10/12

Animation NC II
Quarter 2 – Module 2
Week 2 & 3
Applying design standards in
producing in-between drawing
(cartoon – regular)

Self-Directed Learning Materials

Department of Education – Republic of the Philippines
TLE/ TVL Animation NCII – Grade 10/12
Self-Directed Learning Materials
Quarter 2 – Module 2: Applying design standards in producing in-between drawing
(cartoon regular)
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Christine Joy L. Harder
Editors: Emelee L. Quibol
Reviewers: Glenn T. Zabate
Illustrator:
Layout Artist:
Management Team: Reynaldo M. Guillena
Jinky B. Firman
Marilyn V. Deduya
Alma C. Cifra
Aris B. Juanillo
Marcelo O. Roco

Printed in the Philippines by ________________________

Department of Education – Region XI Davao City Division

Office Address : DepEd Davao City Division, E. Quirino Ave.,

Davao City, Davao del Sur, Philippines
Telefax : (082) 224 0100
E-mail Address : [email protected]
 10/12
Animation NC II
Quarter 2 – Module 2
Week 2 & 3
Applying design standards in
producing in-between drawing
(cartoon-regular)
Introductory Message
For the facilitator:

Welcome to the TLE/TVL Animation NCII Self-Directed Learning Materials (SDLM)

on Applying design standards in producing in-between drawing (cartoon-regular)!

This module was collaboratively designed, developed and reviewed by educators both
from public and private institutions to assist you, the teacher or facilitator in helping
the learners meet the standards set by the K to 12 Curriculum while overcoming
their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.

2
For the learner:

Welcome to the TLE/TVL Animation NCII Self-Directed Learning Material (SDLM) on

Applying design standards in producing in-between drawing (cartoon-regular)!

The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a learner
is capable and empowered to successfully achieve the relevant competencies and
skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in the
module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.

What’s New In this portion, the new lesson will be

introduced to you in various ways such as a
story, a song, a poem, a problem opener, an
activity or a situation.

What is It This section provides a brief discussion of the

lesson. This aims to help you discover and
understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to process
what you learned from the lesson.

What I Can Do This section provides an activity which will

help you transfer your new knowledge or skill
into real life situations or concerns.

3
 Assessment This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of the
lesson learned. This also tends retention of
learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in developing

this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.

We hope that through this material, you will experience meaningful learning and
gain deep understanding of the relevant competencies. You can do it!

4
 What I Need to Know

This module was designed and written with you in mind. It is here to help you master
the nature of Biology. The scope of this module permits it to be used in many different
learning situations. The language used recognizes the diverse vocabulary level of
students. The lessons are arranged to follow the standard sequence of the course.
But the order in which you read them can be changed to correspond with the
textbook you are now using.

This module was anchored on the Curriculum Guide in TLE/TVL- Animation

NCII under the Information Communication Technology (ICT) component.

LESSON 3: PRODUCING CLEANED-UP AND IN-BETWEENED DRAWINGS (CI)

LO 1. Produce in-betweened drawings for actual scene folders (cartoon, regular)
TLE_ICTAN912CI-IIa-j-1

1.2 Follow the procedures for pegging and unpegging

1.3 Apply design standards in producing in-between drawing (cartoon –
regular)
1.4 Determine the similarities and differences between the clean-up and
in-between drawings (cartoon-regular)
1.5 Produce in-between drawings (cartoon-regular) based on the
guidelines
1.6 Create drawings following the details of exposure sheets
1.7 Use the different special effects in producing drawing

After going through this module, you are expected to:

• Identify the basic principles of producing in-between drawing (cartoon –
regular)
• Determine the similarities and differences between the clean-up and in-
between drawings (cartoon-regular).
• Produce in-between drawings based on the design standards.

5
 What I Know

Choose the letter of the best answer. Write the chosen letter on a separate sheet of
paper.

