© The Author(s), under exclusive license to APress Media, LLC, part of Springer Nature 2023
J. HarderPerspective Warps and Distorts with Adobe Tools: Volume 1https://doi.org/10.1007/978-1-4842-8710-1_5

5. Warping Text

Jennifer Harder1  
(1)
Delta, BC, Canada
 

Chapter goal: Learn different ways you can alter your text with various warps.

While it’s fun to transform layers, whether the layers are smart objects, a normal layer, or vector shapes, you can use what you learned in Chapter 4 about transformation on type layers as well.

In this chapter, we will be exploring how to use the Horizontal and Vertical Type tools along with their related panels for additional options to warp text and then look at how to create a path for text to flow on.

Note

You can find the projects for this chapter in the Chapter 5 folder.

Working with Type Tools to Create a Text Warp

Photoshop has text tools in the Tools bar panel for working with type: the Horizontal Type tool and the Vertical Type tool. However, if you want to create selections of type for a mask, you can also use the Vertical and Horizontal Mask Type tools, which I discuss in detail in my book Accurate Layer Selections Using Photoshop’s Selection Tools. In this book, our focus is on the first two tools for text warping. Although they will not be mentioned further in this book, you can also use the Type Mask tools for your projects, as much of what you will learn here can be applied to those tools. Refer to Figure 5-1.

A tools bar panel displays the horizontal type tool, vertical type tool, vertical type mask tool, and horizontal type mask tool.

Figure 5-1

Horizontal and Vertical Type tools in the Tools panel

Project: The Circus Tent Poster

To warp text , you first need to create a type layer. File ➤ Open the file Circus_Poster_start.psd. Make an Image ➤ Duplicate of the file for practice. Refer to Figure 5-2.

A poster with a circus tent and a clown juggler is on the left. The layer panel is displayed on the right with five layers observed.

Figure 5-2

Circus tent poster with the Layers panel and colored group folders

In this example, I colored some of my group folders so to organize some of my smart objects and layers. Right-clicking a group folder’s visibility eye will allow you to change the color of the folder. Refer to Figure 5-3

A context menu has some colors displayed. Red is selected.

Figure 5-3

How to color a group folder

The Background Tent red group folder has some layer styles globally applied to it as well as a layer mask that is used to affect those layers collectively with a blending mode of Pass Through. This is like working with a clipping mask, which I talk about in more detail in my previously mentioned book regarding how to affect other layers with a mask. We will not be focusing on clipping masks in this book but you can explore that topic on your own. The Clown Juggler group folder in green contains the clown and the balls he juggles while he balances on the Earth ball in the ring with the spotlight shining down on him. Take some time to explore these folders on your own as you explored many of these layer types in the last four chapters. The only one we have not talked about is the Smart Filter, which we will look at in the coming chapters. Refer to Figure 5-4.

Two sets of folders are named, the background tent and the clown juggler. The background tent folder has 5 layers with one layer having a pass-through blending mode, and the clown juggler folder has 7 layers.

Figure 5-4

The Background Text folder has a layer style and mask set to a blending mode of Pass Through. The green folder contains the clown and other layers

However, other than an Edit ➤ Free Transform of Scale, no other distortion has been applied to these smart objects, so you can keep these folders collapsed for now.

The other folder called text , which is blue, contains most of the text that will be warped in this poster. For now, the visibility has been turned off. We will look at that text later and warp it. So, keep the visibility of this group folder off for now and collapse it. Refer to Figure 5-5.

A text folder on the left has five layers with the visibility turned off. The layer panel on the right displays two collapsed folders and an expanded one.

Figure 5-5

Layers in the Text folder are currently hidden

Make sure at this point none of your layers are selected.

From the Tools panel, select the Horizontal Type tool. It changes the Options panel. Refer to Figure 5-6.

A tools panel is depicted on top with the horizontal type tool chosen. Below is the options panel with the font type, size, and alignment, among many others, displayed.

Figure 5-6

Horizontal Type tool and the Options panel

Then click on the canvas. If you just want a straight line of text, at whatever point you clicked some default text will appear at that location in the current font that you have chosen. In this case, I was working with Rosewood Std, so that appears on the screen. Refer to Figure 5-7.

An options panel is displayed above with Rosewood S t d set as the font type and 72 points as the font size. In the middle is the default text, and at the bottom is the text Circus.

Figure 5-7

Horizontal Type tool Options panel . The text point highlighted, and a new word is typed in

I could start typing my text on the line. However, in this case, I want a text block. Click the cancel symbol icon in the Options panel to unto this last step; the temporary layer is removed. Refer to Figure 5-8.

Cancel and check symbol icons next to each other.

Figure 5-8

Click the Cancel icon in the Options panel

When you want to create a text box with the same tool, drag out a rectangular marquee. This will create an area for the text to fill rather than be on one single path. In this case, I dragged out a square text box around the star balloon. Refer to Figure 5-9.

A picture of a star balloon enclosed with a rectangle of broken lines.

Figure 5-9

Dragging with the Horizontal Type tool to create a type block

This created a type Layer 1 at the top of the Layers panel. The type bounding box surrounds the text. Refer to Figure 5-10.

A layer's panel on the left displays a text layer. On the right is the default text enclosed with broken lines.

Figure 5-10

The type layer is created in the Layers panel and the default text is highlighted on the canvas

While the default text is selected and highlighted, let’s use the Options panel to alter it.

Horizontal Type and Vertical Type Tool Options

Now look at the Horizontal Type tool Options panel . The first section is the tool preset where you can store options for this tool. Before you clicked on the canvas with the tool, you would have had access to this area and would have been able to save a preset based on the settings chosen in the Options panel. Now, however, while the text is selected, it is grayed out. Refer to Figure 5-11.

Two options panel displays the same elements except for the horizontal type tool depicted above, and the vertical type tool depicted below.

Figure 5-11

Options panels for the Horizontal and Vertical Type tools , which can be toggled between

The next section is the toggle text orientation . Clicking this button allows you to change the text from the Horizontal to the Vertical Type tool. There are really no differences between these two tools other than how the text flows or aligns. Left, Center, Right changes to Top, Center, Bottom. Refer to Figure 5-11 and Figure 5-12.

A default text is depicted in two different text orientations. A sample of texts below is displayed in the vertical text type orientation.

Figure 5-12

Use the toggle to switch between horizontal and vertical text orientations

Vertical type is often more common with Asian characters and writing where the text must flow up and down and right to left. Nevertheless, if you need text to flow downward on a vertical path, it can be a useful tool.

Note

While the Vertical Type tool is selected, refer to the Properties panel for East Asian Features and Middle Eastern Features options if you need to make additional text adjustments. Refer to Figure 5-16.

Return to the horizonal type orientation if you clicked on this toggle.

The next section allows you to search and select fonts from the dropdown menu. When you drag highlight the text, you can then choose a new font from the menu. It may be from the current fonts on your computer or one you acquired from Adobe Fonts via the Creative Cloud. Refer to Figure 5-13.

A screenshot depicts the dropdown list that displays font types and their samples.

