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Chapter 12 ✦ Working with Layers And finally, here’s a question for all you folks who think you may have Photoshop mastered Which of the brush modes (explained in Chapter 5) is the exact opposite of Lock Transparency? The answer is Behind To see what I mean, turn off Lock Transparency Then select the paintbrush tool and choose the Behind brush mode in the Options bar Now paint Photoshop applies the foreground color exclusively outside the transparency mask, thus protecting the opaque pixels So it follows, when Lock Transparency is turned on, the Behind brush mode is dimmed The moral? Behind is not a true brush mode and should not be grouped with the likes of Multiply and Screen in the Options bar If you ask me, the better solution would be a Lock Opacity check box in the Layers palette Alas, Adobe’s engineers seem to have better things to do, such as add three other Lock check boxes, none of which have the slightest thing to with locking opacity But just because I’ve been complaining about the Behind “brush mode” for the last, oh gosh, seven years doesn’t mean that I’m bitter or anything Heavens no I like to be ignored! It robs my life of meaning, which is precisely what I’m looking for In fact, I think I’ll go and end it all right now And for what? A check box That’s all I want A small and unobtrusive check box, possibly with a picture of my face next to it and a little caption reading, “Yes, Deke, you were right Can you ever forgive us for being such knot-heads?” I mean, really, am I asking too much? So, in conclusion, Lock Transparency is your friend; Behind is the tool of Satan Too bad so few things in the world are this black and white Creating layer-specific masks In addition to the transparency mask that accompanies every layer (except the background), you can add a mask to a layer to make certain pixels in the layer transparent Now, you might ask, “Won’t simply erasing portions of a layer make those portions transparent?” The answer, of course, is yes And I hasten to add, that was a keen insight on your part But when you erase, you delete pixels permanently By creating a layer mask, you instead make pixels temporarily transparent You can return several months later and bring those pixels back to life again simply by adjusting the mask So layer masks add yet another level of flexibility to a program that’s already a veritable image-editing contortionist To create a layer mask, select the layer you want to mask and choose Layer ➪ Add Layer Mask ➪ Reveal All Or more simply, click the layer mask icon at the bottom of the Layers palette, as labeled in Figure 12-34 A second thumbnail preview appears to the left of the layer name, also labeled in the figure A second outline around the preview shows the layer mask is active Tip If the second outline is hard to see, keep your eye on the icon directly to the left of the layer name If the icon is a paintbrush, the layer and not the mask is active If the icon is a little dotted circle, the mask is active 601 602 Part IV ✦ Layers, Objects, and Text Indicates layer mask is active Link icon Layer mask thumbnail Layer mask icon Figure 12-34: The black area in the layer mask (which you can see in the thumbnail view, top right) translates to transparent pixels in the layer To edit the mask, simply paint in the image window Paint with black to make pixels transparent Because black represents deselected pixels in an image, it makes these pixels transparent in a layer Paint with white to make pixels opaque Thankfully, Photoshop is smart enough to make the default foreground color in a layer mask white and the default background color black This ensures that painting with the paintbrush or airbrush makes pixels opaque, whereas painting with the eraser makes them transparent, just as you would expect In Figure 12-34, I created a feathered oval, inversed it, and filled it with black by pressing Ctrl+Backspace This results in a soft vignette around the layer If I decide Chapter 12 ✦ Working with Layers I eliminated too much of the hair, not to worry I merely paint with white to bring it back again Photoshop goes nuts in the layer mask department, adding lots of bells and whistles to make the function both convenient and powerful Here’s everything you need to know: ✦ Reveal Selection: If you select some portion of your layer, Photoshop automatically converts the selection to a layer mask when you click the layer mask icon at the bottom of the palette The area outside the selection becomes transparent (The corresponding command is Layer ➪ Add Layer Mask ➪ Reveal Selection.) Tip ✦ Hide Selection: You can also choose to reverse the prospective mask, making the area inside the selection transparent and the area outside opaque To this, choose Layer ➪ Add Layer Mask ➪ Hide Selection Or better yet, Alt-click the layer mask icon in the Layers palette ✦ Hide everything: To begin with a black mask that hides everything, choose Layer ➪ Add Layer Mask ➪ Hide All Or press Ctrl+D to deselect everything and then Alt-click the layer mask icon Tip ✦ View the mask: Photoshop regards a layer mask as a layer-specific channel You can actually see it listed in italics in the Channels palette To view the mask on its own — as a black-and-white image — Alt-click the layer mask thumbnail in the Layers palette Alt-click again to view the image instead ✦ Layer mask rubylith: To view the