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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9/11
TLE/TVL-ICT
QUARTER 3
Unit of Competency: Produce Cleaned-Up and In-betweened
Drawings
Module Title: Produce clean-up Drawings for 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-IIIa-j-2
TR Unit Code : ICT 313313
LO 1. Produce clean-up drawings for 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:
LO2. Produce clean-up drawings for actual scene folders
(cartoon, simple).
2.1 Produce clean-up drawings which are consistent with the
requirements.
2.2 Match clean-up drawings to animators’ keys.
2.3 Model clean-up drawings based on animator’s keys.
2.4 Number all animation breakdowns onto a clean-up
drawing.
2.5 Copy animation breakdowns onto a clean-up drawing.
2.6 Identify line-test hardware and software.
2.7 Perform clean-up procedures
2.8 Apply software animation on clean-up drawings.
2.9 Apply the procedures and policies in records keeping.
2.10 Make appropriate referral to personnel the revised or
corrections
on clean drawings.
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2.11 Observe the principles of line quality in producing a clean-
up
drawing.
2.12 Follow procedures and policies in keeping records.
2.13 Implement the necessary corrections/ revisions after
referral has
been made.
2.14 Create model sheets.
2.15 Follow the procedures in cartoon drawing construction.
2.16 Observe drawing proportions.
2.17 Record clean-up drawing drawings in accordance with
company’s specified procedures and policies.
2.18 Store clean-up drawings in accordance with company’s
specified procedures and policies.
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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 3.8-1
Information Sheet 3.8-1
Clean-Up Procedures
Clean-up animation is the process of creating the final drawings you
see in the finished film. It necessarily means a “clean” fine line. The artist,
usually a team of artists, uses key drawings and animation charts from the
animator, making it appear as though one artist has created the whole film.
What are the Requirements for Clean-up Drawings?
1. Actual Scene Folder containing the following:
a. Animators rough key drawings
b. Model sheets
c. Layout
d. Storyboard
e. X-sheets
2. Clean- up tools and materials such as Pencil, animation paper, and
eraser
3. Equipment such as Light box with animation disc and peg bar
Important Tips in Clean-up Drawings
1. “Think of shape not line!” This doesn’t mean that line quality is
unimportant. It means that when lying down your line you should think
of yourself as a sculpture. Sculpting out your shape and defining it
with a clean, simple, and consistent line. Using a nice, smooth line
will help to avoid “crawling” or “popping” against the surrounding
drawings.
2. Lead of pencils preferably start with an HB lead, if your line is too
light then try using the B lead. If it is too heavy or hairy, try H lead
pencil.
3. “Lazy lines” often seen in trace backs will make a constructed
drawing seem flat. Use both top and bottom lights to help avoid them.
4. Connect all lines! the color will literally leak out in digital ink and paint
systems. Make ink and paints job easier and check your drawings for
gaps.
5. Straight against Curve- Use straight lines for tension, strength, hard
areas like knees and elbows. Curves for flow, sag and softness. Let
them play off one another as they do in nature.
6. Varied Lines- if you’ve mastered a consistent line, then you must try
to slightly darken your lines on objects that are closest to the viewer
to bring them forward.
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Procedures for Manual or Traditional Clean-up
1. Place the rough drawing on the top of the light box, insert the holes of
the animation paper on the peg bar to prevent them from moving.
2. Switch on and off the light while tracing to check the consistency of the
lines based on the original drawing.
3. Use only one stroke when tracing, it depends on your style of using the
pencil.
4. Keep rotating the animation disc while tracing the drawing for more
convenient position of your hands and eyes.
5. Don’t forget to copy in your cleaned-up drawing what is written on the
original drawing.
6. Repeat the previous steps for each drawing.
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PERFORMANCE SHEET 3.8-1
Procedures on Traditional Clean-up Drawings
Materials: Drawing Pencil
Animation Paper
Eraser
Rough Drawings
Model Sheets
Tools and Equipment:
Peg Bar
Light Box
Directions: Perform Clean-up Drawings following the given procedures on a
separate animation paper.
