0% found this document useful (0 votes)

399 views

Tm1 Module 1

This document contains a trainer's methodology for teaching a module on producing traditional cleaned-up key drawings for animation. It includes tools for planning a training session such as gathering trainee characteristics, assessing needs, developing session plans and materials. Specifically, it provides a data gathering instrument to understand learners' language skills, cultural background, education level, and other traits. It also includes templates for session plans, learning modules, task sheets, checklists and other resources to structure the training.

Uploaded by

Jean Macapagal

Available Formats

Download as PDF, TXT or read online on Scribd

0% found this document useful (0 votes)

399 views

Tm1 Module 1

Uploaded by

Jean Macapagal

Available Formats

Download as PDF, TXT or read online on Scribd

You are on page 1/ 100

TRAINERS METHODOLOGIES (TM)

JEAN C. MACAPAGAL
Trainer: Assessor LEVEL 1

Sector : INFORMATION AND COMMUNICATIONS TECHNOLOGY

Qualification Title : ANIMATION NC II

Unit of Competency : Produce Traditional cleaned-up key drawing

Module Title : Producing Traditional cleaned-up key drawing

Developed by : Jean C. Macapagal

Rizal Technological University

Boni Ave, Mandaluyong City
November 2022

Date Developed: Document No.01

❖ Data Gathering Instrument for Trainee’s Characteristics

❖ Self-Assessment Check
❖ Evidences/Proof of Current Competencies
❖ Identifying Training Gaps
❖ Form No. 1.4 Training Needs
❖ Module of Instruction
❖ Session Plan
❖ Parts of a Competency-Based Learning Material
❖ List of Competencies
❖ Module Content
❖ Learning Experiences
❖ Information Sheet 2.1.1
❖ Information Sheet 2.1.2
❖ Information Sheet 2.1.3
❖ Information Sheet 2.1.4
❖ Information Sheet 2.1.5
❖ Task Sheet and Criteria Checklist
❖ Attendance Sheet
❖ Evidence Plan Institutional and National
❖ Self-Assessment Guide
❖ Table of Specifications
❖ Written Test
❖ Specific Instructions
❖ Performance Test
❖ Performance Criteria Checklist
❖ Rating Sheet for Questioning
❖ Inventory of Training Resources
❖ Workshop Layout
❖ Certificate

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
DATA GATHERING INSTRUMENT FOR TRAINEE’S CHARACTERISTICS
Please answer the following instrument according to the
characteristics described below. Encircle the letter of your choice
that best describes you as a learner. Blank spaces are provided for
some data that need your response.

Characteristics of
learners
Language, Average grade in: Average grade in:
literacy and English Math
numeracy a. 95 and above a. 95 and above
(LL&N) b. 90 to 94 b. 90 to 94
c. 85 to 89 c. 85 to 89
d. 80 to 84 d. 80 to 84
a. 75 to 79 e. 75 to 79

Cultural Ethnicity/culture:
and a. Ifugao
language b. Igorot
backgroun c. Ibanag
d d. Gaddang
e. Muslim
f. Ibaloy
g. Others (please specify) Ilocano

Education Highest Educational Attainment:

& general a. High School Level
knowledge b. High School Graduate
c. College Level
d. College Graduate
e. with units in Master’s degree
f. Masteral Graduate

Sex a. Male
b. Female
Age Your age: 22
Physical 1. Disabilities (if any) NONE
ability 2. Existing Health Conditions (Existing illness if
any)
a. None
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
b. Asthma

Characteristics of
learners
c. Heart disease
d. Anemia
e. Hypertension
f. Diabetes
g. Others (please specify)
Previous Certificates
experience Number of years as a master artist: 2 years
with the
topic

Previous
learning 1. Producing 3D Traditional Animation
experience

Training
Level National Certificates acquired and NC
completed Level 2D Animation 1

Specia
l 2D Digital Animation and Illustration
course
s

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
Learning a. Visual - The visual learner takes mental
styles pictures of information given, so in order for
this kind of learner to retain information, oral
or written, presentations of new information
must contain diagrams and drawings,
preferably in color. The visual learner can't
concentrate with a lot of activity around him
and will focus better and learn faster in a
quiet study environment.
b. Kinesthetic - described as the students in the
classroom, who have problems sitting still and
who often bounce their legs while tapping
their fingers on the desks. They are often
referred to as hyperactive students with
concentration issues.
c. Auditory- a learner who has the ability to
remember speeches and lectures in detail
but has a hard time with written text.
Having to read long texts is pointless and
will not be retained by the auditory learner
unless it is read aloud.
d. Activist - Learns by having a go
e. Reflector - Learns most from activities where
they can watch, listen and then
review what has
happened.

Characteristics of
learners
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
f. Theorist - Learns most when ideas are
linked to existing theories and concepts.
g. Pragmatist - Learns most from learning
activities that are directly relevant to their
situation.
Other needs a. Financially challenged
b. Working student
c. Solo parent
d. Others (please specify)

Lester John R. Agulan

Trainee

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
Characteristics of
Learners
Languag
Cultural Work/
e, Educatio Previous Training Lea
and Physical experience Special Other
Name Literacy n & Sex Age Learning Level r
language condition related to Courses Needs
of and general experienc Complete ning
backgrou competenci
Traine Numerac knowledg e d Styl
nd es
e y e e
(LL&N)

Lester 89 95 Ilocano College Femal 22 None 2 years as a Producing 3D National 2D Digital Visual Working
John Level e master artist Animation Certificates Animation Student
R. acquired and
Agula and NC Illustration
n Level 2D
Animation
1

Prepared by: J E A N C . M A C A P A G A L

Date Developed: Document No.01

INSTRUCTIONS: This Self-Check Instrument will give the trainer necessary

data or information which is essential in planning training
sessions. Please check the appropriate box of your answer to
the questions below.

BASIC COMPETENCIES
CAN I…? Y N
E O
S
1. PARTICIPATE IN WORKPLACE COMMUNICATION
LO1. Obtain and convey workplace information ✔
LO2. Participate in workplace meetings and discussions ✔
LO3. Complete relevant work-related documents ✔
2. WORK IN TEAM ENVIRONMENT
LO1. Describe team role and scope
✔
LO2. Identify own role and responsibility within team
✔
LO3. Work as a team member
✔
3. PRACTICE CAREER PROFESSIONALISM
LO1. Integrate personal objectives with organizational goals
✔
LO2. Set and meet work priorities ✔
LO3. Maintain professional growth and development
✔
4. PRACTICE OCCUPATIONAL HEALTH AND SAFETY PROCEDURES
LO1. Identify hazards and risks
✔
LO2. Evaluate hazards and risks
✔
LO3. Control hazards and risks
✔
LO4. Maintain OHS awareness
✔
5. CONTRIBUTE TO WORKPLACE INNOVATION
LO1. Identify opportunities to do things better
✔

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
LO2. Discuss and develop ideas with others
✔
LO3. Implement changes and present/ suggest ideas with
✔
others
6. SOLVE/ADDRESS GENERAL WORKPLACE PROBLEMS
LO1. Identify routine problems
✔
LO2. Look for solutions to routine problems
✔
LO3. Recommend solutions to problems
✔
7. EXERCISE SUSTAINABLE DEVELOPMENT IN THE WORKPLACE
LO1. Identify current resource use
✔
LO2. Comply with environmental regulations
✔
LO3. Seek opportunities to improve resource efficiency
✔
COMMON COMPETENCIES
CAN I…? Y N
E O
S
1. APPLY QUALITY STANDARDS
LO1. Assess quality of received materials ✔
LO2. Assess own work ✔
LO3. Engage in quality improvement
✔
2. PERFORM COMPUTER OPERATIONS
LO1. Plan and prepare for task to be undertaken ✔
LO2. Input data into computer ✔
LO3. Access information using computer ✔
LO4. Produce/ output data using computer system ✔
LO5. Maintain computer equipment and systems ✔

CORE COMPETENCIES
CAN I…? YES N
O
1. APPLY TRADITIONAL DRAWING TECHNIQUES FOR ANIMATION
LO1. Identify traditional drawing requirements for animation ✔

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
LO2. Apply hand drawn techniques ✔
LO3. Apply line art drawings based on model sheet ✔
2. PRODUCE TRADITIONAL CLEANED-UP KEY DRAWINGS
LO1. Identify requirements for traditional cleaned-up drawings ✔
LO2. Prepare Traditional Rough Key Drawings ✔
LO3. Produce Traditional cleaned-up key drawings ✔
3. PRODUCE TRADITIONAL IN-BETWEEN DRAWINGS
LO1. Identify requirements for traditional in-between drawings ✔
LO2. Prepare materials for traditional In- between drawings ✔
LO3. Produce traditional in-between drawings ✔
LO4. Edit / Revise in-between drawings ✔
4. PRODUCE DIGITAL CLEANED-UP DRAWINGS
LO1. Identify requirements for digital cleaned-up drawings ✔
LO2. Produce digital cleaned-up key drawings ✔
LO3. Edit / Revise digital cleaned-up key drawings ✔
5. PRODUCE DIGITAL IN-BETWEEN DRAWINGS
LO1. Identify requirements for Digital In- between drawings ✔
LO2. Produce Digital In-between drawings ✔
LO3. Edit / Revise digital in-between drawings ✔

Date Developed: Document No.01

Form 1.2: Evidence of Current Competencies acquired related to

Job/Occupation

Current competencies Proof/Evidence Means of validating

Basic Competencies

1. Participate in Transcript of Records, Submitted original true

workplace Seminars, copies of the said
communication. Diploma documents and or certified
true copies

2. Work in team Transcript of Records, Submitted original true

environment. Seminars, Diploma copies of the said
documents and or certified
true copies

3. Practice career Transcript of Records, Submitted original true

professionalism Seminars, Diploma copies of the said
documents and or certified
true copies

4. Practice occupational Transcript of Records, Submitted original true

health and safety Seminars, copies of the said
procedures Diploma documents and or certified
true copies

5. Contribution to Transcript of Records, Submitted original true

workplace innovation Seminars, copies of the said
Diploma documents and or certified
true copies

6. Solve/Address Transcript of Records, Submitted original true

general workplace Seminars, Diploma copies of the said
problems documents and or certified
true copies
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
7. Exercise sustainable Transcript of Records, Submitted original true
development in the Seminars, Diploma copies of the said
workplace documents and or certified
true copies

Common Competency

1. Apply quality COC, Specialized Written evaluation,

standards Trainings Certificate, Demo and Interview

2. Perform computer COC, Specialized Written evaluation,

operations Trainings Certificate, Demo and Interview

Core Competency

1. Apply traditional TOR, Certificate of Ask confirmation from

drawing Employment (Company signatures of certificate of
techniques for or Self-Employed) employment issued by
animation company

Submitted Authenticated
copy of Certificate of
Employment

2. Produce traditional TOR, Certificate of Ask confirmation from

cleaned-up key Employment (Company signatures of certificate of
drawing or Self-Employed) employment issued by
company

Submitted Authenticated
copy of Certificate of
Employment

3. Produce traditional TOR, Certificate of Ask confirmation from

in-between Employment (Company signatures of certificate of
drawings or Self-Employed) employment issued by
company

Date Developed: Document No.01

4. Produce digital TOR, Certificate of Ask confirmation from

cleaned-up key Employment (Company signatures of certificate of
drawings or Self-Employed) employment issued by
company

Submitted Authenticated
copy of Certificate of
Employment

5. Produce digital in- TOR, Certificate of Ask confirmation from

between drawings Employment (Company signatures of certificate of
or Self-Employed) employment issued by
company

Submitted Authenticated
copy of Certificate of
Employment

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
IDENTIFYING TRAINING GAPS
From the accomplished Self-Assessment Check (Form 1.1) and the evidences
of current competencies (Form 1.2), the Trainer will be able to identify what the
training needs of the prospective trainee are.

