2D ANIMATIONS

HALIMA A. KASIM

S.Y. 2021-2022
1st Edition

MIT-Senior High School Page1

 THE MIT VISION, MISSION, GOALS AND OBJECTIVES

MIT PHILOSOPHY

The founders of MIT affirm its strong adherence to the highest standards of performance
by its personnel who must be aware of their responsibilities as role models in human development.
As such it is committed to provide QUALITY and GOD-CENTERED education through an
excellent teaching-learning organization.

VISION

Mahardika Institute of Technology, Inc., an educational institution developing God-

Fearing men and women with balanced personality serving as a catalyst of change in bringing about
harmony and prosperity in the community, nation and humanity.

MISSION

Develop the potential of men and women in a comprehensive, wholesome and integrated
manner so that they become harmonious and balanced people in intellectual, spiritual, emotional
and physical aspect.

GOALS AND OBJECTIVES

In the context of the general mission, MIT, Inc. commits itself to develop;

INTELLECTUAL ASPECT: to develop critical thinking ability, knowledge and skills in

arts, science, and engineering and technology, problem solving skills, reasoning as well as
communication and interaction;

SPIRITUAL ASPECT: to strengthen belief in religion, faith in God, to be sensitive

towards values and norms of society, to form behavior and personality based on inter-faith values;

EMOTIONAL ASPECT: to understand personal emotions as well as emotions of others,

to strengthen the ability to be creative, to be able to think positively, to foster sense of good
citizenship; and

PHYSICAL ASPECT: to develop and nurture physical fitness and health, be ready and
be able to do practical works, to use leisure time in a useful manner, to obtain practical skills in
daily life.
The vision and mission is anchored on the verse of the Holy Qur-an, Sura Al-an’am (6:162)
Truly my prayer and my service and sacrifice, my life and my death are (all) for God, the
Cherisher of the Worlds

MIT-Senior High School Page2

 OVERVIEW

The department of Education (DepEd) has formed a Technical Vocational Unit in the
Bureau of secondary Education. For them this unit needs strengthening as one of the three
key strands that will prepare high school graduates by arming them with skills for
employment.

This course has been developed with the support of the Commonwealth of Learning
(COL). COL is an intergovernmental organization created by Commonwealth Heads of
Government to promote the development and sharing of open learning and distance
education knowledge, resources and technologies.

Animation is the process of displaying still images in a rapid sequence to create the
illusion of movement. These images can be hand drawn, computer generated, or pictures
of 3D objects. There are three main types of animation: traditional, stop motion, and
computer generated. Each can be used to make 2D or 3D images. There are also other less
common forms, many of which focus on using an unusual medium like sand or glass to
create the images, as well as combination of live action and drawings or computer created
images.

The Unit of Competency Introduction to Computers and Internet Navigation.

This unit contains essential tpics which will help you to acquire relevant knowledge and
skills (soft and hard) on various aspects of the unit of competency. Each session is small
enough to be easily tackled and digested by you before you move on to the next session.
Animated pictures and photographs have been included to bring about visual appeal and to
make the text lively and interactive for you. You can also try to create your own
illustrations using your imagination or taking the help of your teacher. Let us now see what
the sections in the sessions have for you.

MIT-Senior High School Page3

 MY LEARNING EPISODES

Unit 1: Concept of 2D Animation

Module 1: Introduction to Animation

Content Standards The learners demonstrate an understanding of the key concept

underlying in animation.

Performance Standards The learner can apply the principles of animation to a character
in order to create it.
Learning Competencies The learners shall be able to:
 Explain about the concepts of animation
 Elucidate about the history of animation
 Categorize the various types of animation
 Explain how animation works
 Apply the 2D animation principle
References  http://resumbrae.com
 https://upload.wikimedia.org
 https://cdn.pixabay.com
 https://google.com
Time Allotment

Topic: Introduction to Animation

Specific Learning Outcomes: At the end of the lesson the student CAN:

 Explain about the concepts of animation

 Elucidate about the history of animation
 Categorize the various types of animation
 Explain how animation works
 Apply the 2D animation principle

I. My Introduction (Motivation)

What do you have in mind looking at the picture below? Share your thoughts.
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
_______________________

MIT-Senior High School Page4

II. My Learning Essentials (Essential Topics)

Meaning of animation

We all have an idea of what animation is. We think of Disney’s classic animated
films but have you ever thought about what actually makes animation film. The term
animation has originated from Greek word 'Any moss' and Roman 'enema'. This basically
means “bring to life”, so there is a sense of evolution over time that is what we capture
through animation. Conventional animation has been there for a long time and the primary
concern of animation techniques has been to create the illusion of movement. It basically
has the aspect of movement, which could be just an illusion, without simulating the motion
in its physical sense. It involves creating a series of photographs as frames and run those
sequentially over time. This aspect of illusion of life has been used by various commercial
setups.

History of animation

The animation is the way towards making the deception of action and the illusion
of progress by methods for the quick progression of consecutive images that negligibly
vary from each other. The animation is possible because of the persistence of vision
discovered by Peter Rajat in 1820. The persistence of vision causes images to look like
they are there longer than they actually are causing the drawings of animation to blur
together. Animations started with the phenakistoscope, created in 1872. The
phenakistoscope is an optical illusion toy with rotating disks to make it look like a moving
picture. In the year of 1898, stop motion animation was invented. Stop motion animation
is the method of taking many pictures and putting them together to create an animation.
Humpty Dumpty was the first animated feature film to use stop-motion animation in 1914.
It is when Gertie the train dinosaur was created. It was one of the first cel animated films.
A Cel (celluloid) is a transparent sheet of paper used for traditional hand drawn animation.
Cel animation is when the background is drawn separately from the characters, the
background is put in a clear box and the characters are placed on top of it, in their own
separate box and then photographed. This saves a lot of time of the animator because they
do not have to redraw the background every time. In 1915, Max Fleischer patented the
route a scoping process. Tracing a live footage is called Rotoscoping. In 1923, Walt and
Roy formed Disney Brothers cartoon studio. In 1928, Steamboat Willie, the first animation
with sound, was created by the Disney Brothers. In 1930, Warner Bros cartoons were
created, and the first CGI animation was made by Charles Sri and James Schaffer in 1967.
CGI stands for computer generated imagery. CGI is normally associated with 3D computer
effects but CGI is any picture that is generated by a computer and not drawn by a human.
There are many movies such as Star Wars, Tron Legacy, Alien Series and The Matrix that
have seen use of CGI animation for certain effects. The first feature-length animation that
used CGI was Toy Story. Today, many cartoons on TV still use traditional animation but
computers have become a big part of the animation process.

