Kongregate, and other sites, looking for games.

I think we’ve established in my previous work that even as a missionary kid, I did not have a social life.

The Internet itself gave me a way to reach out and see beyond my house, my city, and my world, and it was wonderful. Flash was a part of that era when the Internet felt new, fresh, and loaded with potential. Flash never sent anyone abuse, or death threats. Flash was for silly animations, and games that my parent’s computer could just barely handle, after half an hour of downloading.

I even built my first animated navigation menus in Flash, because I didn’t know any better. At all. But those menus looked exactly like the ones I’d designed in Photoshop, so that’s what mattered to me, young as I was.

That was a part of Flash’s charm, really.

What Flash Got Right

Flash Brought Online Multimedia into the Mainstream

Funny story, JavaScript was only about a year old when Flash was released. While HTML5 and JS are the de-facto technologies for getting things done now, Flash was, for many, the better option at launch. JS had inconsistent support across browsers, and didn’t come with a handy application that would let you draw and animate whatever you wanted.

It was (in part) Flash that opened up a world of online business possibilities, that made people realize the Internet had potential rivalling that of television. It brought a wave of financial and social investment that wouldn’t be seen again until the advent of mainstream social networks like MySpace.

The Internet was already big business, but Flash design became an industry unto itself.

Flash Was Responsive

Yeah, Flash websites could be reliably responsive (and still fancy!) before purely HTML-based sites pulled it off. Of course, it was called by other names back then, names like “Liquid Design”, or “Flex Design”. But you could reliably build a website in Flash, and you knew it would look good on everything from 800×600 monitors, to the devastatingly huge 1024×768 screens.

You know, before those darned kids with their “wide screens” took over. Even then, Flash still looked good, even if a bunch of people suddenly had to stop making their sites with a square-ish aspect ratio.

Flash Was Browser-Agnostic

On top of being pseudo-responsive, the plugin-based Flash player was almost guaranteed to work the same in every major browser. Back in a time when Netscape and Internet Explorer didn’t have anything that remotely resembled feature parity, the ability to guarantee a consistent website experience was to be treasured. When FireFox and Chrome came out, with IE lagging further behind, that didn’t change.

While the CSS Working Group and others fought long and hard for the web to become something usable, Flash skated by on its sheer convenience. If your site was built in Flash, you didn’t have to care which browsers supported the <marquee> tag, or whatever other ill-conceived gimmick was new and trendy.

Flash Popularized Streaming Video

Remember when YouTube had a Flash-based video player? Long before YouTube, pretty much every site with video was using Flash to play videos online. It started with some sites I probably shouldn’t mention around the kids, and then everyone was doing it.

Some of my fondest memories are of watching cartoon clips as a teenager. I’d never gotten to watch Gargoyles or Batman: The Animated Series as a young kid, those experience came via the Internet, and yes… Flash. Flash video players brought me Avatar: The Last Airbender, which never ever had a live action adaptation.

Anyway, my point: Flash made online video streaming happen. If you’ve ever loved a Netflix or Prime original show (bring back The Tick!), you can thank Macromedia.

What Flash Got Wrong

Obviously, not everything was rosy and golden. If it was, we’d have never moved on to bigger, better things. Flash had problems that ultimately killed it, giving me the chance, nay, the responsibility of eulogizing one of the Internet’s most important formative technologies.

Firstly, it was buggy and insecure: This is not necessarily a deal-breaker in the tech world, and Microsoft is doing just fine, thank you. Still, as Flash matured and the code-base expanded, the bugs became more pronounced. The fact that it was prone to myriad security issues made it a hard sell to any company that wanted to make money.

Which is, you know, all of them.

Secondly, it was SEO-unfriendly: Here was a more serious problem, sales-wise. While we’re mostly past the era when everyone and their dog was running a shady SEO company, search engines are still the lifeblood of most online businesses. Having a site that Google can’t index is just a no-go. By the time Google had managed to index SWF files, it was already too late.

Thirdly, its performance steadily got worse: With an expanding set of features and code, the Flash plugin just took more and more resources to run. Pair it with Chrome during that browser’s worst RAM-devouring days, and you have a problem.

Then, while desktops were getting more and more powerful just (I assume) to keep up with Flash, Apple went and introduced the iPhone. Flash. Sucked. On. Mobile. Even the vendors that went out of their way to include a Flash implementation on their smartphones almost never did it well.

It was so much of a hassle that when Apple officially dropped Flash support, the entire world said, “Okay, yeah, that’s fair.”

Side note: Flash always sucked on Linux. I’m just saying.

Ashes to Ashes…

Flash was, for its time, a good thing for the Internet as a whole. We’ve outgrown it now, but it would be reckless of us to ignore the good things it brought to the world. Like the creativity of a million amateur animators, and especially that one cartoon called “End of Ze World”.

Goodbye Flash, you sucked. And you were great. Rest in peace. Rest in pieces. Good riddance. I’ll miss you.

 

 

Featured image via Fabio Ballasina and Daniel Korpai.

