There’s been so much excitement for the new release of Creative Cloud—the customer response has been simply awesome.
Since introducing it on June 18, we’ve received a lot of requests for the latest Creative Cloud logo. So our Adobe Studio team got to work and made a few versions that can be downloaded and used as wallpaper, an avatar, or in social media profiles.
Over the last few weeks we’ve been slowly revealing the tiles of our Creative Cloud Mosaic. This week, at the #CCNext launch, we unveiled the completed piece; it’s now highlighted both on Behance and on a number of Adobe’s Facebook pages.
We’re really happy with the result and hope you love it as much as we do. We love collaborating with artists in different disciplines from around the world and seeing what they can do when given a challenge.
We’ve done a number of interpretations of our brand over the past several years—beginning with the “Adobe &” project, and several Adobe Remix projects—and the CC Mosaic is another milestone of the type of work we want to do with our creative community as we continue forward.
It’s important to us that the community feels they have co-ownership of the Adobe brand. Working on collaborative projects like this is the perfect way to show off the promise of the Creative Cloud—it allows us to celebrate individual creativity and the infinite possibilities of the creative disciplines.
Want to get involved in one of our future projects? Connect with us on Behance and drop us a note.
Adobe Muse CC has come a long way in a short amount of time. Introduced just two years ago, it’s now a native app and a powerful member of Creative Cloud. Check out the features that became available to Creative Cloud members on June 18.
Many graphic designers have the opportunity to design for the web, but they may not have had the time or the desire to learn how to code. Adobe Muse CC enables designers to create sites using rich imagery, engaging interactivity (slideshows and scroll effects), and hundreds of web fonts served by Adobe Typekit. Adobe Muse CC also makes short work of creating mobile versions of websites, collecting customer data using contact forms, and connecting sites to social media like Facebook and Twitter. Sites published with Adobe Muse also meet the latest web standards—they load quickly, function across platforms and popular web browsers, and are search engine optimized.
- Adobe Muse is now a native app, like Adobe Photoshop CC, Illustrator CC, and InDesign CC, and requires 64-bit hardware, Windows 7+ or Mac OS 10.7+ to access the latest update. Hear from Adobe Muse partner Steve Harris of Muse-Themes about what the native build means for you.
- Adobe Muse now supports serial number installs, and no longer requires an Adobe ID or named user, ideal for Enterprise and Education deployments.
- Creative Cloud Add-ons mean getting a jumpstart on site designs with downloadable starter files, new widgets, and pre-designed elements—buttons and menus—directly from the Library panel. Get started.
- For the 2014 release of Creative Cloud, Adobe Muse was rebuilt to provide a design experience even more similar to that of InDesign and Illustrator; it takes advantage of the latest web browser updates, operating system updates such as Mavericks OS X, plus new hardware like high-resolution Retina displays.
- Adobe Muse will now deliver premium learning content in-app from Adobe and some of the world’s best trainers, with fresh tutorials delivered regularly.
- The Adobe Muse CC workspace can be customized with a dark or light interface, undocked panels, side-by-side windows and more. Learn how.
- Say goodbye to spending time updating live websites. In-browser Editing now works with multiple hosting providers. Get the details.
Get the details about what’s new in this release.
Already a Creative Cloud member? This update is available now.
Not a Creative Cloud member yet? Don’t miss out; download the free 30-day Muse CC trial.
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.
This Ask a Video Pro was recorded February 6, 2014
What used to be done with chemicals and film in a lab can now be done digitally on a laptop. Today’s filmmakers need tools and techniques that allow them to shape their images with artistry and precision. Will Read’s first film project was spoiled by bad telecine work and even worse color grading. He vowed then and there to never again let someone else ruin his images. Today he’s in high demand as a can-do filmmaker with a reputation for delivering stunning image quality.
This presentation covers:
- Moving beyond online/offline to simplify your pipeline
- Best practices for organizing a video project
- Using Direct Link in an integrated editing/grading workflow
- An introduction to the SpeedGrade CC color tools
Watch the recorded session.
About the presenter
William H.W. Read is a filmmaker and colorist based in London, England, and works in commercials, TV and film. His work can be seen at www.whwread.com.
This Ask a Video Pro was recorded February 27, 2014
If you’re building or upgrading a system for editing or motion graphics work with Adobe After Effects CC and Premiere Pro CC, this online seminar will help you understand your options, and get the best performance out of your software.
