Tesda Animation Ncii PDF

DLM 03 Developing print-based Learner’s Guide including all related documents
Notes Format of Learner’s Guide
Sector:
INFORMATION AND COMMUNICATION TECHNOLOGY

Qualification:
ANIMATION (2D DIGITAL) NC III

Unit of Competency:
Trainer – 2D Digital Animation
PRODUCE CLEANED-UP & IN-BETWEENED DRAWINGS

RHEA D. DELA RAMA
Module Developed by:
Module Title:
PRODUCING CLEANED-UP & IN-BETWEENED DRAWINGS
Technical Education and Skills Development Authority
Regional Training Center VII – Cebu
Corner Salinas Drive and A. Reyes Avenue, Cebu City 6000
Pedagogical Training in Instructional Design & Delivery for TVET

© 2010, Institute of Technical Education, Singapore Page 1
Introduction:
Welcome to the module “Create 2D Digital Animation”. This module contains learning materials and
activities for you to complete.
The unit of competency “Create 2D Digital Animation” contains the knowledge, skills and attitudes
required for 2D Digital Animation. It is one of the specialized modules at National Certificate level III
(NC III).
You are required to go through a series of learning activities in order to complete each learning
outcomes of the module. In each learning outcome there are instructions given to help you better
understanding the required activities. Follow these activities on your own and answer the self-check at
the end of each learning outcome. You may remover a blank answer sheet at the end of each
module (or get one form your facilitator/trainer) to write your answers for each self-check. If you have
questions, don’t hesitate to ask your facilitator for assistance.
The content of this learner’s guide include:
 Information Sheet - This is the compilation of the technical knowledge and

information (concepts, principles and other relevant information
performing certain activities.
 Operation Sheet - The operation sheet guides you to perform single task, process
object in a job. Example how to operate the machine and
equipment needed in all the experiments.
 Job Sheet - This is to guide you to complete a job that will contribute to the
attainment of the learning outcome.
 Worksheet - This consists of exercises that will help reinforce your learning
and to check your understanding on the technical knowledge
need in this whole task.
For each learning activity, there are instructions provided to guide you through the activity. At the end
of each learning activity, you have to complete the worksheet given to ensure that you have
understood the technical knowledge and when you have completed the task given to you in the job
sheet, inform your facilitator.

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Recognition of Prior Learning (RPL)
You may already have some or most of the knowledge and skills covered in this learner’s guide
because you have:
 Been working for some time

 Already completed training in this area
If you can demonstrate to your trainer that you are competent in a particular outcome, you don’t have
to do the same training again.
Talk to your trainer about having them formally recognized. If you have a qualification or Certificate of
Competence from previous training, show it to your trainer. If the skills you acquired are still current
and relevant to the unit/s of competency they may become part of the evidence you can present for
RPL. If you are not sure about the currency of your skills, discuss this with your trainer.
After completing this module ask your trainer to assess your competency. Result of your assessment
will be recorded in your competency profile. All the learning activities are designed for you to complete
at your own pace.
Inside this learner’s guide you will find the activities for you to complete and at the back are the
relevant information sheets for each learning outcome. Each learning outcome may have more than
one learning activities.
At the back of this learner’s guide is a Learner Diary. Use this diary to record important dates, jobs
undertaken and other workplace events that will assist you in providing further details to your trainer
or an assessor. A Record of Achievement is also provided for your trainer to compete once you
complete the module.

RHEA D. DELA RAMA

Course: 2D ANIMATION NC III

Unit of competency: PRODUCE CLEAN-UP AND IN-BETWEENED DRAWINGS
Module: PRODUCING CLEAN-UP AND IN-BETWEENED DRAWINGS
Learning outcomes: At the end of the session, learners should be able to:
1. Identify requirements for cleaned-up drawings

2. Produce cleaned-up drawings
Duration: 80 hours
Situating Learning: You are a clean-up and in-between freelance artist. RR Studio calls you and
asks you to do clean-up and in-between drawings because they lack artists
to do the job and they have a very tight schedule. The studio’s client is
demanding and rushing for the output.
RR Studio asks you to perform the following task:

 Produce cleaned-up drawings from their recent political
advertisement drawing production.
 Produce in-betweened drawings from your cleaned-up
drawings.
 Organize the drawings in its proper sequence for digital
animation to be done by another artist.
RR Studio will provide you with the materials, tools, and equipment to do the
work. They would also give you the appropriate model sheets to be used as
your resources to base your clean-up and in-between drawings. They
require you to finish 350 drawings of the same sequence in 3 days and they
will assess your drawings according to:
 Consistency of the lines of the in-betweened drawing from the
cleaned-up drawing.
 Accurate labeling of the cleaned-up and in-between drawings
according to the animation key drawings.
 Matched-up and modeled clean-up drawings with the animation
key drawings.
The studio may consider giving you a contract to work for them depending
on the quality of your work.
Assessment Criteria:
1. Lines of the in-betweened drawings are consistent with the
lines of the cleaned-up drawings.
2. Cleaned-up and in-betweeened drawings are accurately
labeled according to the animation key drawings.
3. Cleaned-up drawings are matched-up and modeled with the

