Adobe Systems Incorporated

Adobe Ideas: A New Name, A New Look, A New App


Recently, Adobe Ideas, our popular vector drawing app for iPad and iPhone, that’s been downloaded over 2.2 million times since May 2013, grew up and got better. Adobe Illustrator Draw is a transformation that means a newer, more modern version of the full-featured drawing app that people have come to rely on.


Not just an update; a complete reinterpretation

Instead of settling for just another update, we’ve created an entirely new version of Adobe Ideas. Based on Adobe’s new Creative SDK, the redesigned version of Ideas (Adobe Draw) matches the look and the connection to creative assets and community found in Adobe Photoshop Sketch and Adobe Illustrator Line. But it’s not just creating consistency across our mobile apps that has us so excited, it’s also the new features… which include new, completely rewritten, robust file syncing, and the ability to effortlessly bring files into Adobe Illustrator CC.

Still free. And with the features designers and illustrators love

For everyone who loves Adobe Ideas, don’t worry: Not only have we kept the core drawing elements and everyone’s favorite controls and preferences, but the app is still free.

What we’ve added is Adobe Ink & Slide support, as well as a software version of Slide (called Touch Slide) for drawing straight-lines, geometric shapes and French curves—without hardware. (No longer will it be necessary to create workarounds for drawing perfect circles.) We’ve also added Behance integration, including the ability to post works in progress to Behance and receive in-app feedback; the ability to view a gallery of content inside the app; and effortless Creative Cloud back-up and file syncing.



Sign-up, sign-in and sync

What can you do to get going with Adobe Draw? Take the time to create an Adobe ID, sign in with it, and sync your Adobe Ideas files to Creative Cloud… because our new drawing app is here. And now that it is, existing Ideas files that are synced to Creative Cloud will be automatically migrated to Adobe Draw. (Files synced to Creative Cloud can be grouped together in folders that will be imported as projects in Draw.)

Brian Yap talked about Adobe Illustrator Draw at Adobe MAX in a session titled What’s New in Adobe Ideas. Give it a watch. Then go get Adobe Draw for iPad in the iTunes App Store. Sync those Adobe Ideas files. Then keep an ongoing listen to Adobe Drawing’s Facebook and Twitter.

11:28 AM Permalink

Introducing… Brackets 1.0 and Extract for Brackets (Preview)

The Brackets team is celebrating a huge milestone today—reaching the 1.0 version of its popular open source text editors, and releasing a preview version of Extract for Brackets, the new Creative Cloud comp-to-code service that speeds up the process of pulling design information like colors, fonts and measurement info out of a PSD and turning it into clean, minimal CSS.

Both are immediately available today as free downloads.


What is Brackets?

Brackets is a modern, open source text editor that understands web design. It was built for web designers and front-end developers working with HTML, CSS, and JavaScript. Adobe not only created Brackets, but we’re also a key contributor to the project. When we first started Brackets we wanted to release early and often. We’ve done both. This will mark the 45th release of Brackets in 3 years; it’s a pace of innovation that our teams are able to maintain now that we’ve moved to Creative Cloud.


Introducing Extract for Brackets (preview)

This release also includes a preview of Extract for Brackets, a new Creative Cloud service that lets you view and get information and assets out of a PSD right from your text editor. Extract for Brackets lets you pull things like colors, fonts, measurement, gradients, and more from a PSD in the form of contextual code hints in CSS and HTML files. You can also extract layers as images, use information from the PSD to define preprocessor variables, and easily get dimensions between objects. We’re really excited about how it will improve the process of moving from design to development and speed workflows.


If you haven’t looked at Brackets in a while or are brand new to it, now is a great time to see the awesome stuff we’ve been working on.

Brackets blends visual tools right into the editor so you get the right amount of help when you want it. In more recent releases, we’ve added multiple cursors, split view, theme support, and many more fixes and enhancements.

Extract for Brackets (preview) can be downloaded as a standalone extension from the Brackets Extension Registry or included with Brackets 1.0 in a bundle that’s immediately available as a free download from

Join us!

10:22 AM Permalink

Typekit: New Fonts from Hamilton Wood Type Foundry


Good news for your desktop (and your websites): We’ve added a boatload of new typefaces from Hamilton Wood Type Foundry to the Typekit library.

Hamilton Wood Type (HWT) is a partnership between the P22 type foundry and the Hamilton Wood Type & Printing Museum, bringing 19th-century wood type designs into modern font formats. We’ve long been supporters of this cause at Adobe Type, conducting fundraisers and making donations, and helping with the digitization effort. Three of the designs in the HWT collection were digitized by members of our team: Gothic Round by me, Tuscan Extended by Frank Greißhammer, and Bulletin Script by Paul Hunt.

The bulk of the HWT Collection is comprised of digital revivals, but it also includes two original designs made by Erik Spiekermann (HWT Artz) and Matthew Carter (HWT Van Lanen).

We included just a couple of HWT fonts in our library prior to this release, but now we’re all caught up: All of the font families of the current HWT collection are now available at Typekit, and you can use any of them on your desktop (and, in most cases, on the web) with a Portfolio plan or higher.

This initiative not only helps the dissemination of fonts that were previously only available as wood type, but it also helps the preservation of wood type history since a portion of proceeds from all sales of the HWT digital fonts goes toward supporting the mission and operation of the The Hamilton Wood Type & Printing Museum.

