BL-ICT-2120-LEC-

1922S Animation (NC

II) Part 1 by
Francis Isaac Pogi
char 
Week 11 – 20

This is an element of art that is 3-dimensional – form

This is drawing without looking at the paper.  – Blind Contour

These are quickly drawn dynamic lines. – Expressive

A form of sketching that captures form and movement – gesture

This is an element of art that is 3-dimensional – form

This line helps determine the angle and proportion of a form. – center line
This is drawing without lifting the pencil. – Continues Line

A type of drawing that only uses line (outline in French). – Contour

The lightness or darkness of a line. – line weight

This refers in drawing from “life”. – Observational Drawing

Under principle of design, this is creating the impression of action.  – movement

Lightly drawing behind an object portrays a shadow. True.

Moving your pencil in small circles is known as what pencil drawing technique? Circulism

This pencil technique is known as . cross hatching

Will drawing guide help a novice artist step-by-step? True

When drawing details, does it make the picture better? - True

For realism in pencil drawing, don’t use heavy outlines, use subtle shading to show form. Yes

In pencil drawing, avid shading too heavily at the start. Yes

To convey a round edge, try to always use ___________ shading transitions. smooth

A pencil which is midway between hard and soft, indicated by marking 0. False

In pencil drawing, the H indicates a hard pencil, which is _____________ in value – Light

This pencil technique is known as cross hatching. – No/False

When creating a realistic pencil drawing that is proportional, your initial sketch should focus
on – the entire picture first

In pencil drawing, the B indicates a soft pencil, which is _________________ in value. Dark

In pencil drawing, you can use the side of the pencil to shade – True

How does an artist make objects seem real and 3-D?  - All the given answers are
acceptable.

What is a blending stump used for in drawing - to create smooth transitions

In pencil drawing, this picture is an example of using more than one pencil, otherwise
known as a value scale. - True

This pencil technique is called (Eto yung labi ni jego) contour shading

The artist adds shading to make an object look - 3-D

This drawing is called a: still life

Once the parts have been moved, the painted image smudged and destroyed or the
plasticine deformed, it is extremely difficult to go back and correct mistakes. – True

It is a particularly useful animation method when a character must perform certain tasks
within a predetermined time or where a series of actions must synchronize accurately with
a recorded sound track. - pose-to-pose method 

Drawing straight in to ______________ with a graphics tablet using the ‘light box’ or ‘onion
skin’ tool can also employ a ‘straightahead’ animation method. – Flash

come as one plays around with the medium and these can be easily incorporated into the
sequence mid-stream without the audience being any the wiser. Key poses animation

This allows the animator to map out the action in advance with ‘sign posts’ by charting up
these key poses onto ‘exposure sheets’ or ‘dope sheets’, or indeed into the timeline of
computer software.  Key poses animation

Sequences can be tested and individual poses can be re-worked and the animation
progressively improved. – True

These are terms used to describe those critical positions of an animated character or an object which
depict the extreme points in its path of motion, or accents in its expression or mood – keys

Animation techniques such as cut-outs, clay, paint-on-glass, charcoal on paper etc, make
use of a method loosely described as ‘straight-ahead animation

It is the method of choice within most 2D and 3D digital animation packages these days. -
Key Pose

The animated films of _______________ who draws with charcoal on larges sheets of paper
are examples of this method. William Kentridge

Anticipation prepares the audience for an action, and make that action looks more realistic.
True

The purpose is to direct the audience's attention and make it clear what is the most
important movement in a scene.  Staging

Squash and stretch gives a sense of weight and flexibility to drawn objects. True

Squash and stretch is the most used principle. True na hindi kanya mahal

This makes characters seem realistic and interesting. Appeal

This is an action scene that is animated by drawing a few key frames, and filling in the
spaces later - pose to pose ediwow
This makes sure that when a character is in motion, and stops, that all parts of the
character do not stop at the same time.  Follow through

This makes sure that when a character is in motion, different parts of the character move at
different rates of speed. – overlapping action

Timing is to create the illusion that the animated action is following the laws of physics.
True

