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Choosing pixels or vectors

From: Scanning Techniques for Photography, Art, and Design

Video: Choosing pixels or vectors

In this movie I'd like to discuss which kinds of images we're going to convert and edit as pixels and which kinds of images we're going to convert and edit as vectors. In the previous movie we talked about the fundamental differences between Pixels and Vector-based images. If you have any questions about that go ahead and refer to the previous movie. Here we're going to move on and look at a couple of different kinds of images and see which ones lend themselves best to saving as vectors and editing as vectors and which one to saving and editing as pixels. Let's start with the bicycle image that we used in the previous movie, I am going to zoom in here and just as a quick review I am going to zoom in on that edge remember Pixel-based images are made up of pixels.

Choosing pixels or vectors

In this movie I'd like to discuss which kinds of images we're going to convert and edit as pixels and which kinds of images we're going to convert and edit as vectors. In the previous movie we talked about the fundamental differences between Pixels and Vector-based images. If you have any questions about that go ahead and refer to the previous movie. Here we're going to move on and look at a couple of different kinds of images and see which ones lend themselves best to saving as vectors and editing as vectors and which one to saving and editing as pixels. Let's start with the bicycle image that we used in the previous movie, I am going to zoom in here and just as a quick review I am going to zoom in on that edge remember Pixel-based images are made up of pixels.

Whereas and let's move over to Illustrator and the Vector-based images are made up of edges, where you don't have any of that stair-stepping. You can see the quality difference alone just looking at this. In the previous movie we discussed how the more you edit a Pixel-based image particularly, dimensionally scale, skew and rotate the lower the quality that edge gets. When we're working in Pixel-based images if we know we're going to be doing a lot of editing we know that edge quality is going to be degraded, whereas, if we have that same kind of image and we're working in a Vector-based image we know that we can edit that image to our hearts the light and the edge quality is going to remain the same.

Now notice with this bicycle-based image this image is defined by the edge, so if we have edge-based images in typically logo, line art, type that simple then it's going to behoove us to convert it into vectors and then to our editing, because then we're not going to have any degradation of our image. On the other hand if we have an image like this Moose that we see here, this is also a line art image, but it's a detailed line art image, and notice as we zoom in here we see lots and lots of detail. If you can imagine and try to convert this into a Vector, couple of things would happen. One is, the very detailed nature that you see in this image would be lost, because everything would be converted into vectors.

Secondly, it would be enormously complex who achieves the basic nature of the image. Let's take a look at another kind of image that has detail, a continuous tone image. Here is a picture of my buddy Zip, and as we zoom in on a Pixel-based image we see a lot of detail there as well. And here we begin to see a real fundamental difference between the kind of images we want to capture and save as Pixel-based images and edit them as pixels and those we want to capture as pixels as we have to in the scan and convert to vectors. If our image has a lot of detail in it we're going capture it as pixels and keep it that way.

If the image on the other hand is an edge -based image such as our bicycle, we're going to capture it as pixels because that's the way a scanner works and then we're going to convert it to vectors before we do any editing to it.

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This video is part of

Image for Scanning Techniques for Photography, Art, and Design
Scanning Techniques for Photography, Art, and Design

58 video lessons · 8501 viewers

Taz Tally
Author

 
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  1. 6m 48s
    1. Welcome
      1m 11s
    2. What you should know before watching this course
      3m 54s
    3. Using the exercise files
      1m 43s
  2. 1h 0m
    1. Scanners and digital cameras
      3m 6s
    2. Types of scanners
      5m 2s
    3. Scanner location
      3m 19s
    4. What scanners and digital cameras create
      7m 22s
    5. Understanding grayscale values and channels
      3m 19s
    6. Understanding pixels and vectors
      4m 1s
    7. Choosing pixels or vectors
      2m 27s
    8. Resolving resolution
      6m 32s
    9. Working with interpolation
      3m 31s
    10. Understanding the effects of compression
      2m 4s
    11. Evaluating and correcting images with histograms
      8m 26s
    12. Saving to different file formats
      7m 4s
    13. Color management
      4m 23s
  3. 33m 22s
    1. Cleaning your scanner
      7m 31s
    2. Cleaning your images
      7m 47s
    3. Calibrating your scanner
      9m 13s
    4. Creating and applying a color management profile
      8m 51s
  4. 20m 55s
    1. Evaluating your scan challenges
      9m 46s
    2. Reproducing vs. assigning colors
      6m 20s
    3. Recognizing continuous tone (contone) vs. dot pattern images
      4m 49s
  5. 36m 32s
    1. Understanding bit depth
      8m 49s
    2. Selecting a scan mode
      8m 20s
    3. Sharpening and its effects
      10m 40s
    4. Creating and assigning color management profiles
      8m 43s
  6. 2h 25m
    1. Taking the Tazmanian Oath!
      3m 38s
    2. Choosing your weapon
      4m 2s
    3. Setting up your scanning preferences
      12m 14s
    4. Performing a prescan
      2m 53s
    5. Assigning a scan frame
      5m 40s
    6. Determining scan resolution
      7m 57s
    7. Choosing a scan mode and bit depth
      5m 53s
    8. Naming images
      1m 49s
    9. Scanning simple logos and line art
      12m 21s
    10. Scanning complex line art
      7m 33s
    11. Scanning grayscale contones
      13m 22s
    12. Scanning color contones
      13m 54s
    13. Sharpening
      9m 39s
    14. Scanning printed/screened or patterned images
      7m 1s
    15. Scanning positive transparency film
      12m 33s
    16. Scanning negative transparency film
      9m 11s
    17. Capturing high dynamic range (HDR) scans
      1m 47s
    18. Setting up wet scans
      14m 29s
  7. 1h 48m
    1. Scanning, converting, and using simple line art
      5m 32s
    2. Scanning and using detailed line art
      10m 52s
    3. Scanning landscapes
      15m 50s
    4. Scanning product shots
      11m 58s
    5. Scanning combo/complex images
      9m 3s
    6. Adjusting distressed images
      11m 12s
    7. Scanning images with no neutrals
      11m 57s
    8. Post-scan touch-ups
      2m 7s
    9. Scanning images for multiple uses
      10m 44s
    10. Automatic scanning
      10m 40s
    11. Streamlining big jobs with batch scanning
      5m 22s
    12. Using your manufacturer's scanning software
      3m 14s
  8. 27s
    1. Goodbye
      27s

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