With over twenty fonts new to the Typekit library from HWT, we’d be here all day if we profiled each one. Here’s a handful to give you a sample (be sure to check out the full list.)

HWT American


HWT American Chromatic was the first design in the collection to be digitized (the term chromatic means that it’s made up of fonts that act as layers, to which different colors can be applied—resulting in rich, attention-grabbing headlines. The family has a total of eight styles that can be arranged in multiple combinations for an almost endless number of variations. Try layering the styles on a web page using CSS, or create interesting hues in print by letting the colors overprint. The Behance gallery from Hamilton Wood Type goes into more detail about the work that went into digitizing this one-of-a-kind font family.

HWT Gothic Round


It’s hard to believe the contemporary-looking HWT Gothic Round was originally designed almost two centuries ago, in 1838. The round edges of this Gothic (or sans-serif) face give the design an undeniable warmth and bubbly quality—particularly noticeable in the lowercase letters. The design’s heavy weight provides plenty of impact in applications that demand a reader’s heightened attention, such as a magazine masthead or a store sign. This typeface was a 2013 Typographica favorite; see more about the work that went into digitizing it.

HWT Unit Gothic


First shown in a magazine advertisement in 1907, the HWT Unit Gothic series includes a breadth of weight and width styles rarely seen in wood type designs. Seamlessly organized as a system of fonts, this family is believed to have been the predecessor of the neo-grotesque collections—Helvetica and Univers—released around 50 years later. Besides supporting extended Latin, HWT Unit Gothic also includes Greek and Cyrillic, thus providing broad language coverage for a wide range of applications, from newspaper headlines to logos. Read more about the digitization process for this typeface on the Hamilton Wood Type Behance page.

HWT Van Lanen


In 2002, the Hamilton Wood Type & Printing Museum commissioned typeface designer Matthew Carter to develop a new wood type design as a way to help promote the newly established facility. Part of the project included the fabrication of actual wood blocks. Named after Jim Van Lanen, the museum’s founder, this bold wedge-shape serifed design of HWT Van Lanen is reminiscent of the Latin Extended style popularized in the late 19th century. Included in the family is a reversed font style, called Streamer, that can be used on its own or in combination with the default style to create interesting chromatic effects. See the Hamilton Wood Type Behance page for more details about the making of Van Lanen.

Let us know what you make with these new fonts; we love seeing cool type in action. And if you’ve never tried Typekit, sign up for a free trial and take a look around… then upgrade to a paid plan when you’re ready.

Reposted from the Typekit blog.

12:59 PM Permalink

Premiere Clip Gives New Life to Personal Videos

Among all the new mobile apps and desktop product updates released on October 6, Adobe Premiere Clip stands out for me as a fun app that can be used to make something out of all the videos and photos you’ve already got on your iPhone or iPad—or both, actually, by syncing your project across devices and tapping into each device’s camera roll.

My editorial focus on the Creative Cloud Learn team is our digital video and audio tools. Until recently, I hadn’t seen any good mobile apps for making creative use of the videos and photos on my phone. There’s something compelling about making a movie soon after having shot some video at a family event or while traveling, and then sharing that edited movie with others or posting it to YouTube. Premiere Clip makes that task fun.


Before Premiere Clip was launched at Adobe MAX 2014, I had recorded a couple of tutorials: Create and edit video with Premiere Clip and Refine a Premiere Clip video in Premiere Pro. For those demos, I went downtown (in San Francisco) and shot some relatively random videos of cable cars, which I then assembled into a movie using my iPhone and iPad. It was fun but somewhat familiar terrain for me. However, I recently used Premiere Clip “in the wild.”

While attending MAX, I went to a large outdoor party where there was lots of food, playfully interactive outlets for spontaneous creativity, and a concert by Kings of Leon. It occurred to me that I should record the event—and put Premiere Clip to the test.

I shot the following movie entirely with my iPhone 5 and edited it in Premiere Clip while flying back from Los Angeles. Before considering it ready for public consumption, I synced the project with my Creative Cloud profile and then imported it into Adobe Premiere Pro CC, where I did some minor trimming and audio adjusting.

Playing around with Premiere Clip is a lot of fun—and perhaps gives some meaning to all those times you hold up your phone and shoot something that seems important at the time but, you realize later, it’s too difficult to do anything with it.

Let me know in the tutorials’ feedback links what you think of Premiere Clip, and how you think it could help you with either personal, or professional, video projects.

11:52 AM Permalink

Square Enix: Worldwide Gaming Entertainment

Using Adobe Creative Cloud for enterprise as its foundation, digital entertainment content provider Square Enix Co., Ltd brings fantastic stories to fans around the world.


Creating unforgettable experiences

“Spread happiness across the globe by providing unforgettable experiences” is the corporate philosophy of Square Enix. Building on this philosophy, the company delivers high-quality entertainment and services to fans around the world.

From classic game series including Dragon Quest and Final Fantasy to popular comic series FULLMETAL ALCHEMIST and Black Butler, Square Enix is home to countless hits. And Adobe’s creative software, including Adobe Photoshop and Illustrator CC, are part of the backbone upon which these creations are built.

Square Enix deployed Adobe Creative Cloud for enterprise across its creative teams. Creative Cloud gives all development staff access to the latest creative applications and the Adobe Enterprise Term License Agreement (ETLA) helps the company improve software asset management and compliance.

Managing large-scale software licenses

Square Enix supports more than 2,000 employees in its Tokyo headquarters alone. The vast majority of those employees are involved with creative development; each developer has two to three high-performance computers, each with a wide range of necessary applications. Managing software licenses associated with each of those systems is a complex task.

“We want our developers to use the latest software to produce the best entertainment possible,” says Daishiro Okada, general manager at Square Enix. “But, when we took cost into consideration, we couldn’t always provide every employee with the most recent updates. As a result, employees were sometimes working with different software versions than their co-workers as well as on each of their own machines. Keeping track of all of this took an inordinate amount of time and effort.”


Helping train new employees

To create fantastic entertainment, Square Enix developers need the skills to get the most out of the latest technologies. “We want to provide training on the latest technologies to help our employees improve their skills, regardless of the software version they are using,” says Okada. “And, ideally, we want to provide knowledge that applies to all of our employees.”

Complying with standards

Square Enix considers compliance with software usage regulations to be of utmost importance. “As a company that deals with the creation and distribution of digital content, we strongly recognize the importance of licensing and compliance,” says Okada. However, in an environment with multiple types of software and versions, eliminating unauthorized software usage can be a much more laborious task.

Reducing license management

Square Enix signed an ETLA for Adobe Creative Cloud to help improve the creative environment, simplify license management, and strengthen compliance. “Working with the Adobe enterprise agreement dramatically reduced the amount of work required for license management,” says Okada. “The ability to manage the licenses for all of our software centrally, without needing to pay attention to versions, has led to unbelievable administrative efficiencies.”

Square Enix developed an environment where users can download and install whatever software applications they need from an internal server. Only the agreed number of licenses can be issued, which greatly contributes to better compliance. The system also eliminates the need to connect to an external server, which reduces the risk of access to unauthorized copies.

Improving skills with free access

By deploying Adobe Creative Cloud, development staff can download the software that they need, when they need it, from the internal server. All creators, from experts to beginners, share the same cutting-edge environment. As a result, development teams can improve their creative skills while working to produce unique products and services.

“Most employees jumped into using Adobe Premiere Pro CC right away,” says Tomoyuki Hiraoka, KSK procurement supervisor in the general affairs department at Square Enix. “Many people wanted Premiere Pro CC, but we previously limited access to keep costs down; now everyone can have the applications they want through Creative Cloud.”

“Creating the best entertainment ultimately requires not only the best possible output, but also the best possible processes,” says Okada. “Using the latest technologies in Creative Cloud, we’re providing our developers an environment where they can quickly create brand new entertainment.”

Reducing annual costs

While analyzing the new licensing model, cost was a primary concern for Square Enix. Even if the new model improved licensing management, the efficiencies would not be worth it if costs also increased. The company examined costs from all angles, including initial purchasing and upgrade fees.

“Compared to our previous licensing model, we calculated that Adobe Creative Cloud for enterprise reduces our costs by an amount equivalent to two full-time staff per year,” says Hiraoka. “The cost savings were a major factor in our decision to work with Creative Cloud.”


Shifting the focus to online content

The video game market is changing rapidly, expanding from traditional home console games to an increasing number of mobile games played on smartphones and tablets. Square Enix is also focusing on development and delivery of online and social games played over networks.

“New types of devices will continue to enter the market, and we want to provide the best content and services for all of those devices,” says Okada. “Creative Cloud already has an established reputation for use in developing content on multiple devices and we believe that it will form a strong backbone for building our mobile services.”

Developing for the global stage

In addition to offices in Tokyo, London, and Los Angeles, Square Enix has additional creative studios in Montreal, Copenhagen, Shanghai, and San Francisco for a total of more than 3,500 development staff. The company plans to grow international operations in the future.

“Currently, each international office handles its operations independently, but we are looking to unify the development environment and management system on a global level,” says Okada. “We want to pull in top talent from not just Japan, but around the world, and provide them all with an excellent work environment. Expanding use of Adobe Creative Cloud globally would be ideal. If we can consolidate global license management, we will improve administrative efficiency and improve compliance even further.

Read the Square Enix case study.

10:16 AM Permalink

From Adobe Ideas to Adobe Illustrator Draw: Making The Switch

For quite some time, designer/illustrator Brian Yap has integrated mobile art applications into his professional creative workflow… His mobile app of choice? Adobe Ideas. He’s used the full-featured vector app to capture illustrative concepts, develop them, and later move them to Adobe Illustrator CC for fine-tuning. It’s led to a successful creative process and an identifiable Ideas-to-Illustrator illustration style.

Like many Adobe Ideas users, Brian recently made the switch to Adobe Illustrator Draw. After Brian’s Adobe MAX sessions (What’s New in Adobe Ideas and Designing a Poster Using Adobe Mobile Creative Apps), we asked him to share some of his initial thoughts about making the move. Here’s what he had to say:

By Brian Yap—using Photoshop Mix, Adobe Sketch, Adobe Draw, and Illustrator CC—for his Adobe MAX session Designing a Poster Using Adobe Mobile Creative Apps.

By Brian Yap—using Photoshop Mix, Adobe Sketch, Adobe Draw, and Illustrator CC—for his Adobe MAX session Designing a Poster Using Adobe Mobile Creative Apps.

Adobe Ideas was the most powerful vector drawing tool for the iPad, and it changed the way I thought about the device as a professional tool. Adobe Illustrator Draw is a continuing evolution of Ideas, and proves that the development team is listening and reacting to the community in way unheard of when it comes to graphics applications. Use it. Love it. Become part of its future development.

Of course I always have the immediate reaction, “Why does this thing I love need to change?” But it didn’t take long to fall in love again; besides some amazing enhancements to the drawing engine that I’ve grown to love, the UI has been totally designed with a lot of user feedback taken into account.

Overall, pretty much every time I panicked a bit because a feature I depended on seemed to be taken out, I not only found it a few seconds later, but quickly realized the thinking that went into the redesign. A few thoughts:

While the tools are generally the same, the icons are way more descriptive of what the tools actually do (something I always wondered about with Ideas). As an example, I always thought it was a bit confusing to have a pencil icon for a tool that didn’t have a pencil texture.

There were some cuts made to the tools but with a little trial it’s easy to see why: The “long press” while using a tool was always the same as the paint bucket so the paint bucket tool itself was somewhat unnecessary. Although I was always in the camp of the “long press” I imagine people who relied heavily on the paint bucket will find that change a bit tricky at first.

I like that the Gallery interface is in line with the other new apps that take more advantage of the connection to Behance and the Creative Cloud.

By far the biggest change is in the layers options; Draw is much more focused on the options for each layer. In Ideas, I was constantly merging layers I didn’t mean to merge. Now that the options are reached through touching the layer options icon on each layer, it’s always clear which layer is being affected. One tip: The merge down button is now under the icon that covers flipping the layer.

Finally, based on what I’ve heard, there is some concern about the lack of PDF export… I’ve been told that the option will be added back in a future update.


We’ve asked Brian to keep us updated about his Draw discoveries, so stay tuned to Adobe Drawing on Twitter and Facebook. And for a few tips about syncing Adobe Ideas files to Creative Cloud, Adobe Ideas: A Transformation is a quick read.

10:22 AM Permalink

Introducing Adobe Premiere Clip

Ever felt intimidated by the prospect of putting together a video project? With Premiere Clip, Adobe wants to make video accessible to all creative professionals.

Adobe Premiere Clip is our brand new (and free!) app that lets you, in a few quick steps, turn clips and images from your iPhone or iPad into polished videos, and then share them with friends, family, clients, and the world at large. It’s a powerful tool for creative pros; and for established video pros, the app makes it easy to create edits on-the-go and draft a project for further refining in Adobe Premiere Pro CC.

Watch the Premiere Clip demo from the mobile apps keynote at Adobe MAX:

With its simple editing workflow, it’s easy to work with assets  already on your device or those you have stored on Adobe Creative Cloud. You can also shoot new video from within Premiere Clip: Just grab clips and still images, drop them into the order you like, trim out the bits you don’t want. Set the mood by using one of the included music themes or by adding your own audio file.  Add cinema-quality color treatments to your video with a single tap. Adjust lighting or add slow motion effects and other finishing touches like fades or transitions.

Dave Werner’s Made With Clip video of Adobe MAX:

You can even work on your project across devices (starting on your your iPhone and then switching to your iPad, for example) thanks to automatic syncing of projects and media through your Creative Cloud Creative Profile.

Once you’ve completed a video, share it with your audience through social media, your website, or any number of other platforms.

Want to take a project further? Sending it to Premiere Pro CC is easy too. Through the app’s Edit in Premiere Pro sharing feature, send everything in your project as a group of files to the Creative Cloud Assets folder on your desktop. Once the files have been synced to your desktop, simply open the XML file with Adobe Premiere Pro, and open the sequence with the project name.


Still not sure where to begin? Try one of our Reviewer’s Guides to help you get started. These guides breakdown some of the conventions of different types of videos and can kickstart your pre-production with pointers on creating a narrative and suggestions for shot composition. All you need to do is fill in your content.

What will you create with Premiere Clip? We can’t wait to see!  Include #MadeWithClip when sharing on social media. Check out the Community Videos page in the app for inspiration and publish your projects as “Public” for a chance to be featured. And, make sure to follow the Premiere Clip Twitter feed and blog for news, highlights, tips, and tricks.

Premiere Clip is available now in the iTunes App Store for most iPad, iPhone, and iPod touch devices with iOS 7 or later, including iPad 2 or later (mini and retina), iPhones 4S and later, and iPod Touch 5th generation and later. (Unsure of your device model? Check the model number on the back and consult Apple’s guide for iPads, iPhones, and iPods.)

Learn more about Premiere Clip
Download Premiere Clip from the App Store
Follow Premiere Clip on Twitter
Watch Meagan Keane’s demo and see what all the buzz is about

11:15 AM Permalink

Creative Cloud for Desktop: The Smart Tool for New Creatives


Bring the goodness of Creative Cloud right to your desktop.

Creative Cloud for desktop is a lightweight, configurable app that lets you manage Creative Cloud apps, sync assets, receive notifications, and connect to powerful Cloud functionality and services—all from the comfort of your desktop.

Creative Cloud for desktop enables your Creative Profile. An effective way of managing your creative assets across apps and devices, Creative Profile connects you to everything you need for your creative work—files, pictures, colors, brushes, shapes, fonts, text styles, graphics, and any other creative assets you care about—and puts it all at your fingertips, by simply signing into Creative Cloud for desktop.

Let’s take a closer look at the feature-rich technologies and powerful Cloud services that Creative Cloud for desktop offers:


Creative Cloud for desktop makes it easy to discover, download, and install the newest Creative Cloud desktop apps to your computer. In addition to the latest versions, you can also find previous versions of apps, and receive notifications about updates as soon as they’re available.


