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Text editing tricks and shortcuts

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

Video: Text editing tricks and shortcuts

Alright at this point you might be thinking okay a few exercises ago you covered the basic text formatting stuff like Type Face and Style and Type Size and so on. And then in the previous exercise you covered the really obscure stuff like Anti-Aliasing method and the Adobe Every Line Composer. When are you going to get around to the stuff in between like letting and kerning and all that jazz there? We are going to do it in this exercise as it turns out in the context of really cool formatting attribute shortcuts that are available to you here inside Photoshop so I am going to start off by pressing the Enter key on the keypad in order to accept the modifications that I applied in the previous exercise then I am going to switch over to this image right there that goes by the name textedittricks.psd and it's found inside the 18Text folder of course and it's a big huge chartful of shortcuts.

Text editing tricks and shortcuts

Alright at this point you might be thinking okay a few exercises ago you covered the basic text formatting stuff like Type Face and Style and Type Size and so on. And then in the previous exercise you covered the really obscure stuff like Anti-Aliasing method and the Adobe Every Line Composer. When are you going to get around to the stuff in between like letting and kerning and all that jazz there? We are going to do it in this exercise as it turns out in the context of really cool formatting attribute shortcuts that are available to you here inside Photoshop so I am going to start off by pressing the Enter key on the keypad in order to accept the modifications that I applied in the previous exercise then I am going to switch over to this image right there that goes by the name textedittricks.psd and it's found inside the 18Text folder of course and it's a big huge chartful of shortcuts.

Not so much shortcuts as tricks because not every single one of them is technically speaking a keyboard shortcut so we have a list of tasks that you might want to achieve over here on the left hand side of the image. And notice that unless otherwise marked with an asterisk these tasks require that the text is active so in other words some text has to be active with the type tool and don't try to edit this text incidentally. I converted this text to pixels to avoid any font complications between your system and mine because I used Futura which might be a font you have but maybe not.

This first item here doesn't require that you have text selected with the type tool but this second item does and so do all the other items that don't have asterisks next to them. I think there is only four items that do have asterisks and then over here on the right hand side we have a list of tricks many of which are keyboard tricks and involve keys such as Control+Shift+B for Bold and all of the keyboard tricks are list in Windows. So in other words we are favoring we are favoring the windows/PC people. You Macintosh people might take issue with that but bear in mind I am a Macintosh guy going way, way, way back.

I just happened to be using PC here for this training and the only reason that I am talking in terms of the Windows shortcuts is because it's a popularity contest baby. Most of the folks who are coming to our training and who are using Photoshop in general are Windows people, strange as it may seem. Alright so you Macintosh people though you are clever I know that so you can easily make this conversion, you can remember that control anywhere where you see Control in the chart that means cloverleaf that means the Command symbol and anywhere you see Alt that means Option. It's that simple.

Alright so here's the first slide I might want to show you. I am not going to show you every single one of them that's why I gave you this keyboard shortcut chart so you can peruse these shortcuts on your own at your leisure of an evening when you are curled up in bed I guess I don't know when whenever you want but this first item is worth showing you. Notice that if you want to select all the text on the layer you double click on the T in the Layers palette, that T thumbnail icon. Alright let me show you how that works I am going to switch back to the AdorablePumpkinLike.psd image here and I am going to scroll over to the right hand side and I am going to switch tools.

I am going to switch to the Marquee tool here so that I can show you how this works. Notice what happens if I have got Layers palette and I double-click on this thumbnail right here this T thumbnail watch Photoshop does a couple of things. First of all it switches to the Type tool automatically for me, bless it and then it goes ahead and selects every single bit of the text on this layer using the Type tool. Is that not awesome? Yes it is I know it is. Yeah it's cool, alright so I am going to press the Enter key on the keypad once again in order to escape that text so I didn't actually make any changes to it so I could have just as easily pressed the Escape key, there it is alright, so I am going to switch back to this image once again so that we can see what's going on let's hide that Layers palette we don't need it up on screen.

So bunch of cool stuff you know about selecting a whole word and a line and paragraph I mentioned that before you can preview a font in the text layer I showed you that one you can format multiple layers at a time. So if you select multiple layers inside the Layers palette either by shift clicking or control clicking on some other portion of the layer other than the thumbnail and that would be command clicking on the layer on the macintosh side of things. Then all of those selected layers will be subject to the same formatting changes. So it allows you to do work very quickly. We have got some other formatting keyboard shortcuts here like Ctrl+Shift+U or Command-Shift-U on the Mac for underline and so on.

