It’s lossless and compatible with all graphic design programs. In #3, we set our scanning software to save our image to the TIFF file format because it can handle a high-resolution image. ![]() Yes, we’ll end up with a larger file size (and possibly a slower machine) due to the number of pixels within our scanned image, but we’ll always have the option of lowering the resolution. The more resolution, the easier it’ll be to work with the image. Getting back to the tutorial, we’ll scan the line art at 600 dpi (dots per inch) or higher, to allow us to grab as much detail as possible. We would take a printed sample of a client’s logo and scan it at a high resolution in 1 bit color space to avoid having to recreate the logo/graphic. Clients would often not possess a source file for their logos and/or graphics. But when the image is printed out, the blockiness that you see on screen gets smooth out. (Not infinitely.) In Adobe PhotoShop graphics using 1 Bit B/W color space look on screen like something out of an 8 bit video game. In graphic design, it’s almost as flexible as vector art in the sense that it can be scaled up and down. 1 Bit B/W is great for lineart, logos, and type. Side Note About 1 Bit B/W:īack when I was working for a small-time graphic design firm, I learned all about the 1 Bit B/W colorspace. If you happen to use a non-photo blue pencil, we don’t want to pick that up either. We don’t want to scan in paper fibers, the mounds of white paint, etc. In #1, we use 1-bit B/W color space because we ONLY want your line art. ![]() Set your scanning program to save to TIFF format. ![]() In PhotoShop, this is referred to as Bitmap colorspace.
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