Copy of TVL_ICT_ANIMATION-NCII_Q4_MODULE-1_Passed (1) (1) (1)

SHS TVL ICT: ANIMATION NCII Quarter 4 – Module 1: Produce clean-up drawings for actual scene folders (Weeks 1 & 2)

What I Need to Know? This module was designed and written with you in mind. It is here to help you understand Animation. 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. The module will cover the lesson: ● Lesson 1 – Identify requirements for cleaned-up drawings in actual scene folders After going through this module, you are expected to: 1. produce clean-up drawings which are consistent with the requirements, 2. match clean-up drawings to animators’ keys, and 3. number all animation breakdowns onto a clean-up drawing. What I Know? Multiple Choice Directions. Please read each statement and select the best answer. Write the letter and the word. Please use a separate sheet in answering the test. Please do not forget to write the following in your answer sheet: Name: _________________________ Yr. & Section: __________________ Yr. Level & Subject (Specialization): ___________ Module No: _____ Name of the Activity (e.g., What I know) ______________ Date: ______ 1. It is a part of the workflow in the production of hand-drawn animation, in which \"clean\" versions of the \"rough\" animation drawings are produced. A. Break-down pose C. Model B. Clean-up Drawing D. Rough Drawing 2. It is the preliminary sketch of a design or picture in animation. A. Break-down pose C. Model B. Clean-up Drawing D. Rough Drawing 1

3. It is a representation to show the construction or appearance of something. A. Break-down pose C. Model B. Clean-up Drawing D. Rough Drawing 4. It is a pose between two keys. C. Model A. Break-down pose D. Rough Drawing B. Clean-up Drawing 5. It is one of the main poses in an action or movement. A. Break-down pose C. Key poses B. In-between poses D. Pose to pose 6. The pose used to fill in-between the key poses and breakdown poses. A. Break-down pose C. Key poses B. In-between poses D. Pose to pose 7. A term used in animation, for creating key poses for characters and then inbetweening them in intermediate frames to make the character appear to move from one pose to the next. A. Break-down pose C. Key poses B. In-between poses D. Pose to pose 8. These are rough key poses and expressions produced by the animator while working over the layout given to the clean-up artist to animate and after visualizing their assigned sequence from the storyboard. A. Animator’s Key C. Clean-up stage B. Break-down pose D. X-sheets 9. The clean-up stage is where all the rough and reworked drawings of the animator are carefully redrawn, neatly, and accurately, to reflect the original design of the character he or she is working with. A. Animator’s Key C. Clean-up stage B. Break-down pose D. X-sheets 10. In an exposure sheet, how many frames is equivalent to 1 second of action? A. 16 frames C. 22 frames B. 19 frames D. 24 frames 11. It is the document that is used to standardize the appearance, poses, and gestures of an animated character. A. Exposure sheet C. Layout drawing B. Key animation drawing D. Model sheet 12. What kind of pencil is used to trace the final details of the key drawing? A. Colored pencil C. Lead pencil B. Drafting pencil D. Pen 13. The tool used in clean-up drawing that holds the animation paper in place on the lightbox. C. Paper holder A. Lightbox bar B. Paper clip D. Peg bar 14. The back-lit frame with a translucent face of plastic or glass used for tracing and slide viewing. A. Drawing frame C. Light frame B. Lightbox D. Tracing box 2

15. Which of the following is NOT a material in the clean-up drawing requirement? A. Animation paper C. Information sheet B. Director’s instruction D. Model sheet What’s In In the previous module, you have learned about how to create drawings following the details of exposure sheets in animation production. Exposure sheet is made by the timing director who will use the instructions from the storyboard, including the phonetically broken sound, to mark out instructions for the possible action of every single character. You have also learned that an exposure sheet is the universal compass for animators as it is a document that contains every piece of information needed to create the scene also known as x-sheet. In this module, learners are expected to produce clean-up drawings which are consistent with the requirements, match clean-up drawings to animators’ keys and number all animation breakdowns onto a clean-up drawing. What’s New? Clean-up is a part of the workflow in the production of hand-drawn animation, in which \"clean\" versions of the \"rough\" animation drawings are produced. The first drawings are called \"roughs\" or \"rough animation\" because they are often done in a very loose fashion. If the animation is successfully pencil tested and approved by the director, clean versions of the drawings must be done. In larger studios this task is given to the animator's assistant, or, in a more specialized setting, to a clean-up-artist. The artist doing the clean-ups is responsible for the final line and finished look of the shot. 3

