WHOLE BRAIN LEARNING SYSTEM

OUTCOME-BASED EDUCATION

TECHNICAL VOCATIONAL AND LIVELIHOOD

GRADE
SENIOR HIGH SCHOOL
ANIMATION NC II 12

II
LEARNING QUARTER

MODULE WEEK 1-3

WBLS-OBE Curriculum Guide Self-Learning Module TVL 11/Technical Drafting

 MODULE IN
ANIMATION NC II
QUARTER I
WEEK 1-3
CHARACTER MOVEMENT IN
2D ANIMATION
Development Team
Writer: Roger C. Vea
Editor: Angela A. Garganta
Reviewer: Jerry Valdez Carreon
Illustrators:
Lay-out Artist: Roger C. Vea
Management Team: Vilma D. Eda Domingo L. Laud
Lourdes B. Arucan Juanito V. Labao
Adelyn C. Domingo Marju R. Miguel

ii
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 What I Need to Know

This module provides you the foundation of Traditional Animation. In your journey through the
discussions and different tasks, you are expected to:

Understand character movement in 2D animation.

• Line of Action
• Creating Animation Chart

At the end of this lesson, you will be able to:

1. create rhythm charts for creating movements;

2. understand the line of action for character; and
3. define an appropriate follow-through action.

WBLS-OBE Curriculum Guide Self-Learning Module TVL 11/Technical Drafting

 What I Know

Pre-test

A. Direction: Draw the appropriate figure on key 2. Use your drawing pad.

Key 1 Key 2 Key 3

B. Direction: Identify the line of action on the figures below. Use your drawing pad.

1. 2. 3. 4.

WBLS-OBE Curriculum Guide Self-Learning Module TVL 11/Technical Drafting

 Lesson
CHARACTER MOVEMENT IN
1 2D ANIMATION

What’s In

In the previous lesson, we have discussed matters about the Construction of the Head and
the Body. Let us go back to these topics. Try to recall the things that are found in the
following scopes.

Activity 1. Let us recall!

Activity 1. Read and answer the following questions. Use a separate sheet of paper.
1. Sketch all the position of the head illustrated in “the Pose” .
2. Can you draw “The Face Profile: Male and Female”? Try it!
3. Do you think skill in construction of the head and the body is helpful in
animation? Why?

Top 10 ways to draw the head [1- Andrew Loomis] "Narrated"

https://www.youtube.com/watch?v=2el5YPEwD_A

A. Answer the following questions:

1. What are the important points discussed in the video?
2. What kind of output seen in the video captured your interest?
3. Why is it important, especially for beginners like you, to understand the Drawing of
Skeleton Foundation?

Notes to the Teacher

Please check the answer of the learner, If all answers are correct,
the learner will proceed to the next part of this module.

3
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 What’s New

Character movement in 2D animation

If you've completed your character, the types of actions that are acceptable must be
considered. The character's gestures transmit a message about its actions and intended acti
ons to the spectator. Using the line of action that is the basis of rhythm, simplicity and directn
ess is one way to do this.

What is it

Line of Action

The line of action is a vital element for making the poses of your character appear more
dynamic. We will explain what the line of action is in this guide and how it can be used to ma
ke your character poses come alive.

What is the Line of Action

The line of action goes hand in hand with promoting the reading of a character's pose.
Think of the action line as an imaginary line which runs down the spine of a character. A
curved line is the line of operation. Having the line of action bent, as opposed to drawing it
as a straight line, adds more power and attitude to your character's posture, which, in turn ,
helps make the poses of your character more visually appealing to the viewer.

A plain curved line that evokes movement is the line of operation. It will hinder the

4
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
overall force and make the resulting pose appear less dynamicavoid making the line of actio
n S-shaped or straight.

Below are examples of poses utilizing a strong line of action. Note that even though
the character may be standing "still", there is still an attitude being projected, simply by
having the torso coincide with the line of action.

When drawing from life, find the line of action - note it down, and then proceed to
exaggerate it. It'll make the resulting pose feel more "alive" and less stiff.

