Twenty-five years after Adobe Originals were introduced, they’re still setting the standard for typographic excellence.
In 1989 Adobe Garamond and Utopia, the first type designs from Adobe, were released and the Adobe Originals program was born. With Utopia, an original design, and Adobe Garamond, a historic revival that captured the essence of its models while offering all the advantages of contemporary typography, the release signaled to the design and type community that Adobe was serious about typography. Many of the typefaces released over the years have become timeless classics: Myriad, Minion, Trajan, Lithos, and Adobe Caslon are just a few examples that have withstood the test of time and will likely be widely used and respected for many years to come.
To celebrate 25 years of original type design at Adobe, later this month the newly combined Typekit and Adobe Type team will be launching a new blog series that will run throughout the summer. The series will share the history of type design at Adobe; showcase some of Adobe’s typefaces and designers; talk about how new technologies have, in recent years, changed type design at Adobe; and ask designers such as Stephen Coles, Marian Bantjes, and Jessica Hische to share their perspective on Adobe Originals.
But what celebration about type design would be complete without a new typeface? Beginning today, Adobe’s 100th typeface family, Source Serif, is available free as a thank you to our customers. Source Serif, designed as the companion to Adobe’s popular Source Sans typeface, lends itself to extended text on paper and on screen. For desktop and web use through Typekit’s free plan, it’s available to all Creative Cloud members, including trial users.
Read the Typekit blog to Learn more about today’s announcements, how to keep up with this summer’s Adobe Originals series, and where to get Adobe’s new open source typeface. And, to keep up with the upcoming Adobe Originals series, bookmark the RSS feed.
Lucas Doerre, a 20-year-old designer from Hamburg, Germany was recently chosen to take part in Shutterstock’s Designer Passport tutorial series, to unveil the process behind his recent project—Singularity.
Lucas’s broadly-scoped representation of what it means to be human was created in Adobe Photoshop CC, with images from Shutterstock’s library. It defines the evolution of the human spirit, its transformation, evolution and growth. It’s a multi-tiered look at the process of growing into society while also maintaining singleness and individuality.
We asked Lucas to join us at HOW Design Live. He’ll be deconstructing Singularity in the Adobe booth on Wednesday May 14 at 12:30pm. We caught up with him a few days ago to get advance insight into what he’ll be talking about at HOW; read what he has to say about Photoshop CC’s Perspective Warp feature, Shutterstock’s “Find Similar Images” function, and the difficulty of visually defining human adaptability.
How were you selected to be a part of Designer Passport? Philippe Intraligi, design director at Shutterstock, was looking for a German designer for the Passport series. He found me through the Behance network, emailed me, and we chatted on Skype.
Have you ever thought of your digital project Singularity as an installation? Of actually building it? I was thinking of 3D printing it but there were some color issues—and unfortunately I don’t have access to a 3D printer. But it’s given me some ideas for future 3D printing projects that I definitely want to try, especially since Photoshop CC has 3D printing capability now.
Why or how did you choose the materials that the figure is passing through–the wood, the fire, the water? What do they symbolize? What do they mean to you? I chose them randomly, but they are intended to express the different phases and possibilities in a person’s lifetime.
Shutterstock has a huge (35 million+) image library, how did you choose the images in Singularity? I started with keywords that described the visual or the mood I was looking for and made good use of the “Find Similar Images” function.
Was this your first time using Photoshop CC’s Perspective Warp feature? Do you forsee using it in future projects? I had actually been experimenting with it prior to this project. It offers such a range of possibility; there’s so much that can be created with it.
What was the most difficult part of creating this project? The most difficult part was the beginning, I had an extremely detailed idea and was trying to realize it in so many ways but unfortunately no way seemed the “right” way. After some tries I got this idea to divide the whole image into sections. It became the foundation for the final artwork.
When you began documenting your process for Shutterstock did you see things in Singularity that you wish you’d done differently? Actually no. After so many attempts at starting this project I finally had a composition and a look that I really liked.
Have you experimented with other apps in Creative Cloud? Has having access to a variety of apps in Creative Cloud allowed you to experiment more? I’m loving the Typekit integration; it allows me to search new fonts in a extremely convenient way. And the ability to sync all my work to Behance and to have access to all my files in Creative Cloud are also very helpful. I’ve also started using Adobe Illustrator CC; the features enable the creation of really interesting stuff.
We know project was created with Photoshop CC, but if you could use just one Creative Cloud application, which would it be? Why? It would be Photoshop CC. I love it. Some of my first works were created with Photoshop. It allows me to recreate and modify my images, type, whatever. And that’s what I’m doing… creating and modifying my ideas and visions. On a computer.
