Control Panel and Properties Panel Options

You can use the Control panel or the Properties panel to set the options before you begin to type with the Type tool. Some of these settings in the Control panel should already be familiar to you from past Illustrator chapters; however, this time you can apply to type the following settings: Color of Fill, Stroke Color, Stroke Weight, Variable Width Profile, Brush Definition, Opacity, and Graphic Style. Refer to Figure 10-5.

Returning to the Control panel, there are a few new settings you may not have seen before. These options are specifically for your characters (individual type letters) and your paragraph (the characters within a line of type, or several lines of type). Refer to Figure 10-6.

You will also notice that there are more options in the Properties panel, which we will look at next. Refer to Figure 10-7.

To begin using your Type tool, click somewhere on your Artboard and begin to type. This creates a point at which you can start to type. Refer to Figure 10-8.

Illustrator will create some placeholder text that is pre-highlighted. You will notice that the Control panel and Properties panel change to match the current selection of text. Refer to Figure 10-9 and Figure 10-10.

For type, the Character settings will change by default to a Fill Color of Black with a Stroke of None. Refer to Figure 10-11.

This leaves the Stroke and Variable Width Profile fields blank. However, you can choose a stroke color from the Control panel, and this will set the current highlighted placeholder text with that new stroke color. Refer to Figure 10-12.

This will give you access to the Stroke Weight field, currently at 1 pt, and the Variable Width Profile field, set currently to Uniform.

While the text is highlighted, you can change its opacity (0%–100%) and click on the word. This setting includes blending modes and opacity masks. Refer to Figure 10-13.

I talked about blending modes and the Transparency panel in Chapter 8.

From the Control panel, you can also recolor the artwork of the type. Though not required for this book, for more information on the topic of recoloring and the color guide you can refer to the following site: https://helpx.adobe.com/illustrator/using/recolor-artwork.html.

Refer to Figure 10-14.

While the text is highlighted, type a new word or sentence, and then choose the Selection tool so that the text is not highlighted, so that you can view the result. Refer to Figure 10-15.

For this size of type, the stroke is too thick, blocking out the fill. You can reduce the stroke weight to 0.25 pt to see it better. However, in my case the type is quite thin, and strokes, I find, are best used on fonts that are bold already. Refer to Figure 10-16.

You can also use the Stroke panel if you want to have a dashed-line stroke around the text, by enabling the Dashed Line settings. Refer to Figure 10-17 and Figure 10-18.

For now, let’s return the color of the stroke to None and continue to look at the rest of the options in the Control and Properties panels.

You can change the settings while the type is selected with the Selection tool. Refer to Figure 10-19.

Character

The next section in the Control panel is the Character section. Refer to Figure 10-20.

While the text is selected in the Control panel, you can set the Font Family field. Refer to Figure 10-21.

I am choosing the font family Arial.

While you are in this dropdown list, you can see the list of current fonts, or under the Find More tab you can search the Adobe Fonts website and activate Adobe fonts that you can use as part of your subscription. Currently, I am remaining on the Fonts tab, and from here I can filter my fonts by various classifications and properties or clear all the filters. Refer to Figure 10-22.

I can also filter for favorite fonts, recently added, and activated fonts. Refer to Figure 10-23.

You can then choose how you want to preview the font, either by the currently selected text or by a list of other sample text options, and then set a font’s size to preview—small, medium, or large. Refer to Figure 10-24.

Currently, I am previewing using the selected text, with a preview size of medium.

In the case of the Arial font on my computer, there are other font styles within the family. By clicking on the arrow tab dropdown, I can find an Arial Bold font and select it. Refer to Figure 10-25.

This then automatically sets my font style in the Control panel, as well. Refer to Figure 10-26.

From the Font Style dropdown menu you can see a list of the available styles. The type will update on the artboard as you hover over them but will not commit until you click on a choice. Refer to Figure 10-27.

Some fonts will only have one style, such as Regular; however, most will have the additional three other styles of Bold, Italic, and Bold Italic. Other fonts will have further options, such as Black and Narrow with additional bold and italic style subsets.

In the Control panel you can then increase or decrease the font’s size while selected, by using the up and down arrow keys in the text box, typing into the text box, or selecting a preset size from the list. Refer to Figure 10-28.

For additional options in the Control panel, if you click on the word “Character,” this brings up additional Character settings, which we will look at in a moment. These are also found in the Window ➤ Type ➤ Character panel. Refer to Figure 10-29.

