JUNE 18-22, 2018 WEEK 1

1st Semester - FIRST QUARTER PERIOD GRADE 11

TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder

The human imagination is limitless and sometimes our creative minds come up with stories and subject matter that just can’t be achieved with real

actors, props and costumes. Cue animation: the art of bringing images to life.  The techniques that created these animations, once painstaking, has

made leaps and bounds thanks to advances in technology.

October 28th is Animation Day and to celebrate, we thought we’d take some time to look back at just how far animation has come over the last

century. For brevity’s sake, we’ll stick to the impact that animation has had on TV and film. After all, no matter how old you are, it’s a safe bet that

you’ve seen some animation in your time that has knocked your socks off!

1900s: The first animated short film

Although a few other films had been created in the years prior, Fantasmagorie is widely considered the first true animated film. Created by Emile

Cohl, the short film follows a stick figure who encounters other characters and transforming objects. At the time, chalkboard caricatures were popular

on vaudevilles circuits, so the drawings were filmed in negative to give the animation the appearance of a chalkboard drawing brought to life.

Fantasmagorie has long since entered the public domain and you can feast your eyes here:
1910s: Rotoscoping adds more realism

In 1915, Max Fleischer developed the rotoscope technique, where projection equipment is used to trace figures from stills of live-action footage. This

method allowed animators to get a better understanding of the finer aspects of a moving form to create realistic, fluid motion in animated pieces.

Fleischer’s patent on rotoscoping expired in 1934, allowing other animators to swoop in and freely use the technique.

1920s: Traditional animation picks up steam

Animator Walt Disney founded his own studio in California which (as his name suggests) would later become Walt Disney Studios, a titan in the

industry. Although it was the third instalment of the Mickey Mouse series, it was the 1928 classic,  Steamboat Willie, where Mickey Mouse finally

captured the hearts of the public. Recurring characters from the series such as Minnie Mouse, Goofy, and Donald Duck are still around today!

1930s: Walt’s gamble pays off

Throughout the early 1930s, the “rubber hose” style of animation dominated the industry, typically set to jazz music which was popular for the era (it

can also be found in Cuphead, the latest indie game sensation available on Steam).

Then along came Disney’s Snow White and Seven Dwarfs. Released in 1937, it was the first feature-length film created entirely with hand-drawn

animation. As the first of its kind, Disney had to fight hard to get the film released, even mortgaging his own house to help pay the massive

production costs. However, the film was a tremendous success and it paved the way for many more iconic Disney movies to come! One thing’s for

sure – they don’t make film trailers like they used to!

1940s: Animation takes to television

In previous decades, you could only find animation in movie theatres, where most people sought out their dose of animated entertainment. As home

TVs became more popular, the very first animated TV series debuted in the form of  Crusader Rabbit, a series of 4-minute long satirical cliffhangers

which would continue to air as late as the 1970s. One of its creators, Jay Ward, would later go on to create The Rocky & Bullwinkle Show.

1950s: Helping out in horror flicks

In the days long before computer-generated images (CGI), traditional animation methods such as  stop-motion were used as an alternative to having

someone dress up in a monster costume, which could look cheesy and a little less scary. Following the example of the original  King Kong, “creature

features” such as The Beast from 20,000 Fathoms and It Came From Beneath the Sea used stop-motion animation for many of their monster scenes.

1960s: Saturday morning cartoons become commonplace

When colour TVs hit the market in the previous decade, it opened up a world of creative opportunities for animation in mass media. Airing cartoons

such as The Flinstones on a Saturday morning when kids didn’t have school became a common trend. Xerography was also adapted to speed up the
production process by printing animator’s drawings directly onto animation cels (the transparent sheets they were drawn on so they could be layered

over backgrounds) instead of hand-inking them. The first feature film to use this technique was One Hundred and One Dalmatians.
1970s: Animation for adults

Who says animation is just for kids? As society become increasingly more experimental throughout the 1970s, creators broke out of the stereotype of

kid-friendly subject matter and adapted Robert Crumb’s comic strip Fritz the Cat into an animated comedy film of the same name. Not shying away

from controversial topics, Fritz the Cat was a huge success in counterculture and an R-rated sequel would follow just a few years later.

1980s: Space operas are big in Japan

There’s no doubt that Japanese animation, more commonly known as anime, is a huge part of animation today. In the decades prior, however, the

Japanese animation industry had shrunk due to increased competition from television. Inspired by the commercial success of the Star Wars franchise,

however, space operas Mobile Suit Gundam and Space Battleship Yamato were revived as theatrical films, sparking the beginning of the 1980s

“anime boom” that would spread throughout Japan, the USA, and then the world!

We also saw the very first use of computer-generated imagery (CGI) for a cartoon-style animation in the form of Pixar’s  The Adventures of André

and Wally B. This type of animation started out with a much more simplistic art style as graphics were created entirely on computer software without

involving hand-drawn images.