Clean-ups generally are done on a new sheet of animation paper. They can be done on the same sheet as the rough animation if this were done with a \"non-copy blue\" pencil. This certain tone of blue will be invisible for photocopying machines or grayscale scanners, where the finished animation will be copied on cels or transferred into a computer for further processing. What is It? TECHNICAL TERMS ● clean-up artist - the assistant of the animator who re-draws any ● line art sketches that are roughly made ● rough drawing - any image that consists of distinct straight or curved lines placed against a usually plain background, without gradations in shade or hue to represent two- dimensional or three-dimensional objects. - a preliminary sketch of a design or picture ● dynamic - of or relating to energy or to objects in motion ● graphite line - a line produced by a pencil lead made up of a soft ● model native carbon occurring in black to dark gray foliated ● reference masses ● breakdown - a representation to show the construction or ● breakdown pose appearance of something - the act of referring to something - comes between keys to help the key frame animator describe the action to in-between animators - a pose between two keys ● in-between poses - the pose used to fill in-between the key poses and ● key pose breakdown poses - One of the main poses in an action or movement The clean-up stage is where all the rough and reworked drawings of the animator are carefully redrawn, neatly, and accurately, to reflect the original design of the character he or she is working with. This task is given to the animator's assistant or a clean-up artist to render a clean version of the rough drawings by using the final quality line art over the animator's roughs. In the animation production process, after the key animation has been line tested and scenes are approved by the Director, the next step is to clean-up the animation. All the elements are placed in the animation scene folder and goes to the next department which is the Clean-up Department. They make sure that every drawing is a finished masterpiece. 4

A good clean-up artist is a person who ● puts emphasis on the importance of details. ● likes drafting and creating very detailed drawings. ● is knowledgeable on human anatomy and life drawings. ● can create smooth lines. ● is patient. The example below shows how the clean-up artist takes the key drawings, which are roughly drawn, and traces out a good version with one solid line. Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016 http://gg.gg/rough2 5

Animator’s Key Animator's keys or key drawings are rough key poses and expressions produced by the animator while working over the layout given to the clean-up artist to animate and after visualizing their assigned sequence from the storyboard. Key drawings must be dynamic and balanced that needs to be communicated to the audience at every point of the action. Each one of the key poses needs to tell a story, needs to be in balance, or needs to have the necessary drive in its structure to imply the precise emotion or personality the animator is attempting to communicate. Bad poses lead to bad animation and vice versa. Therefore, he or she should give each pose the attention and respect it deserves. Key poses are the key moments that clearly describe the important physical actions or emotional moments in a scene. These are basically the person's most important poses. In fact, these are so essential to the movement that if the person removed any one of them from the scene, it would no longer work. The images below are examples of key drawings: Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016 6

In the traditional animation process, the animation director checks all the key drawings and once they have been approved. It will be forwarded to the clean-up department. Drawings must match the character models and ensure that no details are missing. The following should be observed to match clean-up drawings with animator's keys: ● Use the clean key as a reference and the rough line as a guide for the final drawing. ● Stick to the original rough line as closely as possible. Modify only to adjust the volume. ● Use a light blue pencil or red pencil to do a rough clean-up first. ● Drawings must be consistent with the previous key. It can be done by flipping the drawing back and forth, looking at every single line on the drawing, and comparing it with the previous key. ● Check the endpoints, the spatial relationships between the lines that form the different features or parts of the character. ● If something wobbles, shrinks, grows, or pops that is not part of the natural flow of the intended action, he or she must fix it immediately. ● Observe the principles of animation. Sometimes a clean-up artist is required to redraw a rough drawing because the key animator has completely gone off model. The clean-up must retain the poses and composition of the rough sketch. Clean-up artists standardize the character according to the model sheets. If the clean-up model differs from the original rough or volumes are inconsistent, the clean-up artist will redraw the character on a new sheet of paper. In this case, red pencil is used to rough out the poses again using construction shapes, bringing the character back on model before drawing the final graphite line. When recreating the rough, he or she needs to work with shapes, forms, and perspectives while retaining the movement and flow of the action that the character is performing. Below is an example of reconstructing a rough drawing. Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016 7

While the final line work in clean-up resembles an illustrated line, the construction of the characters is closely aligned to life drawing. It is important to think of one's character as having a skeleton and muscles, not just a collection of neat lines. The person must capture the curve and flow of the muscles as they move, and bend when shifting weight. Therefore, life drawing is important to animation. He or she must construct the characters in perspective with their form and weight before drawing the final line. On Model Several animators with varying styles may work on the same character in animation. But in the clean-up stage, the clean-up department is responsible to bring the character drawings back to its original specifications of the model sheet, making it look as if each character is drawn by one animator. This is called the on model. It serves as the final work on how to draw the characters. If any details have been left out, the clean-up artist must ensure that they place them in. In doing the clean-up, the challenge is to keep the life and movement that the animator has captured and not lose it while trying to bring the character back on model. 8