mask as a red overlay, Shift+Alt-click the layer mask icon Or simply press the backslash key, \, which is above the Enter key Tip After you have both layer and mask visible at once, you can hide the mask by pressing \, or you can hide the layer and view only the mask by pressing the tilde key (~) So many alternatives! ✦ Change the overlay color: Double-click the layer mask thumbnail to access the Layer Mask Display Options dialog box, which enables you to change the color and opacity of the rubylith ✦ Turn off the mask: You can temporarily disable the mask by Shift-clicking on the mask thumbnail A red X covers the thumbnail when it’s disabled, and all masked pixels in the layer appear opaque Shift-click again to put the mask back in working order ✦ Switch between layer and mask: As you become more familiar with layer masks, you’ll switch back and forth between layer and mask quite frequently, editing the layer one minute and editing the mask the next You can switch between layer and mask by clicking on their respective thumbnails As I mentioned, look to the icon to the left of the layer name to see whether the layer or the mask is active 603 604 Part IV ✦ Layers, Objects, and Text Tip You can also switch between layer and mask from the keyboard Press Ctrl+tilde (~) to make the layer active Press Ctrl+\ to switch to the mask ✦ Link layer and mask: A little link icon appears between the layer and mask thumbnails in the Layers palette When the link icon is visible, you can move or transform the mask and layer as one If you click the link icon to turn it off, the layer and mask move independently (You can always move a selected region of the mask or layer independently of the other.) Photoshop ✦ Convert mask to selection: As with all masks, you can convert a layer mask to a selection To so, Ctrl-click the layer mask icon Throw in the Shift and Alt keys if you want to add or subtract the layer mask with an existing selection outline ✦ In Photoshop 6, you can apply a mask to a set of layers Just select the set and click the layer mask icon The mask affects all layers in the set If a layer in the set contains its own mask, no worries; Photoshop’s smart enough to figure out how to mix them together For another method of masking multiple layers, see the section “Masking groups of layers,” coming up soon When and if you finish using the mask — you can leave it in force as long as you like — you can choose Layer ➪ Remove Layer Mask Or just drag the layer mask thumbnail to the trash can icon Either way, an alert box asks whether you want to discard the mask or permanently apply it to the layer Click the button that corresponds to your innermost desires Pasting inside a selection outline One command, Edit ➪ Paste Into (Ctrl+Shift+V), creates a layer mask automatically Choose the Paste Into command to paste the contents of the Clipboard into the current selection, so that the selection acts as a mask Because Photoshop pastes to a new layer, it converts the selection into a layer mask But here’s the interesting part: By default, Photoshop turns off the link between the layer and the mask This way, you can Ctrl-drag the layer inside a fixed mask to position the pasted image Tip Once upon a time in Photoshop, a command existed named Edit ➪ Paste Behind (Or something like that It might have been Paste in Back My memory’s a little hazy.) The command (whatever its name) pasted a copied image in back of a selection Although the command is gone, its spirit still lives Now you press Alt when choosing Edit ➪ Paste Into Or just press Ctrl+Shift+Alt+V Photoshop creates a new layer with an inverted layer mask, masking away the selected area Masking groups of layers About now, you may be growing fatigued with the topic of layering masking But one more option requires your immediate attention You can group multiple layers into Chapter 12 ✦ Working with Layers something called a clipping group, in which the lowest layer in the group masks the others Where the lowest layer is transparent, the other layers are hidden; where the lowest layer is opaque, the contents of the other layers are visible Note Despite the similarities in name, a clipping group bears no relation to a clipping path That is, a clipping group doesn’t allow you to prepare transparent areas for import into QuarkXPress and the like There are two ways to create a clipping group: ✦ Alt-click the horizontal line between any two layers to group them into a single unit Your cursor changes to the group cursor labeled in Figure 12-35 when you press Alt; the horizontal line becomes dotted after you click To break the layers apart again, Alt-click the dotted line to make it solid Group cursor Figure 12-35: Alt-click the horizontal line between two layers to group them 605 606 Part IV ✦ Layers, Objects, and Text ✦ Select the higher of the two layers you want to combine into a clipping group Then choose Layer ➪ Group with Previous or press Ctrl+G To make the layers independent again, choose Layer ➪ Ungroup (Ctrl+Shift+G) Figures 12-35 and 12-36 demonstrate two steps in a piece of artwork I created for Macworld magazine I had already created some text on an independent layer using the type tool (the subject of the next chapter), and I wanted to fill the text with water So I added some photographs I shot of a swimming pool to a layer above the text, as shown in Figure 12-35 Then I combined text and pool images into a