Photoshop Type Basics - Tips Tricks and Techniques - a Photoshop for Lunch™ class | Helen Bradley | Skillshare

Photoshop Type Basics - Tips Tricks and Techniques - a Photoshop for Lunch™ class

Helen Bradley, Illustrator for Lunch™ & Photoshop for Lunch™

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23 Lessons (1h 31m)
    • 1. Intro: Photoshop Type Basics - 20 tips and tricks

      1:11
    • 2. 1 Point and Paragraph Type

      3:25
    • 3. 2 Lorem Ipsum Placeholder Text

      2:29
    • 4. 3 Change Text Color

      2:45
    • 5. 4 Vertical and Horizontal Type

      1:29
    • 6. 5 Rasterize type

      1:22
    • 7. 6 Text Filters and Smart Objects

      5:21
    • 8. 7 Create a New Type Layer

      1:15
    • 9. 8 Adjust Font Size and Tracking

      1:46
    • 10. 9 Type on a Path

      9:19
    • 11. 10 Type in a Shape

      3:09
    • 12. 11 Warp Text Techniques

      7:13
    • 13. 12 Fill Type with an Image

      2:35
    • 14. 13 Manipulate a Word to Add Expression

      4:59
    • 15. 14 Match Font

      4:33
    • 16. 15 DIY Type Presets

      5:55
    • 17. 16 Finding Fonts

      2:53
    • 18. 17 SVG Fonts

      7:00
    • 19. 18 Glyphs

      4:45
    • 20. 19 Drop Shadow and Text

      5:35
    • 21. 20 Two Text Alignment Options

      4:26
    • 22. Project and wrapup

      1:39
    • 23. Bonus Video More Type Manipulation

      5:38

About This Class

Learn to use text in Photoshop - step by step!
In this class you will learn the basics of using text in Photoshop - one feature at a time. I'll step you through creating the two types of text objects in Photoshop (point and paragraph type), and how to edit the text in various ways. You will learn to place text on a circle and along a line, to use filters with text and still have editable text, and to warp text and reshape letters. You'll learn to use the new SVG fonts in Photoshop and how to recolor them, as well as how to find alternate characters to use to add flourish to your type. This class is jam packed with 20 handy tips and techniques that you can view in any order you like - each skill is an individual video so feel free to view any video in any order. By the time you have finished this course you will have a range of new skills for working in Photoshop that you can put to use in your work everyday. 

The techniques used in this class are compatible with most versions of Photoshop 

More in the Photoshop for Lunch™ series:

Photoshop for Lunch™ - Create a Reusable Wreath Design

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - More Patterns - Diagonal Stripes, Chevrons, Plaid, Colorful Polkadots 

Photoshop for Lunch™ - Create Text on a Path - Paths, Type, Pen tool

Photoshop for Lunch™ - Create an Award Badge and Ribbon - Shapes, Warp, Rotate  

Photoshop for Lunch™ - Color a Sketch with a Texture - Masks, Dodge/Burn, Hue/Saturation 

Photoshop for Lunch™ - Create Mockups to Use and Sell - Blends, Smart Objects, Effects

Photoshop for Lunch™ - Create the Droste Effect with Photoshop and an Online Tool 

Photoshop for Lunch™ - Layered Paper Collage Effect - Layers, Layer Styles, Gradients,

Photoshop for Lunch™ - Cutout & Frame Photos - Clipping Mask, Layer Mask, Rotation, Shapes

Photoshop for Lunch™ - Get Your File Size Right Every Time - Size Images for Web & Print 

Photoshop for Lunch™ - Seamlessly Blend Two Images - Masks, Content Aware Fill

Photoshop for Lunch™ - Set up Colors, Tints and Shades for Working Smarter in Photoshop

Photoshop for Lunch™ - Folded Photo Effect - Gradients, Guides, Stroke, Drop Shadow 

Photoshop for Lunch™ - Surreal Collage Effect - Paths, Cloning, Warp, Blend 

Photoshop for Lunch™ - Make Custom Shapes - Combine, Exclude, Intersect & Subtract

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less 

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

Photoshop for Lunch™ - Patterns as Photo Overlays for Social Media 

Photoshop for Lunch™ - Whimsical Rotated Patterns 

Photoshop for Lunch™ - From Ho Hum to WOW - Everyday Photo-editing Made Easy

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

Photoshop for Lunch™ - Draw a Fantasy Map - Brushes, Patterns, Strokes & Masks

Photoshop for Lunch™ - Clean & Color Scanned Line Art

Photoshop for Lunch™ - Create HiTech HUD Rings - Repeat transform, Filters & Textures

Photoshop for Lunch™ - Text Over Image Effects - Type, Glyphs & Layers

Photoshop for Lunch™ - Hi-tech Mosaic Effect - Brushes, Patterns & Pixelization 

Photoshop for Lunch™ - Make a Photo Collage for Social Media - Masks, Selections & Patterns

Photoshop for Lunch™ - Making Kaleidoscopes - Rotation, Reflection & Smart Objects

Photoshop for Lunch™ - B&W, Tints & Isolated Color Effects - Adjustment Layers, Masks & Opacity

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - Photo Texture Collage - Gradient Map, Blending & Textures

Photoshop for Lunch™ - Grid Collage for Social Media - Clipping masks, Shapes & Layer Styles

Photoshop for Lunch™ - Vintage Image Cutout Effect - Selections, Drop Shadows, Transparency

Photoshop for Lunch™ - Snapshot to Art - 3 Photo Effects - Faux Orton, Gradient Map, Tritone

Photoshop for Lunch™ - Paint a Photo in Photoshop - Art History, Color, Texture

Photoshop for Lunch™ - 4 Most Important File Formats - Choose & Save As: jpg, png, pdf, psd

Photoshop for Lunch™ - Turn a Photo into a Pattern - Selection, Filter, Pattern Swatch

Photoshop for Lunch™ - 3 Exotic Patterns - Shapes, Paths, Patterns

Photoshop for Lunch™ - Complex Pattern Swatches

Photoshop for Lunch™ - Using Illustrator Objects in Photoshop - Files, Smart Objects, Shapes

Photoshop for Lunch™ - Make & Use Photo Brushes - Brushes, Masks, Watercolors

Photoshop for Lunch™ - Make and Sell Geometric Overlays for Social Media - Shape, Transform, Fills

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Photoshop for Lunch™ - Upside Down Image Effect - Masks, Selections, Flip Images

Photoshop for Lunch™ - Color a Scanned Sketch - Blends, Brushes, Layer Styles

Photoshop for Lunch™ - Curly Bracket Frames - Shapes, Paths, Strokes

Photoshop for Lunch™ - Grab Bag of Fun Text Effects - Fonts, Clipping Masks, Actions & More

Photoshop for Lunch™ - Double Exposure Effect - Masks, Blends, Styles

Photoshop for Lunch™ - Glitter Text, Shapes and Scrapbook Papers

Photoshop for Lunch™ - Make & Sell Photoshop Brushes - Brushes, Templates, Preset

Photoshop for Lunch™ - Recolor Objects without Making Selections - Master Color Change Tools

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less

Photoshop for Lunch™ - Create a Mandala - Template, Rotation, Texture, Gradients, Pen, and Shapes

Photoshop for Lunch™ - Create Organic Patterns - Pen, Offset Filter, Free Transform and More

Photoshop for Lunch™ - Reusable Video Glitch Effect - Use Channels, Shear, Displacement Map & Noise

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

Photoshop for Lunch™ - Isometric Cube Patterns - Shapes, Repeat patterns, Smart Objects

Photoshop for Lunch™ - Create Plaid (Tartan) Repeat Patterns

Photoshop for Lunch™ - Recolor Pattern Techniques

Photoshop for Lunch™ - Intro to Photoshop Actions

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

Photoshop for Lunch™ - Layers and Layer Masks 101 for photographs and photographers

Photoshop for Lunch™ - Abstract Glowing Backgrounds

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop for Lunch™ - Sketches & Brushes to Whimsical Patterns

Photoshop for Lunch™ - Critters with Character - Pen Free, One Color Designs

Photoshop for Lunch™ - Create a Custom Character Font

Photoshop for Lunch™ - 10 Selection tips in 10 minutes (or less)

Photoshop for Lunch™ - Complex Selections Made Easy - Master Refine Edge & Select and Mask

Photoshop for Lunch™ - Demystifying the Histogram - Understand & Correct images with it

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

Photoshop for Lunch™ - Remove Unwanted Objects & Tourists from Photos

Photoshop for Lunch™ - Using the Scripted Patterns Tool in Photoshop

Photoshop for Lunch™ - In the Footsteps of Warhol - Create Awesome Animal Images

Photoshop for Lunch™ - Make & Sell a Shapes Collection

Photoshop for Lunch™ - Whimsical Scrapbook Paper Designs using Displacement Maps

Creative Layer Styles in Photoshop - A Photoshop for Lunch™ Class

In this class you will learn a range of techniques for creating and using Layer Styles in Photoshop. You will learn to make layer styles that add shadows and glows to drawn objects, that apply complex effects to text, and some that can add copyspace and even edits to photos. You will also learn how to save and reuse Layer styles as well as how to download, install and use layer styles you find online. 

I designed this class to introduce you to some possibilities for creating and using layer styles in ways you may not have thought of doing. The techniques used in this class are compatible with most versions of Photoshop. However, the ability to add multiples instances of a single layer style was only introduced in Photoshop CC 2015.

