Best way to select pixels in a low res image

Hi,
I need to trace the attached logo and make it white. I've tried selecting the pixels using the quick selection tool but it's very low res and even with some tweaks (removing and adding to the selection) its still not getting a good selection. What is a better and ideally fast way? Thanks!

Hi,
Is your logo a flattened image (only one layer)
Or is the text on a separate layer from the white background?
Could you post a screenshot including the layers panel?
Something like this with the logo white on it's own layer

Similar Messages

  • What's the best way to save an 8.5 x 11 image for use as a page background in a PDF?

    What's the best way to save an 8.5 x 11 image for use as a page background in a PDF? My goal is to have a relatively small final .pdf file size that includes numerous pages with full 8.5 x 11 images as backgrounds in the document. If I save at 8.5 x 11 and 72dpi (example), the image is not 8.5 x 11, and the quality is not good enough. I need help with size, dpi, and file format to save as before I place it in InDesign and then save as a .pdf.
    Thanks,
    Jim

    Do exactly what I said then.  Create the InDesign document of the required dimension, and chose whether it will be high quality print, or Interactive PDF.  It really doesn't mater what format you bring the image into that document.  It can be JPG, PNG, but I usually use native Photoshop PSD.  The image does have to be of high enough resolution, but it can be many times bigger than iis required for the final export.  (InDesign does not import the image, but rather references it on your hard drive.)
    When you have placed your text and finished your page, then export it to PDF, but go through the tabs chosing suitable settings.  If the image needs to be downsized, InDesign will do that at this stage while building the PDF.
    If you can tell us how this presentation will be made (Projector, overhead projector, printed page etc. or just emailed to the end users) we can help you more with the final output settings. 

  • What is the best way to turn line art into a 3D image in Illustrator? Thanks for your help.

    What is the best way to turn line art into a 3D image in Illustrator? Thanks for your help.

    What version of Illustrator? What do you mean by "Line Art"? What do you mean by "3d image"? Post images showing your starting artwork and an example of what you are trying to achieve.
    If you have Illustrator 12 or higher you can extrude or lathe a simple group or path using Effects > 3D > [Pick one]. You must start with vector data, not a placed raster image. You are very limited in what you can do, and you cannot model multiple objects within one 3D world. Each object you extrude/revolve/rotate is its own world, with its own perspective and camera. You can also make any art into a Symbol, then map that symbol onto any 3D surface you create. The results are, at best, acceptable, and often total garbage.

  • Link low res image in MUSE to a high res image for download

    How do I Link a low res image in MUSE to a high res image for download ?

    This is quite simple:
    1.) Go to menu "File/Add files for upload"" and choose the highres image.
    2.) Now place an element (image, rectangle or whatever you want) on your page.
    3.) Select this element and use the "Hyperlinks" command in the upper command strip to link the element to the highres image you have selected in 1.)
    Short way:
    Place an element, select it and choose within the "hyperlinks" dropdown the entry "Link to file".

  • Color differences between high and low res images in Illustrator pdfs

    OK, I'm creating a tradeshow graphic for a client. I designed the whole thing in Illlustrator CS6. But for the proof, I used a low res image of the sky (before we purchased it). Everyone was happy. It was a low-res RGB image imported into Illustrator, then the whole thing was exported as a pdf.
    Once they approved it, I purchased the high res image. RGB. Same image... just high res. I popped it into the Illustrator file and exported it in exactly the same way. But now, the image looks much more purple. The low res pdf showed it as much brighter, lighter blue.
    My client prefers the lighter blue. When I look at the two images in Photoshop, they look the same (in terms of color).
    So... should I be worred? Why is there such a color difference? Thanks!
    I'm attaching jpgs of the pdfs just to show you the color differences.
    Julie

    Print Graphics: File >> Document Color Mode CMYK.
    Digital Graphics:  File >> Document Color Mode RGB.
    The PDF presets in Illusttrator will generate CMYK PDFs or PDFs in the colorpsace Illustrator is set to, (except for smallest file size which makes RGB PDFs).
    Firsst make sure you are in the correct colorspace in Illustrator before proceeding, adn make your imaeg CMYK if you are for example doing a banner for tradeshow. Backlit graphics are the only print graphics exception and should be RGB because Lambda printers actaully are native RGB.
    Open your lo and hi res in Phoothsop and compare the color values by watching the info aplette in Photoshop.
    When generating PDFs keep in minds that and RGB PDFs have different color than a CMYK PDF.

