ANIMATION NCII – Animation 12b

Governor Pack Road, Baguio City, Philippines 2600

Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Producing digital cleaned-up key drawings

Objectives: At the end of this lesson, students shall be able to:

1) Identify the materials and equipment necessary for producing digital cleaned-up drawings;
2) Understand how to attain different line qualities according to size and stroke and how to
attain it using freehand and pen tool;
3) Understand the steps in producing digital cleaned-up key drawings;
4) Understand the concepts and principles into revising and editing digital cleaned-up drawings;
and
5) Apply concepts and principles by producing the clean-up of keyframes of varying clarity.

Materials and Equipment – Producing Digital Cleaned-Up Key Drawings

 Computer Equipment
o Desktop / laptop
 Ideal computer device to be used for producing digital cleaned-up key drawings
 Desktop units are the ones used in the industry
 Main characteristics:
- Has installed animation software required by the animation studio
- Enough processing speed, RAM speed, and GPU speed where the device does not lag
/ hang up when using the animation software
- Compatibility with animation software and drawing equipment
- Connected to a local area network
- Has slots to place in different delivery platforms
o Smartphone / tablet
 Alternative device that can be used for producing digital cleaned-up key drawings
 Not used in the industry, but can be used as a learning tool for the following lessons
 Main characteristics:
- Has installed animation application that is able to do digital clean-up and in-
betweening
- Enough processing and RAM speed where the device does not lag / hang up when
using the animation software
- Able to submit activities digitally through the Web
 Other characteristics:
- Compatibility with external drawing tablet
- Has slot to place in different delivery platforms (i.e. flashdrive)
- Able to detect pressure sensitivity from stylus / finger
- Has matte / satin protection for easier clean-up using a stylus
o Drawing and animation peripherals
 Drawing / Graphics tablet
- Main tool when using freehand digital clean-up
- Can also be used when utilizing the pen tool as a technique for digital clean-up
- Main tool when redrawing rough keyframe drawing digitally
- Allows for pressure sensitivity in the lines – making them more diverse
- Mostly used with a desktop / laptop; some models can be used with mobile devices
(i.e. new Wacom Intuos drawing tablets)
 Mouse
- Main tool when using the pen tool as a technique for digital clean-up
- Not meant to be used for redrawing or freehand digital clean-up
- Used with a desktop / laptop only; not used with mobile devices

Page 1 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Stylus
- Main tool when using freehand digital clean-up
- Can also be used when utilizing the pen tool as a technique for digital clean-up
- Main tool when redrawing rough keyframe drawing digitally
- Allows for pressure sensitivity in the lines – making them more diverse
- Usually compatibility with the device is necessary to see pressure sensitivity in the works
- Mostly used towards mobile devices; can also be used to laptop units with touch-
screen integration
 Animation Software
o Animation software varies from every studio – which would help suit their needs
o Main characteristics:
 Has timeline feature – frame animation
 Customizable timing and resolution features (i.e. number of frames, frame rate, pixel
resolution, etc.)
 Allows for creation and editing of different layers
 Has brush, pen, and eraser tools for clean-up and redrawing; can modify these tools (i.e.
color, size, texture, etc.)
 Can export an animation to either moving image or video
o Other characteristics:
 Has separate exposure sheet layer
 Has paint bucket / fill tool to add base colors
 Allows for blending / shadowing / highlighting
 Allows for adding of textures
 Has compositing and video editing properties (i.e. camera, filters, effects, etc.)
o For this subject, any free animation software will do, as long as it is able to satisfy the main
characteristics and is compatible with the device that is being used
o Examples:
 Krita  Adobe Photoshop
 FlipaClip  Clip Studio Paint
 Animation Folder
o The animation folder in paperless animation is now through a digital file folder
 Acquired through the different delivery platforms
 There may be a physical animation folder, but with limited contents
 There may be a need to extract them before using
 Digital file folder may be named with the production information
- Animation name - Scene number
- Episode number and/or title - Character name (if applicable)
o Model sheets
 Standardized drawings of the characters in the animation
 File format: image (JPEG, PNG)
 Usually, only one character is assigned per person; so only one character is usually seen
inside the animation folder
 Different types of model sheets may be given according to the relevance of the character
and the standard of the animation studio
- Full-body turnaround - Clothing references
- Head turns - Height reference chart
- Common facial expressions - Mouth codes
- Common poses - Other types of model sheets
 A physical copy may also be given for easier reference

Page 2 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Storyboard
 Visual representation of the script used to help better visualize the scenes
 Can also help with visualizing the timing placed in the time chart and exposure sheet
 Usually, only parts of the storyboard are given per animator – and not the whole storyboard
 Only the parts that the animator should animate, along with some scenes before and after
 File format is usually a video / as an animatic (MP4, MOV, FLV, etc.)
 File format can also be digital images (JPEG, PNG) or moving images (GIF)
 May also not be given to the animator as well
o Layout sheets
 Rough images showcasing the shots with the proper scaling to the background and the
relationship of the assigned character other characters
 Includes the field camera to help scale the character according to the scene
 File format: image (JPEG, PNG)
 A physical copy of some of the important layout sheets may be given for easier reference
o Exposure sheets
 Used to guide the animator on a more precise and specific timing
 Used vis-à-vis with the storyboard (if present) and time chart
 File format: Spreadsheet (XLSX) or scanned image of the handwritten sheet (JPEG, PNG)
 Can be transcribed digitally and integrated to the raw animation format of the rough
keyframes
o Animation scene file
 Used to further visualize the scene with more specific raw material
 Can either include:
- Background images
- Rough drawings of the character timed
 Can also be integrated with the storyboard
 File format: video (MP4, MOV, FLV) or moving image (GIF)
o Key animation drawings
 Rough keyframes done by the keyframe / senior animator that is subject to clean-up
 File format: raw format according to the animation software (i.e. for Krita, it’s .kra)
 Rough Key Drawings and Breakdowns
o Rough keyframe drawings and breakdowns
 Actual rough drawings done by the keyframe / senior animation that is subject to clean-up
 Includes the following (usually placed in different layers):
- Actual rough keyframe drawing
- Frame label
- Time chart
- Special instructions
- Production information
 File format: raw format according to the animation software
o Time chart
 Main indication of the timing necessary for the sequence created by the keyframes
 Based on the rough keyframe drawings, along with the storyboard
 Indicated by the keyframe / senior animator with the aid of the animation director
 Works vis-à-vis with the exposure sheet
 Follows the same concepts and principles as that with traditional animation
 Format and styling may depend according to the animation studio
 Usually located at the upper right corner of the animation
 Multiple time charts may appear for different parts of the drawing

