Technical

Vocational 12
Livelihood
QUARTER 1

Animation
Module
15
Animation – Grade 12
Quarter 1 – Module 15: Clean-Up Drawing Preparations
First Edition, 2020

Republic Act 8293, Section 176 states that no copyright shall subsist in any
work of the Government of the Philippines. However, prior approval of the government
agency or office wherein the work is created shall be necessary for exploitation of such
work for profit. Such agency or office may, among other things, impose as a condition
the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright
holders. Every effort has been exerted to locate and seek permission to use these
materials from their respective copyright owners. The publisher and authors do not
represent nor claim ownership over them.

Published by the Department of Education - Schools Division of Pasig City

Development Team of the Self-Learning Module

Writer: Janeth M. Pineda
Editor: Melannie B. Nanteza
Reviewers: Aiza T. Tuplano (Content)
Illustrator:
Layout Artist: Isidro D. Pineda
Management Team: Ma. Evalou Concepcion A. Agustin
OIC-Schools Division Superintendent
Aurelio G. Alfonso EdD
OIC-Assistant Schools Division Superintendent
Victor M. Javeña EdD
Chief, School Governance and Operations Division and
OIC-Chief, Curriculum Implementation Division

Education Program Supervisors

Librada L. Agon EdD (EPP/TLE/TVL/TVE)

Liza A. Alvarez (Science/STEM/SSP)
Bernard R. Balitao (AP/HUMSS)
Joselito E. Calios (English/SPFL/GAS)
Norlyn D. Conde EdD (MAPEH/SPA/SPS/HOPE/A&D/Sports)
Wilma Q. Del Rosario (LRMS/ADM)
Ma. Teresita E. Herrera EdD (Filipino/GAS/Piling Larang)
Perlita M. Ignacio PhD (EsP)
Dulce O. Santos PhD (Kindergarten/MTB-MLE)
Teresita P. Tagulao EdD (Mathematics/ABM)

Printed in the Philippines by Department of Education – Schools Division of

Pasig City
 Animation 12
n
QUARTER 1

Clean-up Drawing
Module
15 Preparations
Introductory Message

For the Facilitator:

Welcome to the Animation 12 Self-Learning Module on Clean-up Drawing

Preparations!
This Self-Learning Module was collaboratively designed, developed and
reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.
 For the Learner:

Welcome to the Animation Self-Learning Module on Clean-up Drawing Preparations!

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills that

you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.
 EXPECTATIONS
At the end of the lesson, the students should be able to:
A. Recognize how drawing are cleaned-up using the given suggestion;
B. Appreciate how each hint helps create good cleaned-up drawing;
C. Clean-up drawing using the given key drawings.

PRETEST
TRUE OR FALSE: Write T if the statement is True, and F if false. Write your
before the number.

_________ 1. Find the basic action line and build your drawing around it, when
creating or recreating a ruff.
________ 2. Do not spend the most time and energy in the focus area(s) (i.e.
face-especially eyes, or hands if they are engaged in any business.
_________ 3. Try not to stick with the assistant keys and the pattern sheets.
_________ 4. Another approach to effective in-betweens is volumes retention.
_________ 5. Paint by forms-artifacts

RECAP
ENUMERATION: Using the table below, enumerate and differentiate the
3 Philippine Animation Production Process.
 LESSON
Though it is a cartoon, think of it as having a skeleton and a muscle-
not just a line assembly!. This will help you familiarize yourself with the
proportions of the character. Paint by forms-artifacts. Look at the ends of the
lines and they decide the entire form. (Draw all linking shapes and solid
objects, feel the form as you plot).

HELPFUL HINT FOR CLEAN-UP

SIMPLIFY

Avoid Parallels and twinning, stiff, flat drawings are created.

Avoid tangents - unintended shapes makes the eyes being fooled. Individual
shapes also tend to blend into one another.
Create a strong silhouette – Using black would make the drawing
unreadable? Avoid ambiguity - the "sorta,” “kinda,”, “maybe" that makes areas
mushy and uncertain. Create a drawing that is solid, not timid!
Avoid the "sawtooth effect" and monotonous lines. Length of lines in
clothing Vary clumps of hair, , skin folds etc.
Where’s the focus? Spend the most time and energy in the focus area(s) (i.e.
face-especially eyes, or hands if they are engaged in any business).
Know where to put your money - You can fast-acting scenes but take your
time on slow-acting scenes and traces.
Perspective- Can you use overlap to establish a balanced perspective in the
right places? One model artist had the easiest perspective lesson around:
follow the line of your horizon-what 's above it is up-what 's below it is down.
It's just too easy to forget! Do not feel constrained by the paper's flat, two-
dimensional existence. If you need help visualizing it as a space of three
dimensions try to draw a box for your characters to stand in.
Action lines (especially useful in rough animation and key cleanup) Find the
basic action line and build your drawing around it, when creating or recreating
a ruff.
 Such sketches often illustrate a successful use of shadow-the action is
apparent even without the specifics within. Simple bends build excitement and
tension.

