ANIMATION NCII – Animation 12b

Governor Pack Road, Baguio City, Philippines 2600

Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Introduction to Paperless Animation

Objectives: At the end of this lesson, students shall be able to:

1) Understand the differences between the different types of animation;
2) Distinguish the similarities and differences between traditional animation and paperless
animation;
3) Understand the advantages and disadvantages of paperless animation;
4) Enumerate the steps of a paperless animation workflow; and
5) Understand how to use the main materials and equipment used for paperless animation.

Types of Animation (According to Medium)

 Traditional
○ Also known as hand-drawn animation
○ Oldest form of animation
○ Animation production – particularly keyframing, in-betweening, and clean-up – were all done
by hand without any assistance from computer tools
○ Typically uses cel animation
 Cel
- Use of clear acetate sheets for the final scanning
- Ink is drawn over as the final line (clean-up)
- Turned over to add color
 Uses of cel animation:
- Add color
- Add shading and highlights
- Layer character(s) and object(s) over painted backgrounds

○ Originally uses a scanner attached directly to a film camera

Image reference: https://i.imgur.com/GzPCU9A.mp4

Page 1 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

○ Examples:
 Disney-animated films until its Renaissance (1990s)

Image reference:
https://media1.tenor.com/images/1db30726f5dc237e5950e7eb2c82bd6b/tenor.gif
 Warner Bros animated TV shows

Image reference: https://data.whicdn.com/images/49468160/original.gif

 Early Studio Ghibli films

Image reference: https://i.pinimg.com/originals/1d/9d/93/1d9d932309f4a42d6fef8153e1101b28.gif

 Paperless
○ Considered as a mix of traditional and digital animation
○ All techniques in traditional animation are used here, except now it is done digitally (with a
computer and drawing tablet / mouse)
 Keyframing
 In-betweening
 Clean-up
 Coloring
 Shading / Highlighting
○ Allows for efficiency and lesser resources but still get the feel and impact provided by
traditional animation
Page 2 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

○ Examples:
 Majority of Japanese animation

Image reference: https://i.pinimg.com/originals/6b/4c/53/6b4c53c16384d6e7fb8e8526a13a0913.gif

 Two-Dimensional (2D)
○ Also known as vector-based animation; sometimes referred to as Flash animation
○ Uses a digital puppet to do the animation
 Digital puppet
- Two-dimensional characters faced in a certain way
- Built with a system of bones and controls that can be manipulated
- A character is animated by rigging – moving the different body parts or replacing them
- Replacement is done by referencing a library of body parts and expressions, as is pulled
out when needed

○ Results to minimal hand-drawn requirements and a faster work output

○ Best done for animation projects that have a simpler character design, so that it would be
easier to puppet
○ Examples:
 Majority of Western cartoons

Image reference: https://i.pinimg.com/originals/78/be/05/78be05d3145977bc70e2672bf7013b09.gif

Page 3 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Stop Motion
○ Involves the manipulation of real-world objects, but has recently included digital objects
○ Done by moving objects slightly, and then photographed one frame at a time
○ Must be shot using straight ahead animation
○ Main types:
 Claymation
- Utilizes malleable characters (usually plasticine or clay)
- Requires more variations on the models
- Example: Chicken Run and other Aardvark Studio animations

Image reference: https://media.giphy.com/media/3o6ZtpxcHcYPbxkJuU/giphy.gif

 Puppet
- Utilizes a skeleton base / rig and then covered with more malleable materials
- Allows for manipulation of some body parts instead of replacing the entire model
- Example: Corpse Bride and a number of Tim Burton animations

Image reference: https://64.media.tumblr.com/214973df77b3dbd09a08c56d8425c0d3/

tumblr_oe9spiM4MO1qmsseoo1_500.gif
 Pixel animation
- Utilizes real people and real environments to create unreal videos

Image reference: https://media.giphy.com/media/AWnzxh3LB3lxm/giphy.gif

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Cut-out
- Utilizes flat characters, props, and backgrounds using paper, card, fabric, or photos
- Can also be made through figures with joints and then simulated on a computer
- Example: Rick and Morty, and a sizeable number of Western animation