Procedures for Manual or Traditional Clean-up
1. Place the rough drawing on the top of the light box, insert the holes of
the animation paper on the peg bar to prevent them from moving.
2. Switch on and off the light while tracing to check the consistency of the
lines based on the original drawing.
3. Use only one stroke when tracing, it depends on your style of using the
pencil.
4. Keep rotating the animation disc while tracing the drawing for more
convenient position of your hands and eyes.
5. Don’t forget to copy in your cleaned-up drawing what is written on the
original drawing.
6. Repeat the previous steps for each drawing.
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PERFORMANCE CRITERIA CHECKLIST 3.8-1
For acceptable achievement, all items should Yes No N/A
receive a “Yes” or “N/A” response.
1. Correctly place the rough drawing on the top of the
light box, insert the holes of the animation paper on the
peg bar to prevent them from moving.
2. Perform switch on and off the light while tracing to
check the consistency of the lines based on the original
drawing.
3. Use only one stroke when tracing, it depends on
your style of using the pencil.
4. Keep rotating the animation disc while tracing the
drawing for more convenient position of your hands
and eyes.
5. Don’t forget to copy in your cleaned-up drawing what
is written on the original drawing.
6. Repeat the previous steps for each drawing.
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 3.8-2
Information Sheet 3.8-2
Production of Clean-up Drawings (cartoon-simple)
When your rough animation is ready, it’s time to clean it up. The
clean-up is also called tracing. It consists of tracing solid and clean lines over
the rough animation to get closed zones.
Clean-up Exercises:
1. Clean-up animator’s rough sketches
2. Clean-up key drawings
3. Clean-up model sheets
4. Clean-up backgrounds Drawings
5. Clean-up rough Props drawings
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Activity Sheets 3.8-2
Clean-up Animators Rough Sketches
Tools and Materials:
Pencil
Animation paper
Animators Rough Sketches
Light box
Directions: Clean-up animator’s rough sketches 1 and 2.
Animators Rough Sketch 1
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Animators Rough Sketch 2
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Activity Sheets 3.8-2a
Clean-up Key Drawings
Tools and Materials:
Pencil
Animation paper
Animators Rough Sketches
Light box
Directions: Clean-up Key Drawings 1 and 2.
Key Drawing 1
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Key Drawing 2
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Activity Sheets 3.8-2b
Clean-up Model Sheets
Tools and Materials:
Pencil
Animation paper
Animators Rough Sketches
Light box
Directions: Clean-up Model Sheets 1 and 2.
Model Sheet 1
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Model Sheet 2
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Activity Sheets 3.8-2c
Clean-up Backgrounds
Tools and Materials:
Pencil
Animation paper
Animators Rough Sketches
Light box
Directions: Clean-up Backgrounds 1 and 2.
Background 1
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Background 2
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Activity Sheets 3.8-2d
Clean-up Props
Tools and Materials:
Pencil
Animation paper
Animators Rough Sketches
Light box
Directions: Clean-up Props 1 and 2.
Props 1
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Props 2
Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point
Accuracy The rough The rough
drawing was The rough drawing was
Neatness cleaned-up drawing was NOT cleaned-up
according to somehow according to
Time standard. cleaned-up standard.
Management according to
Finished output standard. Finished output
was neatly done, has so many
pleasing, and no Pleasing but erasures and
erasures/ erasures and smudges and
smudges. smudges are quite unpleasant.
observable on
Finished the task the finished Unable to finish
1 day before the output. the given task.
given time
period. Finished the task
on time.
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Rating Scales: Numerical Value Descriptive Value
91-100 Very Good
Points Earned 86-90 Good
12-15 81-85 Fair
8-11 75-80 Needs Improvement
4-7
1-3
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 3.8-3
Information Sheet 3.8-3
Animator’s Keys
A Key Animator is the artist responsible for producing the principal
Key Frames of animation. Basically key animators draw the essential frames
that mark a distinct position or expression of a character in a particular scene.