5
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 In the example below, we can see that as the line of action is made more horizontal,
the character's run appears to be getting faster.

To give our character poses even more variety, we can twist the torso against the
hips. By "breaking the plane", we automatically add depth to a pose. Coupled with rendering
foreshortened elements of the body, the possibilities are endless.

The line of action can make your character poses more dynamic and easier to read.
Give it a try on your next character design!

6
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
Build a Chart for Animation

Drawings are made of key positions that produce the action 's impact. In animating a
walk, for example, there are key poses that first need to be defined.

Be sure to animate all of the character's related pieces. Hands and feet should
be commensurate with the body.

You can already draw half of the action, including hands , arms , legs, and feet, for
the half cycle. It can then be moved from side to side, which, without redrawing the body
and head positions, ultimately completes the operation.

Other Forward Movement of the Two Legged Figure

7
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 All actions take on various features. To animate a four legged figure, you may use
the guide below.

Two primary positions and in between them in a rational way to animate a walk.
It is important that the head, arms, body, and legs move independently. To make it easy, the
trick is to break down the action into pieces. In a walk, the primary movement stems from the
legs first. A walk is a sequence of continuous moves. An example of a key location for a one-
step action is found on the next page.

8
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
A breakdown drawing of a walk animation

To make the right foot move forward from drawing as indicated with the illustration
below, key positions are1 and 9, in-betweens are used such as 3 and 7. In-between are the
drawings in between the key positions. The important basis of in-between should be
accurate. From the illustration below, the first in between is down position (3) while the
second in-between is up position (7). The passing position is on number 5.

Note: The two in-between body positions naturally shifts between the key positions (1 and 9)
and the passing position (5).

9
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
The Head Turn
Know that when animating, everything that moves in life moves in arcs.
This refers to anything but a machine, which by its very nature is mechanical.

A straight in-between would cause the face 's features to slip across the head and
render the mechanical look of the action. The breakdown must be put on the arc to prevent
this and make the action look more believable. You will note an arc movement, look at the
mirror and watch the head turning motion. In animation, this is the arc that has to be dupli-
cated. To further give realistic approach, an expression on the face must be incorporated.

10
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
You may add additional in-betweens for a smooth action, as shown below.

Before you start to animate the character, it is important that you feel the movements
of the character in your own body. Better animation is created by understanding the correct
emotions or feelings of the action. The greater your creativity, the greater the ability to create
an animation that is more realistic. Also, incorporating eye movement is a must in animation
to provide a wholistic reality. Do a mirror analysis of how you blink, catch the eye 's motion
when you turn your head, that's exactly what will happen when you do the eye 's motion for a
head turn animation.

Note: When a character is moving and looking in one direction, the eyes should lead
the direction of the head as clearly in the action as possible.

11
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 What’s More

In betweening lesson - by traditional animator Scott T. Petersen

https://www.youtube.com/watch?v=sKHCl7yoQpE

How To Animate Fluid Character Movement - 2D Animation Tutorial

https://www.youtube.com/watch?v=OLICcEiXq4Y

A. Answer the following questions:

1. What are the important points discussed in the video?
2. What kind of output seen in the video captured your interest?
3. Why is it important, especially for beginners like you, to understand the Drawing of Head?

Activity 2. Redraw the figures and mark in bold pencil the line of action of each of the figure
below. Use your drawing pad.

Activity 3. Draw at least two of the forward movement of the two legged figure and two also
of the four legged figures as illustrated avove.

12
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 What I Can Do

Activity 3. Hands-on time

A. Directions: Draw a walk, run and jump animation by using the key poses (1
and 9) and (5) as passing position. Add in-between (3 and 7) to complete the
walk/run/jump cycle as discussed above. Use your drawing pad.
Note: Create your own character for you to use in this activity.
Your work will be rated based on the Rubric for Assessing Performance in Accuracy
of Drawing on the next page.

B. Directions: Use your own character and imitate the movement of the
illustration below. Breakdown the drawing by key poses and add in-betweens
to complete the action sequence. Use your drawing pad.

