Learning Graphic Design & Illustration

Masks and Channels Lesson 6 REVIEW THE
VOCABULARY
5. Press Alt (Windows) or Option (Mac OS). A larger circle appears around the pin Note: Be careful not to Alt-click
and a curved double arrow appears next to it. Continue pressing Alt or Option or Option-click the dot itself, or Alpha channel An extra channel added
as you drag the pointer to rotate the head backwards. You can see the angle of you’ll delete the pin. to an image that stores a selection as a
rotation in the options bar; you can enter 135 there to rotate the head back. grayscale image. You can add and store
Alpha channels to create and store masks.

Tilting the model’s head. Alpha channel

6. When you’re satisfied with the rotation, click the Commit Puppet Warp An extra channel added to an
button ( ) in the options bar, or press Enter or Return. image that stores a selection as
a grayscale image. You can add
7. Save your work so far. alpha channels to create and
store masks.
Working with Channels

Just as different information in an image is stored on different layers, channels also let
you access specific kinds of information. Alpha channels store selections as grayscale
images. Color information channels store information about each color in an image; for
example, an RGB image automatically has red, green, blue, and composite channels. To
avoid confusing channels and layers, think of channels as containing an image’s color
and selection information; think of layers as containing painting and effects. You’ll use
an alpha channel to create a shadow for the model. Then, you’ll convert the image to
CMYK mode and use the Black channel to add color highlights to the hair.

Using an Alpha Channel to Create a Shadow

You’ve already created a mask of the model. To create a shadow, you want to essentially
duplicate that mask and then shift it. You’ll use an alpha channel to make that possible.

Try It!

1. In the Layers panel, Ctrl-click (Windows) or Command-click (Mac OS) the layer
icon in the Model layer. The masked area is selected.

2. Choose Select > Save Selection. In the Save Selection dialog box, make sure
New is chosen in the Channel menu. Then name the channel Model Outline,
and click OK.
Nothing changes in the Layers panel or in the image window. However, a new
channel named Model Outline has been added to the Channels panel.

3. Click the Create A New Layer icon ( ) at the bottom of the Layers panel. Drag
the new layer below the Model layer, so that the shadow will be below the image
of the model. Then double-click the new layer’s name, and rename it Shadow.

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TEACHING TIP Lesson 6 Masks and Channels

Until you move it, the shadow layer will 4. With the Shadow layer selected, choose Select > Refine Edge. In the Refine Edge
be hidden behind the model. Unclick the dialog box, move the Shift Edge slider to +36%. Then click OK.
model layer’s visibility icon to see it.
5. Choose Edit > Fill. In the Fill dialog box, choose Black from the Contents menu,
and then click OK. The Shadow layer displays a filled-in black outline of the
model. Shadows aren’t usually as dark as the person that casts them. You’ll re-
duce the layer opacity.

Adding a black fill on the Shadow layer.

6. In the Layers panel, change the layer opacity to 30%.

The shadow is in exactly the same position as the model, where it can’t be seen.
You’ll shift it.

7. Choose Select > Deselect to remove the selection.

8. Choose Edit > Transform > Rotate. Rotate the shadow by hand, or enter -15° in
the Rotate field in the options bar. Then drag the shadow to the left, or enter 845
in the X field in the options bar. Click the Commit Transform button ( ) in the
options bar, or press Enter or Return, to accept the transformation.

The shadow has been rotated into position.

9. Choose File > Save to save your work so far.

Adjusting an Individual Channel

You’re almost done with the magazine cover image. All that remains is to add color
highlights to the model’s hair. You’ll convert the image to CMYK mode so you can
take advantage of the Black channel to do just that.

Try It!

1. Select the Model layer in the Layers panel.

2. Choose Image > Mode > CMYK Color. Click Don’t Merge in the dialog box that
appears, because you want to keep your layers intact. Click OK if you’re prompt-
ed about color profiles.

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144 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Masks and Channels Lesson 6

3. Alt-click (Windows) or Option-click (Mac OS) the visibility icon for the Model
layer to hide the other layers.

4. Select the Channels tab. In the Channels panel, select the Black channel. Then
choose Duplicate Channel from the Channels panel menu. Name the channel
Hair, and click OK.

Duplicating a channel.

Individual channels appear in grayscale. If more than one channel is visible in the
Channels panel, the channels appear in color.

5. Make the Hair channel visible, and hide the Black channel. Then select the Hair
channel, and choose Image > Adjustments > Levels.

6. In the Levels dialog box, adjust Black to 85, Midtones to 1, and White to 165.
Moving the Black and White points creates contrast in the hair. Click OK.

Using Levels to create contrast in the hair.

7. With the Hair channel still selected, choose Image > Adjustments > Invert. The
channel appears white against a black background.

8. Select the Brush tool, and click the Switch Foreground And Background Colors
icon in the Tools panel to make the Foreground color black. Then paint over the
glasses, eyes, and anything in the channel that isn’t hair.

Removing the glasses.

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TEACHING TIP Lesson 6 Masks and Channels

Encourage students to experiment with 9. Click the Load Channel As Selection icon at the bottom of the Channels panel.
the Hue/Saturations settings in step #12 10. Select the Layers tab. In the Layers panel, select the Model layer.
and the Levels settings in step #13.

Using the channel to make a selection.

11. Choose Select > Refine Edge. In the Refine Edge dialog box, move the Feather
slider to 1.2 px, and then click OK.

12. Choose Image > Adjustments > Hue/Saturation. Select Colorize, and then move
the sliders as follows, and click OK:
• Hue: 230
• Saturation: 56
• Lightness: 11

13. Choose Image > Adjustments > Levels. In the Levels dialog box, move the sliders
so that the Black slider is positioned where the blacks peak, the White slider
where the whites peak, and the Midtones in between. Then click OK. We used
the values 58, 1.65, 255, but your values may vary.

14. In the Layers panel, make the Shadow and Magazine Background layers visible.
15. Choose Select > Deselect.

Your magazine cover is ready to go!

16. Choose File > Save to save your work, and then close the file.

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146 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Masks and Channels Lesson 6 REVIEW THE
VOCABULARY
About Alpha Channels
Intellectual property A creative work
If you work in Photoshop very long, you’re bound to work with alpha channels. such as an invention, literary or artistic
It’s a good idea to know a few things about them. work, or design, that can be protected by
copyright, patent, or trademark.
• An image can contain up to 56 channels, including all color and
alpha channels. TEACHING TIP

• All channels are 8-bit grayscale images, capable of displaying 256 levels Refer back to the images you’ve shared
of gray. in Chapters 1 and 2 and point out your
source citations for those images.
• You can specify a name, color, mask option, and opacity for each channel.
(The opacity affects the preview of the channel, not the image.)

• All new channels have the same dimensions and number of pixels as the
original image.

• You can edit the mask in an alpha channel using the painting tools, editing
tools, and filters.

• You can convert alpha channels to spot-color channels.

Copyright Laws intellectual property

Federal laws that involve copyright protect individuals and companies from the theft A creative work such as an
or misuse of their intellectual property, such as creative, literary, or artistic work. invention, literary or artistic
Copyright exists as soon as a work is created, but the creator can register it with the work, or design, that can be
U.S. Copyright Office. It is a crime to copy this kind of work without the permission protected by copyright, patent,
of the person who owns the copyright to it. or trademark.

Copyright is the legal right to make copies, license, and otherwise use a literary,
musical, or artistic work. Copyright laws protect people from the misuse of their
intellectual property by others. Someone who pretends that another person’s work is
his or her own has broken the law by committing copyright infringement. He or she
has stolen another person’s work.

Avoiding the Problem

If you want to quote someone, or use intellectual property created by someone else,
such as a song or picture, make sure that you identify the source of the quotation or
owner of the content. Placing a quote in a school assignment is usually considered
fair use, or acceptable with the correct citation. Written permission may be required
for long quotes or if you use content for commercial use, such as advertising. You
may also quote or use content that is in the public domain, meaning the copyright
has expired, or is no longer valid.

Cite Your Source

If you use information you find on the web in your work, you must give credit to
the source. You do this by inserting a reference to the source, called a citation, in a
footnote, endnote, or bibliography. A proper citation gives credit to the source, and
provides the tools a reader needs to locate the source on his or her own. Some web-
sites have features that automatically generate the citation information for you.

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Discussion Topic Lesson 6 Masks and Channels

What’s the difference between copy- Plagiarism
right, trademark, and patent? Check FAQ
page of the US Copyright Office at If you do not cite your sources you are guilty of plagiarism, which is the unauthorized
www.copyright.gov. use of another person’s idea’s or creative work without giving that person credit.
Plagiarism is equivalent to stealing another person’s work and passing it off as your
own. The consequences of plagiarism can be quite significant. If you plagiarize work
in school, you may have to redo the assignment or lose credit all together. Your
school may also take disciiplianry actions, such as detention. In the professional
world, the consequences of plagiarism are even more significant. A professional who
plagiarizes work suffers a loss to his or her reputation and may face legal ramifica-
tions, such as a lawsuit.

To avoid plagiarism you just need to properly cite your source. You should insert a
citation when you quote, summarize, or paraphrase someone else, use someone
else’s idea, or reference someone else’s work. In a works cited section or footnote,
you tell the reader the source of your credited information.

Copyright and Fair Use Doctrine

If the content is protected by copyright, you must have permission from the copy-
right holder to use the work. However, part of copyright law called the Fair Use
Doctrine allows you to use a limited amount of copyrighted material without per-
mission for educational purposes. For example, you can quote a few lines of a song
or a passage from a book. Similarly, an author may issue a creative commons license
allowing others to use the work.

Trademarks and Patents

Some intellectual property is protected by trademark or patent. A trademark is a
symbol that indicates that a brand or brand name is legally protected and cannot be
used by other businesses. A patent is the exclusive right to make, use, or sell a device
or process. Many types of inventions can be patented.

Creative Commons License

A content owner, such as an author, composer, or software developer may provide
a creative commons license so others may share, use, or even modify the work.
The owner may set limitations on the usage, such as allowing students or teachers
unlimited use, but restricting commercial use. Some software developers create
open-source software, which means they make the source code for their programs
available to the public so users can change the way it works.

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Masks and Channels Lesson 6 Comprehension Check

Comprehension Check 1. Quick masks are helpful for creating
quick, one-time selections. In addi-
1. What is the benefit of using a quick mask? tion, using a quick mask is an easy
2. What happens to a quick mask when you deselect it? way to edit a selection using the
3. When you save a selection as a mask, where is the mask stored? painting tools.
4. How can you edit a mask in a channel once you’ve saved it?
5. How do channels differ from layers? 2. The quick mask disappears when you
deselect it.
Review Project 2
3. Masks are saved in channels, which can
Research the copyright laws and fair use guidelines that would apply to duplicating be thought of as storage areas for color
materials for a school production of a play or musical. Write a summary, properly and selection information in an image.
citing your sources.
4. You can paint on a mask in a channel
Review Project 3 using black, white, and shades of gray.

