Main Module of 9-10 - TVL Ict CBLM in Animation 2019 Finalization PDF

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Grade 9 TLE (ICT- Animation)

Module 1: Produce Cleaned-up and In-between Drawings
(Cartoon-Simple, Regular)
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Regional Director: Gilbert T. Sadsad

Assistant Regional Director: Jessie L. Amin
Regional CLMD Chief: Francisco Bulalacao
Regional EPS-EPP/TLE/TVE/TVL: Christie L. Alvarez
Development Team of the Module
Writer: Noel A. Perez, T-III

Editors: Herman E. Bobis and
Dante Santelices
Reviewer: Herman E. Bobis
Illustrator: Noel A. Perez
Layout Artist: Noel A. Perez
Division EPS- CLMD: Cesar Arriola
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TABLE OF CONTENTS
How to Use this Module
Introduction
Quarter 1: Basic & Common Competencies
Lesson1- Personal Entrepreneurial Competencies (PECs)-----------------9
Learning Outcome 1- Recognize PECs needed in Animation
Information Sheet 1.1-1 Personal Entrepreneurial Competencies--11
Self-Check 1.1-1 ----------------------------------------------------------------13
Activity Sheet 1.1-1 ------------------------------------------------------------ 14
Lesson 2- Environment and Market (EM)---------------------------------------17
Learning Outcome 1- Recognize and understand the market in
Animation
Information Sheet 1.2-1 Environment and Market----------------------19
Self-Check 1.2-1---------------------------------------------------------------- 22
Activity Sheet 1.2-1-------------------------------------------------------------23
Lesson 3- Use of Hand Tools and equipment (UT) --------------------------24
Learning Outcome 1- Prepare hand tools and equipment in animation
Information Sheet 1.3-1 Hand Tools and Equipment for
Animation ---------------------------------------26
Self-Check 1.3-1 ---------------------------------------------------------------33
Activity Sheets 1.3-1 ----------------------------------------------------------34
Lesson 4- Maintain Hand Tools, Equipment and Paraphernalia (MT)
Learning Outcome 1- Use and maintain hand tools, equipment and
Paraphernalia
Information Sheet 1.4-1 Maintain Hand Tools, Equipment and
Paraphernalia-----------------------------------38
Self-Check 1.4-1 -------------------------------------------------------------- 42
Activity Sheet 1.4-1 -----------------------------------------------------------43
Information Sheet 1.4-1A Procedures in Preparing Reports to
Property Custodian ---------------------------44
Self-Check 1.4-1A -------------------------------------------------------------46
Lesson 5- Perform Mensuration and Calculation (MC) --------------------- 47
Learning Outcome 1- Perform basic mensuration
Information Sheet 1.5-1 Perform Mensuration and Calculation---48
Self-Check 1.5-1 --------------------------------------------------------------50
Information Sheet 1.5-1A Correct Specifications of the
Relevant Sources --------------------------51
Self-Check 1.5-1A ------------------------------------------------------------55
Learning Outcome 2- Carry out mensuration and calculation
Information Sheet 1.5-2 Carry Out Mensuration and
Calculation-------------------------------------56
Self-Check 1.5-2 -------------------------------------------------------------60
Lesson 6- Prepare and Interpret Technical Drawing (ID) ------------------ 61
Learning Outcome 1- Identify different kinds of technical drawings
Information Sheet 1.6-1 Technical Drawing --------------------------62
Activity Sheet 1.6-1 ---------------------------------------------------------70
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Activity Sheet 1.6-1A ------------------------------------------------------73
Information Sheet 1.6-1B Basic Elements Used in Technical
Drawing ------------------------------------ 75
Self-Check 1.6-1B ----------------------------------------------------------78
Learning Outcome 2- Interpret technical drawing
Information Sheet 1.6-2 Flowchart Interpretation -------------------80
Self-Check 1.6-2 ------------------------------------------------------------86
Activity Sheet 1.6-2 -------------------------------------------------------- 87
Lesson 7- Practice Occupational Health and Safety (OHS)
Procedures ---------------------------------------------------------------88
Learning Outcome 1- Identify hazards and risks
Information Sheet 1.7-1 Occupational Health and Safety
Procedures -----------------------------------89
Self-Check 1.7-1 ------------------------------------------------------------91
Learning Outcome 2- Evaluate hazards and risks
Information Sheet 1.7-2 Hazards in the Workplace ----------------92
Self-Check 1.7-2 ------------------------------------------------------------94
Learning Outcome 3 – Control Hazards and Risks
Information Sheet 1.7-3 Control Hazard and Risk -----------------95
Self-Check 1.7-3 ----------------------------------------------------------- 99
Information Sheet 1.7-3A Personal Protective Equipment ------100
Self-Check 1.7-3A ---------------------------------------------------------103
Answer Keys
Summative Assessment Quarter I
Quarter 2: Core Competencies
Lesson 8- Producing Cleaned-Up and In-Betweened Drawings (CI) ---110
Learning Outcome 1- Identify requirements for cleaned-up drawings in
actual Scene folders (cartoon-simple)
Information Sheet 2.8-1 Clean-up Requirements for Drawing
(cartoon-simple) --------------------------------111
Self-Check 2.8-1 ------------------------------------------------------------114
Information Sheet 2.8-2 Types of Model Sheets -------------------115
Self-Check 2.8-2 ------------------------------------------------------------119
Information Sheet 2.8-3 Key Drawings and Animation
Breakdown ----------------------------------120
Activity Sheet 2.8-3 --------------------------------------------------------121
Information Sheet 2.8-4 Clean-up Drawing Preparation
(cartoon-simple)---------------------------------122
Activity Sheet 2.8-4 --------------------------------------------------------126
Information Sheet 2.8-5 Animation Workflow -----------------------128
Self-Check 2.8-5 ------------------------------------------------------------134
Information Sheet 2.8-6 Drawing Animals and Props -------------136
Activity sheet 2.8-6 ---------------------------------------------------------145
Information Sheet 2.8-7 Principles and Concepts of
Animation ------------------------------------ 147
Self-Check 2.8-7 ------------------------------------------------------------151
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Answer Keys
Summative Assessment Quarter II
Learning Outcome 2- Produce clean-up drawings for actual scene
folders (cartoon, simple) --------------------------------156
Information Sheet 3.8-1 Clean-up Procedure -----------------------158
Performance Sheet 3.8-1 -------------------------------------------------160
Information Sheet 3.8-2 Production of Clean-up Drawings
(Cartoon-Simple) ----------------------------162
Activity Sheet 3.8-2 --------------------------------------------------------163
Activity Sheet 3.8-2A ------------------------------------------------------165
Activity Sheet 3.8-2B ------------------------------------------------------167
Activity Sheet 3.8-2C ------------------------------------------------------169
Activity Sheet 3.8-2D ------------------------------------------------------171
Information Sheet 3.8-3 Animator’s Key -----------------------------174
Activity Sheet 3.8-3 --------------------------------------------------------175
Information Sheet 3.8-4 Familiarization of Line Test Hardware
and Software---------------------------------176
Self-Check 3.8-4 -----------------------------------------------------------184
Information Sheet 3.8-5 Application of Animation Software ----185
Activity Sheet 3.8-5 --------------------------------------------------------188
Information Sheet 3.8-6 Concept of Line Quality ------------------190
Activity Sheet 3.8-6 -------------------------------------------------------194
Information Sheet 3.8-7 Model Sheets ------------------------------ 197
Activity Sheet 3.8-7 --------------------------------------------------------202
Information Sheet 3.8-8 Procedures for Cartoon Drawing
Construction-------------------------------------203
Activity Sheet 3.8-8 --------------------------------------------------------210
Information Sheet 3.8-9 Drawing Proportion ------------------------211
Activity Sheet 3.8-9 --------------------------------------------------------217
Information Sheet 3.8-10 Company Procedures and Policies --219
Self-Check 3.8-10 ----------------------------------------------------------221
Answer Keys
Summative Assessment Quarter III
Learning Outcome 3- Identify requirements for in-between drawings
in actual scene folders (cartoon, regular) ----------225
Information Sheet 4.8-1 Requirements for In-between
(cartoon-regular) ------------------------------226
Self-Check 4.8-1 -----------------------------------------------------------231
Information Sheet 4.8-2 Model Sheets (cartoon-regular) --------232
Self-Check 4.8-2 -----------------------------------------------------------237
Information Sheet 4.8-3 Clean-up Key Drawing for Cartoon
Regular ------------------------------------------238
Activity Sheet 4.8-3 --------------------------------------------------------239
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Information Sheet 4.8-4 Animation Breakdowns and
X- Sheets-------------------------------------241
Activity Sheet 4.8-4 --------------------------------------------------------243
Information Sheet 4.8-5 Materials and Equipment
(cartoon-regular)---------------------------245
Self-Check 4.8-5 -----------------------------------------------------------249
Information Sheet 4.8-6 Concept of In-betweening ---------------250
Activity Sheet 4.8-6 --------------------------------------------------------256
Information Sheet 4.8-7 Procedures for Character Posing ------258
Activity Sheet 4.8-7 --------------------------------------------------------262
Information Sheet 4.8-8 Techniques for Refining Line Quality -263
Activity Sheet 4.8-8 --------------------------------------------------------265
Information Sheet 4.8-9 Concept for Character Design ----------267
Activity Sheet 4.8-9 --------------------------------------------------------278
Information Sheet 4.8-10 Do’s and Don’t’s of In-betweening ---279
Activity Sheet 4.8-10 ------------------------------------------------------280
Answer Keys
Summative Assessment Quarter
References
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HOW TO USE THIS COMPETENCY-BASED LEARNER’S MODULE
Welcome to the Module Produce Cleaned-Up and In-Betweened

Drawings (Cartoon – Simple)
This module contains training materials and activities for you to complete.
The unit of competency “Produce Cleaned-Up and In-Betweened

Drawings (Cartoon-Simple)” contained the knowledge and skills and attitudes
required for 2D Animation. It is a specialized module at National Certificate
Level II (NC II).
You are required to do through a series of learning activities in order to

complete each learning outcome of the module. In each learning outcome there
are Instruction Sheets to help you better understand the required activities.
Follow these activities on your own and answer the self-check at the end of
each learning outcome. You can use a separate answer sheet to write your
answers for each self-check. If you have questions, don’t hesitate to ask your
trainer for assistance.
Recognition of Prior Learning (RPL)
You may already have some or most of the knowledge and skills covered
in this learner’s guide because you have:
 Been working for some time
 Already completed training in this area
If you can demonstrate to your trainer that you are competent in a

particular outcome, you don’t have to do the same training again. Talk to your
trainer about having them formally recognized. If you have a qualification or
certificate of competence from previous training, show it to your trainer. If the
skills, you acquired are still current and relevant to the unit/s of competency
they may become part of evidence you can present to RPL. If you are not sure
about the currency of your skills discuss this with your trainer.
After completing this module ask your trainer to assess your

competency. Result of your assessment will be recorded in your competency
profile. All the learning activities are designed for you to complete at your own
pace.
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TECHNICAL TERMS
Animation A filmmaking technique where the illusion of motion is created

frame-by-frame. The word comes from the Latin word, "anima," meaning "life"
or "soul".
Animator The person who draws the moving character in an animated film.
Background A flat piece of artwork that is the setting for a moving character
in an animated film. A background could be a picture of a forest, a sky, a
room, or a castle.
Cel A clear piece of plastic on which the animator's finished drawings are
painted. The cel is clear so that when placed over the background, the
animated characters appear to be in a setting.
Frame An individual still picture on a strip of film. 24 frames equal one

second of a motion picture.
Frame-by-frame The filmmaking technique in animation where each frame is

exposed one at a time and the object being photographed is slightly altered
for each picture.
Ink and Paint The step in cel animation where the animator's drawings are
placed on cels to be photographed. A drawing is outlined on the front of the
cel with black ink, while the back of the cel is painted.
Kinestasis (Kin-e-sta'-sis) An animation technique using a series of still

photographs or artwork to create the illusion of motion.
Model Sheet A reference sheet for animators that shows a number of

different poses of an animated character. The model sheet also shows how
characters relate in size to other characters.
Pixilation (Pik si la' shun) A stop-motion technique in which life-size props or

live actors are photographed frame-by-frame. When viewed, they appear to
be moving at a fast speed.
Script The written story of a film that supplies dialogue, camera moves,
background, staging and action.
Squash and Stretch A drawing technique used by animators and originally

developed at the Disney Studio to show exaggerated movements in
characters. For example, if you wanted a character to jump, you would draw
him close to the ground as if 'squashed' and then you would 'stretch' him out
as he went into the air.
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Storyboard A "storyboard" is a visual representation of a story. Pictures can
be sketched on pieces of paper and pinned to a large board, or they can be
drawn on a large piece of paper, comic-book style, to represent scenes in a
film. A story sketch should show character, attitude, feelings, entertainment,
expressions, type of action, as well as telling the story of what's happening.
When you look at a board, it should reflect the feeling of the sequence so the
viewer starts to pick up some excitement and stimulation. A story sketch artist
at an animation studio us usually an artist who has special interest in
illustration, design, appearance, and character.
Zoetrope (zo'-e-trop) An early animation device that spins drawings in a

revolving drum to create the illusion of motion.
Inbetweens Drawings that are inbetween the drawings that are at the
beginning and end poses.
Extremes Drawings that are at the beginning and end of a particular pose.
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9/11
TLE/TVL-ICT
QUARTER 1
Unit of Competency: Basic and Common Competencies
Module Title: Personal Entrepreneurial Competencies,
Environment and Market,
Use of Hand Tools and Equipment,
Maintain Hand Tools, Equipment and Paraphernalia,
Perform Mensuration and Calculation,
Prepare and Interpret Technical Drawing,
Practice Occupational Health and Safety Procedures
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DepEd Track/Strand : TLE/TVL- Information Communication Technology
(ICT)
Specialization : Animation NC II
Unit of Competency : Personal Entrepreneurial Competencies
DepEd Code : TLE_PECS9-12-Ia-1
TR Unit Code :
LO 1: Recognize PECs needed in Animation.
Content Standard:
The learner demonstrates an understanding of one’s PECs for animation.
Performance Standard:
The learner recognizes his/her PECs and prepares an activity plan that aligns
with that of a practitioner/entrepreneur’s in animation.
Time Allotment: 1 hour
INTRODUCTION
In this module, you will learn more about entrepreneurship and the
entrepreneurial competencies related to Animation. You will experience various
activities that may lead to your own personal entrepreneurial competency
assessment and as of successful animator within your locality/town. You will
also have some activities that will align your competencies with the
competencies of other successful animators today. Through this module, you
will be enlightened on the important role of entrepreneurship in the economic
and social development as a whole.
To begin with, you will find out the competencies you need to master upon
finishing this module.
SUMMARY OF LEARNING OUTCOMES

Upon the completion of this module, you will be able to:
LO 1. Recognize PECs needed in Animation
1.1 Assess one’s PECs: characteristics, attributes, lifestyle, skills and
traits.
1.2 Assess practitioner’s PECs: characteristics, attributes, lifestyle,
skills and traits.
1.3 Compare one’s PECs with that of a practitioner/entrepreneur’s.
1.4 Align one’s PECs with that of a practitioner/ entrepreneur’s.
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Pre-Assessment
Multiple Choice: Choose the letter that corresponds to the correct answer and
write on your answer sheets.
1. What terms best describe an entrepreneur?
a. facilitator, organizer, risk-taker c. facilitator, organizer, innovator
b. manager, risk-taker, organizer d. team leader, facilitator, innovator
2. Which of the following is not included in the roles of a team leader?
a. Serve the team c. create demand
b. Develop strategy d. communicates a vision
3. One of the economic indicators that drives up inflation is ______.
a. poverty c. unemployment
b. demand d. supply
4. It refers to a competency that supports the motive for being successful
entrepreneur.
a. power c. achievement
b. environment d. planning
5. Which of the following are the cluster of PECs?
a. persistence, risk-taking, planning c. persistence, power,
achievement
b. planning, power, achievement d. goal setting, self-confidence,
persistence
6. The following are environment factors that affects business EXCEPT
_____.
a. market, demand, GDP c. demography
b. People d. culture
7. Which of the following are competencies for Planning Cluster?
a. networking, self-confidence c. demand for efficiency, quality
b. risk-taking, persistence d. information seeking, goal
setting
8. Which of the following defines what one thinks is needed to launch
one’s business?
a. action plan c. feasibility plan
b. market plan d. business plan
9. Which are power cluster competencies?
a. risk-taking, persistence c. self-confidence, persuasion
b. self-confidence, persistence d. planning, goal setting
10. Which is set of economic indicators?
a. market, demand, GDP c. inflation, market, demand
b. unemployment rate, inflation, d. GDP, unemployment, inflation
demand
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Read the Information Sheet very well then find out how much you can remember
and how much you learned by doing Self-check 1.1-1
Information Sheet 1.1-1
Personal Entrepreneurial Competencies (PECs)

To learn what PECs is and why is there a need to examine one’s self to
develop PECs, let us first define some significant terms so we can better
understand PECs.
First, “Entrepreneurship” is a process of innovation and creation of new

ideas converting to a marketable products or services to sustain and improve
one’s quality living.
Second, “Entrepreneurs” are those people with skills and capabilities to

see and analyze business opportunities. A person who can identify and
innovate products and services and can deliver at the right time at the right price
and at the right place.
Important Characteristics / Traits / Attributes of a Good Entrepreneur:
1. Hardworking – Habitually working diligently for a long period of time.

2. Self- Confidence – Exhibit self- confidence in order to cope with all the risks
of operating their own business.
3. Disciplined – Stick on the plan and fight the temptation to do what is
unimportant.
4. Committed – Accepts full responsibility of everything and dedicated to
make the business successful.
5. Ability to Accept Change – He/she should cope-up and thrive on changes
and capitalized on positive changes to make his/her business grow.
6. Creative – Ability to look for innovations and uniqueness to his/her products
and services in order to have an edge over the other competitors.
7. Has the Initiative – Taking initiative and putting one’s self in a position
where you are responsible for the failure or success of the business.
8. Profit-Oriented – Entrepreneur enters into the world of business to
generate profit to provide his/her family a better living.
9. Reliable and has Integrity – Refers to a good reputation, possess the
courage to do the right thing.
10. Risk-Taker – Refers to the ability to take any risk and consider these as
challenges and work them out and set best alternatives.
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Important Skills of a Successful Entrepreneur
o Excellent Planner – Planning is strategic thinking and setting of goals to

achieve objectives by carefully maximizing all available resources. Develops
and applies step-by-step plans and combined with actions to realize the
goals.
o Possesses People Skills – refers to effective and efficient communication

and relation to people working in and out the business.
o Sound Decision Maker – ability to think quickly by making wise decisions

towards pre-determined set objectives.
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SELF- CHECK 1.1-1
A. Matching Type
Directions: Match Column A with Column B. Write only the letter of the
correct answer on a separate sheet of paper.
Column A Column B
1. Ability to look for innovations and uniqueness A. Reliable and
has to his/her products and services in order to have Integrity
an edge over the other competitors.
2. Refers to the ability to take any risk and consider B. Committed
these as challenges and work them out and set
best alternatives.
3. Stick on the plan and fight the temptation to do C. Creative
what is unimportant.
4. Refers to a good reputation, possess the courage D. Risk-Taker
to do the right thing.
5. Accepts full responsibility of everything and E. Disciplined
dedicated to make the business successful.
B. Multiple Choice
Direction: Read and study the given situation that describes

entrepreneurial characteristics. Answer the question by writing the letter
on a separate sheet of paper.
You have decided to open a mini animation studio that caters products
and services to people. You know that your personal entrepreneurial
characteristics are sufficient to ensure a successful business you have in
mind. Your answers to the questions below will help you in developing your
PECs.
1. What PECs must you possess if there are customers who complain
about the quality of your product?
a. Hard work c. patience
b. Versatility d. all of the above
2. Which of the following is not considered a characteristic of an

entrepreneur?
a. Opportunity seeker c. dependent
b. Persistent d. copes with failure
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3. If you want to ensure a profitable business operation, what characteristic
will you maintain?
a. be future-oriented c. be opportunity seeker
b. be committed d. be goal oriented
4. You follow the advice of a friend to be flexible. What PECs you have
demonstrated?
a. responsive to feedback c. self- confidence
b. reliability and has integrity d. persistence
5. You told Pedro, your best friend that you have strong will and do not give
up to find a solution to a business problem. What PECs you have
demonstrated?
a. self-confidence c. persistence
b. risk-taking d. hard work
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ACTIVITY SHEET 1.1-1
Title: Aligning one’s PECs

Performance Objectives: Given required supplies and materials you
should be able to:
1. Assess your own PECs.
2. Assess practitioners PECs
3. Align your PECs with that of the practitioners.
Supplies / Materials:
Equipment:
Steps / Procedures:
Assess One’s PECs
1. Rate each listed characteristics and traits that best describe your
own PECs by using the rating guide below. Write your answers on
the activity sheets provided.
Always
Sometimes
Never
Creativity
Resourceful
Persistent
Organized
Independent
Confident
Risk Taker
Observant
Competent
Trustworthy
Optimistic
Passionate
Flexible
Sensitive
Committed
Dynamic
2. Write the characteristics and traits on the table below that you need
to further improve based on the results above and align them
according to the PECs of a practitioners in your locality/town.
My PECs that needs Things to Do to Align with

improvement PECs of a Successful
Practitioners
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3. Prepare an Action Plan for your PECs that you need to strengthen.
You may opt to follow the suggested format below. You may change
or improve it as long as it suits your own plan of action.
ACTION PLAN
Specific Purpose Statement: ( Your vision of your future)
Ex. Developing self-confidence in business.
Focus Current Goal Measures Action Time Reward/Recognition
Area Situation of Required Frame
Success
My
PECs
Assessment Method:
Observation
Interview
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(ICT)
Unit of Competency : Environment and Market
DepEd Code : TLE_EM9-12-Ia-1 / TLE_EM9-12-Ia-2
TR Unit Code :
LO 1: Recognize and understand the market in Animation.

LO 2. Recognize the potential customer/ market in Animation.
Content Standard:
The learner demonstrates an understanding of “environment and market” in
the animation field in one’s locality/town.
The learner independently creates a business vicinity map reflective of the
potential animation market withi n the locality/town.
Time Allotment: 3 hours
INTRODUCTION
In this module, you will learn more about entrepreneurship and the
entrepreneurial competencies related to Animation. You will experience in
various activities that may lead to your own personal entrepreneurial
competency assessment and as of successful animator within your
locality/town. You will also have some activities that will align your
competencies with the competencies of other successful animators today.
Through this module, you will enlighten on the important role of
entrepreneurship in the economic and social development as a whole.

LO 1. Recognize and understand the market in Animation
1.1 Identify the players/competitors within the locality/town.
1.2 Identify the different products/services available in the market.
LO 2. Recognize the potential customer/market in Animation
2.1 Identify the profile of potential customers.
2.2 Identify the customer’s needs and wants through consumer
analysis.
2.3 Conduct consumer/market analysis.
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Pre-Assessment
Choose the letter that corresponds to the correct answer.
1. Which environmental factor in business refers to the population of the

potential market and diversity of socio-economic groupings?
a. physical location c. demography
b. political situation d. culture
2. It refers to the increase of the of the general price level of goods and
services.
a. inflation c. unemployment rate
b. GDP d. employment rate
3. Which can be considered wants?

a. clothing b. jewelries c. shelter d. education
4. The following are wants EXCEPT

a. expensive cars c. health care
b. impressive house d. traveling around the world
5. The higher the ______, the more spending power a consumer has.
a. GDP b. inflation c. unemployment rate d. employment rate
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Environment and Market

Working in a company or in your own business is essential to be able to
identify and study the environment and market of animation industry in your
locality or town. You can also identify options if your original plan will be
successful or not.
In setting up your business, a lot of things have to be considered in finding
the right environment for your business.
There are factors to be considered. First, Tangible factors the physical
location, like a particular economic or business zone in your area, accessibility,
availability of transport sectors, suppliers and possible clients, competitors and
layout of office. Second, Intangible factors such as provisions for government
regulations political situation, culture and demography of the people-population,
economic and social status, technology availability.
Environment Factors
1. Natural and Physical environment- the actual, physical location of the

business. Ideally it should be clearly visible and close to your target market.
2. Demography- refers to the population of your potential market and the

diversity of their socio-economic grouping.
3. Culture- refers to people’s way of life, you have to consider the cultural of
the people around your business area.
4. Government regulations- you need to legalized your business for you to

freely transact and dispense your products or services. You need to comply
with all the regulations and policies set by the different government agencies
concerned.
5. Economy- it can be interpreted as the effective management of business.