More in the Photoshop for Lunch™ series:

Photoshop for Lunch™ - Create a Reusable Wreath Design

Photoshop for Lunch™ - Create a Color Scheme Graphic

Photoshop for Lunch™ - More Patterns - Diagonal Stripes, Chevrons, Plaid, Colorful Polkadots 

Photoshop for Lunch™ - Create Text on a Path - Paths, Type, Pen tool

Photoshop for Lunch™ - Create an Award Badge and Ribbon - Shapes, Warp, Rotate  

Photoshop for Lunch™ - Color a Sketch with a Texture - Masks, Dodge/Burn, Hue/Saturation 

Photoshop for Lunch™ - Create Mockups to Use and Sell - Blends, Smart Objects, Effects

Photoshop for Lunch™ - Create the Droste Effect with Photoshop and an Online Tool 

Photoshop for Lunch™ - Layered Paper Collage Effect - Layers, Layer Styles, Gradients,

Photoshop for Lunch™ - Cutout & Frame Photos - Clipping Mask, Layer Mask, Rotation, Shapes

Photoshop for Lunch™ - Get Your File Size Right Every Time - Size Images for Web & Print 

Photoshop for Lunch™ - Seamlessly Blend Two Images - Masks, Content Aware Fill

Photoshop for Lunch™ - Set up Colors, Tints and Shades for Working Smarter in Photoshop

Photoshop for Lunch™ - Folded Photo Effect - Gradients, Guides, Stroke, Drop Shadow 

Photoshop for Lunch™ - Surreal Collage Effect - Paths, Cloning, Warp, Blend 

Photoshop for Lunch™ - Make Custom Shapes - Combine, Exclude, Intersect & Subtract

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less 

Photoshop for Lunch™ - 10 Blend Tips in 10 minutes 

Photoshop for Lunch™ - Patterns as Photo Overlays for Social Media 

Photoshop for Lunch™ - Whimsical Rotated Patterns 

Photoshop for Lunch™ - From Ho Hum to WOW - Everyday Photo-editing Made Easy

Photoshop for Lunch™ - Pattern Making - Seamless Repeating Patterns

Photoshop for Lunch™ - Draw a Fantasy Map - Brushes, Patterns, Strokes & Masks

Photoshop for Lunch™ - Clean & Color Scanned Line Art

Photoshop for Lunch™ - Create HiTech HUD Rings - Repeat transform, Filters & Textures

Photoshop for Lunch™ - Text Over Image Effects - Type, Glyphs & Layers

Photoshop for Lunch™ - Hi-tech Mosaic Effect - Brushes, Patterns & Pixelization 

Photoshop for Lunch™ - Make a Photo Collage for Social Media - Masks, Selections & Patterns

Photoshop for Lunch™ - Making Kaleidoscopes - Rotation, Reflection & Smart Objects

Photoshop for Lunch™ - B&W, Tints & Isolated Color Effects - Adjustment Layers, Masks & Opacity

Photoshop for Lunch™ - Pattern Bombing Effect - Patterns, Selections, Mask, Warp, Vanishing Point

Photoshop for Lunch™ - Photo Texture Collage - Gradient Map, Blending & Textures

Photoshop for Lunch™ - Grid Collage for Social Media - Clipping masks, Shapes & Layer Styles

Photoshop for Lunch™ - Vintage Image Cutout Effect - Selections, Drop Shadows, Transparency

Photoshop for Lunch™ - Snapshot to Art - 3 Photo Effects - Faux Orton, Gradient Map, Tritone

Photoshop for Lunch™ - Paint a Photo in Photoshop - Art History, Color, Texture

Photoshop for Lunch™ - 4 Most Important File Formats - Choose & Save As: jpg, png, pdf, psd

Photoshop for Lunch™ - Turn a Photo into a Pattern - Selection, Filter, Pattern Swatch

Photoshop for Lunch™ - 3 Exotic Patterns - Shapes, Paths, Patterns

Photoshop for Lunch™ - Complex Pattern Swatches

Photoshop for Lunch™ - Using Illustrator Objects in Photoshop - Files, Smart Objects, Shapes

Photoshop for Lunch™ - Make & Use Photo Brushes - Brushes, Masks, Watercolors

Photoshop for Lunch™ - Make and Sell Geometric Overlays for Social Media - Shape, Transform, Fills

Photoshop for Lunch™ - Create Backgrounds for Projects - Halftones, Sunburst, Patterns

Photoshop for Lunch™ - Upside Down Image Effect - Masks, Selections, Flip Images

Photoshop for Lunch™ - Color a Scanned Sketch - Blends, Brushes, Layer Styles

Photoshop for Lunch™ - Curly Bracket Frames - Shapes, Paths, Strokes

Photoshop for Lunch™ - Grab Bag of Fun Text Effects - Fonts, Clipping Masks, Actions & More

Photoshop for Lunch™ - Double Exposure Effect - Masks, Blends, Styles

Photoshop for Lunch™ - Glitter Text, Shapes and Scrapbook Papers

Photoshop for Lunch™ - Make & Sell Photoshop Brushes - Brushes, Templates, Preset

Photoshop for Lunch™ - Recolor Objects without Making Selections - Master Color Change Tools

Photoshop for Lunch™ - 10 in 10 - 10 Brush Tips in 10 Minutes or Less

Photoshop for Lunch™ - Create a Mandala - Template, Rotation, Texture, Gradients, Pen, and Shapes

Photoshop for Lunch™ - Create Organic Patterns - Pen, Offset Filter, Free Transform and More

Photoshop for Lunch™ - Reusable Video Glitch Effect - Use Channels, Shear, Displacement Map & Noise

Photoshop for Lunch™ - Overlapping and Random Circles Patterns

Photoshop for Lunch™ - Metaball Patterns - Structured and Organic

Photoshop for Lunch™ - Isometric Cube Patterns - Shapes, Repeat patterns, Smart Objects

Photoshop for Lunch™ - Create Plaid (Tartan) Repeat Patterns

Photoshop for Lunch™ - Recolor Pattern Techniques

Photoshop for Lunch™ - Intro to Photoshop Actions

Photoshop for Lunch™ - Photoshop Inking Techniques

Photoshop for Lunch™ - Valentine's Day Inspired Hearts

Photoshop for Lunch™ - Layers and Layer Masks 101 for photographs and photographers

Photoshop for Lunch™ - Abstract Glowing Backgrounds

Photoshop for Lunch™ - Whimsical Textures for Drawings

Photoshop for Lunch™ - Sketches & Brushes to Whimsical Patterns

Photoshop for Lunch™ - Critters with Character - Pen Free, One Color Designs

Photoshop for Lunch™ - Create a Custom Character Font

Photoshop for Lunch™ - 10 Selection tips in 10 minutes (or less)

Photoshop for Lunch™ - Complex Selections Made Easy - Master Refine Edge & Select and Mask

Photoshop for Lunch™ - Demystifying the Histogram - Understand & Correct images with it

