Photoshop Stuff Selection Tips/Shortcuts (Week 1)

Remember, if you have made a selection, inside that selection are the only pixels you are able to edit. Sometimes, you will inadvertently have a tiny selection in your image and not know it, which of course precludes you from doing anything. If that is the problem, use Ctrl + D (Windows) or Cmd + D (Mac OS) on your keyboard to deselect.

The Select menu has everything to do with Selections. It offers ways to transform, modify, refine the selection edge, feather, and load selections.

In addition to knowing keyboard shortcuts, get used to your modifier keys, (Shift, Ctrl or Cmd, Alt, or Option). You cannot get by without getting used to them.

Use selection techniques in combination. Do not get stuck with one or two ways to select items. You will not be efficient and you will become very frustrated. Don't worry, the more you work with it, the easier it becomes, and the more adept you become at reading each situation and what works best. Don't get stuck doing things the hard way!

Make the following distinction right away; when you wish to move a selection, you must be on a selection tool (for instance, the Marquee tool) to do it. If you use the Move tool, you will move the pixels with it and cut the image!

Always, always, always, back up your work! Losing work can happen to anybody. After all, we are working with imperfect computers. So, protect yourself!

Use the arrow keys on your keyboard to nudge the position of your selections, but still make sure you are on a selection tool. You can also use arrows with the Move tool when nudging pixels.

Keep an eye on your Options Bar. You may have a feather on your selection or other options when you do not want one and that will cause problems.

Click space bar + drag = allows you to reposition marquee tool Cltr + d = deselect Increase/decrease brush size = Press [ or ] keys Before using quick selection tool make 1 little swipe in the selection you want

then outside of it hold down alt + drag ( tells Photoshop what you dont want) Holding down shift constrains marquee tools. Ex: Rectangle marquee becomes

square If hold down shift k and already have selection that one is adding to the other one Shift can add to selection and constrain it Hold down alt +drag to draw from middle of selection Select > Modify> Expand (get any stray pixels/grow your selection) Select> Modify> Contract (gets rid of stray pixels/ decreases your selection) Cltr + x = cut to clip board Ctlr + - = zoom out You can combine selection tools and modifier keys to affect active selection

When using a lasso tool ( hold down shift adds to selection/hold down alt subtract from selection)

To redo a selection (cltr + click on the thumb nail of a mask) Just using move tool on selection moves pixels( choosing any of the marquee or

lasso tools > put cursor inside selection> shows move too for selection Select > Transform selection (helps get selection right size With layer mask selected after moving selection and white loaded chose Edit>

Fill> Fill with White Selection > Transform Selection >Right Click > Distort ( each corner of selection

can be freely moved Right Click a selection > Transform Selection Cltr + J (New Layer via Copy) Shift + alt + drag ( Transform image from the center) Hold shift when dragging corner selection to constrain aspect ration (not distort

image) Right clicking on selection brings up context sensitive menu Alt and double click on background converts it to layer To preview image as if printed on white paper (Edit > Preferences >

Transparency & Gamut > Grid Size (None) Cltr + + (Zoom N) M = Marquee tool L= Lasso Tool (Shift M or L toggles between tools in that

cateorgry) Holding down Space bar allows you to move selection while you are making it Alt + Drag (Drag selection of center Alt +Click (Removes from selection) Shift +delete (Brings up fill dialogue box) Turning on Caps Lock changing the point in which the lasso to starts With Transform Selection active > Hold down Cltr to distort selection Shift + arrow keys (nudges in large increments Hold down alt when at Image Size command( This resets it) If you Ctrl or Cmd click on a layer in the Layers palette, it will automatically load

the pixels on the layer as a selection. You can consequently use the selection on a new or different layer for things such as creating a shadow.

Dealing with Mistakes in Photoshop

Undo and Redo

The Undo and Redo commands let you undo or redo operations. Choose Edit > Undo or Edit > Redo. You can also choose Step Forward or Step Backward from the Edit menu to move to the next or previous state.

Revert

The Revert command also comes in handy when you need to revert to the last saved version of your document. Choose File > Revert.

The History Palette

The History palette lets you jump to any recent state of the image created during the current working session. Each time you apply a change to an image, the new state of that image is added to the palette. By default, the History palette lists the previous 20 states

Color Stuff/Layer Basics (Week 2)

Color Models

The human eye perceives color according to the wavelength of the light it receives. Adobe has defined a color model as a method for displaying and measuring color. It describes the colors we see and work with in digital images. Each color model, such as RGB and CMYK, represents a different method (usually numeric) for describing color.

