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Working with area text

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

Video: Working with area text

In this exercise, I am going to introduce you to Area Text inside Photoshop. Now the text that we have created so far is called Point Text meaning that it aligns to a single point and I will show you what I mean. I am going to go grab my Type tool and click inside this text and you can see a point over here on the far left side to the left of the F as in Fright and that is the alignment point from that point emanates the baseline which appears red here and all the letters sit on that baseline. Now the thing about Point Text, it's very easy to create, you just click with the Type tool in order to make it, but it doesn't wrap automatically.

Working with area text

In this exercise, I am going to introduce you to Area Text inside Photoshop. Now the text that we have created so far is called Point Text meaning that it aligns to a single point and I will show you what I mean. I am going to go grab my Type tool and click inside this text and you can see a point over here on the far left side to the left of the F as in Fright and that is the alignment point from that point emanates the baseline which appears red here and all the letters sit on that baseline. Now the thing about Point Text, it's very easy to create, you just click with the Type tool in order to make it, but it doesn't wrap automatically.

So if I entered some more text here, just typed a ton of text on the keyboard, I just typed about 1000 letters and you can see no wrapping is occurring, the text has gone way outside the canvas, way beyond the edge of my screen, way out there into the digital nowhere zone, nobody even knows what's out there beyond the edge of the screen. But my text is there that's for sure, it knows what's out there and you can bring it back if you want to, you can create a manual line break by pressing the standard Enter key, the one that's above the Shift key on a PC keyboard or the Return key on a Mac, but that's just it, you have to manually enter carriage returns in order to get line breaks.

To compare that I am going to go ahead and press the Esc key because I don't care where that text has been, I don't want it to be part of this line of type here. Compare that two Area Text, to make Area Text, you drag with the Type tool like so and that defines the boundaries of the text block as you are dragging, you can press the spacebar if you want to, that behaves like a standard rectangular marquee so you can move the marquee around using the spacebar if you want. And then when you release, notice that you get a rectangular text block outline essentially.

Alright I am not going to ask you to create any Area Text right now though because I have already created some Area Text for you, area ready if so you ahead and press the Esc key in order to get rid of that Area Text block that you created then bring up the Layers palette. Click on body copy and go ahead and turn it on as well and there is our body copy, encased in a nice text block outline here, nice rectangular outline and the text is wrapping automatically. So Photoshop is in charge of the text wrap just the way it ought to be, don't you know if you are working with a lot of text like this.

Alright, I am going to escape out of there just by pressing the Esc key because one of the things we need to do even though it's great that we have area text, it's bad that it set in the world's ugliest font, the most hideous font ever made by man which of course goes by the name of Courier New. Now your font may not say Courier New and may say Courier something else or just playing Courier, but rest assured they are all unspeakably ugly, that's the tie that binds all Couriers, don't you know, not the people the fonts alright, anyway. Let's say that I want to change the font, that's associated with this Text layer, I would make sure the Text layer is active of course which it is, it's selected here inside the Layers palette.

Then I would click inside the font name I could choose, by the way you can choose from a list of fonts and you get these little previews of the fonts over here on the right hand side of the pop up menu. But here's an even better way to work, just click inside the font name, so it becomes active and then press the down-arrow key to advance from one font to the next or you can press up arrow to go the other direction. And you will see what your font looks like as apply to the current text, so this is elephant, you might not have the font elephant, you may just have a regular elephant in your backyard, but if you have got elephant, it doesn't matter you are going to see whatever font you see.

Who knows what it is, hedgehog something like that, giraffe. The font that I want you to use though is Verdana, that's included on all systems Mac or PC. If you have a specific font that you want to get a hold of and it's located completely at the opposite end of the alphabetic spectrum like Verdana is because the fonts are alphabetized of course, then you can just type in the first few letters like I will type in Ver and sure enough there is no other font in my system that starts off Ver, so Photoshop fills out the rest of the font name with "dana" for me. And then if I like that font if I want to accept it then I press the Enter key and Photoshop goes ahead and applies that font to the text for to use a use a pumpkin, don't you know, much better looking than Courier anyway.

Alright, now let's say that I want to make the first two words Bold because there are kind of a little subhead intro, it shouldn't be I don't want people reading it going, Happy Jacks what is it about to glad, what in the heck is that sentence you know I want to make sure that they understand this is totally separate. So let's go ahead and double click on Happy and then drag over to Jacks. Now what did I just do, let me explain what I am up to a little more slowly here. First of all double clicking on a word, selects the entire word, triple clicking selects an entire line, quadruple clicking selects an entire paragraph, but what I want to do is select a couple of words in row so I will do this, I will double click hold on the second click and drag like this and that way you are selecting entire words at a time.

So again that's a click, click and hold drag, like so. Alright, anyway that's get me the first two word selected and then I want to change it to Bold, I want to change these words to Bold, I could select the Bold style that's associated with this font from the font style drop down menu right here so I could choose the Bold style. Or I can also get to it from the keyboard by pressing Ctrl+Shift+B or Command-Shift-B on the Mac and that will go ahead and automatically select your font's Bold style if there is one available otherwise Photoshop will apply its own Fa-Bold style that's FAUX that is False Bold, which might not look exactly right but sometimes it looks great as it turns out.

Anyway, alright let's also take the word Clowns down here toward the bottom of the paragraph in the last line and let's make that Italic either by choosing Italic from this pop up menu right there or you can also press Ctrl+Shift+I or Command-Shift-I on the Mac. Alright that's good I think everything is looking swell, we have now gotten our first taste of using area text inside of Photoshop. In the next exercise, I will show how to scale your Area Text and we will watch the lines rewrap automatically.

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This video is part of

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

129 video lessons · 39158 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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