TLE/TVL-ICT

QUARTER 2
Unit of Competency: Produce Cleaned-Up and In-Betweened
Drawings
Module Title: Identify Requirements for Cleaned-up Drawings in Actual
Scene Folders (Cartoon-Simple)

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DepEd Track/Strand : TLE/TVL- Information Communication Technology
(ICT)
Specialization : Animation NC II
Unit of Competency : Producing Cleaned-up and In-Betweened Drawings
DepEd Code : TLE_ICTAN9-12CI-IIa-j-1
TR Unit Code : ICT 313313

LO 1. Identify requirements for cleaned-up drawings in actual scene

folders (cartoon-simple)

Content Standard:
The learner demonstrates an understanding of the concepts and underlying
principles of producing clean-up and in-between drawings.

Performance Standard:
The learner independently produces clean-up and in-between drawings as
prescribed in the TESDA Training Regulations.

Time Allotment: 40 hours

INTRODUCTION
This module covers the knowledge, skills and attitudes required to refine
key drawings and to produce in-between drawings to ensure that the creative
brief is fully met for productions.

SUMMARY OF LEARNING OUTCOMES

Upon the completion of this module, you should be able to:
LO1. Identify requirements for cleaned-up drawings in actual
scene (cartoon-simple).
1.1 Identify all relevant cleaned-up requirements from the
appropriate source material.
1.2 Identify model sheets for reference.
1.3 Collect all relevant model sheets for ready reference.
1.4 Check key drawings and refer to appropriate personnel if
there are problems/errors encountered.
1.5 Compare/check animation breakdowns against x-sheet.
1.6 Identify all necessary materials and equipment according
to the task undertaken
1.7 Prepare all necessary materials and equipment.

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 Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 2.8-1

Information Sheet 2.8-1

Clean-up Requirements for Drawing (Cartoon-Simple)

Clean-up is a part of the workflow in the production of hand-drawn

animation. In Traditional animation, the first drawings are called “roughs” or
“raffs” animation because they are often done in a very loose drawing. If the
animation is successfully pencil tested and approved by the director, clean-up
of drawings has to be done. The assistant animator or clean-up artist is
responsible for the final line and finished look of the shot.

Requirements for Clean-up Drawings

1. Key Animation- are poses drawn by the animator representing
the action and narrative required by the scene/ sequence.

2. Layout- guide to the positions of the elements in the scene and

their size relationship to each other and to the location of the
scene.

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3. Exposure Sheet- chart that shows frame by frame of all
drawings of every animated scene.

4. Model Sheets (turn-arounds, expressions, Mouth, charts)- a

reference sheet of an animator that shows how’s how the
character is constructed and how they would pose.

5. Story Board- visual narrative of the script in the form of

thumbnail drawing that shows the different scenes organized in
a sequence of panels.

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6. Collecting All Relevant Model Sheets

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 SELF-CHECK 2.8-1

Directions: Identify the following requirements on clean-up drawings. Write

your answer on a separate sheet of paper.

_________ 1. It is a visual narrative of the script in the form of thumbnail

drawing that shows the different scenes organized in a
sequence of panels.
_________ 2. A chart that shows frame by frame of all drawings of every
animated scene.
_________ 3. This are poses drawn by the animator representing the action
and narrative required by the scene/ sequence.
_________ 4. A reference sheet of an animator that shows how’s how the
character is constructed and how they would pose.
_________ 5. A guide to the positions of the elements in the scene and their
size relationship to each other and to the location of the
scene.

Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!

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 Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 2.8-2

Information Sheet 2.8-2

Types of Model Sheets

General Final Line Model Sheet- A single character is portrayed in turn

around drawings that give us sense of how to draw the character from any
angle, along with some expressions, attitude and action poses.

Rough Character Concept Model Sheets- it gives us a sense of the

basic design of the character, along with attitude poses that help to tell
the story of just who he is. In the case of a character like the Beast,
unique anatomy requires unique reference for artist working on the
Beast team.

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Anatomical Study Model Sheet- it can give animators a better idea of the
structure that exist under all that hair. Another type of model sheets that often
generated early in the final design process.

Rough Construction Model Sheet- it can sometimes focus only on details of

a character, such as hair or even spots. This set of Flynn Rider sheets were
created by Glen Keane for the film “Tangled”. One shows the underlying
structure of the character while the second presents the same poses fully
clothed. These 2D designs are great aids for building a 3D character.