Image reference:
https://i.pinimg.com/originals/48/8e/9a/488e9ad753bb2393bb96f71fece66044.gif
 Three-Dimensional (3D)
○ Also known as Computer-Generated Imagery (CGI)
○ Most popular types of animation for feature films currently
○ Also used for digital characters in live-action films and animation in video games
○ Utilizes a character rig / digital puppet
 Uses a system of motion paths to define the movement of the character between poses
 Quite similar with a character rig for 2D animation

Image reference: https://i.pinimg.com/originals/49/f2/7b/49f27b0dd9e5cf05dab0d30069f04194.gif

○ Technically intensive process and needs a number of separate specialists
○ Examples:
 Pixar movies

Image reference: https://i.kinja-img.com/gawker-

media/image/upload/t_original/c0ckzpk7lzz6z3yrfruz.gif
Page 5 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Dreamworks movies

Image reference: https://media.giphy.com/media/uiC0Tn6jFSZfomdh1T/giphy.gif

 Marvel movies

Image reference:
https://media1.tenor.com/images/44a976e07b1dea98289ee5358061eac3/tenor.gif
 Game animation

Image reference:
https://media1.tenor.com/images/f67e383a7c986f3e01d9ba94d1b97e3c/tenor.gif
 Motion Graphics
○ Focuses on making dynamic and interesting presentation of moving text logos and basic
illustrations
○ Done for animating images, logos, text, or video clips
○ Can be both 2D and 3D
○ Found in numerous commercials, explainer videos, sporting events, news, and other TV
productions
○ Focuses more on effects animation (which is different from character animation)
○ Core concepts and principles of character animation can also be used in motion graphics
○ Done using with a number of video editors

Page 6 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

○ Examples:
 Logo animation

Image reference: https://media.giphy.com/media/NUsKoYiGm1RPHl1eWM/giphy.gif

 Transition animation

Image reference: https://i.pinimg.com/originals/00/74/2e/00742e9488313ca1618dbd82947a1900.gif

 Explainer video

Image reference: https://thumbs.gfycat.com/MellowPiercingHammerkop-size_restricted.gif

 Hybrid
○ Not an actual type of animation
○ Utilizes multiple types towards different parts of the animation
○ Helps maximize the uniqueness and quality of each animation type and increase efficiency
○ Example:
 Modern Japanese animations (notably animations by ufotable and Studio Mappa)
- Character animation – paperless
- Basic character movement (i.e. walk cycle) – 2D
- Effects (water, fire, sparkles, etc.) – motion graphics
- Background – 3D

Page 7 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Further watching: https://youtu.be/nmGK-ZDHtp8?t=94

Introduction – Paperless Animation

 Definition
○ Considered as a mix of traditional and digital animation
○ Steps done in the animation production traditionally is now done through a computer
 Keyframing
 In-betweening
 Line-testing
 Clean-up
 Coloring
○ Utilizes the same concepts, principles, and techniques in traditional animation
 Advantages
○ Allows for the flexibility and exaggeration of characters and effects possible in traditional
animation
○ Less resources are used – paper use is considerably cut down, and thus production is cheaper
○ More efficient – time used to move from animation to line-testing is removed
○ More efficient – one is able to undo, copy, and paste portions of the drawing
○ Allows for the creation of a library or archive for future use
○ More efficient when rotoscoping is used
 Disadvantages
○ Still takes more time than 2D or 3D animation
 Common Applications
 Japanese animation
 Small-studio animations
 Independent animations

Workflow for Paperless Animation

 Pre-production
○ Pre-production for paperless animation is the same as that with the traditional animation
workflow
Script

Design Audio Recording

Storyboard Sound Breakdown Color Styling

Animatic Layout & Posing

Page 8 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Production
○ The steps in the production stage is very similar to that of the traditional animation workflow,
albeit:
 Some of the steps are removed
 Some steps are fused together
 A change of materials and equipment is seen
Exposure Rough Clean-up - Rough in-
sheet keyframing keyframe betweening

