Let’s see how it works in action:ĭrawing paths using the Curvature Pen toolĪs we stay with our scarab sample, we realize that there are many sharp corners where the Curvature Pen tool naturally applies a smooth curve. But when you add a third point, the Curvature Pen tool will spring into action rendering your points into one smooth curve. Right now, you won’t notice any difference between the Curvature Pen tool and the regular Pen tool, as you’ll get a straight line. Pick the tool and click once on the canvas (I chose a hieroglyphic text as our sample), then click again to create a second point. Once it becomes part of your toolset, you can start practicing. To do so, follow the instructions laid out in the Manual's Chapter 4, Section 2 (the relevant part is to be found under “Photoshop customization”).
You probably want to make the Curvature Pen tool part of your permanent toolset. If you still don't see it, go to Edit/Toolbar and you can pick it out from the panel on the right in the Extra tools section. The Curvature Pen tool might not be part of the visible tool sets upon opening Photoshop CC, however you can most probably find it in the Pen tool subsection of the toolbar. The following tutorial aims to explain how we can take advantage of this excellent new tool and what are the typical cases of use and problematic areas when adopting it for our studio work. With the Curvature Pen tool, one can push and pull segments directly instead of having to modify Bezier handles, similar to the Curvature tool in Adobe Illustrator CC. According to Adobe, its Adobe Sensei technology makes it possible to create paths more quickly, intuitively, and precisely. When Photoshop 18 (part of the Adobe CC Photography Plan) was released in October 2017, one of its outstanding features was the addition of the Curvature Pen tool. The Pen Tool and its cases of use are meticulously described in Chapter 5, Section 4 and there are numerous tutorials included on this website that are dedicated to creating long curvature lines and sun-shadow transitions with the aid of vector paths. However, working in a bitmap environment doesn’t necessarily mean that we can’t take advantage of Photoshop’s vector tool sets while building our inked drawings one brushstroke at a time.
This natural way of working adds tremendously to the overall feel of the final artwork. We paint most of our brush strokes freehand using very little artificial help. As it was already explained in the first edition of the Digital Epigraphy manual, Photoshop is our choice of quintessential tool when it comes to digital inking in the studio.
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