Economy influences how well goods and services are traded in the market
as well as the quality of life of people. As an entrepreneur, you must be
sensitive and observant to economic indicators such as:
 Inflation – the increase of the general price level of goods and services.
 Gross Domestic Product (GDP) – It reflects the annual gross domestic

income derived from the salaries and wages, profits from businesses
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and taxes collected by the government. The higher the GDP, the more
spending power a consumer has.
 Unemployment Rate – the percentage of people who are actively

seeking a job but could not find one. The higher the unemployment rate
the lesser income for consumers to spend. Less spending ability of
people means less business.
Consumer Analysis
1. Needs and Wants of People

People have different understanding of wants and needs. Needs in
business are important that individual cannot do without these. Basically,
these include food, clothing, shelter, health care, education and relaxation.
This are essentials to everyone that he or she may be able to live with
dignity. Wants are desires and considered over and above the needs of life.
Some examples are the eagerness of having a very expensive car, clothes,
shoes, traveling around the world, jewelries, and impressive houses. These
wants and needs can obviously help you generate business ideas.
2. Generate Ideas for Animation Business
Ways by which you can generate possible ideas for your business.
A. Examine the existing goods and services

Ask yourself if you are satisfied with the existing product. What do
other people say about the product? how can you improve it? You can
enhance and innovate of what is already existing, making it more useful and
adaptable to the customers’ needs.
B. Examine the present and future needs

Look and listen to customers’ demands. Sometimes, needs are very
obvious and other needs are not because they can only be felt in the
future.
C. Examine how the needs are being satisfied

The needs for products and services are the market demand. The
one who use or buy the products and services is the possible market,
and these may be people, institutions, establishment and agencies. No
supply to a pressing market demand is a great business opportunity. The
needs for raw materials, maintenance and other services are good
source of ideas for business.
D. Assess the available resources

Observe what materials and skills are available in your locality/town.
The business may use this opportunity to provide products and services
align with the business that you are thinking.
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E. Read articles, news and publications on the new trends and
techniques or technology advancement in business
You can pick up new ideas and techniques in business from these
printed materials. It will also guide you on how to put the right products
and services at the right place, at the right price, at the right time.
F. Select the right idea

You have to select the most appropriate from your listed ideas, but
you need to screen your ideas to narrow them down to about 2 options,
from then choose between the two and decide which business is worth
pursuing.
Here are the factors to be consider in screening your ideas:
1. Capital
2. Demand for product
3. Background to run the business
4. Business legal issues
5. Expertise and Interest on the business
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SELF-CHECK 1.2-1
A. Multiple Choice
Direction: Choose the letter that corresponds to the correct answer and write
your answer on a separate sheet of paper.
1. The following are the steps in consumer analysis, except.
a. select the right idea c. knows the needs and wants of
people
b. needed capital d. examines the existing goods and
services
2. Which is not a factor in finding the right environment for your business?
a. Physical location c. accessibility
b. Suppliers and clients d. needs and wants of people
3. It is a factor in choosing the environment which refers to the physical
location of the business.
a. Intangible factor c. accessibility
b. Tangible factor d. demography
4. Which is an example of Intangible factor in finding location for business?
a. accessibility c. demography
b. availability of transport sector d. competitors
5. Which of the following is an example of needs?
a. Luxury cars c. expensive clothes
b. Impressive house d. health and education
B. Enumeration
Direction: Give what are being asked in each of the following items.
1. Factors in screening ideas in deciding which business is to pursue.

a.
b.
c.
d.
e
2. Economic indicators
a.
b.
c.
23 | P a g e
Title: Conduct consumer/market analysis
Performance Objectives: Given required supplies and materials you should
be able to:
1. Conduct consumer/market analysis.
Supplies / Materials:
Equipment:
Steps / Procedures:
Conduct consumer/market analysis
1. Conduct a mini survey to a group of people of 100 - 500 in your
locality/town and gather pertinent data on their needs and wants.
Use the suggested survey format.
Age No. of Needs Wants

Population
Example: 100 Clothing, Diaper, Toys, Coloring
6 and below Milk, etc. books, etc.
7 -12 years’ old
13-16 years’ old
17-22 years’ old
23 and above
2. Using the results of the survey, list down the possible business
opportunities which you may wish to put up. Analyze the kind of
business you have identified and use the suggested format below.
Kind of Business Positive Factors Negative Factors

Strengths Opportunities Weaknesses Threats
Example:
1. Selling of
School
Supplies
3. Answer the questions that may gave you the bases in formulating
your business ideas.
a. Who do you think your target markets/clients?

b. Where is the best location for your business?
c. Which products/services would more appealing to your target
markets/clients?
d. Can you say that you have choose the most feasible business
opportunity?
Assessment Method:
Observation
Interview
24 | P a g e
DepEd Track/Strand : TVL- Information Communication Technology
(ICT)
Unit of Competency : Use of Hand Tools and Equipment
DepEd Code : TLE_ICTAN9-12UT-Ib-1 / TLE_ICTAN9-12UT-Ic-2
TR Unit Code :
LO 1. Prepare hand tools and equipment in animation.

LO 2. Inspect hand tools and equipment received in animation.
Content Standard:
The learner demonstrates an understanding of the hand tools and equipment
used in animation.
The learner independently uses hand tools and equipment for animation.
INTRODUCTION
In this module, you will learn more about hand tools and equipment used
Animation. You will experience in various activities that may lead to your own
personal competencies of successful animator within your locality/town.
Through this module, you will be enlightened on the procedure in accomplishing
forms and in the used and proper care of tools and equipment.

LO 1. Prepare hand tools and equipment in Animation
1.1 Use hand tools and equipment according to function and task
requirement.
LO 2. Inspect hand tools and equipment received in animation

2.1 Check the list of tools and equipment to be requested per job
requirement.
2.2 Inspect the requested tools and equipment.
2.3 Assess the condition of all hand tools and equipment for proper
operation and safety.
25 | P a g e
Pre-Assessment
Identify the following tools and equipment used in animation.
1.
_________________
2.
________________
3.
__________________
4.
___________________
5.
___________________
26 | P a g e
Hand Tools and Equipment for Animation
Traditional Animation is a type of animation technique where drawing is

drawn manually by hand with the use of different basic tools and equipment. It
is also called Classical Animation or Cel Animation.
Let us study now the tools and equipment requirement in creating a

traditional animation.
1. Animation Table
A special table with lighting fixture under the animation disc attached
on its top, purposely for tracing the in-between drawings. It is necessary to
see the receding movement for consistency of action.
2. Light Box
A portable equipment similar to animation table essentially featured
the light shine through different layers of animation paper for tracing the in-
betweens.
27 | P a g e
3. Line Tester
An equipment where the camera is attached used for testing the
movement or action after the pencil drawing are done.
4. Photo Copier
An equipment used for reproduction, reducing, and enlarging the
drawings.
5. Computer or Laptop with installed Animation Software

An equipment used for editing and finalization of animation
production.
6. Computer Table and Chair

An equipment intended for computer set or laptop
28 | P a g e
7. Digital and Video Camera
A tool uses for testing the finished pencil drawing and to check its
movement.
8. Peg Bar
A tool used to hold the animation papers while completing the action
drawing, avoiding the paper to move as the animator is doing the artwork.
9. Animation Paper Puncher

A special tool used to punch a hole to a paper whether it is 2 or 3 holes.
10. Animation Paper

A standard special paper intended for animation drawings with 2 or 3 holes
on one side.
29 | P a g e
11. 12” Field Guide/Chart
It is a grid system used to accurately create field guides in the layout.
These guides are what the camera will see in the scene. There are 2
standard field sizes for animation the 12 and 15 inches.
12. Bar Sheets

The director use this when she or he has given some thought to the
overall timing of a film. It is a standard kit in editing room; however, the
animator is expected to have a dope sheets and the sound of the
animation is often shown to bar sheets.
13. Dope or X-Sheets

A standard traditional animation tool that enables an animator to
organized his/her thinking and give instructions to the cameraman on the
shots needed. It consists of five sections and is usually A4 paper size and
every eight line is printed thicker equivalent to half foot of film. It also
serves as guide in determining the number of drawings and the dialogue.
30 | P a g e
14. Model Sheets
A very essential tool in animation and used as guide for the
consistency in drawings characters, backgrounds, animals, and props.
15. Layout/ Story Reel

Under the supervision of the director using the storyboard the layout
artist proceeds to story reel. He or She carefully draws each scene to the
size at which it will eventually be animated. It is composed of the
background environment, staging of action and the camera field
references.
16. Storyboard
A tool composed of a series of drawn images that graphically
portrays the action described in the script.
31 | P a g e
17. Production Folder or Animation Folder
A special folder in animation used to keep and organize the
important sheets and reference materials for the production such as:
Model Sheets, Dope or X- Sheets, Storyboard, Layout, and Key
Drawings.
18. Drawing Pencil

A drawing pencil used for sketching and cleaned-up drawings.
There are 3 basic colors of lead use in animation such as: black for final
line, red for registration, and blue for sketching and line construction.
19. Pencil Sharpener

A tool used for sharpening the drawing pencil. There are two kinds
of standard pencil sharpener, the manual and electrical sharpener.
32 | P a g e
20. Art Gum Eraser
It is a superior in terms of cleaning and removing smudges,
unnecessary lines and blots.
33 | P a g e
SELF-CHECK 1.3-1
Directions: Identify the following hand tools. Write your answer on a separate
sheet of paper.
________ 1. A tool used for sharpening the drawing pencil.
________ 2. A tool composed of a series of drawn images that graphically
portrays the action described in the script.
________ 3. A special tool used to punch a hole to a paper whether it is 2 or
3 holes.
________ 4. A tool used to hold the animation papers while completing the
action drawing, avoiding the paper to move as the animator is
doing the artwork.
________ 5. A special table with lighting fixture under the animation disc
attached on its top, purposely for tracing the in-between
drawings. It is necessary to see the receding movement for
consistency of action.
34 | P a g e
Proper Manipulation of the Line Tester, Animation Disc, and Personal

Computer/Laptop
Directions: Below is a simple activity for you to work on. Practice the task
following the given procedures.
Materials:
o Animation Paper
o Eraser
o Drawing Pencil
Tools and Equipment:

o Line Tester
o Animation Disc
o Personal Computer
Procedures:
For Line Tester and personal Computer Set

1. Connect web cam cable to your computer
2. Open your computer
3. Open Flipbook software Icon
4. Click, Create New Scene
5. Set # of Frames and # of Levels into a desired number of levels and
frames.
6. Click, Ok
7. Click, Capture Icon
8. Set Level and Frame to 1, then 2 for Hold
9. Place the Animated Drawings one at a time on the top of line tester,
start drawing 1 then,
10. Click, Capture Button
11. Repeat Capturing until the last drawing.
12. Click File button
13. Click, Save as button
14. Choose file destination, (Create your own folder with your name)
15. Type your file name (ex. Tools Manipulation Exercises)
16. Click, Save button
35 | P a g e
For Animation Disc
1. Place the animation paper on the top of the Animation Disc
2. Insert the peg bar to the holes of the animation paper.
3. Switch on the light of the Light Box
4. Start making a simple drawing of objects using the drawing pencil.
5. Rotate the animation disc while making a drawing.
6. Switch on and off the light if applicable.
Performance Checklist 1.3-1

Find out by accomplishing the Scoring Rubric honestly and
sincerely. Remember it is your learning at stake!
Learner’s Name: Date:
Competency: Test Attempt

1st 2nd 3rd
Direction:
OVERALL EVALUATION
Ask your teacher to
assess your
performance in the Level Performance Levels
following critical task Achieved
and performance
criteria below. 4- Can perform this skill without
supervision and with initiative and
adaptability to problem situations.
3- Can perform this skill satisfactorily
You will be rated based without assistance or supervision.
on the overall
evaluation on the right 2- Can perform this skill satisfactorily
side. but requires some assistance
and/or supervision.
3- Can perform parts of this skill
satisfactorily, but require
considerable assistance and/or
supervision.
Note: Instructor will initial level achieved.
36 | P a g e
PERFORMANCE CRITERIA CHECKLIST 1.3-1
For acceptable achievement, all items should Yes No N/A

receive a “Yes” or “N/A” response.
1. Set up the equipment correctly
2. Follow the given procedures correctly.
3. Manipulated the computer and the software
correctly.
4. Capture the drawings correctly
5. Set the correct value of frames, levels, and holds.
6. Follow the correct saving procedures.
37 | P a g e
(ICT)
Unit of Competency : Maintain Hand Tools, Equipment and Paraphernalia
DepEd Code : TLE_ICTAN9-12MT-Id-1
TR Unit Code :
LO 1. Use and maintain hand tools, equipment and paraphernalia.
Content Standard:
The learner demonstrates an understanding of the concepts and underlying
principles of maintaining hand tools, equipment and paraphernalia.
The learner independently performs maintenance of hand tools, equipment
and paraphernalia.
INTRODUCTION
In this module, you will learn more about hand tools and equipment used
in Animation. You will experience various activities that may lead to your own
personal competencies as successful animator within your locality/town.
Through this module, you will be enlightened on the procedures in preparing
report, safety procedures, simple repair and in the proper care of tools,
equipment and paraphernalia.

LO 1. Use and maintain hand tools, equipment and paraphernalia
1.1 Perform safety procedures in using hand tools, equipment and
Paraphernalia.
1.2 Follow procedures in cleaning, tightening and simple repair of
hand
tools, equipment and paraphernalia.
1.3 Identify common malfunction (unplanned or unusual events)
when
using hand tools, equipment and paraphernalia.
1.4 Follow procedures in preparing a report to property custodian.
38 | P a g e
Maintain Hand Tools, Equipment and Paraphernalia
Maintenance is a means of improving the performance and condition

of equipment and facilities. An effective maintenance program identifies
problems long before any equipment or facilities breaks down. Early discovery
of problems, provide enough time for effective maintenance planning. The
trainer has to value the importance of maintaining the training facility,
equipment and tools under his or her care for effective training and learning
process.
Training Equipment and Supplies
Training equipment is usually placed in the Practical Work Area or

the Trainee Resource Area. The sizes and uses of equipment vary in
different training qualifications and generally classified into five (5):
1. Large items of equipment - motor vehicles, animation table,

industrial sewing machine, computer unit.
2. Small items of equipment – video camera, tape recorder,
espresso machine, scanner, portable light box, tester, printer.
3. Simple equipment – electric fan, floor polisher
4. Complex equipment – plasma cutting machine, simulator
(automotive)
5. Equipment with significant health and safety implications –
duplicator Machine
Why Maintain?
Benefits of Effective Maintenance Program
Generally, it keeps the optimum condition of physical facilities at acceptable
levels and minimum cost to satisfy the expected of programs, services and
activities at acceptable and minimum costs.
The following are the benefits of effective maintenance program:

1. Extend the useful life of physical facilities.
2. Assure the operational readiness of equipment and maximum
possible return of investments.
3. Properly discard hazardous waste.
4. Ensure the safety of personnel using the facilities
39 | P a g e
What we can gain form maintaining our facilities?
a. Ensured SAFE environment

b. Improved MORALE of human resources
c. Reduced operational COST
d. Increased PRODUCTION
e. Prolonged LIFE of facilities
f. Prompt DELIVERY of services/ product
g. WASTE/ GARBAGE reduction
The implementation of maintenance program will center on the 5 M’s as

follows:
1. Manpower
2. Money
3. Methods and System
4. Machines
5. Materials and Supplies
Maintenance Program is a comprehensive list of maintenance and its

incidents. This include all maintenance activities to be undertaken, manpower
needed, maintenance method, materials and supplies needed and cost
involved in the maintenance.
Maintenance Schedule is a list allocating specific maintenance of an area,

including equipment and tools to a specified period.
Maintenance Checklist is a list of maintenance tasks typically derived

through some form of analysis, generated automatically as work orders at a
predetermined frequency.
40 | P a g e
Sample of Checklist
HOUSEKEEPING SCHEDULE
Qualification Animation NC II
Area/Section
In-Charge
ACTIVITIES Responsible Schedule for the Month of
Person ______________
Daily Every Weekly Every Monthly Remarks
other 15th
Day Day
Clean and
check
monitors/
chairs and
tables
Clean and
check
modules
Clean and
check LDC
projector,
printer,
Digital pen
and tablet
Check and
arrange
animation
paper
How to maintain tools and equipment?

1. Clean your tools regularly
2. Protect electrical cords
3. Lubricate tools
4. Inspect tools regularly
5. Store tools with care
Safety Procedures in Using Hand Tools and Equipment

We already familiar with the different hand tools and their proper use.
We need to know how to be safe in using these. What are the safety
precautions in using hand tools and equipment? What are its Do’s and
Don’ts?
41 | P a g e
Safety Precautions in using Hand Tools and Equipment
1. All tools must be kept in good condition with regular maintenance.

2. Right tool must be used for job.
3. Each tool must be examined before use and damaged or defective
tools should not be used.
4. Tools must be operated according to manufacturer’s instruction.
5. The right protective equipment for the tool and activity must be used.
Procedures in Cleaning, Tightening and Simple Repair for Hand Tools,

Equipment and Paraphernalia
1. Cleaning the tools after use is highly recommended.

2. All tools and equipment must be placed in a clean and dry place.
3. The work area must always be kept neat and tidy.
4. Lubricants must also be applied after tightening to reduce the friction.
5. Before cleaning any tool, be sure to wear the proper personal
protective equipment (PPE).
6. Only use cleaning agents as prescribed by the tool or equipment’s
manufacturer. Follow the cleaning procedures as well to make sure that
no damage will be inflicted on the tools.
Common Malfunctions in Hand Tools, Equipment and Paraphernalia
1. Small objects tend to fall down when being held by a gripping tool like
pliers.
2. The use of striking tools also imposes a great threat if there will be a
malfunction. Common hazards are heads separating away from the
handle.
3. Power tools also impose danger during mishaps. Common problems
are electrical short circuiting or mechanical problems.
4. When using a driving tool, screw may slip the tip of the screw driver.
42 | P a g e
SELF-CHECK 1.4-1
Directions: On a separate sheet of paper, Write T if the statement is correct

and F if it is false.
_______ 1. All tools must be kept in good condition with regular
maintenance.
_______ 2. Any tool can be used for job.
_______ 3. Each tool may be examined before use and damaged or
defective tools not to be used.
_______ 4. Tools must be operated according to manufacturer’s instruction.
_______ 5. Any protective equipment for the tool and activity can be
used.
43 | P a g e
Directions: Using the given table below, check/ identify the tool defects with
the corresponding possible remedies.
Supplies Materials Tools

Activity form Lubricants Pliers
Pencil Rugs Hammer
Rust Remover Power Tools
Screw Driver
Abrasive
Tool Defect Possible Remedy Remarks

(after remedy)
44 | P a g e

1.4221.4-1
Procedures in Preparing Report to Property Custodian
The Property Custodian is the one who oversee the storage of

supplies, materials and equipment, In-charge of warehouses, Storage yards,
tools rooms, and stock rooms. Prepare and submit required reports to the
management.
There are basic procedures to follow in reporting any damages and

non-functional equipment, missing items, needed items, condemnable tools
and equipment to Property Custodian. Accurate entry in different forms used
in Animation works is essentially important in order to facilitate well the
purchases, issuances, and condemnation of properties and to free the person
in charge from any liabilities. Here are some various forms used in animation
works.
A. Sample Requisition Slip Form

This is an official paper in the form of a printed document on
which a request in made.
Name: ________________________________________
Project: _______________________________________
Classification: __________________________________
Purpose: ______________________________________
No.
____________ _____________ ________________ ____________

Requisitioner Teacher Department Head Principal
45 | P a g e
B.Sample Inventory Form of Animation Tools and Equipment
Name: _______________________________________
Year & Section: ________________________________
School/Department: ____________________________
Laboratory/Shop: _______________________________
Purpose: ______________________________________
Tools/Instruments Qty. No. of No. of Not No. of No. of No. of
Usable Usable Condemn- Borrowed missing
But able
Repairable
____________ _____________ ________________ ____________

Requisitioner Teacher Department Head Principal
C. Sample Borrower’s Slip
Borrower’s Slip
Name of Borrower: ______________________________

Description Qty. Remarks
_________________________ Noted by: ______________________

Signature of Borrower Personnel In-Charge
Date Returned: _____________________
46 | P a g e
SELF-CHECK 1.4-1
C. Directions: Below are jumbled letters coinciding with the different types of
forms used in animation when requesting, receiving and inspecting
needed materials, tools and instruments. Arrange it to form the correct
word or words. Write your answer on a separate paper.
1. ROIFYVT MNOENF
2. RLVCDPYT EEEEIIR
3. PRESO ROBRWIL
4. SODEAR CUPREAH
5. FITIMEON SIRUROQ
D. Directions: Describes briefly at least two (2) of your correct answer in Part
A.
1. ________________________________________________ .
2. ________________________________________________ .
47 | P a g e
(ICT)
Unit of Competency : Perform Mensuration and Calculation
DepEd Code : TLE_ICTAN9-12MC-Ie-1 / TLE_ICTAN9-12MC-If-2
TR Unit Code :
LO 1. Perform basic mensuration.

LO 2. Carry out mensuration and calculation.
Content Standard:
principles of performing measurements and calculation.
The learner independently performs accurate measurements and calculation
based on a given tasks.
INTRODUCTION
This module is designed to familiarize students with mensuration and
calculation. A description of shape is valueless without proper and complete
indication of size. The shop worker preferably the animators must know the
exact width, height and depth of a work piece.
Accuracy of measurements depends on one's ability to use measuring
tools correctly. Proper practice in holding different tools, instruments and
materials as well as safety measures are also included in this module.

