Animation11 - Q3W1-Fillable1 - Cyril Espanol

Grade 11
Activity Sheets
Quarter 3 Week 1
Name:
Grade/Section:
Date: _______________ Total Score: 0
Pose to Pose
Learning Competency: Produce clean-up drawings for actual scene folders
(cartoon, simple) (TLE_ICTAN9-11CI-IIIa-j-2)
Concept/Short Input:
One of the most popular methods when making animation is “Pose to
pose”.
Here, significant poses in a motion are drawn first, with the drawings in
between drawn later.
Keyframe
The significant poses are drawn first. In traditional anime production, these
drawings are called “genga” or “keyframes”.
The above shows where the keyframes are placed.
Learning Materials are for nonprofit educational purposes which are exclusively used for
Schools Division of Digos City only. Copies are not for sale.
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Principles of motion
In animation, it is necessary to express how physics work and create
believable motion. As they dictate motion, keyframe drawing requires a good
understanding of the principles of motion.
When drawing motion, try to remember the following basic principles.
Follow through
Based on the motif, there will be a delay between the center of an
object and its extremities. This motion is called a “follow through”.
In the example, the tips and the fixed top part of the tuft have a delay, as
the tips should continue to move after the spear has stopped due to inertia.
Change the timing and shape of an object to express materials and weight in
the animation. The follow through is good for long hair and cloth.
2
Anticipation
Say we want to animate a jump. You will soon realize that humans
need to bend their knees before jumping. This entry motion is called
anticipation.
Accurate observation is a key to the deep understanding of

anticipation. Always keep in mind that large movements and quick
movements will have some anticipation, observe them carefully.
Slow-in/Slow-out
In animation, the gradual acceleration of a moving object is called a

slow-in. In contrast, the gradual deceleration of an object is called a slow-
out. The frames of a slow moving object should near each other, with the
opposite being true with a fast object.
3
Douga
“Douga” in anime production specifically means materials that have
movement, as opposed to “moving image”.
In traditional animation, completed genga are not used directly and
are traced. The douga staff then inbetween the traced genga. This
inbetweening is called nakawari (Japanese: 中割り), and the resulting
sequence is called the douga.
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Note: The roles above are specific to traditional anime production, and are
expected to change with the spread of digitization.
Tips when inbetweening

Inbetweens are crucial to the quality of a sequence. Some may think
that inbetweening is easy, as the keyframes determine the movement.
However, many soon realize that is not the case. As the final quality of the
motion depends on this step, the smallest cut corner will result in choppy
motion.
5
Using techniques such as the ones below, try to optimize your
workflow and express fluid motion.
Motion arc
A motion arc is a line that indicates the trajectory of a motion. An arc
contains dots that specify frames.
When drawing an arc, it is important to picture the motion that is

happening between the keyframes.
Shift and trace (Japanese: Tap wari, タップ割り)
“Shift and trace” is a technique used to draw accurate inbetweens more

easily by overlaying keyframes that are far apart.
6
How to shift and trace
1. Say the following are keyframes.
2. The inbetween should be between the keyframes, with the face

somewhere around the area shown below.
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3. To get an accurate idea of where the inbetween will be, we will draw a
motion arc and find the middle point. Here, we have drawn the chin’s
arc.
4. Move the keyframes so both chins align on the middle point. This will
overlap the heads, acting as reference for the inbetween.
5. The face is done. Like this, shift and trace overlays keyframes as
reference.
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Inbetweening order
If we want to add three inbetweens to two keyframes, we start from the

middle inbetween. Let’s look at the inbetweening order.
1. First, we draw Inbetween (3), which is the middle of Keyframe (1) and (5).
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2. Next we inbetween Keyframe (1) and Inbetween (3).
This new inbetween is Inbetween (2).
3. Finally, we inbetween Inbetween (3) and Keyframe (5).
This becomes Inbetween (4).
4. The inbetweening is done.
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Final words
An animator is a “drawing job”, similar to a comic artist or illustrator.
However, an animator does not necessarily need to think of stories like a
comic artist or handle the entire designing and color process alone.
What an animator “thinks” and “designs” is time. What pose connects
to what pose. How many frames should there be. What timing to use. How
the pacing works. An animator is required to figure these details out at the
1mm or 1/24 second scale.
However, there is no difference between pros and amateurs when it
comes to the basic enjoyment of animating things. Digital tools will continue
to broaden the horizons of animation, even more than the pencil or
watercolors.
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Activity #1:
Instruction: Given the key drawings, supply the in-between drawings and
make a grid for the following charts below.
Example: Key Frame Key Frame
1 4
2 3
In between drawings
1 2 3 4
Keyframe (1) Keyframe (2) Keyframe (3) Keyframe (4)
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Activity #2:
Instruction: Given the key drawings, supply the in-between drawings

and make a grid for the following charts below.
In between drawings
Key Frame Key Frame
1 4
2 3
Keyframe (1) Keyframe (2) Keyframe (3) Keyframe (4)
Reference:
Melvy D. Español Insert Name Here Cyril C. Español

Writer Evaluator Layout Artist
SHS in Digos City Insert School Here SHS in Digos City
13
Answer Key
For teachers use only (Separate sheets)
Melvy D. Español Cyril C. Español Cyril C. Español

Writer Evaluator Layout Artist
SHS in Digos City SHS in Digos City SHS in Digos City
14
Para sa mga katanungan o puna, sumulat o tumawag sa:
Department of Education - Bureau of Learning Resources (DepEd-BLR)
Ground Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600
Telefax: (632) 8634-1072; 8634-1054; 8631-4985
Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph

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Grade 11

The above shows where the keyframes are placed.

When drawing motion, try to remember the following basic principles.

Accurate observation is a key to the deep understanding of

In animation, the gradual acceleration of a moving object is called a

Tips when inbetweening

When drawing an arc, it is important to picture the motion that is

Shift and trace (Japanese: Tap wari, タップ割り)

“Shift and trace” is a technique used to draw accurate inbetweens more

1. Say the following are keyframes.

2. The inbetween should be between the keyframes, with the face

If we want to add three inbetweens to two keyframes, we start from the

This new inbetween is Inbetween (2).

3. Finally, we inbetween Inbetween (3) and Keyframe (5).

This becomes Inbetween (4).

4. The inbetweening is done.

Keyframe (1) Keyframe (2) Keyframe (3) Keyframe (4)

Instruction: Given the key drawings, supply the in-between drawings

Keyframe (1) Keyframe (2) Keyframe (3) Keyframe (4)

Melvy D. Español Insert Name Here Cyril C. Español

For teachers use only (Separate sheets)

Melvy D. Español Cyril C. Español Cyril C. Español

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph

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