An ambitious content delivery goal will be met with a workflow featuring Adobe Premiere Pro CC.
Pulling off the broadcast of the largest sports show on earth, spanning nearly a month’s worth of content, is no small task. HBS, the dedicated host broadcaster for one of the largest sporting events in the world, has contracted EVS and MoovIT. EVS will provide for the central Media Asset Exchange Server located at the International Broadcast Center (IBC) and all editing workstation will be supplied by MoovIT. Central to the editing workflow is Premiere Pro CC, which will help editors quickly turn around content for distribution to multilateral production facilities and Media Rights Licensees (known as MRLs).
The central media server is the hub for the production operation during the competition. All material generated by HBS will be uploaded and logged onto the server and users connected to the system will be able to search and browse via dedicated browsing stations and transfer content into their system for unilateral programming requirements. All multilateral editing workstations required for post-production and multimedia will also be connected with the large SAN storage as part of the central server based on EVS technology.
MoovIT was brought on board to provide the 54 workstations with Premiere Pro CC for editing live content and creating features, promos, and all other components required for multimedia production. This new workflow will enable editors to turn content around more quickly than ever before. The central media server, acting as a shared storage, integrates with Premiere Pro CC by using the EVS IPLink interface.
Editors using Premiere Pro CC and the IPLink interface will be able to directly connect to the server, making it easy to create final edits of updates, promos, and multimedia packages. In addition, external media from various sources will come in from the ENG crews and be combined on the workstations without any transcoding to quickly produce the content.
For multimedia clients a wide selection of Video on Demand (VOD) clips will be provided by the host broadcaster. These clips need to be provided quickly so they can be immediately featured on websites, through mobile subscription sites, or by sponsors and broadcasters. After an event happens, such as a goal or a red card, a clip should be available online within minutes and available in various languages.
MoovIT and EVS will both help HBS to meet this enterprising goal so that fans in multiple countries will be able to experience the action in near real-time. With a customized workflow that includes Premiere Pro CC, HBS, through this service, will keep fans around the world on the edge of their seats as they follow the action and relive key moments from their favorite teams and players.
A web services firm enhances design production, efficiency, and client service, while reducing licensing costs by more than 20% with Adobe Creative Cloud for teams.
Maximizing creativity and efficiency, minimizing overhead
South Korea-based Gabia Inc. specializes in Internet infrastructure services. The company provides its clients with everything from domain name registration and web hosting solutions to website design, image and video hosting, and e-learning solutions.
Marketing all of these services requires large volumes of brochures, sell sheets, event signage, customer case studies, and other materials with targeted messaging and eye-catching, effective design. As a vital part of the company’s operations, the design team’s task is twofold: On a day-to-day basis, they generate marketing materials that assist the company in winning new business; and focus on keeping existing customers loyal and up-to-date with new products and services.
“Effective, vibrant design is a part of everything we do to support our clients, our marketing and sales, and our overall brand,” says Kwangyoon Won, director of Gabia’s sales division. “We make it a priority to create innovative products and to support them in the marketplace by rigorously and continuously up-leveling our design and creative capabilities.”
Empowering creative teams
Because Gabia has an inherent and constant need to design and produce creative content, such as e-commerce sites for clients, as efficiently as possible, it’s a priority to equip teams with the right creative tools for the job. For years, Gabia has used Adobe creative software to enable a skilled staff of designers to maintain high standards for generating beautiful, professional materials—both to market their own products and create websites for clients. Adobe creative software has been the standard at the company due to its flexibility, power, integration, and rich feature sets.
As Gabia’s growth and innovation continued, the importance of staying current on the latest version of software and services became critical for delivering large amounts of design work. For the IT team, streamlining the management associated with software licensing and deployment would help eliminate the time-consuming task of managing individual license numbers and installing the necessary programs on the team’s desktops.
“Adobe creative tools are at the heart of our operation,” says Won. “Because we are efficiency-driven and Adobe software is so central to our business, we began looking at the different licensing models and options for the software.”
Collaborating in the cloud
After evaluating new licensing options from Adobe that would provide teams with the best solutions
while increasing efficiencies, Gabia chose Creative Cloud for teams. “With Creative Cloud for teams, our designers can download the software they need to either create marketing materials or design websites for clients. Constant updates are provided by Adobe so everyone can stay on the latest versions of software with ease,” says Won. “Creative Cloud for teams also offers 100GB of storage, so team members can exchange ideas on designs, regardless of location. Employees no longer need to email files or send drives back and forth because the current files are available to everyone on the team in the cloud.”