Figure 5-13

Choose a font from the dropdown list

By default, the fonts are filtered by all classes and the most recently used are at the top. However, you can filter them further by choosing an option from the filter list. To the right of the menu are other filter options such as Show Adobe Fonts (which is currently active), Favorite fonts, and Similar fonts, if present. You can also browse Adobe Fonts online. Refer to Figure 5-14.

A dropdown list on the left displays fonts filtered by all classes. The screenshot on the right exhibits an icon that allows a user to browse Adobe fonts.

Figure 5-14

Sort the kinds of fonts you want to see

The next section allows you to set the font style for that font while the text is highlighted. They can also be viewed in the search area if you open the triangle by the font. Most fonts either have one style or the four main styles such as regular, italic, bold, and bold italic. But other fonts, like Acumin Variable Concept, can have a much larger family of options including condensed, light, and black. Refer to Figure 5-13 and Figure 5-15.

A dropdown list displays font types with font style samples set in regular, italic, bold, and bold italic.

Figure 5-15

Choose a font style for that font from the Options menu

Note
To work with Variable Concept fonts further, you can use your Properties panel to adjust the weight, width, and slant. Many of these same features are also found in your Window ➤ Character Panel. Refer to Figure 5-16.

A Properties panel is displayed on the left and a character panel is on the right. Both showcase additional features for the fonts.

Figure 5-16

Additional features can be found in the Properties and Character panels

At this point, change your font to whatever it is currently set to, a font like Arial and a style of black. If you don’t have this font, use a similar sans serif font like Helvetica Bold. Refer to Figure 5-17.

An options panel sets the font to Arial type, black style, and 72 points. The default text is displayed below with the said settings applied.

Figure 5-17

Change to the font Arial Black

The next section in the Options panel allows you to control the font size . While the text is highlighted, you can either type in a point size or choose one from the dropdown list. Sizes larger than 72 pt must be typed in. However, if the size is highlighted in this text box, you can use the up and down arrow keys on your keyboard to raise or lower the size. Refer to Figure 5-18.

A portion of the options panel displays the dropdown list for font size. The default text is highlighted in the middle, and the arrow keys are exhibited on the right.

Figure 5-18

Change the font size in the Options panel

Select a point size by typing in 21.62; this fills the area with text. Now type the words Buy Tickets Now! and press the Enter/Return key to make a hard return as you type each word so each word is on its own line. Refer to Figure 5-19.

An entry bar for the text size is on the left and has 21.62 as the value set. The star balloon is depicted on the right with the text, Buy tickets now exclamation point, above the image.

Figure 5-19

Type in a new font size and then unhighlight the text to view it

You can at this point scale the text box as well as rotate it. If you make it too small, some words will disappear and a plus symbol will appear in the lower corner bounding text box handle, so you will need to increase the size of the box to accommodate this text. Refer to Figure 5-20.

A sample of scaling is exhibited with two samples. The one on the left is scaled too small that some text disappeared, the one on the left exhibits a regular scale where all texts can be read.

Figure 5-20

Scale your text box so that you can see all of the text

I scaled my text box and will move and rotate it later on. Highlight the text again by dragging your cursor over it. Refer to Figure 5-21.

A picture of the star balloon with the text, Buy tickets now exclamation point, on top of the image. The text is highlighted.

Figure 5-21

Highlight text when you want to make changes

When the text is highlighted , the Properties and Characters panel, after you set a size, allow for many other sizing options including scaling vertically and horizontally, as well as various spacings between the letters like leading, kerning, tracking, and baseline shift. We will explore some of these options later when we work with text on a path. Refer to Figure 5-22.

The Properties and character panels depict sizing, scaling, and spacing options. The type options section is depicted below with the figure and position both set to default.

Figure 5-22

Use the Properties or Character panels to make additional changes to your highlighted text

Returning to the Options panel, the next section allows you to set the anti-aliasing method . This affects how the edges of the text appear. It can be set to None, Sharp (default), Crisp, Strong, Smooth, or for Windows or MAC computers, for the screen. This same setting is also found in the Properties (click the ellipse button) and Character panels. Refer to Figure 5-23.

An anti-aliasing dropdown menu has the following options- none, sharp, crisp, strong, and smooth. The sharp option is highlighted.

Figure 5-23

Anti-aliasing dropdown menu

I left the setting at the default of Sharp, but you may prefer another setting if you need your text to blend into the background more smoothly.

The next section in the Options panel is for Text alignment . If horizontal, it can be left align text, center text, or right align text, and if switched to the Vertical Type tool, top align text, center text, or bottom align text. Further paragraph alignment options, as well as indents, spacing, and hyphenation can either be found in the Properties panel or in the Paragraph panel. Refer to Figure 5-24.

Two option panels are set in the paragraph section. Both depict text alignment options, for the horizontal type tool and vertical type tool, respectively.

Figure 5-24

Options panel for text orientation for a text block for the Horizontal and Vertical Type tools settings found in the Properties and Paragraph panels

In my case, because I am using the Horizontal Type tool, I have in the Options panel set the text to Center. Do that now if your text is currently not on that setting so that it looks the same as mine. Refer to Figure 5-25.

A center alignment is picked among the choices on the left. The text on the right is highlighted and is set to the center.

Figure 5-25

Center align the text using your Properties panel

The next section in the Options panel allows you to alter or set the base text color using the Color Picker and the option of the Eye Dropper tool to select a color from your image and click OK. Click the color icon to enter the Color Picker for the text color. This color icon can also be found in the Properties or Character panel. Refer to Figure 5-26.

A color picker box is with the new and current colors both set to black, and an eye dropper tool is exhibited. A properties panel is displayed below with the color icon.

Figure 5-26

Options panel for current text color, Color Picker dialog box, and Properties panel settings for the Character color

In this case, let’s leave the text at the default black color.

Note
If you’re working on text portions of highlighted text that have two colors, a (?) question mark symbol will appear in the swatch location. You either need to highlight that single line of text or highlight all the lines and click the Color Picker to select one color like black and click OK to exit the dialog box. Then the text will have the same consistent color. Refer to Figure 5-27.

A color picker box is on the lower left portion. Four sample texts are displayed to demonstrate how to make texts with two colors that have a consistent color.

Figure 5-27

When highlighted text has more than one color in a text box, a (?) appears in the Options panel. Select it and use the Color Picker to make the text one color

Note

To create graduated multicolored or patterned text, you can add a layer style, such as Gradient Overlay or Pattern Overlay, after you have committed your setting or converted the text to a smart object layer before applying the layer styles. We’ll look at this later in the chapter.

In the Options panel, the next section allows you create the text warp. Likewise, you can also choose from the menu Type ➤ Warp Text to bring up the same dialog box. Refer to Figure 5-28.

A drop-down menu for the text warp section. A listicle is displayed of the different ways to warp text that includes arc, bulge, wave, and fish, among many others.

Figure 5-28

Click the text warp icon in the Options panel to enter the dialog box and set a style option other than None

Warps can be used with the Horizontal and Vertical Type tools.

