Introduction
Hello everyone. This tutorial will be under the theme of Animal Animations. The animal that I will be focusing on is the Jellyfish. I will explain how to animate it moving, focusing on changes in its body shape and speed. This will be done on Clip Studio Paint EX (CSP) on a laptop. But don’t worry, I will keep it to 24 frames so you should also be able to do it on the PRO version as well. Let’s get into it.
Basic Shape of the Body of the Jellyfish
This is the basic shape of the body of the Jellyfish that I will be using. It consists of the Bell and Tentacles. I’ve kept it very simple to keep the explanation and animation simple, hence why I did not include any Oral Arms.
In the picture above, the shape of the Jellyfish is Neutral. Also, it is not moving.
However, when the Jellyfish begins to move, the shape of its body will change from Neutral as it squishes and stretches.
Shape of the Bell
These are the basic shapes of the Bell (Hood) of Jellyfish as it moves.
They are Neutral, Squash and Stretch respectively.
However, here, the neutral shape of the Bell is moving and its main purpose here is to help in the transition from the stretched shape of the Bell to the squashed shape of the Bell. It should appear two times in the swim cycle of the Bell.
Squash> Neutral>Stretch>Neutral.
Now, I've gone ahead and added the In-betweens so that the shapes gradually change into each other.
The In-Between was easily done using the Onion Skin Feature in CSP. To activate it, I simply go to the Animation menu>Show Animation Cels>Enable Onion Skin. Or I simply click the Enable Onion Skin icon on the Timeline palette.
To change how the Onion Skin behaves, like the colors used, opacity and the number of skins, I go to the Animation menu>Show Animation Cels>Onion Skin Settings. In the Onion Skin Settings dialog box, I make my changes then press OK.
Shape of the Tentacle
The basic shape of the Tentacle is basically a line. However, its form changes as it moves to help propel its body in the water.
To keep things simple, I will focus on one tentacle for now.
So, it starts with the Tentacle in a neutral shape where it's not moving.
Then you have when it is rising up
Then when it is Up and preparing to go back down.
Then with it actually going down.
Then stretching after going back down.
This is the complete sequence.
Now, I’ve gone ahead and added the Tentacles onto the Bell of the body. This is what it looks like.
Now, with the additional legs
This was animated on 3s at 18fps on a total of 33 frames. However, I used only 11 cels.
These are the images of the 11 cels on a transparent background.
They depict one swim cycle for the Jellyfish.
You can download them and use them if you want, no credit needed.
Observe how the body changes as it moves.
The last image in the sequence is what would come just before the first image, thus making it loop seamlessly when repeated.
The Speeds associated with the different Body Shapes
As the Jellyfish moves, its body shape is going to change. It’s the changing of its body shape that helps bring about movement after all. But its movement doesn’t have one constant speed all across.
There are points where it is fast and points where it is slow. At each point in the swim cycle there is a body shape associated with that point and also a particular speed.
These are the speeds. associated with each body shape. I’ve placed lines to help make certain points obvious.
As it squashes, it decreases in speed. To depict a decrease in speed, I make the distance between the images on the canvas small.
Likewise, as it stretches, it increases in speed. To depict an increase in speed, I make the distance between the images on the canvas big.
Note:
This demonstration was made using the Onion Skin feature in CSP and the Screen Recording feature on my device.
In the Onion Skin Settings dialog box at the Number of Skins sections, I simply set the Previous Frames to 10 and the Next frames to 0.
I probably should have set the Start Opacity to 90 and not the default 50 so that all frames are at least visible when I am at the last frame, but I still think you get what I’m trying to say.
End of Note.
Now that the explanation is over, it’s time for the walkthrough demonstration using Clip Studio Paint.
CSP Demonstration
I start by opening up CSP (Clip Studio Paint).
I then go to the File menu> New.
In the New dialog box that appears, I set the Project Type to Animation.
Specific settings for the Animation project type will appear.
I then enter a name for the CSP file which is ‘JellyfishTip’.
Next, I set the Size of Output Frame to:
Width: 1080 pixels
Height: 1260 pixels
Resolution: 72 (since I’m dealing with animation and it won’t ever be printed)
At the bottom, at the Blank Space section, I set all four figures to 0 as I don’t want any blank space around my canvas.
To the right of the New dialog box, I make some additional changes at the Timeline Section.
