IntroductionWelcome| 00:04 |
Welcome to Photoshop for
Designers, Type Effects.
| | 00:07 |
I'm Nigel French.
| | 00:09 |
In this course, we'll be drawing
on a range of Photoshop skills;
| | 00:14 |
warping, masking, drawing paths and
vectors shapes, working with 3D type,
| | 00:18 |
creating custom brushes, painting
with textures, and applying filters like
| | 00:23 |
displacement, vanishing point, and liquify.
| | 00:25 |
Most importantly however,
we'll be working with ideas.
| | 00:29 |
For all the firepower that Photoshop
can bring to your Type treatments,
| | 00:33 |
there's no substitute for
working with a strong concept.
| | 00:36 |
In terms of working through this
course while I start out with some simple
| | 00:40 |
techniques, beyond that, there's
no progression from easy to hard.
| | 00:44 |
If you're an intermediate Photoshop user,
you're probably already familiar
| | 00:48 |
with the techniques, but may not have considered
them in the context of working with Type.
| | 00:52 |
If you're a beginning Photoshop user,
then hopefully, you'll enjoy the challenge.
| | 00:57 |
So, with that in mind, let's get
started with Photoshop for Designers,
| | 01:01 |
Type Effects.
| | 01:02 |
| | Collapse this transcript |
| Using the exercise files| 00:00 |
If you're a Premium Member of the Lynda .com
Online Training Library, then you
| | 00:04 |
have access to the Exercise
Files used throughout this title.
| | 00:08 |
These are arranged in the Exercise Files folder.
| | 00:11 |
If you're a monthly or annual subscriber
to lynda.com, you don't have access
| | 00:16 |
to the Exercise Files but you can still
follow along and work with your own files.
| | 00:21 |
| | Collapse this transcript |
|
|
1. Simple Type EffectsIllustrating a concept with shape layers and layer masks| 00:00 |
Here's a simple technique that relies
upon the use of a shape layer,
| | 00:04 |
piece of type, and a layer mask.
| | 00:07 |
But, first and foremost,
it relies upon a good idea.
| | 00:09 |
I'm using a typeface
called Gotham, Gotham Black.
| | 00:13 |
If you don't have that, then use
something that is solid and simple.
| | 00:18 |
You might choose Myriad Pro Bold which
is a typeface that comes installed
| | 00:23 |
with Photoshop, or you can opt for this
option because what I have done is
| | 00:28 |
in the beginning layer group which I'm now
going to turn on, you can see I've actually
| | 00:34 |
turned the type into a shape layer.
| | 00:37 |
So the type is actually now vector
outlines rather than editable type.
| | 00:43 |
That means that as a path, it is
going to have a gray line around it.
| | 00:49 |
If you find this gray line visually
distracting, which I think you might,
| | 00:54 |
and I certainly do in this context, we can do this;
| | 00:57 |
We can come to the View Menu and down
to Show and uncheck Target Path. Okay.
| | 01:05 |
So, we have our piece of type which is
actually a shape layer and I'm now going
| | 01:10 |
to draw a shape layer on
top of that for the bird.
| | 01:14 |
I'm going to come to my Custom Shape Tool,
and here is a dropdown list of my custom shapes.
| | 01:21 |
If you want to add more, if you don't
see as many as I'm seeing right now,
| | 01:26 |
you can come to the cog at the top right
and choose All, and that will add all of
| | 01:31 |
the basic custom shapes.
| | 01:34 |
However, even after doing that, you
still won't have the shape that I'm using
| | 01:38 |
and that's because this is a
shape set that I've downloaded.
| | 01:43 |
Let me show you where I got it from.
| | 01:45 |
I got it from this website called
PhotoshopShapes which is a fantastic resource
| | 01:50 |
for custom shapes, and this shape
set was created by Luke Roberts.
| | 01:55 |
So having downloaded this, you can
click on it and it will appear
| | 02:00 |
in your list of custom shapes.
| | 02:02 |
So, once it's there, you can choose it,
and then choose a color that you want
| | 02:08 |
to fill that shape.
| | 02:09 |
I currently have white as my foreground color
which just so happens is the color that I want.
| | 02:15 |
So now I'm going to hold down my Shift
key as I draw the shape, and I want it
| | 02:19 |
about there, so it's flying off the E.
And even though I intended that to be
| | 02:24 |
white and I intended it to be a new
shape layer, it's actually added that to my
| | 02:31 |
current shape layer and it's become black.
| | 02:33 |
I'm going to undo that and then
I'm going to come to my Paths panel
| | 02:38 |
where I'm going to make sure that this shape
layer is actually not selected, then come
| | 02:45 |
back to my layers, and I will do the same again.
| | 02:48 |
So now I'll hold down my Shift key and draw
that out, and it's still coming as black bird.
| | 02:54 |
That's okay because it's on its
own layer so that's easy to fix.
| | 03:00 |
With the shape layer selected and
white as your foreground color, press
| | 03:06 |
Option or Alt and Delete, and that will fill
the shape layer with your foreground color.
| | 03:13 |
That's where I want my bird positioned.
| | 03:15 |
Now, I'm going to make a selection of
the shape that I can use as the layer mask.
| | 03:20 |
And to do this, I will press Command or
Ctrl and click on the shape layer and we
| | 03:26 |
see the marching ants around the shape.
| | 03:29 |
Now, the key here is I want to move the
position of the shape to indicate that
| | 03:35 |
the bird has flown from one point to another.
| | 03:38 |
So I'm going to choose my Selection
tool and I am going to drag that
| | 03:44 |
selection outline to about there.
| | 03:45 |
Then, I'm going to select my type layer and I
want this selection to be used as a layer mask.
| | 03:55 |
Now, if I click on Add Layer Mask, it's
going to give me the opposite of what I want.
| | 04:00 |
It will use this selection
and conceal everything else.
| | 04:04 |
I want the opposite of that.
| | 04:05 |
So whenever you're doing this with the
layer mask, you have 50% chance of it
| | 04:09 |
being the right option, and rather
than use up my brain power to trying to
| | 04:14 |
figure out which I'm going to get,
I'll just click on that, and if it's the
| | 04:19 |
wrong one as it is, I will come to the
layer mask itself and press Command or
| | 04:24 |
Ctrl+I which will invert it, and
I now have the result that I want.
| | 04:30 |
Those gray path outlines have somewhat
annoyingly shown up again and they will
| | 04:35 |
have a habit of turning on even
though I've said go away, it will turn them
| | 04:39 |
off when we finish.
| | 04:41 |
So now to finish this technique, I need
to be clicked on to the layer mask where
| | 04:48 |
I will come to the Filter Menu, and
choose Blur>Motion Blur, and I'll just add
| | 04:56 |
some motion blur,
simulating the angle of flight;
| | 05:00 |
something like that.
| | 05:01 |
Let's just turn off that path outline
and there is the finished technique.
| | 05:06 |
I just want to point out that I also
did an alternative version, and if we come
| | 05:11 |
to the Layer Comps panel,
I have two layer comps set up.
| | 05:17 |
If you click on Layer Comp 2, here we
see the alternative version which my
| | 05:22 |
initial instinct was that this would
be more successful, but on reflection,
| | 05:27 |
I think the one we just saw is more
successful because it's simpler.
| | 05:31 |
There's just too much going on in
here that I think dilutes the concept.
| | 05:36 |
So, there is our finished version.
| | 05:38 |
| | Collapse this transcript |
| Illustrating a concept with a clipping mask| 00:00 |
Here I'm using a clipping mask to create
this very simple effect and this relies upon
| | 00:06 |
a couple of things for its effectiveness.
| | 00:08 |
I'm just going to open up the
Finished folder and let's just look at
| | 00:12 |
these layers one by one.
| | 00:14 |
Again, I'm using this typeface Gotham Black.
| | 00:16 |
I've saved shape layers in the Begin folder
so you don't necessarily need this typeface.
| | 00:22 |
If you want to actually use Type
rather than Type Shapes, then just use
| | 00:27 |
something that's solid and very bold.
| | 00:30 |
I've deliberately set the word
black and white and white and black, and
| | 00:34 |
what's fortunate here for what I'm trying to
illustrate is that both words have five letters.
| | 00:38 |
All I do is simply put one on top of the other.
| | 00:43 |
I'll now switch to the Begin Folder.
| | 00:46 |
You simply put one on top of the other,
and then you use the clipping mask to
| | 00:51 |
clip the top to the layer beneath.
| | 00:53 |
All that involves is holding down the Alt
or Option key and clicking between the two.
| | 00:57 |
We're seeing that gray
outline which is the path outline.
| | 01:01 |
If we don't want to see that, we can
come to the View and Show and turn off the
| | 01:08 |
Target Path and that's the result.
| | 01:10 |
Now, you may need to just
tweak it a bit as I want to here.
| | 01:14 |
I'm going to select the black layer,
and then just nudge that over a bit to
| | 01:19 |
avoid very small white stripe
there I just wanted to get rid of.
| | 01:24 |
That's it, nothing more to it than that.
| | 01:27 |
| | Collapse this transcript |
| Modifying letterforms| 00:00 |
This example is about modifying letter
forms, and as simple as it may seem,
| | 00:06 |
it may give you some ideas for
how you can apply this technique.
| | 00:10 |
So, I begin with a piece of type, I put
a shape layer on top of it, and then I
| | 00:15 |
use that shape layer as the counter for
one of the letters, in this case, the A.
| | 00:19 |
Let's look at the end result.
| | 00:21 |
The end result is one combined path.
| | 00:24 |
So, I've actually removed the existing
interior shape or counter of the A and
| | 00:28 |
replaced it with the cat shape.
| | 00:30 |
I'm going to turn that layer off, and go to
my Type tool, and let's get my Type panel.
| | 00:37 |
I'm going to click, and
just type in the word CATS.
| | 00:43 |
I'll select that, and then with
white as my foreground color, I'll press
| | 00:49 |
Option or Alt+Delete.
| | 00:51 |
I'm going to choose a big heavy font,
Gotham Black, or if you don't have that,
| | 00:56 |
just choose something similar.
| | 00:58 |
I am now going to increase the size
of my type using the scrubby slider.
| | 01:05 |
I will also add some positive
tracking, not quite that much.
| | 01:12 |
That seems about right.
| | 01:16 |
Finally, just to get it positioned on
my canvas, I'm going to center align it,
| | 01:21 |
then press Cmd+A to select all, and
then use my Alignment icons up here on
| | 01:27 |
the Tool Options Bar.
| | 01:28 |
I'll align it vertically and
then horizontally. All right.
| | 01:33 |
My next step, to go and get a shape layer
and we have the standard Cat shape layer.
| | 01:42 |
I'm sure you can find others online
if you're tired of using this one.
| | 01:45 |
Holding down the Shift Key, draw myself
that shape which should have created a
| | 01:51 |
separate shape layer.
| | 01:52 |
I can now deselect my selection that
I had made active before, Cmd+ or Ctrl+D,
| | 01:58 |
and then I can move that into position,
scale it, Cmd+ or Ctrl+T.
| | 02:06 |
In this case, I want to scale it from its center
point, and I want to scale it proportionally.
| | 02:11 |
So I'm holding down Option or Alt and
Shift, and we'll position it wherever
| | 02:16 |
we want it to go, about there.
| | 02:18 |
Now, let's just turn that one off for
a moment and come and look at the type
| | 02:23 |
because I'm going to need to
convert this type into a shape.
| | 02:26 |
You might want to, as insurance, just
keep a copy of the type layer around;
| | 02:31 |
Cmd+ or Ctrl+J will copy the layer.
| | 02:35 |
You can then turn off the visibility of
that layer, hopefully you won't need it,
| | 02:39 |
but just in case, you've
got it there to go back to.
| | 02:42 |
I am then going to right-click on
the layer and convert this to a shape.
| | 02:47 |
Having done that, I will come and get
my Direct Selection tool where I can
| | 02:52 |
select the interior shape of the A.
And as soon as one of those anchor points
| | 02:58 |
becomes solid, I'll press Delete, and
that will get rid of two of those three
| | 03:03 |
segments and then I can press
Delete again to get rid of the third.
| | 03:07 |
Now, I'm going to come back to the
shape layer and I'll stay with my
| | 03:12 |
Direct Selection tool.
| | 03:13 |
I want to select the whole outline.
| | 03:15 |
So, I'm going hold down the Opt or
Alt key if necessary, just nudge it
| | 03:20 |
into position, and then cut that.
| | 03:23 |
So the shape layer has gone, I'm left
on the CATS copy layer, this is CATS
| | 03:28 |
in the letter shapes.
| | 03:30 |
I'm now going to paste the shape
layer that I cut on to this layer.
| | 03:36 |
Then I want to extend my selection to
include the shape of the A, so I'm going
| | 03:42 |
to hold down my Alt key and my Shift key.
| | 03:45 |
I'm in my Direct Selection tool.
| | 03:47 |
That's going to select that shape as well.
| | 03:49 |
I'll then come up to my Tool Options Bar,
my Path Operations dropdown and I'll
| | 03:54 |
choose Exclude Overlapping Shapes.
| | 03:57 |
Then that top shape is going to knock a
hole through the letter A and that will
| | 04:02 |
become the counter for the letter A.
| | 04:04 |
What we do with it from here is really up to us.
| | 04:08 |
But, whatever we do with it is going to
happen now within that new letter shape.
| | 04:12 |
So, for example, if I did want to
apply a gradient to it, this is a copper
| | 04:21 |
gradient for those of you that
may have copper-colored cats.
| | 04:25 |
But, you can see that it's
happening there within the new letter shape.
| | 04:30 |
| | Collapse this transcript |
| Replacing letters with pictures| 00:00 |
I'm sure you've seen this technique before,
substituting letters with pictures
| | 00:06 |
and integrating pictures into the letter forms.
| | 00:09 |
And for each of the three letters
that I am affecting, I'm using a
| | 00:13 |
slightly different technique.
| | 00:15 |
Let's begin by looking at how I
first of all just came out with the idea.
| | 00:21 |
I'm beginning with some low resolution
comping images that I downloaded for free
| | 00:26 |
from the stock photography site Thinkstock.
| | 00:28 |
And then when I decide what's going to
work and I discard a few ideas that are
| | 00:36 |
not panning out at this point, then I'm
ready to go and download and pay for the
| | 00:41 |
higher resolution images, and that's
what we see here in the finished version.
| | 00:44 |
I'm now going to turn off the Finished
layer group and come and click on the
| | 00:48 |
Beginning layer group.
| | 00:49 |
If I expand that, we see that as
well as the three pieces of type, I also
| | 00:54 |
have in here three images, and they all are
quite a lot larger than we end up using them.
| | 01:02 |
All of them, I am going to convert to
Smart Objects, and I'm going to convert
| | 01:08 |
them to Smart Objects so that we have
the flexibility of being able to scale
| | 01:13 |
them and rescale them
without damaging the image.
| | 01:17 |
And this first one Seated, I've
already converted to a Smart Object,
| | 01:22 |
and I've done this because I've actually
embedded in the Smart Object a path,
| | 01:28 |
and we're going to use that path to
isolate the figure from the chair.
| | 01:33 |
So, this is our first task.
| | 01:34 |
We're going to open this up as a Smart Object.
| | 01:37 |
Now, if you're doing this for the
first time, you will likely see a Warning
| | 01:41 |
dialog box telling you that it's going
to open in a separate document,
| | 01:45 |
you'll need to save it and then you'll see
changes reflected in the original document,
| | 01:49 |
or words to that effect.
| | 01:51 |
I have chosen Don't Show Again for that
because we only need to see it once. Okay.
| | 01:56 |
Here I am in the Smart Object and I'm
now going to come to my Paths panel where
| | 02:00 |
I have a path already created.
| | 02:05 |
Now, that took me a while to do that.
| | 02:07 |
You don't need to see me do this.
| | 02:09 |
It's about as interesting as watching
cement dry, but basically, I got my Pen tool
| | 02:13 |
and I just drew a path around the figure.
| | 02:17 |
When I got back to the point where I
began, I double-clicked on the result
| | 02:22 |
and I saved as a path, and
that is where we're at here.
| | 02:27 |
So, the path has already been
created, it's already been saved.
| | 02:30 |
What we want to do is use that
path as a vector mask on this layer.
| | 02:36 |
So, with the path active and we can see
it's gray outline, I'm going to come to
| | 02:40 |
the Layer menu and choose Vector Mask>
Current Path and then that will be used
| | 02:46 |
to isolate the figure.
| | 02:47 |
I can now save this and then when we go
back to our work in progress, we see
| | 02:55 |
the image updated in place.
| | 02:57 |
So, now my job is to position this and I can
scale it freely because it is a Smart Object.
| | 03:04 |
I'm going to press Cmd+ or Ctrl+T
to put my transformation rectangle
| | 03:08 |
around it and hold down the Shift key,
and then drag it into position which
| | 03:14 |
is right about here.
| | 03:15 |
I need to at this point zoom in.
| | 03:18 |
Now, as far as the hair goes, you
might likely, and we are seeing here some
| | 03:25 |
trapped areas of white space in the hair.
| | 03:29 |
I'm using a time honored technique of
designing around the problem, i.e. I'm going
| | 03:35 |
to try and avoid putting her hair over
the curve of the O so that I don't create
| | 03:41 |
a problem for myself. All right.
| | 03:42 |
I'm going to need to put
it slightly over like so.
| | 03:47 |
Now, I'm going to zoom in on that.
| | 03:50 |
And if I see any traces of white there,
what I can do is add a layer mask to
| | 03:55 |
that layer, choose my Brush tool,
and make sure I have a very small and
| | 04:04 |
completely soft brush, and paint in black just
to better integrate that into the background.
| | 04:12 |
Okay, that's looking good.
| | 04:17 |
Now that was the hard one. The rest are easy.
| | 04:19 |
Let's start out with this one.
| | 04:22 |
First of all, I want to
convert it to a Smart Object.
| | 04:25 |
I'm going to right-click and
then choose Convert to Smart Object.
| | 04:30 |
I'm now going to zoom out so I can
see it in the context of my whole image.
| | 04:34 |
Let's drop out that white background.
| | 04:37 |
Easy solution here, just switch
to Multiply as the Blending Mode.
| | 04:42 |
Then, I'm going to position it just
above the word that it's relating to.
| | 04:47 |
So I'm changing its layer order.
| | 04:49 |
I'm going to scale it.
| | 04:51 |
And this time, I want to
scale it from its center point.
| | 04:54 |
So, I'm holding down the Opt or Alt
key as well as the Shift key, and I'd
| | 04:58 |
like her to be about as tall, maybe
slightly taller than the 'I' itself.
| | 05:05 |
So, I'm going to position her just about
there, her head peeking out of the top,
| | 05:10 |
her feet peeking out of the bottom.
| | 05:12 |
I'll press Return or Enter to accept my
transformation, and now, all I'm going
| | 05:17 |
to do to make that 'I' disappear
is actually come to the type itself.
| | 05:24 |
I'm going to select the 'I' and
I'm simply going to make it white.
| | 05:27 |
That leaves us with one more, the top right.
| | 05:32 |
I'm going to choose that.
| | 05:34 |
Again, I will convert it to a Smart Object.
| | 05:37 |
Again, I'm going to change the Blending
Mode to Multiply, and then I'm going to
| | 05:44 |
scale it, Opt+ or Alt+Shift
and click and drag.
| | 05:49 |
It's going to scale it from its center point.
| | 05:51 |
Now, in the sizing of these, I
went back and forth with a couple
| | 05:55 |
of different approaches.
| | 05:56 |
Initially, I thought I'll have them
all be the same size, so I was just
| | 06:00 |
comparing the sizes of the
heads in each of the three shots.
| | 06:04 |
But then I decided that it would be
better if one of them were the focal point,
| | 06:09 |
and one was significantly larger than
the other, and that is the seated figure.
| | 06:12 |
But, this one, I'd like her head size to
be about the size of the standing figure.
| | 06:17 |
I'm just going to temporarily position
her over that figure, and then scale her
| | 06:23 |
so that I can compare the
sizes of the heads. Okay.
| | 06:28 |
Having done that,
| | 06:29 |
I can move her over into position.
| | 06:35 |
What I want here is her stepping
through the D. She is so excited, she is
| | 06:41 |
stepping through the D, and to make
this happen, I'm going to change the layer
| | 06:47 |
order, moving that layer so that it's
just above the layer that it's relating
| | 06:52 |
to, and then, I'm going to come to the
Type layer itself and choose my Brush tool,
| | 06:59 |
and we need to create a
layer mask on the Type layer.
| | 07:04 |
The tricky thing about this is I'm
creating a mask, but I'm not actually working
| | 07:08 |
on the layer of the figure, I'm
working on the layer of the type.
| | 07:14 |
And since I want to drop out the sections
of the D, I'm going to be painting in black.
| | 07:19 |
And look what happens when I do that;
| | 07:22 |
I paint in black and we
see her arm coming through.
| | 07:25 |
Now, in terms of making that accurate,
what I might want to do is first of all
| | 07:30 |
draw myself a simple pen path
around the areas of intersection.
| | 07:36 |
I could even use an intersecting
selection but I found that when I do that,
| | 07:42 |
it does leave the seams of the masking behind.
| | 07:46 |
So I am preferring not to do that.
| | 07:48 |
So, what I'm going to do is
choose my Pen tool, zoom in.
| | 07:52 |
I have to say this is a relatively low
resolution image that we're working here
| | 07:57 |
just to keep the file size
within a manageable size.
| | 07:59 |
So, when I zoom in above 100%, and I'm
currently at 370%, things do look rather pixilated.
| | 08:07 |
I'm just going to make a simple Pen path
there, and another there, and another there.
| | 08:23 |
I'll double-click on that to save it
just in case we do need to come back to it.
| | 08:26 |
I will then Cmd+Click on it to activate it.
| | 08:31 |
Now, making sure that I am on the layer
mask of the Type layer, I'll choose my
| | 08:37 |
Brush tool, and I can just paint in black.
| | 08:42 |
And that selection is just protecting
the rest of the letters so that I don't
| | 08:48 |
let my paintbrush stray into it. Okay.
| | 08:53 |
I'm now going to press Cmd+ or Ctrl+D.
And that may cause me to just go in
| | 09:02 |
and do a little bit of fix up where my
masking was perhaps not as accurate as
| | 09:07 |
it should have been.
| | 09:09 |
So, now I'm going to switch to white,
and as I said, we're working with a
| | 09:15 |
low resolution image here, so that everything
is looking rather pixilated at this view size.
| | 09:19 |
But, I just want to make sure that
I've got no nasty anti-aliasing
| | 09:24 |
going on around the edges.
| | 09:29 |
There is our finished result.
| | 09:31 |
So three slightly different techniques;
| | 09:34 |
the first one involving using a vector
mask to cut out the figure, the second,
| | 09:39 |
very simple, just putting it on top of
the 'I', making the 'I' the color of the
| | 09:43 |
background, and the third, to create
this interlocking effect by working on the
| | 09:50 |
layer mask of the Type layer.
| | 09:51 |
| | Collapse this transcript |
| Combining type with simple imagery| 00:00 |
Here, I'm using a very simple piece of
imagery to illustrate this song title.
| | 00:06 |
I think it's effective and I think
it's effective for being so simple.
| | 00:10 |
I did try various other interpretations
that were much more involved and
| | 00:15 |
convoluted and ultimately
nowhere near as effective.
| | 00:18 |
So, here's how it's done.
| | 00:20 |
If we break it down, I have starting out,
I have just a solid color fill layer,
| | 00:24 |
and some type that's centered on my
canvas, and then on top of that, the clock
| | 00:30 |
dandelion, and then finally, an
adjustment layer to invert the values.
| | 00:34 |
I'm not sure which I like best
whether black on white or white on black.
| | 00:40 |
But, let's turn that layer off and now
come to the Begin layer group, and
| | 00:45 |
I'll turn on the Color Fill layer
and Type and then the imagery itself.
| | 00:52 |
So, this is how it begins.
| | 00:53 |
What we need to combine the two is a
Layer Blend Mode, and I was quite excited
| | 00:59 |
about this because I finally found
a use for the Difference Blend Mode.
| | 01:04 |
I know it can be useful when
aligning layers, but a creative use,
| | 01:08 |
that we actually leave it on the Difference Blend Mode.
| | 01:11 |
So, as is so often the case, my first
instinct is to see how it will look with
| | 01:16 |
the Multiply Blend Mode.
| | 01:18 |
Now, to experiment with the
blend modes, come to your Move tool.
| | 01:22 |
Make sure you're on the right
layer, in this case Layer 3.
| | 01:25 |
Then, just press Shift+Plus or Shift+Minus
and you will cycle through your blend modes.
| | 01:31 |
So there's Multiply and that's okay.
| | 01:33 |
But, we're not really getting the
interaction between the dandelion
| | 01:37 |
and the type that I'm after.
| | 01:39 |
So, I cycle through a few more, I
keep going, I keep going, and some
| | 01:43 |
of these are sort of interesting but
not what I'm after, and some obviously
| | 01:47 |
just don't work at all.
| | 01:49 |
But then we get to Difference, and
I feel like I'm on to something here.
| | 01:53 |
I love the way how when the image overlaps,
the type, it inverts it and then
| | 01:59 |
when it overlaps the background
we just see it as a positive;
| | 02:02 |
so lovely interaction between imagery and type.
| | 02:05 |
However, I had in my mind that this was
going to be black type on a white background.
| | 02:11 |
So, all I need to do is come and add
an Invert Adjustment Layer and
| | 02:16 |
that's exactly what we have.
| | 02:18 |
You'll notice that in the finished
version, the group actually has a layer
| | 02:23 |
effect applied to it, and I was
doing this just to experiment
| | 02:28 |
with different color options.
| | 02:30 |
So you can come and change the Color
Overlay, and you can make it positive
| | 02:37 |
or negative by turning the Invert Layer on or off.
| | 02:41 |
So, a number of different possibilities there.
| | 02:43 |
I'm just going to go back to the black on white.
| | 02:47 |
| | Collapse this transcript |
|
|
2. Type Effects Using Simple TransparencyIllustrating a concept using transparency| 00:00 |
A very simple technique using
transparency to illustrate a concept,
| | 00:06 |
that concept being a Palindrome, which is a word
that reads the same forwards as it does backwards.
| | 00:12 |
Examples being radar, madam, deified, racecar
and the fantastic phrase, Madam I'm Adam.
| | 00:20 |
Anyway, the English lesson endeth there.
| | 00:23 |
And I have a simple layer of type.
| | 00:26 |
All I'm going to do is now duplicate
these, Cmd+J or Ctrl+J and then
| | 00:31 |
Cmd+T or Ctrl+T to select it,
and then come to Transform where I will
| | 00:38 |
Flip it Horizontally.
| | 00:39 |
I'll press Return to accept that.
| | 00:41 |
Turn off the one below just so
we can see what we have here.
| | 00:44 |
And we do need to change the alignment on
the top layer, so I'm going to click into that.
| | 00:50 |
This needs to be right aligned which
is going to cause it to flip over to
| | 00:55 |
the wrong part of the canvass.
| | 00:56 |
So then turn back on the original layer,
staying on the duplicate layer,
| | 01:02 |
hold down the Shift key and then
just drag that into position.
| | 01:05 |
Now I'm going to change its color.
| | 01:07 |
I'll double-click on the T of the
Type layer and then come and click on the
| | 01:11 |
Color Swatch on the Tool Options,
and I'm going to use some sort of
| | 01:16 |
complimentary color to that blue.
| | 01:18 |
I'm going to use an orange, and then
it's just a question of optionally nudging
| | 01:23 |
this one way or the other, just to position it
exactly right and then choosing a Blending Mode.
| | 01:29 |
I'm going to experiment with the
Blending Modes by holding down the Shift key
| | 01:32 |
and pressing the Plus (+) or Minus (-).
| | 01:34 |
Make sure that when you do
this you are in your Move tool.
| | 01:41 |
And Hard Light is the one that I want, but
feel free to choose anyone that you like.
| | 01:47 |
There's no right or wrong here.
| | 01:48 |
Just whichever Blend Mode appeals to you.
| | 01:50 |
You can optionally also adjust the Opacity,
but I'm going to leave things as they are.
| | 01:55 |
So just two Type layers and then one
of them flipped horizontally and its
| | 02:00 |
Blend Mode adjusted.
| | 02:02 |
| | Collapse this transcript |
| Creating a type poster| 00:00 |
Here's a very simple design that uses
transparency and celebrates the beauty
| | 00:05 |
of the Garamond letters.
| | 00:07 |
I have three layers on my Layers panel.
| | 00:09 |
Let's just break this down.
| | 00:11 |
There's the background layer
group, three green rectangles.
| | 00:17 |
On top of this, we have the transparent
letters layer group, three letters all
| | 00:22 |
with different degrees of transparency
and then the name of the typeface and
| | 00:27 |
the type of foundry.
| | 00:29 |
So, I'm going to turn off those top two
layer groups and we'll recreate these.
| | 00:34 |
I'll press the T key and then go to my
Character panel where the first thing
| | 00:39 |
I'll do is reset it, just to clear out
any values that were used previously,
| | 00:45 |
and then I'll click on my canvas, type in my word.
| | 00:49 |
Cmd+A to select it and then we're
going to change it to Adobe Garamond Pro.
| | 00:56 |
The color that I want to use is a cool gray.
| | 00:59 |
Its values are 139, 139, 139.
| | 01:05 |
I'm going to scale these up so they
occupies most of the width of my canvas.
| | 01:12 |
To position it, to horizontally center
it in the canvas, I'll switch to my Move tool,
| | 01:17 |
I'll select All and then I'll come
and use this Alignment icon on my Tool
| | 01:23 |
Options and I see that it's too big.
| | 01:26 |
So I'll come and select it again.
| | 01:29 |
And now, when I scale it down, it should
scale from the center point since it is
| | 01:35 |
Center aligned, and I'll also apply some
negative Tracking to it just to bring
| | 01:41 |
the characters a bit closer together.
| | 01:43 |
Now, I'm going to deselect my Selection
outline, Cmd+D or Ctrl+D. I'll hold
| | 01:50 |
down my Shift key and with my Move tool
I'll drag this down so that its baseline
| | 01:55 |
sits on the top of the lower rectangle.
| | 01:58 |
I'll create another Type layer, this one
ADOBE, and key in that one in all caps.
| | 02:06 |
I'm going to make it a lot smaller.
| | 02:08 |
This one will have a little
bit of positive tracking on it.
| | 02:12 |
To position it, I'm going to drag out a
guide aligned with the lefthand edge of
| | 02:16 |
that g, and if you are doing this and
finding that your guides are snapping
| | 02:21 |
in a way that you don't want them to, you can
come and turn off this option which I did earlier.
| | 02:26 |
Now to my Move tool, I'll
drag that into position.
| | 02:30 |
I'll draw out another guide to the right-hand
edge of the A. Press Cmd+T or Ctrl+T
| | 02:35 |
and then I'm going to scale that
so that it occupies that width and
| | 02:42 |
move it up a fraction like so.
| | 02:44 |
Now I'll choose my Type tool and I
need to click somewhere other than
| | 02:50 |
inside that piece of type.
| | 02:52 |
So I'm just going to come and click
up here and we'll start out with an
| | 02:55 |
uppercase A, which I'll
move roughly into position.
| | 03:00 |
Cmd+A and I'll horizontally align it.
| | 03:06 |
Double-click on the T on
the Layers panel to select it.
| | 03:09 |
Make sure that its alignment is centered
and I'm now going to scale this up, and
| | 03:15 |
I'm going to go up to about a 150 points. Okay.
| | 03:20 |
I need to change the layering order here.
| | 03:23 |
This needs to come down below and I want
to change its Blending Mode to Multiply
| | 03:29 |
and its Opacity to 39% was what I had
in the finished version but I'm going to
| | 03:36 |
just round this off to 40.
| | 03:37 |
So I'm in my Move tool.