Additive Color Model (RGB)

Light is defined as a discrete frequency range that encompasses the visual spectrum of red through violet. When these various wavelengths of light are added together, the result is white lighthence the designation additive color. This process is the basis for the additive color model. Additive color theory deals with light. The primary colors for an additive system are red, green, and blue (RGB).

Subtractive Color Model (CMYK)

Imagine that colors are from colored light. All the colors are combinations of red, green, and blue light. When they are overlapped in pairs, the additive secondary colors are created. When all three of these are overlapped, your visual response is white. The additive secondary colors will form the basis for the subtractive color. It provides a way of describing color effects in the printing world where pigment in some form or another is applied to affect the color of a surfacesuch as a cover of a brochure. Process color, or CMYK, provides the basis for color effects achieved through the printing process, and also provides us with an example of the Subtractive Color Model. The three primary colors used in commercial printing, cyan (C), magenta (M) and yellow (Y), you might recognize as the same colors used in inkjet printers. A fourth color, black (K), is used for color definition.

RGB ModePhotoshop assigns an intensity value to each pixel. Bit depth specifies how much color information is available for each pixel in an image. For example, an image with a bit depth of 1 has pixels with two possible values: black and white. An image with a bit depth of 8 has 256 possible values. The more bits of information per

pixel, the more available colors and more accurate color representation. RGB images are made of three color channels. Combining the three channels provides a full color image. Each channel is eight-bit which means each channel contains 256 levels of each color. Put the three channels together and you get a 24-bit color image (three channels x eight bits or 256 x 256 x 256 = 16.7 million). The three channels combine to reproduce up to 16.7 million colors per pixel. RGB is also the default mode for new Photoshop images. As we have learned, the RGB model is used by computer monitors to display colors, so when working in color modes other than RGB, such as CMYK, Photoshop converts the CMYK image to RGB for display on screen.

CMYK ModeIn this mode, each pixel is assigned a percentage value for each of the process inks. In a manner similar to RGB channels, Photoshop creates separate channels for each of the process colors. These channels or separations show the amounts of each process color to be printed. The lightest (highlight) colors are assigned a small percentage of ink; the darker (shadow) colors are assigned a higher percentage. For example, a bright red might contain 2% cyan, 93% magenta, 90% yellow, and 0% black. In CMYK images, pure white is generated when all four components have values of 0%. When the separations are put together they form the composite image. Two important things to remember when working with CMYK are that a computer display and printout will be very different because the monitor is an RGB display and the number of colors that can be printed out using CMYK is much less than 16.7 million.

Digital Image Resolution

Digital Imaging Resolutionlpi

To understand the puzzle of image resolution, you first must understand how an image is printed. In traditional printing and when using laser printers, images are reproduced using tiny dots called halftone dots. Many people confuse halftone dots with dpi (dots per inch), but halftone dots are not the same as dots per inch. In fact, halftone dots were used long before digital technology and the use of dpi. A halftone dot is nothing more than a tiny elliptical dot of ink. These tiny dots are often difficult to see without the use of a magnifying glass, but if you look at a magazine or newspaper very closely, you can see the dots.

To determine the correct resolution of a digital image, you must know at what lpi it is going to reproduce. Resolution of a digital image should be no less than 1.5 times the lpi and no more than 2 times the lpi.

Digital Imaging Resolutionppi

A digital image is made up of pixels. Pixels are tiny squares of digital color. The number of pixels in a square inch determines the resolution of a digital image. This number is called ppi or pixels per inch.

A common misperception is that the resolution of a digital image must be at least 300 ppi to print properly. As you learned in the previous section, resolution should be between 1.5 and 2 times the lpi. For example, a newspaper that prints at 85 lpi, requires an image to be no less than 128 ppi (85x1.5=128) and no more than 170 ppi (85x2=170). In most cases, you will never need an image above 300 ppi.