Research online to explore the concept of intellectual property. Refine a definition of 5. Channels are used as storage areas
the concept, and in your own words craft guidelines you and your classmates should for saved selections. Unless you ex-
follow to respect the intellectual property of others. plicitly display a channel, it does not
appear in the image or print. Layers
can be used to isolate various parts of
an image so that they can be edited
as discrete objects with the painting
or editing tools or other effects.

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REVIEW QUESTIONS Chapter 3 Improving and Extracting Image Content

1. Blurring the background elements of End-of-Chapter Activities
the photo makes main subject stands
out more clearly. Iris Blur, one of the Review Questions
interactive blurs in the Blur Gallery,
makes the task an easy one. 1. What is one way to make the subject of a photo stand out more?
2. Name one of the seven guidelines for getting the best results with Photomerge.
2. Overlap images approximately 40%. 3. Describe what perspective is.
4. Name one of the three functional aspects of graphic design.
Use a consistent focal length. 5. Explain what a mask is.
6. What’s the typical way to start off creating a mask?
Use a tripod if possible. 7. Discuss some of the settings in the Adjust Edge section of the Refine Mask dialog box that can be used to

Take the photos from the same refine the mask.
position. 8. Name at least one way you used a mask or quick mask in Lesson 6.

Avoid distortion lenses. Multiple Choice

Use the same exposure. 1. Which of the following is the type of adjustment layer used to make the quick fix of brightening up the image
of the boy in Lesson 5?
Try different layout options. a. Brightness/Contrast
b. Levels
3. Perspective refers to creating the c. Curves
appearance of three dimensions in a d. Exposure
two dimensional image or drawing,
by arranging and sizing elements in 2. Which of the following is not one of the five available blurs in the Blur Gallery?
the composition so that they look a. Noise Blur
correct when viewed from a particu- b. Title-Shift
lar point. c. Iris Blur
d. Spin Blur
4. To educate
3. Which command on the Edit menu provides another method for merging layers?
To symbolize a. Layer Merge
b. Puppet Warp
To compel us to action c. Convert to Profile
d. Auto-Blend Layers
5. A layer mask isolates and protects
parts of an image from editing, much 4. Which two settings on the options bar affect how the Content-Aware Move tool fills the area previously occu-
as masking tape protects window- pied by the moved selection?
panes or trim from paint. a. Structure and Texture
b. Color and Texture
6. Make a selection. c. Structure and Color
d. Selection and Structure
7. The Smooth slider can be adjusted to
create a smoother outline. Contrast 5. Which of the following is not a type of mask?
can be changed to make the transi- a. Color mask
tions along the mask border more b. Channel mask
abrupt or soft. A negative Shift Edge c. Layer mask
setting moves the selection border in- d. Vector mask
ward to help remove unwanted back-
ground colors from selection edges. 150 LEARNING GRAPHIC DESIGN & ILLUSTRATION
Adjusting Shift Edge to a positive
number moves the border outward. MULTIPLE CHOICE

8. The following answers are acceptable: 1. C

To isolate the model from the 2. A
background
3. D
To recolor the model’s glasses
4. C

5. A

150 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Improving and Extracting Image Content Chapter 3 MULTIPLE CHOICE

6. What is the keyboard shortcut for zooming in with any tool selected? 6. B
a. Ctrl (Windows) or Command (Mac OS) plus minus (-) 7. A
b. Ctrl (Windows) or Command (Mac OS) plus plus (+) 8. D
c. Ctrl (Windows) or Command (Mac OS) plus up arrow
d. Ctrl (Windows) or Command (Mac OS) plus down arrow

7. What is the keyboard shortcut for zooming out with any tool selected?
a. Ctrl (Windows) or Command (Mac OS) plus minus (-)
b. Ctrl (Windows) or Command (Mac OS) plus plus (+)
c. Ctrl (Windows) or Command (Mac OS) plus up arrow
d. Ctrl (Windows) or Command (Mac OS) plus down arrow

8. An RGB image automatically has red, green, blue, and ______ channels.
a. cyan
b. overlay
c. black
d. composite

Chapter 3 – Portfolio Builder

Create a Promotional Poster

Imagine you’re the volunteer coordinator for a local conservation group called Hull Shore Cleanup. The group
assists with removing trash that washes up on the local shoreline. To promote an upcoming informational meet-
ing for potential new members, you want to create a poster that you can print numerous copies of and put up in
prominent locations around the community.

You have a background image of a seaside thistle, and you want to duplicate the thistle to add a little more interest
to the image. With the Content-Aware Move tool, you need only a few quick steps to create a copy of the thistle
that combines seamlessly with the background and is also different enough that it doesn’t look like an exact copy
of the original.

DIRECTIONS 6. Drag the selection to the left, and drop it in the
empty area of grass.
1. Choose File > Open, navigate to the folder holding
the data files for this chapter, and select the 7. Right-click (Windows) or Control-click (Mac OS)
PB03Start.psd file. Click Open. the dragged thistle, and choose Flip Horizontal.

2. Choose File > Save As and navigate to the 8. Drag the top left transformation handle to make the
location where your instructor directs you to thistle smaller. If you think the copy of the thistle
save files for this chapter’s projects. Name the should be farther from the original, position the
file PB03End_xx.psd. Then click Save. pointer inside the transformation rectangle (but not
over the anchor point) and drag the thistle copy
3. Select the Content-Aware Move tool in the slightly to the left.
Tools panel.
9. Press Enter or Return to make the transformations
4. In the options bar, choose Extend from the Mode permanent, leaving the content selected so you
menu. Choosing Extend duplicates the thistle; if can adjust the Structure and Color options.
you just want to reposition the single thistle, you
would choose Move. 10. Choose Select > Deselect, and save your changes.

5. Draw a selection marquee around the thistle,
with a margin large enough to include the grass
around it.

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Chapter 3 Improving and Extracting Image Content

11. Select the Eyedropper tool in the Tools panel, then blends into the grass too much, so you’ll change the
click a green area on the thistle to make green the text color.
foreground color.
17. Select the Background layer in the Layers panel.
12. Select the Horizontal Type tool.
18. Select the Eyedropper tool in the Tools panel, then
13. In the options bar, change the font to Arial Narrow click a pink area on the thistle to make pink the
Bold, the font size to 160, and click the Left Align foreground color.
Text button.
19. Select the For more information layer in the Layers
14. Click in the blue area near the upper-left corner, panel, then select the Horizontal Type tool. Drag
and then type Hull Shore Cleanup. Press Enter or over the text on the layer to select it, click the pink
Return, type New Volunteer Meeting. Press Enter Foreground Color swatch in the Tools panel, and
or Return, type 7 p.m. Thursday, and then click the then click OK in the Color Picker dialog box. Click
Commit button on the options bar. the Commit button on the options bar.

15. Select the Horizontal Type tool. 20. Select the Move tool on the Tools panel, and then
drag the For more information layer text down to
16. Drag on the grass to create a box to hold paragraph make it more readable.
text, and then type For more information, go to
www.hullshorecleanup.org, and then click the 21. Save and close the file.
Commit button on the options bar. The dark text

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152 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Improving and Extracting Image Content Chapter 3

Chapter 3 – Critical Thinking

Using Masks to Combine Layers

Masks provide you a means for creating selections within an image. You can place various types of content on dif-
ferent layers in an image, and then apply masks to hide the unwanted content. This gives you the ability to create
high-concept compositions. For example, in this instance, you’ll combine images of a desert, building, and cactus
to create an artist’s conception of a new development site.

DIRECTIONS 10. Select the Move tool in the Tools panel, then drag
the Building layer down and to the right, to par-
1. Choose File > Open, navigate to the folder holding tially cover the dried plant matter.
the data files for this chapter, and select the
CT03Start.psd file. Click Open. 11. In the options bar, click to check the Show
Transform Controls check box. Drag the handles
2. Choose File > Save As and navigate to the and reposition the building as needed to cover
location where your instructor directs you to the plant matter, then click the Commit button
save files for this chapter’s projects. Name the file on the options bar.
CT03End_xx.psd. Then click Save.
12. Click the Visibility column for the Cactus layer
3. In the Layers panel, turn off the Cactus layer and to redisplay the layer, and then click the layer to
click the Building layer to select it. select it.

4. Select the Lasso tool in the Tools panel, and make 13. Select the Quick Selection tool in the Tools panel
a rough selection around the building. and set the Size to 130 in the options bar. Click
near the tip of the front cactus, and then use a
5. In the Layers panel, click the Add Layer Mask combination of clicking and dragging to select it.
button. The background area outside the
selection disappears. 14. In the Layers panel, click the Add Layer Mask
button. The background area outside the
6. Select the Brush tool in the Tools panel. In the selection disappears.
options bar, change the brush size to 100. If black
isn’t the foreground color, click the Swatches 15. Choose Select > Refine Mask. In the Refine Mask
panel tab, and then click the black swatch. dialog box in the Adjust Edge section, increase
the Smooth setting to 50. Click OK. Choose Edit
7. Carefully brush around the edges of the building > Free Transform. In the options bar, change the
to eliminate the background. Get as close as you W (width) and H (height) entries to 50% and then
can without touching the edges of the building. click the Commit button.
(Tips: You can hide the Background layer to ake
the edges a bit easier to see. Use Edit > Undo 16. In the Layers panel, drag the Cactus layer below the
immediately if you make a mistake.) Building layer. You’re going to reposition the cactus
to appear to be behind the left corner of the building.
8. Choose Select > Refine Mask. In the Refine
Mask dialog box in the Adjust Edge section, 17. With the Cactus layer still selected, select the
increase the Smooth setting to 50. Change the Move tool in the Tools panel, then drag the Cactus
Feather setting to 10, and change Shift Edge to to a position to the left corner of the building, so
-20. Click OK. (If these settings don’t work for it appears tucked behind that corner. The front
you, undo the Refine Mask action and redo the sidewalk and entryway roof will appear in front of
step with different settings.) the cactus.

9. Choose Edit > Free Transform. In the options bar, 18. Save your changes, and close the file.
change the W (width) and H (height) entries to
50% and then click the Commit button.

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Chapter 3 Improving and Extracting Image Content

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154 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Chapter 4

Enhancing a Design
with Typographic
and Vector Elements

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 155

CHAPTER 4 Chapter 4 Enhancing a Design with Typographic and Vector Elements
OVERVIEW
Lesson 7 | Typographic Design Lesson 8 | Vector Drawing Techniques
This chapter reviews techniques for
adding and manipulating type and Use guides to position text in a composition Differentiate between bitmap and vector graphics
drawing and using vector paths and Make a clipping mask from type Draw straight and curved paths using the Pen tool
shapes. Merge type with other layers Save paths
Preview fonts Draw and edit shape layers
Lesson 7 Key skills include using rulers Format text Draw custom shapes
and guides, positioning text, previewing Distribute text along a path Import and edit a Smart Object from Adobe Illustrator
fonts, formatting text, and bending text Control type and positioning using advanced features Use Smart Guides
along a path. Add a rounded rectangle and vertical text Learn more about communications skills
Learn more about type design and history
Lesson 8 Key skills include drawing vector End-of-Chapter Activities
paths and shapes and using them to
create vector masks to control what is
shown in an image. You’ll also create and
manipulate your own custom shapes.