In other words, they draw the structure of animated scene.
Pose to pose is a term used in animation for creating key poses for
characters and then in-betweening them in intermediate frames to make the
character appear to move from one pose to the next.
A key frame in animation and filming is a drawing that defines the
starting and ending points of any smooth transition. A sequence of key frames
defines which movement the viewer will see, whereas the position of the key
frames on the film, video, or animation defines the timing of the movement.
The individual frames of a traditionally animated film are
photographs of drawings, first drawn on paper. To create the illusion of
movement, each drawing differs slightly from the one before it. Today,
animators’ drawings and the backgrounds are either scanned into or drawn
directly into a computer system.
To check the cleaned-up drawings with the animator’s keys, here
are some tips to be consider:
1. Check the consistency of the characters specially the actions
based on animator’s keys.
2. Look for the likeness of character against model sheets and key
drawings.
3. Check the consistency of lines in terms of thickness.
4. Make some adjustments of any inconsistency on the cleaned-up
drawings.
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ACTIVITY SHEET 3.8-3
Checking of Cleaned-Up Drawings Based on the Animator’s Keys
Materials:
Drawing Pencil
Eraser
Animation Paper
Tools and Equipment:
Cleaned-Up Drawings
Animator’s Key
Peg bar
Light Box
Directions: Providing a set of key drawings, perform clean-up and try to
match them and model the drawings based on the given key drawings.
Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point
Accuracy The rough The rough
drawing was The rough drawing was
Neatness cleaned-up drawing was NOT cleaned-up
according to somehow according to
Time standard. cleaned-up standard.
Management according to
Finished output standard. Finished output
was neatly done, has so many
pleasing, and no Pleasing but erasures and
erasures/ erasures and smudges and
smudges. smudges are quite unpleasant.
observable on
Finished the task the finished Unable to finish
1 day before the output. the given task.
given time
period. Finished the task
on time.
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 3.8-4
Information Sheet 3.8-4
Familiarization with Line-Test Hardware and Software
A Line Test is a process used to check hand drawn frames prior to
them being used for final artwork. Frames are capture either via video
camera, frame by frame or by scanning them into a computer. The resulting
sequence allows the animator to assess how well the sequence is flowing.
Onion Skinning is the method used to view several frames of an
animation simultaneously, it allows the animator to check the changes
occurring within each frame and how they flow together. Traditionally this
process involved comparing drawn frames on light box but many animation
software packages include the ability to preview frames with several previous
and upcoming translucent frames visible.
Line Testing Hardware in Animation
Line Tester Personal Computer
Software in Line Testing
1. Synfig for Windows, Linux and OSX
2. Opentoonz for Windows and OSX
3. Maefloresta for iPhone and Android
4. Pencil 2D for Windows, Linux and OSX
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A Flipbook is one of the software use in Animation. Animation
gets even easier whether you use pencil and paper or draw right on the
computer. DigiCel Flipbook follows the same process that has been part of
traditional cel animation for over fifty years. Background Flipbook will be very
easy and intuitive.
To start with the Digicel Flipbook here are the basic steps:
1. Click on start >Programs> Flipbook or Double click on the Icon of
Flipbook. You will see the Flipbook Start-Up Dialogue.
Note: There are five buttons on the start-up dialogue.
a. Create New Scene, if you want to create a new presentation
b. Open Existing Scene, if you want to see a sample flipbook
presentation project.
c. Open Previous Scene, if you want to see the latest project made.
d. Exit Program, if you want to close the program and
e. About Flipbook, if you want to look for the details on how to use
the software.
TWO MAIN WINDOWS OF FLIPBOOK
1. IMAGE WINDOW- this is where you will draw, paint and preview your
movies.