Types of animation

1. Traditional animation

Cel animation is generally recognized as traditional

animation. This is the grownup forms of animation. In traditional
animation, every frame is hand drawn for creating an animation
image sequence. It consists of large numbers of hand drawings
called “Frames”. In the past, the drawing occurred on a big light
table. It was a drafting table with a big light section in the central
point of it. The animator drew the image sequence on it, and the light
allowed the animator to see his earlier drawings all the way through

MIT-Senior High School Page5

 the paper to get a better look of his animation. This is called Onion
Skinning. Even now, traditional animations are mostly done on PC
with a Pentab alike the Wacom Pentab. The 2D or traditional
animation is generally animated at 12 frames per second with more
frequent and rapid animated actions at 24 frames per second.

2. 2D Animation

Vector-based animation is referring to 2D animation. This is

all around preferred configuration from most recent couple of years
with the expanding clients. 2D animation software is easy to use as
it is for entry level and has a user-friendly interface. Illustration:
Flash animation products are the modest and simple to utilize
vector-based animation program. An artist has an alternative option
of making rigs for the character at the joints for the moving body
parts and movement can be provided separately as per the
requirement of the character in the drawing. The character having
more than one eventual outcome can be achieved as it permits
complex rigs for animations or by utilizing the manikin apparatus to
drag and move the body parts around. These types of adaptabilities
give more choices. While moving ahead in the process of animation,
particularly, if the drawing is not solid, it would not match at all for
which drawing abilities are mandatory like traditional animation.

3. Computer Animation

Computer animation is also known as 3D animation or just

animation. It is the common form of animation. 3D animation works
in a totally extraordinary manner from traditional animation, all the
animators are considered to be associated with a standard
organization and has certain level of creative development, yet there
are some specialized experts in particular fields of work who are
different from each other. In 3D animation, the artist moves the
character in a 3D program by manipulating controllers, which are
associated with each body part, for example, hands, elbows, lips and
etc. Like 2D animation, an animator in 3D program doesn't have
draw to move every frame. Animators set the key frame on the
timeline when the models are ready to animate. Proceed to move
forward in timeline and move all those controllers again to create
another key frame in the 3D program. Then the program calculates
and animates the frames between those two key frames. Animators

MIT-Senior High School Page6

 take maximum time to clean the curves for a detailed and smooth
animation, which helps for the development of various body parts
later on. Another huge distinction with 3D animation is that it’s not
at all like traditional animation. The body parts are constantly
present and contemplate. In 2D animation, the character draws for
each edge. At the point when the character is seen from the side
portion of its body is not appearing and in this manner not drawn.

The significant distinction with 3D animation is the edge rate

like traditional artists. Generally, a shot is taken at twos, which
implies they draw another drawing each having two edges and in
this manner making them draw less for two edges. 3D animation's
movement is constantly smooth with the exception of adapted
pieces, which deliberately attempt to appear as unique. Having a
character stop totally resembles a mix-up in 3D. Notwithstanding
when the character is stopping, there ought to dependably be a few
indications of life. This is something which 2D animation can
escape with a great deal by more effectiveness than 3D.

4. Motion Graphics

Motion graphics is considered as a type of graphics

animation. Motion graphics is somewhat not quite the same as
alternate part of animation. Unlike any animation, it is not character-
or story driven. It is the craft of imagination of moving realistic
components or content which is mainly used for business or
promotional purposes, enlivened logos, introduction recordings, TV
promos or even film opening titles. The abilities for motion graphics
do not vitally means alternate sorts of animation since, they don't
require information of body mechanics or acting. However, they do
have a few characteristics in similar manner. For example:
Presenting great arrangement and extremely imperative camera
motion.

5. Stop Motion

A standout amongst the most well-known structures is clay

animation. Working with mud or play-doh characters can

MIT-Senior High School Page7

 undoubtedly be controlled for animation. The animation process is
similar to 2D animation, creating poses of movements and moving
it little step by step while taking pictures of each movement. Then
the pictures are used to play sequentially, which creates illusion of
motion. Propelled clay animation as found in the Never hood or
Armikrog utilizes metal skeletons on which the dirt is shaped for
more durable rigs. A few illustrators would utilize normal manikins
rather than dirt ones, generally likewise based upon some kind of
skeleton rig. The characteristics of the characters can be supplanted
in light of the articulations or be controlled inside the rig.

Another mainstream type of stop-motion is cut-out. Utilizing

development paper or cardboard characters and putting them on
paper, while shooting the animation from above. That is the means
by which South Park was originally made before they exchanged the
PCs. Like cut-out animation, outline animation utilizes cardboard or
some sort of level material, yet the items are for the most dim parts
and the shot is portrayed with outlines as it were. This is one of the
most established types of stop-motion and is once in a while utilized
today.

Pixilation, is a type of stop-motion that utilizations genuine

individuals and genuine conditions to make unbelievable
recordings. It utilizes the stop-motion technique for taking a still
photograph, moving things around and taking another photograph.
However, the topic is normally used for genuine individuals rather
than manikins.

MIT-Senior High School Page8

12 principles of animation

Walt Disney Studio’s animators developed the twelve principles of animation in

1930. Frank Thomas and Ollie Johnston distributed them in their book "The Illusion of
Life" Disney Animation, in 1981. Those standards came due to their goals to make sensible
animations, through the development and articulation of the character. The standards taken
after the essential laws of material science additionally manage more issues which are
conceptual. These principles were utilized as rules to make toons and are still used today
in numerous animation studios. The book "The Illusion of Life” has been considered by
some as the “Bible of animation”. Principles are:

1. Squash and stretch

This is the rule that defines speed, energy, weight and mass
of any animated subject. This is the most important principle of
animation. Squash and stretch also use too exaggerated facial
expressions and when you are animating dialogue you can apply it
in any simple objects. For example, bouncing balls and very difficult
creations like characters face muscles. It is the principal strategy for
artists.

2. Anticipation
This is the point when a character gets ready for action
guiding audience what is going to happen next. It makes the activity
seem more sensible. When a character is going to hop, before
jumping into the air he needs to get ready for the activity by
hunching down. To fabricate the vitality, it is resembled with a
spring that loops up before discharging. A character’s hopping with
no anticipation is extremely unreasonable, in light of the fact that
the vitality to bounce appears unexpectedly. You will see this in
many toons, before running a character will pull back and takes a
running pose holding for a second before taking off. Anticipation
also utilizes rather than quickly extending up the face squashes
initially to anticipate the extent and give it more power anticipation
imparts activities to the group of onlookers by setting them up for
the following activity. This can occur from numerous points of
views. In the event that a character is going to remove something
from their pocket, they arrange the position of their hand
exceptionally obvious and not yet decided before going into the
pocket. Something else, the gathering of people may miss it and
think about how they got that protest in any case. The most
important thing is that the viewer notices the hand and the pocket so
the character cannot perform any competing actions.