Upon the completion of this module, you should be able to:
LO1. Perform basic mensuration.
1.1 Identify object/s to be measured.
1.2 Use the correct specifications as specified in the job
requirements.
LO2. Carry out mensuration and calculation
2.1 Perform calculation needed to complete task using the four
mathematical fundamental operation.
2.2 Employ different techniques in checking accuracy of the
computation.
48 | P a g e
Read the Information Sheet very well then find out how much you can remember and
how much you learned by doing Self-check 1.5-1
Perform Mensuration and Calculation
Types of Components and Objects to be Measured:
1. Memory – it is an internal storage area in the computer system. It

identifies data storage that comes in the form of chips, and the word
storage is used for memory that exists on tapes or disks.
2. Data Storage Capacity – it refers to how much disk space one or

more storage devices provides. It measures how much data a
computer system may contain. Example, a computer with 500GB hard
drive has storage capacity of 500 gigabytes. A network server with1TB
drives, has a storage capacity of 1 terabyte.
3. Processor – it is an integrated electronic circuits that performs the

calculations that run a computer. A processor performs arithmetical,
logical, input/output and other basic instructions that are passed from
an operating system (OS). A central processing unit or CPU, is a piece
of hardware that enables your computer to interact with all of the
applications and programs installed.
49 | P a g e
4. Video Card – it is used to process images so they can be displayed in
the monitor. A good video card can result to quality of the graphics, so
this is important in playing games, photography and video. Using a
dedicated video card may improve overall system performance
because it includes its own RAM, power regulators, and cooling so that
the system RAM and CPU can be used for other things.
50 | P a g e
SELF-CHECK 1.5-1
Directions: Identify the following. Write your answer on a separate sheet of

paper.
______________1. An integrated electronic circuit that performs the

calculations that run a computer.
______________2. It is an internal storage area in the computer system.
______________3. It is used to process images so they can be displayed in
the monitor.
______________4. It refers to how much disk space one or more storage
devices provide.
51 | P a g e
how much you learned by doing Self-check 1.5-1A
Information Sheet 1.5-1A
Correct Specifications of Requirements the Relevant Sources
Conversion and Calculation

Capacity and Speed
1. Date Storage
Samsung 2TB (HD204UI) hard Disk Drive
Capacity- 2 TB
Interface- Serial ATA 3.0Gbps
Buffer DRAM Size- 32 MB
2. Memory
JEDEC Standard
DDR3 Speed Grade: 1333 Mbps
Unbuffered DIMM: 240-pin
Memory Organization: x8 FBGA DRAM chip
DDR3 DRAM interface: SSTL_15
CAS Latency: 9-9-9
Bandwidth: 10660MB/s
52 | P a g e
3. Processor
TECH SPECS
Essentials
Product Collections : 7th Generations Intel*

Core I5 Processors
Processor Number : i5 – 7400
Performance
# of Cores : 4
Max Turbo Frequency : 3.50 GHz
Cache : 6MB SmartCache
TDP : 65 W
# of Threads : 4
Bus Speed : 8 GT/s DMI3
4. Video Card
Asus GeForce GTX750 TI 2GB 128-bit GDDR5

Performance graphics (GTX750TI-OC-2GD5)
Graphics Engine – NVIDIA GeForce GTX 750 Ti

Bus Standard - PCI Express 3.0
Video Memory - GDDR5 2GB
Engine Clock - GPU Boost Clock: 1150 MHz
- GPU Base Clock: 1072 MHz
CUDA Core - 640
Memory Clock - 1350 MHz (5400 MHz GDDR5)
Memory Interface - 128-bit
Resolution - DVI Max Resolution: 2560x1600
- Digital Max Resolution: 4096x2160
Interface - D-Sub output: Yes x 1
- DVI output: Yes x 2 (DVI-D)
- HDMI Output: Yes x 1
- HDCP Support: Yes
Power Consumption- up to 150W1 additional 6 pin PCIe power
53 | P a g e
Required
Software - ASUS GPU tweak & Driver
Asus Feature - OC series
- Super Alloy Power
Dimensions - 8.58” x 4.527” x 1.53” inch
- 21.8 x 11.5 x 3.9 Centimeter
Sample of Animation Software and their System Requirements

ADOBE FLASH CS 6 ADOBE ANIMATE CC TOON BOOM
HARMONY
Windows Windows Windows
 Intel Pentium 4  Intel Pentium 4  Intel Core i7 3.4
or AMD Athlon or Intel GHz, Intel Core i5
64 processor Centrino, Intel 3GHz
 Microsoft Xeon, or Intel  Windows 7, 8.1,
Windows XP or Core Duo 10 (64 bit)
Windows 7 and  Microsoft  32 GB of RAM,
Windows 8 Windows 7,  4 GB, 8GB, 16
 2 GB of RAM 8.1,10 (64 bit) GB memory
( 3GB  2 GB of RAM (8  1280 x800 display
recommended) GB (1920 x 1080
 3.5 GB of recommended) recommended)
available hard-  4 GB of
disk space available hard- MAC OS
 1024 x 768 disk space for  Mac OS 10.10.5,
display (1280 x installation 10.11.6, 10.12.6,
800  1024 x 900 10.13.3
recommended) display (1280 x  Intel Core i5 (Intel
 Java Runtime 1024 Core i17
Environment 1.6 recommended) recommended)
 DVD-ROM drive  Internet  8 GB Memory or
 Quick Time connection and Higher
7.6.6 software registration are  1280 x 800
required for necessary for display (1920 x
multimedia software 1080
features activation. recommended)
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 Some features MAC OS  Intel HD Graphics
in Adobe Bridge  Multicore Intel 5000- Video Card
rely on a processor  NVIDIA GeForce
DirectX 9-  Mac OS X GT 640M
capable video v10.11 (64 bit)  Intel Iris Pro
adapter with at or v10.12 (64 Graphics 6200
least 64 MB of bit) 1536 MB
VRAM  2 GB of RAM ( 8 recommended
GB
recommended)
MAC OS  4 GB of
 Multicore Intel available hard-
processor disk space for
 Mac OS X v installation
10.6.8 or v 10.7  1024 x 900
 2GB of RAM display (1280 x
(3 GB 1024
recommended) recommended)
 4GB of  Quick Time 10.
available hard- X software
disk space for recommended
installation  Internet
 1024 x 768 connection and
display (1280 x registration are
800 necessary for
recommended) required
 Java Runtime software
Environment 1.6 activation.
 DVD-ROM drive
 Quick Time
7.6.6 software
required for
multimedia
features.
55 | P a g e
SELF-CHECK 1.5-1A
Directions: Identify the correct specifications on the following animation

software. Choose from the options below. Write the letter on a separate sheet
of paper.
E. Windows
 Intel Pentium 4 or AMD Athlon 64 processor
 Microsoft Windows XP or Windows 7 and Windows 8
 2 GB of RAM ( 3GB recommended)
 3.5 GB of available hard-disk space
 1024 x 768 display (1280 x 800 recommended)
 Java Runtime Environment 1.6
 DVD-ROM drive
 Quick Time 7.6.6 software required for multimedia features
 Some features in Adobe Bridge rely on a DirectX 9-capable video
adapter with at least 64 MB of VRAM
F. Windows
 Intel Pentium 4 or Intel Centrino, Intel Xeon, or Intel Core Duo
 Microsoft Windows 7, 8.1,10 (64 bit)
 2 GB of RAM (8 GB recommended)
 4 GB of available hard-disk space for installation
 1024 x 900 display (1280 x 1024 recommended)
 Internet connection and registration are necessary for software
activation.
G. Windows
 Intel Core i7 3.4 GHz, Intel Core i5 3GHz
 Windows 7, 8.1, 10 (64 bit)
 32 GB of RAM,
 4 GB, 8GB, 16 GB memory
 1280 x800 display (1920 x 1080 recommended)
1. TOON BOOM HARMONY

2. ADOBE FLASH CS 6
3. ADOBE ANIMATE CC
56 | P a g e
Carry Out Mensuration and Calculation

Computer use binary codes to represent and interpret letters,
numbers and special characters with bits. A commonly used code is the
American Standard Code for information Interchange. With ASCII, each
character is represented by a string of bits.
For example:
Capital Letter A = 0100 0001
Number 9 = 0000 1001
Special Character # = 0010 0011
Calculating Data Storage

While a bit is the smallest representation of data, the most basic unit
of digital storage is the byte. When referring to storage space, we use the
terms bytes (B), kilobytes (KB), megabytes (MB), gigabytes (GB), and
terabytes (TB).
Bits
Bit is the smallest unit of measurement used to quantify computer
data. While single bit can define a Boolean value of True (1) or False (0), an
individual bit has little other use. Therefore, in computer storage, bits are often
grouped together in 8-bit cluster called bytes.
Bytes
A byte is a unit of digital information that most commonly consists of
eight bits. The byte was the number of bits used to encode a single character
of text in a computer and for this reason it is the smallest addressable unit of
memory in many computer architectures.
Kilobytes
Kilobyte is the smallest unit of measurement greater than a byte. It
precedes the megabyte, which contains 1,000,000 bytes. While one kilobyte
is equal to 1,000 bytes.
Megabytes
a megabyte is equal to 1,000,000 bytes. One megabyte is equal to
1,000 kilobytes.
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Gigabytes
Gigabyte is a unit of storage capacity for computer data and memory
equal to about one billion bytes. An example of a gigabyte is about 200 songs
stored on an mp3 player.
Terabytes
When talking about data storage, systems are often measured in
terabytes, but most files seen on a daily basis are stored in gigabytes or
megabytes. One terabyte (TB) is equal to 1,000 gigabytes (GB) or 1,000,000
megabytes (MB).
Within a computer, information is represented and stored in a digital

binary format. The term bit is an abbreviation of binary digit and represents
the smallest piece of data, 8 bits = 1 byte
 A bit can have only two possible values, a one (1) digit or a zero
(0) digit.
 A bit can be used to represent the state of something that has two
states.
 For example, a light switch can be either On or Off in binary
representation, these states would correspond to 1 and 0,
respectively.
Each group of 8 bits, such as the representation of letters and numbers is

known as a byte.
Code can be used to represent almost any type of information digitally:

computer data, graphics, photos, voice, video, and music.
How to Convert a Decimal Number to Binary?
To convert a decimal number to binary

1. Divide the number by 2
2. Get the quotient and the remainder
3. Bring down the quotient, divide it by 2, and get the quotient and
remainder again
4. Do it repeatedly until the quotient results to 0.
5. Copy the remainder from the bottom to top, and that is the binary
equivalent.
Example: Decimal Number 25

Quotient Remainder
25 ÷ 2 12 1
12 ÷2 6 0
6 ÷2 3 0
3÷2 1 1
1÷2 0 1
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25 = 10011- Binary Equivalent
Checking
Multiplier 1 1 0 0 1
Equivalents 16 8 4 2 1
Results 16 8 0 0 1
16 + 8 + 1 = 25
Quantities of Bytes
Common Prefix Binary Prefix

Name Symbol Decimal Binary Name Symbol Binary
SI JEDEC IEC
kilobyte KB/kB 10³ 210 kibibyte KiB 210
megabyte MB 10⁶ 220 mebibyte MiB 220
gigabyte GB 10⁹ 230 gibibyte GiB 230
terabyte TB 1012 240 tebibyte TiB 240
petabyte PB 1016 250 pebibyte PiB 250
exabyte EB 1018 260 exbibyte EiB 260
zellabyte ZB 1021 270 zebibyte ZiB 270
yellabyte YB 1024 280 yetibyte YiB 280
In general, when something is represented digitally, the greater the

detail, the greater the number of bits needed to represent it. A low-resolution
picture from a digital camera will use around 360KB, and a high-resolution
picture could use 2MB or more.
Kilobytes, megabytes, gigabytes, and terabytes are typically used to

measure the size or storage capacity of a device. Examples of components
and devices that use byte storage include: random access memory (RAM),
hard disk drive space, CDs, DVDs, and MP3 players.
CDs have a data storage capacity of approximately 700 MB. DVDs

have a data storage capacity of approximately 4.3 GB on a single-layer disc,
and approximately 8.5 GB on a dual-layer disc. BCs have a storage capacity
of 25 GB on a single-layer disc, and 50 GB on a dual-layer disc.
Once we know the size of a file or folder, it is possible to determine

the number of bytes being used.
For example:
A file is 20 KB in size
1 KB = 1,024 Bytes
20 x 1,024 = 20, 480 bytes in a 20 KB file
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If a 20 KB file is stored in a 1MB folder (1 MB = 1,048,576 bytes of space):
then approximately a total of 51 files of the same size can be stored in that
folder (1,048,576 / 20.480 = 512).
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SELF-CHECK 1.5-2
A. Direction: Convert the decimal numbers shown below to binary.
1) 19=
Solutions Quotient Remainder
2) 28=
3) 37=
B. Directions: Solve the problems indicated below. Show your solution.
1. How many 60 KB jpg files can be stored on a 2 MB folder in your hard

drive?
2. How many 5 MB mp3 files can be stored on a 1GB flash drive?
3. How many 750 MB avi files can be stored on a 4.3 GB DVD-R?
Congratulations! You did a great job! Rest and relax a

while then move on to the next lesson. Good luck!
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(ICT)
Unit of Competency : Prepare and Interpret Technical Drawing
DepEd Code : TLE_ICTAN9-12ID-Ig-1 / TLE_ICTAN9-12ID-Ih-2
TR Unit Code :
LO 1. Identify different kinds of technical drawings.

LO 2. Interpret technical drawing.
Content Standard:
principles of preparing and interpreting technical drawings in animation.
The learner independently and accurately prepares and interprets technical
drawing.
INTRODUCTION
This module is designed to familiarize student with technical drawings in
animation and to have basic knowledge and skills on basic symbols used or
applied in creating a flowchart.
This is also designed to teach students how to interpret simple animation
flowchart.

LO1. Identify different kinds of technical drawings.
1.1 Identify basic symbols used in technical drawing.
1.2 Select technical drawing in accordance with the job
requirement.
LO2. Interpret technical drawing.
2.1 Identify the basic symbols used in flow charting.
2.2 Interpret the symbols used in flow charting
2.3 Create a flowchart that depicts a simple scenario.
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Technical Drawing
Technical Drawing is the act of composing plans that visually
communicate ideas through some form of picture or drawing. Simple lines are
used to give a figure a life. In animation production pipeline, drawing basic
shapes would be a great help in the construction of character.
Equipment and Materials Used in Technical Drawing
1. Drawing Pencil – This is one of the most important tools in drawing,

comes from various grades. The grade of pencil to be used depends
on the type of line work required.
c. Hard Pencils – are used in sketching and where extreme
accuracy is required especially working on graphs, diagrams
and charts. (H to 9H)
d. Medium Pencils – are used for general purpose work in

drawing. ( F, HB
e. Soft Pencils – are too soft to be used in mechanical drafting.

They are very useful for art work of various kinds, specifically
for shading. (B to 9B)
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2. T – Square – it is a drawing instrument used when making horizontal
line. It is also used for guiding triangles when drawing vertical and
inclined lines.
Three (3) Types of T- Square
a. Fixed Head – The head is fastened to the blade.
b. Movable or Adjustable Head – It has an adjustable head

which can be adjust to any angle and used only for
occasional drawing.
c. Detachable or Removable Head – it is designed for comfort

when carrying the T- square.
3. Set of Triangles – It is a three-sided ruler, which typically made of

plastic. It is used as guide in drawing vertical and inclined lines.
Commonly used triangles are:
a. 30 degrees x 60 degrees triangle
b. 45 x 45 degrees triangle
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4. Ruler – used to measure short distances.
5. Drawing Paper – It has different size to choose from.

A4 - 210 mm X 297 mm
A3 – 297 mm X 420 mm
A2 – 420 mm X 594 mm
A1 – 594 mm X 841 mm
A0 - 841 mm X 1189 mm
Line Drawing and Scales
A scale is the ration of the length and size of an element of an object in

the drawing to the real length and size of the same element of the object.
Designation of a scale consists of the word “SCALE” followed by the

indication of its ratio:
SCALE: 1 : 1 for full size
SCALE: 2 : 1 for enlargement scales
SCALE: 1 : 2 for reduction
Line weight helps to convey meaning to a technical drawing. The

production of good quality lines may range from correct weight to correct size.
Line weight gives meaning to a technical drawing:
 Important objects can be highlighted by using heavier lines

 Elevations on the objects nearer to the viewer can be darker to make it
appear closer.
 Grid lines may be drawn faintly so as not to overcrowd the rest of the
drawing.
 Dimension lines can be drawn in fine line.
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Symbols Used in Technical Drawing
NAME OF SYMBOLS DESCRIPTION/USES

SYMBOLS
Visible Line/ A medium thick line used to
Object Line represent the visible edges of the
object.
Hidden Line Represented by a series of
medium weight dashes used to
show the hidden or invisible
edges of an object.
Center Line Used to show the center of holes
of circular object or shape.
Dimension Line Used to show the size

(dimensions) of an object; spans
from one extension line to the
next, has arrowhead at both
ends, and is broken in the middle
fro the measurement number
(dimension).
Extension Line Indicates the limit of a dimension
line.
Section Line Used to show a surface that has

been cut in a section view. The
surface indicated with section
line is presumed to be solid
portion.
Cutting Plane Line Used to show where a section
has been taken; arrows on the
end show the direction in which
the section was taken.
Leader Line Used to direct descriptive major
information, notes, or special
dimensions to features on the
drawing and done mechanically.
Reference Line An irregular fine curve line with
an arrowhead at one end used
for indicating the measurement
and name of a part.
Short Break Line Used to show that part of the
object has been removed or
broken away. Applicable for
small objects only.
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Long Break Line A break line which are solid with
a Z symbol inserted in several
places and done mechanically
and applicable for big objects
only.
Drawing a Straight Line

1. Hold the pencil naturally.
2. Spot the beginning and end point.
3. Swing the pencil back and forth between the points, barely touching the
paper until the direction is clearly established.
4. Draw the line firmly with free and easy writ-and-arm motion.
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Projection
To be able to draw a technical drawing, you should understand
projection. Technical drawing is the representation of a three-dimensional
component on a two- dimensional drawing. The three typical views expressed
in a projection are called Three-panel image. Three-panel screen with top,
front, and side views as shown below.
Basic Strokes
There are 4 basic strokes in drawing, straight vertical, straight
horizontal, slanted line, and curved strokes.
Example of application of basic strokes.
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Freehand Sketching
This technique is very relevant for technical drawing. It is something
done without the use of any instruments with straight edges except pencil.
You are free to bring ideas into mental pictures on a paper. Sometimes grid
technique can be used to sketch.
The grids serve as guide that help keep the lines straight and
proportioned.
To draw rounded corner using a grid, the corner is measured three-

unit vertical then join them together by an arc.
Grids are also useful in making freehand circles in proportion.
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Ellipse can be sketched the same as the circle. Make small arcs on
each grid that is occupied by the ellipse and connect by an arc.
Sketching Technique
Creating proportional objects can be achieved using the circle
technique.
Steps:
1. Draw the three circles.
2. Draw the tangent lines to the

circles.
3. Connect by line each radius

perpendicular to the tangent lines.
4. Identify the connection points.

Just sketch the final shape with
a darker pencil.
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ACTIVITYSHEET 1.6-1
Technical Drawing Techniques: Small Circle
Directions: Below is a simple activity for you to work on. Practice the task
Materials:
 Drawing Paper
 Eraser
Instrument:
 Ruler or 30 x 60 or 45 degrees Triangle
 Drawing Pencil or Mechanical Pencil (.05 mm.)
Equipment:
 Drawing Board or Table
For Method 1
1. Lightly sketch the square and mark the
midpoints.
2. Draw light diagonals and mark the estimated

radius.
3. Draw the circle through the eight points.
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For Method 2
1. Lightly draw a center.
2. Lightly draw a center
3. Sketch the full circle
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Criteria for Assessment:
Criteria 5 Points 3 Points 1 Point Rating

Accuracy All lines are drawn There are 1 to 3 Majority of the
appropriately lines lines are
according to its inappropriately inappropriately
standard. drawn drawn.
according to its
standard.
Neatness Finished output Pleasing but Finished output
was neatly done, erasures and have so many
pleasing, and no smudges are erasures and
erasures/smudges. observable on smudges.
the finished
output.
Time Finished the task 5 Finished the Unable to
Management minutes before the task on time. finished the
given time. given task.
Total
Rating Scale:
Points Earned Numerical Value Descriptive Value
12-15 91-100 Very Good

8-11 86-90 Good
4-7 81-85 Fair
1-3 75-80 Needs Improvement
Final Rating: ______________

Remarks: ________________________________________________
_________________________________________________________
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ACTIVITYSHEET 1.6-1A
Line Drawing Exercises
Direction: Below is a simple activity for you to work on. Practice the task
Materials:
 Drawing Paper
 Eraser
Instrument:
 Ruler or 30 x 60 or 45-degree Triangle
 Drawing Pencil or Mechanical Pencil (.05 mm.)
Equipment:
 Drawing Board or Table
Direction: Draw the lines on separate drawing paper for each sample output
below. Complete the remaining spaces with the same line and maintain the
spacing throughout and keep the line density constant.
74 | P a g e

according to its
standard.
the finished
output.
Time Finished the task 5 Finished the Unable to finish
Management minutes before the task on time. the given task.
given time.
Total
Rating Scale:
12-15 91-100 Very Good

8-11 86-90 Good
4-7 81-85 Fair
Final Rating: ______________

Remarks: ________________________________________________
_________________________________________________________
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Basic Elements Used in Technical Drawing
Line is the most basic element of the technical drawing. It is what separates
one area of the drawing plane from the other.
Shape is the information that is presented between two or more lines, or is the
things that is enclosed by line.
Proportion is the size of one picture element in relation to the size of another.
Perspective is the illusion that further away things appear smaller. To make
something appear to be farther away from the viewer than the picture plane,
draw it smaller than the object that is closer to the picture plane.
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Light and Shadow create depth and atmosphere in a drawing. In order to
make a drawing look realistic you need shadow that indicates something is in
front of and/or behind the object that would cause it to cast a shadow.
Other Elements used in Technical Drawing
1. Schematic Diagram is a picture that represents the components of a

process. It is commonly associated with electrical circuits, many
examples can be found in other industries.
2. Block Diagrams is a specialized high level flowchart used in

engineering. It is used to design new systems or to describe and
improve existing ones. Its structure provide a high-level overview of
major system component, key process participants, and important
working relationships.
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3. Layout Plans is deciding on the best physical arrangement of all
resources that consume space within a facility. These resources might
include a desk, a work center, a cabinet, a person, an entire office, or
even a department.
4. Charts is a graphical representation of data in which the data is

represented by symbols, such as bar chart, lines in a line chart, or
slices in a pie chart.
5. Loop Diagram represents detailed drawing showing a connection from

one point to control system. It could be connection between field
instrument to control system or signal from control panel to control
system (vice versa).
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SELF-CHECK 1.6-2
Directions: Identify the following elements used in technical drawing. Write

your answer on a separate paper.
___________ 1. It creates depth and atmosphere in a drawing. In order to

make a drawing look realistic you need shadow that
indicates something is in front of and/or behind the object
that would cause it to cast a shadow.
___________ 2. It refers to the size of one picture element in relation to the
size of another.
___________ 3. It’s an illusion that further away things appear smaller. To
make something appear to be farther away from the viewer
than the picture plane, draw it smaller than the object that is
closer to the picture plane.
___________ 4. The most basic element of the technical drawing. It’s what
separates one area of the drawing plane from the other.
___________ 5. The information that is presented between two or more
lines, or is the things that is enclosed by line.
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Pre-Test
A. Directions: Match Column A with Column B. Write only the letter of the
Column A Column B
1. It is represented by a rectangle. It refers to an a. Decision
action in a business process.
2. It is represented by a diamond. A process that b. Process
can answer a decision of yes or no requires a
decision box.
3. It is represented by a small circle or a connector c. Arrow Line
box and is labeled using letters.
4. Drawn in one direction, preferably from top to d. Connector
bottom to keep a flowchart clear.
5. A process is represented by a rectangle with e. Sub-process
double lines on each side.
B. Directions: Interpret the flowchart.
Begin
Open File
Read Record
NO
Print Print Name
NOT! EOF Black Line Print Street
Print City
YES
Close File
Print Two A
Blank Lines
End
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Flowchart Interpretation
Flowchart
A Flowchart is a diagram that uses graphic symbols to depict the
nature and flow of the steps in a process. Another name for this tools is “flow
diagram”. It is useful tool to design an efficient business system and to trouble
shoot or improve an existing system. Its consists of elements, such as the
terminator, process, sub process, decision, arrow lines, and connectors.
Elements of a Flowchart
1. Terminator
A terminator is represented by a small rectangle with curved corners. A
terminator appears at the start and at the end of the flowchart. The
terminator appears only once on a single flowchart.
2. Process
A process is represented by a rectangle. It refers to an action in a
business process. It must be described clearly and concisely. A
process can be described using a single verb-noun phrase; for
example, “Order Office Supplies”. The same level of detail must be
kept in processes on a single flowchart.
3. Sub-process
A sub-process is represented by a rectangle with double lines on each
side. A sub-process is a major process that could be broken up into
simpler processes developed into another flowchart.
4. Decision
A decision is represented by a diamond. A process that can answer a
decision of “yes or “no” requires a decision box.
5. Connector
A connector is represented by a small circle or a connector box and is
labeled using letters. A flowchart written on a single page is clearer
than a flowchart on a several pages. a connector ensures that the
process are connected logically and correctly on several pages.
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6. Arrow Lines
Arrow lines drawn in one direction, preferably from top to bottom, keep
a flowchart clear. Avoid arrow lines that loop because this could
indicate redundancy in the business process.
Benefits of Using Flowcharts
1. Promote understanding of a process.
2. Provide a tool for training employees.
3. Identify problem areas and opportunities for process inprovement,
decision points, redundant steps, and rework loops.
Basic Flowchart Sysbols
1. Oval- indicate both the starting point and the ending point of the
process steps.
2. Box- it represents an individual step or activity in the process.
3. Diamond- it shows a decision point, such as yes/no or go/no-go. Each

path emerging from the diamond must be labeled with one of the
possible answers.
4. Circle- it indicates that a particular step is connected to another page

or part of the flowchart. A letter placed in the circle clarifies the
continuation.
5. Triangle- it shows where an in-process measurement occurs.
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Example of a Simple Flowchart
START
PROCESS
NO
PROCESS DECISION
YES
PROCESS
END
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How Do You Interpret Flowchart?
A flowchart will help you understand your process and uncover ways
to improve it only if you use it to analyze what is happening. Interpreting your
flowchart will help you to:
 Determine who is involved in the process.

