KEY DRAWINGS
Key Drawings are the essential to animating a character that
represents the extremes of that actions. The key point in an action can be
identified by a moment of rest and no acceleration, moment of maximum
position, zero velocity and maximum acceleration. It is a drawing that shows
what’s happening on the story.
Key Drawings
BREAKDOWNS
A Breakdown is a pose between two key drawings. They describe
rotation trajectories, timing eases, elbow bending, etc. These are extra
drawings used to make the animation smooth.
In traditional animation breakdown is an in-between that requires a
special interpretation, it does not have to be drawn exactly in the middle of the
two key drawings but it has to be drawn a bit like a key drawing.
We must understand the value of a “second of time” 24 frames of a
film per second of that movie screen. We must capably break our action down
into “seconds” and “frames” – one second for 24 frames- one halves second
for 12 frames and one third seconds for 8 frames. Remember that in a single
presentation there are 24 drawings per second, while in double presentation
there are only 12 drawings per second.
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13 5 7
TIMING CHART
To perform the in-betweening correctly you need to familiarized the
most important in in-betweening, the Timing Chart, it’s a clue to the
animators thinking and guide for the in-between artists to where the drawings
are to be placed between the extremes. Basically, it indicates the small
incremential movements that get you from one extreme to another.
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Basic Rules in In-betweening
This might be a slight simplification for you to come up with a good in-
between.
1. Path of Action
You have three options when it comes to a path of action for any
point on a line or the line itself:
a. Straight
b. “C” Curve
c. “S” Curve
2. Timing and Spacing
Your timing and spacing is also very limited in that you must
stick to Even Spacing. All your in-between must be either halves
or thirds and occasionally the odd favor or cushion.
Remember that cushion is not the same as a Slow-In or Slow-
Out in its spacing.
There are special circumstances where a half is not necessarily
and exact half way position as in overlapping actions. Think
when you draw!
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The Different Timings
1. Slow In- actions picks up speed gradually.
2. Slow Out- actions slow down speed gradually
3. Even Halves/Thirds- keeps action in a constant speed
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4. Slow-in/Slow-out- actions picks up speed and slow down
gradually.
Don not bunch up your in-betweens anywhere along the path of
action.
.
.
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ACTIVITY SHEET 4.8-6
IN-BETWEENING
Materials Animation Paper
Drawing Pencil/ Mechanical Pencil
Eraser
Tools and Equipment
Light Box
Peg bar
Directions: Perform simple in-betweening. Draw the missing drawings of the
given key drawings. Observed the timing, distance and speed, lines and
curves, and rotating objects in in-betweening.
Note: You are given 8 days to finish the given 4 exercises on in-betweening.
1.
2.
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3.
4.
PERFORMANCE CRITERIA CHECKLIST 4.8-6 Yes No N/A
For acceptable achievement, all items should
receive a “Yes” or “N/A” response.
1.Followed the in-betweening procedures correctly.
2. Observed the basic rules on in-betweening.
3. Interpreted the timing correctly.
4.Checked all required materials needed in in-
betweening.
5. Collected model sheets for reference.
6. Checked key drawings properly.
7. Provided the in-between drawings correctly.
9. Drawn the in-betweens completely.
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 4.8-7
Information Sheet 4.8-7
Procedures for Character Posing
Character drawings need an appealing look. Animators should pass
this term APPEAL down for decades to describe a character’s pose,
expression, or movement and even props can have appeal. It has “extra
something” if the drawing has an appeal that makes it stand out.
Start with the basic shapes like circle, ovals, squares, and triangles.
Using this basic shapes in drawing characters can easily duplicate and rotate
in three-dimensional space than it is to rotate more complex shapes without
compromising the proportion and proper volume of the drawing. You will be
able to draw it easily and quickly without wasting your time. Here are some
examples of different characters that use only basic shapes that even without
details, you get an idea of what the characters are like.
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Seasoned artists often draw a character a front-view profile then
slowly trying a side view, three-quarter view, and back view that looks like the
same character. Remember, all this character angles should have a strong
appeal. Here are some steps to draw the characters in different angles.