Clean-up - in- Export and

Coloring Compositing
between render

○ Exposure sheet
 Animation director and/or senior animator(s) fill up the exposure sheet to take note of the
timing of each scene
 Based on the storyboard and/or animatic that was approved in the pre-production stage
 This is done at the very start to make sure that the entire animation project is in sync before
giving it to the individual animators
 The exposure sheet is done the same with traditional animation, but a digital copy may be
transcribed depending on the studio
○ Keyframing
 Senior animator / keyframe animator draws the rough main frames of the animation
 Based on the storyboard and the exposure sheets
 Includes time chart and special instructions for the clean-up artist and in-betweener
 Done using the computer with an animation software and a drawing tablet
 The rough keyframes are saved in the format of the animation software and sent to the
clean-up artist
- Can be done through a local area network or through physical devices
○ Line-testing
 Line-testing is done even during the rough keyframing process
 This is removed from the paperless animation workflow because it is now imbued in the
animation software, and as such, very easy to do
 A separate line-testing process may be done for the animation director by simply viewing
the submitted works of the other animators
○ In-betweening
 In-betweener draws the rough in-betweens based on the cleaned-up keyframes received
 Other references are the animator’s special instructions, time chart, and exposure sheet
 Also uses a computer with an animation software (same software with the keyframe
animator) and a drawing tablet
 Uses the same file where the keyframe animation is (a copy was saved before giving it to
the in-betweener)
 In-betweening concepts, principles, and techniques from the traditional animation is used
for paperless animation
 The rough in-betweens and cleaned-up keyframes are saved in the format of the
animation software and sent to the clean-up artist
○ Clean-up
 Process of creation of the final line
 Clean-up for keyframing and in-betweening is still present

Page 9 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Also uses a computer with an animation software (same software with the animators) and
a drawing tablet / mouse
 The clean-up process can either be done through the pen tool or freehand, depending on
the standard of the animation
 Clean-up concepts, principles, and techniques are based from the traditional animation
process, but are not the same
 The clean-up artist may also use different colors for the lines to aid with the coloring process
 The cleaned-up frames are saved in the format of the animation software and sent to
either the in-betweener or the color artist
○ Coloring
 Process of adding the base colors, shadows, and highlights of the final frames
 Other references are the model sheet (with the colors)
 Also uses a computer with an animation software (same software with the animators) and
a mouse / drawing tablet
 Has a palette of colors for each character and also according to the lighting effect
 Color artist / colorist can apply different approaches of coloring:
- Paint-bucket – most common; done when the clean-up is a closed shape
- Gradient tool – used when a character (usually hair color) has a gradient; there is
careful consideration of the range of the gradient so that it doesn’t warp within the
animation
- Texturing – adding textures to the character (usually clothing); ensures that the texture
either stays in shape or moves with the movement of the character
 Also utilizes the different-colored lines to indicate proper placement of shadow and
highlighting
○ Compositing
 Assembly of all of the elements
 Adds camera movements and other necessary movements not done during the animation
process
 Can also add digital effects and filters that was not done during the animation process
 Compositor imports all elements necessary for the animation
 Refers to the exposure sheet to make sure that everything is timed properly to create a
coherent animation
○ Export and render
 Process of taking the composited animation and turn it into a video / moving image
 Usually done by the compositor as well
 Unlike in traditional animation, usually one device is used for all of the rendering
 Can be considered as the final output
 Post-production
○ Optional steps needed to be taken beyond the actual animation process
○ Usually done for the sake of localization
○ Some steps:
 Addition of more sound effects / background music
 Addition of effects and filters
 Dubbing
 Censorship
 Subtitling
 Rendering of the master
 Distribution

Page 10 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Materials and Equipment for Paperless Animation