Form 1.3 Summary of Current Competencies versus

Required Competencies (Sample)

Required Units of Current Training

Competency/Learning Competencies Gaps/Requirements
Outcomes based on CBC
1. Apply traditional drawing techniques for animation

1.1 Identify traditional 1.1 Identify

drawing requirements traditional
drawing
requirements

1.2 Apply hand drawn 1.2 Apply

techniques hand drawn
techniques

1.3 Apply line art 1.3 Apply

drawings based on model line art
sheet drawings base
on model sheet
2. Produce traditional cleaned-up key drawings

2.1 Identify requirements 2.1 Identify requirements

for traditional cleaned-up for traditional cleaned-up
drawings drawings

2.2 Prepare traditional 2.2 Prepare traditional

rough key drawings rough key drawings

Date Developed: Document No.01

3. Produce traditional in-between drawings

3.1 Identify requirements 3.1 Identify requirements

for traditional in-between for traditional in-between
drawings drawings

3.2 Prepare materials for 3.2 Prepare materials for

traditional in-between traditional in-between
drawings drawings

3.3 Produce traditional in 3.3 Produce traditional in

between drawings between drawings

3.4 Edit/Revise in 3.4 Edit/Revise in

between drawings between drawings
4. Produce digital cleaned-up drawings

4.1 Identify requirements 4.1 Identify requirements

for digital cleaned-up for digital cleaned-up
drawings drawings

4.2 Produce digital 4.2 Produce digital

cleaned-up key drawings cleaned-up key drawings

4.3 Edit/Revise digital 4.3 Edit/Revise digital

cleaned-up key drawings cleaned-up key drawings
5. Produce traditional in-between drawings

5.1 Identify requirements 5.1 Identify requirements

for digital in-between for digital in-between
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
drawings drawings

5.2 Produce digital in 5.2 Produce digital in

between drawings between drawings

5.3 Edit/Revise digital in 5.3 Edit/Revise digital in

between drawings between drawings

Date Developed: Document No.01

Using Form No.1.4, convert the Training Gaps into a Training Needs/
Requirements. Refer to the CBC in identifying the Module Title or Unit of
Competency of the training needs identified.

Training Needs Module Title/Module of

Instruction

(Learning Outcomes)

1.1 Identify traditional drawing

requirements for animation
Applying Traditional Drawing
Techniques for Animation
1.2 Apply hand drawn techniques

1.3 Utilize line art drawings

2.1 Identify requirements for traditional

cleaned-up drawings

Producing Traditional Cleaned-up

2.2 Prepare traditional rough key Key Drawings
drawings

2.3 Produce traditional cleaned-up key

drawings

2.3 Edit/Revise Clean-up Key Drawings

Date Developed: Document No.01

Producing Traditional In-Between

3.2 Prepare materials for traditional in- Drawings
between drawings

3.3 Produce traditional in between

drawings

3.4 Edit/Revise in between drawings

4.1 Identify requirements for digital

cleaned-up drawings
Producing Digital Cleaned-up
Drawings
4.2 Produce digital
cleaned-up key drawings

4.3 Edit/Revise digital

cleaned-up key drawings

5.1 Identify requirements for digital in-

between drawings

Producing Traditional In-Between

5.2 Produce digital in Drawings
between drawings

5.3 Edit/Revise digital in

between drawings

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
SESSION PLAN
Sector : INFORMATION AND COMMUNICATION TECHNOLOGY
Qualification Title : Animation NC II
Unit of Competency : Produce Traditional Cleaned-up Key Drawings
Module Title : Produce Traditional Cleaned-up Key Drawings

Learning Outcomes ; At the end of this session the student/trainee will be able to:
LO1. Identify requirements for Traditional clean up drawings
LO2. Prepare Traditional Rough Key Drawings
LO3. Produce traditional cleaned-up drawings
LO4. Edit/ revise clean-up key drawings

A. INTRODUCTION :

This This unit covers the knowledge, skills and attitude required to draw, analyze and produce Traditional clean up key drawings
for animation to ensure integrity of movement and character model is maintained.

B. LEARNING ACTIVITIES
LO1: IDENTIFY REQUIREMENTS FOR TRADITIONAL CLEAN UP DRAWINGS
Learning Content Methods Presentation Practice Feedback Resources Time

➢ Read
➢ Identifying ➢ Lecture Information ➢ Answer ➢ Check ➢ CBLM ➢ 3hrs.
and preparing ➢ Group- Sheet self and refer ➢ Internet
materials, discussion No. 2.1-1 on check to Answer ➢ Training
tools, and ➢ Demonstrati identifying No.2.1-1 key Core regulati
equipment in on and ➢ Answer 2.1-1 on
Clean-up ➢ Self-paced preparing the
drawing instruction materials, trainer’s
tools, and oral
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
equipment question
in ing
Clean-up
drawing
➢ Listen to
trainers
lecture/dem
onstration
and
participate
actively
in the
redemonstra
tion
➢ Read
➢ History of ➢ Lecture Information ➢ Answer ➢ Check ➢ CBLM ➢ 3hrs.
Animation ➢ Group- Sheet No. self and refer ➢ Internet
discussion 2.1-2 on check to Answer ➢ Training
➢ Demonstrati History of No.2.1-2 key Core regulati
on Animation ➢ Answer 2.1-2 on
➢ Self-paced ➢ Listen to the
instruction trainers trainer’s
lecture/dem oral
onstration question
and ing
participate
actively
in the
demonstrati
on

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
➢ Read
➢ Animation ➢ Lecture Information ➢ Answer ➢ Check ➢ CBLM ➢ 3hrs.
Workflow ➢ Group- Sheet No. self and refer ➢ Internet
discussion 2.1-3 on check to Answer ➢ Training
➢ Demonstrati Animation No.2.1-3 key Core regulati
on Workflow ➢ Answer 2.1-3 on
➢ Self-paced ➢ Listen to the
instruction trainers trainer’s
lecture/dem oral
onstration question
and ing
participate
actively in
the
demonstrati
on
➢ Read
➢ Principles and ➢ Lecture Information ➢ Answer ➢ Check ➢ CBLM ➢ 5hrs.
Concept of ➢ Group- Sheet No. self and refer ➢ Internet
Animation discussion 2.1-4 on check to Answer ➢ Training
➢ Demonstrati Principles No.2.1-4 key Core regulati
on and concept 2.1-4 on
➢ Self-paced of ➢ Answer
instruction Animation the
➢ Listen to trainer’s
trainers oral
lecture/dem question
onstration ing
and
participate
actively in
the
demonstrati
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
on

➢ Read
➢ Preparing ➢ Lecture Information ➢ Answer ➢ Check ➢ CBLM ➢ 4hrs.
Model Sheets ➢ Group- Sheet No. self and refer ➢
discussion 2.1-5 on check to Answer Internet
➢ Demonstrati Preparing No.2.1-5 key Core ➢
on model 1.1-5 Training
➢ Self-paced sheets ➢ Answer regulati
instruction ➢ Listen to the on
trainers trainer’s
lecture/dem oral
onstration question
and ing
participate
actively in
the
demonstrati
on
LO2: PREPARE TRADITIONAL ROUGH KEY DRAWINGS
Learning Content Methods Presentation Practice Feedback Resources Time

➢ Animation ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 18hrs

Scene Folder ➢ Group- Information self and refer ➢ Internet .
discussion Sheet No. check to Answer ➢ Training
➢ Demonstratio 2.2-1 No.2.2-1 key Core regulatio
n ➢ Listen to 2.2-1 n
➢ Self-paced trainers' ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
actively in ng
the
redemonstrat
ion.

➢ Timing and ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 12hrs

Exposure Sheet ➢ Group- Information self and refer ➢ Internet .
discussion Sheet No. check to Answer ➢ Training
➢ Demonstratio 2.2-2 No.2.2-2 key Core regulatio
n ➢ Listen to 2.2-2 n
➢ Self-paced trainers' ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.

➢ 1Animation ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 15hrs

Keys (Key ➢ Group- Information self and refer ➢ Internet .
drawings) and discussion Sheet No. check to Answer ➢ Training
animation ➢ Demonstratio 2.2-3 No.2.2-3 key Core regulatio
Breakdowns n ➢ Listen to 2.2-3 n
➢ Self-paced trainers' ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
redemonstrat
ion.

➢ Familiarization ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 20hrs

on different ➢ Group- Information self and refer ➢ Internet .
special discussion Sheet No. check to Answer ➢ Training
instructions on ➢ Demonstratio 2.2-4 No.2.2-4 key Core regulatio
scene folders n ➢ Listen to 2.2-4 n
➢ Self-paced trainers ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.

➢ Line quality: ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 10

Techniques and ➢ Group- Information self and refer ➢ Internet hr
Concept discussion Sheet No. check to Answer ➢ Training s
➢ Demonstratio 2.2-5 No.2.2-5 key Core regulatio
n ➢ Listen to 2.2-5 n
➢ Self-paced trainers ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
➢ Labeling ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 15hrs
conventions/ ➢ Group- Information self and refer ➢ Internet .
identifying discussion Sheet No. check to Answer ➢ Training
symbols used ➢ Demonstratio 2.2-6 No.2.2-6 key Core regulatio
for labeling n ➢ Listen to 2.2-6 n
animation ➢ Self-paced trainers ➢ Answer
drawings instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.
LO3: PRODUCE TRADITIONAL ROUGH KEY DRAWINGS
Learning Content Methods Presentation Practice Feedback Resources Time

➢ Modeling ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 7h

animation key ➢ Group- Information self and refer ➢ Internet rs
Drawings discussion Sheet No. check to Answer ➢ Training
➢ Demonstratio 2.3-1 No.2.3-1 key Core regulatio
n ➢ Listen to 2.3-1 n
➢ Self-paced trainers ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
➢ Producing ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 8h
cleaned-up key ➢ Group- Information self and refer ➢ Internet rs
drawings for discussion Sheet No. check to Answer ➢ Training
animation ➢ Demonstratio 2.3-2 No.2.3-2 key Core regulatio
a. Head turn/ n ➢ Listen to 2.3-2 n
expressions ➢ Self-paced trainers ➢ Answer
(Cartoony, instruction lecture/ the
Realistic) demonstratio trainer’s
b. Half body n and oral
character turn participate questioni
(Cartoony, actively in ng
realistic) the
c. Character redemonstrat
movements ion.
(walk cycles,
run cycles)
d. Dialogue
(Lip-sync)
E. Wave
Principles or
Wave actions
F. Effects
Animation

➢ Applying line ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 15

quality ➢ Group- Information self and refer ➢ Internet hr
Techniques discussion Sheet No. check to Answer ➢ Training s
➢ Demonstratio 2.3-3 No.2.3-3 key Core regulatio
n ➢ Listen to 2.3-3 n
➢ Self-paced trainers ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
participate questioni
actively in ng
the
redemonstrat
ion.

➢ Procedures and ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 10

policies in ➢ Group- Information self and refer ➢ Internet hr
keeping records discussion Sheet No. check to Answer ➢ Training s
➢ Demonstratio 2.3-4 No.2.3-4 key Core regulatio
n ➢ Listen to 2.3-4 n
➢ Self-paced trainers ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.
LO4: EDIT/REVISE CLEAN-UP KEY DRAWINGS
Learning Content Methods Presentation Practice Feedback Resources Time

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
➢ Identifying and ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 10
analyzing ➢ Group- Information self and refer ➢ Internet hr
different discussion Sheet No. check to Answer ➢ Training s
revisions calls ➢ Demonstratio 2.4-1 No.2.4-1 key Core regulatio
for cleaned-up n ➢ Listen to 2.4-1 n
key drawings ➢ Self-paced trainers ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.