I just went ahead and put this little plus sign inside of a keyboard sort of icon there because otherwise we would have two pluses in row. So it's Ctrl+Shift+Plus in order to create superscript text not that you are going to be doing that that often but there it is Command-Shift-+ on the Mac. This one is definitely worth assigning to memory because a lot of people don't even know about it and what I should say by the way is almost all of these keyboard shortcuts that I am telling you are either identical inside of other Adobe applications or very similar. They either produce identical or similar results so once you memorize it for Photoshop it will make sense for you if you go into Illustrator or InDesign or what have you.

Anyway you can restore the regular style. You can get rid of all of the other styles that are going on inside your text by pressing Ctrl+Shift+Y or Command-Shift-Y on the Mac. Pretty dandy thing if you remember to do it you can enlarge or reduce the type in two-point increments by pressing Ctrl+Shift+< or Ctrl+Shift+> that would be Comamnd-Shift-< or > on the Macintosh side and of course the < and > key serves you the same as the comma and period keys by the way. You can also enlarge or reduce your type much more quickly in ten-point increments using these keyboard shortcuts over there.

You can overwrite the auto letting this doesn't require that you have the text active with the Type tool by clicking on this little icon. That icon by the way exists here inside the Character Palette it's right there so you click on it and then you enter your own letting value and letting of course as you may know is the amount of space between one line of text and the next line of text, one line of text and the line of the text above it and that's how letting works. Then after you have overwritten the auto value it's very important that you change the value from auto to something else before you take advantage of these other options then you can either tighten or erase the letting by pressing Alt up or down arrow that's Option up and down arrow on the Mac and then you have got this other option for modifying the letting at 10-point increments and then you can finally restore the letting to auto if you want to by pressing this mass of keys right there, that would Command-Shift-Option-A on the Mac.

Kern together or apart you may know that kerning is moving characters, neighboring characters away from each other or toward each other and you can do that in 21,000th of an M space. Now people call them just Ms but they are really thousands of an M. And M is as wide, exactly as wide as the type size is tall so if you are working with 12-point type then an M space is 12 points wide, divide that by a 1000 so very small increments and multiply times 20 and that's the tiny increment that you can kern things together or part by pressing Alt or Option along with the left and right arrow key and then you have the option of the doing it in a 100 M over 1000 spaces as well by adding the Control key or the Command key in the mix.

We have got baseline shift which allows you to raise or lower a single character or a few characters of text with respect to the baseline that means you can shift some text up with respect to other text and you can do that by using these keyboard shortcuts right there. Finally, we have got some resets that are available to you, ways of centering and justifying type and fully justifying including all lines in the graph that's a paragraph by the way. That's a shorthand speak, editors call paragraphs graphs by the way. As I well know from my book experience don't you know see alright it's Ctrl+Shift+F or Command-Shift-F on the Mac for that one and then you can move the active text when it's active you can actually move it around by control dragging it you can transform active text by pressing the Control key and dragging the handles.

I have etcetera here because you can also drag outside the text boundary to rotate it. You can force the creation of a new text layer that's actually a pretty great one. If you have a text layer active inside the Layers palette but it's not activated with the Text tool so no text is selected so you are having problems creating a new text block because you keep selecting the old one why then make sure that no text inside the layer is active and then Shift Click with a Type tool, Shift Click or Shift Drag as it turns out either will work. So you have that shift key down that forces that creation of a new text layer you can change the color of the text.

We discussed that you can hide or show the highlight we talked about then finally you can press Enter on the key bag to accept the text or that would be Ctrl+Enter that's Command-Return on the Mac of course. And then you can abandon all changes and I beg you to be careful about this one. There is nothing like creating a new text block, formatting it, deciding your formatting is terrible and then pressing the Escape key and you lose every bit of work that you have done. So basically this is sort of a little bit of napalm where your edits are concerned. You are really going to wipeout everything you did in that little text editing session so use the Escape key with care.

There you go watch it through all the important stuff this is and so far as I know this is every single keyboard shortcut that has every new thing to do with editing type as I say a lot of these functions also work the majority of these functions also work inside the other Adobe applications. So learn them in good health you will love them I swear to you and they will help you work so much faster inside the program. In the next exercise we are going to take a look at some special stuff that you can do with type inside Photoshop that you can't do inside any other kind of program than in Image Editor.

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

129 video lessons · 39184 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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