clipping group Because the text was beneath the water, Photoshop masked the pool images according to the transparency mask assigned to the text The result is a water pattern that exactly fills the type, as in Figure 12-36 (For a full-color version of these figures, see Color Plate 12-1.) Clipping group Figure 12-36: After combining pool water and type layers into a single clipping group, Photoshop applies the type layer’s transparency mask to the pool layer Chapter 12 ✦ Working with Layers Note If you’re familiar with Illustrator, you may recognize this clipping group metaphor as a relative to Illustrator’s clipping mask One object in the illustration acts as a mask for a collection of additional objects In Illustrator, however, the topmost object in the group is the mask, not the bottom one So much for consistency ✦ ✦ ✦ 607 13 C H A P T E R The Wonders of Blend Modes ✦ ✦ ✦ ✦ In This Chapter Mixing Images Together There must be 50 ways to combine and compare differently colored pixels in Photoshop So far, we’ve seen how you can smear and blur pixels into each other, select pixels using other pixels, layer pixels in front of pixels, compare a pixel to its neighbors using automated filters, and more Any time that you edit, mask, composite, filter, or color correct an image, you’re actually breeding the image with itself or with other images to create a new and unique offspring This chapter explores the final and ultimate experiment in Photoshop’s great genetics laboratory Blend modes, also called calculations, permit you to mix the color of a pixel with that of every pixel in a straight line beneath it A single blend mode is as powerful as a mask, a filter, and a color map combined, and best of all, it’s temporary As long as one image remains layered in front of another, you can replace one calculation with another as easily as you change a letter of text in a word processor To appreciate the most rudimentary power of blend modes, consider Figure 13-1 The first image shows a terrestrial thrill seeker composited in front of the Apollo crew’s old stomping grounds Both layers are as opaque as if you had cut them out with scissors and glued them together (Granted, you’d have to be very skilled with scissors.) The antialiased edges of the parachute mix slightly with the moon pixels below them But beyond that, every pixel is a digital hermit, steadfastly avoiding interaction Modifying the Opacity value Using blend modes to mix the active layer with the ones behind it Selecting blend modes from the keyboard Applying opposite blend modes: Overlay and Hard Light, Color and Luminosity Sandwiching a heavily filtered image between two unfiltered originals Taking advantage of the new Advanced Blending options Fading pixels according to brightness values using the Layer Style dialog box Understanding the advantages and disadvantages of channel operations Mixing same-sized images with the Apply Image command Using the Add and Subtract blend modes Modifying selection outlines and masks using the Calculations command ✦ ✦ ✦ ✦ 610 Part IV ✦ Layers, Objects, and Text Figure 13-1: Layers permit you to combine images from different sources (left), but blend modes permit you to mix images together to create intriguing if sometimes unexpected interactions (right) The second image in Figure 13-1 paints a different picture Here I’ve created several clones of the parachute and moon and mixed them together using Photoshop’s considerable array of calculation capabilities Although I used just two images, I composited them onto ten layers, only one of which — the background layer — was fully opaque I don’t know if it’s moon men invading earth or the other way around, but whatever it is, it wouldn’t have been possible without blend modes and their ilk Photoshop gives you three ways to mix images: ✦ The Layers palette: You can combine the active layer with underlying pixels using the Opacity value and blend mode pop-up menu, both members of the Layers palette Figure 13-2 shows these two illustrious items in the context of the layers list for Figure 13-1 To learn everything there is to know about the Opacity value and blend mode pop-up menu, read the next section Chapter 15 ✦ Fully Editable Text Text layer Type mask Insertion marker Horizontal type Vertical type Text palettes Figure 15-5: Photoshop provides a full complement of text creation and formatting options, which you access from the Options bar, Character palette, and Paragraph palette Select the font, type size, and other formatting attributes from the Options bar and palettes The upcoming sections explain your options Click or drag in the image window If you click, Photoshop places the first character you type at the location of the blinking insertion marker, just as when you type in a word-processing program Adobe calls this creating point text Each line of type operates as an independent entity Press Enter to begin a new line of text Alternatively, you can create paragraph text by dragging with the type tool to draw a frame — called a bounding box — to hold the text Now your text flows within the frame, wrapping to the next line automatically when you reach the edge of the bounding box 691 692 Part IV ✦ Layers, Objects, and Text If you create your text this way, you can apply standard paragraph formatting attributes, such as justification, paragraph spacing, and so on In other words, everything works pretty much like it