Squash and stretch gives a sense of weight and flexibility to drawn objects True

This makes characters seem realistic and interesting. Appeal

This makes sure that when a character is in motion, and stops, that all parts of the
character do not stop at the same time. follow through

Squash and stretch is the most used principle. True na hindi kanya mahal

The purpose is to direct the audience's attention and make it clear what is the most
important movement in a scene.  Staging

This makes sure that when a character is in motion, different parts of the character move at
different rates of speed.  overlapping action 

More frames of animation exist at the start and end of an action, with fewer frames of
animation in the middle of that action. slow-in, slow-out

Anticipation prepares the audience for an action, and make that action looks more realistic.
True

This is an action scene that is animated by drawing a few key frames, and filling in the
spaces later pose to pose ediwow

Timing is to create the illusion that the animated action is following the laws of physics. 
True tama, tama na nakakainis ang oed pahirapan pa sa pag gawa

Animation usually operates in the realm of caricature in which exaggeration becomes an

important factor in order to

Capture the spirit of the action being depicted. Good strong key poses emphasize and
communicate the intent of an
Action more efficiently than ill-considered ones. Put simply, strong keys lead to strong
animation. It is therefore vital to

Spend time and thought working out the key poses until they do their job as expressively as
possible as it will pay

Dividends as if these work well. “Limited” styles of animation are based on keys only, and
this labor saving technique

Does not necessarily affect the audience’s enjoyment of a piece.

As animators work out the key poses of a particular sequence, they also find it helpful to
consider whether or not the

Action works well if reduced to a silhouette. Staging the action of hands gesturing
immediately in front of the body may

Not be as effective as staging this action in profile where the various shapes and forms can
be seen in a way that does

Not rely on the challenge of drawing complex foreshortening.

Poses should have both function – depicting the physical extreme of an action or setting up
the character for an action to

Follow by loading its ‘muscles’, and impact – an expressive pose with a dynamic quality that
implies what has gone
Before, what is about to come, and which registers and emphasizes the inner emotional
state of the character.

Animation is an illusion requiring the audience to suspend its disbelief. The audience can be
absolutely engaged within

The stories we tell and the world of characters that we create. However the illusion is a very
delicate one, and alas, it is

All too easy to remind the audience that they are merely looking at a series of drawings, a
puppet, or a moving computer

Model.

To sustain this illusion, in a sense, we also have to infer the physical laws of our animated
world in such a way that they

Are not in conflict with our day-to-day experience of natural laws we observe in the real
world. These laws can be

Represented in an incidental way by how your character moves about its setting. Your key
poses, therefore, should also

Show how the character carries its own weight – is one leg relaxed while the other supports
the entire weight of its

Body? Is the body of the character under some physical strain from carrying, pushing or
pulling a heavy object? Perhaps
You need shift the character’s weight off-centre to counter-balance the object it is carrying.
What is its state of balance

Or indeed unbalance? Consider the ‘line of action’, the main mass of the character and what
happens to these masses

When your character propels itself from a resting position – there must be at least one
firmly locked down a contact

Point with the ground (usually a foot) so that the forces involved in getting your character
moving can be seen to pass

Through its body to this contact point making the action believable. The slippage of feet
upon the ground at

Inappropriate times, is one sure way of shattering this illusion.

Animation usually operates in the realm of caricature in which exaggeration becomes an

important factor in order to

Capture the spirit of the action being depicted. Good strong key poses emphasize and
communicate the intent of an

Action more efficiently than ill-considered ones. Put simply, strong keys lead to strong
animation. It is therefore vital to

Spend time and thought working out the key poses until they do their job as expressively as
possible as it will pay
Dividends as if these work well. “Limited” styles of animation are based on keys only, and
this labor saving technique

Does not necessarily affect the audience’s enjoyment of a piece.

As animators work out the key poses of a particular sequence, they also find it helpful to
consider whether or not the

Action works well if reduced to a silhouette. Staging the action of hands gesturing
immediately in front of the body may

Not be as effective as staging this action in profile where the various shapes and forms can
be seen in a way that does

Not rely on the challenge of drawing complex foreshortening.