Page 3 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Special instructions
 Some instructions regarding the rough keyframe drawing that would aid the work of the in-
betweener and/or clean-up artist
 Placed around the animation frame itself or placed in a separate text file
- Separation parts - Line quality and stroke
- Mouth / lip-sync - Special effects (if integrated in
- Breakdown instructions the character animation)
- Cycles in timing (if possible) - Eye blinks / eye movement
- Shadow/ highlight indications - Timing specifications (with the
- Shading / highlighting instructions exposure sheet)
- Drawing registration instructions
o Production information
 Indicates the specifications of the sequences reflected in the animation keyframe
 Usually placed at the sides of the animation frame (lower left corner), as the file name itself,
or in a separate text file
- Name of animation - Character name (if applicable)
- Episode number and title (if - Name of animation studio
applicable) - Date and time
- Scene number
 Other Materials and Equipment
o Traditional drawing / animation materials and equipment
 Used to further aid the drawing and animation process
 Used by animators who have some difficulty in the mastery of digital tools
 Includes:
- Light box with peg bar
- Animation paper / normal bond paper
- Pencils and erasers
 Mostly used for:
- Modeling new character
- Aid for the redrawing process before the clean-up
- Aid for the rendering of the character
- Creating drafts of the animation before doing them digitally
o Mirror
 Mainly used as a basis for facial expressions
 Used by the animator to copy their own facial expressions, hand movements, and body
movements which is then integrated to the animated frames
 A small mirror is placed at the workspace of the animator for the facial expressions and
hand movements
 Some animation studios have full-body mirrors installed in-house to aid with the full-body
movements
o Camera
 Mainly used for rotoscoping more complex actions that may not be easily comprehendible
(i.e. fight scenes, turns, perspective drawing, etc.)
 Uploaded to the computer device using a removable data card or through a data cable
 Can also be used to take photos of the drawings done digitally

Note: In this subject and the succeeding lessons, the tools to be used is a desktop / laptop unit
with Krita installed. A drawing tablet shall be used for both the clean-up and redrawing process.

Page 4 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Creating Digital Lines

 Types of Digital Lines (According to Purpose)
o Outline
 Lines surrounding the entire perimeter of the character
 Lines differentiating parts of the character (i.e. face, hair, clothing, etc.)
 Usually the one that differentiates the character from the background
 Created with darker (black) and thicker lines

o Detail
 Lines creating the other parts of the character (i.e. eyes, hair strands, clothing folds, etc.)
 Used to detail the character
 Must not be too dramatic as not to pull attention from the outline
 Different from the outline to make a more dynamic aesthetic
 Drawn using thinner and/or lighter (dark gray) lines

o Shading / Highlighting
 Lines used to indicate the shadows and highlights in a character
 Used by the colorists / color artists to facilitate easier coloring by simply using a fill / paint
bucket tool to a solid shape
 Does not show in the final output, as it is blended with the final colors

Page 5 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Drawn in different colors [other than black] to showcase their purpose:

- Yellow – shadow for the skin
- Cyan – shadow for the hair and clothing
- Red – highlight for the hair and clothing

Note on Using Shading / Highlighting Lines: This technique is better seen in Japanese animation
and not so much on Western Animation. The colors would vary from studio-to-studio; and some
would even use specific colors to shade the parts that need to have shadow / highlight.

 Styles of Digital Lines

o Standard
 Clean, consistent line throughout the entire character
 Mostly seen in early Western animations; standard for traditional animation

o Tapered / Feathered
 Emulates the movements of brush strokes
 Middle of the lines are thicker; corners and ends of the lines are thinner
 Can be seen in more modern Western and Japanese animations; standard for paperless
animation

Page 6 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Cornered
 Corners and ends of the lines are thicker
 Middle of the lines are thinner
 Seen in more modern Western animations

o Textured
 Can be found with other combinations of line quality types
 Done almost exclusively on hair or fur-typed surfaces
 Shapes are uneven, creating a natural, rugged pattern

o Messy
 Roughest type of line quality
 Fastest type to complete
 Composed of short strokes completing a line
 Line strokes are prominent all over the character
 Mostly seen in low-budget films or for more aesthetic purposes

Note on Using Styles of Digital Lines: If the animation studio relies on using the pen tool for clean-
up, then it would be using the standard clean-up line. If it relies on freehand clean-up, then it
would be using the tapered / feathered clean-up line.

