animation11_module5_week5

11 TVL-ICT Quarter 1 – Module 5 Clean-up Requirements for Drawings (Cartoon Simple) and Animation Workflow Deped SDO Pampanga Suker K by: Allen Moran and Allwena Moran Mayati Prepared by: Engr. Alzien S. Malonzo Alvin p. Macapagal Master Teacher 1 Teacher II Senior High School in Apalit (Stand Alone 1) Apalit High School

Introductory Message For the Facilitator: Welcome to the Animation Alternative Delivery Mode (ADM) Module on Clean-up Requirements for Drawings (Cartoon Simple) and Animation Workflow. This module was collaboratively designed, developed and reviewed by educators from public 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. 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. For the Learner: Welcome to the Animation Alternative Delivery Mode (ADM) Module on Clean-up Requirements for Drawings (Cartoon Simple) and Animation Workflow. 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. This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. UNIT OF COMPETENCY: Producing Cleaned-up and In-Betweened Drawings 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. What I Need to Know This module will assist you in encouraging the learners to know the Clean-up Requirements for Drawings (Cartoon Simple) and Animation Workflow. At the end of this module, you are expected to: - Identify and understand relevant clean-up requirements for drawings. - Identify model sheets and understand the use of different model sheets. - Understand and apply animation workflow. What I Know Answer the following questions. Use a separate answer sheet. 1. What is model sheet? Explain. 2. What is the importance of model sheet in amination? Explain. 3. What are the different model sheet used in animation?

LESSON Clean-up Requirements for Drawings 5 (Cartoon Simple) and Animation Workflow 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. 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. Like many characters Bugs went through an evolution from one year to the next. Many early model sheets tried to fit everything an artist needed to know about a character on a single sheet, and this one just about succeeds in doing just that. But these days model sheets come in many styles, some far more specific than others.

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. In the case of a character like The Beast, unique anatomy requires unique reference for artists working on the Beast team. An Anatomical Study Model Sheet can give animators a better idea of the structure that exist under all that hair. 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. Rough construction model or eyes: Or even spots! sheets can sometimes focus only on details of a character, such as hair

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 Turn Around Model Sheet- (many studios use Model Sheet- it helps animators to see one word, “turnarounds”, instead) When eginning volume as well as structure for even your turnaround model sheet, it’s usually easiest to the most “cartoony” of characters. start with either a forward facing view of your it helps animators to see volume as character that has the proportions entirely worked out. Referencing the front view, line them up and use well as structure for even the most “cartoony” of characters. 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.

What’s In 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. What’s New Using your written animation story on Module 4 – Week 4. Draw the model sheet of the main character on your story. It can be a Rough Construction Model Sheet or Final Line Turn Around Model Sheet. Use your Sketchpad. What is It 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 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.

Traditional Animation Workflow Reference: https://learn.toonboom.com/modules/animation-workflow/topic/traditional-animation- workflow#:~:text=In%20a%20traditional%20workflow%2C%20many%20steps%20are%20done%20manually.&text=The %20storyboard%20is%20typically%20done,done%20in%20the%20animation%20software.

What’s More Using your Rough Construction Model Sheet or Final Line Turn Around Model Sheet in What’s New (page 6), draw a rough construction model focus on the details of eyes of the character (at least 10 detailed eyes) . Use your Sketchpad. Example: http://henerz2011.blogspot.com/2011/02/eyes.html What I Have Learned Direction: Write your journal using this template regarding this session. Copy and write it on your activity notebook. Three (3) Things I Learned from the Lesson 1. 2. 3. Two (2) Interesting Facts About the Topic 1. 2. One (1) Question I Still Have in My Mind

References Noel A. Perez, Animation NC II Module 1 (Quarter 1-Quarter 4) Cleaned-up and In-between Drawings (Cartoon-Simple,Regular) https://www.mustangbols.com/animation-2d/clean http://characterdesignnotes.blogspot.com/2010/12/model-sheets-101.html https://learn.toonboom.com/modules/animation-workflow/topic/traditional-animation- workflow#:~:text=In%20a%20traditional%20workflow%2C%20many%20steps%20are%20d one%20manually.&text=The%20storyboard%20is%20typically%20done,done%20in%20the %20animation%20software. Answer Keys: What’s More What I Know The student may have own answer 1. The student may have own answer 2. The student may have own answer What I Have Learned 3. The student may have own answer The student may have own answer What’s In 1. Fine Line or Clean Up Construction Model Sheet 2. Rough Model Sheets 3. General Final Line Model Sheet 4. Rough Dialogue Model Sheet 5. Anatomical Study Model Sheet What’s New The student may have own answer What’s More