 These materials and equipment are used for the production process
○ Keyframe animation
○ In-betweening
○ Clean-up
○ Coloring
 Computer
○ Usually a desktop / laptop
○ All steps in the production stage (and even in the pre-production stage) are done using the
computer and other components
○ Characteristics:
 Generally has higher specifications for the processor, RAM, and graphics card
 Has animation software installed
 Has a driver installed for the drawing tablet (if necessary)
 Installed to a local area network
 Animation software
○ A specialized software that allows the user to have the necessary tools to produce an
animation
○ Characteristics:
 Usually all steps of the production stage can be done here
 Has a multitude of tools that makes drawing and coloring easier
 Needs a timeline and animation settings
 Allows to render the file into a video or image
 Can have some tools that is mostly used for video editing
○ Usually, an animation company would only have a few animation software
○ A company can have multiple animation software that would help cater to some needs:
 Software that can help with modeling and 3D
 Computers for coloring only
 Computers for compositing only
 Computers with the latest software for rendering only
 Drawing tablet
○ Also known as graphics tablet, digital tablet, pen tablet, or digital art board
○ Computer input device which serves as the main tool to draw digitally
○ Works just like drawing with paper and pencil, but digitally
○ More modern mobile devices (phones, tablets, touch-screen laptops, etc.) with specialized
pens can also be used for drawing digitally, but may have some restrictions
 Others
 Mouse
- Mostly used for clean-up using pen tool and coloring
 Video editing software
- Can be used for compositing and post-production
 Traditional drawing / animation materials and equipment
- Aids with some steps in the animation workflow
- Used mostly in the pre-production process
 Camera
- For recording footage for rotoscoping
 Local area network
- Allows all computers in the area to be connected to each other
- Easier file transfer, without the dangers of uploading files to the Internet

Page 11 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

The Drawing Tablet

 Parts
○ Graphics tablet
 Flat surface where the user can draw / trace an image
 Main source of electrical power for most drawing tablets
 Some types may have an LCD attached for a more similar experience to traditional
drawing
 Has different sizes for different levels of comfortable drawing

○ Drawing area
 Surface on the graphics tablet where one can do the actual drawing
 This can be set to match the drawing space in your computer screen

○ Shortcut buttons / Express keys

 Buttons within the graphics tablet to input keyboard shortcuts to facilitate easier use when
drawing / animating / navigating
 Some models would have sliders for easier change of brush / pen size

Page 12 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

○ Stylus
 Also known as drawing pen
 Pen-like drawing apparatus
 Used to ‘draw’ over the drawing area of the graphics tablet
 Most drawing tablets have a specific stylus that is compatible to them
 Some may require electrical power to work
 Some styluses may have an eraser on the other end to use as such or by other means
(coloring, etc.)

○ Pen nib
 Replaceable pen tips
 Tends to wore out, so there is a need to replace them
 Helps facilitate better pen pressure and sensitivity
 Different pen nibs can be made of different materials for different uses and feels

○ Tablet driver
 Physical CD / online file to make sure that the drawing tablet is properly installed with
functionalities
 For easier drawing / animation / navigation
 Some drawing tablets are plug-and-play and would not need a driver
○ Others:
 USB cord
- Most drawing tablets would be connected using a mini-USB and then connected to a
computer through a USB
 Bluetooth receiver
- Device placed / attached to the drawing tablet to facilitate wireless connection
- Done for a more mobile use of the graphics tablet
 Internal battery
- Some drawing tablets with a Bluetooth receiver would have a chargeable internal
battery
- So that it can be used without connecting it to a computer device
Page 13 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Types of Drawing Tablets

○ Passive tablets
 Most common type of tablets
 Tablets are the main source of electrical power
 The stylus has a non-electrical circuit inside that reacts with the signals in the tablet
 Stylus does not need any charging which allows less strain on the user
- The stylus does not generate power, which can result to overheating over use
- It can also mean that the user can replace the nib and pen but not the tablet entirely
 For general use – from beginners to professionals
 Examples: Most Wacom tablets, some Huion and XP-Pen tablets