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2. X sheets – made up of rows and columns. The scene information is
stored in an exposure sheet or X sheets.
Other Parts of Flipbook Software
Tool Bar-
Tool bar has an Icon that you will use in flipbook.
The Icons on the first group are: Creating, Opening and Saving scenes as
well as Cutting, Copying and Pasting images.
The next 2 icons are for Undo and Redo followed by a Printing
icon. These are all standard Windows functions.
The next 4 icons are for controlling in the image window.
The first icon is for enabling the Light Box or `Stack'. In B&W mode when
the `Stack' is on FlipBook keeps track of up to 10 drawings on your light table
and can simulate traditional page flipping.
The second icon is the Light for the `Light Table'. When the Light
is on you can see all of the images that are currently on the Stack in the
Image Window. The Light only works when the Stack is on.
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The third icon controls whether or not the background image
(BG) will be displayed in the image window during editing.
The fourth icon turns the AutoSave feature on and off.
The next 3 Icons control the exposure sheet or x-sheets for short.
The X-sheet icon turns the x-sheet on or off.
The Sound icon shows or hides the sound level in the x-sheet.
The Thumbnail icon switches you back and forth between viewing
thumbnail images in the x-sheet or just their labels.
The Capture icon brings up the Capture dialog box so you can
adjust your settings and capture drawings directly into the x-sheet. You can
also capture directly into the x-sheet by pressing the F8 key. This uses the
current capture settings but bypasses the Capture dialog.
The Scanner icon opens the Scanner dialog box. Scanning gives
you the best quality but takes a little longer.
The Color icon lets you switch between the Color mode and B&W
mode. In the Color mode you can see the Color Palette or Color Model and
the additional tools in the Tool Box for painting. Your animation will also play
back in color.
The Camera icon lets you toggle in and out of Camera mode and
brings up the Camera Move dialog box so you can compose your key frames
to add camera moves to your scenes.
The Boomerang icon passes images to and from FlipBook to your
favorite graphics editing program so you can edit them there.
The Tone Matte icon brings up the Layer dialog box so you can
select which tone matte layer you want to work with and set its values. Tone
mattes are used to create shadows, glows and highlights.
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Below the image window are controls, like those on a VCR. They
can be used at any time to play back the active levels of your scene or view
the frame you want to see. From left to right the buttons are: Stop, Home,
Reverse, Step Backward, Pause, Step Forward, Play, End and Loop. The
next two buttons adjust the playback rate, even while the scene is playing.
This can also be done with the plus (+) and minus (-) keys. The current rate
is displayed in the status bar at the bottom of the Image Window.
To the right of the VCR controls there is a Slider. This lets you drag
the pointer to move forward and backward through the scene and set start
and stop points for playback.
Steps in making New Scene or Project in Flipbook
1. Double click on the Icon of Flipbook, or go to Start Menu go to Program,
then click Filpbook Icon. Start-up Dialogue will appear.
2. Click > Create New Scene.
New Dialogue Box will appear.
Change the Frame Rate, No. of Levels, and
No. of Frames.
3. Click > Ok button. Image Window will
Appear.
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Image Window X-Sheets
4. Click the X-sheets Icon on the Tool Bar. To make it Visible.
5. Place the drawings (Capture the first drawing until the last drawing) on the
Peg Bar attached on the Line Tester,
Then click < Camera Icon on the tool bar, camera dialogue will appear.
6. Set the frame, level, hold, and label accordingly.
7. Start capturing the drawing until the last drawing then click< quit button to
finish the job.
8. Check the action using the VCR tools, Click< Play Button
9. To save the work Click the File button on the Tool bar, select save as new
dialogue will appear, type the file name and choose the destination folder,
then click< save.
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DRAWING TOOLS IN FLIPBOOK
THE TOOL BOX
Pencil Magnifying Glass Hand
Eraser Selection Tool
The Pencil is for drawing lines.