Another point of confusion concerning resolution is the relationship between the dimensions of a digital image and the ppi resolution. Another way to think about the resolution is by the size of the pixels. For example, an image at 72 ppi has much larger pixels than an image at 300 ppi. If the pixels are too large to be hidden by the halftone dots of a printing device, the image is said to be pixelated. The ratio of 1.5 to 2 times the lpi is sufficient to hide the pixels of a digital image when it prints. This means that an image with larger pixels, such as an image at 72 ppi, must be either resized or resampled prior to printing to make the pixels smaller. There is a very big difference between resizing and resampling. Resampling can damage the quality of an image; resizing does not.

Digital Imaging Resolutiondpi

Dpi stands for dots per inch and refers to the output resolution of a printing device. Dpi is not the same as ppi, even though it is often confused with it. Dpi is not the same as lpi, even though it is often confused with it. Dpi is something altogether different.

General Technology Guidelines

Image resolution is called ppi or pixels per inch, not dpi. Printer resolution is called dpi or dots per inch. This does not refer to image

resolution but of the halftone resolution of a printed image, although both are related.

Print resolution of halftone screens is called lpi or lines per inch. Image resolution should not be less than 1.5 x lpi or more than 2 x lpi. In most

cases, this falls between 200 and 300 ppi. (at least 300 ppi idea is not accurate). For accurate calculation of ppi, use the auto feature in the resample dialog box in Photoshop. Photoshop will give you a warning if a file is more than 2.5 x the lpi of the target print.

Web images should be no larger than 96 ppi. The standard is 72 ppi, although images may be smaller.

The image dimensions are as important as the image resolution in workflow. For example, if an 8x10 inch image is needed for high-quality printing, a 2x3 inch 300 ppi is not nearly as good as a 32x40 in 72 ppi image. The small dimensions and large resolution will still require significant upsampling (lots of damage), while the large dimensions and small resolution will only require downsizing (no damage).

As a rule, images should be resized or resampled in Photoshop to the correct image dimensions and resolution required for a design before placing them in another program for printing. Changing the size of an image in other software can cause unnecessary resampling and printing issues.

Archiving images at any resolution is fine because they can be resized later depending on their purpose. Generally, saving them at the largest manageable file size is recommended. Whether the file is 72 ppi or 300 ppi is not important. What is important is the file should be saved as an RGB (the most color data), instead of CMYK and in a non-lossy file format such as psd, eps, or tiff instead of lossy file formats such as jpg, gif, or png.

Resizing a file is different from resampling a file. Resizing changes the image dimensions and pixel size (and therefore the resolution) at the same time, creating no loss of quality.

Resampling involves changing the pixel size (and therefore resolution) independently of the image dimensions causing the computer to either discard pixels (downsampling) or generate new pixels (upsampling). This creates some damage to the image. Generally downsampling creates less quality issues than upsampling. The more an image is resampled, the more damage is done.

Raster vs. Vector Images

A bitmap application interprets an image by turning on and off tiny dots called pixels. These pixels are laid out in a Cartesian grid. The location of the first pixel is the upper left corner of the screen. Recall that we said earlier that each pixel holds information. The information assigned by computers to pixels is measured as bits or bytes. This is referred to as bit depth. The more information stored in each pixel, the more bit depth it has.

So then, each of these pixels is assigned a value based on whether or not the image is black and white or color, and so forth. Black and white images have a value of zero to 255 (zero = black, 255 = white). Color can have a number of color ranges and values. Suffice it to say the most common is 24-bit color, which has 16,777,216 colors. Bitmap images tend to be much larger in file size than other documents, such as text files or vector files, requiring larger disk storage. Each pixel contains between one and four bytes of information. A color image for a common screen (640 x 480) will be nearly one megabyte (1,000,000 bytes) in size.

Vector

A vector image, on the other hand, is a collection of objects, mathematically defined lines and shapes. There are no pixels in vector images. These images consist of Bezier curves (lines) that are smooth no matter how large or small they are scaled. Thus, vector images are considered resolution independent because you can enlarge a vector image to fit the side of a bus and not lose quality

Smart Objects

Smart Objects are layers that contain image data (from raster or vector images such as Photoshop or Illustrator files) while preserving an images source content (keeping all its original characteristics intact).

With Smart Objects, you can:

Perform nondestructive transforms (such as scale, skew, and warp) without losing the original image data or quality.

Perform nondestructive filtering and edit filters applied to Smart Objects at any time.

Work with vector data (such as Illustrator) that would otherwise be rasterized in Photoshop.

