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Chinese Canadian Council of Canada for Social Justice: Stop the Spread of Racism

Post pobrano z: Chinese Canadian Council of Canada for Social Justice: Stop the Spread of Racism

Direct Marketing
Chinese Canadian Council of Canada for Social Justice

The campaign features bottles of hand sanitizer bearing the message “Stop the Spread.” But while people might think the bottles are aimed at curbing coronavirus, they bear messaging aimed at getting them to consider their actions towards the Asian community.

The wording on the label mimics that found on standard bottles of hand sanitizer, except it has been replaced with pointed messages about xenophobia. Under uses, for example, is the phrase “Protects against toxic behaviour,” while other messages on the label include “Works best with common sense” and “Keep (intolerance) away from children.” The bottles drive people to an informational website, StopTheSpread.ca.

The global rise of the coronavirus and subsequent media attention has led to an alarming rise in a different kind of sickness—racism directed towards the Chinese Canadian community. The past weeks have seen a marked uptick in stories about people avoiding Chinese restaurants and other Asian-owned businesses, and verbally attacking Asian people online or in public.

It mirrors the upswing in racism that accompanied the 2003 SARS epidemic, which the Conference Board of Canada estimated had a $1.5 billion impact on the Canadian economy—$1 billion in Toronto alone—as travellers avoided the city.

“Globally, xenophobia and racism towards Chinese and other Asian communities have been on a rapid rise since the outbreak of the novel coronavirus. This upswing of racism closely mirrors the racism experienced by Chinese in Canada during the 2003 SARS outbreak, and must be confronted,” says Amy Go, Interim National President of the Chinese Canadian National Council for Social Justice.

The bottles of hand sanitizer were distributed on Tuesday, March 3 in high-traffic areas in Toronto, including Chinatown, Yonge-Dundas Square, and Nathan Phillips Square.. The work was developed pro bono by Toronto creative agency The Hive.

Advertising Agency:The Hive, Toronto, Canada
Chief Creative Officer:Simon Creet
Creative Director:Meghan Kraemer
Associate Creative Director:Mitch Duesling
Art Director:Teresa M. Depaz
Writer:Nicholas Schembri
Director Of Production:Yilma Campbell
Director:Cameron Tomsett
Project Management:Cecilia Hui, Brandon Vignali
Digital Content Strategist:Lauren Hildebrand
Photography:Mark Ralph
Production Company:School Editing
Editor:Mark Morton

KISS FM: Changes

Post pobrano z: KISS FM: Changes

Film
KISS FM

Little changes can have big meaning – that’s what happened in the careers of many major rock stars. Inspired by their transformations, Kiss FM is in for a change, too: now, they’re broadcasting from 92.5.
Created by AlmapBBDO, the campaign behind this transition makes it clear that changes can be more surprising than you might imagine – as long as you stay true to your essence.
Inspired by real examples from music history, the short “Changes” runs through a few of the stories that changed rock forever. Like Queen, for example, when they fired the manager who didn’t believe in the potential of “Bohemian Rhapsody,” a song that became one of rock’s greatest hymns. In the end, “Changes” shows that, even from its new spot on the dial, Kiss FM remains as original as always.

Advertising Agency:AlmapBBDO, São Paulo, Brazil
CCO:Luiz Sanches
Executive Creative Director:Marcelo Nogueira
Creatives:Vitor Rolim, Pedro Arvati
Illustration and Animation:Vitor Rolim
Liaisons:Maysa Oliveira, Felipe Elias Oliveira, Nathalia Chaves, Ana Carolina Manfio, Fernanda Costa, Carol Peternelli
Rtv:Vera Jacinto, Diego Villas Bôas, Leo Damasceno
Audio Production:Raw Audio
Composer:Hilton Raw
Coordination:Roberio Barbosa
Voiceover:Andre Arteze

What to Use Instead of Number Inputs

Post pobrano z: What to Use Instead of Number Inputs

You might reach for <input type="number> when you’re, you know, trying to collect a number in a form. But it’s got all sorts of issues. For one, sometimes what you want kinda looks like a number, but isn’t one (like how a credit card number has spaces), because it’s really just a string of numbers. Even more importantly, there are a variety of screen reader problems.

Hanna Laakso documents the problems for GOV.UK. This is what they landed on:

<input type="text" inputmode="numeric" pattern="[0-9]*">

The inputmode attribute is pretty great, and we have a deep dive on that.

Phil Nash came to (almost) same exact conclusion, and blogged about improving the experience of a two-factor auth code input on the Twilio blog:

<input
  type="text"
  name="token"
  id="token"
  inputmode="numeric"
  pattern="[0-9]*"
  autocomplete="one-time-code"
/>

That last attribute is interesting and new to me. It means you get this super extra useful experience on browsers that support it:

iOS screen with a numeric input and a text message offering to auto-fill the two-factor auth

There are other autocomplete values, as Phil writes:

There are many autocomplete values available, covering everything from names and addresses to credit cards and other account details. For sign up and login there are a few autocomplete values that stand out as useful hints: usernameemailnew-passwordcurrent-password.