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Rough Model Sheets- are created from the best studies or keys from the
most successful scenes that have been animated of the character up to that
point. They often show action, expressions and attitudes that best display the
character’s personality. Sometimes a turn around drawing which also shows
how many heads high the character is can be added to the rough model
sheet, which creates a rough version of the “all-in-one” design.

Rough Dialogue Model Sheet- it shows various mouth shapes that are
created when the character is speaking. This one has the added benefit of
also showing a range of emotions. Some characters are unique in that they
aren’t entirely constructed with recognizable anatomy.

Fine Line or Clean Up Construction Model Sheet- it helps animators to see

volume as well as structure for even the most “cartoony” of characters.

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Turn Around Model Sheet- (many studios use one word, “turnarounds”,
instead) When beginning your turnaround model sheet, it’s usually easiest to
start with either a forward facing view of your character that has the
proportions entirely worked out. Referencing the front view, line them up and
use a ruler to map out corresponding points on their head and body in ¾ view,
side view and back view.

Final Line Turn Around Model Sheet- it’s often helpful to other artists
working on the project if your pose includes one bent arm and one that’s
straighter opposite one bent leg and one that’s straight. This gives other
artists more information when handling the limbs in different situations.

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 SELF-CHECK 2.8-2

Directions: Identify the following. Write your answer on a separate sheet of

paper.

_________ 1. A type pf model sheets that help animators to see volume as

well as structure for even the most “cartoony” of characters.
_________ 2. A type of model sheet which is created from the best studies
or keys from the most successful scenes that have been
animated of the character. They often show action,
expressions and attitudes that best display the character’s
personality.
_________ 3. A single character is portrayed in turn around drawings that
give us sense of how to draw the character from any angle,
along with some expressions, attitude and action poses.
_________ 4. It shows various mouth shapes that are created when the
character is speaking. This one has the added benefit of also
showing a range of emotions.
_________ 5. It can give animators a better idea of the structure that exist
under all that hair. Another type of model sheets that often
generated early in the final design process.

Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!

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 Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 2.8-3

Information Sheet 2.8-3

Key Drawings and Animation Breakdowns

A key drawing is also called “extreme” is a key moment in an

animated sequence, where the motion is at its extreme and represented by a
circled number symbol. The number of keys in an animated sequence
depends on how complicated the movement is.

A Breakdown comes between keys to help the key frame animator

describe the action to in-between animators and represented by a number
inside the triangle symbol.

In-betweens fill the gaps between key frames and represented only
by a numbers. The key frames are drawn by skilled animators; in-betweens
are drawn by less experienced animators which also known as assistant
animator.

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 ACTIVITY SHEET 2.8-3

Directions: Given a set of key drawings, check and refer to appropriate

references if there are problems/errors encountered on keys and breakdowns.
List down your findings and refer to appropriate personnel for possible
adjustment or corrections.

12 8

19 16 5 1

9 6 2
13

17 14 7 3
10
18 15 4
11

19 16 12 8 5

Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!

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 Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 2.8-4

Information Sheet 2.8-4

Clean-up Drawing Preparations (cartoon-simple)

What to prepare in Clean-up Drawing (cartoon-simple)

1. Identify all relevant cleaned-up requirements from the appropriate
source materials.
a. Actual Scene Folder for Character Attitudes.

b. Mouth Charts. Shows the breakdowns of the mouth

movement into at least 8 different mouth.

c. Collecting all relevant model sheets

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 d. Character expressions

e. Layout

2. Check key drawings and refer to appropriate personnel (animator,

department supervisor, director) if there are problems/errors
encountered.
3. Compare and check animation breakdowns against x-sheets.

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 4. Identify all necessary materials and equipment according to the task
undertaken.

Pencil

Eraser
ACME 3 Holes
Animation Paper

Peg Light Box

Bar
5. Prepare all necessary materials and equipment.

Techniques to develop your hand drawn lines necessary in clean-

up drawing.

1. Draw lines in relax manner, loosen your hands will help you making
straight lines.
2. Make use of 2 points method by putting it apart in any direction,
then connect it with straight lines in single stroke only. Avoid
repeating the strokes.

3. Try to move away from the points or dots, gradually doing without
the aid of the dots in making lines.

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4. Try to curve your lines from dot to dot. The dots are important for
accuracy. When you have achieved that skills, and only then,
dispense with them.