INBETWEENING

There are no insignificant drawings! The eye can perceive up to 1/30 of a

second - your drawing will be on the screen 1/24 to 1/12 of a second. Your
in-betweens can make or break a scene!
Flip, flip, flip - rolling the section you are getting, then flipping the drawings
when you are in between, is important for good drawings.
Watch your arcs! - Plot unfolds in red or blue until the hero roars out. Test
the layout- Are the characters well planted on the feet? Will the character need
to register on a different level to any context items, or components?
Volumes- Another approach to effective in-betweens is volumes retention. You
can squash or stretch a shape but the region cannot "breathe" unless the
volume of the shape is kept constant. An exception to this rule is when, for
animation purposes, the ruff animation requires a volume change. Several
illustrations would be how Ariel is responding to an explosion; her eyes are
widening, and the pupils are in terror. Her hair bristles too and her fingers
look longer and thinner. Another source is Roger Rabbit getting his hands free
from the carriage of children. For three frames his hands are rising
disproportionately large. Looking at the action you don't necessarily see these
sketches so you "heart" them. (Note: Always check with your assistant or
animator before changing any volumes for animation purposes)
Stay organized - Work out a system, and always know the status of your
scenes. Communicate-Ask questions and listen to answers. When beginning
a new scene, ask your assistant or animator if there is anything important
they want you to look out for. Ask for a durable animation tape for analysis.
Communication shortages raise distrust within the network.
Don’t re-invent the character - Stick with the assistant keys and the pattern
sheets. Some of your own "add-ons" or "subtractions" will create holes in the
animation.
Dialog should be given close attention - Sometimes it is "on frame" and
sometimes it’s a frame ahead. Check the keys against the XSheet.
Use of top and bottom lights - Choose not only one or the other but both at
your own discretion. Best results; low light for Blue drawing, top for Black, top
and bottom for closing in-betweens.
Lost details should be watched - such as whiskers, sep lines , and costume
details.
Follow thru or Secondary action - Watch for "drag" areas-often marked on
the keys or ruffs with separate maps. Areas like whiskers, hair, clothes, long
ears (Roger Rabbit), usually have some form of delayed action during a fast-
moving sequence.

LINE

"Think Shape not line!" Do not think that the consistency of the line is
unimportant! This means you should think of yourself as a sculptor, sculpt
your form and define it with a clean, clear , consistent line when you lay down
your line. Using a straight, smooth line will help prevent "crawling" or
"popping" against the drawings that surround it.
Leads of pencils A .03 is preferable. Start with an HB lead, Try B if your line
is too light. If it is to heavy or "hairy", try and H.
"Lazy" Lines Also seen in the tracebacks, a built drawing will appear flat.
Using the top and bottom lights to help avoid them.
Connect all lines! In digital ink and paint systems the pigment actually leaks
out. Make the job easier with ink and paints and search your sketches for
gaps. (That is, unless the picture design is really loose).
Straight against Curve - Use straight lines for tension, power, rough areas
such as knees and elbows. Flow curves, sag curves, and softness. Let them
play one another off, just as they do in nature.
Varied Lines- If you have mastered a straight line then you will seek to darken
the lines slightly on objects that are nearest to the audience in order to move
them forward.

ABBREVIATIONS AND TERMS

Dope Sheet or X-sheet - the exposure sheet on which frame numbers, dialog
and drawings numbers are written.
Dial - dialog
Bal- the "balance", whatever is not indicated by a separate chart. (ie: a key has
a chart for "Right arm" - everything that is not the right arm is the balance).
T/B - Traceback ( a drawing traced back from the previous one)
Ruff - Rough animation drawing
Folo- follow
Reg- Register the character to the background or other animation drawings)
BG - background
TP- Top Pegged
Seps- color separations for ink and paint (tone mattes, rough on cheeks etc.)

USING RUFFS I
Using your model sheet for proportion and description, the rough is for all
else.' The rough determines the character's exact location as well as his/her
attitude (although you can do everything you can to add that, if possible).