➢ Editing/ ➢ Lecture ➢ Read ➢ Answer ➢ Check ➢ CBLM ➢ 10

revising ➢ Group- Information self and refer ➢ Internet hr
cleaned-up key discussion Sheet No. check to Answer ➢ Training s
drawings ➢ Demonstratio 2.4-2 No.2.4-2 key Core regulatio
n ➢ Listen to 2.4-2 n
➢ Self-paced trainers ➢ Answer
instruction lecture/ the
demonstratio trainer’s
n and oral
participate questioni
actively in ng
the
redemonstrat
ion.
C. ASSESSMENT PLAN

● Written Test
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
● Practical Exam
● Demonstration
● Performance Test

D. TEACHER’S SELF-REFLECTION OF THE SESSION

Students and or trainees must be evaluated through this type of assessment in order to measure analyzation,
comprehension and retention on previous discussion, wherever and whenever the present and future need theories arise the
guarantee is always possible to claim excellence in applying skill-working technicalities.

Date Developed: Document No.01

References/Further Reading

Performance Criteria Checklist

Operation/Task/Job Sheet

Self-Check Answer Key

Self-Check

Information Sheet

Learning Experiences

Learning Outcome Summary

Module Content
Module Content

Module
List of Competencies
Content

Module Content

Front Page
In our efforts to standardize CBLM, the above
parts are recommended for use in Competency
Based Training (CBT) in Technical Education and
Skills Development Authority (TESDA)
Technology Institutions. The next sections will
show you the components and features of each
part.

Date Developed: Document No.01

COMPETENCY-BASED LEARNING MATERIALS

List of Competencies

No. Unit of Competency Module Title Code

1 Apply Traditional Applying traditional ICT 216300

Drawing Techniques drawing techniques for
for animation animation

2 Produce Traditional Produce Traditional ICT 216301

Cleaned-up Key Cleaned-up Key
Drawings Drawings

3 Produce Traditional In- Produce Traditional In- ICT 216302

Between Drawings Between Drawings

4 Produce Digital Produce Digital ICT 216303

Cleaned-up Key Cleaned-up Key
Drawings Drawings

5 Produce Digital In- Produce Digital In- ICT 216304

between Drawings between Drawings

Date Developed: Document No.01

UNIT OF COMPETENCY : Produce Traditional Cleaned-up Key Drawings

MODULE TITLE : Produce Traditional Cleaned-up Key Drawings

MODULE DESCRIPTOR : This module covers the knowledge, skills and

attitude required to draw, analyze and produce Traditional clean up key
drawings for animation to ensure integrity of movement and character model
is maintained

NOMINAL DURATION : 140 hrs.

LEARNING OUTCOMES ;
At the end of this module you MUST be able to:
1. Identify requirements for Traditional clean up drawings
2. Prepare Traditional Rough Key Drawings
3. Produce traditional cleaned-up drawings
4. Edit/ revise clean-up key drawings

ASSESSMENT CRITERIA:
1. Traditional animation equipment & materials are identified and
prepared according to the task undertaken.
2. Traditional Clean up Key Drawing requirements are identified from
the given source material.
3. Appropriate model sheets are gathered for reference in the given
scene folder.
4. Incomplete materials and faulty equipment are reported to
appropriate personnel.
5. Rough key animation drawings in a scene folder are counted and
checked if complete and written on the provided exposure sheet.
6. Rough breakdowns are checked if provided by the animator.
7. Timing grid is checked if written legibly and corresponding to the
drawings indicated in the exposure sheet.
8. Special instructions from Animator or animation director are checked
and read if written on the timing grid or in the exposure sheet.
9. Traditional cleaned-up line quality stroke requirement for the final
drawing is checked against the approved model sheets.
10. All rough key drawings are arranged properly and flipped by hand to
see and analyze the animation movements.
11. Rough Key drawings poses and rough expressions are analyzed and
understood as indicated in the storyboard and the exposure sheet.
12. All rough key drawings pose that are off-model are redrawn using the
correct model sheet construction & proportion.
13. Rough body Attitude and facial expressions are maintained and
captured during the redrawing and modeling process.
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
14. Rough breakdowns are analyzed, redrawn and put on model based on
animation flow.
15. Line quality stroke is applied to all redrawn rough key animation
poses and breakdowns.
16. Key drawing & breakdown labels, animator instructions, production
information, timing grid are copied carefully from the original
rough key drawings and written clearly on the clean animation
paper in the appropriate position.
17. All final traditional cleaned-up key drawings and breakdowns are
organized and bundled neatly together inside a folder.
18. Old rough key drawings and rough breakdowns are also organized,
bundled and returned neatly together inside scene folder.
19. Scene folder contents are double checked, signed and submitted to
appropriate personnel.
20. Scene folder with revision calls are read and understood based on the
instructions written by a supervisor.
21. All affected cleaned-up key drawings & breakdowns are redrawn
based on the scope of the revision call.
22. Revised scene folder contents are doubled checked and signed off as
done after all corrections are made.
23. Revised scene folder is submitted to appropriate personnel.

Date Developed: Document No.01

Contents:

1. Identifying and Preparing materials, tools and equipment in Clean-up drawing

2. History of Animation

3. Animation Workflow

4. Principles and Concept of Animation

5. Preparing Model Sheets

Assessment Criteria

1. Traditional animation equipment & materials are identified and prepared

according to the task undertaken.
2. Traditional Clean up Key Drawing requirements are identified from the given
source material.
3. Appropriate model sheets are gathered for reference in the given scene folder.
4. Incomplete materials and faulty equipment are reported to appropriate
personnel.

Conditions

Students/trainees must be provided with the following:

• Tools
o Light box o Ruler o Light Colored
o Peg bar o Animation Paper Pencils
o 2D software o Samples of o Lead pencil
o Eraser animation model
o Pencil sharpener packs

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
• Equipment
o Ergonomic computer tables and
chairs
o Pen Tablet
o Desktop computer
o Colored printer
• Learning Materials
o Learning elements
o Manuals
o Books

Assessment Method:
1. Demonstration with oral
questioning.
2. Interview

Date Developed: Document No.01

LEARNING OUTCOME 1: IDENTIFY REQUIREMENTS FOR

TRADITIONAL CLEAN UP DRAWINGS

Learning Activities Special Instructions

• Read Information Sheet No. • Make sure that you have read
2.1-1 on Identifying and and fully understand the
Preparing materials, tools, and information sheet before
equipment in Clean-up proceeding with Self-check.
Drawing

• Answer Self-Check 2.1-1 • Compare your answers to the

answer key

• Read Information Sheet No. • Make sure that you have read
2.1-2 on History of Animation and fully understand the
information sheet before
proceeding with Self-check.

• Answer Self-Check 2.1-2 • Compare your answers to the

answer key
• Make sure that you have read
• Read Information Sheet No. and fully understand the
2.1-3 on Animation Workflow information sheet before
proceeding with Self-check.

• Answer Self-Check 2.1-3 • Compare your answers to the

answer key
• Make sure that you have read
• Read Information Sheet No. and fully understand the
2.1-4 on Principles and information sheet before
Concept of Animation proceeding with Self-check.

• Answer Self-Check 2.1-4 • Compare your answers to the

answer key
• Make sure that you have read
• Read Information Sheet No. and fully understand the
2.1-5 on Preparing Model information sheet before
Sheets proceeding with Self-check.

Date Developed: Document No.01

• Perform Task Sheet 2.1-4 • Evaluate your own work using

the Performance Criteria.
• Tell your trainer to check your
work for evaluation

• Perform Task Sheet 2.1-5 • Evaluate your own work using

the Performance Criteria.
• Tell your trainer to check your
work for evaluation

Date Developed: Document No.01

IDENTIFYING AND PREPARING MATERIALS, TOOLS, AND EQUIPMENT IN

CLEAN-UP DRAWING

Learning Objectives:
After reading this INFORMATION SHEET, YOU MUST be able to:
1. Identify and prepare the materials, tools, and equipment in Clean-up
drawing.

In this lesson, you will learn the materials, tools, and equipment in Clean-up
drawing.

What is Clean-up Drawings in Animation?

Clean-up is a part of the workflow in the production of hand-drawn

animation.

In traditional animation, the first drawings are called "roughs" or "rough

animation" because they are often done in a very loose fashion. If the animation is
successfully pencil tested and approved by the director, clean versions of the
drawings have to be done. In larger studios this task is given to the animator's
assistant, or, in a more specialized setting, to a clean-up-artist. The artist doing the
clean-ups is responsible for the final line and finished look of the shot.

TOOLS AND EQUIPMENT IN CLEAN-UP DRAWING

1. Pencil – Is used to rough out first key drawings. HB or B pencil is needed for
clean drawings, while colored pencil is used for roughing out the animation.

Date Developed: Document No.01

3. Peg Bar – Is used to fasten animation paper.

4. Eraser – Is used to remove pencil markings on the paper. It is important for

an animator to have an eraser to rub out lead.

Date Developed: Document No.01

6. Animation Paper – A special type of paper used to rough out animation

drawings. Usually comes in field sizes, either 12 x 15. However, A4 size is
commonly used.

Date Developed: Document No.01

MODIFIED TRUE OR FALSE

DIRECTION: Place a T on the blank if you think a statement is TRUE. Place an F
on the blank if you think the statement is FALSE and write the correct word or
phrase.

__________1. Animation paper usually comes in field sizes, either 12 x 15. However,
A4 size is commonly used.

__________2. Pencil is a part of the workflow in the production of hand-drawn

animation.

__________3. An animation light box is used to see through your drawings clearly.

__________4. Animation disc is placed on a light box and used to work out camera
moves and panning walk cycles

__________5. In smaller studios this task is given to the animator’s assistant, or, in
a more specialized setting, to a clean-up-artist.

ANSWER KEY 2.1-1

1. True
2. False - Clean-up is a part of the workflow in the production of hand-
drawn animation.
3. True
4. True
5. False - In larger studios this task is given to the animator's assistant,
or, in a more specialized setting, to a clean-up-artist.

Date Developed: Document No.01

HISTORY OF ANIMATION

Learning Objectives:
After reading this INFORMATION SHEET, YOU MUST be able to:
1. Discover the history and significance of Animation.
2. Identify the early animation devices.

In this lesson, you will learn the History of Animation.

History of Animation

This history of animation extends far beyond the history of film, as early
animators throughout the centuries found ways to create movies without cameras
or recording technology. Before Oscar-winning CGI Hollywood blockbusters like
Pixar’s Toy Story 3 (2010) and Academy Award-winners like Finding Nemo (2003),
there was the first animated sequence captured on standard picture film—J. Stuart
Blackton’s The Enchanted Drawing (1900)—which used a liveaction actor, props,
and stop-motion techniques to create a two-minute comedic scene.

Animation continued to evolve throughout the decade, with French

cartoonist Émile Cohl’s two-minute stick figure animation, Fantasmagorie (1908),
becoming one of the first cartoons. In 1914, Winsor McCay’s Gertie the Dinosaur
broke new ground in the animation industry as the first animated film to use
techniques like keyframing, inbetweeners, and animation loops, which laid the
foundation for standard industry practice for future animation production. Later,
Walt Disney’s short film Steamboat Willie (1928), marked the first time an
animated film was fully scored, popularizing Mickey Mouse, and the use of sound
in animated film going forward.

The Silent Age of Animation

The earliest age of mainstream animation known to man, lasting from the
early 1900s to the late 1920s with the rise of sound technology. Now, animation
has existed for a very, very long time in some form of another before this era came
about, but this era is obviously when large amounts of people actually started
taking notice of the medium and what it could do. This is owed in part to the rise of
the motion picture to begin with during this time period.

The Golden Age of Animation

The Golden Age Of Animation is a period in animation history that began

with the advent of sound cartoons in late 1928 and faded out in the late 1950s/
early 1960s when theatrical animated shorts slowly began losing ground to the new
medium of television animation.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
Many memorable characters emerged from this period, including Mickey
Mouse, Bugs Bunny, Duck, Daffy, Popeye, Betty Boop, Woody Woodpecker, Mighty
Mouse, Mr. Magoo, Tom and Jerry, and a popular adaptation of Superman, among
many others that haven’t survived along the way. Feature length animation also
began during this period, most notably with Walt Disney’s first films: Snow White
and the Seven Dwarfs, Pinocchio, Fantasia, Dumbo and Bambi.

