Augmented Reality Instructions To access the 3D elements in the augmented reality icons please follow these steps: 1.Go to this link - http://goo.gl/Ab3f6X 2.Download the Application onto your phone 3.Please note Application only works on Android Devices 4.Open the Application 5.Aim your device’s camera at the Augmented Reality targets and enjoy!
THE CONTENTS
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PREFACE P.7
STORY P.8
PROGRESSION P.10
STUDENTS P.36
BEHIND THE SCENES P.40
ACKNOWLEDGEMENTS P.46
IN T ER AC TI V E M EDI A BA
GR A PHI C DESI GN BA
M C AST
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PREFACE SA N TA’S WOR KS HOP
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The Institute of Art and Design boasts of synergies established with the industrial sector and a number of local and foreign institutions. The building of networks and relationships with industry provide opportunities for students to work to realistic briefs, but also allow them to promote themselves and their work for better exposure and prospective employment. Throughout this academic year, students following the Graphic Design and Interactive Media Degree are once again challenged to design , develop and produce an architectural projection that will be exhibited on the Presidents Palace Facade during the Christmas and New Year festivities. This live case is one of the several ongoing collaborations with the Valletta 2018 Foundation.
The Institute’s administration firmly believes in exposing students to a multitude of experiences and opportunities within and outside the campus. Such events augment entrepreneurial and organizational skills but also provide real - life working environments.
- Mr. Stephen Vella -
The Valletta 2018 Foundation is once again happy to work together with the staff, lecturers and students at the MCAST Institute of Art & Design on the production of this year’s 3D architectural mapping projection on the façade of the Palace at St George’s Square, Valletta. The light and sound show has quickly become one of the highlights of celebrations during Christmas and New Year’s Eve in our capital city. Preparations for the hosting of the title of European Capital of Culture in Malta in 2018 focus on the need to invest in capacity building through hands-on experience such as that provided by life-case studies of which the architectural mapping project is an important one. In the coming years Valletta 2018 will further support young professionals in their career paths and the achievement of their projects in a local and international dimension.
- Mr. Karsten Xuereb -
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I N T R O
SANTA’S WORKSHOP welcome to santa’s workshop
We’re going to guess that you’ve never visited. Very few have. But you have heard of it, haven’t you? Each and every one of you reading this; you know it exists. Santa’s Workshop is a place of magic and fun. It’s where all the elves live – there are only seven of them, in case you were wondering – and where all the letters addressed to Santa go. Here is where all the Christmas toys are made, and sometimes; it’s also the place where one science experiment goes terribly wrong. This story starts off on Christmas Eve. It’s a normal working day for the elves at the workshop. Production is good and everything is running smoothly until Clara brings out her latest chemical experiment. It’s fun. It’s flashy. A little science won’t hurt anyone and she’s this close to creating something new. It can’t wait for after Christmas. But what she didn’t realise in her excitement, was just how powerful a combination she was creating. The moment she mixed those chemicals together, they reacted violently. The goo from the explosion covered everything in sight and then; despite the mess, something wonderful happened.
Just like that, the toys came to life. Where everything was still before, now all the wonderful creations had begun moving all by themselves. Clara had accidentally brought all the toys to life. For the first few moments the turn of events were both baffling and exciting. The toys wanted to play and the elves looked on dumbfounded. But very quickly everything started spiraling out of control. The toys wanted out. They became near violent in their quest for fun and started breaking things, toying with the machinery, hitting every button they could find. In moments the workshop was in chaos and the elves could do little beyond look on helplessly. Nobody saw or heard him coming, but the moment the elves were about to give up hope was the moment Santa showed up. The disaster he found at the workshop angered him. But Santa loves the elves and their creations far too much to truly stay mad at them. So Santa took a moment to learn what had happened, and then quickly brought things back under control. He gathered the toys up into his bag; and before they could come up with any more ideas, took off again to start his exciting journey around the world.
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THE MAKING OF Introduction
It is a long road to Valletta 2018 but gratefully also an exciting one. Our path had to lead us to the concept of the city as a backdrop for war. True. But it also led us to the concept of love; love of life and of beauty. Students following this path had to bond together in order to work as a production team; searching for mutual respect tempered with humour and fostering a belief in the potential of their medium to entertain and inspire whilst also eliciting curiosity in the observers. We were to do this by creating the Projection Mapping on the facade of the Grandmaster’s Palace; naturally the main focus of the Valletta 2018 Christmas celebrations in Valletta.
The first step in the process consisted of a survey given out online by our tutors to the whole class so as to facilitate the recognition of the individuals’ strengths and capabilities. It was the easiest route to identifying natural groupings for each department and helped greatly in shortening the selection process leading to the best possible outcome for the project. Furthermore, it also served as a key factor in providing long-term benefits for the participants who might be inspired to specialize in different areas in future careers as they experimented with the different aspects of the work involved. Once the groups had been formed it was now up to each of them to generate further ideas and creative concepts for the projection mapping taking place on the Grandmaster’s Palace. Each group had to prepare an original presentation with their ideas on digital storyboards to be adjudicated by both our lecturers and the members of the Valletta 2018 committee. The final decision to choose the theme of ‘love and war’ was the next milestone towards our target and as we awaited results, each team pinned their hopes on their presentation being the winner.