3. Staging
Staging is the introduction of guiding the gathering of
people's thoughtfulness regarding what is essential in the scene. The
extreme expansive guidelines are totally unmistakable as they cover
a large number of zones of animation. It can apply to acting, timing,
camera edge position and setting. During animation, you need to be
in full control of where people are looking at. You are basically
saying to take a gander at this, the control is accomplishing through
staging, the majority of the components of the scene cooperate to
move the watcher's eyes around the scene. For instance of awful
staging, an animation of Tom chasing Jerry inside a house there are
props like sofa, TV, carpets, vases and many more. A character often
gets obstructed by props used and a watcher does not know which
one to take a gander at. The camera has a great deal to do with this.

MIT-Senior High School Page9

 It’s critical to know when to shut everything down or when to go,
which is useful for an enormous scale of activity like showing a nuke
blasting. The primary activity of the scene ought to be clear and
basic. It can't be upstaged by various things that are going on which
removes consideration from the principle point. It has to be a
legitimate planning by allowing one activity to get completed before
the other individual begins their activity, thereby avoiding
overlapping. Now and then, you have to embed delays if there is
something on the screen that is necessary to be handled by the
watcher before proceeding onward.

4. Straight ahead and pose to pose animation

This rule portrays two strategies used to animate drawings.

The main technique is drawing the principal drawing and then
moving on to the second drawing and so on. Then, sequentially
arrange them by outlining from the beginning. The second technique
is ‘pose to pose’ in which you draw the starting and end of every
principle pose and later on fill in the drawings at the middle called
in-between poses. There are advantages to these two strategies but
‘pose to pose’ is by far better for most activities since it gives the
maximum control to what the activity will resemble. Utilizing
straight ahead animation can prompt the character evolving size, or
being on an alternate level from start to finish whereas pose to pose
technique spares a considerable measure of work. On the off chance,
animate an entire grouping straight ahead and then understand that
one pose is off. You would need to change few drawings to settle
that one pose. In pose to pose technique, you would do the
fundamental poses to check whether it feels right and if you can get
issues at an opportune time straight ahead animation. It is also useful
for animation, which is flighty. A few cases of this incorporates fire,
water, particles, dust and storms blasts explain the motivation
behind straight ahead functions, which admirably is on the grounds
that there are laws of material science that work at a steady rate and
it is difficult to foresee them. Another method is animate using pose
to pose, then going through, and adding the years using straight
ahead. This is good because you can focus on the figures’
movements without the distraction of having to do it and you can
focus on the physics of the particular movement without the
distraction of his body's movement.

5. Follow through and overlapping action

This is the strategy of having body parts and different parts

behind, whatever remains of the body and keeps on moving, a few
sections of the body lead the action, and others follow the
development. Drag is another mainstream method where the
following parts of the body take a couple of more casings to get the
primary lead parts. At the point when the body stops follow through,
an overlapping action is regularly connected with another method
called follow through. Follow-through alludes to the route parts of
the body and keeps on moving after the body stops. Overlapping
action depicts the counterbalance between the planning of the
primary body and its different parts. Each of the three of these is
depicting distinctive parts of a similar thing. Follow through is an
overlapping action that includes a lot of authenticity to a character.
Overlapping action when the fundamental body moves the tip of the

MIT-Senior High School Page10

 limb ought to be the last to make up for lost time and when the body
stops the tip ought to follow through the furthermost before settling
back this is valid for extremities as well as the entire body too. When
grinding to a halt regularly the body will follow through and then
returned just, as a character needs to anticipate.

6. Slow in and slow out

This rule alludes to the way practically all development

begins gradually, constructs speed and completes gradually. This
stands out amongst the most imperative procedure of accomplishing
life like a motion without moderate in and moderate out feel
mechanical. It is in light of the fact that robots are one of the main
things that really move their parts at a consistent speed to utilize.
This principle in 2D animation is your extraordinary poses that
attract a solitary between and then just in the middle of the drawings
nearest to the extremes until the point that you're happy with the
measure of moderate in and moderate out. With 3D animation and
motion graphics having moderate in and moderate out issue, can be
solved by changing the motion bends from straight to spline,
modifying the Bezier handles to create a smooth curve in graph as
time advances, the protest begins moderate gets quick.

7. Arcs

Every action follows an arc, either you swing arm, throw a

ball or chew a food. Curves make the animation feel normal and
realistic. Arc in motion helps to define momentum too. Any object
not following its natural arc will not look fluidic but erratic for
example you cannot make sharp turn in a speeding vehicle rather
than a slow moving vehicle.

8. Secondary Action

It implies something altogether, different secondary action

portraying helps the fundamental action to add more measurement
to the character animation. The secondary action commands the
essential action. Secondary action helps in characterizationwsss or
expressing emotion like a tensed man is walking left and right with
hands in his pocket, joyful person walking with swinging hands and
whistling, a horse is running so its tail is waving fast following the
movement of body. The principle of staging is also very vital in
secondary action.

9. Timing

This principle expresses that the identity and nature of an

animation is incredibly influenced by the quantity of casings
embedded between every primary action. Timing means the speed
of action which gives the quantity of in-betweens i.e. between two
keys. It includes picking the quantity of edges that will be used to
animate a scene. The quantity of edges demonstrates the speed of
the action on the film. The less casings and action the animation has,
the speedier and crisper it will get. On the off chance that an action
has many edges, it will be moderate and smooth. Timing adds
surface and enthusiasm to the development of your characters. A
decent approach to rehearse this method would be considering the

MIT-Senior High School Page11

 acting and development of on-screen characters and entertainers in
front of an audience and utilize it as reference while animating.

10. Exaggeration

Each action poses and articulations are taken to the

following level to build the measure of effect on the watcher. The
early artists at Disney would get confounded on the grounds that
Walt would instruct them to, which includes more authenticity yet
when they transformed it. He would ensure the outcome since it was
not overstated enough.

More sensible did not mean you would make the material
science and extents more steady with reality but instead make the
thought or embodiment of the action more evident. Exaggeration a
decent manage to follow is to push the exaggeration level until the
point that it really turns out to be excessive. Along these lines, you
see the entire range beforehand as opposed to shooting oblivious
right. Illustrators need to utilize determination and information and
shield it from winding up plainly excessively showy animated.

11. Solid drawing

This principle is tied with ensuring that structures feel like

they are in three-dimensional space with volume and weight.
Adjusting one thing that makes animating simpler is having the
capacity to draw a figure from all points. This requires learning of
three dimensional drawing. For instance, when drawing a line on a
circle, it must follow the shape of the circle’s surface. A straight line
right away makes the circle look levelled when drawing blocks
abstain from making parallel lines. Lines are ought to be twisted
towards the vanishing point, otherwise it will resemble a level.
Illustrators need to take craftsmanship class and genuinely draw is
vital.