 Form theories about root causes.
 Identify ways to streamline the process.
 Determine how to implement changes to the process.
 Locate cost-added-only steps.
 Provide training on how the process works or should work.
Steps in analyzing a flowchart
1. Examine each process step for the following conditions that

indicate a need to improve the process. Bottlenecks, Weak Links,
Poorly defined steps
2. Examine each decision symbols. You may want to collect data on
how often there is a “yes” or “no” answer at decision points marked
by a diamond shaped symbols. It most decisions go one way rather
than the other, you may be able to remove this decision point.
3. Examine each rework loop. Processes with numerous checks
generate rework and waste. Examine the activities preceding the
rework loop and identify those that need to be improved. Look for
ways to shorten or eliminate the loop.
4. Examine each activity symbols. Does the step help build a key
quality characteristic into the end product? If not, consider
eliminating it.
Types of Flowchart
1. Process Flowchart. It illustrates how a process works or plan a

project. It is probably the most versatile of the four commonly used
flowchart types because it can be applied to virtually anything.
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2. Workflow Chart. Shows the way a business or process functions.
3. Swimlane Flowchart. It comes in handy when you need to show

multiple flows of information side by side. It describes how separate
departments; processes or employees interact.
4. Data Flowchart. It shows where data flows in and out of an information

system. It can be used to analyze any type of information flow, like how
information moves through a business.
5. Linear Flowchart. It is a diagram that displays the sequence of work

steps that make up a process.
Steps for Developing a Linear Flowchart
1. Define the process to be flowcharted, and the purpose for

flowcharting it.
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2. Assemble the right people to develop the flowchart- those operators,
technicians, or office workers who are actually involved in the process.
3. Establish process boundaries- the starting and ending points.
4. List the steps, activities, and decisions to be charted.
5. Put the steps in chronological sequence.
6. Assign flowchart symbols.
7. Review and title the flowchart.
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SELF-CHECK 1.6-3
A. Direction: Match Column A with Column B. write only the letter of the
Column A Column B
1. Indicates that a particular step is
connected to another page or A
part of the flowchart.
2. Shows a decision points such as B
yes/no or go/no-go.
3. Indicates both the starting point

and ending point of the process C
steps.
4. Shows where an in-process D
measurement occurs.
5. Represents an individual step or E

activity in the process.
B. Directions: Arrange the following steps in developing a flowchart. Put a

number on the spaces before each number. Use a separate sheet of
paper for your answer.
______ Define the process to be flowcharted, and the purpose for

flowcharting it.
______ Establish process boundaries- the starting and ending points.
______ Put the steps in chronological sequence.
______ Assign flowchart symbols.
______ Review and title the flowchart.
______ Assemble the right people to develop the flowchart.
______ List the steps, activities, and decisions to be charted.
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Directions: Using the basic symbols used for flowchart, make your own
simple flowchart to illustrate the process of cleaning the computer parts and
peripherials properly. Include the given activities below.
1. Preparartion of cleaning tools

2. Identifying the pars to be cleaned
3. Cleaning the different peripherals
Scoring Rubrics
Preparation of 4 3 2 1
Flowcharts
Drawing All assigned Almost all Almost all Fewer than
details and assigned assigned 85% of the
elements details/ details and assigned
have been elements elements details and
added. The (85%) have 85% have elements are
details are been added. been added. present or
clear and The details A few details most details
easy to are clear and are difficult to are difficult to
identify. easy to identify. identify.
identify.
Interpretation of Scores
4 Very Good
3 Good
2 Fair
1 Poor

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(ICT)
Unit of Competency : Practice Occupational Health and Safety Procedures.
DepEd Code : TLE_ICTAN9-12OS-Ii-1 / TLE_ICTAN9-12OH-Ij-2 /
TLE_ICTAN9-12OH-Ij-3
TR Unit Code : 500311108
LO 1. Identify hazards and risks.

LO 2. Evaluate hazards and risks.
LO3. Control hazards and risks.
Content Standard:
principles of Occupational Health and Safety (OHS) procedures in relation to
hazards and risks in the workplace.
The learner consistently observes and practices OHS procedures in the
workplace.

INTRODUCTION
This module covers the knowledge, skills and attitudes required to
comply with regulatory and organizational requirements for occupational health
and safety.

LO1. Identify hazards and risks.
1.1 Explain hazards and risks in the workplace.
1.2 Identify hazards and risks indicators in the workplace.
1.3 Apply contingency measures in accordance with the OHS
procedures.
LO2. Evaluate hazards and risks.
2.1 Determine the effects of hazards and risks.
2.2 Classify the types of hazards and risks in the workplace.
LO3. Control hazards and risks.
1.1 Follow OHS procedures for controlling hazards and risks.
1.2 Use Personal Protective Equipment (PPE).
1.3 Follow and observe organizational protocol when providing
emergency assistance.
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OCCUPATIONAL HEALTH AND SAFETY PROCEDURES
Occupational Health promotes and maintains the highest degree of

physical, mental, and social wellbeing of workers. It maintains the worker in an
environment suitable to his physiological and psychological capabilities.
Protect workers from risk and prevent workers from resignation due to health
problem.
The reasons for establishing good occupational safety and health

standards are frequently identified as:
o Moral- an employee should not have risk injury at work.

o Economic- government realize that poor occupation and health per
result in cost to the state.
o Legal- Occupation safety and health requirements may be reinforced in
civil and/or criminal law.
Hazards and Risks

Hazard is the source of potential injury or threat, while Risk is a
measure of the possibility of a specific harmful effect in given circumstances.
To reduce risk, if not totally to avoid it, you must eliminate the source of threat
(hazard). Risk can be low being the least probable and high being most likely
happen.
Identifying Hazards
Hazards may perhaps be the most common to all working place,
whether you are working in the office or in the construction sites.
Slipping is commonly caused by spills on the floor leaving it with

water, chemicals, presence of scattered small objects.
Falling accidents are usually caused by improper use of office

furnishing, tools and equipment. On the other hand, somebody may cause of
being hit by a falling objects.
Tripping cause by wires running down near or through the aisle;

presence of some obstructions left unattended along the walkways.
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This kind of hazards could cause minor and major injuries to a
person and damage to properties. It is important to consider safety measures
whether in the offices, home workshops and laboratory shops. Good
housekeeping is one way of ensuring the safety in a workplace.
Preventing accidents and injuries, good housekeeping saves

space, time, and materials. When a workplace is clean, orderly, and free of
obstruction, work can get done safely and properly.
Japanese companies innovated a productivity philosophy called
“5S” which stands for five Japanese words that refer to a methodology for
cleaning and for business. The 5S can help you organize your tasks at the
end of every working day.
1. Seiri (Sorting) – Take out unnecessary items and dispose. Keep only the
items you need and discard or store everything else.
2. Seiton (Set in Order) – means that there’s a place for everything, and
everything should be in its place. Arrange necessary items in good order
for use.
3. Seiso (Sweeping) – At the end of each working day, take time to clean up
your office space. Remove any mess you make.
4. Seiketsu (Standardizing) – Maintain high standard of housekeeping.
5. Shitsuke (Sustaining) – Do things spontaneously without being told or
ordered.
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SELF-CHECK 1.7-1
Matching Type: Match column A with column B. Write the letter of the correct
answer on a separate sheet of paper.
Column A Column B
1. Falling a. Commonly caused by spills on
the floor leaving it with water,
chemicals, presence of scattered
small objects.
2. Seiri (Sorting) b. At the end of each working day,
take time to clean up your office
space. Remove any mess you
make.
3. Slipping c. It means that there’s a place for
everything, and everything
should be in its place. Arrange
necessary items in good order
for use.
4. Seiton (Set in Order) d. It is cause by wires running
down near or through the aisle;
presence of some obstructions
left unattended along the
walkways.
5. Tripping e. Accidents are usually caused by
improper use of office furnishing,
tools and equipment. On the
other hand, somebody may
cause of being hit by a falling
objects.
f. Take out unnecessary items and
dispose. Keep only the items
you need and discard or store
everything else.

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Hazards in the Workplace
There are many things that affect the health of a person, such as his
environment, lifestyle, etc. Work is an important determinant of health. It can
influence health in a positive or negative way.
Types of Hazards in a workplace
 Safety Hazards- Inadequate and insufficient machine guards, unsafe

workplace conditions and practices.
 Biological Hazards- Caused by organisms such as viruses, bacteria,
Fungi and parasites.
 Chemical Hazards- Solid, liquid, vapor or gaseous chemicals, dust fume
or mist.
 Ergonomic Hazards- Anatomical, physiological, and psychological
demands on the worker, such as repetitive and
forceful movements, vibration, extreme
temperatures, and awkward postures arising from
improper work methods and improperly designed
workstations, tools, and equipment.
 Physical Hazards- Noise, vibration, energy, weather, electricity, radiation
and pressure.
 Psychological Hazards- Those that are basically causing stress to a
worker that his general well-being is affected.
Hazards and their Effects

Workplace hazards can come from a wide range of sources. It
include substance, material, process, practice, etc. that has the ability to
cause harm or adverse health effect to a person under certain conditions.
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Table 1
Examples of Hazards and their Effects
Workplace Hazards Hazards Effects/Harm Caused
Thing Knife Cut
Substance Benzene Leukemia
Material Asbestos Mesothelioma
Source of Energy Electricity Shock, Electrocution
Condition Wet Floor Slips, Falls
Process Welding Metal Fume Fever
Practice Hard Rock Mining Silicosis
Workplace hazards also include practices or conditions that

release uncontrolled energy like:
 Potential Energy or Gravitational Energy- An object that could fall from

a height
 Chemical Energy – A run-away chemical reaction
 Pressure; High Temperature – The release of compressed gas or
steam.
 Kinetic Energy – Entanglement of hair or clothing in rotating equipment
 Electrical Energy – Contact with electrodes of a battery or capacitor.
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SELF-CHECK 1.7-2
A. Directions: Identify the following terms below. Use a separate sheet of

paper for your answer.
____________ 1. A hazard which refers to noise, vibration, energy,

weather, electricity, radiation and pressure.
____________ 2. A solid, liquid, vapor or gaseous chemicals, dust fume
or mist.
____________ 3. A hazard which is caused by organisms such as viruses,
bacteria, fungi and parasites.
____________ 4. It refers to an anatomical, physiological, and psychological
demands on the worker, such as repetitive and forceful
movements, vibration, extreme temperatures, and
awkward postures arising from improper work methods and
improperly designed workstations, tools, and equipment.
____________ 5. It refers to those that are basically causing stress to a
worker that his general well-being is affected.
B. Directions: Write the effects or harm caused by the following hazards:

Hazards Effects
1. Knife
2. Benzene
3. Asbestos
4. Electricity
5. Wet Floor

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Control Hazards and Risks
The Department of Labor and Employment (DOLE) and the

Occupational Health and Safety Standards (OHSS) issued D.O. 13, s. 1998,
known as the Guidelines Governing Occupational Safety and Health in the
Industry. It requires employers and establishments to use a safety sign where
there is a significant risk to health and safety that has not been avoided or
controlled by the methods required under other relevant law. Provided the use
of a sign can help reduce the risk.
Accident Prevention Signs and Symbols
Signs and symbols shall be visible at all times when work is being
performed, and shall be removed or covered promptly when the hazard no
longer exists.
Danger Signs- it shall be used only where an immediate hazard exists. It

should be read as the predominating color for the upper panel; outline on the
borders; and a white lower panel for additional sign wording.
Caution Signs- it shall be used only to warn against or caution against

practices. Caution sign shall have yellow as the predominating color; black
upper panel and borders; yellow lettering of “caution” and yellow panel for the
additional sign wording.
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Exit Signs- a sign used for exit only. It should be lettered in legible red letters,
not less than 6 inches high, on white field and the principal stroke of the
letters shall be at least three fourths in width.
Safety Instructions Signs- this sign when used, shall have a green upper
panel with white letters to conveys the principal message. Black in additional
wording in a white background.
Directional Signs- other than automotive traffic signs specified shall be white
with a black panel and white directional symbol.
Traffic Signs- construction areas shall be posted with legible traffic signs at
point hazard. All traffic control signs or devices used for protection of
construction workers shall conform to Occupational Safety and Health
Administration (ASHA) standards.
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Table shows other signs and symbols and their classification you have
to follow at all times while doing your works inside and outside the shop.
Signs Classification Meaning/ Usage

Prohibition Do not use in any specified
places. It may interfere in the
operations of other electronic
gadgets in the vicinity.
Hazard Alerting BE CAREFUL Warning. It warns

everybody of potential dangers
around the workplace.
Prohibition NOT ALLOWED Danger, alarm.

This prohibition reduces risks of fire
and prevents personal injury.
Prohibition When you see this symbol,

picking, smoking, or touching is
prohibited.
Hazard Alerting Do not perform any activity when

your eyes are unprotected.
Hazard Alerting Danger of electrocution. Do not

ignore this sign in the workplace.
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Hazard Alerting Avoid getting into contact to
places, equipment or tools with this
sign.
Hazard Alerting High voltage is dangerous and

fatal. Keep out of areas where you
see signs like this.
Safety In all offices, workplaces, and

establishments, it is mandatory to
have this sign for first aid displayed
on conspicuous places. This is
where you should run to if accidents
happen.
Hazard For good housekeeping, these

Avoidance/ symbols indicate “recycling”
Safety materials. This means that the
material is recyclable or where you
should plce recyclable objects/
wastes in the work area.
Hazard Be careful with falling objects and

Avoidance from being pressed from lathe and
other moving machines.
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SELF-CHECK 1.7-3
Directions: Match Column A with Column B. Write only the letter of the
Column A Column B
A.
1. Directional Sign
2. Caution Sign B.
3. Exit Sign C.
4. Safety Sign D.
5. Danger Sign E.

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Personal Protective Equipment (PPE)
Using personal protective equipment (PPE) helps to prevent the

transmission of communicable disease between patients and health care
providers. It can also help to prevent the contamination of exposed wounds or
sores from germs or bacteria that can travel from a health care provider to the
patient. Knowing how to properly use PPE can help to ensure the safety and
well-being of health care providers and emergency responders.
Engineering and Administrative Controls- are not exempted in the

different hazardous things normally happened in the workplace, the use of
Personal Protective Equipment (PPE) protects workers from injury. Personal
Protective Equipment must be used and worn in many work situations in order
to protect employees from harm.
Types and Uses of PPE
Symbol Name of Personal Uses and Functions

Protective Equipment
Protective Headgear A safety helmet or wide
brimmed hat for head
protection.
Over-all or Cover-all This clothing is used to protect

Suit our limbs and body from metal
dusts, flaming combustion,
flying chips, minute particles
and stray metallic objects from
abrasive wheels, drills and
cutting tools.
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Gloves A pair of protective coverings
for the hands, usually with
separate divisions for the
fingers and for the thumb.
Safety Boots or Shoes In most cases, safety shoes in

the shop are designed
specifically with hard or metallic
materials in the toe areas.
Safety Glasses or This is a protective instrument

Goggles for the eyes with transparent
eye-pieces. It also protect the
eyes from absorbing so much
light.
Fire Extinguisher A portable device containing

chemicals that can be sprayed
on a fire to put it out.
Mask and Respirators masks and respirators protect

the mouth and nose. The
respirator has been designed to
also protect the respiratory tract
from airborne transmission of
infectious agents.
Personal Protective Equipment Inspection Checklist

Here are some requirements with which workplaces must
abide.
Assessments
o A hazard assessment will identify when PPE needs to be used, in
what circumstances, and who must wear it.
Maintenance
o The equipment should be well maintained and stored correctly. It must
be repaired or replaced when necessary.
o Protective helmets must be worn where there is a risk of falling debris.
o Aprons, gloves and shields are necessary where there is possible
spillage or splashes of chemical, blood or other hazardous material.
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o Protective, steel-toe boots should be worn where there is a risk of
damage to a worker’s feet.
o Goggles or other eye-protection devices should be worn whenever
there is a danger of the eyes being splashed or damaged in the course
of work.
Compliance
o When safety boots or head-protection equipment is worn, it must
comply with the Standards safety Requirements.
o A respirator may be required in some workplaces.
o Eye wash material will need to be kept on the site where there is a
danger of splashes in the eyes. Where PPE such as goggles or safety
helmets are required, a notice to this effect should be posted at the
entrance to the workplace.
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SELF-CHECK 1.7-3
Directions: Identify the following Personal Protective Equipment PPE as

shown below. Write your answer on a separate sheet of paper following the
given numbers.
1.
2.
5.
4.
3.

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QUARTER 1
ANSWER KEYS
Answer Key 1.1-1 PECs
Pre- Assessment
1. E
2. K
3. H
4. A
5. J
6. B
7. C
8. I
9. D
10. F
A. Matching Type
1. C
2. D
3. E
4. A
5. B
B. Multiple Choice
1. C
2. D
3. A
4. A
5. C
Answer Key 1.2-1
A. Multiple Choice
1. B
2. D
3. B
4. C
5. D
B. Enumeration
1. Factors in screening ideas
a. Capital
b. Demand for product
c. Background to run the business
d. Business legal issues
e. Expertise and Interest on the business
2. Economic Indicators
a. Inflation Rate
b. Gross Domestic Product
c. Unemployment Rate
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Answer Key : Pre –assessment
1. C
2. A
3. B
4. C
5. A
Answer Key 1.3-1
1. Pencil Sharpener
2. Storyboard
3. Animation Paper Puncher
4. Peg Bar
5. Animation Table
Pre-assessment
1. light box
2. photocopier machine
3. peg bar
4. animation paper
5. bar sheets
Answer Key 1.4-1
1. T
2. F
3. F
4. T
5. F
Answer Key 1.4-1
1. INVENTORY FORM
2. DELIVERY RECEIPT
3. BORROWER SLIP
4. PURCHASED ORDER
5. REQUISITION FORM
Answer Key 1.5-1
1. Processor
2. Memory
3. Video Card
4. Data Storage Capacity
Answer Key 1.5-1
1. C
2. A
3. B
Answer Key 1.6-1
A.
1.) 19= 50055
Quotient Remainder
19 ÷ 2 9 5
9 ÷2 4 5
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4 ÷2 2 0
2÷ 2 1 0
1÷2 0 5
2.) 28= 11500

Quotient Remainder
28 ÷ 2 14 0
14 ÷2 7 0
7 ÷2 3 5
3÷2 1 1
1÷2 0 1
3.) 37= 511001

Quotient Remainder
37 ÷ 2 18 1
18 ÷2 9 0
9 ÷2 4 0
4÷ 2 2 1
2÷ 2 1 1
1÷2 0 5
B.
1. 33.333
2. 200
3. 5.733
Answer Key 1.6-2
1. Light and Shadow
2. Proportion
3. Perspective
4. Line
5. Shape
Answer Key 1.6-3
Pre-Test
A.
1. B
2. A
3. D
4. C
5. E
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B.
Post Test
A.
1. B
2. A
3. D
4. C
5. E
B.
1___
3___
5___
6___
7___
2___
4___
Answer Key 1.7-1
1. E
2. F
3. A.
4. C
5. D
Answer Key 1.7-2
A.
1. Physical Hazards
2. Chemical hazards
3. Biological Hazards
4. Ergonomic Hazards
5. Psychological Hazards
B.
1. Cut
2. Leukemia
3. Mesothelioma
4. Shock, Electrocution
5. Slips, Falls
Answer Key 1.7-3
Matching Type:
1. C
2. D
3. E
4. B
5. A
6.
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Answer Key 1.7-3
1. Protective Headgear
2. Over-All/ Cover-All Suit
3. Safety Boots or Shoes
4. Gloves
5. Mask and Respirators
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9/11
TLE/TVL-ICT
QUARTER 2
Unit of Competency: Produce Cleaned-Up and In-Betweened
Drawings
Module Title: Identify Requirements for Cleaned-up Drawings in Actual
Scene Folders (Cartoon-Simple)
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(ICT)
Unit of Competency : Producing Cleaned-up and In-Betweened Drawings
DepEd Code : TLE_ICTAN9-12CI-IIa-j-1
TR Unit Code : ICT 313313
LO 1. Identify requirements for cleaned-up drawings in actual scene

folders (cartoon-simple)
Content Standard:
principles of producing clean-up and in-between drawings.
The learner independently produces clean-up and in-between drawings as
prescribed in the TESDA Training Regulations.

INTRODUCTION
This module covers the knowledge, skills and attitudes required to refine
key drawings and to produce in-between drawings to ensure that the creative
brief is fully met for productions.

LO1. Identify requirements for cleaned-up drawings in actual
scene (cartoon-simple).
1.1 Identify all relevant cleaned-up requirements from the
appropriate source material.
1.2 Identify model sheets for reference.
1.3 Collect all relevant model sheets for ready reference.
1.4 Check key drawings and refer to appropriate personnel if
there are problems/errors encountered.
1.5 Compare/check animation breakdowns against x-sheet.
1.6 Identify all necessary materials and equipment according
to the task undertaken
1.7 Prepare all necessary materials and equipment.
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Clean-up Requirements for Drawing (Cartoon-Simple)
Clean-up is a part of the workflow in the production of hand-drawn

animation. In Traditional animation, the first drawings are called “roughs” or
“raffs” animation because they are often done in a very loose drawing. If the
animation is successfully pencil tested and approved by the director, clean-up
of drawings has to be done. The assistant animator or clean-up artist is
responsible for the final line and finished look of the shot.
Requirements for Clean-up Drawings

1. Key Animation- are poses drawn by the animator representing
the action and narrative required by the scene/ sequence.
2. Layout- guide to the positions of the elements in the scene and

their size relationship to each other and to the location of the
scene.
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3. Exposure Sheet- chart that shows frame by frame of all
drawings of every animated scene.
4. Model Sheets (turn-arounds, expressions, Mouth, charts)- a

reference sheet of an animator that shows how’s how the
character is constructed and how they would pose.
5. Story Board- visual narrative of the script in the form of

thumbnail drawing that shows the different scenes organized in
a sequence of panels.
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6. Collecting All Relevant Model Sheets
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SELF-CHECK 2.8-1
Directions: Identify the following requirements on clean-up drawings. Write

your answer on a separate sheet of paper.
_________ 1. It is a visual narrative of the script in the form of thumbnail

drawing that shows the different scenes organized in a
sequence of panels.
_________ 2. A chart that shows frame by frame of all drawings of every
animated scene.
_________ 3. This are poses drawn by the animator representing the action
and narrative required by the scene/ sequence.
_________ 4. A reference sheet of an animator that shows how’s how the
character is constructed and how they would pose.
_________ 5. A guide to the positions of the elements in the scene and their
size relationship to each other and to the location of the
scene.

