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Editing size and leading

From: Photoshop CS4 One-on-One: Advanced

Video: Editing size and leading

I'm still working inside of the document called TV movie ad.psd. I've gone ahead and added some point type to the document that spells out the words CHIEF EXECUTIVE NEPHEW. I want to take the word NEPHEW and make it every bit as wide as CHIEF EXECUTIVE. I'm going to do that using a combination of Type Size and Leading. But I don't have to work that way. There is a variety of different ways to make one line of type match another line of type, and we'll investigate those on our merry way through this exercise.

Editing size and leading

I'm still working inside of the document called TV movie ad.psd. I've gone ahead and added some point type to the document that spells out the words CHIEF EXECUTIVE NEPHEW. I want to take the word NEPHEW and make it every bit as wide as CHIEF EXECUTIVE. I'm going to do that using a combination of Type Size and Leading. But I don't have to work that way. There is a variety of different ways to make one line of type match another line of type, and we'll investigate those on our merry way through this exercise.

I'm going to go ahead and actually move these palettes up a little bit so that I'm not constantly hiding the words CHIEF EXECUTIVE. I'll bring back up the Character palette. Let's say that I want to select the entire line NEPHEW. Now, what you can do with the Type tool is you can Click inside of some editable type, as I've done here, in order to add the blinking insertion marker, or you can Double-Click to select an entire word; this is pretty standard stuff, but it works inside of Photoshop, just as it does inside other Adobe applications.

To select an entire line of type, you Triple-Click, so one, two, three. You don't have to Click super quickly, you can Click fairly leisurely, and on that third Click you'll get the entire line. So to select the entire line NEPHEW right here, you can either Double- Click on the word or Triple-Click it; I'm just going to go ahead and Triple-Click to make sure I get the entire thing, so one, two, three to get the entire word NEPHEW. Few different ways to work. I could increase the Tracking that's associated with this text. This value right there is the Tracking value, as you can see if I hover over it. Tracking determines the amount of space between independent letters of type. So if I were to change this value to something like 50, let's say, you can see that those letters spread apart.

Then with this value still active, I could press Shift+Up Arrow in order to increase the value in increments of 100 as you can see. If I were to just press the Up Arrow key, then I would increase the value in increments of 20. When you're working with type, Shift usually increases whatever modification you're making by five times as much. So we go from 20 to 100 in this case. Anyway, I'll press Shift+Up Arrow to raise that tracking value to 930. You could see that goes ahead and spreads my type far enough apart. Of course, I don't want that, so I'm going to restore that value to 0.

Another way I could work is I could increase the Horizontal Scale value to something like, let's try, 200%. That's going to stretch that type. Now, that can be a useful technique to increase the Horizontal Scale value, but I wouldn't go this far with it ever, because it ends up stretching the letters unnaturally. So it becomes obvious that you stretched the letters as opposed to you using Expanded Font style, for example, so that the stems become unnaturally wide when compared with the horizontal bars.

So if you do decide to modify either the Vertical Scale or the Horizontal Scale, I would take it easy. I wouldn't go too much farther than 120% on the positive side or any lower than say about 80%. Anyway, I'm going to leave it set to 100%. I also wanted to show you Baseline Shift. Baseline Shift will take whatever number of characters you have selected, and either raise it or lower it with respect to the baseline, which is the imaginary horizontal line upon which the letters rest. So for example, if I grab the letters PH right there, and I increased the Baseline Shift value, this guy right there, then I would raise the letters with respect to the baseline, or I could take the letters down. Why would you want to do such a thing? For superscripts or subscripts that you want to have absolute control over their positioning.

Anyway, I don't want to do any of that junk, so you know what, I'm just going to press the Enter key to accept that Baseline Shift value. Then I'll press the Escape key, because what I want you to see is that pressing Escape goes ahead and abandon any changes made during this little text editing session. I didn't lose all of my modifications. In other words, I didn't lose this entire text layer, because it had been established in a previous text editing session. Escape only abandons the changes you've made in this session. I just want you to see that. Well, here's what I really want to do. I'm going to Triple-Click on the word NEPHEW there, in order to make it active. I'm going to change the Type Size value to 67, like so, which works nicely for Caslon.

Now, if you're working with Times New Roman, then you're going to want a higher value in order to match the width, and what you do is you just go ahead and Enter something like 67 and then press the Up Arrow key in order to increase that Type Size farther until you see it match the width of the text above it. Anyway, I'm going to take it down by pressing the Down Arrow key down to 67 points. There's other ways to work by the way. I'll introduce you to some more keyboard shortcuts that allow you to change things like Size and Leading and so forth in a future exercise. But for now, this is the way I want you to work.

This next value right here is Leading, which controls the amount of space between an active line of type and the line above it. So in another application it might be called Line Spacing. Photoshop and other Adobe applications call it Leading, and that's L-E-A-D-I-N-G, after the traditional hot metal technique of inserting actual rows of lead between lines of type in order to space the lines away from each other. By default, the Leading value is set to Auto, which is 120% of the Type Size.

So whatever 67 times 1.2 is, that's the Leading that we have in force right now. I want you to press the Tab key to advance to that Leading value or you could just go ahead and Click on this A above A icon right there. Then change that Leading value to 55. That's going to work very nicely for you. Should work even if you're working with Times New Roman, because it's the amount of the space between the lines of type as opposed to how big the letters are. But if you need to adjust it, you can move the lines closer to each other by pressing the Down Arrow key. So notice that's going to move the letters up, even though you're pressing Down Arrow, because you're moving the lines closer altogether. If you want to move them farther apart, you'd press the Up Arrow key, which is going to move the text down.

So 67/55, if somebody was just scrolling down, how they want you to set the type. That is going to work beautifully for Adobe Caslon Pro, Bold text, as we see it here. Then we're going to accept that modification by pressing the Enter key on the numeric keypad. I'm going to have to press it a couple of times, because that first pressing of Enter just went ahead and accepted the Leading value. I'll have to press Enter again in order to accept your modifications, and there we have it, CHIEF EXECUTIVE big NEPHEW. In the next exercise we're going to discuss the art of editing vector-based text. You'll love it.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23881 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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