animation key drawings.
RHEA D. DELA RAMA

Learning chunk Performance Criteria Learning Activities Learning documents

(Brief description of (Documents
strategies, sequence referenced by each
of lesson, learning activity)
evaluation)
Sub-task 1:
 All relevant clean up 1.1 Read cleanup
requirements are  Information Sheet
drawing
Identify identified from the 1.1.1 Cleanup
requirements and
requirements appropriate source guidelines. Drawing
for cleanup material. Requirements
drawings  All relevant model and Guidelines
sheets are collected for
ready reference. 1.2 Identify cleanup  Worksheet 1.2.1
drawing
 All key drawings are Cleanup Drawing
requirements and
checked and any guidelines. Requirements
problems or errors and Guidelines
encountered are
referred to appropriate
personnel.
 All animation
breakdowns are
checked against the
camera sheet, and any
problems or errors are
referred to relevant
personnel.
 All necessary materials
and equipment are
identified and prepared
according to the task
undertaken.
Sub-task 2:  Cleaned-up drawings

produced are consistent 2.1 Read the  Information Sheet
with requirements of information sheet 2.1.1 Animation/
Produce
source materials and on animation/ Drawing
cleaned-up drawing
drawings within the constraints of Techniques and
the production. techniques and
concepts of lines Concepts of
 Cleaned-up drawings quality. Lines Quality
are matched and
modeled to animators’
keys.
 Agreed design/model in 2.2 Identify the
the cleaned-up  Worksheet 2.2.1

animation/
drawings are precisely drawing Animation/
RHEA D. DELA RAMA
reflected in the Drawing

techniques and
drawings and that they concepts of lines Techniques and
are within the agreed quality. Concepts of
standards. Lines Quality
 All animation
breakdowns are
accurately copied and
numbered onto

Learning chunk Performance Criteria Learning Activities Learning documents

(Brief description of (Documents
strategies, sequence referenced by each
of lesson, learning activity)
evaluation)
cleaned-up drawings.
 Any revision or
corrections required are 2.3 Produce cleaned-  Operation Sheet
referred to relevant up drawings from
2.3.1 Cleanup
personnel. the given
animation key Drawing Guide
 Cleaned-up drawings
drawings.
are properly recorded
and stored in
accordance with
company procedures
and policies.

RHEA D. DELA RAMA

Information Sheet 1.1.1 Cleanup Drawing Requirements and Guidelines
Learning outcomes:
1 Identify requirements for cleanup drawings.
Learning Activity:
1.1 Read cleanup drawing requirements and guidelines.
Once the key animation is approved, it needs to be cleaned. Clean-up is re-drawing any
sketches that are too roughly made to be used in animation. In order for this process to
begin, the clean-up artist needs to be supplied with the animation folders, the voice track,
the relevant section of the storyboard, and the model packs or sheets. Clean-up artists are
required to remove any unnecessary pencil marks, tidy up lines (where the animator has
drawn several lines which can be simplified into one), make sure that the drawings match
the character models and ensure that no details are missing. After the process is done, the
cleaned-up drawing is checked by the director and approves it.
Clean-up Drawing Requirements
To start with clean-up drawing process, it is necessary to have the requirements available
before doing the process. The following is a list of the clean-up requirements:
I. Materials:
1. Animation Folder
– It is considered as the source material. It contains the following:
a. Storyboard
– It is the product of storyboarding, which is the process of translating
the script into pictures and converting the words into visual
sensations.
– It represents the story through a series of drawings that depict the
characters in their location, the framing, the camera angles, and the
movement for each and every scene.
– Storyboards are graphic organizers which show the scenes in a
multimedia project in a rough drawing form.
– It will help in visualizing how the content chunks relate to each other
and will help in shaping the direction of the efforts as the project is
created.
Code No. Date: Developed Date: Revised Page #

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– With a storyboard, mapping out original ideas for communication to

the viewers is possible.
– Evaluating the storyboard will allow making adjustments during the
early formative stage while revisions are still quite simple to do.
Sample Storyboard

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b. Layout drawings
– It is a detailed visual breakdown of each and every scene.
– It provides a stage in which the animators will animate the characters
and effects.
– It serves as an illustrated explanation of the who, the where, and the
what of each scene combined with an image of what the camera
should see.
Sample Layout Drawing

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c. Director’s Instructions
– It is the given instructions by the animation director on the animation
process during the animation production.
– It includes the instruction on character design, background animation,
and other aspects of animation.
d. Model Sheets
– It is a document used to help standardize the appearance, poses,
and gestures of an animated character.
– It helps maintain continuity in characters from scene to scene.
– It contains illustrations of the characters and depicts the character’s
head and body as they appear at various angles.
– It shows sketches of the character’s hands and feet, poses, and
several basic facial expressions.
Sample Model Sheet for Lip Shapes

