We carried out our digital recreation of the paintings with animation in mind from the outset. That meant using layers to distribute the figures’ elements, with each layer containing just one element. The procedure in question was the cornerstone of our animation.
The preserved paintings, meanwhile, were totally or partially repainted so as to separate all the base colours, shadows, lights and black profiles. That gave us full control over the layers, enabling us to manipulate and animate them individually.
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