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Working with OpenType fonts

From: Photoshop for Designers: Type Essentials

Video: Working with OpenType fonts

OpenType fonts give us a little more options for sophisticated typography because OpenType fonts have more characters in their character set, especially those with the word 'Pro' after them, the OpenType Pro fonts, and that's what we're looking at here. These are all OpenType Pro fonts. Now in the column on the left, these are the non-OpenType examples, and on the right we have their OpenType equivalents. So we see that we have the option of using Oldstyle numerals.

Working with OpenType fonts

OpenType fonts give us a little more options for sophisticated typography because OpenType fonts have more characters in their character set, especially those with the word 'Pro' after them, the OpenType Pro fonts, and that's what we're looking at here. These are all OpenType Pro fonts. Now in the column on the left, these are the non-OpenType examples, and on the right we have their OpenType equivalents. So we see that we have the option of using Oldstyle numerals.

Look at this 9 here. It's actually sharing the same baseline as the word PLATFORM, real small caps where reduce capitals are separate characters in their own right, and they have a horizontal width the same as the full-size caps. Fractions, we can use ligatures. Look at these fi combination compared to over here where the F and the I are colliding in a rather unsightly way. Additional ligatures, like ffi, not available over here.

Here they are, ffl. Those are three different letters that are all fused together, fl being another one. Then moving on down, when we come to the Storm in a Teacup example, these are swash characters. Now there are not many OpenType fonts that have swash characters, but this is an example. It's Adobe Caslon Pro Italic, and this is one that does. Say we get these nice flourishes on the T, this really elaborate S when we switch this to using swash. And the last example is something called contextual alternates.

When you type in the text, the character that you get depends upon the character that precedes it. It is contextual to the character that comes before. So when you're typing in this second O, it knows that it was preceded by an O and it creates this little loop to connect them. Let's see how this works. So I've typed all of these in on the left-hand side, or I've input them, and turned off the OpenType options, and I'm now going to turn those OpenType options back on.

So I'm going to come to the Character panel, and I'll move into this text here and I'll select this text. Now all we need to do here is just click on the Small Caps option, and it's going to give me small caps that are real small caps because they are available. And I now need to just make that text frame a little bit wider, like so, and as soon as I put that three quarters into fractions, it will occupy less space, but I'll just increase the width of it for now. So then I'm going to select the numbers. And what we want here are the Oldstyle numerals, works great for the 9. It doesn't works that great for the 3 and the 4 because I need to select that and then this needs to become Fractions.

Now when I do this, I've got an extra space here between the two, and I probably want to remove that and possibly increase that space to is left just by pressing my Alt key and my right arrow, just to add little bit positive kerning right there. So now if I select this next block of text, I can come over to my Character Panel menu and my OpenType options and I'll just choose Standard Ligatures. I may as well also choose Discretionary Ligatures, which is not going to change it in this case, but there may be other ligatures that only exist in the OpenType character set.

Well, an example of a discretionary ligature, for example, would be the CT or the ST. We have this connecting hook that looks kind of overplayed. So perhaps I will turn off the Discretionary Ligatures option. All right, moving on down, Storm in a Teacup, I can set this to Swash. Now, if I were to just come and select this previous but of text, see Swash? Not available.

Sometimes these options will be dimmed. Not all options are going to be available for every font. Swash, that's going to look like that, and then I'll change this one. This is one of relatively few fonts that supports Contextual Alternates. It's called Caflisch Script Pro. So when I change that to Contextual Alternates, then we get those contextual alternates, but what's really fun about this is if I now zoom in and you can actually see this happening as you type it, so there is my L, my O, just got a standard O, and then I type the other O, and the previous O changes because I've now typed a second O alter it.

One other thing about OpenType, how do we recognize OpenType? Well, we recognize an OpenType font when we look on the Font menu. All of those that have this symbol next to it, are the OpenType fonts and of the OpenType fonts, those that have the word Pro at the end of their name have extended character sets.

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This video is part of

Image for Photoshop for Designers: Type Essentials
Photoshop for Designers: Type Essentials

60 video lessons · 16398 viewers

Nigel French
Author

 
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  1. 1m 31s
    1. Welcome
      56s
    2. Using the exercise files
      35s
  2. 6m 12s
    1. The pros and cons of setting type in Photoshop
      1m 27s
    2. Exploring type anatomy and terminology
      1m 8s
    3. Setting type preferences
      3m 37s
  3. 34m 28s
    1. Interacting with type layers
      1m 53s
    2. Entering and selecting point type
      6m 27s
    3. Copying a type layer
      3m 6s
    4. Choosing fonts
      3m 15s
    5. Sizing type
      2m 20s
    6. Understanding pixel/point size and resolution
      1m 49s
    7. Entering and selecting paragraph type
      2m 42s
    8. Finding and replacing text
      2m 20s
    9. Spell-checking your type
      55s
    10. Converting point type to paragraph type and vice versa
      1m 23s
    11. Creating returns and non-breaking spaces in paragraph type
      1m 18s
    12. Entering glyphs and special characters
      4m 28s
    13. Applying anti-aliasing to type
      2m 32s
  4. 39m 35s
    1. Changing fonts across multiple layers
      38s
    2. Changing type color
      4m 5s
    3. Sampling color
      3m 19s
    4. Working with transparency
      1m 46s
    5. Applying a gradient
      4m 22s
    6. Setting leading
      3m 56s
    7. Tracking type
      3m 7s
    8. Kerning type
      3m 44s
    9. Using horizontal and vertical scale options
      1m 39s
    10. Using Baseline Shift
      2m 39s
    11. Casing and underlining options
      2m 36s
    12. Giving emphasis
      41s
    13. Using smart quotes
      1m 3s
    14. Working with OpenType fonts
      5m 9s
    15. Resetting the Character panel
      51s
  5. 28m 31s
    1. Aligning paragraphs left, right, and center
      2m 17s
    2. Setting justified paragraph alignment
      6m 1s
    3. Aligning type on an axis
      2m 51s
    4. Setting forced justified paragraph alignment
      3m 4s
    5. Evenly spacing type elements with unique lengths
      2m 29s
    6. Aligning type with guides and Smart Guides
      2m 20s
    7. Aligning type along a radial axis
      2m 32s
    8. Grouping layers
      1m 29s
    9. Adding space between paragraphs and paragraph indents
      2m 9s
    10. Creating a bulleted list
      1m 46s
    11. Setting the hanging punctuation option
      42s
    12. Resetting the Paragraph panel
      51s
  6. 9m 19s
    1. Using type mask tools
      3m 10s
    2. Creating masks from type layers
      2m 36s
    3. Masking with a clipping mask
      1m 41s
    4. Masking with Pattern Overlay
      1m 52s
  7. 37m 24s
    1. Setting type around a circle
      5m 55s
    2. Setting type along a pen path
      3m 42s
    3. Setting type around a shape
      4m 29s
    4. Create a work path from type
      5m 59s
    5. Rotating type with Free Transform
      1m 15s
    6. Working with vertical type
      1m 54s
    7. Working with stacked type
      1m 44s
    8. Transforming type using the Warp tool
      4m 9s
    9. Distorting type
      3m 50s
    10. Converting type to shape layers
      4m 27s
  8. 17s
    1. Final thoughts
      17s

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