Week 3 - Introduction To Clean-Up PDF

ANIMATION NCII – Animation 12a
Governor Pack Road, Baguio City, Philippines 2600

Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph
MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado
Introduction to clean-up
Objectives: At the end of this lesson, students shall be able to:

1) Enumerate the general steps in doing traditional clean-up for key drawings;
2) Explain the process of doing clean-up from the preparation until submission; and
3) Understand the importance of modeling as an aspect of the animation production.
Introduction to Clean-Up
 Clean-Up
o Process in the animation workflow
o Creation the final line of a drawing based on a rough drawing
 Rough drawing / rough animation / roughs – initial drawings done in a very loose fashion
o Clean-up can be done for keyframes (keyframe animator) or in-betweens (in-betweener)
o Involves the analysis, redrawing, and creation of final line of the created drawing
o Can be done either on the same paper (if using a blue pencil), or in a separate sheet
 Purposes:
o Unites the design of the entire animation
o Creates the illusion that only one artist has done the entire animation
o Can facilitate smoother and more seamless movement between drawings
o Emphasis of different characters from other parts of the animation (props, background, etc.)
o Easier coloring depending on the quality of the line
 Personnel involved:
o Clean-up artist – artists who would create the final line of the drawings; could be further
divided if they are cleaning-up keyframes or in-betweens
o Keyframe / senior animator – animator who does the rough keyframe drawings whose work
the clean-up artist has to do
o In-betweener – animator who does the rough in-between drawings whose work the clean-up
artist may have to do
o Quality control and monitoring:
a. Animation director
- Head of the entire animation and its production, including its design and overall quality
- Overtakes quality control and monitoring for small animation studios with around less
than fifty (<50) animators
- Monitors the progress of the entire production team
- Work can be received from them and work finished can be submitted to them
- Conducts line testing and checks the quality of the clean-up
b. Departmental head
- Head of a certain part of the production (usually divided according to a character)
- Possibly also a keyframe animator
- Overtakes quality control and monitoring for small animation studios with less than a
hundred (<100) animators
- Monitors the progress of the entire department
c. Production assistant
- Staff that monitors the progress of each animator (keyframe, clean-up, in-between)
- Usually seen in animation studios with a few hundred animators
- Each production assistant aids either the departmental head or production manager
- Possibly not an animator; may not know animation skills
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d. Production manager
- Staff that can head the progress of the animators
- Would usually have other production assistants under this person
- Usually seen in bigger animation studios with some hundred animators
- Possibly not an animator but must know animation concepts and skills
- Manages the work done by the production assistants
e. Supervisor / trainer
- In-situ for the person in-charge of quality control and monitoring when learning how to
animate in an educational institution
 Traditional v. digital clean-up
Traditional Clean-Up Key Differences Digital Clean-Up
Traditional Animation style Paperless, 2D
Pencil, ink Tools of implementation Freehand, pen tool
Materials and Equipment for Traditional Clean-Up

Material /
Description Illustration
Equipment
Light box  AKA animator’s working desk
 Used for doing most work in production
(keyframing, in-betweening, clean-up)
 Surface is made out of wood placed at an
(adjustable) angle for more comfortable use
over long periods of time
 Includes an animation disc and peg bar
 Has a light source at the bottom of the
animation disc that allows one to see what
is placed in multiple papers
Animation disc  AKA plexi disc
 A (usually) white translucent disc made out
of a plastic material that sits on top of the
light box
 Is translucent so that the light from the light
box can pass through it
 Is detachable so it can be rotated
 Can include a peg bar
Peg bar  Strip made out of wood, plastic, or steel

 Usually has three holes (one circular at the
center, two rectangular at the sides) to
cater the holes in an animation paper
 Joins all animation papers in place,
especially when rotating the papers
Animation paper  Paper usually with a 15” x 12” dimension
 Has similar thickness to normal copy paper
 Usually has three holes at one long side
where the peg bar can be placed to keep
all of them together
 Paper used in the animation industry for
keyframing, clean-up, and in-betweening
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Mechanical pencil  Type of pencil