Files Needed for This Chapter:

07Start.psd

circuit_board.tif

08Start.psd

08Practice_Start

Logotype.eps

156 LEARNING GRAPHIC DESIGN & ILLUSTRATION

CHAPTER OPENER

Most of what you’ve learned so far involves selecting and making changes to parts
of an image. In this chapter, you’ll learn to add typographic and vector elements
to complement the images you’ve refined. In this chapter, you’ll learn some of
Photoshop’s built-in quick fixes for common issues and learn new ways to select
and manipulate parts of an image.

MEET INDIVIDUAL NEEDS

More advanced learners: Choose up to three more advanced learners—including
any who are already familiar with Photoshop—to act as the Photoshop Shortcut
Police. As you move through the chapter—perhaps the whole book!—it’s their job
to point out keyboard shortcuts for pull-down menu options or other commands.
Have them keep a running list to display or distribute to the class.

156 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Typographic Design Lesson 7 FOCUS AND ENGAGE

Lesson 7 Overview Introduce the Lesson

In this lesson, you’ll learn how to do the following: Ask students to bring in or scan examples
of magazine covers, ads, package
• Use guides to position text in a composition. • Distribute text along a path. graphics, logos, or other designs that
combine photographic images with type.
• Make a clipping mask from type. • Control type and positioning using advanced Share examples as you review the skills
• Merge type with other layers. features. listed in the Lesson 7 Overview.
• Preview fonts.
• Format text. • Add a rounded rectangle and vertical text. REVIEW THE
VOCABULARY
• Learn more about type design and history.
Type Mathematically defined shapes
Photoshop provides powerful, flexible text tools so you can add type to your images with great control and cre- that describe the letters, numbers, and
ativity. In this lesson, you’ll use a variety of techniques for using type in a composition. You’ll learn how to position symbols of a typeface
text with precision, preview fonts, format text, bend text along a path, and more.
MEET INDIVIDUAL
About Type Type NEEDS

Type in Photoshop consists of mathematically defined shapes that describe the let- Mathematically defined shapes English language learners Have English
ters, numbers, and symbols of a typeface. Many typefaces are available in more than that describe the letters, language learners translate the vocabulary
one format, the most common formats being Type 1 or PostScript fonts, TrueType, numbers, and symbols of a words and definitions into their native
and OpenType (see “OpenType in Photoshop” later in this lesson). typeface. language and read them aloud to a partner
in both English and their native language.
When you add type to an image in Photoshop, the characters are composed of
pixels and have the same resolution as the image file—zooming in on characters
shows jagged edges. However, Photoshop preserves the vector-based type
outlines and uses them when you scale or resize type, save a PDF or EPS file,
or print the image to a PostScript printer. As a result, you can produce type
with crisp, resolution-independent edges, apply effects and styles to type,
and transform its shape and size.

Opening the Project File

In this lesson, you’ll work on the layout for the cover of a technology magazine. You’ll
start with the artwork you created in Lesson 6: The cover has a model, his shadow,
and the orange background. You’ll add and stylize type for the cover, including
warping the text.
You’ll apply the type treatment in Photoshop to finish the magazine cover. All of the
type controls you need are available in Photoshop, so you don’t have to switch to
another application to complete the project.

Try It!

1. Start Photoshop, and then immediately hold down Ctrl+Alt+Shift (Windows) or
Command+Option+Shift (Mac OS) to restore the default preferences.

2. When prompted, click Yes to delete the Adobe Photoshop Settings file.

3. Choose File > Open, and navigate to the folder holding the data files for
this chapter.

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TEACHING TIP Lesson 7 Typographic Design

For step 7, some versions of Photoshop Note: Though this lesson starts 4. Double-click the 07Start.psd file to open it in Photoshop.
call this the “Graphic and Web” workplace where Lesson 6 left off, use the
instead of “Typography”. 07Start.psd file. We’ve included 5. Choose File > Save As, navigate to the location where your instructor directs you to
a path and a sticky note in the save files for this chapter’s projects, rename the file 07End_xx.psd, and click Save.
REVIEW THE start file that won’t be in the
VOCABULARY 06End_xx.psd file you saved. 6. Click OK in the Photoshop Format Options dialog box.

Clipping mask One or more objects Clipping mask 7. Choose Typography from the Workspace Switcher in the options bar.
masking other artwork, so that only areas One or more objects masking The Typography workspace displays the Character and Paragraph panels that
within the clipping mask are visible. other artwork, so that only you’ll use in this lesson, along with the Paragraph Styles, Character Styles, Glyphs,
Point type A single letter, word, or line of areas within the clipping mask Layers, Channels, and Paths panels.
text added to a file in Photoshop. are visible.
Paragraph type Multiple lines of text Creating a Clipping Mask from Type
forming one or more paragraphs added
to a file in Photoshop. A clipping mask is an object or a group of objects whose shape masks other
artwork so that only areas that lie within the clipping mask are visible. In effect,
you are clipping the artwork to conform to the shape of the object (or mask). In
Photoshop, you can create a clipping mask from shapes or letters. In this exer-
cise, you’ll use letters as a clipping mask to allow an image in another layer to
show through the letters.

Adding Guides to Position Type

The 07End_xx.psd file includes a background layer, which will be the foundation for
your typography. You’ll start by zooming in on the work area and using ruler guides
to help position the type.

Try It!

1. Choose View > Fit On Screen to see the whole cover clearly.

2. Choose View > Rulers to display rulers along the left and top borders of the
image window.

3. Drag a vertical guide from the left ruler to the center of the cover (4.25’’).

Point type Drag from a ruler to create a guide.
A single letter, word, or line of
text added to a file in Photoshop. Adding Point Type

Paragraph type Now you’re ready to add type to the composition. You can create horizontal or verti-
Multiple lines of text forming one cal type anywhere in an image. You can enter point type (a single letter, word, or line)
or more paragraphs added to a or paragraph type. You will do both in this lesson. First, you’ll create point type.
file in Photoshop.

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Typographic Design Lesson 7 Discussion Topic

Try It! Step 4 says the Minion Pro Regular
type you added is “big enough, but not
1. In the Layers panel, select the Background layer. modern enough, for this magazine’s
2. Select the Horizontal Type tool ( ), and, in the options bar, do the following: style”. Do you agree?

• Choose a serif typeface, such as Minion Pro Regular, from the Font Family
pop-up menu.

• Type 144 pt for the Size, and press Enter or Return.
• Click the Center Text button.
3. In the Character panel, change the Tracking value to 100.

Find the Tracking setting in the Character panel. Note: After you type, you must
commit your editing in the layer
The Tracking value specifies the overall space between letters, which affects the by clicking the Commit Any
density in a line of text. Current Edits button or switching
to another tool or layer. You
4. Click on the center guide you added to set an insertion point, and type DIGITAL cannot commit to current edits
in all capital letters. Then click the Commit Any Current Edits button ( ) in the by pressing Enter or Return;
options bar. doing so merely creates a new
line of type.

The new type layer appears in the Layers panel.

The word “DIGITAL” is added to the cover, and it appears in the Layers panel
as a new type layer named DIGITAL. You can edit and manage the type layer
as you would any other layer. You can add or change the text, change the
orientation of the type, apply anti-aliasing, apply layer styles and transforma-
tions, and create masks. You can move, restack, and copy a type layer, or edit
its layer options, just as you would for any other layer.

The text is big enough, but not modern enough, for this magazine’s style. You’ll
apply a different font.

5. Select the Horizontal Type tool ( ), and select the “DIGITAL” text.

6. Open the Font Family pop-up menu in the options bar. Move the cursor over the
fonts, either with the mouse or using arrow keys.

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Discussion Topic Lesson 7 Typographic Design

What is a circuit board? Where are you When the mouse pointer is over a font name, Photoshop applies that font to the
most likely to see one? selected text so you can preview the font in context.
7. Select Myriad Pro Semibold, and then click the Commit Any Current Edits button
( ) in the options bar.
That’s much more appropriate.
8. Select the Move tool, and drag the “DIGITAL” text to move it to the top of the
cover, if it’s not there already.
9. Choose File > Save to save your work so far.

The new type layer moved to the top of the cover.

Making a Clipping Mask and Applying a Shadow

You added the letters in black, the default text color. However, you want the letters to
appear to be filled with an image of a circuit board, so you’ll use the letters to make a
clipping mask that will allow another image layer to show through.

Try It!

1. Choose File > Open, navigate to the folder holding the data files for this chapter,
and open the Circuit_board.tif file.

2. Choose Window > Arrange > 2-Up Vertical. The Circuit_board.tif and
07End_xx.psd files appear onscreen together. Click the Circuit_board.tif file to
ensure that it’s the active window.

3. With the Move tool selected, hold down the Shift key as you drag the Back-
ground layer from the Layers panel in the Circuit_board.tif file onto the center
of the 07End_xx.psd file.
Pressing Shift as you drag centers the Circuit_board.tif image in the composition.

Copying a layer from one image to another.

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Typographic Design Lesson 7 Discussion Topic

A new layer—Layer 1—appears in the Layers panel for the 07End_xx.psd file. How does the application of the Inner
This new layer contains the image of the circuit board, which will show through Shadow layer style affect the text?
the type. But before you make the clipping mask, you’ll resize the circuit board Encourage students to experiment with
image, as it’s currently too large for the composition. the Layer Style settings and see what
they like.
4. Close the Circuit_board.tif file without saving any changes to it.

5. In the 07End_xx.psd file, select Layer 1, and then choose Edit > Transform > Scale.

6. Grab a corner handle on the bounding box for the circuit board. Press Alt+Shift
(Windows) or Option+Shift (Mac OS) as you resize it to approximately the same
width as the area of text.
Pressing Shift retains the image’s proportions; Alt or Option keeps it centered.

7. Reposition the circuit board so that the image covers the text, and press Enter or
Return to confirm the transformation.

Transforming and moving the Circuit Board layer.

8. Double-click the Layer 1 name, and change it to Circuit Board. Then press Enter
or Return, or click away from the name in the Layers panel, to apply the change.

9. Select the Circuit Board layer, if it isn’t already selected, and choose Create Clip-
ping Mask from the Layers panel menu ( ).
The circuit board now shows through the DIGITAL letters. A small arrow in the
Circuit Board layer and the underlined type layer name indicate the clipping mask
is applied. Next, you’ll add an inner shadow to give the letters depth.

10. Select the DIGITAL layer to make it active. Then, click the Add A Layer Style but-
ton ( ) at the bottom of the Layers panel, and choose Inner Shadow from the
pop-up menu.

Adding a shadow to the text.

