Animation Q2 W1

Q2|Week 1: Animation NC II Part 2 - Grade 12 ICT
Name: ____________________
Section: ______________
Animation Part NC II
Part II | Grade 12
LEARNING MODULE
0
Producing Cleaned-up and in-Betweened

Drawings
Introduction
Traditional animation is achieved by drawing
thousands of frames by hand that will be transferred
to clear plastic cels. These cels will be hand painted
and filmed in sequence over a painted background
image. Traditional animators use materials such as
pencils, cels, and paint. 2D cel animation and stop-
motion animation are examples of traditional
animation because the objects are captured one
frame of filming are used in the end. Animation
production is composed of team of artist, and
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film/camera, crews, storyboard artists, and script

writers.
Unlike traditional animation, computer
animation can be accomplished by a single person
with no tools required to create an animation.
Animator use virtual materials in a digital space. A
computer with the appropriate system requirements
and specifications to run software application on 2D
and 3D animation is what animators need. Although
hand-penciling work is necessary in computer
animation, the cost and effort during the process
are less rigorous and less margin of error because
mistakes can be undone digitally
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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 produce clean-up and in-

between drawings as prescribed in the TESDA
Training Regulations
Learning Objectives:
At the end of this module, you are expected
to:
1. Identify requirements for cleaned-up drawings
in actual scene folders (Cartoon-simple).
2. Identify all relevant cleaned-up requirements
from the appropriate source’s material.
Technical Terms
Keys- pose with timings drawn by the senior
animator to show how an action will take place, they
are sometimes referred to as extreme keys.
Frame- each individual picture or composition of
any animation
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Cel- short for celluloid; a transparent sheet on

which objects are drawn or painted for traditional,
hand-drawn animation
In-betweeners – produce the drawings between
previously completed key poses to complete the
illusion of movement and action.
In-betweens – those drawings that define the type
of movement and the time that passes between
each key poses drawing or position.
Clean-up Requirements and Modeling Sheets

The main job of the clean-up artist is cleaning
up the rough key drawings produced by the
animator. From the rough sketches of character’s
poses and expression done by the animator, the
clean-up artist must be able to clean his or her lines
while preserving and enhancing the artwork.
The clean-up artist should never change the
original expression or poses suggested by the
animator. The task of a clean-up artist is to enhance
and to strictly follow the model guide making sure
that the proportions and basic constructions are
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based on the model sheets. In the final cleaned-up,

appeal in the drawing should be aimed for using the
final pencil line quality.
In the same manner, the in-betweener should
also preserve the quality of lines and drawings in
the subsequent in-betweens to be done as required
by the number of grid lines indicated in the
animator’s timing grid on the lower right-hand
corner of the animation paper. Every in-between
drawing should have the same quality as the
cleaned-up key drawings since all drawings in a
scene will have the same exposure in the final video
output. It is common to hear the words “every
drawing count, regardless of it being a key or an in-
between drawing” among practitioners of
animation.
Clean-up Drawings
These are clean and finely rendered line art
versions of the key drawings that are achieved by
following the keys and closely adhering to the
model sheets found in the production materials.
Character design instructions are strictly applied to
the drawings down to the tinies detail for
consistency in all scene where the character will
appear.
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Appeal in the drawings is the primary objective

in cleaned-up drawing. This is done by employing
the rules of perspective and volume while
preserving the original intentions of the key
animator in his or her poses and expressions.
Here are the three drawings at the different
stages:
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Basic shapes and volumes
Rough detailing
Final clean-up
Requirements for Clean-Up Drawings
Requirements for clean-up drawings are
materials needed to render the key animation into
the final art form prior to in-betweening. The key
animation drawings are stored in a scene folder
along with other related materials and references to
aid the clean-up artist and subsequently, the in-
betweener to accomplish their tasks. A scene folder
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should contain the following materials before the

clean-up and in-betweener can proceed to his or her
work.
1. Key Animation or key drawings are poses drawn
by the animator representing the action and
narrative required by their scene or sequence.
2. Layout is a guide to the positions of elements in

the scene, their size relationship to each other,
and the location of the scene. Character and
inanimate objects in the scene should be staged
according to the original thumbnails in the
storyboard narrative. It also contains important
information like the field size of the scene, the
camera moves or the type of shot to be used, and
other important technical instructions/special
effects for the particular scene.
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Layout Process Chart

