<the computer used vectors (or lines) to describe the movement. the individual phases of the sequence were sent to a plotter which transcribed the lines onto a continuous roll of computer printout paper. the plots then had to be cut up and reregistered manually before being traced onto cel to create the colour artwork. one of the few times we used the ruling pen as a
true
technical drawing instrument.../>

<many of Klee's compositions were shaped by mathematical theories which gave them a very geometrical appearance. the straight edges and regular shapes of those works seem to lend themselves to being animated using computer assisted techniques. the first couple of minutes of talfaw were created using an experimental system at Cambridge University's computer lab. as it turned out, this method was actually more time consuming than doing the animation by conventional means. any two images that were to be inbetweened had to be constructed from the same number of points. this constraint lead me to morphing the transitions between scenes by 'unstitching' the images point by point onto a circle.../>

hovering (before the ascent)

<this sequence was beyond the Cambridge system so we ended up animating it by hand, imitating the restraints of computer assisted graphics conventions such a scaling, rotation, and translation. as well as the lines the textures were also constantly in transition.../>

working with Andrew Pullman on the Cambridge Labs animation system from behind the lines