SHS

TVL ICT:
ANIMATION NCII
Quarter 4 – Module 1:
Produce clean-up drawings for
actual scene folders
(Weeks 1 & 2)
 What I Need to Know?

This module was designed and written with you in mind. It is here to help you
understand Animation. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course.

The module will cover the lesson:

● Lesson 1 – Identify requirements for cleaned-up drawings in actual scene
folders

After going through this module, you are expected to:

1. produce clean-up drawings which are consistent with the requirements,
2. match clean-up drawings to animators’ keys, and
3. number all animation breakdowns onto a clean-up drawing.

What I Know?

Multiple Choice
Directions. Please read each statement and select the best answer. Write the letter
and the word. Please use a separate sheet in answering the test. Please do not
forget to write the following in your answer sheet:
Name: _________________________ Yr. & Section: __________________
Yr. Level & Subject (Specialization): ___________ Module No: _____
Name of the Activity (e.g., What I know) ______________ Date: ______

1. It is a part of the workflow in the production of hand-drawn animation, in

which "clean" versions of the "rough" animation drawings are produced.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing
2. It is the preliminary sketch of a design or picture in animation.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing

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3. It is a representation to show the construction or appearance of something.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing
4. It is a pose between two keys.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing
5. It is one of the main poses in an action or movement.
A. Break-down pose C. Key poses
B. In-between poses D. Pose to pose
6. The pose used to fill in-between the key poses and breakdown poses.
A. Break-down pose C. Key poses
B. In-between poses D. Pose to pose
7. A term used in animation, for creating key poses for characters and then
inbetweening them in intermediate frames to make the character appear to
move from one pose to the next.
A. Break-down pose C. Key poses
B. In-between poses D. Pose to pose
8. These are rough key poses and expressions produced by the animator while
working over the layout given to the clean-up artist to animate and after
visualizing their assigned sequence from the storyboard.
A. Animator’s Key C. Clean-up stage
B. Break-down pose D. X-sheets
9. The clean-up stage is where all the rough and reworked drawings of the
animator are carefully redrawn, neatly, and accurately, to reflect the original
design of the character he or she is working with.
A. Animator’s Key C. Clean-up stage
B. Break-down pose D. X-sheets
10. In an exposure sheet, how many frames is equivalent to 1 second of action?
A. 16 frames C. 22 frames
B. 19 frames D. 24 frames
11. It is the document that is used to standardize the appearance, poses, and
gestures of an animated character.
A. Exposure sheet C. Layout drawing
B. Key animation drawing D. Model sheet
12. What kind of pencil is used to trace the final details of the key drawing?
A. Colored pencil C. Lead pencil
B. Drafting pencil D. Pen
13. The tool used in clean-up drawing that holds the animation paper in place on
the lightbox.
A. Lightbox bar C. Paper holder
B. Paper clip D. Peg bar
14. The back-lit frame with a translucent face of plastic or glass used for tracing
and slide viewing.
A. Drawing frame C. Light frame
B. Lightbox D. Tracing box

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 15. Which of the following is NOT a material in the clean-up drawing
requirement?
A. Animation paper C. Information sheet
B. Director’s instruction D. Model sheet

What’s In

In the previous module, you have learned about how to create drawings following the
details of exposure sheets in animation production. Exposure sheet is made by the
timing director who will use the instructions from the storyboard, including the
phonetically broken sound, to mark out instructions for the possible action of every
single character.

You have also learned that an exposure sheet is the universal compass for animators
as it is a document that contains every piece of information needed to create the
scene also known as x-sheet.

In this module, learners are expected to produce clean-up drawings which are
consistent with the requirements, match clean-up drawings to animators’ keys and
number all animation breakdowns onto a clean-up drawing.

What’s New?

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

which "clean" versions of the "rough" animation drawings are produced. 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 must 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.

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Clean-ups generally are done on a new sheet of animation paper. They can be done
on the same sheet as the rough animation if this were done with a "non-copy blue"
pencil. This certain tone of blue will be invisible for photocopying machines or
grayscale scanners, where the finished animation will be copied on cels or
transferred into a computer for further processing.

What is It?

TECHNICAL TERMS

● clean-up artist - the assistant of the animator who re-draws any

sketches that are roughly made
● line art - any image that consists of distinct straight or curved
lines placed against a usually plain background,
without gradations in shade or hue to represent two-
dimensional or three-dimensional objects.
● rough drawing - a preliminary sketch of a design or picture

● dynamic - of or relating to energy or to objects in motion

● graphite line - a line produced by a pencil lead made up of a soft
native carbon occurring in black to dark gray foliated
masses
● model - a representation to show the construction or
appearance of something
● reference - the act of referring to something
● breakdown - comes between keys to help the key frame animator
describe the action to in-between animators
● breakdown pose - a pose between two keys

● in-between poses - the pose used to fill in-between the key poses and
breakdown poses
● key pose - One of the main poses in an action or movement

The clean-up stage is where all the rough and reworked drawings of the animator are
carefully redrawn, neatly, and accurately, to reflect the original design of the
character he or she is working with. This task is given to the animator's assistant or
a clean-up artist to render a clean version of the rough drawings by using the final
quality line art over the animator's roughs.