Browsers and password managers have very good heuristics to find login forms on web pages, but using the username and current-password values make it very obvious. 

The post What to Use Instead of Number Inputs appeared first on CSS-Tricks.

Currying in CSS

Post pobrano z: Currying in CSS

Funny timing on this I was just looking at the website for Utopia (which is a responsive type project which I hate to admit I don’t fully understand) and I came across some CSS they show off that looked like this:

:root {
  --fluid-max-negative: (1 / var(--fluid-max-ratio) / var(--fluid-max-ratio));
  --fluid-min-negative: (1 / var(--fluid-min-ratio) / var(--fluid-min-ratio));
 
  ...
}

See anything weird there? That code is using mathematical operators, but there is no calc() function wrapped around it.

Just as my curiosity set in, Trys Mudford, a creator of Utopia, blogged it:

The value after the : in the CSS custom property does not have to be valid CSS. It won’t cause any errors, nor invalidate the custom property. It won’t be evaluated in the browser until used, or more specifically, placed in a calc() function.

Here’s a contrived example:

:root {
  --padding: 1rem;
  
  /* These are meaningless alone */
  --padding-S: var(--padding) / 2;
  --padding-L: var(--padding) * 2;
}

.module--large {
  /* But they evaluate once they are in a calc() */
  padding: calc(var(--padding-L));
}

In my limited understanding, currying is like functions that return functions. I suppose this is sorta like that in that the alternate padding properties above are sort of like derivative functions of the main padding function (if you can call it that), and you only call them and execute them as needed.

The post Currying in CSS appeared first on CSS-Tricks.

Creating a Modal Image Gallery With Bootstrap Components

Post pobrano z: Creating a Modal Image Gallery With Bootstrap Components

Have you ever clicked on an image on a webpage that opens up a larger version of the image with navigation to view other photos?

Some folks call it a pop-up. Others call it a lightbox. Bootstrap calls it a modal. I mention Bootstrap because I want to use it to make the same sort of thing. So, let’s call it a modal from here on out.

Why Bootstrap? you might ask. Well, a few reasons:

  • I’m already using Bootstrap on the site where I want this effect, so there’s no additional overhead in terms of loading resources.
  • I want something where I have complete and easy control over aesthetics. Bootstrap is a clean slate compared to most modal plugins I’ve come across.
  • The functionality I need is fairly simple. There isn’t much to be gained by coding everything from scratch. I consider the time I save using the Bootstrap framework to be more beneficial than any potential drawbacks.

Here’s where we’ll end up:

CodePen Embed Fallback

Let’s go through that, bit by bit.

Step 1: Create the image gallery grid

Let’s start with the markup for a grid layout of images. We can use Bootstrap’s grid system for that.

<div class="row" id="gallery">
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-1">
  </div>
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-2">
  </div>
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-3">
  </div>
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-4">
  </div>
</div>

Now we need data attributes to make those images interactive. Bootstrap looks at data attributes to figure out which elements should be interactive and what they should do. In this case, we’ll be creating interactions that open the modal component and allow scrolling through the images using the carousel component.

About those data attributes:

  1. We’ll add data-toggle="modal"  and data-target="#exampleModal" to the parent element (#gallery). This makes it so clicking anything in the gallery opens the modal. We should also add the data-target value (#exampleModal) as the ID of the modal itself, but we’ll do that once we get to the modal markup.
  2. Let’s add data-target="#carouselExample"  and a data-slide-to attribute to each image. We could add those to the image wrappers instead, but we’ll go with the images in this post. Later on, we’ll want to use the data-target value (#carouselExample) as the ID for the carousel, so note that for when we get there. The values for data-slide-to are based on the order of the images.

Here’s what we get when we put that together:

<div class="row" id="gallery" data-toggle="modal" data-target="#exampleModal">
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-1.jpg" data-target="#carouselExample" data-slide-to="0">
  </div>
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-2.jpg" data-target="#carouselExample" data-slide-to="1">
  </div>
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-3.jpg" data-target="#carouselExample" data-slide-to="2">
  </div>
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-4.jpg" data-target="#carouselExample" data-slide-to="3">
  </div>
</div>

Interested in knowing more about data attributes? Check out the CSS-Tricks guide to them.

Step 2: Make the modal work

This is a carousel inside a modal, both of which are standard Bootstrap components. We’re just nesting one inside the other here. Pretty much a straight copy-and-paste job from the Bootstrap documentation.

Here’s some important parts to watch for though:

  1. The modal ID should match the data-target of the gallery element.
  2. The carousel ID should match the data-target of the images in the gallery.
  3. The carousel slides should match the gallery images and must be in the same order.