Hold the proportions consistent in the sequence. Try going from # 1 to # 53 to

# 106 (for a 106-frame sequence) if you are keying it. Then break it down,
instead of keying it straight ahead.

Write a dialog in a non-photo pencil at the top of your drawing (right hand
side)-accent the sound or letter used. Ex: "Great," "Great." Don't forget to write
alongside the drawing number, too.

Where to put your money II-Many characters take more care of themselves
than others. Jessica Rabbit or Mickey, for example , take more focus than Max
the Dog or a fast-moving Roger Rabbit, which can be handled more loosely.
More attention should always be given to facial features than hair or clothing.
A NOTE ON EYES
Look out for prospect! A crease that shows
eyelid thickness can help with direction of the
eye. Focus will be strengthened on some
characters which raise the pupil slightly away
from the white. Indicate eyelashes with a
darker line on male characters, with a slight
overlap for realism. Make sure eyelids are hung
at the outer corner-not like a blind pull.

ADDITIONAL TIPS
For a fresh eye to make a adjustment-turn the drawing over and show it using
your low light. Having your drawing backwards will give you a different
viewpoint on your painting, making trouble points easier to identify. Make
improvements to the rear as well.

Don't forget to clean the back of all your drawings-this helps to remove "dirt"
on the surrounding drawings that will be dealt with in digital ink and paint
later. Clean up the backs of the roughs you do get.

USING RUFFS II

Rough Intimidating? Seek blocking and drawing through the simple shapes.
Rub the drawing down before setting in any details with a kneaded eraser-
refrain from over information. When you're debating a line, take it out.

Watch the forms don't "rock" from the front to the back. The shapes will rotate
in 3D space, naturally. You should be able to solve most of the problems you
face by paying attention to the forms on the background sketches and drawing
with the character.
Teeth, or teeth not? There is also a debate on whether or not to reveal the teeth
of a character for certain sounds-particularly for those not showing teeth on
their model sheets (i.e., Wilbur). Consult your Character Key on this-teeth are
normally exposed for "s," "v"," "f," "th "etc.

Often the way you can first clean-up isn't # 1-try finding a drawing that offers
a clear description of what the scene is about and the character's attitude.

ACTIVITIES
CLEAN IT UP!
1. Get a short bond paper.
2. Using the bond paper, create a cleaned up copy of the picture.
 WRAP-UP
Let us summarize what we have discussed today. Explain the clean-up hints
that you have have learned in the following elements by completing the WH
Chart.

CLEAN-UP DRAWING PREPARATIONS

SIMPLIFY

IN-BETWEEN

LINE
 VALUING
The lesson taught us the things to consider in cleaning up drawings,
but how about ourselves? Is there anything you want to improve in
with your life? If yes, then what is it, and why? Explain your answer
in 5 sentences using the space below.
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________

POSTTEST

TRUE OR FALSE: Write T if the statement is True, and F if false. Write your
before the number.

_________ 1. Consistency of the line is unimportant!.

________ 2. Focus will be strengthened on some characters which raise the
pupil slightly away from the white.
_________ 3. Make the job easier with ink and paints and search your sketches
for gaps .
_________ 4. Watch for "drag" areas-often marked on the keys or ruffs with
separate maps.
_________ 5. Choose not only one or the other but both at your own discretion
 KEY TO CORRECTION

T 5. 5. T
T 4. 4. T
T 3. 3. F
T 2. 2. F
F 1. 1. T
PRETEST

References
www.deped.gov.ph. “Animation-NC-II-CG-pdf.” Accessed May 23, 2017.
https://www.deped.gov.ph/wp-content/uploads/2019/01/Animation-
NC-II-CG.pdf
www.tesda.gov.ph.”TR Animation NC II.” Accessed May 24, 2020 .
https://tesda.gov.ph/Downloadables/TR%20-
20Animation%20NC%20II.pdf

creately.com.” types-of-graphic-organizers.” Accessed July 26, 2020 .

https://creately.com/blog/diagrams/types-of-graphic-organizers/

thedisneyblog.com.” Learn to draw Stitch.” Accessed August 1, 2020 .

https://thedisneyblog.com/2014/10/31/learn-to-draw-stitch/

www.animationmeat.com.” Features of Animation to Learn.” Accessed August

1, 2020 .
http://www.animationmeat.com/pdf/featureanimation/cleanuphints.pdf

www.drawingtutorials101.com.” How to draw Mickey Mouse.” Accessed

August 1, 2020 . https://www.drawingtutorials101.com/how-to-draw-
mickey-mouse-face-from-mickey-mouse-clubhouse