Note

When using the Properties panel, you can access similar settings while clicking on the ellipses button (More Options). Refer to Figure 10-30.

As the topic of this book is not about typography settings specifically, I will not go into any major detail about the topics of leading (space between lines), kerning (space between two character), or tracking (space between several selected characters, like a whole word). If you want to learn about specific Character settings in the Characters panel, you can refer to https://helpx.adobe.com/illustrator/using/formatting-type.html. Refer to Figure 10-31.

However, I will point out that if you want to use the Character panel specifically to scale a type vertically or horizontally, shift it, or rotate it, then look at this section of the Character panel. Refer to Figure 10-32.

Here, you can see an example of vertical scaling on the entire text, which you can alter by using the text box’s up and down arrow keys, typing in the text box, or choosing a preset from the list. By default, it is set to 100%. Refer to Figure 10-33.

You can also set the scaling on a single letter when you select and highlight it with the Type tool. Refer to Figure 10-34.

Horizontal scaling lets you scale the text horizontally. You can alter it by using the text box’s up and down arrow keys, typing in the textbox, or choosing a preset from the list. By default, it is set to 100%. Refer to Figure 10-35.

You can also set the scaling on a single letter when you select and highlight it with the Type tool. Refer to Figure 10-36.

Set Baseline Shift: When you use the Type tool you can highlight a specific letter and shift it up or down on the baseline by using the text box’s up and down arrow keys, typing in the textbox, or choosing a preset from the list. By default, it is set to 0 pt. Negative numbers move the character downward and positive numbers upward. Refer to Figure 10-37.

Character Rotation: This can be done for a set of letters selected with the Selection tool or a selected letter of text. You can change the rotation angle of the letter by using the text box’s up and down arrow keys, typing in the textbox, or choosing a preset from the list (-180°, 0°, 180°). By default, it is set to 0°. Refer to Figure 10-38.

Variable Font

If you have a font family that is a variable width, such as Acumin Variable Concept, you will have additional scaling options available to you in the Character panel when you click on the icon next to the Font Style field. The icon will also appear in the Control and Properties panels. Refer to Figure 10-39.

This will include the slider settings for Weight, Width, and Slant; some variable fonts may even have additional options such as Optical Size.

Weight affects the thinness or boldness and spacing of the font. Refer to Figure 10-40.

Width: Adjusts the spacing of the type and makes it less narrow and broader. Refer to Figure 10-41.

Slant: Rather than use an italic font style, you can custom set the slant. Refer to Figure 10-42.

Returning to the Arial font and the Control and Character panels, as mentioned, if you need more details on additional settings for all caps or superscript and subscript in the panel, you can refer to https://helpx.adobe.com/illustrator/using/formatting-type.html.

Refer to Figure 10-43.

We will come back to the Character panel again later in the chapter.

Open Type Panel

Additionally, if you cannot find specific Character panel settings such as fractions that you found in the Character panel in Photoshop, you can locate these in the separate OpenType panel if the font has OpenType settings. Refer to Figure 10-44.

Paragraph

While the next set of Paragraph option settings in the Control panel will work on a single line of text, if you want to use them correctly, this time with the Type tool, drag out a rectangular box area that will automatically fill with placeholder text. Refer to Figure 10-45.

While the text is highlighted, you can type in some new text. Refer to Figure 10-46.

You can then select the text area with the Selection tool. Refer to Figure 10-47.

While not specifically for warping text, you can use the Control panel to adjust the Paragraph settings to align left, align center, or align right. Refer to Figure 10-48.

By default, it is set to align left.

Additional Paragraph options can be found when you click on the word “Paragraph” in the Control panel, under the More Options ellipses in the Properties panel, or in the Paragraph panel. Refer to Figure 10-49.

New options have now been added to the Paragraph panel that make creating either bulleted or numbered lists with your highlighted text easier; these additional options can be found when you click on the ellipses. Refer to Figure 10-49.

For more details on working with the Paragraph panel, you can visit the following:

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

https://helpx.adobe.com/illustrator/using/bullets-numbering.html

Area Type

While working with an Area Type text box, the Control panel may have additional features specifically for the area of type in the Control and Properties panels. Refer to Figure 10-50.

These are used to control the spacing of the type within the area of box, and we will look at that in more detail when we look at the Area Type tool in the next section.

Make Envelope

Whether you are working with a single line or an area of type, you can use the Make Envelope feature we already briefly looked at for warping text in Chapter 9. However, you can access these options in the Control panel specifically for selected type. You can choose to Make with Warp for a preset warp or Make with Mesh to create a custom warp. Refer to Figure 10-51.

