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SKETCHING AND GOING DIGITAL

The concept artists also designed the perspectives of the

interior of the palace so that the viewers can follow the
main characters; such as Santa, the Octopus, the Train, and
other such elements, into the building even while standing
out in the Palace Square.

GRA PHI C D ES IG N
BA

At the same time, character design generation began with

the help of the animatic and both digital and manual
storyboards. This enabled the visual concept artists to
produce sketches based off of well-structured guidelines
that the whole department could refer to; especially in
regards to timing and angles. This brought to light the
fact that every artist had their own individual style so
there was little to no uniformity in the character designs.
And that, in turn could cause difficulty when narrowing
down to the agreed upon art style. This hurdle was soon
overcome when things progressed from pencil drawings

to full digitalized 2D illustrations. For the concept artists,

this was one of the most exciting stages where they began
seeing their sketches become animated 2D and 3D models.
Details that had to be kept in mind during this process
included correct structuring of the joints on a toys body, as
otherwise it would fall short of being anatomically realistic,
but such concerns only stood as reassurance that strong
co-operation between the 2D artists and the animators was
key.

I N TER ACTI VE MEDI A

BA

This is how it all began. A small group assisted by a lecturer

took precise internal and external measurements of the
Grandmasters Palace. A crucial step for the different
departments as it provided strong guidelines for the
projection mapping. Obstacles such as small openings,
windows, doors, air vents etc. were noted as these would
have an impact on the final design when it comes to
presenting professional results.

The countdown was another important element that the

concept artists tackled much in the same fashion; detailed
pencil sketches to start with and modelled 3D digital
structures by the end of it.

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SKETCHES

DANIELA FARRUGIA

I N TER ACTI VE MEDI A

BA

GR A PHI C DESI GN
BA

This has been an enthralling experience; seeing our

sketches literally come to life.

I N T ERACT I VE ME DIA
BA

GRA PHI C D ES IGN

BA

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I N TER ACTI VE MEDI A

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I N T ERACT I VE M ED I A
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G RA PHI C DESI G N
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PROJ ECT I ON MA PPI N G

Valletta

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M C AST

SA N TAS WOR KS HOP

I N TER ACTI VE MEDI A
BA

GR A PHI C DESI GN
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SA N TAS WORKSHOP

M C AST

IN T ER AC TI V E M EDI A
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GRA PHI C D ES IG N
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THE NITTY-GRITTY

Communication was essential in order to compile everything

together into one final, moving, joint unit. There were quite
a few issues to iron out in 3D for instance. Rigging being an
essential one. However, problems were soon solved as the
team turned to other techniques that helped rather than
hindered their process. The main software employed was
After Effects, however; if anything needed to be amended
slightly, Photoshop or Illustrator were used.

Effects, Premier, and Adobe Sound, time will forever be

a factor. One of the main designs; for instance the Octopus
and its tentacles, were created using a UV texture as it would
otherwise become distorted, but that, in and of itself takes
up a good number of hours just in rendering.

SA N TAS WOR KS HOP

Unfortunately, the amount of 2D animators needed did

not directly reflect the amount of animators available and
because of that; the team was under considerable stress
given the amount of work they had to face.

Compositing helped the 3D students minimize the

problems in rendering. For example, the visual elements
were rendered separately and then composited on top of
each other to give a more realistic effect. Combining the
creative skills of the graphic design and the interactive
media students produced an outstanding effect. One no
one involved was expecting and far greater than any results
ever achieved separately.

I N TER ACTI VE MEDI A

BA

The designs were immediately transferred to the 3D artists

who instantly began work on modelling the characters for
the final hurdle in the projections journey.

GRA PHI C D ES IG N
BA

Throughout the process, footage and photographic

documentation kept track of our progress on the project
and were made use of to advertise the event on social media
sites such as Facebook. Likewise, the presentation on the
opening night along with the behind-the-scenes material
will be visually recorded and submitted to the publication
department for inclusion in this volume. At the same time
the sound department have by this point identified 200
different sounds they could incorporate in the projection.
The 3D department also had plenty of work. Despite all
students having a more than adequate set of skills and a
stellar grasp on managing themselves, there was still one
single restriction which could not be avoided. Time. With
rendering software such as Maya, Cinema 4D, After

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GR A PHI C DESI GN
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SA N TAS WORKSHOP

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GRA PHI C D ES IGN

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We wanted to leave a memorable impact on the audience by publishing a tangible recording of our ideas
and creativity.
ALEXIA SANT MANDUCA

SA N TAS WOR KS HOP

We wanted to present a more personal feel of each student.

IAN ATTARD

Were at a stage in our career where were finally confident in our skills. And were working
with people that are confident in theirs. Theres nothing more comforting than that.
KRYSTA M. MICALLEF

PUBLICATION

Both books are a tangible record of the ideas, creativity,

and countless hours of work that built the foundation of
this projection. Most of this goes unseen by the audience
watching the actual projection and this publication is the
fruit of that knowledge. Anyone who would like to delve
behind the scenes and witness the true work involvedw ,
this publication is for them.

Imagery included feature in both colour and black and

white for added contrast and chapter sectioning and
certain printing technicalities were implemented to enrich
its appearance. Weekly interviews with the Department
Leaders were also part of the process because content as
well as quote gathering depended a lot on those interviews.
Augmented reality was incorporated to entertain the
viewers. To offer a glimpse of the location and the
characters involved in the projection. It adds a fresh touch
of curiosity and interactivity to an otherwise static page.
And the publication itself featured in teasers on MCASTs
Facebook page to promote it to the public. We were finally
coming to the end of this long road with the destination
in our sights.

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GRA PHI C D ES IG N
BA

Inspiration and sheer determination led to the creation

of these publications. The research involved was
extensive. It covered various design elements, thirty or so
different typographic considerations, colour schemes,and
photographic styles as well as possible editing solutions.

I N TER ACTI VE MEDI A

BA

As for the publication team, a decision was taken to produce

a limited edition print version as well as a secondary version
available online. Our aim was to produce a book that
appeared both professional and innovative.

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