lOMoARcPSD|25139695 ICT 2120 Animation NC II WEEK 11 - 20 BY Francis Isaac Ugrd-nstp6101-2016s- Nspt 1 (AMA Computer Learning Center) Studocu is not sponsored or endorsed by any college or university Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 BL-ICT-2120-LEC1922S Animation (NC II) Part 1 by Francis Isaac Pogi char Week 11 – 20 Ict 2120 all perfect part 1 and 2 https://dz4up1.com/uM7M � Skip add lang kayo at skip vertification at tap continue sa baba, salamat ganon lang, madali langyan Mirror link Ict all perfect https://rshrt.com/UYgpE � Skip add lang kayo at skip vertification at tap continue sa baba, salamat ganon lang, madali langyan All Grade 12 Source Complication including major subject – https://dz4up1.com/qzZ2 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 Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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 Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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 Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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 Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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 co the object it is carrying. What is its state of balance Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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. Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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. Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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. Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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 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 Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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 frameholder. Timeline FPS is short for frames per second. – t 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 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) Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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, thi The most used principle. = Squash and stretch Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 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) Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 Credits : Francis Isaac Godbless kaya mo yan Goodluck bata bata. CPAR 2122 grd12 WEEK 11=12 https://dz4up1.com/dV8n https://dz4up1.com/dV8n https://dz4up1.com/dV8n Visual Graphics Design Week 11-20 https://rshrt.com/VZrVSp7D � https://dz4up1.com/qzYW � Skip add lang kayo at skip vertification at tap continue sa baba, salamat ganon lang, madali langyan ABM all source Complications https://dz4up1.com/uM80 https://dz4up1.com/uM80 Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 Skip add lang kayo at skip vertification at tap continue sa baba, salamat ganon lang, madali langyan STEm All Source Complications https://dz4up1.com/uM81 https://dz4up1.com/uM81 Skip add lang kayo at skip vertification at tap continue sa baba, salamat ganon lang, madali langyan Gas All Source Complications https://dz4up1.com/qzZ0 https://dz4up1.com/qzZ0 TVL ICT ALL SOURCES https://dz4up1.com/qzYW Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com) lOMoARcPSD|25139695 https://rshrt.com/VZrVSp7D TVL HE ALL SOURCE https://dz4up1.com/qzZ1 Pag nakita niyo wag niyo pag sabi sa iba ha. Welcome hehehe All Grade 12 Source Complication including major subject – https://dz4up1.com/qzZ2 Skip add lang kayo at skip vertification at tap continue sa baba, salamat ganon lang, madali langyan okaya freedownload ganon.. Downloaded by Andrei Aguilar (andreiluigi0114@gmail.com)
