IntroductionWelcome| 00:04 | Hi! I am Nigel French.
| | 00:05 | Welcome to Photoshop for
Designers: Type Essentials.
| | 00:08 | When we think of Photoshop, type
isn't the first thing that comes to mind.
| | 00:12 | The reality is, we often want to combine
type with our imagery without having to
| | 00:16 | open up other programs
like InDesign or Illustrator.
| | 00:20 | After going over some of type basics
and terminology, we will move on to the
| | 00:23 | essentials of setting type using the
Character and Paragraph panels, as well as
| | 00:27 | explore those lesser-used options,
like working with OpenType fonts and
| | 00:32 | modifying hyphenation
and justification settings.
| | 00:34 | There will also be plenty of tips about
what makes good-looking type, as well as
| | 00:39 | advice on common pitfalls to avoid.
| | 00:41 | After we have covered the
fundamentals, we will move on to more advanced
| | 00:45 | topics like masking type, putting type
on a path, and getting quality results
| | 00:50 | with the Warp options.
| | 00:51 | Let's get started with Photoshop
for Designers: Type Essentials.
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| Using the exercise files| 00:00 | Exercise files are available to
Premium subscribers of lynda.com.
| | 00:04 | Simply download the exercise files
to your computer and place them on the
| | 00:07 | Desktop for ease of access.
| | 00:09 | The exercise files are
organized by chapter number.
| | 00:12 | Whenever an exercise file is available
for a video, you'll see a yellow overlay
| | 00:17 | at the bottom of the screen that indicates
the location and name of the exercise file.
| | 00:21 | Working with the exercise files
can add great value to the training;
| | 00:25 | however, if you don't have access to
the exercise files, you can still follow
| | 00:29 | along with the videos, often using
your own files, and have a fulfilling
| | 00:33 | learning experience.
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1. Introducing Type in PhotoshopThe pros and cons of setting type in Photoshop| 00:00 | When we talk of Photoshop, type is not
necessarily the first thing that comes
| | 00:04 | into our mind, and yet Photoshop is
well suited to working with type.
| | 00:09 | Why might we want to
set our type in Photoshop?
| | 00:11 | Well, first and foremost, it's convenient.
| | 00:13 | If we are in Photoshop and we need to
combine our imagery with type, we're in
| | 00:18 | Photoshop, we don't need to go elsewhere.
| | 00:21 | Also, Photoshop may be what
we are most familiar with.
| | 00:24 | We don't need to go to InDesign or Illustrator;
| | 00:27 | we can just stay where we are.
| | 00:29 | Because Photoshop creates
live vector type, it's going to be crisp, it's
| | 00:33 | going to be continuously editable,
and we can do a tremendous amount with it and
| | 00:38 | have it remain editable.
| | 00:40 | Photoshop has a lot of the same
sophisticated type options that are avoidable in
| | 00:45 | InDesign and Illustrator
and other programs like that.
| | 00:48 | It has excellent kerning and tracking options.
| | 00:51 | It's got justification and
hyphenation options, and we can get some really
| | 00:56 | sophisticated-looking
type working with OpenType.
| | 01:00 | That said, it does have some
drawbacks when working with type.
| | 01:04 | You should not be working
with extended bodies of type.
| | 01:07 | If you are setting your resume or CV
in Photoshop, you're in the wrong place.
| | 01:12 | If you are trying to create anything
that involves using multi-pages, you're
| | 01:17 | in the wrong place.
| | 01:18 | But for headlines, labels, captions,
short bursts of text, Photoshop may be the
| | 01:24 | perfect place to create your type.
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| Exploring type anatomy and terminology| 00:00 | So, before we actually get working
with type, let's just take a look at some
| | 00:03 | basic type terminology.
| | 00:06 | So let's begin with the baseline, the
invisible line on which the type sits.
| | 00:11 | Then we have the x-height, the
height of the lowercase letters.
| | 00:16 | The cap height is just that,
the height of the capital letters.
| | 00:20 | The ascender height, the height of, in
this case, the h, the ascenders, which
| | 00:25 | depending on the font may be
higher than the cap height.
| | 00:28 | There are many different
classifications of type.
| | 00:31 | The broadest distinction we can make
is between serif type and sans serif.
| | 00:36 | Here is an example of serif type.
Indicated in red are the serifs.
| | 00:40 | Here is the same word sans serif without
those ornamentations on the ends of the letters.
| | 00:47 | The counters are the
interior spaces of the letters.
| | 00:50 | Descenders are those parts of the
letters that go beneath the baseline, and the
| | 00:56 | ascenders are those parts of the
letters that go above the x-height.
| | 01:01 | So there is some basic type terminology.
| | 01:04 | Let's now get working with type in Photoshop.
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| Setting type preferences| 00:00 | Let's start by taking a look at our
Photoshop Preferences, specifically those
| | 00:03 | ones that relate to type.
| | 00:05 | So I am going to come to the Preferences menu.
| | 00:08 | Now, for Windows users, you'll find
your Preferences at the bottom of the Edit
| | 00:11 | menu. And then go straight to Type.
| | 00:14 | Now, most of these are pretty
self-explanatory. Use Smart Quotes.
| | 00:18 | Yes, we want to have paired quotation
marks, although we will see in a later
| | 00:23 | movie how sometimes this can trip us up,
but for the most part, this is a good thing.
| | 00:27 | We want these turned on.
| | 00:29 | Show Asian Text Options, obviously
relevant if I were working with Asian text.
| | 00:33 | I am not going to be, so I am
going to leave that turned off.
| | 00:36 | Enable Missing Glyph Protection.
| | 00:38 | This will make sure that any glyphs that
are missing are going to be substituted.
| | 00:43 | Show Font Names in English.
| | 00:44 | Yes, please. And Font Preview
Size: Medium, Small, et cetera.
| | 00:49 | Let me just show you what this is,
if I come and select this type here.
| | 00:54 | Here is our font preview size.
| | 00:57 | So we've currently set at Medium.
| | 00:59 | I could come and change that.
| | 01:02 | No compelling reason to do so.
| | 01:04 | I am quite happy with the way it is,
but let's see what it would look like
| | 01:07 | if it was set to Huge. There is the
difference, but I am going to go back
| | 01:14 | and put it to Medium.
| | 01:16 | Now, there is one other thing that I would
like to do here, and that's in my Units & Rulers.
| | 01:21 | I want to make sure that my Type is
set to pixels as opposed to points, and I
| | 01:28 | recommend that you do the same,
because pixels are in absolute measurement.
| | 01:32 | Points are always going to be
relative to the resolution of your
| | 01:36 | Photoshop document.
| | 01:38 | Column Size looks like it's going to be
a type-related preference. It actually has
| | 01:42 | nothing to do with type whatsoever.
| | 01:43 | It's just the size at
which you can crop an image.
| | 01:47 | We have the potion of adding our own
custom keyboard shortcuts to any menu item
| | 01:52 | that doesn't have a keyboard shortcut.
| | 01:54 | And there are a few candidates that we
might want to consider when working with type.
| | 02:00 | Here are a couple of my personal
favorites, which I find to be quite useful.
| | 02:06 | I am going to come to Keyboard
Shortcuts, and I am going to create a new
| | 02:09 | keyboard shortcut set, which I will call nigel.
| | 02:12 | Feel free to call your something different.
| | 02:14 | I'm going to expand the Application menu
command for layer, and then scroll down.
| | 02:21 | We have here a list of everything,
including all of the sub-items on the layer menu.
| | 02:25 | I am going to keep scrolling down
until I get to the Align commands.
| | 02:31 | And the two that I am after are the
Vertical Centers and the Horizontal Centers.
| | 02:35 | So, I am going to click in the
Shortcut column and I am going to create a
| | 02:39 | shortcut for aligning the vertical centers.
| | 02:42 | And I am going to have this
shortcut be Command+Option+Shift+Left Bracket
| | 02:47 | or on Windows, Ctrl+Alt+Shift+Left Bracket
| | 02:51 | For the Horizontal Centers, same
three modifier keys, right square bracket.
| | 02:56 | I will accept that. Click OK.
| | 02:59 | Let me just show you what that does.
| | 03:02 | So, if I move this piece of type
so that it's no longer centered
| | 03:07 | horizontally or vertically,
| | 03:08 | if I press Command+A or Ctrl+A to
select all, rather than coming here, Align
| | 03:15 | layers to Selection and
choosing these two options twice--
| | 03:18 | I'd need to make two visits then--
| | 03:20 | I can just use those keyboard shortcuts
to center not the type itself, but the
| | 03:26 | block of text on my canvas.
| | 03:29 | So, those are our type preferences and
just a couple of examples of adding your
| | 03:34 | own custom keyboard shortcuts.
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2. Entering and Editing TextInteracting with type layers| 00:00 | This movie is about the conventions of
working with type layers in Photoshop.
| | 00:04 | When you use your Type tool and you type
on your canvas, you create a type layer.
| | 00:09 | This is what a type layer looks like.
| | 00:11 | It has a T on the layer thumbnail.
| | 00:13 | The first 30 characters that you
type will be the name of that layer.
| | 00:17 | If you wish to rename the layer for
whatever reason, you can just double-click
| | 00:21 | on the existing name and type a new name.
| | 00:24 | For the most part, we want our type
to remain as type layers so that it
| | 00:28 | is editable as type.
| | 00:30 | There may be certain things that we need to do
to our type which cause it to be rasterized.
| | 00:36 | For example, if I wanted to give
this type a motion blur, that's going to
| | 00:40 | involve me coming to the Filter
menu and choosing Blur > Motion Blur.
| | 00:44 | I will get this warning message.
| | 00:46 | The type layer must be
rasterized before proceeding.
| | 00:50 | Its text will no longer be editable.
| | 00:52 | Sometimes you have to break the eggs to
make the omelet, but the consequence of
| | 00:57 | this is that my type is no longer editable type.
| | 01:02 | We see the T has now
disappeared from the layer thumbnail.
| | 01:07 | I'm going to undo that by pressing
Command+Z or Ctrl+Z. One other thing I'd like to
| | 01:11 | mention is that if you have multiple
layers in your composition, you may need to
| | 01:17 | change the stacking order of those layers.
| | 01:19 | And the easy way to do this is just to
get your type layer and drag it up to
| | 01:25 | wherever you want to it to
be within the composition.
| | 01:27 | I've now put this back as being the top layer
in my layer stack, so we can now read the type.
| | 01:33 | I can use my Move tool to just reposition my
type wherever I need it to be on my canvas.
| | 01:39 | And because type exists on its own
separate layer and we want to retain those
| | 01:43 | layers, we will need to save our
files in a format that retains our layers--
| | 01:50 | that means Photoshop or TIFF.
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| Entering and selecting point type| 00:00 | There are two classes of type we
work with in Photoshop: point type
| | 00:03 | and paragraph type.
| | 00:05 | Here we're going to be working with point type.
| | 00:08 | When I choose my Type tool, wherever I
click on my canvas becomes my insertion point.
| | 00:13 | The type that I key in is going to be
relative to that insertion point, according
| | 00:18 | to which alignment option I have chosen.
| | 00:21 | Currently, I'm left aligned,
and I'm going to stay that way.
| | 00:24 | Before I start typing though, I might
want to set some of my type options like
| | 00:28 | the font, the style. I'm going to
leave those as they are, but I'm going to
| | 00:32 | change the size to 120 pixels.
| | 00:35 | So when I click, there is my
insertion point, and I'm now going to type.
| | 00:41 | While I remain in this area of type,
I can double-click to select a word or
| | 00:47 | triple-click to select a line.
| | 00:50 | Had I continued typing, my line
would've gone beyond the bounds of the canvas.
| | 00:55 | I can introduce breaks if I
need to, by pressing Return.
| | 00:59 | Here's a problem that you're
bound to run into at some point.
| | 01:02 | If I now come and choose my Move tool
so that my type is committed, and we
| | 01:07 | see over here on the type layer it's taken
on the name of the actual text that I input,
| | 01:13 | if I now wish to go and re-edit that
type, come and choose my Type tool again,
| | 01:19 | and I click anywhere other than inside
that text, what I'm going to do is I'm
| | 01:23 | going to create a new type layer.
| | 01:26 | And this is a problem that especially
new users, but even veterans run in to, and
| | 01:31 | it's not uncommon to see quite a few of
these sort of 'dummy layers', if you will,
| | 01:37 | just littering your Layers panel.
| | 01:38 | So just be aware of that.
| | 01:39 | If that happens--and it will happen
at some point--then just drag that
| | 01:43 | layer into the trash.
| | 01:45 | One way of making sure that you get to
the type is by double-clicking on the
| | 01:51 | layer thumbnail. There we're
taken directly into the type.
| | 01:54 | Now if I were to press my right arrow,
that will put my cursor at the end of the
| | 01:59 | line, and I can go and add in my
question mark that I need right there.
| | 02:03 | So having made this edit, I'm going to
commit this edit by either coming and
| | 02:07 | choosing a different tool on my Tool
panel, or by coming and clicking on the
| | 02:11 | check mark on the Tool Options bar.
| | 02:14 | Something else I might want to do,
I'll just point this out and it wouldn't
| | 02:17 | really be appropriate at this
point, but I'll point it out anyway.
| | 02:20 | That is, I can change the text
orientation, because we can work with vertical
| | 02:24 | type as well as horizontal type in Photoshop.
| | 02:27 | And if I now choose my Move tool, I can
drag that around and we can see that we
| | 02:31 | now have our text vertically oriented.
| | 02:34 | It would cause us to have to make a
number of other mortifications in order
| | 02:37 | to make this readable.
| | 02:39 | So I'm going to undo this, Command+Z.
Now if I need to back up more than one
| | 02:44 | step, Command+Option+Z or Ctrl+Alt+Z to
back up more than one step, or from your
| | 02:51 | Edit menu you can choose Step Backward.
| | 02:54 | We saw how I selected type with my
Type tool so that I could edit the type,
| | 02:59 | but sometimes we need to select the type
with the Move tool so that we can move it around.
| | 03:04 | If we have multiple layers in our
document, this can occasionally be a
| | 03:08 | slightly tricky thing to do.
| | 03:10 | So I'm going to come over to my Layers
panel and I'm going to turn on a couple
| | 03:14 | of other layers that we have here.
| | 03:16 | So in this layer group, which now
we'll expand, we have these two colored
| | 03:20 | rectangles that overlap. One overlaps the other.
| | 03:24 | I'm going to put my piece of type
inside this group by dragging it onto that
| | 03:29 | folder, so it's going to go into the
group. And it's going to come into the
| | 03:32 | group at the bottom of the group,
so I'm going to drag it to the top,
| | 03:36 | and then I'm going to reposition
this type down at the bottom right here.
| | 03:41 | Now let's say that I had a different
layer selected, the background layer--and
| | 03:47 | I'm just going to select that by
clicking on it--and I want to select my piece
| | 03:51 | of type with my Move tool.
| | 03:53 | So if I come and select it, it's
going to think that I'm trying to move the
| | 03:57 | background layer, which I cannot do.
| | 03:59 | So I would need to go and click on the
type layer in order to select it, and
| | 04:04 | then I can drag it around.
| | 04:05 | But there's a quicker way
of doing it than that.
| | 04:06 | I'll come back and select the Background layer.
| | 04:09 | The quickest way to select a layer
that you want to work with--and this is
| | 04:12 | applicable not just to type layers
but to any layer--is I think to use
| | 04:17 | something called auto-select, but not
by necessarily checking Auto-Select here
| | 04:23 | because Auto-Select at the moment is set to
Auto-Select a group as opposed to a specific layer.
| | 04:31 | So at the moment, the way Auto-Select
is going to operate is it's going to
| | 04:34 | select the whole group, and I'm going to
end up moving all of those elements as
| | 04:38 | one--not what I want to do,
so I'm going to undo that.
| | 04:42 | To start with, I would need to change
Auto-Select to select just a layer, and
| | 04:47 | now when I click on the
piece of type, that's all I get.
| | 04:52 | But with Auto-Select turned on in your
Tool Options, you often find, or at least
| | 04:57 | I often find, that I end up moving
things that I don't intend to move, so I'd
| | 05:01 | like to turn that off. And when I want to use
the Auto-Select function, I hold down the Command key
| | 05:08 | or the Ctrl key, and then I can just come and
pick the layer that I want and drag that around.
| | 05:14 | So that's how you get to Auto-Select
without being turned on in your Tool Options.
| | 05:19 | Here are a couple of other interesting
and useful tips when selecting your type.
| | 05:24 | Let's say I have an insertion point
with my type cursor, and I'm going to
| | 05:29 | triple-click right there
to select all of that type.
| | 05:32 | Now I want to move it, but I
want to stay in my Type tool.
| | 05:36 | So when I move outside of the type
slug, i.e., the area that becomes inverse
| | 05:41 | video when you have it selected,
| | 05:42 | when you move outside of that area,
look what happens to your cursor.
| | 05:45 | It changes to your Move tool.
| | 05:47 | So I can just then drag this down into position.
| | 05:52 | Another way of doing much the same
thing is if you're in your Type tool and you
| | 05:56 | want to move your type but you want to
stay in your Type tool, hold down your
| | 06:00 | Command key, or your Ctrl key, and for
as long as you have that key held down,
| | 06:04 | you have a transformation box around
your type, and you can pull these handles to
| | 06:08 | resize your type. Or if you just click
and drag from within the box, you can
| | 06:13 | reposition your type.
| | 06:15 | Let go and you're back in your Type tool.
| | 06:17 | You can also use your cursor arrows to
nudge the type, and I'm just now going to
| | 06:22 | nudge it up a couple of pixels
so that it sits on that line.
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| Copying a type layer| 00:00 | This movie is about copying type.
| | 00:02 | But before I do that, I would
like to change the color of the type.
| | 00:05 | I'm going to be having a series of
movies about changing the color, but it's
| | 00:09 | bothering me right now, so
let me just do this quickly.
| | 00:12 | Here's a quick way to change your color.
| | 00:14 | Currently, I have foreground
color black, background color white.
| | 00:18 | I'm going to switch that by clicking on
this toggle switch or by pressing my X key.
| | 00:23 | And then I'm going to hold down my
Option key or my Alt key, making sure I have
| | 00:27 | the text layer targeted, and press
Option+Delete or Alt+Backspace.
| | 00:34 | Okay, now to copy my type, if I wanted
to copy a piece of the text itself, well,
| | 00:40 | I would need to choose my Type tool by
pressing T, select the piece of type that
| | 00:45 | I wanted to copy, Command+C or Ctrl+C,
and then I can just go ahead and paste it,
| | 00:51 | Command+V or Ctrl+V. If I want to copy the
whole type layer, I can drag that layer
| | 00:58 | onto the New Layer icon, or I can press
the keyboard shortcut Command+J. You'll
| | 01:03 | see that I now have two layers, one on
top of the other, and I can now choose my
| | 01:07 | Move tool and move one of
them away from the other.
| | 01:11 | Perhaps the easiest way, and the way
that I would usually opt for if you want to
| | 01:16 | copy a type layer, is to hold down your
Option key or your Alt key, and as you
| | 01:20 | do so, you'll see your
cursor changes to two arrows.
| | 01:24 | And then you can just drag away from
that, and then you create another copy.
| | 01:27 | Now as you drag, you may optionally want to
hold down the Shift key as well, as I'm doing.
| | 01:33 | That's going to prevent wobbling from
side to side like so, but only allow you
| | 01:38 | to move the piece of text along one plane--
| | 01:41 | in this case the vertical plane.
| | 01:43 | Let's say we wanted to copy a piece
of type from one document to another.
| | 01:48 | I'm going to press Command+N or Ctrl+N to
create a new document, and I'm just going
| | 01:52 | to accept these values for that new document.
| | 01:56 | And I'm going to fill the background
with black, make my foreground color
| | 02:00 | black. Press Option+Delete
or Alt+Delete to do that.
| | 02:05 | And now let's come back here and let's
say we want to copy one of these layers
| | 02:10 | of type into that new document.
| | 02:12 | Here's one way of doing it.
| | 02:13 | When you're working in your screen mode
that allows you to see your tabs at the
| | 02:18 | top here, and by screen mode you can
press your F key to cycle through those, so
| | 02:23 | if you don't see the tabs, keep
pressing your F key until you do.
| | 02:27 | You can just drag this up onto the name of
the document that you want to copy it to.
| | 02:34 | And then you can see the bounds of that
piece of type illustrated by a gray line
| | 02:38 | around it, and then you can just drop it
wherever you want it to go. That's one way.
| | 02:42 | Another way would be to split your
screen so that you can see a 2-up view, and
| | 02:48 | you've got the two documents side by side.
| | 02:50 | So if I come back to this one right here,
I'll choose the layer of type that I
| | 02:54 | want to copy, and then I can just
drag it over to where I want it to go.
| | 02:59 | So, two different approaches for
copying a type layer from one document
| | 03:04 | to another.
