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Warping text

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

Video: Warping text

In this final exercise, we are going to take this radial free space text at the top of this document at the top of spaceradio.psd that's available to you inside the 18 Text folder, and we are going to warp the text. We are going to distort it using Photoshop's Warp function. And as it turns out, this warping function as applied to text predates, the warping function that you can apply to pixel-based layers inside Photoshop that we saw a couple of chapters ago. Now, as it stands, this text is pretty comically horrible looking.

Warping text

In this final exercise, we are going to take this radial free space text at the top of this document at the top of spaceradio.psd that's available to you inside the 18 Text folder, and we are going to warp the text. We are going to distort it using Photoshop's Warp function. And as it turns out, this warping function as applied to text predates, the warping function that you can apply to pixel-based layers inside Photoshop that we saw a couple of chapters ago. Now, as it stands, this text is pretty comically horrible looking.

It's vastly ugly. We have got just this plain, you now sort of Sans Serif characters here All Caps with wide leading, no less and set in cyan, just a color you really don't want to associate with text, generally speaking, under any conditions. The only thing that this text really is going for so far is that it's not set in Courier, so that's a good thing. However, we are going to transform it into some down right gorgeous text in the context of this document of course. It's going to be pretty over the top, but it wants to be over the top, don't you know.

And for starters, we are going to apply some layer styles that I have already included along with this layer. If you go to the Layers palette, make sure that the radial free space layer is active here. I will go ahead and make the palette a little wider so you can see the full layer name. Then I am going to click the down pointing arrowhead in order to expand the effects that are associated with the layer. Notice, all the effects are currently turned off, that's why we have gray little eyeballs there. Go ahead and click on the eyeball which should be the eyeball in front of effects to make all of the layer styles appear on screen. And what we are seeing here is an outer glow, a little bit of a white outer glow, so you can see sort of some white behind the text, behind the red stroke of the text.

That's the stroke effect right there, that red stuff. Then we have a bevel and emboss inside of the stroke. So that's what's going on there, still ugly. So let's try to make it a little better by changing the Blend mode from normal to overlay. That way, we will see through the letters, so we are using the cyan to basically colorize and highlight the space behind it. Alright, so far so good, now we need to warp the text. We need to warp the text badly, don't you know. So let's go ahead and hide the Layers palette, at least I am going to do that because I don't have enough room to keep it open on screen, and I am going to go up to the Options bar with my Text tool active, that is to say, when a Text tool is active, you can go up to the Options bar and you can click on this little guy right there that says Create Warp Text, and it's going to bring up this Warp Text dialog box right here that allows you to select from different text warping styles.

Now, it's very similar to the warping function that we saw the envelope style distortion warping function, a couple of exercises ago. The big difference is that you don't have a custom option, you can't do your own custom warp when you are modifying live editable text. Instead, you have to choose from a preset, and the preset that I want you to choose is Arc Lower. Now, initially, that makes the text arc downward as you can see here. But we can arc it upward in the opposite direction by changing this bend value, and I am going to change it, and I would like you to as well if you are working along with me, to -40 is the value that I am looking for here.

Now, it looks atrocious of course, but we are going to format the text so that it fits its space much better than this. So a bend of -40 is where we are going to start. Then click OK in order to accept that modification. Now, if you later change your mind, you can just go back here to this text warping function again, click on it, and it will bring up the values that are applied right now, so this is a parametric modification, it's not temporary in other words, it's dynamic. And you can change the style back to none in order to remove that Text Warp or you can change it to some other style if you want to.

Anyway, I am going to cancel out because I was happy with what I had, marginally happy anyway. Now, I need to change the formatting attributes and that's something that we are going to do in the next and final, for real final, exercise of this chapter.

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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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