ANIMATION NCII  The role of the Clean Up and In between Artist in an animation
are the following:
COMPETENCIES REQUIRED TO DEVELOP:
1. Produce Key Drawing for Animation
2. Produce Clean Up and In Between Drawings
1. PRODUCE KEY DRAWING FOR ANIMATON:
Things to Remember:
 Extreme and Key Drawings are the same
 The animator is also the actor of the movie because to be able to
animate effectively, the animator acts out the poses or facial
expressions of the character
 There are 16 frames in one foot legth of a film
 There are 24 frames per second
 The main role of an animator in a production are the following:
o He provides the key poses of a scene,
o he is the actor and
o the one responsible to enure smoothness of
movement.
 The animator does not leave the timing and spacing to the
assistant animator, because timing is the animator’s role.
 An animator cannot redesign the lay out because it will affect the
entire scenes and will make sequencing inconsistent. All the
layouts are approved by the director, only the director can
approve the changes in the layout.
 The responsibilty to plot sounds, track dialog or lip sync belongs
to the director or it may come from the client. An Experienced
Animator has this responsibility only in extreme cases.
 The contents of the folder given to an animator before he or she
starts to animate are the following:
o Lay Out Drawings
o Story board of a particular scene, and
o X-sheet.
 X-Sheet is also known as Exposure Sheet.
 In X-sheet you will find the following:
o Layers,
o slugging,
o mouths,
o dialogue,
o frame numbers,
o timing,
o scene numbers.
2. PRODUCE CLEAN UP AND IN BETWEEN DRAWINGS
Things to Remember:
 Animation production process from clean up to in betweening can
be descibed in this wise:
o Clean up artist models the rough sketches of the
animator then it is passed on to the in between artist to
draw the actual in between frames.
 The difference between Clean Up and In Between:
o the in between takes the cue from the cleaned up
frame. If the cleaned up frame is not accurate, there
will be a problem of consistency of characters in the
story.
 The Standard contents of the animation folder for an in between
and clean up artist are the following:
o layout, story board of the scene,
o model sheet, x-sheet and
o key drawings from the animator.
 Through reading the X-Sheet, the clean up and in between artist
will know the total number of drawing to make.
 Symbol usually used in determining the numbers of the drawing to
be done and the breakdown of drawings:
o Circled numbers represents key drawings and the
planed numbers represent in between drawing and
sometimes there are triangles for breakdown.
 The most important tool/material needed to make sure that the
characters you draw are consistent is the Model sheet.
 By checking the number in the sheet, you will ensure that you
drew the correct number of drawings required by the scene.
 In between and Clean Up Checkers checks the in between and
clean up drawings to ensure consistency of drawings with the
model sheet.
 The most important element of an in between and clean up
drawings is the line quality or the consistent modeled drawings.
o Draws the in between drawings as specified in the X-
sheet.
o Ensure consistency of drawings with the model sheet
o Demonstrate good line quality
ANIMATION PRINCIPLES
Developed by: Frank Thomas & Ollie Johnston
Squash & Stretch
 A way of deforming an object to show its rigidity or flexibility
 Squash and stretch helps in bringing flexibility, sense of weight
and volume in the animation adding more life and energy in the
motion.
Anticipation
 Anticipation, which is the first part of making an action while
animating, communicates what is going to happen. We need to
emphasize on using big anticipation.
 The audience sees what is going to happen and so they
anticipate with us.
 The anticipation is always in the opposite direction to where the
main action is going to go.
 Any action is strengthened by being preceded by its opposite.
 Usually the anticipation is slower and less violent that the main
action,
i.e. Slow anticipation = fast action
 Any action can be enhanced if there is anticipation before the
action.
Staging
 Always stage an action so that the audience understands it. If you
are staging a character or a personality make sure it’s
recognizable. Also good staging helps in reading the expressions
of the character clearly and overall helps in pushing the mood of
the scene, thus engaging the viewer.
Straight Ahead And Pose-Pose Animation
 The animator draws the animation straight ahead which means
he draws the first frame, then the second frame and then the third
and continues till the last frame of the action. This results in a very
dynamic and energetic output.
 In Pose-to-pose, the animator draws only the required key
drawings to animate the action. It is a very structured and planned
way of approaching animation where thumbnails are first made
related to the action being animated.
Follow Through and Overlapping Action
 Follow Through - It is the conclusion part of an action. When the
main body of the character stops all other parts continue to catch
up to the main mass of the character, such as arms, long hair,
clothing, or a cape, floppy ears or a long tail. Always taking a bit
more time to settle down and stop.
 Remember nothing stops all at once.
 Overlapping Action - Slight variations in the timing and speed of
loose parts makes objects seem more natural. This overlapping
action makes the objects and movement more interesting.
Slow In Slow Out
 This Animation principle refers to how all movements begin
slowly, built momentum and then finish slowly.
 Basically easing in and easing out of the action.
Secondary Action
 A secondary action is any action that results from the primary
action. Adding this principle to the main action gives the scene
more life by supporting and enhancing the main action.
Timing
 ”Timing” refers to the number of frames or drawings in a particular
action. So it also determines the speed of the action.
 When you increase the number of drawings between two extreme
drawings, the action will be slow and run for a longer time; and
when the number of drawings in between the extremes is fewer,
the action will be faster and would take less time.
 This way, timing plays a very crucial role in establishing a
character’s nature, personality, mood and emotion.
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  In any given action, it’s not just the number of frames in between An animation team will consist of some or all of the following in varying
the extreme poses that conveys the mood or nature of the action, numbers depending on the size of the production.
but also how close or farther apart the frames are drawn, which in Production Roles
other words is called “Spacing”.
 Spacing is generally referred to as how much the consecutive • Layout Artist
frames overlap. • Background Artist
 An easy example to understand is of these two balls, which have • Key Frame Animator
the same timing moving from one point to another, yet their • Inbetween Animator
actions are drastically different. • Clean-up Artist
• Scanner Operator
Arcs • Digital Ink & Paint Artist
 The movements and actions that we see in nature and living • Compositor
beings in our day to day lives are very rarely mechanical in and
out or up and down motions. Generally, most living creatures Post-production
follow an implied curved path, also known as an “arc”.
The final stage in the process of creating an animation and
Appeal involves exporting or rendering out the animation frames and then editing
 Appeal is one of the animation principles, which makes the the pieces of animation together using video editing software.
character or design stand out. Viewer feels realism and it
generates further interest when appeal is added to the design. • Rendering
Character should be capable of creating a pull when presented. • Compositing
 They should have charisma. • Editing
• Sound Editing
Exaggeration • Sound And Music Score
 This principle is used to push the movement further and add more • Titles & Credits
appeal to an action, pose or expression.