The Dark Age of Animation

From the mid-1950s to the late 1980s, the world of animation in the United
States experienced a severe quality drought. Television animation was cheaply and
quickly produced and loaded with errors. Feature-length animation experienced
severe budget cuts, and the number of animated movies being released was
drastically reduced. Cartoons that many generations grew up watching were made
with “limited animation” A style that utilized as few frames as possible, which
resulted in choppy, simplified character motions.

To later generations that grew up on Pixar and DreamWorks animation,

these works may seem like relics of some forgotten time, but to those of us who
grew up watching “limited animation,” we remember the age of cartoons made with
as little effort as possible all too well. This is the tale of the Dark Age of Animation—
how it came to be, what happened during it, and how it ended.

Dark Origins

The Dark Age of Animation began as a response to the advent of television.

Prior to TV, most cartoons in the U.S. were typically short films that were shown
before the main feature film. Many of the classic Looney Tunes and Disney shorts
were originally shown in such a manner. Because these cartoons appeared before
“all ages” movies, they had to be entertaining to adults as well as children, and a
great deal of effort and creativity was put into their design. Widespread consumer
adoption of TV greatly decreased the appeal of an “afternoon at the movies.” Why
should people pay to see newsreels and short cartoons when they could simply
watch them on TV at home for free? Cartoons in theaters faded away over the
1950s and early 1960s, replaced by cheaply made “limited animation” from such
studios as Hanna-Barbera, Jay Ward Productions, and Filmation Studios..

The Renaissance Age of Animation

The Renaissance age is usually considered to begin in the the 80s, but it
must be noted that for much of that decade, Western animation was still strangled
by the Ghetto, plagued by a lack of artistic vision and pathetic budgets. Limited
Animation was still the rule on television; Merchandise-Driven shows like He-Man,
Strawberry Shortcake, Care Bears, The Transformers, G.I. Joe, My Little Pony,
Jem, and Thunder Cats (1985) ruled 80s television animation and had parents’
groups up in arms about children watching glorified toy commercials, which were
also strictly separated into shows for boys and shows for girls. That said, these
colorful and often actionpacked shows were nevertheless a major change of pace
from the dull offerings of The Dark Age of Animation and were entertaining to their
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
target demographics, which is demonstrated by the fact that several of them
became major pop-culture phenomenon that are fondly remembered to this day.

Fortunately, things got better. In 1980 a Japanese Animation studio called

Tokyo Movie Shinsha Teamed up with a French company called Dic in order to
fund Ulysses 31 and help out with TMS as well. The show worked, and it served as
a precursor which eventually led to the start of this age of animation.

The Millennial Age of Animation

This is the Age of Animation we live in now, starting from the early 2000s—
with the end of The Renaissance Age of Animation—and continuing to the present
day. The usage of traditional 2-D animation methods that thrived in the previous
eras is now seemingly all but abandoned, at least when it comes to American
works; CGI and Flash Animation are the rule, not the exception— Just as Limited
Animation ruled the Dark Age during the 60’s and 70’s (Especially animation not
coming from the USA or Japan). A lot of these shifts resulted from the constant
deterioration of the global recession, which came to a head in 2008 and resulted in
cheaper production procedures like outsourcing, studios taking safer bets, higher
competition, bankruptcy, and massive layoffs. It did not help that any fan of
content from the Renaissance Age could not get any decent work in the field by the
time they were finally grown up and out of college by 2005. Studios hired unpaid
interns by the hundreds, and veterans from the past eras were either out of work,
doing their own thing, or dead.

EARLY ANIMATION DEVICES

1. Magic lantern: The magic lantern was an image projection device developed
in 1603. This device used a mirror in the back of a light source (originally a
candle) that would direct the light through long glass slides, projecting the
slide’s illustrations. Placing the slides together formed movement, making
the magic lantern the first instance of “moving pictures.”

2. Thaumatrope: The thaumatrope was a nineteenth-century optical toy that

featured a picture disk held by two strings. When the strings were twirled,
they would spin the disk, moving images on either side of the disk into one
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
by the “persistence of vision,” an optical illusion that tricks the eye into
seeing movement long after the movement has stopped.

3. Kineograph: Latin for “moving picture,” the kineograph (known as the

flipbook) debuted in 1868. The kineograph is a small book of drawings, with
each page conveying a different form of movement, so that when the pages
are flipped quickly in sequence, they animate a scene.

4. Phenakistoscope: Also known as the Fantascope, and sometimes spelled

“phenakistiscope,” the phenakistoscope debuted around 1833, featuring
spinning, painted cardboard disks reflected in mirrors, which created the
illusion of movement. The Phenakistoscope’s innovative experience could
only be enjoyed by one viewer at a time.
5. Zoetrope: The phenakistoscope’s successor, the zoetrope was a spinning
cylindrical version that presented images in sequential phases of motion that
multiple viewers could watch at a time. The cylinder contained several
vertical slits, which provided a mechanism for the eye to keep the spinning
photographs from blurring together while in motion.
6. Praxinoscope: In 1877, the praxinoscope succeeded the zoetrope, replacing
the latter’s narrow vertical slits with an inner circle of angled mirrors
instead. These angled mirrors helped provide a clearer and more vivid
animation than peering at the moving illustrations through slits.

Date Developed: Document No.01

Émile Reynaud’s Pauvre Pierrot (1892) was created by using a longer image
roll for the praxinoscope, allowing for a longer viewing time. Pauvre Pierrot is often
credited as the first animated film because Reynaud’s picture roll was hand-
painted with 500 individual images (rather than using photographs). However, film
historians argue that Émile Cohl’s Fantasmagorie (1908), is the first instance of a
film produced with traditional animation techniques, making it the first true
animated movie.

Some consider Britsh-American producer J. Stuart Blackton’s Humorous

Phases of Funny Faces (1906) to be the animation industry’s first film. Blackton
used stop-motion animation to depict a series of animated characters changing
movements throughout the three-minute movie. Humorous Phases of Funny
Faces was the first animated film recorded on standard picture film, technically
making it the first animated movie captured on real film.

What Was the First Feature-Length Animated Movie?

The first animated feature film is Walt Disney Studios’ Snow White and the
Seven Dwarfs (1937). This film used the traditional animation process of cel
animation, which involved rendering two-dimensional visuals on a transparent
sheet of celluloid. The cell animation process allowed transferring illustrations
between frames, rather than having to redraw from scratch each time, speeding up
the process, saving time and labor.

SIGNIFICANCE OF ANIMATION

Paul Wells states that: “Animation is the most dynamic form of expression
available to creative people.” When one starts to examine the subject in depth, it
becomes clear that animation has a profound effect on the daily lives of many of us.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
Most people experience animation through children’s television
programming and animated feature films. Some of the greatest sequences in world
cinema are animated feature films that are etched into our collective memories.
Who can forget the magical “The Sorcerer’s Apprentice” sequence in the 1940 film
Fantasia? Or, in the more recent realms of animation history, the enchanting story
of Carl and Ellie’s Love affair, life, and passing, in the Disney Pixar animated
feature film Up (2009).

These collective memories and experiences are largely attributed to the

dominance of the greatest pioneer in animation history, Walt Disney (1901–66). The
impact that the Walt Disney Studios has had on cinema audiences—indeed on
popular culture generally— Is vast and far-reaching, albeit supported by important
outputs from Warner Bros. and UPA (United Productions of America). However, this
American “super studio “Dominance has also meant that other versions of
animation have sometimes been overlooked or not given the credit they deserve by
mass audiences. For many, the true significance of animation can be measured by
such elements as its inclusion in the annual Academy Awards, the growth of
international film festivals, the distribution of feature films, documentaries and
short films on cable or satellite channels, and the Internet revolution that has
opened up new audiences for the form globally. Furthermore, the study of
animation as a subject in its own right—including its history, technical advances,
and wider cultural context—is recognized through a multitude of internationally
published specialist magazines, academic journals, seminars, and conferences,
trade magazines, online forums, blogs, and microblogs.

SELF- CHECK 2.1-2

IDENTIFICATION
DIRECTIONS : Read each sentence carefully and identify what is being asked in
each item. Write the Correct answer on the blanks.

_____________1. Also known as the Fantascope, and sometimes spelled

“phenakistiscope”.

_____________2. Latin for “moving picture”.

_____________3. A nineteenth-century optical toy that featured a picture disk held

by two strings.

_____________4. Succeeded the zoetrope, replacing the latter’s narrow vertical slits
with an inner circle of angled mirrors instead.

_____________5. A spinning cylindrical version that presented images in sequential

phases of motion that multiple viewers could watch at a time.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
_____________ 6. This device used a mirror in the back of a light source (originally a
candle) that would direct the light through long glass slides, projecting the slide’s
illustrations.

_____________7. This is the Age of Animation we live in now.

_____________8. It began as a response to the advent of television.

_____________9. A period in animation history that began with the advent of sound
cartoons in Late 1928 and faded out in the late 1950s/ early 1960s.

_____________10. He states that: “Animation is the most dynamic form of expression

available to creative people.”

ANSWER KEY 2.1-2

1. Phenakistoscope
2. Kineograph
3. Thaumatrope
4. Praxinoscope
5. Zoetrope
6. Magic Lantern
7. The Millennial Age of Animation
8. Dark Origins
9. The Golden Age of Animation
10. Paul Wells

Date Developed: Document No.01

ANIMATION WORKFLOW

Learning Objectives:
After reading this INFORMATION SHEET, YOU MUST be able to:
1. Discuss and enumerate the Animation Workflow.
2. Identify the people involved in Animation workflow.

In this lesson, you will learn the Animation Workflow.

ANIMATION WORKFLOW

It is the steps and the order in which they occur when producing your
movie. No matter which method you choose to create your project, the pipeline to
follow will always be divided in three segments: pre-production, production, and
post-production. Then you will have to choose your animation method.

• Also known as the production workflow or animation pipeline.

• Process of creating a full-blown animation.
• The traditional animation workflow is done as a very straightforward pipe /
waterfall model.
• Processes cannot be done simultaneously by a huge amount of
people.
• The first step must be done before continuing on with the next one.
• Other animation styles (paperless, digital, 3D, etc.) can have more
than one process going on simultaneously and is easier to create.

Stages of Animation

1. Pre-production
• Planning before production
• Focuses on the creation and development of ideas
• Not done by the animation studio
• Importance:
o Helps develop a roadmap to base the production
o Helps reveal a flaw that needs to be worked on before
production
2. Production
• AKA the animation proper
• Characteristics:
o Done entirely by the animation studio
o Longest and busiest stage in the animation workflow

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
o Utilizes the most amount of staff
3. Post-production
• Final stage which involves final video and audio editing
• Can be mostly be optional

PRE – PRODUCTION

Script

Storyboard Design Audio Record

Animatic Layout / Poses

Styling Sound Breakdown

1. SCRIPT

Every project starts with a script or a synopsis. You will also see the term
screenplay. A script is the written version of a project done by a screenwriter. You
will encounter a script in many different types of projects such as movies, television
series, video games and advertisements. It is the source for all the upcoming steps.
A script usually contains the storyline, location descriptions, actions, dialogue,
sound effects, etc. It contains all the information necessary for the artists to
illustrate and animate the movie or series. The script is needed in order to
transform the project into a storyboard. This same script is used as a dialogue for
the audio recording. Finally, characters, props and locations will be designed from
all of the descriptions contained in the script.

• Staff: director, producer, writer

• Written version of the story
• Foundation of the whole project
• Characteristics:
o Basis of the character, prop, and location design
o Basis for storyboard
o Comes from the studio / client requesting the project.

