Week 4 - Clean-Up Proper 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 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado
Clean-up proper
Objectives: At the end of this lesson, students shall be able to:

1) Describe the different types of line quality;
2) Explain the do’s and don’ts in line quality;
3) Explain the process of doing traditional clean-up for the given type of line quality;
4) Ascertain what makes a proper clean-up line; and
5) Apply the concepts and principles of producing cleaned-up key drawings by doing the clean-
up of a keyframe with a clean rough.
Line Quality
 Standardization of how a clean-up line should look like in the entire animation
 All clean-up artists are required to follow the line quality prescribed
 Usually decided on by the animation director or art director with the influence of the client
Factors that Affect Line Quality

 Medium
o Pertains to the surface where the clean-up is going to be drawn
o Hybrid traditional animation
 Clean-up is drawn on paper, scanned, then colored digitally
 The final clean-up is done in pencil on paper
 Used in a number of Japanese animation studios
o Traditional animation
 Using cels and colored using acrylic paint
 Pencil on paper is drawn a bit shaky and darker
 It would be easier to photocopy in ink using the plastic cels
 Line quality type
o Each animation studio would dictate on how they would create their line based on their
personal aesthetic goals
 Distance to camera
o Lines closer to the camera are thicker
o Lines farther from the camera are thinner
 Relevance
o Background characters tend to have thinner lines
o Clean-up may exist for the lighting and shadowing, which is characterized by colored lines
 Project restraints
o Any external or internal factors that might affect the quality of the overall animation
o Restraints are not usually of an artistic choice and brought about by the circumstances
created before and during the production stage
o Examples:
 Budget
 Time to finish the project
 Availability and skill of animators
 Scope (number of episodes or length of the movie)
 Other overall production restraints
o Real life scenario: The movies from the “dark ages” of Disney animation tend to have less
clean lines due to budget constraints, and animators hired do not have much experience and
are lesser in number
Page 1 of 12
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Types of Line Quality

Traditional Cornered
 Clean, consistent line throughout the entire  Corners and ends of the lines are thicker
character  Middle of the lines are thinner
 Mostly seen in early Western animations  Seen in more modern Western animations
Tapered Textured
 Emulates the movements of brush strokes  Can be found with other combinations of
 Middle of the lines are thicker line quality types
 Corners and ends of the lines are thinner  Done almost exclusively on hair or fur-typed
 Can be seen in more modern Western and surfaces
Japanese animations  Shapes are uneven, creating a natural,
rugged pattern
Page 2 of 12
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Messy
 Roughest type of line quality
 Fastest type to complete
 Composed of short strokes completing a line
 Line strokes are prominent all over the
character
 Mostly seen in low-budget films or for more
aesthetic purposes
Do’s and Don’ts in Line Quality

Do’s and Illustration (Good Illustration (Bad
Description
Don’ts example) example)
Dark line  Clean-up line is usually done
using a pencil only
 Line must be as dark as
possible (almost black)
 Identical to a 2B pencil to
balance value and line
weight
Consistent  Clean-up line must have a
line consistent style depending on
what is dictated by the
animation studio
No  Clean-up line must look like a
overlapping consistent long line
lines  No “bumps” in the lines must
be seen
 No extra lines must be seen
when drawing corners
No opening  Clean-up line must look like a
lines consistent long line
 No openings must be seen
when drawing corners
No wriggly  Clean-up line must be drawn
lines with a steady hand
 Lines seem to look stabilized
regardless if drawing straight
or curved lines
Page 3 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
Achieving a Quality Line – Traditional

