Photoshop How To Convert To Rgb

By | 27/08/2022
  1. Photoshop User Guide
  2. Introduction to Photoshop
    1. Dream it. Arrive.
    2. What’southward new in Photoshop
    3. Edit your first photo
    4. Create documents
    5. Photoshop | Common Questions
    6. Photoshop system requirements
    7. Migrate presets, deportment, and settings
    8. Become to know Photoshop
  3. Photoshop and other Adobe products and services
    1. Work with Illustrator artwork in Photoshop
    2. Work with Photoshop files in InDesign
    3. Substance 3D Materials for Photoshop
    4. Photoshop and Adobe Stock
    5. Use the Capture in-app extension in Photoshop
    6. Creative Cloud Libraries
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    8. Use the Touch Bar with Photoshop
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  4. Photoshop on the iPad
    1. Photoshop on the iPad | Mutual questions
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    4. Create, open up, and export documents
    5. Add photos
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    17. Become missing fonts in Photoshop on the iPad
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    23. Livestream as you create in Photoshop on the iPad
    24. Correct imperfections with the Healing Castor
    25. Create brushes in Capture and use them in Photoshop
    26. Piece of work with Camera Raw files
    27. Create and work with Smart Objects
    28. Adjust exposure in your images with Dodge and Burn
  5. Photoshop on the web beta
    1. Common questions | Photoshop on the spider web beta
    2. Introduction to the workspace
    3. System requirements | Photoshop on the spider web beta
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    5. Supported file types | Photoshop on the web beta
    6. Open and work with deject documents
    7. Collaborate with stakeholders
    8. Apply express edits to your cloud documents
  6. Cloud documents
    1. Photoshop cloud documents | Common questions
    2. Photoshop deject documents | Workflow questions
    3. Manage and work with deject documents in Photoshop
    4. Upgrade deject storage for Photoshop
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    6. Solve Photoshop deject document errors
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  7. Workspace
    1. Workspace basics
    2. Preferences
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    26. Position with the Ruler tool
  8. Spider web, screen, and app pattern
    1. Photoshop for design
    2. Artboards
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    4. Re-create CSS from layers
    5. Slice spider web pages
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    7. Modify piece layout
    8. Work with spider web graphics
    9. Create spider web photograph galleries
  9. Paradigm and color basics
    1. How to resize images
    2. Work with raster and vector images
    3. Image size and resolution
    4. Acquire images from cameras and scanners
    5. Create, open, and import images
    6. View images
    7. Invalid JPEG Mark error | Opening images
    8. Viewing multiple images
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    12. Convert between colour modes
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    15. Blending modes
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    17. Customize indexed color tables
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    22. Choose colors in the Colour and Swatches panels
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    27. Add swatches from HTML CSS and SVG
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  10. Layers
    1. Layer basics
    2. Nondestructive editing
    3. Create and manage layers and groups
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    5. Identify images into frames
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    26. Layer
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  11. Selections
    1. Select and Mask workspace
    2. Make quick selections
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    4. Select with the marquee tools
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    13. Select the image areas in focus
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  12. Epitome adjustments
    1. Perspective warp
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    3. Healing brush examples
    4. Export colour lookup tables
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    6. Understand color adjustments
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    13. Make quick tonal adjustments
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    15. Raise your paradigm with colour balance adjustments
    16. High dynamic range images
    17. View histograms and pixel values
    18. Match colors in your image
    19. How to crop and straighten photos
    20. Convert a color prototype to black and white
    21. Adjustment and fill layers
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    25. Adjust color and tone with Levels and Curves eyedroppers
    26. Adjust HDR exposure and toning
    27. Filter
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    30. Make selective colour adjustments
    31. Replace object colors
  13. Adobe Camera Raw
    1. Camera Raw arrangement requirements
    2. What’s new in Camera Raw
    3. Introduction to Camera Raw
    4. Create panoramas
    5. Supported lenses
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    7. Default keyboard shortcuts
