Lasso tool adobe illustrator cs6 free
No one needs the Lasso Tool — some may prefer to use it, but it does not contain any unique features. Sign up to join this community. The best answers are voted up and rise to the top. Stack Overflow for Teams — Start collaborating and sharing organizational knowledge.
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Sign up using Facebook. Sign up using Email and Password. Does this mean that Photoshop actually recognizes the object in the photo that you’re trying to select? It can certainly appear that way, but no. As we learned when we looked at why we need to make selections in Photoshop , all Photoshop ever sees is pixels of different color and brightness levels, so the Magnetic Lasso Tool tries to figure out where the edges of an object are by looking for differences in color and brightness values between the object you’re trying to select and its background.
Shortcodes, Actions and Filters Plugin: Error in shortcode [ ads-basics-middle-2 ]. Of course, if the Magnetic Lasso Tool was forced to always look at the entire image as it tried to find the edges of your object, chances are it wouldn’t do a very good job, so to keep things simple, Photoshop limits the area where the tool looks for edges. The problem is that by default, we have no way of seeing how wide this area is, and that’s because the mouse cursor for the Magnetic Lasso Tool doesn’t really tell us anything.
The little magnet lets us know that we have the Magnetic Lasso Tool selected, of course, but that’s about it:. For a much more useful icon, press the Caps Lock key on your keyboard. This switches the icon to a circle with a small crosshair in the center.
The circle represents the width of the area that Photoshop looks for edges. Only the area inside the circle is looked at.
Everything outside of it is ignored. The closer a potential edge is to the crosshair in the center of the circle, the more importance Photoshop gives it when trying to determine where the edges of your object are:. Here’s a photo I have open in Photoshop of a Chinese sculpture. The edges of the sculpture are well defined, so I could try to select it by tracing around it with the standard Lasso Tool. At least, I could do that if I was looking for an excuse to pull my hair out in frustration.
A much better choice here would be the Magnetic Lasso Tool since it will end up doing most of the work for me:. To begin a selection with the Magnetic Lasso Tool, simply move the crosshair in the center of the circle directly over an edge of the object and click once, then release your mouse button. This sets a starting point for the selection. Once you have your starting point, move the Magnetic Lasso Tool around the object, always keeping the edge within the boundaries of the circle.
You’ll see a thin line extending out from the cursor as you drag, and Photoshop will automatically snap the line to the edge of the object, adding anchor points as it goes along to keep the line fastened in place.
Unlike the standard Lasso Tool, there’s no need to keep your mouse button held down as you drag around the object:. To scroll the image around inside the document window when you’re zoomed in, hold down your spacebar , which temporarily switches you to the Hand Tool , then click and drag the image around as needed.
Release the spacebar when you’re done. You can adjust the width of the circle, which changes the size of the area that Photoshop looks at for edges, using the Width option in the Options Bar. If the object you’re selecting has a well-defined edge, you can use a larger width setting, which will also allow you to move faster and more freely around the object. Use a lower width setting and move more slowly around objects where the edge is not so well defined.
The only problem with the Width option in the Options Bar is that you have to set it before you click to begin your selection, and there’s no way to change it once you’ve started dragging around the object. A more convenient way to adjust the width of the circle is by using the left and right bracket keys on your keyboard.
This gives you the ability to adjust the size of the circle on the fly as you’re working, which is great since you’ll often need to adjust its size as you pass over different parts of the image. Press the left bracket key [ to make the circle smaller, or the right bracket key ] to make it larger. You’ll see the value for the Width option changing in the Options Bar as you press the keys, and you’ll see the circle itself changing size in the document window:.
While the width of the circle determines the size of the area that Photoshop looks at for edges, a second and equally important option when using the Magnetic Lasso Tool is Edge Contrast , which determines how much of a difference there must be in color or brightness value between the object and its background for Photoshop to consider something an edge.
For areas with high contrast between the subject and its background, you can use a higher Edge Contrast value, along with a larger Width value larger circle. Use lower Edge Contrast and Width values for areas with poor contrast between the object and background:. Like the Width option, the Edge Contrast option in the Options Bar can only be set before you click to begin your selection, which doesn’t make it very useful. To change it on the fly as you’re working, press the period key.