What’s More Trace the Model drawing below in one neat line to produce a finished version of the drawing. Use a clean sheet of short size bond paper and place it over rough key drawing. Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016 9

Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016 10

What I Have Learned Directions: Reflect on the following guide questions and write your insights in your journal notebook. ● Give at least three (3) processes that should be observed to match clean-up drawings with animator’s keys. What I Can Do Clean-up Drawings Directions: A. Clean up the rough drawing below. Please use a clean Letter Size Bond Paper (Short Size). Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016 11

B. Clean up the drawing B based on the given model sheet A. Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016 Scoring Rubrics: Below is a tool for evaluating your finished drawing. Assess yourself using the criteria and rating scale listed below for grading purposes. Criteria 5 Points 3 Points 1 Point Accuracy The drawing was The drawing was The drawing was NOT drawn according somehow drawn drawn according to to standard steps according to standard steps given. given. standard steps given. Finished output has many erasures/ Neatness Finished output Erasures/smudges smudges. was neatly done, are observable on no visible the finished output. Unable to finish erasures/ the given task. smudges. Time Finished the task Finished the task on time. Management before the given time. 12

Assessment Multiple Choice Directions. Please read each statement and select the best answer. Write the letter and the word. Please use a separate sheet in answering the test. Please do not forget to write the following in your answer sheet: Name: _________________________ Yr. & Section: __________________ Yr. Level & Subject (Specialization): ___________ Module No: _____ Name of the Activity (e.g., What I know) ______________ Date: ______ 1. It is one of the main poses in an action or movement. A. Break-down pose C. Key poses B. In-between poses D. Pose to pose 2. The pose used to fill in-between the key poses and breakdown poses. A. Break-down pose C. Key poses B. In-between poses D. Pose to pose 3. A term used in animation, for creating key poses for characters and then inbetweening them in intermediate frames to make the character appear to move from one pose to the next. A. Break-down pose C. Key poses B. In-between poses D. Pose to pose 4. The clean-up stage is where all the rough and reworked drawings of the animator are carefully redrawn, neatly, and accurately, to reflect the original design of the character he or she is working with. A. Animator’s Key C. Clean-up stage B. Break-down pose D. X-sheets 5. Which of the following is NOT a material in the clean-up drawing requirement? A. Animation paper C. Information sheet B. Director’s instruction D. Model sheet 6. In an exposure sheet, how many frames is equivalent to 1 second of action? A. 16 frames C. 22 frames B. 19 frames D. 24 frames 7. These are rough key poses and expressions produced by the animator while working over the layout given to the clean-up artist to animate and after visualizing their assigned sequence from the storyboard. A. Animator’s Key C. Clean-up stage B. Break-down pose D. X-sheets 13

8. It is the preliminary sketch of a design or picture in animation. A. Break-down pose C. Model B. Clean-up Drawing D. Rough Drawing 9. It is a pose between two keys. C. Model A. Break-down pose D. Rough Drawing B. Clean-up Drawing 10. It is a part of the workflow in the production of hand-drawn animation, in which \"clean\" versions of the \"rough\" animation drawings are produced. A. Break-down pose C. Model B. Clean-up Drawing D. Rough Drawing 11. It is a representation to show the construction or appearance of something. A. Break-down pose C. Model B. Clean-up Drawing D. Rough Drawing 12. It is the document that is used to standardize the appearance, poses, and gestures of an animated character. A. Exposure sheet C. Layout drawing B. Key animation drawing D. Model sheet 13. What kind of pencil is used to trace the final details of the key drawing? A. Colored pencil C. Lead pencil B. Drafting pencil D. Pen 14. The tool used in clean-up drawing that holds the animation paper in place on the lightbox. A. Lightbox bar C. Paper holder B. Paper clip D. Peg bar 15. The back-lit frame with a translucent face of plastic or glass used for tracing and slide viewing. A. Drawing frame C. Light frame B. Lightbox D. Tracing box 14

References Books: Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix Publishing House Inc., 2016. Online Resources https://quizizz.com/admin/quiz/5cf5c663de5715001abdfeee/module-1- personal-entrepreneurial-competencies https://www.slideshare.net/rvpodi/lesson-1-use-of-hand-tools-ict https://www.slideshare.net/kenjoyb/k-to-12-pc-hardware-servicing-learning- module?next_slideshow=1 15