MAX SESSIONS Hi, I'm Nigel French. Thanks for taking my session, "Typography across InDesign, Illustrator and Photoshop." In this session, we are going to look at the typographic strengths of these three powerhouse apps, when to use one over the other and how to combine them.

Beginning with InDesign. InDesign is all about multi-page documents, books, magazines, newspapers, catalogs, reports.

Illustrator, on the other hand, is better suited to logos and maps and infographics, 3D diagrams, anything that needs to be scalable.

Photoshop, as its name suggests, it's not really dedicated to type, but it does have some interesting typographic features. And if you need to integrate your image with your type or if you want to add texture to your type, then Photoshop might be the place to do it.

Let's begin by looking at the areas of overlap. While there are many differences, they have certain things in common. They all have a Character Panel, Paragraph Paneland a Glyphs Panel. So on the Character Panel, we can change the font, the size, the letting, the tracking, the kerning, etc. On the Paragraph Panel, we can change the alignment, we can add indents. And often overlooked in Illustrator and Photoshop, we could also change the Justification and Hyphenation options.

Another thing that's often overlooked in Illustrator and Photoshop is the Glyphs Panel, which is going to give you access to all of the characters in your chosen font. THERE'S TOO MUCH CONFUSION. I CAN'T GET NO RELIEF Let's take a look at a couple of simple examples. I'm going to switch now to Illustrator. Here's my finished version. Now, I'm doing this in Illustrator, but I could as easily be doing it in Photoshop or in InDesign.

I'll come to my second artboard where we have just the text without any of the formatting. I'll select it. In Illustrator terms, this is a peace of point type as opposed to paragraph type.

And first thing I want to do is change the font. I'll press Command or CTRL T, which will bring up my Character Panel. Then I'll choose my font.

Alternate Gothic Compressed. Now, when I'm using a font like this, a very compressed Sans Serif, I think it looks best in all caps. So I'm going to change it to All Caps. I now want to change its size. I can do this numerically right here.

But to do it a bit more visually, I'm going to use the Free Transform Tool. Actually, let me just back up. Before I do that, let me just break the text. I'm going to break it into multiple lines so that I can retain the text as all one paragraph. I'll press Shift Return rather than just Return.

Now, I'll return to my Selection Tool and with the type selected, come to my Free Transform. Hold down the Shift key as I'm using this so that I can scale the type proportionally.

The next thing I want to address is the space between the lines, which currently is way too much. I can change this right here as the leading value, but I can also and more easily for an example like this, I can come to the Paragraph Panel and then to the Justification options where I can change the Auto Leading percentage. Auto Leading is currently applied that is 120% of the type size. But in this case I would rather it be much less. Eighty percent. I'll turn on my Preview and we can see how that affects the type.

Also, I want to change the word spacing. I want to create a very tight-packed, dense type block. So I'm going to reduce the Word Spacing to 50%. Here's the before. Here's the after.

Now, I'll select the block of type and come to my alignment options and align it vertically to the center of the artboard. Maybe move this slightly to the left. And I think I will also just select that one word and change its color.

So, a very simple example. Let's take a look at another one. Now, in this case, I've already gone ahead and done all the things to it I did in the previous example. But there's something else that I want to show you here and that is the use of the Glyphs Panel to choose contextual alternates. Not every font will have alternates. This is a script typeface. Script typefaces are more likely, perhaps, to have them. But let's switch to the Type Tool. When I select a specific character for which alternates are available, I'll see a row of those alternates appear beneath my selection. Now, this might be a little bit too small, so I'm going to click on the Arrow and that'll open up the available alternates in the Glyphs Panel.

In the Glyphs Panel, I can increase the view size so it's a bit clearer what I'm going to get. Now, to swap out my selected character with the chosen alternate, I'll double click on it and we can give the type a whole lot more personality in this way. Let's just go back to the finished version. I want to end up with something that looks like that.