 Made with metal and/or plastic that allows
for the use of a replaceable lead
 Lead can be worn away and replaced
 Can be used longer compared to a
wooden, graphite pencil
 Recommended size (clean-up): 0.5mm
 Recommended lead (clean-up): black, 2B
Blue pencil  Also known as non-photo pencil
 Type of pencil
 Can either be graphite or mechanical
 Used to draw the rough keyframe and in-
between in animation
 Erasable, which allows for redrawing before
doing clean-up
 Can also come in different colors aside from
blue (light colors like red, pink, and green
are recommended)
Animation folder  AKA model pack or layout folder or scene
folder
 Final output of the layout / posing stage and
the pre-production
 To be received by every animator in the
production stage
 Contains:
 Model sheets of the assigned character
 Selected frames of the storyboard
 Selected backgrounds
 Field guide
 Keyframes
 Exposure sheet
 Special instructions
 Other production information
Other materials and equipment:

 Eraser – used to remove any mistakes done during the redrawing process; it is recommended
to use a kneaded eraser for clean-up artists
 Sharpener – used to sharpen a pencil’s wooden enclosure when using a graphite pencil; not
applicable to a mechanical pencil
 Masking tape – secure animation papers to the light box or peg bar; used because it does not
adhere so much to the paper that it tears it off after use
 Mirror – helps catch the facial expression or body pose of the animator to be used to the
character
 Exposure sheet – records necessary information relating to how the animation should be shot
 Line tester – device that captures traditional drawings and plays them back; quick and easy
way to see if the roughly drawn sequence works; simplest, cheapest, and fastest way to do this
is to use a webcam on a stand and use line testing software on a computer
 Scanner – an alternative to the line tester; scans a better quality than the webcam but is
slower in execution
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Light box alternatives:

 Note: In the industry, or when learning animation, these are not really recommended, as
animators need to be accustomed to the tools that they shall be using. However, to prevent
from going out and/or spending too much on the equipment needed, as well as to be able to
learn some of the things needed for this subject, DIY approaches are permitted and are
recommended.
 When creating a light box, there are two important main features:
o Translucent / Transparent flat surface
 Should be able to allow light to pass through it
 Should be enough space at the bottom to supply the light source
 Could come in any color as long as it’s not too distracting or taxing in the eye
o Light source
 Could be of any color (white is the most recommended color)
 Does not have to be too bright (approximately a few LED lights or brighter)
 Must be flat / small enough to fit under the translucent / transparent flat surface
 Examples of translucent / transparent flat surfaces that can be seen at home:
o File case
o Large and sturdy Tupperware cases (image 1)
o Glass surfaces (to be used with caution) (image 2)
o Translucent clip board (image 3)
Example – flat surface (1) Example – flat surface (2) Example – flat surface (3)
Large Tupperware cases Glass surfaces Translucent clip board
 Examples of light sources that can be seen at home:

o Smart phone / tablet light o Small desk lamp
o Flash light o USB / laptop light
o LED lights
 Other features that can be added:
o Angled drawing surface – the flat surface can be placed at an angle to allow ease of
drawing for longer periods of time; can be done by stacking items at the back portion of
the flat surface and placing a stopper at the front
o Comfortable height – the flat surface could be placed at a height to allow ease of
drawing for longer periods of time; can be done by adjusting a proper table – chair height
or stacking items at the sides of the flat surface
o Rotatable disc – can be done when doing a constructible light box; can also be done by
creating a DIY peg bar and rotating the papers if need be or taping the papers together
for easier rotation
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 Other alternatives:
o Constructible DIY light boxes (image 4)
o Engineer’s light boxes
o Display light boxes (with letterings) + flat surface (image 5)
o Tablet / iPad (to use with caution)
o Drawing / Tracing pad (image 6)
Light box alternative (4) Light box alternative (5) Light box alternative (6)
Constructible DIY light box Display light box Drawing / tracing pad
General Steps
1. Analysis
 Receiving, checking, and assessing contents and information in the animation folder
 Assessing action, timing, and design of the character in the keyframes
 Helps ascertain the steps and items to be done in redrawing
 Consultation may also be done to the senior animator or any higher-up
 Modeling may be done by the animator based on the model sheets on the animation folder
2. Redrawing
 Process of correcting the action, timing, and design of the character in the keyframes before
the actual clean-up
 Idea of modeling is necessary for this stage
 Counter-check and correct any mistakes done in rough keyframing
 Helps facilitate the clean-up process to make it easier to see what needs to be cleaned-up
3. Clean-up proper
 The actual process of creating the final line
 Must follow the clean-up stroke and quality according to the animation guidelines
4. Submission
 Labelling, double-checking, and submission of the clean-up and animation folder to the
appropriate personnel
5. Revision
 Correction of the revision calls that was checked by the quality control team
 Correction is usually done by the same clean-up artist who did the mistake
 Usually observed / “caught in” the line-test procedure, before the rough in-betweens
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Types of Roughs
Type Descriptions Illustration
Clean  Ideal type of render for a clean-up artist
 Not commonly seen in the actual industry
 Render is almost close to a clean-up
 Little changes are done before doing clean-up
 Lines are minimal and well-defined
 Basic shapes, guidelines, and any other unnecessary
lines are either lightly drawn or erased
 Drawing is on-model; most of the details are drawn
 Action and facial expression is well-defined
Messy  Most commonly seen type of rendering