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Sample Model Sheet for Poses
Sample Model Sheet for Turn-around Poses

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e. Exposure Sheets
– It is also known as the x-sheet and it is the universal compass for
animators as it is a document that contains every piece of information
needed to create the scene.
– It is produced by the timing director who will use the instructions from
the storyboard, together with the phonetically broken sound, to mark
out instructions for the movement of every single character.
– It is marked with horizontal lines and each line represents one frame
or one segment of time.
– It also contain vertical lines that are used to place the sound reading
(preferably with lip-sync shape instruction), animation instructions,
animation levels, camera instructions, and detailed requirements
about treatment of the special effects.
Sample Exposure Sheet
– The columns 1 to 5 in the sample exposure sheet above show five

levels of animation against the camera and the horizontal lines
represent the frames.
– The exposure sheet is designed to hold 4 seconds of action (1
second = 24 frames and 1 foot = 16 frames)
– The action column is for planning out the timing – how long things will
take.
– The dial column is for the measurement of the pre-recorded dialogue
and sometimes the breakdown of music into beats.

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Sample Exposure Sheet with Actual Details

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f. Soundtrack breakdown
– It is a recorded music, sound effects, and dialogue performed by
voice actors.
– It includes a phonetic breakdown for dialogue and a beat breakdown
for music and sound effects if animation needs to sync to the
soundtrack.
g. Key animation drawings

– It is the stage where the animators breathe life into the character
designs by giving them motion.
– It is also referred to as the ‘key’ and it is the storytelling drawing that
shows what is happening in the shot.
– Example, if a sad man sees or hears something that makes him
happy; only two positions are needed to tell the story:
– Another example, a man walks over to a board, picks up a piece of

chalk from the floor and writes something on the board:

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– Key drawings are the most important drawings because it tells the
story.
– The drawings or detailed positions in between the keys are
considered after the key drawings are made.
2. Animation Paper
– It is a three-hole punched paper used for animation.
– It is attached to the light box using a peg bar.
3. Colored Pencil
– It is used to trace the outline of the roughly sketched key drawing.
4. Lead Pencil
– It is used to trace the final details of the key drawing outline.
5. Pencil Eraser
– It is used to rub out unwanted lines in the drawings.
II. Tools:
1. Peg Bar – It is used to hold the animation paper in place on the light box.
Sample Picture of a Peg Bar
2. Pencil Sharpener – It is used to sharpen the pencil for drawing and tracing.

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III. Equipment:
1. Lightbox – It is a back-lit frame with a translucent face of plastic or glass used
to transmit light through an image for the purpose of tracing and
also slide viewing.
Sample Picture of a Lightbox
Sample Picture of an Animation Paper attached to a Lightbox using a Peg Bar

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Clean-up Drawing Guidelines for Checking Animation Breakdowns

against the Camera Sheet
1. Check all animation breakdowns from animation folder.

2. Analyze all animation breakdowns using the exposure sheet.
3. Check all the clean-up drawings through the key frames from exposure sheet.
4. If there is an error encountered, refer to the appropriate personnel.

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Worksheet 1.1.1. : Producing clean-up drawings
Learning outcomes:
1 Identify on Producing in clean-up drawings
Learning Activity:
1.3.1. Read and Identify on Produce clean-up drawings in the worksheet
I. Multiple Choices. 30 marks (2 marks per question).
Instruction: Read the question. Encircle the letter of the correct answer.
1. What kind of pencil is used to begin for the rough clean-up?
a. Colored Pencil
b. Lead Pencil
c. Mechanical Pencil
d. Charcoal Pencil
2. It has peg holes at the bottom so that it can be attached to a peg bar. This is
where animation drawings will be drawn. It is called __________.
a. Animation paper
b. Animation sheet
c. Yellow paper
d. Exposure Sheet
3. Which of the following is NOT part of the animation folder?
a. Model Sheets
b. Exposure Sheets
c. Information Sheets
d. Soundtrack Breakdown
4. The back-lit frame with a translucent face of a plastic or glass used for tracing
and slide viewing is referred to as __________.
a. Tracing box
b. Light box
c. Light frame
d. Drawing frame

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Worksheet 1.1.1. : Producing clean-up drawings