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Adveo opte pour SAP Commerce pour développer son activité et répondre à la demande croissante des consommateurs

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Levallois, le 15 juillet 2020 – SAP France annonce qu’Adveo, l’un des leader européen en matériel de bureau, matériel scolaire et fournitures, utilise la solution d’ecommerce SAP Commerce pour renforcer sa croissance. Avec 345 collaborateurs et un réseau de 1500 distributeurs indépendants dont une grande partie regroupée autour des trois enseignes CALIPAGE, Plein Ciel et Buro+ répartis entre la France et le Benelux, l’entreprise rencontrait plusieurs challenges : l’évolution de la demande des professionnels et du grand public, le développement du e-commerce, et, plus récemment, la crise du Covid-19.

Pour répondre à ses nouveaux enjeux, Adveo a massivement investi dans le numérique pour renforcer son expérience réseau et client final. L’objectif : améliorer la traçabilité des produits, faciliter les échanges d’informations avec son réseau, mise en place de contenus et de solutions au service de ses distributeurs pour développer l’e-commerce en parallèle des points de vente physiques… Pour gagner en agilité sur l’e-commerce, l’entreprise a misé sur la solution SAP Commerce hébergée sur le cloud Microsoft Azure et intégrée par Delaware. Le déploiement a été effectué en un temps record entre mars et mai 2020, en pleine crise sanitaire.

Gagner en agilité pour booster la croissance

En quelques années, Adveo est passée d’une offre traditionnelle (papiers, stylos, archivage, impression…), à une offre élargie couvrant les besoins des professionnels et du grand public. L’entreprise est passée en quelques années de 10 000 à 25 000 références et ambitionne d’atteindre 45 000 d’ici fin 2022.

« SAP Commerce est un choix stratégique de croissance misant sur une plus grande flexibilité pour nous adapter rapidement aux évolutions de la demande, à la transformation du commerce et ainsi réduire le time to market des nouvelles offres ou encore tracer de nouveaux flux logistiques », explique Philippe Guillotin, président d’Adveo.

Adapter l’offre pour dynamiser les ventes en pleine crise sanitaire

« Le déploiement de la solution nous a ainsi permis d’être extrêmement réactifs pendant la période de confinement et de créer rapidement des gammes spécifiques (plexiglas, masques et gels hydroalcooliques) pour répondre aux besoins liées au Covid-19 en référençant rapidement plusieurs centaines de distributeurs. Elle nous a permis de répondre aux problématiques logistiques liées à l’augmentation de la demande sur certaines gamme de produits », ajoute Philippe Guillotin.

Adveo simplifie ainsi son activité, avec le développement de ventes profitables pour les distributeurs, et une vraie bonne expérience d’achat pour le client final.

SAP Commerce pour plus de flexibilité et de réactivité

L’hébergement sur le cloud nous a permis d’intégrer rapidement la solution au sein de l’entreprise et d’extraire facilement les données pour les transférer de notre ancienne plateforme vers SAP Commerce. Plus des deux tiers du projet se sont déroulés pendant le confinement, et nous n’avons rencontré aucune difficulté d’accès à la solution. Le cloud nous apporte une flexibilité et une forme de garantie de fonctionnement : nous n’avons aucune limite de capacité », explique Alexandre Rochereau, DSI d’Adveo. « Combinée avec l’ERP SAP, nous disposons d’une solution complète, intégrée et automatisée qui nous a permis d’éliminer de nombreuses contraintes manuelles. »

Créer de nouvelles expériences

Avec la nouvelle version de SAP commerce, Adveo a pu enrichir l’expérience interne, améliorant le pilotage et facilitant la publication des nouvelles références sur leur solution logistique, directement intégrée à la solution SAP. Les utilisateurs sont devenus responsables de leur catalogue et peuvent publier eux même les nouveaux produits grâce à une ergonomie optimisée, leur permettant de réduire les dépenses liées à l’intervention d’experts IT.

Enfin, SAP Commerce a permis à Adveo d’atteindre son objectif de devenir conforme avec les nouvelles normes RGPD, assurant ainsi la confidentialité des données des 1 500 distributeurs de l’entreprise. A court terme l’entreprise va généraliser les échanges digitaux avec ses fournisseurs et déployer de nouvelles solutions d’e-procurement au service de l’ensemble de ses distributeurs.

À propos de SAP

SAP est le leader du marché des applications d’entreprise : 77% des transactions financières mondiales passent par un système SAP. L’entreprise accompagne les organisations de toute taille et de tout secteur à mieux opérer. Nos technologies de machine learning, d’Internet des objets (IoT), d’analytique avancée et de gestion de l’expérience aident nos clients à transformer leur activité en « entreprise intelligente ». SAP dote les professionnels d’une vision approfondie sur leur activité et favorise la collaboration pour garder une longueur d’avance sur leurs concurrents. Pour les entreprises, nous simplifions la technologie afin qu’elles puissent utiliser nos logiciels comme elles le souhaitent, sans interruption. Notre suite d’applications de bout en bout et nos services permettent à plus de 440 000 clients d’opérer de manière rentable, de s’adapter en permanence et de faire la différence. Avec son réseau mondial de clients, partenaires, employés et leaders d’opinion, SAP aide le monde à mieux fonctionner et à améliorer la vie de chacun. Pour plus d’information, visitez le site www.sap.com

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