Here’s the markup for the modal with our attributes in place:

<!-- Modal markup: https://getbootstrap.com/docs/4.4/components/modal/ -->
<div class="modal fade" id="exampleModal" tabindex="-1" role="dialog" aria-hidden="true">
  <div class="modal-dialog" role="document">
    <div class="modal-content">
      <div class="modal-header">
        <button type="button" class="close" data-dismiss="modal" aria-label="Close">
          <span aria-hidden="true">×</span>
        </button>
      </div>
      <div class="modal-body">
        
      <!-- Carousel markup goes here -->


      <div class="modal-footer">
        <button type="button" class="btn btn-secondary" data-dismiss="modal">Close</button>
      </div>
    </div>
  </div>
</div>

We can drop the carousel markup right in there, Voltron style!

<!-- Modal markup: https://getbootstrap.com/docs/4.4/components/modal/ -->
<div class="modal fade" id="exampleModal" tabindex="-1" role="dialog" aria-hidden="true">
  <div class="modal-dialog" role="document">
    <div class="modal-content">
      <div class="modal-header">
        <button type="button" class="close" data-dismiss="modal" aria-label="Close">
          <span aria-hidden="true">×</span>
        </button>
      </div>
      <div class="modal-body">
        
      <!-- Carousel markup: https://getbootstrap.com/docs/4.4/components/carousel/ -->
      <div id="carouselExample" class="carousel slide" data-ride="carousel">
          <div class="carousel-inner">
            <div class="carousel-item active">
              <img class="d-block w-100" src="/image-1.jpg">
            </div>
            <div class="carousel-item">
              <img class="d-block w-100" src="/image-2.jpg">
            </div>
            <div class="carousel-item">
              <img class="d-block w-100" src="/image-3.jpg">
            </div>
            <div class="carousel-item">
              <img class="d-block w-100" src="/image-4.jpg">
            </div>
          </div>
          <a class="carousel-control-prev" href="#carouselExample" role="button" data-slide="prev">
            <span class="carousel-control-prev-icon" aria-hidden="true"></span>
            <span class="sr-only">Previous</span>
          </a>
          <a class="carousel-control-next" href="#carouselExample" role="button" data-slide="next">
            <span class="carousel-control-next-icon" aria-hidden="true"></span>
            <span class="sr-only">Next</span>
          </a>
        </div>
      </div>

      <div class="modal-footer">
        <button type="button" class="btn btn-secondary" data-dismiss="modal">Close</button>
      </div>
    </div>
  </div>
</div>

Looks like a lot of code, right? Again, it’s basically straight from the Bootstrap docs, only with our attributes and images.

Step 3: Deal with image sizes

This isn’t necessary, but if the images in the carousel have different dimensions, we can crop them with CSS to keep things consistent. Note that we’re using Sass here.

// Use Bootstrap breakpoints for consistency.
$bootstrap-sm: 576px;
$bootstrap-md: 768px;
$bootstrap-lg: 992px;
$bootstrap-xl: 1200px;


// Crop thumbnail images.
#gallery {
  img {
    height: 75vw;
    object-fit: cover;
    
    @media (min-width: $bootstrap-sm) {
      height: 35vw;
    }
    
    @media (min-width: $bootstrap-lg) {
      height: 18vw;
    }
  }
}


// Crop images in the coursel
.carousel-item {
  img {
    height: 60vw;
    object-fit: cover;
    
    @media (min-width: $bootstrap-sm) {
      height: 350px;
    }
  }
}

Step 4: Optimize the images

You may have noticed that the markup uses the same image files in the gallery as we do in the modal. That doesn’t need to be the case. In fact, it’s a better idea to use smaller, more performant versions of the images for the gallery. We’re going to be blowing up the images to their full size version anyway in the modal, so there’s no need to have the best quality up front.

The good thing about Bootstrap’s approach here is that we can use different images in the gallery than we do in the modal. They’re not mutually exclusive where they have to point to the same file.

So, for that, I’d suggest updating the gallery markup with lower-quality images:

<div class="row" id="gallery" data-toggle="modal" data-target="#exampleModal">
  <div class="col-12 col-sm-6 col-lg-3">
    <img class="w-100" src="/image-1-small.jpg" data-target="#carouselExample" data-slide-to="0">
  
  <!-- and so on... -->
</div>

That’s it!

The site where I’m using this has already themed Bootstrap. That means everything is already styled to spec. That said, even if you haven’t themed Bootstrap you can still easily add custom styles! With this approach (Bootstrap vs. plugins), customization is painless because you have complete control over the markup and Bootstrap styling is relatively sparse.

Here’s the final demo:

CodePen Embed Fallback

The post Creating a Modal Image Gallery With Bootstrap Components appeared first on CSS-Tricks.