So those are the areas of similarity. Now, let's look at the areas of difference. InDesign's Typography Superpowers. InDesign has a whole suite of features that will make formatting really easy for large bodies of texts, Paragraph Styles, the more micro or more specific, if you like Character Styles, Object Styles and Pages and Parent Pages where we can control the... we can make template pages, if you like. And you can see on the Pages panel here that I have color coded some of those Parent Pages, so it's easy for me to get an idea of the layout of my whole document.

Any sort of book project, InDesign is the place to be.

Let's take a look at how we can work on a novel. So I have here a novel in progress. I'm on page 69. You can see that this chapter opening page does not have a header, but all of the other pages do. When I move through it, when I move forward through my document, I'm holding down the Option key and pressing the down arrow to do this.

We come to this point where the text formatting has not been applied. I've just made it cyan so that you can see it more easily. So, what I want to do here is apply my Paragraph Styles. And, specifically, I want to point out the importance of Keep Options for managing your text flow. I want my chapters all to begin on a new page. What I don't want to do is add in a load of carriage returns in order to force that to happen. That's a solution that will always come back to bite you. Instead, I'm going to apply the chapter number style. So the chapter number style, as well as having some space embedded before it and being in a specific font and a specific size has...

this very useful, very powerful feature. It starts on the next page. If I wanted to, I could start on all right-hand pages or all left-hand pages. In this case, I just want the next page.

Now, this is going to be followed by the chapter title. For a document like this, we can usually predict the sequence of paragraphs. So, for example, I could swipe through those two paragraphs, the chapter title and the body first, and then come to the chapter title paragraph style, right click and choose Apply. Then next style, get two for the price of one. I could take that even further. But you get the idea. So now I'm going to scroll through the rest of this unformatted text, which is all just in the body style. Select it and then apply the style to it. The body style is like the body first, with the exception of it having a first line indent to distinguish it from this first paragraph. One other point I want to make here and that is that the chapter openers do not need to have the header. And this is where the parent pages or master pages come into play.

So I have my A parent page applied to the text and I have a separate parent page that is just like A. In fact, it is based upon A where we have the page numbers, but we don't have the header.

Let me go back to where I was, page 80. I'll find page 80 on my Pages panel. I'll click away from it, click back on it, and then holding down my Option or Alt key, click on the left-hand side of the chapter opening parent page and that removes that header. One other point I want to point out about the headers is that they are contextual. They are a live running header. It's using a feature called a text variable, so it will always pick up the text of the chapter title.

Now, I would love to tell you more about that, but time is limited, so I need to move on.

Let's now look at Illustrators Typography Superpowers.

Illustrator is all about vector precision and scalability. It has two really great features that I'm going to show you. Live Paint and Touch Type.

These are the kind of type treatments that we can very easily create with Illustrator.

So here what I want to do, it's a very old trick, but still nonetheless effective. I want to apply a different color to the counters or the interior shape of this type. In order for me to do this, I need to convert the type to Outlines. When I do that, it's no longer type, it's now vector shapes, but I have a whole lot more. There are many more things that I can do to it in this state than I could when it was editable type.

Now, these counter shapes, these interior shapes are actually Compound Paths. And in order for me to get to them, I will first need to Release them.

Having released them, I can come and choose my Direct Selection Tool. I need to deselect by clicking away from the currently selected content. And then hold down the Shift key and select each of those shapes. And I can now apply a different color to them.

Okay. Now, let's take a look at Live Paint. JUST FOR ONE DAY This is the treatment that I want to create using Live Paint.

Let's start out here where I have two lines of point type. I've made them into separate lines so that I can position each one independently of the other.

I've deliberately overlapped them.

My next step is as I just did, to convert them to outlines.

Having converted them to outlines, the next thing I want to do is draw an enclosing rectangle around them. You can't see it because the rectangle has no fill and no stroke. But when I swipe over that...

we can see there is an enclosing shape. Now, that's important to contain the different color segments. At this point, I'm ready to convert my artwork to a Live Paint group. I'm going to start out by just deselecting. And then clicking back onto the type shapes and we'll make that white.