As mentioned in Chapter 9, you can use the Direct Selection tool or Anchor Point tool to alter the mesh. Refer to Figure 10-52.

Align

In both the Control panel and the Properties panel, while working with type, you have the options found in the Align panel. You can use this when two or more items are selected to align them, as well as to align the selected text to the Artboard itself. Refer to Figure 10-53.

Tip

While text is selected with the Selection tool, you can Alt/Option-drag to create a copy, and then you can Shift + Click to select each text and choose an Align option.

Transform

You can also access the Transform panel from the Control and Properties panels. Refer to Figure 10-54.

Many of the same options you saw when working with paths in Chapters 2 and 3 apply to type as well.

You can use the Transform panel, while the bounding box around the type is selected, to scale and rotate, or to use the shear setting to alter the angle of the type further. Refer to Figure 10-55.

As well, you can flip the type horizontally and/or vertically using the Properties panel buttons. Refer to Figure 10-56.

The handle that is sticking out on the right side of the bounding box allows you to, when you double-click it, convert the type line to area type; it is not for rotation. We will look at that option later in the Area Type tool section. Refer to Figure 10-57.

Changing Text Color

One final important thing I will point out for when you are working with type and the Type tool is that you can select individual letters and change their color using the Control panel. Refer to Figure 10-58.

However, when you select the line again with the Selection tool, there may be a [?] question mark in the Color Fill or Stroke field in the Control panel. Refer to Figure 10-59.

To resolve this and set all type to one color, you can select the fill color and select a new color in the Control panel for all the type. Refer to Figure 10-60.

Type can be set to a solid or patterned swatch, but not directly to a gradient swatch. We will see how to do that later, in Chapter 11.

Glyphs Panel

If you need some additional characters that you can’t access with your keyboard, make sure to use the Window ➤ Type ➤ Glyphs panel. While the type is selected with the Type tool, you can place the cursor at a select location, or drag to highlight a letter that you want to change, and then double-click the letter in the panel to change the letter on the Artboard. Refer to Figure 10-61.

You can use Edit ➤ Undo (Ctrl/CMD+Z) to undo that last step, or use the History panel to return back to the original letter. Refer to Figure 10-62.

This area can also be used to access color fonts, like EmojiOne Color, after you have selected it in the Control panel. Refer to Figure 10-63.

Resetting Character, Paragraph, and Open Type Panels

If, after using this font, you want to reset your Character, Open Type, and Paragraph settings back to the base font, use the menu option of Reset Panel. Make sure that no text is selected when you reset the panels. Refer to Figure 10-64.

Note

If you want to know how to save your Character and Paragraph settings as styles for the Libraries panel, you can check out https://helpx.adobe.com/illustrator/using/character-paragraph-styles.html.

Area Type Options

In the dialog box, with preview enabled, adjust the following settings (refer to Figure 10-83):

Width and Height: These settings scale the object, or in this case the type area. Type in a number or use the up and down arrows on the text boxes to scale. Refer to Figure 10-84.

Rows: If there is a lot of text within a large shape, you can add rows. When, the number is set to 1 and it has a span equal to the area height, before adding another number row. Refer to Figure 10-83. However this changes when you add more rows. In this area, you can also set a fixed or unfixed span should you decide to scale the area later. According to Adobe, having Fixed enabled you can change the number of rows, the rows height will not change, but the shape will expand in height. Having Fixed disabled you can change the number and height of the rows, but the shape will not expand with the text. With two rows you can set a gutter width as well, and the size of the span changes. Refer to Figure 10-85.

Columns: If there is a lot of text within a large shape you can add columns. When the number is set to 1 and the span is equal to the dimensions of the area width before adding another number column. Refer to Figure 10-83. However this changes when you add more columns. This allows you to also set a fixed span should you decide to scale the area later. According to Adobe, having Fixed enabled you can change the number of columns, their width will not change, but you will expand the width of the shape. Having Fixed disabled you can change the the width number and width of the columns but they will not expand with the text. With two columns, you can set a gutter width as well, and the size of the span changes. Refer to Figure 10-86.

You can set a combination of rows and columns. Refer to Figure 10-87.

Set rows and columns back to 1 for each, for now. Refer to Figure 10-88.

Offset: Allows you to add spacing within the type area. Currently, the Inset Spacing is set to 0 inches. Refer to Figure 10-89.

By increasing the inset spacing, you can add a bit of padding around the type so that it does not sit on the stroke of the shape. Refer to Figure 10-90.