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TEACHING TIP Lesson 7 Typographic Design

Many companies have a defined style 11. In the Layer Style dialog box, change the Blend Mode to Multiply, Opacity to
their employees are required to use in 48%, Distance to 18, Choke to 0, and Size to 16. Then click OK.
letters, emails, and other documents that
represent the company. Imagine that your 12. Choose File > Save to save your work so far.
company wants you to communicate
exclusively in Century Gothic and the Paragraph and Character Styles
company colors are orange (C: 0, M: 75,
Y: 100, K: 0) and blue (C: 100, M: 50, Y: 0, If you frequently work with type in Photoshop, or if you need to consistently
K: 0). How could you create character or format a significant amount of type in an image, paragraph and character styles
paragraph styles to help you streamline can help you work more efficiently. A paragraph style is a collection of type attri-
your work? butes that you can apply to an entire paragraph with a single click. A character style
is a collection of attributes that you can apply to individual characters.
In step #2, if you don’t see the Paths The concept of type styles in Photoshop is similar to that in page layout appli-
tab in the Layers Panel group, go to cations such as Adobe InDesign and word-processing applications such as
Window > Paths to view it. Microsoft Word. However, styles behave a little differently in Photoshop. For the
best results working with styles in Photoshop, keep the following in mind:

• By default, all text you create in Photoshop has the Basic Paragraph
style applied. The Basic Paragraph style is defined by your text defaults,
but you can change its attributes.

• Deselect all layers before you create a new style.
• If the selected text has been changed from the current paragraph style

(usually the Basic Paragraph style), those changes (considered over-
rides) persist even when you apply a new style. To ensure that all the
attributes of a paragraph style are applied to text, apply the style, and
then click the Clear Overrides button in the Paragraph Styles panel.
• You can use the same paragraph and character styles across multi-
ple files. To save the current styles as defaults for all new documents,
choose Type > Save Default Type Styles. To use your default styles in an
existing document, choose Type > Load Default Type Styles.

Creating Type on a Path

In Photoshop, you can create type that follows along a path that you create with
a pen or shape tool. The direction the type flows depends on the order in which
anchor points were added to the path. When you use the Horizontal Type tool to
add text to a path, the letters are perpendicular to the baseline of the path. If you
change the location or shape of the path, the type moves with it.
You’ll create type on a path to make it look as if questions are coming from the model’s
mouth. We’ve already created the path for you.

Try It!

1. In the Layers panel, select the Background layer.

2. Select the Paths tab in the Layers panel group.

3. In the Paths panel, select the path named Speech Path.
The path appears to be coming out of the model’s mouth.

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Typographic Design Lesson 7 TEACHING TIP

4. Select the Horizontal Type tool. Encourage students to tab between the
5. In the options bar, click the Right Align Text button. text data settings this exercise.
6. In the Character panel, select the following settings:

• Font Family: Myriad Pro Regular
• Font Style: Regular
• Font Size ( ): 16 pt
• Tracking ( ): -10
• Color: White
• All Caps ( )
7. Move the Type tool over the path. When a small slanted line appears across the
I-bar, click the end of the path closest to the model’s mouth, and type What’s
new with games?

Typing text on the path.

8. Select the word “GAMES,” and change its font style to Bold. Click the Commit
Any Current Edits button ( ) in the options bar.

9. Click the Layers tab to bring it forward. In the Layers panel, select the What’s
new with games? layer, and then choose Duplicate Layer from the Layers panel
menu. Name the new layer What’s new with music?, and click OK.

10. Photoshop creates a duplicate text layer, hiding the text you typed earlier.

11. With the Type tool, select “GAMES,” and replace it with music. Click the Commit
Any Current Edits button in the options bar.

12. Choose Edit > Free Transform Path. Rotate the left side of the path approximate-
ly 30 degrees, and then shift the path up above the first path, and a little to the
right. Click the Commit Transform button in the options bar.

13. Repeat steps 9–11, replacing the word “GAMES” with phones. Rotate the left side
of the path approximately -30 degrees, and move it below the original path.

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Discussion Topic Lesson 7 Typographic Design

Review the Type Tool Tricks from the 14. Choose File > Save to save your work so far.
Photoshop Evangelist. Students may find
any or all of these shortcuts helpful during The image now has three layers holding type on a path.
the exercises on pages 164-168.
Julieanne Kost is an official Adobe Photoshop evangelist.
REVIEW THE
VOCABULARY Tool Tips from the Photoshop Evangelist

Warping The ability to distort type to Type Tool Tricks
conform to a variety of shapes, such as an • Shift-click in the image window with the Horizontal Type tool to create
arc or wave. a new type layer—in case you’re close to another block of type and
Photoshop tries to autoselect the existing type layer.
Discussion Topic
• Double-click the thumbnail icon on any type layer in the Layers panel
What does warped mean? What does a to select all of the type on that layer.
warped piece of wood look like and how
does it get that way? • With any text selected, right-click (Windows) or Control-click (Mac OS)
on the text to access the context menu. Choose Check Spelling to run
a spell check.

Warping Warping PointType

Distorting type to conform to a The text on a curvy path is more interesting than straight lines would be, but you’ll
variety of shapes, such as an arc warp the text to make it more playful. Warping lets you distort type to conform to a
or a wave. variety of shapes, such as an arc or a wave. The warp style you select is an attribute of
the type layer—you can change a layer’s warp style at any time to change the overall
shape of the warp. Warping options give you precise control over the orientation and
perspective of the warp effect.

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Try It! Encourage students to experiment with
the various Warp Text styles and settings
1. Scroll or use the Hand tool ( ) to move the visible area of the image window in step 3.
so that the sentences to the left of the model are in the center of the screen.

2. Right-click (Windows) or Control-click (Mac OS) the What’s new with games?
layer in the Layers panel, and choose Warp Text from the context menu.

3. In the Warp Text dialog box, choose Wave from the Style menu, and select the
Horizontal option. Specify the following values: Bend, +33%; Horizontal Distor-
tion, -23%; and Vertical Distortion, +5%. Then click OK.
The Bend slider specifies how much warp is applied. Horizontal Distortion and
Vertical Distortion determine the perspective of the warp.

The words “What’s new with games?” appear to float like a wave on the cover.

4. Repeat steps 2 and 3 to warp the other two text layers you typed on a path.

The type on all three layers has been warped.

5. Save your work.

Designing Paragraphs of Type

All of the text you’ve written on this cover so far has been a few discrete words or
lines—point type. However, many designs call for full paragraphs of text. You can
design complete paragraphs of type in Photoshop; you can even apply paragraph
styles. You don’t have to switch to a dedicated page layout program for sophisticated
paragraph type controls.

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TEACHING TIP Lesson 7 Typographic Design

How did the sticky note get there? Click Using Guides for Positioning
the Notes icon in the left-side tool panel
(it looks like a sheet of paper with the You will add paragraphs to the cover in Photoshop. First, you’ll add some guides to
bottom right corner dog-eared). If you the work area to help you position the paragraph.
don’t see it, click on the row of three
dots beneath the Magnifying Glass tool Try It!
to reveal a menu of additional tools. Click
to activate the Notes Tool, then click 1. Drag a guide from the left vertical ruler, placing it approximately 1/4’’ from the
anywhere inside the image to place a right side of the cover.
note. Double-click the Note thumbnail to
open the Notes Panel and type your note. 2. Drag a guide down from the top horizontal ruler, placing it approximately 2’’
from the top of the cover.

Horizontal and vertical guides in the image.

Adding Paragraph Type from a Sticky Note

You’re ready to add the text. In a real design environment, the text might be provided
to you in a word-processing document or the body of an email message, which you
could copy and paste into Photoshop. Or you might have to type it in. Another easy
way to add a bit of text is for the copywriter to attach it to the image file in a sticky
note, as we’ve done for you here.

Try It!

1. Select the Move tool, and then double-click the yellow sticky note in the lower
right corner of the image window to open the Notes panel. Expand the Notes
panel, if necessary, to see all the text.

Viewing the text in the Notes panel.
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Typographic Design Lesson 7 REVIEW THE
VOCABULARY
2. In the Notes panel, select all the text. Press Ctrl+C (Windows) or Command+C Note: Press Shift as you start to
(Mac OS) to copy the text to the clipboard. Close the Notes panel. drag a text box to ensure that Leading A setting that determines the
Photoshop creates a new text vertical space between lines.
3. Select the Model layer. Then, select the Horizontal Type tool ( ). layer, instead of selecting an
existing text layer. TEACHING TIP
4. Press Shift as you point to where the guidelines intersect, about 1/4’’ from the
right edge and 2’’ from the top of the cover. Continue to hold the Shift key as Note: If the text isn’t visible, Leading (rhymes with heading) is applied
you start to drag a text box down and to the left. Then release the Shift key and make sure the new type layer to whole words, lines, or blocks of text.
continue dragging until the box is about 4 inches wide by 8 inches high, the top is above the Model layer in the It’s different from kerning, which is the
and right edges aligned with the guides you just added. Layers panel. adjusting of individual spaces between
letters in a word or headline.
5. Press Ctrl+V (Windows) or Command+V (Mac OS) to paste the text. The new text Leading
layer is at the top of the Layers panel, so the text appears in front of the model. A setting that determines the
The pasted text is 16 pts, and it’s right-aligned, because those were the latest text vertical space between lines.
settings you’d used.
Note: Use the Glyphs panel to
6. Select the first three lines (“The Trend Issue”), and then apply the following set- access the full range of alternate
tings in the Character panel: characters in OpenType fonts.
• Font Family: Myriad Pro (or another sans serif font) When editing text, double-click
• Font Style: Regular a character in the Glyphs panel
• Font Size ( ): 70 pt to add it to the text. If you see
• Leading ( ): 55 pt a black dot in the bottom right
• Tracking ( ): 50 corner of a character’s box in
• Color: White the Glyphs panel, click it and
hold down the mouse button
7. Select just the word “Trend,” and change the Font Style to Bold. to see alternate versions of that
You’ve formatted the title. Now you’ll format the rest of the text. character, and then choose one
to add it to the text.
8. Select the rest of the text you pasted. In the Character panel, select the
following:
• Font Family: Myriad Pro
• Font Style: Regular
• Font Size: 22 pt
• Leading: 28 pt
• Tracking: 0
• Deselect All Caps ( )
The text looks good, but it’s all the same. You’ll make the headlines stand out more.

9. Select the “What’s Hot!” text, and then change the following in the Character panel:
• Font Style: Bold
• Font Size: 28 pt

10. Repeat step 9 for the “What’s Not” and “Coming this Year” subheads.

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MEET INDIVIDUAL Lesson 7 Typographic Design
NEEDS
11. Select “Coming this year” and all the text that follows it. Then, in the Character
More advanced learners: Consider asking panel, change the text color to Black.
advanced learners—including any who
are already familiar with Photoshop—to The paragraph type with formatting.
investigate features of OpenType and
share how to use them with the class. 12. Finally, click the Commit Any Current Edits button in the options bar.
13. Save your changes.