Edit a Smart Object and update all linked instances automatically. Apply a layer mask to a Smart Object layer

There are several ways to create Smart objects. You can use the Open As Smart Object command by placing a file or pasting data from Illustrator. You could also convert Photoshop layers into Smart Objects via the Convert to Smart Object command.

Layer Styles

Layer styles provide you with some of the most powerful, creative tools in your arsenal. They allow you to add a variety of effects from shadows to complex textures that can add the wow! appeal to an image. They are available on the menu (Layer>Layer Styles) or from the layer styles button at the bottom of the layers palette. You can apply preset styles that come with Photoshop as well as create and save your own custom styles.

Advanced Layer Style Options

Double clicking on a layer thumbnail will open the Layers Style dialog box. You can also right click (Windows) or control click (Mac OS) and choose Layer Properties from the drop-down menu.

What is the difference between the Opacity and Fill sliders?

The Opacity slider will work on any layers. The Fill option in the Layers palette appears to achieve the same effect, but is utilized more when creating a Layer Styles in the layers palette.

Opacity and Blending Modes

Opacity

Opacity and blending modes are two ways to achieve fast effects. Not only will you see them in your Layers palette, you will start to notice them in other areas such as options in the Options Bar for some tools.

Blending Modes

Blending modes allow you to blend the pixels of one layer to the layer directly below it in a variety of ways to create interesting effects. You need at least two layers to make blending modes work. Normal mode, which is the default, applies no blend at all. But options such as multiply, screen, overlay, saturation, and more can create quick and easy effects without ever altering the original image. To get rid of the effect, just change the blending mode back to normal.

You may also adjust the transparency of an image on any layer by changing the opacity or fill of the layer. Opacity changes everything on a selected layer, while fill only modifies the fill within a shape and will not change certain layer styles. We will learn more about layer styles in the next section.

Filters and Transformation Effects

Filters and transformations are creative tools that can be use to retouch or apply special effects to layers.

Filters

Filters can be used to create an artistic quality similar to a sketch or painting. You can also add lighting effects, distortions, and blur or sharpen an image.

Filters seem to fall into one of two categories: utilitarian or window dressing. Filters such as Sharpen will become a regular part of your everyday Photoshop effects, whereas filters like Ripple might only be used occasionally. Find an image that is interesting, and try out all the filters on the image or part of an image. It is one thing to read about a filter and is quite another to try the filter yourself. There are limitless possibilities with filters; and as you can see, you are trying some of them out in various exercises.

One thing to consider, however, is whether or not you need a filter. Try not to use too many filters as your image may become muddy. Choose your filters with purpose. For example, consider how the Ripple filter, mentioned above, can be used for an advertisement for a retailer of fish tanks or for a business that offers swimming lessons. This is not to say that you cant use the Ripple filter for designs such as a promotional piece (something designers often use to promote their work to prospective employers or clients).

Smart Filters

You can perform nondestructive smart filtering in Photoshop by converting a layer to a Smart Object (Filter >Convert for Smart Filters). Filters appear in the Layers panel below the Smart Object layer to which they are applied so you adjust, remove, or hide Smart Filters directly in the layers panel.

Puppet Warp

The puppet warp is an exciting new transformation tool. It allows you to distort specific areas within an image while leaving other areas intact. It can be used on layers, type, shapes, layer and vector masks, and smart objects. It works by laying a visual mesh over an image. Pins can be placed on different points of an image to control movement in the areas you want to transform and pinning down areas you want to anchor in place. You can use it to swing a persons arm into another position, reshape an element, or stretch, twist, or bend an image or text to create fun effects.

More About Layers/Masks (Week 3)

Masks

In Photoshop, you put a mask on, but the pixels underneath are still there and are editable. Although you have the option of applying a layer mask, we don't recommend you do that. Once you apply a mask, the pixels hidden by the mask will be removed, and no longer editable (you cannot go back and change it easily). Remember, think ahead and remain flexible at all times. In other words, if you leave the mask intact (and do not apply it), you will still be able to edit it.

You can also think of the term "mask" as an electronic stencil. Photoshop uses masks to isolate and manipulate specific parts of an image. You can create a temporary mask for one-time use, or you can save masks (called alpha channels) for repeated use. Think of a mask as something that protects an area that you don't want affected. An example of this would be the way that you would mask a window before you painted its frame.

You can also think of the term "mask" as an electronic stencil. Photoshop uses masks to isolate and manipulate specific parts of an image. You can create a temporary mask for one-time use, or you can save masks (called alpha channels) for repeated use.

