<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
