This creative technology studio designs high-impact displays and improves software management with Adobe Creative Cloud for teams.
Investing in multidimensional experiences
Combining innovative technology with unique creative expression, Obscura Digital designs and develops immersive and interactive experiences for events worldwide. Unlike traditional digital agencies that focus on works for print or screen, Obscura specializes in interactive installations, engaging stage shows, and mapping video that turns nearly any surface—from an outdoor sculpture to an entire building—into a video screen.
“We focus on nontraditional mediums and work with people from a wide variety of backgrounds: musicians, artists, and technicians,” says Barry Threw, director of software at Obscura Digital.
For the grand re-opening of the San Francisco Exploratorium, a unique museum dedicated to science, art, and human perception, Obscura manufactured a series of miniature replicas of the building’s façade to capture unique video, including fluid dynamics, microorganisms, and living systems in high-definition, time-lapse video. At the opening, Obscura seamlessly mapped the video onto the front of the building.
“When we work with such large canvases, we need to start with ultra-high resolution images,” notes Threw. “Adobe creative software is not only an industry standard, it efficiently handles high-resolution outputs when other software can’t.”
Obscura used Adobe Premiere Pro to create and quickly edit proxy footage, and switched to Adobe After Effects for color correction, transitional moments, speed ramping, and master outputs. Adobe Illustrator and Adobe Photoshop were used for template creation and image cleanup, while Adobe Bridge assisted with overall file management and metadata annotation.
Obscura, part of the Society of Digital Agencies (SoDA) and an Adobe agency partner, recently purchased Creative Cloud for teams through Adobe.com. “We’ll often bring someone in on short notice to create or revise assets as client specifications shift,” says Threw. “With access to the full collection of creative apps, Adobe Creative Cloud for teams supports greater scalability and enables us to change creative direction or take work wherever it needs to go—something we couldn’t do as easily before and respond to client needs almost instantly, right in the field.”
Centralizing license management simplifies administration, making it easy for Obscura to redistribute licenses as they are needed for various projects. “With Adobe Creative Cloud for teams, we can manage licenses very easily through the Admin Console,” says Vlad Spears, a technologist at Obscura Digital. “We always know who has what software, so we can adjust assignments as needed across project teams and contractors.”
Creative Cloud for teams also puts users in charge of software updates and installations, further reducing the workload for IT. Since teams often work in the field to help bring exhibit installations to life, this easy-to-manage self-service model enables users to add secondary installations of the Creative Cloud apps to home computers or laptops.
“If someone is working on the road and suddenly realizes that they need another application, they can use their existing Creative Cloud membership to install the applications themselves without IT scrambling to provide them additional installers or serial numbers,” says Spears. “The flexibility we have in managing licenses now with Adobe Creative Cloud for teams is light years better than what we were doing before.” Obscura plans to expand use of Creative Cloud for teams with more licenses purchased through Adobe.com.
“Our purchase of Adobe Creative Cloud for teams via Adobe.com was extremely smooth,” says Spears. “And, by working with our annual membership on a monthly basis, our finance group has a much easier time forecasting costs and building budgets. We are thrilled to be on this new path with Adobe.”
Read the Obscura Digital case study.
We’ve done it again (and again, and again, and again)… continued to fulfill our promise for ongoing innovation to Creative Cloud.
Read on to catch up on the latest and greatest Creative Cloud updates to services and apps that will help you get your creative on.
The new Creative Cloud Market, just released in July, is a royalty-free repository that gives paid Creative Cloud members* access to a curated collection of Behance-sourced vector graphics, icons, patterns, UI kits, and layered PSD files. Creative Cloud Market has been a huge hit because it gives members a jump-start on their designs. Find the Market under the Assets tab of the Creative Cloud desktop app.
And stay tuned: Creative Cloud Market is also coming to your browser, and Adobe’s mobile apps, starting with Adobe Sketch (read the update below).