Quick Mask

A quick mask is merely another way to help you make a selection. It just so happens, though, that the function is performed in the Channels palette. When you create a Quick Mask (in Quick Mask mode), a temporary mask will appear in the Channels panel while you work. And although the mask appears in the Channels palette, you can do all editing to the mask in the image window.

Do not be scared by the term "channels." Think of the Channels palette in basically two ways:

It stores the color information of the image. An images color mode determines the number of color channels that are created and each color has its own channel. For example, an RGB image contains three channels: red, green, and blue.

It is also a place to save your selections, no matter what selection technique you have used to make them. When you save a selection, it becomes an Alpha Channel (another term not to be afraid of it is just a saved selection). Alpha Channels are stored in the Channels Palette.

Pay particular attention to loading your saved selection. What this means is once you have saved your selection (an Alpha Channel), you can go back to it and use it again later. This is an invaluable feature, and you will see a similar functionality later in layers.

Also, get used to using the palettes shortcuts. Those little icons on the bottom of the palettes will save you loads of time.

Memorize and use the D key on your keyboard to take you to the default colors of black and white.

Memorize and use the X key on your keyboard to toggle between the foreground and background color. In the case of using a quick mask, you will be toggling between black and white, so try keeping one hand near the X key as the other hand works with the mask.

Basic Layer Masking

Layer masks let you hide or show portions of the artwork on an individual layer. You can become good at these very quickly.

Adjustment Layers

Adjustment layers are a powerful non-destructive option in Photoshop. The Adjustments panel can be accessed through the Window menu or you can add adjustment layers through the layers palette adjustment layer icon. You use them to perform tonal and

color corrections, such as Brightness/Contrast or Hue/Saturation. Suppose the client changed his mind. We could go back into the adjustment layer and

make changes without starting over. There is that flexibility again! Get used to adjustment layers; you cannot work effectively in Photoshop without them.

Remember:

You are not limited to one adjustment layer for each layer (or layer effect for that matter). You can throw them away by dragging them to the trash.

You can apply them to a selected area on a layer. To edit an adjustment layer, click the adjustment layer's thumbnail in the Layers palette to display the options in the Adjustment panel.

You can either create your own adjustments by clicking on the various icons (Vibrance, Hue/Saturation, and so forth) or you can try one of the Presets.

If an adjustment layer has no associated adjustment dialog box (for example, the Invert adjustment), double clicking the layer opens the Layer Style dialog box.

Adjustment layers are also layer masks, in that when an adjustment layer is active, you can use the paintbrush and the default colors to edit the adjustments to whatever portions of the underlying layers.

As previously stated, you have the capability to change the position of adjustment layers in the Adjustments panel. Notice that they affect all of the layers underneath them. That can be a problem. Maybe you don't want all of your layers affected. This brings us to Clipping Masks.

Clipping Masks

A clipping mask allows you to use the content of a layer to mask the layers that reside above it. In a clipping mask, the bottommost layer, or base layer, acts as a mask for the entire group. For example, you might have a shape (or text) on the bottom layer, a texture on the overlying layer, or an adjustment layer on the topmost layer. If you define all three layers as a clipping mask, the texture and the adjustment appear through the shape on the base layer and take on the opacity of the base layer.

Note that only successive layers can be included in a clipping mask. When you create a clipping mask, dotted lines appear between the grouped layers in the Layers palette. The name of the base layer in the group is underlined, and the thumbnails for the overlying layers are indented. Applying a blending mode to an indented layer affects only the blending of the layers within the group. Applying a blending mode to the base layer determines how the entire clipping mask blends with the underlying layers.

In other words, you use clipping masks:

To tell the adjustment layers, the layers to be grouped, to only affect those layers. If you do not grasp this concept, working with adjustment layers will be very confusing.

To confine an adjustment layer to a specific layer or to layers that are below it in a group.

To mask an object on one layer using an image from another layer. In a clipping mask, the pixels you want to clip to (or act as the mask) should always be on the bottom of the group. Not necessarily the palette, but the group.

Remember:

To create a clipping mask, you can hold down Alt/Option, position the pointer over the solid line dividing two layers in the Layers palette (you will notice that the pointer changes to two overlapping circles), and click. Of course, you can take the menu route by selecting a layer in the Layers palette and choosing Layer > Create Clipping Mask, but that is the long way.

