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Obscure but important formatting options

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

Video: Obscure but important formatting options

In this exercise, we are going to apply a few of the more obscure formatting attributes that are available to you inside of Photoshop. Many of which affect all of the text inside of a text block at once and many of which are unique to an image editing application, they are not the kinds of options that would appear necessarily inside of your vector program, such Adobe Illustrator and QuarkXpress and those sorts of folks. Alright, so I am going to go ahead and zoom way into this text here in order to see the pixels big and beautiful on screen, so that we can see those pixel transitions for example then I am going to click inside the text, just click anywhere inside the text with the Type tool in order to make that text active.

Obscure but important formatting options

In this exercise, we are going to apply a few of the more obscure formatting attributes that are available to you inside of Photoshop. Many of which affect all of the text inside of a text block at once and many of which are unique to an image editing application, they are not the kinds of options that would appear necessarily inside of your vector program, such Adobe Illustrator and QuarkXpress and those sorts of folks. Alright, so I am going to go ahead and zoom way into this text here in order to see the pixels big and beautiful on screen, so that we can see those pixel transitions for example then I am going to click inside the text, just click anywhere inside the text with the Type tool in order to make that text active.

Notice, this option right here inside the Options bar that says Sharp by default it's the anti-aliasing method and it decides how Photoshop draws sort of soft transitional pixels around your characters in order to prevent them from looking jagged, when the text is rasterized inside of the image. Now, if you want to see what things look like without anti-aliasing, go ahead and set this option to None and you will see some very jagged type, pretty ugly as well. Might be useful for a low color web graphic, but that's about it.

Alright, let's see the better options that are available to you. First you have Sharp, which is the slightest of the anti-aliasing method and it ensures the sharpest text inside of the image. If you want to round off your corners ever so slightly, you can switch to this guy right here Crisp, notice things got slightly rounder. You also have an even rounder option purportedly called Smooth, but it doesn't really make much of a difference. Crisp and Smooth are almost identical to each other as it turns out in almost all situations, so don't really have to worry too much about that one.

Then we have got Strong, that's what I want you to select because it bolsters those letters and makes them thicker, great for white text also great for small text like we have going inside this image. Next, I am going to go ahead and zoom out from my image a little I am doing that by just pressing "Ctrl+-" or "Command -" on the Mac and I am going to scroll around using my Page Down keys here, because I don't have any scroll bars because I am working inside of the Full Screen mode and of course, I can't spacebar drag, because I have some text active.

So what I am doing instead is pressing Shift along with the Page Down key and now I am pressing Shift+Ctrl along with Page Down, that would be Shift and Command at the same time with Page Down on the Mac. Alright, so that's a good position for my text, it's just that I need to bring up my Character palette at this point. So I am going to click on my little Character icon or because my text is active, I could press Ctrl+T for character that is for Text actually. And here's an interesting option, if you click on the menu item here to bring up the Character palette menu, then you will see this item called Fractional Widths.

Now, before I selected I want you to notice something, most of the options that are available to you inside the Character palette affect individually selected characters only and most of the options are available to you inside the Paragraph palette, the other formatting palette affect entire paragraphs at a time. However, there are few items inside the Character palette that affect all text at once inside of a text layer, that includes the anti-aliasing option right here and it includes this guy that I am about to show you Fractional Widths. Fractional Widths allow better spacing inside Photoshop when it's turned on, better letter spacing, it should be turned on by default, it's not, so go ahead and turn it on in order to better space the text inside of your paragraph that is the individual letters, the kerning between specific letter pairs if you will, because Photoshop can now, with Fractional Widths turned on it can calculate the gap between letters in fractions of a pixel, something that it should be doing anyway.

Alright, it takes a little more effort, a little more work on Photoshop's part, but it's well worth it. It's another subtle change, but it can mean the difference between amateurish looking text and really great looking text, especially when you print it. Okay, now I want you to switch over to paragraph. Here's another option that distinguishes the imaging children from the imaging adults and that's this guy right here, the single line composer versus the every line composer. The single line composer again is easier for Photoshop to calculate, because Photoshop has to just calculate one line at a time, when it's deciding where its line break should be and where its hyphen should be.

Whereas, the every line composer looks at all of the lines inside of a paragraph at a time, when trying to determine spacing and hyphens, so go ahead and turn that option on and you will see that you will get much better spacing, notice that our text is not nearly as ragged as it was before, this is the original version of the text and this is the every line composer version, so much less ragged right going on here. And then finally, I want to justify my type and I am going to do by turning on this little Justify Last Left option, which means that all of the lines will be justified except the last line and it will be flush left and you cal also get to that typical formatting option that's the no-brainer of the various justification options that are available to you and that's Ctrl+Shift+J or Command-Shift-J on the Mac.

WinText is active. Alright, one last thing that I want you to do, I want you to color this text, but before we do that I need to zoom out here, so I am going to press "Ctrl -", so that I can see a little bit of the pumpkins in the background here. And what I am going to do is I am going to select all of the text except for the first two words here. So I will double-click on what, and I will start dragging down that's one way I could work, or I could notice this, I could press Shift Down Arrow, in order to advance that selection or I could press Ctrl+Shift+Down Arrow or Command-Shift-Down Arrow to advance all the way to the end of this text block.

Alright, so I have got all the text except for Happy Jack selected, now I want to go ahead and recolor that text and I am going to do that by bringing up the Color palette right here, switching to the HSB sliders, which you can do by clicking on this palette menu icon and choosing HSB sliders. And then the values that I want you to enter are 40 and then 50 and then 90 and then press the Enter key or the Return key on the Mac in order to accept those values. Now, the amazing thing about modifying the foreground color, WinText is active, is that it does affect the text, alright so I did just change the color of the text, even though the foreground color doesn't necessarily always represent the color of the text that's going on, but it will affect it, in other words, alright, so any changes you make here to the Color palette, do affect your text.

If you are having a problem seeing that the text is effective, because after all it's inverted and it looks blue at this point, then you can press Ctrl+H or Command-H on the Mac in order to hide that selection outline. Alright, so the text is still selected, but I have just hidden the highlighting by pressing Ctrl+H, if you want it back, just press Ctrl+H again, or Command-H on the Mac. Alright, but I want to see my text as it really looks, here it is "Happy Jacks" in white the rest of the text in sort of this peach color that I have dialed in and properly anti-aliased, we have got some Fractional Widths going on, we have got the every line composer, we have got Justify Type it looks totally awesome.

In the next exercise, we are going to take a little break from this image for just a moment, we are not done with it yet, but I want to explain to you a few other ways to manipulate text from the keyboard, a few other keyboard tricks that are available to you here inside Photoshop CS3.

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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 · 39187 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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