Animation NC II

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Module 4: Model Sheet

Course Learning Outcomes:
1. Define the character model sheet
2. Identify different types of model sheet
3. Draw basic character model sheet.

Character Model Sheets are the 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 or so artists
working on the production toward making all the characters look “ON
MODEL”. “ON MODEL” means the model sheets have been followed to
perfection as if one artist (instead of over 300 ) has drawn the character. Be-
low is a Model Rotation - its purpose to show the character from all sides.

Notice how the character is draw in the front, profile (side), 3/4 and back
views. This is called a CHARACTER ROTATION.
For this lesson we use a simple shaped character. A simple shaped charac-
ter uses one basic shape or FORM for the main body of character.
Below are three options you should consider for your character design.
They are: a ball, a triangle (or cone) and a combination - a ball and a cone.
Please keep in mind the dimensional aspects of your drawing - in other
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words what appear to be SHAPES are really 3D FORMS.

PLEASE NOTE - Try to design people or animals...NO ALIENS, IN-

SECTS OR ROBOTS! Draw the simple shapes in the views to match the
characters rotation. When in doubt ALWAYS go back to basics.
A CHARACTER ROTATION should include a front view, back view, 3/4
view, and profile view of the character. These views help the animator (s)
understand the character's construction and proportion. The rotation also in-
sures the character design can be turned. The ability to turn a character is
an element of animation which increases the character's believability.
The easiest and best way to draw out a Rotation is to break down the char-
acter into its simplest forms. .. then you just rotate the forms. Here the
model sheet of Matt is distilled into simple forms. (Pads for the hands and
feet, cylinders for the arms and legs, a ball for the body and a ball for the
head.
Here's a design tip - make the ball of the head and the body different sizes
(big head with small body or small head with a big body).
REMEMBER: The head (and neck if seen) are ALWAYS on the FRONT
side of the body (refer to the Toon Institute lesson on Character Design for

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more details).

Once the basic forms are drawn - the details are drawn over top the forms.
REMEMBER: Hair and fur are like carpeting over the form. Try to simplify
the details and apply basic rules of design. (check to make details, asym-
metrical and pay attention to your positive and negative space.

The next page of the 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. Begin with the simple forms, then add the eyeline and center line and

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then layer the details over top.

The eyes are anchored on top of the eyeline the nose or snout is anchored
below the eyeline.
For more information regarding Head Design, please refer to the Head DE-
SIGN lesson at the Toon Institute LESSON PLAN section.

The third page of the CHARACTER MODEL SHEET is a page of 5 or 6 ac-

tion poses of your character. This page is pure play! Its purpose to to make
sure the character works in action.

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ALSO, really THINK about WHO your character is. The character is always
defined by his or her or its NEEDS...and those needs are reflected in his or
her or its ACTIONS. If you are not sure write a a short bio of your character.
Please remember to NAME your character.
Try to keep your ACTION drawings quick, spontaneous and dynamic!
The LINE OF ACTION is a tool which can be pushed to create more dy-
namic poses. You might want to begin by sketching some thumbnails.
REMEMBER: Check your silhouettes for your action poses to make sure
they “READ” as a graphic.
The concept of CHARACTER MODEL SHEETS is to provide enough infor-
mation about the character, structure, and proportion so others can draw it.
In fact, A good test is to give your MODEL SHEET to someone else to draw
and see if they can draw your character design.

Types of Model Sheets

The first is a General Final Line Model Sheet. A single character is por-
trayed in turn around drawings that give us a sense of how to draw the char-
acter from any angle, along with some facial expressions, attitude and ac-
tion poses. Note that the top and bottom sheets were drawn at different
times. Like many characters Bugs went through an evolution from one year
to the next. Many early model sheets tried to fit everything an artist needed
to know about a character on a single sheet, and this one just about suc-
ceeds in doing just that. But these days model sheets come in many styles,
some far more specific than others.