In the animation production process, after the key animation has been line tested
and scenes are approved by the Director, the next step is to clean-up the animation.
All the elements are placed in the animation scene folder and goes to the next
department which is the Clean-up Department. They make sure that every drawing
is a finished masterpiece.
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A good clean-up artist is a person who
● puts emphasis on the importance of details.
● likes drafting and creating very detailed drawings.
● is knowledgeable on human anatomy and life drawings.
● can create smooth lines.
● is patient.

The example below shows how the clean-up artist takes the key drawings, which
are roughly drawn, and traces out a good version with one solid line.

Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix

Publishing House Inc., 2016

http://gg.gg/rough2

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Animator’s Key

Animator's keys or key drawings are rough

key poses and expressions produced by the
animator while working over the layout
given to the clean-up artist to animate and
after visualizing their assigned sequence
from the storyboard.

Key drawings must be dynamic and

balanced that needs to be communicated to
the audience at every point of the action.
Each one of the key poses needs to tell a story, needs to be in balance, or needs to
have the necessary drive in its structure to imply the precise emotion or personality
the animator is attempting to communicate. Bad poses lead to bad animation and
vice versa. Therefore, he or she should give each pose the attention and respect it
deserves.

Key poses are the key moments that clearly describe the important physical actions
or emotional moments in a scene. These are basically the person's most important
poses. In fact, these are so essential to the movement that if the person removed any
one of them from the scene, it would no longer work.

The images below are examples of key drawings:

Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix

Publishing House Inc., 2016

6
In the traditional animation process, the animation director checks all the key
drawings and once they have been approved. It will be forwarded to the clean-up
department. Drawings must match the character models and ensure that no details
are missing. The following should be observed to match clean-up drawings with
animator's keys:
● Use the clean key as a reference and the rough line as a guide for the final
drawing.
● Stick to the original rough line as closely as possible. Modify only to adjust
the volume.
● Use a light blue pencil or red pencil to do a rough clean-up first.
● Drawings must be consistent with the previous key. It can be done by flipping
the drawing back and forth, looking at every single line on the drawing, and
comparing it with the previous key.
● Check the endpoints, the spatial relationships between the lines that form the
different features or parts of the character.
● If something wobbles, shrinks, grows, or pops that is not part of the natural
flow of the intended action, he or she must fix it immediately.
● Observe the principles of animation.

Sometimes a clean-up artist is required to redraw a rough drawing because the key
animator has completely gone off model. The clean-up must retain the poses and
composition of the rough sketch. Clean-up artists standardize the character
according to the model sheets.

If the clean-up model differs from the original rough or volumes are inconsistent, the
clean-up artist will redraw the character on a new sheet of paper. In this case, red
pencil is used to rough out the poses again using construction shapes, bringing the
character back on model before drawing the final graphite line. When recreating the
rough, he or she needs to work with shapes, forms, and perspectives while retaining
the movement and flow of the action that the character is performing. Below is an
example of reconstructing a rough drawing.

Ando, Alma C. Animation 11 –

Technical Vocational Livelihood
Series: Phoenix Publishing House
Inc., 2016

7
While the final line work in clean-up resembles an illustrated line, the construction
of the characters is closely aligned to life drawing. It is important to think of one's
character as having a skeleton and muscles, not just a collection of neat lines. The
person must capture the curve and flow of the muscles as they move, and bend when
shifting weight. Therefore, life drawing is important to animation. He or she must
construct the characters in perspective with their form and weight before drawing
the final line.

On Model

Several animators with varying styles may work on the same character in animation.
But in the clean-up stage, the clean-up department is responsible to bring the
character drawings back to its original specifications of the model sheet, making it
look as if each character is drawn by one animator. This is called the on model. It
serves as the final work on how to draw the characters.

If any details have been left out, the clean-up artist must ensure that they place them
in. In doing the clean-up, the challenge is to keep the life and movement that the
animator has captured and not lose it while trying to bring the character back on
model.

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 What’s More

Trace the Model drawing below in one neat line to produce a finished version of the
drawing. Use a clean sheet of short size bond paper and place it over rough key
drawing.