5. Don’t spare the scrap paper. Practice these exercises again and
again until you develop your confidence and skill in drawing lines.
And be able produce quality lines.

6. This lines is what we’re trying to eliminate.

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 ACTIVITY SHEET 2.8-4

LINE EXERCISES

Materials:
• Drawing Pencil
• Animation paper
• Eraser

Tools and Equipment:

• Animation Table

Directions: Perform Line Exercises

Note: Each lines must be drawn in a separate sheet of animation paper in

freehand stroke only and maintain the consistency in thickness of lines. You
are given 4 days to finish this activity.

1. Straight Lines (Vertical, Horizontal, Inclined)

2. Curved Lines
3. Irregular Curved Lines

Find out by accomplishing the Scoring Rubric honestly and

sincerely. Remember it is your learning at stake!

Criteria for Assessment:

Criteria 5 Points 3 Points 1 Point Rating

Accuracy All lines are drawn There are 1 to 3 Majority of the
appropriately lines lines are
according to its inappropriately inappropriately
standard. drawn drawn.
according to its
standard.
Neatness Finished output Pleasing but Finished output
was neatly done, erasures and have so many
pleasing, and no smudges are erasures and
erasures/smudges. observable on smudges.
the finished
output.
Time Finished the task 5 Finished the Unable to
Management minutes before the task on time. finished the
given time. given task.
Total

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Rating Scale:
Points Earned Numerical Value Descriptive Value

12-15 91-100 Very Good

8-11 86-90 Good
4-7 81-85 Fair
1-3 75-80 Needs Improvement

Final Rating: ______________

Remarks: ________________________________________________
_________________________________________________________

Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!

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 Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 2.8-5

Information Sheet 2.8-5

Animation Workflow (Traditional, Traditional Cum Digital, Western and

Japanese)

Inside the animation studio, there are specific work to be done and
it can only be achieved through a good and effective workflow. Let us first
know what is an animation workflow is all about.

Animation Workflow is the steps and the order in which they occur
when producing your movie. No matter which method you choose to create
your project, the pipeline to follow will always be decided in three segments:
pre-production, production, and post-production.

Here are the examples of workflow in different types of animation.

Traditional Animation or 2D Animation Workflow

Traditional Animation is done on paper. The animator receives the

layout folder and uses the references to animate the scene. The animator will
draw each frame of the animation or each pose of the character. Sometimes
the animator will do all the work, from the key poses to the in-betweens and
then clean-up.

In traditional animation workflow is a very straight pipeline. Many of

the steps cannot be done simultaneously, meaning they must be completed
before continuing on the next step in the process.

Steps/Workflow in Traditional Animation

1. Script all projects start with a script. It’s provided by the studio’s script
writer or from the client.
2. Designs the design team will take charge of the character, prop and
location design as soon as the script is locked. It can be done on paper
or digitally. They are cleaned up, added to the model pack and sent to
colour styling department.
3. Colour Styling can be done before or after the animation. It doesn’t
really have an impact of the pipeline.
4. Audio Recording, Dialogue and Nat Pause. The dialogue is recorded
from the script. The voices are often recorded of the studio. If there is
dialogue involved, the final version must be recorded soon enough to

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 import it into the project before the animation. This allows the animator
to do the sound breakdown and animate the mouth and expressions,
as well as the storyboard that’s required.
5. Storyboard. it is an illustrated script of the film. It can be started in
parallel with the design and the audio recording.
6. Animatic Reel or leica, is made from the storyboard. each scene is
timed along with sounds, dialogue and music. Complete storyboard
drawings are being scanned and start preparing the animatic.
7. Background Layout and Posing. It is very important to communicate
the storyboard information very clearly to the animators. The layout
contains all the information needed to complete the animation in the
scene. (background, overlay, underlay, and key poses).
8. Background Painting it can be painted in the animation software or in
an external software.
9. Animation. Traditionally, it is done on paper. The animator receives
the layout folder and uses the references to animate the scene. The
animator will draw each frame of the animation or each pose of the
character.
10. Line-Test. during the animation process, the scene are regularly
passed through the line-testing process, which consists of quickly
testing the rough key poses of an animation to see if the animation is
going in the right direction.
11. Scan is the gateway between traditional and digital animation.to
import the animation drawing into the project, a person is assigned to
the scan task. Once the cleaned-up drawings are scanned and
imported in the software in a simple step that incorporates all of the
drawings in the scene, they are ready to be inked and painted.
12. Inking and Painting at this point the color models are ready and the
drawings are scanned in and properly exposed. Using Harmony’s
optimized tools, the colourist can clean the scanned artwork and start
applying colour to the different drawings.
13. Compositing the compositor imports the coloured background,
animatic reference and sound as required. Referring to the exposure
sheet, animatic and animation, the compositor assembles all these
elements and creates the camera moves and other necessary motions.
Adds digital effects which includes tones, highlights and shadow.
14. Export-Render the last step is to render the scene as a movie or
image sequence. It is done by the compositor itself.
15. Post-production when all scenes are rendered out, the user
assembles them in an external application and adds sound to the
project. The final effects and filter are added.