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| Choosing fonts| 00:00 | This movie is about choosing your fonts,
and here I'm going to select the layer Spoilt.
| | 00:06 | I've got each of these bits of type
on a separate layer, and I'm going to
| | 00:10 | double-click on the thumbnail
for Spoilt to select that type.
| | 00:14 | And I can now come up and change
the font in my Tool Options bar.
| | 00:19 | I can also do the same
thing using my Character panel.
| | 00:23 | With the Essentials workspace, I have the
Character panel as part of that workspace.
| | 00:28 | If you don't see it, you can toggle to it by
clicking on this icon on the Tool Options bar.
| | 00:34 | And a third way to get it is to
actually choose it from the Window menu,
| | 00:39 | Character. Or if you are in your Type
tool and have some type selected, you can
| | 00:44 | also press Command+T or Ctrl+T to
bring up your Character panel.
| | 00:48 | Anyway, after all that, I'm not
going to use my Character panel.
| | 00:51 | I'm going to go up here and do it.
| | 00:53 | Well, the Character panel does give me
some additional options, but all I need
| | 00:56 | for now is on my Tool Options.
| | 00:58 | So if I select the existing font, I
can start typing in the font I am after.
| | 01:03 | Let's say I want to go to Adobe Garamond Pro.
| | 01:06 | As soon as it recognizes the font that I want,
I can then press Tab to have that take effect.
| | 01:12 | Another thing you can do is just insert
your cursor in this field and press your
| | 01:16 | up and down arrow to just cycle through
your font menu and get a sense of what
| | 01:22 | your selected type will look
like in any of these fonts.
| | 01:26 | That could be a bit of a time waster though.
| | 01:28 | It's a good idea to just get familiar
with a few fonts, rather than have a very
| | 01:34 | passing relationship with lots of them.
| | 01:37 | So try and over the course of your
working with type to develop a close
| | 01:42 | relationship with a family of serif
fonts and a family of sans serif fonts and
| | 01:47 | maybe be a script family,
and get to know those really well.
| | 01:50 | There's one other thing I'd like to just
mention quickly, and it's not an option
| | 01:55 | that I would really recommend,
but since it is available, it does bear talking
| | 02:00 | about, and that is the option of being
able to choose faux bold and italic.
| | 02:06 | If I choose this font here, it's called
Rosewood Std, and it's this lovely circus one.
| | 02:11 | I'm sure you've seen it. It does
tend to get a bit overplayed these days,
| | 02:15 | but it's a lovely font nonetheless.
| | 02:17 | It only comes in one weight, a regular weight.
| | 02:20 | But if I were to press the keyboard
shortcut Command+Shift+I, that will
| | 02:26 | italicize it, and Command+Shift+B
will make it bold. And yes, not a very
| | 02:33 | desirable effect there.
| | 02:34 | So what we have, and we can see this
listed on our Character panel if we come to
| | 02:39 | our Character panel, if I go to the
Panel menu for the Character panel, we see
| | 02:45 | we have these two options,
Faux Bold and Faux Italic.
| | 02:49 | So when there is not either a bold or
italic weight of that font, you can fake it.
| | 02:56 | Do you want to fake it?
| | 02:57 | I don't think you do,
unless you're really desperate.
| | 02:59 | But I'm going to now press Command+Shift+B
or Ctrl+Shift+B to un-faux-bold that
| | 03:05 | and Command+Shift+I to un-faux--if
there is such a word--italicize that.
| | 03:11 | So we're back to just the
regular weight for that font.
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| Sizing type| 00:00 | This movie is about sizing your type,
and there are several ways to do this.
| | 00:04 | I'm going to choose my Type tool, and
I'm going to triple-click on that piece
| | 00:07 | of type to select it.
| | 00:09 | So first of all, I'm going to size my
type using the menus, and I can do this
| | 00:13 | either on my Tool Options
or on my Character panel.
| | 00:17 | I'm going to do it on my Tool Options.
| | 00:19 | I can choose from any one of these
sizes on the type scale, I can highlight the
| | 00:24 | existing value and type in any other
value, or with my cursor in this field, I
| | 00:30 | can press my up arrow or my down
arrow to increase or decrease the size.
| | 00:37 | If I take the focus away from the
Tool Options and come and make sure I'm
| | 00:42 | back on my canvas, I could use
keyboard shortcuts instead: Command+Shift+>
| | 00:47 | or Command+Shift+<.
| | 00:52 | Substitute the Command key for the
Ctrl key if you're working on Windows.
| | 00:56 | And that's going to increase or
decrease your type in two-point increments.
| | 01:01 | If you add in the Option or Alt key to
the same key combination, you'll be going
| | 01:07 | in 10-point increments.
| | 01:09 | Something that Photoshop has that I
wish were available in InDesign or in
| | 01:14 | Illustrator is the ability to
scrub back and forth on these two Ts,
| | 01:19 | if you go to the left to decrease your
point size, or if you go to the right to
| | 01:24 | increase your point size.
| | 01:25 | As well as all of those options, we can
also scale our type using Free Transform.
| | 01:33 | I'm going to switch my layers now,
| | 01:34 | come and choose the small potatoes layer.
| | 01:37 | And to get to Free Transform, Edit >
Free Transform, or I'm going to use the
| | 01:42 | keyboard shortcut, Command+T or Ctrl+T.
That will put a transformation box around my type.
| | 01:49 | And if I want to size it proportionally,
which 99.9% of the time I do, I'm going
| | 01:56 | to hold down the Shift key and
just pull from one of the corners.
| | 02:00 | If I want to scale it from its center
point, I'm going to hold down the Option
| | 02:05 | or Alt key in addition to the Shift key.
| | 02:08 | So there we have four
different ways of sizing your type:
| | 02:12 | using the menus, using the shortcuts,
scrubbing on the two Ts, or scaling
| | 02:18 | with Free Transform.
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| Understanding pixel/point size and resolution| 00:00 | Earlier on in this title, I had us
change our type preferences so that we see
| | 00:06 | our type in pixels, as opposed to points.
| | 00:09 | And here is the reason why I had us do that.
| | 00:12 | When we are in pixels, our type size
is expressed as an absolute number.
| | 00:17 | When we are in points, our type size
is always going to be relative to the
| | 00:21 | resolution of our image.
| | 00:24 | So, if I select this piece of type--I
am just going to insert my cursor and
| | 00:28 | press Command+A to select all of it--
| | 00:30 | we can see that it is 166 pixels.
| | 00:33 | If I now go to my Image menu > Image
Size, if I turn off Resample Image so I
| | 00:39 | keep the same number of pixels in the
image, and I will change it to 72 pixels
| | 00:45 | per inch resolution, and then
I'll come back to my Type tool,
| | 00:48 | we are still at 166
pixels as the size of the type.
| | 00:52 | But if I go to my Preferences and
come to my Units & Ruler preferences and
| | 01:00 | change the Type unit to points,
and then select this piece of type.
| | 01:06 | So, currently we are at 166 points, but I am
going to make the same changes I made before.
| | 01:12 | I am going to come to my Image Size
dialog box, and I got there by pressing
| | 01:16 | Command+Option+I or Ctrl+Alt+I.
| | 01:20 | And again, Resample Image is unchecked.
| | 01:23 | I will change the image resolution to
300, keeping the same number of pixels, but
| | 01:27 | we just have a smaller document size now.
| | 01:30 | Now, when I go back and look at that type size,
it has been reduced by a factor of about four.
| | 01:36 | So you never really know where you're
at type-size-wise when you're working
| | 01:41 | with points, because when you change your
resolution, that number is going to change.
| | 01:45 | Work in pixels, that number is going to stay the same.
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| Entering and selecting paragraph type| 00:00 | We have seen creating point type.
Now, let's see creating paragraph type,
| | 00:04 | useful when you want to confine
your text to a specific width.
| | 00:09 | So, I am going to come over to
TextEdit where I have this piece of text which
| | 00:13 | I am going to select and I am going to copy.
| | 00:16 | Then I am going to come back to
Photoshop, press T to go to my Type tool, and
| | 00:20 | then click and drag to
define an area for the type.
| | 00:24 | Having done that, I can then paste my
type. But before I do so, you might just
| | 00:29 | want to check what are the type
options, because you can sometimes get some
| | 00:33 | rather unpredictable results, because
the font and the size and the leading
| | 00:38 | will all be inherited from whatever the
previous user was doing, or whatever you
| | 00:42 | as the previous user were doing.
| | 00:44 | So, I am going to come to my
Character panel, and from the Panel menu, I am
| | 00:48 | going to choose Reset Character,
and that's going to set things back to
| | 00:51 | their default values.
| | 00:53 | And then I will press Command+V or
Ctrl+V to paste in my text and Command+A or
| | 00:59 | Ctrl+A to select it.
| | 01:01 | And the first thing I want
to do is change the font.
| | 01:04 | I am going to change to Adobe Caslon Pro,
and then I want to increase the point
| | 01:10 | size. I'm going to do this by
using the keyboard shortcuts
| | 01:13 | since I already have the type selected.
| | 01:16 | I need to make sure I am not actually in
one of these options on my Tool Options
| | 01:20 | bar, but rather in the text itself.
| | 01:23 | So, I will just refocus down here on
the canvas, Command+Shift+> to increase
| | 01:29 | my point size. I am going
bigger in two-point increments.
| | 01:32 | I would also like to increase the leading.
| | 01:35 | I am going to use a keyboard shortcut for that.
| | 01:37 | Currently, I am using Auto leading,
which means that the line spacing is always
| | 01:41 | going to be bigger than the type itself.
| | 01:44 | I am going to press the Alt key or
the Option key and my down arrow.
| | 01:48 | Now, if this happens, and it might well
happen, then don't panic. My leading has
| | 01:53 | just shrunk to this tiny amount,
| | 01:56 | so I can just keep pressing
Option+Down Arrow until it gets within the
| | 02:01 | realm of plausibility.
| | 02:02 | You can see I am going two points
bigger or smaller with my line spacing.
| | 02:07 | Now, there are other things about this
type that I would like to change, but we
| | 02:11 | may well come to that in a later
movie. But for now that's the essentials of
| | 02:16 | working with paragraph type.
| | 02:17 | Let me just mention one more thing and
that is that if you need to change the
| | 02:21 | size off the text block,
| | 02:23 | T for your Type tool, click inside the
text, and you will get these handles
| | 02:29 | appear around it, and you can then go
and click on these handles to change the
| | 02:35 | width of that type area.
| | 02:36 | You are not changing the size of the type;
| | 02:39 | you are just changing the size of the type area.
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| Finding and replacing text| 00:00 | Photoshop has some very
elementary Find & Replace Text commands,
| | 00:04 | so don't expect to be doing some
major Find & Replace commands here.
| | 00:08 | We are just doing the very bare essentials.
| | 00:10 | If we wanted to change 'Cat' to 'Dog',
for example, we could come to Find &
| | 00:14 | Replace Text, type it in there, go to
Change To, type it in there, Find Next,
| | 00:20 | Change All, et cetera.
| | 00:21 | But let's say that we don't want to do
that, but rather we want to do something
| | 00:27 | a little bit more challenging.
| | 00:28 | We want to change these straight
quote marks to paired or smart quotes.
| | 00:34 | Even though we have our smart quotes
preferences turned on, if we copy or cut and
| | 00:40 | paste text into Photoshop and that
text was typed with straight quotes,
| | 00:44 | they will not be converted to smart quotes.
| | 00:47 | So, in the Find What, I am going to type
in a double quote and in the Change To
| | 00:52 | I need to enter the keyboard shortcut
for an opening double quote, and on the
| | 00:57 | Mac that is Option+Left Bracket.
The opening quote mark on Windows is Alt+0147.
| | 01:05 | I need to make sure I have
none of my text selected;
| | 01:09 | otherwise, it would only
search within that selection.
| | 01:12 | I am now going to click Find Next.
| | 01:14 | I want to change this one, but not
the next one, because that's the closing
| | 01:18 | quote, so I am going to then click on
Change/Find and now we will Find Next,
| | 01:23 | Change/Find, Find Next.
| | 01:26 | You get the idea.
Change/Find, Find Next, Change/Find.
| | 01:31 | Okay, so that now leaves me with just the
closing quote marks that need to be changed.
| | 01:36 | So, in the Change To, I will now
switch that to the character for a double
| | 01:41 | closing quote mark, which is
Option+Shift+Left Bracket or on Windows, Alt+0148.
| | 01:49 | I can now go ahead and click Change All.
| | 01:53 | Then I get this message.
| | 01:55 | The text layer, and it references by name
the layer, is hidden and cannot be searched.
| | 02:00 | So, this is another point I want to make here.
| | 02:02 | If you have text on a hidden layer, that
will not be included in the Find & Replace.
| | 02:07 | That's okay. We don't want it included in this case,
| | 02:10 | so I am going to skip that and we now
see that we now have our opening and
| | 02:14 | closing quote marks.
| | 02:15 | There is the hidden type layer,
which will not be affected by that.
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| Spell-checking your type| 00:00 | Well, the subject of spellchecking may
not be the most exciting topic in the
| | 00:03 | world, but there is
something that's worthy of mention.
| | 00:06 | And here we have text, which depending
on which side of the Atlantic or which
| | 00:12 | side of the US Canadian border
you fall may be spelled correctly or
| | 00:16 | incorrectly, and this is what
determines what your text is spell checked
| | 00:23 | against, the chosen language dictionary.
| | 00:25 | So, if I have this as English UK then when I
go to Edit and Check Spelling, no problems.
| | 00:33 | But if I change that to English USA,
and then to check my spelling, of course,
| | 00:40 | it realizes that something is
amiss, and we can change it like so.
| | 00:45 | So, just be aware of what language
dictionary is applied to your text and the
| | 00:51 | language dictionary is an
option on the Character panel.
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| Converting point type to paragraph type and vice versa| 00:00 | It's probably not often that you will
want to do this, but you can convert point
| | 00:03 | type to paragraph type and vice versa,
| | 00:07 | and here is how you do it.
| | 00:09 | You select the type layer and you
come to the Layer menu, down to Type.
| | 00:13 | This is currently point type, so I get the
option of converting it to paragraph text.
| | 00:18 | Having done so, when I now choose my
Type tool and I click in that text frame,
| | 00:23 | we see we have a text area border,
and I can use that border to reshape the
| | 00:30 | width of that text block.
| | 00:31 | On the other hand, maybe I have typed
this as paragraph text and I want to
| | 00:37 | convert it to point text.
| | 00:39 | So, once again, I don't select the type.
| | 00:42 | I just select the type layer.
| | 00:44 | Come to the Layer menu > Type, and I now
have the option, Convert to Point Text.
| | 00:50 | It doesn't look any different, but now
when I choose my Type tool and click on it,
| | 00:54 | we see we get the baselines underlined,
and we get this anchor point indicating
| | 00:58 | that it is left aligned.
| | 01:00 | Now, that means that as point text,
I can break this all onto one line,
| | 01:05 | regardless of how long that line may be,
and even though it might extend beyond
| | 01:10 | the bounds of my canvas.
| | 01:12 | I could then presumably size that
down so that it fits on my canvas.
| | 01:16 | So, you can convert one type of
text, paragraph to point, and vice versa.
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| Creating returns and non-breaking spaces in paragraph type| 00:00 | All right, we are going to talk
about returns, soft returns, and no break.
| | 00:04 | It used to be the case that there
was no such thing as a soft return in
| | 00:08 | Photoshop, but there sort of
is now, and here is how it works.
| | 00:12 | Here, I have a piece of paragraph text
and if I come to my Paragraph panel, we
| | 00:17 | can see that this has 48
pixels of space before it.
| | 00:21 | Now, that means that to carry this word
down to the next line, if I just press
| | 00:24 | Return, we get a 48-pixel
space above the new paragraph.
| | 00:29 | But if I press Shift+Return, we don't.
| | 00:32 | It retains it as part of the same
paragraph, and this new line doesn't inherit
| | 00:37 | all the properties of the paragraph
that it came from, i.e., there is no 48-
| | 00:42 | pixel space above it. That's good news.
| | 00:45 | Let's just put things back to how they were.
| | 00:48 | Now, another way that you may approach
a situation like this is if you never
| | 00:54 | want a phrase or a name or a product
name to be broken by a line break, you can
| | 01:01 | apply a no-break character to it.
| | 01:03 | So, if I select these two words here,
I can come to my Character panel and
| | 01:08 | from the Panel menu, I can choose no break.
| | 01:11 | And then those two words, because they
will not fit on the previous line, will be
| | 01:15 | carried down to the next.
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| Entering glyphs and special characters| 00:00 | How do we address those times when we
need to insert a character that we can't
| | 00:03 | find on our keyboard, something like a
foreign accent or a diacritical mark or
| | 00:09 | some sort of ornamental
punctuation as I'm using here?
| | 00:12 | I am using this pilcrow to
differentiate my paragraphs.
| | 00:16 | Well, if you are an InDesign or
Illustrator user, your instinct will be to go
| | 00:21 | to the Glyphs panel, but you won't
find a Glyphs panel in Photoshop.
| | 00:25 | It got forgotten, unfortunately.
| | 00:27 | So, here are some ways around that.
| | 00:31 | We can go to Illustrator or InDesign,
if you have either of those programs,
| | 00:36 | and you can use your Type tool, make
an insertion point, come to the Type
| | 00:40 | menu, the Glyphs panel, and find
the character that you are after.
| | 00:44 | Double-click to insert it.
| | 00:46 | Highlight it there, copy it,
come back to Photoshop, and paste it.
| | 00:51 | Okay, well, that's quite a long way around.
| | 00:54 | Maybe you don't have Illustrator
or InDesign. Maybe you don't feel
| | 00:58 | comfortable using them.
| | 00:59 | So let's look at another way of doing this.
| | 01:02 | I am going to turn off the visibility
on this finished layer and turn on the
| | 01:07 | visibility on this work in progress
where I will choose my Type tool, make my
| | 01:12 | insertion point, and then press my
Backspace/Delete key to delete the carriage
| | 01:18 | return that's currently
separating those two paragraphs.
| | 01:22 | In order for this to work, what
you will need to do is in your
| | 01:25 | System Preferences, turn on your Character &
Keyboard Viewer so that it appears up here on your menu bar.
| | 01:33 | Let me just show you where you can do that.
| | 01:36 | System Preferences, Keyboard.
You need to make sure that this is checked.
| | 01:42 | So once this is checked, what I can
now do is I can come up to my Keyboard
| | 01:47 | or Character Viewer.
| | 01:48 | I am going to go to the Keyboard
Viewer first of all and what we see here,
| | 01:52 | because we have a US keyboard selected,
is the character map of a US keyboard.
| | 01:57 | Now, if I hold down various modifier keys,
I see what characters I will get with
| | 02:03 | those modifier keys.
| | 02:05 | Now, unfortunately, I can't just click
and expect it to insert that character at
| | 02:11 | my insertion point. It's not
that straightforward, unfortunately.
| | 02:15 | But we do learn from this that
Option+7 is the key combination for the
| | 02:21 | character that we are after.
| | 02:23 | So, I can now return to my document and I
can type in Option+7 and there is my pilcrow.
| | 02:29 | Let's say that I wanted to maybe
explore using some sort of different pilcrow.
| | 02:35 | Then I could come up to my Character
Viewer, and in this list on the left here,
| | 02:42 | I need to see a different
subset of characters, or glyphs.
| | 02:46 | I need to be viewing the ornamental
punctuation, so I am going to click on that.
| | 02:51 | There is the character that I want,
| | 02:53 | and I can now disclose this
option down here, Font Variation.
| | 02:56 | We will see different types of pilcrows.
| | 03:00 | Let's say I want to use
the Zapf Dingbats version.
| | 03:02 | I would now hope that by selecting
this, I can click on Insert with Font.
| | 03:09 | You notice that I used the word 'hope',
but all the hoping in the world does
| | 03:13 | not get me that font.
| | 03:15 | It just gets me that character, but it has
somehow decided to go back to Myriad Pro.
| | 03:21 | But if I do now change the font of that
specific selected character, it does now
| | 03:28 | become the Zapf Dingbat version of the pilcrow.
| | 03:31 | And just to finish that off, I am
going to have that character selected, come
| | 03:35 | and click on the color box on
the Tool Options, and make it red.
| | 03:40 | Now, let's look at doing the
same thing on a Windows machine.
| | 03:44 | Okay, to achieve the same thing on a
Windows machine, we need to use the character map.
| | 03:49 | I have my type insertion
point here in the text area.
| | 03:52 | I am going to come over to my Start
menu at bottom left, and in the search
| | 03:57 | field, I will just start typing in
what is I am after, the character map.
| | 04:01 | It finds it right there.
| | 04:03 | And then we can just hunt and peck
for the character that we are after.
| | 04:07 | If necessary, we can change the font.
| | 04:08 | We don't need to in this case.
| | 04:10 | I can double-click on that, and it will
put it in this field, Characters to copy,
| | 04:14 | and I can click on Copy, move into my
Photoshop document, right-click, and paste,
| | 04:22 | and then I can just select
that and change the color.