    8. Automated perspective correction in Camera Raw
    9. How to make non-destructive edits in Camera Raw
    10. Radial Filter in Camera Raw
    11. Manage Camera Raw settings
    12. Open, process, and salvage images in Camera Raw
    13. Repair images with the Enhanced Spot Removal tool in Camera Raw
    14. Rotate, crop, and adjust images
    15. Adjust colour rendering in Photographic camera Raw
    16. Feature summary | Adobe Camera Raw | 2018 releases
    17. New features summary
    18. Process versions in Camera Raw
    19. Make local adjustments in Camera Raw
  14. Image repair and restoration
    1. Remove objects from your photos with Content-Enlightened Make full
    2. Content-Aware Patch and Motility
    3. Retouch and repair photos
    4. Correct paradigm distortion and noise
    5. Basic troubleshooting steps to gear up about issues
  15. Image transformations
    1. Transform objects
    2. Conform ingather, rotation, and canvas size
    3. How to crop and straighten photos
    4. Create and edit panoramic images
    5. Warp images, shapes, and paths
    6. Vanishing Bespeak
    7. Utilise the Liquify filter
    8. Content-aware scaling
    9. Transform images, shapes, and paths
    10. Warp
    11. Transform
    12. Panorama
  16. Drawing and painting
    1. Paint symmetrical patterns
    2. Draw rectangles and modify stroke options
    3. Nearly drawing
    4. Draw and edit shapes
    5. Painting tools
    6. Create and modify brushes
    7. Blending modes
    8. Add color to paths
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    10. Paint with the Mixer Brush
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    14. Fill and stroke selections, layers, and paths
    15. Draw with the Pen tools
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    17. Generate a pattern using the Pattern Maker
    18. Manage paths
    19. Manage pattern libraries and presets
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    22. Add together dynamic elements to brushes
    23. Slope
    24. Paint stylized strokes with the Fine art History Brush
    25. Paint with a pattern
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    1. Add and edit the text
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    13. Create type
    14. Text Engine fault using Blazon tool in Photoshop | Windows 8
  18. Video and blitheness
    1. Video editing in Photoshop
    2. Edit video and animation layers
    3. Video and blitheness overview
    4. Preview video and animations
    5. Pigment frames in video layers
    6. Import video files and image sequences
    7. Create frame animations
    8. Creative Deject 3D Blitheness (Preview)
    9. Create timeline animations
    10. Create images for video
  19. Filters and furnishings
    1. Utilise the Liquify filter
    2. Use the Blur Gallery
    3. Filter basics
    4. Filter effects reference
    5. Add Lighting Effects
    6. Use the Adaptive Wide Angle filter
    7. Use the Oil Paint filter
    8. Layer furnishings and styles
    9. Employ specific filters
    10. Smudge prototype areas
  20. Saving and exporting
    1. Relieve your files in Photoshop
    2. Export your files in Photoshop
    3. Supported file formats
    4. Salve files in graphics formats
    5. Move designs between Photoshop and Illustrator
    6. Save and consign video and animations
    7. Save PDF files
    8. Digimarc copyright protection
  21. Printing
    1. Print 3D objects
    2. Print from Photoshop
    3. Print with color management
    4. Contact Sheets and PDF Presentations
    5. Print photos in a moving-picture show packet layout
    6. Print spot colors
    7. Duotones
    8. Impress images to a commercial printing press
    9. Improve color prints from Photoshop
    10. Troubleshoot printing problems | Photoshop
  22. Automation
    1. Creating actions
    2. Create data-driven graphics
    3. Scripting
    4. Procedure a batch of files
    5. Play and manage actions
    6. Add provisional actions
    7. About actions and the Deportment panel
    8. Record tools in actions
    9. Add together a conditional style change to an activeness
    10. Photoshop UI toolkit for plug-ins and scripts
  23. Colour Management
    1. Understanding color management
    2. Keeping colors consequent
    3. Color settings
    4. Piece of work with color profiles
    5. Color-managing documents for online viewing
    6. Colour-managing documents when printing
    7. Color-managing imported images
    8. Proofing colors
  24. Content actuality
    1. Learn about content credentials
    2. Identity and provenance for NFTs
    3. Connect accounts for creative attribution
  25. 3D and technical imaging
    1. Photoshop 3D | Common questions around discontinued 3D features
    2. Creative Cloud 3D Blitheness (Preview)
    3. Impress 3D objects
    4. 3D painting
    5. 3D panel enhancements | Photoshop
    6. Essential 3D concepts and tools
    7. 3D rendering and saving
    8. Create 3D objects and animations
    9. Image stacks
    10. 3D workflow
    11. Measurement
    12. DICOM files
    13. Photoshop and MATLAB
    14. Count objects in an image
    15. Combine and convert 3D objects
    16. 3D texture editing
    17. Adjust HDR exposure and toning
    18. 3D panel settings

In Photoshop you can easily create an prototype in one colour style and convert it to another, perhaps to become information technology prepare for a specific print task.

Convert an image to some other color mode

You lot tin can change an image from its original mode (source way) to a dissimilar mode (target mode). When y’all choose a dissimilar colour mode for an image, you permanently alter the colour values in the paradigm. For example, when y’all convert an RGB image to CMYK mode, RGB color values outside the CMYK gamut (divers past the CMYK working space setting in the
Color Settings
dialog box) are adjusted to fall within gamut. Every bit a consequence, some image information may be lost and can’t exist recovered if yous catechumen the image from CMYK back to RGB.

Before converting images, it’due south all-time to do the following:

  • Practice every bit much editing as possible in the original image way (normally RGB for images from virtually scanners or digital cameras, or CMYK for images from traditional drum scanners or imported from a Scitex system).

  • Save a backup copy before converting. Be sure to save a copy of your image that includes all layers so that you can edit the original version of the image after the conversion.

  • Flatten the file earlier converting it. The interaction of colors betwixt layer blending modes changes when the mode changes.

In nigh cases, yous’ll want to flatten a file earlier converting it. Even so, information technology isn’t required and, in some cases, it isn’t desirable (for example, when the file has vector text layers).

  1. Choose Image > Mode and the mode you want from the submenu. Modes not available for the active paradigm appear dimmed in the bill of fare.

    Images are flattened when converted to Multichannel, Bitmap, or Indexed Colour mode, because these modes do not support layers.

Catechumen an prototype to Bitmap manner

Converting an image to Bitmap mode reduces the epitome to two colors, profoundly simplifying the colour data in the paradigm and reducing its file size.

When converting a color prototype to Bitmap manner, offset catechumen it to Grayscale mode. This removes the hue and saturation information from the pixels and leaves only the effulgence values. Still, considering only a few editing options are bachelor for Bitmap mode images, it’s usually best to edit the paradigm in Grayscale mode and so catechumen information technology to Bitmap mode.

Images in Bitmap mode are 1 bit per aqueduct. You must convert a 16‑ or 32‑bits-per-aqueduct image to 8‑chip Grayscale mode before converting information technology to Bitmap mode.

    • If the image is in color, choose Prototype > Mode > Grayscale. Then choose Image > Way > Bitmap.

    • If the prototype is grayscale, choose Epitome > Manner > Bitmap.

  1. For Output, enter a value for the output resolution of the Bitmap fashion image, and choose a unit. By default, the current prototype resolution appears as both the input and the output resolutions.

  2. Choose 1 of the following bitmap conversion methods from the Use popular-up menu:

    50% Threshold

    Converts pixels with grayness values above the middle greyness level (128) to white and pixels with greyness values below that level to black. The consequence is a very loftier-contrast, black-and-white representation of the image.

    Pattern Dither

    Converts an epitome past organizing the gray levels into geometric configurations of black and white dots.

    Diffusion Dither

    Converts an image past using an error-diffusion process, starting at the pixel in the upper-left corner of the prototype. If the pixel’south value is above middle greyness (128), the pixel is changed to white—if below it, to black. Because the original pixel is rarely pure white or pure black, error is inevitably introduced. This mistake is transferred to surrounding pixels and diffused throughout the paradigm, resulting in a grainy, picture show-like texture.

    Halftone Screen

    Simulates the appearance of halftone dots in the converted image. Enter values in the Halftone Screen dialog box:

    • For Frequency, enter a value for the screen frequency, and choose a unit. Values can range from 1.000 to 999.999 for lines per inch and from 0.400 to 400.00 for lines per centimeter. Yous can enter decimal values. The screen frequency specifies the ruling of the halftone screen in lines per inch (lpi). The frequency depends on the newspaper stock and type of press used for printing. Newspapers commonly use an 85‑line screen. Magazines utilise higher resolution screens, such as 133‑lpi and 150‑lpi. Check with your impress shop for correct screen frequencies.

    • Enter a value for the screen angle in degrees from ‑180 to +180. The screen angle refers to the orientation of the screen. Continuous-tone and black-and-white halftone screens commonly apply a 45° angle.