Parts of a Script:

a) Scene – how a script is divided; usually determined by a setting with its type
(INT-Interior ; EXT – exterior), location, and time / time of day.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
b) Actions – main content of the script; any action that is done by the
characters; may convey the emotion of the character; may happen before or
during dialogue; takes note of: room / environment setting, character
description, and character’s actions.
c) Character Description – A type of description that is done when a character
first enters the script; can describe the name (in all caps), physical features,
clothing, posture, and/or first action of the film.
d) Dialogue – Done when a specific character is talking; no actions are usually
added; would include the name of the character and the spoken dialogue
Others:
e) Camera Transitions – Instructions for how the scene will transition from
one shot to another; examples: CUT TO, DISSOLVE TO, PAN TO, WIPE TO,
SMASH CUT
f) Camera Angles – Describes how the scene will be shot; examples: CLOSE-
UP SHOT, POV, ESTABLISHING SHOT.

2. DESIGN

Once the script is completed, the designer can start work. Before any
animation, background or colouration can be done, the overall design needs to be
addressed. The artist has to decide on the production style, the character’s look,
the location’s complexity, and so on. Once these designs are done and approved,
the model pack is produced, containing all of the models for all these aspects. The
designs and models will be used by the colour stylist and layout artist, and finally
by the animator.

• People involved: concept artist, clean up artist, art director

• Creation and modification of the initial designs (character, background,
props) Gives a visual representation of what is placed on the script.
• Roles:
o Concept artist – rough design
o Art director – checks and approves designs
o Clean up artist – final lines
• Character Design
o Focuses on establishing the design of the character
o Steps: Drawing of the rough design, approved for final design, clean-
up is done, sent for color styling.
o Creation of multiple model sheets.
• Design – Background

3. COLOR STYLING

Once the black and white designs are done, they are sent to colour styling.
The colour stylist chooses the colours and ambiance for the production and
balances the characters, props and effects with the location palettes. This
contributes to a consistency or an emotional contrast, where needed, in the show.
When the colours are approved, colour models are produced and backgrounds are

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
painted. Colour models will often be added to the model pack. The colour models
will be used by the colourists and the coloured background will be sent for
compositing.

• People involved: Coloring artist, background painter

• Can be done at any time within the pre-production stage.
• Doesn’t really have an impact on the pipeline, but is usually part of the
design process.
• Establishes the final colors (base, highlight, shading) of the elements needed.
• Focuses on finalizing the colors, and not on coloring everything (that is for
coloring), but with the exception of the background.

Types of Color Stylists:

Coloring artist – character and prop designs

Background painter – location designs and backgrounds

4. AUDIO RECORDING, DIALOGUE, NAT PAUSE

o The audio recording is also called voice recording. The script is needed
for dialogue and extra sound effects. The actors will read the lines
from the script and record their dialogue. These voices will be used
later on for the animatic, the animation and the final production
compositing.
• People involved: voice actors, director, sound producers
• Focuses on creating or recording the human voices, music, and sound
effects to be used.
• Recorded outside of animation studio
• Needed to create the sound breakdowns and storyboard.
• Recording is done first to sync with the animation later.
• Nat Pause – Video of recording to hear what are how is said; used for
referencing facial expressions with the recorded dialogue.

5. STORYBOARD

The storyboard is often created at the same time as the characters, props,
location design and audio recording. The first storyboard is not always exact, as the
designs are subject to many changes during the beginning of a production. The
storyboard is essential to the layout and posing, and the animatic. This step is not
done with Harmony. Traditionally, the storyboard is created on paper.

• People involved: storyboard artist

• Visual representation of all the scenes and actions in the script.
• Focuses on specific actions, movements, transitions, and timing.
• Dialogue, background, action notes, and characters are included
• Importance:
o Translates the script to the animators easier
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
o Double checks consistency
o Identifies errors at an early stage
o Identifies proper timing and delivery of the story in visuals
Parts of a Storyboard:

a) Scene number – Label of the frame in the entire storyboard; can be

represented as a number only (1) or a number with a letter (1A) with the
letter representing the scene and the letter representing the label of the
frame in that scene.
b) Frame – The action is seen wherein the important elements are roughly
drawn; actions are highlighted with arrows (actions of characters and props,
background, camera movements and transitions, character and prop
movement).
c) Action – Description of the action inside the frame (camera angles, shots,
and movement, camera transitions, character / prop movement, important
details that need to be highlighted); is mandatory.
d) Dialogue – Statements said by any of the characters (spoken word, subtitles
/ translations, spoken thoughts); optional.

6. ANIMATIC

The animatic, also known as leica, comes directly from the storyboard. The
animatic is the first movie of a project and is used to help the animators and
compositors. The storyboard is scanned in and mounted with the sounds and
dialogue. There is no animation yet. It is simply the storyboard frames changing
over time to help evaluate the rhythm and the look of the show. This will help avoid
mistakes that would have been found only at the end of a show.

• People involved: keyframe animator, assistant

• Also known as animatic reel / leica.
• Scenes from the storyboard is timed along with sounds, dialogue and music
• If storyboard is done on paper, one person must scan it and prepare for the
animatic.

7. LAYOUT AND POSING

• People involved: layout artist (1)

• Helps translate the storyboard clearly to animators.
• Layout artist prepares a folder for the animator.
• Uses a field guide / graticule to work out the position of the shot.

PRODUCTION

Date Developed: Document No.01

Clean-up for
Coloring Scanning Compositing Rendering
In-betweens

1. EXPOSURE SHEET

• People involved: keyframe animator, art director

• Also known as x-sheets or dope sheets.
• A piece of document that help control the timing of the animation for both
the keyframe animator and in-betweener.
• Art director creates the exposure sheet; keyframe animator double checks o
Some line testers would have the exposure sheet in it so it may not be
necessary

Parts of an Exposure Sheet:

a) Sound / Track – Contains the sounds (mostly mouth codes / lip syncs) that
are broken down (per sound); duration of the sound shall have a larger
space to take.
b) Action – Contains instructions on when an action will start and end.
c) Frame Numbers – Where the frame is inserted; would dictate the speed of
the animation (one’s, two’s, and three’s).
d) Levels – Shows the different actions specified for each layer; a layer would
determine whether it is on the foreground or background.
e) Camera – Instructs the cameras on how the scene should be shots; based
from the field guide.

2. KEYFRAME ANIMATION

• People involved: keyframe / senior animators

• Keyframe animator receives the layout folder and exposure sheet and uses
the references to animate the scene.
• Keyframe animator creates rough sketches of only important frames
(dialogue, movement, poses, etc.); would usually be based from the
storyboard.

3. LINE TESTING

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
• People involved: art director
• Usually done while creating the keyframe animation.
• Scenes are regularly passed through the line-testing process.
• Art director tests the rough key poses of an animation.
• Done to see if the animation is going in the right direction.

4. CLEAN UP FOR KEYFRAMES

• People involved: clean-up artist

• Clean up-artist creates the clean-up of the keyframe drawings from the
keyframe animator.
• In Japanese animation, the shadows and highlights are also cleaned-up and
are usually color-coded

5. IN BETWEENING

• People involved: in-between artist

• In-between artist receives clean up versions of keyframes.
• In-between artist draws rough sketches of intermediate frames between
keyframes; double checks motion.
• Some considerations when in-betweening:
o Character modeling must be practiced beforehand
o Analysis of the exposure sheets
o Breakdown of the timing with the aid of the timing sheets
o Application of the appropriate 12 principles of animation
o Use of concepts of in-betweening.

6. CLEAN UP FOR IN-BETWEENS

• People involved: clean-up artist

• Clean-up artist creates the clean-up of the in-between drawings from the in-
between artist.
• Follows the same clean-up concepts and techniques from the previous clean-
up steps.

7. COLORING

• People involved: color artist

• Color artist takes clean up version of the entire animation for coloring.
• Uses acrylic paint and transparent cells (film strips) to color in characters
and props.
• Considered as phased out; even animation studios that draw their frames
traditionally would usually scan and then color it digitally.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
8. SCANNING

• People involved: assistants

• Gateway between traditional and digital animation
• Scans finished cell strips of characters and backgrounds of an animation
program

9. COMPOSITING

• People involved: compositor

• Compositor receives exposure sheet and scanned outputs.
• Compositor assembles all elements and creates the camera movements.
• Compositor adds any digital effects required (tones, highlights, and shadows;
lighting effects; other animation effects like flashes of a gun, smoke, etc.)

10. EXPORT / RENDER

• People involved: render wrangler

• Render wrangler renders the scene as a movie or an image sequence.
• Render wrangler double checks computer specifications before, during, and
after rendering.

POST – PRODUCTION

1. SOUNDS

• People involved: sound producer

• Sound producer adds dialogue and sound effects to the rendered animation
project.

2. FINAL RENDER

• People involved: render wrangler, director

• Render wrangler renders the scene as a movie.
• Render wrangler double checks computer specifications before, during, and
after rendering.
• Considered as final output; ready for distribution.

3. OTHER POST-PRODUCTION STEPS

• Color grading
• Adding of filters
• Dubbing

Date Developed: Document No.01

SELF- CHECK 2.1-3

MULTIPLE CHOICE
DIRECTIONS: Read and analyze the questions. Choose and encircle the letter of
the BEST answer.

1.Which of the following stages of animation focuses on planning?

A. Peri-production B. Post-production C. Production D. Pre-production

2.Which of the following stages of animation is done by the animation studio?

A. Peri-production B. Post-production C. Production D. Pre-production

3.Which of the following stages of animation is mostly optional?

A. Peri-production B. Post-production C. Production D. Pre-production

4.Which of the following steps involves the initialization of how the characters look
like?

A. Animatic B. Design C. Script D. Storyboard

5.Which of the following steps is the basis of creating the leica?

A. Animatic B. Design C. Script D. Storyboard

6.Which of the following steps is the first step in creating an animation?

A. Animatic B. Design C. Script D. Storyboard

7.Which of the following is used as a basis for creating the facial expressions of the
animations?

A. Audio Record B. Color styling C. Layout & Posing D. Nat Pause

8.Which of the following steps collates all drawings to turn it into a video?

A. Compositing B. Exposure sheet C. Line testing D. Rendering

9.Which of the following steps helps with the timing of the animation?

A. Compositing B. Exposure sheet C. Line testing D. Rendering

Date Developed: Document No.01

A. Compositing B. Exposure sheet C. Line testing D. Rendering

ANSWER KEY 2.1-3

1. D
2. B
3. B
4. B
5. D
6. C
7. D
8. D
9. B
10.C

Date Developed: Document No.01

PRINCIPLES AND CONCEPT OF ANIMATION

Learning Objectives:
After reading this INFORMATION SHEET, YOU MUST be able to:
1. Identify the 12 Principles of Animation.
2. Differentiate the 12 Principles of Animation

In this lesson, you will learn the different principles of Animation.

THE 12 PRINCIPLES OF ANIMATION

In 1981, legendary Walt Disney Studios animators Frank Thomas and Ollie
Johnston (two of Disney’s “Nine Old Men”) set out some defining principles of the
form in their book The Illusion of Life: Disney Animation (1981). The title alludes to
a central theme in animation education—that if creators using animation desire the
ability to reimagine life, they must first understand the nuances of life itself. The
book describes twelve central principles to link animation to the natural laws of
physics while embodying the idea that the process of animating could contravene
and contradict these laws within reason. This logic would be an unwritten trust
between the animator and his or her audience.

1. SQUASH AND STRETCH

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
This principle acknowledges that objects have an implied weight and
flexibility, and recognizes that when an object moves, its weight shifts through the
flexing of its form. The bouncing ball is often used to illustrate the principle, where
the form at its lowest point (impact) is illustrated as a squashed ball, while its
accelerated rise to its highest point is illustrated as a stretched ball, It is debatably
the most fundamental principle. Look at what happens when a ball hits the
ground. The force of the motion squashes the ball flat, but because an object needs
to maintain its volume, it also widens on impact. This what’s called squash and
stretch.