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| Applying anti-aliasing to type| 00:00 | When we create type in Photoshop, we
are often creating type for screens,
| | 00:03 | so we have an additional option that
we won't find in InDesign and that is
| | 00:08 | anti-aliasing. There are five choices:
None, Sharp, Crisp, Strong, and Smooth.
| | 00:13 | Firstly, what is anti-aliasing?
| | 00:16 | Well, it is the addition of
transition color pixels from the color of your
| | 00:21 | type to the color of the background to
give the effect of smooth curves and diagonals.
| | 00:27 | If we take a look at enlarged view of
this S that has no anti-aliasing applied,
| | 00:33 | we see that because the pixels are
square, wherever there is a diagonal,
| | 00:37 | wherever there is a curve, we get
this presumably undesirable, unless you
| | 00:41 | perhaps like this look, this jagged effect.
| | 00:44 | But if we now look at the sharp
anti-aliasing, then we can see that we have
| | 00:49 | these additional color
pixels added in around the edges.
| | 00:53 | I am going to zoom in just a little bit further.
| | 00:54 | So, this is no longer just one color,
but is probably three additional colors,
| | 01:01 | in addition to the color of the text.
| | 01:03 | There is no right or wrong anti-aliasing choice;
| | 01:07 | it's the one that looks best.
| | 01:08 | So, trust your eyes, and it is going to vary
from typeface to typeface and from size to size.
| | 01:15 | So, you may wonder, why would
you ever not want to anti-alias
| | 01:19 | because it does not look so good when
applied to most types of font at most sizes?
| | 01:26 | Well, when you're working with very
small type and that type has a certain sort
| | 01:32 | of techno or mono spaced applied to
it, then perhaps you do not want to
| | 01:39 | anti-alias. And we have this example down here.
| | 01:42 | I am using the font Menlo in this case.
| | 01:45 | And this is arguably more readable.
| | 01:48 | I think it's a little bit crisper. I am not
sure how well this will translate to the video,
| | 01:52 | but also it's more economical,
because there is just the color of the text,
| | 01:56 | there is the color of the background.
| | 01:57 | There are no transition colors blurring the
edges and adding to the white of the file.
| | 02:03 | Just a couple of other things to consider
when designing for the screen in your font choices:
| | 02:08 | There are now many typefaces that
are designed specifically to be used on-
| | 02:13 | screen, and here are two of the most
famous and two that are readily available
| | 02:19 | that you will have on your system.
| | 02:21 | They are both designed by Matthew
Carter, perhaps the most famous living type
| | 02:26 | designer, Georgia as a serif
font and Verdana, a sans serif.
| | Collapse this transcript |
|
|
3. Character FormattingChanging fonts across multiple layers| 00:00 | Here is a useful timesaving tip.
| | 00:02 | If you need to change the font or the
point size or the color or anything
| | 00:05 | about the type of text on various
different layers, rather than having to go to
| | 00:10 | those layers one by one and change
them individually, you can select those
| | 00:15 | multiple layers, come and choose your
Type tool by clicking on it in the Tool
| | 00:19 | panel, or by pressing T, and then
just change the options up here.
| | 00:23 | I'm going to go to Adobe Caslon Pro,
and there they all change, and let me also
| | 00:29 | change the size. Quickly and
efficiently changing the font or any of the
| | 00:34 | character properties of type on separate layers.
| | Collapse this transcript |
| Changing type color| 00:00 | There are several ways to change
the color of your type in Photoshop.
| | 00:04 | Let's look at changing your type using
the Tool Options bar and the Character
| | 00:07 | panel to begin with.
| | 00:09 | If I come and choose my Type tool,
make sure I'm on the right layer,
| | 00:13 | I can now come and click on the color
box right there, or I can come and click
| | 00:18 | on the color box right
there on the Character panel.
| | 00:21 | I'll do it up here on the Tool Options.
| | 00:23 | Choose the color that I
want and that changes my type.
| | 00:28 | A second way is to use keyboard shortcuts.
| | 00:32 | So I don't need to be in
my Type tool for this one.
| | 00:34 | I'll just come and sample a color for my
Swatches panel, or I could use my Color
| | 00:39 | panel to mix a color. And then with
that color as my foreground color, making
| | 00:44 | sure I'm on the right layer, I'll
press Option+Delete key or
| | 00:50 | Alt+Backspace key and then that color will fill my type.
| | 00:53 | Or if I sample a background color,
| | 00:57 | so if I hold down the Command or the
Ctrl key and come on and click on a color
| | 01:01 | on my swatches color, that color
then becomes my background color.
| | 01:05 | I can now press Command+Delete or
Ctrl+Delete to fill my type with my background color.
| | 01:12 | If you want to change the color of
just some of the text on your type layer,
| | 01:17 | then you'll need to choose your Type
tool and select the word or words and then
| | 01:21 | come and choose the color from the
swatches or from the Tool Options and then
| | 01:26 | just that word will be affected.
| | 01:28 | Another way would be to apply a Color
Overlay layer effect, and this is going to
| | 01:32 | apply to all of the text.
| | 01:34 | It will not honor the difference that I've
made to that particular word right there.
| | 01:40 | So if I choose Color Overlay, and then
I can choose the color that I want, and
| | 01:48 | then that color applies to my text now.
| | 01:50 | At the moment, Color Overlay is being
applied with a Blend mode of Normal and
| | 01:54 | an Opacity of 100%.
| | 01:56 | If I were to change it to one of the
other Blending modes, we would then see
| | 02:01 | this color combining with the
existing colors of the type.
| | 02:05 | I'm going to cancel out of that right now.
| | 02:07 | When choosing your type colors you
want to make sure that you have enough
| | 02:10 | contrast between the color of
the type and its background.
| | 02:13 | I am just going to restore this to
being black text on a white background.
| | 02:19 | In terms of contrast, it doesn't get any
better than this, black text on a white background.
| | 02:24 | But of course, we want to
explore all kinds of other options.
| | 02:27 | So it's always a good idea to try and
make sure that there is about a 60% to 70%
| | 02:35 | contrast between the color of your
type and the color of the background.
| | 02:39 | Now at the moment what we have here
with this very striking color scheme is we
| | 02:44 | have complementary colors.
| | 02:45 | So there is a lot of contrast.
| | 02:47 | But if there is any danger of this
design being rendered as a grayscale--and I'm
| | 02:55 | just going to turn on my black and
white adjustment layer that I have in that
| | 02:58 | layer group--then we
lose a lot of that contrast.
| | 03:02 | So that was just something to consider.
| | 03:04 | Is your color design ever going to
end up being converted to grayscale?
| | 03:08 | And if so, would your color choices
still retain enough contrast, and how do we
| | 03:14 | measure how much contrast there is?
| | 03:16 | Well, we could use our Info panel, and
if we set the second color of our Info
| | 03:23 | panel to be grayscale, then even though
this is an RGB image, when I mouse over
| | 03:28 | this, I can see the K
values for this particular color.
| | 03:32 | So I have 54% for the type
and 34% for the background.
| | 03:37 | So, not much difference really
between the type and its background.
| | 03:41 | I will go and close this panel grouping now.
| | 03:44 | The third point I'd like to make,
and it's an obvious one, is don't put dark
| | 03:49 | text over a dark or busy background.
| | 03:53 | That's just going to make things
very difficult, or impossible, to read.
| | 03:57 | So consider what's going on your
background--is it busy, is it dark--and make
| | 04:02 | adjustments accordingly.
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| Sampling color| 00:00 | A particularly effective way of
getting your type in color is to sample color
| | 00:03 | somewhere from the image that
you're combining the type with.
| | 00:06 | So I'm going to come to my Type
tool and rather than select the type,
| | 00:10 | I don't even need to do that,
rather than choose the eyedropper,
| | 00:13 | I don't need to do that,
| | 00:14 | I'm going to go to the color box.
| | 00:16 | My cursor becomes the eyedropper, and
now I can move that around and just stab
| | 00:20 | around on the image, and then my
type color will update to reflect that.
| | 00:25 | So I think I'm going to go with
the red from that boat right there.
| | 00:30 | Now to take this a bit further, we could
use the Kuler web site, which would allow
| | 00:35 | us to upload this image, create a color
theme from it, save that color theme as
| | 00:42 | an Adobe Swatch Exchange file, load
that file in Photoshop, and then apply the
| | 00:47 | colors of that theme to
different pieces of text.
| | 00:50 | Let's say we have more text
that we want to apply color to.
| | 00:54 | So let's see how that works.
| | 00:56 | I'm going to go to my web
browser, and I'm signed in to Kuler.
| | 01:00 | In order to do this, you will need to
have Adobe ID. It's free to get one.
| | 01:05 | It just takes a few moments to register.
| | 01:07 | So I'm signed in, and I'm going to come
over to the left here and choose Create.
| | 01:12 | This allows me to create color themes.
| | 01:15 | Typically, that might be creating
from a color based upon one of these
| | 01:19 | color harmony rules.
| | 01:20 | But what I want to do here is create the
color theme from an image, specifically
| | 01:25 | the image that I'm about to upload.
| | 01:29 | That one, the image that we're working with.
| | 01:31 | Now I can create a color theme
based upon any of these moods.
| | 01:35 | So I can just experiment
with what it's going to give me.
| | 01:39 | As it turns out, I'm not really
liking any of the ones it's giving me.
| | 01:42 | It's not really hitting the colors
that I want to pick out of this image.
| | 01:46 | So I'm just going to drag these
targets around, and you could see my color
| | 01:50 | swatches update down the bottom here.
| | 01:52 | Let's put that one right there.
| | 01:57 | So we have a blue, sort of
a green, sort of a burgundy.
| | 02:02 | I'm now going to save that.
| | 02:04 | I'll give it a name.
| | 02:05 | I could also give it tags so that
other people could find it if they searched
| | 02:09 | for it, because I'll make this a public theme.
| | 02:12 | I'm not going to worry about the tags now.
| | 02:13 | I'm just going to save this,
and I can now download this theme.
| | 02:19 | Now I'm going to come back to
Photoshop and on my Swatches panel I'm going to
| | 02:23 | choose Load Swatches, come to the
photo that I saved theme in--there it is,
| | 02:29 | I'll open it, and those five colors now
appear at the end of my Swatches panel.
| | 02:34 | So what I'm going to do next is just
come to this piece of type right here,
| | 02:39 | choose my Type tool, and see how
we get on applying these colors.
| | 02:46 | Maybe I'll have this one in the blue,
this one in the green, this one in the
| | 02:53 | not-so-bright blue, and this one
we'll go back to the burgundy color,
| | 02:59 | in which case I think I also want
that same color used on the big type.
| | 03:04 | So I'll just come back to that,
Alt+Backspace or Option+Delete key.
| | 03:09 | So there we see how we can pick up
the colors from the image and then
| | 03:12 | apply those colors to the type in
our composition using Kuler and Adobe
| | 03:17 | Swatch Exchange.
| | Collapse this transcript |
| Working with transparency| 00:00 | When changing the color of your type,
of course you may wish to combine this
| | 00:03 | with changing your opacity.
| | 00:05 | So far we have been working with
type at 100% Opacity, but it's a very
| | 00:09 | effective way of creating an
interaction between your type and your image by
| | 00:13 | just reducing the opacity.
| | 00:15 | Now, I'm on my type layer
here, and I'm in my Move tool.
| | 00:19 | That means I can just press numbers
on my keyboard and it will reduce the
| | 00:23 | opacity of the type layer.
| | 00:24 | So if I wanted to go to 70%, just press 7.
| | 00:28 | Instantly the two are tied together
in some way that they weren't before.
| | 00:32 | If I want to go back to 100%, just press 0.
| | 00:35 | Let's say I want to change the color.
| | 00:38 | I'll press my X key to make white
my foreground color, to switch my
| | 00:42 | foreground/background colors,
and then press Option or Alt and my Backspace
| | 00:47 | Delete key to fill that type.
| | 00:49 | Now maybe I want to reduce the opacity
of that. Maybe I also want to experiment
| | 00:55 | with the different Blend modes.
| | 00:57 | Now with my type as white, certain of
these Blend modes are not going to work.
| | 01:01 | It's just going to disappear.
| | 01:02 | But it's always difficult to say
exactly what's going to happen with these.
| | 01:06 | The best way is just to try them and see.
| | 01:08 | So you can just choose them from here, or
you can use this keyboard shortcut.
| | 01:12 | It's Shift+Plus or Shift+Minus to move through them.
| | 01:18 | So perhaps white wasn't
the best choice of color.
| | 01:20 | Let me change the color.
| | 01:22 | I'll come to my Eyedropper tool.
| | 01:24 | I'll sample the color from the sky,
Alt+Backspace or Option+Delete key.
| | 01:29 | Currently, I'm on Linear Light,
but I'll just cycle through these Blend modes
| | 01:35 | seeing what sort of effect I get.
| | 01:36 | There's no right or wrong. It's just
whatever you happen to like, and of course,
| | 01:39 | you can combine these Blend modes with
the opacity, and you have an infinite
| | 01:43 | range of possibility.
| | Collapse this transcript |
| Applying a gradient| 00:00 | Here we can look at three different
ways of creating a gradient, or applying a
| | 00:03 | gradient to your type: a gradient
overlay, a gradient layer, and just a regular
| | 00:09 | layer with a gradient added to it.
| | 00:11 | We're also going to look at how you
can determine whether the gradient starts
| | 00:15 | and finishes across the whole range
of your type or whether it starts and
| | 00:19 | finishes within individual words.
| | 00:22 | So let's begin by looking at a
gradient overlay, one of our layer effects.
| | 00:28 | So I've clicked on the type layer.
| | 00:30 | I'm going to go Gradient Overlay,
and then I'm going to come and choose the kind
| | 00:33 | of gradient that I want.
| | 00:34 | I'm going to use this one, and then this
will determine the angle of the gradient.
| | 00:41 | I can also mess around with its
scale, I can reverse it, et cetera.
| | 00:44 | I'm just going to leave it as is for now.
| | 00:47 | So that's method number one.
| | 00:49 | Now what I'm going to do is I
am going to duplicate this layer.
| | 00:53 | Command+J or Ctrl+J will turn off the one
that's below, and I will delete the layer effect.
| | 01:01 | So we're back to where we began.
| | 01:03 | I'm now going to do the same thing
but in a slightly different way.
| | 01:06 | This is applying a gradient layer.
| | 01:08 | So I'm going to come down to my
adjustment layers, and the second option, Gradient.
| | 01:15 | I'll click on my gradient picker.
| | 01:16 | I get the same choice of gradients,
and I'm going to use the same gradient.
| | 01:20 | Now, that is going to
fill the whole of the layer.
| | 01:23 | Don't worry about that.
| | 01:24 | We're going to fix that in just a moment.
| | 01:25 | We get one additional option here that
we don't get with the gradient overlay,
| | 01:30 | and this may be significant.
| | 01:32 | If you're finding that you have banding
in your gradients, then you might want
| | 01:36 | to add some noise to them, or you may
just want to check this box, Dither.
| | 01:41 | That's going to mix up the colors a bit
with the intent of fixing any banding problems.
| | 01:46 | So if I click OK now, my gradient
is filling the whole of the layer,
| | 01:49 | obscuring the type.
| | 01:51 | So what I need to do now is hold down
my Alt key or Option key and just click
| | 01:54 | on the line between the type and the gradient.
| | 01:57 | So that it is now clipping
the gradient to the type.
| | 02:00 | Had I anticipated that I wanted to do that,
| | 02:03 | I could have held down the Option or
Alt key when I went to the Gradient layer
| | 02:09 | and chosen Use Previous layer to
Create Clipping Mask, and that way it's going
| | 02:14 | to start out that way. All right!
| | 02:16 | That's method number two.
| | 02:17 | Method number three.
| | 02:19 | I'm going to duplicate the type layer,
I'm going to drag the type layer above
| | 02:22 | those gradients, and I'm
going to turn off those two.
| | 02:26 | So we're back to where we began.
| | 02:29 | Method number three is just create
yourself a blank layer, and as with the
| | 02:33 | previous example, this layer
needs to be clipped to the type.
| | 02:38 | So anticipating that, I'm going to hold
down the Option key or Alt key, click on
| | 02:42 | the line between them.
| | 02:43 | We see that it gets indented.
| | 02:44 | We get an arrow pointing down to
the layer that it is clipped to.
| | 02:49 | So I can now choose my
Gradient tool in the toolbar.
| | 02:53 | I can come up to my Gradient
picker, same choice of gradients.
| | 02:55 | So I'll use the same one again.
| | 02:57 | But I now will just drag the gradient
in whatever direction I want it to go.
| | 03:01 | So this is a slightly more free-form approach.
| | 03:04 | If I wanted it to start a bit
lower, then I would do just that.
| | 03:07 | I'd start a bit lower. If I don't like the angle,
I can just move the angle around wherever I want it to go.
| | 03:15 | So those are three different ways of
making the gradient, but what if we want
| | 03:19 | this gradient to start and finish in
the word 'making', and then start and finish
| | 03:23 | in the word 'the', and then
the sign and the word 'grade'?
| | 03:26 | Then we need to do something different.
| | 03:27 | We need to separate these three
pieces of type onto separate layers.
| | 03:32 | So I'll turn off what we have so far.
| | 03:35 | So now I'm going to turn on this group,
and if we expand this group, what we see
| | 03:40 | is, in it, three separate layers where
we've got each word on its own layer.
| | 03:48 | I could now just use any of the
previous methods to apply the gradient to each
| | 03:52 | of these layers individually.
| | 03:54 | Perhaps the quickest way of doing it
is going to be just to pick up the layer
| | 03:59 | effect that I applied down here.
| | 04:01 | So I'm going to copy this layer effect,
and to do so I'm going to hold down the
| | 04:05 | Option or Alt key and then
just drag that up to there.
| | 04:08 | I'll repeat that again,
and I'll repeat it again.
| | 04:14 | So now we have the gradient starting
and finishing within each line of type as
| | 04:18 | opposed to going across the whole type area.
| | Collapse this transcript |
| Setting leading| 00:00 | This movie is about adjusting the
leading, or line spacing, of your type, and this
| | 00:05 | is an option that you
have on your Character panel.
| | 00:08 | If your Character panel isn't open,
then you'll find it under the Window menu.
| | 00:12 | Now, at the moment I have what's
referred to as Auto-Leading, and it's called
| | 00:16 | leading because it used
to be done with strips of lead.
| | 00:18 | Now Auto-Leading is your point size plus 120%.
| | 00:24 | So in this case that's going to work
out to something like 24.whatever.
| | 00:27 | Auto-Leading is okay,
but it can often trip you up.
| | 00:34 | Firstly, let's have a look at how you
can actually change what Auto-Leading is.
| | 00:39 | It doesn't necessarily need to be 120%.
| | 00:44 | So if I come and choose and Type tool
so that I am working on this piece of
| | 00:48 | type and then I can come to my Paragraph panel,
| | 00:50 | this is where we actually set the
Auto-Leading amount, and it's in the
| | 00:55 | Justification settings.
| | 00:58 | So here I can change the Auto-Leading,
rather than have it be 120%, maybe 110% is
| | 01:04 | going to be preferable.
| | 01:05 | That brings the lines closer together,
makes more of a relationship between the lines.
| | 01:10 | I think that's an improvement.
| | 01:11 | So even though the layer says 120,
I've actually changed that to 110.
| | 01:15 | Here's the before. Then there's the after.
| | 01:19 | Maybe we want to go
tighter than that. That's 100%.
| | 01:24 | Then maybe you just want to, in addition,
add some of your own custom leading.
| | 01:28 | Often, this is something you just
need to do according to your taste.
| | 01:32 | I've gone with negative leading here.
| | 01:34 | I've actually made the leading
value less than the point size.
| | 01:38 | Whether or not you want to do this is
going to depend a lot on whether you have
| | 01:43 | ascenders and descenders, or maybe you're
working with type in all caps, in which
| | 01:48 | case you wouldn't have either of those
things, and you probably will want to
| | 01:52 | tighten the leading, because the lines
of type will look optically like they're
| | 01:57 | slightly further apart.
