Do you want to make your headlines pop? Reverse type—light text against a dark background—is a good design choice. Readers are predisposed to seeing dark text on a light background, so the opposite effect is quite eye-catching. Although reverse type is a pretty standard design element at this point, you can make the effect fresh again with additional ornamentation. This week in InDesign Secrets, David Blatner shows how to use paragraph rules (both the Rule Above and Rule Below options) to add rounded caps, cutouts, and patterns to the backgrounds behind your type. He also shows how to build the rules into a paragraph style that you can reuse again and again throughout your documents.
Posts Tagged ‘Type’
They say you can’t improve on the classics but this week Deke dives into his archives and revisits a tutorial from the very early days of Deke’s Techniques, “Creating heavy metal type.” This is a technique his fans have asked him again and again to update, since the technique has changed so much since Adobe Photoshop CS6 and CC were released. Watch the new video and learn how to build a custom pattern for “stamping out” your type and use layer styles to really make it pop out from a metallic background.
Today would have been Doyald Young’s 87th birthday. The famous typeface and logotype designer/teacher said:
There are over a hundred thousand fonts out there. … People say, ‘If there are a hundred thousand fonts, why are you drawing a letter? Why not use a font and do something with it?’ Well, I have very technical reasons of why I do that, but I also have a very simple answer, which is, it’s custom. I am designing something custom for you. … It’s custom. We all want something unique.
As Deke points out in the video, some fonts already have an engraved, or sculpted effect built in, like Imprint Shadow for instance:
You don’t have to rely on a font to come with this effect though. You can create your own built-up, carved effect using any font you have available, Adobe Illustrator, and a host of Transform and Offset effects applied systematically to a collection of strokes and fills. Take this type from last week’s project, which is set in the classic 1910 typeface Hobo, for instance:
In the video, you’ll see how Deke transforms flat letters into sculpted, almost molded, letters by duplicating the stroke and resizing, moving, and changing its colors to create shadows and the illusion of highlights. In the finished font below, you can also see he’s applied a similar treatment to the stars, which he demonstrates with another set of effects in this week’s video. Note the number of effects applied to the multiple strokes in the Appearance panel. These are all just mutated duplicates of the original stroke (in other words, no drawing involved):
The result, when combined with last week’s Spirograph-style embellishment, is this striking logo that—dare I say—really pops.
Deke will be back with another new technique next week!
Suggested courses to watch next:
• Illustrator CS6 One-on-One: Fundamentals
• Illustrator CS5 One-on-One: Fundamentals
• Illustrator Insider Training: Rethinking the Essentials
What, you ask, is subpixel rendering? This week’s Deke’s Technique will either make your head spin or make you feel on top of the geek heap. The idea is this: Regardless of the which rendering intent you use for your text—Sharp, Crisp, Strong, or Smooth—Photoshop has a habit of rendering very small type badly, whereas that same very small type looks nice and legible when rendered by your operating system or as editable type by a browser. What’s the difference? The reason is subpixel rendering, which permits an application to rasterize text and other vector objects, on-the-fly, to each of the three color channels (RGB) independently. Here’s a diagram to help things make slightly more sense:
Of course, if you’re working with HTML type, all is well. But as soon as you render that text to pixels, subpixel is not an option. It’s not Photoshop’s fault; JPEG, GIF, PNG, and other web image formats don’t support subpixel rendering. In this week’s free technique, Deke shares not only how subpixel rendering works, but also how to simulate it in Photoshop by creating a faux color antil-alias effect. For those of you who make small type for your screen images—whether web, kiosk, or presentation—or who just like to know the geekiest trick of the week, it’ll make all the tiny difference in the world.
Each week, there’s a new free technique from Deke. And lynda.com members will find an extra cache of awesome, geektastic, or just plain useful techniques exclusively inside the Online Training Library®. See you next week!
It’s a blog post. It’s a podcast. It’s another quick step-by-step tutorial from lynda.com author Deke McClelland! However you think of it, we were thrilled with the positive feedback you provided for last week’s preview episode of Deke’s Techniques, Creating Ice Type. Today, Deke’s Techniques becomes a full-fledged course in the Online Training Library® where members can go to review all the episodes to date and find a new members-only entry to the course. Meanwhile, here on the blog, we’re happy to share another free episode with everyone.
This week’s technique features Deke showing you how to virtually brand your chosen type into any surface imaginable in Photoshop. The specific background (leather, cowhide, parchment, corrugated paper) doesn’t matter. (In fact, for Thanksgiving, Deke employed this technique on my hand. Totally painless, except for holding my hand in the right position to make the turkey’s eyes google correctly.) The key to this technique is turning your background (or your hand, as it were) into a displacement map, then applying some Burn tool action and a little Bevel and Emboss. Check it out, and we’ll see you next week for another quick technique!
And thanks for letting us know how these quick-burst tutorials fit into your training needs. Keep the feedback coming!