○ Active tablets
 Both the tablet and stylus has some electrical power
 Stylus relies on an internal battery rather than the tablet
- Can result in a bulkier stylus
- Doing so will result to less jitter
- Can also mean that there is a need to replace the pen entirely if the pen nib has been
exhausted
 Looks similar with a passive tablet
 Seen mostly with older tablets
 Example: Apple Pencil 1st generation
○ Acoustic tablets
 Styluses generate small sounds
 It is then picked up by the microphones embedded in the drawing tablet
 Can also result that the tablet / drawing area can be removed entirely, and use the pen to
draw / write on paper
 Example: Anoto tablets

Page 14 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

○ Optical tablets
 Styluses have an embedded digital camera
 Matches up with the image on the paper to produce the result
○ Capacitive tablets
 Uses an electrostatic / capacitive signal to communicate the stylus’ position to the tablet
 Example: Scriptel design

○ Embedded LCD tablets

 Graphics tablets have an embedded LCD into the tablet itself
 Allowing one to draw directly on the surface
 Makes the drawing experience more similar to that of drawing in pen and paper
 Examples: Wacom Cintiq series, Huion Kamvas series, XP-Pen Artist series

○ Standalone drawing tablet

 Also known as all-in-one tablet
 Drawing tablet (usually with LCD screen) and stylus with an embedded operating system
 Does not need to be connected to a computer
 Operating system can be an existing one or something that the company has developed
but can be installed with drawing applications
 It can be used for doing other applications aside from drawing
 Examples: Wacom MobileStudio, Huion Kamvas Studio

Page 15 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Other Important Concepts in Using the Drawing Tablet

○ Pressure sensitivity
 Ability for a graphics tablet and stylus to react to pressure by the hands
 Creates a higher range of line thickness and density
 Measured in levels (i.e. 1024, 2048, 4096)
 Most beginner tablets would either have 2048 or 4096 levels, while higher end would have
at least 8192 levels

○ Jitter
 Variation in how often a signal is being generated; slower jitter could affect how smooth a
line could be

○ Smoothing / Stabilizing
 Setting wherein the software shall automatically smoothen the line drawn in real-time; a
higher smoothing can also mean that there is little variation to the line

 Setting Up
○ Installing drivers
 Depending on your drawing tablet, it is imperative to download a driver for the specific
graphics tablet that you have. It is for one to maximize the features of the tablet such as
pressure sensitivity and the express / shortcut keys.
 Positioning of the tablet – for those with express keys on either the left or right side, place it
opposite of your dominant hand (i.e. if you are right-handed, place your express keys on
the left side). Align your tablet squarely in front of your computer screen to facilitate easier

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

drawing; it is possible to draw with your tablet slightly awry, but can take some time to
getting used to.

○ Calibrating tablet properties

 To do this, go to your Control Panel and find “Tablet Properties”. This is different from the
desktop center.
 On the top, you will be seeing the different applications that involves drawing and
animation. You may add more by clicking on the “+” button on the upper right side.

 There are also multiple ways of that can be calibrated. One is the tablet itself. If your tablet
has shortcut keys, then it can be modified. Click on one of the keys to modify it. It can
either be a mouse stroke, keystroke, or others. It is recommended to have the most
commonly used functions on your keys to prevent from reaching out the keyboard on your
computer. (undo, redo, rotate, increase/decrease brush/eraser size, scroll, zoom in/out)

Page 17 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 For the pen, it is recommended to change the tip feel based on how hard you would use
the pen. Further, add shortcuts on the buttons of the pen (examples could be the right
click, eyedropper, scroll, etc.).

 Mapping is done to set the area where the active drawing area is replicated in your
screen. This is useful when you are working on multiple monitors, or if you have a huge
monitor which is compartmentalized. You can change it by clicking to the ‘Screen area’.