| | 03:39 |
I should just be able to press 4 and then
that will become the opacity of that layer.
| | 03:44 |
For the other two letters, I am going to
select that layer and try and duplicate
| | 03:52 |
the layer and it's telling me I can't do that.
| | 03:54 |
And the reason I can't do it is
because I have a selection active.
| | 03:58 |
I will deselect that and then I'll
press Cmd+J and I can now duplicate it.
| | 04:03 |
I'll select the duplicate and I'll type
a lowercase g which should just replace it
| | 04:09 |
and then I will repeat that, Cmd+J
to duplicate it again, and I'll select
| | 04:14 |
the duplicate and I'll type a lowercase f,
but this f I would like it to be an
| | 04:20 |
italicized f, so that it looks like that.
| | 04:23 |
I can now turn off my
guides, Cmd+; or Ctrl+;.
| | 04:25 |
There's the result at which point I
may decide I want to tweak this a bit.
| | 04:31 |
I'd like to bring down the F so that
its horizontal crossbar aligns with the
| | 04:35 |
top of this rectangle.
| | 04:37 |
Alternatively, I could adjust the
rectangle but I'm going to adjust
| | 04:40 |
the position of the type.
| | 04:41 |
Just nudge that down a bit to right there and
then it overlaps nicely with the ear of the g.
| | 04:49 |
Okay.
| | 04:50 |
So there's the finished piece.
| | 04:52 |
| | Collapse this transcript |
| Illustrating a concept using blurred text| 00:00 |
Okay, do not adjust your set.
| | 00:02 |
This is really how it should look, out of focus.
| | 00:05 |
Now I know the Sight Test poster maybe a bit of a
graphic cliche but it's fun to do nonetheless.
| | 00:11 |
All I'm going to do here is work with
four different layers of the same piece of
| | 00:15 |
type and slightly make them out of
register and apply the different processed
| | 00:20 |
colors to them, cyan, magenta, yellow
and then additionally for a little bit of
| | 00:24 |
extra blurriness, we'll add a
Motion Blur to the grouped result. Okay.
| | 00:29 |
That's all in the finished folder, so
you can break that down if you'd like,
| | 00:36 |
but I'm going to just turn that off and
then we'll go to the beginning folder
| | 00:40 |
where we have this piece of type.
| | 00:42 |
And the first thing I'll do is press
Cmd+J or Ctrl+J three times giving me a
| | 00:49 |
total of four pieces of the same text.
| | 00:52 |
Starting with the top most piece,
I'll come to my Swatches and I'm going to
| | 00:57 |
choose the color that is CMYK Cyan and
I'll fill this with that color,
| | 01:03 |
Opt or Alt and the Backspace, Delete key.
| | 01:05 |
Now I currently have the Multiply
Blend Mode turned on which is why it's
| | 01:10 |
remaining black, but if I change that to
Normal, we can see that that is now in cyan.
| | 01:15 |
I'll turn it off for a moment.
| | 01:17 |
I'll come to the next one.
| | 01:18 |
I'll make this Normal also and for this
we are going to apply, you guessed it,
| | 01:25 |
Magenta and I will turn that one off
for a moment, and then no prizes for
| | 01:30 |
guessing that, this one will become yellow.
| | 01:34 |
Okay, so those are all
stacked on top of each other.
| | 01:38 |
I do actually want the Blend Modes to
be Multiply and I'm going to change the
| | 01:43 |
Blend Modes of these four selected
layers right now like so, and it's going
| | 01:49 |
to appear as if everything is black
because everything is currently in
| | 01:53 |
register with each other.
| | 01:54 |
But then I'll select the layers one by
one and using my Arrow keys we'll have
| | 01:59 |
cyan go a little bit to the right,
magenta a little bit to the left and then the
| | 02:05 |
yellow can go a little bit up like so.
| | 02:09 |
Now just to finish this off because
it's still looking a little bit too crisp,
| | 02:13 |
what I can do next is this.
| | 02:17 |
If we group these together, Cmd+G or
Ctrl+G, we could then make this into a
| | 02:25 |
Smart Object by right-clicking on the
Layer Group, Convert to Smart Object
| | 02:31 |
and then we can come to the Filter
Menu and we can apply a Motion Blur.
| | 02:35 |
Now Motion Blur obviously was the last
thing I used which is why it's at the top
| | 02:39 |
of the Filter Menu but it
wouldn't normally be there.
| | 02:42 |
So I'm going to come down to Blur>Motion
Blur and how much do we want to blur it.
| | 02:47 |
Not quite that much, I think we want
to go for some degree of subtlety here.
| | 02:51 |
So I'm going to blur it a Distance
of 14 Pixels with an Angle of 4 or
| | 02:57 |
thereabouts and then maybe I'll
come back and apply another blur.
| | 03:02 |
In this case, I'm holding down the
Opt or Alt key while choosing it from the
| | 03:06 |
top of the Filter Menu.
| | 03:08 |
And same amount of blur but I'll change the
Angle in this case maybe a little bit less.
| | 03:17 |
And there is our finished result.
| | 03:19 |
| | Collapse this transcript |
|
|
3. Illustrated WordsCombining type and shape| 00:00 |
This is the first of two movies
playing on this theme of Wolf in
| | 00:04 |
Sheep's Clothing and this interpretation
is the more literal of the two.
| | 00:09 |
To be honest with you, I'm not entirely
sure it works but I think it brings up
| | 00:14 |
some interesting points which is why
I'm going to show it to you anyway.
| | 00:17 |
So let's just breakdown what we have,
starting before we get to the finished folder,
| | 00:21 |
we have a background field of brown
and then in the finished folder
| | 00:26 |
I have this silhouette shape of the sheep.
| | 00:28 |
I have the sheep itself to which is
applied a layer mask which I'm now going to
| | 00:34 |
disable and that layer mask
is in the shape of the type.
| | 00:40 |
And then we also have a
Layer Effect applied to that.
| | 00:43 |
So I'm now going to turn off the finished
layer and we'll come to the beginning layer,
| | 00:47 |
and here we have a type and a sheep.
| | 00:51 |
You'll see that the Opacity of the type
is set to 50%, and the reason I've done
| | 00:57 |
that is just so that I can position it
and see where it falls relative to the
| | 01:01 |
eye because I want the eye showing through.
| | 01:04 |
So having positioned it, what I'm
going to do next is come and make
| | 01:09 |
the silhouette layer.
| | 01:10 |
Now I have a pre-prepared Alpha Channel,
which I'm going to load, and this was
| | 01:18 |
created just by making the
selection of the inverse of the sheep.
| | 01:22 |
And I'm now going to come and
create a new layer below the sheep layer.
| | 01:27 |
If I want a layer below my currently
targeted layer, hold down the
| | 01:32 |
Command or the Ctrl key and I'm going to
fill that layer with my dark brown which
| | 01:37 |
just happens to be my foreground color.
| | 01:39 |
But if it's not, I could click on my
Color Picker and these are the values that
| | 01:44 |
I'm going to use, 22, 18, 13,
all subject to change of course.
| | 01:49 |
I will now fill that with the color
and if we turn off the sheep layer
| | 01:54 |
above, that's what we get.
| | 01:57 |
And I'm now going to deselect, actually
leaving the sheep out of the equation,
| | 02:02 |
it makes me wonder if I should just
stop right here because I think this is
| | 02:06 |
probably more effective the way it is than
with the actual wool in the shape of the letters.
| | 02:12 |
But since that was the point of this
movie, I will press on regardless
| | 02:17 |
and we can decide at the end
which version we want to use.
| | 02:19 |
So I'm going to turn on this layer.
| | 02:22 |
I will turn off the Type layer but I
will activate the Type as a selection,
| | 02:27 |
Command or Ctrl and then click on
the Type layer, and then with the sheep
| | 02:32 |
layer as my active layer, I will make that
into a layer mask, so that it looks like that.
| | 02:39 |
Now, just to refine this, the problem
at the moment is that the shapes of the
| | 02:44 |
letters are all very crisp, so I want
to round them off a bit, make them a bit
| | 02:50 |
less machine-made and a bit more wooly.
| | 02:51 |
So, I'm going to press my B key to
choose my Brush and I'm going to choose a
| | 02:57 |
brush with a Hardness of 100% and then
making sure that white is my foreground color.
| | 03:04 |
I'll just press the D key to restore my
foreground background colors to black and white.
| | 03:10 |
And I'm now going to paint on that Layer Mask.
| | 03:18 |
So as I'm doing this I'm just sort of
picking up a thread in the wool following
| | 03:22 |
that and seeing where it takes me.
| | 03:24 |
If I go too far, I'll switch to black
and then paint back over it to restore
| | 03:29 |
it to the way it was.
| | 03:30 |
And I'm changing the size
of my brush as necessary.
| | 03:35 |
Okay, now that I've made my types
sufficiently blobby, I'm going to apply an
| | 03:40 |
Inner Shadow to that layer.
| | 03:42 |
I'll come and right-click to the
right of the Layer name and we'll add an
| | 03:47 |
Inner Shadow and I want to quite substantially
increase the Size of it and the Distance.
| | 03:58 |
So if we turn that off and then
turn it back on again, that's what the
| | 04:02 |
Inner Shadow is doing.
| | 04:03 |
And finally, just as a finishing touch,
I would like to even out the tonal
| | 04:08 |
values on the wool itself.
| | 04:10 |
It's a bit too bright over on this side.
| | 04:14 |
So, I'm going to add a layer's
Adjustment Layer and as I choose it I'm going to
| | 04:18 |
hold down the Option or Alt key so
that I get the option to make it into a
| | 04:23 |
Clipping Mask so that it's
only affecting the layer beneath.
| | 04:25 |
And I need to just turn that off because
it's in the way of what I actually want to see.
| | 04:32 |
I'm going to move my Middle slider to
the right and I'll move my Black Point
| | 04:37 |
also a bit to the right.
| | 04:38 |
So I'm making that a lot darker.
| | 04:43 |
I know that it's getting too dark now
on the left-hand side, but that's okay
| | 04:47 |
because what I'm going to do next is
come in and work on the layer mask that
| | 04:54 |
comes with the Adjustment Layer
and I'll do that with a gradient.
| | 04:58 |
I want to make sure that I have
my default colors, black and white.
| | 05:03 |
And the gradient I'm going to choose is
Foreground to Transparent and the Type
| | 05:08 |
is going to be Linear and in this case
since I want to protect the left-hand
| | 05:13 |
side of image, I'm going to
drag with my gradient about so far.
| | 05:17 |
And I may also choose to
just drag up a fraction as well.
| | 05:23 |
So let's just turn off that level,
so we can see what that's doing.
| | 05:27 |
That's just giving the whole thing a bit
more presence and making the right-hand
| | 05:31 |
side a bit more contrasty.
| | 05:37 |
And there is our finished result.
| | 05:38 |
As I say, I'm not totally sold on
it but I think it does bring out
| | 05:42 |
some interesting points.
| | 05:43 |
In the next movie, I'm going to try
another interpretation applying an
| | 05:47 |
entirely different approach.
| | 05:50 |
| | Collapse this transcript |
| Using a displacement map| 00:00 |
In the previous movie, I gave a more
literal interpretation of the saying Wolf
| | 00:05 |
in Sheep's Clothing, and here I'm going
for a more subtle approach
| | 00:10 |
and this is achieved in the following way.
| | 00:13 |
Let's come over to our Layers Panel and
look at the finished layer group,
| | 00:19 |
and if I break this down, this is where we
start out, with just a picture of some wool
| | 00:26 |
and then on top of this, I have some
Type but the Type is at a reduced Opacity.
| | 00:34 |
It has a Blending Mode applied to it.
| | 00:37 |
It has a Displacement Filter applied to it to
better take on the shape of the wool beneath.
| | 00:45 |
And then the Wool layer also has a Layer
Effect applied to it, a Bevel & Emboss effect.
| | 00:52 |
So that's the end result.
| | 00:53 |
I'm now going to turn off the finished
layer and we'll go to the beginning layer
| | 00:58 |
where we have just our Type and our wool.
| | 01:02 |
We might as well start out by
changing the Blend Mode and the Opacity.
| | 01:07 |
Now of course, when I was creating mine
I didn't know exactly what I was going for,
| | 01:13 |
for either, it was just a matter
of trying out different Blend Modes,
| | 01:18 |
different opacities and
deciding which one work best.
| | 01:21 |
So at this point, the problem with the
Type is that its edges are just too smooth.
| | 01:28 |
We need the edges of the Type to
reflect the contours of the wool itself.
| | 01:35 |
So for this we are going to
use a Displacement Filter.
| | 01:37 |
First of all, what I need to do is make
a Displacement Map, and the displacement
| | 01:43 |
map is actually going to be this image.
| | 01:46 |
So I'm going to come to my
Image Menu and choose Duplicate.
| | 01:51 |
I'm going to choose Duplicate Merged
Layers Only so that in the duplicate,
| | 01:55 |
I just get that one layer.
| | 01:57 |
And then I am going to make it Grayscale
and I'm going to save it as wolf_displace.
| | 02:09 |
You can see in that folder I have one
that I used previously but I just wanted
| | 02:14 |
to run you through the process
of making the Displacement Map.
| | 02:17 |
It needs to be saved in Photoshop format.
| | 02:21 |
So having done that, I'll return to my
original document where I'll now turn on
| | 02:27 |
the Type layer and it's to the Type
layer that I want to apply this filter.
| | 02:32 |
Of course, I cannot apply a filter to
live type without rasterizing it, unless
| | 02:39 |
I make it into a Smart Object.
| | 02:42 |
So that's what I'm going to do.
| | 02:43 |
I'll right-click on there and
Convert it to a Smart Object.
| | 02:47 |
Now I can come to the Filter
Menu and choose Distort>Displace.
| | 02:54 |
I get to choose the Scale of the displacement
and really it is a matter of trial and error.
| | 03:00 |
Typically, I start out with values of 10.
| | 03:03 |
If it doesn't work out, undo that, and
come back and try a bigger or smaller value.
| | 03:07 |
But I'm going to go with 10, click OK
and then we get to choose what we're using
| | 03:13 |
as the displacement map and
I'm going to use that one. Okay.
| | 03:19 |
What did that do?
| | 03:20 |
Let's look at the edges.
| | 03:21 |
So I'm going to zoom in and I will turn
off the visibility of that Smart Filter,
| | 03:26 |
sharp edges and turn it back
on again, nice bumpy edges.
| | 03:31 |
But at this point, I felt it still
looks a little bit too much like Type.
| | 03:39 |
So I'm going to come and now
do something to the Wool layer.
| | 03:43 |
What I'm going to do, if we take a look
at the finished version here, we can see
| | 03:48 |
that I'm using a Bevel & Emboss but
I'm using a Texture Bevel & Emboss.
| | 03:53 |
And the texture that I'm actually
using is the pattern of the type itself.
| | 04:00 |
So first of all, I need to
make the Type into a Pattern.
| | 04:04 |
I will need to turn off the Wool layer,
and make sure I'm on the Type layer and
| | 04:10 |
then I'm going to come to the Edit
Menu and choose Define Pattern
| | 04:14 |
and I'll leave it called that. That's fine.
| | 04:17 |
Now I'll turn back on the Wool copy layer.
| | 04:20 |
I'll double-click to the right of its
layer name and I will come to
| | 04:26 |
Bevel & Emboss>Texture and for my list of
patterns, I can choose that one and
| | 04:32 |
then we get this sort of interesting thing that happens.
| | 04:35 |
And then I can come and
adjust the Bevel & Emboss settings.
| | 04:40 |
At the moment the edges are a little
bit too well-defined, so I'm going to just
| | 04:45 |
reduce the Depth and I'm going to
increase the Size and I'm going to Soften it
| | 04:52 |
a great deal, and I'm also going to take
down both the Highlight and the Shadow.
| | 05:02 |
I'm going to turn off Global Light.
| | 05:04 |
And I can just adjust that Angle as I
see fit, slightly more overhead light so
| | 05:09 |
that it's casting a bit less of a shadow.
| | 05:11 |
And I think I'm going to leave it like that.
| | 05:16 |
It's slightly different from
the original but that's okay.
| | 05:20 |
So, just to sum up what we've seen
here is the use of a Displacement Filter.
| | 05:26 |
We've seen the use of a Bevel & Emboss
Texture on the Background Layer and
| | 05:32 |
of course, we're also seeing the
application of the Blend Mode and an Opacity,
| | 05:37 |
that Opacity has now gone away since I
converted this to a Smart Object but it
| | 05:43 |
was set to 70%.
| | 05:46 |
| | Collapse this transcript |
| Creating chocolate text| 00:00 |
Here we're going to see some
different approaches to working with
| | 00:03 |
a Chocolate Effect for text.
| | 00:05 |
I'm using Cooper Black, a nice, big,
chunky, round and very friendly typeface,
| | 00:11 |
and I'm using it in all caps.
| | 00:12 |
And we're going to start out by
embossing the Chocolate type and then we can
| | 00:18 |
melt it and then we can coat it.
| | 00:22 |
And along the way we're not going to
let subtlety get in the way of us having
| | 00:26 |
a good time with this.
| | 00:28 |
I'm going to turn on the begin layer group.
| | 00:31 |
So here I have just the word
chocolate on top of a solid layer of color.
| | 00:37 |
And I'm going to apply a Bevel & Emboss to this.
| | 00:40 |
The key here is that we need to emboss
the Contour of the type and that
| | 00:48 |
we're going to whack the Range up to 100% and
change the Contour map to an inverted cone.
| | 00:53 |
Then I'm just going to come
back to the Bevel & Emboss options.
| | 00:57 |
I'll turn off Global Light and I'm now
going to experiment with the Angle, and
| | 01:03 |
I'm also going to increase the Size,
almost like we're inflating the Type
| | 01:10 |
and I'm going to Soften it as well.
| | 01:12 |
All right, that's my starting point.
| | 01:19 |
Now from here, I want to melt it and this
is going to require me rasterizing the type.
| | 01:26 |
In fact, I'm not even going to rasterize
the type, but what I am going to do is
| | 01:31 |
create a new layer above this and then
I am going to activate the selection for
| | 01:37 |
the type, and then I'm going to fill
that selection with the color of the type.
| | 01:42 |
And I'm actually going to use
the color of the background.
| | 01:46 |
So Opt- or Alt+Delete will fill
that and then what I'm going to do is
| | 01:51 |
I'm going to copy the Bevel & Emboss
from the type layer beneath.
| | 01:54 |
So I'm going to hold down the
Option or Alt key and drag that up.
| | 01:59 |
Then I'll turn off the original type layer.
| | 02:02 |
I can now deselect that, Cmd+D or Ctrl+D.
I'll press B to go to my Brush tool
| | 02:08 |
and make sure that I
have an Opacity set to 100%.
| | 02:11 |
And I want my Brush
Hardness also to be set to 100%.
| | 02:15 |
So on this rasterized layer, I can
now just melt my top deck of chocolate
| | 02:23 |
into the deck beneath.
| | 02:27 |
Perhaps, optionally, I might also want
to add some Liquify to it just to mush it
| | 02:33 |
up even more, and here I want to
start out using a large brush, a brush big
| | 02:41 |
enough to pretty much cover it all.
| | 02:43 |
And then just very slightly tweak
it a little bit and then I'm going to
| | 02:50 |
reduce the size of my brush and
maybe work on some of the edges
| | 02:56 |
of the letters individually.
| | 03:02 |
Okay, that's looking good.
| | 03:03 |
Now let's give it some coating.
| | 03:05 |
Well, one way we could do this is
just by adding a layer above it and then
| | 03:12 |
keeping the same brush that we are
working with, painting on that layer,
| | 03:16 |
clipping the layer to the layer
below and then copying the Bevel & Emboss
| | 03:21 |
from the layer below.
| | 03:22 |
So I'm just going to hold down the
Option or Alt key and drag up from that fx icon,
| | 03:27 |
and we can now see that it's
like I'm putting ripples in the chocolate.
| | 03:36 |
Well, maybe that's a little bit too
much but we can leave that layer around
| | 03:40 |
and come back to that one if we want.
| | 03:42 |
But what I would like to do
is now give it some coating.
| | 03:45 |
Remember the coating appearance.
| | 03:48 |
I'm just going to come to my Layer Comps
here and turn that one on so you
| | 03:52 |
can see what it is we're
aiming for, something like this.
| | 03:59 |
So to do this, I need to create myself a
sampled brush and that sampled brush is
| | 04:07 |
going to be based upon a twirled layer.
| | 04:10 |
So I'm going to create a New Layer and I'm
going to render some clouds on that layer.
| | 04:17 |
So to render clouds it uses the
foreground color and the background color,
| | 04:23 |
and what I have right now is
probably going to work just fine.
| | 04:26 |
You want to make sure there's
enough contrast but not too much.
| | 04:29 |
So I have a dark brown and an orange.
| | 04:31 |
Then I'm going to come to Filter>
Render>Clouds and then I'm going to return
| | 04:38 |
there and come to Distort and Twirl,
and I'm going to Twirl it to the max.
| | 04:45 |
Now with this Twirl layer, what I want to
do is apply a Threshold Adjustment layer.
| | 04:52 |
And then I'm going to use my Adjustment
slider so that I get a good mix
| | 04:58 |
of black and white values.
| | 05:00 |
So pretty much in the middle of
whatever values we have. Okay.
| | 05:05 |
Then I'm going to merge the Adjustment
layer and the Twirl layer into one,
| | 05:11 |
Cmd+Opt+Shift+E.
We'll put them on to one layer.
| | 05:16 |
I can now turn those two off and on the
resulting layer, I'm going to come and
| | 05:20 |
delete all of the white pixels.
| | 05:23 |
I'll use my Magic Wand tool,
click on the white and then Delete.
| | 05:28 |
In order for that to work you will
need to make sure that you do not have the
| | 05:31 |
Contiguous checkbox checked.
| | 05:34 |
Now, I'm going to make sure that I've
got everything else turned off so that we
| | 05:39 |
are just going to see through that and
then I can deselect that, Cmd+D, come
| | 05:44 |
to my Edit Menu and Define
that as a Brush Preset. Okay.
| | 05:50 |
I can now turn that off.
| | 05:52 |
Turn back on my melted chocolate layer
and its background and come and create
| | 05:59 |
a layer above it and this layer does
need to be clipped to it which it
| | 06:05 |
automatically became clipped but if
that didn't happen, hold down the Option or
| | 06:09 |
the Alt key to click on the line between them.
| | 06:13 |
Now, I'm going to choose my Brush Tool
and come and get that sampled brush which
| | 06:19 |
is going to look rather
unwieldy and difficult to manage.
| | 06:23 |
I'll press my Caps Lock key so that I
don't have to stare at that massive sample
| | 06:27 |
size and then reducing my
Opacity first, I'll try 60%,
| | 06:32 |
I'm going to paint with that brush and
we're not seeing anything happening,
| | 06:38 |
so maybe I just need to perhaps
use a lighter color. All right.
| | 06:41 |
Let's try that again.
| | 06:47 |
Ah, that's more like it.
| | 06:49 |
So I'm just going to add a
couple of dabs with this.
| | 06:55 |
Probably that's enough.
| | 06:57 |
And then to make this standout, I'm
going to get the Bevel & Emboss Effect
| | 07:02 |
that's currently on the layer beneath it
and I'm going to copy that to the layer
| | 07:07 |
that I was just painting on.
| | 07:09 |
So I'm holding down Option or Alt and
I'm dragging that up right there and it's
| | 07:14 |
looking a little bit too rounded.
| | 07:17 |
The problem with this I think is
it looks like somebody just used the
| | 07:21 |
Twirl Filter and then made into a sample
brush, and that's not how I'd like it to look.
| | 07:28 |
So, I'm going to come to the Liquify
filter where I just wanted to sort of try
| | 07:35 |
and disrupt the circular nature of it
and it might have been an idea had I done
| | 07:41 |
this first rather than after the fact,
but I think I can get away with it.
| | 07:46 |
Okay, that's better.
| | 07:50 |
Now if you do feel like the coating is
a little bit too strong, well of course,
| | 07:54 |
we can reduce the Opacity on it and we
can also adjust the amount of Bevel &
| | 08:01 |
Emboss that is actually applied.
| | 08:02 |
Maybe we don't need to
emboss the Contour in this case.
| | 08:09 |
Having taken off the Contour, I think
I will go back to the original Opacity.
| | 08:13 |
Of course, you can just play with this
all day long but I'm going to stop there.
| | 08:19 |
I hope that's given you some ideas
for how we can create some interesting
| | 08:23 |
chocolatey effects for our text.
| | 08:26 |
| | Collapse this transcript |
| Putting a picture inside type| 00:00 |
Here we're going to see just one of
many, many different ways of putting a
| | 00:03 |
picture inside of Type.
| | 00:06 |
So, this is the finished version.
| | 00:08 |
I'm going to expand the finished layer
group and we'll just take a look at what
| | 00:14 |
we're starting out with.
| | 00:15 |
So beginning with a field of color,
then on top of that we have some type,
| | 00:19 |
and on top of that a picture
that is masked to that type.
| | 00:25 |
And then on top of that just to bring
back the definition of the image,
| | 00:29 |
we have a sketch of the image.
| | 00:31 |
I've got two versions of the sketch, I
either have the positive or the negative
| | 00:35 |
and I kind of prefer the negative I
think, but we'll see how we can both.
| | 00:40 |
So I'm going to turn off the finished
layer group and turn on the beginning one
| | 00:44 |
and here's where we start.
| | 00:47 |
We have our Type and we have our picture.
| | 00:50 |
To put the picture inside the type
this is really easy, you put the picture
| | 00:54 |
above the type, then you hold down
the Option or Alt key and you clip the
| | 00:58 |
picture layer to the Type layer. Okay.
| | 01:01 |
That's fine as far as it goes, but
we're seeing these areas of white space
| | 01:08 |
inside the letter forms
that we don't want to see.
| | 01:12 |
What we need to do is come to the
Channels panel where I have a saved Alpha
| | 01:18 |
Channel of the daffodils.
| | 01:20 |
I'm going to load that then come
back to my Layers, come to my Type layer
| | 01:24 |
and add that as a Layer mask to my Type
layer, and that's going to give me that result.
| | 01:30 |
Now that's fine, except that we
don't really know what it is anymore.
| | 01:34 |
It's now just become completely abstract.
| | 01:37 |
So for that reason, I'm going to
duplicate the daffodil layer and I am going to
| | 01:43 |
do a number of things to it.
| | 01:45 |
First of all, I will desaturate it,
Cmd+Shift+U. That's going to just
| | 01:51 |
turn it to gray values.
| | 01:52 |
Then I'm going to come to the Filter
Menu and choose Stylize>Find Edges,
| | 01:59 |
which will give me that result.
| | 02:01 |
So then to make it interact with the
layers below I need to change its
| | 02:05 |
Blend Mode to Multiply which will neutralize
the whites, except it doesn't, because
| | 02:11 |
the Blending Mode of this layer group is
set to Normal and when I change that to
| | 02:16 |
Pass Through it does.
| | 02:19 |
Now if I want to experiment with
having a negative version of the daffodil
| | 02:24 |
sketch then I can duplicate the one
that I have and maybe I like that,
| | 02:29 |
maybe I like the strength of two together.
| | 02:31 |
But I'm actually going to turn one
of those off and then I will invert
| | 02:36 |
the values here, Cmd+I and then I'll
come and change its Blending Mode to Screen.
| | 02:43 |
And that's where we finish.
| | 02:46 |
One finishing touch, I'm going to come
to the Type layer and come to the Layer
| | 02:51 |
Styles and apply a very modest amount
of Bevel & Emboss, just to bring back a
| | 02:56 |
little bit of definition on the type.
| | 02:59 |
| | Collapse this transcript |
| Putting type in a picture| 00:00 |
We've already seen putting a picture
in type, now what about putting a type
| | 00:04 |
inside a picture or in this case a silhouette.
| | 00:07 |
Let's take a look at what we have here
in the finished version of this file.
| | 00:12 |
So we're starting out with a blue
background and then we have the diver shape,
| | 00:16 |
and then arranged over that we have
some Type and then created using a sampled
| | 00:24 |
brush or sampled brushes, we have our splash.
| | 00:27 |
I'm not sure whether I prefer it with
or without that but since I put that in a
| | 00:32 |
separate folder, it's
very easy to turn on and off.
| | 00:36 |
Now I'm going to turn off the finished
layer group and here's where we begin.
| | 00:42 |
So in creating this, I was looking for
a nice picture of a diver that I could
| | 00:48 |
use and I couldn't really come up with
one and this was the best that I found.
| | 00:52 |
And what I don't like about this is the shape.
| | 00:55 |
I think she needs to be straighter.
| | 00:58 |
So we're going to make it straight.
| | 00:59 |
We're going to go from this, to this and
then to this, the silhouette. Here's how.
| | 01:07 |
I'm going to be using Puppet Warp tool, and if
when you go to that, you come up with the mesh.
| | 01:15 |
I'm going to turn that off.
| | 01:16 |
I don't think we need to see that.
| | 01:18 |
What I'm going to do is drop some pins
to add as stabilizing points and then
| | 01:24 |
basically come and pivot the feet up.
| | 01:27 |
So I'm going to add some pins to act as
stabilizing points and then I'm going to grab her feet.
| | 01:37 |
I'm trying to pivot those around
so that we can straighten her out.
| | 01:42 |
Now I don't know much about diving but
that looks like a better dive to me. Okay.
| | 01:47 |
And at this point, I'm now going to
apply those pins and then I'm going
| | 01:54 |
to make a selection of the background.
| | 01:56 |
Thankfully, for what we're after, the
selection that we're making doesn't need
| | 02:01 |
to be super accurate.
| | 02:02 |
We're just after a simple diving shape.
| | 02:05 |
I'm going to turn off that
Background color field which is a little bit
| | 02:09 |
distracting at the moment.
| | 02:11 |
And let's just come and
refine our quick selection.
| | 02:15 |
I have Auto-Enhance checked and I want
to remove her hands because I'm actually
| | 02:23 |
selecting the background at the moment.
| | 02:25 |
Now I'm going to inverse that selection and
I'm going to copy what we have to a new layer.
| | 02:31 |
So I can now turn off that
and this is what we have.
| | 02:35 |
Slightly different shape to what we had before.
| | 02:37 |
I think I managed to elongate her
legs perhaps a little bit too much.
| | 02:41 |
I'm going to take a
little bit of a liberty here.
| | 02:48 |
Make a selection like that, Cmd+T to Free
Transform and then just Scale that down a bit.
| | 02:56 |
Okay.
| | 02:59 |
Next, I want to have that as a selection
and I am going to convert that into a path.
| | 03:06 |
So I'm going to choose Make Work Path.
| | 03:11 |
The Tolerance is going to
determine how many anchor points I get.
| | 03:14 |
I'm going to start out with two.
| | 03:16 |
If I find that not accurate enough, I
can lower that number but I don't want
| | 03:20 |
too many anchor points. All right!
| | 03:22 |
There's my work path which somewhat
annoyingly has also included the bounds
| | 03:27 |
of the picture itself.
| | 03:29 |
So I'm going to come in with my Direct
Selection Tool, see if I can just select
| | 03:36 |
those areas and delete them, because
they are just going to confuse the issue.
| | 03:43 |
And it looks like now I just
have the shape itself I selected.
| | 03:48 |
So with that Work Path active, I am now
going to create a Solid Color Layer, and
| | 03:56 |
I'll choose the color I'm
after and I'm after black.
| | 04:00 |
That now becomes my Silhouette Layer
at which point I may well decide that
| | 04:06 |
I need to do just a little bit of touch up here,
so I'm going to come in with my Pen tool.
| | 04:11 |
We can delete that anchor point.
| | 04:12 |
I think we can probably delete that one as well.
| | 04:15 |
If we see things that are a little bit
jagged, we can round them off and given
| | 04:20 |
that we need to fit Type into this shape,
it wouldn't be a bad idea if we just
| | 04:26 |
plump her up a little bit as well.