I set the Frame Rate to 8
The Playback Time to 24
The Division Line to 11. For this animation, I plan to work on 1s (one cel spans 1 frame) so this wouldn't really be useful to me. However, since I will be animation two swim cycles of my Jellyfish where one cycle takes up 11 frames, I’ll just set the Division Line to 11 to help me out a bit.
I then press OK, and a new CSP opens.
But now I need to save this CSP on my device.
I go to the File menu> Save As (notice the Save option is not available).
Choose a location in my device’s storage then press OK. If I were to go back to the File menu, the Save option would now be available.
The CSP file already has certain animation elements present, like an Animation Folder containing only one cel.
To bring up the Timeline palette, I go to the Window menu> Timeline.
Note:
An Animation folder is different from a Layer folder. Layer folders have layers and can have other layer folders inside them. Animation folders have layers and Layer folders inside them that are treated as Cels on the Timeline. An Animation folder cannot have another Animation folder inside it.
End note
Now, if I want to make changes to my document relating to animation, I go to the Animation menu. There I will find options geared towards animation.
Specifically, if I want to change settings relating to the Timeline, I go to the Animation menu> Timeline. There I will be able to change settings relating to the Timeline.
Now, it’s time to start drawing. But first, I need to set up a symmetrical ruler to do half the drawings for me.
I start by creating a new layer above the Animation folder.
I click the blank Paper layer from the Layer palette, then click the New Raster Layer icon at the top of the palette.
A new Raster layer is created above the Paper layer which I then drag above the Animation folder.
I rename this layer to Ruler by double clicking on its name in the Layer palette then changing it. I then assign this layer a palette color for easy identification. I use the Change Palette Color icon for this.
To draw the symmetrical ruler on it, I click on the layer then go to the Ruler tool from the Tools palette on my left, then select the Symmetrical Ruler sub tool.
In the Symmetrical Ruler’s Tool Property palette, I set the Number of Lines to 2, and I
make sure Line Symmetry is selected, we aren’t making Mandala Art, LOL.
I also set the Snap Angle to 90 and make sure it is checked off as well as Create at Editing Layer.
I then draw the ruler on this layer which will easily snap to 90 degrees giving me a straight line of symmetry.
Note:
The symmetrical ruler doesn't need to be positioned perfectly in the center of the canvas, as I will later be moving the images. But I just did it because of a habit of mine when using the symmetrical ruler.
End of Note.
Anyways, to position the ruler in the center of the canvas, I click on the ruler with the Operation tool> Object sub tool.
Then I go to the Edit menu> Align/ Distribute> Align Horizontal Centers.
This quickly and easily positions the ruler to the middle of my canvas.
To set the ruler to still work even when I am on another layer, which I most definitely will be, I click on the Select Ruler Range icon in the Layer palette then select the Show in All Layers option from the list.
Now, if I need to turn off the symmetry ruler, I just simply hide the layer by clicking the eye symbol at its layer in the Layer Palette.
I will now start to draw the images of one swim cycle of the Jellyfish.
I start by renaming the Animation Folder that was created by default to Bell Line. Additionally, I set its palette color to black.
Now, I am going to create 10 more cels in this animation folder to give it a total of 11 cels.
I go to the Bell Line Animation folder’s track in the Timeline, then click on frame 2. In the Timeline palette, I click the New Animation Cel icon until I have 10 more cels.
Here, I will start to draw the 11 images of the Bell alone for one swim cycle of the Jellyfish.
On cel 1 of the Bell Line Animation folder, I will draw the Bell in its neutral shape.
I use the Pen tool> G-Pen sub tool and the color black for my drawings.
For smooth curved lines, I use the Figure tool> Continuous Curve sub tool.
From cels 1 to 5, the body stretches.
So, on these cels, I draw the Bell stretching longer and slimmer. I try to keep the middle of the bottom line of the Bell in the same spot to keep the Jellyfish in the same position.
To help with this, I turn on the Onion Skin feature.
I do this by clicking the Enable Onion Skin icon in the Timeline palette, or by going to the Animation menu>Show Animation Cels>Enable Onion Skin.
Now when I go to cel 2, I see the image on cel 1 on the screen to help me draw the next Bell shape in the sequence.
To adjust the Onion Skin to better aid me I go to the Animation menu>Show Animation Cels>Onion Skin Settings. In the Onion Skin Settings dialog box I adjust the Number, Colors and Opacity of the skins to my liking.