12. Appeal

The last principle of animation is appeal. Characters that you

animate ought to be some degree satisfying to take a look at. They
should have some sort of magnetic angle about them to be liked. A
character’s appeal doesn't generally mean attractiveness, it may be
based on its look or characteristics such as a scalawag ought to
resemble to have an intriguing look. Everybody has an alternate
standard for what is appealing; however, recently giving your
character a dynamic plan can enormously support its appeal. Here
are three stages for doing in order to start with: utilizing an
assortment of shapes as opposed to, utilizing a similar shape for each
character and experiment with various shapes on the grounds. There
is no restriction to the range of insane arrangements that characters
can have. Secondly, play with the extents. Visual artists regularly
amplify the things, discover intriguing and contract the things. For
instance, they may broaden the head and eyes, shrivel the body and
make the hands bigger. Finding that part of a character, that
characterizes his/her identity. Third, one is to keep it straight
forward as a lot of data can over muddle the character and make it
harder to control animation.

MIT-Senior High School Page12

Stages of creating an animation movie

The stages for creating an animation film, it has to go through phase’s like:

 Pre- production
 Production
 Post-production

These stages are sub-divided into parts and the animators execute their work
as decided.

Pre-production:
Pre-Production is the period of time during which work is done on
a show prior to the first rehearsal. During pre-production, you make
decisions that dictate how the rest of the production comes together. During
pre-production, following things are finalized so that all the obstacles are
removed to get a smooth production.

 Writing the story

 Production plan
 Character development
 Story board
 Creating premises
 Scene planning
 Sound track
 X-sheet

Production:
This is the most challenging stage of creating an animation film. At
the stage, you get to see the actual result of the treatment given to the story
and the visual achievement of the director’s imagination.\

 Recording the dialogue

 Layout designing
 Background designing
 Animating

Post Production:
Post Production is the process of compositing and editing both the
pictures into an organized matter.

 Compositing
 Digital compositing
 Computer effects
 Sound
 Editing
 Mixing audio-video
 Final mixing

III .My Learning activities

a. Independent practice
DIRECTIONS: lists the types of animation and give each examples.

MIT-Senior High School Page13

 Types of Animation Examples

b. My Map (Graphic organizer)

DIRECTIONS: Differentiate the following.

Traditional 2D Computer
Animation Animation Animation

Differentiate traditional, 2d animation, and

computer animation

c. Refection and Analysis

DIRECTIONS: Answer the question briefly and concisely.

1. Describe how the animation industry evolved from its early days.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

2. Describe animation process.

_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

3. Explain basic techniques used in 2D animations

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
MIT-Senior High School Page14
 __________________________________________________________________
__________________________________________________________________

The scoring rubrics to be used to rate your essay is attached at the end of this
module.
NOTE: SHARE YOUR FINAL THOUGHTS through video and send it via
Messenger (Private Message)

IV. My evaluation

a. Check for understanding

I. Fill in the blank: write your answer on the blank.

___________1. The term animation has originated from Greek word 'Any moss' and
Roman 'enema'. This basically means?
___________2. is considered as a type of graphics animation?
___________3. Who developed the twelve principles of animation in 1930?
___________4. is an optical illusion toy with rotating disks to make it look like a moving
picture created in the year 1872?
___________5. is a transparent sheet of paper used for traditional hand drawn animation?
___________6. is also known as 3D animation or just animation. It is the common form of
animation?
___________7. means the speed of action which gives the quantity of in-betweens i.e.
between two keys. This principle expresses that the identity and nature of an animation is
incredibly influenced by the quantity of casings embedded between every primary action.
___________8. is the process of compositing and editing both the pictures into an
organized matter?
___________9. is a type of stop-motion that utilizations genuine individuals and genuine
conditions to make unbelievable recordings?
___________10. the first animation with sound, was created by?
___________11. In what year stop motion animation was invented?
___________12. This principle is tied with ensuring that structures feel like they are in
three-dimensional space with volume and weight.
___________13. Vector-based animation is referring to?
___________14. This is the strategy of having body parts and different parts behind,
whatever remains of the body and keeps on moving, a few sections of the body lead the
action, and others follow the development.
___________15. is another mainstream method where the following parts of the body take
a couple of more casings to get the primary lead parts?

II.Enumeration: Enumerate the following in order.

1. 12 principles of animation
2. stages for creating an animation film, under through phase’s like:
 Pre- production
 Production
 Post-production
3. List various steps for creating a 2D animation
4. List the types of colour use in inking and colouring

b. Performance task

DIRECTIONS: Prepare an animal or cartoon using clay and other material. First draw
your character on a piece of paper (full size). Using your drawing as a guide you need to

MIT-Senior High School Page15

measure and cut the lengths of wire for the armature (skeleton). Use the polymer clay to
block out the chest, pelvis, hands and feet of the skeleton, and to hold the wire together.
Put the clay around to prepare your character. (50 pts).

Materials Needed

1. Armature wire (1/16")

2. Plastalina clay
3. Polymer clay
4. Plier
5. Foam board
6. Paper
7. Packing tape
8. Insta mold making compound
9. Petroleum jelly
10. Baby oil (mineral oil)
11. Double boiler (or cooking pot and glass mixing bowl)
12. Sculpting tools
13. Paint
14. Brushes

MY LEARNING EPISODES

Unit 2: Drawing Concept

MIT-Senior High School Page16
Module 1: Introduction to Animation
Topic: Introduction to drawing

Content Standards The learners demonstrate an understanding of the principles, concepts

and techniques in leading various drawing instruments

Performance Standards In this unit, the learner can learn how to draw an image with basic
concepts and techniques.
.
Learning Competencies The learners shall be able to:
1. Know about various visual art forms of drawing and
different types of instruments used to draw. Besides, you
will acquire knowledge on how to draw an image with
basic concepts and techniques. It is essential for an
animator to be sharp at observing human anatomy and
good at art skills to convey their creativity onto any
subject.
References 
 https://s-media-cache-ak0.pinimg.com
 http://mexicounexplained.com
 https://google.com

Time Allotment
At the end of the lesson the student can Determine:

 History of drawing
 And Understand the different types of art forms
 Basics drawing categories
 Drawing methods
 Types of drawing
.

I. My Introduction (Motivation)

DIRECTIONS: share your thoughts / understanding.

________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

II. My Essential Learnings

Introduction

MIT-Senior High School Page17

 Drawing is a form of visual art in which a person uses various drawing instruments
to mark paper or another two-dimensional medium. Instruments include graphite pencils,
pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various
kinds of erasers, markers, various metals and electronic drawing.
.
Drawing Concept

Drawing as a verb describes the act of pulling, pushing or dragging a marking tool
across a 2D surface. The line remarks that remain serve as a document of the action. These
marks can vary depending on the type of marking tool used or the method of applying the
image that results from this marking process is then referred to as a drawing.