2. ANTICIPATION

In reality, any movement is prefigured by the desire, intention, or need to

move, and the body prepares itself for the predicted action. In animation, creating
the illusion that the body is mindful of this anticipation gives life and credibility to
the object. An example might be a baseball pitcher drawing back his arm before
throwing the ball to the striker. Imagine you’re about to kick a soccer ball. What’s
the first thing you do? Do you swing your foot back to wind up? Steady yourself
with your arms? That’s anticipation. Anticipation is the preparation for the main
action. The player striking the soccer ball would be the main action, and the follow-
through of the leg is well… the follow through.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
3. STAGING

When filming a scene, where do you put the camera? Where do the actors
go? What do you have them do? The combination of all these choices is what we
call staging. Staging is one of the most overlooked principles. It directs the
audience’s attention toward the most important elements in a scene in a way that
effectively advances the story. This involves composing elements of the frame to
control the viewers’ experience. So placing characters in particular positions,
lighting them in certain ways, and positioning the camera to record these deliberate
intentions all accentuate the appearance of the subject in its surrounding
environment, contributing to the audience’s understanding and enjoyment of the
piece.

4. STRAIGHT AHEAD ACTION AND POSE-TO-POSE

These are two ways of drawing animation. Straight ahead action is where
you draw each frame of an action one after another as you go along. Straight-ahead
action concerns the movements of individual figures in staged scenes, and is best
demonstrated by first imaging a simple action and then drawing each frame of that
action from the start to the finishing point. This creates movements that are highly
detailed and fluent and are described as “full animation.” With pose-to-pose, you
draw the extremes – that is, the beginning and end drawings of action – then you
go on to the middle frame, and start to fill in the frames in-between. Pose-to-pose
drawing is a more economical approach, using fewer frames and resulting in a
more dramatic and immediate effect. Animators often use both straight-ahead
action and pose-to-pose drawing, mixing the two subtly to reflect the focus, pace,
and concentration of the story being animated.

Date Developed: Document No.01

When a moving object such as a person comes to a stop, parts might

continue to move in the same direction because of the force of forward momentum.
These parts might be hair, clothing, jowls, or jiggling flesh of an overweight person.
This is where you can see follow through and overlapping action. The secondary
elements (hair, clothing, fat) are following-through on the primary element, and
overlapping its action. The laws of physics dictate that after a body (human or
object) has stopped moving, the momentum created by its movement is continued,
or “followed through,” before coming to rest within the body. Acknowledging this
principle and building it into the depiction of the figure or object results in a more
believable movement. Similarly, observation of a body acknowledges that elements
of the human form move at different speeds from each other and create
“overlapping actions.”

Date Developed: Document No.01

Not all actions happen at a uniform speed, but there are instead periods of
acceleration and deceleration that appear to reflect the subject’s natural reactions
to a movement. To achieve this, a greater number of frames is created at the
beginning and the end of a moving sequence, resulting in more naturalized and
believable movement. When you start your car, you don’t get up to 60 mph right
away. It takes a little while to accelerate and reach a steady speed. In animation
speak, we would call this an Ease Out. Likewise, if you brake, you’re not going to
come to a full stop right away. (Unless you crash into a tree or something.) You step
on the pedal and decelerate over a few seconds until you are at a stand-still.
Animators call this an Ease In. Carefully controlling the changing speeds of objects
creates an animation that has a superior believability.

7. ARCS

Life doesn’t move in straight lines, and neither should animation. Most
living beings – including humans – move in circular paths called arcs. Arcs operate
along a curved trajectory that adds the illusion of life to an animated object in
action. Without arcs, your animation would be stiff and mechanical. Animators use
implied arcs to emulate natural movements to aid believability. Reflecting the speed
of an action, arcs emulating faster movements are stretched over longer distances
with low peaks, while in slower movements the arc is shorter with a higher peak to
reflect a shorter distance. For example, a baseball pitcher throwing a fast ball will
be illustrated by the ball following an invisible stretched arc.

Date Developed: Document No.01

This are gestures that support the main action to add more dimension to
character animation. They can give more personality and insight to what the
character is doing or thinking. This principle recognizes that movements seldom
happen in isolation. The simple act of walking (primary action) might be
complemented by the ability of the figure to chew gum, talk to his girlfriend, and
wave his hand.

9. TIMING

Timing is about where on a timeline you put each frame of action. In

practice, the success of your animation is going to depend on your sense of timing.
Train yourself to listen to the rhythms and timings of your animation. You will see
instances where a gag might be twice as funny if you just delay it by three frames
more. It often helps to add sound early – whether it is music, voice, sound effects,
or all of the above – because the ear is better attuned to subtleties of timing than
the eye is. The importance of timing is translated through the number of frames
designated for an action to occur, controlling not only the speed of the action but

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
crucially also introducing, establishing, and reaffirming wider conditions, such as
the characters’ emotional state and their connection to the plot or other characters.

10. EXAGGERATION

Sometimes more is more. Exaggeration presents a character’s features and

actions in an extreme form for comedic or dramatic effect. This can include
distortions in facial features, body types, and expressions, but also the character’s
movement. Exaggeration is a great way for an animator to increase the appeal of a
character, and enhance the storytelling. The principle of exaggeration, whether
applied to the physical design and actions of characters, or to the wider narrative
function of the animation itself, presents opportunities to stretch and distort
reality, achieving seemingly impossible feats by amplifying conditions and breaking
rules and conventions.

11. SOLID DRAWINGThis is all about making sure that animated forms feel like
they’re in three-dimensional space. It is by defining the volume of the character,
described in the character/model sheet. This involves the confident handling of
drawing as a three-dimensional discipline articulated through understanding
anatomy and form. Solid drawing helps to maintain believability.
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
12. APPEAL

People remember real, interesting, and engaging characters. Animated

characters should be pleasing to look at and have a charismatic aspect to them;
this even applies to the antagonists of the story. Appeal can be hard to quantify
because everyone has a different standard. That said, you can give your character a
better chance of being appealing by making them attractive to look at. Play around
with different shapes and proportions of characters to keep things fresh. Enlarging
the most defining feature of a character can go a long way to giving the character
personality. Strive for a good balance between detail and simplicity. Understanding
the intricacies of drawing gives “appeal” to characters and makes them interesting
focal points for the audience to make necessary plot, design, or associated
connections with. In this sense, appeal is not necessarily “attractive,” but rather an
embodiment of character traits that touches an emotional inner core in the
audience.

Date Developed: Document No.01

IDENTIFICATION
DIRECTION: Identify what is being ask. Write your answer on the space provided
before each number.

__________ 1. Animation can occur before an action.

__________ 2. Animated characters need to have a unique personality and have a

wide range of emotions.

__________ 3. Used to increase the readability of emotions and actions.

__________ 4. The action the follows the main actions do not stop the same time.

__________ 5. The basis for almost all natural motion; created using a spline curve.

__________ 6. Minor actions that occur due to a major action.

__________ 7. Also known as Slow in, slow out.

__________ 8. To get maximum feeling from audience, animated characters must be

drawn or modeled precisely.

__________ 9. Living flesh distorts during motion. Exaggerated deformations will

emphasize motion and impact.

__________ 10. It directs the audience’s attention toward the most important
elements in a scene.

ANSWER KEY 2.1-4

1. Anticipation
2. Appeal
3. Exaggeration
4. Follow Through and Overlapping Action
5. Arcs
6. Second Action
7. Ease in, Ease out
8. Solid Drawing
9. Squash and Stretch
10. Staging

Date Developed: Document No.01

PREPARING MODEL SHEETS

Learning Objectives:
After reading this INFORMATION SHEET, YOU MUST be able to:
1. Define Model Sheets.
2. Identify the types of model sheets.

In this lesson, you will learn the different types of Model Sheets .

MODEL SHEETS
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.
Notice how the character is draw in the front, profile (side), 3/4 and back
views. This is called a turn around drawing.

For this lesson we use a simple shaped character. A simple shaped character
uses one basic shape or form 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 words what appear to
be shapes are really 3D forms.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
.
A turn around drawing 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 insures 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 character 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.

Once the basic forms are drawn - the details are drawn over top the forms.

Date Developed: Document No.01

GENERAL FINAL LINE MODEL SHEET

A single character is portrayed in turn around drawings that give us a sense

of how to draw the character from any angle, along with some facial expressions,
attitude and action 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 succeeds in
doing just that. But these days model sheets come in many styles, some far more
specific than others.

ROUGH CHARACTER CONCEPT MODEL SHEETS

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:

Date Developed: Document No.01

This can give animators a better idea of the structure that exist under all that hair.

ROUGH CONSTRUCTION MODEL SHEET

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 character:

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

character, such as hair:
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
Or eyes:

Or even spots!

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 character up
to that point. They often show action, expressions and attitudes that best display
the character’s personality:

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
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 sample:

ROUGH DIALOG MODEL SHEET

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

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
Some characters are unique in that they aren’t entirely constructed with
recognizable anatomy. The Genie from ―Aladdin‖, for example, was partially made
of smoke.

FINAL LINE

A Final Line or Clean Up Construction Model Sheet helps animators to see volume
as well as structure for even the most ―cartoony‖ of characters:

TURN AROUND MODEL SHEET

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 facing
view of your character that has the proportions entirely worked out; this will be
THE drawing that sets the standard for your character.

When completed, flip this character face down on a light box (use a lighted
window if you don’t have a lightbox) and trace the outline. Flip it back around and
detail in the back view, referencing the front view as you go. Once both are
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
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 Photoshop them together once
you have the character fully mapped out:

If you don’t have much experience with doing turnaround drawings this
process 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 overworked. Once
you are happy with your turnarounds, proceed to a Final Line Turn Around Model
Sheet:

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:

Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
Hercules clean up (or final line) front turnarounds:

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.

Date Developed: Document No.01

IDENTIFICATION
DIRECTION: Identify what is being ask. Write your answer on the space provided
before each number.

__________1. A type of model sheets that’s often generated early in the final design
process.
__________ 2. The templates of the characters used by the animation staff.
__________ 3. Shows various mouth shapes that are created when the character is
speaking.

_________ 4. Helps animators to see volume as well as structure for even the most
―cartoony‖ of characters.
__________ 5. This can give animators a better idea of the structure that exist under
all that hair.

ANSWER KEY 2.1- 5

1. Rough Construction Model Sheet.

2. Character Model Sheets
3. Rough Dialog Model Sheet
4. Final Line
5. Anatomical study model sheet

Date Developed: Document No.01

Title : Traditional Bouncing Ball Animation

Performance Objective : Given the tools and materials, the trainee

should be able to follow the procedures in
creating a simple bouncing ball.

Supplies/Materials : Lead pencils, peg bar, animation paper,

Eraser, Ruler, Sharpener, Mechanical Pencil
and Eraser, Basic drawing books, Online
Reference

Equipment : Light box, Chair

Steps/Procedure:
1. Prepare your working area, tools and equipment.
2. Draw the initial and final poses of the ball.
3. Add the Key frames and In-betweens.
4. Make sure to keep the mass of the ball the same.
5. Clean-up your rough drawing.
6. Add color to your ball.

Assessment Method:
Demonstration with oral questioning
and Interview

Date Developed: Document No.01

Trainee`s Name: _______________ Date: _

YES NO
CRITERIA

✔
1. The transition of bouncing ball is smooth.

2. Clearly Illustrate the following principles: squash and ✔

Stretch, timing, pose to pose and straight ahead
action.

3. The drawing is exceptionally attractive in terms of ✔

design, and neatness.

4. Steps are completed to the best of students ability. ✔

Comments/Suggestions:
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________

Trainer: ________________________Date: _

Date Developed: Document No.01

Title : Model Sheet

Performance Objective : Given the tools and materials, the trainee

should be able to follow the procedures in
developing a model sheet of their character.

Supplies/Materials : Lead pencils, Bondpaper, Eraser, Ruler,

Sharpener, Mechanical Pencil and Eraser, Basic
drawing books, Character design books, Online
Reference

Equipment : Light box, Chair

Steps/Procedure:
1. Prepare your working area, tools and equipment.
2. Using basic shapes and forms, create/design your own
character.
3. Draw the front view, side view, and back view of the
character.
4. Make sure that the elements of the character are
symmetrical.

