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Vector-based type outlines

From: Photoshop CS4 One-on-One: Mastery

Video: Vector-based type outlines

All right gang, we are going to do this chapter in kind of weird order, as opposed to showing you how to draw a vector based shapes inside of Photoshop and then telling you how great they are, I'm going to tell you how great they are first and then I'll show you how to draw your vector based shapes. Because you need to know why you would do it in the first place before you start doing it. And these guys by the way, just in case you are curious, these are your vector based Drawing tools right here. Just the standard stuff, like the Rectangle tool for example. And you know you want to round off the corners, you've got the Rounded Rectangle tool, the Ellipse tool, Polygon tool which also draws stars incidentally and we'll see how that works. The Line tool draws shapes, actually that look lines, they are not stroke shapes the way they are in, say, Adobe Illustrator or InDesign or one of those programs.

Vector-based type outlines

All right gang, we are going to do this chapter in kind of weird order, as opposed to showing you how to draw a vector based shapes inside of Photoshop and then telling you how great they are, I'm going to tell you how great they are first and then I'll show you how to draw your vector based shapes. Because you need to know why you would do it in the first place before you start doing it. And these guys by the way, just in case you are curious, these are your vector based Drawing tools right here. Just the standard stuff, like the Rectangle tool for example. And you know you want to round off the corners, you've got the Rounded Rectangle tool, the Ellipse tool, Polygon tool which also draws stars incidentally and we'll see how that works. The Line tool draws shapes, actually that look lines, they are not stroke shapes the way they are in, say, Adobe Illustrator or InDesign or one of those programs.

And then we have a Custom Shape tool that actually draws custom shapes like crowns or frames or all kinds of stuff as you will see. And you can make your our own custom shapes. And if you decide to go that route where you want to design your own custom shapes, you can use this guy right there, the Pen tool. And we'll see it ever so briefly. I'll show you how that works. Before we get to actually using the tools, I want to show you why shapes are so great, because after all if you know anything about the litany of Adobe products, the various programs in the Creative Suite. Then you know that the true vector based drawing tool is Illustrator. It ain't Photoshop.

It's Illustrator. So why in the world would you sit around and draw vector based shapes, which is Illustrator's bread and butter? Why would you bring it over into Photoshop? Photoshop is a photography tool for crying in a bucket. So why would you do vector stuff? Well, because Photoshop's so great at it and because you can do stuff in Photoshop that you just can't do in Illustrator. Or that's a lot easier to do in Photoshop like the stuff that we are seeing right here which is based largely on layer effects, for example. All right, so before I even tell you how great vector based shapes are, I got to tell you one other thing, I got to tell you this little tricky thing about converting text to shapes. Because it comes up first when you start opening up the images, it becomes an issue. So there is two images I want you to open if you are working along with me.

One is called Tip pixels.psd and the other is called Vector tip.psd, both found inside the 24_vector_shapes folder. And I have a pixel-based version of the tip and we'll see how that differs in just a moment. And then we have a vector based version offset tip, which is a lot of more flexible as you will see. But when you first open the vector-based version of this image, you will get this error message right here. Presumably those of you who are working on a PC will very likely see it; those of you working on the Mac may or may not see it.

But it's basically saying that the font that I have used for the word Tip here is missing on your system. And the font happens to be Myriad, just plain old Myriad which does exist on the Mac but doesn't typically exist on the PC. Myriad Bold, you will just have to click OK. That's your only option to say, "Okay, I get it, I don't have that font." But the text is still going to look fine because Photoshop goes ahead with every file that contains text; it keeps track of the pixels that are associated with that text as well. So that if you do happen to open it up on a different system, you can still see what the text looks like so long as you don't go messing with it. So if I decide, "Hey, I think I'm going to edit this text right here. I'm going to like double click on it or do something." Notice that Photoshop's going to whine at you and say, "Hey, you do not have Myriad Bold on this system." If indeed you don't. Would you like to go ahead and continue? And if you do continue, font substitution will occur.

Now notice it's not telling me what kind of font substitution will occur. What font it's going to use? It's a big roulette wheel is essentially like comes down to, it may decide Couriers, the closest match, you never know. But let's go ahead and click OK and see what it does. And in my case it comes up and says, "Hey, how about Myriad Pro which is actually a very close font, very close substitute?" So that's great. And in fact in many regards it's equivalent, it's the exact same font, it's just an open type version of Myriad. And it ships along with various versions of the Creative Suite, so you may actually have it installed on your system as well.

If so, it will probably come up as Myriad Pro Regular and you will need to switch it out to Myriad Pro Bold like so. You may notice on my screen I have got the big font previews right here, because that's the way I set it up in the previews chapter way long ago when we were discussing text. Anyway you may see smaller samples right there. That's no big deal, doesn't matter. All right thought, now I have got the proper font substitute here so that's grand, I'm going to go ahead and just sort of press the Enter key on the keypad in order to accept my modifications. Now let's say you are worried this is going to happen to somebody else, somebody else is going to open up your document and they are going to be confronted with this message saying, "Hey, you don't have the right font" and you don't want that to occur. Of course you want to make sure that your image that you are sending off to whomever it is, is as system ambivalent as possible.

So you have two options that are available to you. If you right-click on this text layer like so, some place in this empty are right there, you are going to see that you can rasterize the type or you can convert it to a work path which means it's going to go over to the Paths palette right there. Or you can covert it to a shape. Now if you rasterize the type, watch what happens. Go ahead and choose Rasterize Type and it doesn't change its appearance at all. It looks sweet. Right, it totally looks great. It is now pixels. You can't edit it anymore with the Type tool, so you would choose the Save As command in order to preserve the original text.

However, you could send this off to whomever and it would look beautiful for them. Problem is this isn't going to be scalable and I'll show you why that's so very important in a future exercise. But just know for now it's not scalable if you go that route. So if you want true vector type just like you used to have, just a moment ago you had vector type before you converted it over to pixels. If you want to keep that vector type but you don't want any whining out of Photoshop about the fonts and so on. Then go ahead and press Ctrl+Z, Command+Z on the Mac to undo that modification. And I want you to pay close attention to this text. So go ahead and watch it.

I will right-click once again or Ctrl- click if you don't have a right mouse button on the Mac. And I'll choose Convert to Shape and that will go ahead and convert the text to shape outline, so we are going to have a little bit of change. Did you see how the I and the P changed ever so subtly there? This is before and this is after, actually I should say all the letters have changed ever so subtly. We didn't have that problem with pixels, we'll potentially have that problem with vectors when you convert type to vector based outlines. Especially, if you have some warping involved and that's what we have going.

We have some warped text. And what's Photoshop is doing is it's trying to interpret the math and it's getting it mostly right. But now this is scalable and this is true vector based goodness here inside of Photoshop. Now you are going to see these little path outlines show up right there, they don't print, so those little ratty outlines aren't going to print. They are not really there. It's just Photoshop showing you what the vector outlines look like. If you don't wan to see them anymore, just click on that vector mask thumbnail. That's what that is. And they will go away.

And there you have it. So we have now made vector based text inside of our vector tip photographic illustration, we are going to see how this Vector tip.psd document absolutely wipes the floor with this Tip pixels.psd document starting in the next exercise.

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This video is part of

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

147 video lessons · 27750 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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