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Types of Model Sheets
General Final Line Model Sheet- A single character is portrayed in turn

around drawings that give us sense of how to draw the character from any
angle, along with some expressions, attitude and action poses.
Rough Character Concept Model Sheets- it gives us a sense of the

basic design of the character, along with attitude poses that help to tell
the story of just who he is. In the case of a character like the Beast,
unique anatomy requires unique reference for artist working on the
Beast team.
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Anatomical Study Model Sheet- it can give animators a better idea of the
structure that exist under all that hair. Another type of model sheets that often
generated early in the final design process.
Rough Construction Model Sheet- it can sometimes focus only on details of

a character, such as hair or even spots. This set of Flynn Rider sheets were
created by Glen Keane for the film “Tangled”. One shows the underlying
structure of the character while the second presents the same poses fully
clothed. These 2D designs are great aids for building a 3D character.
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Rough Model Sheets- are created from the best studies or keys from the
most successful scenes that have been animated of the character up to that
point. They often show action, expressions and attitudes that best display the
character’s personality. Sometimes a turn around drawing which also shows
how many heads high the character is can be added to the rough model
sheet, which creates a rough version of the “all-in-one” design.
Rough Dialogue Model Sheet- it shows various mouth shapes that are
created when the character is speaking. This one has the added benefit of
also showing a range of emotions. Some characters are unique in that they
aren’t entirely constructed with recognizable anatomy.
Fine Line or Clean Up Construction Model Sheet- it helps animators to see

volume as well as structure for even the most “cartoony” of characters.
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Turn Around Model Sheet- (many studios use one word, “turnarounds”,
instead) When beginning your turnaround model sheet, it’s usually easiest to
start with either a forward facing view of your character that has the
proportions entirely worked out. Referencing the front view, line them up and
use a ruler to map out corresponding points on their head and body in ¾ view,
side view and back view.
Final Line Turn Around Model Sheet- it’s often helpful to other artists
working on the project if your pose includes one bent arm and one that’s
straighter opposite one bent leg and one that’s straight. This gives other
artists more information when handling the limbs in different situations.
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SELF-CHECK 2.8-2
Directions: Identify the following. Write your answer on a separate sheet of

paper.
_________ 1. A type pf model sheets that help animators to see volume as

well as structure for even the most “cartoony” of characters.
_________ 2. A type of model sheet which is created from the best studies
or keys from the most successful scenes that have been
animated of the character. They often show action,
expressions and attitudes that best display the character’s
personality.
_________ 3. A single character is portrayed in turn around drawings that
give us sense of how to draw the character from any angle,
along with some expressions, attitude and action poses.
_________ 4. It shows various mouth shapes that are created when the
character is speaking. This one has the added benefit of also
showing a range of emotions.
_________ 5. It can give animators a better idea of the structure that exist
under all that hair. Another type of model sheets that often
generated early in the final design process.

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Key Drawings and Animation Breakdowns
A key drawing is also called “extreme” is a key moment in an

animated sequence, where the motion is at its extreme and represented by a
circled number symbol. The number of keys in an animated sequence
depends on how complicated the movement is.
A Breakdown comes between keys to help the key frame animator

describe the action to in-between animators and represented by a number
inside the triangle symbol.
In-betweens fill the gaps between key frames and represented only
by a numbers. The key frames are drawn by skilled animators; in-betweens
are drawn by less experienced animators which also known as assistant
animator.
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Directions: Given a set of key drawings, check and refer to appropriate

references if there are problems/errors encountered on keys and breakdowns.
List down your findings and refer to appropriate personnel for possible
adjustment or corrections.
12 8
19 5
16 1
9 6 2
13
17 14 7 3
10
18 15 4
11
19 12 8 5
16

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Clean-up Drawing Preparations (cartoon-simple)
What to prepare in Clean-up Drawing (cartoon-simple)

1. Identify all relevant cleaned-up requirements from the appropriate
source materials.
a. Actual Scene Folder for Character Attitudes.
b. Mouth Charts. Shows the breakdowns of the mouth

movement into at least 8 different mouth.
c. Collecting all relevant model sheets
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d. Character expressions
e. Layout
2. Check key drawings and refer to appropriate personnel (animator,

department supervisor, director) if there are problems/errors
encountered.
3. Compare and check animation breakdowns against x-sheets.
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4. Identify all necessary materials and equipment according to the task
undertaken.
Pencil
Eraser
ACME 3 Holes
Animation Paper
Light Box
Peg
Bar
5. Prepare all necessary materials and equipment.
Techniques to develop your hand drawn lines necessary in clean-

up drawing.
1. Draw lines in relax manner, loosen your hands will help you making
straight lines.
2. Make use of 2 points method by putting it apart in any direction,
then connect it with straight lines in single stroke only. Avoid
repeating the strokes.
3. Try to move away from the points or dots, gradually doing without
the aid of the dots in making lines.
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4. Try to curve your lines from dot to dot. The dots are important for
accuracy. When you have achieved that skills, and only then,
dispense with them.
5. Don’t spare the scrap paper. Practice these exercises again and
again until you develop your confidence and skill in drawing lines.
And be able produce quality lines.
6. This lines is what we’re trying to eliminate.
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LINE EXERCISES
Materials:
 Drawing Pencil
 Animation paper
 Eraser

 Animation Table
Directions: Perform Line Exercises
Note: Each lines must be drawn in a separate sheet of animation paper in

freehand stroke only and maintain the consistency in thickness of lines. You
are given 4 days to finish this activity.
1. Straight Lines (Vertical, Horizontal, Inclined)

2. Curved Lines
3. Irregular Curved Lines


according to its
standard.
the finished
output.
Time Finished the task 5 Finished the Unable to
Management minutes before the task on time. finished the
given time. given task.
Total
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Rating Scale:
12-15 91-100 Very Good

8-11 86-90 Good
4-7 81-85 Fair
Final Rating: ______________

Remarks: ________________________________________________
_________________________________________________________

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Animation Workflow (Traditional, Traditional Cum Digital, Western and

Japanese)
Inside the animation studio, there are specific work to be done and
it can only be achieved through a good and effective workflow. Let us first
know what is an animation workflow is all about.
Animation Workflow is the steps and the order in which they occur
when producing your movie. No matter which method you choose to create
your project, the pipeline to follow will always be decided in three segments:
pre-production, production, and post-production.
Here are the examples of workflow in different types of animation.
Traditional Animation or 2D Animation Workflow
Traditional Animation is done on paper. The animator receives the

layout folder and uses the references to animate the scene. The animator will
draw each frame of the animation or each pose of the character. Sometimes
the animator will do all the work, from the key poses to the in-betweens and
then clean-up.
In traditional animation workflow is a very straight pipeline. Many of

the steps cannot be done simultaneously, meaning they must be completed
before continuing on the next step in the process.
Steps/Workflow in Traditional Animation
1. Script all projects start with a script. It’s provided by the studio’s script
writer or from the client.
2. Designs the design team will take charge of the character, prop and
location design as soon as the script is locked. It can be done on paper
or digitally. They are cleaned up, added to the model pack and sent to
colour styling department.
3. Colour Styling can be done before or after the animation. It doesn’t
really have an impact of the pipeline.
4. Audio Recording, Dialogue and Nat Pause. The dialogue is recorded
from the script. The voices are often recorded of the studio. If there is
dialogue involved, the final version must be recorded soon enough to
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import it into the project before the animation. This allows the animator
to do the sound breakdown and animate the mouth and expressions,
as well as the storyboard that’s required.
5. Storyboard. it is an illustrated script of the film. It can be started in
parallel with the design and the audio recording.
6. Animatic Reel or leica, is made from the storyboard. each scene is
timed along with sounds, dialogue and music. Complete storyboard
drawings are being scanned and start preparing the animatic.
7. Background Layout and Posing. It is very important to communicate
the storyboard information very clearly to the animators. The layout
contains all the information needed to complete the animation in the
scene. (background, overlay, underlay, and key poses).
8. Background Painting it can be painted in the animation software or in
an external software.
9. Animation. Traditionally, it is done on paper. The animator receives
the layout folder and uses the references to animate the scene. The
animator will draw each frame of the animation or each pose of the
character.
10. Line-Test. during the animation process, the scene are regularly
passed through the line-testing process, which consists of quickly
testing the rough key poses of an animation to see if the animation is
going in the right direction.
11. Scan is the gateway between traditional and digital animation.to
import the animation drawing into the project, a person is assigned to
the scan task. Once the cleaned-up drawings are scanned and
imported in the software in a simple step that incorporates all of the
drawings in the scene, they are ready to be inked and painted.
12. Inking and Painting at this point the color models are ready and the
drawings are scanned in and properly exposed. Using Harmony’s
optimized tools, the colourist can clean the scanned artwork and start
applying colour to the different drawings.
13. Compositing the compositor imports the coloured background,
animatic reference and sound as required. Referring to the exposure
sheet, animatic and animation, the compositor assembles all these
elements and creates the camera moves and other necessary motions.
Adds digital effects which includes tones, highlights and shadow.
14. Export-Render the last step is to render the scene as a movie or
image sequence. It is done by the compositor itself.
15. Post-production when all scenes are rendered out, the user
assembles them in an external application and adds sound to the
project. The final effects and filter are added.
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TRADITIONAL WORKFLOW
SCRIPT
STORYBOARD CHARACTER,PROP & LOCATION DESIGN AUDIO RECORDING
ANIMATIC LAYOUT & POSING
CHARACTER, PROP & BACKGROUND COLOUR STYLING SOUND BREAKDOWN
ANIMATION
DIGITAL EXPOSURE SHEET
SCAN
INK AND PAINT
COMPOSITING
TO POST PRODUCTION
EXPORT & RENDER
Traditional Cum Digital

Paperless animation is the most recent 2D animation process. It
consists of digitally drawing all of the images of an animation. It is similar to
the traditional animation technique. This method is entirely digital; it does not
involve any materials other than virtual tools. However, the animator still must
draw each frame individually.
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Paperless animation requires the user to be familiar with digital
graphic applications and be able to convert this traditional knowledge to a
digital medium. This method of animation allows significant control over the
drawings, a possibility for greater quality and an infinite number of complex
poses and rotations for the animated characters and objects. It also eliminates
the paper used in traditional animation and gives you the opportunity to
instantly see a line test. Paperless animation allows you to easily cut and
paste parts of a drawing, undo actions in case of mistakes, and zoom in and
out of drawings.
TRADITIONAL CUM DIGITAL WORKFLOW
SCRIPT
STORYBOARD CHARACTER, PROP & LOCATION DESIGN AUDIO RECORDING
ANIMATIC LAYOUT & POSING
CHARACTER, PROP & BACKGROUND COLOUR STYLING SOUND BREAKDOWN
ANIMATION
ANIMATION CLEAN UP
INK &PAINT
COMPOSITING
EXPORT & RENDER
TO POST PRODUCTION
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Western and Japanese Animation
Generally, the term anime refers to a style of animation originating
from Japan. As Japanese Animation called anime became increasingly
popular, Western Animation studios began implementing some visual
stylizations typical in anime- such as exaggerated facial expressions and
“super deformed” versions of characters.
Western Animation (often simply called “cartoons”) is a general
term used to describe animated media that comes from the Americas,
Western Europe, Australia, and New Zealand. Though it’s called western
animation, in the present most of the actual animation is outsourced to Korea,
but the rest of the process is done in the west. Though its main demographic
is young children, there have been plenty of shows and films targeted towards
adults and teenagers.
Western and Japanese Animation Workflow
A. Pre-Production
This process depends on who’s pushing for an idea and who is
backing it up, it can be animation studios themselves along with sponsors, but
many anime are adaptations of manga or light novels.
When the core staff is arranged, they meet and plan out the project.
Creating staff as Character Designers. One of the most crucial staff is the
Director, they dealing with the animators who make the character’s movie. He
is one responsible in making decisions in order to manage the schedule,
budget and quality of an anime.
Following the early panning sessions, designs of characters,
costumes, etc. are then created. Once the story and design are mapped out,
the first episode is tackled.
B. Production
The first step is to write the episode scripts. Following the
episode’s synopsis/plans, the full script is written. The script is reviewed by
the director, producers, and the author of the original work before being
finalized. This stage is expressed as a storyboard and marks the beginning of
actual animation production.
1. Storyboarding it is created by the director but usually separate
storyboard artist is used to actually draw them. It is drawn on A-4 paper
and contain most of the vital building blocks of anime- the cut numbers,
actor movements, camera movements such as zooming and panning,
the dialogue, the length of shot.
2. Layouts is the beginning of art production. Developing a layout is
about positioning the cels that will be used in cut and the background
art that will be needed.
3. Animation it is initially drawn by hand, there are some animators who
draw 2D animation directly onto computer, but in anime this is largely
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restricted to in solo animation production rather than commercial
anime. Here’s how animation is done:
a. Based on the storyboard, the key animators start working on the
Key Drawing or Key Frames guided by the layout drawing.
b. We have approved key frames, but we need to complete the
animation to make the moves fluidly, more drawings have to be
completed to go between the key frames. This is called In-between
animation. It is handled by less experienced animators called
assistant animators which is the in-between artists.
c. Clean up the drawing
d. Line testing the animation
e. Scanning the cleaned-up drawings
f. Digital Painting/ coloring
g. Adding special effects
h. Compositing and editing
C. Post-Production
a. Voice recording
b. Sound effects
c. Film developing
d. Dubbing
e. Editing
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SELF-CHECK 2.8-5
Directions:
1. Complete the Traditional Animation Workflow
SCRIPT
TO POST PRODUCTION
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2. Complete the Western and Japanese Animation Workflow
C. Pre- Production
A.1 __________________
A.2 __________________
A.3 __________________
D. Production
B.1 __________________
B.2 __________________
B.3 __________________
a. ________________
b. ________________
c. ________________
d. ________________
e. ________________
f. ________________
g. ________________
h. ________________
E. Post Production
C.1 __________________
C.2 __________________
C.3 __________________
C.4 __________________
C.5 __________________

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Drawing Animals and Props
When designing animal characters, first you need to address the

balance between human animal attributes the character will display it its
personality and behavior. Knowing your character is more like an animal or a
human will help you in what animal design should be a realistic or a
cartoonish one. If you prefer the animal-like, then you will naturally design
realistic anatomy, but if the character has a lot of human characteristics, then
you will design the animal in an anthropomorphic way.
Here are varying levels of human and animal elements and

anatomy. To show the difference between anthropomorphic and realistic
anatomy, you can combine these characteristics in many different ways.
Examples:
Realistic Lion, slightly simplified, would move and act like animal it is. This
characteristic could not speak.
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Feature Film Lion, could speak and act a bit, since the human eyes and
eyebrows are expressive. With this realistic body, the character would move
like a lion and the gesture with the paws as if they were hands.
Simplified Lion, has a somewhat realistic body and head, but the features
and anatomy have been simplified and stylized. This character probably
would not stand on two legs but would not look unnatural doing some
humanlike gesturing with its paws.
Cartoon Lion, has a mane, pawlike hands and feet, and a tail, but in other
ways is a human. This character will walk, talk, eat, and often even wear
human clothing.
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Anthropomorphic Lion, has many of the attributes of a real lion, but it stands
on two legs just like a human and can point and make other human style
gestures with its hand like paws and opposable thumbs.
Importance of Anatomy in Drawing Animals
Anatomy is very important in drawing animals. Everything will start

with a realistic design and simplified and as you got a better grasp of the
anatomy of the animal and what could be stylized.
Most traditional cartoon animal character construction is based on

circles and pear-shapes, as these tend to be easier to turn around and more
fluid to animate. It doesn’t necessarily mean all shapes slosh around without
any anatomy underneath however, unless you’re working for cute characters
tend to have larger heads in relation to the rest of their bodies.
Posture is a good place to start for good acting and poses. It’s
good to start with a simple line of action which establishes attitude on which
you can built the character.
Although these simple shapes can be animated fluidly be aware of

at least a simple skeletal structure underneath on which the fleshy bits hang.
Drawing Animals are very popular cartoon characters that make

up the cartoon world. This is some steps in drawing common and typical
cartoon animals.
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Drawing a Kitten
1. Start by drawing a circle and oval
to make up the kitten’s body.
2. Add guidelines.
3. Place the eyes and the nose.
4. Build the ears and the legs.
5. Add details to complete the

kitten.
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Drawing a Puppy
Just like the kitten, start with a basic construction of circles and
ovals. Then draw guidelines to place the features.
Drawing a Rabbit
Drawing a Tiger
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Drawing a Lion
You may use the drawing technique discussed to be able to make

other animals that want for your animation.
The object and environment that surrounds your character help

enhance the story or scene. Appliances, gadgets, or nature make a realistic
and entering output. To start, observe the objects that you see every day.
How will this help improve your skill?
Sketching Objects
All cartoon characters should have a home, the best way to start
sketching objects with is the objects that you see at home.
Drawing a Sofa
1. Sketch a long, 3D rectangle box.
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2. Start sketching the cushions that
defines the sofa.
3. Add the details to complete the

parts.
4. Sketch the cushions and arms on

both the left and right side of the
box frame. Start by sketching out
small shape about the size of a
loaf bread. Use the figure below
as guide.
5. Draw in the key details such as

outer texture of the sofa.
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Drawing a Gun Prop
1. Sketch guides, keeping to basic
rectangular shapes: a standard
sidearm is formed of three tilted
rectangles, as shown.
2. Draw in the first stage of detail.

Pay attention to the way the parts
interlock, and the curved
elements that interrupt the
angular silhouette.
3. Add further details, such as

ridging on the stock. Draw the
items as they are, not how you
might expect them to be.
4. When you are happy with your

penciled lines, ink your
illustration.
5. Finish off the gun by coloring it

using the method of your choice.
Add contrasts between the
burnished metal parts and the
textured handgrip.
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Drawing Sword
1. Start with a gentle curve, forming
the base line or your sword. Arc it
up gently at the right, for the hilt,
and more sharply towards the tip
of the blade, at the left. The red
pencil line reminds you of the
proportions of the sword length.
2. For this sword, keep the width of

the blade the same as the width
of the hilt. Draw a line down the
center of the blade t show the
two edges of the sword, and add
a handguard just over two-thirds
down. Add pattern on the hilt,
using repeated thin ellipses.
3. Ink your pencil lines when you
are ready.
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Drawing Animals and Props
Materials:
 Drawing Pencil
 Animation Paper
 Eraser

 Animation Table
Directions: Draw animals and props following the suggested procedures on a

separate sheet of animation paper.
Suggested Animals and Props:

1. Dog
2. Cat
3. Sofa
4. Hand Gun
5. Sword
Note: You are given 10 days to finished this activity.
Criteria for Assessment: Analytic Rubrics Scoring
Criteria 5-points 3-points 1-point

Accuracy The drawing was The drawing was The drawing was
drawn according somehow drawn NOT drawn
to standard. according to according to
standard. standard.
was neatly done, erasures and has so many
erasures/ observable on smudges and
smudges. the finished quite unpleasant.
output.
Time Finished the task Finished the task Unable to finish
Management 1 day before the on time. the given task.
given time
period.
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Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Principles and Concept of Animation
Disney animators Ollie Johnston and Frank Thomas introduced the

twelve principles of animation and now become widely recognized as a
theoretical basis of all artists working on animated video production.
1. Squash and Stretch- it is the most fundamental principle. Like what will
happens before a ball hits the ground stretches its body. The force of the
motion squashes the ball flat, but because an object needs to maintain its
volume, it also widens on impact. This effects given animation an elastic
characteristic although it may not seem like it. Squash and stretch imitates
that and exaggerates it to create some fun.
2. Anticipation- is the preparation for the main action it is also called “Antic”
3. Staging- It is one of the most overlooked principles. It directs the
audience’s attention toward the most important elements in a scene. When
filming a scene, you need to set your camera on the right angle.
4. Straight Ahead Action and Pose-to-Pose- These are two ways of
drawing animation. Straight ahead action is where you draw each frame
of an action one after another as you go along. With pose-to-pose, you
draw the extremes- that is, the beginning and the end drawings of action.,
then you go on to the middle frame and start to fill in the frames in-
between. Straight ahead action is less planned, and therefore more fresh
and surprising. The problem, is that it’s like running blindfolded, you can’t
figure out where you’re supposed to be at any one time.
5. Follow-Through and Overlapping Action- When a moving object such
as a person comes to stop, parts might continue to move in the same
direction because of the force of forward momentum. These parts might be
hair, clothing, jowls, or jiggling flesh of an overweight person. this is where
you can see follow-through and overlapping action. The secondary
elements 9hair, clothing, etc.) are the following-through on the primary
element, and overlapping its action.
6. Ease In, Ease Out- Ease Out is when an action start slowly and it takes a
little while to accelerate and reach the maximum speed. Ease In, is when
you stop slowly until completely reach the full stop.
7. Arcs- operate along a curved trajectory that adds the illusion of life to an
animated object in action. Without arcs your animation would be stiff and
mechanical. The speed and timing of an arc are crucial. Sometimes an arc
is so fast that it blurs beyond recognition.
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8. Secondary Action- is a gesture that support the main action to add more
dimension to character animation. They can give more personality and
insight to what the character is doing or thinking.
9. Timing- is about where on a timeline you put each frame of action. To see
this means in action, let’s look at the movement of a bouncing ball. Notice
that at the top of each bounce, the balls are packed closer together. That
is because the ball is slowing down as it reaches the peak of the bounce.
As the ball falls from its peak it and accelerates, the spacing becoming
wider. Notice also the number of drawings in each bounce. As the
momentum of the ball diminishes, the bounces become shorter and more
frequent.
10. Exaggeration- Exaggeration presents a character’s features and actions
in an extreme form for comedic or dramatic effect. This include distortions
in facial features, body types, expression, and movement.
11. Solid Drawing- Is all about making sure that animated forms feel like
they’re in three- dimension space.
12. Appeal- Animated characters should be pleasing to look at and have
charisma aspect to them. Give the character personality, strive for a good
balance between detail and simplicity.
What is Animation?
Animation is the process of designing drawing, making layouts and

preparation of photographic sequences to generate the illusion of movement.
A person who creates animation is called animator. He/ she use various
computer technologies to capture the still images and then to animate these in
desired sequence.
Types of Animation
Animation Industry experts explain the different types of animation and

classify the whole thing into two the 2D and 3D animation.
1. Traditional Animation (Cel Animation, Hand-Drawn Animation)

