What was the most challenging piece of work in your portfolio and why?

Each project had its challenges, but the Max Maeder project was the most challenging to me. We wanted to understand Max's racing approach and kitefoiling techniques, so we decided to motion-capture him using DeepMotion. We first started with some 3D scanning tests using Kiri Engine before switching to Polycam, which required over 200 photos to achieve a high-quality model. While these tests were ongoing, our team also carried out water and studio shoots with Max alongside the video team.

We then tested our planned shots using the initial 3D model, but after trying multiple video variations with DeepMotion, we found some key limitations. Without a ground reference, Max's "floating" posture made the tracking unreliable, and the handlebar blocking his body with accurate hand and finger detection. Since DeepMotion couldn't capture the subtle movements needed for kitefoiling, we decided to use the mocap and footage only as reference and animated the model manually.

Also, the 3D model required cleanup because of the open mesh in the hands, before rigging it in Mixamo and further refining it in Blender.

Behind the scenes: https://www.straitstimes.com/multimedia/graphics/2024/11/max-maeder-explainer/index.html

What is your typical timeframe to complete a project? What resources do you have?

Typically, we complete a project within two months, and bigger projects can take more than three months but it depends on the project. We mainly use Figma for mockups, and the Adobe Suite when creating or customising assets. Occasionally, I grab icons or vector illustrations from Noun Project or iStock for quick assets.

On the development side, we use our team's Svelte template, which allows us to reuse components when building interactive graphics.

Thinking about a specific piece in your portfolio, what was your initial goal? What parts of your creative vision did you have to sacrifice in order to complete the project?

For the Singapore playgrounds project, we initially wanted to use voxel-style for the 3D models because we thought the look felt playful and matched the mosaic facades of older playgrounds. It was also a style we'd always wanted to experiment with. However, after testing a few models, we realised the voxel approach lost too many details and didn't work well for the newer, more intricate playground designs. In the end, we switched to a low-poly style instead.

What did you leave on the cutting room floor for your portfolio because it didn't give you the best chance of winning?

I think there were a couple of smaller projects that didn't really highlight visual and technical skills.

What part of the creative process do you enjoy the most?

My favourite part of the creative process is when I finally get to make the mockups. That's the moment I can see whether the idea or vision actually works - it's like the concept starts to come to life.

What are you working on now?

I'm helping with the styles for one of the few remaining moonshot projects this year, as well as creating print-graphic versions of some of our interactive graphics. Moonshot projects are a set of ideas our team comes up with at the start of the year, and then we vote on which ones we want to pursue.

If your SND46 portfolio were a playlist, what songs would be included?

• Lemonade by Forrest Frank
• Lavender by JVKE, pink sweat$
• Paint the town blue by Arcane
• MONA LISA by J-Hope
• Mundo by IV of Spades

"Our team also does a mini judging session internally each year to review the winners and see what we can learn for our own graphics."

What is your experience with SND and the competition?

I had the chance to volunteer at SND 44 in New York, and I had fun meeting people from different newsrooms and seeing the incredible works. Listening to the judges critique entries was especially insightful - sometimes they would point out details I hadn't noticed at all. Some of the judges are people whose work I really admire, which made it an unforgettable experience.

Our team also does a mini judging session internally each year to review the winners and see what we can learn for our own graphics. I think the competition gets tougher every year, and the entries keep getting better - there's always something new, whether it's a different way of visualising data or a new storytelling format.

Why are things the way they are?

I think things are the way they are because of a mix of constraints, choices, and the tools we have. How a graphic ends up looking depends on the timeline or urgency, the data available, the platforms we're designing for, and what the audience expects. Each project reflects the team's decisions about what to highlight, simplify, or leave out for the readers. Watching how other teams handle the same challenges, especially in competition, gives us new ideas. A lot of times it makes me think, "Oh, why didn't we think of that?"

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