1. Line Up the Drawing.
You need to draw the characters with the horizontal lines going
behind them. This lines run from key points on a character such
as: a. bottom of the feet, b. top of the head, c. chin. d. eyes, e.
nose, f. waist, g. shoulders, and h. knees. This is a good way to
figure out the proportion and what your character might look like
from different angles.
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2. Turning the Character in Different Angles.
When you draw a character, it’s strongly suggest to draw the
front, side, three-quarter and back views of your character free
hand without considering the horizontal lines. This will help you
concentrate on the strongest design of your character and
personality implied by the pose and face. Once you are feeling
comfortable with the design, you may now set out to draw the
turnaround model sheet with the use of the horizontal lines as
guide to line up them all in one presentation.
Here are front views, three-quarter views and side views of a
character that works technically but also has stronger appeal. There is more
variety in the shapes in chin, mouth, and slope of the nose. Rather than just
being a flat side views where it has stronger silhouette appeal.
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3. Push Your Design
Often times after creating a design, you feel and decided that
you’re done. It’s time to push your drawing by trying it to become
stronger and you can decide which of these drawing is the best.
Beginning Design
of Character
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ACTIVITY SHEET 4.8-7
Character Posing Drawing
Materials
Drawing Paper
Drawing Pencil or Mechanical Pencil
Eraser
Tools and Equipment
Animation Table
Directions: Draw the following in separate sheets of drawing papers. Follow
the procedures correctly.
Head construction applying facial expressions, attitudes, and
costumes or clothing.
Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point
Accuracy The drawing was The drawing was
drawn according The drawing was NOT drawn
Neatness to standard. somehow drawn according to
according to standard.
Time Finished output standard. Finished output
Management 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 4.8-8
Information Sheet 4.8-8
Techniques for Refining Line Quality
Lines are basic tools for an artist’s. If you want to improve the
quality of your line, it’s important to have the proper tools for the job. There
are basic techniques in order to achieved line quality. First, avoid tension in
your hand all you need is to keep calm and loosen your hand while drawing
lines. Second, practice your line by exercises and remember the phrase
“constant correct practice”.
There are many lines for you to use, like thick and thin lines,
horizontal and vertical lines, zigzag, diagonal and curved lines, spiral, etc.
Common Techniques Include:
1. Small dashes
2. Hatching (long, parallel lines)
3. Cross-hatching (parallel line at right angles)
4. Stippling
5. Small crosses
6. Small circles
7 Tips to Improve your Line Quality
1. Draw straight lines. This will help you relax your hands to make
smoother lines. (horizontal, vertical and diagonal lines)
2. Draw a combination of this lines.
3. When you feel confident in your lines, start drawing lines
applying various pressure on it.
4. Draw curved lines and irregular curved lines
5. Connect the dots. This basically a variant exercise, start with two
dots in straight path closer to each other and gradually improve
the distance and the direction.
6. Line shading. This is also a very simple pressure and control of
line weight exercise.
7. Loosen up your drawing by simple line of actions.
As you get more confident with your drawings and lines, you’ll notice that
you’ll be more relaxed while doing a line drawings. You’ll also notice that the
more relaxed you are, the smoother your lines will be.
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Quick Strokes Are Better Than a Slow Lines
You can try drawing a line very slowly. Just a straight horizontal line
from left to right. Then do the same, but very quickly and smoothly. The first
thing you might notice is how darker and rigid the first line, while the second
line is very straight. At time doing slower lines might be necessary for more
control and accuracy, while drawing it faster, this will give you more
movement and dynamic.
Before going for your final line, you usually start with sketching and
refine later. Redraw all your lines as many times as you need. It’s all about
practice.
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ACTIVITY SHEET 4.8-8
H. Drawing of Lines
Supplies and Materials
o Drawing Paper
o Drawing Pencil
o Eraser
Tools and Equipment
o Animation Table
Directions: Using the correct drawing instruments, draw the types of lines.
1. Straight Lines (horizontal, vertical, diagonal)
2. Combination of lines
3. Lines with various thickness through varying pressure on the
pencil.