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 TRADITIONAL WORKFLOW

SCRIPT

STORYBOARD CHARACTER,PROP & LOCATION DESIGN AUDIO RECORDING

ANIMATIC LAYOUT & POSING

CHARACTER, PROP & BACKGROUND COLOUR STYLING SOUND BREAKDOWN

ANIMATION

DIGITAL EXPOSURE SHEET

SCAN

INK AND PAINT

COMPOSITING

EXPORT & RENDER TO POST PRODUCTION

Traditional Cum Digital

Paperless animation is the most recent 2D animation process. It
consists of digitally drawing all of the images of an animation. It is similar to
the traditional animation technique. This method is entirely digital; it does not
involve any materials other than virtual tools. However, the animator still must
draw each frame individually.

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 Paperless animation requires the user to be familiar with digital
graphic applications and be able to convert this traditional knowledge to a
digital medium. This method of animation allows significant control over the
drawings, a possibility for greater quality and an infinite number of complex
poses and rotations for the animated characters and objects. It also eliminates
the paper used in traditional animation and gives you the opportunity to
instantly see a line test. Paperless animation allows you to easily cut and
paste parts of a drawing, undo actions in case of mistakes, and zoom in and
out of drawings.

TRADITIONAL CUM DIGITAL WORKFLOW

SCRIPT

STORYBOARD CHARACTER, PROP & LOCATION DESIGN AUDIO RECORDING

ANIMATIC LAYOUT & POSING

CHARACTER, PROP & BACKGROUND COLOUR STYLING SOUND BREAKDOWN

ANIMATION

ANIMATION CLEAN UP

INK &PAINT

COMPOSITING

EXPORT & RENDER

TO POST PRODUCTION

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Western and Japanese Animation
Generally, the term anime refers to a style of animation originating
from Japan. As Japanese Animation called anime became increasingly
popular, Western Animation studios began implementing some visual
stylizations typical in anime- such as exaggerated facial expressions and
“super deformed” versions of characters.
Western Animation (often simply called “cartoons”) is a general
term used to describe animated media that comes from the Americas,
Western Europe, Australia, and New Zealand. Though it’s called western
animation, in the present most of the actual animation is outsourced to Korea,
but the rest of the process is done in the west. Though its main demographic
is young children, there have been plenty of shows and films targeted towards
adults and teenagers.
Western and Japanese Animation Workflow
A. Pre-Production
This process depends on who’s pushing for an idea and who is
backing it up, it can be animation studios themselves along with sponsors, but
many anime are adaptations of manga or light novels.
When the core staff is arranged, they meet and plan out the project.
Creating staff as Character Designers. One of the most crucial staff is the
Director, they dealing with the animators who make the character’s movie. He
is one responsible in making decisions in order to manage the schedule,
budget and quality of an anime.
Following the early panning sessions, designs of characters,
costumes, etc. are then created. Once the story and design are mapped out,
the first episode is tackled.
B. Production
The first step is to write the episode scripts. Following the
episode’s synopsis/plans, the full script is written. The script is reviewed by
the director, producers, and the author of the original work before being
finalized. This stage is expressed as a storyboard and marks the beginning of
actual animation production.
1. Storyboarding it is created by the director but usually separate
storyboard artist is used to actually draw them. It is drawn on A-4 paper
and contain most of the vital building blocks of anime- the cut numbers,
actor movements, camera movements such as zooming and panning,
the dialogue, the length of shot.
2. Layouts is the beginning of art production. Developing a layout is
about positioning the cels that will be used in cut and the background
art that will be needed.
3. Animation it is initially drawn by hand, there are some animators who
draw 2D animation directly onto computer, but in anime this is largely