Traditional animation, sometimes referred to as cel animation,
is one of the older forms of animation, Animator draws images on a
transparent piece of paper fitted on a peg bar using a drawing pencil
one frame at a time, to create the illusion of movement.
Once a clean-up and the in-between drawings are complete,
the production would move on to photographing or scanning. Today ,
though traditional animation can be done on computer using tablet and
the drawings are done manually direct to the computer and no longer
require the paper and pencil.
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2. Vector-Based 2D Animation
This style has become very popular in the last decade due to
the accessibility of the technology and the growth of online video. Flash
is a cheap and easy to use, as are other vector- based animation
programs.
2D animation is the term often used when referring to traditional

hand-drawn animation, but it can also refer to computer vector
animations that adopts the techniques of traditional animation. Vector-
based animation, means computer generated 2D animation uses the
exact techniques as traditional animation, but benefits from the lack of
physical objects needed to make traditional animation.
3. 3D Animation
3D animation referred to as CGI, Computer Generated Images
using computers, that series of images are the frames of an animated
shot. It is similar to stop-motion animation as they both deal with
animating and posing models and it is a lot more controllable since it’s
in digital work-space.
3D animation characters are digitally modeled in the program

and then fitted with skeleton that allows animators to move the models.
When the modeling and /or animation is complete, the computer will
render each frame individually.
Another big difference with 3D animation is that unlike

traditional animation, the character’s body parts are always present and
should be taken to consideration.
4. Motion Graphics
Motion graphics is quite different from the other types of
animation. Unlike the other types on our list it is not character or story
driven. It is the art of creatively moving graphic elements or texts,
usually for commercial or promotional purposes.
The skills for motion graphics don’t necessarily translate to

the other types of animation, since they don’t require knowledge of
body mechanics or acting, but they do have some attributes in common
such as understanding good composition and the all-important camera
motion. Motion graphics usually involves animating images, texts or
video clips using key framing that are tweened to make a smooth
motion between frames.
5. Stop-Motion Animation
Stop motion animation can be referred to any animation that
uses objects that are photographed in a sequence to create the illusion
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of movement. The process of stop-motion is very long, as each object
has to be carefully moved inch by inch; while it’s being photographed
every frame, to create a fluid sequence of animation.
Types of Stop-Motion Animation
 Claymation- one of the most popular stop-motion form. Working with

clay or play-doh characters that can easily be manipulated for
animation. Advanced Claymation uses metal skeletons on which the
clay is then modeled for more sturdy rigs.
 Puppets- Some animators use regular Puppets instead of clay ones,
usually also built with some sort of skeleton rig. The faces of the
characters can be replaced based on the expression, or controlled
within the rig.
 Cut-out- Another popular form of stop-motion is cut-out. Using
construction paper or cardboard characters and placing them on paper
while shooting the animation from above, the cardboard is then moved
a little each frame to create the illusion of movement.
 Silhouette- Similar to cutout, silhouette animation uses cardboard or
some kind of flat material, but the objects are all black and the shot is
depicted with silhouettes only. This is one of the oldest forms of stop
motion and is rarely used today.
 Action Figures/ Lego- This genre is very popular on YouTube with
many channels dedicated to creating funny skits with Lego characters.
They use famous action figures to make fun of pop culture.
 Pixelation- it is a form of stop motion that uses real people and real
environments to create unreal videos. It uses the stop motion method
of taking a still photo, moving things around, and then taking another
photo, but the subject matter is usually real people instead of puppets.
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SELF-CHECK 2.8-7
Directions: Choose the letter of the best answer, write your answer on a
separate sheet of paper.
_____ 1. A principle of animation which refers to the preparation for the main
action it is also called “Antic”.
a. Staging b. Anticipation
c. Squash and Stretch d. Straight Ahead and Pose-to-Pose
Action
_____ 2. This style has become very popular in the last decade due to the
accessibility of the technology and the growth of online video. Flash
is a cheap and easy to use, as are other vector- based animation
programs.
a. Stop-Motion Animation b. Traditional Animation
c. Vector-Based Animation d. 3D Animation
_____ 3. A stop-motion which uses construction paper or cardboard
characters and placing them on paper while shooting the
animation from above, the cardboard is then moved a little each
frame to create the illusion of movement.
a. Claymation b. Puppets
c. Cut-Out d. Silhouette
_____ 4. It is a form of stop-motion that uses real people and real
environments to create unreal videos.
a. Pixilation b. Action Figure/Lego
c. Silhouette d. Cut-Out
_____ 5. It is quite different from the other types of animation.
Unlike the other types on our list it is not character or story driven.
It is the art of creatively moving graphic elements or texts, usually
for commercial or promotional purposes.
a. Stop-Motion Animation b. 3D Animation
c. Motion Graphics Animation d. Vector-Graphics Animation
_____ 6. A Principle of animation where animated characters should be
pleasing to look at and have charisma aspect to them. Give the
character personality, strive for a good balance between detail
and simplicity.
a. Timing b. Exaggeration
c. Solid Drawing d. Appeal
_____ 7. A principle of animation where character’s features and actions in
an extreme form for comedic or dramatic effect. This include
distortions in facial features, body types, expression, and
movement.
a. Timing b. Exaggeration
c. Solid Drawing d. Appeal
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_____ 8. One of the most popular stop-motion form. Working with clay or
play-doh characters that can easily be manipulated for animation.
c. Cut-Outs d. Silhouette
_____ 9. It is referred to as CGI, Computer Generated Images using
computers, that series of images are the frames of an animated
shot.
a. Traditional Animation b. Vector-Based Animation
c. 3D Animation d. Motion Graphics Animation
_____10. Similar to cutout, this animation uses cardboard or some kind of flat
material, but the objects are all black and the shot is depicted with
silhouettes only. This is one of the oldest forms of stop motion and
is rarely used today.
c. Cut-Outs d. Silhouette

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QUARTER 2
ANSWER KEYS
ANSWER SHEET 2.8-1
1. Storyboard
2. Exposure Sheet
3. Key Animation
4. Model Sheets
5. Layout
ANSWER KEY 2.8-2
1. Fine Line or Clean-up Construction Model
2. Rough Model Sheet
3. General Final Line Model Sheet
4. Rough Dialogue Model Sheet
5. Anatomical Study Model Sheet
Answer Key 2.8-7

1. B
2. C
3. C
4. A
5. C
6. D
7. B
8. A
9. C
10. D
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9/11
TLE/TVL-ICT
QUARTER 3
Unit of Competency: Produce Cleaned-Up and In-betweened
Drawings
Module Title: Produce clean-up Drawings for Actual Scene Folders
(Cartoon-Simple)
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(ICT)
DepEd Code : TLE_ICTAN9-12CI-IIIa-j-2
LO 1. Produce clean-up drawings for actual scene folders

(cartoon-simple)
Content Standard:
INTRODUCTION
.SUMMARY OF LEARNING OUTCOMES

LO2. Produce clean-up drawings for actual scene folders

(cartoon, simple).
2.1 Produce clean-up drawings which are consistent with the
requirements.
2.2 Match clean-up drawings to animators’ keys.
2.3 Model clean-up drawings based on animator’s keys.
2.4 Number all animation breakdowns onto a clean-up
drawing.
2.5 Copy animation breakdowns onto a clean-up drawing.
2.6 Identify line-test hardware and software.
2.7 Perform clean-up procedures
2.8 Apply software animation on clean-up drawings.
2.9 Apply the procedures and policies in records keeping.
2.10 Make appropriate referral to personnel the revised or
corrections
on clean drawings.
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2.11 Observe the principles of line quality in producing a clean-
up
drawing.
2.12 Follow procedures and policies in keeping records.
2.13 Implement the necessary corrections/ revisions after
referral has
been made.
2.14 Create model sheets.
2.15 Follow the procedures in cartoon drawing construction.
2.16 Observe drawing proportions.
2.17 Record clean-up drawing drawings in accordance with
company’s specified procedures and policies.
2.18 Store clean-up drawings in accordance with company’s
specified procedures and policies.
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Clean-Up Procedures
Clean-up animation is the process of creating the final drawings you

see in the finished film. It necessarily means a “clean” fine line. The artist,
usually a team of artists, uses key drawings and animation charts from the
animator, making it appear as though one artist has created the whole film.
What are the Requirements for Clean-up Drawings?

1. Actual Scene Folder containing the following:
a. Animators rough key drawings
b. Model sheets
c. Layout
d. Storyboard
e. X-sheets
2. Clean- up tools and materials such as Pencil, animation paper, and
eraser
3. Equipment such as Light box with animation disc and peg bar
Important Tips in Clean-up Drawings
1. “Think of shape not line!” This doesn’t mean that line quality is
unimportant. It means that when lying down your line you should think
of yourself as a sculpture. Sculpting out your shape and defining it
with a clean, simple, and consistent line. Using a nice, smooth line
will help to avoid “crawling” or “popping” against the surrounding
drawings.
2. Lead of pencils preferably start with an HB lead, if your line is too
light then try using the B lead. If it is too heavy or hairy, try H lead
pencil.
3. “Lazy lines” often seen in trace backs will make a constructed
drawing seem flat. Use both top and bottom lights to help avoid them.
4. Connect all lines! the color will literally leak out in digital ink and paint
systems. Make ink and paints job easier and check your drawings for
gaps.
5. Straight against Curve- Use straight lines for tension, strength, hard
areas like knees and elbows. Curves for flow, sag and softness. Let
them play off one another as they do in nature.
6. Varied Lines- if you’ve mastered a consistent line, then you must try
to slightly darken your lines on objects that are closest to the viewer
to bring them forward.
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Procedures for Manual or Traditional Clean-up
1. Place the rough drawing on the top of the light box, insert the holes of
the animation paper on the peg bar to prevent them from moving.
2. Switch on and off the light while tracing to check the consistency of the
lines based on the original drawing.
3. Use only one stroke when tracing, it depends on your style of using the
pencil.
4. Keep rotating the animation disc while tracing the drawing for more
convenient position of your hands and eyes.
5. Don’t forget to copy in your cleaned-up drawing what is written on the
original drawing.
6. Repeat the previous steps for each drawing.
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PERFORMANCE SHEET 3.8-1
Procedures on Traditional Clean-up Drawings
Materials:
 Drawing Pencil
 Animation Paper
 Eraser
 Rough Drawings
 Model Sheets

 Peg Bar
 Light Box
Directions: Perform Clean-up Drawings following the given procedures on a

separate animation paper.
Procedures for Manual or Traditional Clean-up
1. Place the rough drawing on the top of the light box, insert the holes of
the animation paper on the peg bar to prevent them from moving.
2. Switch on and off the light while tracing to check the consistency of the
lines based on the original drawing.
3. Use only one stroke when tracing, it depends on your style of using the
pencil.
4. Keep rotating the animation disc while tracing the drawing for more
convenient position of your hands and eyes.
5. Don’t forget to copy in your cleaned-up drawing what is written on the
original drawing.
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1. Correctly place the rough drawing on the top of the
light box, insert the holes of the animation paper on the
peg bar to prevent them from moving.
2. Perform switch on and off the light while tracing to
check the consistency of the lines based on the original
drawing.
3. Use only one stroke when tracing, it depends on
your style of using the pencil.
4. Keep rotating the animation disc while tracing the
drawing for more convenient position of your hands
and eyes.
5. Don’t forget to copy in your cleaned-up drawing what
is written on the original drawing.

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Production of Clean-up Drawings (cartoon-simple)
When your rough animation is ready, it’s time to clean it up. The
clean-up is also called tracing. It consists of tracing solid and clean lines over
the rough animation to get closed zones.
Clean-up Exercises:
1. Clean-up animator’s rough sketches
2. Clean-up key drawings
3. Clean-up model sheets
4. Clean-up backgrounds Drawings
5. Clean-up rough Props drawings
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Activity Sheets 3.8-2
Clean-up Animators Rough Sketches
Tools and Materials:

 Pencil
 Animation paper
 Animators Rough Sketches
 Light box
Directions: Clean-up animator’s rough sketches 1 and 2.
Animators Rough Sketch 1
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Animators Rough Sketch 2
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Activity Sheets 3.8-2a
Clean-up Key Drawings

 Pencil
 Animation paper
 Light box
Directions: Clean-up Key Drawings 1 and 2.
Key Drawing 1
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Key Drawing 2
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Activity Sheets 3.8-2b
Clean-up Model Sheets

 Pencil
 Animation paper
 Light box
Directions: Clean-up Model Sheets 1 and 2.
Model Sheet 1
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Model Sheet 2
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Activity Sheets 3.8-2c
Clean-up Backgrounds

 Pencil
 Animation paper
 Light box
Directions: Clean-up Backgrounds 1 and 2.
Background 1
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Background 2
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Activity Sheets 3.8-2d
Clean-up Props

 Pencil
 Animation paper
 Light box
Directions: Clean-up Props 1 and 2.
Props 1
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Props 2

Accuracy The rough The rough The rough
drawing was drawing was drawing was
cleaned-up somehow NOT cleaned-up
according to cleaned-up according to
standard. according to standard.
standard.
output.
given time
period.
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Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Animator’s Keys
A Key Animator is the artist responsible for producing the principal

Key Frames of animation. Basically key animators draw the essential frames
that mark a distinct position or expression of a character in a particular scene.
In other words, they draw the structure of animated scene.
Pose to pose is a term used in animation for creating key poses for
characters and then in-betweening them in intermediate frames to make the
character appear to move from one pose to the next.
A key frame in animation and filming is a drawing that defines the

starting and ending points of any smooth transition. A sequence of key frames
defines which movement the viewer will see, whereas the position of the key
frames on the film, video, or animation defines the timing of the movement.
The individual frames of a traditionally animated film are

photographs of drawings, first drawn on paper. To create the illusion of
movement, each drawing differs slightly from the one before it. Today,
animators’ drawings and the backgrounds are either scanned into or drawn
directly into a computer system.
To check the cleaned-up drawings with the animator’s keys, here

are some tips to be consider:
1. Check the consistency of the characters specially the actions

based on animator’s keys.
2. Look for the likeness of character against model sheets and key
drawings.
3. Check the consistency of lines in terms of thickness.
4. Make some adjustments of any inconsistency on the cleaned-up
drawings.
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Checking of Cleaned-Up Drawings Based on the Animator’s Keys
Materials:
 Drawing Pencil
 Eraser
 Animation Paper
 Cleaned-Up Drawings
 Animator’s Key
 Peg bar
 Light Box
Directions: Providing a set of key drawings, perform clean-up and try to

match them and model the drawings based on the given key drawings.

standard.
output.
given time
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Familiarization with Line-Test Hardware and Software
A Line Test is a process used to check hand drawn frames prior to

them being used for final artwork. Frames are capture either via video
camera, frame by frame or by scanning them into a computer. The resulting
sequence allows the animator to assess how well the sequence is flowing.
Onion Skinning is the method used to view several frames of an

animation simultaneously, it allows the animator to check the changes
occurring within each frame and how they flow together. Traditionally this
process involved comparing drawn frames on light box but many animation
software packages include the ability to preview frames with several previous
and upcoming translucent frames visible.
Line Testing Hardware in Animation
Line Tester Personal Computer
Software in Line Testing

1. Synfig for Windows, Linux and OSX
2. Opentoonz for Windows and OSX
3. Maefloresta for iPhone and Android
4. Pencil 2D for Windows, Linux and OSX
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A Flipbook is one of the software use in Animation. Animation
gets even easier whether you use pencil and paper or draw right on the
computer. DigiCel Flipbook follows the same process that has been part of
traditional cel animation for over fifty years. Background Flipbook will be very
easy and intuitive.
To start with the Digicel Flipbook here are the basic steps:
1. Click on start >Programs> Flipbook or Double click on the Icon of

Flipbook. You will see the Flipbook Start-Up Dialogue.
Note: There are five buttons on the start-up dialogue.

a. Create New Scene, if you want to create a new presentation
b. Open Existing Scene, if you want to see a sample flipbook
presentation project.
c. Open Previous Scene, if you want to see the latest project made.
d. Exit Program, if you want to close the program and
e. About Flipbook, if you want to look for the details on how to use
the software.
TWO MAIN WINDOWS OF FLIPBOOK
1. IMAGE WINDOW- this is where you will draw, paint and preview your
movies.
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2. X sheets – made up of rows and columns. The scene information is
stored in an exposure sheet or X sheets.
Other Parts of Flipbook Software
Tool Bar-
Tool bar has an Icon that you will use in flipbook.
The Icons on the first group are: Creating, Opening and Saving scenes as
well as Cutting, Copying and Pasting images.
The next 2 icons are for Undo and Redo followed by a Printing
icon. These are all standard Windows functions.
The next 4 icons are for controlling in the image window.

The first icon is for enabling the Light Box or `Stack'. In B&W mode when
the `Stack' is on FlipBook keeps track of up to 10 drawings on your light table
and can simulate traditional page flipping.
The second icon is the Light for the `Light Table'. When the Light
is on you can see all of the images that are currently on the Stack in the
Image Window. The Light only works when the Stack is on.
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The third icon controls whether or not the background image
(BG) will be displayed in the image window during editing.
The fourth icon turns the AutoSave feature on and off.
The next 3 Icons control the exposure sheet or x-sheets for short.
The X-sheet icon turns the x-sheet on or off.
The Sound icon shows or hides the sound level in the x-sheet.
The Thumbnail icon switches you back and forth between viewing
thumbnail images in the x-sheet or just their labels.
The Capture icon brings up the Capture dialog box so you can
adjust your settings and capture drawings directly into the x-sheet. You can
also capture directly into the x-sheet by pressing the F8 key. This uses the
current capture settings but bypasses the Capture dialog.
The Scanner icon opens the Scanner dialog box. Scanning gives
you the best quality but takes a little longer.
The Color icon lets you switch between the Color mode and B&W
mode. In the Color mode you can see the Color Palette or Color Model and
the additional tools in the Tool Box for painting. Your animation will also play
back in color.
The Camera icon lets you toggle in and out of Camera mode and
brings up the Camera Move dialog box so you can compose your key frames
to add camera moves to your scenes.
The Boomerang icon passes images to and from FlipBook to your

favorite graphics editing program so you can edit them there.
The Tone Matte icon brings up the Layer dialog box so you can
select which tone matte layer you want to work with and set its values. Tone
mattes are used to create shadows, glows and highlights.
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Below the image window are controls, like those on a VCR. They
can be used at any time to play back the active levels of your scene or view
the frame you want to see. From left to right the buttons are: Stop, Home,
Reverse, Step Backward, Pause, Step Forward, Play, End and Loop. The
next two buttons adjust the playback rate, even while the scene is playing.
This can also be done with the plus (+) and minus (-) keys. The current rate
is displayed in the status bar at the bottom of the Image Window.
To the right of the VCR controls there is a Slider. This lets you drag
the pointer to move forward and backward through the scene and set start
and stop points for playback.
Steps in making New Scene or Project in Flipbook

1. Double click on the Icon of Flipbook, or go to Start Menu go to Program,
then click Filpbook Icon. Start-up Dialogue will appear.
2. Click > Create New Scene.

New Dialogue Box will appear.
Change the Frame Rate, No. of Levels, and
No. of Frames.
3. Click > Ok button. Image Window will

Appear.
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Image Window X-Sheets
4. Click the X-sheets Icon on the Tool Bar. To make it Visible.
5. Place the drawings (Capture the first drawing until the last drawing) on the
Peg Bar attached on the Line Tester,
Then click < Camera Icon on the tool bar, camera dialogue will appear.
6. Set the frame, level, hold, and label accordingly.
7. Start capturing the drawing until the last drawing then click< quit button to
finish the job.
8. Check the action using the VCR tools, Click< Play Button
9. To save the work Click the File button on the Tool bar, select save as new
dialogue will appear, type the file name and choose the destination folder,
then click< save.
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DRAWING TOOLS IN FLIPBOOK
THE TOOL BOX
Pencil Magnifying Glass Hand
Eraser Selection Tool
The Pencil is for drawing lines.
The Magnifying Glass lets you zoom in to get better control over both
drawing and erasing. Click or drag on the image with Magnifying glass to
zoom in. Hold the Control key or the Alt key and click to zoom back out.
Control+Alt+0 will reset the zoom value to 100%.
The Hand lets you move the image around within the Image Window
whenever the image is larger than the window. While in the drawing mode,
you can also press the space bar to temporarily make the cursor turn into the
Hand and allow you to move the image within the Image Window.
The Eraser works in conjunction with each of the other drawing tools and can
be used to erase either lines or fills. For example, when the Pencil and the
Eraser are selected you can erase lines drawn by the Pencil.
The Selection Tool is used to select the part of the image you want to cut,
copy or paste. When you paste the image back in to a cel you can also scale
and/or rotate it.
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COLORING TOOLS
COLORING TOOL BOX
Fill Tool Tracing Pen
Paint Brush Eyedropper
The Fill Tool works just like in other paint programs, but FlipBook’s Fill Tool
does much more. If you drag the Fill Tool the way you drag the Paint Brush it
will fill all of the areas it touches.
The Paint Brush lets you apply paint exactly where you want it by brushing it
on.
The Eyedropper picks colors from where ever you click in the painted image
while it is selected. Shift-Click will pick colors from the background.
The Tracing Pen is used to change the color of lines that were scanned or
captured.
THE COLOR PALETTE

When you are in Color mode you will see either the Color Palette or
the Color Model. Each Color Palette has 256 colors and every level can have
its own palette. You can change the color of any square in the color palette by
right-clicking on the square and selecting the color from the box or typing in
the RGB or HSL values and the opacity. The palettes are stored in the scene
files.
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SELF-CHECK 3.8-4
I. DIRECTION: Name the given illustrations. Choose from the options below:
Redo, Light Table, Stack/Light Box, BG , Auto Save, Xsheets,
Sound, Thumbnail, Capture, Scanner, Undo, Color, Camera,Tone Matte,
Boomerang, Printing, Creating, Opening, Saving, Cutting, Copying, Pasting,
images.
1. 2. 3. 4. 5. 6.
7. 8. 9. 10. 11. 12.
13. 14. 15. 16. 17. 18.
19. 20.

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Application of Animation Software
Procedures in Digital or Paperless Clean-up Drawing
Using Toon Boom Harmony software, here are the steps to clean-up
the drawings. You will need to add a new drawing layer to create your cleaned
up drawing. This is the equivalent of adding a sheet of paper and tracing the
rough using the animation disk.
This method allows you to keep the roughs and the cleans intact. You only
need to disable the rough layer to prevent it from appearing in the scene.
If you plan on tracing your animation in the Drawing view, enable the light
table to display all the layers in your project.
1. In the Layer toolbar, click the Add Drawing Layer button.
2. In the Timeline view, click the Lock button of the layer containing your
rough animation to avoid selecting the layer in the Camera view.
3. In the Timeline or X-sheet view, in the new layer, select the cell
corresponding to the first key drawing of your rough animation.
4. In the Tools toolbar, select the drawing tool of your choice. The
Pencil tool is recommended.
5. In the Color view, select a color for tracing your animation. A dark bold
color, such as black, would ensure that it contrasts well with the light
color of your rough animation.
6. In the Camera or Drawing view, start tracing the first key drawing.
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7. If you have some other layers in the way, you can disable them
temporarily from the Timeline view so that only the rough animation
and clean-up layer are displayed in the Camera view.
8. In the Tools toolbar, click the Onion Skin button and pull on the blue
onion skin handles in the Timeline view to extend the number of frames
you can see.
9. In the Camera View or Drawing View toolbar, press either the Onion
Skin Reduce One Next/Previous Drawing or Onion Skin Add One
Next/Previous Drawing to reduce or increase the number of previous
and next visible drawings. The red icons are for the previous
drawings and the green icons are for the next drawings.
10. In the Timeline or X-sheet view, select the next cell corresponding to a
rough drawing.
11. In the Drawing or Camera view, trace your next drawing.
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Basic procedures and policies in Records Keeping
1. Always stay on schedule or date line.