    • For Shape, choose the dot shape you desire.

    The halftone screen becomes part of the image. If you lot print the prototype on a halftone printer, the printer will utilise its own halftone screen equally well as the halftone screen that is office of the epitome. On some printers, the effect is a moiré blueprint.

    Custom Pattern

    Simulates the appearance of a custom halftone screen in the converted epitome. Choose a design that lends itself to thickness variations, typically ane with a variety of gray shades.

    To use this choice, you first ascertain a pattern and then screen the grayscale image to apply the texture. To cover the entire paradigm, the design must be as large as the image. Otherwise, the pattern is tiled. Photoshop comes with several self-tiling patterns that can be used as halftone screen patterns.

    To fix a blackness-and-white pattern for conversion, first convert the epitome to grayscale and then utilize the Blur More filter several times. This blurring technique creates thick lines tapering from night greyness to white.

    Photoshop convert image to bitmap mode

    Original grayscale image, and fifty% Threshold conversion method

    Photoshop Pattern Dither conversion method

    Pattern Dither conversion method, and Improvidence Dither conversion method

Catechumen a color photograph to Grayscale mode

  1. Open the photograph you want to convert to blackness-and-white.

  2. Cull Epitome > Mode > Grayscale.

  3. Click Discard. Photoshop converts the colors in the epitome to black, white, and shades of greyness.

    The technique above minimizes file size only discards color data and can catechumen next colors to the verbal same shade of grayness. Using a Black & White aligning layer increases file size but retains color information, letting y’all map colors to shades of gray.

Convert a Bitmap mode image to Grayscale way

You can convert a Bitmap fashion image to Grayscale mode in society to edit it. Keep in mind that a Bitmap mode image edited in Grayscale style may not look the aforementioned when y’all convert it dorsum to Bitmap mode. For example, suppose a pixel that is blackness in Bitmap mode is edited to a shade of gray in Grayscale way. When the prototype is converted back to Bitmap mode, that pixel is rendered as white if its gray value is above the middle grey value of 128.

  1. Cull Prototype > Mode > Grayscale.

  2. Enter a value between 1 and xvi for the size ratio.

    The size ratio is the factor for scaling down the image. For example, to reduce a grayscale image by 50%, enter 2 for the size ratio. If y’all enter a number greater than 1, the program averages multiple pixels in the Bitmap mode image to produce a unmarried pixel in the grayscale image. This process lets you generate multiple shades of gray from an image scanned on a 1‑bit scanner.

Catechumen a grayscale or RGB paradigm to indexed color

Converting to indexed color reduces the number of colors in the image to at most 256—the standard number of colors supported by the GIF and PNG‑viii formats and many multimedia applications. This conversion reduces file size by deleting color data from the image.

To convert to indexed color, you must start with an image that is eight bits per channel and in either Grayscale or RGB mode.

  1. Choose Image > Fashion > Indexed Color.

    All visible layers will be flattened; any hidden layers volition be discarded.

    For grayscale images, the conversion happens automatically. For RGB images, the Indexed Colour dialog box appears.

  2. Select Preview in the Indexed Color dialog box to display a preview of the changes.

  3. Specify conversion options.

Conversion options for indexed-colour images

When converting an RGB epitome to indexed colour, you can specify a number of conversion options in the Indexed Color dialog box.

Palette Blazon

A number of palette types are available for converting an image to indexed colour. For the Perceptual, Selective, and Adaptive options, you can choose using a local palette based on the current image’s colors. These are the available palette types:


Creates a palette using the exact colors actualization in the RGB image—an choice available merely if the prototype uses 256 or fewer colors. Because the image’south palette contains all colors in the image, there is no dithering.

Arrangement (Mac OS)

Uses the Mac OS default 8‑bit palette, which is based on a uniform sampling of RGB colors.

System (Windows)

Uses the Windows system’due south default 8‑scrap palette, which is based on a uniform sampling of RGB colors.


Uses the 216-color palette that web browsers, regardless of platform, use to display images on a monitor limited to 256 colors. This palette is a subset of the Mac OS 8‑scrap palette. Utilise this option to avoid browser dither when viewing images on a monitor display limited to 256 colors.