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Even in the earliest stages of development Rough Character Concept

Model Sheets are sometimes created. This general design concept of the
Beast was approved before the character was fully finalized. It gives us a
sense of the basic design of the character, along with attitude poses that
help to tell the story of just who he is:

In the case of a character like The Beast, unique anatomy requires unique
reference for artists working on the Beast team. An Anatomical Study
Model Sheet can give animators a better idea of the structure that exist un-
der all that hair.

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Another type of model sheets that’s often generated early in the final design
process is the Rough Construction Model Sheet. This set of Flynn Rider
sheets were created by Glen Keane for the film”Tangled”. One shows the
underlying structure of the character while the second presents the same
poses fully clothed. These 2D designs are great aids for building a 3D char-
acter:

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Rough construction model sheets can sometimes focus only on details of a

character, such as hair:

or eyes:

Or even spots!

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The majority of Rough Model Sheets are created from the best studies or
keys from the most successful scenes that have been animated of the char-
acter up to that point. They often show action, expressions and attitudes
that best display the character’s personality:

Sometimes a turn around drawing which also shows how many heads high
the character is can be added to the rough model sheet, which creates a
rough version of the “all-in-one” design that we saw in the Bugs Bunny sam-
ple:

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A Rough Dialog Model Sheet shows various mouth shapes that are cre-
ated when the character is speaking. This one has the added benefit of also
showing a range of emotions:

Some characters are unique in that they aren’t entirely constructed with rec-
ognisable anatomy. The Genie from “Aladdin”, for example, was partially
made of smoke. A Final Line or Clean Up Construction Model Sheet
helps animators to see volume as well as structure for even the most “car-
toony” of characters:

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Solid construction is crucial when creating a Turn around Model Sheet

(many studios use one word, “turnarounds, instead) .When beginning your
turnaround model sheet, it’s usually easiest to start with either a forward fac-
ing view of your character that has the proportions entirely worked out; this
will be THE drawing that sets the standard for your character. When com-
pleted, flip this character face down on a lightbox (use a lighted window if
you don’t have a lightbox) and trace the outline. Flip it back around and de-
tail in the back view, referencing the front view as you go. Once both are
completed, line them up and use a ruler to map out corresponding points on
their head and body. Use these to rough out a side view and 3/4 view of
your character. You can do each on a separate piece of paper and Pho-
toshop them together once you have the character fully mapped out:

If you don’t have much experience with doing turnaround drawings this pro-
cess might take awhile and the drawings may get messy in the process. Do
a second rough on a fresh sheet of paper over the first if it gets too over-
worked. Once you are happy with your turnarounds, proceed to a Final Line
Turn Around Model Sheet:

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It’s often helpful to other artists working on the project if your pose includes
one bent arm and one that’s straighter opposite one bent leg and one that’s
straight. This gives other artists more information when handling the limbs in
different situations. Another example from the same film:
Hercules rough back turnarounds:

Hercules clean up (or final line) front turnarounds:

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You’ll note that Meg’s Turn Around Model Sheet shows three poses while
Herc’s shows six. The average is in the middle; four. Front, back, side, and
a three quarter view.
Not all turnaround model sheets are done with the character standing still
and facing forward, but most are. Some, like this final line turnaround model
sheet of Kenai as a bear from “Brother Bear”, are more ambitious and show
a character caught in the middle of an action. If you can easily build a 3D
model of a character in your mind then something like this might not be too
difficult, but most artists doing their first turn around model sheets would be
wise to avoid this much of a twist in the body the first time out.

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References and Supplementary Materials

Links
1. https://www.awn.com/tooninstitute/lessonplan/model.htm
2. https://quizanjacy.wordpress.com/2015/09/13/types-of-model-
sheets/
3. https://design.tutsplus.com/tutorials/design-and-draw-a-
model-sheet-of-a-werewolf-warrior--cms-22834

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