You’ll see the value changing in the Options Bar. As you make your way around the object, Photoshop automatically places anchor points little squares along the edge to “anchor”, or fasten, the line in place. If you find that there’s too much of a gap between anchor points, making it difficult to keep the line clinging to the edge, you can adjust how often Photoshop adds anchor points with the Frequency option in the Options Bar, although again, you’ll need to set this option before you click to begin the selection.
The higher the value, the more anchor points will be added, but generally, the default value of 57 tends to work well:. Rather than changing the Frequency value, an easier way to work is to simply add an anchor point manually whenever you need one. If Photoshop seems to be having trouble keeping the line in place at a certain spot, just click on the edge of the object to add an anchor point manually, then release your mouse button and continue on. This time, using a much smaller circle width, I have better luck.
Adding some anchor points manually also helps:. If you’ve completely messed up with the Magnetic Lasso Tool and need to start over, press the Esc key to clear away everything you’ve done.
The Magnetic Lasso Tool can often do an amazing job of selecting an object on its own, but it also gives us easy access to Photoshop’s other two lasso tools if needed. What you do next determines which of the two lasso tools you switch to.
Lasso tool adobe illustrator cs6 free
Select the Group Selection tool, and click the object. Select the Lasso tool, and drag around or across the object’s path. Select the Direct. I am trying to seperate a group of paths and am using the lasso tool in illustrator to click and drag around the paths I want to select.
How to edit artwork in Illustrator using Image Trace.Selecting paths using lasso tool in illustrator CS6 – Graphic Design Stack Exchange
Specifies the view of the traced object. A tracing object is made up of two components: the original source image and the tracing result which is the vector artwork. You can choose to view the tracing result, source image, outlines, and other options. You can click the eye icon to overlay the selected view over the source image. Tracing Result B.
Tracing Result With Outlines C. Outlines D. Outlines With Source Image E. Source Image. Specifies a color mode for the tracing result. The available options define basic color versus grayscale modes for your traced artwork. Specifies the number of colors to use in a color tracing result.
If you have selected Document Library as the palette, you can choose a swatch. This option is available only when Mode is set to Color. Specifies the number of grays to use in a grayscale tracing result. This option is available only when Mode is set to Grayscale. Specifies a value for generating a black and white tracing result from the original image. All pixels lighter than the Threshold value are converted to white; all pixels darker than the Threshold value are converted to black.
This option is available only when Mode is set to Black And White. Specifies a palette for generating a color or grayscale tracing from the original image. This option is available only when Mode is set to Color or Grayscale.
Automatically switches between the limited palette and full tone for the tracing, depending on the input image. When you select Automatic for your palette, you can adjust the Colors slider to alter vector simplicity and accuracy in the tracing. The value 0 means simplified at the expense of accuracy and the value means accurate or photorealistic at the expense of simplicity.
Uses a small set of colors for the tracing palette. You can use the Color slider to further reduce the colors selected. Uses the entire set of colors for the tracing palette. This option is the best for tracing photos and creates photorealistic artwork. With this option selected, the Color slider determines the variability of the pixels that make up each of the fill regions. When the Color slider is to the right, the variability is smaller, resulting in more paths defined by smaller areas of color.
On the other hand, when the slider is to the left, the fill areas are fewer and larger. Uses an existing color group for the tracing palette. This option allows you to define the exact colors you want in your traced artwork. Controls the distance between the traced shape and the original pixel shape. Lower values create a looser path fitting; higher values create a tighter path fitting.
Specifies the emphasis on corners and the likeliness that a sharp bend will turn into a corner point. A higher value results in more corners. Tip : For a high-resolution image, move the Noise slider to a higher value for example in the 20—50 range to have some effect. For a low-resolution image, set it lower 1— Creates cutout paths. The edge of one path is exactly the same as the edge of its neighboring path. Specifies the maximum width of features in the original image that can be stroked.
Features larger than the maximum width become outlined areas in the tracing result. Specifies if slightly curved lines are replaced with straight lines and if lines near to 0 or 90 degrees are snapped to absolute 0 or 90 degrees. Tip : You can choose this option for geometric artwork or if shapes in your source image are slightly rotated.