1990s: The age of computers

Rapid advancements in computer technology revolutionised animation production throughout the nineties. Walt Disney’s Rescuers Down Under was

the first feature film created using a Computer Animation Production System that removed the need for a traditional animation camera. Released in

the same decade, Toy Story was the first fully computer-animated film, utilising artistic techniques such as transparent shading and blended colours

that weren’t possible using older forms of animation.

This was also a great time for Australian animation with the release of two much-loved feature films in 1992: FernGully: The Last

Rainforestand Blinky Bill: The Mischievous Koala.

2000s: The Flash craze

At the dawn of the new millennium, Flash was installed on the vast majority of desktop computers to display interactive web pages, games and video.

The Macromedia Flash software (what we now know as Adobe Flash) grew in popularity both inside and outside of the professional industry and

communities formed around websites such as Newgrounds and YouTube where anyone was free to share their creations with the world.
2010s: Present day

Today, animation is a bustling industry with heavy exposure across all manner of websites, social media, TV and film for all ages. Although  the age

of Flash is over, computer animation techniques remain the most popular due to their creativity versatility and increasing accessibility.

That said, techniques with more traditional roots are still finding a way to adapt – stop-motion picture ParaNorman used 3D printing to create models

rather than sculpting them by hand. Even children’s toys such as StikBot and Mattel’s Minecraft Stop-motion Movie Creator are encouraging kids to

get creative and give animation a try, so who know what we’ll see once they’re grown up!

JUNE 25-29, 2018 WEEK 2

 1st Semester - FIRST QUARTER PERIOD GRADE 11

TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder

A lightbox is a translucent surface illuminated from behind, used for situations where a shape laid upon the surface
needs to be seen with high contrast.

A pencil is a writing implement or art medium constructed of a narrow, solid pigment core inside a protective casing

which prevents the core from being broken and/or from leaving marks on the user’s hand during use.
Mechanical pencils are used to provide lines of constant width without sharpening in technical drawing and in
quick, neat writing. They have also been used for fine-art drawing

`
An eraser is an article of stationery that is used for removing writing from paper or skin. Erasers have a
rubbery consistency and come in a variety of shapes, sizes and colours. Some pencils have an eraseron one
end.

A level of translucency is necessary to see all the drawings. Professional animation paper is made
with this in mind. It also comes in different sizes. Most professional animation paper comes with 3 punched
holes.
 A peg bar is a piece of plastic, or if you get fancy a piece of metal, that is meant to hold your papers in
place when you draw and shoot your animation.

A pencil sharpener (also referred to in Ireland as a parer or topper) is a device forsharpening a

pencil's writing point by shaving away its worn surface. Pencilsharpeners may be operated manually or by an
electric motor.

JULY 02-06, 2018 WEEK 3

1st Semester - FIRST QUARTER PERIOD GRADE 11
 TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder

Props Design

The ability to design any object from any angle is vital to artistic development. Not just for video games, but any career working in movies or TV
too. Think of vis dev artists and how much effort they put into colors, moods, and similar areas.

To practice props design you’ll want to study anything that interests you. Not just objects, but styles and aesthetics of different periods. Props for a
story set in Victorian era Britain will be different than props found in the American civil war.

All great artists learn to study from life and draw inspiration from real things. History is a great teacher. But so is the real world. Take a trip out to
museums and tours of old houses. Bring a sketchbook and draw anything that catches your attention. The more you draw the more you’ll build up
a visual library of new ideas.

Think about all the different styles of lamps, stoves, tables, practically anything that could appear in an imaginary world.

It is the prop designer’s job to imagine how this stuff looks from different angles and to render them in detail so that modelers can recreate them from
scratch.

Some props designers choose to focus on a specific area of interest like vehicle designs or weapon designs. This is also totally fine. If you’re good
enough then studios may want to hire you for freelance work on major projects.

It may be obvious, but the best way to improve is to simply practice props and draw as much as you can. This doesn’t mean you should ignore
concepts like figure drawing. But once you understand the fundamentals you might choose to place more emphasis on designing props.

Eventually this will lead to an incredible props design portfolio. The more you practice the better you get, and by studying the work of others you’ll
have an end goal to shoot for.

JULY 09-13, 2018 WEEK 4

1st Semester - FIRST QUARTER PERIOD GRADE 11
 TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder

JULY 16-20, 2018 WEEK 5

1st Semester - FIRST QUARTER PERIOD GRADE 11
 TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder

CLEAN-UP REQUIREMENTS FOR DRAWING

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 "rough animation" because they are often done in a very loose fashion. If the
animation is successfully pencil tested and approved by the director, clean versions of the drawings have to be done. In larger studios this task is
given to the animator's assistant, or, in a more specialised setting, to a clean-up-artist. The artist doing the clean-ups is responsible for the final line
and finished look of the shot.