Creative Cloud for desktop is also now a one-stop shop to launch apps, manage updates, and even uninstall older apps that you no longer need.

Assets, libraries, and more

Creative Cloud comes with online storage that lets you access your work from anywhere and share your work with others in any location. Creative Cloud for desktop connects your Creative Cloud online storage to your computer, keeping all your files in sync, across all your computers.


With Creative Cloud for desktop, you’ll never run into a “missing font” scenario. Use the Creative Cloud for desktop app to sync fonts from Typekit on your desktop; synced fonts continue to be available on your computer, as long as the Creative Cloud for desktop app is running. Use the synced fonts in your favorite Adobe apps, as well as any other apps installed on your computer.

Your creativity can reach greater heights with Creative Cloud Market, a collection of high-quality assets, created and curated by professionals like you. You can build on these assets, modify them, and use them without worrying about attribution, licensing, usage tracking, or royalty payments. Simply use the Creative Cloud for desktop app to browse through the assets, add to a Library, and download the assets to your computer.

During the Adobe MAX 2014 launch keynote, we announced availability of Creative Cloud Libraries which provide seamless access to your creative assets across Creative Cloud’s desktop tools and all-new connected mobile apps. Creative Cloud for desktop helps to keep your Creative Cloud Libraries in sync, so that any brushes, shapes, colors, graphics, or assets you save to a Library, are instantly available on your desktop from within Adobe Photoshop CC and Illustrator CC.


How can a creative experience be complete without a community? Use the Creative Cloud for desktop app to dig in to the vast collective of creative talent on Behance. Remain inspired and keep ahead of the curve by following other creative people. You can browse through projects, share and seek feedback about your work, and take a closer look at a project that piques your interest all from within the Creative Cloud for desktop app.


Get started with Creative Cloud for desktop

Creative Cloud for desktop is your interface to Creative Cloud on the desktop!

Always stay up to date with what’s happening in your creative world by using notifications in Creative Cloud for desktop. If you don’t have it running already, download Creative Cloud for desktop now and get the most out of your Creative Cloud experience.

While Creative Cloud for desktop works behind the scenes to bring your Creative Cloud Profile to your computer, you can also use it actively to access Creative Cloud products and services. To learn more about what you can do with Creative Cloud for desktop, read through these resources:

10:31 AM Permalink

The BULLY Project Mosaic: Art for A Movement

Bully_1_FinalMosaicAdobe partnered recently with Lee Hirsch, the filmmaker behind the 2012 documentary BULLY, to evangelize his anti-bullying movement The BULLY Project.

The embodiment of the partnership is the No Bully Mosaic. Created by sixteen Behance artists from around the world, who worked independently to create one unified piece, it’s an expression of how community and commitment can change the world.

It, and an accompanying website, The BULLY Project Mural, an ever-changing digital mural to which people can contribute artwork and stories, were donated to Lee’s organization earlier this month at Adobe MAX.

Watch Lee’s powerful Adobe MAX presentation about this global human rights issue and how he’s affecting change for children around the world. Then read the comments, alongside the art, of the artists who contributed to this unique work:


The Eyes, Amr Elshamy (Cairo, Egypt)

“I’ve been bullied all my life but art was there for me so I’ve worked hard to develop art that can speak for me and to others.”

What made you want to get involved with Lee Hirsch’s BULLY Project? When I watched the movie I had this deep feeling that I had to be part of it.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? It was both. I was bullied by other kids in school because I was overweight and was hurt deeply by it. I contributed to this artwork with mixed, really personal, feelings about the negative aspects of bullying.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I’ve had to skip days of school because of other kids and art always there for me. I have great feelings about the power of art and about this movement.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It’s amazing. Every other piece touched my soul somehow.


Paul Trillo (Brooklyn, New York)

“Sometimes the only escape from depression is to let your imagination take you somewhere else. As a kid, I would look to the night sky to let my mind wander.”

What made you want to get involved with Lee Hirsch’s BULLY Project? As cruel as the Internet can be, it can also be equally uplifting and powerful. I was happy to contribute toward something positive that could outweigh some of the negativity that is prevalent online; I was excited to see how I could be a part of something larger with some incredibly talented artists. I was bullied when I was younger, and using that emotional history as a springboard for a creative concept came naturally to me. Plus I was just excited to see how I could be a part of something larger with some incredibly talented artists.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? I was fascinated by stars and astronomy as a kid. I’m not sure exactly why, perhaps because it felt so far away it was a form of escape, but I was easily hypnotized by staring into the sky. It allowed me to take my mind off things at school especially if I was being bullied. I’ve also had a knack for creating cosmic imagery as of late so this was another excuse to keep moving in that direction.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? The best thing that could come of this, is that it inspires someone to go out and create something. The biggest reward for creating work is when motivating someone else to go create. I hope it also spawns a new type of collective—Internet-sourced artists. I discovered a bunch of amazing artists through this project; by doing more communal things such as this we can all help each other get seen.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I had no idea what other people would do, so each and every piece surpassed my level of expectation. I was very impressed overall with everyone’s ability to output something of such high quality and production in such a short time. My favorite pieces are Mike Terpestra’s The Bus Stop and Mark Gmehling’s Social Racism, which both feel honest and capture a narrative with incredible simplicity.