Poses should have both function – depicting the physical extreme of an action or setting up
the character for an action to

Follow by loading its ‘muscles’, and impact – an expressive pose with a dynamic quality that
implies what has gone

Before, what is about to come, and which registers and emphasizes the inner emotional
state of the character.

Animation is an illusion requiring the audience to suspend its disbelief. The audience can be
absolutely engaged within
The stories we tell and the world of characters that we create. However the illusion is a very
delicate one, and alas, it is

All too easy to remind the audience that they are merely looking at a series of drawings, a
puppet, or a moving computer

Model.

To sustain this illusion, in a sense, we also have to infer the physical laws of our animated
world in such a way that they

Are not in conflict with our day-to-day experience of natural laws we observe in the real
world. These laws can be

Represented in an incidental way by how your character moves about its setting. Your key
poses, therefore, should also

Show how the character carries its own weight – is one leg relaxed while the other supports
the entire weight of its

Body? Is the body of the character under some physical strain from carrying, pushing or
pulling a heavy object? Perhaps

You need shift the character’s weight off-centre to counter-balance the object it is carrying.
What is its state of balance

Or indeed unbalance? Consider the ‘line of action’, the main mass of the character and what
happens to these masses
When your character propels itself from a resting position – there must be at least one
firmly locked down a contact

Point with the ground (usually a foot) so that the forces involved in getting your character
moving can be seen to pass

Through its body to this contact point making the action believable. The slippage of feet
upon the ground at

Inappropriate times, is one sure way of shattering this illusion.

When learning how toAnswerfor the first time, get up out of your chair and act out the action
you are trying to represent. = animate

To sustain this illusion, in a sense, we also have to infer the = physical laws

StrongAnswer keys

lead to strong animation = keys

Poses should have both function - depicting the physical extreme of an action or setting up
the character for an action to follow by loading its 'muscles', and impact an expressive pose
with a dynamic quality that implies what has gone before, what is about to come, and which
registers and emphasizes the inner emotional state of the character.

As animators work out the key poses of a particular sequence, they also find it helpful to
consider whether or not the action works well if reduced to a silhouette yung yellow yung
sagot wag tanga sa oed. Kay crush lang dapat

"Limited" styles of animation are based on keys only, and this = labor saving technique

Does not necessarily affect the audience’s enjoyment of a piece = labor saving technique

Good strong = Key poses = emphasize and communicate the intent of an action more
efficiently than ill-considered ones. Key poses

Animation usually operates in the realm of caricature in which exaggeration becomes an

important factor in order to capture the spirit of the action being depicted.
Staging the action of hands gesturing immediately in front of the body may not be as
effective as staging this action in profile where the various shapes and forms can be seen in
a way that does not rely on the challenge of drawing complex foreshortening

Animation is an illusion requiring the audience to suspend its disbelief

The first step when animating on a computer is called render. False

This is the gray area around the stage = pasteboard

What type of animation is used mainly for TV shows, is simple, and obviously not real
looking?  2D

Animation is the illusion of movement. What does it mean? = Animation makes unmovable
pictures to look like they are moving.

This refers to the beginning or ending of a sequence of frames.  Keyframe

The total amount of time it takes for the animation to play all the way through one time is
called the = duration

Frame-by-frame animation is when the animator -----. Creates each frame individually

The scene behind the action is called the background.  – True

What TYPE of animation requires a CAMERA to take hundreds of PICTURES of real objects
that are moved a little bit before each picture shot? - stop motion 

I can figure out the ___________ of my animation by counting the number of frames placed
on the timeline. Length

Why do animators use storyboard?   To help them plan

Every animation is organized on the _____________, which is just a frame-holder. Timeline

FPS is short for frames per second.  – True tama na cute ka yiee

A box with a line that runs through the timeline that allows you to drag back and forth to see
the action. – playhead or illustration magulo ang oed parang ikaw.

Planning out an animation starts with creating a: storyboard

Most authoring packages include visual effects such as the following except one.  - All the
given answers are acceptable.