4. Curved and Irregular Curves
I. Clean-up Lines
Supplies and Materials
o Drawing Paper
o Drawing Pencil
o Eraser
Tools and Equipment
o Animation Table
Directions: Draw a simple object, then clean-up your drawing and apply the
techniques in refining line quality.
Suggested Objects:
Any kind of weapon
Clothing
Any kind of transportation vehicles
Anything inside and outside the house
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Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point
Accuracy The drawing was The drawing was
drawn according The drawing was NOT drawn
Neatness to standard. somehow drawn according to
according to standard.
Time Finished output standard. Finished output
Management 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 finishs
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 4.8-9
Information Sheet 4.8-9
Concept of Character Design
Character Design is the process which comes after the
characterization and consists in defining the character through his/her
physical appearance. We need to consider a character as little fictional
creature, human or not, that aims to please its creator and the public as well.
Character Design is a simple study of a character and visually
designing it in the most appealing way for the target audience. A good
character design is a successful balance between a concept that is well suited
for the story and a beautiful visual design.
Who are the Character Designer?
There are two kinds of Character Designers. A BLUE SKY
DESIGNER who love a blank piece of paper. They create many different
variations of character based on the given description and he started from a
scratch. This often includes a deep look into the character’s personality to
develop a visual idea of the character’s physical features.
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The other one is the CHARACTER POLISHER who usually work off
sketches that the latter have created, or refining an existing character. They
can replicate other styles while still being able to make a character their own.
What is Character Designer actually do?
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They are considered as a traditional artists who create their original
drawings that fulfill what is needed on the script, scene, game, or story suited
the storyline. They play also like an actor and perform the style required for
each role to find the right gesture and expressions, since a character will
seem stiff unless the artist draws the figure in a way that expresses a sense of
personality.
A Character Designer begin by imagining the characters. He
requires to conduct a simple research on it. The point is to learn anything
that’s going to make a character feel real and strengthened his or her
personality. They often go through books and go online, looking at costuming,
ethnic influences, cultural references and anatomy.
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Before he/she put pencil to paper, there are some questions to
considered:
What is the character’s place in the story? (hero, villain, side
kick, heroin, etc.)
What is the character’s personality? (content, dysfunctional,
passionate, loving, etc.)
Are the plot points within the storyline that affect the design?
(Dumbo’s big ears, Pinocchio’s small nose, which become
long, Shrek’s ugliness, etc.)
Anything you will want to establish before start the drawing is the
hierarchy of the cast of characters. Character Hierarchy refers to the
different levels of simplicity or realism based on the character’s role and
function in the story.
Six Main Category of Character Design
1. ICONIC
Simple, almost graphics, stylized but not very expressive. Eyes
without pupils. ( sample: Early Mickey Mouse and Hello Kitty )
2. SIMPLE
Very stylized, but more expressive than Iconic characters. (
Sample: Fred Flintstone, Sonic the Hedgehog, and Dexter Lab)
3. BROAD
Much more expressive than the two styles, have big eyes and
mouth because of the extreme expressions needed for humor.
(Sample: The Wolf in Tex Avery Cartoons, Roger Rabbit)
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4. COMEDY RELIEF
Does not convey the broad visual humor but can achieve
through their acting and dialogue. (Sample: Nemo, Mushu, and
Kronk)
5. LEAD CHARACTER
Very realistic in facial expressions, acting and anatomy and
proportions. (Sample: Sleeping Beauty, Cinderella, Moses from
Prince of Egypt)
6. REALISTIC
The highest level on the realism, short of photorealism but still
with some caricature in the design. Strong effects film monsters,
comic-book characters, and some computer-graphics animated
characters. (Sample: The Princess in Shrek, most comic-book
characters)
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To Start Designing Characters, you go first with some visual design basics
that will apply to our character designs. Shape, Size and Variance are the
basic elements of character design.
1.SHAPES
The overall shape will speak for the character’s personality. Also knowing how
to break your character into basic shapes is key to recreate that same design
from different angles and poses.
