I was going to say magic wand is very useful after roughly selecting the object, it can tighten up the edges (also until recently I did not have the pen tool mastered) I never used to like it until I realized it’s great for certain edge situations and is very customizable I must say that over the years I have never found any use for the Magnetic Lasso, which I think is kind of a cruel joke. I just wish that I would’ve taken notes, I’ll probably want to do the same thing in a future project and I’ll be scratching my head thinking: now how did I do that? □ As it turns out, I stumbled on to a way to do what I was trying to do: I used the "Magic Wand" tool and "Invert" and it worked! When I say "Stumbled", I mean it literally I tried all of the suggestions in this thread and I suppose that they must’ve inspired me to try some different things. Mike Russell – Mike, this is a lot of information to digest and experiment with and I admit it, I am just a novice. Mike Russell – "Mike Russell" wrote in message What really makes all this work is the alpha channel concept, and the ability to have transparent edges, and transparent or semi transparent objects. You can even have something like a picture of a car, with the windows being transparent allowing the background to show through. Many people have perfected techniques over the years involving using channels as masks, blurring channels to create a more natural edge (for example when replacing a sky), using a mask to make it look like one object is behind another, even though it is on a layer above. This is one of the oldest and most deeply developed functions in Photoshop. This only scratches the surface of how to composite objects. Press F1 and look for the keyword extract, as this command has moved around with various versions of Photoshop since it became available in version 5. If you’re going to be doing much of this kind of work, it’s worth a few hours to practice using this tool. The extract tool is important for tough jobs like extracting hair from a background. With the second method you can go back at any time if you erase too much: just press the X key, and paint white to get it back again. Edges should generally be partially transparent to avoid a paper cut out appearance. Or for finer work I create a layer mask for the new layer, and use the brush tool to paint black where you want it erased. I generally do a rough cut with the lasso, paste to a new layer, and use the eraser tool to fine tune the edges. Good suggestions from others re the pen tool, which is important for precise work with hard edges, and quickmask, which allows you use any of the normal paint tools to define a mask. But the key thing is to begin thinking in vector terms, not raster terms, otherwise you'll keep on getting frustrated by things that are 'simple' in a raster editor, but hard or impossible in a vector program.I’m tired of fighting with the Magnetic Lasso tool to cut out a section of an image to place with another image or background, isn’t there an easier, more precise way for doing this? Instead the right approaches are those mentioned by Maren: clip the drawn object, or use Boolean operations to cut it into pieces. If you try to draw a line that starts outside the selection, what should it do? It can't just ignore the starting point, otherwise there's no line? In a raster editor it's easy to make the tools only draw inside the selected area: as the tool is moved, the program just checks the location of each pixel it would normally draw and only actually draws it if it's inside the selection. the coordinates of the end points of a straight line. Vector: Stored as parameters that are used to draw the object.Raster: Stored as individual pixels that are given a colour.The difference is in the way the data are stored: Inkscape deals with vector graphics - or more precisely with vector objects that just happen to have a graphical appearance. Paint.Net and Photoshop deal with raster graphics - JPEGs and PNGs.
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