While drawing, I keep in mind that the Bell shapes to be drawn on cels 4 and 5 are really identical. The only difference is that the Bell shape on cel 5 is to be drawn longer, but with the same width.
I enable and disable the Onion Skin as I go along as sometimes it interferes with what I'm doing.
Using the ‘Lock current animation cel as editing target' feature
Now, from cels 6 to 8, I need to draw the Bell relaxing back to its neutral Bell shape. To do this, the shape on cel 8 needs to be the same as the Neutral Bell shape, which is also on cel 1.
I could simply copy the contents of cel 1 then go back to cel 8 and paste it, but I will use another method since I will eventually be adding to this method to do other parts of the animation. It helps with the explanation if I demonstrate this method first.
In this method I will make use of the Lock Current animation cel as editing target feature in CSP.
To access this feature, I will need to bring up the Animation Cels palette.
I do this by going to the Window menu> Animation cels.
The Animation Cels palette has appeared.
For me, it was docked at the top of a palette dock that is to my left in CSP and was stacked along with some other palettes.
I wanted it isolated from the other palettes, so I dragged it and moved it out to the side of the palette dock until a red line appeared at where I wanted it, then I released my click. This makes it a floating palette, which is what I want.
Now that the Animation Cels palette is fully visible, I can access the icons at the top of it including the Lock Current animation cel as editing target icon.
I click on cel 1 from the Bell Line animation folder, which has the neutral Bell shape on it.
The Target cel which is displayed in the Animation Cels palette will change to showing cel 1’s layer. From my understanding, the Target Cel is simply the Cel/Layer that the features of the Animation Cels palette will be applied to.
Then I click the Lock Current animation cel as editing target icon which will lock the image on cel 1 as a reference on the screen.
Note:
Clicking this icon also automatically enables the Light Table, as indicated by the Enable Light Table icon switching to blue, indicating that it is on.
I can adjust the opacity of the reference image on the screen by using the Opacity Slider.
Now, when I go to any other cel in the Bell Line Animation folder, I will see the image on cel 1 being referenced on the screen at the selected opacity.
If I want to make edits to the image being referenced, I have to go back to the Target Cel (cel 1) and make my edits. Now when I go back to any other cel, the edited version of the image will also be referenced on the screen.
If I wanted to quickly switch the locked Target Cel without having to unlock, then click another cel, then lock back again; I can simply use the arrows at the top of the Animation Cels palette.
End of Note
I use the Opacity Slider to set the opacity of the reference image of cel 1 that will show when I click on other cels.
I then go to cel 8 and trace the Bell shape on cel 1 onto it. When done, I go back to cel 1 and unlock it by pressing the icon again so I don’t see the reference image anymore. Though in my case, I didn't see it even though it was still locked because my drawing was really similar, hence covering it.
I know this is a waste of time, but just in case you don't want it to look EXACTLY like a copy of cel 1 in terms of the line thickness and smoothness, you could redraw it.
Now that I have cel 8’s body shape drawn, I can use the Onion Skin feature to draw the Bell shapes for cels 7 and 6.
For cels 9 to 10, the Bell transitions from a Neutral shape on cel 8 to a squashed shape on cel 10. I use the Onion Skin to draw these.
Cel 9’s Bell shape is shorter and thicker than the one on Cel 8.
Cel 10’s Bell shape is the same height as the one on cel 9, but thicker and is the point where the squashing stops.
Using the Cel-Specific Light Table
The Bell shape that is to be drawn on cel 11 is special.
It ensures the seamless transition of the Bell’s shape if the swim cycle is to be repeated more than once.
Hence, it is the In-between for the shapes on cels 10 and 1.
The Onion Skin feature would not be suitable for this.
Unfortunately, the Lock Current animation cel as editing target feature wouldn't be suitable either as I now want to see the images that are on two cels as a reference on the screen but only while I am on a specific cel. And it is this specific cel that I also want to draw on.
The Cel-Specific Light Table would be the most suitable feature for this.
To bring up the Cel-Specific Light Table, I simply click the Show Cel-Specific Light Table icon at the top of the Animation Cels palette. For me, it was already visible.
I then click on the cel I want to draw on, which is cel 11. The Target Cel will change to cel 11, as this is the cell I will be applying the Light Table layers to.
Note:
In my own words, the Light Table layers are the reference images created from the images on cels but are now given their own layers allowing me to perform certain edits to the reference images only. I will emphasize that it is possible to have more than one Light Table layer which is super handy.