 Done due to the amount of work done by senior
animator
 Lines are multiple with no differences in value
 No lines are erased –difficult to ascertain what the
necessary lines are from the unnecessary ones
 Most of the character is not drawn
 Most drawings only include the important action
and/or facial expression
 Drawing is usually off-model
Anatomy of a Rough Keyframe Drawing
a. Frame label (red) – the number or label of the frame; basis for determining the frame number on
the timing charts; must be copied to the clean-up (if using a new page)
b. Timing chart (yellow) – indicates the in-betweens and the timing between two keyframes as
stated by the senior animator; must be copied to the clean-up (if using a new page)
c. Production information (green) – indicates general information for the production the keyframe is
in; is only placed in select keyframes; includes title of the animation, episode number (if episodic),
scene number and character name; must be copied to the clean-up (if using a new page)
d. Animator / Special instructions (blue) – specific instructions to the in-betweener on how to do
some portions of the in-betweening; must not be included when doing clean-up
e. Rough keyframe drawing (purple) – the drawing of the character doing a main action that must
be cleaned-up
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Review: Modeling
 Modeling
o Process of recreating a character exactly based from the model sheets
a. Model sheet / character board / character study / study – document that standardizes the
appearance of a character; can include the overall turnaround of the body and head, as
well as different facial expressions, poses, gestures, clothing, and others
b. On-model – term for a character that follows the modeling standards of a character’s
design (example of an on-model and off-model character below)
o Importance:
a. Maintenance of the character’s structure, proportion, and design
b. Create the illusion as if only one artist has created the entire work
c. Maintain continuity between the actions and expressions of the characters
o Considerations:
a. Proportions – height and volume of the character is consistent with the head (basis)
b. Basic shapes – the proper use of basic shapes can help maintain the volume of the
character and make it look consistent
c. Details – making sure that the details’ placement, proportions, and volume used is
consistent with the original model, as small distortions in details can make the character
look off-model (does not comply with the modeling standards)
d. Distortions – distortions including resizing, turning, foreshortening, or any other changes in
the body structure must still maintain semblance of the previous three considerations
o Skills and Techniques:
a. Analysis – ascertaining the character and breaking it down to its most basic shapes and its
proportions; no drawing is necessarily done in this stage; helps to determine how to draw
the character without tracing
b. Recreating the character – creating the character to the dot, as if copying the character’s
poses and facial expressions while using skills on modeling; most basic type of modeling
c. Construction of a turnaround (face and body) – creation of other views aside from the
recreated model
d. Resizing / rescaling the character – changing the scale of the character while still maintain
the proportions and volume of the basis shapes; important when rescaling on the field
guide is necessary
e. Creating other expressions and actions – distorting the original model to add varieties to
the characters that is seen on the storyboard; most difficult yet most practical modeling skill
and technique
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 Tips in Modeling
o Analysis
a. Have your references ready. Keep one pose and facial expression (the simplest one if
possible) as the main basis when modeling. Keep other references on standby if there is a
need to consult for missed details.
b. Measure the height of the head first. The head is the main basis of measuring the
proportions of the body. This is so that the proportions can be easily ascertained when
rescaling is necessary. It is best to measure both the width and height of the head to
optimize analysis for the basic shapes.
c. Measure other main body parts. Using the height of the head as the main unit of
measurement, measure the height of the torso, legs, and arms. This will then give you an
idea to the character’s overall height.
d. Draw the basic shape for the head. As the head is the main basis for all basic shapes and
proportions of the body, it would then be best to draw the basic shape of the head. This
measurement is now considered as one unit.
e. Draw the other basic shapes of the body. Use the measurement of the head as basis. Start
off first with the main body parts such as the torso and limbs and then break them off even
more like adding joints and hands and feet. Use only simple shapes (circle, rectangle, and
triangle). Try to break down more complicated basic shapes into simpler ones (pentagon
can be broken down into a triangle and a rectangle).
f. Add more basic shapes and further guidelines if necessary. Find specific measurements for
smaller details such as fingers, and facial elements. Break off all elements into its most basic
shapes as much as is needed.
o Recreating the Character
a. Find the overall height of the character first. Find the space that you would be using when
recreating the character. This habit is very useful especially when resizing.
b. Break down the height into its major parts. Divide the space of the overall height based on
the major body parts such as the head, torso, and limbs. Again, make sure that the head is
the basis for measurement.
c. Draw the necessary basic shapes. Based from the notes on the analysis, draw the basic
shapes. It would be best to draw the major body parts first before the other smaller basic
shapes.
d. Render the drawing. From the basic shapes, add necessary details during the rendering
process. Take note of the sizing and volume to make sure that the character is still on
model.
o Additional Tips
a. Modeling is considered as the fastest and most efficient way of making sure that how you
draw the character is the same as that of the animation studio’s standards, so try to do this
before going in with the entire clean-up process
b. If possible (during the pre-production process), ask if you are able to practice modeling or
drawing the character to perfect your technique
c. Tracing is not the same as modeling
d. Use the head as the basis for modeling at all times
e. Break down all body and facial elements to its most basic shapes
f. Modeling a character takes a lot of time and practice, so it is best to do modeling before
doing the clean-up a multiple of times before perfecting it
g. Consult the concept artist, senior animator, or supervisor on tips on how to draw the
character; or allow them to check your work to make sure that you are complying with the
design
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Tips in Analyzing Renders

1. Take note of everything in the animation folder
 Animation folder parts:
○ Model sheets – the model sheets placed in the animation folder are usually only of one
character; would usually include the final turnaround for the head and body, and of
common poses and facial expressions; used to aid the modeling of the character when
doing analysis and redrawing
○ Storyboard frames – only selected frames of the storyboard are included (usually the scene
where the keyframes came from); used to refer to the continuity of the action if necessary
○ Backgrounds – sample rough backgrounds based from the storyboard frames may be
included; used to refer how the character would move within the setting
○ Field guide – field guide based on the storyboard is included; dictates the how the shot is
framed as well as the sizing of the character to the frame, the other characters, and the
background
○ Keyframes – rough keyframe drawings are included from the senior animator; analysis and
redrawing needs to be done before the actual clean-up; the lines for the rough keyframes,
redrawing, and clean-up can possibly be placed in one paper or in separate ones,
depending on the policies of the animation studio
○ Exposure sheet – records all necessary information relating to how the animation should be
shot; can be used as a reference to the timing of the animation, along with the timing
charts on the keyframes
○ Special instructions – specific instructions to the in-betweener on how to do some portions
of the in-betweening; not necessarily relevant to the clean-up artist, but is relevant to the
in-betweener; may be used as the basis on what to emphasize / take note of when
analyzing the keyframes
○ Other production information – general information about the production; usually placed
at the first keyframe or serves as the label of the animation folder; information must be
retained to facilitate easier tracking and quality assurance
 The animation folder usually comes from the senior / keyframe animator, and the work that
you do is dictated by them.
 All contents in the animation folder would aid the clean-up artist on how to do the scene
properly, so take the time to analyze and study them.
 If there is any missing, please consult any of the production managers or assistants. Anything
missing that was not reported earlier will be accounted to you.
2. Understand the modeling first
 Before doing any analysis of the keyframes, take out the model sheets per character and try
to practice drawing them.
 It would be best to model by redrawing the character based on the model sheet, then
rescaling, and then redrawing the keyframe, and then referring it to the original model sheet.
 Failing to do modeling before the actual analysis process increases the possibility of the
character you do clean-up for becoming ‘off-model’.
3. Consult senior animator or supervisors if there are any questions
 The content created is usually created by the senior animator, so it would be best to refer to
him / her before pushing on with the clean-up.
 Try to analyze and consult the senior animator before very early on and only once. Senior
animators tend to have a lot of work to be done (supervising other animators, quality testing,
and others – aside from doing the rough keyframes) so this may not be possible.
 To try and consult with the senior animator, it is recommended to do your analysis very early on
and as quickly as possible. However, careful consideration must be taken note of.
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 If not possible, consultation may be done through other members of the quality testing team
(supervisor, department head, and/or more experienced animators in your department).
 As you become more experienced in the industry, you would find some of the mistakes on
your own, and there would be no need to ask any questions.
4. Project how the clean-up will affect the other parts of the production process
 As a clean-up artist, or as an animator, you must remember that you are not the only person
working on the animation. It is also a goal for the entire animation team to give the illusion that
only one person is working on the animation. As such, the seamless transition between the
works of different animators must be observed.
 You must consider how any nuances in your work might affect the production process.
 Other items in the animation folder (storyboard, field guides, etc.) may aid in determining how
your scene would affect those coming before and after it.
Tips in Redrawing
1. Use and take care of proper materials and equipment
 Using the proper materials and equipment optimizes the workflow of doing clean-up and
allows you to do work for longer periods of time with little to no stress.
 Use a different-colored pencil when redrawing if possible (i.e. if the rough keyframe drawing is
done in blue pencil, try to use a red pencil).
 The model sheet is usually placed on top of the light box, or pinned at the wall in front of the
clean-up artist for easier reference.
 Place all other materials (animation folder, other pencils) in one place. It is recommended to
place them at the portion where the non-dominant hand resides (i.e. if you are right handed,
place it on your left side, and vice versa).
 Use a masking tape, invisible tape, or any tape that will not leave a residue to the paper and
the pencil, making the light box easier to clean.
 It is also important to keep the light box clean and tidy. Make sure that it is always free of
eraser shavings or loose graphite from the pencil. Light boxes are usually cleaned with
denatured alcohol (especially below the rotating disc). A hand vacuum may be used in
cleaning the inside of the light box from fallen debris like loose graphite or eraser shavings
(which is to be used with caution). Non-stick solutions (like oil) can be used to clean any
remaining adhesion to the surface.
2. Use another paper if necessary
 It would be best if the rough keyframe drawings and the redraw is done at one page, and the
final clean-up is done at a separate page. This is done especially when a lot of redrawing was
done before the actual clean-up.
 In some cases, (like if there is no blue pencil used), one paper each would be used for the
rough keyframe drawings, the redraw, and the clean-up.
 For those without light boxes, it would also be wise to do the rough keyframe drawing, redraw,
and clean-up in one page. If this is done, make sure that the rough keyframe drawing and the
redraw is done by a blue or non-photo pencil.
3. Keep lines clear by erasing unnecessary lines
 Before redrawing, analyze what lines are unnecessary (guidelines, basic shapes, etc.) and
erase them.
 Keep erasing any unnecessary lines to make sure that the drawing is clear and you will not
accidentally trace any unwanted lines.
 It would be best for you to use a kneaded eraser – a clay-like eraser – as you are able to mold
it into different shapes to erase only precise lines, and it does not have any eraser shavings.
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Though unable to erase darker lines, it is still recommended as a lot of rough keyframe
drawings are typically lightly-drawn sketches.
4. Maximize finger, wrist, elbow, and shoulder movement
 Using the proper body part to do any type of movement optimizes your work, allows you to
draw and do clean-up for a long time, and reduces any injuries resulted by overexertion (i.e.
carpal tunnel).
 Drawing using your fingers is used for more precise drawing, such as drawing the facial
elements, and other finer details in the character’s clothing. This is not recommended to be
done for long periods of time as it also exerts pressure on other muscles on your arm.
 Drawing using your wrist is considered as a “default”, used in writing. It could be used for
drawing bigger details.
 Drawing using your elbow is also somewhat a default – a secondary movement to your wrist. It
could be used for drawing larger lines on a one half bond paper. Using the shoulder more for
drawing is recommended as it does not strain other smaller muscles on your hand.
 Drawing using your shoulder is mainly used for drawing larger lines that span across the entire
paper, as large as a whole bond paper.
 Together with the proper arm movements, it is also recommended that the clean-up artist’s
posture be taken note of.
Editing and Revising Cleaned-Up Key Drawings

 Revision Calls
o Corrections within the work that must be corrected by the same / different clean-up artist
o Checked by the animator director or supervisor
o Usually observed during the line-test procedure; before doing the rough in-betweens
 Types of Revision Calls (Cleaned-Up Key Drawings)
o Record Keeping
 Disorganized submission of animation folder
 Missing cleaned-up key drawings
 Missing rough key drawings
 Missing drawings
 Missing exposure sheet
 Missing layout
 Missing model sheets
 Missing storyboard
 Wrong counting of drawing contents
 Wrong label
o Modeling
 Off-model drawings
 Missing details
 Misplaced details
 Wrong costume or props
o Clean-Up Quality
 Dirty and crumpled animation paper
 Wrong mouth chart / lip-sync used
 Poor line quality
 Incorrect line quality
 Wrong eye direction
 Wrong pose / facial expression
 Wrong light direction / shadows / tones / highlights / mark up
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 Steps in Editing / Revising Cleaned-Up Key Drawings

o Analyze Instructions and Scene Folder
 Scene folder is given back to the clean-up artist along with revision call instructions
 These are usually indicated in the areas of correction or placed in a separate sheet for
missing content
 Determine the type of revision calls based from the revision instructions
o Redraw all Affected Cleaned-up Key Drawings
 Use the revision calls and other animator instructions to redraw the affected drawings
 For dirty or crumpled animation paper, it may be possible to remove the imperfections by
erasing and/or pressing
 In the event that it does not solve, then it must be entirely redrawn
o Check Quality of Outputs
 For record keeping, make sure that all items are present and arranged in the order that it
has been given
 Those that must be compiled needs to be stapled / paper clipped to each other
 Make sure that all content does not suffer damage in terms of quality
 If damage / loss has been done to the original contents in the scene folder, a letter of
explanation must be attached explaining the reason(s) why it has occurred
o Double Check Revised Scene Folder
 Double check if all contents are present and arranged properly
a. Original rough key drawings
b. Original cleaned-up key drawings
c. Exposure sheet
d. Layout and field guide
e. Storyboard
o Submit to Appropriate Personnel
 Production assistant
 Production manager
 Departmental head
 Animation director
 Supervisor / trainer
Notes (Materials and Equipment):

 Light box (DIY options discussed above), surface area must be able to accommodate at least
one half short bond paper
o It is recommended that the light box would be used by only one student
o Students may use the same light box, provided that it will not hinder their performance
 One-half short bond / typewriting paper (crosswise); paper weight no greater than 70 gsm;
recommended to have a smooth surface; make sure the non-cut portions are placed are all
arranged at one edge (preferably at the top)
 Pencil (for clean-up)
o Mechanical pencil; 0.5mm thickness; 2B black graphite lead; or
o Graphite pencil; 2B black graphite lead
 Blue pencil (if possible)
o Mechanical pencil – Pilot Color Eno pencil leads (0.7mm thickness) using colors blue, light
blue, red, pink, or green
o Graphite pencil – Prismacolor Col-erase pencils using colors mentioned above
o Other alternative – graphite / mechanical pencil with black graphite lead of 2H or lighter
(3H, 4H – 9H)
Page 12 of 14
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
o Other brand colored pencils may be used, but to be used with caution because it may be
difficult to erase
o Watercolor colored pencils are not recommended as they are difficult to erase
 Eraser for redrawing; recommended: kneaded eraser
Further Watching:
 Becker, E. (2019 October 14). DRAWING BETTER FASTER- HOW TO PRACTICE THE RIGHT WAY
[Video]. Retrieved from https://www.youtube.com/watch?v=emcO79uteN4
 Becker, E. (2020 May 31). AVATAR BREAKDOWN IN 3 STEPS : HOW TO INSTANTLY LEVEL UP YOUR
DRAWING SKILL ( for baby beginners ) [Video]. Retrieved from
https://www.youtube.com/watch?v=RXb-Y_kz2aU
References:
 Blair, P. (1994). Animation. Walter Foster Publishing: California.
 Klasky Csupo. (n.d.). Part Five: Off Model/On Model, cooltoons2.com. Retrieved from
http://www.cooltoons2.com/various/artlessons/model.html
 Technical Education and Skills Development Authority (2018 February 27). Training
Regulations for Animation NCII – Version 02. Quezon City
 Williams, R. (2001). Animator’s Survival Kit. Faber and Faber: United States.
ACTIVITY 3: Self-Check 3
Instructions: Read and understand the material on the lesson before answering. The following
statements are some of the situations that you might encounter when doing clean-up. Determine if
the given situation is something that is recommended when doing clean-up or not. Choose ‘TRUE’ if
the statement is true. Otherwise, choose ‘FALSE’. (20 items, 20 pts).
1. Clean-up helps in making it seem that only one animator has done the entirety of the
animation.
2. Clean-up can be done in one sheet if the rough drawing or redraw is done through the use of
a 2H pencil.
3. Traditionally, clean-up is done first with pencil and then done in ink in cels.
4. A production assistant can be asked on the technicalities of creating the animation.
5. A scanner is considered as a less efficient way of doing line testing.
6. The animation folder includes all of the characters needed in the scene to be created.
7. It is possible to do modeling with the torso as the main basis of measurement.
8. It is possible to modify the volume of the basic shapes during distortions.
9. It is possible to break down a pentagon further into smaller basic shapes.
10. It is possible to do modeling by simply tracing the details of the original character to the
modeled one.
11. If the keyframes are mislabeled, it is possible for it to be accountable to you.
12. The senior animator can always cater to the questions of their respective clean-up artist.
13. The information in the special instructions can be useful when analyzing the keyframes.
14. The background is necessary when framing how the characters would move.
15. Consultation with the senior animator is always necessary when receiving the rough keyframe
drawings.
16. The tweaks that you make in the clean-up can affect the entire animation.
17. It is recommended to keep only the lines needed when redrawing the keyframe.
18. Always do redrawing with mainly the movements of your wrist.
19. Lighting and shadowing is something that needs to be considered when doing clean-up.
20. It is acceptable if any ripples on the final clean-up paper is seen.
Page 13 of 14
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
How to Submit:
 Answer “WW3: Self-Check 3” under “Week 3 – Introduction to Clean-Up”.
 A Google Form link shall be sent for those without a Canvas account.
 For printed modules, place answers on a ¼ sheet of paper with the CAPITAL LETTERS only.
Submission Channels:
 Canvas K-12 LMS (Quizzes)
 Google Form link
 Submission of printed modules in Gate 2
BONUS ACTIVITY: Light Box Set-up

Notes:
 This activity is optional.
 Should the student opt to do this, and if all of the steps are done correctly, then an additional
five (5) points that will be added to the student’s performance task.
 A time limit shall be set up to prevent abuse.
 Students with failing grades may have this activity required to them during the intervention
period.
Instructions:
 Take a clear photo of your own light box that shall be used for the next clean-up activities.
 The light box set-up must adhere to the recommendations presented in this module.
 The photo taken must be clear and must be acquired by the student himself / herself.
 Add a 1-2 sentence description of the set-up, giving a short detail as to the materials used to
attain the set-up. If the student is sharing a set-up with another student, then it must be
indicated. The description must also be in the same photo, which can either be added
digitally, or placed on a separate piece of paper and photographed together with the set-up.
 The teacher shall use an AI tool if it is believed that the set-ups of different students only belong
to one person and it was not indicated. If proven, then neither members related shall get the
additional points.
Page 14 of 14

Week 3 - Introduction To Clean-Up PDF

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ANIMATION NCII – Animation 12a

Governor Pack Road, Baguio City, Philippines 2600

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Objectives: At the end of this lesson, students shall be able to:

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Materials and Equipment for Traditional Clean-Up

Peg bar  Strip made out of wood, plastic, or steel

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Mechanical pencil  Type of pencil

Other materials and equipment:

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Light box alternatives:

 Examples of light sources that can be seen at home:

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Messy  Most commonly seen type of rendering

Anatomy of a Rough Keyframe Drawing

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Tips in Analyzing Renders

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Editing and Revising Cleaned-Up Key Drawings

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Steps in Editing / Revising Cleaned-Up Key Drawings

Notes (Materials and Equipment):

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 3 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

BONUS ACTIVITY: Light Box Set-up

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