Photoshop for Lunch™ - Bend Objects with Puppet Warp

Photoshop for Lunch™ - Emboss and Deboss Text and Shapes

Photoshop for Lunch™ - Remove Unwanted Objects & Tourists from Photos

Photoshop for Lunch™ - Using the Scripted Patterns Tool in Photoshop

Photoshop for Lunch™ - In the Footsteps of Warhol - Create Awesome Animal Images

Photoshop for Lunch™ - Make & Sell a Shapes Collection

Photoshop for Lunch™ - Whimsical Scrapbook Paper Designs using Displacement Maps

Transcripts

1. Intro: Photoshop Type Basics - 20 tips and tricks: Hello and welcome to 20 type tips, tricks, and effects for Photoshop; a Photoshop for lunch class. I'm Helen Bradley and I'm a skill share top teacher. I have over 200 courses here on skill share and currently over 100,000 student enrollments. In this class, I'll show you a range of Photoshop type tips, tricks and effects to take your knowledge of working with type in Photoshop to a higher level. Each tip or technique is one stand-alone video and you can watch them in any order that you like. But heads up, the re-coloring trick in Tip three is really Nate and I use that technique a lot throughout this course, so don't miss that video. Elsewhere, I'll show you how to place text on a path, puts text inside a shape to distort it how to fill it with an image. You'll learn the ins and outs of using the new SVG fonts and so much more. I've jammed 20 must know tips and techniques into this course, and it wouldn't be a Photoshop for lunch class if they weren't lots of other little tips and snippets of information included along the way. Without further ado, let's get started working with type in Photoshop. 2. 1 Point and Paragraph Type: When it comes to creating type in Photoshop, there are a couple of different types of type that you can create. Let's go through the type tool, we're just using the horizontal type tool. I'll click once in the document and type my word. To finish off, I can click here on the commit button, I can press the escape key or I can press control and enter. All three of those will get you out of that text editing mode and back to working in Photoshop. This is called point type. It's just a box that's as long as the type is. But sometimes you want to create larger pieces of type, so again, select the horizontal type tool. This time I'm going to drag out a box, and into this box, I'm going to type my type. This time I have a box, it's called paragraph type, and it works a little bit differently, although the commit tool is still here and you would use that to finish off, you can also press the escape key and you can press control enter. It's all the same keystrokes for finishing off your text there, but this time we have paragraph type, this is point type. Now with point type, if I have the move tool selected, I can drag on the corner to adjust the type. Now, in later versions of Photoshop, you don't have to hold the shift key when you do that, it's automatically constrained. Which means if you don't want it to be automatically constrained, you will need to add the shift key. In earlier versions of Photoshop, the shift key works the other way round. You will need to press the shift key to constrain it and leave it unpressed to release it and it'll be able to scale this so that the height and width are scaling independently. This is just a change of behavior with the shift key that happened in the most recent versions of Photoshop. Again, I'm just going to press enter this time to commit that type. Now, there are things that are a little bit different with this paragraph type because there's a couple of things that you might want to happen. You may want to adjust the box, but not the text size. Well, if you select the box with the move tool and start dragging on the corner, then you get the text adjusting size. The box is bigger, but so too is the text. Now, if you don't want that to happen, you'll click on the type tool, click in the box so that the focus is on the inside of the box. Now look what happens when I drag on the side of the box. The box itself just changes size, the text doesn't, and the text is really flowing to fit. This sentence is adjusting to fill the box, and if the box is too small, then the sentence gets lopped off if you like. Those are the two types of texts that you have in Photoshop, point type and paragraph type. Now in some cases, you might want point type to also be multiple lines and you can do that. Let's just click with the type tool. Again, I'll type summer. At the end of each line, I press the enter key, the return key, and I got a series of lines, but this is one point type object. Again, it's going to behave exactly the same way as this point type object did and it's just going to scale. It's not the same as this object that has this adjustable box around it where we can adjust the length of each line by adjusting the containing box. 3. 2 Lorem Ipsum Placeholder Text: You might have noticed in the last video that when we added a type objects, some text appeared. Going back to the Type tool, I'll click once in the document and we're seeing this texts which is Lorem Ipsum. This is what is called dummy or placeholder text. It doesn't translate to anything, it's just used as placeholder text, and let me just delete that and let's do that text again. As soon as I click, you can see that not only is lorem ipsum added, but it's also selected, and so as soon as I start typing, it disappears. The first character that I type removes the Lorem Ipsum text and I can just continue to type my word or whatever it is that I'm typing. Now that's going to be the same when we use paragraph type. Soon as I draw my box, it's filled with Lorem Ipsum, it's selected as soon as I start typing, then the words disappear and I'm often typing my own text. Now what if you don't like the lorem ipsum text? What if you don't want this behavior? Well, you can disable it. Let's just go and select those two objects, and notice that every time we add a piece of text, it becomes a new text layer. Let's just delete those and let's go to our preferences on the PC, that's Edit, and then Preferences on the Mac, that is Photoshop, and then Preferences and we're going to select Type. There's an option here which is "Fill new type layers with placeholder text." At the moment, it's enabled, and that's what we saw happening. The new type layers are filled with placeholder text. If we disable it, then we're not going to see that happen. Again, I'm going back for Type tool. I'll click once in the document, this time no placeholder text. I can just go ahead and type my text. Press the check mark here, press escape or press control and enter, that would be Command Enter on the Mac to commit that type. Again, when we type paragraph text, when we drag out that paragraph, they use no Lorem Ipsum in the box and we can just start typing. But what if occasionally you do want lorem ipsum, you've turned it off, but occasionally it would be handy to use it. Well, this is what you'll do. You'll go straight for the type menu here and choose Paste Lorem Ipsum. Because we're placed inside a paragraph or type of box when we do that, it's automatically filled with that text. You can turn Lorem Ipsum off and you can also use it if even when it suits you, but you're making the choice and it's not automatic. 4. 3 Change Text Color: When you select to add type to your document in Photoshop and click on the Type tool, the color that is going to be used is not necessarily one of these colors here. You can see that I have selected the Horizontal Type Tool, and here, the type is going to be typed in pink. The color that is used for your type is selectable through this option here. If I click on it, I can change the color of my type. You can see that that's had no effect on the foreground and background colors here. Let's have a look at some other ways that you can change the color of your type. I'm going to click here on Summer, so I have targeted My Type layer, but you can see it's not actually selected, and that's just fine. I also have the type tool selected here. So effectively, we are saying to Photoshop, "This is the type that we want to be working on, and we want to actually work on the types so that we have the type tool selected." Now if you've watched some of my classes previously, you may recall that I use shortcuts to fill layers with the foreground and background colors. The foreground color is Alt backspace on a PC, option delete on a Mac, and the background color, Control backspace on a PC, Command delete on a Mac. I'm going to use this background color, so that's Control and backspace on a PC, and just by clicking that keyboard shortcut, you'll see that the text has changed color and that's a really handy way of changing text color because it behaves exactly the same as if you were changing the layer color. Let's go and select our hello text again, that's not in either of these colors here. Let's make it the foreground color, that's Alt backspace on a PC, Option delete on a Mac. The trick here is you have to have the text layer selected, you have to have the type tool selected, and then you can use the keyboard shortcuts. Let's make this text here orange. That's Control backspace on a PC, Command delete on the Mac. Now the same keyboard shortcut will work if you've got a piece of text selected within a larger element. With the type tool selected, I'm going to select a couple of words from this paragraph text box. I still have the last letter, I still have the type tool selected. I'll press Alt backspace, that would be option delete on a Mac. Let's just click away, and you can see that I've selected and change the color of just those words. It will work the same with point take, so let me just clicking here, I'll select the letter A. I'm going to fill it with the orange here. That's controlled backspace on a PC, Command delete on a Mac. 5. 4 Vertical and Horizontal Type: In addition to creating horizontal type as we've got here, Photoshop will also create vertical type. I'll go to the Type Tool here, and select Vertical Type Tool. Now, you might notice that the insertion point is actually rotated around, so it's lying horizontal. When I click in the document again, my insertion point is horizontal, I'll type the word rotate again. This time, it's typed vertically. Now this is just standard point type. It's going to work exactly the same way as regular point type does. I's just vertical, so I can enlarge it should I wish to do so. But we can also do it after the fact, so let's go and select this grain type here. I've got it selected here, I've got the last selected, and I'll choose the Type Tool. Now it doesn't matter whether I'm working with the Horizontal Type Tool or the Vertical Type Tool at this point, you'll see that there is an icon here in the toolbar, and tapping on this will rotate my text. I can flip it between horizontal and vertical by just clicking this icon, and when it's converted into vertical type, it's exactly the same point type as we've got over here. At any time, you can turn vertical type into horizontal type or vice versa. By selecting the lab, click on the Type Tool just so you have it targeted, and then click on this icon here. 6. 5 Rasterize type: All these type objects that we've created so far are editable. So if we wanted to make changes to them, we can just come in with the Type Tool, select over the object that we want to change and type over it. But if you don't want your type to be editable any longer, or if an effect that you're trying to apply to your type cannot be applied to editable text, you can do what is called rasterize it. In that case, you will lose the editability of the text, but you will perhaps be able to do other things with your type than you are able to do previously. To rasterize it, you can come over here to the last panel, right-click and choose rasterize type. Also, I do it over here from the Type menu, choose Type and then Rasterize Type Layer. Now this is also valuable when you're sharing a file with somebody else and there's a chance that they don't have the font. They are likely to get an error when they opened the file if the fonts not available. Of course, they won't be able to edit the text if the font isn't available. By rasterizing your type, you're just turning it into a regular bitmap images that are just now pixels. It can't be infinitely scaled, it can't be edited, but it certainly be shared with somebody who doesn't have that font installed on their computer because it's no longer a font. 7. 