Ando, Alma C. Animation 11 –

Technical Vocational Livelihood
Series: Phoenix Publishing House
Inc., 2016

9
 Ando, Alma C. Animation 11 –
Technical Vocational Livelihood
Series: Phoenix Publishing House
Inc., 2016

10
 What I Have Learned

Directions: Reflect on the following guide questions and write your insights in your
journal notebook.
● Give at least three (3) processes that should be observed to match
clean-up drawings with animator’s keys.

What I Can Do

Clean-up Drawings
Directions:
A. Clean up the rough drawing below. Please use a clean Letter Size Bond Paper
(Short Size).

Ando, Alma C. Animation 11 –

Technical Vocational Livelihood
Series: Phoenix Publishing House
Inc., 2016

11
 B. Clean up the drawing B based on the given model sheet A.

Ando, Alma C. Animation 11 –

Technical Vocational Livelihood
Series: Phoenix Publishing House
Inc., 2016

Scoring Rubrics:
Below is a tool for evaluating your finished drawing. Assess yourself using the criteria
and rating scale listed below for grading purposes.

Criteria 5 Points 3 Points 1 Point

Accuracy The drawing was The drawing was The drawing was NOT
drawn according somehow drawn drawn according to
to standard steps according to standard steps given.
given. standard
steps given.

Neatness Finished output Erasures/smudges Finished output

was neatly done, are observable on has many erasures/
no visible the finished output. smudges.
erasures/
smudges.

Time Finished the task Finished the task Unable to finish

Management before the given on time. the given task.
time.

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 Assessment

Multiple Choice
Directions. Please read each statement and select the best answer. Write the letter
and the word. Please use a separate sheet in answering the test. Please do not
forget to write the following in your answer sheet:
Name: _________________________ Yr. & Section: __________________
Yr. Level & Subject (Specialization): ___________ Module No: _____
Name of the Activity (e.g., What I know) ______________ Date: ______

1. It is one of the main poses in an action or movement.

A. Break-down pose C. Key poses
B. In-between poses D. Pose to pose
2. The pose used to fill in-between the key poses and breakdown poses.
A. Break-down pose C. Key poses
B. In-between poses D. Pose to pose
3. A term used in animation, for creating key poses for characters and then
inbetweening them in intermediate frames to make the character appear to
move from one pose to the next.
A. Break-down pose C. Key poses
B. In-between poses D. Pose to pose
4. The clean-up stage is where all the rough and reworked drawings of the
animator are carefully redrawn, neatly, and accurately, to reflect the original
design of the character he or she is working with.
A. Animator’s Key C. Clean-up stage
B. Break-down pose D. X-sheets
5. Which of the following is NOT a material in the clean-up drawing
requirement?
A. Animation paper C. Information sheet
B. Director’s instruction D. Model sheet
6. In an exposure sheet, how many frames is equivalent to 1 second of action?
A. 16 frames C. 22 frames
B. 19 frames D. 24 frames
7. These are rough key poses and expressions produced by the animator while
working over the layout given to the clean-up artist to animate and after
visualizing their assigned sequence from the storyboard.
A. Animator’s Key C. Clean-up stage
B. Break-down pose D. X-sheets

13
8. It is the preliminary sketch of a design or picture in animation.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing
9. It is a pose between two keys.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing
10. It is a part of the workflow in the production of hand-drawn animation, in
which "clean" versions of the "rough" animation drawings are produced.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing
11. It is a representation to show the construction or appearance of something.
A. Break-down pose C. Model
B. Clean-up Drawing D. Rough Drawing
12. It is the document that is used to standardize the appearance, poses, and
gestures of an animated character.
A. Exposure sheet C. Layout drawing
B. Key animation drawing D. Model sheet
13. What kind of pencil is used to trace the final details of the key drawing?
A. Colored pencil C. Lead pencil
B. Drafting pencil D. Pen
14. The tool used in clean-up drawing that holds the animation paper in place on
the lightbox.
A. Lightbox bar C. Paper holder
B. Paper clip D. Peg bar
15. The back-lit frame with a translucent face of plastic or glass used for tracing
and slide viewing.
A. Drawing frame C. Light frame
B. Lightbox D. Tracing box

14
References
Books:

Ando, Alma C. Animation 11 – Technical Vocational Livelihood Series: Phoenix

Publishing House Inc., 2016.

Online Resources
https://quizizz.com/admin/quiz/5cf5c663de5715001abdfeee/module-1-
personal-entrepreneurial-competencies
https://www.slideshare.net/rvpodi/lesson-1-use-of-hand-tools-ict
https://www.slideshare.net/kenjoyb/k-to-12-pc-hardware-servicing-learning-
module?next_slideshow=1

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