Both the General Light Table and the Cel-Specific Light Table make use of Light Table Layers unlike the Lock Current animation cel as editing target feature.
For the General Light Table, the Light Table layers are attached to all cels, so they will show no matter which cels I click.
However, for the Cel-Specific Light Table, the Light Table layers are attached to specific cels and will only show when that specific cel is selected (the Target Cel).
End of Note
With cel 11 being the Target Cel, I then hover over the layer in the Layer palette representing cel 10 and drag it into the Cel-Specific Light Table. A Light Table layer will be created of cel 10.
I can click on the Light Table layer for cel 10 in the Light Table which will now allow me to make edits to the image on it.
Note:
These edits can be performed via the icons now available at the top of the Animation Cels palette. Namely:
Reverse Layers Horizontally on Light Table icon- Flips the Light Table Layer horizontally.
Reverse Layers Vertically on Light Table icon- Flips the Light Table Layer vertically.
Opacity icon-adjust the opacity of the Light Table layer.
Color Mode icon-edit the display color of the Light Table layer.
Select Previous cels icon & Select next cels icon-switch the cel the reference image is being created from to the cel next or previous cel.
To no longer see the image on the Light Table layer, I can hide the Light Table layer by pressing the eye icon on it in the Cel-Specific Light Table or delete it by pressing the Deregister selected image from Light Table icon.
End of Note.
The edits I chose to make were to adjust the Opacity and to change the Color Mode to Change Layer Color.
I then make another Light Table layer at cel 11 but using cel 1 this time. I make the same edits as well.
With both the images on cels 1 and 10 showing, I can easily draw the In-between for cels 1 and 10 onto cel 11. I make sure to click back on cel 11 and click back the G-Pen sub tool before I start to draw.
When done, I delete the two Light Table layers.
I click them then press the Deregister Selected Image from Light Table icon.
This is what I have. A single swim cycle of the Bell of the Jellyfish. It shows the shape of the Bell being stretched and squashed one time.
Tentacle Part 1
Now that I have the Bell shapes for cels 1 to 11 drawn, it’s time to draw the Tentacles. But these tentacles that will be drawn are for when the Jellyfish is moving in a straight line. However, my Jellyfish will not be moving in a straight line. So to keep things simple, I’ll create an Animation folder consisting of only 11 cels for one swim cycle where it is moving in a straight line. Here I will focus on the shape of the Tentacles. Later, I will redraw them but this time focusing on how they bend due to them no longer swimming in a straight line.
I first click the Paper layer in the Layer palette, so this Animation folder is created above it.
Then, I create a new Animation folder by clicking the New Animation Folder icon on the Timeline palette or by going to the Animation menu> New Animation layer> Animation folder.
I renamed it Tent-Ref and assigned a light blue palette color to it.
In it, I create cels from frames 1 to 11.
I lower the opacity of the Bell Line Animation folder.
I start by drawing the two outer tentacles. I turn on the Onion Skin feature to help me with this.
On cel 1, the tentacle looks like a U.
From cels 2 to 4, the tentacles are going down. So, at cel 4, I draw it already down then do the in-betweens on cels 2 and 3.
At cel 5, the tentacles are the same as the one on cel 4 but a bit longer. So, I copied and pasted it then just extended the length.
From cels 6 to 8, the tentacles are moving upwards.
From cels 9 to 10, the tentacles are preparing to go back down.
The tentacle at cel 11 looks sort of like half a V and half a U merged together. The V side is bigger and is on the otter side. The U side is smaller and is on the inner side. The top of the U connects to the Bottom of the Bell. The top of the V is slightly bent outwards and near to the tip on the previous cel.
Now that cel 11's Tentacle shape is drawn, I notice that the one at cel 1 is a bit short so I extend it. Sometimes I don't see errors until I play the final thing. It's good to check the animation as I go along.
I lock the image on cel 11 so make the tentacle on cel 1 lower than it. After I make my edits, I remember to unlock cel 11.
After I’ve drawn the outer two tentacles on all the cels, I go back and draw the inner two tentacles.
Then I include parts of the bottom of the drawing of the Bell into the drawing which will be helpful to ne later on.
I simply copied and pasted them by using the Selection tool> Lasso sub tool to make a selection around the bottom of the drawing of the Bell, then I go to the Edit menu> Copy.
I then go back to Tent-Ref Animation folder and click on the cel I want it pasted onto, then I go to the Edit menu> Paste. When done, I cancel the selection by pressing the Deselect icon on the selection launcher (bar with icons at the bottom of the selection).