Just a few months after releasing Adobe Photoshop CC with 3D printing capability, we’re now providing expanded support for new 3D printers (MakerBot Replicator 5th Generation), and print services (check our current list of print service providers), and we’ve added a broader range of supported file formats including VRML, U3D, PLY, and IGES. Plus there’s now streamlined 3D painting and the ability to combine multiple jobs into a single print bed. So even if your 3D printer is slow, setting up your design will be quick.
Adobe Muse CC, the app that enables designers, who don’t want to learn code, to build and publish beautiful websites, continues to evolve and gather fans.
Adobe Muse now supports self-hosted web fonts, and the new Bullet Styles and Glyphs panels facilitate one-click addition of bulleted or numbered lists and special characters (such as © or ᵝ). We’ve also partnered with Google to include reCAPTCHA, a free service that uses text and number distortion to distinguish humans from bots. Now you can more easily create better-looking web pages and put the brakes on spam.
Finally, Adobe Sketch (now in version 1.1) keeps getting better.
The mobile drawing app, with the capability to express and connect with the broader creative community now includes free, in-app access to Creative Cloud Market so you can add high-quality assets to compositions on the go, and faster file syncing for easier sharing with Photoshop CC and Illustrator CC. There’s also finer precision when drawing shapes with more finished, chamfered corners with
Adobe Slide or Touch Slide (a built-in feature for drawing straight lines and curves without hardware).
Keep an eye on this blog for our monthly roundup of the new additions to Creative Cloud.
* With the exception of the Creative Cloud Photography and Photoshop Photography plans.
We’ve been hard at work the last two years to address four key areas of the Creative Cloud you told us to focus on: performance boosts, workflow efficiencies, support for new hardware and standards, and of course innovative features, which we call the Adobe “magic.” If you’ve been hanging on to your old CS disks, waiting for the right time to join the Creative Cloud community, that moment is here. The latest version—available today—is packed with new, truly inventive features that will make it easier to do your work from anywhere, help you do it faster, and let you bring all of those great creative ideas in your imagination, to life.
Read on for the highlights list of what’s new in Creative Cloud, and click through to the product blogs and videos to get a deep dive directly from the teams.
Major updates across our desktop apps
- Photoshop CC now has Blur Gallery motion effects for creating a sense of motion, and the recently introduced Perspective Warp for fluidly adjusting the perspective of a specific part of an image without affecting the surrounding area. Focus Mask (did you see the sneak?) makes portrait shots with shallow depth of field stand out, and new Content-Aware capabilities make one of the most popular features even better. We’ve also added more camera support to Lightroom (version 5.5) as well as a new Lightroom mobile app for iPhone. The Photoshop and Lightroom blogs have the full scoop.
- The Adobe Illustrator blog has the rundown on what’s new in Illustrator CC, such as Live Shapes to quickly and non-destructively transform rectangles into complex forms and then return to the original rectangle with just a few clicks.
- With InDesign CC layout artists can now move rows and columns around in tables by simply selecting, dragging and dropping, which will be a big time saver. The new EPUB Fixed Layout means you can create digital books effortlessly.
- The team is rebuilding Adobe Muse CC as a native 64-bit application and it now includes HiDPI display support for sharper-looking images, objects, and text.
- Originally previewed at the NAB show in April, new features in our video apps include Live Text Templates, Masking and Tracking plus new integrations that leverage the power of Adobe After Effects CC inside Adobe Premiere Pro CC. It’s better, faster, stronger. Read more on our Pro Video blog.
- Dreamweaver CC lets you see your work come to life. You can now view your markup in an interactive tree using the new Element Quick View, to quickly navigate, and modify the HTML structure of pages. The Dreamweaver CC blog has all the details.
And there’s so much more so check out all of the new features over on Adobe.com.
Creative Cloud connected mobile apps and new hardware—because our world is mobile.
An entirely new family of connected mobile apps and the hardware (yes, Adobe is releasing hardware) could be the things we all look back on in two years and say, “OK that really changed how I do my work.” These are incredibly powerful apps that start to bring the functionality you get from desktop apps, to mobile. Pros will want to use them, but they’re easy enough that anyone can use them. Get these apps now—they are all free:
- Adobe Sketch, a social sketching iPad app for free-form drawing.