 There are other options such as:

- On-screen controls – when tapping the screen / using the remote, it would show even
more shortcuts that can be used while using specific applications. This is mostly
applicable to LED and standalone graphics tablets
- Standard gestures – addition of more shortcuts through gestures; applicable only if you
have a touch option to your screen
- Remote options – addition of more shortcuts using the independent remote; mostly
seen towards the Wacom Cintiq tablets
- Touch options – defines sensitivity, pointer and scrolling speed, and double tap time;
applicable to graphics tablets with a touch option only
Page 18 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Tips and Techniques for Using the Drawing Tablet

○ Hand eye coordination
 When drawing on a basic drawing tablet, this is going to be a huge adjustment compared
to traditional drawing
 This takes some practicing, but drawing while looking at the screen and not the hand is
imperative when drawing digitally
 You may practice doing so by simply using your graphics tablet as a mouse and not using
your mouse / touchpad / touch screen option
○ Hand on tablet
 It can be placed on top of the surface for drawing darker details
 But make sure that the touch feature is off when doing this
○ Practice hand and wrist drawing techniques
 To prevent fatigue, it is best to train yourself to draw digitally by moving mostly your elbow
and shoulder instead of your wrists and fingers.
 However, this would depend on the size of your drawing tablet
○ Practice drawing without moving the tablet
 Unlike paper, rotating the tablet while drawing can have more consequences than
benefits.
 It is best to train yourself by adjusting the angle of your wrist and elbow while drawing.
 For a last resort, you may rotate the canvas in the drawing / animation program
○ Draw faster strokes
 To prevent jitters and wobbly lines, it’s best to make sure that you are drawing faster
 To facilitate, you can increase the smoothness / stability at your drawing application

Animation Software – Krita

 Default Workspace and Interface
○ Krita’s interface is very flexible and provides an ample choice for the artists to arrange the
elements of the workspace
 An artist can snap and arrange the elements, much like snapping together Lego blocks
○ Krita provides a set of construction kit parts in the form of Dockers and Toolbars
○ Every set of elements can be shown, hidden, moved and rearranged that let the artists easily
customize their own user interface experience

Page 19 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Main Parts:
A. Traditional Menu
- File or action menu found in most windowed applications
B. Toolbars
- Involves the choosing of brushes, set parameters (opacity and size), and other settings
C. Sidebars
- For the Movable Panels/Dockers
- Also known as Dockable areas in some applications
- Krita also allows you to dock panels at the top and / or bottom as well
D. Status Bar
- This space shows the preferred mode for showing selection (i.e. marching ants), mask
mode, selected brush preset, color space, image size
- Provides a convenient zoom control
E. Floating Panel/Docker
- These can be “popped” in and out of their docks at any time
- Used to see a greater range of options
- Examples: Preset Docker, Palette Docker

Note: Your canvas sits in the middle and unlike traditional paper or even most digital painting
applications, Krita provides the artist with a scrolling canvas of infinite size.

 Dockers
○ Dockers can be moved around and placed at the top, bottom or either of the sides of your
workspace, locked in place or float freely
○ Dockers are small windows that can contain multiple settings
 Examples: layer stack, color palette, list of brush presets
 Think of them as the painter’s palette, water, or brush kit
○ They can be activated by choosing the Settings menu and the Dockers sub-menu
 One will find a long list of available options

Page 20 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Starting a New File

○ Either click on the first icon in the top toolbar or choose "New" from the "File" drop-down menu

○ A window will open to specify what kind of file is needed. One can choose from predefined
sizes (red) or define your own (blue).

○ Other options like color model, profile and content of the new file can be changed such as
the color of background and number of layers. Having chosen all settings, click "Create".