| | 01:58 | But if you do want to change the
leading, with the type selected, the
| | 02:02 | keyboard shortcut is Option+Up Arrow
or Alt+Up Arrow to go tighter, down
| | 02:08 | arrow to go looser.
| | 02:09 | When you do that, you are going in
two-point increments or two-pixel increments,
| | 02:14 | depending on what you have
your type preferences set to.
| | 02:18 | And I know you're wondering,
can you change that increment?
| | 02:22 | The answer, I'm afraid, is no. It is two points.
| | 02:26 | You can come and click into the Leading
field, and if you press the up arrow or
| | 02:32 | the down arrow, you move in one-point increments.
| | 02:35 | But if you are doing it using the
keyboard shortcut, that's always going to
| | 02:38 | be two-point increments.
| | 02:41 | Now remember, I said Auto-
Leading can trip you up.
| | 02:45 | Let's go and have a look at
how Auto-Leading can trip you up.
| | 02:49 | These three lines have
Auto-Leading applied to them.
| | 02:52 | Just take a look at those.
| | 02:53 | It looks like the word eye is a lot
further away from the first two lines.
| | 02:59 | Even though the leading value is perfectly legit,
there's no problem with it. It's set to Auto.
| | 03:05 | The problem being that line
two does have a descender.
| | 03:08 | It has a descender on the y, but there
are no descenders directly above this word.
| | 03:13 | This word, 'eye', has no ascenders.
| | 03:16 | So it looks like this space is much
bigger than this space, the comparable space
| | 03:22 | between lines one and two, because there
are descenders on the p and there is an
| | 03:26 | ascender on the f. How do we fix it?
| | 03:28 | Well, we just do it by eye.
| | 03:30 | We select just the last line,
Option or Alt, and we nudge it up.
| | 03:35 | Now as I'm doing this, maybe I'm
distracted by this highlighting, and maybe I
| | 03:41 | want to hide my edges here.
| | 03:43 | So I can press Command+H. My type
remains selected, and then I can continue to
| | 03:50 | adjust that according to my
preference, and I reckon right about there is
| | 03:55 | about right.
| | Collapse this transcript |
| Tracking type | 00:00 | Tracking and kerning are two
terms that often get confused.
| | 00:03 | They are distinctly different.
| | 00:05 | We're going to begin with tracking
because it is the more global of the two.
| | 00:09 | It's a good idea to begin with your
tracking, which adjusts the space across a
| | 00:14 | range of type, and then drill down to
your kerning, which adjusts the space
| | 00:20 | between a pair of characters.
| | 00:22 | So let's see what I mean by that.
| | 00:24 | I'm going select this piece of type.
| | 00:26 | There is currently no tracking applied.
| | 00:29 | The Tracking options,
| | 00:30 | they are not on the Tool Options bar,
but they are in your Character panel
| | 00:35 | and they are these.
| | 00:36 | So if I wanted the space between the
words to be bigger, choose a positive
| | 00:41 | number, and if I want the space
between the words to be less, or if I want my
| | 00:45 | letters more tightly fit, I
would use a negative number.
| | 00:49 | This is not in any way
affecting the size of the type.
| | 00:52 | It is just the space between the characters.
| | 00:55 | I can also use this scrubby slider and
if I move to the left, things get tighter;
| | 01:01 | to the right, they get looser.
| | 01:03 | So how much is the right amount?
| | 01:05 | There is no right amount.
| | 01:06 | It depends upon the typeface
that you are using and upon your own
| | 01:10 | personal preference.
I'm going to set this back to 0.
| | 01:13 | I'm now going to turn on this layer,
the layer that's called loose, and we see
| | 01:19 | the same type, but with loose tracking applied.
| | 01:22 | Now loose tracking may be
appropriate here for the following reasons.
| | 01:26 | When you're working with type set in
all caps and you're working with serif
| | 01:32 | type, as I am--this is font
group Trajan Pro--it looks good.
| | 01:36 | I know that's a very subjective term,
but it does tend to look a lot more
| | 01:40 | sophisticated perhaps when you add
some space between the characters.
| | 01:45 | So I've applied in this case 100 units,
out of a maximum of 1,000 or 100/1000ths
| | 01:54 | of an em space between the characters.
| | 01:57 | Now if I were to try this same approach,
but working with sans serif type, we
| | 02:03 | see that the opposite isn't actually true.
| | 02:06 | Yes, I'm still working with type in all
uppercase, but when you work with sans
| | 02:10 | serif type you tend to
want the type to look more dense.
| | 02:14 | You're working with sans serif to
create more of an impact, and spacing out the
| | 02:20 | letters is actually
going to diminish the impact.
| | 02:24 | So on the top here we have our type
with 0 tracking and that looks fine.
| | 02:30 | Then below we have our type with,
again, 100 units of tracking, and that
| | 02:36 | doesn't look so good.
| | 02:37 | So as a general rule of thumb--
and you can find exceptions to this all over
| | 02:42 | the place and feel free to break this
rule--but just as a general guideline,
| | 02:46 | when working with serif type in all
uppercase, very important, you shouldn't
| | 02:51 | really track text in lowercase or
upper- and lowercase, although again there
| | 02:56 | are exceptions to that.
| | 02:57 | But when working with text in all
uppercase, positive tracking for serif,
| | 03:02 | negative, or no tracking, for sans serif.
| | Collapse this transcript |
| Kerning type| 00:00 | In the previous movie we talked about
tracking, which is the adjustment of space
| | 00:04 | across a range of characters.
| | 00:06 | This time we're going to talk
about kerning, the adjustment of space
| | 00:10 | between letter pairs.
| | 00:11 | But there are two types of kerning in Photoshop.
| | 00:14 | There is the automatic kerning
and then there is custom kerning.
| | 00:18 | Let's look first of all at automatic kerning.
| | 00:21 | So if I choose my type tool, and I just
select this word, come to my Character panel,
| | 00:27 | we see we have Metrics kerning applied to this.
| | 00:32 | We also see that our other options are
Optical kerning or no kerning at all,
| | 00:37 | which is not much of an option.
| | 00:39 | We want one of these two approaches.
| | 00:41 | So, Metrics kerning uses the kerning
metrics that are built into this font.
| | 00:47 | So the designer of this typeface
decided that between every A and W there
| | 00:54 | should be a certain amount of space removed.
| | 00:57 | You see how the W is actually coming
close to the A, and if I were to draw
| | 01:02 | myself a guide, you see that W
slightly overhangs the A. Now that's happening
| | 01:07 | because of the kerning metrics that are built
into this particular font, Adobe Caslon Pro.
| | 01:15 | Assuming that you're using a decent
quality font, then the Metrics kerning is
| | 01:19 | probably the best way to go.
| | 01:20 | It's what I usually use.
| | 01:22 | But we could also see how things
might look if we were to change to
| | 01:27 | Optical kerning, which disregards
those metrics values and just looks at
| | 01:31 | the character shapes.
| | 01:33 | Typically, not always, it's going to
vary from font to font, but typically this
| | 01:37 | will give you a slightly
tighter result. So that's Optical.
| | 01:42 | That's Metrics.
| | 01:44 | In addition, you might want
to add your own custom kerning.
| | 01:47 | Now to do this, just insert your cursor
between the letter pair that you want to affect.
| | 01:54 | Then you can either use the scrubby
slider here, moving to the left, that's
| | 01:59 | going to tighten things up;
| | 02:00 | to the right, it's going increase that space.
| | 02:03 | That's probably not going to give
you the kind of precision control that
| | 02:07 | you'd really need here.
| | 02:09 | So I'm going to click out my text frame and
then press Command+Z or Ctrl+Z to undo that.
| | 02:16 | But another approach would be to use the
keyboard shortcut, Option+Left Arrow or Alt+Left Arrow.
| | 02:23 | Now every time you do that, you'll see
that automatically, it jumped to -85.
| | 02:27 | How did it get to -85?
| | 02:29 | That's because there was already -65
units out of a potential total of 1,000,
| | 02:35 | there were already -65 units
applied between that letter pair;
| | 02:40 | those with a kerning metrics for the A and W.
| | 02:43 | But every time I press Alt+Left
Arrow I'm going 20 units tighter.
| | 02:48 | That's a little bit too much for my liking.
| | 02:50 | I would like a little bit more fine
control than that, so I could put my
| | 02:54 | cursor in the Kerning field, and now
if I press my up and down arrows, I'm
| | 02:59 | moving in -10 units.
| | 03:02 | Now, I know you're thinking, can you
change the increment that gets applied when
| | 03:05 | you use the keyboard shortcut?
| | 03:07 | No, unfortunately, you can't.
| | 03:10 | So we're stuck with doing it this way.
| | 03:11 | If you need finer control than this
still, you can actually just go and type in
| | 03:15 | the value that you want to use.
| | 03:17 | So as an approach, I suggest that when
you are adjusting the space between your
| | 03:22 | letters, you start with the
more global, the tracking.
| | 03:25 | You get things more or less as you
want them, and then you focus in on
| | 03:29 | individual letter pairs
that need further attention.
| | 03:32 | And you can apply custom kerning by
clicking between them and then Alt+Left
| | 03:38 | Arrow or Alt+Right Arrow to remove or add space.
| | Collapse this transcript |
| Using horizontal and vertical scale options| 00:00 | On your Character panel you will also
find options for adjusting the horizontal
| | 00:04 | and vertical scale of your type.
Please don't use these options.
| | 00:08 | Now, I'm perhaps overstating it.
| | 00:11 | That sounds a bit too didactic.
| | 00:13 | There may be times when you will need to
use them, but for the most part we want
| | 00:19 | our Horizontal and Vertical Scale at 100%.
| | 00:23 | But should you really need to change it,
| | 00:25 | I have my type selected here. I'm going
to press my Command+H or Ctrl+H to hide
| | 00:31 | the inverse video on the type.
That keeps the type selected, and I can now come
| | 00:35 | over to these settings and just
change them to something other than 100%.
| | 00:40 | I can also use the scrubby sliders on them.
| | 00:42 | So there I am reducing the Vertical
Scale to 49%, and it just looks weird, and I
| | 00:49 | can do the same with the Horizontal.
| | 00:50 | Now, if you really need to squash your
type, make your type more vertical, I'm
| | 00:55 | going to put this one back to 100%.
| | 00:58 | If you need to achieve something like
this where your type occupies less width
| | 01:05 | and is more vertical, then use a
font that has the word 'condensed' in it,
| | 01:09 | because the letter shapes have been
redrawn to accommodate such shapes. And if
| | 01:15 | you want the opposite, if you want your
type really wide, then if you have one,
| | 01:20 | use a font that has the word 'extended' in it.
| | 01:23 | Likewise, these fonts, particular letter
fonts, have been drawn expressly for this purpose.
| | 01:29 | With that said, there may well be
times when you need to do this for some sort
| | 01:32 | of effect, and it's okay, just don't
let the typo police know about it, because
| | 01:37 | they'll be on your tail.
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| Using Baseline Shift| 00:00 | Here we're going to talk
about using Baseline Shift.
| | 00:02 | Baseline Shift is something that might
come in handy when you have type that
| | 00:06 | includes ordinals or subscripted characters.
| | 00:11 | So let's begin with this example.
I'm going to come to my Character panel.
| | 00:14 | This is where we apply Baseline Shift,
but before we apply it here, I'm going to
| | 00:19 | start out by making this text superscript.
| | 00:22 | So that's going to reduce its size,
and it's going to shift its baseline.
| | 00:25 | But I don't really like
where it shifted the baseline to.
| | 00:29 | So I can come to Baseline Shift, and
I'm just going to press my down arrow to
| | 00:34 | move that down by one point or one pixel.
| | 00:38 | Now I'm going to select the number 2
here and this wants to be subscript, and
| | 00:43 | that's gone way to low.
| | 00:44 | So now I'm going to use my Baseline
Shift, and I'm going to shift this one up.
| | 00:49 | Now if you're used to working with type
in InDesign, you may be thinking, well,
| | 00:52 | surely you can specify the relative position of
the superscript and subscript. No, you can't.
| | 00:59 | You just have to do it like this,
and it's not going to come up that frequently.
| | 01:04 | Also, if you're working with ordinals,
one different approach would be to work
| | 01:08 | with an OpenType Pro font where
they're all superior and inferior characters
| | 01:15 | built into the font set, and I'll be
talking about that in an upcoming movie.
| | 01:20 | But another time when Baseline Shift
may come in handy is if you just need to
| | 01:25 | give some sort of descriptive
interpretation of the word itself.
| | 01:29 | Maybe we just want to shift this
baseline down like so, and I can use the
| | 01:34 | keyboard shortcut here, which
is Shift+Option+Down Arrow or
| | 01:38 | Alt+Shift+Down Arrow.
| | 01:40 | That's all right, but frankly
there are easier ways to do this.
| | 01:43 | You probably would want to separate
the A on to its own separate layer and
| | 01:47 | that we have much more control over
its exact position. Then you could rotate
| | 01:51 | it as well, which at the moment I couldn't
do without rotating the F and the L with it.
| | 01:57 | Other times, you may want to use Baseline Shift.
| | 01:59 | It does come in handy when working with
type on a path, especially type on a circle.
| | 02:04 | And we'll see that when we work with
path type in a later movie, and also it
| | 02:09 | can occasionally come in handy when you just
need to shift a line up within a paragraph of text.
| | 02:16 | Now that's not really
the right way to do things.
| | 02:19 | It's more a workaround than a feature,
but sometimes you've just got to do that.
| | 02:23 | But these are the two primary uses of
Baseline Shift, and this is really what
| | 02:27 | it's intended for, this kind of stuff,
just to make subtle tweaks to the
| | 02:32 | baseline of one or two characters
relative to the other characters on the line.
| | Collapse this transcript |
| Casing and underlining options| 00:00 | This movie is about using the
Underline and Strikethrough options, and we can
| | 00:05 | keep this brief, because basically,
don't use them. They look nasty.
| | 00:10 | They're going to slice through the
descenders of your type, and there is no way
| | 00:15 | to control the white of that underline or
its position from the baseline of the type.
| | 00:21 | If you really can't resist underlining
the type, then perhaps you could just
| | 00:25 | manually underline it with the Line tool.
| | 00:28 | That's going to be rather labor
intensive, but you would at least get to choose
| | 00:32 | the position of the line relative to the type.
| | 00:35 | Perhaps you want a retro look, in
which case you could use them, but I can't
| | 00:39 | really think of a time
when that might be useful.
| | 00:42 | We also have the casing options.
| | 00:44 | So I'm going to select this type, and
I can just click on the two big Ts to
| | 00:49 | go to all uppercase, or I can press
Command+Shift+K or Ctrl+Shift+K or the Small Caps option.
| | 00:56 | The keyboard shortcut for that is
Command+Shift+H or Ctrl+Shift+H. Now, look at
| | 01:01 | this nasty space that happens here
between the uppercase Y and the reduced cap
| | 01:09 | O. If you're going to do this, you'll
probably need to come in and address this
| | 01:14 | problem with some additional kerning, like so.
| | 01:18 | Whether or not this happens to that
extent is going to vary from font to font.
| | 01:22 | When applying small caps in this
way to a non-OpenType Pro font--
| | 01:29 | this one is not an OpenType Pro font--
what you're doing is you're just reducing
| | 01:34 | the size of the regular
capitals to 70% of their actual sizes.
| | 01:40 | So the width of the stems of the
letters--and if I zoom in and we look at the
| | 01:46 | width of the stems on the H versus that
on the T, we can see that those on the H
| | 01:51 | they're at 70% of what they should be.
| | 01:53 | So this is not a good
idea for this reason as well.
| | 01:58 | It's going to give you fake,
as opposed to real, small caps.
| | 02:02 | If you're using an OpenType Pro font,
and I'm going to have a movie about
| | 02:05 | working with OpenType, then
the small caps is a viable option.
| | 02:09 | So, just to summarize:
| | 02:12 | No underlining unless you
absolutely can't bear not to.
| | 02:16 | Strikethrough you my use just for some
sort of effect, but Strikethrough really
| | 02:21 | doesn't have a place in Photoshop.
| | 02:23 | That's more an editorial thing.
| | 02:24 | Two big Ts, or Command+Shift+K for
all uppercase, or the big T, small T, or
| | 02:31 | Command+Shift+H for small caps.
| | Collapse this transcript |
| Giving emphasis| 00:00 | In the previous movie, we talked
about how not to use underlining.
| | 00:03 | So if you're not going to use underlining to
give emphasis, then what are you going to use?
| | 00:07 | Well, here are some alternatives.
| | 00:10 | We could give emphasis by using bold,
or by using color or--the operative word
| | 00:18 | here being or--using italic, or by using casing.
| | 00:23 | Those are just some options.
Do not mix and match them.
| | 00:26 | Don't make it bold and color.
| | 00:28 | That's unnecessary.
One of those two becomes redundant.
| | 00:31 | So it's bold or color.
| | 00:32 | It's italic or casing.
| | 00:34 | You got the idea. So, just some different
approaches for giving emphasis since we
| | 00:38 | want to avoid using underlining.
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| Using smart quotes| 00:00 | Don't get caught out by smart
quotes which are often not that smart.
| | 00:05 | What we have here is a classic error.
| | 00:07 | You see this so frequently.
| | 00:09 | I sometimes walk around with my
iPhone taking pictures of these things.
| | 00:13 | That's the kind of guy I am, just
delighting in these terrible errors from people
| | 00:18 | who really should know better.
| | 00:20 | So what we have here is a single
opening quote surrounding the N and the single
| | 00:25 | closing quote on the other side of it.
| | 00:27 | Now what this should be is
an apostrophe both sides.
| | 00:32 | It should be this character both sides.
| | 00:35 | So the apostrophe indicating the
missing A and the missing D, but the smart
| | 00:41 | quotes don't know that.
| | 00:42 | The smart quotes are dumb.
| | 00:44 | So we need to put it in
this apostrophe ourselves.
| | 00:48 | And the way we do that is on the Mac Option+
Shift+Right Square Bracket, Windows, Alt+0146.
| | 00:58 | So watch out for this very, very common error.
| | 01:01 | Don't let it happen to you.
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| Working with OpenType fonts| 00:00 | OpenType fonts give us a little more
options for sophisticated typography
| | 00:05 | because OpenType fonts have more
characters in their character set,
| | 00:10 | especially those with the word 'Pro' after
them, the OpenType Pro fonts, and that's
| | 00:14 | what we're looking at here.
| | 00:15 | These are all OpenType Pro fonts.
| | 00:17 | Now in the column on the left, these
are the non-OpenType examples, and on the
| | 00:24 | right we have their OpenType equivalents.
| | 00:26 | So we see that we have the
option of using Oldstyle numerals.
| | 00:30 | Look at this 9 here.
| | 00:31 | It's actually sharing the same
baseline as the word PLATFORM, real small caps
| | 00:36 | where reduce capitals are separate
characters in their own right, and they have
| | 00:41 | a horizontal width the
same as the full-size caps.
| | 00:45 | Fractions, we can use ligatures. Look
at these fi combination compared to over
| | 00:52 | here where the F and the I are
colliding in a rather unsightly way.
| | 00:56 | Additional ligatures, like
ffi, not available over here.
| | 01:01 | Here they are, ffl.
| | 01:03 | Those are three different letters that are
all fused together, fl being another one.
| | 01:09 | Then moving on down, when we come to
the Storm in a Teacup example, these
| | 01:14 | are swash characters.
| | 01:16 | Now there are not many OpenType fonts that
have swash characters, but this is an example.
| | 01:20 | It's Adobe Caslon Pro
Italic, and this is one that does.
| | 01:24 | Say we get these nice flourishes on
the T, this really elaborate S when we
| | 01:30 | switch this to using swash.
And the last example is something called
| | 01:35 | contextual alternates.
| | 01:38 | When you type in the text, the
character that you get depends upon the
| | 01:43 | character that precedes it.
| | 01:45 | It is contextual to the
character that comes before.
| | 01:48 | So when you're typing in this second O,
it knows that it was preceded by an O
| | 01:53 | and it creates this little loop to connect them.
| | 01:56 | Let's see how this works.
| | 01:58 | So I've typed all of these in on the
left-hand side, or I've input them, and
| | 02:03 | turned off the OpenType options, and I'm now
going to turn those OpenType options back on.
| | 02:08 | So I'm going to come to the Character
panel, and I'll move into this text here
| | 02:13 | and I'll select this text.
| | 02:15 | Now all we need to do here is just click
on the Small Caps option, and it's going
| | 02:19 | to give me small caps that are real
small caps because they are available. And I
| | 02:24 | now need to just make that text frame a
little bit wider, like so, and as soon as
| | 02:31 | I put that three quarters into
fractions, it will occupy less space, but I'll
| | 02:35 | just increase the width of it for now.
| | 02:38 | So then I'm going to select the
numbers. And what we want here are the Oldstyle
| | 02:44 | numerals, works great for the 9.