6 Text Filters and Smart Objects: In the previous video, we looked at raster arising texts because in some situations that's a really good choice because you'll be able to do things with text that you wouldn't otherwise be able to. One of the things that is difficult to do with text in a text editable form is to apply filters. You could rasterize your text, but you could also convert to smart objects. Let's select this text layer, and in fact, when we go to apply a filter to it, for example, a blur filter when I go to filter and then blur and choose, for example, Gaussian blur. I'm asked whether I want to either cancel because this can't be done, rasterize my texts or convert it to a smart object. Now, if you convert it to a smart object, you're going to still have editable text. I'm going to show you how that stands. Let's convert our text to a smart object. Now, let's go and apply a blur filter tort. The benefit of using a smart object is to fold. Firstly, the filter itself is editable. If we don't like the effect or who want to tweak it, we can do so. Let's double-click on the Gaussian blur filter and I'm going to increase the filter quite a bit. That is editable. The other thing that's editable is the text itself. We can come here into the last palette. You'll say that this is the smart object icon tells you that this is a smart object layer. Well, I'll double click on it, and this opens the smart object. You'll see this as a PSB file, that's an embedded file inside the other file. Now, there's an extra space in this text I'm just going to get rid of. There's one-to-many spaces in here. When I finished editing my texts or wherever I want to do with the text, I'm going to exit back to the original document. To do this, I'll close this PSB file and I'll save it because I want to save these embedded changes. When we come back into the main document, there's space has been closed up. We have editable text and we have text that we can apply filters to. Now, while we're here, let's just have a look at an interesting effect we can perform with this text. I'm going to take this text layer, I'm going to drag and drop it onto the new icon. That's going to give me a duplicate of this. For this one, I'm going to turn off the Gaussian blurred because I want the text itself to be visible. I've got a regular text layer on top and I've got a fuzzy version of it, a blurred version of it underneath. Well, I'm going to apply yet another filter to this blurred version. I'll click on this layer here and I'll choose filter and then pixelate color half tone. Now, I'm going to set this to a maximum radius of four and every one of my channels is going to move 108. I'll click Okay, and what that does, is it applies a half tone effect to that bottom layer. We've got our regular text layer on top and our halftime effect on the bottom. To change the color of the type, I'm going to use an adjustment layer with land new adjustment layer, hue saturation. I'll click Okay, adjust the color of the type. I'll use a purple color. I want to limit this to just the type and not the half tone effects. I'll click here to create a clipping mask, and that just applies the color change to the top layer of texts limits it. It doesn't apply to the one that has the Gaussian blur filter applied to it down here. Let's just close them up. The way that I made the copy of that smart object by dragging and dropping it onto the new icon is critical for what we're about to do next. I'm going to make this letter F a lowercase letter. I'm going to add either one of these smart objects, it doesn't matter which I'll double-click on it. I'll come in here with the type tool and I'll change the letter F to a lowercase letter. While we're here, let's change the font as well. Let's just go and make it a different font, this will do. I'm just going to scale it down because it just became really big. We've made significant changes to this time. It's making sure it all fits inside the box here, I'll click the check mark to commit the type, and then let's close this smart object and say yes, we are going to save it. In here in the document, you will notice that everything has changed. The text has changed to the font that we chose, but looked to that the half tone effect and this Gaussian blur also reflect this new font. By dragging and dropping a smart object layer onto the new icon, you make an exact copy of it. The smart object here and this object here are linked. You make a change to one, it changes the other one as well. We've got fully editable text here. We've got multiple copies of it and we've been able to apply filters to the texts are smart objects are a really powerful tool to use with text because it does allow you to retain the edit ability of your texts, as well as apply filters that can then be edited and altered as required. 8. 7 Create a New Type Layer: This next type tip is very, very simple, but it does solve a really annoying problem. I've just selected the Type Tool and my font, and I want to click in here and start typing there. You'll see here that I've got absolutely nothing selected at all, so I should be good to go. I'll click. Well, what happens is that I am re-selecting this element here because the box that contains it, even though it is point type is so big. I really can't click anyway here and not risk selecting it. So I'm just going to press escape to get out of here. Let's go and deselect everything. So I'll go to the move tool, just make sure they don't have anything selected. I'll go back and get my type tool. I'll go back and get my font. Now, instead of clicking because I know that that's not going to work, I'll hold the Shift key. As soon as I hold the Shift key, you'll see that the cursor changes. What it's doing is it's telling them about start a new type object. So as soon as I click, I'm creating a brand new layer. Now, I can go ahead and type. Of course my type is too big, but that's an easy problem to solve. So whenever you want to begin a new type object and you're fighting Photoshop to do so, hold the Shift key and then click. 9. 8 Adjust Font Size and Tracking: Earlier, we saw a tip for re-coloring type and I'm going to take that one step further here to do some other things with our type. What I want to do is to re-size this word people. I'm going to target the layer that contains that text in the last palette here and I'm going to click on my "Type" tool. You'll see that the type is no longer selected. Probably in the past, what you would have done is go and select the word people, so that you can now go up here and adjust the font size. But, you can see that this gives us blue text on a black background. It's pretty ugly and it's a little bit hard to see how everything's going to look when we can't see it clearly. Well, I'm just going to cancel out of there. Let's go back to make sure that this layer is selected. Go back to the "Type" tool. Just going to click here in the "Type Size" box. Now, I can use the arrow keys or the shift arrow key to move even faster and re-size my type. So the same feature that we used to color type can also be used to re-size it. You can also use some of the type dialogues for this, for example, the character dialogue. So the character dialogue will allow us to do things such as increase the spacing between letters in our type. Well, I've just clicked in this box and now if I start pressing the up arrow key, I'll increase the spacing between individual letters. So you can click in a box here and then just use your up and down arrow keys to increase or decrease that value. The beauty of this is that nothing's visibly selected even though, of course, it is selected because it's sizing appropriately, but you can see it in [inaudible]. You can see if you're getting your type effect to look good or whether you still need to work on it. 10. 9 Type on a Path: It's not immediately apparent from the Type Tool that you have available in Photoshop that you can put type on a path, but it is easy to do. Let's go and draw a path, and for this, I'm going to the Pen Tool. I'm going to make sure that I have paths selected here, so I'm just drawing a path. I'll click and drag to start off my path, and I'll come down here and click and drag again. To constrain these handles, I'll hold the Shift key as I drag them out. To finish, press the ''Escape key''. Now this line can be edited by selecting the ''Direct Selection Tool''. You can click on either end of the line, and just adjust both points, should you wish to do so. Now that I've got my line and it's visible, I'm going to the Type Tool, and I'll choose the Horizontal Type Tool. As I hover over the line, you'll see that they're type cursor changes. Outside of the line, it's an I-beam pointer with a box around it. Hovering over the line, it's an I-beam pointer with a squiggly line through it. That squiggly line tells you if you click ''Now'', you can type along the line. Now, I've got Myriad Pro selected, fairly large point size, but let's click and type. I've typed slippery slope, I'll click here to commit that type. Now, we can make edits to it, and we do it exactly the same way as we are used to making edits to other type. We'll make sure the type layer is selected, we'll make sure that the Type Tool is selected, we can come up here and adjust the type size so we can make it bigger or smaller, as soon as it gets too big, it just disappears off the end of the line. We can also go to the character palette, and we could choose things such as adjusts the tracking. Here I'm just going to adjust the tracking to suit. As soon as we click away from the shape, you'll see that the line disappears. That's because it was a path, and paths aren't visible in Photoshop. You'll see here in the last pallet that the type of object that is naturally even selected, if we do select it, and then go back to the Type Tool, then we can see our line. We can edit the line and the top will move as well. Let me just go and pick up my line and let's alter it. As we do the type moves with it. But be aware that you've actually got two paths. You've got this path here that is attached to the type that we can see here as soon as we click on a selection tool, the Direct Selection Tool or the path selection tool, but there's also another path over here, and it's the work path, and it's different because we didn't edit that one. Here in the past palette is the work path, which is the original one and then the type path, that is the one that the type is attached to, if we click away from that, neither of those is selected. It can be a little bit confusing, but if you want to edit your type, it's best to go back to the type object, click on the ''Type Tool'', then pick up the Direct Selection Tool so that you can come in here and edit the path. Now, you might also have noticed that there's a change in the cursor as I hover over the type, because I've got this Selection Tool selected, I can actually adjust the placement of the type along the line, so it doesn't have to start here. I can go and drag the starting point. I can move the starting point along the line. Of course, if I move it too far, the type that doesn't fit on the line just gets removed from the end of it. So this allows us to pull the type along the line, but we can also flip it across the line. If you pull to the other side, then the type flips across the line, and to push it along the line at this point, you'll have to come here and move the starting point. It's position is controlled by the starting point here, not the ending point. Let's just grab the type and let's flip it back over and put it in position on a line. We've covered the basics of putting type on a path here, creating the path, not only adjusting the size of the type, but also its position on the path. The same is going to be the case for text on a shape. Let's go to this new empty document. I'll select the ''Ellipse Tool'' select to shape, there's no fill and there is a stroke, or hold the Shift key as I drag out a circle. I'll click back on the ''Type Tool'', and as I hover over the edge of the circle, the type cursor is going to change into that I-beam with a little squiggly line. Now, if I go too far, it changes to an I-beam with a circle around it. Now, we're going to look at that in another video. What we're looking for here is just the I-beam with the squiggle. I'll click to start typing. I've typed the words FIRST PLACE. I'm going to click the check mark because I want to change the type, but to do so, I have to first commit it. Now, we'll go to the last pallet, and we have type, and we also have our ellipse, and they're separate from each other. There is a shape that is controlling the ellipse, and there is also a shape that's controlling the text, and they're two very different things. With the text selected, and I've turned the ellipse off for now, I have the Type Tool also selected so I can come in here and change the size of my type by just scaling it up or down. As far as changing the position of the type on the circle, we'll go to the Path Selection Tool. Now, you can do this with the Path Selection Tool or the Direct Selection Tool, it doesn't really matter. You'll see that the cursor is now an I-beam with a little arrow, and the arrow changes sides. When it is going in one direction, it's pulling the end of the type around, when it's going in the other directions, it's pulling the beginning of the type around. This is the beginning of the type. Let's just go and pull it into position. You can see that as I drag around, I'm bringing the type with me. I'm working on the outside of the circle, the very outside of the circle. That's really important because if I flip over and go to the inside of the circle, that's where the type goes. It's flipped over to the inside. We don't want that to be the case, so I'm going to flip it to the outside. Now, if I cross these two little indicators here over each other, then I lose my type entirely. You might have to let go when you get this one in position, wait until the pointer changes direction, and then go and move the other one. Now, it's perilously easy to lose these pointers and not be able to find them. You might have to move around the outside of the circle just looking for them because they do tend to disappear. It is pretty frustrating, it's not anywhere near as easy as it is in Illustrator, for example, and it's not even very easy in Illustrator either, but it's certainly a whole lot more difficult in Photoshop. It's not nice at all, but it can be done. Now, If you want to have texts going around the circle at the top and perhaps on the inside of the circle at the bottom, this is what you're going to do. You're going to grab the existing text, you're going to drag and drop it onto the new icon. You have two pieces of text because you can't place two elements in the same layer, on the same circle, that are going in different directions. It's just not possible, but you can duplicate it. Let's turn the first one off. Now, I've got just this one here. I'm going to move it. I'm going to grab hold of it and I'm going to drag this one around to where I want the next pace of type to go. I'm going to change the text here, because I want to type something different. I'm just going to make this AWARD. I'm going to pick up this type, commit my type, again going to the Path Selection Tool and now just trying to pick up the things that are controlling this type. There is one of them, here's the other one. We want to roll it into the middle and place it where we want it to be. Now, once we've got that done, we can click on the original text and view it. If I click away from everything, I've got my text on the circle, and I can bring this circle back too. This ellipse can still be used, so we could, for example, go to it and actually change its size. Because it's no longer controlling the type, it's got nothing to do with the type, the type's got its own circle that it's attached to, and the ellipse is loose all by itself. When we select over a type object and go to the paths palette, this is the path that is controlling the AWARD text. This is the path that's controlling the FIRST PLACE text, and if we can select the ellipse, then there's another path for that as well. Eminently doable, it is possible to place text on a path in Photoshop and text on a circle, for example, it just is a little bit fiddly, and it does demand a bit of patience. 