 Focus on making precise lines
o The traditional type of line quality is one of the fundamental types of doing clean-up, as the
other types may be derived from it.
o It is also difficult as it required a better pencil control than any other type.
o This type of precision is exemplified when creating the corners.
 Practice good and consistent pencil grip and control
o Find the pencil grip that is most comfortable for you (suggestion: use the one that you would
use when you are writing).
o The distance from the grip up to the pencil tip must be consistent (again, use the one that you
would use when you are writing). The distance also must be able to deliver consistent pressure
to your pencil.
o Avoid spinning or changing the way that the pencil is held in the middle of doing clean-up for
a single frame. Change grip during the new frame, if possible. However, make sure that the
line quality is still consistent.
o The elbow and the shoulder is used as a pivot point, which means that this is the one that
controls the movement when doing this type of clean-up. Mostly, the wrist is stationary and
would move only when doing clean-up for smaller details.
o Make sure that you are able to maintain the proper grip and control for a long period of time.
 Make sure that the tip of the pencil is consistent – mechanical pencil
o When using a mechanical
pencil, make sure that the tip of
the removable lead is flat. In the
photo (right), the one on the left
(right, 1) is a good example
while the one on the center
(right, 2) is not a good example.
o To make the surface of the
mechanical pencil flat, use a
scrap paper to scribble and
make sure that the tip is flat
(right, 3).
o The pencil tip must be
perpendicular to the paper
(bottom, left, green). The hand and arm must be almost be parallel to the paper (bottom,
right, blue).
Page 4 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
 Make sure that the tip of the pencil is consistent – graphite pencil
o The brand of graphite pencil being used can affect the consistency of the line quality. Some
factors innate in a pencil can be streakiness (inconsistent darkness) and hardness of the
graphite.
o Sharpen the pencil to a fine tip, similar to that of the tip of a mechanical pencil lead. This can
be done using a sharpener, or a scrap paper for scribbling.
o The pencil tip must be
perpendicular to the paper.
The hand and arm must be
almost be parallel to the paper.
o Important: To maintain a
sharp tip, it is recommended to
sharpen a graphite pencil
every time at most three (3)
lines are created for a clean-up
line (example: left).
o To prevent waste of resources, the resharpening can be done by either finely scraping off the
excess graphite using a paper cutter or by using a scrap paper to scribble the excess graphite
at all angles until a fine tip is achieved.
 Do clean-up for the longer lines first, and then the shorter ones
o Using this technique is a way to save the clean-up artist’s energy. As one gets tired, it would be
more difficult to sustain the quality for the longer lines.
o Usually, the longer lines tend to be the outline of the character, and the limbs.
o Usually, the shorter lines tend to be face or clothing details.
o Further, it is recommended to do the outline of the character first before doing the inside or
details.
o It is also important to note that all of the lines drawn have to utilize the same considerations
and factors (pencil grip, pressure, speed, darkness etc.) unless stated otherwise.
 Feathering for longer lines
o It is recommended that the clean-up artist create longer lines to the best of their abilities.
However, it cannot be achievable all of the time.
o Feathering or tapering is a technique wherein the end of the line becomes thinner and
thinner. This can be achieved by slightly flicking the wrist. The technique is shown at the
bottom photo.
o The first line must be feathered / tapered at the very end. This feathering needs to be as short
as possible (bottom, 1).
o Connect the second line by slightly feathering it (bottom, 3). This can be done by having a
lighter pressure at the beginning, adding more as the line progresses (bottom, 2).
o This technique requires some practice, as well as a lot of pencil grip control.
Page 5 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
Achieving a Quality Line – Traditional (thicker)

 Short, feathered lines
o When creating a thick line without changing the equipment, it would be better to use short,
feathered lines. It allows for more control and precision comparing to drawing the same line
over and over.
o Start off with your hand holding more pressure, and then feathering it down as the line goes
on. This shall allow you to control the beginning of your line whilst creating the direction of the
line.
o Start by creating thinner lines, and then making it thicker when need be. This would be much
easier to control compared to starting off creating thicker lines (process illustrated below).
o It would also be possible to create a traditional line as a base and then make it thicker by
adding shorter strokes.
 Movement
o Use the natural movement of the wrist, elbow, or shoulder. However, in this process, the wrist is
the most used pivot in creating these lines.
o Determine which direction you are most comfortable when creating a feathered line. Usually,
it would either be from top to down (using the gravity to aid in flicking the wrist) or from left to
right (similar to how writing works). Maximize that direction to reduce any stress.
o To maximize the natural direction of the wrist, rotate the paper / animation disc with your non-
drawing hand. It would be best to rotate it in the direction where the line is going.
 Consistent thickness without any strays
o When doing this technique, it is possible to create strays within the final line. This must be
prevented.
o Proper grip control and practice shall allow you to achieve this technique. It is also possible to
correct any strays by making the line thicker – but the consistency of the thickness must be
considered.
Achieving a Quality Line – Cornered