3. Exposure sheet is a chart that shows frame
by frame of all drawings of every animated
scene.
4. Model Sheet (turnarounds, expressions, and

mouth charts) is a reference sheet of an
animator that shows how a character is
constructed and how they would pose.
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5. Storyboard is the visual narrative of the script

in the form of thumbnail drawings that show
the different scenes organized in a sequence of
panels.
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Understanding Model Sheet

Each character has its own model sheets. A
model sheet will contain all the reference animators
need to recreate each drawing accurately and
without change. It is sometimes known as the
“bible” or “blueprint” – in other words, the
instructions that must be adhered to. (Paul
Hardman, 2007)
In animation, it is very important to start with a
proper model sheet. Otherwise, there will be major
problems in animating any character like the
consistency of the character and how it looks like in
different poses.
Character model sheets are the templates of
the characters used by the animator. It shows how a
character is drawn from all sides --- front, ¾, side,
and back. Although animators and artist have their
own unique style of drawing, they have to make
sure that the character must maintain in structure,
proportion and design. The characters must look on
model. On model means the characters must look
exactly the same as the given model sheets. A good
test is to give the animators model sheet to
someone else to draw and see if they can draw
animator’s character design. The image below is an
example of a model rotation.
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Self-Check
A. Identify the words being described in the following
statement. Write your answer on the space
provided.
_________1. It is the visual representation of the
written script.
_________2. These are clean and finely rendered line
art versions of the key drawings that are achieved
by the following keys and closely adhering to the
model sheets found in the production materials.
_________3. A reference shows how a character is
constructed and how it would pose.
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_________4. These are poses drawn by the animator

representing the action and narrative required by
his scene of sequence.
_________5. It is a guide to the positions of the
elements in the scene, their size relationship to
each other, and the location of the scene.
B. Draw the given model sheet without tracing.
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Activity
A. Identify the following images whether it is a
cleaned-up drawing or not. Write C if it is
cleaned-up and X if it’s not.
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_____ 1. _______2.
_____3. ________4.
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______5. _______6.
______7. _________8.
______9. ________10.
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B. Draw the turnaround position of the given

character below using a white paper.
Rubrics
Criteria
Score
Completeness(5pts) 5 4 3 2 1
Does your response
directly answer each part
of the question?
Writing Skills (5points) 5 4 3 2 1
Do you write clearly in
complete sentences with
minimal errors in grammar
and spelling?
Knowledge (10points) 10 8- 6- 4- 2
Does your response clearly -9 7 5 3 -
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show you have read and 1

understood the lesson
content by correctly
depicting the scenario
created through a
flowchart and the table?
References
Technical Vocational Livelihood Series, Animation
pages 130-140
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Q2|Week 1: Animation NC II Part 2 - Grade 12 ICT

Producing Cleaned-up and in-Betweened

film/camera, crews, storyboard artists, and script

The learner demonstrates an understanding of the

The learner independently produce clean-up and in-

Cel- short for celluloid; a transparent sheet on

Clean-up Requirements and Modeling Sheets

based on the model sheets. In the final cleaned-up,

Appeal in the drawings is the primary objective

Basic shapes and volumes

should contain the following materials before the

2. Layout is a guide to the positions of elements in

Layout Process Chart

4. Model Sheet (turnarounds, expressions, and

5. Storyboard is the visual narrative of the script

Understanding Model Sheet

_________4. These are poses drawn by the animator

B. Draw the given model sheet without tracing.

B. Draw the turnaround position of the given

show you have read and 1

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