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PR OJ ECTI ON MA PPI N G Valletta
THE BACKBONE After some intense deliberation between the lecturers and the Valletta 2018 committee the ‘Santa’s Workshop’ concept was chosen. It was the concept that offered the most diversity and room for personalisation and so it was, on average, agreed to be a good choice.
MCAST gives everyone a chance, but not everyone necessarily makes it unless they work for it.
IN T ER AC TI V E M EDI A BA
GR A PHI C DESI GN BA
PJ ATTARD
The winning concept depicts an exciting Christmas spirit, aimed to appeal to people of all ages and walks of life. Santa’s Workshop features Santa Claus himself, his elves, as well as the toys they are preparing to distribute to all the lucky children in the world. Yet, there is a twist in the tale as one elf ’s ill-timed scientific experiment goes terribly wrong and the toys accidentally come to life and then proceed to create chaos in the workshop. The aim, after all, is to add fun and laughter to this important spiritual event we all anticipate annually. So what had to happen behind the scenes to produce the finished project? This is where the strength of the survey came into good use. Now new groupings were formed according to the skills identified during the survey. We all left our presentation team behind and banded together into departments covering everything from production, to concept art, to 2D and 3D art, photography, publication, and even media and social media. It was now the role of all the members in the course to take part in this all-inclusive exercise and to put in their best effort in creating mood and entertainment within an aesthetic framework whilst also establishing our credibility and proficiency as final year degree students at MCAST.
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PR OJ ECTI ON MA PPI N G Valletta
SKETCHING AND GOING DIGITAL This is how it all began. A small group assisted by a lecturer took precise internal and external measurements of the Grandmaster’s 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.
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 toy’s 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.
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
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.
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
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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SA N TA’S WORKSHOP
SKETCHES
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DANIELA FARRUGIA
I NT ERACT I VE ME DIA BA
GR A PHI C DESI GN BA
This has been an enthralling experience; seeing our sketches literally come to life.
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IN T ER AC TI V E M EDI A BA
GR A PHI C DESI GN BA SA N TA’S WORKSHOP
M C AST CH RIST MAS 2014
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THE NITTY-GRITTY 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. 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. 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.
The designs were immediately transferred to the 3D artists who instantly began work on modelling the characters for the final hurdle in the projection’s journey. 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 BA SA N TA’S WORKSHOP
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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
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We wanted to present a more personal feel of each student. IAN ATTARD
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We’re at a stage in our career where we’re finally confident in our skills. And we’re working with people that are confident in theirs. There’s nothing more comforting than that. KRYSTA M. MICALLEF
PUBLICATION 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. 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. 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.
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 MCAST’s 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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PR OJ ECTI ON MA PPI N G Valletta
CH RIST MAS 2014
PROMOTION Promotion is the essence of any event. It provides the public with information and the event itself with exposure. Most importantly: if it is done well, promotion also strongly helps convert spectators into participants and attendees. In regards to this projection mapping, Santa’s Workshop’s promotion spanned over several media sectors. There was press, filming, and interviews. MCAST’s Art & Design page promoted the students’ efforts relentlessly: as did the Valletta 2018 Foundation’s page, and photographs and progress shots found themselves on social media daily. The public’s curiosity became abundantly clear: with questions and messages pouring in daily. But a thirst for knowledge is part of the game, and for that very reason, a lot of information was purposely held back to keep the prospective audience anxious to find out more.
Constant communication had to be their biggest strength. The public could only be as informed as our Public Relations team was. This department was the figurehead of the project, and the responsibility of presenting not only your own department, but the whole course, was the true challenge the role provided. At the end of it, the success of this event was important not only to the participants; the final year Degree students who felt privileged to shoulder the responsibility of such a public event, but also the whole of MCAST, who once again walked away proud of its students achievement.
On a daily basis, from the very beginning up to the opening night, videos shot and edited by the students themselves were also being added to the MCAST’s Facebook page and the Youtube channel tended by the Degree students. True to the term ‘short and sweet’: the videos capture moments from each different department as they tackle a number of tasks necessary in the creation of such a grandiose project in a matter of minutes. Dedication shone through. And that is exactly what we needed to encourage more people to attend the opening night and celebrate with us. No production should go without adequate representatives though and ours came in the form of two PR positions. Confident In themselves and confident in the people they were speaking on behalf of, took on interviews for both printed and online press sources, and were even invited to appear in local TV programs such as ‘Eli and I’.