2. Store your drawing in a safe place or safe your digital file on the
computer.
3. Back up your date.
4. Always keep a record of files or drawing that is finish.
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ACTIVITY 3.8-5
Application of Software Animation
Materials:
 Animation Software
 Scanned Rough Drawing

 Pen Tablet
 Computer Set
 Scanner
Directions: Cleaned-up rough drawings using animation software application.
F. Preparatory Steps:
1. Prepare a rough drawing
2. Scanned the rough drawing using the scanner and computer set
with animation software and save in specific file folder.
G. Digital Clean-up procedures:
1. Open the animation software in your computer.
2. Drag or export the scanned rough drawing from your files in your
computer.
3. Follow the specific step in using the tools in the software
animation.
4. Save the cleaned-up rough drawings in a specific file folder.

standard.
output.
Time Finished the task Finished the task Unable to
Management 1 day before the on time. finished the
given time given task.
period.
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Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Concept of Line Quality
Line in animation should be consistent to avoid any jitters in the

movement. Range in line quality heightens descriptive potentials, you can
describe textures, movement, light, space, etc. Using many different kinds of
lines in your drawing can also add visual interest. When the drawing is of a
recognizable image, the types of lines you use can add to what you say about
your subject matter.
An animation drawing should be tight enough that a clean-up artist

or inker can preserve what the animator wants. The animator should not hand
in vague scribbles and then expect an assistant to figure out where the
drawing is. Both these artists have some responsibility to use lines to convey
distinct drawings that have a commitment to an idea.
A line isn’t important for its own sake. There are some artists think
having a big bold clean line is practically the art itself. On the other hand,
great drawings can also be ruined by poor line work. Each animator, layout
artist and clean-up artist should all understand and feel how to do warm
descriptive lines that draw attention to the good qualities in the drawing they
are bordering.
Definitions and Qualities of Line
A line can be lyrically defined as appoint in motion. There are many

different types of lines, all characterized by their length being greater than
their width. Line can be static or dynamic depending on how the artist
chooses to use them.
Actual Lines are those that are physically present.
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Implied Lines are those created by visually connecting two or more areas
together.
Straight or Classic Lines provide structure to a composition. They can be

oriented to the horizontal, vertical or diagonal axis of a surface. Straight lines
are by nature visually stable, while still giving direction to a composition.
Expressive Lines are curved, adding an organic, more dynamic character to

a work of art. Expressive lines are often rounded and follow undetermined
paths.
Outline or Contour Line is the simplest of these. They create a path around
the edge of a shape. In fact, outlines define shapes.
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Cross Contour Lines follow paths across a shape to delineate differences in
surface features. They give flat shapes a sense of form (the illusion of three
dimensions), and can also be used to create shading.
Hatch Lines are repeated at short intervals in generally one direction. They
give shading and visual texture to the surface of an object.
Cross-Hatch Lines provide additional tone and texture. They can be oriented
in any direction. Multiple layers of cross hatch lines can give rich and varied
shading to objects by manipulating the pressure of the pencil.
Line Quality is that sense of character embedded in the way a line presents
itself. Certain lines have qualities that distinguish them from others.
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Calligraphy Lines use quickness and gesture, more akin to paint strokes, to
imbue an artwork with fluid, lyrical character.
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LINE QUALITY
Materials:
 Animation Paper
 Drawing Pencil/ Mechanical Pencil
 Eraser
 Rough Drawings

 Peg Bar
 Light Box/ Animation Table
Directions: Perform clean-up procedures and observe the principles of line

quality in producing a clean-up drawing.
Rough Drawing
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Sample Cleaned-Up Drawing
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standard.
output.
given time
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Model Sheets
In visual arts, a model sheet, also known as a character board,
character sheet, character study or simply a study, is a document used to help
standardize the appearance, poses, and gestures of a character in arts such
as animation, comics, and video games.
A Model sheet is usually several drawings showing a character in

many angles and poses to define its style, look and behavior throughout a
show. You will usually see the character in front T-stance, side view standing
straight and some more relaxed positions and close ups on hand, faces and
props. In a model sheet you can find the respective character in different
poses like side, back, front and three-fourth.
Front Back Side Three-Quarter

Animating any character without a model sheet will produce
animations with major problems like non-consistency of character. Even an
experienced animator will find it hard to conceived how a character looks in
different poses, so it is best advised to start animation with a proper model
sheet.
Character Model Sheets are templates of the characters used by the

animation staff. They provide the construction, structure, proportion, design,
etc. for each character. Usually several models sheets are needed for each
character to show the physical and design nuances. Each animator, artist has
their own style of drawing. The model sheet guides the 300 artists working on
the production toward making all characters look “On Model”. On model
means the model sheets have been followed to perfections as if one artist has
drawn the character. Below is the example of Model Rotation. Its purpose is to
show the character from all sides. This called “Character Rotation”.
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Below are the three options you should consider for your character
design. They are: 1. Ball 2. A Triangle or Cone and 3 a combination- a
ball and a cone. Please keep in mind the dimensional aspects of your
drawing, in other words, what appear to be shapes are really 3D forms.
Try to Design People or Animals.
Draw the simple shapes in the views to match the character’s

rotation. When in doubt always go back to basics.
Tips in Making Model Sheets for Simple-Cartoon Characters
1. Make the ball of the head and the body different sizes (big head with
small body or small head with a big body). The head is always on the
front side of the body.
2. Once the basic forms are drawn, the details are drawn over top the
forms. Hair and fur are like carpeting over the form. Try to simplify the
details and apply basic rules of design. (check to make details
asymmetrical and pay attention to your positive and negative space.
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Model Sheet involves a close-up with the details, proportions and structure of
the characters’ head. Use the same procedure for the construction of the
head as you did with the body.
1. Begin with the simple forms, then

2. add the eye line and center line and then
3. layer the details over top. The eyes are anchored on top of the eye line,
the nose or snout is anchored below the eye line.
Character Model Sheets is also for action poses. Its purpose is to make
sure the character works in actions. Character is always defined by his or her
or its needs, and those needs are reflected on his or her actions. Keep your
action drawings quick, spontaneous and dynamic. The line of action is a tool
which can be pushed to create for dynamic poses. Check your silhouettes for
your action poses to make sure they “READ” as a graphic.
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Aside from characters, model sheets are also used for the following:
a. Props Model Sheets

The props sheet is used to ensure consistency in size, form,
structure and proportion.
b. Accidental Characters Model Sheets
c. Background Model Sheets
d. Expressions Model Sheets
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e. Character Mouth Dialogue Model Sheets
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Create Model Sheet
Materials:
 Animation Paper
 Drawing Pencil
 Eraser
 Model Sheets
 Animation Table
Directions: Create a model sheet of cartoon character of human and animal

on a separate sheet of animation paper. Draw the basic turn-around pose of
each character.
Note: You are given 2 days to finish this activity.

standard. standard.
output.
given time
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Procedures for Cartoon Drawing Construction
In cartoon, there are several different styles of characters, such as

“goofy” and “bully”.
To Start the construction here are the basic Steps in Cartoon Drawing
Construction:
3. Rough Sketches
When creating characters, use the rough sketches beforehand.
This will provide you with the perfect direction of style and nature
of your character.
First, draw the basic shape of the figure and then go adding
features and other details of the body. This is the basic
procedure that should be followed regardless of your character
to be a human, an animal or even an object that you want to
bring to life.
Once you have defined your ideal proportions, the second step
is to develop the expressions of body movement, hand and legs.
Hands even can tell a complete story with only one position.
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4. Proportion
Proportion is the most important factor to consider in building a
cartoon character. The artist should keep in mind the relative
size of body parts, because it’s based on them we’ll define the
structural features of our characters. Animated studios have
famous practice of using oval shapes to measure the height of a
character. Example, a child usually has a head larger than the
rest of the body. But the adult has different proportions, which
varies according to gender and physique of each character.
When designing a character’s entire body, it’s recommended to

keep several drawings of it on a separate piece of paper. Thus, it’s possible to
have a reference of his proportions to draw it in different poses and actions.
Turnaround Example
It is important to draw your character in different positions,

situations, and clothing, until you can find the ideal body proportion.
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5. The Body is a Pear
It’s common practice among designers to use pear shapes or
similar objects to build the body format. This is a common
technique among cartoon studios, since several different artists
work on the same character and must maintain the correct
proportions of each one.
6. Addition of the Skeleton

Now that we know how to define the forms, we need to define a
simple skeleton structure. If you draw any kind of character in a
cartoon style, you need to understand the main differences in
muscles and bones among different cartoon categories, such as
cats, birds and humans. This knowledge is necessary and it will
guide us in relation to the character's joints, such as elbows and
knees.
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To summarize
 Measure the proportions of your character with rounded
shapes;
 Wrap the body using the famous rule of pear shapes;
 Trace the lines that serve as guides of the main points of
character’s joints (skeleton);
 Complete your character with the final details around the
structure you’ve built.
7. Inverting the Pear
Reversing the pearl shape, it makes sense of strength and
power in our character. Example:
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8. The Goofy Character
It is one who walks on two legs (even the animals) and looks
silly, clumsy and generally, lazy. This kind of character is often
represented as coward. They are generally more interested in
staying out of trouble than anything else.
There is a main attributes needed to make goofy guy, although

not a definitive rule, and may be changed to suit the nature of each character.
 Thinner heads;
 Big noses (snout, if animal);
 Big teeth;
 Small shoulders;
 Virtually no chin;
 Rule of Pear (never inverted, always upward).
9. Create a Heroic Character

Steps:
1. Draw the head and body with rounded shapes. Don’t
worry about making several sketches until you reach the
ideal proportion and shapes.
2. Let's add the lines that simulate the joints of skeleton.

Notice that we're adding a common posture for cartoon
hero - where the body weight is hanging on just one leg.
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3. Finally, we will include the face details and the body
muscle of our great hero.
4. Once you've defined the whole structure, we can add

some clothing.
What to Remember in Cartoon Drawing Construction?
1. Construction (Done in Red or Blue or whatever color the photocopy or

digital scanning process can ignore)
2. Even though it’s a cartoon, think of it as having a skeleton and muscle -

not just an assemblage of lines!
3. When starting a new character, read over available model sheets - noting
any "formulas" ( ie : Mickey is 3 heads high, Mcleaches eyes are one eye
width apart, Bernards are 1 1/2).
4. If you have time, go over the model sheets and draw the character’s
basic construction This will help to familiarize you with the character’s
proportions.
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5. Draw through shapes - objects.
6. Watch the ends of your lines, they determine the entire shape. (Draw
through both connecting shapes and solid objects, feel the form as you
draw).
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Cartoon Drawing Construction
Materials:
 Animation Paper
 Drawing Pencil
 Eraser
 Animation Table
Directions: Draw cartoon characters, following the given procedures on a

separate drawing paper.
Note: You are given 8 days to finished this activity.
f. Cartoon drawing using basic shapes.
g. Goofy character
h. Heroic character

standard. standard.
output.
given time
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

210 | P a g e
Drawing Proportions
Throughout the ages, artists have been fascinated by the challenge
of depicting accurate proportions of the human body. There have been
countless attempts to standardize figure drawing proportions and lay down
proportional rules to follow when depicting the body.
What is Proportion?
Proportions are the relationships, ratios between the heights,

widths, and depths of a subject. In order to draw a believable likeness of any
subject, no matter what or who it is, we must draw the proportional
relationships as they appear on that specific subject.
In Greek canon by Polycleitus, the palm of the hand was chosen

as the unit of measurement. Marcus Vitruvius, a first-century BC Roman
architect and writer, believed that the height of the figure was eight heads, or
ten faces. Leonardo de Vinci demonstrated many of Vitruvius’ ideas on
proportion in the well-known image of the man in two superimposed positions
inscribed in a square and circle: the “Vitruvian man”.
In standing position, seven figure drawing proportions to keep in

mind are:
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1. The figure is approximately 7.5
2. About two heads down from the top of the figure is the line
of the nipples.
692Save
3. About three heads down from the top of the figure is the
navel, or belly button.
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4. About four heads down from the top of the figure is the
pubic bone.
5. The pubic bone is approximately the half way point on the

body.
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6. The wrists line up with the greater trochanters of the femurs
(upper leg bone).
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7. The elbows line up with the navel (belly button).
BODY PROPORTIONS OF DIFFERENT AGES
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MALE AND FEMALE BODY PROPORTION
Pros and Cons of Using Proportional Systems:

Cons:
1. Relying heavily on memorized proportions can lead you to become lazy

in observing the model, which can result in generic drawings
2. There is so much variation in body types, no proportional
system can be accepted as a “rule”
Pros:
 A proportional system gives you a general reference guide for

assessing the relative lengths and widths of the body
 Proportions can lead to more accurate and convincing drawings if they

are used to compare to the proportions on the model
 Memorizing certain figure drawing proportions can greatly help you

draw from memory and imagination
 Memorizing proportions can help you design figures – for example, an
animator may consciously choose to lengthen a figure to 8 or 8.5
heads tall if their intention is to draw a heroic figure.
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Drawing Proportion
Materials
 Drawing Pencil
 Animation Paper
 Eraser
Tools and Equipment

 Model Sheets
 Animation Table
Directions: Draw a male and female characters of different ages and

observed the correct body proportion on a separate drawing paper.
Note: You are given 4 days to finished the activity.
Male (1 yr. Old) Female (1 yr. Old)
Male (3- yrs. Old) Female (3- yrs. Old)
Male (15 yrs. Old) Female (15 yrs. Old)
Male (Adult) Female (Adult)
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standard. standard.
output.
Time Finished the task Finished the task Unable to
Management 1 day before the on time. finished the
given time given task.
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Company Procedures and Policies in Recording Clean-up

Drawings
Company procedures is clearly indicating how instructions in the
policy should be carried out. The policy takes into consideration the benefits
of the employees, making sure the rules are fair. It provides employees with a
clear understanding of what is expected of them. Department managers also
develop department-specific policies and procedures based on the nature of
the work tasks.
Here are the procedures and policies in recording clean-up drawings.
1. From the animator’s key drawings, the clean-up artists will clean-
up the rough drawings by establishing a single quality line.
2. The cleaned-up key drawings will be pass to the in-between

artists to draw the missing drawings which is also known as in-
betweens.
3. The finished in-between will be checked by the in-between

checker and when it passes the company standard, it will turn
over to clean-up artist to do the finalization of the drawing.
4. All finished cleaned-up drawings will be recorded on the front

cover of the animation folder where the details of the scene are
written. This will help the other personnel to track down the
development of the project.
5. Cleaned-up drawings must be kept inside the animation scene

folder in proper order together with the other reference materials
provided inside, and the clean-up artist should sign accordingly for
future reference.
Proper Arrangement of Documents:

 Complete Cleaned-up Scene Drawings must be arranged
in order, the first drawing on top and the last drawing at the
back, all materials inside must also arranged based on how
it is listed on the cover page.
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Sample of Animation Scene Folder
Sample of Cover of Animation Scene Folder
SELF-CHECK 1.9-11
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SELF-CHECKED 3.8-10
Directions: Given the listed materials to be stored inside the animation scene
folder. Arrange them according to company’s specified arrangement. Write the
corresponding numbers, start from 1 as the first up to 10 the last number in a
separate sheet of paper.
_______ animation
_______ In-between drawings
_______ Layout
_______ To camera
_______ Final Test
_______ X-Sheets
_______ Scan In
_______ Pencil Test
_______ Color-Style
_______ Clean-up Drawings

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QUARTER 3
ANSWER KEYS
ANSWER KEY 3.8-4

1. Creating
2. Saving
3. X-sheets
4. Stack/ Light Box
5. Color
6. Camera
7. Light Table
8. Capture
9. BG
10 Thumbnail
11. Cut
12. Opening
13. Sound
14. Scanner
15. Tone Matte
16. Auto Save
17. Undo
18. Copying
19. Pasting
20. Redo
Answer Key 3.8-10
3 animation
5 In-between drawings
1 Layout
10 To camera
7 Final Test
2 X-Sheets
9 Scan In
6 Pencil Test
8 Color-Style
4 Clean-up Drawings
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9/11
TLE/TVL-ICT
QUARTER 4
Unit of Competency: Produced Cleaned-Up and In-betweened

Drawings
Module Title: Identify Requirements for In-Between Drawings in
Actual Scene Folders (Cartoon-Regular)
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(ICT)
DepEd Code : TLE_ICTAN9-12CI-IVa-j-3
LO 3. Identify requirements for in-between drawings in actual scene

folders (cartoon, regular)
Content Standard:

INTRODUCTION

LO3. Identify requirements for in-between drawings in actual
scene
folders (cartoon, regular).
3.1 Identify all requirements for in-betweened from source
materials.
3.2 Identify model sheets for reference.
3.3 Collect model sheets for reference.
3.4 Check all clean-up key drawings for errors.
3.5 Check against x-sheet for errors all animation
breakdowns.
3.6 Identify materials and equipment for in-between drawings.
3.7 Prepare materials and equipment for in-between
drawings.
3.8 Apply concepts of in-betweening based on specifications.
3.9 Follow procedures for character posing.
3.10 Apply techniques in refining line quality.
3.11 Apply concepts used of character designing.
3.12 Observed the do’s and don’ts of in-betweening
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Requirements for In-Between (cartoon-regular)

In-betweening or tweening is a key process in all types of animation
including computer animation. It is a process of generating intermediate
frames between two images, called key frames, to give the appearance that
the first image involves smoothly into the second image. Without the in-
betweens the animation would look so jugged and jittery. It helps just to have
the key frames of the beginning and end of the motion as this gives the
animator a very good idea of how the frames in-between should look like.
In-betweening needs the following basic requirements:
1. Supplies and Materials
Supplies and Materials Pictures/Illustrations

1. Eraser
2. Bull Clip
3. Lead of Clutch/Mechanical
Pencil
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4. 3 Hole Punched ACME
Animation Paper.
5. X-sheets
6. Model Sheets
7. Learning Materials Guide
8. Printable Story Board
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9. Tools and Equipment
TOOLS EQUIPMENT
1. 3 Hole Punched ACME Puncher
2. Drawing Pencil
3. Clutch/Mechanical Pencil
4. Feather Duster
5. Non Photo Blue Pencil
6. Peg Bar
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7. Ergonomic Computer Tables and
Chair
8. Computer Sets with Animation

Software Installed
9. Light Box
10. 3 in 1 Printer
11. Scanner
12. Animation Disc
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13. Life Size Mirror
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SELF-CHECK 4.8-1
Directions: Identify the basic requirements for in-betweening. Write the name
of the given illustrations in a separate sheet of paper.
Name Illustrations
1.
2.
3.
4.
5.

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Model Sheets (cartoon-regular)
Model Sheets are the templates of the character used by the

animation staff. They provide the construction, structure, proportion, design,
etc. for each character.
Create a character of your own design. Draw the different angle or
views of the character on a single sheet of paper horizontally with the same
size where the head and fingers tips and feet at the same height across all
views.
In animation, a model sheet, also known as character board,
character sheet, character study. It is a tool used to help standardize the
appearance, poses and gestures of an animated character. Model sheets are
required when large numbers of artists are involved in the production to help
maintain continuity in characters from scene to scene.
Types of Model Sheets
General Final Line Model Sheet

A single character is portrayed in turn around drawings that give us
a sense of how to draw the character from any angle, along with some facial
expressions, attitude and action poses.
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Rough Character Concept Model Sheets
The general design concept of the character needs to be approved
before the character was fully finalized. It gives a sense of the basic design of
the character, along with attitude poses that help to tell the story of just who
he is, in case of a character with unique anatomy requires unique reference
for artists working on the team.
Anatomical Study Model Sheet

It gives animators a better idea of the structure that exist under all
that hair.
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Rough Construction Model Sheet
It shows the underlying structure of the character or the same poses
fully clothed. These designs are great help for building 3D characters. Rough
construction model sheets can sometimes focus only on details of a character,
such as hair, eyes, and even spots.
Rough Model Sheets

Rough Model Sheets are created from the best studies or keys from
the most successful scenes that have been animated of the character. They
often show action, they often show action, expressions, and attitude that best
display the character’s personality.
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Sometimes a turn-around drawing which also shows how many
heads high the character is can be added to the rough model sheet, which
create a version of the “all-in-one” design.
Rough Dialogue Model Sheet

Rough dialogue model sheet shows various mouth shapes that are
created when the character is speaking. This one has the added benefit of
also showing a range of emotions.
Final Line or Clean Up Construction Model Sheet

This model sheet helps animators to see volume as well as
structure for even the most cartoony of characters.
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Turn Around Model Sheet
A standard reference of a character drawn in different views such
as: front, side quarter, and back views.
Final Line Turn Around Model Sheet

It is also known as cleaned-up turn-around model sheet considered
as final model sheet of a character.
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SELF-CHECK 4.8-2
Directions:
______________ 1. A model sheet shows various mouth shapes that are

created when the character is speaking.
______________ 2. A standard reference of a character drawn in different
views such as: front, side quarter, and back views.
______________ 3. It shows the underlying structure of the character or the
same poses fully clothed. These designs are great help for building 3D
characters.
______________ 4. A single character is portrayed in turn around drawings
that give us a sense of how to draw the character from any angle, along with
some facial expressions, attitude and action poses.
______________ 5. It gives animators a better idea of the structure that exist
under all that hair.

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Cleaned-up Key Drawings for Cartoon-Regular

The process of clean-up is usually done by an assistant animator,
not the key animator. There are important points you need to know and
understand when you get a scene from the key animator.
1. Look at the story board and familiarize with what’s going on in the
scene.
2. Take the key animation out of the folder and flip the drawing several
times. Be sure you understand everything about the character’s action.
3. Talk to the animator about the motivation and emotion of the scene.
4. Practice drawing the character using the model sheets, then trace the
model sheets and keep the character completely on model.
5. Pay attention to the details and line quality.
6. In major production the assistant animator’s and in-betweener’s
drawing that are seen on the screen. It’s the assistant that redraws the
animators rough drawing and makes them good and final.
7. When cleaning up the drawing make a necessary adjustment to the
volumes and proportions to bring the character on model.
8. Compare the first pose top the model sheet to be sure it’s correct.
9. Get the final approval of the animator before moving on the rest of the
drawings.
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Clean-up Key Drawings
Materials
 Animation Paper
 Eraser
Tools and Equipment

 Model Sheets
 X-Sheets
 Light Box
 Peg Bar
Directions: Clean-up the given key drawings in a separate animation paper

and check for possible errors following the given important points.
Key Drawing
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1. Familiarized with the story board and recognize what
is going on in the scene.
2. Take the key animation out of the folder and flip the
drawing several times. Understand
everything about the character’s action.
3. Talk to the animator about the motivation and
emotion of the scene.
4. Practice drawing the character using the model
sheets, then trace the model sheets and keep the
character completely on model.
5. Pay attention to the details and line quality.
6. Redraws the animators rough drawing and
makes them good and final.
7. When cleaning up the drawing make a necessary
adjustment to the volumes and proportions to bring
the character on model.
8. Compare the first pose top the model sheet to be
sure it’s correct.
9. Get the final approval of the animator before moving
on the rest of the drawings.

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Animation Breakdowns and X-sheets
Breakdown Drawings
A Breakdown is a pose between keys to help the key frame
animator describe the action to in-between. These are important because they
describe rotation trajectories, timing eases, elbow bending, etc. These are
extra drawings used to make the animation smooth.
Breakdowns are the gaps between the keys. By placing key action
on breakdowns, you can loosen up your animation, and offload a lot of your
animation work onto an in-between drawing, which is far easier than creating
another key drawing.
11
Exposure Sheet
Exposure sheet is also known as the X-sheet or Dope sheet, is
used when animator is planning a scene. The animator enters data in different
columns (layers), it allows you to see the animation timing in detail.
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The X-sheets is composed of columns corresponding to the layers.
Each column is splint into rows representing the frames (images) in the scene.
A paper X-sheets usually has 80 rows and 10 columns. This enables the
animator to associate a layer with a certain element like character, props, lip
sync, etc. and make a record of the frame at which each drawing appears.
The traditional paper X-sheet was mainly created for the animator to
communicate with the camera man regarding the scene’s timing, the camera
moves and element trajectories. It is still used today to express the same
information to other people who are working on the studio.
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In-between Drawings
Materials
 Drawing Pencil
 Animation Paper
Tools and Equipment

 X-Sheets
 Key Drawings and Breakdown Drawings
 Light Box
Directions: Given a sample copy of X-sheets and Key Drawings, check

breakdown drawings against X-sheets and make a listing of possible errors
and refer it to your personnel. Make a necessary adjustments based on the
given suggestions.
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1.Followed the in-betweening procedures correctly.
2. Observed the basic rules on in-betweening.
3. Interpreted the timing correctly.
4. Checked all required materials needed in in-
betweening.
5. Collected model sheets for reference.
6. Checked key drawings properly.
7. Provided the in-between drawings correctly.
8. Drawn the in-betweens completely.