OpenType in Photoshop

OpenType is a cross-platform font file format developed jointly by Adobe and
Microsoft. The format uses a single font file for both Mac OS and Windows,
so you can move files from one platform to another without font substitution
or reflowed text. OpenType offers widely expanded character sets and layout
features, such as swashes and discretionary ligatures, that aren’t available in tra-
ditional PostScript and TrueType fonts. This, in turn, provides richer linguistic sup-
port and advanced typography control. Here are some highlights of OpenType.
The OpenType menu. The Character panel menu includes an OpenType sub-
menu that displays all available features for a selected OpenType font, including
ligatures, alternates, and fractions. Dimmed features are unavailable for that
typeface; a check mark appears next to features that have been applied.
Discretionary ligatures. To add a discretionary ligature to two OpenType letters,
such as to “th” in the Bickham Script Standard typeface, select them in the file,
and choose OpenType > Discretionary Ligatures from the Character panel menu.
Swashes. Adding swashes or alternate characters works the same way. Select
the letter, such as a capital “T” in Bickham Script, and choose OpenType >
Swash to change the ordinary capital into a dramatically ornate swash “T.”
True fractions. To create true fractions, type the fraction’s characters—for
example, 1/2. Then, select the characters, and from the Character panel menu,
choose OpenType > Fractions. Photoshop applies the true fraction (½).
The Glyphs panel. The Glyphs panel lists all characters available for a font,
including specialized characters and alternate versions such as swashes. A
menu under the font name lets you display a writing system such as Arabic,
or a category of characters such as punctuation or currency symbols. A black
dot in the bottom right corner of a character’s box indicates that alternates are
available for that character; click and hold the mouse on the character to view
its alternate glyphs or to choose one to enter into a text layer.
Note that some OpenType fonts have more options than others.

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Typographic Design Lesson 7 TEACHING TIP

Adding a Rounded Rectangle A magazine’s volume number indicates
how many years it has been in
You’re almost done with the text for the magazine cover. All that remains is to add publication. The Issue number tells where
the volume number in the upper right corner. First, you’ll create a rectangle with a particular issue falls in the number of
rounded corners to serve as a background for the volume number. issues per year. For example, if a monthly
magazine was first published in January
Try It! 2010, its August 2017 issue would be
Volume 7, Issue 8. The convention comes
1. Select the Rounded Rectangle tool ( ), hidden beneath the Rectangle tool ( ), from the tradition of binding magazines
in the Tools panel. into large volumes for reference
post-publication.
2. Draw a rectangle in the space above the letter “L” in the upper right corner of the
cover, placing its right edge along the guide.

3. In the Properties panel, type 67 px for the width, and then make sure the stroke
width is 3 pt.

4. Click the fill color swatch in the Properties panel, and select the Pastel Yellow
Orange swatch in the third row.
By default, all the corners in the rectangle have the same radius, but you can ad-
just the radius for each corner separately. You can even return to edit the corners
later if you want to. You’ll change the rectangle so that only the lower left corner
is rounded, changing the others to right angles.

5. Unlink the corner radius values in the Properties panel. Then change the bottom
left corner to 16 px, and set all the others to 0 px.

6. With the Move tool, drag the rectangle to the top of the image so it hangs down
like a ribbon and its right edge is next to the ruler guide.

7. Select Show Transform Controls in the options bar. Drag the bottom of the rect-
angle down so that it’s close to the letter “L.” You want the rectangle to be long
enough to contain the text. Then click the Commit Transform button ( ).

Adding Vertical Text

You’re ready to add the volume number on top of the ribbon.

Try It!

1. Choose Select > Deselect Layers. Then select the Vertical Type tool ( ), which
is hidden under the Horizontal Type tool.

2. Press the Shift key, and click inside the rectangle you just created.
Pressing the Shift key as you click ensures that you create a new text box instead
of selecting the title.

3. Type VOL 9.
The letters are too large to view. You’ll need to change their size to see them.

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TEACHING TIP Lesson 7 Typographic Design

To remove unneeded guides, go to View > 4. Choose Select > All, and then, in the Character panel, select the following:
Clear Guides. • Font Family: a sans-serif typeface, such as Myriad Pro
• Font Style: a light or narrow style, such as Light Condensed
• Font size: 15 pt
• Tracking: 10
• Color: Black

The added vertical text.

5. Click the Commit Any Current Edits button ( ) in the options bar. Your vertical
text now appears as the layer named VOL 9. Use the Move tool to center it in the
ribbon, if necessary.
Now, you’ll clean up a bit.

6. Click the note to select it. Then right-click (Windows) or Control- click (Mac OS),
and choose Delete Note from the context menu; click Yes to confirm that you
want to delete the note.

Deleting the sticky note.

7. Hide the guides: Choose View > Clear Guides. Choose the Hand tool ( ), and
then press Ctrl+; (Windows) or Command+; (Mac OS). Then zoom out to get a
nice look at your work.

8. Choose File > Save to save your work.
Congratulations! You’ve added and stylized all of the type on the Digital mag-
azine cover. Now that the magazine cover is ready to go, you’ll flatten it and
prepare it for printing.

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Typographic Design Lesson 7 Discussion Topics

Why is step 9—the Save As before
flattening step—a good idea?

Text has two purposes. What are they? (to
read as legible and to convey meaning)

The finished cover.

9. Choose File > Save As, rename the file 07End_flattened_xx, and click Save.
Click OK if you see the Photoshop Format Options dialog box.
Keeping a layered version lets you return to the 07End.psd file in the future
to edit it.

10. Choose Layer > Flatten Image.

11. Choose File > Save, and then close the image.

Saving as Photoshop PDF

The type you’ve added consists of vector-based outlines, which remain crisp
and clear as you zoom in or resize them. However, if you save the file as a JPEG
or TIFF image, Photoshop rasterizes the type, so you lose that flexibility. When
you save a Photoshop PDF file, vector type is included.

You can preserve other Photoshop editing capabilities in a Photoshop PDF file,
too. For example, you can retain layers, color information, and even notes.

To ensure you can edit the file later, select Preserve Photoshop Editing
Capabilities in the Save Adobe PDF dialog box.

To preserve any notes in the file and convert them to Acrobat comments when
you save to PDF, select Notes in the Save area of the Save As dialog box.

You can open a Photoshop PDF file in Acrobat or Photoshop, place it in another
application, or print it. For more information about saving as Photoshop PDF,
see Photoshop Help.

More about Type Design and History

Designers use type in almost all of their work. They might use large amounts of type,
flowing it across multiple pages, as in a book, newsletter, or website; they might use
small amounts of type in harmonious integration with imagery, for example, as part
of a brochure cover or logotype. The designer’s job in using type effectively is to
make the most of its dual purposes—to read as legible text and to convey meaning.

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TEACHING TIP Lesson 7 Typographic Design

As a warm-up to Speaking with Type, Typeface Speaking with Type
share the same headline or line of text in
multiple fonts. What kind of tone or mood A single design of type If you say the word rose very softly, it implies something delicate. Shouting the
does each one convey? Are some more comprising the full alphabet same word gives it a whole different meaning, adding an unexpected harshness and
serious or authoritative than others? How and all corresponding fonts thorniness. Designers can convey similar nuances of meaning through type, using
about more traditional, contemporary, (variations such as regular, italic, elements of type to express mood and suggest tones of voice.
formal, silly, or playful? bold, and bold italic).
Any typeface suggests these nuanced meanings. A light serif typeface (its main
REVIEW THE Serif strokes finished off with shorter perpendicular ones) has a classical connotation, and
VOCABULARY a bold sans serif typeface (without any finishing strokes) conveys a more industrial
The short perpendicular strokes feeling. Each adds meaning to the word it creates, just as adjectives add meaning to
Typeface A single design of type that finish off the main strokes on nouns. The arrangement of letterforms, the typography, adds a compositional aspect
comprising the full alphabet and all serif typefaces. to letters and words. Principles such as contrast, unity, and rhythm should all be con-
corresponding fonts (variations such as sidered when designing with type.
regular, italic, bold, and bold italic). Sans serif
The history of a typeface, why and by whom it was drawn as well as how it has been
Serif The short perpendicular strokes The French word “sans” means used by other graphic designers, is valuable information that can strengthen how you
that finish off the main strokes on serif “without,” so the full translation make decisions in choosing typefaces. This knowledge helps you make thoughtful
typefaces. is “without serif”. Used to refer choices, not random selections based only on what you think looks nice. Although
to a typeface without serif aesthetics are important, type and typography involve much, much more.
Sans serif The French word “sans” means cross-strokes.
“without,” so the full translation is “without For example, the animal shelter logo by Yevgeniya Falkova uses type to appeal to our
serif.” Used to refer to a type face without emotions, its letters blending into an illustration of creatures, creating a friendly feel
serif cross-strokes. for the organization. The animal faces stare out at us, and chances are, we smile back
with empathy.
Discussion Topics
YEVGENIYA FALKOVA. Proposed logo for a local animal shelter.
If anyone’s ever tried calligraphy, serifs are
the thin upstrokes at the beginning and Historical Type
end of each letter stroke.
Since Johannes Gutenberg (c. 1398–1468) first set type for a Bible in 1454, standards
Do students see the two animals in concerning type legibility have remained fairly consistent. The proper spacing of let-
the animal shelter logo? What are their ters or the handling of column widths and paragraph breaks all continue, learned by
opinions of this logo? How might they each new generation. What has changed most is the technology of type.
handle the same job differently? Hot lead casts of individually carved letters (hot type) and later type produced by
photocomposition devices of the 1950s (cold type) were made by mechanical
means. It wasn’t until the early 1980s that digital bits replaced the type previously
made with wood and metal or with camera lenses and exposed film. Digital tech-
nology has put type much more directly into the hands of graphic designers, who
can now manipulate type with a freedom and accessibility never before available.

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Typographic Design Lesson 7 TEACHING TIP

The professional typesetter’s stand and a hand-assembled set of letters are now his- Each of the silvery bars in the drawer
toric icons. To us today, the mechanical processes seem as though they would have below the composing stick is an
been too bulky to have produced sensitive letterforms and compositions, and yet the individual letter.
typefaces and arrangements by many early designers, including Americans such as
Frederic Goudy (1865–1947) and Bruce Rogers (1870–1957), were amazingly grace- Ask students to choose a typeface
ful and functional. The type specimen book designed by Rogers for Goudy’s typeface and create a “sampler” similar to the
Italian Old Style is a beautiful example. Although nearly 100 years old, the piece still one Bruce Rogers created for Frederic
looks fresh and inventive. The appeal of the design endures to this day, just as many Goudy’s Italian Old Style. Include a short
typefaces themselves have endured. Many are still in use today because each of paragraph on the typeface’s history and
the letters possesses careful, intelligent, and lasting form. Type has this potential for designer. Choose an OpenType face,
enduring quality and appeal. if possible, and include in the sampler
several of the Open Type features that are
built in to it.

Composing stick and metal letters in a type case. Small sections of text were set by placing individual
letters in the stick and then transferring them to larger sections of type to create a page.

BRUCE ROGERS. Type specimen book designed for Frederic Goudy’s typeface Italian Old Style. 1924.