| | 04:28 |
Because the bigger the shape, the more
easily we will be able to see the type.
| | 04:37 |
Now that's not perfect but we have
a few more minutes to spend on that.
| | 04:42 |
It could be, but you
don't need to see me do that.
| | 04:45 |
I'm now going to turn on
the background color layer.
| | 04:48 |
All right, we're now ready for our type.
| | 04:51 |
So in the creation of this, I have
accumulated some extra layers that
| | 04:58 |
we don't actually need.
| | 04:59 |
What I'm going to do is I'm just going
to gather them all up and just in case
| | 05:04 |
we might need them at some later point, I
am going to select those layers Cmd+G
| | 05:10 |
to put them in a group and I'm
just going to label them extras.
| | 05:14 |
I'll now turn that layer group off.
| | 05:17 |
When I'm done and when I'm certain I don't
need that stuff, I am going to throw it away.
| | 05:23 |
Now I'm going to come to the Color
Fill Layer which is the silhouette layer.
| | 05:27 |
Choose my Type tool then come to my
Character panel where I will reset it.
| | 05:33 |
And that's just going to
reset it to its default position.
| | 05:37 |
Now in my finished version, I used
Helvetica Neue because it comes in a range
| | 05:42 |
of different weights and widths which I
found useful having that sort of flexibility.
| | 05:49 |
But since you may not have that, I'm
just going to use Myriad Pro and see how
| | 05:53 |
far we can get with that.
| | 05:55 |
Let's make it a bit bigger
and it needs to be white.
| | 05:58 |
So I'll make white my foreground color,
Opt+ or Alt+Delete, will fill that Type layer.
| | 06:05 |
I'm now going to rotate it.
| | 06:06 |
I'll put a Transformation Rectangle
around it, Cmd+T and now I can rotate it
| | 06:13 |
and then I'm going to scale that up and try
and fit it in as best I can into the diver shape.
| | 06:22 |
Now some of the letters, we're not going to
be able to see them completely and that's okay.
| | 06:27 |
Just so long as we can see enough of them
to figure out what they are, that's fine.
| | 06:32 |
I think we need to be
using the Bold weight of Myriad.
| | 06:36 |
Now at this point, I'm going to
just come in and tweak the type a bit.
| | 06:44 |
Because what I want to do here is I want
to clip this to that silhouette so that
| | 06:51 |
we only see the letter forms inside the
silhouette shape, which means that my
| | 06:56 |
E at the end is really going to suffer
and I've got a lot of room above my P.
| | 07:03 |
I'm going to select these letters one by
one and just tweak that baseline position.
| | 07:08 |
And if you have your Character panel
open, it's that option right there.
| | 07:14 |
I'm going to use the
keyboard shortcuts for this.
| | 07:16 |
Let's get in a bit bigger first,
Shift+Option or Alt and Down Arrow.
| | 07:20 |
Now unfortunately that is jumping in
increments now way too big, so I'm just
| | 07:26 |
going to put my cursor inside
that field and just nudge it.
| | 07:30 |
Okay, that's better.
| | 07:33 |
And then this one, we can
nudge that one up a bit.
| | 07:36 |
And the E, I'm going to take a
liberty with the E. I'm going to use
| | 07:41 |
a lowercase e, just because that's going
to make it more readable and I think,
| | 07:45 |
that's okay, we can do that.
| | 07:47 |
And that's going to get moved up a little bit.
| | 07:50 |
Whatever it takes to make the
type readable, that is fine.
| | 07:55 |
What we want to do next is add the splash.
| | 07:58 |
I'd like to, before I do that, just
rotate the whole thing a bit, so I'm going to
| | 08:04 |
select those two layers, the Type
layer and the Silhouette layer and then
| | 08:08 |
Cmd+T or Ctrl+T and we can
rotate that around a bit like so.
| | 08:14 |
Now the splash was created by doing
nothing more than just making a brush out
| | 08:20 |
of a single letter.
| | 08:21 |
I already have this Type layer
here with a single letter on it.
| | 08:25 |
I'm going to select that and I'll change
that to Myriad Pro and we'll use Regular.
| | 08:31 |
I think I got a little bit
smaller this time around.
| | 08:33 |
I will activate that as a selection,
Cmd+ or Ctrl+Click on the layer itself.
| | 08:39 |
Then I'm going to define that as a brush preset.
| | 08:45 |
And the letters I'm using are S,
P, L, A, S, and H for splash.
| | 08:50 |
So we're starting out with
the h. We can now turn that off.
| | 08:55 |
Create a layer above the layers we
have already and then come to the
| | 09:02 |
Brush panel, choose your Brush tool.
| | 09:05 |
And there we see in my Brushes panel,
the sample brushes that I created before
| | 09:11 |
but I'm going to use this one that
I've just created and we need to change
| | 09:15 |
some of its options.
| | 09:16 |
First and foremost, we
need to change its spacing.
| | 09:19 |
I'm going to make its spacing more than 100%.
| | 09:24 |
I'm going to go up to a 150%.
| | 09:28 |
Then the Shape Dynamics, and I should
say for this, I'm about to now switch
| | 09:32 |
to using a tablet so that I have the ability
to leverage this option, the Pen Pressure.
| | 09:39 |
So for the Size Jitter, I'm
going to put that up to about 50.
| | 09:43 |
Minimum diameter, again about 50.
| | 09:46 |
Angle Jitter, lower, quite low I think.
| | 09:50 |
And then the Scattering, I'm
going to be scattering on both axes.
| | 09:54 |
I'll turn on the Pen Pressure for that as well.
| | 09:57 |
The count I want to be one but I need
to turn up the Scattering. All right!
| | 10:01 |
Let's just try that out.
| | 10:02 |
See how that's working.
| | 10:04 |
So then on a new blank layer, I
can just paint in my letters like so.
| | 10:10 |
And if I don't like exactly what I'm
getting, I can come back and tweak the
| | 10:15 |
actual settings but that's working fine.
| | 10:17 |
You don't need to see me make the other brushes.
| | 10:19 |
But what I would do is work with
each brush on a separate layer.
| | 10:26 |
I'll come back now to my
brushes and to the Brush Tip Shape.
| | 10:30 |
I'll choose the S that I made before.
| | 10:33 |
Adjust its Spacing and other settings.
| | 10:36 |
I think the other settings are all
okay and then I can just do that.
| | 10:43 |
So do that with each of the five
letters and then maybe take down the Opacity.
| | 10:48 |
I'm going to switch to the Move tool and
press the 5 key and that will take that
| | 10:53 |
down to 50% Opacity.
| | 10:55 |
I'll do the same for the other layer.
| | 10:58 |
And also if you find that you have
too much of any given letter, let's say
| | 11:03 |
I've got a few too many h's there, I'll
come to the h layer, which wouldn't be
| | 11:09 |
a bad idea if I named it.
| | 11:11 |
Then add a Layer Mask to it and
painting in black on that Layer Mask this time
| | 11:18 |
with just a regular circular brush.
| | 11:21 |
I can paint out the ones that I don't
want but first of all making sure that I'm
| | 11:26 |
at an Opacity of 100%.
| | 11:27 |
And then just so you give yourself the
flexibility of being able to turn these
| | 11:33 |
on and off with a single click as I've
done in the finished version, put all the
| | 11:41 |
letters that make up your
splash into their own layer group.
| | 11:45 |
So select the layers, press Cmd+
or Ctrl+G, give that layer group a name
| | 11:51 |
and then you can just turn it on or
off until you decide definitively whether
| | 11:55 |
you want to include it or not.
| | 11:57 |
I won't continue with creating the
splash but at this point if I go back and
| | 12:00 |
look at the finished version, we see
that yes the shape of the diver is a whole
| | 12:05 |
lot better to begin with, but also I
think it works better by making the letters
| | 12:09 |
the same as the background color.
| | 12:11 |
So that's what I'm going to do with
the version that we have in progress.
| | 12:15 |
I'll just select that Type, then come
and click on the Color Swatch on the
| | 12:22 |
Type tool options, and then using my
Eyedropper I'll just sample the color from the
| | 12:26 |
background and I think that
makes quite a big improvement.
| | 12:29 |
I'm not crazy about the shape of the
diver in this version but that just needed
| | 12:34 |
more time to spend on it.
| | 12:36 |
But what we've seen here is putting a
Type inside a silhouette, modifying the
| | 12:40 |
shape of that silhouette, and then
finally adding a splash of letters using
| | 12:46 |
several sampled brushes.
| | 12:49 |
| | Collapse this transcript |
| Creating torn type| 00:00 |
Here, we're going to create some torn
text, and this begins very simply with
| | 00:05 |
a piece of torn paper.
| | 00:07 |
So, I got some paper and I ripped it and
I used some heavy weight paper, so that
| | 00:12 |
when I ripped it, I can see some
really nice texture along the rip.
| | 00:17 |
And then, I photographed it or you can
scan it, and that's the starting point.
| | 00:21 |
So I'm going to now turn on the Begin
folder, and turn off the Visibility of
| | 00:29 |
the Finished folder.
| | 00:30 |
What we need to do is separate
out our two pieces of paper.
| | 00:34 |
I've already masked out the
background, but we need to separate them into
| | 00:38 |
two separate layers.
| | 00:39 |
So, I'm going to use my Lasso tool for this.
| | 00:42 |
And actually I want my Polygonal
Lasso tool, but I'll stick with this one,
| | 00:46 |
and just hold down the Alt key which will
make it behave like the Polygonal Lasso tool.
| | 00:51 |
At that point, I'm going to cut
that part of the paper to a new layer;
| | 00:57 |
Cmd+Shift+J. So I've now got that
on one layer, and that on the other.
| | 01:02 |
So I'm now going to come to my text,
and I'm going to clip this to the top
| | 01:08 |
part of the paper, and then I'm going
to duplicate the text, drag it down so
| | 01:14 |
that it's above the bottom part of the paper,
and I'm going to clip it to the bottom part.
| | 01:19 |
Essentially, we're done.
| | 01:21 |
There are a few refinements we can make.
| | 01:24 |
Since I'd like to have some of the
texture of the paper come through, I'm going
| | 01:28 |
to change the Blending Mode of both
pieces of type to Multiply and so that
| | 01:35 |
I can see some of the texture of the paper
show up around the edges of the letter
| | 01:39 |
forms, I am going to convert my Type
Layers for Smart Filters and then apply
| | 01:45 |
a small amount of displacement to them.
| | 01:47 |
Now, you've seen me use a
displacement map in the other movies.
| | 01:51 |
I won't go into creating it from scratch,
but I have made a displacement map of
| | 01:57 |
the paper file itself, and
I'm now going to apply that.
| | 02:00 |
So, Filter>Distort>Displace, and I'm
going to use a small amount here of 5%.
| | 02:10 |
That's the file that I want, and
let's just zoom in on those edges.
| | 02:14 |
You can see the difference now between
the top portion and the bottom portion
| | 02:19 |
which has yet to have the
displacement applied to it.
| | 02:22 |
So I'll come and select that, Convert
for Smart Filters and I can just run the
| | 02:27 |
same filter again and we're done;
| | 02:29 |
torn text.
| | 02:35 |
| | Collapse this transcript |
|
|
4. Type and Masking EffectsCreating smoky type| 00:00 |
Here, we're going to make our type
smoke and this is the finished version
| | 00:04 |
that we're looking at.
| | 00:05 |
Let's come and take a look at the
Layers Panel, and get an overview of
| | 00:08 |
how this was constructed.
| | 00:10 |
So, I have all of the assets in the
Finished Layer group, I'm going to expand that.
| | 00:17 |
And actually beneath that, I have this
background image which is what we started with
| | 00:23 |
and then I copied just the smoke
from this image, and put that on top of a
| | 00:32 |
solid field of black, and then added some type.
| | 00:36 |
And if I turn off my Filters, we can
see that the type begins like this.
| | 00:41 |
I'll also turn off that Layer Mask.
| | 00:43 |
The Type begins like this and it
has some filters applied to it;
| | 00:47 |
a Displacement, a Motion Blur in one
direction, a Motion Blur in a slightly
| | 00:55 |
different direction, and then we've
added some more smoke at the top, and we
| | 01:01 |
have worked on the Layer Mask of the
type to integrate the type into that
| | 01:06 |
smoke and vice versa.
| | 01:08 |
So I'm now going to turn off the
Finished Layer group and collapse that,
| | 01:12 |
and turn on Begin where we have just a Type layer,
and that's sitting on top of the background.
| | 01:19 |
So, to start with, I am going to turn
off the Type layer, come to my
| | 01:25 |
Channels panel and Cmd+ or Ctrl+Click on
the RGB channel to load the Luminance
| | 01:30 |
channel of this image.
| | 01:32 |
Then, I'm going to come to my Layers panel,
and press Cmd+ or Ctrl+J to copy
| | 01:38 |
that to a new layer and then I'm
going to drag that new layer up.
| | 01:43 |
Now, what I'm going to do is create a
layer of solid color, and that color
| | 01:50 |
will be black, and that needs to
go underneath the Type layer.
| | 01:57 |
So, here's where we're at.
| | 01:58 |
We no longer need that background layer.
| | 02:00 |
Actually, we do need it again in a minute,
but it's no longer being factored
| | 02:04 |
into what we're seeing.
| | 02:05 |
I am now going to change my visibility
so that we see only the background
| | 02:11 |
layer, target that layer, come to my channels,
do what I did before, Cmd+ or Ctrl+Click
| | 02:16 |
on the RGB channel, back to my Layers,
and now I'm going to target my Type layer.
| | 02:23 |
I'll turn on this layer group
so that we can see these layers.
| | 02:28 |
What I'm going to do now is use that
selection as a Layer Mask for the type layer.
| | 02:33 |
So, on the Type Layer, I will click on
Add Layer Mask, and we can see -- look
| | 02:39 |
how much better that integrates
the type into the whole scene.
| | 02:43 |
But, I'd like to go one step further with this.
| | 02:47 |
If I Alt+ or Opt+Click on the Layer Mask,
we can see it looks like this.
| | 02:52 |
I'm actually going to invert it.
| | 02:55 |
So, on the Layer Mask itself, I will
press Cmd+ or Ctrl+I. And now it's
| | 03:00 |
having less of an effect, but
we're seeing more of the type.
| | 03:04 |
You'll see why when we get to a few
steps down the line, we need to see a
| | 03:09 |
bit more of that type.
| | 03:11 |
If I turn off Layer 1, we can see
we've just got some of the texture of
| | 03:16 |
the smoke within the type.
| | 03:19 |
As is always a good idea,
I am going to name my layers.
| | 03:24 |
Now, I'm going to make a Displacement Map that
I can use to apply as a filter to my type layer.
| | 03:31 |
So, once again, we'll come back to the
Background layer, so we're seeing just
| | 03:35 |
the background layer.
| | 03:36 |
I'll come to my Image menu and
choose Duplicate, and I'm going to choose
| | 03:41 |
Duplicate Merged Layers Only so that
we have a single layer image, and then
| | 03:46 |
I'm going to save that.
| | 03:48 |
I'll call it Smoke Displace.
| | 03:52 |
I'm going to save it in the same folder.
| | 03:54 |
Now, we can return to our work in progress,
turn the layers back on, come to the
| | 04:00 |
Type layer, and I'm going to convert
that for Smart Filters, and then I'm going
| | 04:05 |
to return to the Filter menu,
and choose Distort>Displace.
| | 04:11 |
I'm going to try out these
rather high values of 40.
| | 04:16 |
Choose the Displacement Map that I made,
and that's the result that we're going to get,
| | 04:23 |
and that's okay as far as it goes,
but it's looking a bit chunky.
| | 04:26 |
So what we need to do next
is apply some blurring to it.
| | 04:31 |
Back to the Filter menu; Blur>Motion Blur.
| | 04:36 |
Now, looking at the smoke that we have,
it looks like it's sort of going in that
| | 04:41 |
direction as well as in that direction,
I suppose as is the nature of smoke.
| | 04:48 |
So, I'm going to apply
this Motion Blur Filter twice.
| | 04:51 |
That's the first time, and
then I'm going to come back.
| | 04:57 |
This time I'm holding down the Opt or Alt key,
so that I don't apply the same settings,
| | 05:01 |
and this time, we'll change the angle.
| | 05:05 |
Now, I'd like to make some smoke come
out of the top of the U, and to do this,
| | 05:12 |
I'm going to use a custom brush.
| | 05:15 |
But, it's not a brush that I've made,
it's a brush that I have downloaded.
| | 05:18 |
So, let me show you where I downloaded it from.
| | 05:20 |
It's from a site called QBrushes.net.
| | 05:24 |
They have lots and lots
of really great brush sets.
| | 05:28 |
This particular brush set is by
Graham Jeffery. So, thanks Graham!
| | 05:32 |
I really like your smoke brushes.
| | 05:35 |
So, I've downloaded those, I've installed them.
| | 05:38 |
I'm now going to press the B key to go
to my Brush tool, and I'm going to create
| | 05:44 |
a new layer on which that smoke can go.
| | 05:47 |
Then, I'll come to my Brush Picker,
and down here, these last few brushes are
| | 05:54 |
all the different types of smoke that we have.
| | 05:56 |
I'm going to choose this one
and let's just see how that looks.
| | 06:01 |
Okay, quite liking that.
| | 06:03 |
It's got a bit of a sharp edge at the
top which I'm not backing on, so we'll
| | 06:08 |
have to make sure that we don't retain that.
| | 06:10 |
But it's not at quite the right angle, so I
am going to come and just modify the brush.
| | 06:16 |
So, with it selected, I'm
going to come to my Brushes panel.
| | 06:19 |
I'm going to increase the spacing, so
that there's no chance of the brushstrokes
| | 06:24 |
overlapping, but more importantly than that,
I'm going to change the angle.
| | 06:28 |
Basically, I will just want to straighten
it up, something like that. Okay.
| | 06:34 |
It's always a bit random where your
brushstroke is going to go relative to the
| | 06:39 |
cursor that you're looking at.
| | 06:40 |
So, I'm going to click about there.
| | 06:42 |
Thankfully, it's on its own separate layer,
so I can now just switch to the Move tool,
| | 06:46 |
and kind of direct
that into position. All right.
| | 06:49 |
I have two tasks now.
| | 06:51 |
One is to soften the top of
that, and I'll do that first.
| | 06:55 |
I'll add a Layer Mask to it, and choose
my Brush tool but this time go back to
| | 07:00 |
just the standard soft edge brush.
| | 07:07 |
We just want to make sure we got
no sharp edges at the top there.
| | 07:10 |
Then, I'm going to come to the Type layer
and I'm going to add a Layer Mask to that.
| | 07:16 |
It's going to be a bit of back and
forth there, I see actually on the smoke
| | 07:20 |
Brush Layer, I have a sharp edge at the bottom.
| | 07:23 |
I'm just going to go and
address that first of all.
| | 07:26 |
So, I'm just going to work that in.
| | 07:28 |
Then, back to the Type layer, and now I'm
going to change my Opacity to about 50%.
| | 07:34 |
Increase the size of my brush, so we're
away the top of that U and integrate it
| | 07:40 |
with that plume of smoke.
| | 07:42 |
So, we've seen in this movie, the ongoing
theme of applying a displacement filter,
| | 07:48 |
I've also used two Motion
Blur filters at different angles.
| | 07:53 |
I've integrated a Layer Mask to the Type
layer and then we've also used a custom
| | 07:59 |
brush and modified the angle of that
brush, and then worked on a couple of
| | 08:05 |
different Layer Masks;
| | 08:07 |
the layer mask of the brushstroke itself,
and the layer mask of the type
| | 08:11 |
to integrate those two together.
| | 08:13 |
| | Collapse this transcript |
| Creating fiery type| 00:00 |
In the previous movie, you saw me create
some smoky text, and as the saying goes,
| | 00:05 |
There's no smoke without fire;
| | 00:08 |
couldn't resist that pun.
| | 00:09 |
And not surprisingly the technique to
create fiery text is quite similar to
| | 00:15 |
that to create smoky text.
| | 00:18 |
So here's the finished version.
| | 00:20 |
We have a couple of layers of fire,
we have a type layer with some filters
| | 00:24 |
applied to it, and we have
a solid color background.
| | 00:28 |
Let's turn on the beginning state
where we have a layer of type, a layer
| | 00:33 |
of fire, and beneath that,
a solid color background.
| | 00:37 |
To start with, I'm going to
sample some color for the type.
| | 00:41 |
So, I'm going to select the type, come
to my Color Swatch on my tool options,
| | 00:47 |
and then, sample some color from the fire;
| | 00:51 |
a nice deep orange. Okay.
| | 00:56 |
Next, I'm going to turn off the type
layer, come to my channels, Cmd+ or Ctrl+Click
| | 01:02 |
on RGB to load that as a Luminance
channel which I will then apply as
| | 01:08 |
a Layer Mask to the type layer.
| | 01:11 |
Now, when we turn off the fire, we see
that we have this, we have fire in the
| | 01:17 |
shape of the type layer.
| | 01:18 |
Now, what is not working here is that
the M of the word Flame crosses over a
| | 01:25 |
quiet part of the image
where there isn't much flame.
| | 01:29 |
So, I'm going to need to move that down.
| | 01:31 |
And to do this, I need to unlink
my Type layer from its layer mask.
| | 01:36 |
So I'm clicking on the link between those two,
and then I'll chose my Move tool.
| | 01:42 |
And I'm in the wrong place, I need to
be on the Type layer, and then I can move
| | 01:50 |
that down and you can see that, that's
now being filled with the bottom portion
| | 01:54 |
of the image where there is a lot more fire.
| | 01:59 |
I'm now going to convert my Type for
Smart Filters and I've already made
| | 02:04 |
a displacement map.
| | 02:06 |
It's this right here.
| | 02:07 |
I've already done this in several movies,
so I'm not going to repeat the process,
| | 02:11 |
but this is the displacement
map that we'll be using.
| | 02:14 |
So now I'm going to come to the Filter menu;
| | 02:19 |
Distort>Displace, and I'm
going to use these values.
| | 02:26 |
Choose that displacement map, and
that's how it's going to look, in addition
| | 02:31 |
to which, I might want to soften up
the edges with some Motion Blur
| | 02:37 |
or possibly some Gaussian Blur.
| | 02:38 |
I'm going to use Motion Blur, and since
we want the fire going up, I'm going to
| | 02:43 |
leave the angle as is with a
distance of 8 pixels. Okay.
| | 02:47 |
Now, I'm going to come and copy my fire layer.
| | 02:52 |
I'm going to leave that one around
just in case I need it and then drag that
| | 02:56 |
above my Type layer and I'm going to turn it on.
| | 03:00 |
Now, I'm going to add a Layer Mask to it,
and I think I would like to start out
| | 03:05 |
by filling that layer mask with black,
so that we don't see any of that.
| | 03:10 |
And then, I already used my Gradient tool.
| | 03:14 |
And making sure that I have white
as my Foreground color, I'm going to
| | 03:18 |
reintroduce the flames of the fire layer.
| | 03:22 |
I'm going to start at the top and drag down
to beyond, just beyond the bottom of the image.
| | 03:28 |
That's too far. Okay.
| | 03:32 |
Now, I'm going to switch to black,
staying with my Gradient tool,
| | 03:37 |
and I'll drag in from the sides.
| | 03:40 |
I'm doing this in multiple passes so
that we bring the flames in from the sides.
| | 03:47 |
At this point, I'm going to need to switch to
my brush, and I will want a large soft brush.
| | 03:54 |
And there's going to be a certain amount
of back and forth here with changing of
| | 03:59 |
Brush Size and Brush Opacity, and
the Color with which you're painting.
| | 04:04 |
I'm going to start out painting in
white because I'll need to restore some of
| | 04:08 |
this flame on the right-hand side.
| | 04:10 |
So, I'll make white my Foreground
color and I'll stay with a 50% Opacity to
| | 04:16 |
start with, and then just
paint that bit in there.
| | 04:19 |
Now, I'm going to reduce my Opacity,
and then I'm going to switch to black,
| | 04:24 |
and just sort of shape that flame.
| | 04:27 |
Then, I'm going to come over to the left-hand
side where I will make sure I'm in black.
| | 04:33 |
Let's go up in Opacity, and I'm
actually going to do the same thing.
| | 04:39 |
You want to bring back enough
definition on the letters to make them
| | 04:42 |
readable but not too much.
| | 04:43 |
I know that's a slightly different
result from what we started with,
| | 04:47 |
but the procedure was pretty much the same.
| | 04:49 |
It's just a question of working on that
layer mask, building that up, sculpting
| | 04:54 |
the flames, and they're going to sit
on top of the Type layer which in itself
| | 05:01 |
has been blurred and displaced by the
displacement map of the fire itself.
| | 05:08 |
| | Collapse this transcript |
| Creating entwined type| 00:00 |
When we need to blend our type with our
imagery, there are a number of different
| | 00:04 |
techniques that we can use, maybe it's
a Blend Mode or in this case, maybe it's
| | 00:10 |
a Layer Mask, not just one.
| | 00:12 |
If we look at the Finished Layer group,
we can see that we have a layer mask
| | 00:15 |
applied to the leaves, and another
applied to the type, and that's really
| | 00:20 |
theessence of this whole technique.
| | 00:22 |
Now, I have this on a white background,
and this image began on a white background,
| | 00:28 |
and a white background is
going to be very forgiving of
| | 00:32 |
any masking inaccuracies.
| | 00:34 |
But, I also have here a contrasting
color background which is going to highlight
| | 00:39 |
any inaccuracies in our masking.
| | 00:42 |
We'll see how we can make a very
accurate mask just in case we do want the
| | 00:46 |
option of putting this on a contrasting color.
| | 00:50 |
For now, I'm going to go
to the Begin layer group.
| | 00:54 |
So, the first thing we
need to do is mask this image.
| | 01:00 |
And your first inclination as mine was
might be to go to the Magic Wand tool;
| | 01:07 |
select the white, inverse it.
| | 01:09 |
I can tell you that it doesn't work very well.
| | 01:11 |
It doesn't work very well.
| | 01:12 |
It does give us quite a chunky edge to
our mask, and there are quite a lot of
| | 01:18 |
trapped areas of white, even
though Contiguous is unchecked.
| | 01:22 |
So, I'm not going to go down that route;
| | 01:24 |
although I have to say I did try it, because I
thought, this is going to be the easiest way.
| | 01:29 |
But instead, I'm going to create a channel mask.
| | 01:33 |
So, I'm going to use one of our three
channels, and essentially duplicate that
| | 01:38 |
and use that as the mask.
| | 01:40 |
If we look at them, we have red,
we have green, and we have blue.
| | 01:44 |
We want the one with the most
contrast, and that's obviously the blue.
| | 01:47 |
So, I'm going to come to the Image menu,
and choose Calculations where I want
| | 01:53 |
to blend the blue channel with itself,
and I want to use in this case, this won't
| | 02:00 |
always work but it works in the context
of this image, I want to use the
| | 02:04 |
Color Burn blending mode.
| | 02:07 |
So, that gives me a new alpha channel
which I will then Cmd+ or Ctrl+Click on
| | 02:12 |
to load as a selection.
| | 02:15 |
I'll now return to my RGB
channel and then to my layers.
| | 02:23 |
I'm now going to use that as a
layer mask because I have the
| | 02:27 |
background selected.
| | 02:28 |
I'm going to hold down the Alt or
Option key when I choose Add Layer Mask.
| | 02:33 |
You can see that, that will
give us a pretty good mask.
| | 02:38 |
And when necessary, we can fix the problems
and we'll see that coming up in just a moment.
| | 02:44 |
I'll now turn on the Type layer.
| | 02:47 |
The essence of this is I now want to
add a layer mask to the type layer.
| | 02:52 |
I have no selection active.
| | 02:53 |
So, when I add a Layer Mask, it doesn't
do anything, it's just there waiting for
| | 02:58 |
me to go and paint on.
| | 03:00 |
Now, I've added it.
| | 03:02 |
I'm going to activate the selection of
the layer mask that is applied to the
| | 03:07 |
leaves by Cmd+ or Ctrl+Clicking on it,
and I'm actually going to inverse that
| | 03:12 |
so it's the leaves that are selected.
| | 03:14 |
Then, making sure that I
am on the Type layer itself.
| | 03:19 |
I'm going to choose my Brush tool.
| | 03:21 |
I'm going to choose a nice big brush,
and I'm going to make sure the Brush
| | 03:25 |
Hardness is 100%, and my Opacity is 100%
and then I'm going to start painting.
| | 03:32 |
I've got the wrong thing selected.
| | 03:33 |
I said inverse it, and I was wrong, so
I'm going to inverse again back to the
| | 03:38 |
way it was and now I can start painting.
| | 03:40 |
And essentially, what I'm doing is, I'm
interlocking, if you will, the leaves and the type.
| | 03:45 |
And since we have that selection active,
there's no way we can paint outside the lines.
| | 03:51 |
We just get to choose which leaves and which
stems we want to bring in front of the letters.
| | 03:58 |
It's very easy and very visually
pleasing to do this. Okay.
| | 04:06 |
I think you've seen enough to get the idea.
| | 04:08 |
Since I really do want this on a white
rather than a brown background, I'm now
| | 04:14 |
going to turn on my white color fill, and
these are the problems that I want to fix.
| | 04:19 |
Let's have a look over here.
| | 04:21 |
Yeah, we have a few over here.
| | 04:23 |
I'm going to come to my Leaves layer
where I'll add a new layer above it,
| | 04:27 |
and then, I'm going to activate the selection.
| | 04:30 |
I'll then come to the Select menu,
and choose Modify>Border.
| | 04:35 |
And given the size of this image,
I'm going to use a 4 pixel border.
| | 04:40 |
You can see that's going to make a very
small selection of just the border itself.
| | 04:45 |
Now, that's a bit visually confusing.
| | 04:48 |
So I'm going to hide that.
| | 04:51 |
I'm going to press Cmd+ or Ctrl+H to hide
that selection edge even though it remains active.
| | 04:57 |
And then I will change the Blending Mode
of this layer to darken, make my
| | 05:03 |
brush size smaller, and then I'll come and sample
some of the color from the edge of the leaf.
| | 05:10 |
Now, I can just paint over those edges.
| | 05:13 |
Bear in mind, I am at a very enlarged
view size here, I'm at nearly 500%.
| | 05:18 |
So nothing is going to look that great
at this view size, but you can see the
| | 05:24 |
effect that this is having.
| | 05:25 |
And as you go around these edges,
you may need to reset your color.
| | 05:31 |
You need to sample from an adjacent color,
and you should just be able to paint out
| | 05:36 |
any remnants of anti-aliasing that you find.
| | 05:40 |
So, there's our result!
| | 05:41 |
Essentially, just a combination of
layer masks, and then that final tip for
| | 05:46 |
how to, if necessary, refine your mask edge.
| | 05:50 |
| | Collapse this transcript |
|
|
5. Type and Brush EffectsCreating scattered leaves type| 00:00 |
Here we're going to see how we can
create letter forms from a custom brush,
| | 00:04 |
specifically a Scatter Brush.
| | 00:06 |
This is the finished version and here is
where we are going to begin with just a
| | 00:11 |
solid field of color, and this shape layer.
| | 00:15 |
Now this shape layer is just one of the
standard shapes that comes with Photoshop.
| | 00:21 |
Custom Shape, and in here
somewhere is exactly that leaf.
| | 00:30 |
There it is right there.
| | 00:31 |
So all I did was click and drag to make a leaf.
| | 00:35 |
Now we're going to make
that into a custom brush.
| | 00:39 |
So I'm going to Cmd+Click on that
shape layer to load it as a selection, and
| | 00:46 |
then choose Define Brush
Preset, and I will call it leaf.
| | 00:51 |
Don't worry if that looks a
little bit distorted there.
| | 00:54 |
These previews are often way off.
