Many of the intermediary stages in the animation create bizarre hybrids of works which are less obvious as being derived from Klee's originals. The artwork was in a constant state of transformation creating a shimmering intangible effect. The individual phases used to create the movement were never designed to be viewed as unique frames. over 95% of the artwork in talfaw is only ever on screen once for 1/12th of a second but the preparation is painstakingly done nevertheless. Alan (the key rendering artist) used to describe this approach as 'bringing in a full symphony orchestra to play a single note'.
The artwork for the underwater sequences was far too complex and extensive to trace every element a subtly different colour. Here the line was traced in solid white lines and colourised afterwards by wiping dyes over the surface. The unpredicability of the result added a shimmering extra dimension of movement.
waveform 1 based on a page from the city records (1928)

the ruling pen tracing technique is shown in this scene from Behind the Lines