tutviv: Photoshop nathaniel dodson / insta: @tutvid
Hey everybody, I'm Nathaniel Dodson
from tutvid and Adobe Photoshop's
cc 2018 is just come out and I've
spent about a day playing around with it and I found
at least to this point in time the 5 features
that I think are going to impact me the most and therefore
have become my 5 favorite new features that I
think you have just got to know here in Photoshop CC
2018. Please go ahead and subscribe to my Youtube channel as
well so you don't miss anything Photoshop, photography, or graphic design
related tutorials in the future. I think you will really dig it. And
without further ado, let's jump into Photoshop and begin checking
these out. Alright, so number one
in my mind this whole update, everything,
in CC 2018 Photoshop or Illistrator, everything across the board,
stands or falls on how well Photoshop
updated the uh infamous at this point I
would say, the select and mask selection tool.
I'm hoping for the best. I'm hoping for the best.
I've been trying and playing around with all kinds of stuff and I'm even
working on a full fledged video comparing the new selection mask to the
old selection mask. So let's check it out by cutting this model out.
We are going to go to select, select and mask. As
you see the model has disappeared that's because of the view I have selected.
I like to begin with the overlay view. And what we are going to do here
is begin with the first tool which is like kind of like the equivalent of Photoshop's
quick selection tool. In fact it says quick selection tool, we will just go ahead and
paint over her really quickly. Now where Photoshop
says they have improved this tool is they have reworked the entire algorithm
so really complexed edges like this hair
especially where the color of the object being cut out, her
hair is very similar to the color of the
background
over which she is being cut from. So that's kind of an
important little thing. But also one of the things that is mentioned
is this specific quick selection tool will work a little bit faster.
And I have to say it went pretty quickly there. So let's go ahead now
and really try out this edge stuff. So you really need to go ahead and grab the
refine edge brush tool. And we will begin with the brush about
the size of the of the areas we are working on. And, uh, I
can begin working in the overlay mode but I think I'm going to
onion skin so I can really see what this is going to look like as I work on it.
And now I'm simply just going to paint over the edge of her hair
and see what I get. So there we go. That's actually not
bad. Let me come up here under her arm. Get rid of the
background that's still there and bring back hair that should be.
All looking good. You can see that down here we have all that we have all this
grey background in there. So I'm going to paint up and into
that with this tool and try to get rid of that. And you can see that there is a bunch of
hair that really needs to get brought back.
I'm just going to go over this edge and really try to bring everything
back and let the tool do it's thing. To make the brush
a little bigger or smaller. Probably up here it should be a little smaller.
And actually it looks like it's doing a pretty good job. I'm using my
bracket keys "[ and ]" to make the brush bigger or smaller.
And run over this as many times as I want. That looks pretty
good. I'm relatively impressed. I'm going to knock the shit edge
back about -15. Maybe decrease the contrast just a
tiny, tiny little bit. And then set smoothing to
1 or 2. Then I'm going to output this to a new layer
with a layer mask. I'm going to hit ok. And
that looks pretty good. I can shift click the layer mask up
over here to disable the mask. There it is with no mask. And there
it is with our cut. You can see that we went ahead and made
this cut really, really quickly. So that's pretty cool.
Um, there are some times when it can be a little wonky.
Um, but it definitely seems to be improved a little
bit. Like I said, I have a whole video coming where we are going to
compare new select and mask with old select and mask. And
I think that video is going to be pretty stinkin good. Let's move along
to another of my favorite features here on Photoshop
and that is going to be the color and luminosity mask in
the camera raw editor. So just get an image opened
in the camera raw editor. There, that's the first step of this.
If it's a raw photo, open it up. If it's not raw open it
in Photoshop and go filter and camera raw filter.
It's going to pop this photo of tomatoes over into
the camera raw editor. Not the most interesting photo in the world.
I understand that. But we have some big red and yellow
shapes here that we can try to
target with this new feature. Now these masks they are attached
or they work with the adjustment brush, the graduated filter tool,
and the radial filter tool. So I'm going to go ahead and use
the radial filter
tool. This tool draws out from the center, so I'm just going to drag
the radial filter out.