Creative Cloud for teams has streamlined collaboration and file sharing and virtually eliminated communication delays. The workflow has been greatly improved because fewer handoffs are required to accomplish tasks and individuals can accomplish more on their own with access to all of the intuitive new software available in Creative Cloud for teams.
Gabia can execute projects faster because contributors can simultaneously share the same files in Adobe Photoshop CC, Dreamweaver CC, or Illustrator CC, as they are working on them in the cloud. Each time layouts, typography, or images are revised, everyone on the team is apprised and working with the same versions of files.
More creative control, less coding
Speed and efficiency is necessary in streamlining production of marketing materials for Gabia products, but it is equally essential when accommodating client needs for new or revised materials. To meet this need, Gabia was able to try new creative tools available within Creative Cloud for teams (all at no extra charge with a Creative Cloud membership) including new creative tools that weren’t available previously in Creative Suite.
“It’s wonderful to be able to try new software that we probably would not have before,” says Won. “It has given us new creative functionality that is expanding our repertoire and removing some of the limitations of purchasing packaged software.”
Gabia’s designers have adopted Adobe Muse CC and Adobe Edge Tools and Services, both available in Creative Cloud for teams. With Muse CC, graphic designers can stretch their capabilities by publishing websites, that work well on virtually any device, without writing code; with Adobe Edge Animate CC, the team can add interactivity and animation to client websites. Both products extend the capabilities of Gabia’s design teams and accelerate delivery of customer requests for new websites or ongoing updates.
With Creative Cloud for teams, designers can save images directly from a layout for use on the web, or can quickly create responsive websites or animation effects without requiring special code development. “With Creative Cloud for teams, we now can perform small jobs, such as video coding or image resizing, without having to rely on a specialized designer, code developer, or video producer,” says Kim Sooyeon, assistant manager of Gabia’s creative division. “It results in faster turnaround time for our clients and a lot more creative autonomy for everyone.”
Easier on IT, significantly reduced costs
In addition to designers, the IT team is more efficient as well. With Creative Cloud for teams, Gabia can assign licenses to users through email using a web-based console to easily distribute the programs. Designers then download the software they need. An administrator no longer needs to manually check each serial number to install the necessary programs on individual desktops, freeing up IT time to spend on more strategic activities.
Gabia as a whole has also experienced greatly reduced licensing costs. “With Creative Cloud for teams, our licensing costs were cut by more than 20% in comparison to desktop software,” says Won. “At Gabia, we will continue to use Creative Cloud for teams; it’s now a part of our core infrastructure for inventing and delivering new creative businesses and catering faster and better to our clients.
Read the Gabia Inc. case study.
In one week, HOW Design Live—the largest annual gathering of creative professionals anywhere—kicks off. And again, Adobe’s part of it.
The five-day conference provides us a great opportunity to connect with the designers who include our products in their professional toolsets. And this year, now that Creative Cloud has been available for two years, we want to hear what’s working for everyone and what we need to do to exceed everyone’s expectations.
Hang out at our booth
Not only will we give you a T-shirt that professes your profound love of design (opening night Tuesday May 13 8:00pm – 10:00pm) but just for visiting, and letting us scan your badge, you’ll be entered to win a one-year Creative Cloud membership.
There will also be some hands-on fun with the latest in digital drawing technology: Learn how our mobile tools make it easier to incorporate sketching as part of the concept process, enable the capture of ideas and inspiration whenever and wherever they strike, and then make it easy to bring them into your designs.
Want a deeper understanding of the features that have been released to Creative Cloud applications in the past year? We’ll have in-booth theater demos that focus on the new features in Adobe Photoshop CC, Illustrator CC, InDesign CC and Muse CC. And since we also want to hear what you have to say, and to answer all your questions, there will be Ask an Expert stations for print and digital publishing, and web design, along with dedicated stations for learning what’s new in the world of print and web fonts, available from Typekit, and designing for 3D printing with Photoshop CC. And, for fun… Every Creative Cloud question you ask enters you in a drawing (two each day) for a three-month Creative Cloud membership.
Finally, Lucas Doerre, an emerging designer from Germany, will deconstruct Singularity his 3D illustration for the Shutterstock’s Designer Passport series. Hear about his inspiration, Photoshop CC techniques, and get a signed poster of his unique project.
Attend some sessions
We’ve asked Terry White and Brian Wood to come along to teach people about Creative Cloud, how to create websites without writing code, and how to turn Photoshop CC mockups into responsive web design. Get re-inspired, and pick up some new ideas:
Wednesday 7:30–8:30am Responsive website design made easy. With Brian Wood. Improve communication with your developer and take advantage of the latest web trends. Learn how to turn Photoshop mockups into responsive layouts using simple tips and techniques for Adobe Photoshop CC and Adobe Edge CC Tools and Services.