The session covers:
- How CPU, GPU, and RAM affect performance
- The types of graphics cards you should you be looking at
- The platform-specific considerations you should be aware of
- Running these Adobe applications on the new Mac Pro
About the presenters
Todd Kopriva is a quality engineer on the After Effects CC team and Steve Hoeg is the engineering manager on the Premiere Pro CC team.
One of the benefits of social media is that it allows us to keep up with what our friends, colleagues, and mentors are working on. But, one of the consequences of having constant access to an almost unlimited stream of inspiration is that it can make us feel self-conscious about our own productivity or creative ambitions.
Whether it’s a series of illustrations or photographs, a mural, a short film, or a new blog or podcast, just about everyone I know has had trouble getting started on some kind of creative project, or has left one unfinished.
There are an infinite number of reasons for putting the things we’re passionate about on hold—from a lack of time and energy, to insecurity and fear of failure—but there’s one thing that seems, universally, to help get people going: encouragement.
At Adobe, we build the tools and services that help creatives express themselves. But having access to the latest tools and technology isn’t always the answer; new features and more intelligent algorithms are great, but sometimes what we need, more than anything else, is to know that someone is in our corner, with all the reasons why we can do something instead of all the reasons why we can’t. And that’s exactly what we’re going to do:
A group of us at Adobe got together and decided that one of the most meaningful (and, quite frankly, fun) things we could do for our community is help as many of you as possible either start a creative project you’re passionate about, or finish a project that you’ve already started. If that describes you or someone you know, send your name, mailing address (anywhere in the world), and a description of the project to email@example.com. Let us know what your challenges are, and what obstacles are getting in your way. Obviously we can’t work miracles, but what we can do is send you a little encouragement, and let you know that there are people at the finish line cheering you on.
Adobe is celebrating creativity by bringing together artists from around the world to help us co-create our new Creative Cloud identity. The idea is simple: we’ve invited 48 designers and artists from around the world to contribute “tiles” of their own creative expression which we’ve assembled into the world’s most creative digital mosaic. This mosaic will actually serve as our Creative Cloud identity to be released on June 18.
If you haven’t already, please visit our Behance page and watch as we build out the mosaic one tile at a time. You can also learn about each artist and visit their full online portfolios.
And don’t miss the final, big reveal as we unveil the finished mosaic during our live online event on June 18; register for it today to see firsthand everything new that’s coming to Creative Cloud.
Leah Earle and Phanta Media deliver brilliant work with Adobe Creative Cloud and Adobe Premiere Pro CC.
Leah Earle loves her job. As a video editor for Phanta Media in Toronto, she looks forward to going to work. Founded by Mark Drager in 2006, Phanta Media is a rising star in the corporate video universe, known for delivering great work on real-world timelines. Earle describes the ten-person company as cozy but rapidly growing, with a staff comprising business development representatives, producers, motion graphics, and video editors. Earle often works late and sometimes on weekends—and can’t get enough of it.
Adobe: What makes Phanta Media unique compared to other corporate video production companies?
Earle: We’re extremely passionate, even if we’re working on what some might consider a mundane corporate training video. We work hard and collaborate as a team. No one here is interested in being second best. This can lead to frustration, because I may get criticism from eight other people on my one great idea for an edit. But in the end it gives the client the best possible product. We’re a small company, and every client has a personal and highly creative experience with us. We “bring it,” every time to create beautiful projects on tight deadlines.
Adobe: What’s it like working with Mark Drager?
Earle: Mark is the reason I took this job and also the reason I’m still here. He’s 31-years-old and started this company when he was only 23. He had the confidence to know that he could make better videos than the next guy, and his enthusiasm is infectious; it motivates us to push ourselves. He promises clients that we will blow them away with our skills—and we always do.
Adobe: How did you get into this line of work?
Earle: I always wanted to do something technical, but I went to school for English literature because I was uncertain about what path to take. A few people guided me toward journalism. That led me to a video journalism postgraduate program at Conestoga College. I really liked shooting, and I didn’t mind being on camera or reading a teleprompter, but what I loved right away was editing.
Adobe: When did you start using Adobe Premiere Pro CC?
Earle: I had never used Premiere Pro before I came to Phanta Media. Previously, Phanta Media was a Final Cut Pro shop, but like many in the industry, the company started looking for other options as soon as Final Cut Pro X came out. Premiere Pro is very “editor-friendly,” and that’s been a huge plus in growing my career.
