As Spot had been David’s dream for decades, it was imperative that his illustrations successfully translate onto a digital screen, appeal to the core demographic of 4 – 8 year olds, and yet be engaging and accessible enough to have mass commercial appeal to David’s vast fan base. It was critical that each world felt fluid, distinct, and achieved a sense of endlessness.
With the vast amount of artwork David provided and created for Spot, the management of content, availability of digital space, and balancing act of what these worlds could be needed a seamless and accessible exchange between all vested parties. To hit the production schedule David would need to provide black & white line drawings, which our digital artists and developers would stitch together to test the user experience, validity, and flow of the world’s elements. Once it was established what not only could, but should, be developed in each world, David would need to provide fully rendered artwork in which our team would animate and deploy into the build.
Over the course of 12 months we worked hand-in-hand with Harcourt Mifflin Harcourt and David as he perfected his vision and artwork. Taking a lean approach, the team immediately began prototyping the interactions and transitions of the worlds. From this, we were able to provide David with technical parameters for which he would fully develop his story, artwork, and experience. Once higher-level prototypes were in place, we began testing the application with users to see how the interactions felt and how users were responding to the content. This allowed us to refine those interactions throughout the development of the project, as well as discover appropriate areas of movement through animation and other visual cues in each world.