From the course: Illustrator on the iPad: Typography and Type Effects

Create a type treatment using divide all

From the course: Illustrator on the iPad: Typography and Type Effects

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Create a type treatment using divide all

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- [Instructor] I'm going to create a simple type treatment using these numerals. And these are in Din 1451 available on Adobe fonts. The first thing I want to do is apply some kerning here. And this is a common problem when you have the numeral one up against another numeral and it's a lining number as this is. We can see there's proportionally more space between the one and the first zero, then between the two zeros. And because this is such a prominent part of the treatment, I'm going to really take some trouble to get the kerning exactly how I want it to be. I'll get my rectangle tool and then draw myself a rectangle between the two zeros, assuming that I like the spacing that we have there. We'll just give that a different color. Now I'm going to use that as a measuring stick, and I'll now move that over, aligning it with the one, I'll lock it. I'm going to insert my cursor between the one and the zero. Then come to my properties panel. Let's zoom in a bit on that. And then we can come to the kerning. And I'm just going to reduce that until we come up against that spacing character, which has now served its purpose. And I can come and unlock that. Once unlocked, I can delete this sublayer. I can do that just by swiping to the left with my finger. All right, now let's come and center this and center it on the art board. I've gone as far as I can with this as editable type. So I'll come to my type panel and outline the text. I would like to now break it in two, and I'm going to do that by first of all switching to my pencil tool and drawing a straight line across the type. I want this to be vertically centered, so I'll move it up until I see my smart guide kick in. Now I'll select the line and the type, come to my combined shapes panel and choose divide all. I'll then ungroup everything, deselect, reselect the top portion, and I can move that up and then reselect the bottom portion, and I can move that down, making sure that I am constraining the movement as I do so. Now I have a piece of type already here, which I've hidden away. I'll come and turn that back on. And I'll just scale this down. That might be easier said than done. Let's come and reduce its size. I have the alignment on this set to justified, but because the top line has quite a few fewer characters than the bottom line, I've applied a different amount of letter spacing to the top line. And I also need to adjust the line spacing or leading. And then I'm going to select the bottom line. And just add a little bit more letter spacing to that. And I think I'll leave. I'll quit while I'm ahead there. Now you may be wondering why I did it this way. Why did I split these numbers in two, why not just stretch them vertically and then put a white box over the middle? Here's the reason why. If we scroll along, I have another art board in this document where that's exactly what I've done. I have just, if we take a look at the properties panel and come to my vertical and horizontal scale, you can see that the vertical scale is massively increased relative to the horizontal. And the consequence of that is that the numbers, the glyphs, are going to become very distorted at the top and the bottom, especially the zeros. Let's just compare the two. So on the left, the version where it's split and there's no actual distortion of the characters and on the right where it is not split, but where the vertical scale is massively increased.

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