I play it, it looks OK.
Then, I hide this Tent-Ref Animation folder for now.
Next, I also hide the Symmetry Ruler layer.
Set back the opacity of the Bell Line Animation folder to 100.
This is what it looks like when looped.
Getting another swim cycle
I want more than one cycle of the transitioning of the shape of the Bell. Specifically, I want 2.
First, I need to create cels at frames 12 to 23 in the Bell Line Animation folder. I make sure I am at frame 12 before I start adding. Then I press the New Animation Cel icon on the Timeline palette until I have cels on frames 12 to 23.
To get the image on cel 1 onto cel 12, I click on cel 1 then I go to the Edit menu> Copy.
Then I click back onto cel 12 and go to the Edit menu> Paste.
To speed things up though, I use the keyboard shortcuts Ctrl+C to Copy, and Ctrl+V to Paste.
I do this for the other cels too. Pasting from cels 2 to 11 onto cels 13 to 22.
So, the shape of the Bell on cel 2 would be copied onto cel 13, 3 copied onto 14, and so on.
1→12
2→13
3→14
4→15
5→16
6→17
7→18
8→19
9→20
10→21
11→22
I leave cel 23 blank to give a short moment where the Jellyfish is not on the screen.
I play it and it loops nicely. Two cycles of the Bell stretching and Squashing in the same position, which is what I want.
Path of Movement
To create the Path of Movement, I need a new layer.
First, I click the Ruler layer so it will be created above it.
I create a new Vector layer by clicking the New Vector Layer icon in the Layer palette or by going to the Layer menu> New Layer> Vector layer.
I name this layer Path and also set its color in the Layer palette to a darker Red for easy identification.
Then, I select the Figure tool from the Tools palette on my left and choose the Continuous Curve sub tool.
With a nice Brush Size and the color red selected, I draw a vector line, representing the path the Jellyfish will swim, onto this vector layer.
I then further edit this vector line by using the Correct Line tool and selecting the Control Point sub tool with ‘Move Control Points’ selected to further edit the points. I want a nice smooth Path of Movement.
I then lower its layer opacity a bit by using the Opacity slider in the Layer palette.
This line represents the Path of Movement. Notice it is not straight. I’m just going to call it the Movement Line.
Now, I move the Bell shape on each cel along this Movement Line. I do this by clicking the desired cels in the Bell Line Animation folder, then I use the Move tool to move them into position one by one.
I also utilize the Onion Skin feature so I can clearly see the distance between the images as the shapes cover more distance when stretching and less distance when squashing.
I start off with the Bell shapes where it is neutral, squashed the most and stretched the most.
Neutral at cels: 1, 8, & 12, 19
Squashes the most at cels: 10, 21
Stretches the most at cels: 5, 16
After moving those crucial Bell shapes, I move the other Bells shapes that fall between them.
Note:
I Duplicated the Bell Line Animation folder, hide it, locked it and placed it at the bottom of the Layer palette for safe keeping. A personal habit of mine, just in case you see it and wonder what it is.
End of Note.
Afterwards, I properly orient them, by enclosing the shape using the Selection tool> Lasso sub tool. Then, I go to the Edit menu>Transform> Rotate to rotate them and move them more accurately along the movement line.
I use the shortcut Ctrl plus T to bring up the transformation handles around the image on the selected cel, then I use the rotate handle to rotate it. I make sure to be careful not to alter the size, only the angle. I make the center of the image fall onto the Movement Line.
Tentacle Part 2
Now, for the actual Tentacles that will be shown in the final result.
Firstly, I click the Tent-Ref Animation folder, so it’s created above it. I then create a new Animation Folder and rename it to Tentacle. I give it a White palette color.
In it, I create cels from frames 1 to 23.
On each cel, I will draw the Tentacle shape that matches with the Bell shape at that frame.
I remember that the Tentacle shapes from cels 1 to 11, representing one swim cycle, are in the Tent-Ref Animation folder.
I will simply use those shapes as a reference to redraw the Tentacles in the Tentacles Animation folder.
Yes, I know that the Tentacle shapes in the Tent-Ref Animation folder are not positioned along the Movement Line nor are they visible-as I hid their Animation folder.
Light Table tool
This is where the Light table tool in CSP becomes very handy.
