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PRODUCTION PROCESS:
A Poem In A Difficult Time
(J. Dickey 2025)
Storyboarding - from rough initial thumbnails done on an ipad to watercolor roughs in sketchbookThe finalized storyboard (panels in descending order, left page first)Animatic (timed storyboard) above hand-drawn, digitally composited “pencil test” reference animation for comparisonBasic setup for creating final artwork, camera lucida in front of laptop with paper belowPainting setup - view through the camera lucida, the reference image on the screen bounces off the internal mirror and is reflected in the glass, appearing superimposed over the paper belowCold pressed, 140lb acme punched peg hole confettiThe camera lucida has to be alinged at both the right distance from the reference and appropriate height from the table below to produce an image at the desired sizeIt’s also necessary to tweak lighting of the painting surface in relation to the screen’s brightness, to balance transparency between the twoFirst pass, additional layering of wash/color added in stagesBlacked out background in india ink was the last stage for this sequenceOccupy Dining TableUsing waterproof india ink on wet media results in some cool effectsView from the business endTransition from sky > paper plane > heart > explosion covered about two tabletops worth of spaceThe pull out from the fire to the room in the following shot was done with a series of 4 frame loops at receding scales on larger sized paperEach painting required multiple passes of shading, so doing the loops here freed me from having to repaint the background for every frame of the ghost hands animation, which was superimposed over this looping backgroundAbout halfway through shading these - the fire is a 4 frame loop and the shadow behind the figures is an 8 frame loop, hence the fire from E1-4 was duplicated and laid over E5-8 in final compositeThe fire/shadow sequence as shot - in the final composite, the flames at the beginning were superimposed over the exploding heart, and the ghost hands & shadow at the end over the looping background of the roomAgain working on larger paper to be able to render details in this scene of collapsing walls/floating ceilingsFor this sequence through to the end, the sky was inked in first, then the other elements of each frame were painted inThe different folds of floating fabric were painted in alternating passes and left to dry at an angle so the pigment would settle where I wanted it toAll the little planes in the sky were fun to keep track of and avoid accidentally inking overFortunately I found help in the form of Mr. Jack M. who assisted greatly with filling in background sky on this sequenceSpecial shoutout to my wife, without whom 99% of this would have gone undocumented and dog would have starvedThe final stackPencil test reference footage above final art as shotThanks for your interest. Please see details HERE of how to order artwork and support Haneen Koraz’s efforts in Gaza.
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