- Adobe Line, the world’s first iPad app for precision drawing and drafting.
- Adobe Photoshop Mix brings the powerful creative imaging tools only found in Photoshop right to the iPad, for the first time. The focus of this release is to be task oriented, so we started with the two most-used features: precise compositing and masking. PS Mix also includes Upright, Content Aware Fill and Camera Shake Reduction—and integrates back to Photoshop CC on the desktop.
- Adobe Lightroom mobile for iPhone, extending Lightroom right to your iPhone.
The Creative Cloud connected mobile apps complement and enhance the new creative hardware that’s also available now. Adobe Ink (formerly Project Mighty) is a new digital pen that connects to the Creative Cloud, giving users access to their creative assets—drawings, photos, colors and more—all at the tip of the pen. And Adobe Slide (formerly Project Napoleon) is a new digital ruler to create precise sketches and lines. As we talked about previously, these new pieces of hardware “make digital creativity both more accessible and more natural by combining the accuracy, expressiveness and immediacy of pen and paper with all the advantages of our digital products and the Creative Cloud.” Adobe Ink and Slide demonstrate how mobile is now a true partner in the creative workflow.
Creative Cloud services tie it all together so you can work wherever you are.
We all work on multiple devices. We move between desktop or laptop to phone and tablet. Now Creative Cloud is connected to iOS devices, so you can take it wherever you go; your creative identity isn’t just tied to your desk. All of the latest desktop apps, mobile apps and creative hardware are tightly integrated through Creative Cloud services. Simply put, you can now access and manage everything that makes up your creative profile—files, photos, colors, community and so much more—from wherever you are. Get the new Creative Cloud app for iPhone and iPad for full access on your mobile devices.
New offers for photographers, enterprises and education
- For all photographers—hobbyist, prosumer and professional—we’re introducing a new Creative Cloud Photography plan at just $9.99 per month.
- For our Education customers, we now have a device-based licensing plan for classrooms and labs so more than one person can access Creative Cloud on a single machine. The special student/teacher edition pricing also got a little sweeter, as the full Creative Cloud is now available to them at just $19.99/month for the first year.
- For our Enterprise customers, we’ve added file storage and collaboration to Creative Cloud, along with expanded options for deployment (named user vs. anonymous) and a new dashboard for managing users and entitlements.
There is so much that’s new in the 2014 release of Creative Cloud that you have to take a few minutes to click around, read about the new apps, and watch videos of the new features. Are you a paid member? All of it is available now for you. Have you been considering the move to Creative Cloud? The new versions of the desktop apps you use most have added hundreds of new features since CS6. There really is no better time to join the community.
I’m always looking for new ways to exploit my creativity through technology—video, interactive, and mobile—but 3D printing is on an entirely new level. The fact that I can now do it in Adobe Photoshop CC is a huge bonus (watch this video to learn how). We’re able to create physical objects that never existed before; we’re inventors, a sculptors, and artists. It’s enough to give someone a god complex. If you’re anything like me, the ideas have already started flooding in; before you jump in let’s take a step back and get a general understanding of how it all works.
3D printing is considered additive manufacturing. It’s an amazingly simple process that consists of layers of material (plastic, wood, metal, sand, sugar, or even chocolate) being laid down in a pattern, one layer at a time, until the 3D object is created. There are three major types of 3D printing: Fused Deposition Modeling, Stereolithography, and Laser Sintering. Each method has its advantages and disadvantages.
Fused Deposition Modeling (FDM)
The most common type of additive manufacturing, FDM is easy, affordable, and can be used with many different materials. The process involves feeding a spool of filament into an extruder where it’s melted down (like a hot glue gun) and “drawn,” one layer at a time, to create a 3D shape.
