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A photo's noise is as large as the step from one palette colour to the next, so noise decided pixel by pixel which of two neighbouring colours a pixel got: tens of thousands of specks, or (since the palette change) neighbouring tones merged into one. - A continuous-tone image (eight colours leave much of it unsaid; flat art, however noisy or unevenly lit, is not one) is smoothed before it is quantised: three rounds of a small bilateral filter, which averages noise away within a tone and keeps the edges between tones where and as sharp as they were. - With Method: Overlapping, layers are stacked by lightness, from the largest colour's end of the scale, instead of by area. Each layer reaches under those above it, so where two colours meet every layer between them in the stack ends on that same edge and shows through its anti-aliasing: by area that was an unrelated colour's hairline around every region; by lightness it is a neighbouring tone. - Ignore White with Overlapping: no layer reaches under the white that is left out. On each preset's own inputs, all sizes and variants (docs/image-trace-quality.md), before -> after: - High Fidelity Photo: colour error 2.37 -> 1.75 (2.30 at the baseline), edge error 2.59 -> 1.98, 639 -> 121 paths (3,653 at the baseline), 25,604 -> 9,818 anchors, specks 152 -> 10; a 16 megapixel photo-like image is traced in 3.5 s (31,131 paths) where it was refused - Low Fidelity Photo: colour error 2.67 -> 2.45, 55 -> 37 paths - Shades of Gray: 73 -> 17 paths, colour error 9.33 -> 9.26 - The other presets' numbers are unchanged