You can see that it's just like black and white.
Saturation is at -100. There's some other settings. I actually
think I'll just leave it at these settings and we'll really test out,
right down here, this feature called range mask.
Now you have a couple of options, either color or luminance.
Let's check out color first. With color you have an eyedropper and
it's selected for you. And I can just go ahead and sample the red.
So I just click on the red once and camera raw is
try to say, "Okay,
let's try to really target the reds
of all these tomatoes and preserve them." That looks pretty good.
But then I still have a slider here which is my color range
slider. This is going to allow that
basically that I can give more leniency to push or pull that red.
So if I increase it you can see that it's going to allow
the saturation to leak into the tomatoes a bit more.
If I back it down, it's going to squeeze out that saturation.
But it's really nice to be able to see
exactly what's going on. So if you hold down the alt or option key
and drag this slider, you can see I can
really see what's going on. The white areas are the areas that are
being affected. The darker or blacker an area is
the less that this adjustment or this
radial filter is allowed to touch or harm or
change that area. So I can see there, the tomatoes
are really being affected by this but we are really trying to keep a lot
of this affect off the wooden table top. So that's kind of
cool. Let's go ahead and check out luminance. Luminance is interesting
because we can basically create a luminance
mask which is based on the brightness of the part of the photo.
And it works basically the same way, hold down alt or option
and when you are dragging either one, either the black or the
white point here so you can see what's really happening. You drag the black point up
and you can see we are going to say, alright, don't allow this affect
to attack any of the dark areas of my image. Only
allow lighter tones in the photo to be desaturated.
Alright, we'll just drag that back and we get the opposite. I'm going to hold down my
alt or option key, drag the white point, and we can see now uh
we are protecting the brighter points of the photo. All those really bright
areas, those are the shadowy points of the photo that are being allowed
allowed to be desaturated. It gives you this really kind of bezar
desaturated shadow almost film look.
I don't know how to describe it.
So that's a really great feature. And it's going to be so useful for
so many different kinds of photography from portrait and
landscapes, to product photography, and weddings just to name a few.
Honestly, pretty much everything. Luminosity masks
are amazing. And the fact that we have even
a little bit of luminosity masking power in the camera raw editor,
I'm pretty excited about that. Alright so over here
the third thing I want to talk about is variable fonts. Now
variable fonts aren't necessarily something invented
by Photoshop. Adobe
was one of the companies involved in kind of like pushing them forward
If we grab our text tool here. I'm just going to type out the word
let's go "POSTCARD".
And I'm going to commit that change. It's just white. That's fine.
I'm just going to drag it down here to the bottom. It's
in the center of my document. But I want to take a look at this variable
font action.So we can find that here under the
properties panel. Now, by the way, the properties panel has
also been reworked and I'm in the properties panel not the
character panel where you would normally expect to go for
text editing. You can still edit text and character
in the character panel but the properties panel
has all kinds of stuff going on here as well. Now
I don't... this is not a variable font so I don't have any
variables that I can change. What is a variable font, you say? Well,
a variable font is an open font here
that you can see has this little icon with the open type
but also the word "VAR". That's a variable font.
So I'm going to grab that variable font and you can see here when I'm working with a
variable font I've got a weight, width, and slant variable
that I can tweek and push and pull. So the client says so
make that type a bit bolder, you can really
dial in literally the exactly amount of boldness
you want. Maybe we don't want the type to be quiet as
wide and we want it to have a bit of
and italicized slanted effect.
Really neat. It's great to really have the power to be able to do that.
It's like having a thousand different type faces in
one, because you start with your
parent typeface and then you can decide
the weight, and the width, and the italization
of any variable font
that you come across. So variable fonts in Photoshop are
going to be super cool and a little bit of a game changer.
Alright, moving on to number four. This is a new pen tool.
And this is located here, as you would expect, under the pen tool.
The curvature pen tool. And by the way, if you don't see it there
I did notice when I updated Photoshop it did not appear.