| | 00:56 |
Then I'm going to come to my Brushes panel,
choose my Brush tool, choose the
| | 01:03 |
custom brush that we just created,
and now I'm going to set its options.
| | 01:09 |
So starting out with the Brush Tip Shape,
I need to increase the Spacing.
| | 01:13 |
Now bear in mind, I'm not going to get
exactly the same result as we saw,
| | 01:17 |
but it's going to be similar.
| | 01:19 |
There is quite an element of randomness to this.
| | 01:22 |
I think that's probably going to be
a little bit too large, so I'm going
| | 01:26 |
to decrease the Size.
| | 01:28 |
And I'm now going to deselect that
selection because we're going to need to
| | 01:34 |
try this out as we go along.
| | 01:36 |
So I'll create a new blank layer, and all right.
| | 01:40 |
So that's what we're getting so far.
| | 01:42 |
Then I'll come up to my Shape Dynamics.
| | 01:44 |
I'm going to whack these up.
| | 01:46 |
We have a preview going on down here
letting us to know what it is we're going to get.
| | 01:51 |
So we want a certain amount of randomness
here by unflipping the X and the Y.
| | 01:56 |
So let's see what we're
going to get now. All right!
| | 01:59 |
So far so good.
| | 02:01 |
I'm going to dial down the Minimum Diameter
so that we get a bit more variation in size.
| | 02:06 |
Then I'm going to come to the
Scattering, I want to scatter along both axes.
| | 02:12 |
Oh yeah, now it's looking good.
| | 02:13 |
I think we'll leave the Count at 2.
| | 02:20 |
But what we need to do is
establish a color for this.
| | 02:24 |
I have sort of got a little bit ahead of
myself, really, because I need to
| | 02:28 |
establish a color palette first.
| | 02:31 |
I'm going to come and save this as a
brush preset and we'll come back and
| | 02:35 |
finish this off in a moment.
| | 02:37 |
I'll call that leaf 1.
| | 02:38 |
And then I'm going to turn on this layer which
is going to provide us with our color palette.
| | 02:49 |
Now this is a picture of autumn
leaves and you can see that it has a
| | 02:53 |
Smart Filter applied to it.
| | 02:55 |
I'm going to turn off that Smart Filter,
I'll also turn off the background color there.
| | 03:00 |
And that's the picture.
| | 03:02 |
So I'm using this picture
as my color inspiration.
| | 03:06 |
What I've done is I have come to the
Filter menu and chosen Pixelate>Mosaic.
| | 03:15 |
In fact, if we turn the Smart Filters
back on, I can double-click on the
| | 03:21 |
Mosaic filter that I've applied.
| | 03:22 |
So I've applied it at this value, 82.
| | 03:25 |
The value that you use should be enough
to really abstract the image so that all
| | 03:31 |
we are seeing are the
essential colors that make it up.
| | 03:35 |
And I'm now going to build
a color palette from that.
| | 03:38 |
So choosing my Eyedropper tool, I will
select the colors and then hold down the
| | 03:43 |
Option or Alt key or and
click on my Swatches panel.
| | 03:48 |
And I'll just repeat that.
| | 03:49 |
The reason I'm holding down my Option or Alt
key is so that I don't have to name the colors.
| | 03:55 |
I don't really care what they're called,
| | 03:57 |
I just care what they look like. All right.
| | 03:59 |
There's a good sampling of
those colors. All right.
| | 04:03 |
That has now served its purpose and we can
now return to what we were doing before,
| | 04:10 |
which is working on our brush.
| | 04:13 |
So I'll come to my Brush tool again
and it should remain in the brush that
| | 04:20 |
we were halfway through building.
| | 04:22 |
Now that we have the color palette set up,
I'm going to come to the Color Dynamics.
| | 04:29 |
Most importantly, what we want here
is a Foreground/Background Jitter.
| | 04:35 |
So I'm going to set my foreground
and background colors, sampling these
| | 04:39 |
colors that I've made.
| | 04:40 |
Let's try it with those two, and then
I'm going to set my Foreground/Background
| | 04:44 |
Jitter to 10%, which may be too much.
| | 04:47 |
How is that working out? Maybe not enough.
| | 04:52 |
Maybe there isn't quite as much
contrast between those two colors as I need.
| | 04:58 |
So I'm going to leave the settings the
way they are, but I am going to come and
| | 05:03 |
change my Foreground color and
let's make that a little bit darker.
| | 05:09 |
Essentially, I'm going to use the same color.
| | 05:11 |
I'm just going to drag down here
my in color field to get a slightly
| | 05:15 |
darker version of that. All right!
| | 05:16 |
Well, so far, so good.
| | 05:19 |
I think maybe I also want
to set the Brightness Jitter.
| | 05:23 |
Now we're getting somewhere. Yeah, okay.
| | 05:27 |
All right!
| | 05:29 |
That's looking good.
| | 05:30 |
These are just my trials.
| | 05:32 |
I'm now going to delete
everything that is on that layer.
| | 05:36 |
So now I have my brush set up the way I
want it, or more or less the way I want it,
| | 05:42 |
we may need to make some refinements to it.
| | 05:44 |
What I'm going to do is turn on this
type layer, so this is just nothing more
| | 05:50 |
than a word set in all caps.
| | 05:53 |
It does have a gradient overlay applied
to it, but that's not of great consequence.
| | 05:58 |
So we need to use a really solid sans serif
and set it in all caps, and then
| | 06:05 |
I'm going to create a layer above that.
| | 06:07 |
I'm going to use the one that I
already have, just drag that above.
| | 06:11 |
And I'm just using the type, really,
as a guide, and I'm now going to
| | 06:17 |
paint around the letters.
| | 06:19 |
And the nice thing about this is that
being sloppy here is actually going to
| | 06:24 |
sort of work in our favor.
| | 06:26 |
Now I'm liking that so far.
| | 06:28 |
What I'd like to do now is create another layer.
| | 06:32 |
I could experiment with more foreground
and background colors, but I'm going to
| | 06:38 |
stick with the colors I have and then
apply a hue/saturation to them to give
| | 06:43 |
them some differentiation
from what we have already.
| | 06:46 |
So I'm just going to go ahead
and paint in some more leaves.
| | 06:51 |
And then on this layer, I will come and
add a Hue/Saturation Adjustment layer.
| | 06:57 |
So I'm going to hold down my Option or
Alt key as I choose Hue/Saturation from
| | 07:02 |
the list of adjustment layers, and then
I get to check that Use Previous Layer
| | 07:06 |
as Clipping Mask, and then I'm
just going to shift the Hues there.
| | 07:11 |
Maybe we'll have another layer as well as these.
| | 07:14 |
So I'm going to go with that adjustment.
| | 07:17 |
I can always come back and
change that if I don't like it.
| | 07:20 |
And ultimately, what I want to be
able to do is turn off that type layer
| | 07:26 |
which was essentially there just to
provide me with a guide of where to paint,
| | 07:30 |
and there is my result.
| | 07:32 |
Now I could go on and add additional
layers and additional Hue/Saturation
| | 07:37 |
adjustments to them, but I'm going to stop here.
| | 07:40 |
But the reason why another optional
extra and that is you might consider adding
| | 07:45 |
a Drop Shadow to some or all of these layers.
| | 07:48 |
So I'm going to add the Drop Shadow to
the top layer and that's just going to
| | 07:53 |
give those leaves a bit more presence.
| | 07:55 |
So there we see it without the
shadow and then with the shadow.
| | 08:00 |
So to summarize what we've done here
is we created a color palette using our
| | 08:05 |
inspiration image and I did that by
applying a Mosaic filter to it to abstract
| | 08:12 |
the image, built a color palette,
and then created a sampled brush with a
| | 08:19 |
Foreground/Background Jitter, so
it's switching between those two colors.
| | 08:25 |
And then we've got various
Scattering options set up.
| | 08:28 |
So we get a fairly random spray of
leaves which given the nature of falling
| | 08:33 |
leaves works really well, and we
choose our foreground and background colors
| | 08:38 |
from the color palette that we've established.
| | 08:42 |
| | Collapse this transcript |
| Creating coffee bean type| 00:00 |
This example is very similar to the
previous example, but this time rather than
| | 00:04 |
painting over the letter shapes, we're
going to paint behind the letter shapes.
| | 00:09 |
Once again, it's going to
be using a Scatter brush.
| | 00:13 |
So this is the finished version
and here is our starting version.
| | 00:17 |
I'm going to expand the begin layer
group and we have a piece of type set in
| | 00:24 |
Bernard MT Condensed, all caps,
against a field of solid color which has
| | 00:32 |
a pattern overlay applied to it
just to give it some texture.
| | 00:35 |
It's one of the grayscale papers and
that's applied a very limited opacity,
| | 00:41 |
and it also has a Gradient Overlay.
| | 00:44 |
And then we have a Shape layer.
| | 00:47 |
Now this Shape layer is just a vector
drawing from a picture of a coffee bean;
| | 00:53 |
it's nothing more than that, and we're
going to have this become our custom brush.
| | 00:58 |
So I'm going to Cmd+ or Ctrl+Click
on that layer to activate its selection
| | 01:02 |
and then come and define that as a
Brush Preset, and I'll call it coffee bean.
| | 01:11 |
I'm now going to turn off that layer.
| | 01:13 |
I'm going to create a new layer
and deselect that selection.
| | 01:19 |
And on this new layer, we'll just
test out our brush as we are creating it.
| | 01:24 |
So I'll now come to my Brushes panel,
press B to choose my Brush tool, and then
| | 01:31 |
choose my coffee bean brush.
| | 01:34 |
And I'm now going to need to increase
the Spacing, change the Shape Dynamics,
| | 01:43 |
Size Jitter about 50,
Minimum Diameter also about 50.
| | 01:50 |
I tend to find when in doubt, put these
in the middle and that usually gives you
| | 01:57 |
a pretty good result.
| | 01:59 |
I do want to flip the X and the Y, I
do want to scatter them along both axes.
| | 02:05 |
Let's see what it would
look like with a Count of 3.
| | 02:08 |
Now I'm just working with the mouse
at the moment, I do have a tablet by my side,
| | 02:13 |
but for this, I don't really think I
need it, so I'm just going to turn that off.
| | 02:17 |
And then I'm going to come to
the Color Dynamics and we want
| | 02:22 |
a Foreground/Background Jitter and
probably a Brightness Jitter as well.
| | 02:25 |
So I'm now going to choose my Foreground/Background
colors which are going to be all important.
| | 02:29 |
I'll click on the Color Picker and I'm
going to sample the foreground color
| | 02:35 |
from the background and then I just want
a slightly lighter version of that.
| | 02:39 |
So I'm going to drag out and then I
will Cmd+Click on the background color.
| | 02:48 |
Once again, I'm going to sample the
background of the canvas and I think maybe
| | 02:55 |
we'll go for a darker version of it.
| | 02:57 |
So now how does that look? Well, way too big.
| | 03:02 |
So let's undo that, come back to the Brush
Tip Shape and then reduce the Size. All right.
| | 03:08 |
That's looking a whole lot better.
| | 03:09 |
That's actually looking pretty good. All right.
| | 03:11 |
So I'm going to go with that and I'm
going to save this as a preset so that
| | 03:17 |
I can come back and use these same values.
| | 03:20 |
I'll delete my practice and now what
I'm going to do is Cmd+Click on the
| | 03:26 |
type layer to load that as a selection,
but I'm then going to actually
| | 03:31 |
turn off its visibility.
| | 03:33 |
I'm going to make sure I'm on this empty
layer, and optionally, I can hide my edges.
| | 03:39 |
I'll start off with my edges shown, I
need to inverse this selection so that I'm
| | 03:44 |
painting in the background rather than
in the letter shapes, Cmd+Shift+I or
| | 03:48 |
Ctrl+Shift+I, and then
I'm just going to do that.
| | 03:54 |
So we go around the shapes of the
letters to define them and if I want to get
| | 03:58 |
a better gauge of how this is really looking, I
can press Cmd+ or Ctrl+H to hide my edges.
| | 04:05 |
My selection remains active and we
can now just see the word emerging as
| | 04:10 |
I paint, which is kind of fun.
| | 04:13 |
Optional extras for this, perhaps we
want to have a Drop Shadow on the brushes.
| | 04:21 |
But then again, perhaps not.
| | 04:26 |
Actually I think that does help, so
I'm going to leave the Drop Shadow on.
| | 04:31 |
But now I'm going to turn the type
layer back on and I'm going to give
| | 04:36 |
a shadow to the type and an Inner Glow to the
type, but I will ultimately end up turning
| | 04:42 |
the Fill Opacity for the type down to 0.
| | 04:44 |
So I'll turn on the Drop Shadow and I
will turn on an Inner Glow and then come
| | 04:50 |
to my Blending Options and the Fill
Opacity is going to go all the way down.
| | 04:55 |
Let's change that Inner Glow color
which starts out with this yellow using
| | 05:00 |
a Blend Mode of Screen.
| | 05:02 |
I'll leave the Blend Mode as is but I
want to change the color and we're going
| | 05:07 |
for this very monochromatic color palette.
| | 05:09 |
So I'm going to sample the lighter
version of brown from what we already have in
| | 05:14 |
the image, and then I think I'll
increase the Size of that. All right.
| | 05:17 |
That's okay.
| | 05:19 |
And then I'll come to my Drop Shadow
and I'll just pull that away from the type
| | 05:23 |
itself and maybe increase its Size a fraction.
| | 05:29 |
Now just to finish this up, if you
can't resist, and they are very hard to
| | 05:33 |
resist, how about we add
some coffee and ring stains?
| | 05:38 |
So I'm going to create a new layer
above this, although ultimately I may end up
| | 05:43 |
changing the position of that
layer in the stacking order.
| | 05:46 |
And I have here a Coffee Stains
Brush set that I've downloaded from
| | 05:54 |
the deviantART website and this is a Coffee
Stains Photoshop Brush set by Divinity-bliss.
| | 06:01 |
So you can, if you wish,
go and download the same.
| | 06:04 |
When you download them, double-click on them;
| | 06:06 |
they will thereafter
appear on your list of brushes.
| | 06:12 |
Now your brushes may look entirely
different to mine, and that's okay.
| | 06:16 |
But somewhere in here, I have my
Coffee Stains and I want to use this nice
| | 06:23 |
big one, the 940 pixel.
| | 06:26 |
I want to start out and
nothing more than just do that.
| | 06:35 |
And then I'm going to go back and it
wouldn't of course be complete without
| | 06:41 |
a coffee ring, and because I can be a
little bit messy sometimes, a splatter as well.
| | 06:53 |
But the punch line of this whole movie
essentially is that rather than painting
| | 06:58 |
within the letter shapes, we are
using the letter shapes to paint behind,
| | 07:05 |
essentially creating a backdrop to the
letter forms and then just to bring back
| | 07:10 |
some emphasis on the letter forms,
which may not stand out quite enough
| | 07:16 |
without it we are adding an
Inner Glow and a Drop Shadow.
| | 07:22 |
| | Collapse this transcript |
| Creating sand grain type| 00:00 |
Here's a technique that gets
filed under the interesting category.
| | 00:04 |
I'm not 100% sold on its effectiveness,
but it is very interesting and kind of
| | 00:09 |
fun, and that is creating a Sand Brush.
| | 00:12 |
So here's the finished result
and it's just painted on sand.
| | 00:16 |
Nothing more than that, really, behind
the letters in a similar way as we were
| | 00:21 |
working in the previous movie.
| | 00:22 |
Let's turn off the finished layer group
and now go to the beginning layer group,
| | 00:28 |
and all we have on the
beginning layer group is a path.
| | 00:32 |
I actually need to go to the Paths
Panel and click on that to activate it.
| | 00:38 |
I'm using a typeface here called
Industria that chances are you don't have.
| | 00:43 |
So I have converted that to a shape layer,
so what we have are vector shapes
| | 00:47 |
for our layer of type.
| | 00:50 |
But this movie is all about making a
Sand Brush, and I'm going to do that by
| | 00:56 |
starting out with just a single-pixel brush.
| | 01:03 |
I'm thinking that grains of
sand are not so unlike pixels.
| | 01:08 |
I'm going to create a new
layer on which to paint our sand.
| | 01:13 |
And then I'm going to come to the Brush options
where we need to make a number of changes.
| | 01:18 |
Starting out with the Spacing, I need to
put this way up so that we start to get
| | 01:23 |
some definition on our grains of sand.
| | 01:26 |
And as I'm doing this, I'm just going to
test it out to see how it's working. Okay.
| | 01:31 |
So far, so good.
| | 01:32 |
I haven't done much yet, but now I'm
going to go to the Shape Dynamics and
| | 01:36 |
basically we just whack all of
these things up to their max.
| | 01:42 |
And I am going to be working with a pen
and tablet here, so I will turn on Pen
| | 01:48 |
Pressure for the controls.
| | 01:50 |
I want to flip the X, flip the Y,
project the brush, I want to scatter it
| | 01:57 |
to the max, I want the Count to be up to the max,
I want the Count Jitter to be up to the max.
| | 02:04 |
When in doubt, just move those
sliders all the way to the right.
| | 02:09 |
So how we're doing so far? All right.
| | 02:11 |
That's looking a bit more sandy.
| | 02:13 |
I'm now going to come to the Color Dynamics
and I'm going to turn this up to, we'll try 10%.
| | 02:19 |
Now of course, this is going to
depend upon what colors we have.
| | 02:23 |
Okay, let's have it a little bit more.
| | 02:25 |
We'll also turn up the Saturation
Jitter and the Brightness Jitter.
| | 02:30 |
I'm now going to choose
some more sand-like colors.
| | 02:33 |
I'll sample the background color that
we have and move that down in my Color
| | 02:41 |
field so we get a darker version of that.
| | 02:44 |
How are we doing now?
| | 02:45 |
Yeah, that's looking pretty good. All right.
| | 02:50 |
Having done that, we can delete all
of those practice runs and I can now
| | 02:55 |
Cmd+Click on my shape layer and
then inverse that selection so that
| | 03:02 |
we're going to be painting behind that shape.
| | 03:04 |
And I'll now pick up my tablet and I'm
now going to do nothing more than paint
| | 03:09 |
behind those letter shapes.
| | 03:11 |
Now as I'm doing this, there are some
variables that I can bring into play.
| | 03:14 |
Of course, I can go ahead and change
my Foreground/Background colors.
| | 03:18 |
I might also try going up to a two-pixel
brush and I might also try varying
| | 03:24 |
my opacity and changing my
Foreground/Background colors. All right.
| | 03:29 |
I'm now going to create a new layer
and continue to work around those edges.
| | 03:33 |
In fact, I need to see where they are,
so I'm pressing Cmd+ or Ctrl+H to
| | 03:38 |
turn them back on again.
| | 03:39 |
And on this new layer, maybe I'll have a shadow.
| | 03:41 |
So by the time I've done, I just
want to make sure that there's enough
| | 03:47 |
definition on the letter shapes to
make the word just about legible.
| | 03:52 |
I could go on, but I'm going to stop there.
| | 03:54 |
As I said, I think it's
an interesting technique.
| | 03:57 |
It really feels like you are painting
with individual grains of sand.
| | 04:00 |
And I think the result is promising.
| | 04:04 |
| | Collapse this transcript |
| Stroking a type path| 00:00 |
Here's another fun technique
that involves using custom brushes.
| | 00:03 |
But what's new about this is the fact that
we are stroking pen paths with those brushes.
| | 00:10 |
Let's start out by breaking down
the finished version which is in the
| | 00:13 |
finished layer group.
| | 00:16 |
And I just have a layer of type on top
of a field of color that itself has
| | 00:22 |
a pattern overlay applied to it
just to give it some texture.
| | 00:26 |
And the type is set in Clarendon.
| | 00:28 |
If you don't have Clarendon, I've made
a shape layer of that that we can use.
| | 00:33 |
And then on top of the type, we have three
layers of groovy flowers to give us that result.
| | 00:42 |
So I'm going to turn off the finished
layer and turn on the beginning layer group.
| | 00:48 |
And you've seen me create brushes in other movies,
so you don't need to see me do that again.
| | 00:54 |
We're going to begin this by
loading a predefined brush set.
| | 00:59 |
So let's come to the Brush Presets panel.
| | 01:02 |
Between the last movie and this movie,
I have reset my brushes to the default brushes,
| | 01:06 |
which is why I have have
fewer than I had before.
| | 01:09 |
What I'm now going to do is come and
choose Load Brushes, and in the Type
| | 01:17 |
and Brush Effects folder is this
brush set that I have saved.
| | 01:22 |
That includes three custom brushes.
| | 01:24 |
So I'm now going to choose the Brush tool
and we will choose the first of those,
| | 01:29 |
and they all have very similar settings.
| | 01:35 |
I have Apply Per Tip.
| | 01:36 |
And this is giving each one of these
multiple instances of the brush stroke
| | 01:44 |
its own color settings.
| | 01:47 |
Essentially, they are all going to be
combining with each other and that's going
| | 01:51 |
to give us a better result in this context.
| | 01:53 |
But here's really what
this example is all about.
| | 01:57 |
And that is stroking our paths.
| | 02:01 |
So to make a path in the
first place, I selected the type.
| | 02:06 |
In this case, it is a shape layer,
but the process is the same.
| | 02:09 |
Cmd+ or Ctrl+Click on
that layer to make a selection of it.
| | 02:14 |
Then come to the Paths panel
where you choose Make Work Path.
| | 02:20 |
You can use the default
Tolerance and then save that.
| | 02:27 |
Now I've already done that as you can see.
| | 02:28 |
I already have three paths, one, two, three.
| | 02:35 |
What's different about these is that
with each successive one, I reduced the
| | 02:41 |
size of the selection.
| | 02:44 |
So when the selection was active, I came
to the Select menu and chose Contract
| | 02:51 |
and I contracted by 16 pixels.
| | 02:54 |
You can see that gives me an interior selection.
| | 02:57 |
And then I made that into a Work Path
and then that became my Path 2.
| | 03:04 |
And then I selected Path 2 and
I contracted by further 8 pixels.
| | 03:12 |
So you can see we have paths that
become progressively contracted.
| | 03:19 |
I'm going to start out with Path 1 which
describes the full shape of the letters.
| | 03:25 |
And then I'm going to create a new
layer for the brush strokes to go to.
| | 03:32 |
I'm also going to be working with a
specific color palette here and it is
| | 03:38 |
these five colors that I already have on my
Swatches panel, but this is how I got them.
| | 03:46 |
I created my color palette using
Kuler and I have four colors that are
| | 03:53 |
derived from my base color, my base
color being the color fill that I'm using
| | 03:58 |
as my bottom layer.
| | 03:59 |
And I chose that color for no other
reason than I like it, which is always a
| | 04:05 |
good reason to choose a color.
| | 04:06 |
But I based the four other colors on that
color and I did that by sampling the color
| | 04:12 |
so that that becomes my foreground
color and then coming and clicking here
| | 04:17 |
at current foreground color as base color,
and then choosing a color harmony rule,
| | 04:23 |
and the one I went with was Triad.
| | 04:27 |
And that gives me a color group of five
colors and you can see they are slightly
| | 04:31 |
different from the five colors I have up there.
| | 04:34 |
I must have chosen a slightly
different color. That's okay.
| | 04:37 |
I'm now going to add those to my
Swatches Panel and we're ready to go.
| | 04:46 |
So with Path 1 as the active path on
a blank layer and with brush number
| | 04:54 |
one chosen, I'm going to come to the
Paths panel, right-click on that,
| | 05:01 |
and then choose Stroke Path.
| | 05:03 |
And I want to use the brush and
I want to Simulate Pressure checked.
| | 05:12 |
And that's the result that I'll get.
| | 05:14 |
So now it's a question of repeating
that process with a different brush,
| | 05:19 |
with a different path on a separate
layer and applying a separate color.
| | 05:26 |
So now I'm going to come back to
my Layers panel, create a new layer.
| | 05:29 |
I'm now going to choose the yellow color,
come and activate Path 2, come and
| | 05:38 |
choose Brush 2, right-click on
Path 2 and choose Stroke Path.
| | 05:50 |
And you guessed what the
next step is. Repeat again.
| | 05:54 |
So I'm now going to choose Path 3,
smaller than Path 2 which itself
| | 05:58 |
is smaller than Path 1.
| | 06:01 |
Back to my Layers panel, new layer,
different color, and the third of my brushes.
| | 06:14 |
Right-click on the path, Stroke Path,
and that's the result we'll get.
| | 06:20 |
There's an infinite number of
variations you can work with here.
| | 06:24 |
Of course, you can experiment with
different brush settings, different brush
| | 06:27 |
shapes, different path sizes, different colors.
| | 06:33 |
And I haven't even gone there, but we
can change the blending mode and the
| | 06:36 |
opacity of the different layers.
| | 06:39 |
So experiment with those different
options, stroking a path with
| | 06:44 |
a particular brush preset.
| | 06:46 |
And in this case, of course, we are
stroking a path that is the shape of type.
| | 06:52 |
| | Collapse this transcript |
|
|
6. Nostalgic TypeCreating a nostalgic logo: part one| 00:00 |
Here's a project that's going to bring
up lots of interesting stuff and some
| | 00:04 |
interesting workarounds to some problems.
| | 00:07 |
I'm calling this a Nostalgic logo.
| | 00:09 |
This was inspired by this
late 19th century seed packet.
| | 00:14 |
I created a color palette from
this and that's what I used here.
| | 00:19 |
Now if you want to load that color
palette, it's in the folder and you can come
| | 00:24 |
to the Swatches panel and choose Load Swatches.
| | 00:29 |
It's right there and
it's those last five colors.
| | 00:33 |
So here's our finished state and
I'm just going to break this down.
| | 00:38 |
We have several folders
within the finished folder.
| | 00:42 |
So we're starting out with just a field
of ivory, on top of which we have some
| | 00:48 |
circles and these have some
Inner Shadows applied to them.
| | 00:51 |
And then on top of that we have an image
which has some treatments applied to it
| | 00:57 |
to better integrate it into our color scheme.
| | 01:02 |
And then on top of that we have
our type, which is using a stroke.
| | 01:08 |
It's using a Drop Shadow.
| | 01:09 |
It has a painted on gradient and it
also has a warp effect applied to it and
| | 01:16 |
I have an interesting workaround how we
can work with the warping options,
| | 01:22 |
which frankly are not that great, and can
produce some undesirable twists to our
| | 01:28 |
type and how we can come up with a
workaround to avoid that, and then we have
| | 01:33 |
some type on a path.
| | 01:35 |
So I'm now going to come to the beginning
folder and this is what we start with.
| | 01:42 |
So this is in progress, let's concentrate
on the type itself so I'm going to
| | 01:49 |
turn off the image and we'll
come and look at the type itself.
| | 01:55 |
So if I come to the Character panel,
this is in Adobe Caslon Pro Bold Italic.
| | 02:01 |
But what I want to do is I want to bring
that o inside the counter of the C.
| | 02:07 |
Also I should point out that I'm using
a Swash character here for the C,
| | 02:13 |
and that is quite a lot larger and I've
applied a baseline shift to move it down.
| | 02:18 |
So we have this area that we want
to move the rest of our type into.
| | 02:23 |
So I'm just going to do this with
kerning and the Option or Alt and the
| | 02:28 |
Left Arrow to do that.
| | 02:29 |
And then I think we also want to apply
some tracking to the whole thing,
| | 02:34 |
tightening up the space between the letters,
and maybe a little bit more than that.
| | 02:38 |
Let's go with -25.
| | 02:39 |
Okay, having done that, I'd
now like to warp the type.
| | 02:44 |
And I'm going to come up to
my warping options right here.
| | 02:48 |
Now if we're warping it and retaining it as
live type, our options are somewhat limited.
| | 02:56 |
I'm going to go for this one, Flag,
and obviously that's way too much, so
| | 03:01 |
I'm going to dial that down to a Bend of 15.
| | 03:06 |
That's what we get.
| | 03:07 |
Now that's okay, but what I don't like
about this is what it's doing with the a.
| | 03:13 |
The a just seems a little bit too bent.
| | 03:16 |
I'd like to move just the a up.
| | 03:19 |
Now what happens with this, because
the warp takes place over the whole range
| | 03:24 |
of the type, if I were to remove the a from
there, then we get a different shape of warp.
| | 03:31 |
So that's not going to work.
| | 03:33 |
And here was the workaround that I came up with.
| | 03:36 |
It's not pretty, but it does work.
| | 03:38 |
It's going to be pretty when we finish,
but the mechanics are not pretty.
| | 03:41 |
So I'm going to duplicate this layer,
Cmd+ or Ctrl+J, and I'm now going to
| | 03:49 |
turn off the layer beneath and I will
come and, with my Polygonal Lasso tool,
| | 03:58 |
make a selection around that a
like so, and then I want to mask that.
| | 04:06 |
I'm going to hold down the Option or
Alt key and click on Add Layer Mask.
| | 04:11 |
So I now have that layer
mask on one layer of my type.
| | 04:17 |
And you can probably guess
what I'm going to do next.
| | 04:20 |
I'm going to come to the layer beneath
and I'm now going to create a mask for
| | 04:25 |
the rest of the type.
| | 04:26 |
Just need to get in close and make
sure I've done that accurately. Okay.
| | 04:33 |
And Option or Alt and click on Add Layer Mask.
| | 04:39 |
So things don't look any different now, but
we now have these two pieces of type separated.
| | 04:43 |
I'm just going to label them so that
I don't get confused, which I do have
| | 04:47 |
atendency to do sometimes. All right.
| | 04:50 |
So there's my a on a layer by itself and
I now want to press Cmd+ or Ctrl+T
| | 04:58 |
so that I can just do a
rotation on this. All right!
| | 05:03 |
Now what's getting weird here is that
it's showing us the whole of that type
| | 05:08 |
even though I've masked it.
| | 05:09 |
And that is just not right
and it shouldn't be doing that.
| | 05:14 |
So I realize at this point what I'm
going need to do is delete that mask
| | 05:20 |
and we're just going to have to rotate this
looking only at the a, if that's possible.
| | 05:28 |
So try and ignore all the other letters;
| | 05:30 |
we're just looking at the a. I just want to
get the angle of the a a little bit better.
| | 05:35 |
All right.
| | 05:40 |
And then having done that, now
I need to create the mask. All right.
| | 05:47 |
So there's my a. I'm not entirely sure
I like its position, so I'm going to try
| | 05:54 |
and just nudge it down a fraction.
| | 05:56 |
But when I do that, we lose that mask
and I've just figured out the problem.
| | 06:02 |
What I need to do, I think, is unlink
the type from its layer mask and I'm now
| | 06:07 |
going to try making sure I'm
on the right path of the layer.
| | 06:12 |
I'm now going to, there we go, okay,
so now I can just move that by itself.
| | 06:18 |
It looks like I may have a little bit of stray.
| | 06:23 |
Oh, no, that's okay.
| | 06:24 |
As long as I position it right there, it's fine.
| | 06:29 |
So that's my newly-rotated a and that
is how it would have looked without
| | 06:35 |
me going to that trouble.
| | 06:36 |
I think it's worth it.
| | 06:38 |
And moreover, the bigger point here
is that you may not always get what you
| | 06:41 |
want from the warping effects, so you may
have to warp different letters independently.
| | 06:49 |
Having done that, what I'm now going
to do is, since I want to apply effects
| | 06:54 |
to these as one element, I'm now going to
select them both and convert them to a Smart Object.
| | 07:04 |
Then what I want to do is I want to
apply a shadow to this Smart Object,
| | 07:09 |
so I'm going to come and apply a Drop Shadow.
| | 07:11 |
And here's another area where we're not
really going to get exactly what we want.
| | 07:16 |
I'm going to turn off Global Light
because I don't want to affect the shadow
| | 07:20 |
that's already applied to the word Restaurant.
| | 07:23 |
That's independent.