Page 7 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Brush Settings
o Introduction
 When doing clean-up using paperless animation, it would be using the brush settings –
whether it be using the pen tool or freehand animation
 Different animation software might not have the following settings or may have more than
what is stated here
 For this section, the brush settings in Krita is the one that shall be highlighted; some settings
in other drawing / animation software might also be stated (Adobe Photoshop, Clip Studio
Paint, Paint Tool SAI)
o Type
 Indicates what type of brush shall be used
 In Krita, there are different preset brushes that emulate real-life drawing tools (i.e. pencils,
pen, ink, charcoal, etc.)

 By choosing the brush type, the texture, opacity, pen tilt / angle, scattering / spacing, and
noise is set
 These settings can also be changed according to the preferences of the animation studio
and the client
 New brushes can also be created or imported to the software

Note – What Brush Type to Use: For digital clean-up, it would be best to have the basic brush but
turn on the pressure sensitivity, and change the hardness and/or opacity to 100%. For Krita, use
Digital >> Ink (Basic-1).

o Size
 Determines how big / small the brush is
 The sizing depends on:
- Frame dimensions and resolution
- How far / near the character is to the camera
- According to animation studio standards

Page 8 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Color
 Found at the upper left corner, at the left side of the brush type
 Usually a solid color; can also be used as a gradient
 There are two color swatches that can be used and are interchangeable

 Color is expressed by its RGB values and/or its hex code

- Black hex code: #000000 or #000
- Black RGB values: R: 0, G: 0, B: 0
 Default color for digital clean-up (main) is black, a variation of black, or dark brown;
secondary color could be white or a gray color
 Colors can be interchanged by clicking on the color swatches and changing the hue
(circle), then value and saturation (triangle)
- One can also change from the preset colors
- One can also type in the hex code and/or RGB values for a more accurate shade
 The colors can also be saved in a palette for future use

o Texture
 Determines the ‘visual feel’ of the brush
 Usually determined by the brush type
 A texture can be modified by selecting some predetermined textures or importing a
texture
 Texture can also determine the opacity, hardness, and flow of a brush – which is then used
for visual effects

Page 9 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Opacity
 Determines the transparency of the brush (i.e. alpha code)
- Lower opacity – higher transparency; objects behind the brush can be seen
- Higher opacity – lower transparency; objects behind the brush cannot be seen

 Clean-up lines usually have a 100% opacity

o Hardness
 Determines how visible the edges are
- Higher hardness – edges are more intense and visible; pressure sensitivity is less visible
- Lower hardness – edges are blurred; pressure sensitivity is more visible
 In Krita, hardness is integrated within the brush type

o Flow
 Determines how much of the brush is being seen within one stroke
 Integrates concepts of opacity
- Lower flow – lower opacity within one brush stroke
- Higher flow – higher opacity within one brush stroke
 Usually relevant if there is a need to build up from the existing brush strokes

Page 10 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Other Factors in Creating Lines

o Pressure sensitivity
 Focuses on how much the device is able to mimic the pressure created by the hands

 Applicable only to drawing tablets and touch-screen devices; not for the mouse
- However, some drawing applications can simulate pressure sensitivity when using the
pen tool
 In Krita, it is known as precision – which also integrates stabilization

o Jitter
 Variation in how often a signal is being generated; slower jitter could affect how smooth a
line could be

o Stabilization
 Setting wherein the software shall automatically smoothen the line drawn in real-time
 A higher smoothing can also mean that there is little variation to the line
 Exclusively applicable to drawing tablets and touch-screen devices

 In Krita, it is known as precision – which also integrates pressure sensitivity

o Base
 There would be a traditional pencil clean-up used as a basis
 Main purpose would be to make the lines thicker and more diverse
Page 11 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Pen tilt / angle

 Refers to how much the brush would tilt to create different line thickness
 Only applicable to flat-type brushes and not to round-type brushes
 Some brushes are also only usable for specific drawing tablet models (i.e. older Wacom
tablets might not be usable for this feature)
 In Krita, it is known as rotation

o Scattering / Spacing
 Refers to how much spacing there is within a line; represented by dots or bulges within the
line
 Usually applicable only to special effects brushes
 Usually based on the pressure sensitivity
 Also related to the noise (amount of dot-based distortions within the line)

 Do’s and Don’ts in Clean-Up Lines

o Check settings
 Before starting with the clean-up proper, check the brush settings before proceeding
 Having the correct settings according to animation studio guidelines is the most relevant
step to make sure that the clean-up is consistent
 Usual brush settings:
- Type: Digital ink (Krita); basic pen - Color: black (#000000)
(every other program) - Hardness: 100%
- Size: around 2-5px (similar to a 0.5 - Opacity: 100%
mm pencil in accordance to the - Flow: 100%
dimensions of the file) - Texture: none
o Maintain consistency
 Clean-up is a significant factor in making animations consistent
- Having an inconsistent animation would break the immersion of the viewer
- The clean-up usually brings in the entire animation together, even if the drawing styles
per character were different
 Check with the animation studio (senior animator, supervisor, department head) on what
type of clean-up line shall be used for the scene
 Countercheck with existing works (if possible) to see how it is done previously
o Prevent overlapping lines
 Make sure that any lines that meet each other would only meet at one specific point
- Exceptions to this are the details that do not connect with other lines (i.e. hair strands)
- That point should also be the same size as the thickness of the lines

Page 12 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 The edges of the lines also must be of the same size, and not too thick at the end
- Too thick lines will cause the edges not to be colored when using the fill tool

