Each pixel is now stretched to cover a larger area and consequently appears duller and blurrier than before. So if we print the logo, it will emerge with a pixel count that fits an area 25% smaller than prescribed by the resolution. ![]() We require 1920 pixels in the width for the new, larger image but have only 1440. Let’s again get out the calculator: 240×8=1920. ![]() eight inches – and want to keep its incumbent resolution – we require a larger pixel count than the image has. So if we find ourselves wanting to manufacture a logo with a width of e.g. Once a raster image has been created comprising a certain amount of pixels, that fundamental composition is immutable. But the raster format’s weakness – and the knock-down argument against its employment for printing purposes – is its fixed pixel count. Hence, the raster image can be printed with a width of six inches before losing quality. We can also move the variables around and determine the maximum size in which the raster image can be printed: If we have an image with a width of 1440 pixels and know the pixel density must not subceed 240, we divide the numbers and get: 1440/240=6. Thus, the raster image must have a width of 1440 pixels to be usable across the desired area. If we want to print an image with a PPI of 240 – which is the lowest pixel density suitable for textile printing – onto a textile area with a width of six inches, we multiply the values and get: 240×6=1440. The density of the pixels is tallied as PPI or ‘pixels per inch.’ Let’s illuminate further with a concrete example: The more pixels, the clearer it appears (up to the eye’s biological limit, which – dependent on context – is about 300 PPI at a distance of about 2.5 feet). This corollary bears the term ‘image resolution’ and is the deciding factor in how an image is interpreted by the retina. The number of pixels of which a raster image is comprised determines its quality. It’s unusually tedious and time-consuming – and consequently almost never done – but with enough skill and patience a graphic designer can in principle edit a raster image all the way down at the level of the individual pixel. Another advantage with raster is that images are editable at a much more atomic level with software like Photoshop. Photorealistic images are always raster graphics, as co-acting pixels can produce compositions and color gradients no other image formats or color models can match. In the RGB color model – the color model raster files typically use – any given pixel can be equipped with one of no fewer than 16,777,216 different colors. But place a multitude of these otherwise charmless quadrates into sufficiently fine-meshed patterns, and almost boundlessly beautiful, vivid, and elaborate mosaics can emerge. From there the pixel’s color engages in a kaleidoscopic collaboration with the surrounding colors, together comprising the complete image.Īny individual pixel is but an otiose, square color fragment. Each individual pixel is equipped with a color and a unique set of coordinates that precisely specifies its place on the grid. Raster A raster image is modelled by a two-dimensional Cartesian coordinate system in which so-called ‘pixels’ are placed to together comprise the image. ![]() Why? Lets find out by examining the two formats’ advantages and disadvantages. The fundamental reason why by far the most printers - Jet Sport among them - recommend their customers to submit images in vector format is the simle one that they yield better results. Why is that? Because while raster files are usable as source image for textile prints, they are saddled with so many disadvantages that vector files are to be preferred in almost all cases. The question we have to ask ourselves and our customers every time a new image lands in our inbox is: Is it raster or vector? Not on account of its contours and color composition, but because of its file type. the image of the customer’s logo that the printer needs to create the accompanying proof, is an important element for any textile printer. This blog post functions as a guide to help and illuminate those among our stakeholders who would like to learn more about image file types and about how using them correctly can lead to better products. The answers are, well, technical, but of interest to many in the world of textile printing. What are raster and vector graphics, and how do they differ from one another? These are questions that stakeholders often posit when encountering image-related technics that don’t fall within their usual spheres of knowledge.
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