  • Best way to select distinct values based on another column?

    I have a table with three columns: id (NUMBER), data_dt (DATE), and data_value (NUMBER).
    There is a primary key on id and data_dt.
    I want to select the record with the latest data_dt for each unique id.
    What is the best way to do this?
    I have three different methods, but there may be something I am missing.
    First:
    SELECT *
    FROM
      SELECT id, data_dt, data_value,
             FIRST_VALUE(data_dt)
             OVER (PARTITION BY id ORDER BY data_dt DESC) AS last_data_dt
      FROM the_table
    WHERE data_dt = last_data_dt;(I use ORDER BY...DESC instead of just ORDER BY so I don't need the ROWS BETWEEN clause)
    Second:
    SELECT t1.*
    FROM the_table t1
    JOIN
      SELECT id, MAX(data_dt) AS last_data_dt
      FROM the_table
      GROUP BY id
    ) t2 ON (t2.id = t1.id AND t2.data_dt = t1.data_dt);Third:
    SELECT t1.*
    FROM the_table t1
    WHERE t1.data_dt =
      SELECT MAX(t2.data_dt)
      FROM the_table t2
      WHERE t2.id = t1.id
    );-- Don

    Hi,
    There are more possible scenario's, for example:
    select t1.*
    from   the_table t1
    where not exists ( select null
                       from   the_table t2
                       and    t2.data_dt > t1.data_dt
    What is the best way to do this?Only you can tell:
    Test all scenario's, check the execution plans, set timing on and pick the best/fastest one ;-)
    If it's not clear, please post the execution plans here.

  • Best way to select BOTH notes and midi CC?

    Hello everyone,
    I'm trying to figure out the quickest, most efficient way to select and move both notes and MIDI CC's at the same time in the matrix editor w/ hyperview. The only way I've been able to accomplish this is to shift-drag around both parts, but this takes time time as you have to do it TWICE; once for the notes and once for the midi cc's. Unfortunately "select all" or "select within locators" does not select midi cc's.
    What is the best way to deal with midi cc's? I wish there was some way to select and "lock" them to midi notes and when you drag the notes, it drags the midi cc as well, similar to how FCP locks audio and video together. Do other programs allow this functionality?
    Thanks once again for any help/tips you can provide!

    Functions > Include Non-note MIDI Events, but unfortunately there is no key command for it.
    I prefer to have a screenset with an Event List open, so I can Command-~ to the event list, Command-A, and then drag in the Matrix. Or double click the fist note in the Event List and enter a new Bar# for its position. Or Command-C and Command-V, then enter a new number for a copy...
    ...you get the idea.

  • What is the best way of selecting 99 colums from a table with 100 colums?

    Hi All,
    Suppose in a table T, I have 100 colums .I want to select 99 columns.So what is the best way to do the same?
    Anyone Help!
    Thanx in advance.
    Piyush

    Try this
    SQL> ed
    Wrote file afiedt.buf
      1  select column_name ||',
      2  ' from user_tab_columns
      3  where
      4     table_name = 'EMP'
      5*    and column_name not like 'EMPNO'
    SQL> /
    COLUMN_NAME||','
    ENAME,
    JOB,
    MGR,
    HIREDATE,
    SAL,
    COMM,
    DEPTNO,
    7 rows selected.
    SQL>

  • Best way to combine 8-bit and 16-bit image files?

    I produce large photographic art prints by combining my own edited 16-bit RAW photo images with 8-bit stock photo images and 8-bit photoshop artwork. I used to just reduce my 16-bit photos to 8-bit and then edit my composite image as 8-bit, but I ran into banding and other problems in the color gradients I created later in my composite image.
    I want my composite image to be 16-bit to get more accurate colors and better gradients. What is the best way to bring 8-bit image files into my composition and maintain best quality? Is it good to convert 8-bit images to 16-bit in PS before importing? I also heard about bringing 8-bit images in as Smart Objects? Thanks for any help on this.