| | 07:24 |
And I want this to be a hard shadow, so
I'm going to put the Opacity up to 100%
| | 07:31 |
and the Blend Mode to Normal and I'm
going to take the Size down to 0 and
| | 07:36 |
I will increase the Spread.
| | 07:38 |
Then I will come and actually move
the shadow where I want it to go.
| | 07:42 |
So I can now just click and drag and
pull that away from the type. All right.
| | 07:47 |
That's okay and that's about
as far as I can take it here.
| | 07:52 |
But what I don't like about this shadow
is that you can see I've now opened up
| | 07:57 |
some space between the letters and the shadow
itself, and I now want to fill in that space.
| | 08:04 |
In fact, I think I did just offset it a
little bit too much, so I'm going to go
| | 08:09 |
back and move it slightly closer. All right.
| | 08:12 |
Let's say about there.
| | 08:15 |
So in order to do that, I'm going to
need to separate the shadow from the type.
| | 08:22 |
And to do that, I will right-click on
the fx badge and choose Create Layer,
| | 08:28 |
and it's going to warn me, but I don't care.
| | 08:32 |
I'm then going to click on the Shadow layer.
| | 08:36 |
So it's now created a whole
separate layer that is just the shadow.
| | 08:40 |
I'm clicked onto that and I'm going to
choose my Brush tool and I want to make
| | 08:45 |
sure that my brush is at a Hardness of 100%
and that my color is black and then
| | 08:54 |
I'm just going to paint in those areas.
| | 08:56 |
And because I have the yellow type on
top of it, it's effectively like I'm
| | 09:02 |
painting behind the yellow type.
| | 09:06 |
I'm going to continue this in the next
movie, but just to conclude what we've
| | 09:09 |
done here, we've moved the letter
shapes inside the counter of the C.
| | 09:16 |
We've tracked it, we've kerned it, we've
warped it, and then we did a custom warp
| | 09:21 |
to make sure that we get just the right
angle on that letter a which was bothering
| | 09:25 |
me about the generic flag warp that we used.
| | 09:29 |
Then we have applied a Drop Shadow,
separated the shadow from the type,
| | 09:35 |
and painted in the spaces between
the type and the shadow itself.
| | 09:39 |
| | Collapse this transcript |
| Creating a nostalgic logo: part two| 00:00 |
All right! Continuing with our logo, just to
remind you where we're going with this,
| | 00:05 |
here is the finished version.
| | 00:08 |
So what I'd like to do next is add
the gradient to the type and also put
| | 00:13 |
a stroke around the type.
| | 00:15 |
The type, you will recall, is made
up from two type layers that have
| | 00:19 |
been converted to a smart object.
| | 00:21 |
And it's to this smart object
that I'm going to add the stroke.
| | 00:26 |
So this is really easy.
| | 00:27 |
Just double-click to the right of its
name and we'll choose Stroke and 3 pixels
| | 00:33 |
in this context is going to work just fine.
| | 00:35 |
And I think I want it to be
black, so that's all good.
| | 00:39 |
What won't work applied as a
layer effect is a gradient overlay.
| | 00:44 |
And it won't work because the type has
been warped and the gradient is not going
| | 00:50 |
to honor that angle of warp.
| | 00:53 |
And I tried a few other approaches.
| | 00:56 |
I tried putting a gradient on a
separate layer and then warping it to the same
| | 01:00 |
degree and that didn't really work,
so I'm just going to do this.
| | 01:05 |
I'm going to create a new layer
above this, I'm going to clip the layer
| | 01:12 |
to the type, and then I'm going to
choose the color that I want to work with
| | 01:16 |
which is this brown.
| | 01:17 |
Make sure I have a brush
that is completely soft.
| | 01:22 |
And I'm going to increase the Size
of that brush and I'm going to do
| | 01:28 |
nothing more than this.
| | 01:30 |
I'm just going to swipe over the
bottom portion of those letters.
| | 01:34 |
So I'm literally just painting on that
gradient which I think looks rather nice.
| | 01:41 |
Of course, without clipping this to the
layer beneath, if I hold down Option or Alt
| | 01:47 |
and click on the line, all
we have is that blob of paint.
| | 01:52 |
But when it's clipped, it works as a gradient
on the lower portion of the letters.
| | 01:58 |
So I'm going to come to the image and
we see immediately that there's just
| | 02:02 |
way too much color in these images,
way distracting at the moment.
| | 02:06 |
So I need to somehow integrate this
with the color scheme that I have and
| | 02:12 |
I'm going to do that using a gradient map.
| | 02:14 |
As an adjustment layer above this
layer, I'm going to choose Gradient Map.
| | 02:21 |
Now since this is in its own folder,
I don't need to worry about making it
| | 02:26 |
into a clipping mask.
| | 02:27 |
What I see here is not actually what I
intended, but this might be one of those
| | 02:34 |
happy accidents that Photoshop
gives us every once in a while.
| | 02:37 |
I quite like that effect and I might
be tempted to take this in a different
| | 02:42 |
direction from the finished version.
| | 02:44 |
But here's what I had originally intended,
and that was to make a Gradient Map
| | 02:49 |
using the colors that are in the image.
| | 02:52 |
We already have the brown right there.
| | 02:54 |
So I'm going to click on the gradient.
| | 02:56 |
I'll now click on my first gradient stop.
| | 02:58 |
I'll click on the color and we'll use
the brown as the first color and then
| | 03:03 |
I'll click on the second color or the
ending color, click on the color well,
| | 03:08 |
and we want to go to the yellow.
| | 03:10 |
And that is what I was originally thinking.
| | 03:13 |
I'm not sure I like that better,
but let's carry on with it this way.
| | 03:18 |
So what we're doing is we're just
mapping all the tonal values in the image
| | 03:23 |
to this new color scheme.
| | 03:24 |
And it's applied as an adjustment layer
above the current layer, so we can turn
| | 03:30 |
it off or we can turn it on as often as we like.
| | 03:33 |
I'm now going to stylize
this image a little bit more.
| | 03:37 |
I think there's a bit too much detail
in it, so I'm going to make a duplicate
| | 03:42 |
of the image layer by pressing Cmd+
or Ctrl+J and I'll move this one up
| | 03:47 |
to the top of this layer group,
and then I'm going to desaturate it,
| | 03:52 |
Cmd+Shift+U or Ctrl+Shift+U, and
then come to my Filter menu and choose
| | 04:00 |
Stylize>Find Edges, and that's
going to give me that treatment.
| | 04:05 |
And then I will choose Multiply to
neutralize the whites on that layer
| | 04:11 |
so that we combine the sketch
outline with the image beneath.
| | 04:17 |
At this point, I'm rethinking the color
on the gradient applied to the type.
| | 04:21 |
So I'm going to choose the darker of the
two browns I have, and then choose that layer.
| | 04:27 |
And simple change here, all I need
to do is press Option or Alt and the
| | 04:32 |
Delete key but I also need to hold old down
the Shift key so that I protect the transparency.
| | 04:37 |
And I think I like that one slightly better.
| | 04:39 |
That's the before and
there's the after. All right.
| | 04:43 |
We still have some more to do to this.
| | 04:45 |
We need to add the type on a path
down at the bottom of the circle and
| | 04:49 |
we also need to put the band of transparency so
that the type reads better against the image.
| | 04:56 |
And I'll do those things in the next movie.
| | 04:59 |
| | Collapse this transcript |
| | Creating a nostalgic logo: part three | Warping type| 00:00 |
In this example, we are going to
imagine that we're creating some sort of
| | 00:04 |
hand-painted sign look, very nostalgic look,
and here is the finished version.
| | 00:09 |
Let's take a look at what we are beginning with.
| | 00:13 |
This is going to bring out several points.
| | 00:15 |
Some of which we've touched upon
already and we're going to look at some
| | 00:19 |
alternative solutions to some problems
that we've seen in the previous movies.
| | 00:25 |
How to get a good angle of rotation when
you apply a warp effect and then how to
| | 00:33 |
hand paint a shadow, and then, specifically,
for this example, what's new,
| | 00:38 |
what we haven't covered elsewhere is putting
this kind of wood-carved pattern inside
| | 00:43 |
the shape of the Type.
| | 00:45 |
So some really interesting stuff here I think.
| | 00:49 |
To begin with, we have two pieces of type
and that's the point worth mentioning.
| | 00:54 |
If we're going to use one of these warping
effects, and I cover these in my Type
| | 00:59 |
Essentials course, so I don't
want to get too much into it now.
| | 01:03 |
But if you're going to use one of these,
it's only going to work on a single line.
| | 01:07 |
Once you get some multiple lines,
it's not going to work at all.
| | 01:10 |
So for that reason we have two
separate layers of type and we have
| | 01:14 |
the same effect applied.
| | 01:17 |
Another thing to bear in mind about
this type is that I've used Adobe Caslon Pro
| | 01:22 |
Bold Italic, which is what I used
in the previous example, I guess,
| | 01:27 |
so I was on a bit of an Adobe Caslon Pro
Bold Italic roll when I was creating these,
| | 01:32 |
but this first character is a Swash character
which is part of what's making this what it is.
| | 01:39 |
So this is an open-type option and that
option is right there on the Character panel.
| | 01:46 |
So issue number 1 is how do we get a
better quality of arch to this type?
| | 01:53 |
Not that this is terrible by any means,
but when I look at it, I feel like it
| | 01:58 |
could be better, especially the r.
The r just doesn't seem like it's
| | 02:02 |
continuing the flow of the arch, and
there's not really much we can do with it
| | 02:08 |
while we retain it as Type.
| | 02:10 |
We saw one solution in the previous
example, and here's another solution.
| | 02:14 |
Let's just take a look at the
finished version. I'll zoom in.
| | 02:19 |
So this is the type as type
and here is as modified shapes.
| | 02:25 |
So I need to turn that one off so that
we don't have one on top of the other.
| | 02:30 |
But the r in this case and the es has
been slightly tweaked and looking at it
| | 02:34 |
again closely, I think I should have
tweaked the i a little bit more as well.
| | 02:39 |
Maybe we'll get around to that this time.
| | 02:41 |
So, in order to do that we need to work with
the Type as a Shape layer, rather than Type.
| | 02:49 |
As insurance, what I'm going to do is
select those two Type layers and put them
| | 02:56 |
in a group, and then I'm going to
duplicate that group by pressing
| | 03:00 |
Cmd+ or Ctrl+J, and I'll turn off the original,
then I'll come to that duplicated group
| | 03:05 |
and I will right click on the first to
them, Convert to Shape, and then I'll
| | 03:12 |
dothe same with this one.
| | 03:14 |
Now having done that, I can come and
choose my Path tool and zoom in,
| | 03:23 |
and I can now click on the path of each of these
letters and I can change its angle of rotation.
| | 03:30 |
And the changes that we want to make
here will be very subtle, but I'm going to
| | 03:34 |
press Cmd+ or Ctrl+T to put a
transformation rectangle around that and
| | 03:40 |
then just give that a slight tweak, press Return,
maybe it wants to come down a fraction as well.
| | 03:50 |
Let's get to that i that I was having a
problem with, and this is on the other layer,
| | 03:54 |
so I need to select
that layer. Click on the path.
| | 03:58 |
Make sure you have just the right
anchor points active, Cmd+ or Ctrl+T.
| | 04:04 |
So this is very subtle, it's entirely
subjective, but I think the end result is
| | 04:10 |
a slightly better one.
| | 04:11 |
Now, what I also might want to do is
apply a bit of a warp to the type as well.
| | 04:19 |
I feel like there's just not quite
enough curve on the bottom of the letters.
| | 04:23 |
So I got to do this layer by layer,
Cmd+ or Ctrl+T will put a
| | 04:29 |
transformation rectangle around that
whole layer and then I can come and
| | 04:33 |
click on my warping option and that's going
to put Bezier control points around the shape.
| | 04:41 |
And very gently, I can just round the
bottom of those letters a little bit more;
| | 04:48 |
of course, it's difficult
to know where to stop here.
| | 04:52 |
I'll now choose the layer above that,
Cmd+ or Ctrl+T, I'll come and warp
| | 04:56 |
that again, and this time I'm going
to use these upper segments. Okay.
| | 05:05 |
So some subtle tweaks there, but we get
to take control rather than just having
| | 05:10 |
to accept what Photoshop gives us, what
it interprets as a 20% arch warp, and
| | 05:18 |
I think ours is a lot better.
| | 05:19 |
So now I want to apply that wood carved
pattern within the shape of the Type.
| | 05:26 |
And there are several ways we can do
this, I mean, there's always several ways
| | 05:30 |
we can do it, so that all goes without saying,
but one way would be to come and
| | 05:35 |
apply a Pattern Overlay.
| | 05:36 |
Having made a pattern, we can then
apply it to the shape of the Type.
| | 05:41 |
I can tell you, I can spare you the trouble;
| | 05:43 |
it doesn't really work very well.
| | 05:44 |
It doesn't work very well, because
we're creating a straight line pattern, but
| | 05:48 |
we want the pattern to warp in the shape
of the Type and that won't happen when
| | 05:53 |
we apply Pattern Overlay.
| | 05:55 |
So for that reason, here's how I went about it.
| | 05:58 |
I actually went to our good friend
Illustrator and in Illustrator, I created
| | 06:04 |
just a series of straight lines alternating
between having a yellow stroke and a white stroke.
| | 06:14 |
And you can use this file, it's
called pattern.ai and it's in the
| | 06:18 |
Exercise Files, but each of these
lines has a three-point stroke;
| | 06:22 |
I'll do one in yellow, copy it down,
change it to white, select those two,
| | 06:28 |
copy those two, etcetera, until we get this.
| | 06:30 |
I initially tried it with the Blend
tool, but I was slightly off and I was
| | 06:35 |
getting some anomaly in it, so I ended
up doing it in a sort of manual way, but
| | 06:40 |
however you get there, I'm now going to
select all and copy that, and then come
| | 06:47 |
back to the Photoshop document
where I am going to paste that.
| | 06:51 |
And I'm going to paste it as a Smart Object
where it comes in looking like that.
| | 06:57 |
And then just making sure that it's positioned
over the Type, which of course it is,
| | 07:01 |
I'll press Return, and now
I want that to clip to the Type.
| | 07:07 |
So at this point, having made sure that
the warping on my two pieces of type is
| | 07:12 |
exactly how I like it, I'm going to
select those two layers, those two Shape
| | 07:18 |
layers, and I'm going to
convert them into a Smart Object.
| | 07:23 |
That way I can then clip these Vector
Smart Object layer to my Type Shape Smart
| | 07:30 |
Object layer by Alt+Clicking
on the line between them.
| | 07:35 |
Okay, well, that's so far so good, but
we see the problem that I eluded to you
| | 07:41 |
before and that is that the lines of
the pattern are Shape and the Type is
| | 07:45 |
curving, so we are going to need to
curve this Vector Smart Object the same way.
| | 07:51 |
Now, here's where I ran into a problem,
because I felt, well, I know what I'll do.
| | 07:57 |
I'll just come up to Transform and
I'll apply Warp to it, but we can't apply
| | 08:02 |
Warp to the Smart Object.
| | 08:04 |
So, reluctantly at this point,
I have to Rasterize this and then
| | 08:11 |
Cmd+ or Ctrl+T, we can apply Warp to it.
| | 08:15 |
So I'll click on my Warp icon on my
tool options and then come to my list of
| | 08:21 |
Warp Effects and I'll start out by
applying the same Warp that was applied to
| | 08:25 |
the Type, and it was an
Arch and it had a bend of 20%.
| | 08:34 |
So basically, we just want to make
sure that the lines are more or less
| | 08:38 |
following the angle of the Type and I
think I need to make a few tweaks to this.
| | 08:46 |
So rather than going with off-the-peg
arch effect, I'm going to come and choose
| | 08:54 |
a Custom Warp and that's going to
put my Bezier control handles around my
| | 09:01 |
selected object and now I can just sort
of massage this into position following
| | 09:10 |
the direction of the Type.
| | 09:11 |
Well, that's looking good,
but we're not there yet.
| | 09:19 |
Now, to make the pattern, this wood
carved pattern that we have inside that Type,
| | 09:24 |
to make it stronger, what I'm going to
do is change the Blend mode from Normal
| | 09:29 |
to Multiply and that will give me that effect.
| | 09:31 |
Now what I want to do next is make
this wood carved effect an in-line effect
| | 09:38 |
similar to what we have here, and I'm
going to achieve that by applying an Inner
| | 09:44 |
Shadow to the Summer layer.
| | 09:48 |
So there's my inner shadow.
| | 09:49 |
My inner shadow starts out as being black.
| | 09:51 |
Of course I don't want it to be black,
I want it to be white or possibly even
| | 09:56 |
a very light yellow.
| | 09:58 |
I'm going to sample the yellow from
the image itself and then desaturate
| | 10:03 |
that almost to white.
| | 10:06 |
I'll change the Blend mode to normal,
and then you can see we are starting
| | 10:12 |
to get the effect that we're after.
| | 10:13 |
I'm going to increase the size and
that's good, except that it makes the
| | 10:19 |
innershadow now a bit too soft.
| | 10:21 |
So to offset that softening, I
will increase the amount of Choke.
| | 10:25 |
And I'll just tweak the Distance a bit.
| | 10:30 |
Okay, that looks good, but I left there
to soon because one other thing I want
| | 10:37 |
to do in the same Layer Style
dialog box is also add a Stroke.
| | 10:44 |
And I can't decide whether I want the
Stroke to be black or whether I would like
| | 10:49 |
the stroke to be sampled from the
shadow area of the image in the background or
| | 10:54 |
if that's going to make it blend
in too much to the background image.
| | 10:59 |
Let's go with that, but then increase
the Saturation on that just so there
| | 11:04 |
is some distinction between the Stroke on the
letters and the Shadow on the background image.
| | 11:10 |
Finally, I want to add a Shadow to this and
I'm deliberately not adding a drop shadow here.
| | 11:17 |
In the example that I was working
with in the previous three movies,
| | 11:21 |
this same issue came up where we wanted to
hand-paint a shadow and I started out
| | 11:25 |
by applying a Drop Shadow Layer effect and
then separating it from the layer itself.
| | 11:31 |
But having already applied to Layer
effects to this layer, I don't want those to
| | 11:37 |
be disturbed, so I'm going to leave
those as they are and I'm going to go about
| | 11:41 |
in a slightly different way, and
that is just by duplicating this layer,
| | 11:44 |
Cmd+ or Ctrl+J.
| | 11:46 |
And coming to the bottommost copy of
the layer, I'll throw the effects away and
| | 11:52 |
then I'm going to Rasterize this,
and I'm going to fill it with black,
| | 11:59 |
Opt+Shift+Delete or Alt+Shift+Delete Key,
so I now have a layer that is just
| | 12:04 |
black in the shapes of the letters and
then I'm going to offset that like so.
| | 12:12 |
And then I'm going to come paint in
some of these gaps that inevitably appear
| | 12:18 |
between the letter and the shadow.
| | 12:21 |
So choosing my Brush tool and working
with a brush that is at 100% hardness,
| | 12:28 |
I'll just come and paint in those gaps,
paying particular care around the edges.
| | 12:37 |
It might even be a good idea on that
edge to not wing it with a brush,
| | 12:45 |
but rather use a Polygonal Lasso tool to
make a selection and then fill that
| | 12:53 |
selection with black.
| | 12:56 |
Okay, there's our finished result.
| | 12:58 |
So this has used what it started out
with I think a good Type choice, using an
| | 13:04 |
open-type feature, the Swash character,
then we applied a generic warping to it,
| | 13:10 |
then we customized that warp, then we
put a pattern inside the Type, then we
| | 13:16 |
customized the shape of the pattern.
| | 13:18 |
We hand painted a drop shadow and we
also added an inner shadow to affect the
| | 13:25 |
way that wood carved effect looks
inside the shape of the letters.
| | 13:28 |
And I hope you'll agree that all
that trouble has been worth it.
| | 13:33 |
| | Collapse this transcript |
|
|
7. Type in PerspectiveWarping text for dramatic perspective| 00:00 |
This chapter is about creating Type in
perspective and we're going to look at
| | 00:05 |
three different approaches.
| | 00:06 |
And those different approaches are
using a Vanishing Point Grid, using
| | 00:11 |
a Perspective Grid from Illustrator,
and in this movie just eyeballing it
| | 00:17 |
using the Warp tool.
| | 00:18 |
Now, of course perspective does play
into 3D type and I'm going to be addressing
| | 00:23 |
that in a whole separate chapter.
| | 00:26 |
This is my inspiration for this piece.
| | 00:29 |
It's from I think 1949, it says
down there from the Monza Race Track
| | 00:34 |
in Italy and I wanted to create a dramatic
perspective type treatment something like this.
| | 00:41 |
And this is what I ended up with.
| | 00:43 |
So let's look at the finished version.
| | 00:47 |
I have several layer groups.
| | 00:50 |
We'll start with the background and
then the car is made up of a stock image
| | 01:01 |
which looks like that.
| | 01:08 |
The multiplied Blending mode is applied
to it to drop out the white and then a
| | 01:13 |
filter is applied to that;
| | 01:15 |
a chrome filter to give it this effect.
| | 01:18 |
And then various Motion Blur layers
have been combined into one and combined
| | 01:24 |
with that and these also
have the Multiply Blending mode.
| | 01:27 |
So that's the car, and then we come to the type.
| | 01:30 |
So I'm going to turn off the finished
layer and turn on the beginning layer
| | 01:34 |
which I will expand and we'll deal
with these Type layers one at a time.
| | 01:38 |
So let's deal with the top one first.
| | 01:41 |
Now, throughout this course and other
courses that I've done for the lynda.com
| | 01:46 |
Online Training Library, I've tried to
restrict myself to using fonts that come
| | 01:51 |
installed with Photoshop.
| | 01:53 |
Here, I am not doing that, I'm using
a font called GreatLakes, and you can
| | 02:00 |
download this for free from
fontsquirrel.com and this is by Nick's Fonts.
| | 02:05 |
And I've chosen this because it evokes
the era and because it's big and solid.
| | 02:12 |
Now, I'm taking some liberties with it,
if we have a look at the spec that I'm
| | 02:17 |
starting at with, you can see
that I am vertically scaling this.
| | 02:22 |
I hope Nick of Nick's Fonts will forgive me
this, but I think it's necessary in this context.
| | 02:28 |
I've also applied this color to both
pieces of Type and what I want to do now is
| | 02:36 |
apply some dramatic scaling.
| | 02:37 |
And to do this, I'm going to convert
the Type to a Smart Object so that
| | 02:43 |
if we need to, we can go back and edit it.
| | 02:48 |
So I'll Convert to Smart Object and now
I can press Cmd+ or Ctrl+T, and
| | 02:55 |
I can scale it, position it.
| | 03:00 |
Now the key here is to try and do as
much before we resort to a freeform warp.
| | 03:05 |
So I'm trying to do as much as
possible with just the regular
| | 03:09 |
transformation tools, that perspective,
the distortion and the scaling,
| | 03:14 |
and of course the rotation.
| | 03:15 |
So I'll apply a little bit of rotation and
there is a fair amount of back and forth here.
| | 03:26 |
Now I'm going to add some perspective
and I'm going to that by holding down
| | 03:29 |
Cmd+Option+Shift or Ctrl+Alt+Shift
and pulling from the top, left, like so.
| | 03:42 |
Now as I'm doing this what I'm finding
is that, even though I incorporated some
| | 03:48 |
positive tracking into this type, as we
get further away in the distance, each
| | 03:55 |
of the letters are just
looking too close to each other.
| | 03:59 |
And this where the fact that this is
a Smart Object comes in really handy,
| | 04:04 |
because what I need to do is add some
more tracking, but just to the second word.
| | 04:09 |
So I'm going to double-click on the Smart
Object and then we see the Type right here.
| | 04:15 |
It's a bit difficult to read because
it's a light color against the
| | 04:18 |
checkerboard of transparency.
| | 04:20 |
It might be an idea if I can just come
and change my transparency preferences,
| | 04:26 |
so that we can see that a little more clearly.
| | 04:28 |
But what I want to do is select just
that one word, then come to my character
| | 04:33 |
panel and I'm going to increase
the amount of tracking there to 200.
| | 04:37 |
Now that creates a problem for myself
in that working with a Smart Object like this,
| | 04:45 |
when we do that, the size of the
canvas does not increase to accommodate
| | 04:50 |
the extra width of that Type, so I am
now going to need to go to the Image menu
| | 04:55 |
and to Canvas Size, I want it to
grow from the left and I'm just going to
| | 05:02 |
estimate how much it needs to grow;
| | 05:04 |
let's say 2100 pixels.
| | 05:06 |
Yeah, that's all in there.
| | 05:08 |
If that were too much, I was expecting
it to be more than that, we could always
| | 05:12 |
apply some cropping to it,
but that looks just about right.
| | 05:16 |
So I'm now going to save my Smart Object,
Cmd+ or Ctrl+S and we'll come back
| | 05:21 |
here where we now see that tracking
applied and we can read those letters
| | 05:27 |
even as they recede into the distance.
| | 05:29 |
Now, that's close to what I want, but
I'm now going to need to apply a little
| | 05:37 |
bit of warping to it, just to give it a curve.
| | 05:39 |
So I'll come and click on my Warp tool
and very tentatively, because it's very
| | 05:47 |
easy to go wrong here.
| | 05:49 |
I'm going to get this Bezier control
handles and just add some curve to the
| | 05:55 |
top and to the bottom.
| | 05:56 |
All right, I'm going to
quit while I am ahead there.
| | 06:04 |
Now I need to do the same
thing to the bottom piece of Type.
| | 06:09 |
So it's converted to Smart Object, transform it.
| | 06:15 |
I'll start out by rotating, then scaling,
I'll zoom out a bit and when I've got
| | 06:26 |
it to about here, I'm now going to
apply some perspective, remember that's
| | 06:33 |
Cmd+Option+Shift and pull
from one of these corners. Okay.
| | 06:41 |
And when I do that, I run into the same
problem that I ran into up here and that
| | 06:47 |
is that with the characters are a bit
too close to each other, as the type
| | 06:52 |
recedes into the distance.
| | 06:55 |
So I will go and edit that Smart Object.
| | 07:01 |
In this instance, I'm going to select
those last two words and I'll increase
| | 07:07 |
the tracking to 150 and then just the last
word where I will increase the tracking to 200.
| | 07:19 |
And then we will also need to increase
the Canvas Size, again, I'm just going
| | 07:26 |
to estimate it, and that's a little bit
too big as it is, I'll press the C key
| | 07:36 |
to go to my Crop tool, and just
crop in on the right-hand side.
| | 07:40 |
So I can now save that
and that updates in place.
| | 07:46 |
So now I will apply my warping, Cmd+T
to go to my transform and come and
| | 07:53 |
click on my warp option. Okay.
| | 07:57 |
Now I'd like to apply my gradients to
the type and if you remember the original,
| | 08:05 |
we have something of a yellow gradient
across the bottom portion of the top deck
| | 08:11 |
of type and then across the top
portion of the bottom deck of type.
| | 08:15 |
So I'm going to simulate
something along those lines.
| | 08:19 |
I'll create a new layer above my layer of type;
| | 08:23 |
I'm going to clip that
layer to my layer of type.
| | 08:26 |
I'll choose a yellow color and then
I'm going to choose Paintbrush, and
| | 08:33 |
I'm going to start out with a spatter brush.
| | 08:40 |
Increase my size as necessary, let's
start off with 100 pixels and I want to
| | 08:46 |
be painting, at a reduced opacity so that
I'm forced to build this up in multiple swipes.
| | 08:52 |
I'm going to get this sort
of rough look to the edges.
| | 09:02 |
Now I'm going to do the same thing to
the second layer of type, create a new
| | 09:08 |
layer, clip that to the layer
beneath, and in this case, paint above.
| | 09:14 |
I now would like to give the type some texture.
| | 09:22 |
Staying where I am, I'm going to
create another new layer and I want this new
| | 09:26 |
layer also to be clipped to the Type layer.
| | 09:30 |
So as I create the new layer, I
will hold down the Opt or the Alt key.
| | 09:35 |
That gives me the chance to check that
checkbox and I'm going to call this noise,
| | 09:41 |
I'm going to make its Blend mode,
Overlay and I will check Fill with
| | 09:46 |
Overlay-neutral color.
| | 09:50 |
And then I'm going to come to the
Filter menu and choose Noise, Add Noise,
| | 09:54 |
and I'm going to add this amount of
Noise, about let's say I'll run it off to
| | 10:00 |
25% Uniform, Monochromatic noise, and
that's just going to add in some grain to that.
| | 10:08 |
I want the same thing for the top
layer of Type, so I'm literally just going
| | 10:14 |
to hold down the Opt or Alt key and drag that
layer into position and I might also need to;
| | 10:21 |
as I do in this case;
| | 10:23 |
clip it to the layer beneath. Okay.
| | 10:27 |
So my next step is to make it look like
the car is actually going over the Type.
| | 10:32 |
And thankfully, I have an Alpha Channel
saved which I'm going to go and activate
| | 10:39 |
and then I will come to my layers.
| | 10:42 |
And what I'm going to do here is I'm
going to apply this as a Layer Mask to the
| | 10:48 |
layer group, like so, except that was
the wrong way around, so I'm going to
| | 10:55 |
invert the mask, Cmd+ or Ctrl+I,
and we get that result.
| | 11:01 |
And now I'm thinking, well, I like the
way the type looks, but I'd like it to be
| | 11:06 |
a little bit more impactful, so I'm just
going to duplicate that layer group and
| | 11:12 |
then set Blending mode of the copy to Multiply.
| | 11:17 |
If I wanted to I could just adjust
the percentage and dial it down a bit.
| | 11:22 |
One more thing, I want that sketchy
quality that we had in the original to be
| | 11:29 |
superimposed on the Type and I have
here this layer, it's called edges.
| | 11:34 |
I achieved this by using the Fine
Edges Filter and setting the Blend mode
| | 11:38 |
of this to Multiply.
| | 11:39 |
All I need to do is drag that up above
and you can see that it really nicely
| | 11:46 |
integrates the
illustration with the Type itself.
| | 11:49 |
So I hope that's given you some ideas
for what you can do using the Warp tool to
| | 11:54 |
create dramatic perspective type.
| | 11:56 |
Remember, do work with Smart Objects;
that way, you give yourselves a whole
| | 12:00 |
lot more options.
| | 12:02 |
| | Collapse this transcript |
| Using a Vanishing Point grid| 00:00 |
Here, we're going to use a Vanishing
Point Grid to create perspective for our Type.
| | 00:05 |
This is a very easy and very
effective technique I think.
| | 00:09 |
So, what I have is this picture of
a the Bay Bridge to which I have applied
| | 00:15 |
Gradient Overlay to give a vignette,
and then I have a Color Balance Layer
| | 00:19 |
on top of that to create this sort of
pseudo-Instagram look and then we have our
| | 00:25 |
piece of type like so.
| | 00:26 |
We're going to begin by turning off the
Finished Layer of Type, and then turning
| | 00:32 |
on this Beginning layer of Type.
| | 00:35 |
I'm using Gotham Black here and I'm
using Gotham Black because it's very solid
| | 00:41 |
and it stands up well to the kind
of abuse that I'm about to put it to.
| | 00:47 |
If you don't have Gotham Black, then
just use something that's big and chunky,
| | 00:52 |
I would suggest maybe Myriad Pro
Bold or Black if you have it.
| | 00:56 |
First thing I need to do is
make a selection of the type.
| | 01:00 |
So, I'm going to Cmd+Click
on there, Cmd+C to copy it.
| | 01:04 |
I'm now going to turn off that type layer,
and I'm going to deselect my selection;
| | 01:08 |
Cmd+D. I need to make a new blank
layer for my perspective type to go to
| | 01:15 |
and my perspective type is
necessarily going to be rasterized.
| | 01:19 |
I'm then going to come to my
Filter menu, and choose Vanishing Point.
| | 01:24 |
I already have this
Vanishing Point Grid established.