The Warp Text dialog box has many of the same settings as Edit ➤ Transform ➤ Warp, which you saw in Chapter 4, and I will comment on this later in the chapter. It can warp a line or an entire block of text, as we are currently doing. However, when you want to warp text in the dialog box, you must change the style from the default setting of None to Arc, Arc Lower, Arc Upper, Arch, Bulge, Shell Lower, Shell Upper, Flag, Wave, Fish, Rise, Fisheye, Inflate, Squeeze, and Twist. Depending upon your style selection, you can preview and then adjust the horizontal, vertical, bend percent, and horizontal or vertical distortion. Refer to Figure 5-29.

A warp text dialog box displays various settings. The text below exhibits the arc style applied to the text.

Figure 5-29

A style of Arc is applied to the text box and text with the dialog box and previewed

Note
Fisheye, Inflate, and Twist have the horizontal and vertical warp orientation radio buttons disabled and you can only set Bend and Horizontal and Vertical Distortion. Also, currently in the Warp Text dialog box you will not find the new Cylinder style mentioned in Chapter 4. To access and use this feature for type, you must use Edit ➤ Transform ➤ Warp and select the Cylinder option from the Options menu. Refer to Figure 5-28 and Figure 5-30.

A warp text dialog box showcases inflation as the warp style, with the bend at positive 34. A warp option of cylinder is exhibited below the dialog box.

Figure 5-30

The Warp text style is set to Inflate. Only in the Transform Warp Options panel can you find the Cylinder option for type—not in the dialog box

After experimenting with the various warps for text, in the Warp Text dialog box , choose Inflate and set the bend to 34%, leaving the Horizontal and Vertical Distortion sliders at 0%. Drag and move the inflated text over the star and click OK to close the dialog box. Refer to Figure 5-30 and Figure 5-31.

A sample text of an inflate warp style with a bend of positive 34 and horizontal and vertical distortions are set to 0.

Figure 5-31

Current inflated text

The last section of the Options panel , when clicked, allows you access to the Character and Paragraph panels if you need to make further settings to the fonts, and as mentioned, you can find these settings in the Properties panel, including Type Options, East Asian Features, and Middle Eastern Features. Refer to Figure 5-32 and Figure 5-33.

The character and paragraph panels are both with context menus beside them.

Figure 5-32

Accessing the Character and Paragraph panels through the Options panel and viewing their menus for additional options

A Properties panel exhibits character and paragraph options.

Figure 5-33

Character and paragraph options in the Properties panel

For more details on working with Character and Paragraph panels as well as type styles, go to https://helpx.adobe.com/photoshop/using/formatting-characters.html and

https://helpx.adobe.com/photoshop/using/formatting-paragraphs.html .

Note
In this chapter, when you adjust these panels, the settings are stored until the next time you type. So, make sure to, from both Panel menus, choose both Reset Character and Reset Paragraph to reset your tracking back to 0 or scaling to 100% before you type your next layer, or you may get some unusual results the next time you type a line of text. Refer to Figure 5-32 and Figure 5-34.

The character and panel options have the settings set at 0 and scaling at 100 percent.

Figure 5-34

Character and Paragraph options reset in their panels after a project

However, for now in the Options and Properties panels keep the following settings: Arial, Black, 21.62 pt, Anti-aliasing, Sharp, and Text Aligned Center. For the highlighted text, set the Leading: (Auto), Kerning: Metrics, and Tracking to 40. The Vertical and Horizontal Scale are both at 100% and the Baseline Shift at 0 pt. Vertical and horizontal scale are useful if you need to make your highlighted type taller or wider. Refer to Figure 5-35.

An options panel is displayed on the top with specific settings. The character tab is below, with additional features not found in the options panel.

Figure 5-35

Current Character and Paragraph settings in the Options panel and additional settings in the Properties panel’s Character tab

Once you have made your text adjustment, you can either cancel or commit them. To commit, click the check to commit your settings. Now you will see that the Layers panel has updated the layer name with the new text and has a text warp symbol applied to it. Refer to Figure 5-36.

The layer's panel is with the text layer titled, Buy tickets now exclamation point. It is also observed that a text warp is applied.

Figure 5-36

Click the check to commit your type settings

Note
In past versions of Photoshop, another popular way to warp text was to use the Create from 3D Text button option. However, this and other 3D features are gradually being moved to the Substance Collection, so I will not discuss that feature in this chapter. Refer to Figure 5-36 and Figure 5-37.

Five Adobe apps and their icons are present. These apps create 3-D effects on text.

Figure 5-37

Adobe apps to use for 3D design

However, you can still create 3D warped text and shapes in Illustrator, as you will see in Volume 2, should you want to explore that topic further. These creations can then be copied as a smart object layer into Photoshop. For example, the ball that the clown is standing on with the Earth map art applied is a 3D effect from Illustrator. Refer to Figure 5-38.

An image zooms on the 3-dimensional balls where the juggler is balancing. The ball is still like a globe.

Figure 5-38

3D ball created in Adobe Illustrator

However, in book you will not be creating any 3D objects.

You can then use your Move tool to move the text area into place if you find it is partially off the canvas. Refer to Figure 5-39.

A move tool icon is displayed as a cross with arrows on all ends and is used to put the text in position with the image.

Figure 5-39

Use the Move tool to shift your text on your Type layer

Tip
Besides the main text characters that you use in most fonts, make sure to search for more unusual characters that you can locate using your Window ➤ Glyphs panel. These include Color fonts like EmojiOne or the more recently added Noto Color Emoji SVG. You can Highlight text and then in your Options panel to apply this font and then using the Glyphs panel while the default text is highlighted, double-click on a symbol to add it to your path or text box. And these can be warped as well. Refer to Figure 5-40.

A Glyphs panel displays unusual characters like the Emoji one. An emoji is highlighted from the panel and text warp is applied, and the before and after characters are exhibited.

Figure 5-40

Color fonts from the Glyphs panel turn to one color when text warp is used

However, they will only take on the current base color and not full color when a warp is applied. We’ll look at a work-around for this in a moment. So, for now, if you want to use the color font, keep the warp at None.

Deselect your type layer called Buy Tickets Now! for the moment and select and turn on the visibility of the blue group folder, text. Open the folder to view all the layers. Refer to Figure 5-41.

A circus poster is on the left with some text to it. The text folder is on the right with five layers listed and visibility is on for all these layers.

Figure 5-41

Turn on the visibility for the text group folder in the Layers panel and preview the work

This text has already been created and I have set the font, style, and size as Adobe Font Rosewood Std Regular. Refer to Figure 5-42.

An options panel ///with some settings chosen for a particular layer.

Figure 5-42

Current font, style, and font size for one of the selected layers

Check your computer to see if you have this font. If you don’t, you may get a warning message that you do not have this font in your computer and a request to replace with a different font. Or a warning icon may appear on your font layer. I have included a copy of this font in the Fonts folder or, if you do not have permission to use this font, use a similar font found on your computer. You can also activate this font from your Creative Cloud subscription when you choose More from Adobe Fonts and then locate that font when you search. In some cases, if the font is available through Adobe Creative Cloud, it will automatically be activated when the file opens. Refer to Figure 5-42 and Figure 5-43.