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restricted to in solo animation production rather than commercial
anime. Here’s how animation is done:
a. Based on the storyboard, the key animators start working on the
Key Drawing or Key Frames guided by the layout drawing.
b. We have approved key frames, but we need to complete the
animation to make the moves fluidly, more drawings have to be
completed to go between the key frames. This is called In-between
animation. It is handled by less experienced animators called
assistant animators which is the in-between artists.
c. Clean up the drawing
d. Line testing the animation
e. Scanning the cleaned-up drawings
f. Digital Painting/ coloring
g. Adding special effects
h. Compositing and editing
C. Post-Production
a. Voice recording
b. Sound effects
c. Film developing
d. Dubbing
e. Editing

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 SELF-CHECK 2.8-5

Directions:
1. Complete the Traditional Animation Workflow

SCRIPT

TO POST PRODUCTION

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2. Complete the Western and Japanese Animation Workflow
C. Pre- Production
A.1 __________________
A.2 __________________
A.3 __________________
D. Production
B.1 __________________
B.2 __________________
B.3 __________________
a. ________________
b. ________________
c. ________________
d. ________________
e. ________________
f. ________________
g. ________________
h. ________________
E. Post Production
C.1 __________________
C.2 __________________
C.3 __________________
C.4 __________________
C.5 __________________

Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!

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 Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 2.8-6

Information Sheet 2.8-6

Drawing Animals and Props

When designing animal characters, first you need to address the

balance between human animal attributes the character will display it its
personality and behavior. Knowing your character is more like an animal or a
human will help you in what animal design should be a realistic or a
cartoonish one. If you prefer the animal-like, then you will naturally design
realistic anatomy, but if the character has a lot of human characteristics, then
you will design the animal in an anthropomorphic way.

Here are varying levels of human and animal elements and

anatomy. To show the difference between anthropomorphic and realistic
anatomy, you can combine these characteristics in many different ways.

Examples:
Realistic Lion, slightly simplified, would move and act like animal it is. This
characteristic could not speak.

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Feature Film Lion, could speak and act a bit, since the human eyes and
eyebrows are expressive. With this realistic body, the character would move
like a lion and the gesture with the paws as if they were hands.

Simplified Lion, has a somewhat realistic body and head, but the features
and anatomy have been simplified and stylized. This character probably
would not stand on two legs but would not look unnatural doing some
humanlike gesturing with its paws.

Cartoon Lion, has a mane, pawlike hands and feet, and a tail, but in other
ways is a human. This character will walk, talk, eat, and often even wear
human clothing.

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Anthropomorphic Lion, has many of the attributes of a real lion, but it stands
on two legs just like a human and can point and make other human style
gestures with its hand like paws and opposable thumbs.

Importance of Anatomy in Drawing Animals

Anatomy is very important in drawing animals. Everything will start

with a realistic design and simplified and as you got a better grasp of the
anatomy of the animal and what could be stylized.

Most traditional cartoon animal character construction is based on

circles and pear-shapes, as these tend to be easier to turn around and more
fluid to animate. It doesn’t necessarily mean all shapes slosh around without
any anatomy underneath however, unless you’re working for cute characters
tend to have larger heads in relation to the rest of their bodies.

Posture is a good place to start for good acting and poses. It’s
good to start with a simple line of action which establishes attitude on which
you can built the character.

Although these simple shapes can be animated fluidly be aware of

at least a simple skeletal structure underneath on which the fleshy bits hang.

Drawing Animals are very popular cartoon characters that make

up the cartoon world. This is some steps in drawing common and typical
cartoon animals.

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Drawing a Kitten
1. Start by drawing a circle and oval
to make up the kitten’s body.

2. Add guidelines.

3. Place the eyes and the nose.

4. Build the ears and the legs.

5. Add details to complete the

kitten.

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Drawing a Puppy

Just like the kitten, start with a basic construction of circles and
ovals. Then draw guidelines to place the features.

Drawing a Rabbit

Drawing a Tiger

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Drawing a Lion

You may use the drawing technique discussed to be able to make

other animals that want for your animation.