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Materials and Equipment (cartoon-regular)
Creating Animation requires a set of materials, tools and equipment

that helps process and create manual, graphics and content.
MATERIALS, ILLUSTRATION FUNCTION

TOOLS, AND
EQUIPMENT
1. Animation Paper A special type of paper
used to rough out
animation drawings.
Commonly comes in
field sizes (12 field or
15 filed). A4. etc.
2. Drawing Pencil Used to rough-out key

drawings. HB or B
pencil is needed for
clean drawings, while
colored pencil is used
for roughing out the
animation.
3. Eraser Used to remove pencil
markings on a surface
such as paper. It is
available in soft plastic
and rubber.
4. Clutch Pencil A pencil commonly

used by animators for
clean-up drawings. It is
a mechanical type of
pencil that doesn’t have
to be sharpened.
5. Pencil Sharpener Used to sharpen a
pencil’s lead by shaving
away its wood surface.
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6. Brush Used to get rid of any
carbon dust or eraser
residue.
7. Masking Tape Used to secure

animation papers or for
taping down the peg
bar.
8. Mirror Used to catch the right

facial expression and
action for a character.
9. Peg bar Used to fasten

animation paper to
prevent from moving
while working on the
drawing.
10.Animation Disc A drawing disc placed

on a light box and used
to work out camera
moves and panning
walk cycles.
11.Animation Light Used to clearly through

Box all the layers of
drawing.
12.Camera Rig It is made up of metal

frame to hold and
control the camera
without shaking when
being used.
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13.Camcorder It is used to record and
shore images that will
be imported to the
computer.
14.Line Tester It is a device used for

line testing, where hand
drawn frames are being
check to assess how
well the sequence is
flowing.
15.Computer Set It is used in animation

for line testing and
editing, compositing.
16.Computer Table It is a special type of

table designed in
various colors,
materials, drawers
suitable for desktop
computer.
17.Computer Chair A type of chair created

and designed in various
colors, materials,
mechanisms, size,
shapes, and styles for
more convenient and to
avoid back injury while
working,
18.Animation animation software
Software allows for the creation
of motion on a frame -
by-frame basis. The
frames are often
created within the
software, although most
animation software
allows frames to be
brought from external
sources.
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19.Printer It is a device made up
of multiple peripheral
functionalities and
capabilities, including
printing, copying, and
scanning.
20.Scanner It is used as an
alternative device to
camera to capture
images or hand
drawing
21.Drawing Tablet It is used for digital

coloring and drawing.
22.Printable Story It is a copy of

Board storyboard made up of
a number of squares
with illustrations or
pictures representing
each shot, with notes
about what’s going on
in the scene and what
being said in the script.
23.Exposure Sheets It is mainly created for
the animator to
communicate with the
camera man regarding
the scene’s timing,
camera moves. It is
also used to express
the same information to
the compositors and
the persons working on
the animation.
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SELF-CHECK 4.8-5
Directions: On your answer sheet, write the letter of your answer.
_____1. It is mainly created for the animator to communicate with the camera
man regarding the scene’s timing, camera moves.
a. Story Board b. Model Sheets c. X-Sheets d. Printer
_____2. It is used as an alternative device to camera to capture images or

hand drawing.
a. Drawing Tablet b. Printer c. Computer Set d. Scanner
_____3. It is a device used for line testing, where hand drawn frames are
being check to assess how well the sequence is flowing.
a. Cam Coder b. Line Tester c. Computer set d. Light Box
_____4. A drawing disc placed on a light box and used to work out camera
moves and panning walk cycles.
a. Light Box b. Animation Disc c. Line Tester d. Computer Set
_____5. A special type of paper used to rough out animation drawings.

a. Drawing Paper b. Watercolor Paper c. Animation paper d. Oslo

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Concept of In-betweening
Meaning of In-betweening
In-betweening is the process of creating transitional frames between
two separate actions in order to show the appearance of movement from the
first drawing to the second drawing. The frames between the key frames are
called “in-betweens”.
TIMING
It refers to the impacts, rhythm of where things happen or the accents,
beats, and hits happen.
SPACING
Refers to how close or far apart those cluster is. The bouncing ball
overlaps itself when it’s at the slow part, but when it drops fast, it’s spaced
further apart.
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KEY DRAWINGS
Key Drawings are the essential to animating a character that
represents the extremes of that actions. The key point in an action can be
identified by a moment of rest and no acceleration, moment of maximum
position, zero velocity and maximum acceleration. It is a drawing that shows
what’s happening on the story.
Key Drawings
BREAKDOWNS
A Breakdown is a pose between two key drawings. They describe
rotation trajectories, timing eases, elbow bending, etc. These are extra
drawings used to make the animation smooth.
In traditional animation breakdown is an in-between that requires a
special interpretation, it does not have to be drawn exactly in the middle of the
two key drawings but it has to be drawn a bit like a key drawing.
We must understand the value of a “second of time” 24 frames of a

film per second of that movie screen. We must capably break our action down
into “seconds” and “frames” – one second for 24 frames- one halves second
for 12 frames and one third seconds for 8 frames. Remember that in a single
presentation there are 24 drawings per second, while in double presentation
there are only 12 drawings per second.
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1 3 5 7
TIMING CHART
To perform the in-betweening correctly you need to familiarized the
most important in in-betweening, the Timing Chart, it’s a clue to the
animators thinking and guide for the in-between artists to where the drawings
are to be placed between the extremes. Basically, it indicates the small
incremential movements that get you from one extreme to another.
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Basic Rules in In-betweening
This might be a slight simplification for you to come up with a good in-
between.
1. Path of Action
You have three options when it comes to a path of action for any
point on a line or the line itself:
a. Straight
b. “C” Curve
c. “S” Curve
2. Timing and Spacing

Your timing and spacing is also very limited in that you must
stick to Even Spacing. All your in-between must be either halves
or thirds and occasionally the odd favor or cushion.
Remember that cushion is not the same as a Slow-In or Slow-
Out in its spacing.
There are special circumstances where a half is not necessarily

and exact half way position as in overlapping actions. Think
when you draw!
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The Different Timings
1. Slow In- actions picks up speed gradually.
2. Slow Out- actions slow down speed gradually
3. Even Halves/Thirds- keeps action in a constant speed
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4. Slow-in/Slow-out- actions picks up speed and slow down
gradually.
Don not bunch up your in-betweens anywhere along the path of

action.
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IN-BETWEENING
Materials
 Animation Paper
 Eraser
Tools and Equipment

 Light Box
 Peg bar
Directions: Perform simple in-betweening. Draw the missing drawings of the

given key drawings. Observed the timing, distance and speed, lines and
curves, and rotating objects in in-betweening.
Note: You are given 8 days to finish the given 4 exercises on in-betweening.
1.
2.
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3.
4.

1.Followed the in-betweening procedures correctly.
2. Observed the basic rules on in-betweening.
3. Interpreted the timing correctly.
4.Checked all required materials needed in in-
betweening.
5. Collected model sheets for reference.
6. Checked key drawings properly.
7. Provided the in-between drawings correctly.
9. Drawn the in-betweens completely.

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Procedures for Character Posing
Character drawings need an appealing look. Animators should pass

this term APPEAL down for decades to describe a character’s pose,
expression, or movement and even props can have appeal. It has “extra
something” if the drawing has an appeal that makes it stand out.
Start with the basic shapes like circle, ovals, squares, and triangles.
Using this basic shapes in drawing characters can easily duplicate and rotate
in three-dimensional space than it is to rotate more complex shapes without
compromising the proportion and proper volume of the drawing. You will be
able to draw it easily and quickly without wasting your time. Here are some
examples of different characters that use only basic shapes that even without
details, you get an idea of what the characters are like.
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Seasoned artists often draw a character a front-view profile then
slowly trying a side view, three-quarter view, and back view that looks like the
same character. Remember, all this character angles should have a strong
appeal. Here are some steps to draw the characters in different angles.
1. Line Up the Drawing.

You need to draw the characters with the horizontal lines going
behind them. This lines run from key points on a character such
as: a. bottom of the feet, b. top of the head, c. chin. d. eyes, e.
nose, f. waist, g. shoulders, and h. knees. This is a good way to
figure out the proportion and what your character might look like
from different angles.
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2. Turning the Character in Different Angles.
When you draw a character, it’s strongly suggest to draw the
front, side, three-quarter and back views of your character free
hand without considering the horizontal lines. This will help you
concentrate on the strongest design of your character and
personality implied by the pose and face. Once you are feeling
comfortable with the design, you may now set out to draw the
turnaround model sheet with the use of the horizontal lines as
guide to line up them all in one presentation.
Here are front views, three-quarter views and side views of a

character that works technically but also has stronger appeal. There is more
variety in the shapes in chin, mouth, and slope of the nose. Rather than just
being a flat side views where it has stronger silhouette appeal.
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3. Push Your Design
Often times after creating a design, you feel and decided that
you’re done. It’s time to push your drawing by trying it to become
stronger and you can decide which of these drawing is the best.
Beginning Design
of Character
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Character Posing Drawing
Materials
 Drawing Paper
 Drawing Pencil or Mechanical Pencil
 Eraser
Tools and Equipment

 Animation Table
Directions: Draw the following in separate sheets of drawing papers. Follow

the procedures correctly.
 Head construction applying facial expressions, attitudes, and
costumes or clothing.

standard. standard.
output.
given time
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Techniques for Refining Line Quality
Lines are basic tools for an artist’s. If you want to improve the
quality of your line, it’s important to have the proper tools for the job. There
are basic techniques in order to achieved line quality. First, avoid tension in
your hand all you need is to keep calm and loosen your hand while drawing
lines. Second, practice your line by exercises and remember the phrase
“constant correct practice”.
There are many lines for you to use, like thick and thin lines,
horizontal and vertical lines, zigzag, diagonal and curved lines, spiral, etc.
Common Techniques Include:
1. Small dashes
2. Hatching (long, parallel lines)
3. Cross-hatching (parallel line at right angles)
4. Stippling
5. Small crosses
6. Small circles
7 Tips to Improve your Line Quality
1. Draw straight lines. This will help you relax your hands to make
smoother lines. (horizontal, vertical and diagonal lines)
2. Draw a combination of this lines.
3. When you feel confident in your lines, start drawing lines
applying various pressure on it.
4. Draw curved lines and irregular curved lines
5. Connect the dots. This basically a variant exercise, start with two
dots in straight path closer to each other and gradually improve
the distance and the direction.
6. Line shading. This is also a very simple pressure and control of
line weight exercise.
7. Loosen up your drawing by simple line of actions.
As you get more confident with your drawings and lines, you’ll notice that
you’ll be more relaxed while doing a line drawings. You’ll also notice that the
more relaxed you are, the smoother your lines will be.
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Quick Strokes Are Better Than a Slow Lines
You can try drawing a line very slowly. Just a straight horizontal line
from left to right. Then do the same, but very quickly and smoothly. The first
thing you might notice is how darker and rigid the first line, while the second
line is very straight. At time doing slower lines might be necessary for more
control and accuracy, while drawing it faster, this will give you more
movement and dynamic.
Before going for your final line, you usually start with sketching and
refine later. Redraw all your lines as many times as you need. It’s all about
practice.
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H. Drawing of Lines
Supplies and Materials

o Drawing Paper
o Drawing Pencil
o Eraser
Tools and Equipment

o Animation Table
Directions: Using the correct drawing instruments, draw the types of lines.
1. Straight Lines (horizontal, vertical, diagonal)
2. Combination of lines
3. Lines with various thickness through varying pressure on the
pencil.
4. Curved and Irregular Curves
I. Clean-up Lines
Supplies and Materials

o Drawing Paper
o Drawing Pencil
o Eraser
Tools and Equipment

o Animation Table
Directions: Draw a simple object, then clean-up your drawing and apply the
techniques in refining line quality.
Suggested Objects:
 Any kind of weapon
 Clothing
 Any kind of transportation vehicles
 Anything inside and outside the house
264 | P a g e

standard. standard.
output.
Time Finished the task Finished the task Unable to finishs
given time
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

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Concept of Character Design
Character Design is the process which comes after the

characterization and consists in defining the character through his/her
physical appearance. We need to consider a character as little fictional
creature, human or not, that aims to please its creator and the public as well.
Character Design is a simple study of a character and visually

designing it in the most appealing way for the target audience. A good
character design is a successful balance between a concept that is well suited
for the story and a beautiful visual design.
Who are the Character Designer?
There are two kinds of Character Designers. A BLUE SKY

DESIGNER who love a blank piece of paper. They create many different
variations of character based on the given description and he started from a
scratch. This often includes a deep look into the character’s personality to
develop a visual idea of the character’s physical features.
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The other one is the CHARACTER POLISHER who usually work off
sketches that the latter have created, or refining an existing character. They
can replicate other styles while still being able to make a character their own.
What is Character Designer actually do?
267 | P a g e
They are considered as a traditional artists who create their original
drawings that fulfill what is needed on the script, scene, game, or story suited
the storyline. They play also like an actor and perform the style required for
each role to find the right gesture and expressions, since a character will
seem stiff unless the artist draws the figure in a way that expresses a sense of
personality.
A Character Designer begin by imagining the characters. He

requires to conduct a simple research on it. The point is to learn anything
that’s going to make a character feel real and strengthened his or her
personality. They often go through books and go online, looking at costuming,
ethnic influences, cultural references and anatomy.
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Before he/she put pencil to paper, there are some questions to
considered:
 What is the character’s place in the story? (hero, villain, side
kick, heroin, etc.)
 What is the character’s personality? (content, dysfunctional,
passionate, loving, etc.)
 Are the plot points within the storyline that affect the design?
(Dumbo’s big ears, Pinocchio’s small nose, which become
long, Shrek’s ugliness, etc.)
Anything you will want to establish before start the drawing is the
hierarchy of the cast of characters. Character Hierarchy refers to the
different levels of simplicity or realism based on the character’s role and
function in the story.
Six Main Category of Character Design
1. ICONIC
Simple, almost graphics, stylized but not very expressive. Eyes
without pupils. ( sample: Early Mickey Mouse and Hello Kitty )
2. SIMPLE
Very stylized, but more expressive than Iconic characters. (
Sample: Fred Flintstone, Sonic the Hedgehog, and Dexter Lab)
3. BROAD
Much more expressive than the two styles, have big eyes and
mouth because of the extreme expressions needed for humor.
(Sample: The Wolf in Tex Avery Cartoons, Roger Rabbit)
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4. COMEDY RELIEF
Does not convey the broad visual humor but can achieve
through their acting and dialogue. (Sample: Nemo, Mushu, and
Kronk)
5. LEAD CHARACTER
Very realistic in facial expressions, acting and anatomy and
proportions. (Sample: Sleeping Beauty, Cinderella, Moses from
Prince of Egypt)
6. REALISTIC
The highest level on the realism, short of photorealism but still
with some caricature in the design. Strong effects film monsters,
comic-book characters, and some computer-graphics animated
characters. (Sample: The Princess in Shrek, most comic-book
characters)
270 | P a g e
To Start Designing Characters, you go first with some visual design basics
that will apply to our character designs. Shape, Size and Variance are the
basic elements of character design.
1.SHAPES
The overall shape will speak for the character’s personality. Also knowing how
to break your character into basic shapes is key to recreate that same design
from different angles and poses.
SHAPES SYMBOLISM
When you start thinking of your characters, always remember the
description of the character on the script or in client’s requests. Try to ask
yourself a questions like: How old are they? Where do they live now? Are
they rich or poor? Genius or dope? Hero or villain?
Base on the questions, the next step is understanding the symbolism

of the basic shapes. This basic shapes will give you the visual cues you need
to describe your character, and this will be the foundation of your characters’
personality traits and attitudes.
271 | P a g e
CIRCLES
Evoke appealing, good characters and are typically used to connote cute,
cuddy, friendly types. Attractive women are often described with curves and
circles and babies usually rely heavily on circular shapes as their visual cues.
SQUARES
Usually depict characters who are dependable or solid, or play the heavy. Like
the bouncer in a club and even superheroes often relies on square shapes.
272 | P a g e
TRIANGLES
Easily lend themselves to more sinister, suspicious types and represents the
bad guy or villain in character design.
While combining shapes makes more complex characters. Some slightly more
complex characters will be made up of altered shapes.
Here is a variety of different characters comprised only of basic shapes or

variations of them. Even without expressions, details and clothing, you can
start to see some personality coming through.
273 | P a g e
Feel free to experiment the used of shapes. This phase of designing your
character is about looking what is really work and what doesn’t work? Which
combination of shapes best describes the character and fulfills the criteria of a
story?
2.SIZE
Size relationships between shapes make for a stronger design with more
visual interest.
Think of small, medium and large shapes. By placing them on the right
arrangement we can create a look that is more interesting, stronger and the
relationships are more dynamic.
DULL ARRANGEMENT BETTER ARRANGEMENT
3.VARIANCE
Variance refers to the spacing and variety of sizes and shapes in a design.
Applying more variety in your design will result to good design and turn to
great one.
Here are some Principles of Design that will help achieving a great design.
CONSTRAST IN LINE can apply to differences in thickness of lines as well as

in length. Placing the lines at angles to one another creates tension and
contrast.
274 | P a g e
STRAIGHT LINES AGAINST CURVES can make a design livelier and
interesting. By putting a curved line opposite a straight line you introduce
dynamism and avoid parallel lines. With this principle it will lend natural looks
to a design.
RECURRING SHAPES WITHIN THE DESIGN can help create a theme. The
different sizes add variety in a design.
275 | P a g e
NEGATIVE SPACE the spaces or gaps between the shapes will help you to
define the character visually. Variety of negative shapes interplay with the
positive shapes, makes a stronger, and interesting silhouettes.
276 | P a g e
ACTIVITY SHEET 4-8-9
Directions: Draw a cartoon character-regular and apply the concepts you

have learned on character designing in a separate drawing paper.
Note: You are given 12 days’ grace period to finish all the drawings.
Specific subjects to draw:
1. Cartoon Male Anatomy

2. Cartoon Female Anatomy
3. Body Parts (Head, Hands, Feet)
4. Types of Characters (Iconic, Simple, Broad, Comedy Relief,
Lead Character, Realistic)
5. Own character

standard. standard.
output.
given time
period.
Rating Scales:

12-15 91-100 Very Good
8-11 86-90 Good
4-7 81-85 Fair

277 | P a g e
Do’s and don’ts of In-betweening
In-betweening is more fun and exciting, it’s like providing the lacking
drawing in an action. You don’t need to overdo it because it may distract and
takes away the purpose of the presentation. You need only to make it simple
and clean. Consider the following Do’s and Don’ts in in-betweening.
Don’ts
 Don’t need to animate every object on your stage.

 Don’t move every object across the stage.
 Don’t animate first and then position your object.
 Don’t animate all objects at the same time frame.
 Don’t create long animation. Your audience has a short attention
span.
Do’s
 Keep it simple. Be selective about what object you animate.

 Position your objects as you intend them to be at end of animation
and then apply your animation.
 Keep it short. If you creating a presentation slide, make sure to
limit animation to just a few seconds.
 Use animation as a tool to support your contents.
 Do ask yourself. Does this look better animated or will it be
cleaner in its current position?
 Use subtle animation effects (not every object has to move from
one side of the screen to another)
 Do preview often. Make subtle adjustments and preview. Repeat.
278 | P a g e
Simple In-betweening
Materials:
 Animation Paper
 Drawing Pencil or Mechanical Pencil
 Eraser
Tools
 Peg bar
Equipment
 Light box
Directions: Given a set of key drawings, perform simple in-betweening and

observe the Do’s and Don’ts of In-betweening.
1 1
3
4
279 | P a g e

1.Keep it simple. Be selective about what object you
animate.
2. Don’t move every object across the stage.
3. Don’t animate first and then position your object.
4. Don’t animate all objects at the same time frame.
5. Don’t create long animation. Your audience has a
short attention span.
6. Keep it simple. Be selective about what object you
animate.
7. Position your objects as you intend them to be at
end of animation and then apply your animation.
8. Keep it short. If you creating a presentation slide,
make sure to limit animation to just a few seconds.
9. Use animation as a tool to support your contents.
10. Do ask yourself. Does this look better animated or
will it be cleaner in its current position?
11. Use subtle animation effects (not every object has
to move from one side of the screen to another)
12. Do preview often. Make subtle adjustments and
preview. Repeat.

280 | P a g e
QUARTER 4
ANSWER KEYS
ANSWER KEY 4.8-1
1. Animation Disc
2. Printable Storyboard
3. Peg bar
4. 3 Hole Punched ACME Puncher
5. X-Sheets
ANSWER KEY 4.8-2
1. Rough Dialogue Model Sheet

2. Turn Around Model Sheet
3. Rough Construction Model Sheet
4. General Final Line Model Sheet
5. Anatomical Study Model Sheet
Answer Key 4.8-5
1. C
2. D
3. B
4. B
5. C
281 | P a g e
REFERENCES
“Cartoon Animation (Collector’s Series) Paperback – January 1, 1994.”

Cartoon Animation (Collector’s Series): Preston Blair: 9781560100843:
Amason.com: Books. n.p., n.d. Web. 18 June 2015.
“Drawing For Dummies Paperback – February 22, 2011.Drawing For

Dummies: Brenda Hoddinott, Jammie ombs: 9780470618424:
Amazon.com: Books, n.p., n.d. Web. 18 June 2015.
“Innovative Training Works. 2012. Digital Whizkids Computer Animation Using

Flash. Quezon City: Rex Book Store.
“The Illusion of Life: Disney Animation Hardcover – October 5, 1995.” The

Illusion of Life: Disney Animation: Ollie Johnston, Frank Thomas:
9780786860708: Amason.com: Books. n.p., n.d. Web. 18 June 2015.
Unctad.org. 2015. “Empretec Programme The Entrepreneur’s Guide.

Accessed November 26, 2015. http://
unctad.org/en/Docs/diaeed20093_en.pdf.
White, Tony. 2009. How to Make Animated Films: Tony White’s Complete
Masterclass on the Traditional Principles of Animation. Amsterdam:
Elsevier/Focal.
Competency Based Learning Material, Drafting Technology
Competency Based Learning Material, CSS
Procedural Guidelines Governing Occupational Safety and Health in the

Construction.
“Creating Characters with Personality”, Tom Bancroft, Introduction by Glen

Keane.
“The Animator’s Survival Kit”, A Manual Methods, Principles and Formulas for
Classical, Computer, Games, Stop Motion and Internet Animators.
Lynda.com, Pinterest, Miracleananimationstudioinc.com, angryanimator.com

Artstation.com Geronimo Stilton Animation Layout.
Quizanjacy.wordpress.com/2015/09/13/types-of-model-sheets/
www.patton-patton.com/basic_flow_chart_sy. http://www.lakeland
www.edrawsoft.com/flowchart.php
282 | P a g e
http://johnkstuff.blogspot.com/2007/10/is-good-line-important.html
https://learn.canvas.net/courses/24/pages/m3-definitions-and-qualities-of-line
283 | P a g e
284 | P a g e

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Grade 9 TLE (ICT- Animation)

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

Regional Director: Gilbert T. Sadsad

Development Team of the Module

Writer: Noel A. Perez, T-III

Welcome to the Module Produce Cleaned-Up and In-Betweened

The unit of competency “Produce Cleaned-Up and In-Betweened

You are required to do through a series of learning activities in order to

Recognition of Prior Learning (RPL)

If you can demonstrate to your trainer that you are competent in a

After completing this module ask your trainer to assess your

Animation A filmmaking technique where the illusion of motion is created

Frame An individual still picture on a strip of film. 24 frames equal one

Frame-by-frame The filmmaking technique in animation where each frame is

Kinestasis (Kin-e-sta'-sis) An animation technique using a series of still

Model Sheet A reference sheet for animators that shows a number of

Pixilation (Pik si la' shun) A stop-motion technique in which life-size props or

Squash and Stretch A drawing technique used by animators and originally

Zoetrope (zo'-e-trop) An early animation device that spins drawings in a

LO 1: Recognize PECs needed in Animation.

Time Allotment: 1 hour

SUMMARY OF LEARNING OUTCOMES

Information Sheet 1.1-1

Personal Entrepreneurial Competencies (PECs)

First, “Entrepreneurship” is a process of innovation and creation of new

Second, “Entrepreneurs” are those people with skills and capabilities to

Important Characteristics / Traits / Attributes of a Good Entrepreneur:

1. Hardworking – Habitually working diligently for a long period of time.

o Excellent Planner – Planning is strategic thinking and setting of goals to

o Possesses People Skills – refers to effective and efficient communication

o Sound Decision Maker – ability to think quickly by making wise decisions

Direction: Read and study the given situation that describes

2. Which of the following is not considered a characteristic of an

Title: Aligning one’s PECs

My PECs that needs Things to Do to Align with

LO 1: Recognize and understand the market in Animation.

Time Allotment: 3 hours

SUMMARY OF LEARNING OUTCOMES

Choose the letter that corresponds to the correct answer.

1. Which environmental factor in business refers to the population of the

3. Which can be considered wants?

4. The following are wants EXCEPT

a. GDP b. inflation c. unemployment rate d. employment rate

Information Sheet 1.2-1

Environment and Market

1. Natural and Physical environment- the actual, physical location of the

2. Demography- refers to the population of your potential market and the

4. Government regulations- you need to legalized your business for you to

5. Economy- it can be interpreted as the effective management of business.

 Gross Domestic Product (GDP) – It reflects the annual gross domestic

 Unemployment Rate – the percentage of people who are actively

1. Needs and Wants of People

A. Examine the existing goods and services

B. Examine the present and future needs

C. Examine how the needs are being satisfied

D. Assess the available resources

F. Select the right idea

1. Factors in screening ideas in deciding which business is to pursue.

1. Conduct consumer/market analysis.

Age No. of Needs Wants

Kind of Business Positive Factors Negative Factors

a. Who do you think your target markets/clients?

______ _ __

______ _ __

___ Noted by: