Screentone, zipatone, halftone, manga dots – whatever you call it, this shading technique is a cornerstone of black and white comic art, especially in manga. While often underappreciated, toning is as crucial as lettering and coloring in bringing comics to life. Sure, some legendary artists can convey value and depth without relying on neutral tones, but for many, screentones are the essential bridge between black and white, adding crucial visual layers. Why painstakingly draw waves when you can skillfully apply tone to depict them, as seen in manga panels?
In Donten Prism Solar Car by Ohtagaki Yasuo & Yuusuke Murata, the mastery of screentone is immediately apparent. Just look at Panel 1 above. It’s a masterclass in using at least three distinct types of tone to define shadows, render the sky and water, and even differentiate the solar panels. The seamless blending of tone to evoke the texture of seafoam is a testament to Yuusuke Murata’s incredible skill and attention to detail. It’s a level of finesse that speaks volumes about the power of hand-applied and digital screentones alike. Understanding these nuances, much like interpreting a detailed Donten Prism Solar Car Scan Fr for vehicle diagnostics, is key to appreciating the depth in manga artwork.
Akira Toriyama, another manga luminary from Ginga Patrol Jako, demonstrates a different approach. Here, he employs a straightforward camouflage pattern using tone. This example perfectly illustrates that effective toning doesn’t always require complexity. Sometimes, simplicity is not only easier but also more fitting, especially when it complements Toriyama’s signature cartoony style. This direct approach proves that screentones can be both accessible and impactful.
Now, while the previous examples might seem achievable by hand, consider this panel from Pajama na Kanojo by Hamada Kosuke. The level of detail and smoothness in the toning, particularly on the… well, let’s focus on the technique… it raises the question: could this level of refinement be achieved without digital tools? It’s almost unbelievable that Hamada Kosuke accomplished this level of screentone application by hand, showcasing an extraordinary level of skill and patience.
Digitally Enhanced Tones
Digital screentones have become the industry standard for many comic artists. Their affordability and versatility are undeniable advantages, especially for artists who may not have the steady hand of a surgeon with an exacto knife, or the budget for extensive physical screentone sheets. While the charm of physical deleter sheets remains, digital tools open up a realm of possibilities that were previously unattainable.
Psyren, by Iwashiro Toshiaki, provides a compelling example of digital toning’s power. In Panel 6, a subtle gradient tone is used to amplify the intensity of the scene. This technique not only serves the narrative by building tension but also elevates the visual appeal of the panel. The gradient adds dynamism and energy, proving how digital tones can enhance storytelling.
World Trigger, by Ashihara Daisuke, showcases another facet of digital screentones. While Daisuke is known for his traditional techniques and use of white ink, the sword slash effects in this panel are likely digitally rendered. Digital tools excel at creating effects like these, which would be incredibly laborious to achieve by hand. Similarly, the “invisibility trick,” often used in manga, becomes significantly less of a headache when executed digitally, allowing artists to bypass complex manual processes.
The possibilities expand further with techniques like layer masks, as seen in Mahouka Koukou no Rettousei by Hayashi Fumino, Satou Tsutomu & Kitaumi Tsuna. The “witchcraft effects” achieved through layer masks on screentones demonstrate the intricate and visually stunning results possible with digital manipulation. This level of detail and complexity would be incredibly challenging, if not impossible, to replicate manually.
Finally, consider Fire Fire Fire by Satou Shouji. Satou’s control over digital tone rivals even the acclaimed work of Murata on Onepunch-man. The masterful value control achieved through digitones in this panel begs the question: with such nuanced tone work, who even needs color? Satou’s artistry highlights the potential of digital screentones to create depth, drama, and visual impact comparable to full-color artwork.
The Art of Cut-Outs and Negative Space
Beyond digital and traditional applications, another technique involves physically cutting and manipulating screentones. This approach leverages negative space to striking effect.
Boku no Mei by Kisaragi Sono showcases the beauty of negative space. The cut-out hair in this panel is a testament to the power of subtraction. By removing tone, Kisaragi creates shape and form, demonstrating an elegant use of contrast and visual economy.
Takamagahara by Kawai Juuzou further exemplifies this technique. The stark negative space used to accentuate the eyelines is a bold and effective choice. It draws attention to key features and adds a dramatic flair to the artwork, proving that sometimes what you leave out is just as important as what you put in.
In Nisekoi by Naoshi Komi, the practical benefits of tone cut-outs become apparent, especially under tight deadlines. Creating building backgrounds using tone cut-outs in Panel 3 is a time-saving technique. This approach is particularly advantageous for character-focused manga like romcoms and shoujo comics, where detailed background line art might detract from the central narrative.
Area D – Inou Ryouiki by Nanatsuki Kyouichi & Yang Kyung-Il demonstrates another advantage of cut-outs: creating panel distinction and depth. The strategic use of tone and negative space results in a visually striking panel with a strong sense of darkness and separation, far more effective than simply filling areas with solid black.
Mastering Tone for Dark Value
Achieving deep blacks and rich dark values is another crucial aspect of screentone artistry.
Bouken Erekitebou by Tsuruta Kenji offers a bold approach to achieving dark values by hand. Using one giant sticker of screentone, strategically cut in just a few areas to create a light effect, demonstrates a masterful understanding of light and shadow achieved through minimal effort and impactful choices.
For digital artists, ST&RS by Takeuchi Ryousuke & Miyokawa Masaru provides a useful tip for creating unique textures. Digitally “dotting” a toned area with a round, hard-edged eraser in Photoshop mimics an “underwater bubbles” effect. This simple digital technique expands the textural possibilities of screentones.
Psyren appears again, this time highlighting the concept of “tone macros.” Iwashiro Toshiaki utilizes the macro pattern of screentones to create the illusion of water depth in Panel 5. By considering the overall pattern of the tone from a distance, artists can use screentones to suggest depth and atmosphere, adding another layer of visual storytelling.
Enigma by Sakaki Kenji exemplifies the pinnacle of layered tone work. Sakaki’s mastery of value balance, combined with the layering of numerous different tones, results in incredibly rich and complex visuals. This panel demonstrates the heights of artistry achievable through dedicated practice and a deep understanding of screentone techniques.
Finally, Bleach by Tite Kubo offers a captivating example of ambiguous technique. This simple yet powerful page, depicting a glimmer of light fading, leaves the viewer questioning: is it inkwash, screentone, a digital effect, or a combination? Regardless of the method, the result is undeniable – a beautiful and evocative depiction of light and shadow, showcasing the versatility and expressive potential of tone in manga art.
In conclusion, mastering screentones, whether digitally or by hand, is an essential skill for any aspiring manga artist. From subtle gradients to bold cut-outs and layered textures, the techniques explored in these manga panels offer a wealth of inspiration and practical knowledge for honing your own tonal artistry.