Assessment Method:
Demonstration with oral questioning
and Interview

Date Developed: Document No.01

Trainee`s Name: _______________ Date: _

YES NO
CRITERIA

1. Consistent proportion and scale 100% ✔

2. Facial features and other elements are accurately ✔

drawn.

3. Character is appealing and shows uniqueness. ✔

4. Steps are completed to the best of students ability ✔

Comments/Suggestions:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
____________________________________________________

Trainer: ________________________Date: _

Date Developed: Document No.01

Name of Competency
RIZAL TECHNOLOGICAL UNIVERSITY
Assessment Center
Date of Assessment NOVEMBER 2022
CANDIDATES NAME SIGNATURE ASSESSMENT
NO. RESULTS
1 AGULAN, LESTER JOHN R. COMPETENT

2
3
4
5
Assessor/s:
TESDA Representative:
______JEAN C. MACAPAGAL______
Signature over Printed Name
__________________________________
Signature over Printed Name
Accreditation Number:
________________

__________________________________ CAC Manager :

Signature over Printed Name
__________________________________
Accreditation Number: Signature over Printed Name
________________

Date Developed: Document No.01

Competency
ANIMATION NC II
standard:

Unit of Produce Traditional Cleaned-up Key Drawings

competency:

Demonstration & Questioning

Ways in which evidence will be collected:

Observation & Questioning

[tick the column]

Third party Report

Portfolio

Written
The evidence must show that the trainee…

• Identified and prepared all Traditional clean up ✔ ✔ ✔

drawing requirements including Model sheets,
equipment and materials.

• Prepared all Traditional rough key in accordance ✔ ✔ ✔

with the instructions contained on the scene
folders.

• Produced on-model traditional cleaned-up key ✔ ✔ ✔

drawings following all the constraints of
production.

• Edited the necessary revision to obtain quality ✔ ✔ ✔

standard of the Cleaned-up drawings in
compliance with relevant personnel.

Date Developed: Document No.01

Objectives/Content Knowledg Comprehension Application # of

area/Topics e items/
% of
test

Identifying and 5
Preparing
3 2 (16.67
materials, tools,
%)
and equipment in
Clean-up Drawing

History of Animation 5

2 2 1 (16.67
%)

Animation Workflow 4 1 5

(16.67
%)

Principles and 3 3 2 8
concept of
(26.67
Animation
%)

Preparing Model 4 1 2 7
Sheets
(23.33
%)

TOTAL 16 8 6 30

(100%)

Date Developed: Document No.01

Qualification ANIMATION NC II
COC 1 Produce Traditional Cleaned-up Key Drawings
Unit of Competency PRODUCE TRADITIONAL CLEANED-UP KEY
DRAWINGS
Instruction:
Read each question and check the appropriate box to indicate your answer.

Can I? YES NO
. Identify requirements for traditional cleaned-up drawings
• Traditional animation equipment & materials are identified
and prepared according to the task undertaken
• Traditional Clean up Key Drawing requirements are
identified from the given source material.
• Appropriate model sheets are gathered for reference in the
given scene folder
• Incomplete materials and faulty equipment are reported to
appropriate personnel
Prepare Traditional Rough Key Drawings
• Rough key animation drawings in a scene folder are counted
and checked if complete and written on the provided
exposure sheet.
• Rough breakdowns are checked if provided by the animator
• Timing grid is checked if written legibly and corresponding
to the drawings indicated in the exposure sheet
• Special instructions from Animator or animation director are
checked and read if written on the Timing grid or in the
exposure sheet
• Traditional cleaned-up line quality stroke requirement for
the final drawing is checked against the approved model
sheets.
Produce Traditional cleaned-up key drawings
• All rough key drawings are arranged properly and flipped by
hand to see and analyze the animation movements
• Rough Key drawings poses and rough expressions are
analyzed and understood as indicated in the storyboard and
the exposure sheet.
• All rough key drawings pose that are off-model are redrawn

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
using the correct model sheet construction & proportion.
• Rough body Attitude and facial expressions are maintained
and captured during the redrawing and modeling process.
• Rough breakdowns are analyzed, redrawn and put on model
based on animation flow.
• Line quality stroke is applied to all redrawn rough key
animation poses and breakdowns.
• Key drawing & breakdown labels, animator instructions,
production information, timing grid are copied carefully from
the original rough key drawings and written clearly on the
clean animation paper in the appropriate position.
• All final traditional cleanedup key drawings and breakdowns
are organized and bundled neatly together inside a folder
• Old rough key drawings and rough breakdowns are also
organized, bundled and returned neatly together inside
scene folder
• Scene folder contents are double checked, signed and
submitted to appropriate personnel.
Edit / Revise cleaned-up Key Drawings
• Scene folder with revision calls are read and understood
based on the instructions written by a supervisor
• All affected cleaned-up key drawings & breakdowns are
redrawn based on the scope of the revision calls
• Revised scene folder contents are doubled checked and
signed off as done after all corrections are made.
• Revised scene folder is submitted to appropriate personnel.
I agree to undertake assessment in the knowledge that information gathered will
only be used for professional development and I can only be assessed by
concerned assessment personnel and my manager/supervisor
Trainee Signature: Date: December
2022

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
WRITTEN TEST
TEST 1 MULTIPLE CHOICE :
Read all the statements provided. Choose the letter of your answer on the
space provided before each number.

__________1. A period in animation history that began with the advent of sound
cartoons in late 1928 and faded out in the late 1950s/ early 1960s.
a. Millennial Age
b. Golden Age
c. Dark Age

__________2. It is needed for clean drawings, while colored pencil is used for
roughing out the animation.
a. HB Pencil
b. Colored Pencil
c. Mechanical Pencil

__________3. Final stage which involves final video and audio editing.
a. Pre-Production
b. Production
c. Post-Production

__________4. It is a part of the workflow in the production of hand-drawn

animation.
a. In-Between
b. Clean-up
c. Key frames

__________5. Are the templates of the characters used by the animation staff.
a. Model Sheets
b. Animatics
c. Animation Paper

__________6. Began as a response to the advent of television.

a. Dark Age
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
b. Silent Age
c. Golden Age

__________7. Also known as leica, comes directly from the storyboard.

a. Storyboard
b. Model Sheets
c. Animatic

__________8. It directs the audience’s attention toward the most important

elements in a scene.
a. Anticipation
b. Staging
c. Timing

__________9. This principle acknowledges that objects have an implied weight

and flexibility.
a. Squash and Stretch
b. Exaggeration
c. Arcs

__________10. Shows various mouth shapes that are created when the
character is speaking.
a. Turn Around Model Sheet
b. Rough Dialogue Model Sheet
c. Final Line

TEST 2 TRUE OR FALSE :

Place a T on the space provided if you think that the statement is TRUE and
F if you think that the statement is FALSE.

__________1. Production is done entirely by the animation studio.

__________2. Clean Up Construction Model Sheet helps animators to see volume
as well as structure for even the most ―cartoony of characters.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
__________3. Pencil is a part of the workflow in the production of hand-drawn
animation.
__________4. It’s usually easiest to start with either a side facing view of your
character.
__________5. “ON MODEL” means the model sheets have been followed to
perfection.
__________6. Exaggeration is a great way for an animator to increase the appeal
of a character, and enhance the storytelling.
__________7. In smaller studios this task is given to the animator’s assistant,
or, in a more specialized setting, to a clean-up-artist.
__________8. There are four stages of Animation
__________9. In 1983, legendary Walt Disney Studios animators Frank Thomas
and Ollie Johnston (two of Disney’s “Nine Old Men”) set out some defining
principles of the form in their book The Illusion of Life: Disney Animation.
__________10. The success of your animation is going to depend on your sense
of timing.

TEST 3 IDENTIFICATION TYPE:

Identify what is being asked and write your answer on the space provided.

__________1. He states that: “Animation is the most dynamic form of expression

available to creative people.”
__________2. Succeeded the zoetrope, replacing the latter’s narrow vertical slits
with an inner circle of angled mirrors instead.
__________3. The basis for almost all natural motion; created using a spline
curve.
__________4. It is used to clearly see through all the layers of drawings.
__________5. A nineteenth-century optical toy that featured a picture disk held
by two strings.

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
__________6. Used for referencing facial expressions with the recorded dialogue.
__________7. The action the follows the main actions do not stop the same time.
__________8. Include a front view, back view, ¾ view, and profile view of the
character.
__________9. Preparation for the main action.
__________10. This can give animators a better idea of the structure that exist
under all that hair.

ANSWER KEY

Test 1: Multiple Choice Test 2: True or False Test 3: Identification

1. B 1. T 1. Paul Wells
2.Praxinoscope
2. A 2. T 3.Arcs
4.Light Box
3. C 3. F 5.Thaumatrope
6.Nat Pause
4. B 4. F
7.Follow Through and
5. A 5. T Overlapping Action
8.Turn Around Model
6. A 6. T Sheet
9. Anticipation
7. C 7. F 10.Anatomical Study
Model Sheet
8. B 8. F

9. A 9. F

10. B 10. T

Date Developed: Document No.01

Trainee’s Name: Lester John R. Agulan

Trainer’s Name: Jean C. Macapagal
Unit of Competency: Produce Traditional cleaned-up key drawing
Qualification: ANIMATION NC II
Date of Assessment December 2022
Time of Assessment 8:00 am
Instructions for demonstration

General Instruction : Given the necessary tools, materials and equipment in

Clean-up drawing you are required to design your own character, create a
turn around model sheet, 3 facial expressions, 2 character poses and apply
clean up drawing.

Steps/Procedure:

1. Prepare your working area, tools and equipment in Clean-up

drawing
2. Using different shapes and forms create/design your own
character.
3. Create a turn around model sheet with 3 facial expressions and 2
main poses of your character.
4. Apply Traditional clean up drawings.
5. Present your performance to your assessor.

• Tools and equipment

Materials and equipment
• Work Area

Date Developed: Document No.01

YES NO
CRITERIA

1. Prepare all tools, materials and equipment in ✔

preparation for clean up drawings.

2. Consistent proportion and scale 100% ✔

3. Facial features and other elements are accurately ✔

drawn.

4. Character is appealing and shows uniqueness. ✔

5. Steps are completed to the best of students ability ✔

6. Successfully applied clean up drawing ✔

Comments/Suggestions:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
____________________________________________________

Date Developed: Document No.01

Questions to probe the candidate’s underpinning knowledge Satisfactor

y response

Extension/Reflection Questions Yes No

1. What is your standard and concrete basis in successful

development of a Traditional Clean up Drawings?

2. What will you do if you are having a hard time coping up with the ✔
lessons and feeling left behind in creating clean up animations?

Safety Questions Yes No

3. What safety precautions will you do to prevent yourself from ✔

accidents?

4. What will you do if there are potential hazards that surround in ✔

your working area?

Contingency Questions Yes No

5. What will you do when you find out that your equipment is not ✔
working properly?

Job Role/Environment Question Yes No

6. What is your objective in Cleaning up your drawing? ✔

7. What do you do to Animation papers that you have used already ✔

and no longer needed?