The object and environment that surrounds your character help

enhance the story or scene. Appliances, gadgets, or nature make a realistic
and entering output. To start, observe the objects that you see every day.
How will this help improve your skill?

Sketching Objects

All cartoon characters should have a home, the best way to start
sketching objects with is the objects that you see at home.

Drawing a Sofa
1. Sketch a long, 3D rectangle box.

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2. Start sketching the cushions that
defines the sofa.

3. Add the details to complete the

parts.

4
3

4. Sketch the cushions and arms on

both the left and right side of the |
box frame. Start by sketching out
small shape about the size of a
loaf bread. Use the figure below P
as guide.

5. Draw in the key details such as

outer texture of the sofa. g

e
Drawing a Gun Prop
1. Sketch guides, keeping to basic
rectangular shapes: a standard
sidearm is formed of three tilted
rectangles, as shown.

2. Draw in the first stage of detail.

Pay attention to the way the parts
interlock, and the curved
elements that interrupt the
angular silhouette.

3. Add further details, such as

ridging on the stock. Draw the
items as they are, not how you
might expect them to be.

4. When you are happy with your

penciled lines, ink your
illustration.

5. Finish off the gun by coloring it

using the method of your choice.
Add contrasts between the
burnished metal parts and the
textured handgrip.

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Drawing Sword
1. Start with a gentle curve, forming
the base line or your sword. Arc it
up gently at the right, for the hilt,
and more sharply towards the tip
of the blade, at the left. The red
pencil line reminds you of the
proportions of the sword length.

2. For this sword, keep the width of

the blade the same as the width
of the hilt. Draw a line down the
center of the blade t show the
two edges of the sword, and add
a handguard just over two-thirds
down. Add pattern on the hilt,
using repeated thin ellipses.
3. Ink your pencil lines when you
are ready.

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 ACTIVITY SHEET 2.8-6

Drawing Animals and Props

Materials:
• Drawing Pencil
• Animation Paper
• Eraser

Tools and Equipment:

• Animation Table

Directions: Draw animals and props following the suggested procedures on a

separate sheet of animation paper.

Suggested Animals and Props:

1. Dog
2. Cat
3. Sofa
4. Hand Gun
5. Sword
Note: You are given 10 days to finished this activity.

Criteria for Assessment: Analytic Rubrics Scoring

Criteria 5-points 3-points 1-point

Accuracy The drawing was The drawing was The drawing was
drawn according somehow drawn NOT drawn
to standard. according to according to
standard. standard.
Neatness Finished output Pleasing but Finished output
was neatly done, erasures and has so many
pleasing, and no smudges are erasures and
erasures/ observable on smudges and
smudges. the finished quite unpleasant.
output.
Time Finished the task Finished the task Unable to finish
Management 1 day before the on time. the given task.
given time
period.

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Rating Scales:

Points Earned Numerical Value Descriptive Value

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair
1-3 75-80 Needs Improvement

Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!

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 Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 2.8-7

Information Sheet 2.8-7

Principles and Concept of Animation

Disney animators Ollie Johnston and Frank Thomas introduced the

twelve principles of animation and now become widely recognized as a
theoretical basis of all artists working on animated video production.

1. Squash and Stretch- it is the most fundamental principle. Like what will
happens before a ball hits the ground stretches its body. The force of the
motion squashes the ball flat, but because an object needs to maintain its
volume, it also widens on impact. This effects given animation an elastic
characteristic although it may not seem like it. Squash and stretch imitates
that and exaggerates it to create some fun.
2. Anticipation- is the preparation for the main action it is also called “Antic”
3. Staging- It is one of the most overlooked principles. It directs the
audience’s attention toward the most important elements in a scene. When
filming a scene, you need to set your camera on the right angle.
4. Straight Ahead Action and Pose-to-Pose- These are two ways of
drawing animation. Straight ahead action is where you draw each frame
of an action one after another as you go along. With pose-to-pose, you
draw the extremes- that is, the beginning and the end drawings of action.,
then you go on to the middle frame and start to fill in the frames in-
between. Straight ahead action is less planned, and therefore more fresh
and surprising. The problem, is that it’s like running blindfolded, you can’t
figure out where you’re supposed to be at any one time.
5. Follow-Through and Overlapping Action- When a moving object such
as a person comes to stop, parts might continue to move in the same
direction because of the force of forward momentum. These parts might be
hair, clothing, jowls, or jiggling flesh of an overweight person. this is where
you can see follow-through and overlapping action. The secondary
elements 9hair, clothing, etc.) are the following-through on the primary
element, and overlapping its action.
6. Ease In, Ease Out- Ease Out is when an action start slowly and it takes a
little while to accelerate and reach the maximum speed. Ease In, is when
you stop slowly until completely reach the full stop.
7. Arcs- operate along a curved trajectory that adds the illusion of life to an
animated object in action. Without arcs your animation would be stiff and
mechanical. The speed and timing of an arc are crucial. Sometimes an arc
is so fast that it blurs beyond recognition.

