The features in all of the Adobe graphics applications have the potential to control virtually every aspect of the creation and placement of type in a design field. Photoshop and Illustrator both generate fully editable vector-based type that is resolution independent and can be resized or otherwise transformed with no loss of quality. Both programs are also capable of precise image placement and—to varying degrees, depending on the software—image manipulation. The combination of these powerful software features is fundamental to the art of graphic design and creative visual communication. 

 

Figure 1: Three variations of the same content shows that size relationships between text and graphics can create a visual hierarchy.

GRAPHIC DESIGN 101

Virtually all graphic elements, from the simplest letterform to the most complex color image, have duel identities. They are optical phenomena with visual characteristics, and they are symbols that communicate a concept, weather it be a simple sound as with a text character or a profound inner reality as in a surrealist painting, for example. 

 

Graphic design is concerned with controlling a viewer’s eye by emphasizing the visual impact of specific elements in the design field and diminishing others. The designer is compelled to consider how the visual symbols are scaled, colored and positioned for emphasis. For example, in Figure 1 we see in our owl example the three variations of the same type and image content show how size relationships can create a simple visual hierarchy that controls the viewer’s perceptions by emphasizing either the text or the picture. 

 

Tone and color relationships also create visual hierarchies. Brighter, more intense colors have a tendency to be emphasized over more subdued color values (see Figure 2). Another important factor that effects the visual gestalt of a design field is the position of elements relative to each other on the page. A static composition rests the eye in a central location and prevents it from wandering. A dynamic composition forces the eye to move and to emphasize specific visual elements. This can have a profound effect on the viewer’s perception.

Figure 2: Bright colors and unusual shapes and creative positioning can create visual emphasis.

 

GRIDS

Most designers work within a grid. A grid enables the designer to align the extremities of text and images to contain the content so that the viewer’s eye does not wander aimlessly around the page or off into the margins. Grids can be very creative, employing sub-grids and diagonals to align the edges of elements on a page. 

 

However, even the most creative grid structure is no substitute for the designer’s sensitive eye for unity and balance. The grid provides a framework but the designer must still make decisions about the scale and location of the graphic elements and their relationship to each other. Adobe Photoshop and Illustrator both offer the ability to display non-printable grids that are used as a convenient layout tool. The grids can be configured with gridlines and subdivided to any dimension, and are editable in the Preferences function.

 

Design is such an important aspect of production that it can make or break the message of a printed piece, especially where type and images are combined. With a strong, well-balanced design that contains text and images that work in harmony, the concept will be enhanced for maximum effect. What follows are a couple nuts-and-bolts software techniques that combine words and pictures. These operations are relatively simple tricks that can be used under a variety of circumstances. 

 

Figure 3: The type is converted to outlines.

Figure 4: Because the text acts as a mask, it needs to be the top-most layer.

IMAGES IN TEXT

Masking techniques in Adobe Illustrator can combine vector objects and text into unique forms. This image in text technique combines a compound path with a clipping mask and uses the letterforms as the primary structure of the final image. Of course, all the rules of design apply when laying out an image such as this.

 

The first step is to create the type object that you want to use in the image. It’s best if you use a bold typeface so that the forms are visible are recognizable. 

 

From the Menu items choose Type > Create Outlines to convert the font data into vector paths (see Figure 3). 

Draw the objects that will appear within the text. 

 

Because the text is going to act as the mask, it needs to be the topmost layer (or sub-layer) in the stack. In the Layers palette, drag the text sub-layer to the top of the stack, as in Figure 4. 

 

Position the text over the objects. While the text is still selected, choose Object > Compound Path > Make. The fill of the text disappears (see Figure 5). 

 

Choose Select > Select All to select all of the elements in the design.

 

Choose Object > Clipping Mask > Make. The areas around the text characters are concealed (see Figure 6). 

Objects can be repositioned by selecting them with the direct selection tool and dragging them into place as shown in Figure 7. 

 

A similar effect can be achieved in Photoshop that combines photographs with type, and has the added advantage that layer styles and blending modes can be applied to produce really eye-popping effects (see my Digital Eye column in the October 2009 issue of Sign & Digital Graphics, page 44 for details).

 

Figure 5: The compound path eliminates the text’s fill characteristics.

Figure 6: The clipping masks conceals all elements outside the text.

Figure 7: Objects can be repositioned by selecting them with the Direct Selection tool.

TEXT IN IMAGES

The text in image technique in Photoshop burns text onto layer content so that it conforms to a unique shape. The denser the text the more detail of the underlying image is rendered. As with the image in text technique this technique works best with bolder type faces.

 

Start by opening the image you want to render in text. In this case the image has been divided into two layers. The face content is on the top most layer and the background is a solid black (see Figure 8). 

 

Click the Visibility icon on the Background layer to conceal it. Copy the text onto the computer’s clipboard from a source document like a Word file. 

 

In Photoshop, choose the Type tool and click and drag a text box in the area where you want the text to be placed. Choose Edit > Paste to paste the text into the textbox, as in Figure 9. A new text layer will be created. Color the Type. In this case I colored it red.

 

Press the Option (Mac) or Alt (Win) key and click between the content layer and the text layer. You’ll see an icon that indicates that you are clipping the text to the shape of the face. This is called a clipping mask. 

 

Click on the background layer’s visibility icon in the layers palette to display the background layer (see Figure 10). 

 

You can create additional content layers and experiment with blending modes to further enhance the image. Type faces and sizes can be varied to add interest and nuance to the design.