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Information Sheet 1.2.1: In-betweened Drawing Requirements
Learning outcomes:
1 Identify requirements for in-between drawings
Learning Activity:
1.2.1. Read the information sheet on in-between drawing requirements.
In-betweening is the process wherein the remaining drawings are completed and inserted in
between two key drawings. This is done by the inbetween artist or the inbetweener. In order to
begin this process, the inbetween artist needs to be supplied with work contained in an
animation folder. In some production or studio set up, both the clean-up and in-betweening is
done by the same artist. It’s easier to monitor by doing the production this way.
Animation Folder
This folder contains the relevant section of the storyboard, the lay-out drawings together with
the director’s instructions, a copy of the exposure sheets with the soundtrack breakdown, the
model sheets and the cleaned-up key animation drawings.
Animation Folder
The usual label written on top of this Animation folder indicates the full information of all
its contents. These usually are the following : Episode title, episode number, scene number,
footage/ frames, names of the artists for each department that would work on it, names of
supervisors or directors who checked it, cell contents or the number of drawings inside and
camera instructions. This ensures that accidental lost drawings can be returned to its
corresponding folders. It also ensures the return of folder to the corresponding artist or
supervisor for possible fix up or retake.
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Storyboard - Is a series of small consecutive drawings drawn in panels plotting key

movements in an animation narrative or script. It is sometimes accompanied by caption like dialogue,
action and timing. Key backgrounds are used to mark the flow of scenes over a certain location
sequence. Time of day, sound effects, special effects used is also indicated in the particular panel it is
needed.
Storyboard
Lay-out Drawing – is a detailed visual breakdown of each and every scene in the storyboard.
The lay-out drawing indicates the camera angles & field guide size used, the characters involved,
costumes they are wearing, the character’s size comparison and props used. Background used per
sequence is also planned and time of day is indicated.
Lay-out Drawing

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Model Sheets – a black & white or colored standard illustration of a character used for the
entire show. This will be fully referred to by all artists involved in the production. This includes
turnaround, facial expressions, key poses, walk cycle and mouth chart for lipsync guide. Even the
props, drawing for special effects used and the key backgrounds should have a model sheet.
Size Comparison Model Sheet
Turnaround Model Sheet

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Expressions Model Sheet
Props Model Sheet
Exposure Sheets – or commonly called the “Xsheets” is considered as the universal compass
or “Bible” for animators. It’s a document that contains all the information needed to create the scene up
to the total number of drawings to be done. These Xsheet s are produced by the timing director who will
use the instructions & information written on the storyboard and animatic together with phonetically
broken sound, to mark out instructions for the movement of every single character.

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Exposure Sheet
Director’s Instructions – are brief instructions to the lay-out artist and animators before they
begin to work on the section of the show allocated to them. Usually written on the first column of the
exposure sheet, It covers instructions for character layout and action, backgrounds to use, underlay/
overlays or held of a cel if any, and a field guide showing the size of the area and positioning that the
camera’s field of vision.

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Director’s Instructions
Soundtrack Breakdown – It’s one of the level or column in the exposure sheet that indicates the
dialogue of the character and the corresponding mouth code to be used. This is written vertically going
downwards. It’s preferably in lipsync shape instruction for sound reading like using the Phoenetic
sound opening or the use universal mouth codes such as A, B, C, D, E, F, G, H, O etc. The soundtrack
breakdown is usually written as per the sound they produce and not by their spelling. For example,
FLOWER is written as FLA-Wur ; GOOSE is written as GOO-s, GRACE is written as GRA-Ys,
STONE is written as STO-wn.

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Soundtrack Breakdown
Clean-up Key Animation Drawings – It’s a process of putting the character on model as per the
model sheet required, removing any unnecessary pencil marks, tidying up lines and transforming it into
a good, clean, singled line drawing. This is usually performed by the assistant animator or commonly
called the clean-up artist. Assistant animators are skilled professionals who are more
experienced than inbetween artists but less experienced than animators.

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Clean-up key drawings

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Worksheet 1.2.1 Cleanup Drawing Requirements and Guidelines
Learning outcomes:
1 Identify requirements for cleanup drawings.
Learning Activity:
1.2 Identify cleanup drawing requirements and guidelines.

1. The translated script into pictures and the converted words into visual
sensations in a rough drawing form is called __________
a. storyboard.
b. model sheet.
c. layout drawing.
d. key animation drawing.
2. What is the stage for animation called?
a. Rough Draft
b. Model Sheet
c. Layout Drawing
d. Key Animation Drawing
3. Which of the following is NOT part of the animation folder?
a. Model Sheets
b. Exposure Sheets
c. Information Sheets
d. Soundtrack Breakdown
4. The document that is considered as the universal compass for animators
which contains the sound reading, animation levels, camera instructions, and
other information needed to create a scene is called __________
a. exposure sheet.
b. operation sheet.
c. director’s instructions.
d. soundtrack breakdown
5. What is the document that contains phonetic breakdown for dialogue and beat
breakdown for music called?
a. Dialogue Sheet
b. Exposure Sheet
c. Soundtrack Breakdown
d. Key Animation Breakdown
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6. In an exposure sheet, how many frames is equivalent to 1 second of action?