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TEACHING TIP Lesson 7 Typographic Design

Another way to ask Comprehension Comprehension Check
Check question number 1 is “What is type
made of? And what happens when you 1. How does Photoshop treat type?
add type to a Photoshop file?” 2. How is a text layer the same as or different from other layers in Photoshop?
3. What is a clipping mask, and how do you make one from type?
Comprehension Check
174 LEARNING GRAPHIC DESIGN & ILLUSTRATION
1. Type in Photoshop consists of mathe-
matically defined shapes that describe
the letters, numbers, and symbols of
a typeface. When you add type to an
image in Photoshop, the characters
are composed of pixels and have the
same resolution as the image file.
However, Photoshop preserves the
vector-based type outlines and uses
them when you scale or resize type,
save a PDF or EPS file, or print the im-
age to a PostScript printer.

2. Type that is added to an image ap-
pears in the Layers panel as a text
layer that can be edited and managed
in the same way as any other kind of
layer. You can add and edit the text,
change the orientation of the type,
and apply anti-aliasing as well as
move, restack, copy, and change the
options for layers.

3. A clipping mask is an object or group
whose shape masks other artwork
so that only areas that lie within the
shape are visible. To convert the let-
ters on any text layer to a clipping
mask, make sure the layer you want
to reveal is directly above the text
layer, select the layer you want to
show through the letters, and choose
Create Clipping Mask from the Layers
panel menu.

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Vector Drawing Techniques Lesson 8 FOCUS AND ENGAGE

Lesson 8 Overview Introduce the Lesson

In this lesson, you’ll learn how to do the following: As you review the skills listed in the
Lesson 8 Overview, share that another
• Differentiate between bitmap and vector graphics. • Draw custom shapes. way to differentiate vector vs. bitmap
is that you can actually draw a vector
• Draw straight and curved paths using the Pen tool. • Import and edit a Smart Object from Adobe graphic in a program like Photoshop or
• Save paths. Illustrator. Adobe Illustrator. The Adobe Creative
• Draw and edit shape layers. Cloud logo is a vector graphic, for
• Use Smart Guides. example, as are the logos for Google and
Apple. In this chapter you’ll learn to draw
• Learn more about communications skills lines and curves that are the building
blocks of such logos.
Unlike the bitmap images you’ve worked with so far, vector images retain their crisp edges when you enlarge them
to any size. You can draw vector shapes and paths in your Photoshop images and add vector masks to control REVIEW THE
what is shown in an image. This lesson introduces you to the key skills you need for working with vector images, VOCABULARY
including working with paths, shape layers, Smart Objects, and Smart Guides.
Vector The mathematically defined lines
About Bitmap Images and Vector Graphics and curves that create a graphic.

Before working with vector shapes and vector paths, it’s important to understand Vector
the basic differences between the two main categories of computer graphics: bit-
map images and vector graphics. You can use Photoshop to work with either type The mathematically defined lines
of graphic; in fact, you can combine both bitmap and vector data in an individual and curves that create a vector
Photoshop image file. graphic.

Bitmap images, technically called raster images, are based on a grid of dots
known as pixels. Each pixel is assigned a specific location and color value. In
working with bitmap images, you edit groups of pixels rather than objects or
shapes. Because bitmap graphics can represent subtle gradations of shade and
color, they are appropriate for continuous-tone images such as photographs or
artwork created in painting programs. A disadvantage of bitmap graphics is that
they contain a fixed number of pixels. As a result, they can lose detail and appear
jagged when scaled up on screen or printed at a lower resolution than they were
created for.

Vector graphics are made up of lines and curves defined by mathematical objects
called vectors. These graphics retain their crispness whether they are moved,
resized, or have their color changed. Vector graphics are appropriate for illustrations,
type, and graphics such as logos that may be scaled to different sizes.

Logo drawn as vector art.

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REVIEW THE Lesson 8 Vector Drawing Techniques
VOCABULARY
Path Logo rasterized as bitmap art.
Path A curved or straight line segment
drawn with the Pen tool, Freeform Pen A curved or straight line segment About Paths and the Pen Tool
tool, or a shape tool that serves as the drawn with the Pen tool,
outline of a vector shape. Freeform Pen tool, or a shape In Photoshop, the outline of a vector shape is a path. A path is a curved or straight
tool that serves as the outline of line segment you draw using the Pen tool, Freeform Pen tool, or a shape tool. The
TEACHING TIP a vector shape. Pen tool draws paths with the greatest precision; shape tools draw rectangles,
ellipses, and other shape paths; the Freeform Pen tool draws paths as if you were
Check in with you Shortcut Police as drawing with a pencil on paper.
you review the Photoshop Evangelist tip.
How’s their list of keyboard shortcuts
coming? Can the rest of the class spot
anything they’ve missed so far?

Tools for creating and working with paths.

Paths can be open or closed. An open path (such as a wavy line) has two distinct
endpoints. A closed path (such as a circle) is continuous. The type of path you draw
affects how it can be selected and adjusted.

Paths that have no fill or stroke do not print when you print your artwork. This is
because paths are vector objects that contain no pixels, unlike the bitmap shapes
drawn by the Pencil tool and other painting tools.

Julieanne Kost is an official Adobe Photoshop evangelist.

Tool Tips from the Photoshop Evangelist

Accessing Tools Quickly
Each tool in the Tools panel has a single-letter keyboard shortcut. Type the
letter, get the tool. Press Shift with the shortcut key to cycle through any nested
tools in a group. For example, press P to select the Pen tool, and press Shift+P
to toggle between the Pen and Freeform Pen tools.

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Vector Drawing Techniques Lesson 8 Discussion Topic

Opening the Practice File What are the two types of anchor points
when you’re using the pen tool? What are
In this lesson, you’ll draw a path around a coffee cup in an image, and create another the types of segments?
path inside the handle. You’ll subtract one selection from the other so that a light-
ning bolt shape (provided in the Shapes panel) knocks out of the cup shape. Finally,
you’ll import an Illustrator title treatment as a Smart Object and apply a color and
emboss effect.
To create the final sign, you’ll trace the coffee cup in an image, and use that tracing
to make a vector logo. You’ll resize that logo and combine it with an Illustrator typo-
graphic logo imported as a Smart Object.
First, however, you’ll practice making paths and selections in a separate practice file
using the Pen tool.

Try It!

1. Start Photoshop, and then immediately hold down Ctrl+Alt+Shift (Windows) or
Command+Option+Shift (Mac OS) to restore the default preferences.

2. When prompted, click Yes to delete the Adobe Photoshop Settings file.

3. Choose File > Open, and navigate to the folder that holds the data files for
this chapter.

4. Double-click the 08Practice_Start.psd file to open it in Photoshop.

5. Choose File > Save As, navigate to the location where your instructor directs
you to save files for this chapter’s projects, rename the file 08Practice_End_
xx.psd, and click Save. If the Photoshop Format Options dialog box appears,
click OK.

Drawing with the Pen Tool

The Pen tool works a little differently from most Photoshop tools. We’ve created a
practice file which you can use to get familiar with the Pen tool before making your
Kailua Koffee sign.
Paths include anchor points (smooth and corner) and segments (straight and
curved). Working in the practice file, you’ll get a feel for the Pen tool by drawing a
straight path, a simple curve, and then an S-curve before you practice tracing the
coffee cup.

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TEACHING TIP Lesson 8 Vector Drawing Techniques

In step 2, bullet 2, the Rubber Band tool The practice file includes shape templates to guide you in creating paths.
is under the gear-shaped icon in the
Options bar. First, you’ll configure the Pen tool options and the work area.

Try It!

1. In the Tools panel, select the Pen tool ( ).
2. In the options bar, select or verify the following settings:

• Choose Shape from the Tool Mode pop-up menu.
• In the Pen Options menu, make sure that Rubber Band is not selected.
• Make sure that Auto Add/Delete is selected.
• Choose No Color from the Fill pop-up menu.
• Choose a green color from the Stroke pop-up menu.
• Enter 4 pt for the stroke width.
• In the Stroke Options window, choose Center (the second option) from the

Align menu.

AB

A. Tool Mode menu B. Pen Options menu

Creating Paths with the Pen Tool

You can use the Pen tool to create paths that are straight or curved, open or
closed. If you’re unfamiliar with the Pen tool, it can be confusing to use at first.
Understanding the elements of a path and how to create those elements with
the Pen tool makes paths much easier to draw.
To create a straight path, click the mouse button. The first time you click,
you set the starting point. Each time that you click thereafter, a straight line
is drawn between the previous point and the current point. To draw complex
straight-segment paths with the Pen tool, simply continue to add points.

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Vector Drawing Techniques Lesson 8 TEACHING TIP

11 Encourage students to experiment
with the pen tool until they become
22 comfortable with it—or at least less
Creating a straight line. uncomfortable. It’s easy to use to
draw shapes with straight sides. But
AB what happens when you try to write
C your name? Try drawing a line without
DE releasing the mouse button at the end.
What happens then?
A. Curved line segment
B. Direction point
C. Direction line
D. Selected anchor point
E. Unselected anchor point

12

Creating a closed path.

To create a curved path, move the mouse pointer over the location where you
want to create an anchor point, drag from there to create the anchor point and
a direction line for that point, and then click to place the next anchor point.
Each direction line ends in two direction points; the positions of direction lines
and points determine the size and shape of the curved segment. Moving the
direction lines and points reshapes the curves in a path.

Smooth curves are connected by anchor points called smooth points. Sharply
curved paths are connected by corner points. When you move a direction
line on a smooth point, the curved segments on both sides of the point adjust
simultaneously, but when you move a direction line on a corner point, only the
curve on the same side of the point as the direction line is adjusted.

Path segments and anchor points can be moved after they’re drawn, either
individually or as a group. When a path contains more than one segment, you
can drag individual anchor points to adjust individual segments of the path, or
select all of the anchor points in a path to edit the entire path. Use the Direct
Selection tool to select and adjust an anchor point, a path segment, or an
entire path.

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TEACHING TIP Lesson 8 Vector Drawing Techniques

The pen tool can be a tricky concept. As Creating a closed path differs from creating an open path in the way that you
students catch on, encourage them to end it. To end an open path, press Enter or Return. To create a closed path,
continue practice drawing basic shapes, position the Pen tool pointer over the starting point, and click. Closing a path
including the letters of their name. They’ll automatically ends the path. After the path closes, the Pen tool pointer appears
go through progressively harder exercises, with a small *, indicating that your next click will start a new path.
from a C curve to an S curve to the As you draw paths, a temporary storage area named Work Path appears in the
outline of a coffee cup. Paths panel. It’s a good idea to save work paths, and it’s essential if you use
multiple discrete paths in the same image file. If you deselect an existing Work
Path in the Paths panel and then start drawing again, a new work path will
replace the original one, which will be lost. To save a work path, double-click
it in the Paths panel, type a name in the Save Path dialog box, and click OK to
rename and save the path. The path remains selected in the Paths panel.

Drawing a Straight Line

You’ll start by drawing a straight line. Anchor points mark the ends of path segments;
the straight line you’ll draw is a single path segment with two anchor points.

Try It!