A text layer has a warning icon on it to note that the chosen font is unavailable. A sample text is depicted below with an Activate font toggle button beside it.

Figure 5-43

Warning icon you might see if font is missing. You can use Creative Cloud Adobe Fonts to activate it

Rosewood Std, I find, gives a carnival circus-like feel to the poster.

Now, with the Horizontal Type tool in the Layers panel , select the type layer named Welcome. Refer to Figure 5-44.

A portion of the Layers panel exhibits the horizontal type tool highlighted. A type layer is depicted on the right with the text, Welcome.

Figure 5-44

Just select the type layer if you want to warp the text

From the Options panel , choose the text warp button. Choose the Style of Rise, Horizontal, Bend of +50% with the Horizontal and Vertical Distortion at 0% and click OK. Refer to Figure 5-45.

A warp text dialog box is depicted above with the style rise chosen, bend set at +50, and horizontal and vertical distortions at 0 percent. The result of these settings is depicted in the word Welcome in the circus poster.

Figure 5-45

The word Welcome rises upwards when the style of Rise is chosen in the Warp Text dialog box

The text is a bit hard to read at this moment, but we will fix that later. For now, you can see the text has more movement, almost like a flag waving in the wind.

Skip over the type layer called to the, as not every layer in a poster must have a warp. Sometimes less is more, and I want the text to stay nudged under the word Welcome. Refer to Figure 5-46.

Two layers are depicted, both with visibility on. The layer titled Welcome depicts a warped style.

Figure 5-46

The Welcome type layer thumbnail shows that the text is warped but the layer above it is not

Now select the type layer named Greatest. Choose a Style of Arc, Horizontal, and Bend of +16% with the Horizontal and Vertical Distortion at 0% and click OK. Refer to Figure 5-47.

A layer titled Greatest is chosen, and a warp text dialog box is opened for this layer with an arc style, bend at +16, and 0 percent horizontal and vertical distortions. The circus poster is depicted below where the settings are exhibited.

Figure 5-47

Use the Warp Text dialog box to warp the next layer of type with an arc

Now select the type layer named Show and choose a Style of Arc, Horizontal, and Bend of +24% with the Horizontal and Vertical Distortion at 0% and click OK. Refer to Figure 5-48.

A layer titled Show is chosen, and a warp text dialog box is opened for this layer with an arc style, bend at +24, and 0 percent horizontal and vertical distortions. The circus poster is depicted below where the settings are exhibited.

Figure 5-48

Use the Warp Text dialog box to warp the next layer of type with an arc but a different setting

Lastly, select the type layer called on the Planet and choose a style of Arch, Horizontal, and Bend of -16% with the Horizontal and Vertical Distortion at 0% and click OK. Refer to Figure 5-49.

A layer titled on the Planet is chosen, and a warp text dialog box is opened for this layer with an arch style, bend at negative 16, and 0 percent horizontal and vertical distortions. The circus poster is depicted below where the settings are exhibited.

Figure 5-49

Use the Warp Text dialog box to warp the next layer of type with an arch

This will cause the text to appear as though it is slightly bending around the ring.

On your own, you can try other warp combinations. However, in this lesson, let’s make the text appear a bit clearer on the image. This text has a lot of transparent areas that need to be filled. Turn off the visibility of the Clown Juggler folder, Background Tent folder, and the fill layer named Base Color Fill so that you can make a selection. Refer to Figure 5-50.

A layer's panel is on the right with the visibility of all text layers on. The visibility of two other layers is off. On the left are the texts along with their specific warp applications.

Figure 5-50

How the text currently appears with the background folders and layers visibility turned off

With your Magic Wand tool , click and hold down the Shift key to select multiple selections of the white areas including the diamond shapes inside of the lettering and the ring in the R and P, but not the hole in the center of the letters; it may take you a few minutes to do so. Currently in the Tools panel the foreground is set to black and the background to white. Refer to Figure 5-51.

A tools panel is above with some settings specified. Letter P is displayed below, with the foreground and background icon on the left, set to black and white, respectively.

Figure 5-51

The tools panel with default settings and the magic wand tool and one of the letter’s white areas selected

Make sure in the Options panel that Sample All Layers is enabled as you make this selection of all the letters on other layers. Use your Zoom tool and Hand tool (spacebar) if you need to zoom in and move around to make a more accurate selection. Refer to Figure 5-52.

The zoom-in and hand tool icons are at the top. Below is the text that reads, Welcome to the Greatest Show on the Planet, with all the settings applied to each layer.

Figure 5-52

Zoom in and move about with the Hand tool while using the Magic Wand to select the white areas of the text

Now select the type layer named Welcome while the section is still active and the from the Layer panels choose a Fill Adjustment layer of Solid color and choose white (R:255, G:255, B:255) from the Color Picker dialog box and click OK. Refer to Figure 5-53.

A solid color icon is highlighted on the Layers panel depicted on top. The color picker dialog box is exhibited below with the new color set at white.

Figure 5-53

Choosing a solid fill color of white from the layers panel to create a white selection from the font

This adds a white fill mask (color fill) to fill in the gaps between the letters. Then drag this fill layer below the Welcome Type layer so it is below all the type and turn on the visibility for the Clown Juggler folder, Background Tent folder, and color Base Color Fill layer. Zoom out if you need to view your work as a whole. Refer to Figure 5-54.

A color fill layer is exhibited below all the text layers, it is also depicted that the visibility for two folders and one layer is turned on. The circus poster is on the right and exhibits all the changes made to it.

Figure 5-54

Drag the white fill area below the lettering so that it makes the text less transparent

Now you can collapse the Text Group folder and then apply a layer style of Satin to all the text in that folder. Refer to Figure 5-55.

A text folder is highlighted on the Layers panel. The f x icon, or the layer effects, is chosen and Satin is picked on the dropdown list, a Satin dialog box is depicted.

Figure 5-55

Adding a layer style of Satin to the Text folder

A layer style of Satin with a Structure: Blending Mode Lighten, White (R:255 G:255 B:255), Opacity of 40% angle of 60 degrees, Distance of 36 px, and Size of 79 px with a Contour of Cone-Inverted and Anti-alias enabled and Invert disabled can give the black area of the letters almost a softer air brush effect. I think it makes the letters appear more 3-D like collectively. Click OK to commit your settings and exit the dialog box. Refer to Figure 5-56.

A text folder has the Satin effects applied to it. A sample text with the said effect is on the right.

Figure 5-56

Satin layer style applied to the letter O and all other type in the group folder

Another Way to Warp Text

Let’s return back to the type layer called Buy Tickets Now. I like the warp, but the letters are not exactly on the star balloon as I would like them to be. Use your Zoom and Hand tools if you need to look at the layer close up. Refer to Figure 5-57.

A close-up image of the star balloon image with the text, Buy tickets now exclamation point, on top. The buy tickets now layer is on the right with a warp style.

Figure 5-57

Select your layer to continue to Free Transform it

So far, you have seen how to warp text using the Text panel . However, as mentioned, you can still use your Edit ➤ Free Transform options of Scale, Rotate, Skew, and Warp. Refer to Figure 5-58.