JULY 23-27, 2018 WEEK 6

1st Semester - FIRST QUARTER PERIOD GRADE 11
 TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder

Dos Don’ts
Always use a pencil, and a pencil only, for the drawing, Do not use ink, or colour, or ball-pen.
the labels, the title – everything

Use an 0.5 Mechanical Pecil. It is neither too hard nor

too soft.

Use a good quality eraser.

Your drawing should be a plain line drawing. Do not shade or blacken structures, such as the nuclei. Do
not use shading to create 3-D effects. Biological drawings are
generally 2-D drawings (flat).

Always draw boundary lines free-hand. Do not draw a cell with ruler or compass even when the cells
have very regular shape.

Lines should be single, thin, firm from the beginning to Do not draw lines of uneven thickness, lines that fade out, and
the end, evenly dark. Do not go over the same line two or more times.

Lines should be continuous and should join neatly. Do not leave meaningless gaps or have lines crossing for no
reason at all.

Lines should be reasonably steady, straight: Do not draw shaky, wavy lines:

JULY 30 - AUGUST 03, 2018 WEEK 7

1st Semester - FIRST QUARTER PERIOD GRADE 11

TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder
AUGUST 06-10, 2018 WEEK 8
1st Semester - FIRST QUARTER PERIOD GRADE 11

TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder
AUGUST 13-17, 2018 WEEK 9
1st Semester - FIRST QUARTER PERIOD GRADE 11

TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder
AUGUST 20-24, 2018 WEEK 10
1st Semester - FIRST QUARTER PERIOD GRADE 11

TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder
AUGUST 27-31, 2018 WEEK 11
1st SEMESTER - SECOND QUARTER PERIOD GRADE 11

TESDA CORE COMPETENCY: Identify requirements for cleaned up-drawings in actual scene folder
SEPTEMBER 03-07, 2018 WEEK 12
1st SEMESTER - SECOND QUARTER PERIOD GRADE 11

Produce cleaned-up drawings in actual scene folder

Key, extreme, inbetween and breakdown drawings
The main drawings or extreme positions are called extremes and the drawings in between the extremes are
called inbetweens.

In the next image, describing the movement of a pendulum, is clear how important is the middle position of his
animation:

The drawings that shows what's happening on the story are the key drawings

SEPTEMBER 10-14,2018 WEEK 13

1st SEMESTER - SECOND QUARTER PERIOD GRADE 11

Produce cleaned-up drawings in actual scene folder

Animation Software

More and more graphics software applications support features for creating simple 2D (dimensional) animated graphics. For example Photoshop can
be used to create animated Gifs, eg rollovers. However more complex animations for web and multimedia applications can be produced using
specialist software applications. Paint and drawing applications can be used to create the graphics to include in an animation. They would then be
imported into one of the following applications and animated.

 Adobe Flash is the industry standard application for creating 2D animation for web and multimedia. This can be used to create anything
from simple to more complex animation. Bitmaps can be integrated and converted to vectors. Unlike typical graphics applications Flash
has the added bonus of being able to produce interactivity using 'ActionScript', therefore it is now used for creating web based games.

The original intention of Flash was purely to create 2D web based animation, however, as it has become more popular, its scripting language
increased and extra features have been added, it has turned into a 'web authoring tool'. It is now also used to create entire websites. Flash files are
vector based. SWF (pronounced swiff) is the standard published format for files to be incorporated into web pages. Flash player is required to view
.swf files.

Other Animation graphics software applications include:

 ToonBoom Animation
 Anime Studio
 CelAction

Procedures and policies in keeping the record

It is important to keep records, not only for your own use and reference but also because in some cases you are required by law to keep records for a
certain amount of time.

Records you may keep include:

 attendance list
 feedback forms
 a copy of your presentation
 copies of all handouts
 self evaluation
 contacts list of other stakeholders
 display set-up
 list of where all the resources came from
 cost effectiveness of presentation / display
 referrals made

Records you will need to keep (check laws governing how long each item needs to be securely stored):

 hazard reports
 injury reports
 incident reports
 formal assessment details
 consent form

1. Policy Statement
Animation laboratory is committed to the principle of maintaining accurate, comprehensive, clear and complete records of services provided to all
members. The records will be kept for the appropriate periods as laid down in legal and national requirements and safeguarded against damage, loss
or improper usage.

To ensure transparency, member’s rights and confidentiality, there should be no alternative system of restricted files. Members should be made aware
of all information kept about them and be able to endorse this by reading and signing any information received or kept about them. If there is any
information from third parties, for which there is no permission to share, this should be kept in a restricted access section of the member’s records.