The 3 Laws of Serverless

Post pobrano z: The 3 Laws of Serverless

Burke Holland thinks that to „build applications without thinking about servers” is a pretty good way to describe serverless, but…

Nobody really thinks about servers when they are writing their code. I mean, I doubt any developer has ever thrown up their hands and said “Whoa, whoa, whoa. Wait just a minute. We’re not declaring any variables in this joint until I know what server we’re going to be running this on.”

Instead of just one idea wrap it all up, Burke thinks there are three laws:

  1. Law of Furthest Abstraction (I don’t really care where my code runs, just that it runs.)
  2. The Law of Inherent Scale (I can hammer this code if I need to, or barely use it at all.)
  3. Law of Least Consumption (I only pay for what I use.)

Direct Link to ArticlePermalink

The post The 3 Laws of Serverless appeared first on CSS-Tricks.

How to Create a Typewriter Font Text Effect (And the Best Typewriter Fonts)

Post pobrano z: How to Create a Typewriter Font Text Effect (And the Best Typewriter Fonts)

Final product image
What You’ll Be Creating

Do you love old typewriters and the style they apply to the letters? Those duplicated letters, and the illegible and sometimes even blurred and almost missed symbols?

In this tutorial, I will show you a quick and easy way to create a vintage typewriter font effect using a displacement map, textures, and smart filters. And if you want to know what a typewriter font looks like, check the best typewriter font collection available on Envato Elements:

Enigma Typewriter Sans Font

This classic typewriter font will help you to recreate the style of old documents and papers. It was inspired by the „Enigma machine” and has a great vintage and grungy look. This typewriter font supports multilingual glyphs and comes in one TTF file.

httpselementsenvatocomenigma-typewriter-sans-font-2C69VV

Silk Remington

Inspired by the name of the old brand, this product is an authentic old typewriter font, created by Jadugar Design Studio. This vintage typewriter font comes in five variations, from Thin to Rough, so it could be really useful for different types of projects.

httpselementsenvatocomsilk-remington-XSHUFJ

Not my type typewriter font

If you ask what font looks like a typewriter, the answer is the one that is created with a real typewriter. This typewriter font was made with an Oliver Courier Typewriter from an antique market. If you need a simple old typewriter font with a great number of alternates, this one is the best choice for you.

httpselementsenvatocomnot-my-type-typewriter-font-8X4YTT

AMTW

If you are looking for an American typewriter font, take a look at AMTW. This classic typewriter font could be used in many ways because it comes in three styles: regular, rough, and rough-rough.

httpselementsenvatocomamtw-NHWEA7

Catalina Typewriter

If you are looking for a font that looks like a typewriter but was made by hand, Catalina Typewriter is the best typewriter font for you. This neatly handwritten font would be perfect for creating typewriter font tattoo sketches, table cards, menus, and much more.

httpselementsenvatocomcatalina-typewriter-V2Z22X

Let’s start to create our own vintage typewriter font effect. If you want to learn this effect via video, check out our lesson on the Envato Tuts+ YouTube channel:

Tutorial Assets

The following assets were used in the production of this tutorial:

1. How to Prepare the Document

Step 1

Let’s get started by setting up a New Document by pressing Control-N. Set the document size to 1500 by 1000 px.

Creating a new document

Step 2

Drag and Drop the textures from the tutorial assets to the document, and then make these layers Invisible.

dragging the textures inside the document

Step 3

Hit T and create two text layers with any words you want to use.

creating text layers

Step 4

After that, add a Mask to each layer.

adding the masks to the text layers

Step 5

Select the text layers while holding Shift, and hit Control-G to create a group of the layers. Then add a mask to this group as we did before.

Creating first group of layers

Step 6

Now we need to create four duplicates of the group using Right Click > Duplicate Layer.

creating duplicates of the group of layers

2. How to Create a Typewriter Font Text Effect

Step 1

Select the mask of the first text layer and then Control-click on the icon of the text layer.

creating a selection on the mask of the text layer

Step 2

Go to Select > Modify > Contract  and use the following setting: Contract By: 4 px.

creating a contract selection

Step 3

Press Shift-Control-I to invert the selection, and then hit Shift-F5 to fill the selection with black.

inverting the selection

Step 4

Add the same mask effect to the second text layer and hit Control-D to deselect.

inverting the second layer selection

Step 5

Select the mask of the first layer and then go to Filter Gallery > Brush Strokes > Splatter and use the following settings: Set Radius: 10; Smoothness: 15. After that, add the same filter to the mask of the second layer using Alt-Control-F.

adding splatter effect to the mask of the layer

Step 6

Put the ink texture inside the first group of layers.

adding the effect and moving the layer

Step 7

Double-Click on the ink texture in the Layers panel, and then go to Color Overlay and use white.

