![]() ![]() Are there existing solutions out there and if so, what are the gaps?. ![]() How big of a problem or opportunity is this?.Is this a user or business driven problem?.It’s important to describe the context of the problem and its significance in a few sentences. Don’t be afraid to ask your interviewer clarifying questions to understand what their expectations are and what you should be aiming for. Focus on the Spotify native app only - your choice on either iOS or Android.3īefore you jump into solution mode, take a moment to understand your goal. The starting point is the music player UX. The taskĪs part of the Spotify product design team, you are leading the design team to create the best music app for kids. ![]() Spotify Kids wants to be the best music app for kids. Spotify want to explore the same space - an unbundled, unique kids music experience. YouTube has a standalone experience for kids. It feels like the Spotify experience is aimed at grown-ups chilling out and rocking out not for kids who like to have fun, dance and goof around. Artists like The Wiggles, Peppa Pig and Yo Gabba Gabba are all missing out on customer engagement and revenue. Internal research has shown that kids between the ages of 3–6 years old either don’t have any access to Spotify or have to ask their parents to play their favourite music. However, Spotify have left one segment out of the mix - children. Their product design is clean, clear, steps back and lets the artists shine. In Sam's own words, his work is never cool but is always playing with the vulnerable.Spotify has captured a majority of the music streaming market. The undercurrent of his work is the desire to make something romantic and playful not overly designed, yet rich with feeling and detail, and always rooted in history. The excitement around his methods is a continued push to find new ways of creating a moving painting. With a romantic nod back to the textured details of the Baroque movement, to the reduced instincts of Bauhaus, Sam seeks to create a middle ground aesthetic-a style that straddles both animation and traditional film. ![]() He especially likes to start with real objects and from there set up constraints that he can work within, like he did with his collaboration with Hugo Marie for Little Things, where they scoured vintage markets for objects that could ground the film. He prefers to utilize emerging technologies to apply a physicality and textured realness to his films. In terms of craft, Sam is always excited about applying a style of CG that reflects his lo-fi/hi-fi hybrid approach to making things. This partnership launched his directing career on worldwide campaigns for Coke, Toyota, Mazda, and Honda as well as music videos with Sofi Tukker. It also led to his mentorship with acclaimed director Pete Candeland. His student short won the attention of many studios, not to mention a spot in that year's Annecy circuit. His passion to create beautiful and fantastical landscapes embedded with secret languages landed him at Central Saint Martin's in London. Obsessed with world-building, Sam Mason grew up inspired by artists such as Terry Gilliam, Jim Henson, and Yuri Norstein-auteurs known for creating unique and immersive worlds. ![]()
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