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For this installment of Photoshop for Designers, Nigel French explains the fundamentals of working with type in Photoshop, distinguishing when it is appropriate to set type in Photoshop rather than InDesign or Illustrator and what makes Photoshop unique for certain type treatments. This course demonstrates essential techniques, such as entering and editing text; interacting with type layers; and adjusting the color, transparency, character and paragraph formatting of type.
Here we're going to create type on a circle--not just one circle, but two--so that the type reads correctly from the top and the bottom. So I am going to turn off the visibility on that group, and then I am going to come and choose my Ellipse tool, and I'm going to draw myself a circle. Now so that that circle doesn't end up in that group, I'm going to select the bottom layer, layer 0. So I'm going to start drawing my circle and as soon as I've started drawing, I'm going to hold down the Option or Alt key, so I can draw it from the center point.
And so that I can constrain it to a perfect circle, I'm going to hold down the Shift key. Now I'll choose my Type tool, and before I do anything with my Type tool, I'm going to come to my Character panel and from the Character panel menu, I'm going to choose Reset Character, so that we start with a level playing field, all of the default values for my type. Now, I'll just move my cursor over the edge of that path, and you can just see that when I'm on the edge of that path, I get a flowing line through my type cursor. That indicates that I'm about to input text on a path.
So I'll click right there and just start typing. I didn't check this, but I got lucky. I had center alignment, so it's a good idea to have center alignment here, so that when we do the next step, which is to increase the size of that type, the type will grow around the circle rather than aligned on the left or the right of the insertion point. So I'm going to pump that up in size, and then I'm going to come and change the font to Poplar Std, increase the size a little bit more.
Possibly, and this is going to very according to what typeface you're using and to your personal preference, possibly also add some positive tracking, but maybe not that much. All right! Now what I'm going to do is I'm going to come back and select that shape layer again, and now I want to click on the bottom of this shape layer. Now if I don't see the path, what I'm about to get is just a new type layer. Let me show you. If I click right there, it just gives me a standard type layer, not what I want at all.
So I need to make sure that the path of the vector mask is active. We know that it is if it has frame edges around the four corners. So I should now be able to click right there. To make my insertion point, I'm going to get the same size type as before. 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. I'll come and change my typeface. This time I'll use the Character panel since it's already open.
I'll change that to Myriad Pro, and I'm going to dramatically reduce the size of that. I want to start out at around 48 pixels. Then making sure I'm actually in the type, I'm going to increase the size now, Command+Shift+>. So the trick now is I need to flip this around so that the type is reading the right way, and this is a bit tricky--it has to be said. I'm going to come and choose my Path tool. You'll see now I have a diamond in the middle of that area of type.
That's because it's in the middle because this is center aligned. I need to sort of flip this around and put it inside the circle, which indeed I've done, but of course the circle is black, so we can't see the type. But if I now hide the visibility on that, there is my type now inside the circle. Well, that's fine, but it does look rather confined in there. If you've been watching this title all the way through, my hat is off to you if you have been, but if you have been, you will remember when I spoke about baseline shift, I said that there was this very particular time when baseline shift might be useful when you are working with type on a circle. This is that time.
So to now move the type down so that the top of the caps of 'roundabouts' is on the same line as the baseline of 'swings', I need to use my baseline shift. So I'm going to come and click in the baseline shift field and just press the down arrow, moving that out from the center of the circle, and I may need to make a few adjustments to the tracking. Let's have it slightly less. So now the shape layer that we used to actually put the type around, or more specifically, the vector mask of the shape layer, that has served its purpose, so we can make sure its visibility is turned off.
So I'm going to change the color of my type. I'm going to choose an orange color, and let's do both layers in one go. So I'll select both, then I'll come and choose my Type tool, and I'll come and click on the color box, and scroll up and then find a nice sort of burnt orange color and that gets applied to both layers of type. In the finished version, we also had an ampersand. You don't need to see me recreate that. I'm just going to turn on the group, and I'm going to borrow the ampersand from that group, hold down my Option or Alt key, and drag that down to make a copy of that layer.
I'll come and turn off the group, and that ampersand has with it a couple of layer effects, which I'll know expand. It has a drop shadow and pattern overlay. I am not going to go into how I got them to look exactly like this. There is a whole title called Layer Effects by myself, which I strongly encourage you to check out, but I just want to mention now that I can copy those same effects from the ampersand to the other pieces of text by holding down the Option or Alt key like so and then to roundabouts like so.
So we have a nice textured letterpress effect within the letterforms as well as a drop shadow. So there we have type around a circle.
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