Solid Drawing
 Solid drawing is the animation principle which makes the drawing
looks Three dimensional and believable with Volume, Weight and
Balance.
 This requires the knowledge of drawing a subject three
dimensionally.

ANIMATION PRODUCTION

3 phases in creating animaton:

1. Pre Production
2. Production
3. Post Production

Pre-production
* The phase of further developing ideas and planning prior to the process of
production.
* In an animation sense it is the period before any real animating takes place.

Story Board
• A storyboard is a sequence of drawings that is used to help visualize the
animation and to communicate ideas clearly.
• It details key events and scene changes in the animation, often
accompanied by text notes describing what is occurring in the scene such as
camera movements.
• It is often the first opportunity for others to experience a real impression of
the animation before it enters the production stage..

Character Design (also known as Model Sheet)

 Character design involves developing the appearance and
features of characters in an animation.
 Often an actual model (often referred to as a maquette) will be
produced using modelling clay in order to get a better idea of the
appearance of the character.
 Model Sheets and Expression Sheets are produced to help
animators be consistent with the appearance of characters.
 Simplicity is the general rule to remember when developing
characters.
 The more complex the character the harder it is to repeat over
and over.

Animatic
 An animatic is a timed moving version of the storyboard made up
of individual frames taken from the storyboard and is often
accompanied by audio such as dialogue, sound effects and
music.
 Each frame of the animatic depicts a certain key point of the
scene or movie.
 The running time should match the intended running time of the
final animation.

Production

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