Click ‘OK’.ĩ) Try applying the same layer style ( pick one, any one) to both type layers.ġ0) Drop the opacity of the reflection type to 40-45%. Again, click the Warp Text Icon and select ARCH, but this time enter a Horizontal Bend of +10. The Type tool is grouped with Circular Type, Path Type, and Freeform Type tools that you can use to add curved text, text on a path, or wrap text around a. Enter a Horizontal Bend setting of -10.Ĩ) Select the Type layer to be used as a reflection. Click on the Type Tool again, and in the Type Options Bar click on the ‘Create Warped Text’ icon.ħ) In the Warped Text dialogue box that pops up, click the menu icon and select ARCH. Select that layer, and go to Edit>Transform>Flip Vertical.ĥ) Move the reflection down so it is separated from the type.Ħ) Select the ‘upright’ type layer. Using a large font with the color set to white/light gray, type your text.ģ) Create a copy of the type layer by dragging the layer to the new layer icon on the bottom of the layers palette.Ĥ) Decide which type layer is going to be the reflection. Fill the background with Black, and create a new layer.Ģ) Select the Type Tool. Once I wrapped my brain around it the answer was/is very simple, so we’ll tackle it here.ġ) Create a new image. After everything is dialed in, filling in the rest of the glyph table shouldn’t take long.One such question came in yesterday concerning curved type reflected off a surface. I’m currently testing out Morris at various sizes using various placeholder texts and control chains to dial in the spacing and kerning. Above, the letters A and W have been kerned closer together to appear to have consistent spacing with the rest of Morris. This is called kerning and is specified in the Metrics tool. On top of spacing, there are some letter pairs that need additional spacing adjustment. It is often said that the white space is as important to the design as well as the black letter shapes. It is important to space the letters in a way that fits the shape of the letters to achieve greater legibility.
There’s quite a bit! Once you learn the shortcuts though, they’re fairly redundant and can be removed.Īs for the spacing, the vertical lines define the white space that boarders the glyphs. You can see various tools above and to the right of the glyph table. Once glyphs are added, the grey stock image is replaced with an image of the glyph. Grey boxes indicate glyphs to be filled (mostly characters with diacritics, uncommon characters, and ligatures). There are video tutorials available, but for the most part they are quite… dated.
#TYPETOOL CURVES SOFTWARE#
It would have been nice to have a brief digital booklet or tutorial explaining the notation, icons, and relationship between the editing software and glyph table. The zoom threshold is increased and the available tools make sense for a type editing software (more about that later).Īlthough TT is advertised as being a fairly intuitive software to pick up (presumably by experienced designers), I didn’t find this the case at first. The curves in TT appear to be more smooth simple than those in other vector editing software (Illustrator, InDesign, etc.). The image above is the Morris ampersand glyph opened in the TypeTool (TT) glyph editor. For more information you can visit Fontlab’s website.
It is a product by Fontlab, the industry standard type design software and marketed as the “value priced font editor” and “basic font editor for hobby typographers”. So far my experience with TypeTool 3.1 has been very positive.
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