adding color overlay to the texture

Step 8

Now we need to add the selection to the masks of the second group of layers, as we did before. But this time we’ll use the following settings: Contract By: 2 px.

adding selections to the masks of the second group

Step 9

After that, select the mask of the text layer and go to Filter > Filter Gallery > Brush Strokes > Sprayed Strokes and set the Stroke Length to 20Spray Radius to 0, and the Direction to Horizontal. Then add the same effect to the second layer mask using Alt-Control-F.

creating effects for the second group of text layers

Step 10

Now let’s go to the next group of layers and add the masking effect to both text layers as we did before, but this time we don’t need to use the contract function.

adding the mask effects to text layers

Step 11

Select the Mask of the layer and then go to Filter > Distort > Displace and use the following settings: 

  • Horizontal Scale: 4
  • Vertical Scale: 4
  • Displacement map: Tile
  • Undefined Areas: Repeat Edge Pixels

Hit the OK button, and now you need to select the PSD file from the tutorial assets as a displacement map. Add the same effect to the second layer using Alt-Control-F.

adding a displacement map to the mask of the text layers

Step 12

Add the masking effect to the text layers in the fourth group with the Contract by 4 px setting. 

creating a contract selection

Step 13

Select the mask of the text layer and go to Filter > Distortion > Ripple, using the following settings: Amount: 69%; Size: Medium. After that, select the mask of the second text layer and hit Alt-Control-F to add the same filter.

adding the ripple effect to the mask of the layer

Step 14

Select the mask of the first layer and then go to Filter Gallery > Sketch > Torn Edges and use the following settings:

  • Image Balance: 40 
  • Smoothness: 15
  • Contrast: 15

After that, add the same filter to the mask of the second layer using Alt-Control-F.

Step 15

Now let’s go to the last group of layers and create a mask effect as we did before using Contract by 4 px.

creating a contract selection

Step 16

Go to Filter Gallery > Brush Strokes > Splatter and use the following settings: Spray Radius: 10; Smoothness: 15. After that, add the same filter to the mask of the second layer using Alt-Control-F.

adding the splatter effect to the mask of the layer

Step 17

And finally, let’s add the last filter to the mask. Go to Filter Gallery again, and then select Texture > Craquelure and set the Crack Spacing to 35, Depth to 10, and Brightness to 0. Use the same effect for the mask of the second layer.

adding craquelure effect to the mask

Step 18

Now we need to make some of the elements invisible. Select the mask of the first group of layers, and then hit M and select some words you would like to make visible. Hold Shift to make multiple selections.

selecting the words on the mask of first group of layers

Step 19

Hit Shift-Control-I to invert the selection and then Control-I to invert the mask.

inverting the mask of the group

Step 20

Delete some parts of different group masks as we did before.

making the the part of the masks invisible

Step 21

Move the first group of layers about 10 px to the left while holding Shift.

moving the group of layers

Step 22

Change the Opacity of the group to 90%.

changing the opacity of the group

Step 23

Create a duplicate of the overlay texture and move both layers above all the groups. Then change the Blending Mode of the first texture to Hard Light and the Opacity to 52%. After that, change the Blending Mode of the second texture to Multiply.

changing the blending modes and opacity of the layers

Step 24

Select the first overlay texture and hit Alt-Shift-Control-B. Then hit OK.

adding black and white filter

Step 25

Go to Image > Adjustments > Brightness/Contrast and set the Brightness to -80 and Contrast to 100.

Changing the brightness and contrast of the texture

Step 26

And for the last step, we need to put all the previous groups in a new group and then Right-Click on the first texture and select Create a Clipping Mask.

creating a clipping mask

Awesome Work, You’re Now Done!

Congratulations! You have created an old typewriter font effect using a displacement map, textures, and smart filters. Here is our final result:

Final result image

If you would like to learn more about Photoshop text effects, check these tutorials:

How to Create a Typewriter Font Text Effect (And the Best Typewriter Fonts)

Post pobrano z: How to Create a Typewriter Font Text Effect (And the Best Typewriter Fonts)

Final product image
What You’ll Be Creating

Do you love old typewriters and the style they apply to the letters? Those duplicated letters, and the illegible and sometimes even blurred and almost missed symbols?