 Process
o Start off by making a long stroke, similar to that of the traditional line (bottom, 1). Precision is
not necessarily expected, but it is recommended when doing this step.
o Next, create thicker lines at the corners (bottom, 3). This can be achieved by creating short,
feathered strokes, similar to that of making a traditional line thicker (bottom, 2).
Page 6 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
o Corners of smaller details (i.e. facial elements, clothing) tend to have thinner lines.
o Corners of longer lines (i.e. outline, limbs, etc.) tend to have thicker lines compared to that of
the smaller details.
 Consistency of corners
o When focusing on the corners, it is not difficult to create overlapping lines accidentally.
Though this can be covered by making the lines thicker, a level of control must still be
observed to make sure that it is not thicker than expected.
o The thickness of the corners must also be consistent throughout the drawings. This would
include the length (when to begin tapering from the line) and the overall thickness of the
corners.
Achieving a Quality Line – Tapered

 Process
o Start off by making a long stroke, similar to that of the traditional line (bottom, 1). Precision is
not necessarily expected, but it is recommended when doing this step, especially to that of
the edges or corners of the lines.
o Next, create thicker lines at the middle (bottom, 2). This can be achieved by creating short,
feathered strokes, similar to that of making a traditional line thicker (bottom, 2 and 3).
o Another process is by creating short, feathered strokes – similar to that of thickening a

traditional line, but without the base line. In this process, it would be better to start off at the
middle to prevent any unnecessary thickness at the edges of the lines (process is illustrated
below).
 Precision
o Precision is necessary for closing the corners or when connecting thinner lines.
o There is a need to facilitate better pencil control.
o Correction may be done by adding very little pressure when connecting the lines.
Page 7 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
Achieving a Quality Line – Textured

 Short, feathered lines
o When doing this style, it is possible
for one to use the traditional style
of doing clean-up, but may look
unnatural with this type of line
quality. An illustration of the
process is at the right side.
o Start off with the root where the
hair / fur starts, and then feather
out as the hair / fur clump
becomes thinner and thinner
(right, 1a).
o Do the same direction
consistently even when closing
out the shape (right, 2a and 3a).
Closing the shape by starting at
the hair / fur tip and then back to
the root makes it look more triangular and less organic (right, 1b and 2b).
o Closing out the shape requires more precision and grip control. Practice is necessary before
attempting this at the final clean-up.
 Clump fibers together
o Drawing out every single hair / fur fiber is
time consuming and impractical in an
animation perspective (right). It would be much
more difficult to animate, and the audience
would not be able to quickly understand what
it is.
o As such, it would be better to create
clumps of hair / fur (left). This makes it easier to
animate and more readable to the audience,
while making it look natural.
 Vary the width and length of the clumps
o Sawtoothing is a term which means that the
hair / fur clumps are in a consistent,
repetitive, sawtooth-like shape (right). This
must be prevented so that the textured line
looks more natural.
o Vary the width and length of the clumps to
make it more natural (left).
o It is recommended that the clumping be
done spontaneously. Planning it out might
make the clumps look unnatural.
Page 8 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
Other Tips for Doing Clean-Up