Transform is highlighted in the context menu and a sub-context menu is showcased where the warp is highlighted.

Figure 5-58

Free Transform options in the Edit menu

Note

Because it is not a smart object layer, the Distort and Perspective Transforms are grayed for type layers.

First, choose Edit ➤ Transform ➤ Rotate and rotate about -16.44 degrees. Remember to use the arrow keys on your keyboard as you did in Chapter 4 to nudge your text into place. Then click the check in the Transform panel to commit. Refer to Figure 5-59.

A transform panel is on top with the chosen values set. Below are the Buy tickets Now text on the poster with the chosen settings applied.

Figure 5-59

Text is rotated using the Free Transform options

Now go to Edit Transform ➤ Warp. This options panel allows you to use the same warp settings you saw in Chapter 4. And you do not need to use the dialog box. However, you will not have access to the split options to create a custom warp, but you can toggle back to your other Transform settings to scale, rotate, and skew. Refer to Figure 5-60.

A warp panel is on top with the Inflate warp style at a bend of 50, and the Transform panel is depicted at the bottom. In the middle is the text where the inflate style is applied.

Figure 5-60

After rotation, the text is warped or scaled if required by toggling between the two options panels of Free Transform and Warp

Note

As well with text, you can hold down the Shift key to scale disproportionately.

To cancel the warp, click the Cancel button in the Options panel to exit the dialog box for now.

To the Buy Tickets Now layer I added a layer style of Stroke with Structure: Size of 6px, Position Outside, Blend Mode Normal, Opacity 100%, Overprint disabled, and a Fill Type of Color: White (R:255 G:255 B:255), which you can enter into the Color Picker when you click the swatch. Refer to Figure 5-61.

A buy tickets now layer is depicted, the f x icon is highlighted, and Stroke is chosen on the dropdown list. A Stroke dialog box is exhibited.

Figure 5-61

Applying a layer style of Stroke to the text

Click OK to exit the Layer Styles dialog box and you can see how the stroke bends around the warped text.

Refer to Chapter 3 if you want to know how to apply a patterned stroke. Refer to Figure 5-62.

An image of the star balloon is depicted and the final output of the text is in a warped style.

Figure 5-62

The completed warped text on the balloon

File ➤ Save your work at this point.

Warping Text Continued

So, what do you need to do create a custom warp for text or have access to all the transformation settings, including distort and perspective?

There are several ways to can do this, which I will discuss next. They are not part of this circus poster project.

Converting Text to a Path or Shape Layer

Text can be converted to a path by choosing the type layer and then, from the menu Text ➤ Create Work Path, the text will remain in the Layers panel and a path is created and stored in the Paths panel. Refer to Figure 5-63.

A layer Circus clown is displayed on the left. The Paths panel with work path is exhibited on the right.

Figure 5-63

Text converted to a path is found in the Paths panel

These kinds of paths can prove useful later when you want to use render filters, as you will see in Chapter 8. Paths, as noted in Chapter 4, can use the Free Transform Path options, including Distort and Perspective.

However, a better option to create a visual effect is to choose, either from the menu Type ➤ Convert to Shape or from the button from the Properties panel Quick Actions menu while the layer is selected with the Horizontal or Vertical Type tool. Refer to Figure 5-64.

Two Properties panels are depicted, the first exhibits the type layer, type options, and convert to shape and convert to frame buttons, and the second displays masks and shapes path. The Circus clown layer is converted into a shape.

Figure 5-64

Use your Properties panel when you want to convert text to a shape

Once the type is a shape layer , you will then have access to all of the transform features, including the ability to Edit ➤ Transform Path ➤ Warp to custom warp the shape. Refer to Figure 5-65.

A text Circus clown is depicted as a shape. The Transform panel is displayed, and the Circus clown shape is custom warped.

Figure 5-65

You can easily custom warp text when it becomes a shape

However, because it is no longer a type layer , the text is no longer editable and could be an issue if the client wants to change the lettering later.

In this case, before I custom wrap any text shape, I create a copy of the Type layer (drag over the Create new layer icon) so that I still have access to the original text. Then, on the copy, I choose Convert to Shape from the Properties panel and then Free Transform the shape path on that layer. Refer to Figure 5-66.

Two Layer panels are depicted. The one on the left displays a circus clown layer as a type layer, and the one on the right displays the same layer as a smart object.

Figure 5-66

Convert a type layer to a smart object layer when you want it to remain editable

Project: Bottle Label Warp

While the shape layer option was helpful for some type projects, there are situations where being able to warp the actual type is a much better solution. In that case, turning your text into a smart object layer and being able to edit it is a better option.

File ➤ Open the file named AppleCider_Label_pattern.psd and make an Image ➤ Duplicate to use for practice.

The font used here was Algerian Regular, which I have included in the project folder. If you get an error message, you can use a similar font if you need to replace it as this is not an Adobe font. Refer to Figure 5-67.

A bottle label displays the text, Ye olde apple cider co. e s t 1857 in three lines, with an apple image on the left.

Figure 5-67

Label for a bottle that contains text

This file contains layers and a group folder with various layer styles and advanced blending modes applied to give the appearance that the lettering and the logo are part of the wood, as seen in an example in Chapter 1. Refer to Figure 5-68.

A Layers panel is displayed with a Pass through blending mode, seven layers, and one folder.

Figure 5-68

Properties panel with a layer for the label

For this example, if you double-click the advanced blending layer option icon for the type layer Ye Olde Apple Cider Co., you will see that in the Layer Styles dialog box, under blending options, I have split and moved part of the black slider for Underlying Layer. I slid it up to the 40 mark. Refer to Figure 5-69.

A type layer Ye Olde Apple Cider Co. is highlighted and a blending options dialog box is depicted.

Figure 5-69

Blending options applied to text

Note
To split a slider, hold down the Alt/Option key and click right in the center of the slider to split it. Then the left and right can move freely, and when they touch, they can join back together. In this case, the split slider on the underlying layer allows some of the underlying wood grain to show through the layer in the dark area, giving a worn appearance, like the paint is peeling or cracking due to age. A layer mask in this case is not necessary to achieve this effect. Refer to Figure 5-69 and Figure 5-70.

A text E exhibits a peeling or cracking effect, This is due to the split slider on the underlying layer.

Figure 5-70

The text appears worn when layer style blending modes are applied

Because I have already adjusted the setting for the layer style for both the layers and the group folder, just click Cancel to exit the Layer Styles dialog box, but for your own projects you would click OK. Refer to Figure 5-71.

A layer-style dialog box with the chosen settings for a particular project.

Figure 5-71

Layer Style Blending Options applied to text

Take a moment to review the file and study the layers and their blending modes.

Then Shift+Select the layers in the Layers panel, except for the background layer, as this layer is not part of the label. Refer to Figure 5-72.

A layer's panel displays eight layers with visibility turned on. Seven layers are highlighted.

Figure 5-72

Shift+Select more than one layer when you want them to be a part of the smart object

Convert Text to Smart Object

Now, from the Layers panel menu , choose Convert to Smart Object. This packs all the layers into one smart object, in this case, named by the top type layer EST. 1857. Refer to Figure 5-73.

A part of a context menu displays the convert to a smart object, and the layer E S T 1857. All the layers highlighted are packed and converted to a smart object. A color shift is exhibited on the apple on the bottle label.

Figure 5-73

Sometimes layer styles alter when they are confined to a new smart object space

During this process you may notice a slight color shift that happened with the layer style for the group folder apple. This can sometime happen to layer styles when they are packaged into a smart object; a gradient can shift or reset. This is a good reason to work on a copy of your original image while making adjustments. To correct this, double-click the smart object thumbnail to enter it and access the .psb file.

Locate the apple group folder and double click on the layer style (fx) icon. Refer to Figure 5-74.

An apple folder is on the layers panel and the f x icon is observed on the right part of the layer.

Figure 5-74

The apple group folder is where you will have to correct the layer style

Once in the Layer Style dialog box , select the Gradient Overlay Tab. Refer to Figure 5-75.

A layer-style dialog box is displayed with settings for gradient overlay.

Figure 5-75

Layer Style dialog box for the apple group folder and Gradient Overlay settings

Nothing has changed here, but what you need to do, while in the dialog box, is in your image , drag the apple gradient down and to the left to reset the starting position of the gradient. This lightens it but the settings in this area do not change. Refer to Figure 5-76.

A close-up image of the apple on the bottle label with a diagonal arrow pointing downwards toward the left bottom of the apple. A gradient overlay icon is on the right.

Figure 5-76

Correct your gradient overlay by moving it while that tab in the dialog box is active

When done, click OK in the dialog box to commit the changes. Now File ➤ Save your .psb file, File ➤ Close the file, and then return to the .psd file and it should be updated.

At this point, you can save the .psd file so that you can continue to the next part of the project. I added my initials to the file name and clicked the Save button to commit. Refer to Figure 5-77.

An input bar is with the file name- Apple Cider underscore Label underscore pattern underscore J H dot p s d. The save button is on the right.

Figure 5-77

Save your files after you make your changes to the duplicate file

Tip
If you ever need to unwrap a smart object layer, you can right-click on the layer, and from the pop-up menu, choose Convert to Layers. This unpacks the smart object inside the .psd file as a group folder. But keep in mind, as you saw earlier, this may reset some of your layer styles so you may need to reset them after unpacking. Refer to Figure 5-78.

A layer is depicted with a folder titled E S T 1857 smart object group.

Figure 5-78

Unpacking a smart object makes it appear inside a group folder in the .psd file

Now that the layer is a smart object, File ➤ Open the document AppleCider_Bottle_start.psd and make an Image ➤ Duplicate of the file for practice. Refer to Figure 5-79.

A photograph of an apple cider bottle on top of a table.

Figure 5-79

The apple cider bottle sitting on a table

Return to your edited version of the AppleCider_Label_pattern.psd file, and with the smart object layer selected, choose Edit ➤ Copy. Refer to Figure 5-80.

A smart object layer is titled E S T 1857.

Figure 5-80

The apple cider label smart object

Then return to the file AppleCider_Bottle_start.psd. and choose Edit ➤ Paste. This adds the smart object layer to this file. Refer to Figure 5-81.

Two layers are on the left, the smart object layer titled E S T 1857. The background layer is the photograph of the bottle. The screenshot on the right is the smart object on top of the photograph.

Figure 5-81

The label is added to the file containing the bottle

Use your Move tool if you need to move the label down a bit to the area where you roughly want the label to sit. Now it’s time to Free Transform and Warp.

Now that the type is part of a smart object, you can use all of the Free Transformation features as seen in Chapter 4.

Edit ➤ Transform ➤ Scale to place the label where you would like it to appear on the bottle. Then toggle to the warp area of the Options panel. You must create a custom warp as the bottle is not perfectly cylindrical. To curve the label around the bottle, making it appear like it is wrapped but not with too much distortion, you may need to toggle back and forth several times and drag guides down from your ruler to get the label to look balanced and lined up. Lower the opacity of your layer so that you can see the background layer more clearly while you scale and warp . Refer to Figure 5-82.

A transform panel and an options panel. The bottle label is exhibited in a custom warp on top of the bottle, the opacity of the bottle label is set at 86 percent, and a sample setting is observed.

Figure 5-82

Free Transform Scale , lower the layer’s opacity, and then toggle in the Option panel to warp the label

Remember, because this is a smart object layer, Scale settings and Warp settings are saved so that you can edit and correct as required.

Remember to hold down the Shift key while scaling. In this case, it will correct letters that now appear stretched and disproportionate vertically.

How you wrap the label will be based on the angle and perspective for your own project. So, try to get it as close as possible to mine. Refer to Figure 5-83.

A transform panel is on top. Below are two samples of the bottle label- a large version with the settings applied.

Figure 5-83

Close-up of the warped label with Free Transform Scale and custom warp settings in the Options panel

Then click the check in the Warp options panel to commit the change. Raise the Opacity of the layer to 100%, if you have not already done so and File ➤ Save your document. Refer to Figure 5-84.

Two photographs of the bottle label on top of two different bottles. The one on the left has a custom warp, and the one on the right has a cylinder warp.

Figure 5-84

Final custom warped label on the bottle and how the same label could be used on a more perfectly cylindrical bottle

Note

Because this bottle was not perfectly cylindrical, we could not use the new preset warp of Cylinder, so we had to create a custom warp instead. Keep this in mind when you need to apply labels or type to different botte shapes. (See file AppleCider_Bottle_Cylinder.psd). Refer to Figure 5-84 and the following link for more details on how to use this new warp and its controls: https://helpx.adobe.com/photoshop/using/warp-images-shapes-paths.html (see Transform Warp: Cylinder).

At this point, if you need to change text or alter something on your label, you can double-click the smart object thumbnail to enter the .psb to find the type layer such as EST. 1857. Refer to Figure 5-85.

A smart object thumbnail on the left displays the E S T 1857 p s b file. The layer on the right displays the type layer E S T 1857.

Figure 5-85

Enter the smart object .psb file to alter a layer

With the Horizontal Type tool , highlight part of the date and change it to 1858 or some other date of your choice and commit the change in the Options panel. Refer to Figure 5-86.

A horizontal type tool icon. Two lines of text are displayed below it, E S T 1857 and E S T 1858, respectively.

Figure 5-86

Use the Horizontal Type tool to change a date in the text

Note
Another change I made in the file was to select my adjustment layer called Black & White 1. I noticed that during the transition, the mask did not expand enough and some of the brown wood was showing on the left and right side when the wood should appear gray. Refer to Figure 5-87.

An adjustment layer titled black and white 1 is displayed. Below is a portion of the bottle label with color issues.

Figure 5-87

Correct color issues on your adjustment layer mask

Do not worry about the transparent pixels on the edge of the image as this will not be noticeable in the warp.

With the mask selected, go to Edit ➤ Fill and choose a fill of white. Click OK and this should correct the gap. Refer to Figure 5-88.

An adjustment layer titled black and white 1 is exhibited on top. Below is the fill dialog box with contents set to white, and below it is the corrected image.

Figure 5-88

Fill in missing areas on the black and white adjustment layer mask with the Fill dialog box

Once you have completed your adjustment, File ➤ Save your .psb file and File ➤ Close and the text will be updated in the smart object, along with the warp. File ➤ Save the .psd file. Refer to Figure 5-89.

A photograph of the final output with the bottle label changed to 1858 and the layer mask adjusted.

Figure 5-89

Final warped label on a bottle with date and color changes

If required, you can then further edit the warp using my Edit ➤ Free Transform Tools and commands.

At this point, to make the label appear more realistic, you can add some layer style effects such as Gradient Overlay and Drop Shadow. You can review my settings in the file AppleCider_Bottle_final.psd. Refer to Figure 5-90.

The gradient overlay and drop shadow dialog boxes with settings for the label. Below are two Layers panels with the type layer titled E S T 1857 and E S T 1858, respectively, both have gradient overlay and drop shadow effects.

Figure 5-90

Additional layer style settings for the label. Rename the label in the Layers panel to reflect the changes to the date

You can then rename the layer, if required, but this will not affect the file name of the .psb file within the smart object.

Tip
If you ever need to replace the label entirely, just make sure that you build the label to the exact same size as the original smart object. Select the smart object layer, right-click, and choose Replace Contents. Refer to Figure 5-91.

A portion of the context menu is displayed with the option Replace Contents highlighted. The replace file icon is shown with a place button beside it.

Figure 5-91

Use your pop-up menu to replace the contents of a smart object when required. The files do not have to be a .psb file; you can select other formats

Then locate the newly created file using the Replace file dialog box. Select a file and click Place, and the contents will update but the warp will be maintained. Refer to Figure 5-91. If you want to have both labels in the file for the client to compare, select the smart object layer first, then right-click and from the menu choose New Smart Object via Copy, as seen in Chapter 4, and then replace the contents of the copied layer. Refer to Figure 5-92.

Two smart object layers with visibility on. E S T 1858 copy and E S T 1858 with gradient overlay and drop shadow effects.

Figure 5-92

Create alternate labels for the client to view

File ➤ Save your document at this point and you can close the apple cider project files.

Adding Additional Layer Styles and Color to Warped Text

As you have seen, layer styles can be applied to text whether you have added a text warp to them or not. This can improve the design, such as adding a drop shadow or even a gradient or texture pattern within the lettering. For example, Pattern Overlay blends can be set to Blend Mode of Normal.

However, keep in mind that if you apply a layer style to text or a shape, this does not guarantee that when you apply a pattern overlay that the pattern is going to warp as well. Refer to Figure 5-93.

Two samples of the text circus clown with various layer styles. Below is a pattern overlay dialog box with certain settings.

Figure 5-93

Type can have layer styles of a pattern overlay applied but the pattern may not warp

So how can you ensure that the pattern overlay or any layer style will appear warped? The answer is to convert the text layer to a smart object before warping by using the Layers panel menu. Refer to Figure 5-94.

The text circus clown is written in a straight line. The type layer circus clown is converted to a smart object layer which enables the user to warp the text, a sample is at the bottom.

Figure 5-94

Turn your type into a smart object layer when you want it to warp

Use Edit Transform ➤ Warp and you will see that you can easily warp the text and texture or patterns at the same time. And you can enter the smart object layer any time, as you saw in the earlier example, and make edits. Then you save the .psb, close it, and the edits will update in the .psd file.

Keep this idea in mind if you need to work with glyphs and color fonts, as you saw earlier in this chapter, as now the color will be preserved during the warp. Refer to Figure 5-95.

Two glyphs of a smiling girl. The one on the left is the original, and the one on the right is the warped version.

Figure 5-95

Warp colored fonts when you turn them into smart object layers

Making text into a smart object is also useful when you want to apply certain smart filters, as you will see in Chapters 6, 7, and 8.

Note

With smart objects you can alter text or shapes in Illustrator smart objects as well. For information on working with text in Illustrator, refer to Volume 2. However, you can follow the steps mentioned in this chapter and Chapter 4 if you need to edit your Illustrator smart object text.

Converting Text to Frames

Another feature that you may have noticed in the Properties panel under Quick Actions is that you can convert text to a frame. Refer to Figure 5-96.

A properties panel contains two quick actions, convert to frame and convert to shape.

Figure 5-96

Use your Properties panel to Convert type layers into frames quickly

To get more detail about how to work with frames , you can check out the following link: https://helpx.adobe.com/photoshop/using/place-image-frame-tool.html .

However, I will just point out that you can make your text into frames that are like a clipping mask when you want a picture to show through, in this case after you have warped your text using the Horizontal Type tool Options panel. Refer to Figure 5-97.

A horizontal type tool options panel is above. The text circus clown is displayed below with a warped style.

Figure 5-97

Warped type created using the Horizontal Type tool options

From the Properties panel or from the Layers menu, choose Convert to Frame. Name the frame and leave the width and height at the default and click OK. Refer to Figure 5-98.

A new frame dialog box with Circus Clown set as the name. The width is 2269 pixels and the height is 276 pixels.

Figure 5-98

New Frame dialog box

At this point, the frame is created in the Layers panel. Refer to Figure 5-99.

A layer of circus clown has a frame included in it. The text circus clown is below with a white fill.

Figure 5-99

New frame layer created

Like a path, it does not have an image linked into it, so it is blank inside and has a white fill. From the Properties Panel menu Inset image, select either Place from Local Disk Embedded or Linked. I chose to embed. Refer to Figure 5-100.

Two properties panels depict two different settings for the inset image. The one on the left is find on Adobe Stock, and the one on the right is place from a local disk embedded, a sample text is below with an inset image.

Figure 5-100

Adding an image to a frame layer

Locate an image using the dialog box and click Place. Refer to Figure 5-101.

A Place button is displayed.

Figure 5-101

Once you locate the file, click the Place button in the dialog box

This places the image inside the new frame. However, keep in mind that once again the frame may be warped but not the image within. To ensure the image bends with the warp, as with previous example, start with the text layer with no warp applied and then create the frame. While other Free Transform options could be applied to the frame, the option to Warp is unavailable, so the smart object transformation is necessary before a warp can be applied. Refer to Figure 5-102 and Figure 5-103.

The text circus clown with an inset image is depicted on top. A context menu is displayed with the transform option highlighted, a sub-context menu is displayed with the options scale highlighted, and at the bottom is the option convert to smart object.

Figure 5-102

Convert the frame layer to a smart object when you want to warp the text and image

A transform panel is on top with the warp style of the flag chosen. The text circus clown is below with the warp style chosen applied to it.

Figure 5-103

Transform the warp text and smart object layer

You can see that a certain order in steps must be followed to achieve the look you want.

Tip

In addition, for your smart object layer you could further use your Properties panel to fade, add layer masks, or even use your Layers panel blending modes to improve the look of the text on the layer.

Project: The Circus Clown

Let’s return back to the copy you have been working on of the Circus_Poster_start.psd file. I saved my file with my initials earlier so that I could come back and complete the file. Refer to Figure 5-104.

A file name Circus underscore poster underscore start underscore J H dot p s d is displayed.

Figure 5-104

Open your circus poster file to complete it

Type on a Curved Path

Make sure to select your Buy Tickets Now! layer. Create a blank layer above it and select it. Then select your Pen tool. Refer to Figure 5-105.

A blank layer is above the type layer titled Buy tickets now. A pen tool icon is exhibited on the right of the layers panel.

Figure 5-105

Use the Pen tool on a new layer to create a text path

In the Options panel , make sure that the pen is in the Path mode so that you do not create a shape by mistake, and make sure that your Paths panel is also visible. Currently, there should be nothing in the Paths panel. Refer to Figure 5-106.

An options panel is set at the path mode. Below the paths panel is displayed.

Figure 5-106

Pen tool options and Paths panel

One further feature you can try is getting your type to go on curved path. Use Ctrl/CMD++ to zoom in closer to the clown’s head and the round balls he is juggling. Refer to Figure 5-107.

A close-up diagram of the clown juggler. He juggles 7 balls.

Figure 5-107

Look at the juggler to begin creating your new type path

Create a work path with your Pen tool. Click point 1 on the left. Click+Drag Point 2 in the center and then click point 3 on the right to create a curved open path. It will appear in the Paths panel. Refer to Figure 5-108.

A close-up image of the clown juggler is on the right. The paths panel that contains the work path is on the left. A curved path is made to connect the balls the clown is juggling.

Figure 5-108

Create a work path that appears in the Paths panel

While the path is selected, with the Horizontal Type tool options, set to Arial Black 18pt, Sharp, Center Text Align, and White text. Refer to Figure 5-109.

A horizontal type tool is highlighted and an options panel is below it. The options are set to Arial, Black, 18 points, sharp, center alignment, and white text.

Figure 5-109

Use the Horizontal Type tool to begin creating your path

Click somewhere on the path, in this case the center. The Blank Layer 1 will now become a text layer. When your baseline indicator appears, you can begin to type. This creates a type path in the Paths panel. Refer to Figure 5-110 and Figure 5-111.

A default text is on the curved path made over the balls juggled by the clown juggler.

Figure 5-110

Click on the path in the center to begin typing the text

In all capitals, type the word JUGGLER. Refer to Figure 5-111.

The text juggler is on the curved path over the balls juggled by the clown juggler. The paths panel on the right displays two elements, the work path and the juggler-type path.

Figure 5-111

Type the text and a new path in the Paths panel appears

With the text highlighted, use the Properties Character panel and set the Tracking to 1140. Refer to Figure 5-112.

A properties panel is on the left with the tracking set to 1140. The effect of this setting is displayed on the world juggler spread evenly to match the positions of the balls.

Figure 5-112

Use the Properties panel Character tab to make further adjustments to the highlighted text

This spreads the text farther apart so that it match up with the balls.

You can use your Path Selection tool to make sure that all the text appears on the path. Drag slightly above your path on the text. This adjusts the I-beam with an arrow to move the position left or right or have the text appear up or down. Dragging along the path will move the text as well, backwards or forwards. Refer to Figure 5-113.

A path selection tool and the direct selection tool. The first is highlighted. Two close-up images of the clown juggler depict the word juggler in an upside-down position and in an upright one.

Figure 5-113

Use your Path Selection tool to move the text around on the path sot that it is distributed correctly as the cursor changes

You can then use your Direct Selection tool to select and adjust individual points on the path. Refer to Figure 5-114.

A path selection tool and the direct selection tool, with the first being highlighted.

Figure 5-114

Use the Direct Selection tool to adjust individual points on the path

I used my Pen tool afterwards to add two more points to the path so that the letters would sit on the balls and continued to use my Direct Selection tool until the text was over the balls. I then clicked the check in the Type Options panel to commit the transform. Refer to Figure 5-115.

A pen tool icon is on the farthest left. The letters of the word juggler are inside one ball each per letter. The cancel and check icons are displayed on the farthest right.

Figure 5-115

The competed path with a few additional points. In the Options panel , click the check to commit the transform

Afterwards, I added some layer styles to my type layer such as Inner Shadow and an Advanced Blending mode , so it appears like the letters are on the balls. Refer to Figure 5-116.

A type layer juggler is highlighted and blending options and inner shadow dialog boxes are depicted.

Figure 5-116

Juggler type layer with Blending Options and Inner Shadow layer style added

Set the Dark Blending Options Underling Layer slider to 104, Inner Shadow Structure Blend Mode to Normal, Black, Opacity 51%, Angle 90, Use Global Light enabled, Distance: 0 px, Choke: 0%, Size of 4 px, Quality: Half round contour, Anti-alias disabled, and leave Noise at 0%. Click OK to exit the Layer Style dialog box.

File ➤ Save this document and File ➤ Close any of the projects you have open at this point as the projects are complete. You can refer to my file Circus_Poster_final.psd if you need to see a copy of the work done here. Refer to Figure 5-117.

A poster with a circus tent, a clown juggler, and the text welcome to the greatest show on the planet. The word juggler is observed on the balls juggled by the clown, and the text, buy tickets now is inside a star balloon.

Figure 5-117

Final circus tent poster

Type on a Closed Path

Type on a path can also be created with shape paths that are closed, such as circles or polygons. Again, make sure to click on the path with the type tools baseline indicator; if you click inside the path, it becomes a text box area, which can be useful for other projects. Use your History panel if you did this by accident. Refer to Figure 5-118.

An options panel is for the path. Two circles have default text exhibited on the path of the shape. The bottom shape displays the default text inside the circle.

Figure 5-118

Type on a path or in a custom text box shape with default text

The type on a path can also be adjusted further with the Horizontal or Vertical Type tools or using the property of character baseline shift. With baseline shift, use positive numbers to raise the text and negative numbers to lower the text on the path. As mentioned, you can also use vertical or horizontal scaling to apply an additional stretching to the text. Refer to Figure 5-119.

A circle is on the left with a default text following the path of the shape. A characters panel is observed on the right.

Figure 5-119

Type on a path altered further with the Properties panel Character tab

Note

Remember to reset your Character and Paragraph panels using their menus for your next project before you start, or you might include a previous warp setting.

To transform the Text path for the text to reflow on, use Edit ➤ Free Transform Path or Edit ➤ Transform Path ➤ Warp.

While not required for this book, if you would like to know how to use text paths in Illustrator, refer to Volume 2.

Summary

In this chapter, you looked at how to lay out some text and then warp it. You can also see that text by itself has some limitations, but you can add layer styles or convert it to smart objects or frames. Text within a smart object layer can use all the Free Transform commands, and specifically the custom warp command, when you want the patterns or images within the text to appear more realistic. In the next chapter, you will explore another tool in the Edit menu that is also a smart filter. It is known as Puppet Warp .

For recent updates on the change of EmojiOne to Noto Color Emoji SVG font refer to this link:

https://​helpx.​adobe.​com/​photoshop/​using/​fonts.​html#support-emoji-glyphs

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