Creates a palette past uniformly sampling colors from the RGB color cube. For case, if Photoshop takes half-dozen evenly-spaced color levels each of red, green, and blue, the combination produces a uniform palette of 216 colors (6 cubed = six ten vi x 6 = 216). The full number of colors displayed in an image corresponds to the nearest perfect cube (8, 27, 64, 125, or 216) that is less than the value in the Colors text box.

Local (Perceptual)

Creates a custom palette by giving priority to colors for which the human being heart has greater sensitivity.

Local (Selective)

Creates a color tabular array similar to the Perceptual color table, but favoring broad areas of color and the preservation of web colors. This option usually produces images with the greatest color integrity.

Local (Adaptive)

Creates a palette by sampling the colors from the spectrum appearing about commonly in the image. For example, an RGB prototype with only the colors greenish and blue produces a palette made primarily of greens and dejection. Most images concentrate colors in item areas of the spectrum. To control a palette more than precisely, commencement select a role of the image containing the colors you want to emphasize. Photoshop weights the conversion toward these colors.

Master (Perceptual)

Creates a custom palette by giving priority to colors for which the human being eye has greater sensitivity. Applies when yous have multiple documents open; takes all open documents into account.

Principal (Selective)

Creates a color table similar to the Perceptual color table, but favoring wide areas of color and the preservation of web colors. This selection unremarkably produces images with the greatest color integrity. Applies when y’all have multiple documents open; takes all open documents into account.

Master (Adaptive)

Creates a palette by sampling the colors from the spectrum appearing most commonly in the image. For example, an RGB prototype with only the colors green and blueish produces a palette made primarily of greens and blues. Near images concentrate colors in particular areas of the spectrum. To command a palette more than precisely, first select a part of the prototype containing the colors yous want to emphasize. Photoshop weights the conversion toward these colors. Applies when you have multiple documents open up; takes all open documents into account.


Creates a custom palette using the
Color Tabular array
dialog box. Either edit the color table and save it for later utilize or click Load to load a previously created color table. This pick also displays the current Adaptive palette, which is useful for previewing the colors most often used in the image.


Uses the custom palette from the previous conversion, making information technology easy to convert several images with the same custom palette.

Number Of Colors

For the Compatible, Perceptual, Selective, or Adaptive palette, y’all tin can specify the verbal number of colors to exist displayed (up to 256) by entering a value for Colors. The Colors text box controls only how the indexed color table is created. Adobe Photoshop still treats the image equally an 8‑bit, 256‑color image.

Colour Inclusion And Transparency

To specify colors to be included in the indexed color table or to specify transparency in the image, choose from the following options:


Provides options to force the inclusion of certain colors in the color tabular array. Black And White adds a pure black and a pure white to the colour table; Primaries adds red, green, blue, cyan, magenta, xanthous, black, and white; Web adds the 216 web‑rubber colors; and Custom lets you lot define custom colors to add.


Specifies whether to preserve transparent areas of the image during conversion. Selecting this option adds a special index entry in the color table for transparent colors. Deselecting this choice fills transparent areas with the matte color, or with white if no matte colour is chosen.


Specifies the background color used to fill anti-aliased edges that lie adjacent to transparent areas of the image. When Transparency is selected, the matte is applied to border areas to aid blend the edges with a spider web background of the aforementioned colour. When Transparency is deselected, the matte is applied to transparent areas. Choosing None for the matte creates hard-edged transparency if Transparency is selected; otherwise, all transparent areas are filled with 100% white. The image must have transparency for the Matte options to be available.


Unless yous’re using the Exact color table option, the color tabular array may not contain all the colors used in the paradigm. To simulate colors not in the color tabular array, you can dither the colors. Dithering mixes the pixels of the available colors to simulate the missing colors. Choose a dither choice from the menu, and enter a percentage value for the dither amount. A higher amount dithers more colors just may increase file size. You can choose from the following dither options:


Does not dither colors but instead uses the colour closest to the missing color. This tends to result in sharp transitions between shades of color in the image, creating a posterized upshot.


Uses an error-diffusion method that produces a less-structured dither than the Blueprint option. To protect colors in the paradigm that incorporate entries in the color table from beingness dithered, select Preserve Verbal Colors. This is useful for preserving fine lines and text for web images.


Uses a halftone-like foursquare pattern to simulate any colors not in the color table.


Helps to reduce seam patterns along the edges of epitome slices. Choose this option if you program to slice the image for placement in an HTML table.