11. 10 Type in a Shape: In the previous video, when we made a circular shape, we noticed that the Type Tool cursor changed shape when we place the cursor inside the circle. Let's go and do that now and let's go and see what's happening. I'll hold the Shift key, drag out my circle. It has a stroke but it has no fill at all. I'm going to the Type Tool, horizontal types, just fine, and when I hover over the circle, you'll see that the cursor has a circle around it. Well, the reason for this is that we can fill this shape up with type. It didn't have to be a circle, it could have been a square, it could have been another shape. We can fill any of those with type. So that I don't have to do a lot of typing and you're not going to watch while I do a lot of typing, let's go to this Word document where I have part of the first chapter of Jane Austen's Pride and Prejudice, I'm going to just grab some of these words. I'll right-click and choose copy. I'll go back to Photoshop because it's possible to copy and paste from other applications into Photoshop. Before I do my paste, I need to place my cursor where I want the text to go. I want it to go inside the circle here, let's click inside the circle. Now the type is way too big. I'm going to bring it down to, say, 40 points for now. I'll paste it in with Control or Command V. The type now appears inside the circle. I'm going to click the check mark to commit it, even though it's not looking the way I want it to look. I'll go back in with the type tool. I'll make sure that I have the type selected, not the shape. Now I can go to the type size and I can adjust that. I could also center the type by clicking here on the center icon, and that will center the type. If I wanted to stretch all the way across the circle, then I'll go to the paragraph palette. It sits alongside the character palette and there are options here for stretching your text to fit. Let's just go and select one of those. This is pretty close to what I want. It's stretching the text to fit inside the circle. I just might push the first line away by pressing the indicator, push it down a little bit. Now again, the text and the circle are independent of each other. So I can come down to the ellipse, select it, and enlarge it, holding the ALT key as I do that, so that it's being constrained from the middle of the circle. I don't have to hold the Shift key with the most recent versions of Photoshop because the circle will scale correctly without the shift key. In earlier versions of Photoshop, you'll need to use the shift keys just a little bit confusing. There we have text inside the circle and just exactly the same way as we can adjust any text. We can select the layer, click the type tool, go to dialogues and make changes as we wish. For example, I might want to just send to my type not justify it. I'll click away, and that's the result that we have. 12. 11 Warp Text Techniques: The options for distorting or warping type in Photoshop are quite interesting. I'm going to select the Type tool. I have a type color and font and font size selected. I'm going to type the word distort. I'm using uppercase letters just simply because the result looks a little bit better. But you could of course type in upper or lowercase type. Now I'm going to the Move tool. I'm going to make sure that my type Layer is selected. I'm just going to stretch my type. This is of course a method of distorting it, but it's not what we're actually here to do. I'm also going to make my type a little bit bigger. Again with the move tool, I'm going to start dragging on the corner. I'm going to add the Shift and Alt case. That would be shift option on a Mac just to scale the resulting stretch texts in proportion. Now let's look and see what we can do in terms of warping it. We'll go to edit and then transform and go to warp. Now, unlike a shape, the only warp options we've got are these preset warp options. There is a set of them here that you can select from, and if you select one of those, then your type is going to be distorted in that way, and you can make adjustments to the bend. This has got a sizable bend on it. I'm going to drop it down from 50-25 and you can see that it's bending less and then you've got horizontal and vertical options which distort this in a horizontal or a vertical way. Just interesting additional results. This is obviously stretching this side of the shape. If we do vertical, then it's going to stretch it in or push it in. There are all options available to you in terms of these built in warps. But there are other things that you can do even though they don't at first appear to be on the Edit menu and the secret to those is to either turn your text into a shape, rasterize your text, or convert it to smart object. I'm going Smart Object ways. I'm going to right-click this layer and I'll choose convert smart object. Now, in any of these three methods, rasterizing a Smart Object or converting it to shapes, when I choose Edit and then transform and select warp, I get some additional options here on the toolbar. Now, I can choose Split and I can do it vertically, horizontally, or I can choose both vertically and horizontally. I'm going click on this option and when it's pressed in and when I hold my mouse over my type, you can see that I'm getting this set of lines and wherever I happen to click, that's where this distortion grid is going to be placed. Now you couldn't add multiples of this. I'm going back to this split, make sure that it's pressed down so that it's a gray on this icon and then I'll go and add another split point. Now you can add multiples of these, but once you do add them, any one of these nodes can be dragged on to distort the type and there are nodes at the very top and bottom of the entire grid, as well as nodes at the intersection of these horizontal and vertical lines. Now, if you want to select multiples at a time, click on the first one so it's sort of like a filled in shape. Hold down the Shift key and then click on the second one. Once you've got them selected, you can drag those points together so they can go into any position that you want. Now, I'm just going to turn that off because I want to show you another option for that. Again, edit, transform, and chose warp. Now there are also some default grids, you could select a three by three or four by four, or a five by five, or you could set your own custom grid. I'm going for a three by three and that just divides this pretty much as the split would do except it's just even. What I'm going to do here is go and grab all of these points in this vertical so I'll click on the first one and then shift click on each subsequent one, and if you lose the first one, just make sure that it's filled in. Make sure that you don't lose it as you're making your selections. It can be a little bit tricky so you want to be really careful about previewing and checking out exactly what you're selecting. Now, I've got all those four nodes selected. Now I can drag them around. What I'm going to do is bend them this way, and I'm going to these other so I'm going to click on the first one and then I'll shift click on the other four in this line and then I can bend them and when you're done, you can click the check mark. Just be aware that options that you think might allow you to select some of these nodes. For example, the direct selection tool. They don't work. When you click on those, well, you lose your warp, but when the warp is still in place, it's as if you have committed to it. If you want to go back to it again with the Type Layer selected, choose edit, transform, and then warp and you'll get all of your grid it back. You can go back to selecting any of these grid points and making changes to your warped shape. Now, this type is still editable. Because it's a smart object, you can double-click on the smart object layer and you could make changes to this. Of course, if you change the type, you might find that you get inconsistent results in the warp itself. But let's go and change the color of the type. I've got blue selectors, my foreground color, I've got my Type Layer selected, I've got my type tool selected. I'll press "Alt Backspace" that would be option delete on the Mac. I'll now close this by clicking the close button and say yes to saving it. Back in Photoshop, the color change is visible. We're able to edit that smart object. But converting our type to a smart object gives us the benefit of being able to access additional warp options for our type. Now if you don't want to go the way of converting your type to a smart object, it's also possible to convert it to a shape. I've got the exact same type object here. I'm going to select it. I'll choose type and then convert to shape. When it's converted to a shape and you choose Edit and transform and then warp, you get the exact same warp options up here as we got when we had the type converted to a Smart Object. For example, we could re-select the three-by-three grid, and then we could distort the type very easily by selecting on the nodes and then just dragging them around into a new position. But in this case, we would be working on type that's been converted to shapes so it wouldn't be editable anymore. If you're working on type that's been converted to a Smart Object, then you retain the editability of the type so you can change the word itself, as well as things like the color and the spacing between the type letters. 13. 12 Fill Type with an Image: One of the creative effects that you can create with these type of objects, is filling them with an image. But to start off with, you want to create your type object. I typed the words ocean waves into this document and I've converted it to a smart object. Then with the smart object layer selected, I went to end applied one of our warps and the warp that I used is actually a built-in warp, I used the flag. so that guys made this look to my type. I've created that and I'm ready to fill it with a photograph and I've downloaded a photograph from unsplashed.com of some ocean waves. I'll grab the background and drag and drop it onto the document that we're working in. Now to create this as a filled piece of text, all I need to do is to select the photograph layer that's on top of the Type and choose layer and then create clipping mask then you can also do that here from the Layers palette, what you'll do is hold down control and Alt and click on the line between the type Layer and the photograph. The photograph has to be on top, now with the Move Tool selected and the photograph layer selected, I can move that around, so I can just position it where I want it to appear. At this point, we can put a colored layer beneath everything. I'm going to select the background layer, but I'm going to add my new fill layer by choosing layer and then new fill layer and I'll choose solid color. You can see that with the color picker available and visible on the screen when I hold my mouse over the time, I get a eyedropper and I can click on the eyedropper to sample a color from the image underneath that I can use to fill this layer with, and of course, once I select the color, I can adjusted to suit. You can also apply a outline, for example, to the type. I'll select the type layer and then go to the fx icon and click on ''Stroke''. Now it's defaulting to a white stroke, but again, we could select a color and so again, I could come in here and select a color for my stroke from the type itself, from the photograph that the type is filled with. Now, once I've selected that, you can choose outside, inside or center for the stroke effect and also a blending mode as well as a size. I'm just going to size that down to about three pixels and click ''Okay''. 14. 