$1,000 – $5,000
Low cost with affordable filament
Large variety of materials
Fairly easy to maintain and replace parts
Nozzle clogging is common
Supports can be tough to clean
Layers can be visible (striping)
Stereolithography is a fascinating process in which a beam of UV light draws a pattern over a photosensitive pool of liquid resin. When the light hits the liquid it hardens. Once that layer is complete the base then moves to make room for the next layer, until the 3D object is made. SLA can be really good for designers looking for extra detail, with the potential for mass production, or for anyone who wants to cast their art in bronze or some other metal.
$3,000 – $7,000
Detail down to 25 microns (thinner than a sheet of paper)
Smooth surface details
Great for casting/molding and models
Nozzle clogging is common
Resin can be messy
Materials are limited and more brittle
3D printers are more expensive
Laser Sintering (SLS)
SLS works much like Stereolithography, but with a powder instead of a liquid. When the laser hits the powder, it hardens; the powder surrounding the object being printed acts as a support so there are no additional supports or scaffolding to break off as with the other processes. The powder is then removed leaving just the solid object, which can be plastic, metal, ceramic, or even full-color sandstone (the metal and full-color sandstone options are particularly exciting). Although there’s not a consumer printer option available, objects can be sent to Shapeways.com for printing.
Detail down to 16 microns
No support structures
Higher model flexibility since parts can be completely suspended
Working mechanical parts can be printed with no assembly required
Powder requires some work to remove
No desktop printer options
Aluminum / Steel
Which is best?
SLS is the best option—despite the $50K cost of a printer—because from within Photoshop CC you can send your models directly to Shapeways.com who will print them and send them to your house. Curious about cost? A fancy iPhone case like this one cost me about $25.
Interested in buying your own? Well right now the FDM printers are the most widely available and their quality is getting really good. I personally like the Makerbot Replicator, 5th generation. Makerbot was one of the first companies to make 3D printers commercially and they are arguably the industry standard, with profiles built into Photoshop CC. I also like the Ultimaker 2 because it just feels more designer/Mac friendly and it’s open source. But what I REALLY want is the Formlabs Form 1 Stereolithography printer. It provides lots of detail, and you don’t see any of the layering lines. Plus the objects just look cool coming out of the liquid resin
When Pawel Nolbert started sketching and drawing as a schoolboy in Wieruszow, Poland, his parents encouraged his creative passion by buying him a computer. Although he admits using it for video games at first, a friend soon introduced him to Adobe Photoshop. That was the spark that launched Nolbert toward becoming an internationally recognized designer and art director whose marquee clients include Nike, Sony, and Mercedes-Benz. Recently featured as one of Adobe’s New Creatives, we took the time to learn a bit more about his background and approach to design.
Adobe: What was your introduction to graphic design?
Nolbert: In the beginning, I was really interested in customizing operating systems, creating wallpapers, “skins,” and different looks—like the ways you can customize desktops in Windows. Then, around 2001, a friend showed me Photoshop; I didn’t really know it existed before then. I was playing with other software at the time, but when I saw the possibilities of Photoshop, I quickly forgot about the other software.
I mostly worked on personal, non-commercial projects and artwork. Clients started to approach me after I started publishing my work online on deviantART in 2002. My old artwork is still there, but I publish my new projects on Behance and my own website, Nolbert.com.
Adobe: How did your career evolve from that point?
Nolbert: When I started publishing online, I got small assignments to create stickers, flyers, and so on. It quickly started growing into something bigger. I even began getting offers from agencies, but preferred to stay as a freelancer.
My style has evolved quite significantly, from an illustrative style to a mixed media style. I didn’t want to be limited by doing one strict style or type of work, or confining myself to any technique or medium. I wanted to be quite universal in that regard. So, I quickly expanded from classic illustration to incorporate more digital elements, very often including 3D graphics.
Adobe Photoshop CC is still the main tool I use every day to create. After that, I use Adobe Illustrator CC for simple vector graphics. When I was working on a lot of websites—from about 2005 to 2010—I also used Adobe Flash Professional for animation and even did some of coding, but I’m not doing as much of that anymore.
Adobe: What types of commercial projects are you doing?