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8. Secondary Action- is a gesture that support the main action to add more
dimension to character animation. They can give more personality and
insight to what the character is doing or thinking.
9. Timing- is about where on a timeline you put each frame of action. To see
this means in action, let’s look at the movement of a bouncing ball. Notice
that at the top of each bounce, the balls are packed closer together. That
is because the ball is slowing down as it reaches the peak of the bounce.
As the ball falls from its peak it and accelerates, the spacing becoming
wider. Notice also the number of drawings in each bounce. As the
momentum of the ball diminishes, the bounces become shorter and more
frequent.
10. Exaggeration- Exaggeration presents a character’s features and actions
in an extreme form for comedic or dramatic effect. This include distortions
in facial features, body types, expression, and movement.
11. Solid Drawing- Is all about making sure that animated forms feel like
they’re in three- dimension space.
12. Appeal- Animated characters should be pleasing to look at and have
charisma aspect to them. Give the character personality, strive for a good
balance between detail and simplicity.

What is Animation?

Animation is the process of designing drawing, making layouts and

preparation of photographic sequences to generate the illusion of movement.
A person who creates animation is called animator. He/ she use various
computer technologies to capture the still images and then to animate these in
desired sequence.

Types of Animation

Animation Industry experts explain the different types of animation and

classify the whole thing into two the 2D and 3D animation.

1. Traditional Animation (Cel Animation, Hand-Drawn Animation)

Traditional animation, sometimes referred to as cel animation,
is one of the older forms of animation, Animator draws images on a
transparent piece of paper fitted on a peg bar using a drawing pencil
one frame at a time, to create the illusion of movement.
Once a clean-up and the in-between drawings are complete,
the production would move on to photographing or scanning. Today ,
though traditional animation can be done on computer using tablet and
the drawings are done manually direct to the computer and no longer
require the paper and pencil.

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2. Vector-Based 2D Animation
This style has become very popular in the last decade due to
the accessibility of the technology and the growth of online video. Flash
is a cheap and easy to use, as are other vector- based animation
programs.

2D animation is the term often used when referring to traditional

hand-drawn animation, but it can also refer to computer vector
animations that adopts the techniques of traditional animation. Vector-
based animation, means computer generated 2D animation uses the
exact techniques as traditional animation, but benefits from the lack of
physical objects needed to make traditional animation.

3. 3D Animation
3D animation referred to as CGI, Computer Generated Images
using computers, that series of images are the frames of an animated
shot. It is similar to stop-motion animation as they both deal with
animating and posing models and it is a lot more controllable since it’s
in digital work-space.

3D animation characters are digitally modeled in the program

and then fitted with skeleton that allows animators to move the models.
When the modeling and /or animation is complete, the computer will
render each frame individually.

Another big difference with 3D animation is that unlike

traditional animation, the character’s body parts are always present and
should be taken to consideration.

4. Motion Graphics
Motion graphics is quite different from the other types of
animation. Unlike the other types on our list it is not character or story
driven. It is the art of creatively moving graphic elements or texts,
usually for commercial or promotional purposes.

The skills for motion graphics don’t necessarily translate to

the other types of animation, since they don’t require knowledge of
body mechanics or acting, but they do have some attributes in common
such as understanding good composition and the all-important camera
motion. Motion graphics usually involves animating images, texts or
video clips using key framing that are tweened to make a smooth
motion between frames.

5. Stop-Motion Animation
Stop motion animation can be referred to any animation that
uses objects that are photographed in a sequence to create the illusion

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 of movement. The process of stop-motion is very long, as each object
has to be carefully moved inch by inch; while it’s being photographed
every frame, to create a fluid sequence of animation.