13 Manipulate a Word to Add Expression: One of the interesting effects that you can create with type is to make your type a little bit more than just the word that you're typing. Let me show you this effect. I'm going to the type tool and I have a font called akaDylan collage selected quite a large size. I'll click on the "Document". I'm going to type the word drip. For this word, I want it to actually have a drip coming off it. Now, to do that, we're going to have to select the type and we're going to have to convert it into a shape because you can't get access to the anchor points on your type while it's in a type format. With the type layer selected I will choose type and then convert to shape. Now, we get anchor points around as shapes and we can use those to reshape it if you like. Let me just zoom into the letter D, that's the one I'm going to do. I'm going to select the direct selection tool that's soft white arrow key, because that will allow me to access and change individual points. I'm going to click on this anchor point, hold down the "Shift key", click the one underneath it and then the one underneath that. With those three selected, I'm just going to drag downwards. Now, I've lost some of the quality of the letter in doing that because this area is thinner than the rest and you can see that these letters have got even shapes around them. I'm going to need to do a little bit of extra work, so going locate this point here. Let's just drag in on this handle to try and pull the white in a little bit. Now I've got my text looking a little bit more like it's dripping, but it would look a whole lot more like it's dripping if there was a drip actually coming off the end of it. I'm going to make sure first of all that I don't have anything selected. I'm just clicking in this area, the layers palette and that deselects everything. I'm going to the pen tool if I want to be able to draw a shape. I've got the shape tool selected and I have a stroke selected. It's not quite the right color, I don't think but let's just see how we go. I'm going to click and drag downwards to start my shape. I'll click across the base of my shape and then I'll click back up on my starting point. Now, it's not a happy looking shape right now, so let's just go and see if we can make some changes to it. I'll hold the Alt option key so I can break this handle and that will allow me to now create more of the shape that I want. Once you've broken the handles they're not going to be stuck back together again, so you don't need to use the Alt option key any further. I've got my shape but the color is not right, so let's just go and get the right color. I'm going to the stroke and I want to set this to probably a bit larger of a stroke, I'm thinking probably six pixels is going to be more like the rest of the shape here. Second thoughts may be five, and for my color, I'm just selecting the most recently used color which just happens to be the color of my type. I'm going to click ''Away.'' I'm going to make a duplicate of this shape. I'm going to turn the outside one off because that's going to be my outside line. I'm going to target this one, I'll target it with the path selection tool so now I can make edits to it. If I choose edit and then free transform or I could press Control or Command T, now I can size it down. I'm just going to drag it down, so that it becomes more like the center of this particular object. What I need to do at the same time is to flip my stroke and fill. I'm just making sure that I have a shape tool selected. It could be the path selection tool, it could be any of these shaped tools. I'm going to set my filter, the color we're working with and the stroke for this shape to be nothing at all. Now, let's turn back on the outside edge. I've got pretty much what I need, I just don't think the middle is quite small enough. I can with it, select to go back to edit free transform or I can learn the shortcut key, Control or Command T. I'm just going to drag it a little bit in position a bit more centrally so that it can become the drip in my text. Now I think the drip is positioned to far down from the text itself, so let's grab the two pieces that go to make that shape, and let's just pull it up a little bit. You can create effects like this way you're actually re-working parts of a character to give a different feel to it. In this case, I've taken the word drip and added a drip to it. You could do it with the word chocolate, you could do splashes coming off a piece of text that says splash or wave or something like that. It's nice creative way of dealing with text in Photoshop. 15. 14 Match Font: A new feature that was added to Photoshop at the Photoshop CC 2015 level on this course in later versions was the ability to find fonts to match a font that you see somewhere with fonts that you have on your computer or fonts that are available at Adobe fonts. So, I found this particular font here I really like it, I want to see if I've got a match for it on my computer. I'm going to my Snip Tool. I'm just going to create a new capture of this and you can make your capture however you make screen captures. I'm going to click Copy to copy it to Windows' clipboard. I'll go back to Photoshop and I'll choose File and then New and one of the options is going to be Clipboard as the new file size because there is something on the Clipboard. So, I'm going to click Clipboard, click Create. I'll choose Edit and then Paste to paste my text in here. Now, I'll go to the Crop tool because I want to show you a more advanced use of this match tool, something that I haven't seen anybody else actually do online. So, I've just added a little area in the bottom using the Crop tool to enlarge the document, so that we can test the match as we do it. I'll go to the Type tool. I'm going to type the word COFFEE in here, so I'm going to make sure I do it in uppercase so that we can say what the match looks like as we work on it. So, over here I have the typeface that we want to match, as well as the typeface that I want to apply that match font to. So I'm going to make sure that I have my typeface selected and make sure that I've got my type tool selected because we know from the videos in this class that's going to give us the ability to change things in a live manner. Now, go to type, and this is where this new tool is, it's called Match Font. When you click on it, you're going to be prompted to tell Photoshop where the font is that you want to match and you just want one line of type. So, pretty obviously, I'm going to start with the word COFFEE and see if I can find a match for the word COFFEE. Now, this is where I think that this tool fails spectacularly because the first time I did this, the tool was able to find a match on my computer for this particular typeface wasn't the exact match was pretty close, and this time it's spelled spectacularly. So let see if by moving it up here, we might find a match on the word FIRST. Again, it hasn't found a match on my computer. It's found some matches online. Let's try the word BUT. This time it's actually returned the typeface that it suggested to me the first time was a match for this typeface here. It's not an exact match. It's a pretty good match when I click on it because we've got this coffee layer selected and because the type tool was selected, we are able to apply this suggested font to our type. We can see that it's not a perfect match. Obviously the letter O is wrong, the letter C is wrong shape. These bars on these letters here should be a bit longer and they should also be a little bit thicker and they're not. But that's a pretty good match and that's a match with a font that's actually on my computer. Now these listed fonts here are actually available on Adobe and you've got a little icon here that you can use to download the font. This is the result of using that font. You can say that these two fonts are close; they're not exact. Now, if you don't have this little download link, you can always just take the font name, for example, Nimbus Sans and you can go to the internet and you'll go to fonts.adobe.com. Then you can type in your font name. We're looking up Nimbus Sans because that was a match for the font that we were looking at. You can come in here and have a look at the font and see if it's the one that you want and if it is, you can activate the font and then it will appear in your version of Photoshop. It's certainly an interesting party trick and it might bail you out. It might help you find fonts that you either have on your computer or that are available through your Creative Cloud subscription that you can use that are a fair match, if not an exact match for other typefaces that you find online or elsewhere. 16. 15 DIY Type Presets: I think probably one of the most annoying things about Photoshop's type tool is that you never really know what you're going to get when you click the type tool and start typing in the document. I'm going to select the type tool here. I'm going to click in the document and type the word sample. What I get when I do that is the last font that I used in Photoshop. If I've closed Photoshop, reopened it a day or two later than that most of the time is the font that you're going to get. In this particular document that's just fine. Let's go and open this document. Let's click and do the same thing. We you can see that this has been spectacularly unsuccessful here. What worked in one document is looking absolutely appalling in another. The reason for this is that this font is 280 points high and the document that I'm working on here is only 200 pixels wide and 200 pixels tall. That begs the question, how did points and pixels relate to each other? How can we know ahead of time what's going to work and what isn't. While a rough rule of thumb is that points and pixels can be taken to be sought of equal, they are not equal, but they are near enough for this purpose. A 280 point piece of type is not going to work in a document that's 200 pixels in size. But it will be fine in this document because this document here is 1920 by 1080 pixels in size. If I want to go back to a type size that is perhaps the type size that was installed with Photoshop the default is typically Myriad Pro 12 point black. You might think of going to the type tool options here, I'm just going to open up this preset because over here, on this menu is an option which says reset tool. That would seem to promise to reset the tool to the settings that were installed with Photoshop. This can be spectacularly unsuccessful. Every time I record a video and click on this option, I cannot be sure what I'm going to get because sometimes it resets to the default and sometimes it doesn't. Today it's not doing that. There is, however, a more reliable method and that is to go to the character panel, which you can get to by clicking here. You can also get to it by choosing window and then character. When you have the character panel open, go to the fly out menu here, and there's an option here for reset character. If you click that, you'll get a good chance of getting back to the default options in Photoshop. Just be aware that what's available through the character panels seems to be more reliable and what's happening here in they told presets. The tool presets are really handy and I like to set up some tool presets for the type options that I typically will want to use in a document as a starting point. Here let me just click on my type of presets and I've got an option for green amatic 280. If I click on that, I get green amatic text at a point size 280 selected. All I have to do is click on the document, and start typing. I suggest that it's a good idea, even though you can reset your characters back to the original, it's also a good idea to create some presets that will give you a quick start for the type options that you like to use. Let's do that now. I am going to deselect any type at all. I'm going to click on the type tool and click in the document, just type the word sample. Then, I will go and edit this to look the way I want it to look in my preset. I'm going to change the color. I'll set it to a purple color. I'm going to change the font size. I'll bring that down to say 150 and I'll change the font that's in use as well. Let's just choose this font for argument's sake. Once I've got my text tool set up to look exactly the way I want it to look and I've got a piece of sample text just to quickly check that it is looking okay. I'll go over here to the type presets, click the gear icon and choose new tool preset. You just get horizontal type tool and a number while we're going to make that a little bit easier to understand. I'm going to type the name as the name of the font with the characteristics that I'm using and I'll click okay. This is then added as a new type preset. Let me just go back and deselect any type object. Let's go to the type preset drop-down list. If you see a lot of options in here, not just type options, click here on this check-mark because what this does is either displays every tool preset that you have or just limits the tool presets to the presets that are relevant to the current tool, in other words, in this case the type tool. Now I can click on any of these presets. You can see that the type tool is changing to match the presets specifications. If I click in the document and start typing, I'm getting my type as I have specified in that type preset. This type preset can be just a starting point you can set them up to the settings that you most want to use. You might come in here at this stage and say, you know what, I didn't want to use pink today, I want to use a dark blue. Well, you just change to dark blue, and that will affect any type layer that you have selected, but it also affects the tool in future so that if we type something else, then that's going to be typed in that new color. These tall presets are saved with Photoshop, though they're going to be available to any document in Photoshop from now on. 17. 16 Finding Fonts: When you have a lot of fonts installed on your system, you may find it difficult to find the font that you want when you want it. Well, there are a few ways that you can help yourself. One of those ways is to look at the most recently used fonts. These are fonts that you have used most recently and by default there are 10 of them. But you can change that number. You will go to Edit and then Preferences on a PC and on a Mac you would go to Photoshop and then Preferences, and go to the Type area and this is the number of recent fonts to display and it's set to 10. If you want more fonts in that list, then you can change this value. Let's set it up to 15, and I'll click Okay. Now, in future this list is going to show 15 of my most recently used fonts. There are only 10 here in the list right now and that makes sense because that was what the setting was in Photoshop, so it was only responsible for keeping track of the last 10. In future as I continue to use different fonts, this is going to be populated up to the last 15 fonts that I used. As I use a new font, then the oldest one in this list is going to be removed. That's a way of keeping track of fonts that you have used recently. You can also set up favorites, you'll see here that some of these fonts has stars beside their name. If I click here on this Star, you'll see that these are only fonts that have stars next to their name, it's a favorites. Let's click the Star again to open up the list. Let's go and find a font to add to the favorites. I use Amatic a lot, so I'm going to click on both Amatics here. Now, they're starred fonts, they're favorites. When I click on the Star here, you'll see that Amatic is appearing in that list. Again, you can favorite fonts and even if you don't use a font for months and months on end, because it's got a star beside its name, it's going to display when you click on the Star here to see your favorites. You can also make it easier to find a font by controlling what you see here in the list. If we go to the Type menu, you'll find that there's a Font Preview Size option. This was in preferences in earlier versions of Photoshop has recently been moved to the Type menu. If you click None and go and look at your font list, you'll see that you have no examples of the font in the list. If you go back to Type and then select a Font Preview Size, for example of Large, then you're going to see a large preview for everyone of these fonts, making it a little bit easier to perhaps find the font that you're looking for. Just be aware that if you have a lot of fonts on your system, this display of fonts is going to slow your system down just a little bit. 18. 