Nolbert: From the beginning, most of my work has been with advertising clients, mainly print and outdoor campaigns. Secondarily, I work on online projects. A lot of the campaigns extend to different media, so I have to blend different styles: I may paint some assets by hand and convert them to digital; or I may create 3D graphics or use scans or assets from different media to create the effects I want to achieve. Mostly, the end output comes from Photoshop.
Adobe: How exactly do you use Photoshop CC?
Nolbert: A good example is my self-portrait for Adobe’s I Am the New Creative site. It’s a mixture of photography and digital illustration. I used a photographic portrait and manipulated it to get the right proportions of head and face. Then I photographed my hands. Those were the base assets. From that point, I started to use Photoshop vector tools. I use them to maintain scalability and keep everything in control in terms of distortion.
For some reason, I prefer the simplified vectors in Photoshop to those in Illustrator. It doesn’t matter if I work on a web project or a print illustration; I often use vector tools to create different objects in my artwork. When I draw those vector compositions, I use all the textures to apply to vector elements. Then I add shading and different adjustment layers on top of that to create striking colors and compositions. That’s basically the process that I am using to create all my artwork.
Adobe: Are you using any of the latest features in Photoshop CC?
Nolbert: I purchased Photoshop CC a few months back and one of new features that I really like is the Camera Raw filter that’s built into it. It was actually the feature that convinced me to switch from Adobe Creative Suite 6 to Creative Cloud, besides the cloud, of course, which is very convenient. What I love about Camera Raw is being able to master colors or do a basic retouch on photographs nondestructively.
Photoshop CC has a lot of features, small and big, that are really helpful. For example, the Crop tool now has a check button that lets you delete or keep the crop pixels. It’s important to have a good crop tool that lets you control your composition in simple photography and complex illustrations, and this one is much more convenient than in previous releases.
I love the new brushes; I use brushes a lot to achieve the right shading and the right finish for my compositions. The selection of brushes has been expanded in Photoshop CC and they have some new settings that let you control more of the brush parameters, which is especially versatile when using a graphics tablet.
I’m also really impressed with the optimization of the Liquify filter in Photoshop CC, too. It’s much faster and better. I use it a lot to apply distortions to photography or bitmap illustrations. When I work in a very high resolution, I like to use a huge brush size for the Liquify tool, but in CS5 and CS6 the brush size was limited. In Photoshop CC, the brush size has been increased greatly, and that is better for me when working with high-resolution imagery.
Sometimes I combine the Liquify and Warp tools. I use the Warp tool to do simple distortions, and in Photoshop CC it’s been improved in several ways. It produces smoother results than previous releases and you can now set interpolation algorithms like bicubic or bilinear for the Warp or Transform tools. That’s a really great feature—to control the output of tools in a more efficient way, especially for pixel-perfectionists.
Adobe: How else are you using, or would you like to use, Creative Cloud?
Nolbert: I really like that you can export settings with Creative Cloud applications, especially when you work across different computers. For example, I have a favorite set of brushes in Photoshop and it’s really helpful to be able to export those in a convenient way and use them on another computer.
I would also like to use Adobe Photoshop Lightroom to do more personal photography, like when I travel. I really got into photography through Instagram, mostly as a hobby. I think Lightroom can help me improve my photography by letting me manage and edit photos in the same interface. And I like the nondestructive editing capabilities.
I’ve also always wanted to use Adobe InDesign CC to work more on printed output media. I tried it a few years ago and liked it and now that it’s available in Creative Cloud I want to explore it more. I’m also excited about doing more with Adobe After Effects CC; I worked in After Effects on small projects years ago and I miss using it. Sometimes clients want to create animations, so I would love to explore applying After Effects to my projects on a bigger scale.
In late 2013, Adobe announced its Photoshop Photography Program. Yesterday morning, in San Francisco, at the Forrester Marketing Leadership Forum, the Photoshop Photography Program was awarded a Forrester Groundswell Award in the Business-to-Consumer Social Relationship Marketing category.