Wednesday 12:45–1:45pm Adobe Creative Cloud Time-saving Tips. With Terry White. Save hours of design time with tips for Adobe Photoshop CC, Illustrator CC, and InDesign CC.
Two more things…
Future Media Concepts (FMC) will be leading Adobe HOW2 Trainings throughout HOW Design Live. Check the schedule.
Pixels of Fury. It wouldn’t be a design conference without Shutterstock’s real-time on-the-fly design showdown (with Creative Cloud applications). Be there on Wednesday after sessions end.
We’ve got a lot going on. So register. Come be a part of the conference for creative professionals: Five days of design; one extraordinary experience. #AdobeHOW
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
We’ve had a busy spring at Typekit; here’s a wrap-up of what’s new from the team:
Portfolio Plans with single-app Creative Cloud subscriptions
Many of you have decided that a single-app plan suits your needs better than the full Creative Cloud membership package, and that’s great—we don’t want that decision to limit your ability to use fonts from Typekit. So, Typekit’s excellent Portfolio Plan is now included with your single-app subscriptions, too; in our April 8 blog post we explain a few details about eligibility and getting started. We’re delighted to introduce even more of you to some great type!
Customers with free plans can now sync desktop fonts
We’ve made a lot of noise about our feature for syncing Typekit fonts to your desktop, because, well, we’re pretty proud of it. We also feel that it’s become an essential part of the Creative Cloud service, and as such, want to give people the same risk-free chance to try it out before committing to a paid plan on Creative Cloud. So we’ve put together a selection of fonts that will be available for anyone to sync to their desktop—regardless of plan level. We took our time pulling this collection together; it includes winners like League Gothic and Chaparral, and will give you the ability to fully explore what font syncing can do.
The Typekit blog is brighter and broader
We’ve refreshed the look of our blog, and are also taking the occasion to publicly welcome our new team members from the Adobe Type and CoreType groups. We’re looking forward to hearing these new voices in future posts, with their expert-level commentary on topics like type technology and typeface design.
Stay sharp with Typekit Practice
We’ve introduced a new resource to help people learn about typography. We call it Typekit Practice. We’ve just gotten started with a couple of lessons, but we’re excited to add to it and see how people use it. Have a look, and let us know what you’d like to learn about next.
New fonts for desktop sync
HOW Design Live 2014: Five days of design; one extraordinary experience. Beginning with Malcolm Gladwell. Ending with Stefan Sagmeister. Adobe all the days in between.
Malcolm Gladwell kicks things off
In a conversation with DeeDee Gordon, Malcolm Gladwell will kick-off HOW Design Live and set the tone for the conference. Drawing on history, politics and business, both past and present, his recent book David and Goliath: Underdogs, Misfits, and the Art of Battling Giants uncovers the forces that shape success. Its message—use what you’ve got—could be considered a rallying cry for designers to focus their energy, insight, and creativity in the face of bad briefs, difficult clients and creative blocks. Malcolm Gladwell takes the stage Monday May 12 at 4:15PM.
Stefan Sagmeister wraps it up
Designer Stefan Sagmeister is devoting his closing keynote to topic of Design and Happiness. Sagmeister, founded his New York studio in 1993; when not designing, or teaching at New York’s School of Visual Arts, Sagmeister devotes time to understanding what makes his work successful and worthwhile. His work sparks curiosity, affects change and alters opinions and his insight into what it takes to be fulfilled, satisfied and, yes, “happy,” and to do work that’s meaningful and impactful provides a prompt to take breaks when necessary, generate ideas when there are no deadlines, and gather inspiration from every source. Don’t miss his talk Friday May 16 at 11:00AM.
Adobe rounds things out
Adobe will be in the middle of things, throughout the conference, with a booth, product experts, and evangelist-led sessions. We’ll be teaching attendees about Creative Cloud, highlighting the newest features of our design tools, answering any and all product questions, and giving away prizes and chances to win Creative Cloud memberships. Most importantly, though, we’ll be showing how the tools in Creative Cloud can alter creative approaches, processes, and ultimately creative output.
Everyone knows it takes more than three to create a conference: A memorable event requires educational sessions and inspiring speakers and new insights into tools and techniques. HOW Design Live always has it all. So join us. Five days of design; one extraordinary experience. #AdobeHOW
Seamless visual effects for The Wolf of Wall Street created with help from Adobe After Effects CC and Adobe Photoshop CC.