First Baseline: This is currently set to Ascent with a Min of 0 inches. However, to better align the text within the area, you can try the other options of Cap Height, Leading x Height, Em Box Height, Fixed, and Legacy. Refer to Figure 10-91.

I tried Leading and then set my Min to 0.25 in to move the type within the area down a bit more. Refer to Figure 10-92.

Align: This is currently set to Horizontal Top. You can set this area outside of the dialog box as well as in the Control panel, and it has the same settings of Top, Center, Bottom, and Justify. Refer to Figure 10-93.

Leave set to Horizontal Top.

Options: Text Flow: If there are rows and columns in the text area currently based on the settings the rows will flow the type (By Rows, from Left to Right). If you choose the right-most option, then columns will flow the type (By Columns, from Left to Right). Refer to Figure 10-94.

Set the text flow back to (By Rows, Left to Right) and leave the columns and rows at 1 each. Note auto-size is not available and can only be used for rectangular type areas. Click OK to exit the dialog box and review the result. Refer to Figure 10-95.

Additional Tips for Working with the Area Type Tools

There are a few other things to note about Area Type. If you need to add additional placeholder text, place your cursor at the point you want to add the text, then choose Type ➤ Fill with Placeholder Text. Refer to Figure 10-97.

Or, type your own text to fill the space.

When you have two text areas that you want to join, click with the Selection tool on one of the white squares on the path—in this case, the lower one—and then click on another selected area type shape’s white square to join them. You can see they are connected by a blue line. Refer to Figure 10-98.

This is known as threaded text, and you can find this option under Type ➤ Threaded Text. Other options after you create the link allow you to release the selection so text flows into one text area, or to remove the threading so they are separate text areas again. Refer to Figure 10-99.

Use Edit ➤ Undo or use the History panel if you need to undo a step while working with these options.

Project: Text Wrap Around a Shape with Type Area

In other situations, you may want the type to wrap around a shape rather than inside of a shape, and you can see an example of that in my file Text_wrap_clown_example.ai. Refer to Figure 10-100.

There are two ways of creating a text wrap, and you may prefer one over the other, depending on your project.

Text Wrap Option 1

In this example, I created a path with my pen tool and made sure to leave enough space around the edge of the balloons and their string. Refer to Figure 10-101.

I then clicked on the path with the Area Type tool and then edited and spaced the placeholder text as I required. Refer to Figure 10-102.

This is a good method when you are concerned about whether the type might get too close to an object, and you want to know the type will still flow smoothly. You could also add points with the Add Anchor Point tool or move points with your Direct Selection tool. Refer to Figure 10-103.

Text Wrap Option 2

In the second example, I created a rectangular text area with my Type tool and then arranged the text behind the grouped clown graphic via Object ➤ Arrange ➤ Send to Back. The type must be behind for this to work. Refer to Figure 10-104.

Then I Shift + Clicked with the Selection tool to select the clown group, and from the Object menu chose Text Wrap ➤ Make. Refer to Figure 10-105.

I then got the following message: Text will wrap around all objects in the current selection, including type objects. I clicked OK. Refer to Figure 10-106.

The text is now wrapping around the balloons, but it needs a bit of help, as some of the text will flow under the balloon string. Go to Object ➤ Text Wrap ➤ Text Wrap Options. Currently, the offset is set to 6 pt in the dialog box. Refer to Figure 10-107.

I then set it to 13 pt and left the Invert Wrap disabled, and clicked OK to exit. Refer to Figure 10-107 and Figure 10-108.

Now the text flows around the balloons more evenly. Refer to Figure 10-108.

Note

If you need to release a wrap, make sure that both the grouped object and the text are selected, and then choose Object ➤ Text Wrap ➤ Release. Refer to Figure 10-109.

Both must also be selected if you need to fix your Text Wrap options.

Type on a Path Options

To further adjust your path options, you can use Type ➤ Type on Path, and choose the Type on a Path Options item to see the Options dialog box rather than set your effects one at a time. Refer to Figure 10-115 and Figure 10-116.

In the dialog box, make sure Preview is enabled. Try several Effect options, which are also in the Type on a Path menu. Refer to Figure 10-116.

In this example the type is set to the Rainbow effect. Refer to Figure 10-117.

However, Skew, 3D Ribbon, Stair Step, and Gravity can produce different effects, and this also depends on the shape of the path. Refer to Figure 10-118.

Instead of using the center bracket, you can also choose the Flip option so that the text flips inward or outward on the path. Refer to Figure 10-119.