 However, if an overlapping line is created, it is possible to cleanly erase it

- Use a small-sized eraser with 100% opacity and hardness to erase
- Erase it cleanly, making sure that the lines are aligned even at a pixel-level
- If possible, it is better to undo and then draw the line again rather than erasing

o Prevent opening lines

 Generally, no line should be unconnected with another line
- Exceptions to this are the details that do not connect with other lines (i.e. hair strands)
 Make sure that there are no gaps within the outline of the character, especially if the gap
compromises the fill-bucket tool
 An overlapping line is slightly better than an opening line
- It is possible to cleanly erase an overlapping line than to redraw an opening line
- However, if possible, always undo the overlapped line and then draw the line again

o Prevent wriggly lines

 Make sure that the creation of the lines are smooth and seamless and are free of any jitters
 Some techniques:
- Use the stabilization tool on the drawing software to make sure that the lines are smooth
- Draw the lines faster, while still taking into consideration the control
- Use a marker tool instead of a pen / pencil tool (if possible)
- Increase the hardness and opacity (if possible)

Page 13 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Draw the lines in as little motions as possible

 Prevent from using shorter strokes so that any overlapping is prevented
 Drawing longer strokes activates the stabilization better and prevent any wriggly lines
 Doing this technique requires mastery of digital clean-up (especially if using freehand
clean-up) and hand control

o Overshoot if necessary
 Extend the lines a bit longer than expected, and then cleanly and accurately erase the
tails of the lines
 This would allow for a better line (in terms of stability) without overtly undoing the line
 These are more for the clean-up artists who aren’t well-versed in control for digital clean-up
 Applicable when tracing existing lines (i.e. making lines thicker from the pencil clean-up)
o Better to undo than erase
 If possible, always undo the line if drawn imperfectly then do it again
 Erasing is only possible if there is little to erase
o Create multiple passes
 If doing a rough keyframe drawing, it is necessary to do clean-up multiple times before
getting the final drawing
 This is so that the lines are cleaner and more seen compared to the next one
 Adjustments to the modeling may also be done that was not seen during the first few
passes

Techniques for Digital Clean-Up

 Freehand
o Utilizes arm and hand movements from the stylus to create the final digital clean-up lines
o Mimics traditional clean-up techniques to achieve this style
o Utilizes the brush tool and a drawing tablet / stylus to achieve it
o Final line usually results to a raster format
 Raster / Bitmap
- Utilizes a pixel (picture element) – smallest single element of a display device
- Usually used for a lower compression, and therefore lower size
- Cannot be constantly resized or else the quality would be compromised
o Advantages:
 Has similar feel and output to traditional animation
 Allows for a more diverse line quality
 Can be used for redrawing digitally
Page 14 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Disadvantages:
 Can take a longer time to do clean-up than the pen tool
 Requires specific materials and equipment to achieve
 Less consistent than the pen tool
 A learning curve is present due to the need to learn on how to use a drawing tablet
 There is a need to redraw / undo if there are any mistakes
 Cannot be resized since it is pixel-based

Image reference: https://thumbs.gfycat.com/ConsiderateHeartfeltAvians-small.gif

 Pen tool
o Utilizes settings from the pen tool from the mouse / stylus to create the final digital clean-up
o Requires the creation of anchor points and its manipulation to create curves and lines similar
to that of freehand drawing
o Can be done by using more accessible equipment such as the mouse / trackpad
o Final line can either be a raster or vector format
 Vector
- Utilizes points and mathematical equations to determine the creation of the lines and its
distance
- Allows for constant resizing without compromise in the quality of the line
- Usually has a larger file size
o Advantages:
 Takes lesser time than freehand
 Can be done by using more accessible equipment
 More consistent in terms of line thickness and quality
 Allows for reshaping even after the line has been set
 Can be resized and the quality will not suffer (vector-based)
o Disadvantages:
 Can appear more flat than a freehand clean-up
 Requires some learning time to achieve

Image reference: https://cg.algonquindesign.ca/images/illustrator-draw-new-tools/curvature-tool.gif

Page 15 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Delivery Platforms
 Types of File Formats
o Raw
 Also known as internal file formats
 Shows raw options that may not be visible to the final format which can be edited (i.e.
layers, transparency, opacity)
 Used for the creation and editing of the animation frames for almost all steps in the
production stage
- Different steps in the production stage may use different software, and as such, may
differ
 Usually exclusive to the software, but some software have compatibility measures so that
the file can be opened even though it is not the file format of the original software
- Example: Krita can open Adobe Photoshop files (.psd) even though its default is .kra
 Examples:
- Krita: .kra - Clip Studio Paint: .flip
- Adobe Photoshop: .psd - FileAlpaca: .mdp
- FlipaClip: .fci - Adobe Flash: .fla
o Video
 Format used for video files (moving images and audio)
 Usually the final format for most commercial animations
 Used for longer animations (more than three seconds)
 Different video file formats can affect:
- Encoding – the quality of the raw data being translated into the final format; usually
includes the resolution, frame rate, color gamut, among others
- Compression quality – affects the quality of the pixels
- Compression size – how much of the raw data can be compressed into one file
 Would again depend on the needs of the animation studio and the client, and is usually
decided according to the specifications of the release:
- Platform: TV, film / cinema, web, mobile
- File size
- Quality of the animation (frame rate, resolution, color gamut, etc.)
 Common Examples:
- MP4 (MPEG-4 (Moving Pictures Experts Group) Part 14) – most common type
- MOV (Movie Quicktime) – utilizes Apple’s QuickTime player
- WMV (Windows Media Video) – utilizes Windows Media Player
- AVI (Audio / Video Interleave) – earlier video file format
- FLV (Flash Video) – initial video file format for Flash projects
- MKV (Matroska Video File) – carrier for high-definition online video
o Image
 Format used for moving images only without any sound
 Can be a final format
 Used for shorter animations (less than three seconds)
 Different file formats can affect:
- File size – affected usually by how the raw file is encoded into a final image
- Photo compression technique – determines whether the image is raster or vector; also
known as the encoding
- Frame rate
- Color gamut – full range of colors to be used within an image; affects the encoding;
depends on the delivery platform