1. In a studio, in-betweening is usually done by ________

a. Apprentice
b. Assistant
c. Director
d. Supervisor

2. Drawing the movements in between key positions

a. Breakdown drawing
b. In-betweening
c. Key drawings
d. Passing position

3. To animate a walk required ______________ and in-between them in a logical

way.
a. Four key position
b. Three key position
c. Two key position
d. None of the above

4. You must understand the character’s movement in your movement before

you begin to animate the character. Why?
a. To feel the playing role
b. To have a great imagination
c. To have the potential for producing realistic
d. To come up with an idea

5. The fundamental requirement of in-betweening is _________.

a. accuracy
b. key position
c. logical
d. mechanical

6
 6. A straight in-between will cause the features to the face to slid across the
head and make the action look __________.
a. flowing
b. logical
c. mechanical
d. realistic

7. To animate the walk, the head, the arms body, and legs must move
_______.
a. Dependently
b. Independently
c. Inversely
d. Simultaneously

8. To make in-betweening easier, you need it to?

a. Break it down into simple action
b. Break it into simpler sections
c. Make the scene complicated
d. Oversimplfy the scene

9. Animation use arcs to make it more

a. Affective
b. Livelier
c. Look good
d. Realistic

10. The in-between drawings in a walk animation

a. Breakdown drawing
b. In-betweening
c. Key position
d. Passing position

11. It is the process of creating final drawings you see in the finished film.
a. Animating
b. Clean-up
c. In-between
d. Key-framing

12. This certain pencil color will be invisible to photocopying machines, and can
be filtered out by scanners.
a. "Non-photo black" pencil
b. "Non-photo blue" pencil
c. "Non-photo red" pencil
d. "Non-photo White" pencil

7
13. This step is called in-betweening in anime production, in japanese term it is
called
a. "Douga"
b. "Genga"
c. "Senga"
d. "Tenga"

14. Clean up is generally done on ______.

a. Gloss Coated paper
b. Picture paper
c. Sheet of paper
d. Uncoated paper

15. The frames between the keyframes are drawn to smooth out the motion.
a. Bonding
b. In-betweening
c. Keyframing
d. Processing

16. What is an example of a clean-up process.

a. Keyframing, Tweening, Clean out
b. Pre-condition, Test, Post-condition
c. Rough sketch, block basics, final
d. Rough sketch, Tweening, Clean out

17. It signifies the start and end point for actions in animation.
a. Action frame
b. Keyframe
c. Main Sequence
d. Start-end point

18. Based on the motif, there will be a delay between the center of an object and its
extremities. What is this motion is called?
a. "Clean up"
b. "follow-through"
c. "In-betweening"
d. "Keyframing"

19. Why is Clean-up artist is an important role in animation.

a. They add an expression of how physics work and create motion
b. They help define the start and end point of actions
c. They help key animations to be drawn and creative narrative lines
d. They help to convert rough sketches into articulated line drawings, giving
definition and style to the art.

8
20. Below are the importance of a good transition of in-betweening in animation,
except one.
a. It shows the picture motion continuity between major key movement
b. Good in-betweens make the animation flow smoothly.
c. Shows the appearance of movement and evolution of the first object into
the second object.
d. It shows uncoordinated movements of a character's body parts.

Lesson Design standards in producing

2 in-between drawing
(cartoon-regular)

This module discusses about the proper application design standards in

animation. Following the design standards and concepts of in-between drawing.

Hence proper procedures that helps in achieving quality output in the design
of standard in animation.

What’s In

Hello, learners. You have previously learned about requirements for in-
betweening. Before we proceed to our next topic, let us refresh your knowledge in the
previous lesson that we had by answering the activity below. Are you ready now?

Activity 1: Word Decoding

Directions: Decode the numbers from the words given in each item. Do this by
translating the alphabetical letters into numbers in ascending order; example A -1,
B -2, C -3 and so on. So let’s get started!.

16 5 7 2 1 18

1. The word above is __________________________

- It holds your papers in place when you are drawing, it make sure that the
paper goes exactly where it was last time so your drawing stay in the
correct place.

9
 3 9 18 3 12 5 19 20 21 2

2. The word above is __________________________

- It is a part of the peg bar is used to align it self left and right.

18 5 3 20 1 14 7 12 5 19 20 21 2 19

3. The word above is __________________________

- It is a part of the peg bar that is used to align itself up and down.

16 5 7 12 1 25 5 18
4. The word above is __________________________
- It is a trajectory that contains no drawings on which you can hook your
drawings.

16 5 7 8 15 12 5

5. The word above is __________________________

- It can be seen and used in a peg bar to keep all sheets even and at
the same registration

Notes to the Teacher

Read further information about the requirements for in-
between drawings.

10
 What’s New

Find the following words in the Word Search Puzzle.