Adobe: How would you compare Premiere Pro CC to other editing software?
Earle: For starters, you don’t have to log and capture footage. The scrubbing and playback in Premiere Pro is much faster than Final Cut, and not having to render something just to to watch it is a dream. I find the program makes it really easy to adjust my shortcuts and organize my workspace and projects. I like being able to save things such as title templates to use throughout projects, because I do a lot of subtitle work. Even the addition of the tiny window at the top left where you can preview your clip when you click once is helpful. I need to sort through mountains of footage fast. I like being able to export using Media Encoder CC as I work, because no one wants to have to stop and wait to export.
Adobe: What else do you use in your pipeline?
Earle: I use Photoshop CC and After Effects CC for most graphics. I can bring graphics files straight into the Premiere Pro CC timeline, without having to export them every time I change the file, which is so great. I can click on something and edit it on the spot, rather than having to look for the file and open it in another program. This saves so much time on projects, especially those with hundreds of After Effects files that you’d normally have to re-time.
I sometimes edit in Adobe Audition CC when I am facing a complex audio problem or when I’m tasked with voiceovers. When I first started I was in charge of setting up new DVD templates and Adobe Encore was so easy to learn and use to burn DVDs. Now, I use Adobe Media Encoder a lot to create files for various media: the Internet, PCs, or DVDs—whatever clients want.
Adobe: What was your experience moving to Adobe Creative Cloud?
Earle: My favorite thing about the switch to Adobe Creative Cloud, was the new finding and re-linking function in Premiere Pro. It’s crucial, because a few of us may be working on the same project and files often reside in different places and get moved around a lot.
All in all, the interfaces, shortcuts, and other commands among Adobe’s creative software apps are so uniform that I grow more familiar with the tools and the workflows every day. This makes me increasingly more efficient and gets rid of that frustrating gap between what the technology can do and what you think it should be able to do. With Creative Cloud, I can take greater advantage of each program’s full potential to realize any creative ideas we dream up.
Mark Drager and Kyle Wilson of Phanta Media recently presented the Ask a Video Pro session How to Build a Successful Corporate Video Business.
We are thrilled to announce a full shelf of new releases at Typekit today. You can now get your hands on new fonts, extended families, and added desktop availability from two longtime Typekit foundry partners: TypeTogether and Rui Abreu. Let’s get to it:
The lovely Essay Text by Stefan Ellmer is a serif text face comprised of an upright and an italic. Drawing from the historical context of the Renaissance, the italic can act as a complement to the upright, or stand on its own as a text face. Both carry a calligraphic slant, more comparable to each other than is typical of this pairing. Don’t miss the stylistic alternates and other typographic and ornamental goodies hidden within. Both styles are available for desktop sync for Creative Cloud subscribers.
Welcome the newest addition to the Abril family: Abril Titling. A well-stocked font family in its own right (eight styles in four different widths), the letterforms, contrast, and spacing are revisions of Abril Text—sturdier than Abril Display, while more suitable than Abril Text for larger sizes, and more varied in available widths. All 32 styles are available for desktop sync!
Also new to Typekit is Signo from Rui Abreu. Signo’s reverse contrast letterforms (the horizontal strokes are heavier than the vertical strokes, contrary to most type designs) stand out when set in headlines and in editorial environments. The heavier horizontals also help the visual continuity of characters in lines of text. Aided by a high x-height, open counters, and TrueType hinting for some older Windows browsers, Signo also performs well in body copy. Select styles are available for desktop sync.
Rui’s warm, inviting Grafolita Script has an easy fluidity achieved by careful design of glyph-connecting finials and contextual alternates where connections make less sense. Grafolita Script comes in three weights, with alternate superscript underlines and special ligatures for “and” and “or” to lend it a touch of sign-painted whimsy. Grafolita Script Medium is available for desktop sync.
Azo Sans Uber is the ultra heavy display weight of Rui’s Azo Sans (shown in the last line of the sample above). It’s packed with personality, with contextual alternates like the R and Ys above that give the chunky sans serif an air of playfulness. Some styles of Azo Sans are also now available for desktop sync.
Font families mentioned in this post, and their availability for web and desktop at Typekit:
This post ran on the Typekit blog on Thursday May 29, 2014.