In September 2013, Adobe announced its Photoshop Photography Program available to customers who owned Creative Suite 3 or later. The program, created for photographers, combined Photoshop CC, Lightroom 5 and Behance ProSite in a discounted bundle for $9.99 per month. The offer became wildly popular. In November 2013 Adobe opened it up to everyone.
To let people know, we used original creative and a sense of humor on our social channels. The announcement poked fun at the company’s previous restrictions on subscription upgrades and touted that, for the first time, this program was available to EVERYONE. An approachable cast of characters (sasquatch, robots and designers alike) illustrated the low barrier to entry and the cheeky, friendly approach of the social campaign caught the attention of our customers–and the members of the Forrester Research team.
Adobe’s primary business goal was to drive awareness and adoption of the Photoshop Photography Program and to reduce negative sentiment in response to the shift to the Creative Cloud business model. The program performed extremely well, exceeding (more than tenfold) initial social sales goals, engagement rates, positive sentiment, and reach statistics.
Read the details of our Forrester Groundswell Award submission and learn why the strategy and approach of the Photoshop Photography Program social campaign stood out from over 100 applications submitted from around the world.
This is the story of how one bored chick named Charlie learned how to 3D-print his own eggs using the new 3D printing capabilities in Photoshop CC; and how you could win your own exclusive egg (designed and printed by Charlie) by visiting our pop-up studio in East London where we’ll be displaying 25 designer interpretations of the egg alongside live 3D-printing demos.
Charlie and the 3D egg
Charlie, a keen designer, decided to create an egg of his own. Inspired by Behance he used Adobe Creative Cloud (and Photoshop CC) to 3D print his very own eggs. Because something worth doing, is worth doing beautifully.
The 3D printing story
So how did Charlie print his own egg? Well, Adobe Photoshop CC can now be used to create, color and texture 3D models, including those produced in other 3D modeling programs. Photoshop CC has support for beautifying a 3D model and then printing it with amazing results. We’ve removed the complexity of the process; all you need to do is select the desired printer and material, and click print. Download a free trial.
How to get your very own 3D egg
To get your claws on one of Charlie’s exclusive 3D eggs, simply tweet using #CreativityForAll and tell us what creativity means to you. We’ll choose the best comments and send the lucky winners their own 3D printed sandstone eggs!*
25 designers and 25 eggs
Charlie isn’t the only one printing eggs. To showcase the new 3D printing capabilities of Adobe Creative Cloud, we commissioned 25 innovative designers to create their own interpretation of the classic egg. We’re exhibiting these eggs and a whole load more at our pop-up studio:
10:00 am–5:00 pm 11 & 12 April | 11:00am–4:00pm 13 April
Shop 7, The Old Truman Brewery, 91 Brick Lane, London, E1 6QL
Come down and say hello, find out more about Adobe’s latest offerings, see a 3D designer in action, 3D printers producing eggs on demand and, who knows, maybe even Charlie hard at work…
A few of the designs we’ve seen so far (check back for updates as the eggs are printed):
* Terms and conditions
The competition is limited to the UK, Ireland, France, Germany, Austria, Switzerland, Belgium, the Netherlands, Luxembourg, Sweden, Norway Finland and Denmark and closes 9:00am GMT on 14.04.14. Prizes limited to one per person. (Details of participation.)
We’re thrilled to announce the availability of Lightroom mobile, an extension of the photography workflow designed specifically for a mobile experience. Beginning today, you can get Lightroom mobile from the iTunes App Store and seamlessly connect your desktop workflow to your tablet (you will need the Lightroom 5.4 update for Mac or Windows).
In Lightroom mobile you can:
• Edit and organize images anywhere, anytime on your iPad*
• Enhance everything from smartphone photos to raw images from DLSRs using powerful and familiar tools
• Automatically sync all mobile edits with Lightroom 5 on your desktop
• Easily share your photos
Lightroom mobile is available to Creative Cloud complete, team, student and teacher members, and to members of the $9.99/month Photoshop Photography Program. If you’re already a Creative Cloud member or Photoshop Photography Program subscriber, Get Started Now. For more details and the FAQ visit the Lightroom Journal blog.