However, you can make an editable copy of a default preset by selecting the preset and choosing Save As New Preset from the panel menu. Click the menu icon and choose Save As New Preset. Optional To rename your saved preset, click the menu icon and choose Rename.
Enter a name for the preset , and click OK. Optional To delete your saved preset, click the menu icon and choose Delete. When you are satisfied with the results of a tracing, you can convert the tracing object to paths. This final step allows you to work with the tracing result as you do other vector artwork. Once you convert the tracing object, you can no longer adjust the tracing options.
To ungroup the grouped paths, click Ungroup in the Properties panel. For details, see Simplify a path. You can also reshape or edit paths.
With the placed image selected, do one of the following:. Illustrator converts the image to black and white tracing result by default. In some cases, the size of this data may be much larger than the size of the original file, making the file size savings seem negligible. If an external source file changes while a Photoshop document referencing it is open, the relevant Linked Smart Object is automatically updated. However, when you open a Photoshop document containing out-of-synch Linked Smart Objects, you can update the Smart Objects:.
Linked Smart Objects whose source images have changed are visually highlighted in the Layers panel:. Links nested inside Smart Objects are not updated. You can package the Linked Smart Objects in a Photoshop document, such that their source files are saved to a folder on your computer.
A copy of the Photoshop document is saved along with the source files in the folder. Photoshop always looks for linked files in the last-known relative location. If the linked file is not found in that location, Photoshop looks for it:. This behavior allows you to move, copy, and share project folders and files with minimal risk of encountering broken links. The Resolve Missing Assets dialog always displays the last-known absolute path of missing source files.
Transforms, filters, and other effects applied to the embedded Smart Object are preserved when it is converted. You can use the toggle switch to turn off layer filtering.
Edits you make to the original affect the copy and vice versa. Edits you make to the original don’t affect the copy. A new Smart Object appears in the Layers panel with the same name as the original and “copy” as a suffix. When you edit a Smart Object, the source content is opened in either Photoshop if the content is raster data or a camera raw file or the application that handles the placed format by default for example, Adobe Illustrator or Adobe Acrobat.
When you save changes to the source content, the edits appear in all linked instances of the Smart Object in the Photoshop document. Photoshop updates the Smart Object to reflect the changes you made. If you don’t see the changes, make the Photoshop document containing the Smart Object active. You can replace the image data in one Smart Object or multiple linked instances.
This feature lets you quickly update a visual design, or replace low-resolution placeholder images with final versions. When you replace a Smart Object, any scaling, warping, or effects that you applied to the first Smart Object are maintained. You can convert an embedded or linked smart object back into its component layers directly into a Photoshop document. If there are multiple layers in the Smart Object, the layers are unpacked into a new layer group within the Layers panel.
Transforms and Smart Filters on Smart Objects containing more than a single layer are not retained when you unpack. You can rasterize the contents of a Smart Object to a regular layer if you no longer need to edit the Smart Object data. Transforms, warps, and filters applied to a Smart Object are no longer editable after the Smart Object is rasterized. If you want to re-create the Smart Object, reselect its original layers and start from scratch.
The new Smart Object won’t retain transforms you applied to the original Smart Object. If you’ve transformed a Smart Object, you can reset all transformations you’ve previously applied by doing one of the following:.
Smart Object benefits. With Smart Objects, you can:. Perform nondestructive filtering. You can edit filters applied to Smart Objects at any time. Edit one Smart Object and automatically update all its linked instances. Apply a layer mask that’s either linked or unlinked to the Smart Object layer. Create embedded Smart Objects. Do any of the following:. Create Linked Smart Objects Photoshop.
Follow these steps to create a Linked Smart Object:. Select an appropriate file and click Place. File size savings using Linked Smart Objects. Update Linked Smart Objects. Resolve a broken Smart Object link. Navigate to the new location of the missing object.
Click Place. View Linked Smart Object properties. The following properties are displayed: The path of the external source file for the Linked Smart Object The Linked Smart Object size and positional coordinates X, Y You can perform the following actions directly from within the Properties panel: Edit the contents of the external image file.
If necessary, Photoshop opens an external application that can handle the source image file. For example, Photoshop opens Adobe Illustrator if the external source image is a. Embed the Linked Smart Object within the current document. Embed Linked Smart Objects. In the Properties panel, click Embed.