Page 16 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Would again depend on the needs of the animation studio and the client, and is usually
decided according to the specifications of the release:
- Platform: TV, film / cinema, web, mobile
- File size
- Quality of the animation (frame rate, resolution, color gamut, etc.)
 Common Examples:
- GIF (Graphics Interchange Format) – most common type
- SWF (ShockWave Flash) – final image output for Flash animations
 Aspect Ratio
o Introduction – Aspect Ratio
 Ratio between the width (horizontal length) and height (vertical length) of a display or file
 Expressed in A:B
- A is the width and B is the height
- There are no units of measurement used
 Importance:
- If the ratio of an image is different than the ratio of your screen, then the whole image
may not be seen
- Knowing the proper aspect ratio optimizes the visual experience of the viewer based on
the screen size where it shall be viewed
 Different aspect ratios are used according to the platform that it shall be released:
- Film / cinema - Mobile
- TV - Web
- Desktop

o Common Aspect Ratios

Aspect Ratio Sample
and Other Description Applications Dimension
Terms (in pixels)
1:1 Allows for use regardless of Social media videos 1080px x
Square screen orientation (portrait or (Facebook, Instagram) 1080px
landscape)
4:3 / 1:3:1 Standard television size CRT television sets 640px x
Academy Originally used due to the Early TV shows and cartoons 480px
Format design of early cameras E-readers
16:9 / 1:7:1 International standard format British TV 1920px x
HDTV of HDTV Non-HD digital television 1080px
Initially used to complement Desktops, laptops, and
the DVD smartphones screens
Current digital standard Most digital videos
9:16 Used for digital devices Social media advertisements 1920px x
Vertical (smartphones) Social media stories 1080px

Page 17 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

16:10 / 8:5 Previous standard for digital LCD monitors 1440px x

devices (laptops and Laptop displays 900 px
smartphones)
1.85:1 Used to distinguish films shown US-release films 2160px x
Cinema in cinemas from digital movies Games advertised with 4K 1080px
Widescreen Most common aspect ratio for resolution
film
Emerging aspect ratio for 4K
resolution in digital media
2.35:1 / AKA ultrawide format European-release films 2560px x
2.39:1 / 21:9 Used to shoot using a camera Modern smartphones 1080px
Anamorphic with the illusion of a
Format widescreen

 Resolutions
o Introduction – Resolutions
 Also known as display resolutions, display modes, or pixel dimension
 Number of pixels in each dimension that can be displayed in a screen, image, or video
 Usually related to aspect ratio
- Particularly in terms of height
 Expressed in PPI, PDI, or P
- PPI – pixels per inch; DPI – dimensions per inch; P – pixels
- In this lesson, both P and PPI shall be used
 The higher the resolution, the higher the file size
 Importance:
- Optimize viewing experience (i.e. A 4K video is useless if the screen to display is only in
1080p)
- Optimize file size according to the viewing experience
- Prevent pixels from being seen individually, instead should be a part of the image
- Proper translation from a digital format to a printed format
o Image Resolution (PPI)
 Web format – 72 ppi
- A lower resolution is ideal for projection in the web in consideration to download speed
- If the resolution is too high for web, then it would be slower to load and would not be
translated properly
- Recommended height for images: 400px – 600px in height
 Video format – 300 ppi
- It is assumed that the video format shall be distributed through physical / digital means,
and not meant to be streamed through the web
- Priority is more into the quality rather than the file size
- Recommended height for images: around 1080px
o Video Resolution (p)
 Lower resolution (144p, 240p, 480p)
- Intended to be uploaded to the web and streamed and for smaller-screened devices
such as mobile phones
- Allows for faster streaming, but usually results to a lower video resolution quality
- Can affect other factors of a video such as frame rate and color gamut
- Recommended for raster-based videos
- Video dimensions does not necessarily come into play

Page 18 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Higher resolution (720p, 1080p, 4K)

- Intended to be distributed and viewed offline
- Priority is more into the quality rather than the file size
- Helps into facilitating other factors of a video such as a higher frame rate and wider-
ranged color gamut
- Recommended for vector-based videos; can also be used for raster as well
- 720p dimensions: at least 720px in height; typical video dimensions is at least 1280p x
720px
- 1080p dimensions: at least 1080px in height; typical video dimensions is around 1920px x
1080px
- 4K dimensions: at least 1080px in height; typical video dimensions is around 2560px x
1080px