It doesn't works that great for the 3 and the 4
| | 02:49 | because I need to select that and
then this needs to become Fractions.
| | 02:54 | Now when I do this, I've got an
extra space here between the two, and I
| | 02:58 | probably want to remove that and
possibly increase that space to is left just
| | 03:04 | by pressing my Alt key and my right
arrow, just to add little bit positive
| | 03:07 | kerning right there.
| | 03:08 | So now if I select this next block of
text, I can come over to my Character
| | 03:14 | Panel menu and my OpenType options
and I'll just choose Standard Ligatures.
| | 03:19 | I may as well also choose
Discretionary Ligatures, which is not going to
| | 03:25 | change it in this case, but there may be
other ligatures that only exist in the
| | 03:30 | OpenType character set.
| | 03:31 | Well, an example of a discretionary
ligature, for example, would be the CT or the ST.
| | 03:40 | We have this connecting hook
that looks kind of overplayed.
| | 03:44 | So perhaps I will turn off the
Discretionary Ligatures option.
| | 03:49 | All right, moving on down, Storm in
a Teacup, I can set this to Swash.
| | 03:57 | Now, if I were to just come and select this
previous but of text, see Swash? Not available.
| | 04:03 | Sometimes these options will be
dimmed. Not all options are going to be
| | 04:07 | available for every font.
| | 04:11 | Swash, that's going to look like
that, and then I'll change this one.
| | 04:15 | This is one of relatively few fonts
that supports Contextual Alternates.
| | 04:20 | It's called Caflisch Script Pro.
| | 04:22 | So when I change that to Contextual
Alternates, then we get those contextual
| | 04:27 | alternates, but what's really fun
about this is if I now zoom in and you can
| | 04:33 | actually see this happening as you type it,
| | 04:36 | so there is my L, my O, just got a
standard O, and then I type the other O, and
| | 04:42 | the previous O changes because
I've now typed a second O alter it.
| | 04:47 | One other thing about OpenType,
how do we recognize OpenType?
| | 04:50 | Well, we recognize an OpenType font
| | 04:53 | when we look on the Font menu. All of
those that have this symbol next to it,
| | 04:59 | are the OpenType fonts and of the
OpenType fonts, those that have the word
| | 05:04 | Pro at the end of their name
have extended character sets.
| | Collapse this transcript |
| Resetting the Character panel| 00:00 | This is just a cautionary tale
about resetting the Character panel.
| | 00:04 | When you come to input some type--
| | 00:06 | I've chosen my Type tool and I'm just
going to click to make some point type--
| | 00:11 | what you get, these options
reflect what you were last doing.
| | 00:15 | You could get some rather interesting
surprises if you start typing in and you
| | 00:21 | weren't expecting that.
| | 00:23 | So what you might want to it is just to
set things back to a level playing field,
| | 00:30 | before you start typing in your type, come
to the Character panel and from the panel
| | 00:35 | menu, you can choose Reset Character,
and that's just going to set things
| | 00:39 | back to their default Myriad Pro,
Regular 12 point, Auto-Leading.
| | 00:44 | So you are just starting with your
plain vanilla type, and then you can take it
| | 00:48 | in whatever direction you want to from there.
| | Collapse this transcript |
|
|
4. Paragraph FormattingAligning paragraphs left, right, and center| 00:00 | This is the first of several movies
dealing with our basic alignment options:
| | 00:05 | left, center, and right.
| | 00:08 | I am on a layer of paragraph type and
I am going to choose my Type tool, and I
| | 00:14 | can now just insert my cursor into
the text, and I can click on any of these
| | 00:19 | options on my Tool Options bar, left,
center, and right, to adjust the alignment
| | 00:25 | of the text within the type area.
| | 00:27 | If we want to set the alignment of
the text on the whole canvas then that's
| | 00:31 | something else, and I will be
addressing that in a separate movie, but I am
| | 00:34 | talking about within this type
area that we defined earlier.
| | 00:37 | We can also use shortcuts for
this, and they are Command+Shift+L,
| | 00:42 | Command+Shift+C, Command+Shift+R, and
Windows users, just substitute the Ctrl key
| | 00:48 | for the Command key.
| | 00:49 | Now that's all well and good.
| | 00:51 | You will notice that there is
not justified type option there.
| | 00:55 | If we want justified type, then we
need to get that from the Paragraph panel,
| | 01:00 | but I will be doing
justified type in a separate movie.
| | 01:03 | Here for now is a cautionary tale about
working with point type and aligning the type.
| | 01:10 | Now in order to create the similar
look as we had before with point type,
| | 01:14 | remember when you click for point type your
line as is long as you type it. It doesn't break.
| | 01:21 | So I am going to be need to
go and put some breaks in.
| | 01:23 | I click to insert my cursor in the type.
| | 01:27 | I could press Shift+Return for a soft
return, but there is no such thing as a
| | 01:30 | soft return with point type.
| | 01:32 | Soft return is only a
concept with paragraph type.
| | 01:36 | So it doesn't really matter
what I do, Return or Shift+Return.
| | 01:41 | So that creates three lines of type.
| | 01:43 | They're aligned to the center, but--
and here is the thing I want you to watch out for--
| | 01:49 | I have included a space of the end of
every line, or I could have knocked that
| | 01:53 | space down to the next line,
but the story is the same.
| | 01:58 | That space is being factored in to the
alignment, and when I delete it, watch
| | 02:03 | this type Shift, and it is going
to be throwing off the alignment.
| | 02:08 | So if you do plan to align text on
multiple lines, then you are probably better
| | 02:13 | off with paragraph type
as opposed to point type.
| | Collapse this transcript |
| Setting justified paragraph alignment| 00:00 | Now, that fourth alignment option that
are we used to is Justified and that is
| | 00:05 | not available on the Tool Options.
| | 00:08 | There we just have left, center, and right.
| | 00:10 | But let's say we want to justify our text.
| | 00:12 | This text is justified.
| | 00:14 | Now, The Gettysburg Address is 200-odd words.
| | 00:15 | I am not sure exactly how many,
| | 00:18 | but however many it is, this is really
pushing the limit of the amount of text
| | 00:24 | that you should work with in Photoshop.
| | 00:26 | It's probably too much.
| | 00:27 | But this nonetheless makes a point,
because it gives us the chance to work
| | 00:31 | with justified type.
| | 00:33 | There are several things involved
here to creating justified type.
| | 00:36 | We need to jump through a few hoops in
order to get decent-looking justified type.
| | 00:41 | So firstly, how do we get
justified type in the first place?
| | 00:44 | I am just going to select the type
and then come to the Paragraph panel.
| | 00:48 | If you don't see your Paragraph panel,
it's under the Window menu right there.
| | 00:52 | And we have four justification options.
| | 00:56 | In the next movie, I'll be looking at
this one, Justify All. We're all about using
| | 01:01 | this one, Justify with last line left.
| | 01:04 | These other two are not very useful.
| | 01:06 | I mean if you want the last line of
the paragraph centered or if you want the
| | 01:11 | last line of the paragraph right
aligned, that's when you would use those.
| | 01:14 | But everything I say about this
justification option could apply to these two.
| | 01:20 | So we have the type justified.
| | 01:22 | That's the starting point.
| | 01:23 | We have hyphenation turned on.
| | 01:26 | That's going to make easier to get decent
justified text, so that's working in our favor.
| | 01:32 | We also have text with first line
indent, so we can easily tell where
| | 01:36 | one paragraph begins.
| | 01:38 | But what we don't have and what we are
after, what we always try and achieve
| | 01:43 | with justified text, is
equal spacing between the words.
| | 01:47 | You can see on this line in particular
the spacing between those words is really
| | 01:52 | quite nasty, and it's not
too good on that one either.
| | 01:55 | I mean, you know, we have all seen worse
and the sun would still rise tomorrow if
| | 02:00 | this saw the light of day as it is, but there
is much that we can do to improve this.
| | 02:06 | So what we want to do is select all of
that text and then come to the Paragraph
| | 02:11 | panel, and the first thing is we want
to use this, the Every-line Composer.
| | 02:18 | With the Every-line Composer turned on--and you
can see how things shifted when I chose that--
| | 02:24 | Photoshop has to look on every line
of the paragraph to figure out the word
| | 02:28 | spacing within that whole paragraph, as
opposed to looking on just a single line,
| | 02:33 | so it's more work for it to do.
Consequently, it's going to take longer,
| | 02:36 | but the result is almost
always going to be a better one.
| | 02:40 | So that's the first thing we want to do.
| | 02:42 | The second thing we want to do is
come and set our justification options.
| | 02:47 | Let me just move this over here, and
we have got these three things, Word
| | 02:52 | Spacing, Letter Spacing, Glyph
Scaling, and they all factor in to the
| | 02:55 | justification result, but only one of
them, the Word Spacing, is really being
| | 02:59 | used, because we see the Letter
Spacing is all set to zero for the Minimum,
| | 03:04 | Desired or Maximum, Glyph Scaling at
100 for Minimum, Desired or Maximum.
| | 03:09 | So I am going to leave the Word
Spacing as it is, but I am going to allow a
| | 03:12 | little bit Letter Spacing to come
in to play. And I am going to say that the
| | 03:16 | spacing between the letters can vary
between this amount -2. The Desired will
| | 03:22 | stay the same and the maximum
will go up to as much as +2.
| | 03:25 | Now and you can see the type change as
we do that. Already it's looking better.
| | 03:30 | The Glyph Scaling, well that can vary
between 98% as the minimum, and this is the
| | 03:35 | horizontal scaling of the letters.
And I know in an earlier movie I said, "Don't
| | 03:39 | ever touch the Horizontal scale."
| | 03:41 | So you might think, well,
isn't he contradicting himself.
| | 03:44 | Well, yes, maybe, slightly,
but sometimes you've got to do that, and the result here
| | 03:49 | if we apply this gently, then no one is
ever going to know, and the end result is
| | 03:54 | going to be a better one.
| | 03:55 | And the Maximum will be 102.
| | 03:57 | So now we have got much more even
spacing between our letters, much improved.
| | 04:03 | So let me just click OK to that.
| | 04:05 | I will just come and get that
paragraph panel out of the way.
| | 04:08 | There are maybe a couple of
other things that we can do as well.
| | 04:12 | Perhaps we want to change
the hyphenation options.
| | 04:17 | So I will come back to the Paragraph
panel and from the panel menu, we'll go to
| | 04:21 | Hyphenation, and we can say here I only
want words with at least seven characters to
| | 04:27 | be hyphenated, and I want at least three
characters after the first hyphen and at
| | 04:34 | least three before the last hyphen.
| | 04:37 | So we are still hyphenating; we're
just being more strict with how the
| | 04:40 | hyphenation happens.
| | 04:42 | Unfortunately, we can't set the hyphen
limit, which is the number of hyphens in a row,
| | 04:45 | to anything less than 2, as you might expect.
| | 04:49 | If I were to put that to 1,
| | 04:50 | it's not going to let me, so I am
going to have to leave that at 2.
| | 04:53 | Hyphenations don't have any effect
when working with justified text.
| | 04:57 | So that's irrelevant.
| | 04:59 | Capitalized words, there aren't many.
| | 05:01 | It's not really going to have
any effect of this body on text.
| | 05:04 | It might, depending on text
that you are working with.
| | 05:06 | I am going to turn that off.
| | 05:07 | All right, so things are getting better
and better with every one of these steps.
| | 05:12 | The last step is that I would like
to have some hanging punctuation,
| | 05:18 | by which I mean I am going to press
Command+H or Ctrl+H to hide my extras, so we
| | 05:24 | don't see the highlight color of the
text, and we can see if I zoom in on over
| | 05:28 | here, I have a hyphen occurring
at the edge of that text frame.
| | 05:33 | If I now come to the Paragraph panel, I
can choose Roman Hanging Punctuation,
| | 05:39 | and look what happens to the hyphens.
| | 05:42 | They get pushed out beyond the edge of
the type area. Very nice look, if you
| | 05:47 | like that sort of thing.
| | 05:48 | Personally, I do. Some people
don't, but I think it's great.
| | 05:52 | So there we have some
decent-looking justified text in Photoshop.
| | 05:57 | Who would have thought such a
thing was possible? Indeed it is.
| | Collapse this transcript |
| Aligning type on an axis| 00:00 | Our basic alignment options are left,
right, center, and justified, but of
| | 00:06 | course there are more
than just those four options.
| | 00:09 | One option we have for aligning
our text is aligning on an axis.
| | 00:13 | So if I were to turn on a guide that I have in
this document--and I'm going to do that
| | 00:17 | by pressing Command+Semicolon or Ctrl+Semicolon--
| | 00:21 | we can see that that is the
axis that I am on aligning on.
| | 00:24 | And if you were to try and achieve
this by keeping these three words as one
| | 00:31 | text area, then it would be very hard to do, as
you can see by looking over at the Layers panel.
| | 00:36 | I've actually split these
different words onto separate layers.
| | 00:39 | That way we can just sort of float them around.
| | 00:41 | I've got the whole group selected
there. I need to come and select the
| | 00:45 | individual layer, and I can just drag
this around and float it around, dock it
| | 00:49 | into position according to that guide.
| | 00:53 | Drawing the guide of course we just
move into the ruler and click and drag and
| | 00:56 | pull out the guide, drop
that wherever we want it to be.
| | 01:00 | This brings up another issue. Okay, so
we've aligned these three now independent
| | 01:05 | pieces of text relative to this guide,
Divide being right aligned relative to
| | 01:11 | it, the ampersand center aligned
relative to it, and Conquer left aligned
| | 01:16 | relative to the guide.
| | 01:17 | But what if we now want to treat
these three pieces of text as one group?
| | 01:22 | Well, then what I've done is I've put them
in a layer group, and that's very easily done.
| | 01:27 | You just select all three layers and
you press Command+G or Ctrl+G. That
| | 01:31 | puts them into a group.
| | 01:33 | Now, with the group selected, you can
drag them around wherever you want to go,
| | 01:37 | and they move as a group.
| | 01:38 | But what if we want to
perhaps center them as a group?
| | 01:42 | Well, I'm going to put them in a group,
and I'm going to press Command+A like
| | 01:47 | so, and then I'm going to come up to
my Layers panel and I'm going to choose
| | 01:51 | Align layers To Selection, and I'll
choose Horizontal Centers. And then I'll go
| | 01:56 | back there, Align Layers To Selection >
Vertical Centers, and this way it
| | 02:01 | aligns the whole group, giving me an
entirely different result from what I
| | 02:05 | would've got had I had the individual
layers selected when that's just going to
| | 02:10 | make the whole thing explode.
| | 02:12 | So if we put things in a group then
we can align that group using the Align
| | 02:18 | Layers To Selection option.
| | 02:20 | If you've been following along, you may
remember that in one of the very early
| | 02:24 | movies I added some keyboard shortcuts
to my Custom Keyboard Shortcuts set, and
| | 02:30 | those keyboard shortcuts were to do just that.
| | 02:33 | So I can now press Command+A, and then
I'll press the custom keyboard shortcut
| | 02:38 | that I made, which is Command+Option+
Shift+Left Bracket, and then Command+Option+Shift+Right Bracket to
| | 02:47 | align vertically and align horizontally.
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| Setting forced justified paragraph alignment | 00:00 | This movie is about using the Justify
All Lines alignment option, often known
| | 00:04 | as Force Justify, and it might be
useful when you need to create some sort of
| | 00:08 | treatment like this where you have a
smooth right-hand edge to your type area.
| | 00:13 | It's only possible when working with
paragraph type so if, as I am about to
| | 00:18 | do, you start with point type, then you
need to convert this to paragraph type.
| | 00:24 | So I'm going to select that layer,
come to the Layer menu, down to Type >
| | 00:29 | Convert to Paragraph Text.
| | 00:31 | So now I can switch to my Type tool,
click inside the type area, and adjust its
| | 00:36 | width, and I'm going to
adjust it to about there.
| | 00:40 | I'm now going to press Command+A to
select all of that type, and we may as well
| | 00:45 | go and apply the Forced Justify option.
| | 00:48 | I can also use the keyboard shortcut
Command+Shift+F, or Ctrl+Shift+F, to
| | 00:53 | get the same thing.
| | 00:55 | So, now I'm going to increase the size
of my type and if necessary, I'm going to
| | 01:00 | increase the size of my leading.
| | 01:02 | That's Alt+Down Arrow.
| | 01:06 | So there's a certain amount of back and
forth here. Changing the size of your type,
| | 01:09 | Ctrl+Shift+> or Ctrl+Shift+<. Changing your
leading, Alt+Up Arrow or Alt+Down Arrow.
| | 01:16 | That's about as far as I can go.
| | 01:17 | The longest word here is GRAPHIC, so
as soon as that goes to the next line, I
| | 01:23 | can't get any bigger.
| | 01:24 | So at this point, you have a choice.
Maybe things are fine the way they are, or
| | 01:28 | maybe you would like to adjust the
size of the type on lines 1 and 3 so that
| | 01:35 | you equalize the spacing between the letters.
| | 01:38 | That's what I'm going to trying and do here.
| | 01:39 | So I'm going to select just this first
line and increase its size until I go
| | 01:44 | a bit too far and then back up from that.
| | 01:47 | So I'm using those keyboard shortcuts to adjust
my type size Command+Shift+>, Command+Shift+<.
| | 01:52 | I'll do the same thing on line 3.
| | 01:55 | All right. There we go.
| | 01:58 | And the last thing I'd like to do is
just equalize the spacing between the
| | 02:03 | lines, equalize the leading, because it
looks like there is more spacing between
| | 02:08 | lines 1 and 2 than there
is between lines 2 and 3.
| | 02:11 | So I'm going to select the second line,
and then I'm going to hold down my
| | 02:16 | Option or Alt key and press my up
arrow to move that line up, and that will
| | 02:21 | bring line 3 up as well. All right.
| | 02:24 | That's looking almost right, and it needs a
little bit more tweaking, but you get the idea.
| | 02:29 | I can now come and turn on this layer.
| | 02:32 | We'll borrow the question mark from this one,
| | 02:35 | so I'm going to hold down my Alt key
and just drag this up in the order of my
| | 02:38 | layers, turn off that group, and then
I'm going to hold down my Command key or
| | 02:43 | Ctrl key to auto-select the question
mark, and we'll come and move this into
| | 02:49 | position, nudge it over, press
Command+T or Ctrl+T, scale it as necessary,
| | 02:56 | nudge it up a little bit more, a
little bit more scaling, press Return, and
| | 03:03 | we're done.
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| Evenly spacing type elements with unique lengths| 00:00 | Okay, here is a common task.
| | 00:01 | We are creating some sort of
navigation bar and we want to space out these
| | 00:05 | different buttons equally,
but they are all of different lengths.
| | 00:10 | Firstly, why are they all on separate layers?
| | 00:12 | Well, they are all on separate layers
so that we can go as far as we possibly
| | 00:16 | can in Photoshop preparing this document
for interactivity, so that we can slice
| | 00:22 | these up into individual areas and
they could be made into separate buttons.
| | 00:27 | That wouldn't be possible if we
just had one long line of text.
| | 00:32 | So, that's what we have here.
| | 00:33 | We have got these individual
buttons on separate layers.
| | 00:37 | But how do we get them spaced evenly?
| | 00:40 | Well, it's a less-than-exact science.
| | 00:44 | It's quite labor intensive.
| | 00:46 | This is our starting point.
| | 00:47 | What I am going to do is I am going to
select all of these and then on my Tool
| | 00:53 | Options bar, I get my Align option.
| | 00:55 | So, I am going to align all
of these to the left, like so.
| | 01:01 | Having arranged my layers from top to
bottom as they read from left to right, I
| | 01:07 | now know that portfolio
galleries is in the right position.
| | 01:11 | So, I will Command+Click or Ctrl+Click
on that layer to deselect it.
| | 01:17 | Now, holding down my Shift key so
that I constrain my movement, I am going
| | 01:21 | to come over and drag all of the
remaining layers right to the end of
| | 01:28 | portfolio galleries.
| | 01:29 | Now I'm going to nudge the same amount
of space between each of the buttons.
| | 01:36 | I am going to hold down my Shift key as
I press my right arrow, so that I move in
| | 01:39 | big increments, and I am going to do this twice.
| | 01:43 | So, now I will come over to creative training.
| | 01:46 | That's in the right position.
| | 01:48 | I am going to Command+Click or Ctrl+Click
on that layer to deselect it, and I
| | 01:52 | will repeat, hold down the Shift key,
drag all of the remaining buttons over
| | 01:57 | to the end of that one,
| | 01:59 | hold down the Shift key again, and press
my right arrow twice. You get the idea.
| | 02:06 | Deselect publications; that's in the right
position. Shift, drag it over, Shift nudge twice.
| | 02:13 | Deselect about, drag them over,
Shift+Right Arrow twice, deselect blog, drag it
| | 02:22 | over, Shift+Right Arrow, and we
should now have those evenly spaced.