SHAPES SYMBOLISM
When you start thinking of your characters, always remember the
description of the character on the script or in client’s requests. Try to ask
yourself a questions like: How old are they? Where do they live now? Are
they rich or poor? Genius or dope? Hero or villain?
Base on the questions, the next step is understanding the symbolism
of the basic shapes. This basic shapes will give you the visual cues you need
to describe your character, and this will be the foundation of your characters’
personality traits and attitudes.
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CIRCLES
Evoke appealing, good characters and are typically used to connote cute,
cuddy, friendly types. Attractive women are often described with curves and
circles and babies usually rely heavily on circular shapes as their visual cues.
SQUARES
Usually depict characters who are dependable or solid, or play the heavy. Like
the bouncer in a club and even superheroes often relies on square shapes.
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TRIANGLES
Easily lend themselves to more sinister, suspicious types and represents the
bad guy or villain in character design.
While combining shapes makes more complex characters. Some slightly more
complex characters will be made up of altered shapes.
Here is a variety of different characters comprised only of basic shapes or
variations of them. Even without expressions, details and clothing, you can
start to see some personality coming through.
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Feel free to experiment the used of shapes. This phase of designing your
character is about looking what is really work and what doesn’t work? Which
combination of shapes best describes the character and fulfills the criteria of a
story?
2.SIZE
Size relationships between shapes make for a stronger design with more
visual interest.
Think of small, medium and large shapes. By placing them on the right
arrangement we can create a look that is more interesting, stronger and the
relationships are more dynamic.
DULL ARRANGEMENT BETTER ARRANGEMENT
3.VARIANCE
Variance refers to the spacing and variety of sizes and shapes in a design.
Applying more variety in your design will result to good design and turn to
great one.
Here are some Principles of Design that will help achieving a great design.
CONSTRAST IN LINE can apply to differences in thickness of lines as well as
in length. Placing the lines at angles to one another creates tension and
contrast.
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STRAIGHT LINES AGAINST CURVES can make a design livelier and
interesting. By putting a curved line opposite a straight line you introduce
dynamism and avoid parallel lines. With this principle it will lend natural looks
to a design.
RECURRING SHAPES WITHIN THE DESIGN can help create a theme. The
different sizes add variety in a design.
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NEGATIVE SPACE the spaces or gaps between the shapes will help you to
define the character visually. Variety of negative shapes interplay with the
positive shapes, makes a stronger, and interesting silhouettes.
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ACTIVITY SHEET 4-8-9
Directions: Draw a cartoon character-regular and apply the concepts you
have learned on character designing in a separate drawing paper.
Note: You are given 12 days’ grace period to finish all the drawings.
Specific subjects to draw:
1. Cartoon Male Anatomy
2. Cartoon Female Anatomy
3. Body Parts (Head, Hands, Feet)
4. Types of Characters (Iconic, Simple, Broad, Comedy Relief,
Lead Character, Realistic)
5. Own character
Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point
Accuracy The drawing was The drawing was
drawn according The drawing was NOT drawn
Neatness to standard. somehow drawn according to
according to standard.
Time Finished output standard. Finished output
Management 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 4.8-10
Information Sheet 4.8-10
Do’s and don’ts of In-betweening
In-betweening is more fun and exciting, it’s like providing the lacking
drawing in an action. You don’t need to overdo it because it may distract and
takes away the purpose of the presentation. You need only to make it simple
and clean. Consider the following Do’s and Don’ts in in-betweening.
Don’ts
Don’t need to animate every object on your stage.
Don’t move every object across the stage.
Don’t animate first and then position your object.
Don’t animate all objects at the same time frame.
Don’t create long animation. Your audience has a short attention
span.
Do’s
Keep it simple. Be selective about what object you animate.
Position your objects as you intend them to be at end of animation
and then apply your animation.
Keep it short. If you creating a presentation slide, make sure to
limit animation to just a few seconds.
Use animation as a tool to support your contents.
Do ask yourself. Does this look better animated or will it be
cleaner in its current position?