does in every other program in which you create text in a frame Pressing Enter starts a new paragraph within the bounding box Type your text If you mess up, press Backspace to delete the character to the left of the insertion marker Press Delete to wipe out the character to the right of the insertion marker Edit the text, if necessary To alter the character formatting, select the characters you want to change by dragging over them or using the selection shortcuts listed in the upcoming Table 15-1 Then choose the new formatting attributes from the Options bar, Character palette, or Paragraph palette If you don’t select any text, paragraph formatting affects all text in the bounding box Otherwise, only the selected paragraph responds to your commands Click the Commit (check mark) button on the right end of the Options bar to commit the text Don’t worry — “committing the text” simply takes you out of text-editing mode As long as you don’t convert the text to a regular image layer, work path, or shape, you can edit it at any time Tip If the Options bar is hidden or you just don’t like reaching to click the button, you can commit text by selecting any other tool, clicking any palette but the Character or Paragraph palette, or pressing Ctrl+Enter Note While you’re in text edit mode, most menu commands are unavailable You must commit the text or cancel the current type operation to regain access to them To abandon your type operation, click the Cancel button — the large X at the right end of the Options bar — or press Esc When you create the first bit of type in an image, Photoshop creates a new layer to hold the text After you commit the type, clicking or dragging with the type tool has one of two outcomes If Photoshop finds any text near the spot where you click or drag, it assumes that you want to edit that text and, therefore, selects the text layer and puts the type tool into edit mode For paragraph text, the paragraph is selected as well If no text is in the vicinity of the spot you click, the program decides that you must want to create a brand new text layer, and responds accordingly You can force Photoshop to take this second route by Shift-clicking or Shift-dragging with the type tool, which comes in handy if you want to create one block of text on top of another Tip Photoshop automatically uses the first characters you type as the layer name You can change the layer name by Alt-double-clicking on the layer name in the Layers palette to bring up the Layer Properties dialog box Photoshop Chapter 15 ✦ Fully Editable Text Creating vertical type By default, the type tool places characters horizontally across the image But you can create a column of vertical type as well In Photoshop 6, you don’t use a separate type tool as you did in recent versions Instead, just click the vertical type button on the Options bar (labeled back in Figure 15-5) To return to normal leftto-right text orientation, click the adjacent horizontal type button In truth, the vertical type option is nothing more than the standard type tool lifted from the Japanese version of Photoshop As shown in the first example of Figure 15-6, it creates vertical columns of type that read right to left, as in Japan If you want to make columns of type that read left to right, you have to create each column as an independent text block Read this way Rotate off Figure 15-6: By default, vertical type reads right to left, as shown in the first example If you deselect the Rotate Character option in the Character palette menu, your characters appear like those on the right 693 Photoshop 694 Part IV ✦ Layers, Objects, and Text After you click in the image, you have access to the Rotate Character command in the Character palette menu (If the palette isn’t open, press Ctrl+T or click the Palettes button on the Options bar.) By default, the option is turned on, which gives you upright characters like those on the left side of Figure 15-6 Choose the command again to rotate 90 degrees clockwise and flip characters on their side, as shown in the right side of the figure If you want to rotate the type to some other degree, wait until after you commit the text to the layer (by clicking the check-mark button on the Options bar) and then use the Edit ➪ Free Transform command, which I describe in Chapter 12, to rotate the text layer Photoshop You also can choose Layer ➪ Type ➪ Horizontal and Layer ➪ Type ➪ Horizontal to change vertically oriented type to horizontally oriented type, and vice versa Creating and manipulating text in a frame By dragging in your image with the type tool, you create paragraph text As you drag, Photoshop draws a frame to hold your text, as shown in Figure 15-7 Photoshop calls this frame a bounding box If you want to create a text frame that’s a specific size, Altclick with the type tool instead of dragging Photoshop displays the Paragraph Text Size dialog box, in which you can specify the width and height of the box Press Enter, and Photoshop creates the bounding box, placing the top-left corner of the box at the spot you clicked Origin point Figure 15-7: Drag the box handles to transform the frame alone or frame and text together Chapter 15 ✦ Fully Editable Text The bounding box looks just like the one that appears when you choose Edit ➪ Free Transform, and some of its functions are the same: ✦ Drag a corner handle to resize the box Shift-drag to retain the original proportions