Steps in Producing Digital Cleaned-Up Key Drawings

 Preparation of Materials and Equipment
o Focuses on making sure that the proper materials and equipment necessary for digital clean-
up is present
o Computer and other equipment
 Computer should be able to handle the resources (RAM, ROM, processing speed) that is
required by the animation software and the project
 Computer should have the necessary drivers installed for the drawing tablet
 If using a drawing tablet, optimize the settings according to the company guidelines and
to suit the animator’s needs and preferences
- Program the buttons onto the tablet – preferably for undo, redo, and increase /
decrease brush size
- Program the buttons onto the pen – preferably undo and color picker
- Check that the sensitivity of the drawing tablet is up to par
- Check the pen nib if it is still in working condition; replace if necessary
 If using a mouse:
- Check if the mouse is sensitive enough according to the preferences of the animator
- Change the settings of the mouse sensitivity onto the computer’s settings
- Ensure that any distractions in using the mouse is removed
- The animator has enough space to manipulate the mouse
 Ensure that the environment would also for comfortable drawing and animating for a few
hours
- The computer and its peripherals are set in a sturdy table
- The drawing tablet is preferably placed in front of the screen to optimize consistency
- The chair is comfortable that allows for seating for hours without any strain
- If using a drawing tablet, use an animator’s glove to ensure that the heat transfer from
the tablet is minimized
- Utilize any other equipment that would aid in proper posture and care to the body
o Software
 The animation software used must be the same with what is being used by the keyframe /
senior animators and in-betweeners
- If not, then make sure that the software is able to read the raw file formats
 If possible, animation software should be the latest version
 Ensure that the animation software is also legitimate
 Any patches that is necessary for the animation software must be installed

Page 19 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Software must respond to any pressure sensitivity changes that is reflected on the mouse
and/or drawing tablet
 Familiarize oneself with the use of the software, its environment, and features before
starting
o Modeling
 If assigned a character, there is a need to study the modeling of the character
 It is assumed that the animator knows how to draw the assigned character even before
receiving the animation folder
 Draw the character first traditionally, and then move to digital drawing
 A period where the animators are asked to practice the modeling is usually set during the
pre-production stage
o Others
 Usually, a storyboard pitch with the entire animation team shall be done by the animation
director or storyboard artist to let everyone know what shall happen
 Another orientation may be given by the department head if there is a need to talk about
specific scenes
 Receiving and Checking of Animation Folder
o The animation folder can come in two ways:
 Digital format – file folder; can be placed in a compressed folder (.rar, .zip)
 Printed format – usually for any model sheets and the exposure sheet
o Counter check the name of the animation folder and make sure that it is assigned to you; if
not, return to the supervisor
o Usually, a checklist is given to the animator (either beforehand or inside the folder itself) stating
the contents of the folder
o Check the contents of the animation folder to ensure that it is reflected in the checklist
o Countercheck that the files have the proper extension names (i.e. .jpg, .kra) to prevent any
instances of Trojans or other malware
o Also check beforehand if the files are properly named and is not corrupted
o If there are any errors in the contents, report immediately to the assigned supervisor
 Any lapses in the animation folder and its contents, when not reported, shall then be
accounted to the animator assigned, even if the mistake was not theirs in the first place
 Checking of Rough Key Drawings and Breakdowns
o The rough key drawings are usually placed as a raw file format native to the animation
software assigned
o Based on the checklist on the animation folder, ensure that the scene is the one that is
reflected
o Ensure that there are at least two frames in the file, together with a time chart placed on the
first keyframe
 Breakdown frames may also be present
 All frames must be labeled and reflected within the time chart
o Use the play preview button on the animation software to check the movements
o Countercheck with the time chart, exposure sheet, and animation previews (i.e. storyboard,
layouts) to make sure that the received keyframes are assigned to you
 If not, report to the assigned supervisor
 Analysis of Rough Key Drawings
o Addition of new layer
 As a safety net, add a new layer on top of the original layer
 This layer can be used to draw over any corrections that can be seen, and also to catch
any accidental markings that would be made

Page 20 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Items to analyze
 Main action and its consistency with the time chart and exposure sheet
 Special instructions
 Secondary actions and its consistency with the time chart and exposure sheet
 Overall appeal, line of action, and silhouette of the pose
 Facial expressions, how the facial elements are moved, and overall appeal
 Forward and inverse kinematics
 Modeling and detailing
o Consultation and reporting
 Analyze all of the necessary aspects of the rough keyframe and breakdown drawings
before moving on with the reporting, consultation, and redrawing
 If there are any errors that are stemmed from the keyframe animator (i.e. time chart and
exposure sheet are inconsistent), then report immediately to the supervisor
 If there are any unclear instructions or aspects to the rough keyframe drawing, consult only
one time to the following, if applicable:
- Keyframe / senior animator
- Department head
- Animation / art / episode director
 Redrawing
o Addition of new layer
 As a safety net, add a new layer on top of the original layer
 One can use the same layer from the analysis stage or create a new one for the redrawing
process
 Adding more layers is recommended if there is some uncertainty during the process
o Customizing brush settings
 Use brush settings that are different from the final line and rough keyframe drawings
- Color: If the rough keyframe’s color is blue, then a reddish / orange color may be used
or vice versa; it is possible to use more than one (1) color for the redrawing as long as it
is different from the
- Opacity: Usually slightly lower than that of the rough keyframe drawing(s)
- Hardness: Use 100% or a high hardness percentage to ensure that there would be no
uncertainties within the redrawing process
- Flow: Use 100% or a high flow percentage to ensure that there would be no
uncertainties with the drawing process
- Texture: Texture could also be changed to further differentiate the rough keyframe
drawings from the redrawing lines
 Create a preset for this that is separate from the final line in case it is needed once more
when revisions or editing is necessary
 Test the new brush settings against the rough keyframe and the final line if possible to
ensure that there is enough difference between them
o Editing the rough keyframe layer(s) for redrawing
 If possible, create different folders for the rough keyframe drawing and redrawing layers to
further ensure that no new markings would be added to the original rough keyframe layers
 Change the opacity of the rough keyframe layers to a lighter one so that the focus would
be on the layer(s) for redrawing
 Lock the rough keyframe layer(s) so that it would not be redrawn / moved accidentally
during the redrawing process
 Prevent from shifting to different layers to prevent accidentally drawing on the original
layer