a. 16 frames
b. 19 frames
c. 22 frames
d. 24 frames
7. What kind of pencil is used to trace the outline of the roughly sketched key
drawing?
a. Lead Pencil
b. Colored Pencil
c. Drafting Pencil
d. Indelible Pencil
8. In an exposure sheet, the measurement of the pre-recorded dialogue and the
breakdown of music can be found in the __________
a. dial column.
b. action column.
c. camera column.
d. animation levels column.
9. The document that is used to standardize the appearance, poses, and
gestures of an animated character is referred to as __________
a. model sheet.
b. layout drawing.
c. exposure sheet.
d. key animation drawing.
10. What kind of pencil is used to trace the final details of the key drawing
outline?
a. Lead Pencil
b. Colored Pencil
c. Drafting Pencil
d. Indelible Pencil
11. The material used to remove unwanted lines in the drawings is called
__________
a. ink eraser.
b. liquid eraser.
c. pencil eraser.
d. drawing eraser.

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12. The tool used to hold the animation paper in place on the lightbox is referred
to as __________
a. peg bar.
b. paper clip.
c. paper holder.
d. lightbox bar.
13. The tool used to sharpen the pencil for drawing and tracing is called
__________
a. knife.
b. blade.
c. pencil cutter.
d. pencil sharpener.
14. The back-lit frame with a translucent face of plastic or glass used for tracing
and slide viewing is referred to as __________
a. lightbox.
b. light frame.
c. tracing box.
d. drawing frame.
15. Which of the following is NOT a material in the clean-up drawing requirement?
a. Model Sheet
b. Animation Paper
c. Information Sheet
d. Director’s Instructions

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II. True or False. 20 marks (2 marks per question).

Instructions:
 Read each statement carefully and decide whether it is True or False.
 Write the word TRUE if the following statement is true and write the word
FALSE if the statement is false in the space provided.
__________ 1. A peg bar is attached to the lightbox and is used to hold the
animation paper.
__________ 2. A model sheet is a detailed visual breakdown of each and
every scene.
__________ 3. It is possible to map out original ideas for communication to
the viewers with a storyboard.
__________ 4. Director’s instructions provide an illustrated explanation of the
who, the where, and the what of each scene.
__________ 5. The action column in the exposure sheet shows the timing in
animation.
__________ 6. Soundtrack breakdown helps maintain continuity in characters
from scene to scene.
__________ 7. The animation paper is attached to the lightbox using a peg
bar.
__________ 8. Lead pencil is used to trace the outline of the roughly
sketched key drawing.
__________ 9. The purpose of the lightbox is for tracing and slide viewing.
__________ 10. Key animation drawing is the process of translating the script
into pictures and converting the words into visual sensations.

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Information Sheet 2.1.1 Animation/Drawing Techniques and Concepts of Lines
Quality
Learning outcomes:
2 Produce cleaned-up drawings.
Learning Activity:
2.1 Read the information sheet on animation/drawing techniques and
concepts of lines quality.
Animation is the process by which we see still pictures or drawings move. The reason why
the eyes are tricked into seeing movements can be explained by the ‘Persistence of Vision’
theory which states that the brain can hold onto an image for a fraction of a second after the
image has passed. If the eye sees a series of still images very quickly one picture after
another, then the images will appear to move because the eyes cannot cope with fast-
moving images. Thus, the eyes have been tricked into seeing moving images – an illusion –
and that is animation.
To make a very effective animation, the quality of lines and animation/drawing techniques
has to be considered.
Animation/Drawing Techniques
1. Dynamic Animation Pose

– These are the different action poses that the character should project.
– It pertains to the body attitude of the key drawings in an animated scene regardless
of the facial expressions.
– It includes the character’s attitude, emotions, its purpose in the scene and how it
should be expressed.
Sample of Dynamic Animation Poses

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Quality
2. Line of Action
– It is an imaginary line that extends through the main action of the figure.
– It strengthens the dramatic effect of the figures.
– Usually, it is a sweeping curve, a diagonal, or horizontal that exists in the center of
the character on which the entire character is built.
Sample of Line of Action

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Quality
3. Balance and Weight in Drawing

– Balance is dependent upon the positioning of the line of action; however, it is not
the same as symmetry.
– Considering a real-life scenario, it is easily recognized if someone loses balance
and is about to fall over.
– If an animated character appears off-balanced, yet never falls down, the narrative
is ruined because it causes confusion to the viewer’s senses.
– Because of the expectations of what will happen when something is out of balance,
balance hints of upcoming action.
– For instance, if a character leans forward and points, its other arm should certainly
be stretched behind him to even things out – maintaining balance.
Sample of Balance versus Unbalanced

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Quality
– Weight is related to balance and it is considered the most realistic aspect of

movement.
– An animator has to meet the viewer’s expectation of the character weight or the
object’s weight that the character has in contact.
– Heavy characters should show distinct shifting of balance and squashing of the
legs as it steps, moving slow, and deliberately.
– In a walking character, the weight is felt on the down position where the leg bends
as it takes the weight and absorbs the force of the move.
– If a character is in contact with an object, the weight of the object is dictated by
how much effort is required to move, stop, push, pull, or change its direction.
Sample of Weight

