DETAILED LESSON PLAN IN ICT ANIMATION NC II
Third Quarter
ICT 11B
Wednesday 8:00 – 12:00 AM
I. OBJECTIVES:
A. CONTENT STANDARD
The learner demonstrates an understanding of the concepts and underlying principles of
producing clean-up and in-between drawings.
B. PERFROMANCE STANDARD
The learner independently produces clean-up and in-between drawings as
prescribed in the TESDA Training Regulations.
C. LEARNING COMPETENCIES
LO 1. Identify requirements for cleaned-up drawings in actual scene folders
(cartoon-simple)
1.1 Identify and discuss the requirements of cleaned-up drawings.
TLE_ICTAN9-12CI-IIa-j-1
At the end of the class the student should be able to:
LO 2. Produce clean-up drawings of different Emotions for actual scenes
2.16Observe drawing proportions
2.16.1 Identify the different character emotions and its correct features; and
2.16.2 Demonstrate how to draw the different emotions based on their chosen
character.
Code: TLE_ICTAN9-12CI-IIa-j-1
II. CONTENT:
-PRODUCING CLEANED-UP AND IN-BETWEENED DRAWINGS
SPECIFICALLY FOR DIFFERENT EMOTIONS
III. LEARNING RESOURCES:
A. References:
- Animation Volume 1 (2016). Rex Bookstore, Inc. Sampaloc, Manila.
- Ando, A C.(2016). Technical Vocational Animation Livelihood Series. Phoenix
Publishing House, Inc. Quezon City.
- Ando, A C.(2016). Teacher’s Guide Technical Vocational Animation Livelihood
Series. Phoenix Publishing House, Inc. Quezon City
B. Other Instructional Resources:
- Laptop with Projector/Television
- Drawing tablet
-
IV. PROCEDURE:
Pre- Activity
- Prayer
- Checking of attendance
- Motivation
Students view the video entitled “Emotions”
Guide questions:
1. How do you think we convey different emotions in our drawings?
2. Why do we have to show emotions in our animations?
Presenting New Ideas
Moviegoers and readers identify with stories through the characters. The most powerful way
to reach an audience is through the characters' emotions. For only when we connect with
the characters on an emotional level, does the interaction become deep and meaningful.
Well-written scenes that include characters' emotions allow the audience to viscerally take
part in the story and bond with the characters.
In real life, we meet and interact daily with other people. Unlike in stories, many of these
interactions are fairly superficial. Though some audience members rather enjoy a more
distanced, intellectual challenge, most want to engage with characters in books and movies
on an emotional level, too.
Presenting the Purpose of the Lesson:
The objectives of today’s lesson is to create Clean Up drawings of different expressions
that convey emotions.
ACTIVITY:
Draw your seatmate
Teacher instructs the students to draw (digital) any of their classmate’s face (head/face only).
The students should ask their seatmate to make a sad, happy, surprised and angry face.
Choose one of the expressions and draw it on photoshop in a4 size using 300 px resolution.
ANALYSIS:
Based on the activity, answer the following questions below.
1. Are the head features the same for sad, happy, angry and surprised? Why?
2. What features or parts of the face are the most significant when it comes to
expressions?
ABSTRACTION
Getting All Emotional: Look in the Mirror
Almost every face you draw has some type of emotion attached to it. Your
character’s expressions should convey important aspects of the storytelling.
Nonverbal communication with the reader is important, and certain expressions help the
reader understand what the character may be feeling or reacting to.
Mad or Angry face
✓ Eyebrows are turned sharply down.
✓ Mouth is open and teeth are exposed like a growling dog.
✓ Cheeks are tight and appear to be flexing.
✓ Eyes are squinted shut and turned down in the middle.
Sad face
✓ Eyes are drooping and partly closed.
✓ Mouth is turned down.
✓ Cheeks appear slacked and drooping.
✓ Eyes may even have tears coming out of them.
Happy or laughing face
A happy, smiling, or laughing face is a pleasant face and one your readers will
enjoy. A smile can be a simple line you draw all the way across your character’s face or a
short line right under his nose. A smile can be as big and wide as you want to make it.
✓ Eyes can be wide open with joy or even closed if the character is laughing too hard.
✓ Mouth is wide and can go from ear to ear, and teeth are exposed.
✓ Cheeks are tight and pulled back, and the corners of the mouth run into each cheek.
✓ Ears are pulled back and may be obstructed by the wide mouth and laugh lines.
Scared or surprised face
Everybody likes a good scare! A scared or frightened facial expression on your character
brings a sense of nervous anticipation to readers. When they see a dramatically scared
expression, they know something spooky is gonna happen . . . boo!
✓ Eyes are round and may even pop out of the head.
✓ Eyebrows are high and arched and may appear to jump off the face, too.
✓ Mouth is wide open and tongue is exposed.
✓ Hair may stand on end.
✓ Cheeks and laugh lines are pulled back far and wide.
Guide Questions:
1.What are the most important facial features that must be utilized to show expressions?
APPLICATION
Teacher instructs students to draw their favorite local cartoon character that will show the
following emotions below:
a. Happy
b. Sad
c. Scared
d. Angry
Teacher asks representative from the class to show their output and explain how they draw
the character showing the different types of emotions.
ASSESSMENT
Students draw a baby head with a happy face. The drawing should observe the correct
features. The output of the students will be graded based on structure, proportion and
design, form of the character and volume.
Rubric: Maximum Score = 25
Structure: 5
Proportion and Design : 10
Form and Volume : 10
References :
- Animation Volume 1 (2016). Rex Bookstore, Inc. Sampaloc, Manila.
- Ando, A C.(2016). Technical Vocational Animation Livelihood Series. Phoenix
Publishing House, Inc. Quezon City.
/
V. REMARKS:
Assignment for next day: In your asset libraries in Adobe Flash. Add new assets that
shows different expressions such as different mouth and eye assets.
VI. REFLECTIONS:
Prepared by Checked by:
Roel S. Palmaira Evelyn Miraflor Sorolla PHD