Words are hidden. and Write your answer in a separate sheet of paper.

- ANIMATION - INBETWEENING - CLEAN-UP

- KEYFRAME - ANTICIPATION

11
 What is It

In the year 1997 the Filipino cartoon and animation, “Adarna” received
recognition from the Metro Manila Film Festival as the first animated movie in the
Philippine cinema. This means that Filipino or “Pinoy” animation is already part of
our culture. It is just like storytelling, combined with the talent and the appropriate
application of classic animation principles, methods and techniques. In this lesson,
you will have a deeper understanding of how animation is structured and created.
The words that you have searched in the Word Search Puzzle above are the
main terminologies that we will be focussing on in this lesson which are the following:
animation, anticipation, keyframe, inbetweening, and clean-up.

Basics of Producing in-betweens (cartoon-regular)

Inbetweening is the process wherein the excess drawings are finished and
embedded in the middle of two key drawings. In Japanese the word “Douga” means
inbetweening. This is finished by the in-between artist or the inbetweener. To start
this process, the in-between artist should be provided with work contained in the
animation folder. In some production or studio set up, both the clean-up and in-
betweening is finished by a similar artist. It's simpler to screen by doing the
production in such a manner. It helps the animation look smoother.
1. Pose to pose
- It is perhaps the most mainstream techniques when making animation
- The important poses are drawn first. In traditional anima production, these
drawings are called “genga” or “keyframes”.
- The image below shows where the keyframes are placed.

• Keyframes – imply the

beginning and end
focuses on actions in
animation. To make an
action in digital
animation
arrangement, you first
need to characterize
the start and end
points for that action.
These markers are
called keyframes.

2. Motion Principles
- In animation it is important to express how physics work and create motion.
Keyframe drawing requires a good understanding of the principles of motion.

12
a. Nokoshi- which means “follow through”, in the light of the theme, there
will be a postponement between the focal point an object and its
extremities.

b. Anticipation – it is the preparation for an action such as jum or punch.

For example a character will squat down before pushing his body and
legs up into a jump. “The strong the anticipation motion, the more
cartoony and fluid the animation will be. The smaller the anticipation,
the more stiff the animation will be.”

c. Slow-in/ Slow-out – in animation, the continuous increasing speed of

a moving article is known as a “slow-in”. Interestingly, the steady
deceleration of an object is known as “slow-out”. The sluggish
movement of an object ought to approach one another; with the
opposite being true with a fast object.

13
 3. Inbetweening (“Douga” in Japanese)
- To smoothen out the movements, frames are inserted between keyframes
the step is called inbetweening. In anime the resulting frames are called
“douga”
a. Inbetweening Order – the image below is an example of inbetweening
order where there are three frames added between the two keyframes
(Keyframe 1 and Keyframe 5).

Figure 1: Without in-between poses

Figure 2: With in-between poses

Line of Action
To draw appropriate movements, you must first draw an imaginary line
extending through the main action of the character. After drawing the line of action,
plan your character and its details. This method will strengthen the effect of the
action of your character. Below is an example of setting the correct line of action.

14
The correct lines of action will fit on the action you want to communicate with the
audience.
For smooth action, you may add additional in-betweens as shown below.

It is essential that you feel the character’s movements in your own body before
you begin to animate the character. Just like when actors feel their way into a part
before playing the role. The greater your imagination, the greater is the potential for
producing realistic animation.

Cleaned-up Drawings (cartoon-regular)

Clean up, is a part of workflow in production of handrawn- animation. It is
the process of creating final drawings you see in the finished film. It does not
necessarily mean a "clean" fine line. The artist, usually a team of artists, uses key
drawings and animation charts from the animator, making it appear as though one
artist has created the whole film. The clean-up artists will follow the intentions of the
animators and stay true to performance and movement.

As you can see in the image shown above, Figure 1. Rough is a rough drawing, which
means sketch lines are still present and on Fig 3. Final Clean-up, is the final stage
of the drawing where details are added and the basic shapes were removed. Below is
another example of a rough drawing (left) and a cleaned-up drawing (right).

15
 What’s More

Directions: In a short bond paper, draw your own cartoon-regular character. The
following must be present:
A.
1. Draw your cartoon character and in-between drawings in a separate sheets.
2. The rough drawing must be present with the cleaned-up drawing.
3. Use the cartoon character that you have just created to produce two (2)
keyframes, whereas Keyframe 1 is the starting pose and Keyframe 5 is the
ending pose.
4. Add 3 in-between drawings between keyframe 1 and keyframe 5.