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| Aligning type with guides and Smart Guides| 00:00 | Typically, with the kind of text we
are working with in Photoshop, using our
| | 00:04 | alignment guides is very helpful.
| | 00:07 | In the case of this fictional web banner,
I've got various different elements of
| | 00:11 | type and I want to align
them relative to each other.
| | 00:14 | Now, there are several things that I
can bring to bear when doing this, not
| | 00:18 | least of which are my eyes.
| | 00:19 | So, you would sort of trust what you see really.
| | 00:23 | I am just going to choose the
individual layers and move them around, so that I
| | 00:27 | can position one piece of type
relative to another piece of type.
| | 00:31 | But what might help me in doing
that is using my Smart Guides.
| | 00:36 | I can come to the View menu
and choose Show > Smart Guides.
| | 00:40 | Now, when I drag this element around, we
will get the Smart Guides kick in.
| | 00:44 | You see that pink guide along the
baseline, also along the right-hand side
| | 00:48 | as well, indicating that I am now
sharing the baseline of the word DESIGN.
| | 00:53 | And if I drag it up to GRAPHIC here, we
get another one of those guides kick in.
| | 00:58 | So, that might be useful when you need
to align one element relative to another,
| | 01:02 | and we can also draw our own custom guides.
| | 01:05 | So, let's say that I have got this
positioned here. I like that, but I
| | 01:09 | would like the width to be suggested by some
other element that's already in the composition.
| | 01:15 | So, I am going to draw myself a guide to
the left-hand edge of the I, and I would
| | 01:20 | like that to also be the left-hand
edge of the C. So with that guide drawn, I
| | 01:25 | can now press Command+T to select my
conference text, hold down my Shift key, and
| | 01:31 | come and grab the bottom left-hand
handle and just size that into position
| | 01:36 | according to that guide. Then press Return.
| | 01:39 | You can also, when creating guides, come
to the View menu and choose New Guide, and
| | 01:44 | this gives you the option of
placing a guide at a specific location.
| | 01:48 | But it tends to be that you want to
draw guides relative to something that's
| | 01:52 | already a part of your composition.
| | 01:54 | So I don't find myself
using that option too much.
| | 01:57 | The point I'm making here is
that we can use Smart Guides.
| | 02:00 | We can draw our own custom guides to
help us position things relative to other
| | 02:06 | things that are part of the composition.
| | 02:08 | Once the guide is there, if you want
to get rid of them, you can come to the
| | 02:11 | View menu and choose Clear Guides, or
you can come to the Show menu and uncheck
| | 02:16 | that so that they remain,
but you just don't see them.
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| Aligning type along a radial axis| 00:00 | Another type of alignment is radial
alignment, where the words radiate from
| | 00:04 | a fixed center point.
| | 00:06 | In this case, we are rotating these
words around this circle that we see cropped
| | 00:12 | in the bottom left-hand corner,
specifically around the center point of that
| | 00:17 | circle, and they are at 15-degree
increments like the hands of a clock.
| | 00:22 | In order to achieve this, to make it
sort of easier to know where those 15-
| | 00:27 | degree increments are, what I've done
is I have drawn myself a shape layer.
| | 00:33 | I have created a 12-pointed star using
the Polygon tool, coming up to my Polygon
| | 00:40 | options and setting the
number of sides as being 12.
| | 00:44 | Okay, so with the polygon turned off, and
it's essential that each of these words
| | 00:48 | be on its own separate layer so that
each word can be rotated independently,
| | 00:54 | so I am going to turn off the finished
layer group and turn on the begin layer
| | 00:59 | group, and they are all down here in the
same position currently overlapping each other.
| | 01:05 | So, this is how it's going to work.
| | 01:08 | I am going to start at the beginning with
the word THE, and then I'm going to press
| | 01:12 | Command+T or Ctrl+T to get my free transform.
| | 01:17 | Now, here is the punch line. What we
need to do is we need to change the point
| | 01:20 | around which the type is rotating.
| | 01:23 | So, I am going to go and grab this
center target that's in the transformation
| | 01:27 | box and put that on the center of this circle.
| | 01:31 | Now when I come into this
transformation box, I can come to one of its four
| | 01:36 | corners, so that I get the rotate icon
and move it up, and you see it's going to
| | 01:41 | spin beautifully around that circle.
| | 01:45 | And I'm just going to leave it right
about there, so the baseline is being
| | 01:49 | pointed to by one of those spokes of the star.
| | 01:54 | I will press Return, move down to
the next layer, and repeat. Command+T or
| | 01:59 | Ctrl+T, move the rotation points to the
center of the circle, come to my rotation cursor,
| | 02:06 | I am moving outside of the
transformation box, and move it right up into position.
| | 02:15 | And each time, I'm pressing Return to
accept my transformation, choose the next
| | 02:20 | layer, Command+T or Ctrl+T. Okay, so now
with my type in place, my starburst has
| | 02:27 | served its purpose, so I can turn
that off, and there is my finished result.
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| Grouping layers| 00:00 | Grouping layers can be a very
timesaving production technique, especially when
| | 00:03 | working in situations like this where
we are creating a nav bar. As well as
| | 00:08 | creating the on state for the buttons,
we also want to create the over state,
| | 00:12 | which will be perhaps in a different color.
| | 00:14 | So I've created these buttons, and
I'm now going to put them into a group.
| | 00:18 | So I'm going to select them all like so,
by holding down the Shift key, clicking
| | 00:22 | the first one, and then clicking the
last one, and then pressing Command+G or
| | 00:26 | Ctrl+G to put them into a group.
| | 00:29 | So now I can just copy that
group to get a whole second set.
| | 00:33 | Just drag that group onto the New Layer icon.
| | 00:36 | So now I have a copy.
| | 00:37 | I'm going to name the first group the up
state, and I'm going to name the second
| | 00:43 | group the over state.
| | 00:45 | And we'll now turn off the Visibility
on up, expand the over state, and I'm
| | 00:51 | going to select all of those, with the
exception of the Pipes separating them.
| | 00:57 | Let's say I want to change the color here,
| | 00:59 | so perhaps I want to go to some
sort of orange color as the over state.
| | 01:04 | So I will choose my Type tool and
then come and click on my color box and
| | 01:09 | then choose a color.
| | 01:12 | Then that color will be
applied to all of those layers.
| | 01:16 | So my next step would be to slice this
into individual slices, and then I can
| | 01:22 | save out the different states of each
layer with the appropriate color applied.
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| Adding space between paragraphs and paragraph indents| 00:00 | Indents and spacing:
| | 00:01 | applying spacing between paragraphs
or applying a first-line indent to
| | 00:06 | paragraphs. And I say 'or' because in a
situation like this, you wouldn't want to do both;
| | 00:10 | one or other of those techniques
would become obsolete if you applied both.
| | 00:15 | So what we have at the
moment is first-line indents.
| | 00:19 | And if I choose my Type tool,
clicking one of these paragraphs, click on my
| | 00:22 | Paragraph panel, we see
there is the first-line indent.
| | 00:26 | It's set to 17 pixels.
| | 00:28 | Why 17 pixels? Because that's my type size.
| | 00:31 | And it's sort of conventional.
| | 00:33 | You don't need adhere to this
rigidly by any means, but the size of your
| | 00:37 | first-line indent should be 1 em space.
| | 00:41 | What's an em space?
It's the size of your type.
| | 00:42 | So to put it another way, your first-line
indent should be the same as your point size.
| | 00:47 | And that's what I'm using here.
| | 00:49 | Now alternatively, I could
differentiate my paragraphs not by using first-line
| | 00:54 | indents, but rather, by using paragraph spacing.
| | 00:58 | Just before I move on to that, let me
point out to that the first paragraph has
| | 01:02 | no first-line indent.
| | 01:03 | It doesn't need to be differentiated from
anything else because it is the first paragraph.
| | 01:07 | So I'm now going to come to my
Paragraph panel and I will remove the first-line
| | 01:12 | indent. Instead, I will replace
that with some paragraph space before.
| | 01:17 | I could use space after.
| | 01:19 | I've always used space before.
| | 01:20 | Either works. Just pick one and stick with it.
| | 01:24 | There are very rare times when you might
want to use both, and in Photoshop they
| | 01:28 | would be extremely rare, so it's
really a question of one or the other.
| | 01:33 | I should probably check
what my leading value is here.
| | 01:35 | My leading value is 24.
| | 01:37 | So each line space is 24 pixels.
| | 01:40 | So I'm going to come to my Paragraph
panel, and let's say that I want a half-line
| | 01:46 | space, and I'm going to make that 12 pixels.
| | 01:48 | I could have a whole-line space.
| | 01:49 | I think that will probably be too much.
| | 01:50 | A half-line space I think is preferable.
| | 01:53 | Using paragraph spacing,
obviously it's going to take more room.
| | 01:56 | We now are running one line too long.
| | 01:59 | So that's a potential downside of
paragraph spacing versus paragraph indents.
| | 02:04 | But as I say, it really should be either or.
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| Creating a bulleted list| 00:00 | "Creating a bullet list in Photoshop,
is such a thing even possible?" you ask.
| | 00:04 | Well, you can use a workaround to get a
bullet list that's going to look plausible.
| | 00:10 | It's not really a feature and if
you're doing a lot of this sort of work, you
| | 00:13 | are in the wrong place.
| | 00:14 | You want to be in InDesign or
Illustrator to create bullet-listed text.
| | 00:20 | But that said, it is possible
here, and here's how we do it.
| | 00:24 | So here's my final result.
| | 00:26 | I'm now going to turn off that layer,
and I'm going to turn on the begin layer.
| | 00:30 | So what we need to do is zoom in on this,
and then I'm going to select these paragraphs.
| | 00:36 | And before I do anything, I'm going
to draw myself a guide to mark where the
| | 00:42 | vertical stem of the first character begins.
| | 00:46 | And I must have a guides turned off,
so I'm going to come and choose Show >
| | 00:48 | Guides, and there's my guide.
| | 00:50 | Now what I want to do is use my
Paragraph panel and I want to indent this on the
| | 00:55 | left just enough to move
everything over to that guide.
| | 01:00 | So I'm going to come and click in the
left indent field and nudge that up,
| | 01:05 | moving everything over, and if I
want to move in bigger increments, hold
| | 01:08 | down the Shift key.
| | 01:09 | There, so that's 8.25 pixels, and I'm
now going to select that value, copy that,
| | 01:15 | and then come to my first-line indent
where I will type in Minus, and then
| | 01:20 | Command+V or Ctrl+V. 8.25 pixels.
| | 01:24 | There we've created a hanging indent, and
this would more typically be done using tabs.
| | 01:30 | But you can't use tabs in Photoshop.
| | 01:32 | You can put in a tab and it'll move
your text to a point, but you don't get to
| | 01:36 | determine where those points are.
Effectively, you can't use tabs.
| | 01:41 | So there we've got ourselves
a hanging indent with bullets.
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| Setting the hanging punctuation option| 00:00 | We saw in an earlier movie, the
movie where I was addressing the issue of
| | 00:04 | getting good justified text, how
we can use hanging punctuation.
| | 00:09 | And here's another situation where you
might want to use hanging punctuation,
| | 00:13 | where you have some sort of quoted material.
| | 00:15 | Without the hanging punctuation,
it's going to look like this,
| | 00:18 | with the second, third, and subsequent
lines aligning not underneath the C as
| | 00:24 | they should do, but underneath the first
character which is a quote mark. It looks ugly.
| | 00:29 | So here's how we fix it.
| | 00:31 | You go to your Type tool, click in
the text frame, and then come to your
| | 00:34 | Paragraph panel and just
choose Roman Hanging Punctuation.
| | 00:40 | Problem solved.
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| Resetting the Paragraph panel| 00:00 | Every time you create a piece of
paragraph type by choosing your Type tool and
| | 00:04 | clicking and dragging with your
Type tool to create a type area,
| | 00:08 | then when you start typing, the format
options you get are going to be those
| | 00:14 | that were last used.
| | 00:16 | And this might not be a problem at all,
but it might lead to some nasty surprises.
| | 00:21 | So in this case, it's fine.
It's not really anything I am too worried
| | 00:26 | about. Nothing that can't be fixed, certainly.
| | 00:29 | But just in case you want to set
things back to a level playing field, you
| | 00:34 | might consider coming to the
Paragraph panel and from the Panel menu, just
| | 00:38 | choosing Reset Paragraph.
| | 00:40 | And that's going to set all of your
indentations, your alignment, your auto
| | 00:44 | leading value and all of the rest of it,
all those things that may have been
| | 00:47 | changed by yourself, or by somebody else.
| | Collapse this transcript |
|
|
5. Masking TypeUsing type mask tools| 00:00 | There are several ways to
create a type mask in Photoshop.
| | 00:03 | This is my least favorite and
least flexible of the methods,
| | 00:06 | but I am going to show it to you anyway.
| | 00:08 | This involves using a type mask tool,
either the horizontal or the vertical type
| | 00:13 | mask tool. I am going to use horizontal.
| | 00:15 | When using this, you can work with
either point type or paragraph type.
| | 00:20 | So I am going to come and click on the
layer that I want to apply the mask to,
| | 00:24 | and I am going to work with paragraph
type, so I am going to click and drag
| | 00:28 | to define a type area.
| | 00:31 | Then what we have is this.
| | 00:33 | Everything is covered with
this red transparent overlay.
| | 00:37 | Everything at the moment is masked.
| | 00:40 | Just what I type is going to be
the portion of this image that will
| | 00:44 | ultimately be revealed.
| | 00:46 | So I will start typing in, and I might
want to adjust my type size and my font,
| | 00:51 | etc., but this is fine for now.
| | 00:53 | So I will key in my type, I will press
Command+A to select my type, and then we
| | 01:00 | get this really dizzying,
confusing visual feedback here.
| | 01:05 | We have the red of the mask, and then we
have the inverse video of the selection.
| | 01:10 | If we want to, if we are finding this a
little bit too confusing, we can come to
| | 01:14 | the View menu and we can choose to
hide the extras. The type remains selected,
| | 01:19 | but we just don't see that inverse video.
| | 01:21 | So now I will increase the size of the type.
| | 01:24 | You can get an idea of what's happening here.
| | 01:26 | I can also, if I want to, come and click
on that type area and I can adjust the
| | 01:32 | width of the text frame. It's a bit hard
to see where that handle is without my
| | 01:36 | Extras turned on, but I
could do that too if I wanted to.
| | 01:41 | Then when I choose another tool or when
I press my tick up on the Tool options,
| | 01:45 | now I commit to the type.
| | 01:48 | So I am going to do that.
| | 01:50 | What I have now is just an active
selection. This is not editable type, and
| | 01:55 | this is why I don't like this
technique, because at this point we kind of
| | 01:58 | stuck with it as it is.
| | 02:00 | If I choose my Move tool and making
sure that I have the Move symbol on the
| | 02:05 | Move tool, well, no that's not going to work,
because that's just going to move the picture.
| | 02:10 | I was hoping that that might move the selections.
| | 02:12 | So if I want to move the selection, I
would need to go to one of my selection
| | 02:16 | tools, move inside the active
selection, and I can drag it around.
| | 02:20 | In my Move tool, if I have the scissors
icon, then when I drag it, I am going to
| | 02:25 | get this. It's actually going to cut
that selection, and I will see through to
| | 02:30 | the background layer. Not what I want at all.
| | 02:32 | So assuming that this is positioned in
the right place and I would say that it is,
| | 02:37 | I then come over to my Layers panel and
I click on the Add Layer Mask icon, and
| | 02:42 | then what we've created here is a layer
mask where everything that was selected is
| | 02:48 | shown in white, everything
that was masked is in black.
| | 02:53 | Applied to the image, that's the result
when we see through to the color of the
| | 02:56 | background layer beneath.
| | 02:58 | Like I said, I don't like this technique,
never use it because I can't now go
| | 03:02 | back and edit that type.
| | 03:03 | That's the big drawback.
| | 03:05 | So we will see there are much
better and much easier ways of achieving
| | 03:08 | this technique.
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| Creating masks from type layers| 00:00 | Here is another way we can use a type mask.
| | 00:02 | Let's say we have some type in our
composition and we want to use the letter
| | 00:06 | shapes, the space inside those shapes, to
apply some sort of effect to the image.
| | 00:11 | I am going to hold down my Command or
Ctrl key and click on the type layer.
| | 00:15 | That will load the selection for that layer.
| | 00:17 | I am now going to turn off the
visibility of the type layer and then come to the
| | 00:21 | image layer, where we see
now just the active selection.
| | 00:25 | I am going to run a couple of filters
on this, but before I do so, I am going to
| | 00:29 | convert this layer to a Smart Object,
so that these filters remain editable and
| | 00:34 | so that it's a non-destructive edit.
| | 00:37 | So I am going to come to the Filter menu and I
am going to choose Convert for Smart Filters.
| | 00:40 | I will see this message, and I will OK that.
| | 00:44 | Now I can come to my Filter Gallery, and
I am going to start out by adding a bit
| | 00:48 | of film grain. That will just give some
texture to it, and then I am going to add
| | 00:53 | an additional filter to that.
| | 00:54 | It's always nice to add these filters
in combination so that you end up with
| | 00:57 | something unique, rather than
something that's cookie-cutter.
| | 01:01 | So I will now come down to the Texture
group, and we will have some stained glass.
| | 01:05 | Just adjust the cell size there, maybe
reduce the border thickness, and then click OK.
| | 01:12 | So there is my Stained Glass
effect, and look how it's been applied.
| | 01:15 | It's been applied as a Smart Filter layer.
| | 01:18 | My active selection derived from
Command+Clicking on the text layer has become
| | 01:23 | my layer mask applied to that filter layer.
| | 01:26 | So we were effectively only seeing the
filter in the shape of the letters, and if
| | 01:31 | I disable that layer mask by holding
down my Shift key and clicking on it, we
| | 01:36 | see that were that not there, that
effect would be applied to the whole layer.
| | 01:40 | Now because this is a Smart Filter,
we can turn it on and off, we could
| | 01:45 | double-click on this badge right here,
and we could adjust the Blending options
| | 01:50 | of it--maybe we want to use Multiply
instead of Normal as the Blending mode.
| | 01:54 | We could also, if we wanted to adjust the
amount of a filter that's been applied,
| | 01:58 | double-click on Filter Gallery.
| | 02:00 | Now there is one slightly disconcerting
thing about doing that. When you do that
| | 02:04 | it shows you the filter as being
applied to the whole layer without the filter
| | 02:09 | mask being factored in to the equation.
| | 02:13 | Just sort of look beyond that if you can.
So if I make cell size there five and
| | 02:17 | then click OK, that change has now
taken effect and the layer mask, or
| | 02:23 | specifically the filter
mask, is still operational.
| | 02:27 | So that's a nice way of applying
filters to a text selection and having it be a
| | 02:33 | nondestructive edit.
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| Masking with a clipping mask| 00:00 | Here to my mind is the best
way to create a type mask.
| | 00:04 | We want to see this image
inside of the letter shapes.
| | 00:08 | So what we want is a clipping mask,
and to do that--and this is the slightly
| | 00:12 | counterintuitive part of it--
| | 00:14 | I find the type actually needs to
go underneath the picture layer.
| | 00:17 | So I'm going to come and the
change the order of my layers.
| | 00:20 | Drag the type layer beneath the picture
layer and then select the picture layer
| | 00:25 | that's now above the type,
hold down my Option or Alt key--
| | 00:28 | you'll see it changes into a locking
icon--and then just click on that line
| | 00:32 | between those two layers.
| | 00:34 | So we now get the letter forms
functioning as picture windows.
| | 00:38 | What's so nice about this is well, one, it's
instant, almost, and it's totally flexible.
| | 00:44 | So if I were to switch to my Move tool
now, I can move the image layer around
| | 00:51 | inside the type, or I could come and
click on my type layer and I can move that
| | 00:57 | around on top of the image, and
it's also completely editable.
| | 01:04 | So the type remains live and editable,
and I can go and do whatever I want to do
| | 01:09 | with that. Maybe I want to
add some layer effects to it.
| | 01:13 | So that is creating a clipping mask.
| | 01:16 | Another way to do this is if you
select this top layer, you can do it from
| | 01:21 | the Layers panel menu. Right now,
it says Release Clipping Mask. Had there
| | 01:24 | not already been one,
| | 01:26 | it would say make Clipping Mask, or the
keyboard shortcut Command+Option+G or
| | 01:31 | Ctrl+Alt+G. So I think that's the
easiest and most flexible way of creating a
| | 01:38 | mask out of your type.