2. Related policies/procedures:

Confidentiality Policy

Data Protection Policy and Procedure

2. Staff Responsibilities
2.1 Manager
The Manager is responsible for ensuring that all members’ records are maintained and stored as per the policy and procedure in place and ensuring
the destruction of records in accordance with policy and procedure.

2.2 Staff

All staff are responsible for compliance with the policy and procedure.

3. Staff Responsibilities

3.1 Manager / senior person

To ensure that all staff, volunteers and members have access to and are aware of this policy.

To ensure that safeguards are in place to protect the interests of members.

3.2 All staff / volunteers

To be aware of, read and adhere to this policy and procedure.

4. Audit Plan

The Manager/ senior person will monitor adherence of the policy and report findings to the Trustees.

5. Scope

This policy applies to all staff, volunteers and Trustees/ Board of Directors.

The procedure aims to set out the steps by which records are created, the requirements of staff to complete the records appropriately and the
requirements for the management, handling, storage and destruction of records.
6. Animation Staff / volunteer training
All staff and volunteers are to be made aware of this policy.
All staff must have induction and training on member confidentiality and on the security of records, particularly electronic records.
All staff working with personal records need to be reminded that it is a disciplinary offence to disclose confidential information to unauthorised
individuals.

7. Procedure
Care should be taken to ensure that information is recorded precisely for the purposes for which it serves and no others. The objectives include:
 To assist accountability i.e. to demonstrate the achievement of required standards of practice
 To help decision making i.e. to provide accurate, up o date, unprejudiced information, which helps to make informed decisions
 To convey, interpret and understand behaviour and events i.e. to record as accurately as possible impressions and observations of events
 To manage effectively and to review and evaluate service provision i.e. there is always a need for good accurate and reliable management
information
 To exchange information and communicate efficiently i.e. to help team work, continuity and consistency of practice.

More specifically:
 To provide a baseline assessment record against which improvement or deterioration may be judged
 To provide a record of any problems that arise and the action taken in response to them
 To provide evidence of specific support required, interventions carried out and member responses
 To include a record of any factors (physical, psychological or social) that appear to affect the member
 To record any specific requirements to care and support needed
 To record the chronology of events and the reasons for any decisions made
Computer held records
 Personal information held on computer must be password protected to avoid the risk of breaching confidentiality
 There must be access controls to restrict users of the system to specific functions as defined by the system manager
 Screens should not be left unattended when the system is active
 Steps must be taken to make regular back-ups of computer held records on disc, tape or other similar mediums
 Backups should be stored in a secure place, if possible in a separate location

Storage of care records

 All records held in the animation lab must be safeguarded against loss, damage, or use by unauthorised persons by keeping care plans in
secure controlled locations at all times; locked rooms, locked cabinets or security protected computer systems.
 Authorised personnel must have access to the stored records at all reasonable times.
 All records must be kept for a minimum period of seven years after death or discharge
Destruction of service user records
 Records must be destroyed once they have been retained beyond the *statutory retention period after either a] leaving the service or b]
death of the member. [*7 years as agreed with the Data Protection Information Commissioner]
 Records must be destroyed in such a way as to ensure that confidentiality is not breached (this will usually be by shredding the entire
content of the record if paper held or by deleting the content of records held on electronic media. Discs and tapes must be destroyed)
 Where records are incinerated by an external contractor, the process is monitored and the company is required to give a written guarantee
with regard to confidentiality.
 SEPTEMBER 17--21,2018 WEEK 14
1st SEMESTER - SECOND QUARTER PERIOD GRADE 11

Produce cleaned-up drawings in actual scene folder

Objective: Create a character model sheet for an original character, who will appear in your final term project: The Fall. While the must be original,
it may take inspiration from existing characters. The character model sheet will show the Front, side, three-quarter and back view of your character
on a single sheet of paper.

Instructions:

Research: Search the web for some animated 2D characters you find interesting. Look carefully at how their mouth and eyes are constructed. Look
at the head shape and how the hair is made. Consider the clothing design. Clothing should have too many complex lines. Read this page about the
purpose of Character Model Sheets
Draw: Create a character of your own design. Draw the following views, in pencil, on a single sheet of paper, placed horizontally.

Front View

Side (Profile) View

Three-Quarter View

Back View

Make sure each view is the same size. Use a light reference line to help you keep the head and fingers tips and feet at the same height across all the
views.

The model should follow the basic proportions of the figure below. It will make following the walk cycle tutorial easier.
SEPTEMBER 24-28,2018 WEEK 15
1st SEMESTER - SECOND QUARTER PERIOD GRADE 11

Produce cleaned-up drawings in actual scene folder

OCTOBER 01-05,2018 WEEK 16
1st SEMESTER - SECOND QUARTER PERIOD GRADE 11

Produce cleaned-up drawings in actual scene folder

 NARUTO MODEL SHEET

1. The drawing should be bigger than the rough drawing.

2. DO NOT TRACE the rough drawing.