Ex.

Sheet 1. Sheet 2.

B. In a separate sheet of paper identify and list down the similarities and differences
of the cleaned-up drawing and the in-between drawings that you have drawn
using the venn diagram below.

Clean-up In-between
drawing drawing
Similarities

Differences
Differences

16
Performance Rubrics:

CATEGORY 4 3 2 1
How well Every direction Many Some Directions
directions are is followed to directions are directions are have not been
followed the fullest followed followed followed
extent

Craftsmanship Student Student Student Student

demonstrates demonstrates demonstrates demonstrates
mastery of good regard for little regard for no regard for
cleanliness cleanliness cleanliness cleanliness
and and and and
craftsmanship. craftsmanship. craftsmanship. craftsmanship.
Paper is Paper has There are some There are
completely oneor no rips rips and tears many rips and
void of any rips or creases. in the drawing. tears in the
or creases and Much regard Little regard drawing. No
is portfolio for for regard for
worty. No presentation. presentation. presentation.
smudges Few Smudges Many Many
smudges. smudges.
Originality Drawing Drawing Uses other Uses other
shows a large shows some people’s idels people’s ideas,
amount of original (givingcredit) but does not
orginal thought. Work but there is give them
though, ideals shows new little evidence credit
are creative ideas and of originality
insights

What I Have Learned

1. In-betweening is an important key for animations, smooth transitions of

movements can create an excellent moment of animation.
2. To animate the walk, the head, arms body, and legs must move independently.
3. The secret of action is to break it down into simpler sections to make it simpler.
4. You need to realise the live-action movements in order to understand to make
animation realistic action.
5. Animation use arcs to make it more livelier and realistic.

17
 What I Can Do

My FLIPBOOK
Direction: Create your own simple flipbook animation.
Example Flipbook Title: GRUMPY CLOUD

https://home.bt.com/images/animation-kit-teaches-you-how-to-make-your-own-colourful-flipbooks-
136427652262902601-180606212007.jpg

https://www.instagram.com/p/BjEUeHRlZo-
/?utm_source=ig_embed&utm_campaign=embed_video_watch_again

Materials:
1. At least 30 sheets of 3 x 5 inches of clean paper.
2. Pencil
3. Eraser
4. Glue / Paste / fastener/ (to hold the papers together)
5. Crayon / Color Pencil

Instruction:
1. Create a simple model character in your desired scene to be use for your
flipbook.
2. Get a small, thick stack of paper to make your flipbook with.
3. Use a pencil to draw an image on the bottom sheet of paper in the stack
4. Draw the same image on the next sheet of paper, changing it slightly.
Draw the image around the same spot on the page as the first image
you drew. This image will be the second sequence in your animation.

18
 5. Continue drawing slightly varied images on each subsequent sheet of
paper.
6. Use color to make your flipbook animation more interesting.
7. Put all the papers together using either glue/paste/fastener to hold the
papers together.
8. Flip through your flipbook to watch your animation once it’s finished.

Assessment

Choose the letter of the best answer. Write the chosen letter on a separate sheet of
paper.
1. In a studio, inbetweening is usually done by ________
a. Apprentice
b. Assistant
c. Director
d. Supervisor

2. Drawing the movements in between key positions

a. Breakdown drawing
b. In-betweening
c. Key drawings
d. Passing position

3. To animate a walk required ______________ and in-between them in a logical

way.
a. Four key position
b. Three key position
c. Two key position
d. None of the above

4. You must understand the character’s movement in your movement before

you begin to animate the character. Why?
a. To feel the playing role
b. To have a great imagination
c. To have the potential for producing realistic
d. To come up with an idea

19
 5. The fundamental requirement of inbetweening is _________.
a. accuracy
b. key position
c. logical
d. mechanical

6. A straight in-between will cause the features to the face to slid across the
head and make the action look __________.
a. flowing
b. logical
c. mechanical
d. realistic

7. To animate the walk, the head, the arms body, and legs must move
_______.
a. Dependently
b. Independently
c. Inversely
d. Simultaneously

8. To make in-betweening easier, you need it to?

a. Break it down into simple action
b. Break it into simpler sections
c. Make the scene complicated
d. Oversimplfy the scene

9. Animation use arcs to make it more

a. Affective
b. Livelier
c. Look good
d. Realistic

10. The in-between drawings in a walk animation

a. Breakdown drawing
b. In-betweening
c. Key position
d. Passing position

11. It is the process of creating final drawings you see in the finished film.
a. Animating
b. Clean-up
c. In-between
d. Key-framing

20
 12. This certain pencil color will be invisible to photocopying machines, and can
be filtered out by scanners.
a. "Non-photo black" pencil
b. "Non-photo blue" pencil
c. "Non-photo red" pencil
d. "Non-photo White" pencil

13. This step is called in-betweening in anime production, in japanese term it is

called
a. "Douga"
b. "Genga"
c. "Senga"
d. "Tenga"

14. Clean up is generally done on ______.

a. Gloss Coated paper
b. Picture paper
c. Sheet of paper
d. Uncoated paper

15. The frames between the keyframes are drawn to smooth out the motion.
a. Bonding
b. In-betweening
c. Keyframing
d. Processing

16. What is an example of a clean-up process.

a. Keyframing, Tweening, Clean out
b. Pre-condition, Test, Post-condition
c. Rough sketch, block basics, final
d. Rough sketch, Tweening, Clean out

17. It signifies the start and end point for actions in animation.
a. Action frame
b. Keyframe
c. Main Sequence
d. Start-end point

18. Based on the motif, there will be a delay between the center of an object and its
extremities. What is this motion is called?
a. "Clean up"
b. "follow-through"
c. "Inbetweening"
d. "Keyframing"

21
19. Why is Clean-up artist is an important role in animation.
a. They add an expression of how physics work and create motion
b. They help define the start and end point of actions
c. They help key animations to be drawn and creative narrative lines
d. They help to convert rough sketches into articulated line drawings, giving
definition and style to the art.

20. Below are the importance of a good transition of in-betweening in animation,

except one.
a. It shows the picture motion continuity between major key movement
b. Good in-betweens make the animation flow smoothly.
c. Shows the appearance of movement and evolution of the first object into
the second object.
d. It shows uncoordinated movements of a character's body parts.

Additional Activities

Use the given pattern below and draw the sequence of eyes that are about to fall
asleep.

1 2 3 4

5 6 7 8

22
 23
What's New
What's In What I Know Assessment
1. PEG BAR 1. B 1. B
2. B 2. B
2. CIRCLE STUB 3. B 3. B
3. RECTANGLE 4. C 4. C
STUBS 5. A 5. A
6. C 6. C
4. PEG LAYER 7. B 7. B
5. PEG HOLE 8. B 8. B
9. D 9. D
10. D 10. D
11. B 11. B
12. B 12. B
13. A 13. A
14. B 14. B
15. B 15. B
16. C 16. C
17. B 17. B
18. B 18. B
19. D 19. D
20. D 20. D
Answer Key
References
• Tips.clip-studio.com. 2021. Update Necessary - CLIP STUDIO TIPS. [online]
Available at: <https://tips.clip-studio.com/en-us/articles/954> [Accessed 4
January 2021].
• Fliphtml5.com. 2021. Producing Cleaned-Up & In-Betweened Drawings Pages
1 - 50 - Flip PDF Download | Fliphtml5. [online] Available at:
<https://fliphtml5.com/xlpjz/jxks/basic> [Accessed 4 January 2021].
• Jacobsen, T., 2021. Todd Jacobsen Interview. [online] Cdd4ever.com.
Available at:
<http://www.cdd4ever.com/CATCHAT/TJacobsen/TJacobsen.html>
[Accessed 5 January 2021].
• Wikihow.com. 2021. How To Make A Flipbook: 12 Steps (With Pictures) -
Wikihow. [online] Available at: <https://www.wikihow.com/Make-a-
Flipbook> [Accessed 5 January 2021].
• Animation Principles | Toon Boom Learn. 2021. Animation Principles | Toon
Boom Learn. [online] Available at:
<https://learn.toonboom.com/modules/animation-principles> [Accessed 5
January 2021].
• 2016. Animation Volume I. 1st ed. Manila City: Rex Book Store, pp.page 157-
160.

24
For inquiries or feedback, please write or call:

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex
Meralco Avenue, Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: [email protected] * [email protected]