 Materials and equipment
o Use pencil (and not ink) in doing the clean-up.
o The type of pencil to be used is dependent on the project and animation studio.
 Mechanical pencil
- Typically used in Japanese animation studios
- More efficient as there is no need to sharpen constantly
- Less consistent in lines compared to graphite
 Graphite pencil
- Typically used in Western animations studios
- More consistent in terms of line thickness and darkness
- More costly and time-consuming as there is a need to sharpen consistently (must be re-
sharpened after drawing three lines)
o The same animation paper for the rough key drawings is used for the clean-up if a blue pencil
is used.
o A different animation paper for the rough key drawings and clean-up if a blue pencil was not
used.
o An eraser is not used in the actual clean-up process for the following reasons:
 It can erase other parts of the clean-up that was not meant to erase.
 It would be difficult to completely remove dark graphite without damaging other lines or
destroying the paper.
 It can smudge throughout the paper, making it messier.
 It would delay from the efficiency of the clean-up process.
o Prevent contact with your hand and the paper to prevent smudging. If not possible, one can
also place a piece of paper on top of the hand to prevent such smudging. However, it is
important that the paper does not move around the drawing as well.
 Posture and comfort
o A clean-up artist must be comfortable in for long amounts of time. However, it is also possible
that the artist be trained to be comfortable in working in the given space.
o The edge of the light box must be around a hand’s length away from the chest. When using a
smaller, DIY light box, the distance between can be shorter. The elbow is better placed on the
table / surface to serve as a pivot if need be.
o The light box must be placed where the drawing is comfortably within eye level. This can be
achieved by:
 Stacking books to the light box to make it a bit higher;
 Angled so that it is aligned to the eyes; or
 Sitting farther away from the table.
o The clean-up artist must maintain proper sitting posture. It is recommended that the back be
placed on a backrest to prevent strain on the spine.
o The light coming from the light box can cause eye strain. This can be mitigated by:
 Investing in products to protect the eyes from straining (i.e. anti UV); and/or
 Conducting breaks to relax the eyes.
o Take short, systematic breaks to relax the eyes, hands (especially the carpal tunnel), and arms
are recommended when doing clean-up for long periods of time.
 Factors in drawing a line
o The pencil hold and grip is considerably one of the biggest factors in drawing a consistent line.
Finding a comfortable pencil grip allows for work in long periods of time.
Page 9 of 12
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o Pressure, or how hard or soft the pencil is held, is also a factor. Making sure that a consistent,
reasonable pressure is done to create consistent lines. Adding additional, unnecessary
pressure can result to thicker lines and can damage the carpal tunnel.
o Speed is the last factor considered when drawing a line, but it helps with efficiency. There is a
necessity to learn the other factors, practice on the technique, before doing clean-up with
speed. However, it may sometimes be necessary to draw lines a bit faster to prevent any
wriggly lines.
 Copying production information
o The first thing that must be done is to copy the information in the keyframe. The following must
be copied:
 Frame number (upper left)
 Time chart (upper right)
 Other production information (name of animation, episode number, scene number,
character name, etc.)
o When copying the time chart, there is importance to the distancing between the frame
numbers. As such, the idea of copying them as if animating through pose-to-pose is the
recommended strategy.
 Write the keyframes first and the line that connects them.
 Write the breakdown frame (the middlemost frame).
 Divide the space between the first keyframe and the breakdown frame (now the new last
keyframe), and then copy the frame between it.
 Take the created in-between frame and turn that into the last keyframe, and find the
distance between that and the last keyframe, and copy the frame between it (if there is).
 Continue the steps until all of the frames have been copied.
Further Watching:
 Bobinac, I. (2015 August 12). Clean up animations - How to clean up animation sketches
[Video]. Retrieved from https://www.youtube.com/watch?v=6Gr6SRr7aoI
References:
 Blair, P. (1994). Animation. Walter Foster Publishing: California.
 George. (n.d.). Job 1 – Clean-Up Artist, TAFE NSW Sydney eLearning Moodle. Retrieved from
https://sielearning.tafensw.edu.au/toolboxes/Animation/jobs/job1/ca/j1_ca_pr.pdf
 George. (n.d.). Studio Tour – Clean-Up Artist, TAFE NSW Sydney eLearning Moodle. Retrieved
from https://sielearning.tafensw.edu.au/toolboxes/Animation/tour/ca/s_ca_pr.pdf
 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 4: Clean-Up for Keyframe 1

