As I mention in the introduction of this chapter, a major problem with using tones in your work is cost. That's why the advent of digital programs like Manga Studio is so beneficial to the industry: The amount of money you save by having an almost infinite supply of tones at your disposal is outstanding.
Unlike some programs that use digital tones, the ones in Manga Studio are vector based. Much like the vector layers available to Manga Studio EX users for their ink work, the vector tones allow you to scale as large or as small as you like, without any loss of quality. This is an amazingly important feature, as the tone quality remains consistent regardless of export or print size. This practically eliminates the chances of a moiré effect (unwanted patterns that appear in screen tones — see the "No more moiré" sidebar later in this chapter.)
Having vector tones also means that you aren't married to a particular setting; if you don't think that the tone you selected works for you, you can change it as many times as you'd like (which 1 explain in the "Adjusting Your Tones" section later in this chapter).
When working with tones, I recommend working at the size you're planning to print. While you can export to any size, you'll have a much better idea towards how the final product will look when working from its print size. I've burned myself many times toning on a page at twice its print size and then seeing the tones 1 worked on did not look the way I thought they would when shrunk to normal size.
If you're primarily looking to use Manga Studio for producing webcomics, I still recommend working at the size you'd like your pages to be if they were going to be printed. You never know what the future holds, so you don't want to be caught without any print-quality pages! (Just remember to export your webcomic file in RGB — I explain why in Chapter 14.)
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