of the box The text reflows to fit the new dimensions of the box ✦ Ctrl-drag a corner handle to scale the text and box together Ctrl+Shift-drag to scale proportionally To scale text alone, use the character formatting controls on the Options bar or in the Character palette (explained next) Either way, you can scale up or down as much as you want without degrading the text quality, thanks to the new vector-orientation of the type tool ✦ To rotate both box and text, move the cursor outside the box and drag, just as you when transforming selections, crop boundaries, and layers Shift-drag to rotate in 15-degree increments The rotation occurs respective to the origin point, which you can relocate by dragging, as usual Using the bounding-box approach to type has more benefits than being able to use the transformation techniques I just described, however You also can apply all sorts of paragraph formatting options to control how the text flows within the bounding box, as described in the upcoming section “Applying paragraph formatting.” Note Keep in mind that you also can scale, skew, rotate, and otherwise transform the text layer after you commit the text to the layer In addition, you can size, distort, and rotate text using the options in the new Character palette, as explained later in this chapter If you ever decide that you’d like to work with your text as regular text instead of paragraph text, cancel out of text edit mode by clicking the Commit or Cancel buttons on the Options bar (the check mark and X buttons) Then select the text layer and choose Layer ➪ Type ➪ Convert to Point Text Photoshop splits the paragraph text into individual lines To go back to paragraph text, select the text layer and choose Layer ➪ Type ➪ Convert to Paragraph Text Selecting text Before you can modify a single character of type, you have to select it You can select all text on a text layer by simply clicking the layer name in the Layers palette You can select individual characters by dragging over them with the type tool, as in any word processing program You also have access to a range of keyboard tricks, listed in Table 15-1 695 696 Part IV ✦ Layers, Objects, and Text Table 15-1 Selecting Text from the Keyboard Text Selection Keystrokes Select character to left or right Shift-left or right arrow Select whole word Double-click on word Select entire line Triple-click the line Move left or right one word Ctrl+left or right arrow Select word to left or right Ctrl+Shift+left or right arrow Select to end of line Shift+End Select to beginning of line Shift+Home Select one line up or down Shift+up or down arrow Select range of characters Click at one point, Shift-click at another Select all text Ctrl+A Photoshop After selecting type, you can replace it by entering new text from the keyboard You can likewise cut, copy, or paste text by pressing the standard keyboard shortcuts (Ctrl+X, C, and V) or by choosing commands from the Edit menu You can undo a text modification by pressing Ctrl+Z or choosing Edit ➪ Undo However, if you type a few characters and then choose Undo, you wipe out all the new characters, not just the most recently typed one Photoshop Tip If things go terribly wrong, press Esc or click the Cancel button on the Options bar (the big X) to cancel out of the current type operation When you select text by clicking its layer name in the Layers palette, the text appearance doesn’t change on screen If you use any other selection method, selected text appears highlighted, as is the convention If the highlight gets in your way, press Ctrl+H to hide it In Photoshop 6, this shortcut hides all onscreen helpers, including guides Applying character formatting After you click your image with the type tool, the text orientation, Type Mask, and Text Layer buttons disappear, leaving you with the collection of formatting controls shown in Figure 15-8 The Character palette and its palette menu, also shown in the figure, offer some of these same controls plus a few additional options If you use Adobe InDesign, the palette should look familiar to you — with a few exceptions, it’s a virtual twin of the InDesign Character palette Chapter 15 ✦ Fully Editable Text To open the palette and its partner, the Paragraph palette, click the Palettes button on the Options bar Or choose View ➪ Show Character or press Ctrl+T to display the Character palette by its lonesome Style Font Size Tracking Leading Kerning Vertical scale Baseline Horizontal scale Font Style Size Anti-aliasing Color Photoshop Figure 15-8: Photoshop provides several new character-formatting options; look for them on the Options bar and in the Character palette In Photoshop 6, you can apply formatting on a per-character basis For example, you can type one letter, change the font color, and then type the next letter in the new color You can even change fonts from letter to letter The next several sections explain the character formatting options All apply to both paragraph and regular text You can specify formatting before you type or reformat existing type by selecting it first Tip If you ever want to return the settings in the Character palette to the defaults, make sure that no type is selected Then choose Reset Character from the bottom of the palette menu 697 698 Part IV ✦ Layers, Objects, and Text Font Photoshop Select the typeface and type style you want to use from the Font and Style pop-up menus Rather than offering