This relationship in delivery systems is crucial to how we work in Photoshop. We kept it all inside Photoshop, but if we were working with a studio, and we had to deliver that poster for print, we more than likely would have produced the key art, with the title and larger type, within the Photoshop document, then left the credits (and any other plentiful editable type) for a layout application like InDesign. Are we working on a poster? If you remember the movie poster exercise, we had a lot of type for the credits. When we work with type in Photoshop, we must always ask (almost more than with any other feature): Is this necessary? Or could we do this same work more efficiently in another application? To answer these questions, we have to think about what the final output and delivery is for our Photoshop composition. So this lecture will go through a number of type techniques that we can use in Photoshop, and we'll talk about which ones we want to use, leaving the rest for those other applications. But as you work, you'll find that the type tools in Photoshop are quite robust, and in some cases there are things you will want to do with type that you can only do in Photoshop. Photoshop is not really known as a typography tool, at least not in relation to its siblings InDesign and Illustrator.
We'll lay out an ad using Photoshop's tools for headline type, body copy, and type effects.
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