Types of Stop-Motion Animation

❖ Claymation- one of the most popular stop-motion form. Working with

clay or play-doh characters that can easily be manipulated for
animation. Advanced Claymation uses metal skeletons on which the
clay is then modeled for more sturdy rigs.
❖ Puppets- Some animators use regular Puppets instead of clay ones,
usually also built with some sort of skeleton rig. The faces of the
characters can be replaced based on the expression, or controlled
within the rig.
❖ Cut-out- Another popular form of stop-motion is cut-out. Using
construction paper or cardboard characters and placing them on paper
while shooting the animation from above, the cardboard is then moved
a little each frame to create the illusion of movement.
❖ Silhouette- Similar to cutout, silhouette animation uses cardboard or
some kind of flat material, but the objects are all black and the shot is
depicted with silhouettes only. This is one of the oldest forms of stop
motion and is rarely used today.
❖ Action Figures/ Lego- This genre is very popular on YouTube with
many channels dedicated to creating funny skits with Lego characters.
They use famous action figures to make fun of pop culture.
❖ Pixelation- it is a form of stop motion that uses real people and real
environments to create unreal videos. It uses the stop motion method
of taking a still photo, moving things around, and then taking another
photo, but the subject matter is usually real people instead of puppets.

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 SELF-CHECK 2.8-7

Directions: Choose the letter of the best answer, write your answer on a
separate sheet of paper.
_____ 1. A principle of animation which refers to the preparation for the main
action it is also called “Antic”.
a. Staging b. Anticipation
c. Squash and Stretch d. Straight Ahead and Pose-to-Pose
Action
_____ 2. This style has become very popular in the last decade due to the
accessibility of the technology and the growth of online video. Flash
is a cheap and easy to use, as are other vector- based animation
programs.
a. Stop-Motion Animation b. Traditional Animation
c. Vector-Based Animation d. 3D Animation
_____ 3. A stop-motion which uses construction paper or cardboard
characters and placing them on paper while shooting the
animation from above, the cardboard is then moved a little each
frame to create the illusion of movement.
a. Claymation b. Puppets
c. Cut-Out d. Silhouette
_____ 4. It is a form of stop-motion that uses real people and real
environments to create unreal videos.
a. Pixilation b. Action Figure/Lego
c. Silhouette d. Cut-Out
_____ 5. It is quite different from the other types of animation.
Unlike the other types on our list it is not character or story driven.
It is the art of creatively moving graphic elements or texts, usually
for commercial or promotional purposes.
a. Stop-Motion Animation b. 3D Animation
c. Motion Graphics Animation d. Vector-Graphics Animation
_____ 6. A Principle of animation where animated characters should be
pleasing to look at and have charisma aspect to them. Give the
character personality, strive for a good balance between detail
and simplicity.
a. Timing b. Exaggeration
c. Solid Drawing d. Appeal
_____ 7. A principle of animation where character’s features and actions in
an extreme form for comedic or dramatic effect. This include
distortions in facial features, body types, expression, and
movement.
a. Timing b. Exaggeration
c. Solid Drawing d. Appeal

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_____ 8. One of the most popular stop-motion form. Working with clay or
play-doh characters that can easily be manipulated for animation.
a. Claymation b. Puppets
c. Cut-Outs d. Silhouette
_____ 9. It is referred to as CGI, Computer Generated Images using
computers, that series of images are the frames of an animated
shot.
a. Traditional Animation b. Vector-Based Animation
c. 3D Animation d. Motion Graphics Animation
_____10. Similar to cutout, this animation uses cardboard or some kind of flat
material, but the objects are all black and the shot is depicted with
silhouettes only. This is one of the oldest forms of stop motion and
is rarely used today.
a. Claymation b. Puppets
c. Cut-Outs d. Silhouette

Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!

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 QUARTER 2
ANSWER KEYS
ANSWER SHEET 2.8-1
1. Storyboard
2. Exposure Sheet
3. Key Animation
4. Model Sheets
5. Layout
ANSWER KEY 2.8-2
1. Fine Line or Clean-up Construction Model
2. Rough Model Sheet
3. General Final Line Model Sheet
4. Rough Dialogue Model Sheet
5. Anatomical Study Model Sheet

Answer Key 2.8-7

1. B
2. C
3. C
4. A
5. C
6. D
7. B
8. A
9. C
10. D

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