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Creating an independent text layer

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Creating an independent text layer

Alright, who is ready to create some text in Photoshop? Hope you are because that's what we are going to be doing. I have opened in front of me an image called pumpkinlight.psd and it's available to you in the 18th folder, folder #18 because after all we are inside the 18th Chapter. Now, when you open this image, there is an outside chance that you might get a message that says that the Text layers have to be updated before they can be used for vector-based output, battle of the yarn. And the reason you get that message is because Photoshop is constantly updating its text engine.

Creating an independent text layer

Alright, who is ready to create some text in Photoshop? Hope you are because that's what we are going to be doing. I have opened in front of me an image called pumpkinlight.psd and it's available to you in the 18th folder, folder #18 because after all we are inside the 18th Chapter. Now, when you open this image, there is an outside chance that you might get a message that says that the Text layers have to be updated before they can be used for vector-based output, battle of the yarn. And the reason you get that message is because Photoshop is constantly updating its text engine.

If you see that message or anything resembling it, just click the Update button, that simple. And we are going to add a little bit of text, we are going to start things off by adding some text to the bottom of the image. I am going to go ahead and press the F key a couple of times in order to switch to the Full Screen mode so that I have a little more room to move my image around. And you should see a couple of guidelines on screen, these cyan colored guides. If you don't see them, go up to the View menu, choose Show and choose Guides or you can press Ctrl or Command; that happens to be the keyboard shortcut for showing guides across most of the Adobe applications.

Let's make some text. First, I want you to grab the Type tool right here which is located just below the Pen tool here inside this single column toolbox. There is a bunch of Type tools. If you bring up the Flyout menu, you can see that you've got the Horizontal Type tool, plus a bunch of different Type tool variations. But the Horizontal Type tool turns out to be all you needed, actually it does everything the other tools do as well. But it is the tool we want to use. You can get to it by pressing the T key by the way and then go up to the Options bar located up here at the top of the Window.

And I want you to change a few of the settings so that we can establish new default settings that we will use to create our first line of type. For starters, go ahead and click on this down pointing arrowhead here in order to reveal the list of fonts that are available to your system, and you may or may not have available to you a font called Adobe Caslon Pro. It ships along with the full creative suite if you own all of the Creative Suite 3. If you bought Photoshop independently or if you're working with an advanced version of Photoshop CS3, then you may not have Adobe Caslon Pro, in which case, I recommend you use something like Times New Roman, it actually works pretty well for this exercise.

Anyway, I am going to switch to Caslon Pro. Regular is great, you might want to use a Roman font, what have you. You can totally go your own way too, you don't have to slavishly follow along with me if you don't want to. I am going to change the type size to 60 points. If you are using Times New Roman, something along the lines of 68 points works pretty nicely. And then, we are not too concerned about the anti-aliasing at this point, but something like Sharp is great, that is the default setting. We want flush left text, and instead of having it set to black, let's go ahead and set it to white.

And you can get to white by just clicking on this little Switch-a-Roo icon here or you can press the D key for default colors and then the X key in order to switch those guides around, because Photoshop always creates type, you can always change it if you want to, but Photoshop originally creates its type in the foreground color. Alright, so these are the settings I would like to use and you know what, if you feel like that they are the kind of settings you want to come back to later, you can save this out as a preset. Photoshop doesn't allow you to define style sheets the way some programs do but you can create presets that you can then reinstate when you are creating some new type.

So that will be useful for formatting new type, not existing types. Anyway, to save a preset, go ahead and click on this down pointing arrowhead that's right next to the T up here in the Options bar. Notice, there is a preset already made for horizontal type Myriad Roman 24 point, which were the default settings that I was looking at just a moment ago. But we will create our own preset by clicking on this little new item here and I will call mine Caslon Pro, I suppose and then something along the lines of 60 points, you know whatever.

And by the way, points is the typical measurement for type, it's a 70 second of an inch. Alright, anyway, I will go ahead and click OK in order to create that type, there it is, beautiful, wunderbar. Let's go ahead and hide that menu from view now and let's create the type. Go ahead and click any old place, you don't have to click right down here at the guideline, we will move it into position later. But for now, just click generally inside of the Window and then enter the type Fright Lights, like so. Now, I want to go ahead and make this type all caps, so I will press Ctrl+A on the PC here or Command+A on the Mac to select all of the type and I am now going to visit the Character palette.

Notice that a lot of the formatting attributes that you might want to apply to your type are listed here inside the Options bar, but not everything, not nearly everything as it turns out. To bring up the Character palette which has a lot more options, you can do one of a few things. For starters, you could click on this little icon right here in the Options bar which will bring up the Character palette as we are seeing right there. Or another way to work is to go to up to the Window menu and choose Character. And then finally, if you have some type active here inside of the Window the way that I do, you can press Ctrl+T or Command+T on the Mac in order to bring up the Character palette.

Normally, if you don't have type active, by the way Ctrl+T gets you into the Free Transform mode. But Photoshop is smart enough to know the context of your request here. So it brings up the Character palette. And notice that we have some styling options available to us including this guy right there All Caps, and I want you to go ahead and apply All Caps. Another way to apply the All Caps function is to press Ctrl+Shift+K or Command+Shift+K incidentally. And that's it, that's all I want you to do. The advantage of applying All Caps by the way to the type after you selected is then it doesn't become a default setting the way the other settings did.

I want to now accept my type, and I am going to do that in one of two ways as well. You can either press the Enter key on the keypad, don't press the standard Enter key there that's just above the Shift key because that will wipe out your text, don't do it, I am not even going to show you because then I'd have to renter my text which is a big pain in the neck. So you can press the Enter key on the numerical keypad or if you prefer, you can press Ctl+Enter or Command+Return on the Mac in order to deactivate that text and accept your modifications.

You will now have a new layer of text here inside the Layers palette and this is editable text as indicated by this T thumbnail.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39058 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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