You can also remove a layer from a clipping mask and release all layers in a clipping mask. Utilize your lessons to practice and learn these techniques. They will help you become a professional.

Gradient Map

Under the Layer menu, you will find New Adjustment Layer > Gradient Map. You could also click the Gradient Map icon in the Adjustments panel or use the Create new fill or adjustment layer button at the bottom of the layers palette and select Gradient Map from the pop-up menu. Open one of your own images and try out this command. Experiment with different gradients and watch Photoshop apply the colors in the gradient to the values in the image.

About Mask and Masking:

An alpha channelalso called a mask or selectionis an extra channel added to an image; it stores selections as grayscale images. You can add alpha channels to create and store masks.

A layer mask is like an alpha channel, but its attached to a specific layer. A layer mask controls which part of a layer is revealed or hidden. It appears as a blank thumbnail next to the layer thumbnail in the Layers panel until you add content to it; a black outline indicates that its selected.

A vector mask is essentially a layer mask made up of vectors, not pixels. Resolution-independent, vector masks have crisp edges and are created with the pen or shape tools. They dont support transparency, so their edges cant be feathered. Their thumbnails appear the same as layer mask thumbnails.

A clipping mask applies to a layer. It confines the influence of an effect to specific layers, rather than to everything below the layer in the layer stack. Using a clipping mask clips layers to a base layer; only that base layer is affected. Thumbnails of a clipped layer are indented with a right-angle arrow pointing to the layer below. The name of the clipped base layer is underlined.

A channel mask restricts editing to a specific channel (for example, a Cyan channel in a CMYK image). Channel masks are useful for making intricate, fringed, or wispy-edged selections. You can create a channel mask based on a dominant color in an image or a pronounced contrast in an isolated channel, for example, between the subject and the background.

Type (Week 4)

Type

When you create type in Photoshop, it is a vector object (mathematically defined shapes that describe the typeface) and placed on its own layer. The vector-based type outlines are preserved giving you the flexibility to edit and scale the type.

You can create paragraph and point type. You can also place type along a path and change the appearance of type by warping the text, applying layer styles, converting type to a shape, rasterizing text, and using text as a mask.

Point Type

Point type is created by directly clicking in the image. It is important to note that in order to create a line break, you must press the return key. Point type can be placed in a horizontal or vertical line and is very useful for adding a few words to your image.

Paragraph Type

Paragraph type is created by defining a text box to establish a boundary in order to control the flow of the characters. A line break is automatically created when the text reaches the end of the bounding box. Paragraph type can also be placed horizontally or vertically and is useful for creating one or more paragraphs (again it is stressed that a layout program be used for body copy or any substantial amounts of text).

Character and Paragraph Formatting

Character Formatting

The character panel provides many options for setting type attributes. You can specify typeface, style, size, scale, leading, tracking, and kerning. The characters must be selected before you can format them by selecting one character, a range of characters,

or all the characters on the type layer using the type tool. You can also access some formatting options in the options bar.

Paragraph Formatting

Just as the character panel contains options for formatting characters, the paragraph panel provides options for formatting paragraphs. You can specify alignment, justification, indentation, and paragraph spacing. Paragraphs can be formatted to one paragraph, a range of paragraphs, or all the paragraphs on the type layer using the type tool. You can also access some formatting options in the options bar.

Type Transformation

Photoshop has the ability to place type on a path. You can enter type directly on the edge of a path or enter the text inside a shape (closed path). To put text on a path, you need to create a path. You can copy and paste paths or shapes from Illustrator or create paths directly in Photoshop using the pen tool, shape tool, or line tool to create a path. Then select the type tool and position it on the path. When the baseline indicator appears, click on the path. An insertion point will appear on the path. Then just enter the type. If you want to fill a shape with text, just move the cursor inside the closed path or shape. When the I-beam appears with dashed parentheses, click to insert the text.

Rasterizing Type

There are also rasterizing options in Photoshop that allow you to convert a type layer to pixels. One can be found in the Layer menu (Layer>Rasterize>Type). Another can be accessed by choosing the paste as pixels option when copying and pasting from another document. For example, if you copy text (or another vector object) from an Illustrator file to a Photoshop file you can choose to paste as pixels which will rasterize the object. You can also paste it as a path, a shape layer, or as a smart object. Be aware that once type is rasterized, it becomes uneditable as type.