Use subtle animation effects (not every object has to move from
one side of the screen to another)
Do preview often. Make subtle adjustments and preview. Repeat.
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ACTIVITY SHEET 4.8-10
Simple In-betweening
Materials: Animation Paper
Drawing Pencil or Mechanical Pencil
Eraser
Tools
Peg bar
Equipment
Light box
Directions: Given a set of key drawings, perform simple in-betweening and
observe the Do’s and Don’ts of In-betweening.
11
2
3
4
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PERFORMANCE CRITERIA CHECKLIST 4.8-10 Yes No N/A
For acceptable achievement, all items should
receive a “Yes” or “N/A” response.
1.Keep it simple. Be selective about what object you
animate.
2. Don’t move every object across the stage.
3. Don’t animate first and then position your object.
4. Don’t animate all objects at the same time frame.
5. Don’t create long animation. Your audience has a
short attention span.
6. Keep it simple. Be selective about what object you
animate.
7. Position your objects as you intend them to be at
end of animation and then apply your animation.
8. Keep it short. If you creating a presentation slide,
make sure to limit animation to just a few seconds.
9. Use animation as a tool to support your contents.
10. Do ask yourself. Does this look better animated or
will it be cleaner in its current position?
11. Use subtle animation effects (not every object has
to move from one side of the screen to another)
12. Do preview often. Make subtle adjustments and
preview. Repeat.
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 4
ANSWER KEYS
ANSWER KEY 4.8-1
1. Animation Disc
2. Printable Storyboard
3. Peg bar
4. 3 Hole Punched ACME Puncher
5. X-Sheets
ANSWER KEY 4.8-2
1. Rough Dialogue Model Sheet
2. Turn Around Model Sheet
3. Rough Construction Model Sheet
4. General Final Line Model Sheet
5. Anatomical Study Model Sheet
Answer Key 4.8-5
1. C
2. D
3. B
4. B
5. C
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REFERENCES
“Cartoon Animation (Collector’s Series) Paperback – January 1, 1994.”
Cartoon Animation (Collector’s Series): Preston Blair: 9781560100843:
Amason.com: Books. n.p., n.d. Web. 18 June 2015.
“Drawing For Dummies Paperback – February 22, 2011.Drawing For
Dummies: Brenda Hoddinott, Jammie ombs: 9780470618424:
Amazon.com: Books, n.p., n.d. Web. 18 June 2015.
“Innovative Training Works. 2012. Digital Whizkids Computer Animation Using
Flash. Quezon City: Rex Book Store.
“The Illusion of Life: Disney Animation Hardcover – October 5, 1995.” The
Illusion of Life: Disney Animation: Ollie Johnston, Frank Thomas:
9780786860708: Amason.com: Books. n.p., n.d. Web. 18 June 2015.
Unctad.org. 2015. “Empretec Programme The Entrepreneur’s Guide.
Accessed November 26, 2015. http://
unctad.org/en/Docs/diaeed20093_en.pdf.
White, Tony. 2009. How to Make Animated Films: Tony White’s Complete
Masterclass on the Traditional Principles of Animation. Amsterdam:
Elsevier/Focal.
Competency Based Learning Material, Drafting Technology
Competency Based Learning Material, CSS
Procedural Guidelines Governing Occupational Safety and Health in the
Construction.
“Creating Characters with Personality”, Tom Bancroft, Introduction by Glen
Keane.
“The Animator’s Survival Kit”, A Manual Methods, Principles and Formulas for
Classical, Computer, Games, Stop Motion and Internet Animators.
Lynda.com, Pinterest, Miracleananimationstudioinc.com, angryanimator.com
Artstation.com Geronimo Stilton Animation Layout.
Quizanjacy.wordpress.com/2015/09/13/types-of-model-sheets/
www.patton-patton.com/basic_flow_chart_sy. http://www.lakeland
www.edrawsoft.com/flowchart.php
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http://johnkstuff.blogspot.com/2007/10/is-good-line-important.html
https://learn.canvas.net/courses/24/pages/m3-definitions-and-qualities-of-line
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