It's one thing to see the tone as a sample; it's another when it's on the page. Sometimes a tone you think will look right turns out to be too dark or light. Or maybe the line count isn't to your liking. Now, you can always clear out what you just pasted on the page and paste a new tone, but there's actually a simpler way to adjust the tone to your liking.
The first thing you need to do is open the Layer Properties tab, if it isn't open already. To do that, either press F7 or choose Window1 ¡Properties.
With tone layers, there are actually two tabs on the Layer Properties palette, as shown in Figure 11-11. The Properties tab contains the basic layer properties that 1 cover in Chapter 5. You can change the name and opacity of the layer, but because it's a vector layer, you can't change the resolution (because vectors aren't affected by resolution).
What you want to focus on is the Tones tab. Here is where you can adjust the tone to practically whatever you want. (Within reason — if you placed down a computone and you want a dot tone instead, you have to replace with a new tone).
Unless otherwise noted, you can enter a value in the option's corresponding text box or use the slider (activated when you click the triangle to the right of the text box) to adjust an option to the desired value.
At the top of the Tones tab, you see three icons. You can use these to manipulate the position of the tone on the page within its pasted area (that means any areas on the page that don't have tone on them will remain unaffected).
The three buttons work as follows:
(<" Grab: Much like the Grab button on the main toolbar, this button allows you to physically move the page around. This is a good way to help reposition the page as you're adjusting the tone.
V Move: This tool allows you to move the tone around while maintaining all the shapes created on this layer.
v Rotate: The Rotate too) allows you to change the angle the tone is set in while maintaining the shapes created In the layer.
Below the icons, you find the View Settings section. These two options help you adjust how you want the tones to be shown on the page.
Angle: This works the same as the rotate tool; it adjusts the angle the tone is set at.
i** Method: This sets up how you'd like Manga Studio to set up how the tones will be presented on the page and in the final exported or printed product.
By default, the view is set to Auto. This means that high dpi tone layer (lots of dots within a square inch) will display as solid gray when zoomed out. Alternatively, you can set the Method to Gray (always displayed as a solid gray color) or halftone (will always be shown as a tone pattern — unless you really zoom out on the page, in which case it'll be displayed as a solid gray).
Next up is the Basic Settings section. As you might expect, these options control the basic settings for the tone.
If Lines: Here's is where you can change the number of lines of the tone.
You can manually enter a value in the text box, or click the black triangle to the right of the text box, and select one of the preset line options.
IS Angle: Once again, this is an option to adjust the angle of the tone.
The value entered here can work in conjunction with the View Settings Angle. (That is, setting 45 degrees here plus 45 degrees in the View Settings section, would result in a 90 degree setting.) Or if you select the Relative to Page check box, only the value in this text box is used on the tone.
Keep in mind that if you're going to change the angle for one tone layer, you should probably do that for all the other tones on the page as well. Keeping the angle uniform will help prevent any moiré patterns from happening (should two layers of different angles overlap).
is Color: By default, the tone is set to black. If you want to try a different effect, you can change the value in the Color drop-down list to white and see how that affects your scene.
V Type: While normally, tones that you may use are round dots by default, you can always switch things up and use a different shape. Using the Type drop-down list, you can change the circular tones to squares, diamonds, lines, crosses, ellipses, or random noise.
is Size and Distort: You can use these options only if you're using a noise layer.
If you wish to change the size of the noise particles, enter a value between 10 and 1,000 in the Size text box. Likewise, if you want to stretch and warp the noise particles, enter a value between 0 and 1,000 in the Distort text box.
Finally, we come to the Tone Mode section. Depending on the tone mode you wish to use, you'll see a different set of options. You can change each of the tone modes by selecting one of the options from the drop-down list at the top of the section.
is Normal: If you're using this mode, the only option available is the tone's density. All you need to do here is enter a value between 1% and I00/o, or you can click the triangle to the right of the text box and use the slider to adjust the value as needed.
IS Gradation: This mode gives you a few more options to help set the proper size, shape, and gradation levels. These options include:
• Shape: You have two options here, which you can choose by selecting one of them from the drop-down list. A line shape sets a simple gradation along a line from one shade to the other, while a circle shape provides the same function, except along a curve (as shown in Figure 11-12).
• Flatten: If you've selected a circular gradation, this option allows you to set how flat or thin the circle will be. Enter a value in the numeric field between 0.1 and 1,000.
A Line gradation (left) versus a Circle gradation fright).
A Line gradation (left) versus a Circle gradation fright).
• Density Graph: Here's where you can adjust the gradation itself. Adjusting either of these endpoints will set how light or dark the starting and ending points will be. Adjusting the left endpoint will set the starting shade, while adjusting the right endpoint will set the ending shade.
• Repeat Size: This function sets up how far large the gradation pattern will be on the page. This value can be entered in the Repeat Size text box, or adjusted with the slider.
The repeat type (shown in the drop-down list next to the repeat size) uses this value in different ways. If you choose the Repeat type, for example, the pattern will repeat once you reach the repeat size. If you decide to use the Back-to-back type, the pattern will end at the repeat size, repeat the gradation in reverse, and so on. Selecting none will end the gradation right at the repeat size.
M* Background (BG): This mode is used for patterns (or images that are used as patterns) that are converted to halftone and used on the page. There are four options in this section:
• Open File: Click the Open File icon to bring up a directory tree dialog box. Navigate to the file you'd like to use as a BG pattern and click the Open button. The image is previewed In the window on the Open dialog box, and again on the Tones Palette (next to the Open File icon).
• Scale: Your drawing is now loaded, but it might not be at the size you want it for the pattern. Entering a value between 10% and 2,000% in the Scale text box (or using the slider next to the text box) helps get the pattern looking the way you'd like it to.
• Brightness and Contrast: The Brightness and Contrast controls can help tweak the image so it will look as you want it when it's converted into a background pattern.
To adjust these settings, enter a value between -100 and 100 (default is 0) in the Brightness and/or Contrast text boxes (or use their corresponding sliders next to the text boxes) until the image is sharp and clear enough to make you happy.
Any adjustments made to the tone affect the whole layer, so if you're looking to change only one section, the best option is to delete that section and paste in the new tone.
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