Instructions: Attached is a keyframe that has been cleaned-up using the traditional for thick lines
clean-up type (in blue) and the model sheet for reference. Please print the one in blue line and do
clean-up using the traditional line quality (thin, consistent line).
 The size of the keyframe is ½ short bond paper. Maintain the proportion restrictions stated.
 There is no need for a use of a light box in this activity.
 You may use the same paper for the rough (in blue) and the final line (your output).
 You may also print this in black and white, but the tone must be of a lighter color. You may
still use the same paper as long as your clean-up line is significantly more visible than the
printed one.
Page 10 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
 Size of the line must be around 0.5mm thickness. As the traditional line quality type is to be
used, this line thickness must be consistent. The pencil should be almost a black color,
similar to that of 2B.
 Do not use ink, charcoal, or any other drawing material aside from the pencil.
 There is no need to copy the production information as it is already present on the rough
keyframe drawing.
Rubric:
Record Keeping Procedures
Line Quality – Traditional Line Quality – Do’s and Don’ts
and Quality Control
20 (excellent) – Line thickness 20 (excellent) – Clean-up has 10 (excellent) – Integrity of the
and darkness is consistent; no overlapping, opening, or model was maintained;
showcases mastery of creating wriggly lines at all present; all production information are
a traditional clean-up line rules stated in the use of present; naming convention of
materials and equipment were the file name and proper file
followed type were followed
16 (above average) – Line 16 (above average) – Clean- 8 (above average) – Integrity of
thickness and darkness is up generally has no the model was mostly
generally consistent; overlapping, opening, or maintained; production
showcases average to above wriggly lines present; all rules information are mostly present;
average skill in creating a stated in the use of materials naming convention of the file
traditional clean-up line and equipment were followed name and proper file type
were followed
12 (satisfactory) – Line thickness 12 (satisfactory) – Clean-up has 6 (satisfactory) – Integrity of the
and darkness is fairly consistent, some significant overlapping, model was somewhat
but there are some significant opening, or wriggly lines maintained; production
inconsistencies; showcases present; most rules stated in the information are mostly present;
average skill in creating a use of materials and naming convention of the file
traditional clean-up line equipment were followed name and proper file type may
have been followed
8 (fair) – Line thickness and 8 (fair) – Clean-up has mostly 4 (fair) – Integrity of the model
darkness is mostly inconsistent; overlapping, opening, or was not maintained; some
showcases below average skill wriggly lines present; some rules production information are
in creating a traditional clean- stated in the use of materials present; naming convention of
up line and equipment were followed the file name or proper file type
were not followed
4 (needs improvement) – Line 4 (needs improvement) – There 2 (needs improvement) –
thickness and darkness is is a need to understand the Integrity of the model was not
inconsistent; there is a need to do’s and don’ts of creating a maintained; no production
improve on creating a clean-up line; few to no rules information is present; naming
traditional clean-up stated in the use of materials convention of the file name
and equipment were followed and proper file type were not
followed
How to Submit:
 Take a photo or scan the finalized photo. File extension type must be .jpg, .png, or .gif.
 File name: LastName, FirstName – ICT Ani 12_ - Module 4 Activity
Submission Channels:
 Canvas K-12 LMS (Assignments)
Page 11 of 12
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
Guidelines for Printing: The photo will print to that of a ½ short bond paper (8.5” x 5.5”). When cutting,
cut only the top and bottom portions using the lines surrounding the photo; include the margins at
the left and right sides to complete the required width.
Page 12 of 12

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ANIMATION NCII – Animation 12a

Governor Pack Road, Baguio City, Philippines 2600

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

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

Factors that Affect Line Quality

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Types of Line Quality

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Do’s and Don’ts in Line Quality

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Achieving a Quality Line – Traditional

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Achieving a Quality Line – Traditional (thicker)

Achieving a Quality Line – Cornered

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Achieving a Quality Line – Tapered

o Another process is by creating short, feathered strokes – similar to that of thickening a

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Achieving a Quality Line – Textured

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Other Tips for Doing Clean-Up

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

ACTIVITY 4: Clean-Up for Keyframe 1

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 4 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

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