Your work will be rated based on the Rubric for Assessing Performance in Accuracy
of Drawing on the next page.

13
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 Rubric for Assessing Performance in Accuracy of Drawing

Criteria 4 (Very good) 3 (Good) 2 (Fair) 1(Poor)

Accuracy Has drawn all Has missed one Has missed two Has missed all
images correctly drawn correctly drawn correctly drawn
Accurately
Speed Drawn all Has drawn one Has drawn two Has drawn all
correctly 15 incorrectly and incorrectly and incorrectly and
minutes before submitted 5 submitted 5 minutes submitted 10
time minutes after the after the time minutes after
time the time

Neatness Has drawn all Has missed one in Has missed two in Has missed all
neatly drawing neatly drawing neatly in drawing
(No erasures) (One unwanted (Two unwanted neatly
blemishes) blemishes) (3-4 unwanted
blemishes)

Raw Score Equivalent

RATING SCALE

POINTS EARNED NUMERICAL RATING DESCRIPTIVE RATING

9-12 96-100 Outstanding

6-9 91-95 Satisfactory

4-6 86-90 Very Good

3 81-85 Fair

Rubric for Assessing Performance in Accuracy of Drawing

14
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 Criteria 4 (Very good) 3 (Good) 2 (Fair) 1(Poor)
Accuracy Has drawn all Has missed one Has missed two Has missed all
images correctly drawn correctly drawn correctly drawn
Accurately
Speed Drawn all Has drawn one Has drawn two Has drawn all
correctly 15 incorrectly and incorrectly and incorrectly and
minutes before submitted 5 submitted 5 minutes submitted 10
time minutes after the after the time minutes after
time the time

Neatness Has drawn all Has missed one in Has missed two in Has missed all
neatly drawing neatly drawing neatly in drawing
(No erasures) (One unwanted (Two unwanted neatly
blemishes) blemishes) (3-4 unwanted
blemishes)

Raw Score Equivalent

RATING SCALE

POINTS EARNED NUMERICAL RATING DESCRIPTIVE RATING

9-12 96-100 Outstanding

6-9 91-95 Satisfactory

4-6 86-90 Very Good

3 81-85 Fair

15
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 Additional Activity

Activity 1. Head Turn

Directions: Study the figure below. Using your own character, imitate the head turn of the figure
by using the technique learned from the discussions above. Make sure to be always mindful of
eye movement/blink.
Your work will be rated based on the Rubric for Assessing Performance in Accuracy of Drawing on
the next page.

16
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 Assessment

Post-test

A. Direction: Draw the appropriate figure on key 2. Use your drawing pad.

Key 1 Key 2 Key 3

B. Direction: Identify the line of action on the figures below. Use your drawing pad.

1. 2. 3. 4.

17
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation
 TVL 12/Animation Self-Learning Module Curriculum Guide WBLS-OBE
18
What I Know
Pre-test:
A.
B.
What’s In
1.
2.
3. Yes, answer may varry
Post-Test
A.
B.
Additional Activity
Key Answer
References

Krishna M. Sadasivam, Quick Tip: The Line of Action, Make Your Character Poses More
Dynamic!
https://design.tutsplus.com/tutorials/quick-tip-the-line-of-action-make-your-character-poses-more-
dynamic--vector-5554

In betweening lesson - by traditional animator Scott T. Petersen

https://www.youtube.com/watch?v=sKHCl7yoQpE
How To Animate Fluid Character Movement - 2D Animation Tutorial
https://www.youtube.com/watch?v=OLICcEiXq4Y

Top 10 ways to draw the head [1- Andrew Loomis] "Narrated"

https://www.youtube.com/watch?v=2el5YPEwD_A

Walt Stanchfield, Gesture Drawing

for Animation

For inquiries or feedback, please write or call:

Department of Education-Schools Division of Laoag City
Curriculum Implementation Division (CID)
Brgy. 23, San Matias, Laoag City 2900
Contact Number: (077)771-3678
Email Address: [email protected]

19
WBLS-OBE Curriculum Guide Self-Learning Module TVL 12/Animation