Keep Ya Head Up, Leonardo Betti (Florence, Italy)

“There’s the necessity to keep your head up, to hug people and spread love; true love will give you a colorful and strong feedback that generates beauty.”

What made you want to get involved with Lee Hirsch’s BULLY Project? The trailer was so powerful and at the same time it reminded me of dark childhoods events.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? I have childhood memories about friends who were victims of bullying. I was a victim too when I was eleven. With my art I tried to emphasize how bullying makes you blind and shy, makes you feel alone. But if you lose the fear, and keep your head up, you discover people who love you and give you the force to overcome the bad vibes that result from bullying.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I think that the force of creativity and art is really powerful. It can fight physical violence using beauty and win. And this movement is great. I hope it grows to involve more and more talented creatives and artists.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I felt so happy and at the same time surprised by how different styles and techniques could connect to become one strong and immersive piece. I really liked the aesthetic and the concept of Helping Hands by Coming Soon.


Statue, Christian Bergheim, Anti (Bergen, Norway)

“Bullying isn’t always physical or violent, it can also be about treating someone like air; our artwork is inspired by statues—a metaphor for not being treated like a person.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Being invited to the project was an honour and, after reading about the cause, the movie and the entire project, we simply couldn’t pass on the opportunity.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Our piece is not inspired by any specific episode or memory, it´s more of an interpretation of some of the general aspects of bullying.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? Making yourself heard and your voice count is easier now than ever before, and the web has given people a tool for communication that is completely unprecedented in human history. A single voice can literally change the world, and designers and artists can play a vital role in getting important messages across more clearly and reach out even further. I´m hoping we´ll see visual communicators and creatives teaming up with activists a lot more in the future.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? Honoured and in good company.


Spiral, Pablo Álvarez Vinagre (Brighton, United Kingdom)

“‘I am starting to think I don’t feel anymore.’ —Alex Libby. Inside a spiral of chaos and pain, our mind builds up a shield that makes us impervious to anything coming from the outside. At the end this shield is destroying us, as we are decomposing inside our entrapped thoughts.”

What made you want to get involved with Lee Hirsch’s BULLY Project? As a designer I sometimes wonder if my work has an effect on people, so, when I had the opportunity to participate in this project I didn’t think twice. If I can contribute to such an important cause doing what I know best, it would be absurd not to do it.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Fortunately I have not suffered bullying, but I can understand the pain of the many children who have suffered or are currently suffering it. I think we all have a general understanding of the negative impact of bullying, and therefore we must do our maximum to put an end to it.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? That we can help to express the voice of many people. Communication is a powerful weapon and, therefore, so is art.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? Seeing the full mosaic, I saw sixteen completely different styles expressing the same message. No matter where we come from, or our context, if we all move in the same direction we can change that which we propose to change—and that’s not limited to design or any other art field.


The Bus Stop, Mike Terpstra (Oakland, California)

“With this piece, beyond documenting a specific childhood memory, I hoped to evoke the feelings of loss, upheaval, and fear that bullying unnecessarily introduces into a child’s life.”

What made you want to get involved with Lee Hirsch’s BULLY Project? I was contacted by Cindy Yep at Adobe with an invitation to pitch an idea for the BULLY Project Mural. The catch was… it was due the following day. I was in my final week of a long project at work, and I was considering not contributing based on the time it was going to take to come up with a quality idea and a decent image for the pitch. The thing that convinced me was watching the trailer for BULLY.  I brainstormed a few ideas, and decided to pitch something personal.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? It was. I have one (only one, because the punishment that followed curbed my behavior) regretful memory from my early childhood. I was the bully. I remember pushing a neighborhood kid around one morning because he didn’t bring his toys to the bus stop like he said he was going to do; he ended up going home and missing the bus that day. His mom got in touch with my parents, who had zero tolerance for that kind of behavior.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  I’ve recently become more aware of how apathy and inaction can be overcome with dynamic art. I finished work on the new TV series Cosmos earlier this year (an incredible experience) and a few critics of the series took issue with the need to add such “flashy” and “Hollywood-style” visual effects. Neil DeGrasse Tyson and Seth Macfarlane both understood the show would have both greater impact and reach a much broader audience if the science was presented in a dynamic way. The series was both successful and impactful while effectively communicating an important message, in much the same way the BULLY Project Mural is doing for the issue of bullying.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I was expecting to see some good pieces, but honestly, I was blown away by the mosaic. I’m quite honored to have a piece nestled among such talent. I’ve examined each of them, and they spoke to me in different ways, which is the beauty of art.  I love the diversity represented in the mosaic—the artistic styles and the message each artist wanted to convey.

Bully_8_AdrianAndGidiCheck, Adrian Woods / Gidi van Maarseveen, Adrian & Gidi (Brighton, United Kingdom)

“A single chess piece against many opponents on an abstract chessboard. Showing the overwhelming inequality of bullying in the unpredictable environment of growing up.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Because of some personal experiences in the past we could really identify with The BULLY Project and the stories on the website. So when Adobe approached us about the mural artwork, and we started to look into Lee Hirsch’s work, we knew straight away that we wanted to get involved and spread the word.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Our artwork is based on the general understanding of the negative impact. That being said, our personal experience of being bullied and the stories we read on Lee Hirsch’s website, certainly played a part in formulating the concept. We wanted to portray the feeling of being cornered and overpowered, but leaving the subject or experience open to interpretation.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  We hope for it to strengthen the movement. It would be amazing if a lot of people joined in, spreading the message through art.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It was great to see all the artworks from different artists and designers from around the globe click into each other to form a single piece of art. Visually we love the work of Karan Singh, and conceptually the work from Coming Soon.