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Quality
4. Line Art
– It is any image that consists of distinct straight and curved lines placed against a
background, without gradations in shade (darkness) or hue (color).
– It is usually monochromatic but it can also use lines of different colors.
– It emphasizes form and outline over color, shading, and texture.
– It tends towards realism or cartoon.
Sample of Line Art

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Quality
5. Drawing Animation Expressions

– Facial expression is a form of nonverbal communication.
– It is one key to convey the character’s mood and personality.
– It is the most vital aspect in drawing because it shows what the character is
actually trying to tell.
– The key elements of facial expressions and the parts that change the most are the
eyes, eyebrows, and mouth.
– The eyes and the eyebrows depict different possibilities of showing emotions.
– The mouth visibly expresses emotion of happiness and sadness through smiles
and frowns, respectively
Sample of Eyes Expressions

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Quality
Sample of Mouth Expressions
Sample of Facial Expressions

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Quality
Concepts of Lines Quality
Line is a mark made by a pointed tool like a brush, pencil, stick, or pen. It has length and
width. Variety of thickness of lines creates surface interest. Some lines are thick; some are
thin; and many are both thick and thin.
Line drawings show a number of representations including outlines of objects, movements,

and density of objects. Line quality heightens descriptive potential for textures, movements,
lights, space, and more. The type of lines used can enhance what the drawing should
convey. The following presents the different types of lines:
1. Fine lines/Thin lines

– These lines are meek.
– It indicates that the drawn object is light, airy, or delicate.
– Less important drawing features, but adds details to the drawing, are presented by
thin/fine lines.
2. Thick and thin lines

– This combination of lines adds visual interest.
– The variations can imply space, movement, and light.
– It balances the visibility of the outlines and the expression that the drawings
convey.
3. Power lines/Thick lines

– These lines help to create a feeling or mood in drawing.
– These are aggressive and expressive lines.
– It is used to enhance visibility of edges and outlines.
– It puts more emphasis on the drawings.

2D Animation
May 20, 2010 8
Worksheet 2.2.1 Animation/Drawing Techniques and Concepts of Lines Quality
Learning outcomes:
Learning Activity:
2.2 Identify the animation/drawing techniques and concepts of lines quality.

1. The different actions that the character projects are called __________
a. models.
b. expressions.
c. key drawings.
d. animation poses.
2. The sweeping curve that exist in the center of the character on which the
entire character is built is called __________
a. line art.
b. power line.
c. line of action.
d. imaginary line.
3. What is the most realistic aspect of movement in animation called?
a. Pose
b. Weight
c. Position
d. Expression
4. Any image that consists of distinct straight and curved lines against a
background is referred to as __________
a. line art.
b. drawing.
c. animation.
d. key drawing.
5. One key to convey the character’s mood and personality is through
__________
a. pose.
b. weight.
c. balance.
d. expressions.

2D Animation
May 20, 2010 1
6. The form of nonverbal communication in animation is called as __________

a. pose.
b. attitude.
c. body language.
d. facial expression.
7. The key elements of a facial expression are the eyes, the eyebrows, and the
__________
a. chin.
b. mouth.
c. eyelashes.
d. forehead lines.
8. The effort required to move, stop, push, pull, or change in direction dictates
the object’s __________
a. size.
b. power.
c. weight.
d. strength.
9. What is the imaginary line that extends through the main action of the figure
called?
a. Line Art
b. Thin Lines
c. Power Lines
d. Line of Action
10. The process responsible for the motion of still pictures/images is referred to
as __________
a. drawing.
b. animation.
c. animatronics.
d. image motion.
11. The body attitude of the key drawings, regardless of the facial expressions, is
called __________
a. action.
b. balance.
c. body language.
d. dynamic animation pose.

2D Animation
May 20, 2010 2
12. What type of lines indicates that a drawn object is light, airy, or delicate?
a. Thin Lines
b. Thick Lines
c. Curve Lines
d. Power Lines
13. The lines that enhances visibility of edges and outlines are called __________
a. thin lines.
b. thick lines.
c. curve lines.
d. thick and thin lines.
14. A mark with a length and width made by a pointed tool is called __________
a. line.
b. point.
c. line art.
d. line quality.
15. The reason why the eyes are tricked to seeing still images work can be
explained by the theory __________
a. Persisting Vision.
b. Persistence of Vision.
c. Perseverance of Vision.
d. Resilience of Vision.

2D Animation
May 20, 2010 3
II. Short-Answer Questions. 10 marks (2 marks per question).

Instruction: Read each question carefully and provide the correct answer in the
space provided.
1. The type of lines that puts more emphasis on the drawings are called
__________.
2. What theory states that the brain can hold onto an image for a fraction of a
second after the image has passed?
3. Still pictures seem to move because of the process called __________.
4. The body attitude of the key drawings in an animated scene is called
__________.
5. The parts that change the most in a facial expression are the eyes, the
eyebrows, and the __________.