Drawings are basically broken down into two categories:

1. Receptive
2. Projective

Receptive drawing is when an artist attempts to capture the appearance of

something observed from our physical world, for this reason and he was about
representational drawing observed from life is also an example of receptive drawing.
Spanish artist Pablo Picasso serves as a good example of receptive drawing. Picasso was
enrolled in the Royal Academy of San Fernando in Madrid as with most academies of the
time Picasso was taught the strict mimetic tradition of drawing from live models and plaster
casts, the idea was that drafting is a skill that any artist could master by following a series
of strict rules as his career progressed. Picasso began abandoning the receptive drawing
practice entirely, instead of drawing from the world around him.

Picasso began drawing from his imagination; this type of drawing is referred to as
projective drawing compared to a receptive drawing. The projective drawings usually have
to make generalizations about the subject being depicted, even if Picasso had drawn images
of hundreds of bowls from life. The moment he drew one from memory it could only be
an approximation of what a bowl looks like. Due to this limitation projective drawings are
often drawn in exaggerated or distorted ways to acknowledge the limitations of this
method. For this reason, abstract drawings are often projective in nature and of course non-
objective drawings are also projective because, they come straight from the artists’ imagination
with no reference to the observable world.

Documentation

First, a drawing can be a form of documentation. In this way, a drawing

concerned is a notation sketch for record. This notation can be about something
that an artist observes, remembers or imagines. Visual artists often want to record
their thoughts and they do this by keeping sketchbooks.

Sketchbooks

Sketchbooks are generally kept from the artist’s reference and serve a
similar role to that of a writer’s journal. Italian Renaissance artist Leonardo
DaVinci was renowned for the large number of sketchbooks he kept. Leonardo
took a great interest in the study of human proportions as illustrated in his sketch
the Vitruvian man. To learn more about human anatomy, he would also take part
in medical dissections as illustrated in these sketches from observations of the
human heart. He also sketched images of Great machines from his imagination
even though the technology did not exist at the time Leonardo is credited for

MIT-Senior High School Page18

 coming up with the concepts of modern machinery such as the tank and the
helicopter.

Preparations

Drawings can also function as studies or preparations for a larger or more

complex work. One very traditional form of this preparation is sketched for
Paintings Michelangelo needed to create many studies first painted fresco on the
ceiling of the Sistine Chapel because Buon fresco is such a fast drying process.
Michelangelo did not have the leisure to work through the final orientations of
his figures and arranged as he painted them, the more preparation you could do,
the more successful the outcome and the less frustration would result for his
powerful black and white painting entitled Guernica. Pablo Picasso made at least
45 preliminary studies, each drawing serves a sketch for the next drawing until
the artist felt he was better prepared to depict the tragic events of 1937. The
subject of this painting was the Nazi bombing of the Spanish town Guernica that
killed hundreds of unarmed civilians in the case of the contemporary installation
team.

Sketch

The drawings also serve as sketches for architecture because buildings cost
so much to erect, investors want to see finished plans before any ground is broken.
Architectural drawings are usually drawn in perspective, including things like
trees, cars and people to display the building scale. Even architectural renderings
need to start somewhere. Believe it or not, this is a loose sketch served as the
inspiration for Frank Gehry's Guggenheim Museum in Bilbao spinning after
going through many other renderings and modelled. It was transformed into the
complex 3D structure that stands today filmmakers often use drawings called
storyboards to plan out the seeds of their films like building fills take a lot of
money and labour to complete. Scenes having planned for pre-production prevent
any unnecessary confusion or wasted funds although most directors hire artists to
draw their storyboards for them.

The Basics of Other Art forms

Most of the drawings have given inspirations to different kinds of art.

Drawing is, as a general rule, the premise of every single visual art. For instance, a
structural drawing helps in building development, and markings on a stone piece
give foundation for the sculpture that rises. Most paintings are in the first place a
sketch and as the works continue, they are merged into coloured surfaces.
Moreover, researches show that drawings shape the premise of the wall painting,
board, book paintings, statues, and numerous other types of art.
Drawing Media:
Drawings are produced using instruments such as pen and ink,
graphite point, chalks, pastels, charcoal, silverpoint, coloured crayons,
metal point, graver, burin or etching needle for incised types of drawing.
Other alternatives include graphite sticks, wax or conte crayons, markers
and various types of inked pens. Paper gives the most usual support but
other options are card, board, cardboard, canvas, papyrus, leather, vellum
(calfskin), textiles. Also, even plastic or metal will help, and mixed-media
drawings are executed using a combination of these materials.

History

MIT-Senior High School Page19

 The history of the oldest art we know of is about 40,000 years old.
The art was found on cave walls or sculpted from rocks, which comprises
people who killed animals or each other. But there is an exception: the
famous woman from willendorf, an abstract sculpture of a faceless obese
lady who wears just a shower cap. Later, people began to note down things,
and then starts a proper history with civilizations developing in Egypt,
Persia, Mesopotamia, Greece, Rome, India and China. This historic time in
art gave the world pots earthenware, crumbling temples and more. Then
arrived warriors, warriors on pots, gods on pots, among other things. In the
middle ages, the West was dominated by the church that disputed the
validity of all the old gods to claim there was in fact only one god. Art could
not feature unrealistic things such as dances of an elephant having more
than one limbs or a man with winged beard but had to be about things that
happened in the Bible. This more realistic, down-to-earth approach gave us
morose men in yellow hats, morose men in pink shawls and lots of glowing
babies. Then came the Renaissance and the material world real life places
were rendered in three dimensions. Convincing use of perspective became
widespread and the human body was shown as it really is in many images.
However, some remain religious in nature, which also featured a flying
wing man with laser beam eyes and has been done realistically too. Eastern
art continued to develop in its own way -- showing scenes from nature or
the everyday world like mountain people kissing or men dressing gowns,
getting angry at others. Then came the modern art and the dawn of the ‘isms’
such as impressionism, expressionism, cubism, dadaism and surrealism.
The experiences of global war, the march of technological progress and the
popularization of theories about the universe and the human mind as
espoused by the likes of Einstein and Freud left their indelible mark on our
species. The artistic gloves were off and it was time to experiment shapes,
splats, blocks of colour, ghosts pokes, weeping women, fluorescent lights,
urinals and unmade beds. All could be considered art in this brave new
world people argued the point saying some modern art was shit and some
of it really was watered art. Art today is part of the human condition and
desire, which is as old as our species and quite probably embedded in our
DNA as innate to us as eating, fighting and laughing at other people's
misfortune. But it's also big business you're likely to see the famous artwork
on a mug, a Tshirt or in a boardroom as in a gallery. The rise of cinema,
television and the Internet has led to a dissemination of a common visual
culture into every corner of the globe. While the Gideon pace of Technology
and ceaseless progress has democratized the entire means of artistic
production.

Categories of Drawing:

Drawing consists of three basic categories:

 Casual drawing (portraying, doodling): This indicates
incomplete and generally basic creations. These drawings
don’t have the continuous capacity.
 Preparatory drawing: This indicates the production of a
particular image or arrangement of images, shaping the
entire thing or part of a creation the artist wants to finish by
including colour (paints, coloured inks and so on).
 Finished drawing: This indicates a finished remain of a
solitary, independent work, for example, an illustration, a
cartoon or visual art.

MIT-Senior High School Page20

Drawing Methods

Tools and equipment can be utilized to draw, including slate pencils,

metal style, charcoal and chalks, and in addition, traditional pens, pencils,
and brushes, wellspring pens, ball-point pens, and felt pencils; even etches
and jewels are utilized for drawing.

 Line drawing
 Stippling
 Shading

The surrealist technique for entopic graphomania (in which dots are
made at the destinations of contaminations in a clear sheet of paper, and
lines are then made between the dots), and tracing (drawing on a translucent
paper, for example, tracing paper, around the blueprint of previous shapes
that show through the paper).

A fast and untreated drawing might be known as a sketch.

In fields outside art, specialized drawings or arrangements of structures,

hardware and different things are normally called "drawings" in spite of
when they have been exchanged to another medium by printing.

Charcoal

Charcoal is the result of heating or charring an organic substance

such as wood at a very high temperature, and the dense and dark substance
results are primarily composed of carbon. A drawing medium charcoal is
generally available in two type’s compressed charcoal and vine charcoal.
Compressed charcoal is the heavier of the two types. It is found in stick or
pencil form with a clay binder added. Compressed charcoal is a relatively
unforgiving medium and it gets dark very quickly. Once it is applied to the
paper, it tends to be very difficult to erase because this medium is so soft
and dark. It’s almost impossible to erase the white of the paper. A firm
rubber eraser is best for erasing the thickest areas and an eatable eraser
works better for erasing wider applications. Some artists even use an eatable
eraser too soft and smudge the heavy medium around the surface of the
paper. A German drafts person lost children and friends in the two world
wars in Europe. Her later life self-portraits were psychologically charged
studies of a woman nearing the end of a difficult life. These emotionally
bare drawings are made all the more powerful by the darkness and
moodiness of the medium. Tis drawing entitled the call of death serves as
an allegory to the literal hand of death coming to claim the sole of the weary
artist.

Vine charcoal
Vine charcoal is both harder and physically lighter than compressed
charcoal. For this reason, it is much lighter in value, if compressed charcoal
can be applied to a 100-percent black, vine charcoal may only reach a sixty
or seventy percent gray. Vine charcoal is much more forgiving than
compressed charcoal because it can be easily erased by any of the
aforementioned erasers, charcoal is also available in a fine powdered form
and like vine charcoal. Charcoal powder goes on the support much lighter

MIT-Senior High School Page21

 than compressed charcoal. For this reason, artists will often use vine or
powdered charcoal as the under layer of a drawing with compressed
charcoal on top white chalk can also be applied to the surface of a charcoal
drawing to create areas of highlight.

Graphite
Graphite is apparently the most widely recognized drawing medium.
It often comes as pencils, powder or filled sticks and is the thing that a large
number of people essentially allude to as "pencil". Each one makes a scope
of qualities relying upon the hardness or softness of the material. Hard
graphite tones territory from light to dark gray, while softer graphite permits
a range from light gray to almost dark black for that reason a considerable
measure of graphite drawings is basically called pencil drawings.

Graphite drawing strategies are for all intents and purposes

interminable. In any case that you apply graphite to a surface will deliver
some kind of results. French sculptor Gaston Lachaise's Standing Bare with
hanging cloth is a pencil drawing that fixes the vitality and feeling of
development of the figure to the paper in only a couple strokes. Steven
Talasnik's contemporary extensive scale drawings in graphite, with their
whirling, natural structures and architectural structures are a demonstration
of the energy of pencil on paper.

Dry Media
Dry Media incorporates with charcoal, graphite, chalks and pastels.
Each of these mediums gives the artist an extensive variety of stamp making
capacities and impacts, from thin lines to huge areas of colour, shading and
tone. The artist can control the application of material by applying required
pressure to accomplish required impacts from multiple points of view,
including similar individual weights on the medium against the drawing's
surface, or by eradication, smearing or rubbing.

This procedure of drawing can immediately exchange the feeling of

character to an image. From vigorous to normal, these behaviors are clear
in the least not easy works: the quick and unalloyed strength of the artists
thought. You can observe this in the self-portraits of two German artists;
Kathe Kollwitz and Ernst Ludwig Kirchner. Injured in the middle of the
main world war, his Self-portraits under the influence of Morphine from
around 1916 presents us with a dreadful vision of him wrapped in the mist

MIT-Senior High School Page22

 of sedative medications. His empty eyes and the realistic brokenness of his
imprints confirm the energy of his drawing.

Pastels
Significantly more prominent color refinement is conceivable with
pastel colored pencils, produced using powdered shades blended with a base
measure of non-oily cover. At the point colors are out on paper, they
perpetually look new and bright, despite the fact that they should be
safeguarded from scattering by being kept under glass. Pastel colors are
connected in straight method with the pastels, or to a region of the paper
specifically with the fingers. Pastels originated in the north of Italy amid the
16th century, and were utilized by Jacopo Bassano (1515-92) and Federico
Barocci (1526-1612). Pastel drawings were known to the Academia degli
Incamminati no later than the 17th century, in spite of the fact that as a work
of art it didn't achieve its pinnacle until the 18th century, eminently in
France (with Jean Marc Nattier, Maurice Quentin de La Tour, Jean-Baptiste
Perronneau and Jean Chardin) and in Venice (with Rosalba Carriera).

Oil Pastels
Oil pastels are a relative of the wax crayons that you may remember
from childhood. They are composed of pigment suspended in non-drawing
oil and wax binder the oil and wax as binders make the colours of oil pastels
much more vibrant than those of chalk pastels like oil paint. Oil pastels can
be layered in a way that chalk pastels cannot, while powdery chalk pastels
never get far from the surface of a drawing. Oil pastels apply much thicker
and can create instances of actual texture for this reason. Though oil pastels
are much more difficult to erase, your racers will often just smear the
medium or smudge the pigment into the paper. Beverly Buchanan is a
contemporary African-American artist who uses oil pastels to explore
aspects of her southern rural tradition. Her work has a playfulness that
embraces the inherent messiness of the media like Yoshimoto Nara. She
adopts a children's art aesthetic that attempts to view the world through the
fresh eyes of youth.

Spray fixative
The use of aerosol spray fixative when applied in thin coats, it holds
dry media from smudging, smearing or rubbing off of the surface like

MIT-Senior High School Page23

 varnishes for paintings. Spray fixative also protects the media from
moisture, sunlight and time, even after fixing their drawing, artists will often
store their work sandwiched between clean sheets of acid-free paper. This
helps to further ensure that the delicate work will not be damaged or altered
in any way.