Paul and Christina Graff of Crazy Horse Effects (CHE) are visual effects aficionados, with projects to their credit such as There Will Be Blood and Life of Pi. They also work with some of the best matte painters and designers in the visual effects industry, and are recognized for their award-winning compositing. Most recently they created the seamless visual effects for The Wolf of Wall Street, directed by Martin Scorsese, with Oscar-winning VFX supervisor Rob Legato overseeing the shots.
Adobe: How did you become involved with The Wolf of Wall Street?
Paul: I actually met Rob at a panel presenting outstanding work in VFX done in After Effects. We went to have a drink afterwards and he asked me about our new office in New York. We had worked on The Aviator and Shutter Island with him and he thought we could help with some of the shots in The Wolf of Wall Street. We were stoked to reunite with Rob, and excited to work on the project—although we joined the team late in the game when most of the effects were already well underway.
Adobe: What type of work did he send your way?
Christina: We didn’t do any of the normal set extension work we usually do. Instead, we focused on a lot of last minute fixes and designed several sequences. We worked on a lot of quirky shots! We contributed to several corporate identity “videos,” a few driving scenes, and a longer sequence with the real Jordan Belford at the end of the movie. Our work is really scattered throughout the movie.
Adobe: What sequences stand out ?
Christina: We had a great scene to work on where Leonardo DiCaprio’s character is dizzy on Quaaludes and stumbles down a staircase at his country club. The actual set had only four steps, but from Leonardo’s Quaalude-induced point of view the staircase appeared much longer. Rob had a version of the same staircase built that was much longer surrounded by green screens. This set was a bit bouncy and needed attention. Our job was to connect the extension stairs with the original set environment and make the staircase appear sturdier by rebuilding them digitally and blending everything together. We rebuilt the scene using a 2.5D set up in After Effects CC. We also extended the country club in the establishing shot that looks up to the top of the stairs. In the end, it looked believable, as if it really happened. On other projects, we’re also using a lot of the 3D capabilities of CINEMA 4D—its integration with After Effects CC is allowing us to do 3D work with much greater speed and ease.
Adobe: What were some of the biggest challenges you faced?
Paul: There is a corporate identity video playing at the beginning of the film and we had to recreate all of the stock exchange footage in that scene from scratch. We had some NTSC material that was very low quality and we basically needed to recreate the shots avoiding any copyright issues. Rob shot extras on green screen and we did our own mini VFX shoot in our New York office and used Adobe Photoshop CC to create matte paintings for the background. We only had about two days to do it and it was very challenging… but creating environments is one of our strengths.
Adobe: Were any particular features of After Effects CC helpful?
Paul: For one shot on a yacht, we had to recreate the floor and the reflections on the floor, including replacing a diamond-shaped logo. The shots we had to work with were created using a Steadicam stabilizer, but they weren’t quite steady enough. Based on Rob’s suggestion, we used the Warp Stabilizer in After Effects CC, and were impressed with the results. We’ve since started using Warp Stabilizer on more shots.
Also, the dwarf toss scene was shot spherical on Alexa, so we had to match it to the rest of the sequence that was shot on film with anamorphic lenses. It was quite tricky to get the texture of the files to look close to identical; we didn’t use plugins, we just relied on curves, blurs, and displacement maps in After Effects CC to achieve the desired look.
Adobe: What was it like coming in so late on a project? How did you succeed?
Paul: We came in late, but all of our work was high quality with a fast turnaround so Rob kept giving us bigger and bigger pieces of the pie. The Wolf of Wall Street included some content that was considered inappropriate by the Motion Picture Association of America. In the last phase of post production, Rob asked us to go on site at Deluxe Labs in New York, where the final DI color corrections were being done, to help them with some fixes to make the film more commercially appropriate. I went to Rob’s office at Deluxe and set up an iMac with After Effects on it and started working. In one day we did sixteen retiming shots and one scene where we placed a chair in a scene to block some of the content. For me, it’s all about the finishing. You really show your colors at the end of a movie, and anything that came up last minute we knocked out.
Adobe: What was the benefit of working with Creative Cloud?
Christina: Creative Cloud lets us be super mobile. We can do what we do from anywhere—in the field, on site, or in the office.
Adobe: What was it like working with Rob Legato again?
Christina: He’s a genius, one of those people who has creative vision but also knows technology. He has fantastic concepts and vivid mental images, but also gives his VFX artists the freedom to devise their own ways of doing things.
Starting today, all individual Creative Cloud members at all plan levels—including free trial memberships—will be able to sync fonts to their desktop applications. That means more than 130 great fonts to use in your favorite desktop apps, including Creative Cloud trial apps, older versions of the Creative Suite, and even non-Adobe applications.
Learn more about this collection of free desktop fonts and how to get started with Typekit on the Typekit blog.