Blindness, Valentin Leonida (Montréal, Canada)

“In a world of beauty, the bully wants to control everything. He wants to convert each potential victim to a trophy and, for this, he offers generously his venom. In his soul the hate is stronger than love. But he is not pure evil, he is just blind…”

What made you want to get involved with Lee Hirsch’s BULLY Project? I was very glad to work for The BULLY Project and I hope that the message of the movie can be heard… Everybody feels that something is wrong but nobody reacts. The documentary reveals that fact and if people see the movie they will understand that we are all involved in this. Our ignorance generates violence and suffering.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? I am very new to North America. I come from a different culture—more precisely from Romania—and I remember clearly the years of childhood when the violence experienced by young people was something “normal.” Like a path of initiation. After all, the entire population was under the pressure of a Communist regime and children are the last link in this absurd chain. Fear became a very effective tool to cut any open wings. I saw how parents accepted the wounds of their children because they all believe that this is a growing process. So everyone had clipped wings. Over the long term it creates a society based on pain and fear.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? It’s a beginning. We still live in a time of madness. It’s unacceptable to have fights and conflicts in a world with such a high level of cultural and technological achievement. I dream that one day the walls of great cities will become open pages of culture and enlightenment. We must accept that the only tool to fight against violence is culture—an active culture. Because they have the power, large companies should promote ideas not products. I hope that this project will touch hearts and begin to change the collective mentality.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? Like a bee contemplating a honeycomb. I enjoy the idea of synchronicity in art whereby artists keep their personal vision and sensibility. Each piece is interesting. It’s hard to choose one because the mediums are very different (photography, installation, animation, 3D); the most important thing is that we now have a participatory art mosaic.


Social Racism, Mark Gmehling (Dortmund, Germany)

“Bullying is a variant of racism based on social status driven by group dynamics. The most uneducated are leading a mob of labile followers terrorizing persons not fitting their frame.”

What made you want to get involved with Lee Hirsch’s BULLY Project? My own experiences in school. I wasn’t punished physically but I remember the strange group dynamics that were tolerated or perceived as cool. You ask yourself if you want to confront a majority and socialize with the victims because it feels right, but you’re unconfident yourself. Simply: It’s important to talk about bullying.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? In my case it was more a general understanding of the situation that I wanted to visualize. Bullying is an awful social dynamic we all know on the big scale. The biggest problem is that the terrorized kids get tired of living,  too young to understand that their fate is caused by the missing courage and/or bad breeding of the mob.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  That the visual activists get the needed attention and recognition to keep rolling.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It felt good being able to contribute to this important subject because I’m sure it helps and encourages people (and kids) to support each other more. Conceptually I really like the work of Amr Elshamy, that depicts the challenge of the children who have to face their fears again every single day. I want to whisper, “Stay brave, stay strong. You are not alone.” as Alberto Seveso said in his great work.


Dark & Light, Gastón Pacheco (Mendoza, Argentina)

“The main concept of my piece is Contrast; a lighter and friendly area where coexistence, empathy, harmony, and color stand over broken, fragile and crushed symbolic elements dispersed in darkness.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Since the moment I was contacted to get involved with The BULLY Project, it seemed very interesting to me. I got really excited with the idea of a collective contribution to a noble cause, and of many points of view captured in a single work.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? What I expressed is not from a specific memory, although it was created with the load not only of having suffered it partially when I was in secondary school, but also of being witness to so many other people suffering it.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  I think the most important is to expand the consciousness about the influence of bullying in our lives. It shapes our lives, so it shouldn’t be ignored.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? The mosaic radiates effort, dedication, and compromise toward the subject. Even so, what I liked the most was to see the way in which many people joined The BULLY Project Mural after the mosaic was finished… contributing to the cause.  One of the works that impacted me is Mike Terpstra’s The Bus Stop and his memories of bullying someone else. It made me think a lot of how unconscious we are to the acts we carry out in different stages of our lives; we often don’t know why we do what we do. I think that the awareness needs to take into account both parts equally—the bullied and the bully—because both are part of the problem.


All Sorts, Karan Singh (New York, New York)

“My response is based on the notion of acceptance and celebrating differences. My goal was to use differing patterns and colors on confectionery, an inseparable part of childhood, as a visual metaphor.”

What made you want to get involved with Lee Hirsch’s BULLY Project? I admire that the documentary draws long overdue attention to an often underestimated and unaddressed aspect of growing up.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Though I definitely experienced my fair share of bullying, my approach was more about embracing the positive impact of the documentary. I liked the idea of acceptance and embracing differences… and it’s what I hoped to convey in my tile.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I’d hope that as a result there’s more of an acknowledgment and dialogue on the issue that, ideally, would result in less of a stigma in speaking up.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I was pretty stoked and I think the idea of a mosaic aligns well with BULLY‘s message. There’s something powerful and empowering about working collaboratively to make something big.