The Magnifying Glass lets you zoom in to get better control over both
drawing and erasing. Click or drag on the image with Magnifying glass to
zoom in. Hold the Control key or the Alt key and click to zoom back out.
Control+Alt+0 will reset the zoom value to 100%.
The Hand lets you move the image around within the Image Window
whenever the image is larger than the window. While in the drawing mode,
you can also press the space bar to temporarily make the cursor turn into the
Hand and allow you to move the image within the Image Window.
The Eraser works in conjunction with each of the other drawing tools and can
be used to erase either lines or fills. For example, when the Pencil and the
Eraser are selected you can erase lines drawn by the Pencil.
The Selection Tool is used to select the part of the image you want to cut,
copy or paste. When you paste the image back in to a cel you can also scale
and/or rotate it.
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COLORING TOOLS Tracing Pen
COLORING TOOL BOX
Fill Tool
Paint Brush Eyedropper
The Fill Tool works just like in other paint programs, but FlipBook’s Fill Tool
does much more. If you drag the Fill Tool the way you drag the Paint Brush it
will fill all of the areas it touches.
The Paint Brush lets you apply paint exactly where you want it by brushing it
on.
The Eyedropper picks colors from where ever you click in the painted image
while it is selected. Shift-Click will pick colors from the background.
The Tracing Pen is used to change the color of lines that were scanned or
captured.
THE COLOR PALETTE
When you are in Color mode you will see either the Color Palette or
the Color Model. Each Color Palette has 256 colors and every level can have
its own palette. You can change the color of any square in the color palette by
right-clicking on the square and selecting the color from the box or typing in
the RGB or HSL values and the opacity. The palettes are stored in the scene
files.
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SELF-CHECK 3.8-4
I. DIRECTION: Name the given illustrations. Choose from the options below:
Redo, Light Table, Stack/Light Box, BG , Auto Save, Xsheets,
Sound, Thumbnail, Capture, Scanner, Undo, Color, Camera,Tone Matte,
Boomerang, Printing, Creating, Opening, Saving, Cutting, Copying, Pasting,
images.
1. 2. 3. 4. 5. 6.
7. 8. 9. 10. 11. 12.
13. 14. 15. 16. 17. 18.
19. 20.
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 3.8-5
Information Sheet 3.8-5
Application of Animation Software
Procedures in Digital or Paperless Clean-up Drawing
Using Toon Boom Harmony software, here are the steps to clean-up
the drawings. You will need to add a new drawing layer to create your cleaned
up drawing. This is the equivalent of adding a sheet of paper and tracing the
rough using the animation disk.
This method allows you to keep the roughs and the cleans intact. You only
need to disable the rough layer to prevent it from appearing in the scene.
If you plan on tracing your animation in the Drawing view, enable the light
table to display all the layers in your project.
1. In the Layer toolbar, click the Add Drawing Layer button.
2. In the Timeline view, click the Lock button of the layer containing your
rough animation to avoid selecting the layer in the Camera view.
3. In the Timeline or X-sheet view, in the new layer, select the cell
corresponding to the first key drawing of your rough animation.
4. In the Tools toolbar, select the drawing tool of your choice. The
Pencil tool is recommended.
5. In the Color view, select a color for tracing your animation. A dark bold
color, such as black, would ensure that it contrasts well with the light
color of your rough animation.
6. In the Camera or Drawing view, start tracing the first key drawing.
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7. If you have some other layers in the way, you can disable them
temporarily from the Timeline view so that only the rough animation
and clean-up layer are displayed in the Camera view.
8. In the Tools toolbar, click the Onion Skin button and pull on the blue
onion skin handles in the Timeline view to extend the number of frames
you can see.
9. In the Camera View or Drawing View toolbar, press either the Onion
Skin Reduce One Next/Previous Drawing or Onion Skin Add One
Next/Previous Drawing to reduce or increase the number of previous
and next visible drawings. The red icons are for the previous
drawings and the green icons are for the next drawings.