| | 01:27 |
If I didn't, let's say I didn't, I'll just
delete that one, and we'll create a new one.
| | 01:32 |
I'm going to create my grid like so,
following the line of the bridge.
| | 01:41 |
So this technique obviously works
well in an image that has an already
| | 01:46 |
dramatic perspective;
| | 01:47 |
something that you can really easily
create your Vanishing Point Grid to.
| | 01:52 |
Now that I have my grid, I'll press
Cmd+ or Ctrl+V and that will paste
| | 01:57 |
my text into my scene;
| | 01:59 |
it's now a floating selection.
| | 02:01 |
When I drag it down, it ends
up inside my perspective grid.
| | 02:09 |
I might need to just transform it somewhat,
because you can tell at the moment,
| | 02:15 |
it's chopping off the tops
and the bottom of the letters.
| | 02:19 |
This is a little bit unwieldy, but if I
press the T key, that brings up my Free
| | 02:24 |
Transform, I can hold down my Shift
key to scale that proportionally, and
| | 02:33 |
a little bit of back and forth with that.
| | 02:36 |
Okay, so now we see both tops and
bottoms of the letters, at this point,
| | 02:41 |
I'm going to take a bit of a liberty with
the text and pull it out just so that
| | 02:46 |
we can position it in a way that's
going to work with whatever is in the
| | 02:50 |
background, I think about there.
| | 02:52 |
Then I'll press Return.
| | 02:53 |
So, my perspective type is now going to
end up on its own separate layer, and
| | 03:00 |
I can then, should I choose, reduce the
opacity of that just slightly, so we bring
| | 03:06 |
back some of the texture
from the original image.
| | 03:09 |
So just to run you through those
steps again, you start out with a piece of
| | 03:12 |
Type, you select it, you copy the Type,
you go to Vanishing Point, make your grid,
| | 03:17 |
paste into the grid, transform it
as necessary, and then, according
| | 03:25 |
to your taste, just reduce the opacity
of the layer that the Type ends up on.
| | 03:31 |
| | Collapse this transcript |
| Combining Illustrator perspective grids| 00:00 |
In this third look at working with
Perspective Type, we're going to call upon
| | 00:06 |
Illustrator's Perspective
Grid tool to help us out.
| | 00:08 |
We have this simple design but I think
it really works because we have these
| | 00:12 |
colliding perspective planes.
| | 00:15 |
If we take a look at the layers, we can
see that it begins with just a gradient
| | 00:19 |
fill layer on top of which we have one
piece of type on one perspective plane,
| | 00:23 |
and another overlapping that
on another perspective plane.
| | 00:28 |
On top of the whole thing, we have some texture.
| | 00:33 |
I'm going to turn these layers off and
now switch to Illustrator where we have
| | 00:37 |
this document, perspective type,
two pieces of type.
| | 00:40 |
I'm now going to come and
turn on my Perspective grid.
| | 00:44 |
I want one of these pieces of type to
go into the blue plane on the left,
| | 00:49 |
and the other to go into the
orange plane on the right.
| | 00:51 |
Before I do that, I'm going to make
these planes a bit more dramatic by pulling
| | 00:57 |
on this handle here to
move down the vanishing point.
| | 01:02 |
Then, I will switch to my Perspective
Selection tool and select this first piece
| | 01:08 |
and drag this into the plane on the left,
then come and select the second piece,
| | 01:14 |
use the widget over here to indicate
which plane I want to work with.
| | 01:19 |
So, I'm choosing the right grid or the
orange plane and then drag that down to
| | 01:24 |
the plane on the right.
| | 01:26 |
This effect really depends upon these
two planes overlapping for the drama.
| | 01:32 |
So, I'm going to pull that plane
out like so to make it overlap.
| | 01:38 |
Now, what I want to do is copy these two
pieces of type as independent smart objects.
| | 01:44 |
So with this first one selected,
Cmd+ or Ctrl+C, I'll now move back to
| | 01:50 |
Photoshop, and I will
paste it as a smart object.
| | 01:55 |
Now, I'll switch back to Illustrator
and select the other plane, Cmd+ or Ctrl+C,
| | 02:00 |
back to Photoshop where I need
to first of all press Return to accept
| | 02:06 |
the placement of that first one,
and then paste the second one,
| | 02:09 |
Cmd+ or Ctrl+V again as a smart object.
| | 02:12 |
So, we now have these two independent
smart object layers, and we can arrange
| | 02:20 |
these as we see fit.
| | 02:22 |
I have my Auto Select set to Layer, so
I'm going to Cmd+Click on this one,
| | 02:29 |
and just position that like so, and I
can select the two of them, and I'm going
| | 02:36 |
to put them in a layer group, Cmd+
or Ctrl+G because I'd like to make sure
| | 02:40 |
that the group is horizontally
centered on the page;
| | 02:44 |
Cmd+A to select my whole canvas
and then I can come and click on the
| | 02:50 |
horizontal centering icon which actually
looks now off center, even though it is
| | 02:56 |
actually centered but it doesn't
look right because of the shape of these
| | 03:01 |
different type blocks.
| | 03:03 |
While that seem like a good idea at the
time, I'm now going to shunt that over a
| | 03:07 |
bit so that the phrase on the left
occupies this blue area of the gradient.
| | 03:14 |
Okay, let's now experiment with the
different colors of our two type layers.
| | 03:20 |
So which is which, that's the one on the left.
| | 03:23 |
I'd like this to be in a brown color,
and since I'm working with a Vector Smart
| | 03:28 |
Object, no matter what color I choose,
using the conventional way of coloring
| | 03:33 |
a layer isn't going to work;
| | 03:35 |
so if I press Option or Alt, and my
Backspace or Delete key, nothing happening there.
| | 03:41 |
What I need to do is apply the color as a
Color Overlay on one of my layer effects.
| | 03:46 |
So I'm going to double-click to the
right of the layer name, Color Overlay,
| | 03:51 |
and I'd like this to be a brown.
| | 03:53 |
Right now, I'll do the same with the other.
| | 04:01 |
This time I'm using a red and now I'm
going to reduce the opacity of that one.
| | 04:10 |
To complete this, it's just a
repetition of things we've done already,
| | 04:14 |
but we also need an inner shadow and a
drop shadow on both of these layers.
| | 04:19 |
Just to speed things up, I'm going to
borrow those from the finished version.
| | 04:23 |
I'm just going to hold down the Option
or Alt key, and drag the drop shadow,
| | 04:28 |
and the inner shadow, and then I'll repeat
that, and I think we need to make the
| | 04:39 |
whole thing a bit bigger.
| | 04:40 |
So I'm working on the group, Cmd+ or Ctrl+T,
I'd like to scale it from its
| | 04:45 |
center point, so I'm
holding down Option and Shift.
| | 04:50 |
While this needs some refinement in
terms of the colors used, the opacity,
| | 04:54 |
and the exact positioning, we essentially
have the technique which is preparing our
| | 05:00 |
perspective grid in Illustrator, and
then copying two separate pieces of type
| | 05:07 |
that come into Photoshop
as Vector Smart Objects.
| | 05:10 |
| | Collapse this transcript |
|
|
8. Working with 3D TypeCreating a basic 3D type design| 00:01 |
For our first foray into 3D type,
I'm going to recreate this;
| | 00:06 |
loosely inspired by a certain film studio.
| | 00:10 |
So, this is the finished
result and here's where we begin.
| | 00:15 |
If I expand that Begin layer group, you
can see that we have one layer of type,
| | 00:22 |
and we have three layers
of simple vector shapes.
| | 00:25 |
Now, if we were just creating 3D from
the type, we could select the type and
| | 00:33 |
then come and click on the 3D button.
| | 00:36 |
However, in this case, we want to
incorporate into the 3D object the shape layers.
| | 00:42 |
So, we need to go about it
in a slightly different way.
| | 00:45 |
I'm going to select all five of those layers,
right-click, and convert them to a Smart Object.
| | 00:51 |
And then, I'm going to convert the
smart object into a 3D extrusion.
| | 00:59 |
When you opt for 3D, Photoshop asks
you if you want to go to the 3D workspace,
| | 01:05 |
which is a good idea, so I'm going
to say Yes, and I will also say Don't Show Again.
| | 01:11 |
So now we have our 3D panel, our 3D
Properties panel and our 3D Result.
| | 01:19 |
I'm going to make that smaller so that
we can get a better idea of our view.
| | 01:25 |
I can come and right-click on this
widget down here to change the view,
| | 01:36 |
but I can also just move the grid around to
change the view, and that's what I'm going
| | 01:41 |
to do to begin with as well as changing
the view, I'm also going to want to move
| | 01:48 |
and possibly rotate and
possibly scale the 3D object.
| | 01:55 |
So I'll now need to come and
select the 3D object using my Move tool.
| | 02:00 |
I will now zoom in a bit.
| | 02:01 |
When I select the 3D object, we have
our three arrows which indicate different axes,
| | 02:09 |
and we can move, we can
rotate, and we can scale.
| | 02:16 |
You see those tool-tips popping up as I
hover over the different icons on those lines.
| | 02:24 |
We can move, rotate, and
scale along these three axes.
| | 02:28 |
It can be very confusing, especially
when you're getting used to 3D, exactly what
| | 02:34 |
result you will get from
dragging on these lines or rotating.
| | 02:38 |
So, pay careful attention
to the tool-tip that pops up.
| | 02:42 |
I'm going to start out by moving on the X-axis.
| | 02:49 |
And then I like to move the whole thing
down a bit, so I'm going to move on the Y-axis.
| | 02:56 |
Then, I'm going to slightly rotate
around the Z-axis, and I'm also going to
| | 03:06 |
rotate a bit around the X-axis.
| | 03:12 |
If you have a slower computer,
these movements might be rather jerky.
| | 03:16 |
You can also sometimes achieve the
same thing more easily by numerically
| | 03:24 |
typing in the coordinates.
| | 03:29 |
With my 3D object selected, I can
adjust the extrusion depth, and
| | 03:39 |
I can also come and change the material
applied to the front of the 3D object
| | 03:46 |
and its extruded material.
| | 03:49 |
I'm going to start out with the front
inflation material, and I'm just going
| | 03:53 |
to change the color.
| | 03:54 |
Of these four different options here,
it's illumination that is going to have
| | 03:58 |
the most effect in this context.
| | 04:02 |
So, I want to make things brighter.
| | 04:03 |
I'm then going to select all four of
the other materials where again I will
| | 04:15 |
change the illumination property.
| | 04:20 |
Just to finish this up, I'm going to
add my spotlights which have nothing to do
| | 04:25 |
with how 3D is created, and
so I'll be brief about this.
| | 04:28 |
I'm going to use my Line tool,
creating a path, and draw myself some lines.
| | 04:40 |
I'll then make sure that Y is my
foreground color, choose my Brush tool just to
| | 04:48 |
make sure I have a soft brush.
| | 04:51 |
Now, the size is obviously going to
vary according to the size of your canvas.
| | 04:55 |
But, in this case, I'm going to go with
150 pixel brush, come to my Paths panel
| | 05:01 |
where I'll now save that path, right-
click on it, and then stroke that path.
| | 05:09 |
But, before I can do that, I will
need to create a new layer for the
| | 05:13 |
path strokes to go on;
| | 05:16 |
stroke the path with the brush. Interesting!
| | 05:21 |
I must have had a calligraphic brush
which was not what I had anticipated,
| | 05:26 |
but I'm going to call that one a happy accident.
| | 05:28 |
You see how it tapers towards the bottom.
| | 05:32 |
Then, I can blur that somewhat, maybe
not quite as much as that, and I can
| | 05:44 |
also adjust the Opacity.
| | 05:48 |
One final finishing touch;
| | 05:50 |
I'm just going to add a new layer above
my 3D layer, which I will change to the
| | 05:59 |
Overlay Blend Mode, and fill
with Overlay Neutral Color.
| | 06:07 |
I'll then come to the
Filter menu; Noise>Add Noise.
| | 06:12 |
I'll just select some
texture in the letters themselves.
| | 06:14 |
I'm going to add that much noise,
Uniform, Monochromatic, and so that,
| | 06:23 |
that doesn't also affect the background.
| | 06:25 |
I'm going to click that layer of
noise to the 3D layer beneath,
| | 06:33 |
and there's our finished result.
| | 06:35 |
| | Collapse this transcript |
| Illustrating a concept with 3D| 00:00 |
I'm going to illustrate this
simple concept using 3D type.
| | 00:04 |
You can see that I'm already in my 3D workspace.
| | 00:08 |
This is the finishing point and if we
turn off the finish layer group and then
| | 00:13 |
turn on the begin layer group,
here's what we start with.
| | 00:18 |
To begin, I'm going to select the
word BUTTER and convert that to 3D.
| | 00:26 |
I'm then going to zoom out and adjust my view.
| | 00:30 |
Now 3D type is live type.
| | 00:35 |
If you want to edit the type, you have to
go to the Smart Object that is the 3D layer.
| | 00:41 |
So to do that I'm going to select the
3D layer and then come down to the bottom
| | 00:49 |
of the Properties panel
where I can click on Edit Source.
| | 00:53 |
This brings me to a wholly separate
document that is now when I change it and
| | 00:58 |
save it will update in the
context of the original illustration.
| | 01:02 |
So here I realize that I actually
want to use our condensed type.
| | 01:06 |
And I want that to be substantially larger.
| | 01:10 |
So the point there being your type does
remain editable, but in a separate document.
| | 01:15 |
I'm now going to save that, come back
to the original and you can see that
| | 01:20 |
it's updated in place.
| | 01:21 |
Now I'm going to switch to the KNIFE layer
and I'm going to convert this to 3D as well.
| | 01:30 |
So we have two different 3D planes and
I'm just going to now move this around.
| | 01:40 |
I particularly want to rotate it
around the Y-axis possibly scale the whole
| | 01:46 |
thing uniformly and move it down so
that it slices through the BUTTER.
| | 01:54 |
It would help if it were
top of the BUTTER layer.
| | 01:58 |
So I'm going to move its layer.
| | 02:00 |
Move the Y-axis at which point I
seem to be running out of canvas.
| | 02:08 |
So I'm going to come to my Image menu.
| | 02:10 |
I'm going to add some and I want
to make sure that's added in black.
| | 02:15 |
I think this time I'm going to
have the KNIFE coming from below.
| | 02:22 |
Yeah, that's going to work better.
| | 02:29 |
So there is a certain amount of
back and forth with moving along the
| | 02:32 |
different planes, rotating along the
different planes and you've also seen
| | 02:36 |
me scale uniformly.
| | 02:38 |
Now what I'm going to do though is
something that we haven't yet done and that's
| | 02:43 |
to return to the BUTTER layer where I
would like to split the extrusion, because
| | 02:49 |
I want the words to be sliced in half
by the word KNIFE and for the TER, the
| | 02:57 |
last three letters, to take on a
slightly different angle from the first three.
| | 03:04 |
And that's not going to be possible at
the moment until we come to the 3D menu
| | 03:08 |
and choose Split Extrusion.
| | 03:11 |
It's going to warn us; if we
have any animation we will lose it.
| | 03:15 |
We don't, so it's irrelevant for us.
| | 03:18 |
But having split the extrusion
we can now choose each of those
| | 03:22 |
letters independently.
| | 03:25 |
I'm going to hold down the Shift key as
I select those three and then move those
| | 03:34 |
along the Y-axis and then rotate them
and then move them down along the Y-axis,
| | 03:44 |
something like that.
| | 03:46 |
Now, I will come and hold down the
Shift key and select; I am going to put
| | 03:54 |
the wrong thing there.
| | 03:55 |
It's kind of fiddly getting exactly
what you want, but I want the first three
| | 03:59 |
letters now, and I'm going to move
those further away and we'll rotate those
| | 04:08 |
a bit as well, so we get the impression
of the word actually being cut in two.
| | 04:13 |
Now I'm going to come back to my
KNIFE where in light of those changes,
| | 04:22 |
I'm going to make a couple of adjustments
not least of which is, I don't want as
| | 04:29 |
its much extrusion on that word as I
have on the other, and now I need to apply
| | 04:37 |
a simple Layer Mask.
| | 04:39 |
I'm going to add a layer mask to the
KNIFE layer and then I will Cmd+Click
| | 04:45 |
on the BUTTER layer so that we load the
selection of that layer and I will have
| | 04:50 |
that selection function as a mask for me,
so I can now choose my Brush tool and
| | 04:57 |
paint in black to create
a simple effect like that.
| | 05:10 |
And finally, I think I will just now
like to crop the image, because we added
| | 05:16 |
some extra canvas, which we no
longer need and thus I've finished
| | 05:24 |
Illustration using 3D type, but the
punch line of this one really has been
| | 05:29 |
that Split Extrusion, allowing us to
work on the two separate parts of the
| | 05:35 |
word BUTTER independently.
| | 05:38 |
| | Collapse this transcript |
| Using a Vanishing Point grid with 3D type| 00:00 |
This example of 3D type is going to
introduce us to applying texture to the 3D text.
| | 00:06 |
We'll also be working again with split
extrusion and we'll also be working with
| | 00:11 |
a vanishing point grid.
| | 00:13 |
So here's the finished version.
| | 00:15 |
Let's turn that off.
| | 00:16 |
Here's our beginning version.
| | 00:20 |
Step #1; we're going to convert the type to 3D.
| | 00:27 |
Step #2; we want this now to have the
perspective of the vanishing point grid.
| | 00:32 |
So I'm going to turn off that Type
layer and come to my background layer and
| | 00:38 |
come to my Filter menu and Vanishing Point.
| | 00:42 |
Here's the grid I have already defined.
| | 00:44 |
Let's delete that and create a new
one just by clicking four times to
| | 00:51 |
indicate the perspective.
| | 00:52 |
Now I'll turn my 3D layer back on.
| | 00:58 |
I'll come down to this widget in the
bottom left hand corner, I'll right-click
| | 01:01 |
on that and as I pointed out before
we can use anyone of these pre-defined views,
| | 01:05 |
but what we want in
this case is vanishing point.
| | 01:15 |
But before I do that I'll set it
back to the default and then choose
| | 01:20 |
Vanishing Point Grid.
| | 01:22 |
So now my type conforms to the
perspective that I set up with the vanishing
| | 01:26 |
point grid because my type is rather
large, I'm going to zoom out and then
| | 01:34 |
select it and I'm going
to move it on the X-axis.
| | 01:39 |
Next thing I want to do
is apply the texture to it.
| | 01:42 |
So I'm going to start out with my front
inflation material and choose Load Texture.
| | 01:51 |
I'll be using this one wood.jpg.
| | 01:54 |
And then I'm going to repeat that for the
Front Bevel, the Extrusion Bevel, etcetera.
| | 02:05 |
Unfortunately, I cannot hold down
the Shift key and select Multiples.
| | 02:11 |
I need to do it one by one.
| | 02:13 |
Okay, having done that I'm then going
to select my 3D type object, and since
| | 02:20 |
I want to work on the letter independently,
I'm going to come to the 3D layer and
| | 02:25 |
choose Split Extrusion.
| | 02:30 |
I can now click on each of these letters
and position them where I want in the scene.
| | 02:36 |
So starting with the W, I want to move
it along the Z-axis, so that we move it
| | 02:46 |
back and then I want to move it on the
X-axis so that I can move it to the side
| | 02:54 |
there where it will ultimately
be positioned behind that tree.
| | 02:57 |
I'll choose my next piece of type
and pretty much do the same thing.
| | 03:03 |
Move along the Z-axis and then the X-axis
and in this case I'm also going to get
| | 03:14 |
a small amount of rotation and
the next and finally the D. Okay.
| | 03:25 |
Now in order to hammer home my pun, I'm also
going to make the WOOD hide behind the trees.
| | 03:32 |
And I'm going to do that using a Channel mask.
| | 03:36 |
So if we go to the Channels panel you can
see that I have Alpha 1 already prepared.
| | 03:42 |
I'm going to Cmd+ or Ctrl+Click
on that which incidentally I created by
| | 03:49 |
blending the green channel with itself,
using the calculations feature.
| | 03:56 |
With that now as an active selection,
I will come to the 3D type layer and
| | 04:03 |
I'm going to make that into a Layer Mask
and it's now a question of just refining
| | 04:11 |
that layer mask, painting it black and
white where appropriate, to bring back
| | 04:21 |
more or hide more of the letters.
| | 04:23 |
Okay, when I've got that how I like it,
that's going to require a little bit
| | 04:31 |
more work, but when that's all ready,
the final step would be to come to the
| | 04:38 |
3D type layer and from the bottom of the
3D menu choose Render, and that will take
| | 04:44 |
some time so you might want to schedule
in a coffee break at that point, because
| | 04:49 |
it's going to take a while to render
those 3D objects at full resolution.
| | 04:55 |
Just to sum up what we've seen here
is applying a texture to the 3D type,
| | 04:59 |
splitting the extrusion using a
vanishing point grid, and then finally,
| | 05:04 |
to integrate the 3D type into
the scene, using a layer mask.
| | 05:09 |
| | Collapse this transcript |
|
|
9. Letterpress Effects and Distress TypeCreating a simple letterpress effect| 00:00 |
I'm going to show you how to create
this letterpress effect using a combination
| | 00:05 |
of displacement, embossing and burning
the texture of the paper onto the type.
| | 00:11 |
Let's take a look at the finished
layer group and we begin with the paper
| | 00:18 |
texture into which I have
embossed the shape of the type.
| | 00:22 |
I'll then increase the contrast of that
and then we have the type layer which is
| | 00:29 |
a Smart Object, two pieces of type
combined into one Smart Object to which there
| | 00:35 |
is a displacement map applied and also
a layer mask that is the paper itself.
| | 00:42 |
And as you can see there are some
darker areas where I've burnt in the texture
| | 00:48 |
of the paper onto the type.
| | 00:50 |
I'm going to start out now by turning
on the begin layer group and turning off
| | 00:55 |
the finished layer group.
| | 00:57 |
And if we expand this we see that we have
the paper and we have two pieces of type.
| | 01:03 |
The first thing I want to do
is make the displacement map.
| | 01:07 |
So I will turn off the two layers
of type and then come to the Image menu,
| | 01:12 |
choose Duplicate.
| | 01:14 |
I'm going to Duplicate Merged Layers Only.
| | 01:18 |
I'll call this paper displacement
and then I'll save this.
| | 01:25 |
I'll now return to the work in progress
where I will turn on the type layers.
| | 01:32 |
I now need to select both type layers
and convert these to a Smart Object,
| | 01:41 |
so that we can apply a filter to the two
pieces of type at once and at the same
| | 01:46 |
time retain them as editable type.
| | 01:50 |
I'm then going to come to the Filter
menu and choose Distort>Displace and
| | 01:57 |
Displace by this amount and choose
the Displacement Map that I just made.
| | 02:04 |
And you can see that it's just going to
roughen the edges of the type according
| | 02:08 |
to the texture of the paper.
| | 02:11 |
Next I'm going to emboss
the type onto the paper.
| | 02:15 |
I will turn off the paper layer, come to
the Edit menu and choose Define Pattern;
| | 02:22 |
I can just click OK to accept that.
| | 02:25 |
Turn back on the paper layer, double-
click to the right of its name, come to
| | 02:32 |
Bevel & Emboss and then click on Texture.
| | 02:36 |
From the Pattern drop down I will choose
the pattern that I just made and that's
| | 02:41 |
going to emboss the pattern of
the type into the paper itself.
| | 02:47 |
These options can stay as they are.
| | 02:50 |
If I turn off the type Smart Object we
can see that we now have this embossed
| | 02:56 |
onto the paper that sits beneath it.
| | 02:59 |
Combine the two and we have this.
| | 03:03 |
Without that embossing it would look like that.
| | 03:10 |
My third and final step is to make a
layer mask that applies to the Type Smart
| | 03:16 |
Object and then to burn the texture
of the paper onto this layer mask.
| | 03:22 |
I'm going to need to turn off the Type
Smart Object and turn off the Effects of
| | 03:28 |
the paper, come to the Channels panel,
Cmd+ or Ctrl+Click on the RGB channel
| | 03:35 |
and that's going to load
the gray values of that layer.
| | 03:39 |
I'll now return to the Layers panel,
return to and turn on the Type Smart Object
| | 03:51 |
where I will now apply that
active selection as a layer mask.
| | 03:58 |
And you can see that when I do that
I reveal some of the texture beneath.
| | 04:05 |
If we look at that layer mask, Option
or Alt and click on it, we can see that
| | 04:10 |
it's just the texture of the paper.
| | 04:13 |
But I need that to show through
stronger on certain parts of the type.
| | 04:16 |
So I'm going to come and choose my
Burn tool and a soft brush at about
| | 04:24 |
100 pixels and Exposure of 50%.
| | 04:29 |
And I'm now just going to
brush over the areas of type.
| | 04:38 |
And the more I do that, the more we can
see the texture of the paper coming through.
| | 04:46 |
And then finally, we can turn back
on that Bevel & Emboss layer effect.
| | 04:53 |
So just to summarize what we've done
there, we made a Displacement Map of the
| | 04:56 |
paper texture, applied it to the
type to roughen the edges of the type.
| | 05:01 |
We embossed the type into the paper
itself and made a layer mask of the paper
| | 05:10 |
itself, applied to the type layer and
using the Burn tool we let the texture of
| | 05:16 |
the paper come through.
| | 05:18 |
| | Collapse this transcript |
| Creating a letterpress wood type effect| 00:00 |
Here's another really, really fun and
intuitive way of working with distressed
| | 00:06 |
letterpress effects.
| | 00:08 |
Here's my finished version, let's
just take a look at what we have here.
| | 00:12 |
This is a Vector Smart Object, so I
created this type in Illustrator where
| | 00:17 |
I converted it to Outlines and
then placed it in Photoshop.
| | 00:21 |
In Photoshop, I added the texture.
| | 00:25 |
So without the texture it would just
look like that, but with the texture it
| | 00:30 |
just acquires a whole extra
character that it didn't have before.
| | 00:34 |
Let's just take a look at the
Vector Smart Object in Illustrator.
| | 00:38 |
So I'm going to double click on the
Smart Object badge and when we get there,
| | 00:44 |
it appears there's nothing there
and that's because it's in white.
| | 00:50 |
But the color is actually irrelevant, because
we're going to change the color in Photoshop.
| | 00:56 |
In Illustrator, I'm going to switch to
my Outline View and we can see that it's
| | 01:00 |
a whole series of what are now vector outlines.
| | 01:04 |
So back in Photoshop, I'm going to
turn on my beginning layer and we have
| | 01:11 |
this layer of wood it's birch and I'm imagining
that this is the face of the type block.
| | 01:18 |
So I'm actually going to be painting in
the shapes of the letters using this texture.
| | 01:26 |
I'll turn it off for now.
| | 01:28 |
Here's the Vector Smart Object, I just do
need to turn off the Finished layer group.
| | 01:34 |
The Vector Smart Object and you can see
that it's in red and that's because it
| | 01:37 |
has a Color Overlay layer effect applied to it.
| | 01:42 |
So without that it would just look
like that, and I applied the Color Overlay
| | 01:46 |
simply by coming to my Layer Effects>
Color Overlay and I'm going with that red.
| | 01:54 |
What we want to do now is
make our own sample brush.
| | 01:59 |
But at what size do we make it?
| | 02:01 |
I'm going to make it big enough
to cover one of these words.
| | 02:06 |
So I'm going to start out by choosing
my Lasso tool, and I'm going to make
| | 02:11 |
a jagged selection.
| | 02:13 |
I'm making a jagged selection just so
that when we start stamping with this
| | 02:17 |
brush we don't see any tell-tale lines;
| | 02:22 |
we're not building up any hard edges.
| | 02:25 |
Having made that selection I will turn
my wood layer back on and then I'm going
| | 02:31 |
to copy that selection to a new layer.
| | 02:34 |
I'll now turn that off and I need to
turn off the background layer as well so
| | 02:40 |
that all we have turned on now is
that one segment of the wood layer.
| | 02:45 |
Now I'm going to apply a
threshold adjustment to that.
| | 02:48 |
And I'm going to put my slider in the
middle of these values, about there.
| | 02:56 |
Let's zoom in on that.
| | 03:00 |
Now I want to delete
either the black or the white.
| | 03:02 |
I'm going to delete the white,
so I'll choose my Magic Wand tool.
| | 03:08 |
My Magic Wand has a very low Tolerance
and I'm now going to delete the white.
| | 03:12 |
I would deselect so you
can see what were left with.
| | 03:18 |
I will now reselect that so that we can
come to the Edit menu and choose
| | 03:23 |
Define Brush Preset and I'm
going to call that birch.
| | 03:28 |
So now I'll zoom out, we can turn that off.
| | 03:33 |
We can turn our Vector Smart Object back on.
| | 03:36 |
We can turn back on our background layer
group, drop our active selection, add a
| | 03:44 |
Layer Mask to the Vector Smart Object.
| | 03:48 |
Now when I make the Layer Mask we can
either start with what we have right
| | 03:53 |
now which is our type at 100% strength
or we can start with no type
| | 03:58 |
whatsoever and then just gradually reveal it,
and I think it's more fun to do it the latter way.
| | 04:04 |
So for that reason, I'm going to hold
down my Option key when I click on
| | 04:09 |
Add Layer Mask, and that's going to use a
solid layer of black on that Layer Mask.
| | 04:15 |
Now I will switch to my Brush tool and
I'll come and choose the brush I just made.
| | 04:24 |
Now I want to be painting in white
and I want an Opacity of -- I'm going to
| | 04:29 |
go for an Opacity of 40% but I may
find that as I start working with this
| | 04:33 |
that I need to adjust.
| | 04:35 |
And I'm simply now going to start stamping away.
| | 04:38 |
And this is just fantastic the way it
gradually reveals this type and what feels
| | 04:45 |
like a really authentic way.
| | 04:49 |
And I can, if I want to, just adjust
the Opacity of my brush to make it a bit
| | 04:56 |
stronger in certain areas.
| | 05:00 |
And how far I go is really going to depend
upon just how distressed I want this to be.
| | 05:06 |
To finish up I'm going to do one more thing.
| | 05:08 |
If we look at the finished Vector Smart Object
we see that it also has an inner shadow.
| | 05:13 |
so I'm going to add an
inner shadow to mine as well.
| | 05:16 |
So I'm going to go to my
Layer Effects>Inner Shadow.
| | 05:19 |
Let's experiment with the Size, I think we want
a low-size value and 8 pixels I think is enough.
| | 05:30 |
So I'll turn that off, turn it back on
again and there is our overall effect.
| | 05:37 |
So the essence of this was making a
texture brush from our wood layer and
| | 05:43 |
then using that brush to reveal our
type by painting on our Layer Mask.
| | 05:49 |
| | Collapse this transcript |
| Creating a distressed wood type effect| 00:00 |
Here's a fantastic technique
for creating Distressed Wood Type.
| | 00:05 |
This is the finished version.
| | 00:06 |
Let's just break this down, I'm going
to come to the background layers group,
| | 00:11 |
and Alt+ or Opt+Click
on the very bottom layer.
| | 00:16 |
We have a layer of Solid Color, on top
of that we have another layer of color
| | 00:20 |
and this is showing through some texture.
| | 00:23 |
We also have a Gradient Overlay on that.
| | 00:26 |
And then we have two vector shapes
on top of that to give us those
| | 00:31 |
rectangles and some stars.
| | 00:34 |
So that's our background.
| | 00:35 |
On top of which, most
importantly, we have our Type.
| | 00:38 |
And our Type is a Smart Object to
which there is a Layer Mask with that same
| | 00:46 |
texture applied, and to which
there is a Smart Filter applied.
| | 00:50 |
The Smart Filter is a Reticulation
Filter which is giving the type its texture
| | 00:55 |
and there is a Filter Mask applied to
that, which is making sure that that
| | 01:01 |
texture is applied somewhat unevenly
to give the look of a less-than-perfect
| | 01:06 |
impression of ink on paper.