1. Click the Paths tab to bring that panel to the front of the Layers panel group.
The Paths panel displays thumbnail previews of the paths you draw. Currently,
the panel is empty, because you haven’t started drawing.

2. If necessary, zoom in so that you can easily see the lettered points and blue dots
on the shape template. Make sure you can see the whole template in the image
window, and be sure to reselect the Pen tool after you zoom.

3. Click point A on the first shape. You’ve created an anchor point.

4. Click point B. You’ve created a straight line with two anchor points.

5. Press Enter or Return to stop drawing.

Create an anchor point. Click to create a straight line. Complete the path.

The path you drew appears in the Paths panel and as a new layer in the Layers panel.
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Vector Drawing Techniques Lesson 8

Drawing Curves

On curved segments, selecting an anchor point displays two direction lines (smooth
points) or one direction line (corner point). Direction lines end in direction points,
and the positions of the direction lines and direction points determine the size and
shape of the curved segment. You’ll create curved lines, using smooth points.

Try It!

1. Click A on the semicircle to create the first anchor point.

2. Click point B, but don’t release the mouse button. Instead, drag the pointer
to the blue dot to the right of point B to create a curved path segment and a
smooth anchor point. Then release the mouse button.

Create an anchor point. Drag to create the path segment.Drag to curve the path segment.

Smooth anchor points have two linked direction lines. When you move one, the
curved segments on both sides of the path adjust simultaneously.

3. More the mouse pointer over point C, then drag down to the blue dot below and
release the mouse button. You’ve created a second curved path segment and
another smooth point.

4. Click point D to create the final anchor point. Press Enter or Return to complete
the path.

Start dragging from point C. Drag to curve the segment. Click D to finish the semicircle.

When drawing a freehand path using the Pen tool, use as few points as possi-
ble to create the shape you want. The fewer points you use, the smoother the
curves are—and the more efficient your file is.
Using the same techniques, you’ll draw an S-shaped curve.

5. Click point A, and then from point B, drag the pointer to the first blue dot.

6. Continue with points C, D, E, and F, in each case dragging from the point to the
corresponding blue dot.

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TEACHING TIP Lesson 8 Vector Drawing Techniques

Pressing Shift keeps the line you’re 7. Click point G to create the final anchor point, and then press Enter or Return to
drawing perfectly straight. In step 6, complete the path.
pressing Alt (Windows) or Option (Mac
OS) converts a curve point to a corner Drawing the S curve.
point—that keeps a sharp transition
between the curved line you just drew This shape is on its own layer in the Layers panel. Only one path is in the Paths
and the straight line you need next. panel because the work path for the second shape overwrote the work path for
the first one.

Drawing a More Complex Shape

Now that you’ve got the idea, you’ll have a chance to draw a more complex object:
the outline of a coffee cup.

Try It!

1. Click point A on the shape on the right side to set the first anchor point.
2. Press the Shift key as you click point B. Pressing the Shift key constrains the line

so that it is perfectly straight.
3. Press the Shift key as you click points C, D, and E to create straight path segments.
4. Drag from point F to the blue dot to create a curve. Then release the mouse button.
5. Drag from point G to the blue dot to create another curve. Then release the

mouse button.
6. Click point H. Then press Alt (Windows) or Option (Mac OS) as you click point H

again to create a corner point.
When you move a direction line on a corner point, only the curve on the same
side of the point as the direction line is adjusted, so you can create a sharp tran-
sition between two segments.
7. Click point A to draw the final path segment and close the path. Closing a path
automatically ends the drawing; you don’t need to press Enter or Return.

Start with straight segments. Drag to create a curve. Close the path.

8. Save and close the practice file.

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Vector Drawing Techniques Lesson 8 TEACHING TIP

Tracing a Shape from a Photo Note the “note” on this page. Students
who are more comfortable with the pen
Now you’re ready to draw a path around the coffee cup in the image. You’ll use tool can turn off the guide dots by hiding
the techniques you’ve practiced to draw a path around the outside of the cup and the Outside Cup layer in the Layers panel.
another one inside the handle. The cup has long, smooth curved edges that would
be difficult to select using other methods.

Try It!

1. Open the 08Start.psd file in Photoshop.

You’ll draw paths around the coffee cup. Note: If you’d like to try tracing
the cup without using the dots to
The image includes three layers: the background layer and two template layers guide you, hide the Outside Cup
to guide you as you draw shapes. layer in the Layers panel.

2. Choose File > Save As, navigate to the location where your instructor directs you
to save files for this chapter’s projects, rename the file 08End_xx.psd, and click
Save. Click OK in the Photoshop Format Options dialog box.

3. With the Pen tool selected, choose Subtract Front Shape from the Path Opera-
tions pop-up menu in the options bar.
Options in the Path Operations menu determine how multiple shapes interact
with each other in a path. After you draw the cup outline, you’ll subtract the
inside of the handle from it.

4. Click point A. Photoshop creates a new layer for the shape.

5. Drag from point B to the red dot on the right to create the initial curve.

Creating the initial path points.

6. Drag from point C to the red dot to its right.

7. Continue tracing the cup, dragging from each point to the corresponding red
dots when you need to create a curve.

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TEACHING TIP Lesson 8 Vector Drawing Techniques

Here, remember pressing Alt (Windows) 8. Close the shape by clicking point A again.
or Option (Mac OS) converts a curve
point to a corner point. Continue around the cup, and then close the path.

9. Evaluate your path. If you want to adjust any segments, use the Direct Selection
tool to select a point, and then move its direction lines to edit the segment.

10. Save your work so far.

Adding a Second Shape to a Path

You’ve drawn a path that outlines the exterior of the cup, but you want the inside
of the handle to be transparent. You’ll draw a shape to isolate the inside of the
cup handle.

Try It!

1. Hide the Outside Cup layer, and make the Inside Handle layer visible.
2. Make sure the Pen tool is selected and that Subtract Front Shape is still selected

in the Path Operations pop-up menu in the options bar.
3. Click point A to begin drawing. Then drag from point B to the next red dot, and

release the mouse button.

Create the path around the inside of the handle.

4. Continue drawing, dragging as indicated at points C and D.
5. Drag slightly down from point E to the red dot, and release. Then, press Alt

(Windows) or Option (Mac OS) as you click point E to convert the point to a
corner point.
Converting point E to a corner point enables you to draw a straight path seg-
ment between it and point A. If point E remained a smooth point, the path be-
tween points E and A would be slightly curved.

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Vector Drawing Techniques Lesson 8

6. Click point A to close the shape and stop drawing.

Create curved path. Convert E to corner point. Create final straight segment.

Now you’ll save the path to use later.

7. In the Paths panel, double-click Shape 1 Shape Path, type Cup Outline in the
Save Path dialog box click OK to save it; then, in the Paths panel, click outside
Cup Outline to deselect it.

8. In the Layers panel, delete the Outside Cup and Inside Handle layers, because
you don’t need them anymore.

9. Choose File > Save to save your work.

Working with Defined Custom Shapes

Photoshop includes several predefined custom shapes in the Custom Shape Picker,
but you can also create your own.

Converting a Path to a Shape

You’ll define the cup outline path as a custom shape that you can use for the logo.
The shape will be available in the Custom Shape Picker.

Try It!

1. Select the Cup Outline path in the Paths panel.

2. Choose Edit > Define Custom Shape.

3. Name the shape Coffee Cup, and click OK.

4. Select the Custom Shape tool ( ), hidden beneath the Rectangle tool ( ) in
the Tools panel.

5. Open the Custom Shape Picker in the options menu, and scroll to the bottom of
the picker. The shape you added should be the last one displayed.

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Lesson 8 Vector Drawing Techniques

6. Position the Custom Shape Tool near the upper left corner of the coffee cup,
and start dragging down and to the right. Begin dragging, and then press Shift to
maintain original proportions. When the logo is the right size, release the mouse
button and then release the Shift key.

Dragging to add the custom shape.

Pressing the Shift key keeps the shape proportional as you drag.
7. Double-click the Shape 1 layer name in the Layers panel, and name it Coffee Cup.

Changing the Fill Color of a Shape Layer

You’ve created a custom shape from your path, and you’ve used the Custom Shape
tool to draw the shape on the image. But it’s just an outline. You’ll add a fill.

Try It!

1. Make sure the Coffee Cup layer is selected in the Layers panel.
2. Select the Pen tool ( ) in the Tools panel.
3. In the options bar, select black for the Fill color, and None for the stroke.

The coffee cup shape is now solid black.

4. Select the Move tool to deselect the coffee cup.

Subtracting Shapes from a Shape Layer

After you create a shape layer, you can subtract new shapes from it. You’ll add some
interest to the coffee cup shape by subtracting a lightning bolt shape from it, allow-
ing the background to show through.

Try It!

1. In the Tools panel, select the Custom Shape tool.
2. On the options bar, choose Subtract Front Shape from the Path Operations

menu. The pointer now appears as cross-hairs with a small minus sign ( ).

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Vector Drawing Techniques Lesson 8 TEACHING TIP

3. In the Paths panel, select the Coffee Cup shape path. Encourage students to experiment with
4. Select the lightning bolt from the Custom Shape Picker (it’s in the second row). the Custom Shape they just made plus
any that are already in their Custom
Start at the upper left corner and drag down to the bottom right. Click first, and Shapes panel. Can they use what they just
as you drag diagonally, press the Shift key to keep the dimensions proportionate. learned to cut one shape out of another?

The lightning bolt shape has been subtracted from the coffee cup.

5. Save your work so far.

Importing a Smart Object

Smart Objects are layers that you can edit in Photoshop nondestructively; that is,
changes you make to the image remain editable and don’t affect the actual image
pixels, which are preserved. Regardless of how often you scale, rotate, skew, or oth-
erwise transform a Smart Object, it retains its sharp, precise edges.
You can import vector objects from Adobe Illustrator as Smart Objects. If you edit the
original object in Illustrator, the changes will be reflected in the placed Smart Object
in your Photoshop image file.
When you place a Smart Object, you can link it or embed it. If you link it, Photoshop
retains a link to the original file so that you can easily update it later, and it includes
a bitmap image of the Smart Object in the Photoshop file. If you embed a Smart
Object, Photoshop includes the entire object in the Photoshop file, but does not
retain a link. However, you can convert an embedded Smart Object to a linked Smart
Object if the original file is still available.
You’ll work with a Smart Object now by placing a Kailua Koffee logotype that was
created in Illustrator.

Try It!

1. Select the Move tool ( ) in the Tools panel.

2. Select the Coffee Cup layer, and choose File > Place Linked. Select the
Logotype.eps file in the folder holding the data files for this chapter, and
click Place.
The Kailua Koffee logotype is added to the middle of the composition, inside
a bounding box with adjustable handles. A new layer, Logotype, appears in the
Layers panel.

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TEACHING TIP Lesson 8 Vector Drawing Techniques

Try moving the logo around or resizing 3. Drag the logotype object to the upper left corner of the sign, just to the right
it. See how easy the logo is to work with of the coffee cup logo, and then press Shift and drag a corner to make the text
when it’s imported as a Smart Object? object proportionally larger—large enough that it fills the top portion of the
image, as in the following illustration. When you’ve finished, either press Enter
or Return, or click the Commit Transform button ( ) in the options bar.