10. In the Timeline or X-sheet view, select the next cell corresponding to a
rough drawing.
11. In the Drawing or Camera view, trace your next drawing.
12. Repeat the previous steps for each drawing.
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Basic procedures and policies in Records Keeping
1. Always stay on schedule or date line.
2. Store your drawing in a safe place or safe your digital file on the
computer.
3. Back up your date.
4. Always keep a record of files or drawing that is finish.
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ACTIVITY 3.8-5
Application of Software Animation
Materials:
Animation Software
Scanned Rough Drawing
Tools and Equipment:
Pen Tablet
Computer Set
Scanner
Directions: Cleaned-up rough drawings using animation software application.
F. Preparatory Steps:
1. Prepare a rough drawing
2. Scanned the rough drawing using the scanner and computer set
with animation software and save in specific file folder.
G. Digital Clean-up procedures:
1. Open the animation software in your computer.
2. Drag or export the scanned rough drawing from your files in your
computer.
3. Follow the specific step in using the tools in the software
animation.
4. Save the cleaned-up rough drawings in a specific file folder.
Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point
Accuracy The rough The rough
drawing was The rough drawing was
Neatness cleaned-up drawing was NOT cleaned-up
according to somehow according to
Time standard. cleaned-up standard.
Management according to
Finished output standard. Finished output
was neatly done, has so many
pleasing, and no Pleasing but erasures and
erasures/ erasures and smudges and
smudges. smudges are quite unpleasant.
observable on
Finished the task the finished Unable to
1 day before the output. finished the
given time given task.
period. Finished the task
on time.
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Rating Scales: Numerical Value Descriptive Value
91-100 Very Good
Points Earned 86-90 Good
12-15 81-85 Fair
8-11 75-80 Needs Improvement
4-7
1-3
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 3.8-6
Information Sheet 3.8-6
Concept of Line Quality
Line in animation should be consistent to avoid any jitters in the
movement. Range in line quality heightens descriptive potentials, you can
describe textures, movement, light, space, etc. Using many different kinds of
lines in your drawing can also add visual interest. When the drawing is of a
recognizable image, the types of lines you use can add to what you say about
your subject matter.
An animation drawing should be tight enough that a clean-up artist
or inker can preserve what the animator wants. The animator should not hand
in vague scribbles and then expect an assistant to figure out where the
drawing is. Both these artists have some responsibility to use lines to convey
distinct drawings that have a commitment to an idea.
A line isn’t important for its own sake. There are some artists think
having a big bold clean line is practically the art itself. On the other hand,
great drawings can also be ruined by poor line work. Each animator, layout
artist and clean-up artist should all understand and feel how to do warm
descriptive lines that draw attention to the good qualities in the drawing they
are bordering.
Definitions and Qualities of Line
A line can be lyrically defined as appoint in motion. There are many
different types of lines, all characterized by their length being greater than
their width. Line can be static or dynamic depending on how the artist
chooses to use them.
Actual Lines are those that are physically present.
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Implied Lines are those created by visually connecting two or more areas
together.
Straight or Classic Lines provide structure to a composition. They can be
oriented to the horizontal, vertical or diagonal axis of a surface. Straight lines
are by nature visually stable, while still giving direction to a composition.
Expressive Lines are curved, adding an organic, more dynamic character to
a work of art. Expressive lines are often rounded and follow undetermined
paths.
Outline or Contour Line is the simplest of these. They create a path around
the edge of a shape. In fact, outlines define shapes.
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Cross Contour Lines follow paths across a shape to delineate differences in
surface features. They give flat shapes a sense of form (the illusion of three
dimensions), and can also be used to create shading.
Hatch Lines are repeated at short intervals in generally one direction. They
give shading and visual texture to the surface of an object.
Cross-Hatch Lines provide additional tone and texture. They can be oriented
in any direction. Multiple layers of cross hatch lines can give rich and varied
shading to objects by manipulating the pressure of the pencil.