Now, I'll swipe over everything, including the enclosing rectangle. I'll come to my Live Paint Bucket. I now get this message click to make Live Paint group. Having done that, each of these areas is now an independent segment which I can fill with color. I'll come to my color group and I'll come and fill those segments in.

Actually, I don't think we want that A to be yellow. We want that to be white.

So it's very easy to change your mind if you need to.

All right. Now...

we're going to be seeing this again later. The next thing I want to show you is the Touch Type Tool. ADVENTURE IN TOUCH TYPE The previous two techniques relied upon me creating outlines for my type so that my type was no longer live type. In this example, I don't need to do that. This is using a tool called the Touch Type Tool.

Having chosen that, I can just click on my type character by character and rotate it, move it around. I can also, if I want to scale it and doing this, I can give my type a fun and playful look just by changing its base lines, changing its angle.

It's actually best to start on the left and then move to the right, because that's anything that you do will affect the spacing to the right of your selected character. Now, as I mentioned, this retains it as live type. So if I want to change the font, I can do that.

Okay. Now, let's take a look at Photoshop's Typography Superpower. It's really about Layer Masks and Vector Masks, these things that allow you to selectively show and hide portions of your layer.

In addition, in Photoshop and we have them in InDesign and Illustrator as well, but they feel more at home in Photoshop. Blending modes and transparency.

SLICE So I'm going to start out with this example and use a Vector Mask. It would also work with a layer mask, but a Vector Mask is going to be really crisp.

I'll choose my Pen Tool. Now, the Pen Tool exists in InDesign and Illustrator as well.

Before I start using it here in Photoshop, I want to check its behavior. In this case, I want to draw paths rather than shapes. And I'll just draw myself.

I'm just clicking to make straight line segments, make myself a path, something like this. If I need to change that, I'll come to my Direct Selection Tool. Click away from it. Click back on the individual anchor points and move those how I want them. Okay. Now, I want this.

Let me come and get my Path Selection Tool and click back on it. I want this path to become a vector mask. From the Layer menu, Vector Mask, Current Path or hold down the Command key or the CTRL key and click on Add Mask.

So that's going to hide the top portion of the word.

Now, I'm going to duplicate that layer, Command or CTRL J. You can also from the Layer menu choose New, Layer Via Copy.

With the top layer mask selected, and I may need to come and click back on it again so I can see those anchor points, I'm going to invert it. Or the equivalent of invert it. I'm going to Subtract Front Shape. So that takes me back visually to where I was before. We now see the whole of the word. But the key difference here is like, I now select one of these layers with my Move Tool and I can offset it from the other.

Let's now look at Texture. TEXTURED So I have here a type layer that has been converted to a smart object as a filter applied to it.

And a blending mode applied to it. Let's start out with just the type. So with just the type, before I do anything, I am going to convert it to a smart object so that I can apply filters to the type in a nondestructive way. I'll right click to the right of the layer name and choose Convert to Smart Object.

Then I'm going to apply a blending mode.

I happen to know that Overlay is going to work in this context, but we don't always know that. And if you want to experiment with your blending modes, make sure you're in your Move Tool, that you have your layer selected and then press Shift + or Shift - to cycle through your different blend modes.

And that looks great except that what's letting it down is that the edges of the letters are very sharp and crisp in a way that they wouldn't be if this were painted onto this texture. That's where the filter comes in. The filter that I'm going to use is a displacement filter.

And in order to do this, I first need to save a copy of my texture as a separate document.

I would turn off my other layers. Come to the Image menu, choose Duplicate. Check this box so that I just get the single layer and not the other ones that I don't want in this case. And then save that as a PSD file, a Photoshop file. I've already done that. So now, I need to come to my smart object layer to the Filter menu, Distort and then choose Displace. I can experiment with the horizontal and vertical scale. Click Okay. And I now choose that file that is the texture that I saved earlier.