| | 01:07 |
So I'm now going to turn the
finished layer group off and turn the
| | 01:14 |
beginning layers on.
| | 01:18 |
Firstly, let's look at the Type.
| | 01:20 |
The Type is a mixture of
three different Wood types;
| | 01:25 |
Blackoak, Playbill, and Poplar.
| | 01:29 |
And I was imagining that I was an old
school, particularly impoverished printer,
| | 01:32 |
who only had three less than complete
cases of type that he had to mix and match
| | 01:40 |
to make his posters.
| | 01:42 |
And also, we can see if we look at the
Character panel, that I've applied some
| | 01:47 |
baseline shift to some of these
characters to make my baselines less than even.
| | 01:54 |
I've also applied the dark gray to the Type.
| | 01:56 |
So let's start out by
applying that filter to the type.
| | 02:00 |
I'll turn off that background texture
layer, that's a little bit distracting.
| | 02:04 |
So I'm now going to come to the Filter
menu and choose Convert for Smart Filters
| | 02:09 |
converting the Type to a Smart Object,
then return there and come to the
| | 02:14 |
Filter Gallery where I'll come to the
Sketch Group and choose Reticulation.
| | 02:19 |
If I press Cmd+ or Ctrl+0,
there we see the result.
| | 02:23 |
The Density slider, the more we move
this to the left, the more solid the result
| | 02:28 |
and the more to the right,
the more faded it becomes.
| | 02:33 |
We want a fairly solid result but we do
want to see some of the textures, so
| | 02:37 |
I'm going to go with these settings, 4, 2 and 36.
| | 02:41 |
Now, to apply that in a less than even
way, I'm going to come to the Filter Mask
| | 02:49 |
that comes with that Smart Filter and
I'm going to start out by filling it
| | 02:55 |
with black, Option or Alt and
the Backspace, Delete key.
| | 02:59 |
So we're now back to where we started.
| | 03:02 |
And then, I'm going to choose my Brush
tool, make white my foreground color,
| | 03:09 |
make sure I have a large brush and
that its Hardness is down to zero and that
| | 03:14 |
its Opacity is around the 30% mark.
| | 03:18 |
So I'm just clicking over the Type
multiple times possibly changing my
| | 03:22 |
Opacity as I do so.
| | 03:25 |
And that's what I've created on the
Filter Mask, and if we turn that off,
| | 03:32 |
that's the result that we're getting.
| | 03:35 |
If we see that before the Filter Mask
it looks like that, and with the Filter Mask,
| | 03:40 |
not a whole lot different but just
gives a little bit more character. Right.
| | 03:45 |
Next, we want to get the texture into
the Type and this is what's really going
| | 03:49 |
to make the big difference.
| | 03:50 |
So I'm going to turn on this Texture layer.
| | 03:53 |
I'm going to come to my Channels panel.
| | 03:55 |
I have an Alpha Channel down there
saved because we are going to need to use
| | 04:00 |
this texture a couple of times
in a couple of different ways.
| | 04:03 |
But to get it in the first place, I'm
going to Cmd+ or Ctrl+Click on
| | 04:08 |
the RGB Channel to get a marching ant selection.
| | 04:10 |
Then come back to my layers, turn my
Type Layer back on, turn my Texture layer
| | 04:15 |
off and apply that as a
Layer Mask to the Type layer.
| | 04:22 |
Now, perhaps I like the way that it looks.
| | 04:25 |
It is quite interesting, but I
think it needs more contrast.
| | 04:28 |
But before I apply more contrast to
that Layer Mask right there, I'm going
| | 04:33 |
to copy this Layer Mask in its
currently unaltered state down to the
| | 04:38 |
Color Fill Layer down here.
| | 04:39 |
So to do that I'm going to hold down
Option or Alt and drag that down, it will
| | 04:44 |
ask me if I want to replace it and, Yes, I do.
| | 04:48 |
And we're going to come back to this in
a minute, so I'm going to just disable
| | 04:52 |
it at the moment because it's
looking a bit visually distracting.
| | 04:55 |
I'll Shift+Click on that to disable it
and then come to the Layer Mask that's
| | 04:59 |
applied to the type, where I want to
increase its contrast, so I'm going to
| | 05:04 |
press Cmd+ or Ctrl+L
to bring me to my Levels.
| | 05:08 |
I'll get my White Point slider and
I'll bring this way over to the left.
| | 05:14 |
And you can see that according to
where you put your black, white, and gray
| | 05:19 |
point sliders, you can influence how much of
that texture you're letting into your type.
| | 05:25 |
I'm going to go with something like that.
| | 05:29 |
Now the reason I copied that down here
is because I want to do the same thing
| | 05:33 |
but I want to adjust the
levels differently down here.
| | 05:36 |
Now, when I turn this Layer Mask back
on by Shift+Clicking on it, because there
| | 05:42 |
are so many gray values in that Layer
Mask, we've seen the checkerboard of
| | 05:45 |
transparency behind this layer.
| | 05:49 |
I think what we need to do first is
create another color layer behind this so
| | 05:55 |
when we adjust the levels on the
Layer Mask we see through that, not to a
| | 06:01 |
checkerboard but to another color.
| | 06:03 |
So I'm going to come and add a Solid
Color layer and I'd like the color to be
| | 06:10 |
much like that yellow but darker.
| | 06:13 |
So I'm going to sample the yellow that's
on there and then on my color field I'm
| | 06:18 |
going to drag that down to
make it a darker version of that.
| | 06:26 |
Now that's ended up above my
layer, I need to drag it down below.
| | 06:31 |
And already we can see that that's an
improvement because we're now seeing a
| | 06:38 |
hint of that color through this Layer Mask.
| | 06:42 |
But I'd like to make the texture a
bit more pronounced, so I'm going to
| | 06:47 |
press Cmd+ or Ctrl+L, and
then we'll do the same thing but with
| | 06:52 |
slightly different values depending on how
much of that texture we want to let come through.
| | 06:59 |
I think I'm going to go with that. Okay.
| | 07:03 |
So there we have it.
| | 07:04 |
Let me just summarize.
| | 07:06 |
We started out with some
different wood types that we're mixing.
| | 07:10 |
Then we applied a filter
to it to give it a texture.
| | 07:15 |
Then we applied a Layer Mask
to it to distress that type.
| | 07:19 |
That Layer Mask we ended up using in
two different places, and that's what's
| | 07:24 |
really important here.
| | 07:25 |
It's not just that we have the
texture in the Type or in the background,
| | 07:30 |
we have that texture in the Type and the
background and we're using that same
| | 07:34 |
layer mask in slightly different ways
on the Color Fill Layer that's at the
| | 07:40 |
back and the Type layer itself.
| | 07:43 |
And just to belabor a point that I'm
sure I've made many times already, this is
| | 07:48 |
a Smart Object, so all of
that type remains editable.
| | 07:54 |
| | Collapse this transcript |
|
|
10. Type, Pattern, and ShapeUsing Liquify to create type patterns| 00:00 |
This could make your eyes hurt,
but I think it looks cool.
| | 00:04 |
It's inspired by Peter Saville's
famous artwork for the Joy Division
| | 00:08 |
album Unknown Pleasures.
| | 00:10 |
I wanted to create this pattern and then
have the type and merge from it, almost
| | 00:15 |
like the contours on a map.
| | 00:17 |
Here's my finished version.
| | 00:20 |
I'm going to turn that off and come to
the beginning version where all we have
| | 00:26 |
is a Shape Layer converted from type.
| | 00:29 |
Beneath this, I need to add the pattern.
| | 00:33 |
The pattern is derived from this tiny
document where I have two rows of black
| | 00:40 |
pixels, and three rows of white pixels.
| | 00:42 |
But, before I apply the pattern,
I found that in experimenting with this,
| | 00:48 |
it works best if the pattern is at an angle.
| | 00:51 |
Rather than make the pattern at the
angle which would involve making a large file,
| | 00:55 |
I'm going to fill my layer
with the pattern, and then rotate it.
| | 01:01 |
But, in rotating it, I'm
going to need more canvas.
| | 01:06 |
My image size is currently 5 inches by 7 inches.
| | 01:10 |
I'm working on a low resolution
here just for demonstration purposes.
| | 01:14 |
I'm temporarily going to need to
increase my canvas size to 200%.
| | 01:19 |
Then, on a layer beneath my type, I'm
going to hold down Command or Ctrl and
| | 01:29 |
click on Create New Layer to add the
layer beneath my currently selected layer.
| | 01:34 |
I'm going to fill this layer with the pattern.
| | 01:36 |
So, first of all, I need to define the pattern.
| | 01:39 |
I've made this simple document and
I'm going to come to the Edit menu, and
| | 01:45 |
choose Define Pattern, back to my document;
| | 01:51 |
Edit>Fill, and that's the pattern
that we want to use. Let's zoom out.
| | 02:00 |
Now, I want to rotate that;
| | 02:01 |
Cmd+ or Ctrl+T. And through some
experimentation, I found that an angle
| | 02:08 |
of -30 degrees works well.
| | 02:13 |
So, I'll press Return to
accept my transformation.
| | 02:17 |
I'm now going to crop my canvas.
| | 02:20 |
So, I'll go back to my Canvas Size,
and I will say that we want it to be
| | 02:27 |
5 inches by 7 inches as it was before.
| | 02:30 |
It will warn me that
clipping will occur. That's okay.
| | 02:36 |
So, there we have our pattern, and we
have our type on top of the pattern.
| | 02:40 |
What I want to do now is activate the
selection of that Type layer, but then
| | 02:44 |
turn it off, and make sure
that I am actually on Layer 2.
| | 02:49 |
I'm now going to come to my
Filter menu, and to Liquify.
| | 02:53 |
Actually, I'm missing a step.
| | 02:55 |
Before I do that, I need to expand
the selection and feather the selection.
| | 03:01 |
How would you know that?
| | 03:02 |
Well, I only know through trial and
error that it works better that way.
| | 03:07 |
So, I'm going to first of all come to
the Select menu and choose Modify>Expand.
| | 03:12 |
Now, exactly how much you expand is
going to depend upon the resolution of the
| | 03:16 |
image that you're working with.
| | 03:18 |
I think I'm going to expand by 3 pixels,
and then, I'm going to feather by 6 pixels.
| | 03:30 |
Having done that, I will then
come to the Filter menu, Liquify.
| | 03:35 |
I have my Mask turned on.
| | 03:36 |
I've changed the Mask color to Cyan.
| | 03:40 |
I'm going to work with a Brush Size at 500,
Brush Density 100, Brush Pressure 100.
| | 03:47 |
Of course, experiment with your own values.
| | 03:50 |
I'm now just going to move those shapes around.
| | 03:58 |
So, I'm just clicking on each of the
letters, and slightly moving them up to
| | 04:05 |
introduce some bridges into my selection shape.
| | 04:10 |
I could refine this by masking off certain
lines of type so that they won't affect it.
| | 04:17 |
But, I'm just showing you
the basic technique here.
| | 04:19 |
Now, is that going to be enough?
| | 04:24 |
I want this to be barely legible.
| | 04:30 |
I want to challenge my viewer here.
| | 04:32 |
They need to do a double-take in
order to be able to read it, but they do
| | 04:36 |
ultimately need to be able to read
it, so it's a fine line. All right.
| | 04:41 |
I'm going to go with those settings.
| | 04:43 |
I may have overdone it in some of the
areas, but I'm going to go for it anyway.
| | 04:50 |
Now, when I drop my selection
outline, that's the result we get.
| | 04:56 |
Now, that isn't as good as the result
that I got earlier on, but that's because
| | 05:05 |
I took more time over it earlier on.
| | 05:07 |
So, experiment with the size of
your brush and how much you expand that
| | 05:11 |
selection, but that's the basic technique.
| | 05:14 |
You fill a layer with a pattern on top
of that layer, you have your Type Layer
| | 05:20 |
and working with the selection of
that type, you then distort the pattern
| | 05:25 |
using the Liquify tool.
| | 05:27 |
| | Collapse this transcript |
| Creating a typographic wallpaper| 00:00 |
If you've ever wanted to make a typographic
wallpaper, here are some interesting tips.
| | 00:06 |
I have here my pattern tile.
| | 00:08 |
I'm creating my pattern tile in a
document that is 3,000 pixels square.
| | 00:14 |
When I make my wallpaper, I will be
repeating the pattern defined by the guides
| | 00:20 |
at 1,000-pixel square.
| | 00:22 |
I need to make my initial document
larger so that I can overlap elements that go
| | 00:27 |
to the corner of the pattern tile.
| | 00:30 |
What's interesting and what is a
challenge here is to make these elements
| | 00:36 |
seamless when we repeat the tile.
| | 00:38 |
Let's just see how this works.
| | 00:40 |
I've already made this into a pattern and
I'm now going to apply it to a blank document.
| | 00:45 |
So I'm going to create a new document
and let's have it be at a letter size, RGB.
| | 00:55 |
I'm now going to fill this
empty document with that pattern.
| | 00:59 |
I'm going to apply the pattern as a
pattern overlay which is going to give me
| | 01:03 |
the option of scaling the pattern.
| | 01:05 |
In order to use the pattern overlay, I
must first unlock the Background layer
| | 01:10 |
and then I can come to my fx dropdown.
| | 01:15 |
There it is right there.
| | 01:17 |
And let's say we'll reduce the percentage
of the pattern to 25%, and you can
| | 01:23 |
see that the pattern is seamless and
where those elements went to the corner,
| | 01:28 |
they are now creating these very interesting
overlapping, perhaps somewhat unforeseen shapes.
| | 01:34 |
So I'm now going to return
to this, my starting document.
| | 01:39 |
And I'm going to turn off the finished folder.
| | 01:42 |
Now I already have the
Ss in place on the corner.
| | 01:48 |
And when I turn on the beginning
folder, we see that I have these two other
| | 01:52 |
characters that I'm using.
| | 01:53 |
Lowercase g, and by the way, I'm using
Adobe Caslon Pro, and an Ampersand (&).
| | 01:59 |
I'm using an italic Ampersand (&) just
because it's a more abstract shape than
| | 02:04 |
the regular Ampersand.
| | 02:05 |
In addition to this, I
also want to use an ornament.
| | 02:08 |
Now Adobe Caslon Pro is an OpenType typeface.
| | 02:14 |
It has a set of ornaments with it, but
Photoshop doesn't make it very easy for
| | 02:19 |
us to find those ornaments.
| | 02:21 |
If I come to my Character panel, there
I'm in Adobe Caslon Pro, I can choose
| | 02:27 |
OpenType>Ornaments, and now I can type
to insert an ornament on my canvas, but
| | 02:35 |
I didn't know that an A was going to get
me that ornament and nor do I know that B
| | 02:41 |
will get me this one.
| | 02:42 |
So I need to see the
ornaments that I'm working with.
| | 02:46 |
And for that reason, I'm not going to
actually type the ornament in Photoshop.
| | 02:49 |
Rather, I'm going to use Illustrator.
| | 02:53 |
This is a bit of a workaround.
| | 02:54 |
This would also work in InDesign
if you're more comfortable there.
| | 02:58 |
Both Illustrator and InDesign have a
Glyphs panel, which Photoshop somehow lacks.
| | 03:06 |
So in my Glyphs panel, making sure
that I am looking at Adobe Caslon Pro,
| | 03:12 |
I'm viewing not the entire font but
rather the subset of ornaments.
| | 03:17 |
Those are the ornaments that I have.
| | 03:19 |
This is the one I want to use.
| | 03:22 |
I'll choose my Type tool, click to make
an insertion point and double-click to
| | 03:27 |
insert that ornament on my artboard.
| | 03:33 |
I may want to size it up.
| | 03:34 |
I'm currently working at 72
points, I'm going copy that.
| | 03:38 |
I'm going to switch back to Photoshop,
paste it as a Shape Layer. Okay.
| | 03:45 |
Let me just turn off my g and my
Ampersand (&) for the time being.
| | 03:51 |
I now want to scale this, Cmd+ or Ctrl+T,
proportionally holding down the
| | 03:57 |
Shift key, and I want to center it
within the center of my canvas which is
| | 04:03 |
also the center of my tile.
| | 04:04 |
Cmd+ or Ctrl+A, and I'll use
those centering alignment icons.
| | 04:11 |
Now let's work on the g. Now here's
the issue with the g. Because we are
| | 04:19 |
working with a non-symmetrical
character, it's going to be very difficult to
| | 04:24 |
make this a seamless element if it
overlaps the bounds of the pattern tile,
| | 04:30 |
which indeed it does.
| | 04:32 |
This is made more complicated by the
fact that when I select this, factored into
| | 04:39 |
the size of this g is a lot of, what
to us, appears white space above the g
| | 04:45 |
itself and below it.
| | 04:48 |
And that space is going to be incorporated
into any mathematical transformations we do,
| | 04:53 |
making our life a whole lot harder.
| | 04:57 |
So once I have the g at the right size, what
I'm going to do is convert it to a shape layer.
| | 05:04 |
If I right-click on there
and choose Convert to Shape.
| | 05:09 |
Now when I put a transformation rectangle
around a shape layer, you can see
| | 05:13 |
that the bounds of that transformation
rectangle actually correspond to the
| | 05:19 |
shape of the character.
| | 05:22 |
So I'm going to move this down and
I'm going to position it so that the
| | 05:29 |
center point of the transformation rectangle
is exactly on the center point of the guides.
| | 05:35 |
And then I'll press Return right there.
| | 05:39 |
Incidentally, I have the Multiply Blend
Mode applied to this, and I also want to
| | 05:44 |
apply the Multiply Blend Mode to my
shape so that we get some interesting
| | 05:52 |
interactions between all of
the characters as they overlap.
| | 05:57 |
So back in my g, having positioned
one, I will duplicate it.
| | 06:02 |
Duplicate the layer by pressing Cmd+
or Ctrl+J. Then I'm going to transform
| | 06:09 |
that through 180 degrees, holding down
the Shift key, and then I'm going to drag
| | 06:15 |
that up, again, positioning
its center point on those guides.
| | 06:21 |
And at this point, I might
want to test out my pattern tile.
| | 06:25 |
I can tell you that when I do, it's not
seamless and it won't be seamless until
| | 06:29 |
I reflect the g horizontally.
| | 06:34 |
Cmd+ or Ctrl+T, and I'm actually
just going to do this from the menu,
| | 06:39 |
Flip Horizontal, so that it looks like that.
| | 06:42 |
Now what I'm going to do is I'm going
to select those two layers, Cmd+ or Ctrl+J
| | 06:45 |
to duplicate them both,
Cmd+ or Ctrl+T to transform them both.
| | 06:53 |
Holding down the Shift key, I'll move
them around to there, press Return,
| | 07:01 |
and let's test out our tile.
| | 07:02 |
I won't to go too far without
making sure that it's working.
| | 07:06 |
So I have my Rectangular Marquee
tool and I've set this to a fixed size
| | 07:12 |
of 1,000-pixel square.
| | 07:14 |
I'll click to make that selection.
| | 07:16 |
I will define that as a pattern, then
come to the document I was using before,
| | 07:24 |
and we'll change the Pattern Overlay
to now use the one that I just made.
| | 07:33 |
And yes, that's working. Good.
| | 07:38 |
And maybe that's all we need, but I think we
need something else going on in all of this space.
| | 07:45 |
So I'm going to come back to the
wallpaper and it's into that space that I'm
| | 07:49 |
going to add the Ampersand (&) character.
| | 07:51 |
So let's turn that on.
| | 07:53 |
And before I start working on that, I'm
going to group all of the gs together
| | 08:02 |
inone photo which I will label.
| | 08:06 |
Now we'll come to the Ampersand
(&), let's just turn the gs off.
| | 08:11 |
As I did with the gs, I'm going to
convert this to a Smart Object, making it
| | 08:16 |
easier to transform.
| | 08:18 |
I'm going to scale it down, put it in position.
| | 08:26 |
I'm rotating it through 45
degrees, I'm scaling it down.
| | 08:30 |
Now because this is a non-symmetrical
character, I'm deliberately avoiding
| | 08:35 |
overlapping it with the borders. All right.
| | 08:39 |
Now I have one in place.
| | 08:41 |
I would duplicate that layer, put a
transformation rectangle around it, let's zoom in.
| | 08:47 |
I want to move the transformation center
to the center that I have defined with
| | 08:57 |
my guides, and then hold down
the Shift key and spin that around.
| | 09:03 |
Then I'm going to duplicate that
one and repeat that process. Okay.
| | 09:08 |
So with my Ampersands now in place,
I'm going to turn on my g layer group.
| | 09:14 |
I think I would like to come to the S layer
group and just reduce the Opacity of that,
| | 09:20 |
that's looking a little bit too strong.
| | 09:22 |
And then in my Rectangular Marquee tool,
I'll make a selection of my pattern tile,
| | 09:28 |
define that as a pattern, come to
my Untitled document where I'm trying my
| | 09:37 |
patterns out, double-click on Pattern
Overlay, choose that pattern, and we
| | 09:45 |
should now see that it is completely seamless.
| | 09:49 |
There might be a bit too much going
on there, but of course, you can vary
| | 09:53 |
that to your own taste.
| | 09:56 |
| | Collapse this transcript |
| Making abstract patterns from letterforms| 00:00 |
It can sometimes be very effective to
take a single character and just abstract
| | 00:05 |
that character, repeat it, overlap it,
and what you have, hopefully, is something
| | 00:11 |
that's more than the sum of its parts.
| | 00:12 |
So I'm just going to run through the
procedure, and give you some tips for
| | 00:17 |
how to do this effectively.
| | 00:18 |
It should be said that it's easier to
do this in Illustrator which is more
| | 00:22 |
geared up for doing numerical
transformations than Photoshop.
| | 00:27 |
But, it's still relatively easy to do
here, and the end-result, even though we
| | 00:31 |
have to work a bit harder, is just as good.
| | 00:35 |
So here's the finished version;
| | 00:36 |
nothing more than several
question marks rotated around a circle.
| | 00:40 |
Here's my beginning state which
is just a single question mark.
| | 00:46 |
So here are my tips.
| | 00:48 |
Let's turn on a grid.
| | 00:50 |
So I'm going to come to the
View Menu, and choose Show Grid.
| | 00:55 |
You can see that I have my
grid set up to mark the 50% point.
| | 01:02 |
If I go now to my Preferences>Guides,
Grids & Slices, I've set Grid Line every 50%.
| | 01:09 |
So, that's an easy way to mark the
center point of your document, and it's that
| | 01:12 |
center point that we are
going to be rotating around.
| | 01:15 |
Secondly, we want to make sure
that we have Snap to Grid turned on.
| | 01:21 |
I'm going to position by eye, my question mark,
and I'm then going to convert it to a shape.
| | 01:28 |
This is just going to make it a
little bit easier to work with.
| | 01:32 |
My third tip is that bear in mind
it's the interaction of the shapes where
| | 01:36 |
they overlap, that's going to make things
more abstract and hopefully more interesting.
| | 01:40 |
And a great way to create the
interaction is by using a Blend Mode other than
| | 01:45 |
Normal and possibly an Opacity other than 100%.
| | 01:49 |
Since I'm going to use the Multiply
Blend Mode, I want to start out with a light
| | 01:54 |
color because the result where the
shapes overlap will be darker, and using a
| | 01:59 |
light color to start with
allows me some growing room.
| | 02:02 |
I'm going to duplicate my first Shape Layer
and then I'm going to rotate that copy.
| | 02:09 |
How much I rotate it is going to depend upon
how many of these I want around the circle.
| | 02:15 |
I think I would like to have, let's see,
I'm going to just position my center
| | 02:22 |
point on the center point of my grid,
and then we'll hold down the Shift key.
| | 02:30 |
Now, the Shift key is set to
constrain the rotation to 15 degrees.
| | 02:38 |
However, 15 does not divide evenly into 360.
| | 02:42 |
So I'm actually going to
change that to 18 degrees.
| | 02:48 |
And that will give me 20 around the circle.
| | 02:52 |
Having done one, the rest is all repetition.
| | 02:54 |
Duplicate the layer, transform the layer,
reposition your center point, choose
| | 03:05 |
your angle of rotation.
| | 03:06 |
And I'm choosing an angle of
rotation that is going to create some
| | 03:11 |
interaction with the shapes because
that is what's going to make the whole
| | 03:16 |
thing more interesting.
| | 03:17 |
You don't need to see me go on, the
rest is just a matter of repetition until
| | 03:20 |
we get back to our starting point at the
top of the circle, and there's the end result.
| | 03:27 |
| | Collapse this transcript |
| Working with repetition and pattern| 00:00 |
Sometimes, Repetition and
Pattern can be very effective.
| | 00:04 |
All I have here is a question
mark and an exclamation point.
| | 00:08 |
Together, they make an interabang.
| | 00:12 |
I have set the Opacity of the
question mark to be 60%, so that we get some
| | 00:18 |
interaction where the two characters overlap.
| | 00:21 |
I'm now going to group them as one by
selecting both layers and pressing
| | 00:27 |
Cmd+ or Ctrl+G. To get multiples of them,
I'm going to duplicate the Layer Group,
| | 00:33 |
Cmd+ or Ctrl+J. I'm
going to do that six times.
| | 00:40 |
So, I now have a total of seven.
| | 00:43 |
Then, with the top-most group selected,
I'm going to hold down the Shift key,
| | 00:50 |
so that I can only move along the
horizontal plane, and move that out to
| | 00:55 |
the right-hand edge of my canvas.
| | 00:58 |
Then, I will select all of those groups,
and come to my Distribute Icons.
| | 01:04 |
I want to distribute Horizontal
Centers and I'll get that result.
| | 01:10 |
Now, I want to, one-by-one, go to each of the
question marks and fill this with a pattern.
| | 01:18 |
So, I'm going to double-click to the right
of the Layer Name, come to my Pattern Overlay.
| | 01:26 |
I'm going to choose a pattern from
my Pattern dropdown and if I don't see
| | 01:30 |
any here that I like, I can come to load
some more, I'm going to use Nature Patterns.
| | 01:35 |
Of course, you can make your own patterns,
you see me do that in a number of the
| | 01:39 |
movies in this title.
| | 01:40 |
I'm going to append the Nature
Patterns to what we already have, and
| | 01:45 |
I'm just going to use these. Okay.
| | 01:51 |
That's all there is to it.
| | 01:53 |
I won't carry on, the rest is all repetition.
| | 01:55 |
Here is that end result.
| | 01:57 |
Despite being very simple,
I think it's effective.
| | 02:01 |
| | Collapse this transcript |
|
|
11. Layer TypeWorking with multi-layered type| 00:00 |
Here's a quick and simple technique for
creating a texture using Repetitious Type
| | 00:06 |
and I'm doing this using sampled brushes.
| | 00:10 |
Here's my finished state on a field
of black, I just have various different
| | 00:16 |
layers starting out with a layer of a
shattered texture painted with a brush
| | 00:22 |
and then we've got various different
layers of type at differing opacities
| | 00:27 |
and differing brightness values.
| | 00:29 |
I'm now going to turn off the
Finished Layer and we will turn on the
| | 00:33 |
Beginning Layer Group. I'll expand that.
| | 00:36 |
In there I have a sub-folder
which is just several layers of type.
| | 00:42 |
These are what I use as the
starting point for making the brushes.
| | 00:47 |
I've made brushes in several other
movies in this title, so I'm not going to
| | 00:52 |
go into too much detail here, but here's a
quick overview on making one of those brushes.
| | 00:57 |
So Cmd+ or Ctrl+Click on the
Layer Thumbnail, Edit Define Brush Preset,
| | 01:05 |
give it a name, choose your Brush tool,
come to the Brush panel, where you can
| | 01:11 |
change the options for the brush.
| | 01:13 |
Starting out with the Brush Tip Shape,
and I'm using different settings for
| | 01:18 |
each of the four, but they are all
of a theme and that theme is this,
| | 01:23 |
you increase the Spacing, you increase the
Size Jitter, the Angle Jitter, we add
| | 01:30 |
Scattering on both axes.
| | 01:32 |
For some of them, I have a count of greater
than 1, this one I'll leave as it is.
| | 01:37 |
And then in the Color Dynamics, we want
to make sure that we are jittering the
| | 01:43 |
Saturation and the Brightness and
in the Transfer Settings, that we are
| | 01:49 |
jittering the Opacity.
| | 01:52 |
So having gone through the setup of
one of those, I'm now actually going
| | 01:55 |
to turn off that layer.
| | 01:56 |
I'm going to deselect my Active Selection
and from my Brushes panel I'm going to
| | 02:02 |
load the brushes that I have already made.
| | 02:04 |
My Brushes panel currently reflects
the default brushes, yours may look
| | 02:08 |
different, but I'm now going to do this.
| | 02:11 |
Load Brushes and in the Multi-Layered
Type folder, I'll choose this Brush Set,
| | 02:18 |
open that and there they are.
| | 02:22 |
I'm now going to just right-click on
the one I just made and delete that.
| | 02:26 |
We're going to start out actually with
this Shatter Brush and I will need to
| | 02:34 |
create a new layer for this to go on.
| | 02:38 |
So that I don't have to look at this
very large sample size, because this is
| | 02:42 |
an 1800 pixel brush.
| | 02:43 |
I am going to press my Caps Lock key,
maybe zoom out a fraction and then
| | 02:49 |
just press that a couple of times locating
it in the bottom lefthand corner of the image.
| | 02:56 |
Then I'll create a new layer, switch my brush.
| | 03:02 |
I have a color palette here that I
created using Kuler, and I'll just quickly
| | 03:05 |
run you through that.
| | 03:07 |
I'm now going to turn off my Caps Lock key.
| | 03:09 |
Here comes the Window menu, Extensions>Kuler
and I want to sample that color of
| | 03:16 |
the type, click on Add Foreground Color
as Base Color and then select to color
| | 03:22 |
harmony rule, I'm using Monochromatic,
that gives me this color group which
| | 03:28 |
I then added to my Swatches panel.
| | 03:31 |
And that's where those colors came from.
| | 03:35 |
So now, my Blank layer and Brush tool
with the first of my word brushes, and
| | 03:41 |
literally just going to spray my words,
then create a new layer, change my brush
| | 03:52 |
and spray those words another
new layer, you get the gist.
| | 03:56 |
So we just do that, building it all up
from the bottom left hand corner, leaving
| | 04:02 |
the top-right relatively calm.
| | 04:09 |
So we now have five different
layers of texture, the shatter and then
| | 04:13 |
four layers of words.
| | 04:16 |
You can vary the Opacity or the Blend
Mode of those since we are in a black
| | 04:21 |
background, which of course
that you don't have to be.
| | 04:24 |
Choose any color you like.
| | 04:25 |
I'm on a black background so many of
my Blend Modes won't work, some of them will,
| | 04:29 |
but I can also vary the opacity.
| | 04:31 |
But there's nothing more to it than that, really.
| | 04:35 |
I will say that in terms of the
placement of the word calm, I've just located
| | 04:39 |
that in the top righthand corner of the page.
| | 04:42 |
I use my Guides to help me do that.
| | 04:44 |
If I come down to my Preferences, I
divided it into 12 columns by specifying
| | 04:50 |
I want a Gridline every 8.33% and
now if I turn on my Grid,
| | 04:56 |
Cmd+ or Ctrl+' (the quote mark).
| | 04:58 |
You can see that's
influenced my position of that word.
| | 05:03 |
But aside from that, it's just spraying
type with a sample brush multiple times.
| | 05:10 |
| | Collapse this transcript |
| Layering type on a spiral| 00:01 |
This idea involves using Path Type.
| | 00:03 |
I'm putting a phrase around a spiral.
| | 00:06 |
I'm repeating the phrase and as we get
closer to the center of the spiral, I'm
| | 00:10 |
decreasing the size of the type.
| | 00:13 |
Then, I'm duplicating the spiral and
I'm changing its degree of rotation.