In this tutorial, I will show you a quick and easy way to create a vintage typewriter font effect using a displacement map, textures, and smart filters. And if you want to know what a typewriter font looks like, check the best typewriter font collection available on Envato Elements:

Enigma Typewriter Sans Font

This classic typewriter font will help you to recreate the style of old documents and papers. It was inspired by the „Enigma machine” and has a great vintage and grungy look. This typewriter font supports multilingual glyphs and comes in one TTF file.

httpselementsenvatocomenigma-typewriter-sans-font-2C69VV

Silk Remington

Inspired by the name of the old brand, this product is an authentic old typewriter font, created by Jadugar Design Studio. This vintage typewriter font comes in five variations, from Thin to Rough, so it could be really useful for different types of projects.

httpselementsenvatocomsilk-remington-XSHUFJ

Not my type typewriter font

If you ask what font looks like a typewriter, the answer is the one that is created with a real typewriter. This typewriter font was made with an Oliver Courier Typewriter from an antique market. If you need a simple old typewriter font with a great number of alternates, this one is the best choice for you.

httpselementsenvatocomnot-my-type-typewriter-font-8X4YTT

AMTW

If you are looking for an American typewriter font, take a look at AMTW. This classic typewriter font could be used in many ways because it comes in three styles: regular, rough, and rough-rough.

httpselementsenvatocomamtw-NHWEA7

Catalina Typewriter

If you are looking for a font that looks like a typewriter but was made by hand, Catalina Typewriter is the best typewriter font for you. This neatly handwritten font would be perfect for creating typewriter font tattoo sketches, table cards, menus, and much more.

httpselementsenvatocomcatalina-typewriter-V2Z22X

Let’s start to create our own vintage typewriter font effect. If you want to learn this effect via video, check out our lesson on the Envato Tuts+ YouTube channel:

Tutorial Assets

The following assets were used in the production of this tutorial:

1. How to Prepare the Document

Step 1

Let’s get started by setting up a New Document by pressing Control-N. Set the document size to 1500 by 1000 px.

Creating a new document

Step 2

Drag and Drop the textures from the tutorial assets to the document, and then make these layers Invisible.

dragging the textures inside the document

Step 3

Hit T and create two text layers with any words you want to use.

creating text layers

Step 4

After that, add a Mask to each layer.

adding the masks to the text layers

Step 5

Select the text layers while holding Shift, and hit Control-G to create a group of the layers. Then add a mask to this group as we did before.

Creating first group of layers

Step 6

Now we need to create four duplicates of the group using Right Click > Duplicate Layer.

creating duplicates of the group of layers

2. How to Create a Typewriter Font Text Effect

Step 1

Select the mask of the first text layer and then Control-click on the icon of the text layer.

creating a selection on the mask of the text layer

Step 2

Go to Select > Modify > Contract  and use the following setting: Contract By: 4 px.

creating a contract selection

Step 3

Press Shift-Control-I to invert the selection, and then hit Shift-F5 to fill the selection with black.

inverting the selection

Step 4

Add the same mask effect to the second text layer and hit Control-D to deselect.

inverting the second layer selection

Step 5

Select the mask of the first layer and then go to Filter Gallery > Brush Strokes > Splatter and use the following settings: Set Radius: 10; Smoothness: 15. After that, add the same filter to the mask of the second layer using Alt-Control-F.

adding splatter effect to the mask of the layer

Step 6

Put the ink texture inside the first group of layers.

adding the effect and moving the layer

Step 7

Double-Click on the ink texture in the Layers panel, and then go to Color Overlay and use white.

adding color overlay to the texture

Step 8

Now we need to add the selection to the masks of the second group of layers, as we did before. But this time we’ll use the following settings: Contract By: 2 px.

adding selections to the masks of the second group

Step 9

After that, select the mask of the text layer and go to Filter > Filter Gallery > Brush Strokes > Sprayed Strokes and set the Stroke Length to 20Spray Radius to 0, and the Direction to Horizontal. Then add the same effect to the second layer mask using Alt-Control-F.

creating effects for the second group of text layers

Step 10

Now let’s go to the next group of layers and add the masking effect to both text layers as we did before, but this time we don’t need to use the contract function.

adding the mask effects to text layers

Step 11

Select the Mask of the layer and then go to Filter > Distort > Displace and use the following settings: 

  • Horizontal Scale: 4
  • Vertical Scale: 4
  • Displacement map: Tile
  • Undefined Areas: Repeat Edge Pixels

Hit the OK button, and now you need to select the PSD file from the tutorial assets as a displacement map. Add the same effect to the second layer using Alt-Control-F.

adding a displacement map to the mask of the text layers

Step 12

Add the masking effect to the text layers in the fourth group with the Contract by 4 px setting. 

creating a contract selection

Step 13

Select the mask of the text layer and go to Filter > Distortion > Ripple, using the following settings: Amount: 69%; Size: Medium. After that, select the mask of the second text layer and hit Alt-Control-F to add the same filter.

adding the ripple effect to the mask of the layer

Step 14

Select the mask of the first layer and then go to Filter Gallery > Sketch > Torn Edges and use the following settings:

  • Image Balance: 40 
  • Smoothness: 15
  • Contrast: 15

After that, add the same filter to the mask of the second layer using Alt-Control-F.