Note: Be sure to click the words When you commit to the transformation, the layer thumbnail icon changes to reflect that the title
“Bevel & Emboss.” If you click layer is a linked Smart Object.
only the check box, Photoshop
applies the layer style with its As with any shape layer or Smart Object, you can continue to edit its size and
default settings, but you won’t see shape if you’d like. Simply select the layer, choose Edit > Free Transform to access
the options. the control handles, and drag to adjust them. Or, select the Move tool ( ), and
select Show Transform Controls in the options bar. Then adjust the handles.

Adding Color and Depth to a
Shape Using Layer Styles

You created the shape with a black fill. Now you’ll make it snazzier by changing the
fill color and adding a Bevel & Emboss effect.

Try It!

1. With the Logotype layer selected, choose Color Overlay from the Add A Layer
Style menu ( ) at the bottom of the Layers panel.

2. In the Layer Style dialog box, choose a dark red or burgundy color.

3. Click Bevel & Emboss on the left side of the Layer Style dialog box to add
another layer style. Accept the defaults for the Bevel & Emboss layer style,
and click OK.
The Color Overlay and Bevel & Emboss layer styles affect the Logotype layer.
You’ll copy them to the Coffee Cup layer.

4. Press Alt (Windows) or Option (Mac OS) as you drag the layer effects indicator
( ) from the Logotype layer onto the Coffee Cup layer.

Copying a layer effect from one layer to another.
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188 LEARNING GRAPHIC DESIGN & ILLUSTRATION

Vector Drawing Techniques Lesson 8 TEACHING TIP

5. Clean up the Layers panel: Hide all but the Logotype, Coffee Cup, and Back- Encourage students to browse available
ground layers. Then choose Delete Hidden Layers from the Layers panel menu, Adobe smartphone apps and experiment
and click Yes when asked to confirm the deletion. with what they can do. Adobe Capture
CC, for example, allows users to
6. Clean up the Paths panel by deleting the Cup Outline path. photograph a favorite object or scene,
convert it to a theme of five color
7. Choose File > Save to save your work. The coffee shop sign is complete. Close swatches, and import that color theme
the file. into a Photoshop document through
Windows> Extensions > Adobe Color
Collaborating with Creative Cloud Themes > My Themes. What other apps
are available and what can they do?
The CC in the name for some current Adobe products stands for Creative
Cloud. That refers not only to the fact that the software is delivered via the
Internet, but also to the fact that any assets (colors, character styles, graph-
ics, brushes, and so on) that you store in your library via the Libraries panel is
automatically uploaded or synchronized to the online Creative Cloud account
associated with your Creative Cloud/Adobe ID account information. Once an
asset is stored in your library in the cloud, you can access it from any Internet-
connected device. You also can share libraries with other team members,
making collaboration easier and helping the team maintain consistency within
and among projects.
When you share a Creative Cloud Library, your team always has the current ver-
sion of those assets. In the Libraries panel menu, choose Collaborate, and fill in
the Invite Collaborators screen that appears in your web browser. Collaborators
will see the library you shared in their Creative Cloud applications (to utilize this
feature, you must have a Creative Cloud account and be logged in).

Creative Cloud library invitation.

Use Adobe mobile apps—such as Adobe Color CC, Adobe Shape CC, and
Adobe Brush CC—to capture color themes, shapes, and brushes from real
life and add them to your Creative Cloud libraries. Library assets you add with
mobile apps are automatically synced to your Creative Cloud account, so you’ll
see the new assets in your Libraries panel when you return to your computer.

LEARNING GRAPHIC DESIGN & ILLUSTRATION 189

LEARNING GRAPHIC DESIGN & ILLUSTRATION 189

TEACHING TIP Lesson 8 Vector Drawing Techniques

Do you find it to be true that in the Communications Skills
workplace, when a manager gives
you something to “read,” that means Using Written Communication
you’re supposed to read it, know it, and
remember its content? Share an example Historians believe that the printing press, invented by Johannes Gutenberg in 1440,
from your workplace to illustrate this idea. was the single most important invention of all time. Most agree that its invention
marks the transition from the Middle Ages to the Renaissance, a period of artistic
and intellectual revival in Europe. Why is that? The printing press made it easier and
cheaper to create printed communications such as books and newspapers, and this
in turn allowed for information to spread more easily. When people can read books
for themselves, they began think for themselves.
Before the printing press, creating written communications was a time-consuming
and costly business. Books were usually written by hand and paper was scarce and
expensive. Written communications were therefore rare. These days, you are sur-
rounded by written communications, from the textbook in front of you to the notes
in your notebook to the information written on your class whiteboard. Everyone now
has the ability to use written communications to transfer ideas. This ability will be
integral—necessary or essential—to almost any career you might enter.

Reading

Why do you think it is important to learn how to read? If you did not know how to
read, you would have to learn all of your ideas from people speaking to you. Reading
allows you to learn on your own. You can learn ideas that were developed and writ-
ten down in the past, even centuries ago.
Reading will be essential for your career. Whether you want to be a doctor, car
mechanic, astrophysicist, or firefighter, you will need to read every day you are on
the job.
There are different ways to read, depending on what you are reading. You can read
passively or critically.
• Passive reading is the kind of reading you do for entertainment, such as when

you read a magazine or a comic book. In this kind of reading, you are just taking
in information or following the plot.
• When you read critically, you take time to really think about what is written and
why. Critical reading happens when you are actively engaging the subject as
you read.
The difference between passive and critical reading is like the difference between lis-
tening to your friend talk and having a debate with her. When you read critically, you
are having a debate with the text. Here are the steps to critical reading:
• Determine the best reading strategy for the text. This means that you need to
figure out whether to skim the text, read closely for detail, or read for meaning or
critical analysis.
• As you read, stop and think about what is being said and try to put it in your own
words or rephrase it from your own point of view.
• Take notes while you’re reading to make sure you are understanding and
remembering the main points.

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Vector Drawing Techniques Lesson 8 Discussion Topic

Writing Have you ever written a resume? Or seen
one? What kind of information does it
Like peanut butter and jelly, reading and writing go together. In fact, you cannot do include? What information does it not
critical reading without also writing. But not all writing is the kind you do in English or include? What’s the difference between
Creative Writing class. Jotting down notes and scribbling a message to a friend also a resume and a cover letter? Why do you
count as writing. need both?

Writing is something you get better at with practice. You can think of words as being TEACHING TIP
like tools. Writers who are just learning to write use simple words to communicate
their ideas, just as beginning builders start with basic tools to put together small proj- Emphasize that most all jobs involve
ects. The more words you learn and the more you learn how to put them together, reading and writing. Can students think of
the bigger the projects you can build. one that doesn’t?

Just like learning any skill, learning to write is an ongoing process. You should always
expect to get better, and accept constructive criticism—suggestions from others on
how to improve your writing—and consider how it can make you a better writer.

Like reading, writing well will be essential in almost any career you choose. Even before
you begin work at a job, you will usually have to write three important documents:
a resume that explains your skills and background, a cover letter to accompany the
resume, and a follow-up letter to emphasize your continued interest in the job.

While you are employed, you may have regular writing tasks such as preparing
letters to clients, creating written reports for customers, or writing memos to your
co-workers. You might also have to write a letter of resignation, if you have decided
to change from one job or career to another. This is a letter that expresses your rea-
sons for leaving and your appreciation for your former employer.

When preparing written documents in your workplace, your documents should
exhibit mastery of concepts and terminology or technical language specific to
your position. All written communications, no matter who is the recipient, should
also display mastery of English language basics such as proper spelling, grammar,
punctuation, and capitalization. Neglecting such basics may result in your writ-
ten communications not being taken seriously. You can help your reader better
absorb your written information by making sure it is well organized: For both
formal and information communications, begin with a section that states what
you will cover, then discuss those items systematically, ending with a summary of
your key points.

You will also want to consider, as you craft a written communication, the composi-
tion and expectations of your audience, the situation for which you are preparing the
document, and your intent in writing. Preparing a written report with a formal style
and structure will be appropriate for a work-related assignment, but may not be nec-
essary when you are communicating information to teammates. Likewise, a chatty
memo that includes slang and casual observations will not usually be appropriate for
your company’s president.

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LEARNING GRAPHIC DESIGN & ILLUSTRATION 191

Discussion Topic Lesson 8 Vector Drawing Techniques

Often, listening well is a bigger part of Using Verbal Communication
communicating effectively than speaking
well. Review the bulleted list of listening You were born with the ability to learn how to speak and understand others. This
skills at right. How does it feel to talk to ability to use and understand language is something that all human beings have, and
someone who is not an effective listener? it is something that makes us unique among all other animals on the planet.
How many of the six communication Of course, just because you know how to talk does not mean you know how to
process steps that begin on this page are speak well. Even if you were the smartest person in the world, it would be very hard
actually listening steps? for you to get the career you want if others did not understand you. Part of effective
verbal communication includes using listening skills. After all, you can’t develop an
effective response if you haven’t really understood what the other person requested
or expressed. Effective listening skills include:
• Be patient, and stop talking long enough to really listen.
• Relax and focus on the speaker.
• Pay attention to the speaker’s tone. If needed, put the speaker more at ease by

using gestures such as nods to prompt the person to continue.
• Look for nonverbal cues, such as the speaker’s facial expression. Keep in mind,

also, that different cultures may use different types of nonverbal gestures.
• Concentrate so that you can absorb the person’s full point of view, problem,

idea, or request, rather than just individual words or sentences.
Mastering the art of verbal communication is a very important part of getting the
career you want, because you will have to use this skill to convince an employer to
hire you. You will also have to use verbal communication every day on your job, no
matter what it is. As for written communication, you should consider your audience,
your situation, and your intentions when speaking with others. For formal verbal
communications, such as presentations, organize the points you need to make and
rehearse your talk beforehand. A course in public speaking can be invaluable in help-
ing you become a good verbal communicator.

Using the Communication Process

You can communicate effectively by using a six-step process:

1. Be clear. The receiver is more likely to get your message if you deliver it in a way
he or she can understand. Speak slowly. Consider who you are talking to. You
probably use different language when you talk to a teacher than when you talk
to a friend. You might even use a completely different type of communication.
For example, you probably talk to your teacher face to face, but you might text
your friend.

2. Be personal. Use the other person’s name so there’s no doubt who you are
talking to. Use an “I” statement—a statement that starts with the word “I”—to
frame the statement in terms of you and your goals. An “I” statement indicates
that you are taking responsibility for your thoughts and feelings. It helps the re-
ceiver understand your point of view and respond to you.

3. Be positive. Phrase your message in positive terms. Say what you want, not what
you don’t want. For example, say, “I want to leave at 3:30,” instead of saying, “I
don’t want to leave at 4:00.”

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192 LEARNING GRAPHIC DESIGN & ILLUSTRATION