| | 00:18 |
Then I'm doing it again and again and again.
| | 00:22 |
And each time we are layering the
different spirals and the colors are
| | 00:27 |
interacting because we are
using Transparency Blend Modes.
| | 00:31 |
If we take a look in the Finished
Layer Group, you see that I have five
| | 00:37 |
sub-groups in here and each
one of these has several spirals.
| | 00:43 |
So the key is we get it right once
and then, we can just duplicate and
| | 00:49 |
duplicate and duplicate, change the
angle on each one and get some very
| | 00:53 |
interesting effects.
| | 00:54 |
Now the result I'm going to get
this time around will probably be
| | 00:58 |
quite different, but it's using
essentially the same technique.
| | 01:01 |
I'm going to turn off the
Finished Layer Group. Okay.
| | 01:07 |
So job one is I need to create my spiral and
I'm going to do that with my Custom Shape tool.
| | 01:13 |
And the Custom Shape that I'll be
using is up here on my Tool Options.
| | 01:19 |
If you don't see the spiral among your
custom shapes then come and choose All.
| | 01:23 |
But it is grouped with these
ornaments, it's right there.
| | 01:32 |
And I need to create a blank layer for
this to go on, because I'm not going to
| | 01:38 |
draw a shape, but I'm
going to draw a path instead.
| | 01:41 |
And then I'm going to start drawing,
hold down my Opt or Alt key and also hold
| | 01:45 |
down my Shift key, so that I constrain the
size of that and I draw it from the center point.
| | 01:52 |
Now, I'm going to switch to my Type
tool and when I see the dotted wavy line
| | 01:56 |
going through my type cursor, that's my
indication that I'm about to add type to the path.
| | 02:03 |
So I'll click on that path, then I'll
come to my Character panel, so that I
| | 02:09 |
don't get any nasty surprises, I won't reset
my Character panel and then type my phrase.
| | 02:15 |
I'm not worrying how it looks at the moment.
| | 02:17 |
Howlongisapieceofstring?
| | 02:18 |
Notice that I'm leaving word spaces
between the words, because I think the
| | 02:27 |
impacts of this effect would be
diminished by seeing those holes between the words.
| | 02:34 |
At this point, I'm going to select the
Type and I'm going to put it in the type face
| | 02:40 |
that I want which
is the Adobe Garamond Pro.
| | 02:43 |
And I've got a problem here with
the position of my Type on the path.
| | 02:49 |
So now I'm going to come and choose my
Path tool and when I do so, it's a bit
| | 02:56 |
difficult to see, but as I move my
cursor over the end of my piece of type,
| | 03:04 |
I get an arrow to the right of it.
| | 03:07 |
Now, if I can pull on that, that's
going change where my start point is.
| | 03:13 |
All right, I think that's what I want actually.
| | 03:18 |
The X indicates my start point of the story.
| | 03:22 |
The Solid Shape indicates the end point
of the story, so at the moment, my story
| | 03:26 |
is going to go all the way around
the spiral and then come back again.
| | 03:31 |
But we're not going to go that far, thankfully.
| | 03:35 |
I do want to select that Type
and I'm going to increase its size.
| | 03:41 |
If I'm starting out with 12
point, let's go with 24 points.
| | 03:45 |
Then I'm going to copy that and set my
cursor at the end of the text and paste
| | 03:51 |
that copy and then I want to
select back over that type.
| | 03:55 |
If you're having difficulty selecting,
because your type is actually going
| | 03:58 |
outside of the canvas, as mine is,
then a way that you can do that is by
| | 04:05 |
holding down the Shift key and pressing
your Left Arrow, and that's going to
| | 04:09 |
allow you to select the back.
| | 04:11 |
All right, so we are at 24 points there.
| | 04:15 |
I'm now going to go to 18 points.
| | 04:18 |
I'm going to copy that and then paste that __
somehow that's coming at 24 points again,
| | 04:27 |
I'm not sure what happens with my copy,
but -- so we now want to go from 18,
| | 04:31 |
let's go to 14 and I'm going to copy that,
put my cursor at the end, paste it again.
| | 04:40 |
So let's now go from 14
to 12 and copy and paste.
| | 04:51 |
I'm just using the numbers on my Type
Scale, so we're now going to go from 12 to
| | 04:56 |
10, copy, paste and then from 10 to 8.
| | 05:08 |
And I think we've got room
for one more 6 to 4. Great.
| | 05:12 |
All right.
| | 05:17 |
That was the hard bit done, since I
want to build up my color by using
| | 05:21 |
overlapping layers with different
transparency blending modes and different
| | 05:25 |
opacities, I'm going to start out
with a relatively light color so that
| | 05:30 |
I have some growing room.
| | 05:31 |
And I'm going to use these pastel
shades up here on the Swatches panel.
| | 05:35 |
So this point, I'm now going to press
Cmd+ or Ctrl+J to duplicate that.
| | 05:41 |
Let's change the color and then
Cmd+ or Ctrl+T and I now want to
| | 05:48 |
transform that copy.
| | 05:50 |
And I'm going to do this numerically,
so we have 360 degrees in a circle.
| | 05:56 |
I'm going to go 120 degrees making sure
that I am rotating from the center point.
| | 06:02 |
I'll press Return to accept that
transformation, Cmd+ or Ctrl+J to make
| | 06:07 |
another copy and it looks like here, I may
have duplicated the Path rather than the Type.
| | 06:17 |
So let's just see what happens when I
try and repeat that, Cmd+ or Ctrl+T
| | 06:21 |
and then I want to go through 120 degrees again.
| | 06:28 |
Yeah, you'll see, what's happening
there is I'm now duplicating the path
| | 06:34 |
rather than the Type.
| | 06:36 |
So if you run in to this problem, and
you probably will, when you can see the
| | 06:40 |
outline of the path, you will need to
come to the Paths panel and make sure that
| | 06:47 |
that is deactivated.
| | 06:48 |
So now that I have deactivated that
path, I can come and choose another
| | 06:55 |
color, Opt or Alt on my Backspace,
Delete key to fill that,
| | 07:00 |
Cmd+ or Ctrl+T to rotate it.
| | 07:02 |
And this one is also going
to go through 120 degrees.
| | 07:07 |
Okay, that's one cycle, if you like.
| | 07:12 |
Now, what I'm going to do is select all
three of those layers and change their
| | 07:18 |
Blend Mode to Multiply, then I'm
going to combine them in a layer group,
| | 07:25 |
Cmd+ or Ctrl+G, and I'm now going
to duplicate the Layer Group,
| | 07:30 |
Cmd+ or Ctrl+J. And this group, I'm now
going to rotate, not through a 120 degrees
| | 07:38 |
but this time, through 60 degrees.
| | 07:41 |
So, Cmd+ or Ctrl+T. So I now have
the whole layer group selected, and as
| | 07:49 |
well as rotating, I can also scale it.
| | 07:54 |
So let's say that we would like to scale
this by 75% horizontally and vertically.
| | 08:02 |
Well, the theory was sound I am not
entirely sold on the result, but I'm going
| | 08:07 |
to press on regardless.
| | 08:09 |
Again, I'm going to duplicate the Layer
Group and this time I'm working with the
| | 08:16 |
one that is at 75% of the original size,
Cmd+ or Ctrl+T, and rather than --
| | 08:23 |
so we went from 120 degrees to 60 degrees.
| | 08:26 |
Now, I'm going to half that again and
we'll go 30 degrees and will this time go
| | 08:37 |
for 50% of its current size and on and on.
| | 08:44 |
So obviously, the results you get are
going to be profoundly affected by the
| | 08:49 |
number of spirals that you have in
your group, the angles that you rotate
| | 08:54 |
them around, the colors that you're using
and how much you scale each successive group.
| | 09:03 |
So experiment, there's no right or wrong here.
| | 09:06 |
The results can be sometimes a happy accident;
| | 09:10 |
sometimes I think, as in this
case, an interesting mistake.
| | 09:14 |
But I think this is a technique
that you can really have fun with.
| | 09:18 |
| | Collapse this transcript |
| Creating a book cover with multi-layered type| 00:00 |
Here's a good example of how the
simplest ideas are often the best.
| | 00:05 |
Let's suppose we're designing a book
cover and that book is about a man who
| | 00:09 |
wakes up one morning to
find himself turned into a bug.
| | 00:13 |
So we have the text itself and we
have this simple bug vector graphic.
| | 00:21 |
Working with multiple layers of that text,
we overlap them, we rotate them,
| | 00:27 |
we use the bug shape to mask them.
| | 00:30 |
And now, I'll come and turn on the Beginning
Layer Group where we have one Type Layer.
| | 00:36 |
I'm going to duplicate that Type Layer,
Cmd+J. I'm going to rotate it,
| | 00:42 |
Cmd+ or Ctrl+T and I'm going to do
it again Cmd+J, Cmd+ or Ctrl+T,
| | 00:52 |
and again, maybe some of these we
will apply a different color too.
| | 00:55 |
I'm going to work with that red
that I have as my foreground color.
| | 00:58 |
Press Opt or Alt and the Backspace key
to fill the layer with the color, and
| | 01:04 |
I'll repeat and just a couple of more times.
| | 01:09 |
Let's have some more of the black text,
so I'll come and select one of the first
| | 01:13 |
layers and duplicate that again. Rotate it.
| | 01:17 |
So we're building up this
density in this interesting pattern.
| | 01:21 |
Now I'm going to switch to Illustrator.
| | 01:23 |
I'll select my simple vector shape,
I'll copy it, move back to Photoshop.
| | 01:31 |
I'm going to paste it as a Path.
| | 01:33 |
I'm now going to scale it Cmd+ or Ctrl+T.
If I want to scale it from its
| | 01:38 |
center point, hold down the Option key
or the Alt key to scale it proportionally
| | 01:42 |
the Shift key as well.
| | 01:43 |
And then, I need to position this path
relative to the type that I have and that
| | 01:49 |
may cause me to go back to some of
that type and just reposition that.
| | 01:54 |
I have my Auto Select set to Layer, so
when I hold down the Command key or the
| | 01:59 |
Ctrl key, I can drag those layers
around, so that we make sure we're going to
| | 02:06 |
get some content within
that bug shape. All right.
| | 02:13 |
And now, I'm going to come to the group
and come up to my Layer Menu and choose
| | 02:22 |
Vector Mask, Current Path and
that is really all there is to it.
| | 02:28 |
The key here is that we are using one
Vector Mask to mask a whole Layer Group
| | 02:36 |
beyond that is just nothing more
than duplicating the layer, rotating it,
| | 02:41 |
moving the copy around.
| | 02:44 |
| | Collapse this transcript |
|
|
12. Type Portraits and MapsCreating a type portrait with multiple layers| 00:00 |
Making a typographic portrait in this
style involves shading with Type, densely
| | 00:06 |
packing bold words in the shadow areas,
more loosely packing words in a lighter
| | 00:11 |
weight in the mid-tones and
leaving the highlights as white space.
| | 00:15 |
It can take a long time to complete,
as you can see, my portrait of William
| | 00:20 |
Shakespeare is a work in progress.
| | 00:22 |
By the time I finish, I should be able
to turn off the Image Layer and have the
| | 00:26 |
portrait be described by words alone.
| | 00:29 |
Here are some tips for how
to approach such a project.
| | 00:33 |
Begin with an image of your subject that
has good contrast and if necessary, use
| | 00:38 |
levels to accentuate that contrast.
| | 00:40 |
You can see that I've masked the
background to remove any distracting details
| | 00:44 |
and I've also reduced the opacity of
this layer to 30%, so that it functions
| | 00:50 |
as a tracing layer.
| | 00:52 |
Select a subject that will give
you lots of text to choose from.
| | 00:56 |
In this respect, subjects don't
come much better than Shakespeare.
| | 00:59 |
Do some research together of your text
and assemble it in a simple text file
| | 01:05 |
that you can easily copy
and paste from as needed.
| | 01:07 |
Here's my text file containing a
list of Shakespeare's place, his most
| | 01:13 |
well-known characters.
| | 01:14 |
A list of famous Shakespearean actors,
as well as, excerpts from many of
| | 01:20 |
his famous soliloquies. Be patient;
| | 01:24 |
build density by sizing and
positioning your layers of type.
| | 01:28 |
You can see I've used the bold headers,
Tragedy, History, Comedy to accentuate
| | 01:34 |
themes and to create some order in
hierarchy, move and size words as necessary
| | 01:39 |
to build the right density.
| | 01:41 |
Don't be afraid to overlap elements of Type.
| | 01:44 |
For larger areas, you can
create Area Type inside a Path Shape.
| | 01:49 |
For the tunic, I drew a shape using
the Pen Tool, saved the path and then
| | 01:54 |
pasted Type into the area.
| | 01:57 |
So I'm now going to come to my text file,
where I will select the piece of text
| | 02:02 |
I want to go into the area,
copy it, move back to Photoshop.
| | 02:07 |
I'm going to come and target that layer,
the layer that currently fills the
| | 02:12 |
tunic and then we shall turn that layer off.
| | 02:17 |
Now, when I activate the path of the
Tunic layer, choose my Type tool, you'll
| | 02:22 |
see that when I hover my cursor inside
that shape, I get a dotted line around it
| | 02:28 |
indicating that when I click, I'm about
to create Type inside that shape and
| | 02:34 |
I can now just paste that into there.
| | 02:36 |
For the most part, try to indicate shade
with varying in the density of the type.
| | 02:42 |
However, it might at times be necessary
to adjust the opacity of certain layers
| | 02:46 |
and I've done that here with this
particular piece from Hamlet, you can see that
| | 02:53 |
I have reduced the opacity there to
63% just to indicate lighter shading.
| | 02:58 |
And another way that I'd
approach that is with the tunic.
| | 03:03 |
I have simply put a white shape above
that Type Area, traced it according to
| | 03:09 |
the background image and then made the
opacity of this white shape, in this case 24%.
| | 03:16 |
So without it, it looks like
that and with it, like that.
| | 03:21 |
So I still have some work to do on
mine, but I hope this has given you
| | 03:25 |
some ideas for how you might
create a type portrait of your own.
| | 03:29 |
| | Collapse this transcript |
| Creating a type portrait with hand-drawn type| 00:01 |
Here I'm creating a different
style of typographic portrait.
| | 00:05 |
This one is for Charles Dickens.
| | 00:07 |
Just as with the previous example, the
William Shakespeare type portrait,
| | 00:11 |
you're more likely to get a good
result if you first do some setup.
| | 00:14 |
So let me run through
those setup steps first of all.
| | 00:19 |
I'll turn off those top layers.
| | 00:20 |
You can see that in my Swatches
panel I have a Color Group or a
| | 00:24 |
Color Theme already defined.
| | 00:25 |
So I've decided the colors
that I'm going to use.
| | 00:28 |
I created these colors using Kuler and
if you want to load the same colors,
| | 00:34 |
I've saved them as an Adobe Swatch Exchange File.
| | 00:38 |
You can come to Load Swatches
and they are right there.
| | 00:40 |
Then I started out with this portrait.
| | 00:46 |
It has a vector mask applied to it
which is masking out any of the background
| | 00:51 |
detail and you can see that
I've made the mask rather roughly.
| | 00:54 |
That's okay because the next step is to
apply a Threshold command to it so that
| | 01:00 |
we turn it into all black or all white.
| | 01:02 |
And then I want to take that result,
so I would select those two layers and
| | 01:08 |
merge them down into one but making
sure I don't include the Background Color
| | 01:13 |
layer when I do that.
| | 01:14 |
Cmd+Option+Shift+E or Ctrl+Alt+Shift+E
and there is my now merged layer.
| | 01:23 |
I can move this up and then I can do
one of two things, I can delete the
| | 01:28 |
white pixels or I can just change its Blending
Mode to Multiply and I'll do that in this case.
| | 01:34 |
I'm doing it slightly differently to
how I did it in the previous example,
| | 01:37 |
since we are working with less text and
it's more manageable than the previous example.
| | 01:41 |
I've just put a list of Dickens novels in
this document that I can refer to as necessary.
| | 01:50 |
But these are in the extras
folder which I'm going to now turn off.
| | 01:54 |
Obviously, my Type here is hand-drawn.
| | 01:58 |
I have from my Brushes panel
loaded my calligraphic brushes.
| | 02:05 |
You can do that right there and I chose
to replace the brushes that I already
| | 02:11 |
had but you can also append them if you wish.
| | 02:14 |
So I'm going to start out with a small
brush, a 10 pixel calligraphic brush.
| | 02:21 |
And on the layer above my Background
layer -- actually let's go into this Layer
| | 02:28 |
Group that contains all the other book titles.
| | 02:32 |
I'll create a new layer in there.
| | 02:34 |
I'll choose one of my colors and I'm now
literally just going to write the words
| | 02:41 |
and I'm going to do A Tale of Two Cities,
and I'm doing it in this very sort of
| | 02:46 |
scratchy style, which is when I hit
upon sort of by accident I found out that
| | 02:55 |
that it has two things going for it.
| | 02:57 |
One, is it's very, very easy, you can't
really go wrong and two, I think it kind of works.
| | 03:06 |
It looks quite good.
| | 03:07 |
So I just want to fill up this area of
space as best as I can, something like that.
| | 03:13 |
The rest is all about repetition.
| | 03:16 |
Vary your colors according
to your Color Palette.
| | 03:19 |
Put each of these on a separate layer
and when they sit on top of the shadow
| | 03:25 | s
details of the image, the overall
effect I think is a really rather good one.
| | 03:30 |
| | Collapse this transcript |
| Creating a typographic map| 00:00 |
Here's a style very
popular today, a typographic map.
| | 00:04 |
Taking your type and squeezing it,
compressing it, rotating it, adjusting its
| | 00:09 |
baseline, whatever it takes to fill
the name of the country, the states,
| | 00:16 |
the region, whatever it is you're
working with, with the type.
| | 00:19 |
Obviously, here I'm working with
the U.S. States, and I'm going to redo
| | 00:23 |
California just as an example.
| | 00:26 |
Just before I begin, let's look at
what we have on the Layers panel.
| | 00:30 |
You can see that I'm organizing
the states by Layer Group.
| | 00:34 |
Any project like this is inevitably
going to generate lots and lots of layers,
| | 00:38 |
so to keep things manageable, use Layer Groups.
| | 00:42 |
At the very bottom of the group, I have
my Vector Smart Object, a vector outline
| | 00:47 |
of the states themselves.
| | 00:50 |
I'm going to turn off
everything but that outline.
| | 00:53 |
I'm going to choose my Type tool.
| | 00:54 |
I'll just come and click over here
and just type in the name of the state.
| | 01:01 |
Not that it's of great consequence,
but I'm going to make this left aligned.
| | 01:05 |
I'm using a single font for this.
| | 01:07 |
I'm using Myriad Pro Bold Condensed
and I'm only rotating my letters through
| | 01:13 |
increments of 90 degrees.
| | 01:14 |
So I'm now going to position this and
I'm going to chop it up into logical
| | 01:22 |
chunks that will also fit
into the shape of the state.
| | 01:26 |
I'll select those letters and cut
them and now to paste those on to a
| | 01:31 |
separate layer, I'll switch to my Move
tool then back to my Type tool, click
| | 01:37 |
and paste and repeat. Okay.
| | 01:44 |
Now I'm going to roughly position these.
| | 01:47 |
I'm using my Auto Select.
| | 01:49 |
I don't have it checked but to select
this layer which is not currently my
| | 01:53 |
targeted layer, I'll hold down the
Command key so that I can access that.
| | 01:59 |
Now time for some scaling, if I want to
scale the whole Type layer, Cmd+T,
| | 02:05 |
that's going to get me so far at which
point I'm then going to need to scale
| | 02:10 |
the individual letters.
| | 02:13 |
That's getting nice and big so
I'll select the letter, scale up.
| | 02:19 |
Now with the A, I'm going to shift its
baseline up, that's Option or Alt and
| | 02:26 |
the Shift key, and in this case, the Up
Arrow and we'll make that a little bit smaller.
| | 02:31 |
I'd now like to try and kern it
inside the shape of the C somewhat.
| | 02:39 |
Scale it up a bit more.
| | 02:43 |
Now the letters are more densely
packed, we can make them bigger.
| | 02:46 |
And right now until my next syllable,
where again I need to pack the letters
| | 02:54 |
densely, so what I'm going to try and do
here is select the I, make that quite a
| | 03:01 |
bit smaller, shift its baseline up and
then kern it back into the space of the L.
| | 03:09 |
You might find it useful to
have the Character panel open here.
| | 03:15 |
Now in doing that, you can see that the
horizontal scale of the I is now looking
| | 03:19 |
significantly less than that of the L
and the F. So I could, if I wanted to
| | 03:27 |
tweak this come to the Horizontal
Scale and increase that.
| | 03:34 |
Now back to my Move tool where
I'll select the whole Type layer.
| | 03:38 |
Now I realized that I got too much
space there, a little bit more kerning,
| | 03:42 |
back to my Move tool, select the
whole layer, let's scale that up.
| | 03:46 |
The F, I'm going to try and move down.
| | 03:56 |
Some of that horizontal scaling
I applied I'm reconsidering.
| | 04:01 |
Okay, now let's move on to the next syllable.
| | 04:10 |
I'm going to try and make that R substantially
larger so that it can move up to
| | 04:15 |
fill that space that we opened up to
the right of the F. Let's kern the space
| | 04:21 |
between the letters.
| | 04:26 |
So at this point, I'm wishing
I've chosen Utah to show you.
| | 04:29 |
Four letters and a much simpler shape
but I didn't, so I'm showing you one
| | 04:37 |
of the harder ones. Okay.
| | 04:41 |
I'm now going to come to the last
syllable where I want to rotate this
| | 04:46 |
through 90 degrees.
| | 04:47 |
I'll scale the whole layer.
| | 04:50 |
And back to my Type tool.
| | 04:54 |
Select just that letter and increase its scale.
| | 04:57 |
As you can see, it's difficult
to know where to stop with this.
| | 05:07 |
But I'm going to stop there.
| | 05:08 |
All right, so there is California.
| | 05:13 |
This space right here, I'm not happy with.
| | 05:15 |
I need to finesse that a bit more
somehow work the R up into that space.
| | 05:21 |
But the process is essentially
what I just outlined scaling the type
| | 05:27 |
layer, scaling the individual
letters, adjusting the baseline shift,
| | 05:32 |
adjusting the kerning and possibly
even adjusting the horizontal scale
| | 05:38 |
in terms of the workflow here.
| | 05:40 |
Now I finished this one state, I'm going
to select the four layers that make it up,
| | 05:45 |
Cmd+ or Ctrl+G to make that
into a Layer Group. I'll label it.
| | 05:51 |
Now let's turn on all of the others.
| | 05:55 |
When I finished and you can
see I have a long way to go.
| | 06:00 |
What do I then do with the map itself?
| | 06:03 |
Do I turn it off altogether or do I
just leave it as is or do I fill the shapes
| | 06:09 |
of the states with colors?
| | 06:10 |
Now if I wanted to do the latter, I
could choose my Magic Wand tool and click
| | 06:19 |
into those states to make active
selections, which I can then fill with color.
| | 06:23 |
Far easier than that would be to do
this in Illustrator, so that's why I'm just
| | 06:28 |
going to quickly show you.
| | 06:30 |
This is a Vector Smart Object.
| | 06:32 |
When I double-click on it,
it opens up in Illustrator.
| | 06:36 |
In Illustrator, I'm going to choose a
color group that I can apply to the states.
| | 06:43 |
I'll come to my Swatches panel.
| | 06:45 |
I'm going to use a Predefined Color
Group from the Earthtone swatches.
| | 06:51 |
Let's use that one.
| | 06:54 |
I'm then going to come and choose my
Live Paint Bucket, press
| | 06:59 |
Cmd+ or Ctrl+A to Select All and then
click to make a Live Paint group.
| | 07:07 |
Before I start filing the states with
color though, I would like to come to the
| | 07:11 |
stroke and apply None to the stroke.
| | 07:16 |
So we're going to get rid of that
black border around all of the states.
| | 07:21 |
And now it's just a question of -- I'm
working with four colors so I'm going to
| | 07:25 |
be repeating certain colors, moving
over the state, clicking to apply the color
| | 07:29 |
and then pressing your Right or Left Arrow.
| | 07:32 |
Just switch to the next color.
| | 07:34 |
Go and apply that and pretty soon,
you would have colored in the whole map.
| | 07:41 |
At which point you can save this, return
to Photoshop where it will update in place.
| | 07:48 |
So, I've not got beyond the West and
Southwest but if you're feeling ambitious
| | 07:54 |
I invite you to go East.
| | 07:57 |
| | Collapse this transcript |
| Creating an environmental alphabet| 00:00 |
Here I'm going to show you two examples
of my personal work that I think are
| | 00:03 |
pertinent to the techniques that
we've been covering in this title.
| | 00:08 |
I think a good way to capture the essence
of a place is through its typography,
| | 00:14 |
and I have two examples of
how I'm attempting to do that.
| | 00:18 |
This first one is an alphabet of
Brighton, which is where I live on the
| | 00:22 |
South Coast of England.
| | 00:23 |
I've also done these for
San Francisco and for London.
| | 00:26 |
And it involves a lot of setup;
| | 00:31 |
it involves walking around the city
with a camera day after day taking
| | 00:34 |
pictures of pieces of type.
| | 00:37 |
And I have restricted myself to
pieces of type that, to anyone who
| | 00:42 |
lives there, these pieces of type will be
iconic and very evocative of the city itself.
| | 00:50 |
So I need pieces of type that work
on several levels, they need to be
| | 00:54 |
interesting letters, they need to be
in some way iconic of the place and they
| | 01:00 |
need to be places that I have a
personal and positive connection with.
| | 01:04 |
If I turn on my guides, we can see
that I've established a grid that is
| | 01:10 |
four columns and seven rows
giving me a total of 28 spaces.
| | 01:14 |
Two of those spaces I'm using for
the I which I've actually used the
| | 01:18 |
Helter-Skelter from the pier and
then the last one, I'm using pebbles.
| | 01:26 |
My justification there being that
the pebbles are the punctuation.
| | 01:30 |
Down at the bottom I've left a bigger
bottom margin and that serves as a place
| | 01:35 |
to put the key where people can find out
where the letters have been taken from.
| | 01:39 |
Once the letters have been collected,
the process is essentially this.
| | 01:44 |
Each of these grid fields is a 600 pixel square.
| | 01:49 |
And as has become an ongoing theme in
this chapter, I've made sure that I've
| | 01:52 |
used Layer Groups to order my layers.
| | 01:54 |
I'm going to look as a representative
example at the B. Just before I do,
| | 02:03 |
let me point out that the letters all begin
confined but where it gets interesting
| | 02:08 |
is where we can overlap parts of the
letters either with adjacent letters or
| | 02:14 |
with the background.
| | 02:15 |
So as in the case of the Y and the T
and the V and the J and the F and the
| | 02:21 |
Ampersand (&) and the one that
I'm going to show you, the B.
| | 02:26 |
So if we look at the Layer Group for the B, we
can see that this is made up of three layers.
| | 02:33 |
I'll just turn off everything
else for the time being.
| | 02:37 |
So we have the letter itself and then
that has a Layer Mask applied to it.
| | 02:42 |
From my original source images, I'm
copying and pasting this segment having
| | 02:48 |
figured out what's the appropriate size
and then there's some retouching that's
| | 02:53 |
going to go on that to
remove any distracting elements.
| | 02:56 |
And then there's also a Curves
Adjustment to give it more contrast.
| | 03:01 |
So I'm going to begin here.
| | 03:02 |
I'll turn my guides back on.
| | 03:05 |
I'm using my Rectangular Marquee tool
and I've set this to function at a
| | 03:09 |
Fixed Size, 600 pixels by 600 pixels.
| | 03:14 |
I can then come and click right there and
then that will allow me to create my Layer Mask.
| | 03:23 |
Having drawn around the top and the
bottom of this letter with the Pen tool
| | 03:28 |
and created a path from that,
I can now activate that path.
| | 03:32 |
Cmd+Click on it to convert the path
into a selection, and then back on my
| | 03:40 |
Layer Mask, I could fill that selection
with white so that it looks like that.
| | 03:47 |
And then when we see it in the context
of the other letters, we get some nice
| | 03:51 |
interactions with the overlap.
| | 03:53 |
And also to adjust those interactions
to control how they're taking place,
| | 04:01 |
I'm changing the layer order.
| | 04:03 |
So I'm dragging Layer Groups up and
down to determine what overlaps what
| | 04:09 |
and what is overlapped by what.
| | 04:12 |
So that's one example of type
in my environment if you like.
| | 04:17 |
So the second example is a type
poster I made from pictures that I took
| | 04:22 |
in Porto, Portugal.
| | 04:25 |
This time the pictures were taken
in a much shorter space of time.
| | 04:29 |
These were basically taken in a
space of one day, just wandering around;
| | 04:33 |
pointing my camera at shop facades,
anything that I thought looked
| | 04:37 |
typographically interesting.
| | 04:40 |
I then downloaded all these pictures to
Lightroom, but Bridge works just as well
| | 04:46 |
for this purpose, so this is my
shortlist as seen here in Bridge.
| | 04:52 |
In InDesign, I made myself a grid
and I then adjusted the shapes of my
| | 04:59 |
containing rectangles according to
that grid and drag the images over
| | 05:04 |
from Bridge into the grid.
| | 05:06 |
And of course, there was a lot of back
and forth, trial and error, some things
| | 05:11 |
worked and some things didn't. But
the Photoshop aspect of this was that
| | 05:16 |
I mentioned that I adjusted
the images in Lightroom.
| | 05:19 |
I could have done that in Photoshop,
but at this point once everything is
| | 05:25 |
arranged on my page, inevitably I
needed to make some adjustments to the tone
| | 05:31 |
and the contrast and certain
colors of the individual images.
| | 05:36 |
I'm trying to use a light touch here.
| | 05:38 |
I wasn't making major changes but
certain things needed tweaking and to do that
| | 05:44 |
I was using my Links in InDesign, where
I could come and select the image that
| | 05:49 |
needed editing and click on this
Pencil icon here to edit the original
| | 05:55 |
which would then take it to Photoshop and
here we see the un-cropped version.
| | 05:58 |
So here I make whatever
adjustments I deemed necessary.
| | 06:01 |
Bear in mind this one has already been adjusted.
| | 06:03 |
I don't feel it needs anything else
but let's say it did need some more
| | 06:07 |
brightness contrast.
| | 06:08 |
I could press Cmd+L to go to Levels.
| | 06:12 |
I am making a static adjustment here
rather than an Adjustment Layer adjustment.
| | 06:15 |
Right now I typically advice against
doing it this way but it is in this
| | 06:22 |
instance the more expedient way of doing it.
| | 06:25 |
So let's make those changes, click OK,
save that and then back in InDesign,
| | 06:34 |
we see update in place.
| | 06:35 |
I wanted to point that out to you just
as a way of underlining the interaction
| | 06:40 |
that we have going on between Photoshop
and InDesign, and as we've already seen
| | 06:46 |
in few instances Illustrator as well,
and hopefully to spark some ideas with
| | 06:52 |
you about how you can integrate the
type that is in your environment into
| | 06:58 |
your own work.
| | 06:59 |
| | Collapse this transcript |
|
|
ConclusionGoodbye| 00:00 |
So that brings us to the end of this course,
Photoshop for Designers: Type Effects.
| | 00:04 |
I hope you've found it useful, I hope
it's given you some good ideas and some
| | 00:08 |
material to work with.
| | 00:10 |
Feel free to follow me on
Twitter. I am nigel_french.
| | 00:14 |
You can also email me, nigel@nigelfrench.com
and feel free to send me links to
| | 00:21 |
the work that you create using these
techniques and indeed any other techniques
| | 00:25 |
that you think maybe interesting.
| | 00:27 |
Cheers and bye for now!
| | 00:29 |
| | Collapse this transcript |
|
|