While on cel 1 of the Tentacles Animation folder, I go to the Animation Cels palette and make sure the Show Cel-Specific Light Table icon is selected.
I create a Light Table layer of cel 1 from the Tent-Ref Animation folder by dragging it into the Cel-Specific Light Table. Notice how I still see the image on cel 1 even though the Animation folder it is in is still hidden. Awesome. Helps to prevent confusion.
I then adjust the Opacity and Color Mode if I want.
Then, I click the Light Table layer and the transform handles will appear as well as the Enable/Disable Light Table Tool icon turning blue indicating that the current tool has automatically switched to the Light Table tool.
Note:
The Light Table tool is found in the Operation Tool’s sub tool palette. However, I can quickly switch to this tool by clicking the Enable/Disable Light Table Tool icon instead of having to search for it.
It works on Light Table layers. So, before I use it, I make sure I click on the desired Light Table layer in the Light Table (General or Cel-Specific). It allows adjustments to be made to the Light Table layer.
To reset the adjustments made, I click the Reset Position of Layers on Light Table icon.
End of Note.
After the transform handles appear around the Light Table layer with cel 1 showing on it, I am now able to adjust the Size, Angle and Position.
Here, I am mostly concerned with the Orientation and Position.
I drag the layer until the Tentacle shape on it is positioned over the Bell shape showing at frame 1.
I then rotate it to match up with the orientation of the Bell shape using the bottom line of the Bell shape that was included in the drawing to help me. I can also move the center point of the Light Table layer to rotate it more precisely.
I then click back on the Target Cel, which is cel 1 of the Tentacles Animation folder, and redraw the tentacles but also make them bend in accordance with the Movement Line.
If at any point, I also need the image on the cel next or previous to the one on the Light Table layer, I could easily use the arrows at the top of the Animation Cels palette, and they will show in the same Light Table layer with the same adjustments made to them.
I do this for cels 1 to 22 of the Tentacles Animation folder.
With all the tentacles fully drawn, I click the Enable Light Table icon to disable it.
Finally, I hide the Path layer with the Movement Line on it.
Colors
Now that all the line art is complete, it's time to color them.
I set the Paper layer’s color to a darker color, by double clicking on it. Setting a dark for the background helps to select the right colors as the background will be dark and I also haven’t drawn it yet.
I created a new Animation Folder below the Bell Line and Tentacle Animation folder and created cels in it from frame 1 to frame 23.
I then duplicated this Animation folder and hide one of them. The hidden one I renamed to blank cels.
I also set the palette color of the visible one to pink and renamed it Bell Outline.
On the cels of the Bell Outline Animation folder, I use the Auto Select tool> Refer to All Layers sub tool to make a selection of the shape of the Bell by clicking inside of it, then expand the selection area and use the Airbrush with a nice light blue color to color the Bell focusing on the edges.
I do this for all 22 cels. I also lowered the opacity of the Bell Line Animation folder.
I then set the opacity of the Bell Line and Tentacle Animation folders to about 72.
Then I change the Layer Color of both Animation folders to a nice light blue color.
Then I set the Blending Mode of both Animation folders to Add Glow.
Isn’t this just beautiful.
I then duplicated the blank cels Animation folder, rename the visible one to Glows and move it above the other Animation folders.
I assign a yellow palette color to it and set its Blending Mode to Glow Dodge.
On it, I add glows using various colors. I go in stages for each color.
BG and Extra Details
I created a background for the animation by creating a layer above the paper layer. I then brought up the Sub View window and picked colors from the reference images for the background that are loaded into it. I bring it up by going to the Window menu> Sub View.
For the Jellyfish, I duplicated the blank cels animation folder and drew bubble coming from the Jellyfish as it moves.
Export
When done, I export this as a GIF, by going to the File menu> Export animation> Animated GIF. I select a location to save it in my device. Then I check the settings in the Animated GIF export settings dialog box, then press OK.
This is the final result.
Hope you found this tutorial useful. Thank you for reading.
I’m currently working on a one-shot Manga/Manhwa in CSP to post on Manga Plus Creators. The plan was to finish it before I post this tutorial and sort of advertise it here and on my social so more people can see it—because I have a small number of followers on my socials. But dues to the storm Melissa I was unable to finish it to post for last month and advertise it here as well. But, I’m just going to leave the name of it here.
It is called Balloon Heart. Hope to finish it for November at least.
Here is a little sneak peek. They aren’t done though. I must say, the 3d models in CSP definitely came in handy.
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