![]() Open the LEVELS adjustment layer again and slide the white and black sliders together as shown below. Slide the radius slider to about 10 pixels. Drag the background image over the ‘New Layer’ icon at the bottom of the palette to make the copy See below). Cancel the adjustment layer.īecause the filters are ‘destructive’ we will duplicate the background layer and apply the effect to the copy, so as not to destroy the original image. As you do so (assuming PREVIEW is checked) you will see the image edges become more defined.Īt this stage though, the edges are still quite ‘jittery’. Slide the white triangle slider to the left, and the black triangle slide to the right. So, select LEVELS from the adjustment layers submenu. Always keep a PSD layered original as well as your ‘flattened’ finished image. This is generally good practice for all image retouching work. ![]() We are using adjustment layers instead of applying the LEVELS option from IMAGE/ADJUSTMENTS/LEVELS because we want our changes to be non-destructive, which means that if we make an error, the original image will not be affected. Click on the ADJUSTMENT LAYERS submenu (highlighted in yellow) and select LEVELS. Go to Actual Pixels by double-click the magnifying glass, or by going VIEW/ACTUAL PIXELS. First, increase the size by typing ‘10’ into WIDTH and 1200 into RESOLUTION. We want to increase this to 10sm wide at 1200DPI and then convert it to line art (as a Bitmap image). The physical size is 4.78cm x 5.08cm and the resolution is 300DPI. Go to IMAGE/IMAGE SIZE and you’ll see the following dialogue box: If this is placed in Quark or InDesign as is, it will have a white background block and look fuzzy. The signature looks OK on screen, but in print this won’t do. If you double-click the magnifying glass, the view will default to ‘Actual Pixels’ (the smoothest view available). The other objective is to demonstrate how we might apply color to it in a layout programme such as Quark or InDesign.įirst, retrieve the signature.jpg file which can be found by clicking here: so just what is a Bitmap: One is to demonstrate a way of improving ‘organic’ text such as a signature by playing with Median and Levels in Photoshop. ![]() So just what is a Bitmap?Bitmap Image Exercise Because an image converted to Bitmap color mode has no anti-aliasing, it retains a transparent background. If you've been given a single color logo on a letterhead, for example, it might be quicker for you to scan it and create a Bitmap TIFF file rather than recreate the graphic in Adobve Illustrator. The Bitmap color mode is often used in the absence of a vector graphic alternative. If the image is lower resolution, the edge will start to appear jagged. It can only ever appear as single color in a document, and it has to be extremely high resolution (1200DPI, actual size) in order to appear smooth in print. ![]() When you create a bitmap image ( not to be confused with the Windows BMP file format) you are creating a sharp, press-ready image, but with severe restrictions. The image on the right is anti-aliased, which means that the computer has blended the hard edge by using an average of the object color and background color in order to soften the difference between the foreground and background colors. The image on the left has no anti-aliasing, which means there is no softening of the image edge. Anti-aliasing is best explained visually, so I have included a small demonstration below. It removes anti-aliasing from artwork, leaving a rough, jagged edge. So just what is a Bitmap? Not to be confused with the Windows BMP file format, a Photoshop image in the Bitmap color mode is an effective but a less versatile alternative to vector graphic artwork.Ī Photoshop raster image saved in the Bitmap color mode is effectively hard-edged line art. ![]()
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