17 SVG Fonts: Very recently a new type of font started to appear and these fonts are called SVG fonts. These fonts are capable of things that traditionally we haven't had available in fonts. Let's have a look and see what they can do. I've got the type tool selected, I've got one of these SVG fonts selected here, it's called opulent. Just notice that pink is the color I'm going to be typing in or at least that looks like the color I'm going to be typing in. Let me just click in the document. I'm going to hit the spacebar a couple of times because this font notoriously gets cut off at the beginning and I'll type the word sample. You'll see very clearly that this font is not typing in pink. I'm just going to enlarge it so we can see it a little bit better because there's something else that we can notice about this font, not only is it not staying true to font color choice, but it's also semi-transparent. This font looks as if it's been drawn with a watercolor brush and so parts of it are lighter and more transparent than others. That's a feature of these SVG fonts that they can contain transparency. Now let me just click away from this type. Let's go back to the type tool, lets go and choose a different SVG font. In this case, you'll see that the font is doing something else that were not traditionally able to do with regular fonts. This font is typing in color and you can say also that some of these letters are semi-transparent. They look as if they're overlapping each other with color. There is a two key features of SVG fonts. One of them is transparency, the other is the color in the font. Some SVG fonts are a single color. Others like this one here, which is called Gilbert color, actually type in color. Now there are some things, of course, that you need to know about using SVG fonts is because they don't conform with the selected font color, the question becomes, how do I actually change the color of these fonts? Let's go and turn the Gilbert one off for now. Let's focus on this one here. To color it, I need a method other than selecting a font color, because a font color just simply does not work with these SVG fonts. Instead, we'll need to use something like a hue saturation adjustment layer. I'll choose Layer, New Adjustment layer, and then hue saturation. Now for this hue saturation adjustment layer, I want it to affect only the type land, not anything below it. I need to click this icon here, which creates it as a clipping objects so that this adjustment layer is set up, so that it only affects the layer immediately below, which is the layer that has the text on it. We're going to click "Colorize" and then we're going to find a color to use. But before I do, I'm going to increase the lightness and perhaps also the saturation because we already have a color selected in this colorized dialogue, its just wasn't possible to say what that color was. Now we can drag the slider here on this hue adjustment to change the actual color of the text once we can see the color that we're actually working with. If you find a color and you want to lighten it, then you'll come here and increase the lightness. If you want it to be more saturated, then of course you can increase the saturation, decreasing the saturation will take it closer to gray until you actually arrive at gray. Here in the last palette, you can see this clipping ladders little bent arrow indicates that this adjustment layer is affecting only the layer below. Of course the text is still black, but it's been re colored with this adjustment layer. Now similarly with this other piece of text, it's not going to re-color by choosing a type color. It's not how these SVG fonts work. If you want to change the colors in this, it's going to be a lot more difficult because you're going to, again have to use your hue saturation adjustment layer. But you've got to find that if we use the same technique of three years previously, the colors in the entire world are going to cycle around where you might want to just change a particular color. Let's look at that now. I'll choose layer and then new Adjustment Layer hue saturation. Again, we're going to clip this side effects only the lower below because we don't want it to affect this piece of text as well. Now let's have a look and say, perhaps we want to re-color just the cyan, just the blue areas here. Will go to the channel selector here and choose cyans Now we'll adjust the colors, I'm going to increase the saturation here, I'm going to increase the lightness so that you can say I'm actually affecting the cyan when I do that and not the other colors. Then we can walk this hue adjustment around to find a different color to use for the cyans. Now the cyans are also affecting the color in this letter P, so it's not being isolated to only that color, It is going to be a little bit more difficult to isolate just these letters here. But this set of adjusters here are what are going to do it. If you find it's bleeding into a color alongside the cyan, you can limit it. Let's just go and see what this color was, It was a sort of green color. This is the era of the slider that's causing the problems in here. I'm going to close that gap up. What I'm saying to Photoshop is you can change this color, this underlying color, which is this cyan color, but keep your hands off the green by narrowing the scope of the colors that are going to be adjusted in the hue saturation dialogue, by removing the greens and just including the blues, where able to affect just these two blue areas, while this blue area here too. That's what we've done, we've turned them into purple, but we've protected this color here. As I said, it's a little more difficult to change the color of a single color within these multi-colored text elements. You may or may not be successful to varying degrees, but a hue saturation adjustment is the tool to use to do it. SVG fonts are installed onto your computer like any regular font, but they will just be able to be used in applications that actually can use SVG fonts in terms of Photoshop, that's Photoshop 2017 and later. 2017, 2018, 2019, and 2020. If you happen to be using Illustrator as well, you'll find that illustrator 2018 and later are all compatible with SVG fonts. Earlier versions of this programs do not support SVG fonts. 19. 18 Glyphs: Quite often you'll find that there are elements buried inside forms that take a little bit of discovering. Let's have a look at one of those fonts and let's have a look and see how we can discover what's inside it. Going to the top tool I happen to be using, Berg comes script pro, but there are lots and lots of fonts that have these features in them. I'm going to type the word beautiful. Let just size it up so that it's nice and large on the screen. Of course, it's pink because that's the color that I had selected for my phone so I could change the color, should I wish to do so. Let's make it a richer maroon color. Now this font has elements that are buried inside the font file that we can use to add some flair to the type going to click in here and I want to replace this letter B symmetric and to select the letter B. Here appearing underneath the letter B, are some of the characters that are in this font that would be valid replacements for the letter B. Let's go and select one of them and you can see that this is a way more beautiful letter. Now there are other letters that we could potentially replace like the letter f. When I select over it, I'm saying possible replacements for the letter F. The letter l might be one that we'd like to reply as well with some more interesting flourishes. The letter T is also a possible replacement. That's always a letter that could well have interesting elements that we could use. I'm just a little concerned that I don't want the top of the letter T to are run in to the letter B. Perhaps this one might be a valid character to use. Now, in addition to finding these font elements that we can use in this panel just down here. You can also get them using the glyphs panel. Let's choose window and then glyphs and we're making sure that our font is selected here Berg comes script probe in this instance, we can have a look through and say all the different elements that are available inside this font that we could use to replace individual characters in a form so that we can get something that is more attractive, for example. Now for some fonts, they extra glyphs won't actually be shipped inside the font itself. They might be shipped in a secondary file. Let me just go and show you one that's in my list that I saw earlier that might help you understand this. Here's the font. This one is before the rain. I think it's a free font from 1001 fonts, but it also has before the rain swatches. The swatches are in a separate file to the main font. If you get both of these files, then you could use the before the rain swatches to add various elements to your type. Just be aware that this handy glyphs might appear inside the actual font file, so they're a little bit easier to find or you might get them in an ancillary file. Another file it comes alongside the main font, but this one has in it all the glyphs that you would use to add variety to words that are typed in that formed. As I said, not all fonts have this effect, only a small subset of fonts will actually have these elements inside them. You probably most likely to find them in fonts that you actually pay for because the designer will have taken the time to add these beautiful elements into there font. Just an aside, as I'm looking at this piece of type, you will say that some of these letters are not lining up particularly well. Let's have a look and say how we would solve that. I'm going to place my cursor between the two letters that are not lining up well. I'll go to the character panel. Now the setting for adjusting the spacing between these two letters is what's called Kerning. This is the kerning adjustment here. What we're going to do is adjust that. Let me just go and see if we can get a starting point, so this is going totally the wrong way. I'm going to start reducing this value and just see if I can close these letters up to be more attractive. I've done that. Let's just click here and that one has adjusted accordingly. This one here could be adjusted as well as to say if we can grab, but here it seems like minus 20 is a better kerning for these characters. I'm most concerned with the characters that is showing a split in the joint between them. But any of these characters could probably benefit from a little bit of closing up. Minus 20 looks like it's the setting that we're going for here. 20. 19 Drop Shadow and Text: There are occasions where you want to use a light piece of text on an area of an image that has a light background not might either be, very light consistently as I've got here, or you might have something that's changes color. It's dark in one area light in another. You find that your light or white text just disappears in the background. You still want to use that color, but you need to find some way of making it more obvious. While the simple method is to use a drop shadow, I have my top layer here. It's just a regular editable top layer, type safe in obviously white color with it selected, I'll go to the fx icon and I'll choose drop shadow. Now, I have the default drop shadow visible here. If you get a drop shadow and it's like everywhere, it's like all over the place. Just click here on reset to default on your research or dialog to the default. The default is Multiply blend mode with a black shadow. It has a light opacity in a distance is quite small. In this instance you do want a small distance. You could even bring it back to two or one, probably two, it's going to look a little bit better. Now, always with these shadows, you can drag with your mouse on the document and just adjust the shadow yourself. I think it looks best with a really small drop shadow, but you know what, you can use whatever styled broke shadow you want. You just want to bring something in behind the text that is going to make the text more easily read over your background. I'm just going to bring it in here to about two pixels. You can adjust the spread. Now, the spread is actually the size of the shadow. I don't know why Photoshop calls it spread and size when in actual fact, size just makes it a bit fluffier. Spread makes it bigger, but that's the way Photoshop is. Just be aware that these two names don't really match up completely what it is that's happening. I'm going to actually increase the size because I want to slightly fluffier look to my shadow, it's a little bit softer. But it's certainly make that text highly legible. You can see that the text is just bouncing off this background. If it's too much, you could come back in here