What type of animation is the common animation used today for full length films with high
quality and life like characters? 3-D
Which one could be another name for a professional animator?  graphic artist

The timeline is where the sequence of events is created, and it is made up of: = frames

The animator inserts a ______________ on a specific frame to show a major change of

movement within the animation.  Keyframe

The timeline is a horizontal representation of a scenes elements, timing, etc.  True, oo tama
tama na sira ulo ka

Important positions in the action defining the starting and ending point.  frame

The _____________ of the animation is determined by counting how many frames are flipped
by in 1 second. = speed

What type of animation does not tell a story, but instead enhances videos by moving around
graphics and text? motion graphics  (credits Francis ferrer cute)

Onion skin is a feature allowing you to see previous and next drawings of a sequence. In
Photoshop, this is accessed through the properties window.  False (Mali na saktan kanya)

Every object, character, or text must be put in a __________ and placed on a timeline. = frame

Animation is primarily used for = entertainment

Each character must be unique because of their emotions.  – True sabi ni Professor Francis
Isaac

Stage is where animation will be drawn. True kase tama

A sequence of static images that are made to look like they are moving.  =animation

What type of animation was mainly drawn by hand and is the earliest type of animation? =
traditional

The ratio between width and height dimensions for any scene, frame, or file format is called
aspect ratio.  = True sabi ni Sir Francis Ferrer

Each individual picture in an animation is called a  = Frame

Match the term and details to complete each statement.

One means drawing out a scene frame by frame from beginning to end, while the other
involves starting with drawing a few key frames, and then filling in the intervals later. =
straight-ahead versus pose to pose
Which method did we use when we created our stop-motion projects on PowerPoint =
Straight Ahead

This action adds to and enriches the main action and adds more dimension to the character
animation, supplementing and/or re-enforcing the main action. – secondary action

Principle with more drawings near the beginning and end of an action, emphasizing the
extreme poses, and fewer in the middle. Most objects need time to accelerate and slow
down, this principle softens the action, making it more life-like.  – slow in, slow out ediwow

Its purpose is to direct the audience’s attention, and make it clear what is of greatest
importance in a scene. This can be done by the placement of a character in the frame, the
use of light and shadow, or the angle and position of the camera. – Staging

This movement prepares the audience for a major action the character is about to perform,
such as, starting to run, jump or change expression. Examples are a pitcher’s wind-up or a
golfers’ back swing. – anticipation

The most used principle. = Squash and stretch

This principle makes objects appear to obey the laws of physics; for instance, an object's
weight determines how it reacts to an action, like a push. Critical for establishing a
character's mood, emotion, and reaction. – timing

This principle means taking into account forms in three-dimensional space, or giving them
volume and weight. The animator needs to be a skilled artist and has to understand the
basics of 3D shapes, anatomy, weight, balance, light and shadow, etc. – Solid Drawing

Corresponds to what would be called charisma in an actor. A character who is not

necessarily sympathetic – villains or monsters can also fall under this principle – the
important thing is that the viewer feels the character is real and interesting. – appeal

Gives the illusion of weight and volume to a character as it moves. It is used in all forms of
character animation from a bouncing ball to the body weight of a person walking. – Squash
and stretch
This principle describes an action that remains true to reality, just presenting it in a wilder,
more extreme form. – exaggeration

Most actions follow a slightly circular path. This is especially true of the human figure and
the action of animals. Give animation a more natural action and better flow. Examples are a
pendulum swinging, arm movement, head turns and even eye movements. – arcs

The action that follows the main action; actions do not stop at the same time. – follow
through and overlap (maliit na letter ito)

A ______________ is a single image in an animated production.  = frame

The technical limitation you are likely to encounter in creating animation is the ability to
accurately calculate physical actions. – True sabi ni Idol Boss Francis Isaac Ferrer

Opposite of anticipation. – Follow Through and Overlap (malaki dapat mga first letter loko
yung oed kase)

Credits : Francis Isaac  Godbless kaya mo yan Goodluck bata bata.