    *Photonic wrote:
    Thanks Jack and Noel. My workflow usually starts w. a 16-bit RAW image brought into Photoshop as the background layer of the master file. Color space is AdobeRGB. Then 8-bit stock photo and art elements (objects) are brought in by dragging the open 8-bit image up to the master image file tab, and then dropping it back into the image window after the file opens.
    Should I use the "Paste In" command instead? I usually avoid copy/paste since some of my element files are usually over 100MB and that seems to challenge my Mac after a while.
    Could I convert the 8-bit image files prior to import, like Noel suggests (Image>Mode>16bits)?  Thanks.
    There is no need to convert 8bit open documents to 16bit mode Photoshop will convert the copied layers to 16bit bit during the drag copy.  Converting the open document would just increase Photoshop RAM usage every layer pixels bytes used  would double in size.
    If you element files are over 100MB they are most likely layered files.  If all you need is a composite you should avoid using Place for that will needlessly inflate your document size. Instead open the element file create a new layer that is a stamp visible layer (Shift+Alt|Opt+Ctrl|Cmd+E) and drag that layer to you document then close nosave your element file. Copy only copies the targeted layer or there is a Copy Merge that copies the composit merge of all targeted layers. It a bit hard to create an action that would be able to use Copy or Copy Merge. Using the above stamp visible way can be made into an action. You also do not want to drag all the layers to your document if you just need a composit layer.
    You could also automate the element file copy with an action.
    Action Step 1 Insert menu into File>Open this will be an interactive step you must select a file to open. When the action is played.
    Step 2 (Shift+Alt|Opt+Ctrl|Cmd+N) Create a new empty layer This will always work
    Step 3 (Shift+Alt|Opt+Ctrl|Cmd+E) stamp visible layers into the new layer
    Step 4 (Ctrl|Cmd+A) select all
    Step 5 (Ctrl|Cmd+C) Copy
    Step 6 Close current document no save
    Step 7 (Ctrl|Cmd+P) Paste into the document your working on Photoshop will convert to 16bit if the document is 16bit mode and the clipboard content is 8bit.
    When you use Photoshop and do something.  Think to yourself how did Photoshop do what you asked it to do. Thing about what is involved what layers must be used etc. How is the feature/function done.
    Message was edited by: JJMack
    Message was edited by: JJMack

  • Best way to find duplicate pages / find duplicate background images

    What is the best way to detect duplicate pages?
    The pages I am dealing with are searchable image (scanned Image background with selectable text overtop). In this case, Any two pages that have the exact same background image will be duplicate.
    I only know how to get page text though, so I've been getting the text and hashing it, then checking for duplicate hashes. This works for the most part, but I fear running into two different pages with the exact same text.
    What about looking at the background image? If a PDF has multiple pages with the same background image, I assume it would store the image once and then just reference it from the pages? Is it possible to check duplicate pages this way?
    Or Does Acrobat have a built-in checking solution I haven't discovered? As always, any help is appreciated

    Ok, well for the most part doing it by text works, but it sometimes flags things that arn't duplicate: such as two of the same worksheets that were not filled out will have the exact same text, despite being completely different pages

  • Best Way to Export PDF for Press w/ Grayscale Images

    Hi, we've been trying to move to a PDF based workflow for sending files to printers if possible so that all color conversion can take place at the final step of creating the PDF. This way, all images can remain RGB in their native color space.
    But I just had to create a PDF that had a mix of images in it. Some were typical RGB, some had already been converted to CMYK (probably US SWOP), and some were true grayscale images.
    When I created the PDF, I set it to convert all colors to the destination profile, which in this case was just US SWOP because the printer didn't have a more specific profile to suggest (most don't). It appears that the images converted properly, but the the grayscale images are using just the K channel (which I suppose is to be expected).
    A while back we printed a fully grayscale piece where all images were converted to a specially created SWOP profile that had modified GCR curves to have most of the data still represented by the black channel, but with some nice CMY thrown in as the tones deepened. The result was amazing. The images had no color cast, but were a nice rich grayscale. The printer was very impressed as well.
    A) So what would be the best workflow to incorporate mixed color images, and still have the grayscale images turn out nice & rich? Do I have to convert all images manually first (trying to avoid having to do this)?
    B) If the printer doesn't offer a profile, and probably doesn't fully understand or utilize color management, are we best to supply the PDF file converted to US Web Coated SWOP because that is what THEY would be most used to getting? This job, however, will be sheet-fed on a matte paper with a satin AQ.
    THANKS! Any tips would be greatly appreciated. Trying to refine our workflow here.