Graphite Point
When 16th century was drawing to a close, another drawing medium
showed up and quickly traded metal point for outlining and initial drawing.
Due to its weak stability, it was utilized basically for beginning sketches,
instead of independent drawings. The graphite point appropriately brought
forth the lead pencil, after the revelation in 1790 by Nicolas-Jacques of an
assembling procedure utilized as a part of the creation of artificial chalk.
Cleaned and washed, graphite could from this time forward be fabricated in
any level of hardness. The pencil focuses with their solid, clear, thin strokes,
and was especially suited to the reasons for Neoclassicist artists. Among the
best types of pencil designers was the intellectual painter J-A-D Ingres, who
utilized deliberate pencil drawings as the reason for his oil works of art.

Chalk
Chalk generally uses inert chalk as a binder told powdered pigments
into a solid stick. Chalk pastel has a similar powdery softness to compress
charcoal. It can be erased more easily than impressed charcoal but not as
easily as vine charcoal. The chalk and chalk pastel gives the pigment a
slightly muted or matted appearance. This is why certain muted colors are
referred to as being pastels. French impressionist Edgar Daga made many
chalk pastel studies in the late 19th century. His intimate drawings were
often related to subjects like ballerinas. There's the matted pastel colors help
convey the softness of early morning light.

Liquid media/ Wet Media

The term liquid media refers to any drawing medium that is wet
during application rather than dry. India ink is a traditional liquid drawing
medium that dates back to India in the 4th century BCE. It is composed of
a carbon black pigment water. India ink is usually applied with either a
brush or with a nib pen. ink and wash is a drawing technique used in
traditional Japanese culture where India ink is applied with a brush and
water. thinning the ink with water, it is a way to create numerous and subtle
values of gray. This process can be used to create very sumptuous and
smooth gradients of tonality.
There are many Western fine artists who borrow the Japanese
tradition of ink and wash in their work. The study of a fountain by Vincent
van Gogh serves as a good example, the quick sketch by Rembrandt Van
Rhyn displays all the delicacy on this application of hair, even the dress of
his sleeping subject. The reason that ink and wash is considered drawing
rather than painting is due to the fact that art uses tonality rather than colour.
As we know before, drawings have been historically viewed as being
inferior in some ways to paintings. Paintings are generally larger and more
complex and concentrated on colour rather than value because of this many
Western fine artists have used ink and wash as a sketching medium.
India ink also be applied precisely with a metal tipped nib pen, the
tip or nib has a grooved channel that allows the ink to flow to the paper, the
nib must be constantly dipped in the equal to ensure the desired flow of ink
working with an ink pen more even lines than the ink and wash technique.
The predecessor to the new pen was a sharpened bird feather called a quill.
Today artists don't need to dip pens or quills into an inkwell unless they
really want.

MIT-Senior High School Page24

 Ink Pens
Now many different types of ink pens are available, with ink and a
cartridge, built right into the shaft of the pen. Different types of ink pens
will create different kinds of lines, fountain pens which resemble the shape
of nip pens are known for the fluidity of their mark. Ballpoint pens have
crisper more even lines and felt tip pens can be used to create broader types
of marks.
The American draftsperson Andrew gory used ink pens to create his
twisted take on children's book illustrations even though his work looks like
a style from a century ago. He was indeed living in the late 20th century
these pieces may even seem innocuous unless you read their captions B is
for Basel assaulted by bears.
Graphic media like cartoons and comic books will often be drawn
using ink pens graphic artists appreciate the clean crisp lines that these tools
can create. Older cheaper forms of printing were also unable to print
variations in value beyond black and white. This is why artists who use ink
pens to imply a volume need to utilize a form of hatching or stifling.

Felt tip
Felt tip pens are viewed as a type of wet media. The ink is immersed
into felt strips inside the pen, at that point discharged onto the paper or other
help through the tip. The ink rapidly dries, leaving a perpetual stamp. The
colored marker drawings of Donnabelle Casis have a streaming natural
character to them. The unique nature of the topic gathers body parts and
viscera.
Different fluids can be added to drawing media to upgrade impacts
– or make new ones. Craftsman Jim Dine has sprinkled pop onto charcoal
drawings to make the surface rise with bubbling. The outcome is a visual
surface not at all like anything he could make with charcoal alone, in spite
of the fact that he is well known for his solid control and work. Dine’s
drawings regularly utilize both dry and fluid media. His topic incorporates
creatures, plants, figures and instruments, commonly swarmed together in
thick, dimly sentimental pictures.

Types of Drawing:

Portraits

MIT-Senior High School Page25

 Portrait drawings normally include the perfect profile and three-quarter
profile. Cases incorporate 15th century portraits by Pisanello or Jan van Eyck, and
in addition Durer's drawing of the superior Maximilian. Works of Jean and Francois
Clouet in France and of Hans Holbein in Switzerland and later in Britain have given
an exceptional self-rule on portrait drawing, particularly when finished in chalk of
different colours. In the 18th century, Quentin de La Visit, Francois Boucher, and
Jean-Baptiste Chardin were noted types of chalk. Portraits were more attractive for
the psychological parts of portrait art. Late 19th and 20th century portraitists
supported the soft pastels that all the more rapidly mirrored their masterful skills.

Landscapes
By the 15th century, landscape drawings had turned into a satisfactory
subject for individual drawing too, as showed by Jacopo Bellini’s 15th century
sketchbooks. Still, not until the approach of Durer toward the finish of the century
was landscape completely regarded as its very own subject without reference to
similar works. Drawings of his two Italian adventures -- of the area of Nuremberg
and his trip to the Netherlands -- reflect the first flawless landscape drawings.
Hundreds of years were to go before such flawless landscape drawings
happened once more. Landscape components additionally showed up in sixteenth
century German and Dutch drawings and illustrations, eminently those by
individuals from the Danube School like Albrecht Altdorfer and Wolf Huber.
Netherlandish Renaissance painter Pieter Bruegel - The Senior drew geographical
perspectives and free landscape structures too, in both the cases as an autonomous
works. In the 17th century, the landscape drawings of the Accademia Degli
Incamminati, blended classic and legendary topics with courageous landscapes.
What's more, Rome-based French classicists Claude Lorrain and Nicolas Poussin
additionally created romanticized Arcadian landscape drawings.
In the 18th century Italy, the geographically correct landscape drawing
accomplished a high point with the approach of the Vedutisti, the view painters like
the Venetians Canaletto (1697-1768) and Bernardo Bellotto (1720-80), and the
Roman Giambattista Piranesi (1720-78).landscape drawings achieved a moment
blooming in Britain amid the mid-nineteenth century on account of works by JMW
Turner and Alexander Cozens, while in France the convention was exemplified by
Camille Corot and, later, Van Gogh.

