people with dyslexia, and the children's responses to his speech were the last portion to be filmed. Having already spent 3–4 days hearing the dialogue the children's reactions were "jaded". Khan opted to film them while he recited a tale, and manipulated his storytelling to achieve the varying spontaneous reactions. The following scene had the children playing around a nearby pond. Horrified when he learned that the water was deep, Khan recruited four lifeguards in case a child fell in. Khan found it important that the audience connect the film to real children, and had Pandey travel throughout India filming documentary-style footage of children from all walks of life. Those visuals were integrated into the end credits. Art and animation While claymation has been used in Indian television commercials, the film's title sequence—a representation of Ishaan's imagination—marked its first instance in a Bollywood film. Khan gave claymation artist Dhimant Vyas free rein over the various elements. The storyboarding took one and a half months and the shooting required 15 days. The "3 into 9" sequence, in which Ishaan delves into his imagination to solve a math problem, was originally conceived as a 3D animation. Halfway through its creation, however, Khan felt it was not turning out as he had envisioned it. Khan scrapped the project and hired Vaibhav Kumaresh, who hand-drew the scene as a 2D animation. Artist Samir Mondal composed Ishaan and Nikumbh's art-fair watercolor paintings. He held a workshop with the schoolchildren, and incorporated elements from their artwork into Ishaan's. Mondal also instructed Khan on a painter's typical mannerisms and movements. Gupte created the rest of Ishaan's artwork and Assistant Art Director Veer Nanavati drew Ishaan's flipbook. The art department's designs for Ishaan's school notebooks disappointed Khan, who had familiarized himself with dyslexic writing. Using his left hand, Khan instead wrote it himself. Musical sequences The musical sequence of "Jame Raho" establishes the characters of the four members of Ishaan's family; for example, the father is hardworking and responsible, and Yohaan is an "ideal son" who does all the right things. A robotic style of music overlaps most of the sequence—this is mirrored by the machine-like morning routines of the mother, father, and Yohaan—but changes for Ishaan's portion to imply that he is different from the rest. This concept is furthered by speed ramping and having the camera sway with the music to create a distinct style. The