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. If you feel it has brought you value, please go ahead and subscribe to the channel as I mentioned before. But also consider picking up a copy of my course. There’s a link. That’s why I’m looking up there, there is a link that will appear up in the top corner of my video. There’s also a link down in the file. It’s a Photoshop course all about how to retouch images in Photoshop, of course and I think you will really, really like it. And if you do pick up a copy, help support the stuff we do here at tutvid.com. And for that we are so thankful for you. 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 I’ll catch you in the next on. And before you go, make sure you subscribe to my channel for more great tutorials everyday. Also, buy my course. It helps us do what we do. And this channels supported by viewers just like you. You can also just click the thumbnail and watch another video from this channel. See you next time guys.