lowest-common-denominator Bold and Italic check boxes (as was the case for Photoshop 4), Photoshop now is smart enough to present a full list of designer style options For example, while Times is limited to Bold and Italic, the Helvetica family may yield such stylistic variations as Oblique, Light, Black, Condensed, Inserat, and Ultra Compressed The Character palette menu contains a bunch of additional style options, which you can see in Figure 15-8 Click these options in the menu to toggle them on and off A check mark next to the style name means that it’s active ✦ Faux Bold and Faux Italic enable you to apply bold and italic effects to the letters when the font designer doesn’t include them as a type style Use these options only if the Style pop-up menu doesn’t offer bold and italic settings; you get better looking type by applying the font designer’s own bold and italic versions of the characters ✦ Choose All Caps and Small Caps to convert the case of the type You can’t convert capital letters to Small Caps if you created those capitals by pressing Shift or Caps Lock on the keyboard Tip Pressing Ctrl+Shift+K toggles selected text from uppercase to lowercase, as it does in QuarkXPress and InDesign Remember that this shortcut works only when text is selected If you’re working with the type tool and haven’t selected text, the shortcut affects any new text you create after the insertion marker; with any other tool, it brings up the Color Settings dialog box ✦ Superscript and Subscript shrink the selected characters and move them above or below the text baseline, as you might want to when typing mathematical equations If Superscript and Subscript don’t position characters as you want them, use the Baseline option to control them, as I explain in the upcoming section “Baseline.” ✦ Underline Left and Underline Right apply to vertical type only and enable you to add a line to the left or right of the selected characters, respectively When you work with horizontal type, the option changes to Underline and does just what its name implies Strikethrough draws a line that slices right through the middle of your letters Tip Keep in mind that you can always produce these styles manually by using the pencil or paintbrush — a choice that I prefer because it enables me to control the thickness, color, and opacity of the line and even play with blend modes ✦ The Ligatures and Old Style options become available only if you select an OpenType font and only if the font designer included the required type variations A ligature is a special character that produces a stylized version of a pair of characters, such as a and e, tying the two characters together with no space between, like so: æ Old Style creates numbers at a reduced size, which may extend below the baseline Photoshop Chapter 15 ✦ Fully Editable Text Size Tip You can measure type in Photoshop in points, pixels, or millimeters To make your selection, press Ctrl+K and then Ctrl+5 to open the Units and Rulers panel of the Preferences dialog box (You must exit text mode to so.) Select the unit you want to use from the Type pop-up menu You can enter values in any of the acceptable units of measurement, and Photoshop automatically converts the value to the unit you select in the Preferences dialog box Just type the number followed by the unit’s abbreviation (“in” for inches, for example) After you press Enter, Photoshop makes the conversion for you See Chapter for more information about measurement units in Photoshop If the resolution of your image is 72 ppi, points and pixels are equal There are 72 points in an inch, so 72 ppi means only pixel per point If the resolution is higher, however, a single point may include many pixels The moral is to select the point option when you want to scale text according to image resolution; select pixels when you want to map text to an exact number of pixels in an image (If you prefer, you can use millimeters instead of points; millimeter equals 0.039 inch, which means 25.64 mm equals 72 points.) Note Tip Whatever unit you choose, type is measured from the top of its ascenders — letters like b, d, and h that rise above the level of most lowercase characters — to the bottom of its descenders — letters like g, p, and q that sink below the baseline That’s the way it’s supposed to work, anyway But throughout history, designers have played pretty loose and free with type size To illustrate, Figure 15-9 shows the two standards, Times and Helvetica, along with a typical display font and a typical script Each line is set to a type size of 180 pixels and then placed inside a 180-pixel box The dotted horizontal lines indicate the baselines As you can see, the only font that comes close to measuring the full 180 pixels is Tekton The Brush Script sample is relatively minuscule (and Brush Script is husky compared with most scripts) So if you’re looking to fill a specific space, be prepared to experiment The only thing you can be sure of is that the type won’t measure the precise dimensions you enter into the Size option box You can change type size by selecting a size from the Size pop-up menu or doubleclicking the Size value, typing a new size, and pressing Enter But the quickest option is to use the following keyboard shortcuts: To increase the type size in 2-point (or pixel) increments, press Ctrl+Shift+greater than (>) To similarly decrease the size, press Ctrl+Shift+less than (