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OPENING NIGHT The Christmas Spirit was strong amongst the crowds of people filling St. George’s Square. Chatter and excitement was abundant between them and the square was filled with a sense of life and energy it doesn’t experience on a day to day basis. But the wait – for those of us who have been anticipating this moment for months – was excruciating. The event took off with Jason Micallef ’s speech: Chairman of the Valletta 2018 Foundation, to the audience and attending journalists. The President; Hon. Marie Louise Coleiro Preca, and the Valletta 2018 Committee, went on to congratulate the MCAST students and their lecturers for all their hard work and the dedication they’ve displayed whilst working on the projection for Malta’s most prestigious building. The projection mapping itself followed straight after. With students looking on proudly as their families and other spectators stood awed and pleasantly surprised. The
children in the square were the most entertained; eyes wide and fingers pointing excitedly as they witnessed Father Christmas, the elves, and the toys come to life. Fair to say that the event left the desired impact on all those there to witness it, and the number of photos and videos being taken by students and onlookers alike stand as proof: proof that quickly found itself on social media and in the hands of the press. The Directors and administration at the MCAST College of Arts, Science and Technology, and the Valletta 2018 Foundation were the ones that presented the students with this wonderful opportunity to showcase their work to the public; and it truly wouldn’t have been possible without the tutors’ constant support throughout this journey and the hard work done by each and every student.
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M C AST CH RIST MAS 2014
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CONCLUSION
I N TER ACTI VE MEDI A BA
This experience has been a sharp learning curve for the whole class; something that can easily be seen from the amount of work featured throughout these pages. Though we needed two main spokespersons from amidst out peers to represent us off-campus on national media throughout the various stages of this opportunity, the project could only come to fruition thanks to the input of all final year Graphic Design and Interactive Media students.
GR AP HI C D ES IG N BA
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STORYBOARD
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THE STUDENTS
It’s an opportunity for each near-graduate to experience their biggest live-case yet; to sharpen their skills, expand their capabilities, and broaden their exposure. It’s a true learning curve from start to finish. Identifying the natural groupings for each department with the best possible outcome in mind is what helps shorten the selection process, and from there the experience becomes nothing short of a remarkable journey where each individual helps shape the project towards a truly rewarding finale.
ALLEN M. DEMANUELE
STEPHANIE SPITERI
I NT E RACT I VE M ED I A BA
GR A PHI C DESI GN BA
Meet the forty-one students involved in the creation of the Christmas 3D Architectural Mapping Projection 2014;, an annual project that serves as the B.A. (Hons.) in Graphic Design and Interactive Media students’ platform to promote themselves both locally and internationally.
ALEXIA SANT MANDUCA
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KRYSTA M. MICALLEF
IAN ATTARD
P R OJE C T I O N M AP P ING Valletta
CHR I STMAS 2014
MCAST
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CHRIST SCICLUNA
MARK A. AZZOPARDI
JOSEF VON BROCKDORFF
RYAN MANSUETO
DEBORAH FRENDO
ROBERT SPITERI
JAKE SPITERI
MATTHEW SPITERI
G RA PHI C DE SI GN BA
MIGUEL MIZZI
I N TER ACTI VE MEDI A BA
LUKE CAMILLERI
STEPHEN CUTAJAR
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JOSEF COHEN
PR OJ ECTI ON MA PPI N G Valletta
CH RIST MAS 2014
DANIELA FARRUGIA
MARK BUTTIGIEG
NAOMI MAMO
ANTON MICALLEF
ZACK RITCHIE
LUKE CESAREO
CHRISTIAN AGIUS
LARA CASSAR DELIA
MARTINA CARUANA
VINCENT MERCIECA
I NT ERACT I VE ME DIA BA
GR A PHI C DESI GN BA
SA N TA’S WORKSHOP
M C AST
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JESSICA AZZOPARDI
KERSTEN SPITERI
P R OJE C T I O N M AP P ING Valletta
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MCAST
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PATRICIA FORMOSA
MIRRAINE GRECH
ELAINE CALLEJA
CLAUDE TALIANA
JONATHAN B. PACE
PJ ATTARD-CASSAR
GRAZIELLA FARRUGIA
DAPHNE SAMMUT
ERIKA BUTTIGIEG
JUSTIN ZAMMIT
G RA PHI C DE SI GN BA
MARIANO GALEA
I N TER ACTI VE MEDI A BA
LUKE SOLER
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PR OJ ECTI ON MA PPI N G Valletta
BEHIN SCEN
IN T ER AC TI V E M EDI A BA
GR A PHI C DESI GN BA
SA N TA’S WORKSHOP
M C AST
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ND THE NES
MCAST
I N TER ACTI VE MEDI A BA GR AP HI C D ES IG N BA
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ACKNOWLEDGEMENTS We would like to express our deep gratitude to the Director of MCAST Art & Design, Mr. Stephen Vella, as well as the Deputy Directors Ms. Melanie Mizzi and Mr. Mark Theuma: who without their efforts, this project would not have been possible. We would also like to acknowledge the support we’ve received from our lecturers Mr. Paul Camilleri, and Mr. Francantonio D. Cauchi Cuschieri, and the opportunity granted to us by the Valletta 2018 Foundation, its Chairman Jason Micallef, and Executive Director Karsten Xuereb. We would also like to offer special thanks to our parents and friends; who supported us throughout this experience.
Thanks!
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