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| Masking with Pattern Overlay| 00:00 | Not strictly a type mask, but very much
related to it, is applying a pattern to your type.
| | 00:05 | Let's say I want to fill these
letterforms with some sort of pattern.
| | 00:10 | In this case, I'd like to use
this pattern, just some sort of
| | 00:13 | distressed pattern.
| | 00:15 | So here I have taken this picture and
I have done various things to it, but
| | 00:19 | first and foremost, I've applied a
threshold command to it which makes all the
| | 00:23 | pixels black or white.
| | 00:24 | I'm now going to define this as a pattern.
| | 00:27 | So I'm going to come to the Edit menu
and choose Define Pattern, and I'll just
| | 00:33 | leave it called that. Click OK.
| | 00:35 | Now back to my image and I'm going to
come to the fx dropdown menu--I'm on my
| | 00:40 | type layer--to Pattern Overlay.
| | 00:41 | Now just take a look at the
document sizes that we have over here.
| | 00:46 | 1 megabyte is the flattened size and
2.5 megabytes as the layered size.
| | 00:51 | When I add this pattern, that's not
really going to change, so that's what
| | 00:56 | it looks like when I add the pattern, and I
don't really like the way that looks at all.
| | 01:00 | What I want to do is I want to come
to my Blending options, and my type was
| | 01:04 | formally black, so I'm going to make the
black that is applied to the type just
| | 01:09 | drop away by reducing the Fill Opacity to zero.
| | 01:14 | Now I can come to my Pattern Overlay
layer effect and I can change the Blend
| | 01:17 | mode of it to Multiply, and it's going
to give me that sort of effect where we
| | 01:22 | are just seeing the black parts of the
pattern, the white parts of the pattern are
| | 01:26 | being neutralized because we have
the Multiply Blend mode applied.
| | 01:30 | Document sizes have not changed.
So this is a very efficient way of applying
| | 01:36 | textures, because I could reapply this
texture to various different pieces of
| | 01:41 | type, or indeed anything, because it's
now in my pattern library. I'm not adding
| | 01:46 | it as a separate layer, which would
add extra white to the document size.
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|
|
6. Path Type, Rotated Type, and Vertical TypeSetting type around a circle| 00:00 | Here we're going to create type on a
circle--not just one circle, but two--so
| | 00:04 | that the type reads correctly
from the top and the bottom.
| | 00:08 | So I am going to turn off the
visibility on that group, and then I am going to
| | 00:14 | come and choose my Ellipse tool, and
I'm going to draw myself a circle.
| | 00:19 | Now so that that circle doesn't end up
in that group, I'm going to select the
| | 00:24 | bottom layer, layer 0.
| | 00:25 | So I'm going to start drawing my circle
and as soon as I've started drawing, I'm
| | 00:29 | going to hold down the Option or Alt key,
so I can draw it from the center point.
| | 00:33 | And so that I can
constrain it to a perfect circle,
| | 00:35 | I'm going to hold down the Shift key.
| | 00:38 | Now I'll choose my Type tool, and
before I do anything with my Type tool, I'm
| | 00:42 | going to come to my Character panel and
from the Character panel menu, I'm going
| | 00:46 | to choose Reset Character, so that we
start with a level playing field, all of the
| | 00:50 | default values for my type.
| | 00:53 | Now, I'll just move my cursor over the
edge of that path, and you can just see
| | 00:58 | that when I'm on the edge of that path,
I get a flowing line through my type
| | 01:03 | cursor. That indicates that I'm
about to input text on a path.
| | 01:06 | So I'll click right there and just start typing.
| | 01:10 | I didn't check this, but I got lucky.
| | 01:12 | I had center alignment, so it's a good
idea to have center alignment here, so
| | 01:16 | that when we do the next step, which is
to increase the size of that type, the
| | 01:20 | type will grow around the circle rather
than aligned on the left or the right of
| | 01:27 | the insertion point.
| | 01:28 | So I'm going to pump that up in size,
and then I'm going to come and change the
| | 01:32 | font to Poplar Std,
increase the size a little bit more.
| | 01:38 | Possibly, and this is going to very
according to what typeface you're using and
| | 01:42 | to your personal preference, possibly
also add some positive tracking, but
| | 01:47 | maybe not that much. All right!
| | 01:51 | Now what I'm going to do is I'm going
to come back and select that shape layer
| | 01:55 | again, and now I want to click on
the bottom of this shape layer.
| | 02:00 | Now if I don't see the path, what I'm about to
get is just a new type layer. Let me show you.
| | 02:05 | If I click right there, it just gives me a
standard type layer, not what I want at all.
| | 02:10 | So I need to make sure that the
path of the vector mask is active.
| | 02:16 | We know that it is if it has
frame edges around the four corners.
| | 02:21 | So I should now be able to click right there.
| | 02:24 | To make my insertion point, I'm going
to get the same size type as before.
| | 02:29 | I won't worry about that. I'll just go ahead and
type it in, and then I will press Command+A to select all.
| | 02:37 | I'll come and change my typeface.
| | 02:39 | This time I'll use the
Character panel since it's already open.
| | 02:42 | I'll change that to Myriad Pro, and I'm
going to dramatically reduce the size of that.
| | 02:48 | I want to start out at around 48 pixels.
Then making sure I'm actually in the
| | 02:52 | type, I'm going to increase the size now,
Command+Shift+>. So the trick now is I
| | 02:58 | need to flip this around so that the
type is reading the right way, and this is
| | 03:04 | a bit tricky--it has to be said.
| | 03:06 | I'm going to come and choose my Path tool.
| | 03:09 | You'll see now I have a diamond in
the middle of that area of type.
| | 03:14 | That's because it's in the
middle because this is center aligned.
| | 03:15 | I need to sort of flip this around and
put it inside the circle, which indeed
| | 03:20 | I've done, but of course the circle is
black, so we can't see the type. But if I
| | 03:25 | now hide the visibility on that,
there is my type now inside the circle.
| | 03:31 | Well, that's fine, but it does
look rather confined in there.
| | 03:35 | If you've been watching this title all
the way through, my hat is off to you if
| | 03:40 | you have been, but if you have been,
you will remember when I spoke about
| | 03:44 | baseline shift, I said that there was
this very particular time when baseline
| | 03:49 | shift might be useful when you are working
with type on a circle. This is that time.
| | 03:54 | So to now move the type down so that
the top of the caps of 'roundabouts' is on
| | 04:00 | the same line as the baseline of
'swings', I need to use my baseline shift.
| | 04:06 | So I'm going to come and click in the
baseline shift field and just press the down
| | 04:09 | arrow, moving that out from the center
of the circle, and I may need to make a
| | 04:16 | few adjustments to the tracking.
| | 04:18 | Let's have it slightly less.
| | 04:20 | So now the shape layer that we used
to actually put the type around, or more
| | 04:27 | specifically, the vector mask of the
shape layer, that has served its purpose, so
| | 04:32 | we can make sure its visibility is turned off.
| | 04:35 | So I'm going to change the color of my type.
| | 04:37 | I'm going to choose an orange color, and
let's do both layers in one go. So I'll
| | 04:42 | select both, then I'll come and choose
my Type tool, and I'll come and click on
| | 04:47 | the color box, and scroll up and then
find a nice sort of burnt orange color and
| | 04:54 | that gets applied to both layers of type.
| | 04:56 | In the finished version,
we also had an ampersand.
| | 04:59 | You don't need to see me recreate that.
| | 05:01 | I'm just going to turn on the group, and
I'm going to borrow the ampersand from
| | 05:06 | that group, hold down my Option or Alt key,
and drag that down to make a copy of that layer.
| | 05:12 | I'll come and turn off the group, and
that ampersand has with it a couple
| | 05:18 | of layer effects, which I'll know expand.
It has a drop shadow and pattern overlay.
| | 05:23 | I am not going to go into how I
got them to look exactly like this.
| | 05:27 | There is a whole title called Layer
Effects by myself, which I strongly encourage
| | 05:31 | you to check out, but I just want to
mention now that I can copy those same
| | 05:35 | effects from the ampersand to the
other pieces of text by holding down the
| | 05:39 | Option or Alt key like so and
then to roundabouts like so.
| | 05:45 | So we have a nice textured letterpress
effect within the letterforms as well as
| | 05:50 | a drop shadow. So there we
have type around a circle.
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| Setting type along a pen path| 00:00 | Before I show you my own very modest
example of putting type on a path, I wanted
| | 00:03 | to show you a couple of excellent
examples of what's possible with this tool, or
| | 00:08 | indeed what's possible even without it.
| | 00:10 | This first example, a historical
example by a surrealist poet called
| | 00:15 | Guillaume Apollinaire, and he wrote
this I think in 1918. The poem is Il Pleut (It's raining).
| | 00:23 | I mean if this were done in Photoshop
today, it will be done using the Vertical
| | 00:27 | Type tool along a path.
| | 00:29 | We see how the form of the text
clearly illustrates the content of the poem.
| | 00:35 | It was revolutionary at the
time and still very relevant today.
| | 00:38 | A much more contemporary example is
this poster advertising a retrospective of
| | 00:43 | the works of famous
graphic designer, Kit Hinrichs.
| | 00:45 | This is a fairly low-resolution picture
of it, but it's a beautifully done piece
| | 00:50 | with the beard created through pieces
of type, just absolutely brilliant, and
| | 00:56 | everything in here is a
letterform of some description.
| | 01:00 | So this would have been done by
creating multiple paths and then putting type
| | 01:05 | along them, not vertically, but just
regular type along many different paths.
| | 01:10 | As you can imagine, extremely time-consuming.
| | 01:14 | In my modest example, I've just taken a
small excerpt from Alice in Wonderland
| | 01:19 | and have drawn six different
paths, and I have put type along them.
| | 01:25 | In the case of these, we're working with
vertical type, and this one and this one,
| | 01:30 | it's just regular horizontal type.
| | 01:32 | Not really much to say about that.
| | 01:34 | It's very, very straightforward.
Just draw yourself a path.
| | 01:38 | So let's say I'll choose my Pen tool, and we
can use any of the vector tools to draw the path,
| | 01:43 | but I'm going to use my Pen tool, create
a nice path like this, and then come and
| | 01:48 | choose your Vertical Type
tool, and then click on that path.
| | 01:57 | Start typing away and then Command+A to
select all of the type on that path, and
| | 02:02 | you've got your regular type options.
| | 02:05 | The thing to bear in mind, which is a
little bit disorienting at first, is that
| | 02:09 | you are adjusting what would otherwise
be the leading were you're working with
| | 02:12 | Horizontal Type. Yu are adjusting
that now with the Kerning command, which is
| | 02:18 | Option+Left Arrow or Alt+Left Arrow
to bring the letters closer together or
| | 02:23 | right arrow to move them further apart.
| | 02:26 | Having created your path, you can
of course come and choose your Direct
| | 02:31 | Selection tool and then when you click
on it, you will see the anchor points
| | 02:35 | that you laid down, and you can
pull those anchor points around.
| | 02:39 | You can also, if necessary, come and
choose your Pen tool, and you can go and add
| | 02:43 | in more anchor points if you want a bit
more flexibility in shaping that path.
| | 02:48 | Or if you find you have too many anchor
points, you can just stay in your Pen tool,
| | 02:52 | hover over that anchor point, and
you'll see that it now changes to a minus.
| | 02:57 | Click on the that and that
will delete the anchor point.
| | 03:00 | One further modification you can
make is that if you were to choose the
| | 03:04 | Convert Point tool, that will allow
you to convert a corner point to a curve
| | 03:10 | point and vice versa.
| | 03:11 | So here this is currently a curve
point, but if I wanted it to be a corner
| | 03:15 | point, I'll just click on it and that's
going to make it a sharp point, like so.
| | 03:19 | If I want it to go in the opposite
direction, I would click and drag and pull
| | 03:23 | away from it, and as I do so, I
pull out these Bezier control handles.
| | 03:28 | The further I pull, the more of a
curve I introduce into that path.
| | 03:33 | So those are the basics.
Very simple to implement, but could be very
| | 03:38 | time-consuming to get a
really good quality result.
| | Collapse this transcript |
| Setting type around a shape| 00:00 | Following on from type on a path,
let's look at putting type around a shape,
| | 00:03 | because we needn't to limit ourselves to
paths that we've drawn with the Pen tool.
| | 00:07 | We can create vector shapes.
| | 00:08 | In this case, I'm just using a simple
vector shape from Photoshop's vector shape
| | 00:13 | library and obviously it is the cat shape.
| | 00:17 | You can use any vector shape that
you have created in Illustrator or in
| | 00:22 | Photoshop and attempt to put type around it.
| | 00:24 | The more complicated the shape, the
harder it's going to be to get a good result,
| | 00:29 | but let's see how this is going to work.
| | 00:31 | So I'm going to turn off our starting
layers, and I'm going to click at the
| | 00:36 | bottom of the Layers panel there,
so that we deselect that active path.
| | 00:40 | Then I'm going to come and choose my
Custom Shape tool, and the shape that I want
| | 00:45 | is obviously the cat.
| | 00:47 | If you don't see the cat as part of
your custom shapes, make sure that you have
| | 00:52 | all of the shapes loaded.
| | 00:53 | It's actually in the Animals group,
but you may as well go ahead and load them all.
| | 00:57 | So I want to choose that one, and then I'm
just going to draw myself a cat like that.
| | 01:04 | That's going to create a shape layer for me.
| | 01:05 | I'm going to pop over to my text
editor where I have this nursery rhyme.
| | 01:10 | I'm going to select all of that.
| | 01:12 | Command+C to copy it. Back to
Photoshop and then press T to go to my Type tool.
| | 01:19 | I'm going to start around here.
| | 01:22 | I'm going to click, and then I'm going to
press Ctrl+V or Command+V to paste the type.
| | 01:27 | Which way is the type going to go?
| | 01:28 | Well, putting type around the
shape is going to be tricky.
| | 01:32 | Sometimes the type will go inside the
shape, sometimes it might go outside the shape.
| | 01:37 | The direction of the type can vary,
but regardless, we will get to position the
| | 01:43 | type exactly where we want it.
| | 01:45 | I'm going to come and turn off the
visibility of the shape layer, and there
| | 01:50 | we can see the type.
| | 01:51 | It's actually going inside the shape, and
it's going in the opposite direction to
| | 01:55 | how we want it to go.
| | 01:57 | So I'm going to zoom in, and I'm going to
come and choose my Path Selection tool.
| | 02:02 | And then I'm going to pull that
outside of the path, and I can then extend the
| | 02:10 | length of the story just by
pulling the right-hand handle around.
| | 02:16 | There we see the whole of the nursery rhyme.
| | 02:20 | I'm almost tempted to leave it there
because that doesn't look too bad at all,
| | 02:24 | but let's see if we can make it move
around more of the cat shape because
| | 02:29 | ultimately, we want it to suggest the cat
shape without having the shape layer or
| | 02:34 | the path outline visible.
| | 02:36 | So I'm going to choose my type
tool and then click in that type.
| | 02:41 | When you get into this type, you saw me
click in, but I actually ended up at the
| | 02:46 | end of the story, and that's
likely to happen to you as well.
| | 02:50 | If it does, you can move around here by
pressing Command+Left Arrow or Ctrl+Left
| | 02:56 | Arrow will move you to the beginning of
the previous word, or Command+Right Arrow
| | 03:03 | or Ctrl+Right Arrow will move you to the
beginning of the next word. Let's zoom in.
| | 03:06 | What we want to avoid are any nasty
gaps between the letters that are caused by
| | 03:14 | changes in the shape direction.
| | 03:16 | So I'm going to select all of that type
and I am going to increase my type size.
| | 03:20 | We'll go up to 14 points.
| | 03:23 | So here's our first problem.
| | 03:24 | So right there, I'm just going to add a
space in front of that and then move to
| | 03:30 | the next problem, which I
think is about right there.
| | 03:33 | I'm going add another space and
another space just so that that moves
| | 03:37 | comfortably around the curve.
| | 03:40 | Having done that, I'm
losing the end of the rhyme,
| | 03:43 | so I'm going to switch back to my Path
Selection tool and I'm going to grab that
| | 03:47 | marker at the end and then pull that down again.
| | 03:51 | Just go back and keep fiddling with the
type, starting at the beginning, working
| | 03:55 | towards the end, until we've
smoothed out all of the kinks.
| | 03:59 | This would be our last resort, but if
necessary, we may find that we need to
| | 04:04 | modify the shape of the path ever so
slightly. Like here, for example, on the
| | 04:08 | paw, if we were to get around that
paw of the path, we might find that this
| | 04:14 | indentation is going to cause us
problems, in which case, we can choose the
| | 04:19 | Direct Selection tool, and then click on
that, and we can maybe just smooth that
| | 04:24 | out a little bit, so that the
type will run around it more easily.
| | Collapse this transcript |
| Create a work path from type| 00:00 | When you start working with type on a
path, you quickly come to realize that the
| | 00:03 | possibilities are endless.
| | 00:05 | And if you need some inspiration, I
strongly suggest that you do a browser search
| | 00:10 | for typographic portraits, and you will
come up with some really, really cool stuff.
| | 00:15 | And it's very, very labor intensive,
but we are going to try something a lot
| | 00:19 | more modest and achievable
in the space of a few minutes,
| | 00:23 | but nonetheless very effective, and that
is we are going to take a letterform,
| | 00:27 | and then we are going to put type
around that letterform. And in this case I've
| | 00:31 | chosen to use an S, and around it I am
putting a Shakespeare quotation from The
| | 00:37 | Merchant of Venice, and I have
broken this quotation into two parts.
| | 00:42 | There is the first part, and there is
the second. Combined they very effectively,
| | 00:48 | I think, suggest the graceful
shape of this S letterform.
| | 00:53 | So let's see, how do we do this?
| | 00:54 | I am going to turn off those finished
layers, and I am going to turn back on the S.
| | 01:01 | What we want to do here is want
to create a path from this letter.
| | 01:05 | So to do that I'm going to right-
click to the right of the layer name and
| | 01:10 | choose Create Work Path.
| | 01:12 | We will now see a great
path outline around the letter.
| | 01:16 | We can now turn off the visibility of
the letter. The path remains and the path
| | 01:20 | is actually right there on the Paths panel.
| | 01:24 | So now I am going to choose my Type
tool and I'm going to come and click on the
| | 01:28 | path to make an insertion point.
| | 01:30 | Now just before I start typing, or in
this case I am actually going to paste the
| | 01:34 | text, just take a look at what size
type you are going to get, because this
| | 01:39 | value may be inherited from what you were
doing previously, and that is indeed the case here.
| | 01:43 | I am going to set that back to 14 pixels.
| | 01:47 | Now I am going to go to my text
editing program and I'm going to copy the
| | 01:50 | first part of the quotation, Command+C or Ctrl+C,
come back to Photoshop and paste it in there.
| | 01:58 | What direction it goes, it's going to vary.
| | 02:01 | I mean you are never going to get
what you want right off the bat.
| | 02:04 | So we are going need to make some
adjustments here, and it has to be said, it is fiddly.
| | 02:10 | So what I want to do is I want to come
and choose my Path tool, and I need to
| | 02:15 | sort of flip that marker
around, and I got lucky there.
| | 02:19 | It's not usually that easy, but I need
to flip it on the other side of that path.
| | 02:25 | You may find that you need to
chase your path around, like so.
| | 02:30 | What I have are two markers.
| | 02:32 | The one I'm currently working with is
the start of this story, or piece of text,
| | 02:37 | and this one up here is the end of this
story, and you can just chase your path
| | 02:42 | around, or you can pull it back,
to determine where it starts from.
| | 02:46 | So let's say I want it to
start a little bit higher.
| | 02:49 | I am going to get the end of the story
and move that back, allowing me to go and
| | 02:54 | get start of the story and bring that back also.
| | 02:58 | Now to put my cursor in that type, I am
going to choose my Type tool by pressing
| | 03:03 | T. Let's zoom in a little bit, so
that we can get a better idea of what's
| | 03:08 | actually going on here.
| | 03:10 | Probably the easiest way to select the
type is to double-click on the Type layer.
| | 03:14 | So now I have the type selected, and I could,
if I wanted to, increase or decrease its size.
| | 03:20 | But I think 14 pixels is just
about the right size in this case.
| | 03:25 | If I did need to move from one word to
the next, which can be quite a difficult
| | 03:32 | thing to do, because when you click in
this piece of text you will not always,
| | 03:36 | but nearly always end up at the end
of the piece of text, and you can see my
| | 03:41 | cursor flashing down there. Now to
move from one word to the next, or in this
| | 03:45 | case to the previous,
| | 03:47 | if you hold down your Command or Ctrl
key and then press the left arrow, you can
| | 03:52 | see my cursor now jumping to
the start of the previous word.
| | 03:56 | Okay, well that's one piece of our
quotation. I'm just going to select it and
| | 04:01 | let's change the color.
| | 04:02 | Let's use a sort of brown and orange
color and then go into my text editor
| | 04:08 | where I will select the other piece, Command+C
or Ctrl+C to copy that. Come back to Photoshop.
| | 04:15 | So now when I try and put my type on the
existing path, you'll see that I am not
| | 04:20 | getting the shape of cursor that I am
after, the path type shape cursor, and no
| | 04:25 | matter how much, I try that's not
going to show up unless I do this.
| | 04:30 | So if we now move other to the Paths
panel, we can see that what's happened is
| | 04:34 | when we put type along the work path, it
has created a new work path for us, and
| | 04:41 | it's given it the name of
the text that's going along it.
| | 04:44 | So I need to go back and
select the original work path.
| | 04:48 | So with the original work path selected,
I can now come back to layers, and I get
| | 04:52 | my type along a path cursor reappear.
| | 04:55 | So I am just going to click and then
paste, Command+V or Ctrl+V, and I'm now going
| | 05:01 | to switch to my Path tool because I
need to just reorient this along the path.
| | 05:06 | I am going to pull it outside the
letterform, and then I'm going to grab the
| | 05:12 | start of the story and bring
that around down to about there.
| | 05:19 | Now this is the end of the story, and
that indeed is all of the text right there.
| | 05:24 | Let's start this little bit further
around, and then we will extend this one a
| | 05:29 | little bit, like so.
| | 05:32 | So there is our result.
| | 05:35 | Two separate pieces of type around two
actually distinct paths, both derived
| | 05:42 | from this original letter S
that was made into a work path.
| | 05:46 | If we don't want to see the outline of
that path, and we don't, I am going to
| | 05:51 | come to my Paths panel and then just
click beneath it in the Paths panel to
| | 05:55 | deactivate the path.