2D Animation
May 20, 2010 4
Operation Sheet 2.3.1 Cleanup Drawing Guide
Learning outcomes:
Learning Activity:
2.3 Produce cleaned-up drawings from the given animation key drawings.
Read the following set of steps and produce cleaned-up drawings:
1. Prepare the cleanup requirements:

a. Materials:
i. Animation Folder
ii. Animation Paper
iii. Colored Pencil
iv. Lead Pencil
v. Pencil Eraser
b. Tools
i. Peg Bar
ii. Pencil Sharpener
c. Equipment
i. Lightbox
2. Check the details of the characters in the model sheet.
3. Read the director’s instruction.
4. Read the exposure sheet for further details on the character/s to be cleaned up
specifically on dialogue breakdown.
5. Place one key drawing on the peg bar attached to the lightbox.

2D Animation
May 20, 2010 1
Operation Sheet 2.3.1 Cleanup Drawing Guide
6. Place an animation paper on top of the key drawing on the lightbox.
7. Switch ON the lightbox.

8. Carefully trace the outline of the key drawing with a colored pencil.
9. After the cleanup using the colored pencil, remove the key drawing from the peg bar.
10. Place the cleaned-up drawing back on the lightbox.
11. Place another animation paper on top of the cleaned-up drawing on the lightbox.
12. Carefully trace the cleaned-up drawing using a lead pencil.
13. After tracing the final details, remove the cleaned-up drawings.
14. Place another key drawing on the lightbox.
15. Repeat steps 6 to 14 (except step 7) until all the given key drawings are cleaned-up.

2D Animation
May 20, 2010 2
Worksheet 1.3.1. : In-between Drawings Requirements
Learning outcomes:
1 Identify requirements for in-betweened drawings
Learning Activity:
1.3.1. Identify the requirements for in-betweened drawings in the worksheet
I. Directions: On the line next to each description in Column A, place the letter of the
name of the content in the animation folder in Column B what it stated. Answers in
Column B may be used only once.
Column A Column B
____1. Model Sheets A. It’s done by the artists that are more
experienced than the in-betweener.
____2. Soundtrack Breakdowns B. It’s the visual interpretation of the
script in paneling sequences.
____3. Director’s Instructions C. It has a character turnaround, facial
expression and mouth chart.
____4. Storyboard D. It’s the process where the remaining
drawings are completed and inserted
in between the key drawings.
____5. Clean-up Drawings E. It’s an animator’s guide where it can
locate timing, key mouths, and key
animation drawings.
____6. Lay-out Drawings F. Its concerned about the instructions
for character in action, background
layering, field guide showing the
camera’s field of vision.
____7. Exposure Sheets G. It indicates the key mouths of
the dialogue placed in a vertical line.
H. These are visual drawings based on
the storyboard panels. It has camera
& Background instructions.

2D Animation
June 2, 2010 1
Worksheet 1.3.1. : In-between Drawings Requirements
II. Directions: Explain the following questions briefly with cognitive thought.
 Describe the animation folder together with the requirements of the animation
production?
 In the Director’s instructions, what are the implementations of the director to the lay-
out artist? And why?
 What are the processes in doing the clean-up animation drawing and what are the
functions involved ?
III. Directions: Illustrate the given question below.
 Draw the 2D production flow chart.