Then, you can set the Align to Path field to either Ascender, Descender, Center, or Baseline. Baseline is the default. Refer to Figure 10-120.

Lastly, you can adjust the spacing of the letters on the path; by default it is set to Auto. You can type in a number or choose a preset from the list. Refer to Figure 10-121.

You can choose a range of -800 pt to 800 pt. When Flip is enabled, negative numbers are closer spacing and positive numbers are more spread out. This is a good option to use on curved path segments. Refer to Figure 10-122.

However, when Flip is disabled then the opposite is true of the spacing; with negative numbers the spacing is more spread out and with positive numbers it is closer.

Once you find the settings you like you can click OK to exit. Refer to Figure 10-123.

Type can also be on open paths. Refer to Figure 10-124.

Further details on this dialog box can be found here: https://helpx.adobe.com/illustrator/using/creating-type-path.html.

You can also further scale and rotate the path later, using the Selection tool and the bounding box handles. Refer to Figure 10-125.

Envelope Warp Type

To begin, select the unlocked layer Warp Text and, with the Selection tool, select the word “WELCOME.” I have turned off the visibility of the tent layer so that you can see the text better in the figures. Refer to Figure 10-136.

The type has already been typed using the Type tool, and been formatted in the Control panel. Refer to Figure 10-137.

The text is black fill with a stroke of none and uses the font family of Rosewood Std Regular. You can acquire this font from Creative Cloud with your subscription, if you do not have it on your computer, via the Find More tab. If you did not get a font warning when you opened the file, it is likely already loaded on your machine. Refer to Figure 10-138.

The font is 88.71 pt, and the text for the paragraph is centered; all the following text is centered as well, though the text size will vary. Refer to Figure 10-137.

While the type is selected in the Control panel, click on the Make Envelope button; it should be set to Make with Warp. Refer to Figure 10-139.

Set the Style field to Rise and select the Horizontal radio button. Adjust the Bend slider to 50% and leave the Vertical and Horizontal distortion settings at 0%, then click OK. Refer to Figure 10-140.

The text now appears distorted on the poster, and you can see the setting in the Control panel when set to Edit Envelope. Refer to Figure 10-141.

Use the Selection tool to move the text up a bit so that it sits near the top of the tent.

Here are the coordinate settings that I used for X: 4.2569 in and Y: 2.2858 in. Refer to Figure 10-142.

Now, skip over the words “TO THE,” as we will not be editing them yet.

With the Selection tool, select the next word, “GREATEST.” Refer to Figure 10-143.

Select the Make Envelope option in the Control panel. Choose Make with Warp. Refer to Figure 10-144.

In the Warp Options dialog box, set the Style field to Arch, choose the Horizontal option, set the Bend slider to 16%, leave the Vertical and Horizontal settings at 0%, and then click OK. Refer to Figure 10-145.

The text now appears on the poster, distorted, and you can see the settings in the Control panel. Refer to Figure 10-146.

Use the Selection tool to move the text. Here are the coordinate settings that I used for X: 4.3982 in and Y: 3.9051 in. Refer to Figure 10-147.

Now, select the word “SHOW” with the Selection tool. Refer to Figure 10-148.

Select the Make Envelope option in the Control panel. Choose Make with Warp. Refer to Figure 10-149.

In the Warp Options dialog box, set the Style to Arch, choose Horizontal, set Bend slider to 24%, leave the Vertical and Horizontal distortion sliders at 0%, and click OK. Refer to Figure 10-150.

The text now appears on the poster, distorted, and you can see the settings in the Control panel. Refer to Figure 10-151.

Use the Selection tool to move the text. Here are the coordinate settings that I used for X: 4.4326 in and Y: 5.0959 in. Refer to Figure 10-152.

At the bottom of the poster, with the Selection tool, select the text “ON THE PLANET.” Refer to Figure 10-153.

Select the Make Envelope option in the Control panel and choose Make with Warp. Refer to Figure 10-154.

In the Warp Options menu set the Style to Arch, choose Horizontal, set the Bend slider to -16%, leave the Vertical and Horizontal distortion sliders at 0%, and click OK. Refer to Figure 10-155.

The text now appears on the poster, distorted, and you can see the settings in the Control panel. Refer to Figure 10-156.

Use the Selection tool to move the text. Here are the coordinate settings that I used for X: 4.3982 in and Y: 12.7448 in. You can adjust your width and height as well if you find it different than mine. Refer to Figure 10-157.

