Republic of the Philippines
Department of Education - Region III
SCHOOLS DIVISION OF NUEVA ECIJA
CUYAPO NATIONAL HIGH SCHOOL
SENIOR HIGH SCHOOL DEPARTMENT
Bulala, Cuyapo, Nueva Ecija
-oOo-
First Quarter Examination
in Animation
Name :___________________________________ Score : ______________
Section :__________________ Date : ______________
I. Directions. Read each statement carefully. Choose the letter of the correct
answer and write it on the space provided before the number.
1. One who walks on two legs and looks silly, clumsy and, generally, lazy.
a. Proportion b. Goofy Character c. Base d. Skeleton
2. This is a common technique to maintain the correct proportions of a character.
a. Basic Shape Body b. Proportion c. Base d. Skeleton
3. The artist should keep in mind the correct size of body parts because it will define the structural
features of our characters.
a. Basic Shape Body b. Base c. Proportion d. Skeleton
4. Which of the following is not a template to be followed in such cartoon characters?
a. Thinner heads b. Big noses c. Big teeth d. with chin
5. Why proportion is important?
a. it defines the structural features of our characters
b. to suit the nature of each character
c. it will serve as a guide in relation to the character's joints, such as elbows and knees
d. to provide the perfect direction of style and nature of your character
6. This will provide you with the perfect direction of style and nature of your character.
a. Basic Shape Body b. Goofy Character c. Create a base d. Proportion
7. The most important factor to consider in constructing a character.
a. Basic Shape Body b. Goofy Character c. Create a base d. Proportion
8. Common practice to draw or build a body format.
a. Basic Shape Body b. Proportion c. Base d. Skeleton
9. What kind of shape to use when drawing a body format?
a. Triangle b. Pear Shape c. Square d. All of the above
10. When creating a cartoon character, what technique an animator need to consider?
a. Its own shape, personality and attributes b. Perfect direction of style of a character
c. Structural features of a characters d. Changes to suit the nature of each character
11. It gives a feeling of fleshiness, flexibility, and life in animation.
a. Squash and Stretch b. Arcs c. Staging d. Pose to pose
12. Determines where your characters and objects are positioned, what the camera is looking at, and
what positions things move to.
a. Squash and Stretch b. Arcs c. Staging d. Pose to pose
13. Tells the audience that a new idea is going to occur.
a. Anticipation b. Appeal c. Staging d. Exaggeration
14. Principles that applies in modern 3D animation, such as in the need to avoid twinning; having an
object look or move in a way that is unnaturally symmetrical.
a. Anticipation b. Appeal c. Solid Drawing d. Exaggeration
15. It refers to the number of frames between two poses.
a. Anticipation b. Appeal c. Staging d. Timing
16. This principle support a main action with secondary by adding more dimension to the animation
character or object.
a. Secondary Action b. Appeal c. Staging d. Timing
17. Increase the speed in between.
a. Slow Out b. Staging c. Timing d. Slow In
18. Ends slower before to stop.
a. Slow Out b. Staging c. Timing d. Slow Out
19. The termination of an action.
a. Follow Through b. Timing c. Staging d. Slow Out
20. Makes the objects and movement more interesting.
a. Follow Through b. Slow In c. Staging d. Overlapping Action
21. This is just a draft but at the end of this process, you need to refine it so the result will please you
completely.
a. Basic Shape Body b. Goofy Character c. Create a base d. Proportion
22. The art of creating interesting and engaging characters.
a. Anticipation b. Appeal c. Staging d. Timing
23. Technique is to animate your action from drawing 1 to the end in sequence order.
a. Follow Through b. Timing c. Straight Ahead Action d. Slow Out
24. Sequence of images rapidly changing to create an illusion of movement.
a. Basic Shape Body b. Goofy Character c. Create a base d. Animation
25. To draw the key poses first, frequently the beginning and end drawing of the action and some
other key moment between.
a. Follow Through b. Timing c. Pose to pose technique d. Slow Out
26. Using basic shape will help you to measure the height of the character.
a. Square b. Circle c. line d. oval
27. Help a surprise moment by helping build the suspense that something is about to happen.
a. Anticipation b. Appeal c. Staging d. Timing
28. Action is the pushing of the box, and the secondary actions are the heavy breathing and the wiping
of sweat.
a. Primary action b. Secondary action c. Anticipation d. Timing
29. Heavy breathing and the wiping of sweat.
a. Primary action b. Secondary action c. Anticipation d. Timing
30. This principle is also applies in modern 3D animation, such as in the need to avoid twinning;
having an object look or move in a way that is unnaturally symmetrical.
a. Primary action b. Secondary action c. Solid Drawing d. Timing
31. The film script but it differs from the live-action film script as dialog is less important and
complicated dialog should be avoided as much as possible.
a. Animation b. Story Sketch c. Key Drawing d. Storyboard
32. An artist staff is usually an artist who has a special interest in illustration, design, appearance, and
character.
a. Animation b. Designer c. Story Sketch Staff d. Animator
33. The stage where the _________ produces the storyboard
a. Director b. Designer c. Story Sketch Staff d. Animator
34. A series of drawn images graphically portrays the action described in the script.
a. Animation b. Storyboard c. Story Sketch Staff d. Animator
35. Animation relies totally on perfect synchronization of the picture to the soundtrack.
a. Recording b. Storyboard c. Track d. Sketching
36. Concerned with keeping, marking and storing all the simplest film with four tracks.
a. Animation b. Storyboard c. cartoon cutter’s job d. Animator
37. A simple process of analyzing the dialog phonetically and documenting the precise position of
each sound in relation to the film frames.
a. Model Sheet b. Animation c. Track d. Breakdown
38. Reference for all animators.
a. Model Sheet b. Animation c. Track d. Breakdown
39. It is a filmed storyboard which can be projected in synchronization with the final soundtrack.
a. a Model Sheet b. Animatic c. Track d. Breakdown
40. The animators finally involved in the film and begin to produce a line test of each scene.
a. Model Sheet b. Line tests c. Track d. Breakdown
41. Dialog, sound effects, and music should be dubbed together without losing any of the special
values that each has brought to the picture.
a. Dubbing b. Rushing c. Checking d. Final shoot
42. It is important when many animators are working on a same character and there is an inevitable
variation in the look of the character.
a. Sketch b. Checking c. Clean-Up d. Rough key
43. The actual filming procedure related to the artwork.
a. Checking b. Clean-Up c. Answer Point d. Final Shoot
44. Viewing for possible errors.
a. Envision b. Checking c. Rusher d. Breakdown
45. The animators involved in the film and begin to produce a line test of each scene.
a. Story Reel b. Story Board c. Designs d. Line Tests
46. After the cleaned-up line test is finally approved, each drawing is transferred to a thin sheet of
celluloid and painted in colors of the original design.
a. Envision b. Trace and Paint c. Rusher d. Breakdown
47. The number of frames per one second.
a. 24 Frames b. 16 Frames c. 35 frames d. 9 frames
48. Slower action going in to the secondary key of a drawing.
a. Slow out b. Slow in c. Doubles d. Singles
49. What are the three cluster of PECS?
a. achievement. planning, power c. persistence, goal setting, self-confidence
b. achievement. persistence, power d. persistence, planning, risk-taking
50. A technical comic book, it’s the first time the script gets represented graphically in a series of
panels and drawings.
a. Storyboard b. Compositing c. Head Sphere d. Layout
--0--
Prepared by: Checked by: Noted:
MELITA S. PASCUA JOB D. GAMBOA JOVITO J. DUQUE
Teacher II MT – II/ Academic Group Head School Principal IV