Step 15

Now let’s go to the last group of layers and create a mask effect as we did before using Contract by 4 px.

creating a contract selection

Step 16

Go to Filter Gallery > Brush Strokes > Splatter and use the following settings: Spray Radius: 10; Smoothness: 15. After that, add the same filter to the mask of the second layer using Alt-Control-F.

adding the splatter effect to the mask of the layer

Step 17

And finally, let’s add the last filter to the mask. Go to Filter Gallery again, and then select Texture > Craquelure and set the Crack Spacing to 35, Depth to 10, and Brightness to 0. Use the same effect for the mask of the second layer.

adding craquelure effect to the mask

Step 18

Now we need to make some of the elements invisible. Select the mask of the first group of layers, and then hit M and select some words you would like to make visible. Hold Shift to make multiple selections.

selecting the words on the mask of first group of layers

Step 19

Hit Shift-Control-I to invert the selection and then Control-I to invert the mask.

inverting the mask of the group

Step 20

Delete some parts of different group masks as we did before.

making the the part of the masks invisible

Step 21

Move the first group of layers about 10 px to the left while holding Shift.

moving the group of layers

Step 22

Change the Opacity of the group to 90%.

changing the opacity of the group

Step 23

Create a duplicate of the overlay texture and move both layers above all the groups. Then change the Blending Mode of the first texture to Hard Light and the Opacity to 52%. After that, change the Blending Mode of the second texture to Multiply.

changing the blending modes and opacity of the layers

Step 24

Select the first overlay texture and hit Alt-Shift-Control-B. Then hit OK.

adding black and white filter

Step 25

Go to Image > Adjustments > Brightness/Contrast and set the Brightness to -80 and Contrast to 100.

Changing the brightness and contrast of the texture

Step 26

And for the last step, we need to put all the previous groups in a new group and then Right-Click on the first texture and select Create a Clipping Mask.

creating a clipping mask

Awesome Work, You’re Now Done!

Congratulations! You have created an old typewriter font effect using a displacement map, textures, and smart filters. Here is our final result:

Final result image

If you would like to learn more about Photoshop text effects, check these tutorials:

How to Create a Typewriter Font Text Effect (And the Best Typewriter Fonts)

Post pobrano z: How to Create a Typewriter Font Text Effect (And the Best Typewriter Fonts)

Final product image
What You’ll Be Creating

Do you love old typewriters and the style they apply to the letters? Those duplicated letters, and the illegible and sometimes even blurred and almost missed symbols?

In this tutorial, I will show you a quick and easy way to create a vintage typewriter font effect using a displacement map, textures, and smart filters. And if you want to know what a typewriter font looks like, check the best typewriter font collection available on Envato Elements:

Enigma Typewriter Sans Font

This classic typewriter font will help you to recreate the style of old documents and papers. It was inspired by the „Enigma machine” and has a great vintage and grungy look. This typewriter font supports multilingual glyphs and comes in one TTF file.

httpselementsenvatocomenigma-typewriter-sans-font-2C69VV

Silk Remington

Inspired by the name of the old brand, this product is an authentic old typewriter font, created by Jadugar Design Studio. This vintage typewriter font comes in five variations, from Thin to Rough, so it could be really useful for different types of projects.

httpselementsenvatocomsilk-remington-XSHUFJ

Not my type typewriter font

If you ask what font looks like a typewriter, the answer is the one that is created with a real typewriter. This typewriter font was made with an Oliver Courier Typewriter from an antique market. If you need a simple old typewriter font with a great number of alternates, this one is the best choice for you.

httpselementsenvatocomnot-my-type-typewriter-font-8X4YTT

AMTW

If you are looking for an American typewriter font, take a look at AMTW. This classic typewriter font could be used in many ways because it comes in three styles: regular, rough, and rough-rough.

httpselementsenvatocomamtw-NHWEA7

Catalina Typewriter

If you are looking for a font that looks like a typewriter but was made by hand, Catalina Typewriter is the best typewriter font for you. This neatly handwritten font would be perfect for creating typewriter font tattoo sketches, table cards, menus, and much more.

httpselementsenvatocomcatalina-typewriter-V2Z22X

Let’s start to create our own vintage typewriter font effect. If you want to learn this effect via video, check out our lesson on the Envato Tuts+ YouTube channel:

Tutorial Assets

The following assets were used in the production of this tutorial:

1. How to Prepare the Document

Step 1

Let’s get started by setting up a New Document by pressing Control-N. Set the document size to 1500 by 1000 px.

Creating a new document

Step 2

Drag and Drop the textures from the tutorial assets to the document, and then make these layers Invisible.

dragging the textures inside the document

Step 3

Hit T and create two text layers with any words you want to use.

creating text layers

Step 4

After that, add a Mask to each layer.

adding the masks to the text layers

Step 5

Select the text layers while holding Shift, and hit Control-G to create a group of the layers. Then add a mask to this group as we did before.