 Toolbox
○ It comprises all the tools that may be needed to work in the program
○ Examples: manipulation, drawing, fill, select, pen

Page 21 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Tool Options
o Tool options are placed on a separate docker
o Gives further options that can be manipulated with the tool that is selected
o Example: for the move tool, specifics are added such as the filter, an arrow for more precise
movement, and position

 Default Brushes and Settings

○ Krita provides many default brushes that can be used "straight out of the box"
○ Can be accessed from the "Brush Presets" docker
○ Can also assign tags to brushes and access those tags separately
 Can have most used brushes under control and/or in one place

○ A brush can also be modified in terms of size, color, and texture using the “Edit Brush Settings”
near the header

Page 22 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Eraser
○ Krita provides five (5) different preset erasers
○ Any of the brushes can become an eraser

 Keyboard Shortcuts
○ There are many predefined shortcuts in Krita
○ All can be modified (or new ones can be created) in the Keyboard Shortcuts section
 Settings > Configure Krita > Keyboard Shortcuts from drop-down menu

 Layers
○ Layers can be found on a separate docker and there are many ways to control them
 Turn off and on
 Change opacity or mode from a drop-down menu (normal, multiply, soft light, etc.)
 Lock layers for editing
 Lock alpha
 Inherit the alpha of the layer below
○ There are also many types of and masks to choose from

Page 23 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Navigation
○ Many of the canvas actions, like rotation, mirroring and zooming have default keys attached
to them:
Canvas Action Shortcuts
Center click + directional keys
Panning
Space + directional keys
Discrete zooming: + and – keys
Zooming
Direct zooming with the stylus: Ctrl + Space or Ctrl + center click
Mirroring M key
Rotate counterclockwise: Ctrl + [
Rotate counterclockwise: 4
Rotate clockwise: Ctrl + ]
Rotating Rotate clockwise: 6
Quick mouse-based rotation: Shift + Space
Quick mouse-based rotation: Shift + center click
Reset rotation: 5

Note: Mirroring is a great technique that seasoned digital artists use to quickly review the
composition of their work to ensure that it “reads” well, even when flipped horizontally.

 Sliders
○ Krita uses these to control values like brush size, opacity, flow, Hue, Saturation, and others

○ The total range is represented from left to right and blue bar gives an indication of where in
the possible range the current value is
○ Clicking anywhere, left or right, of that slider will change the current number to something
lower (to the left) or higher (to the right)
○ To input a specific number, right click the slider. A number can now be entered directly for
even greater precision.
○ Change values (smaller increment): Shift + dragging the slider
○ Change values in whole numbers / multiples of 5: Ctrl + dragging the slider

 Toolbars

○ Toolbars are where some of the important actions and menus are placed so that they are
readily and quickly available for the artist while painting
○ You can learn more about the Krita Toolbars and how to configure them in over in the Toolbars
section of the manual. Putting these to effective use can really speed up the Artist’s workflow,
especially for users of Tablet-Monitors and Tablet-PCs.

 Workspace Chooser
○ The button on the very right of the Toolbar is the workspace chooser. This allows you to load
and save common configurations of the user interface in Krita. There are a few common
workspaces that come with Krita.

Page 24 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Pop-up Palette
○ Unique to Krita
○ Designed to increase the productivity of the artist
○ A circular menu for quickly choosing brushes, foreground and background colors, recent
colors while painting
○ To access: right click on the canvas

Further Watching:
 Bloop Animation. (2015 September 14). The 5 Types of Animation, [Video]. Retrieved from
https://www.youtube.com/watch?v=NZbrdCAsYqU
 Gehm, T. (2020 April 7). COMPLETE Krita Animation Demo/Tutorial in 30 MINS!, [Video].
Retrieved from https://www.youtube.com/watch?v=Pp0DvgZ2k6k
 Rutten, A. (2018 January 10). How to Draw on a Tablet – Ultimate Drawing Tablet Tutorial,
[Video]. Retrieved from https://www.youtube.com/watch?v=83BRMfjJXIk