    jethrodesign wrote:
    I would love to learn more about how to choose an InDesign working color space when you don't know the end printer (or if the end printer is clueless); how to deal with Illustrator native files that will be placed in InDesign (RGB? CMYK? Embedded profile?); how to deal with pre-existing elements that may be in the wrong CMYK color space; and possibly the option of taking color management into your own hands if the printers aren't knowledgeable; etc.
    If the printer cannot provide an ICC, maybe they can state what print standard they use (GRACoL, SWOP). If you know that and the paper type, use your best judgement in selecting an ICC. Look to the IDEAlliance website, there are 2 SWOP profiles and one GRACoL profile that are good to use for coated stocks.
    As far as mixing existing CMYK with RGB, opinions may be varied. Let's say you have a job, moving to Coated GRACoL 2006. You place RGB images, US Web Coated SWOP v2 CMYK images, US Web Coated SWOP v2 Illustrator, and custom GCR CMYK rich black images.
    When these are placed into the GRACoL InDesign document, the default behavior is to preserve CMYK numbers. The GRACoL CMYK is assigned to all of the placed CMYK content.
    Now you output a PDF with the settings you described earlier. PDF/X-4, Convert to Destination, Document CMYK (GRACoL). Even though you had US Web and GCR originally, in the PDF it is all Device CMYK (when output from ID CS4). Furthermore any user must assume that all CMYK is GRACoL, because that is the Output Intent. Also, if the GRACoL is a decent representation of the print condition, you can soft proof everything accurately in Acrobat (and InDesign for that matter).
    If this PDF gets handed off to the printer, his duty is to RIP the CMYK and preserve numbers. The only number shifts will occur at the plating stage via plate calibration curves, which is not an ICC conversion.
    If a CMYK - CMYK conversion is necessary, the printer must get you on the phone and let you know that he is re-converting all your CMYK content. For him to do that without informing you is, well, nuts. You've already done the conversion yourself. Every conversion is (technically) damaging,
    Now assume that you output PDF/X-4 with no conversion. In that case, you have RGB and CMYK coexisting in the PDF output. Again, all CMYK should pass through the print RIP with numbers preserved. All RGB would be converted to the Output Intent already present in your PDF. If there is something wrong with that Output Intent, it's the printer's duty to get you on the phone and let you know. I say that because you, as a designer, have already soft proofed everything in the job in the GRACoL color space. If the printer wants to switch horses mid stream, he's got to let you know. (Side note – a printer taking a ownership of a special CMYK - CMYK conversion is highly unlikely. If they had a shop CMYK, they would have given it to you in the first place).
    In summary – it is the print industry standard to preserve incoming CMYK numbers. If a client gives me a job full of US Web Coated SWOP v2, I can't very well treat that the same as incoming RGB and start converting to a different CMYK. CMYK is already cooked. If you re-cook it it stands to get burned. The only time CMYK-CMYK is warranted is (a) when Total Ink Limit is a factor (uncoated) or (b) the color is so far off on the proof that re-cooking only stands to help it.
    What I WILL do is tell the client that they may get a better print result if they either supply RGB with no predetermined CMYK destination (I convert to press CMYK), or they use a different CMYK that more accurately describes the print condition.
    Message was edited by: Printer_Rick

