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Working with vector-based text

From: Photoshop CS4 One-on-One: Advanced

Video: Working with vector-based text

In this exercise we are going to explore what it means to have vector-based type inside of Photoshop, a pixel-based application. I am still working away on this document TV movie ad. Now if you know anything about vector-based type, it's scalable type, which means that it's always smooth no matter how you print the image or how you zoom in on the image or any of that. That's not quite the way it works inside of Photoshop. So in other words let's say we were to zoom in on this text right here and I'm going to press and hold the Z key here in Photoshop CS4 and Click inside of this text like so in order to zoom, zoom, zoom in on it. Now we are very, very close so I'll release the Z key. If this were Illustrator or InDesign or some other vector-based application, then we would still see very sharp smooth text.

Working with vector-based text

In this exercise we are going to explore what it means to have vector-based type inside of Photoshop, a pixel-based application. I am still working away on this document TV movie ad. Now if you know anything about vector-based type, it's scalable type, which means that it's always smooth no matter how you print the image or how you zoom in on the image or any of that. That's not quite the way it works inside of Photoshop. So in other words let's say we were to zoom in on this text right here and I'm going to press and hold the Z key here in Photoshop CS4 and Click inside of this text like so in order to zoom, zoom, zoom in on it. Now we are very, very close so I'll release the Z key. If this were Illustrator or InDesign or some other vector-based application, then we would still see very sharp smooth text.

We could zoom in on it to the maximum zoom ratio, whatever that might be and still see very smooth outlines. Inside of Photoshop we see pixels. So you can't view the text any better than 100%. However, if I had a PostScript Printer then you could output this layered document directly from Photoshop and this text would print at the maximum resolution of that printer regardless of the resolution of your image. It's a wonderful thing; try it out, if you have a PostScript Printer. If you don't have a PostScript Printer, then you're only going to print at the maximum resolution of your image, not your printer. Just something to bear in mind.

However, this text is still ultimately scalable and ultimately vector-based. So even though we are seeing pixels Photoshop is ultimately referencing the vector data in order to draw out the pixels. All right. So let's press Ctrl+1, Command+1 on the Mac to zoom out to the 100% zoom ratio, and I'm going to switch over to the Rectangular Marquee tool. So just so we don't get mixed up doing weird things with the Type tool here. I'm going to go ahead and pan this image over a little bit and I'm going to press Ctrl+T or Command+T on the Mac in order to invoke the Free Transform mode.

Bring up the Free Transform command under the Edit menu or at least call that command. Now I can go ahead and transform my text by scaling it like so and I'm just dragging a corner handle in order to scale the text any old which way. If I wanted to scale the text proportionally, so I don't end up stretching it, then I would press and hold the Shift key. And notice that as I make this text bigger and bigger and bigger, that it's always rendering out smoothly. So it never gets choppy the way an image does, if you upsample it. That's because it's always referencing that mathematical vector information.

Free of any penalty I can also rotate the text by dragging outside of this transformation boundary and so on. And we will discuss transformations in more detail in a later chapter. But I'll go ahead and press the Enter key on the PC or the Return key on the Mac to accept that modification, zoom out a little bit as well so that we can see this big old, smooth old text right here. Notice that it's just sitting here in the uncle's hands like so, and I move that text by the way by Ctrl+Dragging it or Command+Dragging it on the Mac, because that gets me the Move tool on the fly.

That even works incidentally when text is selected. Let's check that out. It affords me the opportunity to show you another tip as well along the way. Let's say I want to select all of this text. I was telling you I can go to the Type tool and then Click inside the text and then press Ctrl+A or Command+A to select all that text, but I can also just go over here to the Layers palette and Double-Click on the T thumbnail and that will automatically switch me over to the Type tool in one easy Double-Click. The whole reason I did that was just to show that I can. If I want to press and hold the Ctrl key or the Command key on the Mac and access the Move function like so. Go ahead and press the Enter key in the keypad in order to accept that modification right there.

Oh! And notice what just happened by the way. When I press the Enter key in the keypad, I returned to the Rectangular Marquee tool, because I had just temporarily gone to the Type tool, I sprang right back to the Rectangular Marquee. That's cool. Now when the text is not active like this, I do have the option of applying formatting attributes to all of the text on the layer if I want to, but not from the Options bar. I always see Formatting attributes up in the Options bar when the Type tool is active. If some other tool is active, I need to actually go to the Character palette.

So I go to the Window menu and choose the Character command for example, and then I could say, gosh, I want change the type size to something like, let's say, to 67 points or something alone those lines. Now notice it's going to change all of the text to 67 points. Nephew is no longer as wide as Chief Executive and you go, oh, gosh, I don't want that to happen, then you just make sure to escape out the Character palette and press Ctrl+Z or Command+Z on the Mac to undo that modification. I could though without really any penalty here turn off All Caps and then turn All Caps back on. So just to give you a sense that you are affecting all of the text inside of this text layer. I don't really want the text at a jaunty angle on these two fellow's hands right here. So I'm going to back step, quite a few steps. I'm going to press Ctrl+Alt+Z or Command+Option+Z on the Mac over and over again until I get the text back the way I want it, like so.

Now one last thing we are going to do here and this is for real, this is something that needs to be done. We need to move the text into a better location so that it's aligned with these guidelines. So make sure that you are seeing these guidelines inside of the photo illustration and if you don't see those guides, go up to the View menu, choose Show and choose the Guides command. It should have a checkmark in front of it. Go ahead and escape out of there. So once you have done that, then what you should be able to do is Ctrl+Drag or Command+Drag this text down here and it should snap into alignment with the guides. You can visually align it of course if you want to, but I want some snapping to occur. It's not snapping and that's because you actually have to select the Move tool for snapping to work properly in many cases inside Photoshop CS4. This was a bug in CS3 as well. They just haven't fixed it.

And now I drag this guy, notice snapping occurs. That's where we want to be. We want to see Chief Executive Nephew down here at the bottom of our wonderful photographic composition. In the next exercise we are going to switch over to area text.

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This video is part of

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

218 video lessons · 23985 viewers

Deke McClelland
Author

 
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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