You can go to "edit toolbar" and it will be hiding out over here
in the "extra tools" area. You can just drag it over and
place it with the pen tool and be done with it. So
this pen tool you just pretty much just click. You don't have to drag
out or mess around with tangent handles. You can just click.
Let's make a little tear drop shape here. I'm going to click and add
add a point there. I'm going to add a point over here.
And now here wherever I add this point it's going to determin kind
of the curvature of my entire curved shape.
And then I'll click here and join this path off.
Now to make it a little more like a teardrop shape
this is where I go and I grab the convert point tool. I
click that top point a single time and we are much closer to a teardrop shape.
If I really want to refine it, grab the direct selection tool
and just select like this bottom anchor point here, we'll move
that over that way. Maybe we could go and just tweak the
tangent handles a little bit.
But the base of the shape and really the meat behind
the shape, if you will, was created very quickly and
easily using the curvature pen tool and I can do that
even if I'm not comfortable using the regular pen tool.
The same thing applies here if we want to trace out this wine glass.
Check this out. So we can click right up here, and
then click maybe down here, and maybe place a point in the middle.
And kind of click and drag. But
you can see over here it's not really following the contour of the wine glass, don't
worry, we're going to stick with our
choices here and have a little conviction
and bring the wine glass up on the other side. Now when we
click to join this off, it's going to
basically blow out both of the sides as it joins this top together.
But this is again where the convert point
tool save the day. We're just going to click both those top points
and just like that we have this nice little wine glass shape
that we created very, very quickly, very, very, easily. It's
beautiful. It's smooth. It's got nice symmetry to it.
The curvature pen tool, I'm going to be interested to see how I
use this and play around with it. I know that Illustrator has had
virtually the same tool for awhile and I haven't really used it all that much.
I'll be honest, just because I'm so used to just going and grabbing the pen tool
but, hey, we'll see what happens. Definitely
a great addition to Photoshop. All right, last but not least
the fifth feature I want to talk about and really
for such a small thing it's definitely a big
feature in my mind. A one of the
top, top, top things I like about Photoshop and this is the ability
to smooth brushes. So if we go grab
the brush tool. By the way, one of the features I don't like
are all these big visual tool tips, not a big fan of.
But if I grab the brush tool, we have this new smoothing option up
here and as you would expect we can go from zero to
one hundred percent on the smoothing department. And then you have this little
cog wheel and that's your smoothing option
and I don't want to get into a pulled string mode or this
bizarre catch up on stroke ended nonsenses.
Just know this is the way
I found that worked best for me. Just leave me a
kind of default adjust for zoom and stroke catch up,
they work really nicely. Now I'm going to grab my tablet and
really you don't even need a tablet. You can get really beautiful lines
and stroke with this even with just using your mouse or trackpad.
But I'm going to type out like the word "fire".
So I'm just going to go "fire'. This is the capital "F", right,
and we'll come through there, just like that. And then we'll go "i".
Whoops, I messed that up. You go "i".
And then here's a little "r". And then the letter.
"e". Right. So "Fire" and then you
create a nice big swooping swoosh.
You come looping through here and you can see as I'm painting it's as if
the brush is attached to a little string that is dragging it around.
So we can kind of do this and just be like
oh wow, look at that. We can just loopty doopty do right
through there and do our thing. If I right click there
that's why that came up. But yes, this is definitly
a very cool
feature. It can be a little difficult to write
but once you get used to kind of the feeling of
dragging your brush stroke,
you can really get smooth shapes.
And I'll be interested to see what some of the more talented
artists, sketcher, illustrators and all that
manage to do with this smoothing brush tool. It's really
a cool addition to Adobe Photoshop
CC 2018. Guys, if you have enjoyed this tutorial.
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So for learning about . the curvature pen tool and the new and
improved, adledgeablely, select and mask
tool for which I'm going to give it time still.
So for that and the brush smoothing, and the variable
fonts and everything we covered in this video. Guys, that's it!
Get it, got it, good. That's it for tutvid.com
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