With Lightroom mobile, your photography is going places.
*iPhone version is coming soon.
Since the first functional 3D printers were created 30 years ago they have been used to create car parts, smartphone cases, fashion accessories and even artificial organs. Not only is the technology impressive, so are the printable materials.
In this post I want to focus on 3D printing in the hands of creatives—especially since 3D printing is now possible with Adobe Photoshop CC. I’ve highlighted a couple of areas where artists and designers are doing amazing work in the hopes that it will inspire you to create. And, remember, you don’t need a 3D printer; just create/refine with Photoshop CC and send projects directly to Shapeways.com.)
Technically complex tangles
Josh Harker is considered a pioneer and visionary in 3D printed art and sculpture. He is credited as the first to break the “design & manufacturing possibility threshold” due to the level of detail in his work. Yet 3D printing has come a long way and now you can achieve this same level of detail using something like laser sintering. Don’t have the $250k laser sintering printer? Just send it to an online service like Shapeways.com; they’ll print it and mail it to your house. Or you can view (and purchase) Josh’s work on his website.
“There is no technique that is capable of achieving such a great degree of hyper(sur)realism as 3D-modeling. At the same time, 3D printing is the only technique with which virtual models can be made actually physically touchable,” says artist Eric Van Straaten. Eric creates and prints 3D objects using full-color sandstone. More of Eric’s work.
Do it yourself: 1) Use the 3D app of your choice to create an object. 2) Import it into Photoshop CC. 3) Paint directly on the object. 4) Send to Shapeways.com from Photoshop CC for printing.
Interactive 3D voiceprint
I had the privilege of meeting artist Gilles Azzaro at 3D Printshow in NYC where he revealed an incredibly creative printed sculpture featuring a speech made by Barrack Obama explaining the Next Industrial Revolution, a creative use of multiple technologies, made possible (of course) by 3D printing. See the video of it in action.
There are many fashion designers using 3D printing (see below) but I personally like Sebastian Errazuriz as he uses 3D printing to tell stories of love through memories of previous relationships. The shoes are just fantastic—especially accompanied by his equally enchanting stories.
Johnson Banks created Arkitype, an “alphabet of alphabets.” They developed a typographic 3D print of the alphabet, based on popular typefaces; it’s a must for anyone interested in typography who can handle being envious of this creative and beautiful idea. Check it out.
Functional & personalized items
There is hardly a designer out there who doesn’t have a unique iPhone case or laptop sticker. It’s in our blood to create and customize. This sets up 3D printing for a number of uses, like this iPad stand, or my iPhone case. This is one of the many items, on Shapeways.com, created by designers. Or you can make your own using Photoshop CC like I did.
Below are some additional 3D printed works to inspire you and show the different uses of 3D printing in the hands of creatives. You will see that designers and artists are using 3D printing in fascinating ways. But the question is, in this relatively new field: What will you create?
Modeling and printing 3D objects can seem like daunting tasks but in this new Adobe Learn tutorial, I’ll show you how Photoshop CC simplifies the process. Not only will it get you into the exciting field of 3D design and printing but, best of all, you won’t even need your own 3D printer.
Watch three short videos, practice and print with the sample file included in the tutorial, and you’ll be designing and printing your own 3D objects in no time.
In the first video of the series, you’ll see how easy it is to convert a simple 2D pendant design into a 3D model, then customize the design to change the depth and size of the object for print.
In the second, I’ll walk you through the process of choosing different materials for your object and uploading your model from Photoshop CC to Shapeways.com, for printing; you’ll also learn how Adobe’s partnership with this 3D printing service makes it easy to upload and print 3D models and get lightning-fast delivery of your objects.
Once you’re ready to show off your designs, or get inspiration from other designers, watch the third video to learn how to share your 3D models on Behance or your own website.
Now… Grab the tutorial files and give it a try.
More tutorials from Adobe Learn.