And there's the result. It's relatively subtle, but let me zoom in so you can see what's happening.

So this is with the result. You can see the edges of the letters are distorted according to the texture. And this is without the result.

Now, I want to conclude with a simple example of how we can combine these apps. I'm going to use Illustrator and Photoshop. I want to take my artwork from Illustrator, put it in Photoshop and combine it with this texture, playing to the strengths of these two apps.

So let's come back to Illustrator and to Live Paint, the one that we did earlier. Now I can save this and in Photoshop I can choose to place it embedded or linked. What I'm actually going to do is just copy and paste it, which for a simple piece of artwork like this is going to work just fine. It will be equivalent to placing embedded.

I'll swipe over it. Copy it.

Come to Photoshop and then Paste it. Now, when I paste it, I get to make this important decision. The answer is nearly always Smart Object. We are going to make it into a Smart Object. I can scale it. I want to scale it from its center point. So I'm holding down the Option key. JUST FOR ONE DAY To commit to this, I'll press Return. Now, I'm going to change the stacking order of my layers. Let's move this down beneath my texture layer. I'll select my texture. And once again, I will experiment with blending modes. Shift + or Shift -.

And, in this case, the one that I want to use is soft light. I can combine any of these blending modes with opacity. So maybe we'll take down the opacity a bit as well.

Now, the key point here is that this is a smart object. If I need to make changes to it, I'll come to its layer, double click on it. And that's going to open up the smart object in its creator application, which is Illustrator.

And here what I can do is edit the colors. So let's say I want to edit the blue. The blue, incidentally, is a global color, meaning that wherever it's applied, it's going to update when I change its specification. I can identify it as a global color by that triangle in its right-hand corner.

So, how about we do something like...

that. I'll now save it.

And you can guess what's going to happen. I'm going to come back to Photoshop, and it updates in place, keeping all of those changes that we also made to it in Photoshop.

That brings me to the end of the presentation. Thank you so much for watching. And if you need to reach me, nigel@nigelfrench.com.

Scroll Down

Typography Across InDesign, Illustrator, and Photoshop - VS306

Closed captions in English can be accessed in the video player.

Share this page

Sign in  to add to your favorites

SPEAKERS

  • Nigel French

    Nigel French

    Graphic Designer, Photographer, Design Teacher, Nigel French Graphic Design

Featured Products

Session Resources

Sign in to download session resources

ABOUT THE SESSION

InDesign, Illustrator, and Photoshop form a powerful trio, offering unparalleled control and creative freedom in typographic design. While these applications share some tools, each possesses unique features and strengths in the realm of typography. In this session, join graphic designer Nigel French as he unveils how to play to those strengths. We’ll see which app(s) to use when faced with different typographic challenges, whether you’re working with a single character, a thousand-page book, or anything in between.

You’ll learn how to:

  • Use the robust typographic tools in InDesign for long documents and layouts
  • Leverage the precision, vector-based scalability, and flexibility in Illustrator when it comes to expressive typography
  • Explore type as image with Photoshop effects based on layer masks, Smart Objects, and blending modes
  • Strategically combine these apps

Technical Level: General Audience

Type: Session

Category: How To

Track: Graphic Design

Audience Types: Art/Creative Director, Graphic Designer, Print Designer, Illustrator

This content is copyrighted by Adobe Inc. Any recording and posting of this content is strictly prohibited.


By accessing resources linked on this page ("Session Resources"), you agree that 1. Resources are Sample Files per our Terms of Use and 2. you will use Session Resources solely as directed by the applicable speaker.

Inspiring Insights

Short videos to explore even more

Keep the learning going with insights from industry experts. Get hot tips and tricks and best advice in 50+ bonus video — all under five minutes

Not sure which apps are best for you?

Take a minute. We’ll help you figure it out.