Helping Hands, Jim Van Raemdonck, Coming Soon (Wetteren, Belgium)

“Protect something precious. Helping hands viewed almost as a statue trying to help. White is the colour of hope and symbolizes that we all have to work together to solve the problem of bullying.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Adobe asked us if we would be interested in creating some artwork. Bullies don’t realise that what they do when they’re kids can influence someone for life. It’s a serious problem for the victims and this project brings it into the spotlight in a way that makes it difficult to ignore.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? We saw it more like a symbol, a sign that we all have to work together to protect those who are bullied. The hands protect something precious, something golden.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? That it’s a sign. That now is the time for things to change.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It’s a really nice concept. It’s surprising that this piece is made by different artists all over the world who never met each other and never saw the other pieces… yet when you put it together, it tells a powerful story.


Tell, Gregory Barbot (Nantes, France)

“The word “Tell,” composed of bubbly letters stands out from the word “Hell,” composed of graffiti letters. The use of speech can break down the cycle of violence and its dramatic consequences.”

What made you want to get involved with Lee Hirsch’s BULLY Project? When Adobe asked me to create an artwork on the theme of bullying I hadn’t heard about The BULLY Project in France. But when I looked at the trailer, I found it really important to get involved because bullying is unfortunately an international issue.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Although I witnessed bullying during my childhood, my art isn’t based on a personal experience, but I’m a father now and I worry about it. As Lee Hirsch demonstrated during his Adobe MAX keynote, it’s a subject that should concern everyone.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I hope that we will help to spread the message all over the world. Solidarity and caring for each other is the basis of humanity. This problem is universal and we have to avoid tragedies among us, especially when children are involved.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I really like the final art. It shows the depth of the subject how it affects every artist differently. Every piece is different (concept, medium, and graphic treatment); despite that, the work as a whole shows a strong unity.


Taijitu, Yovcho Gorchev (Mendoza, Argentina)

“A portrait of an innocent fictional character, captured in a dreamlike state. Her face, illuminated by the physically burned area, serves as a visual metaphor for the willpower to erase and oppose negative memories and actions; to find the strength and courage in one’s own inner self.”


Alex, Alberto Seveso (Bristol, United Kingdom)

From Lucius Annaeus Seneca’s Of a Happy Life, Book XXVII: “I offer myself to all attacks, like some lonely rock in a shallow sea, which the waves never cease to beat upon from whatever quarter they may come, but which they cannot thereby move from its place nor yet wear away, for however many years they may unceasingly dash against it. Bound upon me, rush upon me, I will overcome you by enduring your onset: whatever strikes against that which is firm and unconquerable merely injures itself by its own violence.”


Into Ashes, Flora Borsi (Budapest, Hungary)

“Inspired by my childhood, I wanted to do something dramatic… This photo-manipulation depicts the essence of the destructive nature of verbal aggression.”

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From Design to Code, in A Snap, with Creative Cloud Extract

With the release of the Creative Cloud Extract, Adobe has made it easier to go from Adobe Photoshop CC design to code. In the past, this workflow often included a tedious process of creating a specification, style guide or red lines for a design so that a developer could more easily translate it into code. Extract provides solutions for getting the style information out of a design in just a few clicks. This information includes positioning of elements, sizes, colors, fonts and gradients. We have also streamlined the process of exporting assets out of Photoshop CC.

What’s new for designers and developers:

Extract Assets in Photoshop CC

With the October update of Photoshop CC comes a new feature called “Extract Assets” that allows designers to quickly extract image assets from layers for multiple screens. You might be familiar with using slices to get images out from Photoshop CC, or repetitively having to “Save for Web” for each image you need. With Extract, you can manage all assets for web and mobile designs, in one dialog. It will save you so much time: Just select all the layers you want to export and choose the “Extract Assets” menu item.


From the Extract Assets dialog where you specify formats to output (PNG, JPG, GIF or SVG), you can also view a preview of the image to be created, setup 1x, 2x or more versions of all image assets, and add or remove layers from which to extract assets. For more information on Extract Assets in Photoshop, visit this CC Learn tutorial.


Extract in Creative Cloud Assets

If you store PSDs in Creative Cloud, you get access to so much more useful web information. The Extract view of your PSD in Creative Cloud gives you access to the following information:

  • The layer hierarchy along with the ability to toggle layers on and off
  • CSS styles for layers
  • A style guide of colors and fonts used in the design
  • Position and size of elements in the design
  • The ability to extract assets to PNG, JPG or SVG

From Creative Cloud Assets, this PSD can also be shared with anyone. Using the public URL, the recipient can use Extract in Creative Cloud Assets in their browser to get all of the same useful information to translate this design into code.


Extract in Dreamweaver

You can now browse and view your Photoshop CC documents stored in Creative Cloud directly within Adobe Dreamweaver CC, letting you rapidly take your designs to code. Yes, that’s right, you can open a fully-layered PSD in Dreamweaver CC. When a PSD is loaded, you can extract CSS, colors, gradients, fonts, measurements and web-optimized images from your Photoshop layers when building your web projects. This will let you preserve the integrity of the design when bringing it to code, and takes the guesswork out of how that PSD will translate to web.

When a PSD is loaded in Dreamweaver CC, you can fully inspect the CSS pulled from Photoshop CC layers. When you select a layer, you’ll see all the CSS associated with that selection. This is useful for grabbing colors, gradients, border-radius, font styles and more when building the front-end of your website—it’s kind of like Web Inspector for a PSD.

You can also code hint directly into a PSD for full control as you write styles. When writing CSS, contextual code hints are pulled right from your Photoshop CC layers, expediting the time it takes to go from comp to code. For more information on Extract in Dreamweaver CC, visit this CC Learn article.


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