Figurative Genre Works

Of far less significance to independent drawing than portraiture and
landscape, figure drawings are normally tightly associated with what was going on
to painting as a rule. In this way, for instance, drawings of kind scenes were
moderately common amid the 17th century Dutch realism School, in 18th century
France and Britain, and in 19th century France.

Still Life
Still life drawings, outstandingly the portrayals of blooms, similar to those
of the Amsterdam artist Jan van Huysum (1682-1749), have been well known as
far back as the 17th century. In some of these works, the equality to painting is
close; take for instance, the pastels of the nineteenth century French artist Odilon
Redon (1840-1916), or the work of the twentieth century German Expressionist
Emil Nolde (1867-1956), both of which cross the separating line amongst drawing
and painting.

Fantasy Drawings
Drawing portraying is unbelievable, extraordinary or visionary subjects, for
example, the incredible compositions of Hieronymus Bosch, have for quite some
time been prevalent. See similarly the grotteschi of Raphael in the 16th century, the
symbolic manual worker scenes by Pieter Bruegel, and the festival etchings of the
17th century French artist Jacques Callot. Other specialists whose drawings fall

MIT-Senior High School Page26

 outside scene and likeness include the eighteenth century Italian engraver
Giambattista Piranesi, the English Swiss artist Henry Fuseli (1841-1925), the
nineteenth century English illustrator artist Walter Crane (1845-1915), the
compelling French Symbolist artist Gustave Moreau (1826-98) and the 20th
century surrealists.

Illustrations
The illustrative drawing does not possibly go past a basic pictorial
clarification of a bit of content, yet even it might in any case fulfill the most elevated
creative requests. Repeatedly, awesome artist have illustrated scriptural messages
and in addition writing of numerous types. Popular cases, the 18th century German
sculpture Daniel Nicholas Chodowiecki (1726-1801), the nineteenth century
caricaturist Honore Daumier (1808-79), the nineteenth century visual artist
Wilhelm Busch (1832-1908) best known for his rhyming picture stories (Max und
Moritz), and the twentieth century Austrian Blaue Reiter painter and artist Alfred
Kubin (1877-1959).

Caricatures
Related with illustrative drawing is the art of personification/caricature,
which, by misrepresenting the visual qualities of a man or circumstance, makes a
capably suggestive picture. This kind of symbolic drawing is exemplified by such
illuminating presences as Annibale Carracci (1560-1609) - who initially start the
word caricatura - Leonardo daVinci, Durer, and the Extravagant artist Bernini, and
by social reporters like the 18th century Italian artist Wharf Leone Ghezzi (1674-
1755), the 18th century English artist William Hogarth (1697-1764), the English
caricaturist Thomas Rowlandson (1756-1827) who worked fundamentally in ink
and watercolor wash, the nineteenth century Frenchman Jean-Ignace-Isidore
Gerard, known as Grandville (1803-47), and possibly the best caricaturist of all,
Honore Daumier.

Types of Ground

One can draw on practically anything that has a plane surface - level or not -
including papyrus and material, fabric, skin, wood, metals, and glass. In any case, since the
mid-fifteenth century, the paper has been the most well-known and most prevalent ground.
The technique for paper production remained intact for all intents and purposes, unaltered
as far back as 2,000 years. A strong thick remainder of mulberry bark, bast, hemp, and
linens pressed and dried in level molds.
The presentation of wood mash in the mid-nineteenth century was not gone for art
paper, since paper with a substantial wood content yellows rapidly and is in this manner
ill-suited for drawing purposes. Initially, to give the paper an adequately smooth and even
surface for composing or drawing, it was rubbed with a bone feast or gypsum chalk in a
thin arrangement of paste and gum. Be that as it may, since the late 15th century, a similar
impact has been accomplished by plunging the paper in a paste or alum shower. Shades
and colors are as well added to the mash, with blue "Venetian papers" being particularly
prominent. The 17th century supported half tints of blue - or gray, dark brown, and green
assortments; the eighteenth favored warm colours like beige or ivory, alongside blue.
Since the eighteenth century, drawing papers has been created in practically every
possible colour and shade, while quality has additionally incredibly expanded.
Granulated and softer drawing actualizes, for example, chalk, charcoal, and
graphite are not as reliant on a specific sort of paper (as, watercolors, pastels or pen, and
ink); yet, in light of their slight glueyness, they regularly require a more grounded bond
with the establishment and also some sort of surface security.

III .My Learning activities

MIT-Senior High School Page27

 a. Independent practice
DIRECTIONS: list at least 10 drawing instruments with its picture and uses

Name of Uses Picture

Instruments

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

b. My Map (Graphic organizer)

DIRECTIONS: Answer the following.
1. explain the concept of the two drawing categories.

DRAWING

MIT-Senior High School Page28

 RECEPTIVE PROJECTIVE

2. list down the greatest portrait artists with their drawing/works. Atleast 5 artist.

Artist Drawing
1.
2.
3.
4.
5.
c. Refection and Analysis
DIRECTIONS: Answer the question briefly and concisely.

1. Explain the concept and meaning of drawing

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

2. Describe art Deco

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

3. Define portrait
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

4. Describe contemporary art.

MIT-Senior High School Page29

 __________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

5. Describe the advantages of using oil paint

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

IV. My evaluation

a. Check for understanding

DIRECTIONS: Write the word TRUE if the statement is correct, if it is False
ENCIRCLE THE WORD that make it false and write the CORRECT WORD
on the space provided.

________1. Italian Renaissance artist Leonardo DaVinci was renowned for the
large number of sketchbooks he kept.
________2. Animation is a form of visual art in which a person uses various
drawing instruments to mark paper or another two-dimensional medium.
________3. Spanish artist Pablo Picasso serves as a good example of projective
drawing.
________4. Picasso began drawing from his imagination; this type of drawing is
referred to as projective drawing compared to a receptive drawing.
________5. Architectural drawings are usually drawn in perspective.
________6. Drawing as a verb describes the act of pulling, pushing or dragging a
marking tool across a 3D surface.
________7. The rise of cinema, television and the Internet has led to a
dissemination of a common visual culture into every corner of the globe.
________8. Italian Renaissance artist Pablo Picasso was renowned for the large
number of sketchbooks he kept.
________9. Sketchbooks are generally kept from the artist’s perspective and serve
a similar role to that of a writer’s journal.
________10. A drawing medium charcoal is generally available in two type’s
compressed charcoal and vine charcoal.

MIT-Senior High School Page30

 b. Performance task

DIRECTIONS: Prepare a Flipbook

Print out or draw the frames given below and glue onto individual index cards in
the same position (upper right corner is the best). Staple the left edge together, or
use a rubber band to keep the cards stacked in a little book. Flip them cards with
your thumb and see how the character moves. Use colour or add images to
customize your flipbook (source:flipbook.http:www.zuzu.org/printout.html). (50
pts).

\\\\

MIT-Senior High School Page31

MIT-Senior High School Page32