References:
 Bloop Animation. (n.d.). The 5 Types of Animation: A Beginner’s Guide, Bloop. Retrieved from
https://www.bloopanimation.com/types-of-animation/
 GameDesigning. (2020 October 4). The Different Types of Animation, GameDesigning.
Retrieved from https://www.gamedesigning.org/animation/different-types/
 Harmony Paint. (n.d.). Paperless Animation – An Introduction, ToonBoom documentation.
Retrieved from https://docs.toonboom.com/help/harmony-11/workflow-
network/Content/_CORE/_Workflow/014_Paperless_Intro/000_CT_Paperless_Introduction.html
 KDE, Calligra, and Krita. (n.d.). Krita 2.4 – Creative Freedom, Krita Official Website. Retrieved
from https://krita.org/wp-content/uploads/2012/04/about-krita-2-4.pdf
 Krita (n.d.) Basic Concepts, Krita Official Documentation. Retrieved from
https://docs.krita.org/en/user_manual/getting_started/basic_concepts.html
 Oleska, K. (2016 December 25). Know the Basics: Krita Part 1: Interface and Software
Introduction, 3Dtotal.com. Retrieved from https://3dtotal.com/tutorials/t/know-the-basics-krita-
part-1-interface-and-software-introduction-kate-oleska-free-digital-painting-tutorial-2d
 Sdfgeoff. (n.d.). Digital Painting Lesson 1: the Basics of Using a Graphics Tablet. Instructables
Circuits, Retrieved from https://www.instructables.com/id/Digital-Painting-Lesson-1-The-basics-
of-using-a-gr/
 Snow, N. (2020 May 3). 10 Best Standalone Drawing Tablets For Use Without Computer.
Tabletguide, Retrieved from https://mytabletguide.com/best-standalone-
drawingtablets/#1_Wacom_MobileStudio_Pro_%E2%80%93_For_Professionals
 Techie. (2019 January 3). How to Choose the Best Drawing Tablet for You. ioTechie, Retrieved
from https://www.iotechie.com/best-drawing-tablet/

Page 25 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 2 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

ACTIVITY 2: Self-Check 1
Instructions: Read, understand, and analyze the questions. Choose the letter of the BEST answer to
the question. (15 items, 15 pts.)
1. What type of animation was used to create Thanos - a famous Marvel villain?
A. 2D B. 3D C. Stop Motion D. Traditional
2. What type of animation was used for backgrounds in modern Japanese animations?
A. 2D B. 3D C. Stop Motion D. Traditional
3. What type of animation was used for The Amazing World of Gumball (2011)?
A. 2D B. 3D C. Stop Motion D. Traditional
4. What type of animation was used for Akira (1988)?
A. 2D B. 3D C. Stop Motion D. Traditional
5. What type of animation was used for the character animation in fight scenes?
A. 2D B. 3D C. Stop Motion D. Traditional
6. Which of the following is not a characteristic of paperless animation?
A. Takes lesser time than cutout animation C. Takes more time than 2D animation
B. Takes lesser time than traditional animation D. Takes more time than 3D animation
7. Which of the following is not a characteristic of paperless animation?
A. Allows for more exaggeration C. Same technique as 2D animation
B. Same concepts as traditional animation D. Similar with traditional animation workflow
8. Which process in the paperless animation workflow primarily uses the fill tool?
A. Clean-up B. Coloring C. Keyframing D. In-betweening
9. Which process in the paperless animation workflow primarily uses the pen tool?
A. Clean-up B. Coloring C. Compositing D. In-betweening
10. Which process in the paperless animation workflow integrates the line-testing step?
A. Clean-up B. Coloring C. Compositing D. In-betweening
11. Which of the following tools cannot be used as a substitute for the drawing tablet?
A. Finger B. Joystick C. Mouse D. Stylus
12. Which part of the drawing tablet is the one that expires the fastest?
A. Drawing area B. Pen nib C. Stylus D. USB cord
13. What affects the variety of lines produced by the stylus?
A. Jitter C. Stabilizing
B. Pressure sensitivity D. Tablet position
14. What is the term for the boxes that can be moved around the Krita interface?
A. Docker B. Panel C. Sidebar D. Toolbar
15. What feature is most unique to the software Krita?
A. Color palette C. Sliders
B. Popup palette D. Workspace chooser

How to Submit:
 Answer “2: Self-Check 1” under “Module 2 – Introduction to Paperless Animation”.
Submission Channels:
 Canvas K-12 LMS (Quizzes)

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