2D Animation
June 2, 2010 2
Model Sheet 1.1.1
Front View Front View Front View

2D Animation
May 20, 2010 1
Model Sheet 1.1.1

2D Animation
May 20, 2010 2
Model Sheet 1.1.1

2D Animation
May 20, 2010 3
Model Sheet 1.1.1

2D Animation
May 20, 2010 4
Model Sheet 1.1.1

2D Animation
May 20, 2010 5
Key Drawing 2.3.1

2D Animation
May 20, 2010 1
Key Drawing 2.3.1

2D Animation
May 20, 2010 2
Key Drawing 2.3.1

2D Animation
May 20, 2010 3
Key Drawing 2.3.1

2D Animation
May 20, 2010 4
Key Drawing 2.3.1

2D Animation
May 20, 2010 5
Key Drawing 2.3.1

2D Animation
May 20, 2010 6
Key Drawing 2.3.1

2D Animation
May 20, 2010 7
Key Drawing 2.3.1

2D Animation
May 20, 2010 8
Key Drawing 2.3.1

2D Animation
May 20, 2010 9
Key Drawing 2.3.1

2D Animation
May 20, 2010 10
Key Drawing 2.3.1

2D Animation
May 20, 2010 11
Key Drawing 2.3.1

2D Animation
May 20, 2010 12
Key Drawing 2.3.1

2D Animation
May 20, 2010 13
Key Drawing 2.3.1

2D Animation
May 20, 2010 14
Key Drawing 2.3.1

2D Animation
May 20, 2010 15
Key Drawing 2.3.2

2D Animation
May 20, 2010 1
Key Drawing 2.3.2

2D Animation
May 20, 2010 2
Key Drawing 2.3.2

2D Animation
May 20, 2010 3
Key Drawing 2.3.2

2D Animation
May 20, 2010 4
Key Drawing 2.3.2

2D Animation
May 20, 2010 5
Storyboard 1.1.1

2D Animation
May 20, 2010 1
Storyboard 1.1.1

2D Animation
May 20, 2010 2
Storyboard 1.1.1

2D Animation
May 20, 2010 3
Storyboard 1.1.1

2D Animation
May 20, 2010 4
Storyboard 1.1.1

2D Animation
May 20, 2010 5
Storyboard 1.1.1

2D Animation
May 20, 2010 6
Storyboard 1.1.2

2D Animation
May 20, 2010 1
Storyboard 1.1.2

2D Animation
May 20, 2010 2
Storyboard 1.1.2

2D Animation
May 20, 2010 3
Storyboard 1.1.2

2D Animation
May 20, 2010 4
Storyboard 1.1.2

2D Animation
May 20, 2010 5
Storyboard 1.1.2

2D Animation
May 20, 2010 6
Storyboard 1.1.2

2D Animation
May 20, 2010 7
Storyboard 1.1.2

2D Animation
May 20, 2010 8
Storyboard 1.1.2

2D Animation
May 20, 2010 9
Storyboard 1.1.2

2D Animation
May 20, 2010 10
Storyboard 1.1.2

2D Animation
May 20, 2010 11
Storyboard 1.1.2

2D Animation
May 20, 2010 12
Storyboard 1.1.2

2D Animation
May 20, 2010 13
Storyboard 1.1.2

2D Animation
May 20, 2010 14
Storyboard 1.1.2

2D Animation
May 20, 2010 15
Storyboard 1.1.2

2D Animation
May 20, 2010 16

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DLM 03 Developing print-based Learner’s Guide including all related documents

Notes Format of Learner’s Guide

INFORMATION AND COMMUNICATION TECHNOLOGY

ANIMATION (2D DIGITAL) NC III

PRODUCE CLEANED-UP & IN-BETWEENED DRAWINGS

Pedagogical Training in Instructional Design & Delivery for TVET

The content of this learner’s guide include:

 Information Sheet - This is the compilation of the technical knowledge and

sheet, inform your facilitator.

Pedagogical Training in Instructional Design & Delivery for TVET

Recognition of Prior Learning (RPL)

 Been working for some time

Trainer – 2D Digital Animation

Pedagogical Training in Instructional Design & Delivery for TVET

Course: 2D ANIMATION NC III

1. Identify requirements for cleaned-up drawings

RR Studio asks you to perform the following task:

3. Cleaned-up drawings are matched-up and modeled with the

Pedagogical Training in Instructional Design & Delivery for TVET

Learning chunk Performance Criteria Learning Activities Learning documents

Sub-task 2:  Cleaned-up drawings

the cleaned-up  Worksheet 2.2.1

reflected in the Drawing

Pedagogical Training in Instructional Design & Delivery for TVET

Learning chunk Performance Criteria Learning Activities Learning documents

Trainer – 2D Digital Animation

Pedagogical Training in Instructional Design & Delivery for TVET

Clean-up Drawing Requirements

Code No. Date: Developed Date: Revised Page #

– With a storyboard, mapping out original ideas for communication to

Code No. Date: Developed Date: Revised Page #

Code No. Date: Developed Date: Revised Page #

Code No. Date: Developed Date: Revised Page #

Code No. Date: Developed Date: Revised Page #

Sample Layout Drawing

Code No. Date: Developed Date: Revised Page #

Sample Model Sheet for Lip Shapes

Code No. Date: Developed Date: Revised Page #

Sample Model Sheet for Poses

Sample Model Sheet for Turn-around Poses

Code No. Date: Developed Date: Revised Page #

Sample Exposure Sheet

– The columns 1 to 5 in the sample exposure sheet above show five

Code No. Date: Developed Date: Revised Page #

Sample Exposure Sheet with Actual Details

Code No. Date: Developed Date: Revised Page #

g. Key animation drawings

– Another example, a man walks over to a board, picks up a piece of

Code No. Date: Developed Date: Revised Page #

Sample Picture of a Peg Bar

Code No. Date: Developed Date: Revised Page #

Sample Picture of a Lightbox

Sample Picture of an Animation Paper attached to a Lightbox using a Peg Bar

Code No. Date: Developed Date: Revised Page #

Clean-up Drawing Guidelines for Checking Animation Breakdowns

1. Check all animation breakdowns from animation folder.

Code No. Date: Developed Date: Revised Page #

1. What kind of pencil is used to begin for the rough clean-up?

3. Which of the following is NOT part of the animation folder?