There is our finished result.
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| Rotating type with Free Transform| 00:00 | Rotating text in Photoshop is really
easy, and it's going to be very quick for me
| | 00:04 | to show you this, but the point I really
want to make here is just how effective
| | 00:08 | it can be to really spice up
the look of your compositions.
| | 00:13 | Rather than have everything just
straight ahead like this, just by rotating
| | 00:18 | things through 15, 30, 45 degrees, you
instantly get a whole new vibe to your piece of art.
| | 00:24 | If I were to press Command+T to go to
Free Transform, I can then come outside of
| | 00:30 | my transformation box and
then just rotate this anyhow I like.
| | 00:34 | If I hold down the Shift key, I am
going to constrain it to increments of 15
| | 00:40 | degrees and I am just going to put
it like that, press Return, and I would
| | 00:46 | suggest that that's a lot more
interesting than it was before, just by rotating
| | 00:50 | it through 15 degrees and moving it off center.
| | 00:54 | A couple of other things I
probably should mention.
| | 00:56 | You can also go to Transform > Rotate.
| | 01:00 | It's the same difference as going to
Free Transform and then just moving outside
| | 01:04 | of the transformation rectangle.
| | 01:05 | You could also, if you have a
transformation rectangle around your type, come
| | 01:10 | and specify the angle of rotation
right here on your Tool Options.
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| Working with vertical type| 00:00 | Vertical type is something that it's easy
to do but a lot harder to make look good.
| | 00:05 | I think for vertical type to be
effective you really need to be working with a
| | 00:09 | vertical subject matter, and
that's why it sort of works here.
| | 00:13 | It's not great by any means, but we've
got the Chrysler Building from New York.
| | 00:17 | It's obviously very vertical, so therefore
having our text also vertical makes a certain sense.
| | 00:24 | So here is how we create vertical type.
| | 00:26 | I am going to turn off that layer and
then come and choose my Type tool, and we
| | 00:30 | want the Vertical Type tool.
| | 00:31 | So we just click and type away, and
instead of going from left to right, it's
| | 00:38 | going to go from top to
bottom. Straightforward enough.
| | 00:41 | Remember, we are pretty much, at least in
the West, hard-wired to read from left to right.
| | 00:47 | So reading from top to bottom, we are
reading just two words here, so it's not
| | 00:50 | that much of a challenge,
| | 00:51 | but you wouldn't want to be setting
a lot of type vertically.
| | 00:54 | Once we have the type set vertically,
our alignment options entirely different.
| | 01:00 | This is aligning it left relative to
the insertion point but now vertically.
| | 01:05 | So if were to change that to center,
that's going to move the whole thing up
| | 01:09 | and if I were to change it to right, then we
are seeing just the bottom of that piece of text.
| | 01:13 | I mean these alignment options, not
especially relevant here, because to position
| | 01:18 | this type I am not going to be relying
on these, but rather on my Move tool, just
| | 01:23 | to drag the type into position.
| | 01:25 | But if I switch back to my Type tool
now and select that Type, to adjust the
| | 01:30 | spacing between the N and the E and
the E and W, now with horizontal type of
| | 01:34 | course that's leading, but leading
doesn't really have any relevance here.
| | 01:39 | What we're using in this
case is not leading, but tracking.
| | 01:42 | So I am going to use the keyboard
shortcut to tighten up the space between the
| | 01:46 | letters, and that is Alt+Left
Arrow, and there is my result.
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| Working with stacked type| 00:00 | As an alternative to vertical type,
you might consider stacked type, which is what I have here.
| | 00:05 | So to recreate this, I'm going to turn
off that type layer, choose my Type tool.
| | 00:09 | I could create this either as
point type or as paragraph type.
| | 00:13 | I think I'm going to go with paragraph type.
| | 00:16 | So I'm going to click and drag,
knowing that I want it to go on the top
| | 00:19 | right-hand corner, and just type it in,
and I'm going to put each two letters on
| | 00:24 | a separate line. And of course this is
going to work much better if you have a
| | 00:29 | word that has an even number of letters.
| | 00:32 | Now let me increase the size of that
and adjust the leading accordingly.
| | 00:38 | I think what I want to do here is I want
to increase the size of those first two
| | 00:42 | letters so that I can keep the spacing
between the characters of the same.
| | 00:46 | That's going to mean that I have to
pump that up a little bit, and you'll notice
| | 00:51 | I'm currently working with right-aligned type.
| | 00:54 | I'm going to come and choose my
Paragraph panel and make this forced justified
| | 00:58 | and then just adjust the width of that.
| | 01:01 | So I can just be sure that they are
sharing the same left-hand and the same
| | 01:07 | right-hand edge, and that needs
to get just a fraction smaller.
| | 01:09 | Okay, having done that, I can then drag
it into position wherever I want it to
| | 01:15 | go, and I'm going to bleed it slightly
off the edge, so the edge of the N is
| | 01:20 | going to butt right up against the
edge of the canvas, and then I'll just
| | 01:24 | change the opacity of that.
| | 01:27 | And perhaps to make the whole thing a
little bit bigger, so we create
| | 01:29 | some sort of interaction with that and
the top of the building, move it down
| | 01:35 | a fraction, reposition it a little
bit more, and there is our stacked type, as
| | 01:40 | an alternative to vertical type.
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| Transforming type using the Warp tool| 00:00 | It's possible to warp our type in
Photoshop and retain that type as still
| | 00:04 | being live editable type.
| | 00:06 | So here is an example of some warped
type, and warped type has this appearance.
| | 00:11 | This is what its layer thumbnail
looks like, just to indicate that you have
| | 00:14 | a warp applied to it.
| | 00:16 | So if I select that and then come and
click on my Warping options up here on the
| | 00:20 | Tool options, we can see that
this has an arch applied to it.
| | 00:25 | There are 15 different warping effects.
| | 00:28 | They are exactly the same
effects as you have in Illustrator.
| | 00:31 | What you can't do is you can't
combine them, which you may find a little bit
| | 00:36 | limiting, and there may be some things
you need to do that require you to go
| | 00:39 | beyond warping your text.
| | 00:42 | So warping may get you so far, at which
point you may then need to convert your
| | 00:46 | type to a shape layer, and then you can
pull around as much as you want. But at
| | 00:51 | that point of course it's not
any longer editable as type.
| | 00:53 | But what we're going to do here in
this movie is just stay with editable
| | 00:58 | live type just using the standard warp effects.
| | 01:01 | So I'm going to turn that one off, and
we're just going to recreate this, and I'll
| | 01:06 | select it right there.
| | 01:07 | We'll come and click on the warp.
| | 01:08 | I'll choose my style.
| | 01:11 | Then we just pull it around
whichever way we want it to go.
| | 01:14 | Now since we want this to be in
the other way, I'm going to make it a
| | 01:18 | negative amount, like so.
| | 01:20 | We can also add in
horizontal and vertical distortion.
| | 01:23 | You'll see that these effects,
| | 01:26 | they all have horizontal
and vertical distortion.
| | 01:28 | If you were to actually turn the
effect down to zero, the horizontal and
| | 01:33 | vertical distortion is the same
on each of these different effects.
| | 01:38 | So you will see in a movie coming up,
how we can just use the horizontal and
| | 01:43 | vertical distortion effectively and sort
of ignore the actual effect itself, but
| | 01:49 | this was just an arch, like so.
| | 01:52 | Well, let me just show you some other examples.
| | 01:56 | This one, we got two pieces of
warped type here and that's another tip:
| | 02:01 | sometimes you may need to split your
type on two separate layers to get the
| | 02:05 | effect that you want.
| | 02:07 | Here we have an arch of +44
and here we have the bulge.
| | 02:12 | So we are combining them here,
but they are two distinct effects applied to
| | 02:18 | two distinct layers.
| | 02:19 | Here is an example of a flag.
| | 02:23 | As you can see from the words that I've
chosen and the way I have treated them,
| | 02:26 | these kind of effects, they
almost cry out for some sort of fairground
| | 02:30 | treatment and that's also
partly influenced by where I live.
| | 02:33 | You have obviously seen these types of
nostalgic postcards from seaside places,
| | 02:39 | and this combines the use of a Rise
effect with a clipping mask and we saw this
| | 02:49 | in an earlier chapter.
| | 02:50 | This image is clipped to this piece of type.
| | 02:53 | As I'm sure you're aware, you can mix
and match all of these techniques and
| | 02:57 | if were to unclip this image by holding down
the Alt or Option key, it would look like that.
| | 03:02 | And then when we Alt+Click or
Option+Click on the line between them, the image
| | 03:06 | is clipped to the type area.
| | 03:10 | This one is squeeze and also mentioned
in the text itself, and this outer shape
| | 03:16 | is just achieved by an outer glow.
| | 03:19 | So if we just look at options there,
we've just got a massively spread outer
| | 03:25 | glow that's causing that to happen.
| | 03:28 | Consider this if you like a trailer for
the Layer Effects title, which I'm also
| | 03:33 | the author of, where we go into all
these nondestructive layer effects.
| | 03:38 | And then we have another fairground
treatment again combined with layer effects.
| | 03:45 | By itself, it wouldn't look so great,
but when you add some of these layer
| | 03:48 | effects to it, it
actually becomes quite effective.
| | 03:52 | So that's the wave effect.
| | 03:55 | As I said, there are 15 of them, and
all that's just a sample off them.
| | 03:59 | Check them out, see if you like them,
and if you don't, the good news is you've
| | 04:03 | not done any damage to your type
because you can always turn them off and you
| | 04:07 | are back to the way you began.
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| Distorting type| 00:00 | Sometimes you might just want to use
the warping tools for some horizontal
| | 00:05 | and/or vertical distortion and actually
ignore the name of the effect, dial
| | 00:09 | that down to zero, and that's the case here.
| | 00:12 | So what we have, if I select this piece
and we come and click on the Warp option
| | 00:17 | right there, this is a Shell Lower,
but that's kind of irrelevant because the
| | 00:22 | effect is turned to zero.
This could be anything.
| | 00:26 | What's causing this to take on
the appearance that it has is the
| | 00:30 | horizontal distortion.
| | 00:31 | So this piece of type is horizontally
distorted -50% and the other piece, +50,
| | 00:39 | and then there's also a little bit of
extra fiddling that's happened with them,
| | 00:42 | just to make them align perfectly,
or as perfectly as I could get them.
| | 00:47 | By the way, let me just
point something out here.
| | 00:50 | If we start with these originals and
I'll turn off this group, and then I'll
| | 00:56 | select that piece of Type,
| | 00:57 | now we've been going to this Warp option here.
| | 01:00 | I could also come to the Edit
menu and choose Transform > Warp.
| | 01:05 | Then when I do this, I can choose one
of these effects. Since we haven't done a
| | 01:08 | Fisheye yet, let's do that.
| | 01:12 | This is quite tantalizing because you
think maybe I have some more options here,
| | 01:16 | and you can pull them around.
| | 01:18 | So that's a little bit more interactive,
but this is not like warping a shape
| | 01:24 | layer or some sort of vector shape
where you can actually go and pull
| | 01:28 | handles from the edges.
| | 01:30 | So unfortunately, you don't
actually get any more options here.
| | 01:33 | You just get to implement the same
options in a slightly different way.
| | 01:37 | So the effect is right there.
| | 01:40 | In this case, it's referred to as the
Bend for the Fisheye, but we also have the
| | 01:44 | horizontal and the vertical scale.
| | 01:46 | So I'm going to set the Bend to zero,
and I'm going to make the Horizontal -50,
| | 01:51 | and that's going to make it look like
that. And then I will just first of all
| | 01:57 | accept that transformation by
clicking on the tick, and then I will
| | 02:01 | double-click on the Shout layer and
well, I could go to the same place, but
| | 02:06 | since the Warp option is right there,
I'm going to go there instead and choose
| | 02:11 | any one of these. It doesn't really
matter. Just dial the effect down to zero,
| | 02:15 | and we'll make the horizontal a +50.
| | 02:20 | Now, let's see how those two align.
| | 02:22 | If they don't quit line up, and
they don't, then we need to just make a
| | 02:28 | few extra adjustments.
| | 02:30 | So I'm going to come to Twist.
| | 02:32 | First of all, I think what I'll do is I
will use a guide just to draw myself a
| | 02:37 | guide to the left-hand edge of Shout,
and I'll also draw myself a guide to the
| | 02:43 | right-hand edge of Shout. And now I
will press Command+T, and I'm just going to
| | 02:50 | pull this text out like so, just beyond
that guide, so that the edge of the type
| | 02:57 | is actually touching the guide, and what
I'm finding is it won't let me do that
| | 03:01 | because I have Snap To Guides turned on.
| | 03:04 | So at this point, I'm going to come to
my Snap and I'm going to turn it off.
| | 03:10 | That's going to give me a little bit
finer control, and I can pull that out just
| | 03:13 | as far as I need to, and I
can do the same on that side.
| | 03:17 | Now if it looks to you, and I'm sure it
does, like it looks to me that this space
| | 03:22 | here is a little bit more than this
space, then I'm going to add in a little
| | 03:27 | bit extra distortion.
| | 03:28 | To distort your type using Free Transform,
just hold down the Command key or the
| | 03:33 | Ctrl key, and I'm going to grab the
bottom left-hand corner and then pull that
| | 03:38 | down a bit. And I'm just doing all of this
by eye, and I'll now press Command+Semicolon or Ctrl+Semicolon
| | 03:45 | to hide my guides, and
there is that distorted type.
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| Converting type to shape layers| 00:00 | There will times when using the Warp
options are not going to get you the
| | 00:03 | result that you want.
| | 00:04 | You may want to go further, and to go
further you will need to convert your
| | 00:08 | type to a shape layer.
| | 00:10 | So let's begin with a comparison. So I
need you, first of all, to buy into the idea
| | 00:16 | that one is better than the other
and therefore worth the extra effort.
| | 00:21 | So what I am going to do is I'm going
to press Shift+Tab to hide my panels on
| | 00:26 | the side, and then I am going to come
up to my arranged documents and set this
| | 00:31 | to a 2-Up arrangement,
and then I'd come to this one,
| | 00:35 | just move that over a bit, and to this one
just to position it in the center of the canvas.
| | 00:41 | So on the left, this one right here, we
have just the standard warp applied, and
| | 00:47 | we can see how it's sort of warping the
shapes of the letters. It's not really
| | 00:51 | getting me what I want and the type
is bowing along the top here, whereas I
| | 00:56 | wanted it to be straight.
| | 00:58 | On the right, what I've done is I've
converted my type to a shape layer,
| | 01:03 | actually not one shape layer, but two,
and then I have applied a warp to those
| | 01:08 | individual shape layers.
| | 01:09 | Of course the downside of this is
that when you do that your type is no
| | 01:14 | longer editable as type.
| | 01:16 | But as I vector shape
layer, it is fully scalable.
| | 01:20 | It's not like converting it to
pixels and then you are tied to a
| | 01:23 | specific resolution.
| | 01:25 | You have scalable vectors and you
can scale them to your heart's content.
| | 01:31 | So let's come back to this starting
point, and I am going to put that back to
| | 01:36 | Consolidate All so that we see just
this image, and I will then press Shift+Tab
| | 01:42 | to bring my panels back.
| | 01:44 | So I am going to begin
this by turning off the warp.
| | 01:47 | So I am going to come to the Bridge layer,
double-click on that, and then come up
| | 01:51 | to Warp, and say none.
| | 01:53 | So we have our un-warped text.
| | 01:57 | This is going to require me to move the
position of the word BISTRO, but we'll
| | 02:01 | cross that bridge, no pun indented--
| | 02:02 | well, maybe it was slightly
intended--when we come to it.
| | 02:06 | So what I am going to do is
convert this type layer to a shape layer.
| | 02:11 | Before I do that and this
is probably a good idea,
| | 02:14 | as insurance, just make a copy of the
layer, Command+J or Ctrl+J. You never know,
| | 02:19 | you may need to go back to it.
| | 02:20 | So I am going to turn off that copy.
Then I am going to convert the layer to a shape.
| | 02:26 | Now what I want to do is I want to
split this shape layer into two shape layers
| | 02:31 | because I want to have BRI on one side,
DGE on the other, and I want to be able to
| | 02:38 | warp those two sides independently.
| | 02:41 | So I am going to duplicate this shape
layer, Command+J, I'll turn off the bottom
| | 02:46 | one to begin with, and then I'll come
choose my Path Selection tool. And on the
| | 02:52 | top one, I am going to select the paths
for the D, the G, and the E, and delete
| | 02:57 | them, and I am going to turn that one off.
| | 02:59 | We'll turn this one on, and now I will
select the paths for the B, the R, and the I,
| | 03:07 | and delete those, and now we can turn
both on. I will come to the top and I am
| | 03:12 | going to press Command+T to go to
Free Transform, and then I am going to
| | 03:18 | click on my Warp options.
| | 03:21 | Now because this is a shape layer, I
have got additional warping options, much
| | 03:24 | more flexibility than we
had when it was still type.
| | 03:28 | And I am just going to grab the bottom
left-hand handle and I am going to pull
| | 03:31 | that down just to warp that like so.
| | 03:35 | Now I want to do the equivalent on the
right-hand side so having accepted that
| | 03:40 | transformation by pressing Return, I am
going to drag down a guide that marks the
| | 03:45 | bottom extent of that piece of type.
| | 03:49 | Then I will come to the other layer,
press Command+T or Ctrl+T, go to my Warp
| | 03:54 | options, and I am going to pull that down.
| | 03:57 | I am holding down the Shift key
so that I don't wobble it around.
| | 04:00 | I am just pulling it down, and I want to
have the bottom right-hand corner of the
| | 04:05 | E, touch that guide,
and then I will press Return.
| | 04:08 | Now I will go to the BISTRO layer.
Once I have chosen my Move tool, I am just
| | 04:13 | going to move that down like so.
| | 04:16 | We can now press Command+Semicolon or
Ctrl+Semicolon to turn off the guides, and
| | 04:22 | there is our result, and I think a much
better result than what we started with.
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ConclusionFinal thoughts| 00:00 | So that brings us to the end of
Photoshop for Designers: Type Essentials.
| | 00:03 | Thanks very much for watching.
| | 00:05 | I am sure you'll agree there is
more to working with type in Photoshop
| | 00:08 | than meets the eye.
| | 00:10 | Do come back and check out the other
titles in the series Photoshop for Designers,
| | 00:14 | but for now, it's goodbye.
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