and change the color, make it a gray, or you could even make it a blue that matches the blue background here. Let me just go and sample a blue from the image. I'm going to sample the blue and I'm going to make this a little bit darker. We're still getting our drop shadow. Only in this case, it's a blue drop shadow rather than our gray, but still that's bringing this text out of the background. Now, one other thing I want to show you because it's just going to work in this image and it's a nice little trick. What I want to do here is to use the flower here, this little blossom instead of the dot on the eye. With that would involve is somehow gating this text behind the flowers on this tree here. It looks at first instance like that might be nearly impossible. Infact, it's pretty easy to do. I'm going to make sure that I have my text layer selected here. What I'll do is again go to the fx icon, and this time I'm going to Blending Options. Now, with Blending Options in this area here, this blend if area, you can make things disappear and you can make them disappear based on either what is in this current layer, which is the text layer, or what's in the layer underneath, in this case the image. Now, in our case, because I want to move the white below this flower, I'm actually going to base everything on the flower because the flower layer has the detail that I want to use, and what I want to do is say that where the underlying layer is dark, I want to blend in this top layer. I want to make this top layer disappear where the underlying layer is dark. Let me just drag on this and you'll see exactly what's going to happen. As I drag over here, the topmost layer starts to disappear and eventually it totally disappears. Well, I wanted to bring this back to just where I get the flour over the dot on the letter i, but everything else comes back. It's a fine process to find that spot. You can also feather this effect because this slide, if you have a look closely at it, has a little mark in the middle of it. If you hold down the Alt key on a page say option on a mark, you can split the slide apart. That allows you to pull this back a little bit and adjust the transition point and that will give you a softer look. You can see that the dot on the eye has disappeared pretty much behind the flower here. I've actually made a piece of text that isn't on top of this photo tend to disappear behind the photo in the areas where those flowers are. Of course there's the ability to just adjust the setting till you get the effect that you're looking for. But as soon as I saw this text and this flower images, I thought that was something that I would like to show you. Because learning to see opportunities and learning how to use this blend if tool can really give you some interesting control over working in Photoshop and of course this works on anything. It doesn't have to be text, but it just happens to be text today. 21. 20 Two Text Alignment Options: In this next tip, I'm going to show you a couple of ways that you can neaten up paragraph text like this in Photoshop. I've already typed this text in. It's just a single paragraph and it is of course, part of the opening paragraph of Moby Dick. What I want to do is enlarge some of this type here. I'm going to the Type tool. I'm just going to select over just these words, and I'm going to make them a little bit bigger. At the moment, they're 50 points. I'm going to take them up to 65 points. I'll just click the "Commit" button here. If you half close your eyes, you'll see that the spacing now between this line and the next line, has been thrown out. It's not even spacing any longer. The reason is, that I've added some type that is bigger than the rest of the type, and so photoshop has adjusted the spacing between these two lines to take account of this larger type. But what happens if we don't want that to be the case? If we don't want the spacing between the lines to be changed? Well, I'm going to select over all the type here, and we'll open both the Character and Paragraph panels by clicking on this icon here. You can also get to them by choosing "Window" and then "Character", or "Window" and then "Paragraph", and you can open them that way. The option that we need to select here is actually on the Character panel, which makes it a bit peculiar, because in actual fact this is a paragraph issue. But, it is what is called leading. It's the spacing between successive lines of type, and the problem is caused over here. Here's the leading setting, and it's set to auto. What that does, is it says to Photoshop, just go fix it up and make it look okay. Adjust the spacing according to what text is in the paragraph. We want to say to Photoshop, don't do that. We want to control the leading ourselves. We'll come here and just click the dropdown, and I'm going to set it to something, because right now we really don't know too much about what effect that's going to have on the type. But if we set it to something, we'll be able to say what the effect is, and obviously it's too little a spacing. I'm just going to click in this dialogue, and we already know that we can increase it by just pressing the "Up" arrow key or increase it by ten points at a time, by pressing "Shift" and the "Up" arrow key. I'm just going to adjust it to something that looks pretty reasonable to me, and I'm thinking probably about 59 is okay. This's too committed. Now the spacing between the first line and the second line, is exactly the same as the spacing between each other set of lines. The auto setting will typically adjust the spacing to 120 percent of the font size of the largest piece of type. This one was 65 points, this extra large type. The adjustment that photoshop made is typically, to make this space a 120 percent of 65. What we've done, is we've said we just want 60 points across the board. That's how you can make a guess as to what you're going to need is. Have a look at your type size here. 50 points is what I've used for my regular type here, and increase it to about 110, 120, 130, somewhere in that mark, you're going to have a reasonable looking spacing between your lines of type. Now the other thing that I'm going to call your attention to, is this over here. This quote mark is sitting inside the paragraph, and that's not a particularly professional look to have, because it gives you a space here when you're looking at the text, there's a visible space because this character is so high up. Well there's a quick and easy fix for this. I'm going to just click somewhere in this box, in this text box, and I'm going to the paragraph panel because this one is a paragraph option. I'm going to the flyout menu, because there's things hidden on the flyout menu that you may not be aware of, and it's here. It's "Roman Hanging Punctuation". Just click that once, and what that does, is it moves the quote marks outside the box. You get this slightly more professional look to your text. You don't get that leading space, if you like. 22. Project and wrapup: We've now finished the video content in this course, so it's over to you. As your class project, tell me which of these tips really spoke to you. Which is the tip that is going to make your life different, if you like, in Photoshop. Or one that actually is inspiring you to do more with text in Photoshop. Just post a note as your class project, and of course, if you want to practice these skills, do that as well. Feel free to post an image of one or more of these tips as your class project. I really enjoy seeing what you're doing with these tips. Now, as you are watching these videos, you will have seen a prompt asking if you would recommend this class to others. If you did enjoy the class and learned from it, would you do two things for me? Firstly, answer yes, that you do recommend the class, and secondly, write even just a few words about why you enjoy the class. These written recommendations really help other students to say that this is a class that they too might enjoy and learn from. Now, while I can't reply to your reviews, I do read them all, and heartfelt thanks to those of you who consistently write reviews. I just really appreciate seeing them. I'm sure that other students do too. Now, if you see the follow link on the screen, click it to keep up to date with my new classes as they're released. Now if you'd like to leave a comment or a question for me, place do so. I read and respond to all of those comments and questions, and I look at and respond, of course, to all of your class projects. My name's Helen Bradley. Thank you so much for joining me for this episode of Photoshop for Lunch, and I look forward to seeing you in another upcoming class soon. 23. Bonus Video More Type Manipulation: This is a bonus video for this text class, and it's prompted by a student Mary, who asked the question, how could she take little objects like the middle here of the text and for example add it to some other letters? Now that might be of particular interest to you, but let's take it one step further. What happens if you didn't want these dots to be inside these letters and you wanted them to be a whole lot chunkier? Well, the process is pretty much the same. Let's have a look at that now. I've typed this text, I've just used the Aka Dylan font that I used elsewhere in this class because that was the font that I was asked to look at. I've typed my type object and it is fully editable type. I haven't done anything with it beyond type it into the document. What I'm going to do is take a copy of this, so just drag it onto the New Layer icon and I'll just turn that version off, so that we've got a copy of the original text to play around with. Now with this one, we're going to have to convert it. We're going to have to convert it to a shape or rasterized in shape is what we want. With this text layer selected here, I'll choose Type and then Convert to shape. What we've got now is a series of shapes rather than editable types. You will need to make sure obviously that your text is correct before you begin. Now we can get to the type and do things with it. I'm going over here to the direct selection tool, that's the white arrow tool, not the black one. Let's go and click away from the text and let's go and isolate this little shape here. I'm going to zoom in so that we can get nice and close to it. With this direct selection tool, I'm going to just click outside so nothing selected and then I'll drag over the central element. Now you can see that it's got filled in markers all the way around it and this around here around the rest of the letter are not filled in. That's telling me that when I Copy or Delete these, only this little shape is going to be affected, not the whole of the rest of the text. If we just wanted to delete these middle shapes, what we're going to do is to select the middle shapes and then you just press the Delete key. You would do that for each of these internal shapes. Zoom in so that you can see where your working. Go and get the direct selection tool or white arrow tool and drag over so that you are selecting the whole of this inside shape, but none of the outside shape and when you're ready, just press Delete. Click outside of the text so that you can deselect your selection. As I said, this is no longer editable text, but it is a way that you can get access to the little elements within your type to be able to delete them and perhaps in this instance, make a chunkier looking piece of type. Now before we finish up, let's have a look at the original question, which was, how would you grab some of these objects and place them in other letters? What I've done is I've just put those other objects back in the types. I just wound back, press Control Z to undo until I got back to the type that has been converted into a shape. This is a shape layer, but that's all I've done to it. We're going back to the direct selection tool and I'm going to drag over the element that I want a copy, and just remember that these little white nodes here, the unfilled ones, if you like, are not actually selected even though they look like they might be. It's this element that has been selected and we need to copy it so we could choose Edit and then Copy or you can press Control or Command C. That's now copied to the Windows clipboard. Here's what you're not going to do. I've got this last selected, I'm just going to hit Paste so I'll go to Edit and then Paste. You can say that this has been an unmitigated disaster. What's happened is that by attempting to paste the copied shape into the Shape Layer, we've lost everything else. I'm just going to undo that because if that happens to you now know what it is that you did. Well, what we're going to do before we do the paste is we're going to actually select all of this shape. Again, I'm still back here with the direct selection tool. I'm just going to drag a big rectangle across everything and make sure that everything is selected. Now, I'll choose Edit and then Paste. When I do, you'll say that the base shape is still there and this little shape here is selected. Well, that's because there's two versions of it in exactly the same place, so don't do anything right now except start moving this into move it, I suggest that you use the right arrow key or the left arrow key or wherever it is that you want to take this shape. Now I'm using the right arrow key with the Shift key pressed down because that takes it in a bigger movement. When I get it into the position I wanted in, I'll just click Y. Now if I want to add a second copy of it, it will be still on the Windows Clipboard. Let's go and select everything, and let's choose Edit and then Paste. Here's the next copy of it. Again, I'm holding the Shift key down as I move this across using the arrow key. When I get it nearly to where I wanted, I'll let go the Shift key, so I can just move it one pixel at a time. There's a method for doing some further manipulation with these type of effects in Photoshop. I hope that's been of help and of interest to you.