Line Quality is that sense of character embedded in the way a line presents
itself. Certain lines have qualities that distinguish them from others.
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Calligraphy Lines use quickness and gesture, more akin to paint strokes, to
imbue an artwork with fluid, lyrical character.
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ACTIVITY SHEET 3.8-6
LINE QUALITY
Materials: Animation Paper
Drawing Pencil/ Mechanical Pencil
Eraser
Rough Drawings
Tools and Equipment:
Peg Bar
Light Box/ Animation Table
Directions: Perform clean-up procedures and observe the principles of line
quality in producing a clean-up drawing.
Rough Drawing
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Sample Cleaned-Up Drawing
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Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point
Accuracy The rough The rough
drawing was The rough drawing was
Neatness cleaned-up drawing was NOT cleaned-up
according to somehow according to
Time standard. cleaned-up standard.
Management according to
Finished output standard. Finished output
was neatly done, has so many
pleasing, and no Pleasing but erasures and
erasures/ erasures and smudges and
smudges. smudges are quite unpleasant.
observable on
Finished the task the finished Unable to finish
1 day before the output. the given task.
given time
period. Finished the task
on time.
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 3.8-7
Information Sheet 3.8-7
Model Sheets
In visual arts, a model sheet, also known as a character board,
character sheet, character study or simply a study, is a document used to help
standardize the appearance, poses, and gestures of a character in arts such
as animation, comics, and video games.
A Model sheet is usually several drawings showing a character in
many angles and poses to define its style, look and behavior throughout a
show. You will usually see the character in front T-stance, side view standing
straight and some more relaxed positions and close ups on hand, faces and
props. In a model sheet you can find the respective character in different
poses like side, back, front and three-fourth.
Front Back Side Three-Quarter
Animating any character without a model sheet will produce
animations with major problems like non-consistency of character. Even an
experienced animator will find it hard to conceived how a character looks in
different poses, so it is best advised to start animation with a proper model
sheet.
Character Model Sheets are templates of the characters used by the
animation staff. They provide the construction, structure, proportion, design,
etc. for each character. Usually several models sheets are needed for each
character to show the physical and design nuances. Each animator, artist has
their own style of drawing. The model sheet guides the 300 artists working on
the production toward making all characters look “On Model”. On model
means the model sheets have been followed to perfections as if one artist has
drawn the character. Below is the example of Model Rotation. Its purpose is to
show the character from all sides. This called “Character Rotation”.
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Below are the three options you should consider for your character
design. They are: 1. Ball 2. A Triangle or Cone and 3 a combination- a
ball and a cone. Please keep in mind the dimensional aspects of your
drawing, in other words, what appear to be shapes are really 3D forms.
Try to Design People or Animals.
Draw the simple shapes in the views to match the character’s
rotation. When in doubt always go back to basics.
Tips in Making Model Sheets for Simple-Cartoon Characters
1. Make the ball of the head and the body different sizes (big head with
small body or small head with a big body). The head is always on the
front side of the body.
2. Once the basic forms are drawn, the details are drawn over top the
forms. Hair and fur are like carpeting over the form. Try to simplify the
details and apply basic rules of design. (check to make details
asymmetrical and pay attention to your positive and negative space.
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Model Sheet involves a close-up with the details, proportions and structure of
the characters’ head. Use the same procedure for the construction of the
head as you did with the body.
1. Begin with the simple forms, then
2. add the eye line and center line and then
3. layer the details over top. The eyes are anchored on top of the eye line,
the nose or snout is anchored below the eye line.
Character Model Sheets is also for action poses. Its purpose is to make
sure the character works in actions. Character is always defined by his or her
or its needs, and those needs are reflected on his or her actions. Keep your
action drawings quick, spontaneous and dynamic. The line of action is a tool
which can be pushed to create for dynamic poses. Check your silhouettes for
your action poses to make sure they “READ” as a graphic.
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