The last text that we will warp is the type area “Buy Tickets Now.” Select this text with the Selection tool. Refer to Figure 10-158.

In the Control panel, you can see that the type has a black fill and a stroke of white, 1 pt weight, the font is Arial Black at 21.62 pt, and the paragraph text is centered. Refer to Figure 10-159.

Select the Make Envelope option in the control panel. Choose Make with Warp. Refer to Figure 10-160.

In the Warp Options dialog box, set the Style to Inflate, move the Bend slider to 50%, leave the Vertical and Horizontal distortion sliders at 0%, and click OK. Refer to Figure 10-161.

The text now appears on the poster, distorted, and you can see the settings in the Control panel. Refer to Figure 10-162.

Use the Selection tool to move the text. Here are the coordinate settings that I used for X: 1.3654 in and Y: 1.4167 in, using the Properties panel. Also rotate the text to 19.884°. Refer to Figure 10-163.

Once you are done, you can save at this point. Don’t, however, lock the layer yet. Refer to Figure 10-164.

In Chapter 11, we will look at a similar text warp effect.

Fixing Hollow Text Issues

As you may have noticed, the text has some blank areas that make some of background show through, which is not ideal in this case. Adding a fill or a stroke does not help. There is, however, a way that you can deal with this quickly.

With the Selection tool, Shift + Click on your text paths for “Welcome to the Greatest Show on the Planet.” Refer to Figure 10-165.

Now choose Edit ➤ Copy.

Then, lock the Warp Text layer and unlock the Background to Type layer and select it. Refer to Figure 10-166.

Choose Edit ➤ Paste in Place.

This pastes a copy of the text on the layer. Refer to Figure 10-167.

Turn off the visibility of the Warp Text layer but stay on the Background to Type layer for now. Refer to Figure 10-168.

On the Background to Type layer, while this copy of the text is selected, choose Object ➤ Expand. Keep the Object and Fill options enabled in the dialog box and click OK. Refer to Figure 10-169.

This turns the text into grouped outlines. Refer to Figure 10-170.

Now we need to make this background text solid.

In the Pathfinder panel, while the group is selected, click Outline. This makes the text into outlines. Refer to Figure 10-171.

Now, in the Pathfinder panel under Shape Modes, click Unite (do not Alt/Option + Click). Refer to Figure 10-172.

This turns most of the text into a solid shape. Now, with the Control panel, set the fill to white and stroke to None. Refer to Figure 10-173.

Now you can lock the Background to Type layer and make visible the Warp Text layer again, and you should be able to see the letters more clearly. Refer to Figure 10-174.

Type on a Path Layer

Now select and unlock the Type on a Path layer. Refer to Figure 10-115.

Use the Zoom tool if you need to zoom in more closely to the juggler clown and the balls he is juggling. Refer to Figure 10-176.

Use the Selection tool and Control panel to set a CMYK cyan stroke of 1 pt with no fill. Refer to Figure 10-177.

Use the Pen tool to create an open path that will be for the type. Refer to Figure 10-178.

The path has three points. Click + Drag to create a curve. Then Ctrl/CMD + Click on the Artboard to keep the path open.

Now, select the Type on a Path tool and, in the Control panel, set the fill to white, the stroke to Black and 1pt, font to Arial, family to Arial Black, size to 18 pt, and paragraph to Center. Refer to Figure 10-179.

Then, click on the path and type the word “JUGGLER.” Refer to Figure 10-180.

Now use the Direct Selection tool to select the line and adjust the spacing and brackets, as well as move points of the line so that they conform more closely to the path. Refer to Figure 10-182.

You may also have to use the Add Anchor Point tool to add a few more points so that the letters sit better on the path. In my case, I added another four points. Refer to Figure 10-182.

In this case, to spread out my highlighted letters that were selected with the Type on a Path tool, I had to set the Tracking quite high, using the Characters panel, to 1151, and I set the Horizontal Scaling to 95.575%. Otherwise, I kept my other font settings the same: Size: 18 pt, Leading: 21.6 pt, and Kerning: Auto. Refer to Figure 10-183.

You could also use the Touch Type tool if you needed to adjust the letters a bit more.

You can see the completed path here. Refer to Figure 10-184.

I then selected my path again with the Selection tool and, in the Transparency panel, set the Opacity to 89%. Refer to Figure 10-185.

Lock your layer for Type on Path and save your work.

You can see the final project in clowns_tent_poster_final.ai. Refer to Figure 10-186 and Figure 10-187.