Rules and Regulations

8. What is Plagiarism?
Date Developed: Document No.01
November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
The candidate’s underpinning ✔ Satisfactory ❑ Not Satisfactory
knowledge was:

Date Developed: Document No.01

Resources for presenting instruction

• Print Resources As per TR As per Remarks

Inventory

Hard copies of CBLM 21 21 Complete

Hard copies of TR 21 21 Complete

• Non Print Resources As per TR As per Remarks

Inventory

Soft copies of CBLM 21 21 Complete

Soft copies of TR 21 21 Complete

Resources for Skills practice of Competency #1

______________________________

• Supplies and Materials As per TR As per Remarks

Inventory

Animation Paper 5 reams 5 reams Complete

Tape dispenser 1 pc 1 pc Complete

Adhesive Tape 1 roll 1 roll Complete

Samples of animation model 2 sets (20 2 sets (20 Complete

packs – cartoony and realistic sheets per sheets per
set) set)

Date Developed: Document No.01

Lead Pencil (2B) 2 boxes 2 boxes Complete

• Tools As per TR As per Remarks

Inventory

Lightbox (with animation disc / 21 21 Complete

peg bar)

Pegbar 21 21 Complete

2d Softwares 21 21 Complete

Operating System 21 21 Complete

1 TB External hard drive 1 pc 1 pc Complete

Eraser 1 box 1 box Complete

Pencil Sharpener 4 pcs 4 pcs Complete

Ruler 3 pcs 3 pcs Complete

Line Test Software 1 pc 1 pc Complete

• Equipment As per TR As per Remarks

Inventory

Ergonomic computer tables and 21 21 Complete

chairs

Pen Tablet 4’’ x 6’’ 21 21 Complete

Desktop computer 21 21 Complete

Date Developed: Document No.01

Projector 1 1 Complete

Speaker 1 pc 1 pc Complete

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings
CERTIFICATE

Date Developed: Document No.01

November 2022 Issued by:
Animation NC II
Date Revised:
Rizal
Technological Page 1 of 100
Produce Developed by:
Traditional Jean C. University
Cleaned-up Key Macapagal Revision #
Drawings

Plan - TM1 - J. Tena - Ems - Nciii
100% (4)
Plan - TM1 - J. Tena - Ems - Nciii
49 pages
Animation 7 Module 1
100% (1)
Animation 7 Module 1
26 pages
Ismael Manic Balana Css Presentations
No ratings yet
Ismael Manic Balana Css Presentations
23 pages
PC Operations NC II
100% (2)
PC Operations NC II
61 pages
Computer Programming CG
No ratings yet
Computer Programming CG
20 pages
CBLM Animation NC II Nirevisw
No ratings yet
CBLM Animation NC II Nirevisw
184 pages
5 - Waste Segregation Plan
No ratings yet
5 - Waste Segregation Plan
1 page
Guidelines On 2019 Technolympics
No ratings yet
Guidelines On 2019 Technolympics
23 pages
Animation NC II CG (Word Version)
No ratings yet
Animation NC II CG (Word Version)
24 pages
CSS Q3 W7 DLL
100% (1)
CSS Q3 W7 DLL
3 pages
TVL ICT ANIMATION-NCII Q1 MODULE-3 Passed
100% (1)
TVL ICT ANIMATION-NCII Q1 MODULE-3 Passed
14 pages
G7 WORKSHEET ICT Week 4 NEW
100% (1)
G7 WORKSHEET ICT Week 4 NEW
4 pages
Summative Test Animation 11
100% (1)
Summative Test Animation 11
10 pages
Cblmcss Module 2
No ratings yet
Cblmcss Module 2
113 pages
Diagnostic Test Icf 7
No ratings yet
Diagnostic Test Icf 7
1 page
Animation DLL - Week 2
No ratings yet
Animation DLL - Week 2
2 pages
ANIMATION 8 Week 7
No ratings yet
ANIMATION 8 Week 7
18 pages
Cookery - First Module
No ratings yet
Cookery - First Module
10 pages
Smainhs - JDVP Accomplishment Report
No ratings yet
Smainhs - JDVP Accomplishment Report
13 pages
Microsoft Word - Mail Merge Lesson Plan
No ratings yet
Microsoft Word - Mail Merge Lesson Plan
5 pages
Q1 - WEEK - 1.1 - Grade 9 - 2
No ratings yet
Q1 - WEEK - 1.1 - Grade 9 - 2
7 pages
Industrial Arts - Automotive Servicing (Exploratory) : K To 12 Technology and Livelihood Education
No ratings yet
Industrial Arts - Automotive Servicing (Exploratory) : K To 12 Technology and Livelihood Education
7 pages
CSS 9 Tos
No ratings yet
CSS 9 Tos
2 pages
12 SHS Animation Module 2 Qtr. 2 WK 1 4
No ratings yet
12 SHS Animation Module 2 Qtr. 2 WK 1 4
21 pages
BBTLE30473 Computer and Internet Manipulation
No ratings yet
BBTLE30473 Computer and Internet Manipulation
9 pages
CSS Maintaing Hand Tools
No ratings yet
CSS Maintaing Hand Tools
6 pages
Curriculum Map - Ict 10 (2020)
No ratings yet
Curriculum Map - Ict 10 (2020)
6 pages
Lesson 1: 3 Grading Period
No ratings yet
Lesson 1: 3 Grading Period
44 pages
Session-Plan-2d Animation-NC - III
No ratings yet
Session-Plan-2d Animation-NC - III
9 pages
Q1 July 16-20 DLL TLE 9 Edited
50% (2)
Q1 July 16-20 DLL TLE 9 Edited
2 pages
Computer Systems Servicing
No ratings yet
Computer Systems Servicing
14 pages
It Curriculum Guide Grade 9
No ratings yet
It Curriculum Guide Grade 9
39 pages
SESSION PLAN Sector Electronics Sector Q
100% (1)
SESSION PLAN Sector Electronics Sector Q
67 pages
Attendance-Sheet JDVP
No ratings yet
Attendance-Sheet JDVP
1 page
Module 1 Applying Quality Standard
No ratings yet
Module 1 Applying Quality Standard
39 pages
Ia - Automotive Servicing CG
No ratings yet
Ia - Automotive Servicing CG
3 pages
PEACE Na Talaga
No ratings yet
PEACE Na Talaga
9 pages
Computer Lesson Plan
No ratings yet
Computer Lesson Plan
7 pages
11 Animation q1 w7 m7 Final
No ratings yet
11 Animation q1 w7 m7 Final
19 pages
Ict Week 2
No ratings yet
Ict Week 2
24 pages
3rd Quarter Compendium of Notes Grade 9 ICT
No ratings yet
3rd Quarter Compendium of Notes Grade 9 ICT
37 pages
TASK SHEET 1.3-3 Develop An Information Sheet
No ratings yet
TASK SHEET 1.3-3 Develop An Information Sheet
26 pages
Flowcharting On CHS
No ratings yet
Flowcharting On CHS
10 pages
CSS Module-Melc 1-3 Grade 11
No ratings yet
CSS Module-Melc 1-3 Grade 11
22 pages
K To 12 ICT - Computer Systems Servicing (NC II) Curriculum Guide May 2016 LO - Learning Outcome of
No ratings yet
K To 12 ICT - Computer Systems Servicing (NC II) Curriculum Guide May 2016 LO - Learning Outcome of
2 pages
Toaz - Info Core 1 CBLM Install and Configure Computer Systems PR
No ratings yet
Toaz - Info Core 1 CBLM Install and Configure Computer Systems PR
57 pages
LE IDEA Detailed LP Week1 DAY2
No ratings yet
LE IDEA Detailed LP Week1 DAY2
15 pages
Data Gathering - NCII CSS
No ratings yet
Data Gathering - NCII CSS
3 pages
Lesson Plan Grade 9 - Information and Communication Technology I. Objectives
100% (1)
Lesson Plan Grade 9 - Information and Communication Technology I. Objectives
3 pages
Don Bosco Tvet Center-Calauan, Inc.: Session Plan
No ratings yet
Don Bosco Tvet Center-Calauan, Inc.: Session Plan
7 pages
CSS Tos (1ST - 4TH)
100% (1)
CSS Tos (1ST - 4TH)
6 pages
4.session Plan (1 Unit of Comeptency)
No ratings yet
4.session Plan (1 Unit of Comeptency)
9 pages
L O 1 Prepare To Assemble Electronic Products
No ratings yet
L O 1 Prepare To Assemble Electronic Products
4 pages
CG CSS NC 2
No ratings yet
CG CSS NC 2
29 pages
CBCVisual Graphics Design NCIII
No ratings yet
CBCVisual Graphics Design NCIII
98 pages
Dressmaking
No ratings yet
Dressmaking
220 pages
Plan Final
No ratings yet
Plan Final
62 pages
1-5plan Training Session
No ratings yet
1-5plan Training Session
13 pages
1.1 Data Gathering Instrument For Trainee
No ratings yet
1.1 Data Gathering Instrument For Trainee
4 pages
tm-1-vgd-nc-iii
No ratings yet
tm-1-vgd-nc-iii
262 pages
The NTH Derivative of A Function
No ratings yet
The NTH Derivative of A Function
49 pages
Spanking/Corporal Punishment
No ratings yet
Spanking/Corporal Punishment
5 pages
The Good Prince Bantugan Story Telling Best LP
100% (1)
The Good Prince Bantugan Story Telling Best LP
8 pages
Leadership Competency Development Guide Thoroughness
No ratings yet
Leadership Competency Development Guide Thoroughness
23 pages
C1 Advanced Sample Paper 1 Listening
No ratings yet
C1 Advanced Sample Paper 1 Listening
6 pages
The Following Is A Sample of The Lesson Plan Format Used by The University
No ratings yet
The Following Is A Sample of The Lesson Plan Format Used by The University
3 pages
Providing FEEDBACK: Why Important?
No ratings yet
Providing FEEDBACK: Why Important?
39 pages
Kuis B.Inggris: Inference, Conclusion & Active and Passive Voice
No ratings yet
Kuis B.Inggris: Inference, Conclusion & Active and Passive Voice
2 pages
Q3-Week 4- Grade 10- Mapeh- PE
No ratings yet
Q3-Week 4- Grade 10- Mapeh- PE
2 pages
164575
No ratings yet
164575
6 pages
Independence Day Preparation
No ratings yet
Independence Day Preparation
2 pages
B.Tech.: Department of Physics National Institute of Technology Calicut Kozhikode - 673601, KERALA, INDIA
No ratings yet
B.Tech.: Department of Physics National Institute of Technology Calicut Kozhikode - 673601, KERALA, INDIA
25 pages
Mendoza-Pe-Lesson Plan
No ratings yet
Mendoza-Pe-Lesson Plan
16 pages
Par-Time CPT Vs OPT Eligibility
No ratings yet
Par-Time CPT Vs OPT Eligibility
2 pages
Laxmi Complete Final Projecct 6
No ratings yet
Laxmi Complete Final Projecct 6
34 pages
Testing Aircraft AFDX Systems
No ratings yet
Testing Aircraft AFDX Systems
2 pages
History Chapter 1 Class 10 in Hindi & English _ Bihar Board - 10th Pariksha
No ratings yet
History Chapter 1 Class 10 in Hindi & English _ Bihar Board - 10th Pariksha
23 pages
Brief Introduction to Pointers
No ratings yet
Brief Introduction to Pointers
9 pages
Activity 11 Module 4 - 1541343433
No ratings yet
Activity 11 Module 4 - 1541343433
2 pages
Senaryolar2024 - 1 Nice
No ratings yet
Senaryolar2024 - 1 Nice
1 page
KMB CV 08162021
No ratings yet
KMB CV 08162021
3 pages
Assignment 7 - Final Project
No ratings yet
Assignment 7 - Final Project
3 pages
Badminton 9 10 - Unit Assessment Plan
No ratings yet
Badminton 9 10 - Unit Assessment Plan
6 pages
Calling Data Barmer
No ratings yet
Calling Data Barmer
22 pages
Assessment 1 James Wilson 17727701
No ratings yet
Assessment 1 James Wilson 17727701
104 pages
bai-tap-tieng-anh-11-friends-global-unit-1
No ratings yet
bai-tap-tieng-anh-11-friends-global-unit-1
2 pages
buzz-level-3-student-book-scope-and-sequence
No ratings yet
buzz-level-3-student-book-scope-and-sequence
1 page
Literacy Program Plan
No ratings yet
Literacy Program Plan
11 pages
Business Administration Resume Examples
100% (1)
Business Administration Resume Examples
8 pages
STRM060 - Workshop 1 - Introduction To IBN and The Nature of Negotiation
0% (1)
STRM060 - Workshop 1 - Introduction To IBN and The Nature of Negotiation
24 pages