  • Best way to allow user to change text and image

    Hi,
    A friend wants to change his product images and pricing etc.,
    on his static web pages.
    At the moment each product is within a cell in a table and
    the cell below is where the text for details and pricing is. This
    is the only area he will need to be in. Each product and edtails in
    each cell of a table on each page.
    He does not know anything about web design, Dreamweaver etc.,
    but wants to do update himself.
    I would like to know the best way for me to go about this
    using DW CS3. Maybe there is another script or program that will
    allow this.
    Thanks
    oz

    ozstar wrote:
    > Hi,
    >
    > A friend wants to change his product images and pricing
    etc., on his static
    > web pages.
    >
    > At the moment each product is within a cell in a table
    and the cell below is
    > where the text for details and pricing is. This is the
    only area he will need
    > to be in. Each product and edtails in each cell of a
    table on each page.
    >
    > He does not know anything about web design, Dreamweaver
    etc., but wants to do
    > update himself.
    >
    > I would like to know the best way for me to go about
    this using DW CS3. Maybe
    > there is another script or program that will allow this.
    >
    > Thanks
    >
    >
    > oz
    >
    Hi,
    You could use....
    An easy CMS like -
    http://www.cushycms.com/
    Contentseed -
    http://contentseed.com/
    Contribute -
    http://www.adobe.com/products/contribute/
    HTH
    chin chin
    Sinclair

  • I need to select to import only low-res jpeg images from my Canon 5D Mk11 camera to an iPad 2 and not RAW images

    I need to select somehow to import only jpeg images from my Canon 5D Mk11 camera to an iPad 2
    I take photographs in both RAW (high quality up to 30Mb file size) and JPEG low quality for use on iPad and Internet. The Raw files I save to a 1Tb Multimedia Storage Viewer and later down load-them to my computer where I process them for high quality prints.
    Using the Camera Kit I can’t find an option to only download jpeg images, and fill the iPad memory with unwanted RAW images. Can you please tell me how to get over this problem?

    Have you checked your "Import" settings for "Raw&Jpeg" pairs in the "Import" panel?
    You can set Aperture to import raw, jpeg, or raw&jpeg.
    If you imported Raw&Jpeg, but have set Aperture to use the Jpeg as original, you will see the imported image as Jpeg image, not as a raw image, even if the raw has also been imported. You can switch between Raw and Jpeg originals for selected images from the Photos menu:
    Photos > Use Raw as original.
    Regards
    Léonie

  • Looking for best way to convert 35 mm slides to digital images

    Hello Apple Community,
    Am researching best ways to convert several hundred 35 mm slides into digital images.  There are numerous scanners/converters out there but want to ensure I get the best unit compatable with my iMac (27 inch, Late 2009).  Any suggestions welcome.

    For scanning 35mm slides you need a scanner with a good photometric resolution and geometric resolution.
    For the photometric resolution: Get a scanner with a high density range (D-max) value, to get a good resolution of highlights and shadows.
    For the geometric resolution - sharpness and detail - try to get at least 3200 dp,i to be able to get good 8"x10" prints from your scanned slides, a higher dpi value, if you want to be able to print larger images.

  • Iphoto saves edited photos to a low res image

    Whenever I edit a image and save it, Iphoto displays a low res photo. How can I have Iphoto display a high res edited photo?

    What type of editing did you perform on the file? And is the file a jpg or RAW? If it's a 5 MB RAW file then iPhoto creates a jpg modified version of it for display and further editing. Maybe that's why you're seeing the lower file size.
    I have a couple of 7 MB RAW files that, when imported, created a 2.5 MB jpg right off the bat. It's the nature of the beast.
    I just ran some editing tests on a jpg and I'm finding that a simple exposure change to a 2.7 MB file results in a 2.5 modified version. I'm also seeing an increase in file size, from 4.0 to 4.1, when applying several edits at one time, like increase exposure, adjust highlights and shadows and tweak the histogram. This surprised me as generally there's no way you can edit a jpg file and not encounter some additional jpeg compression. However, with iPhoto's nondestructive editing you only encounter a one time compression no matter now many times you edit the photo.
    Unless you're producing mural size prints it will be difficult to see any degradation in the image.
    TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
    I've created an Automator workflow application (requires Tiger), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 08 libraries and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.

Maybe you are looking for