Page 21 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Redrawing proper
 Based on the analysis stage, redraw anything that might need to be changed first
 Afterwards, focus on tracing the other areas that are acceptable from the rough keyframe
drawings
 Recreate more layers and redraw if necessary to tighten the overall frame to reduce any
confusion for the actual redrawing process
 Depending on the animation studio’s guidelines, the other redrawing and analysis layers
after the final redrawing layer is done be removed to reduce the file size
o Line-testing and saving
 Use the play preview button every now and then to ensure that the quality of the action is
not lost
 Constantly save the work at least every five minutes to ensure that the work is not lost in
cases of accidents during the process:
- Use the shortcut buttons on the keyboard
- Program a save option on the drawing tablet’s express keys
- Use the mouse / drawing tablet to save the frame
 Clean-Up Proper
o Create a new layer for the final clean-up line
 In some animation software, there is a specific linework layer that needs to be triggered to
use the pen tool
o Use the brush settings used for the clean-up proper
 Color: Black or a darker shade (dark gray, dark brown, etc.)
 Opacity: 100%
 Hardness: 100%
 Flow: 100%
 Texture: Flat / basic
o Take note of the proper line quality and stroke as prescribed by the animation studio
o Follow the do’s and don’ts of a clean-up line and ensure consistency between the other
clean-up lines from other scenes
o The frame label, time chart, and special instructions should be placed on a separate layer
o Depending on the animation studio’s guidelines, the redrawing layers be removed after the
clean-up process to reduce the file size
 Exporting
o Usually, the file is saved into two file formats:
 Raw file format – showcases all of the layers; used for the next steps in the production
stages
 Moving image / video format – used for line-testing to be shown to the animation director /
keyframe animator
o Follow the naming conventions that is prescribed by the animation studio
 Submission
o Ensure that all contents from the digital animation folder are unchanged (except for the rough
keyframe file) and are all placed in the file folder
o Compress the file folder again and rename appropriately
o Submission can either be done:
 Non-volatile storage devices: USB flashdrives, CD/DVD, etc.
 Digital submission: email, LAN network
o Ensure that the files only be received by the proper persons
o Arrange the contents of the physical animation folder as well before submitting to appropriate
personnel

Page 22 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Revision and Editing

o In cases where there are mistakes or points for improvement for the clean-up that was
created, it shall be sent back to the clean-up artist with the proper revisions
o Read and understand the revision calls and change as necessary
o If possible, do a version control for the files to keep track of any changes and to go back for
reference if necessary

Editing and Revising Cleaned-Up Key Drawings

 Personnel Involved for Quality Control and Monitoring
o Animation director
 Head of the entire animation and its production, including its design and overall quality
 Overtakes quality control and monitoring for small animation studios with around less than
fifty (<50) animators
 Monitors the progress of the entire production team
 Work can be received from them and work finished can be submitted to them
 Conducts line testing and checks the quality of the clean-up
o Departmental head
 Head of a certain part of the production (usually divided according to a character)
 Possibly also a keyframe animator
 Overtakes quality control and monitoring for small animation studios with less than a
hundred (<100) animators
 Monitors the progress of the entire department
 Work can be received from them and work finished can be submitted to them
o Production assistant
 Staff that monitors the progress of each animator (keyframe, clean-up, in-between)
 Usually seen in animation studios with a few hundred animators
 Each production assistant aids either the departmental head or production manager
 Possibly not an animator; may not know animation skills
 Work can be received from them and work finished can be submitted to them
o Production manager
 Staff that can head the progress of the animators
 Would usually have other production assistants under this person
 Usually seen in bigger animation studios with some hundred animators
 Possibly not an animator but must know animation concepts and skills
 Manages the work done by the production assistants
o Supervisor / trainer
 In-situ for the person in-charge of quality control and monitoring when learning how to
animate in an educational institution
 Revision Calls
o Corrections within the work that must be corrected by the same / different clean-up artist
o Checked by the animator director or supervisor
o Usually observed during the line-test procedure; before doing the rough in-betweens
 Types of Revision Calls
o Record Keeping
 Drawn on layer for rough keyframe drawings
 Disorganized submission of animation folder
 Missing cleaned-up key drawings
 Missing rough key drawings
 Missing drawings

Page 23 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Missing exposure sheet

 Missing layout
 Missing model sheets
 Missing storyboard
 Wrong counting of drawing contents
 Wrong label
o Modeling
 Off-model drawings
 Missing details
 Misplaced details
 Wrong costume or props
o Clean-Up Quality
 Wrong mouth chart / lip-sync used
 Poor line quality
 Incorrect line quality
 Wrong eye direction
 Wrong pose / facial expression
 Wrong light direction / shadows / tones / highlights / mark up
 Some Interventions – Revision Calls
Revision Call(s) Intervention(s)
Missing rough key drawings,  Exhaust all means necessary to find for the missing items
drawings, exposure sheet,  If unable to find, it may cause a violation (violations may
layout, model sheets, and/or depend from studio to studio and according to the
storyboard contract: deducted salary, reduced workload, file a criminal
case, etc.)
Drawn on layer for rough  Remove meticulously any markings and replace any
keyframe drawings erasures done due to overdrawing
 Might not need interventions since animation studios have
another copy of the rough keyframe drawings
Missing cleaned-up drawings  Refer to animation folder contents and instructions from
keyframe animators and supervisors to produce the
necessary cleaned-up drawings
Disorganized submission of  Countercheck the name and placement with the checklist
animation folder  Arrange the placements of the contents based on the
checklist
 Ensure that the contents are neatly packaged and/or have
a clip to make sure that the contents do not slide around
Wrong counting of drawing  Countercheck with the checklist and the exposure sheet
contents and/or wrong label with the counting of the frames and other drawing contents
 Properly add labels if necessary
 Arrange the placements of the contents based on the
checklist
Missing drawings  Exhaust all means necessary to find for the missing items
 If unable to find, redraw if possible
 If unable to find, it may cause a violation
Off-model drawings,  Consult with the keyframe animator, art director, or
misplaced details, and/or animation director regarding the aspects that result to off-
wrong costume or props modeling

Page 24 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Redraw any mistakes done due to the modeling; follow all

steps and record keeping and quality procedures
 Rejoining the training / workshop on how to do modeling
and/or character in question may be necessary
Wrong mouth chart /lip-  Consult with the keyframe animator, art director, or
synced used, wrong eye animation director regarding the aspects that result to the
direction, wrong pose wrong direction
and/or facial expressions,  Countercheck mistakes with what is placed in the
wrong light direction / storyboard, layout, field camera, and exposure sheet
shadows / tones / highlights /  Redraw any mistakes done due to the wrong instructions;
markup follow all steps and record keeping and quality procedures
 Rejoining the training / workshop on animation concepts
and principles may be necessary
Poor line quality and/or  Consult with the keyframe animator, art director, or
incorrect line quality animation director regarding the aspects that result to the
incorrect line and/or poor line quality
 Do the entire clean-up process again while taking note of
the proper line quality stroke and the do’s and don’ts; follow
all steps and record keeping and quality procedures
 Rejoining the training / workshop on digital clean-up may be
necessary

 Exporting and Submission

o Ensure that all portions of the animation folder and clean-up have been addressed
o Compress the file folder again and rename appropriately
o Submission can either be done:
 Non-volatile storage devices: USB flashdrives, CD/DVD, etc.
 Digital submission: email, LAN network
o Ensure that the files only be received by the proper persons
o Arrange the contents of the physical animation folder as well before submitting to appropriate
personnel

References:
 Blair, P. (1994). Animation. Walter Foster Publishing: California.
 George. (n.d.). Job 1 – Clean-Up Artist, TAFE NSW Sydney eLearning Moodle. Retrieved
from https://sielearning.tafensw.edu.au/toolboxes/Animation/jobs/job1/ca/j1_ca_pr.pdf
 George. (n.d.). Studio Tour – Clean-Up Artist, TAFE NSW Sydney eLearning Moodle.
Retrieved from
https://sielearning.tafensw.edu.au/toolboxes/Animation/tour/ca/s_ca_pr.pdf
 Technical Education and Skills Development Authority (2018 February 27). Training
Regulations for Animation NCII – Version 02. Quezon City
 Williams, R. (2001). Animator’s Survival Kit. Faber and Faber: United States.

ACTIVITY 3: Self-check 2
Instructions: Read, understand, and analyze the questions. Choose the letter of the BEST answer to
the question. (15 items, 15 pts.)
1. Which content of the animation folder can be given traditionally?
A. Animation scene file C. Rough keyframe drawings
B. Model sheets D. Storyboard

Page 25 of 26
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 3 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

2. Which content of the animation folder is the one that needs to be cleaned-up?
A. Animation scene file C. Rough keyframe drawings
B. Model sheets D. Storyboard
3. Which of the following is not necessary for digital clean-up?
A. Drawing tablet C. Mirror
B. Light box D. Scanner
4. Which part of the clean-up line is invisible in the final output?
A. Detail C. Shading
B. Outline D. Texturing
5. What line style is the default for digital clean-up?
A. Cornered C. Standard
B. Messy D. Tapered
6. What line style is the most cost-effective for digital clean-up?
A. Cornered C. Standard
B. Messy D. Tapered
7. Which of the following is not a fundamental brush setting?
A. Color C. Jitter
B. Hardness D. Size
8. Which of the following is changed the most when doing the actual clean-up?
A. Color C. Jitter
B. Hardness D. Size
9. Which of the following is recommended when doing digital clean-up?
A. Check brush settings first C. Have opening lines
B. Clean-up is done in one pass D. Have opening lines
10. Which of the following is not recommended when doing digital clean-up?
A. Use the eraser C. Use shorter strokes
B. Use longer strokes D. Use undo shortcut
11. Which of the following does not describe the pen tool clean-up technique?
A. Raster-based C. Uses drawing tablet
B. Vector-based D. Uses mouse
12. Which of the following does not describe the freehand clean-up technique?
A. Best for redrawing C. Best for tapered line quality
B. Best for standard line quality D. Has a learning curve
13. Which file format type is used for the rough keyframe drawings sent for line-testing?
A. .fla C. .kra
B. .gif D. .mp4
14. Which of the following is not a recommended delivery platform setting on an animation episode?
A. 24 fps C. Anamorphic ratio
B. 720p D. MKV format
15. Which of the following is the error least found when producing digital cleaned-up key drawings?
A. Drawn-over rough key drawings C. Off-models
B. Missing in-betweens D. Poor line quality

How to Submit:
 Answer “2: Self-Check 2” under “Module 3 – Producing Digital Cleaned-Up Drawings”.
Submission Channels:
 Canvas K-12 LMS (Quizzes)

Page 26 of 26