Start learning with our library of video tutorials taught by experts. Get started

Scanning Techniques for Photography, Art, and Design

Understanding pixels and vectors


From:

Scanning Techniques for Photography, Art, and Design

with Taz Tally

Video: Understanding pixels and vectors

Welcome back to Scanning Fundamentals. In this section I'd like to talk to you a little bit about the difference between pixels and vectors, and one of the reasons for this is at the very beginning of your scanning process one of the decisions you want to make is, do I want my image to actually end up as a pixel or a Vector-based image? The reason why you make this decision early on is that how you scan your image, well in some case it would be very different if you're scanning for pixels or vectors. Now understanding the characteristics of pixels and vectors of course is critical to understanding how you are going to choose one or the other. Here up on screen you see two different versions of the same image.
Expand all | Collapse all
  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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
Please wait...
Scanning Techniques for Photography, Art, and Design
6h 53m Intermediate Oct 11, 2011

Viewers: in countries Watching now:

Review the scanning techniques graphics professionals and photographers use, while delving into workflow considerations and the advanced image-quality controls available in most scanning software. Author Taz Tally explains the core concepts, such as how resolution and interpolation affect scans; introduces the industry-standard SilverFast scanning software; and shares the settings to achieve the best results from a scan. The course also covers keeping your scanner and its parts clean and free of dust, and includes a variety of start-to-finish scanning tasks.

Topics include:
  • Understanding grayscale values and channels
  • Evaluating and correcting images with histograms
  • Saving to different file formats
  • Managing color
  • Cleaning the scanner and images
  • Reproducing versus assigning colors
  • Recognizing contone versus dot pattern images
  • Understanding bit depth
  • Scanning logos and line art
  • Scanning transparent film, positive or negative
  • Capturing high dynamic range (HDR) scans
Subjects:
Design Photography Scanning
Author:
Taz Tally

Understanding pixels and vectors

Welcome back to Scanning Fundamentals. In this section I'd like to talk to you a little bit about the difference between pixels and vectors, and one of the reasons for this is at the very beginning of your scanning process one of the decisions you want to make is, do I want my image to actually end up as a pixel or a Vector-based image? The reason why you make this decision early on is that how you scan your image, well in some case it would be very different if you're scanning for pixels or vectors. Now understanding the characteristics of pixels and vectors of course is critical to understanding how you are going to choose one or the other. Here up on screen you see two different versions of the same image.

On the left-hand side here you see in Photoshop a Pixel-based version of the image, on the right-side and I'll click over here to activate that we're now working in Illustrator, and this is a Vector-based version of the image. So as I go click back and forth here I am moving back and forth in Photoshop to Illustrator from Pixel to Vector-based image, and you'll notice that over in the left we have the Photoshop tools and over on the right side I have moved my toolbar for Illustrator. I have just set it up this way so you can see both applications and both versions of the image at the same time. First let's zoom in to the Photoshop or Pixel-based image and take a look at that edge and we take a look and we see that our edge is made up of this stair-step of pixels.

Not a bad looking edge and I am going to show you how to scan lighter on images, you get a good-looking edge like that. Now let's pop over to Illustrator when I click over on this side and I am going to do the same thing I am going to zoom in on this edge and look at the difference between these two. When you zoom in on an Illustrator image no matter how much you zoom in, and notice if you look at down in the lower left-hand corner here in its 6400%, I notice how very, very sharp that edge is, because this a Vector-based edge. Instead of being made up of building blocks what I call Pixel Bricks like the Pixel-based image in Photoshop is, and a Vector-based image instead of being built up like that you instead have these paths connecting one point and another, so no matter how much you zoom in you're still going to get that nice hard edge and this is called a Resolution-Independent Edge.

That is, the resolution of this edge is not defined in the actual image it's determined when you actually output it. Whereas in Photoshop the pixels are a specific size and the resolution of the image is determined by the size of the pixels, and in this case if we go into the Image Size dialog box we see this is a 600 pixel per inch image, so each of these pixels is one-600th of an inch on the side, this is a resolution-dependent image. The reason why it's important to know this is that some images are really, really good in capturing, in editing as vectors, whereas others really require pixels and we're going to move into more that discussion in the next section.

Right now I just want to kind of cover the difference between pixels and vectors. So you can see Vector-based images are very, very sharp whereas Pixel-based images are kind of stair- step, or you might think, oh! I always want vectors, hold your guns. In the next video we're going to talk about the difference between those two types and how we would match them up with various kinds of images, but first watch this. Let me show you one of the differences between pixels and vectors. I am going to do a selection here, like this, and I am going to do a transform and I am going to take this image, I am going to scale it down and I am going to deform it as you can see here, and then I am going to take this and I am going to rotate this image.

And then I am going to deselect that and I am going to zoom back in on this edge. Remember that nice, beautiful, stair- stepped edge we saw where everything was kind of nice and even, notice how that edge is starting to break up and fall apart. That's due to interpolation more on interpolation later. This is what happens when you scale, skew or rotate or apply any kind of dimensional change to your image if it's a Pixel-based image. The edge quality is going to degrade. Now let's pop over here to Illustrator and do the same thing, let's scale this puppy down and distort it and then we'll actually rotate it as well, no matter what we do, how many times, in what ways we do this, I am going to click and now I am going to zoom back in on that edge, look at that.

It's just as sweet as it was to begin with. With a resolution-independent edge it's made up of vectors, remember there is no resolution to actually output the image. So there is a difference between those two images, pixels versus vectors. In the next section we're going to talk about which kinds of images you'd like to use for vectors and which kinds you'd like to use for pixels.

There are currently no FAQs about Scanning Techniques for Photography, Art, and Design.

Share a link to this course
Please wait... Please wait...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Scanning Techniques for Photography, Art, and Design.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Welcome to the redesigned course page.

We’ve moved some things around, and now you can



Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked