The way a word looks in print can have more of an impact to a viewer than the actual word itself. The features in Adobe Illustrator and Photoshop control almost every aspect of this generation of design and placement of type in a field, and with a few simple tricks, both programs can produce awesome typographical effects that communicate an idea that will have a great impact.

It is important to know a few things about the two programs before we begin. Photoshop is primarily a raster-based software program, meaning that its operations are designed to manipulate pixels. There are, however, a few tools in this program that generate and edit vector objects. These tools include the Pen tools, the Direct Selection and Path Selection tools, the Shape tools, and the Type tool. Illustrator depends on similar tools to create vector objects and has several components that generate and edit pixels. Some of these include a series of effects that modify Bezier curves by adding pixel effects and filters that can be directly applied to raster images.

When modifying fonts, you can achieve almost any type effect in Photoshop through a series of Layer techniques, but there are a few techniques in Illustrator that will produce a similar, and most of the time even better, outcome with less effort involved. One example is the ability to modify the shape of type characters. Since type in Illustrator can be converted to basic vector outlines the intrinsic shapes of characters can be easily changed and manipulated.

Start by generating some type in Illustrator. Next, choose Create Outlines from the Type menu. Make sure you proof your text because once the outline is created, the type can no longer be edited. The conversion changes the text characters into a group of Bezier curves that can be altered by dragging their anchor points, segments of direction handles with the Direct Selection tool or adding addition paths.

Illustrator also beats Photoshop when creating characters with multiple-colored outlines. First, choose the Horizontal Type tool and create one or more characters. Apply a colored fill to the characters. Next, convert the type to outlines. From the Object menu, select Path > Offset Path and type a value, in points, in the dialog box, then click OK. The width of the type will appear to increase, but what actually happens is the Offset Path command automatically duplicates and enlarges the selected characters by the specified value. The new path is positioned behind the original path. With the new offset path still selected, choose a color fill from the Swatches or Color Panel to color the new path's offset edge. Repeat the process for each new outline you want to create.

This concludes the cool type effects lesson in Part 1. Stay tuned for Part 2!

 

When you begin the process of setting up and developing a vehicle wrap for your clients it is extremely important to do the necessary steps to making it easy on your clients, your designer, and ultimately, yourself. The following insights on making sure you cover your bases will make the overall wrap process, including the installation, efficient and stress-free.

One key thing you will want to do early on is take the extra time to create a dialogue with the graphic designer. When you begin working for a client, go out of your way to discuss his or her designs before and after the install, explaining what worked and what did not.

The reason you will want to take extra time, which can take up several hours of phone conversations, emails, and face to face meetings, is that you want to help your graphic designer understand the installation process. Many wrap designs will either not fit properly or will be far too complicated that it makes the overall installation process longer and more difficult. Keep in mind that a graphic on a layout looks flat, but will be applied to a surface that has contours and recessed areas.

Another thing you will want to do in the early stages is take a look at an actual picture of the vehicle online before completing the design. This helps the graphic designer see more of the 3-D aspects and work around them during the design process. Secondly, encourage the graphic designer to make the designs more simple in terms of text and images. A very common error when developing wrap designs is to include too much information and imagery. The most effective designs, which garner the most attention, are the simplest. Also, in terms of installation, simple designs are easier to install.

Lastly, ask your graphic designer to send you the layout before it is approved by the client. This will give you the ability to make a few suggestions that will make the installation quicker and less stressful. Taking ten minutes to do this can save hours of installation, especially on fleet jobs.

Doing all of these little things before the install will make the entire process more efficient, which in turn, will increase your profits and free time. You want to treat installing graphics as a business and try to make it as streamline as possible.