Creating first group of layers

Step 6

Now we need to create four duplicates of the group using Right Click > Duplicate Layer.

creating duplicates of the group of layers

2. How to Create a Typewriter Font Text Effect

Step 1

Select the mask of the first text layer and then Control-click on the icon of the text layer.

creating a selection on the mask of the text layer

Step 2

Go to Select > Modify > Contract  and use the following setting: Contract By: 4 px.

creating a contract selection

Step 3

Press Shift-Control-I to invert the selection, and then hit Shift-F5 to fill the selection with black.

inverting the selection

Step 4

Add the same mask effect to the second text layer and hit Control-D to deselect.

inverting the second layer selection

Step 5

Select the mask of the first layer and then go to Filter Gallery > Brush Strokes > Splatter and use the following settings: Set Radius: 10; Smoothness: 15. After that, add the same filter to the mask of the second layer using Alt-Control-F.

adding splatter effect to the mask of the layer

Step 6

Put the ink texture inside the first group of layers.

adding the effect and moving the layer

Step 7

Double-Click on the ink texture in the Layers panel, and then go to Color Overlay and use white.

adding color overlay to the texture

Step 8

Now we need to add the selection to the masks of the second group of layers, as we did before. But this time we’ll use the following settings: Contract By: 2 px.

adding selections to the masks of the second group

Step 9

After that, select the mask of the text layer and go to Filter > Filter Gallery > Brush Strokes > Sprayed Strokes and set the Stroke Length to 20Spray Radius to 0, and the Direction to Horizontal. Then add the same effect to the second layer mask using Alt-Control-F.

creating effects for the second group of text layers

Step 10

Now let’s go to the next group of layers and add the masking effect to both text layers as we did before, but this time we don’t need to use the contract function.

adding the mask effects to text layers

Step 11

Select the Mask of the layer and then go to Filter > Distort > Displace and use the following settings: 

  • Horizontal Scale: 4
  • Vertical Scale: 4
  • Displacement map: Tile
  • Undefined Areas: Repeat Edge Pixels

Hit the OK button, and now you need to select the PSD file from the tutorial assets as a displacement map. Add the same effect to the second layer using Alt-Control-F.

adding a displacement map to the mask of the text layers

Step 12

Add the masking effect to the text layers in the fourth group with the Contract by 4 px setting. 

creating a contract selection

Step 13

Select the mask of the text layer and go to Filter > Distortion > Ripple, using the following settings: Amount: 69%; Size: Medium. After that, select the mask of the second text layer and hit Alt-Control-F to add the same filter.

adding the ripple effect to the mask of the layer

Step 14

Select the mask of the first layer and then go to Filter Gallery > Sketch > Torn Edges and use the following settings:

  • Image Balance: 40 
  • Smoothness: 15
  • Contrast: 15

After that, add the same filter to the mask of the second layer using Alt-Control-F.

Step 15

Now let’s go to the last group of layers and create a mask effect as we did before using Contract by 4 px.

creating a contract selection

Step 16

Go to Filter Gallery > Brush Strokes > Splatter and use the following settings: Spray Radius: 10; Smoothness: 15. After that, add the same filter to the mask of the second layer using Alt-Control-F.

adding the splatter effect to the mask of the layer

Step 17

And finally, let’s add the last filter to the mask. Go to Filter Gallery again, and then select Texture > Craquelure and set the Crack Spacing to 35, Depth to 10, and Brightness to 0. Use the same effect for the mask of the second layer.

adding craquelure effect to the mask

Step 18

Now we need to make some of the elements invisible. Select the mask of the first group of layers, and then hit M and select some words you would like to make visible. Hold Shift to make multiple selections.

selecting the words on the mask of first group of layers

Step 19

Hit Shift-Control-I to invert the selection and then Control-I to invert the mask.

inverting the mask of the group

Step 20

Delete some parts of different group masks as we did before.

making the the part of the masks invisible

Step 21

Move the first group of layers about 10 px to the left while holding Shift.

moving the group of layers

Step 22

Change the Opacity of the group to 90%.

changing the opacity of the group

Step 23

Create a duplicate of the overlay texture and move both layers above all the groups. Then change the Blending Mode of the first texture to Hard Light and the Opacity to 52%. After that, change the Blending Mode of the second texture to Multiply.

changing the blending modes and opacity of the layers

Step 24

Select the first overlay texture and hit Alt-Shift-Control-B. Then hit OK.

adding black and white filter

Step 25

Go to Image > Adjustments > Brightness/Contrast and set the Brightness to -80 and Contrast to 100.

Changing the brightness and contrast of the texture

Step 26

And for the last step, we need to put all the previous groups in a new group and then Right-Click on the first texture and select Create a Clipping Mask.

creating a clipping mask

Awesome Work, You’re Now Done!

Congratulations! You have created an old typewriter font effect using a displacement map, textures, and smart filters. Here is our final result:

Final result image

If you would like to learn more about Photoshop text effects, check these tutorials: