Adobe 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:
“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.
“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.
“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.
“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.
“‘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.
“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.
“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.
“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.
“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.
“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.
“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.
“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.
“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.
“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.”
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.”
“Inspired by my childhood, I wanted to do something dramatic… This photo-manipulation depicts the essence of the destructive nature of verbal aggression.”
Yesterday, in Los Angeles, during the Adobe MAX 2014 launch keynote we announced the best versions yet of our Creative Cloud desktop apps and services and new mobile apps… making your creative workflow across apps and devices easier than ever.
We also introduced Creative Cloud Libraries, a design system that provides seamless access to your creative assets across Creative Cloud’s desktop tools and its companion mobile apps and services (such as Creative Cloud Market).
Creative Cloud Libraries uses your Creative Profile to connect your favorite desktop tools, mobile apps and services to each other. Unlocked by your Adobe ID, your Creative Profile is a personalized hub that connects your favorite tools and content in one fluid creative experience.
Great content that moves and inspires is built on a foundation of creative ingredients (assets like colors, text styles, logos, icons, patterns, brushes and images) that you reuse and remix. Today, these ingredients are stored all over the place: on a laptop, on a file server, in cloud storage, or scribbled on a notepad or whiteboard. Finding them when you need them is always more difficult than it should be.
There’s something we learned from a professional chef’s kitchen—where all the ingredients necessary to prepare menu items are laid out and ready to use. In a pro kitchen, chefs prepare dishes quickly and efficiently without pausing to seek out an important ingredient right in the middle of the preparation. This setup even has a fancy name, “mise en place.’
Creative Cloud Libraries is like managing your own professional kitchen, helping you organize and prepare creative ingredients (assets) so that they are where you need them when you need them—in your apps, on the desktop, on your mobile devices, and on the web.
What can you put in your library? Lots of things!
- Colors and Color Themes: Use Adobe Photoshop CC and Illustrator CC, or the Adobe Color CC app on your iPhone to capture your favorite colors. With Color CC you can even capture a set of five colors as a theme.
- Text Styles: In Photoshop and Illustrator CC collect and use all the text settings, from the basics (font size and font family) to the more advanced (OpenType discretionary ligatures). It’s a great way to use consistent text styling across applications which has, for some time, been a frequently requested feature from designers.
- Layer Styles: In Photoshop CC, you can use layer styles to define graphic effects such as drop shadows, glows, bevels, strokes, and fills. And now they can be stored in your Creative Cloud Libraries and reused in other documents.
- Brushes: With the new Adobe Brush CC app we make it incredibly easy to create new brushes right on your iPhone, which you can then use in Photoshop CC, Illustrator CC or on a tablet with Adobe Illustrator Draw. You can also find some beautiful brushes created by members of the Behance community. A part of your Creative Cloud membership, we’ve made a few available in Creative Cloud Market.
- Graphics: There are all sorts of graphic elements you can store in your Creative Cloud Libraries—icons, logos, photos, textures, patterns. Some may be bitmaps, others vector-based; regardless of their original format, you can use them anywhere you can use graphics, and they will be automatically translated to the right format as needed.
Stay in sync
Creative Cloud Libraries are stored on your local device and automatically sync (the power of your Creative Profile) whenever you’re online. While you’re offline you can continue to use, add, remove or modify assets, and the next time you’re connected all of your changes will get synchronized automatically and any necessary updates merged to your local version.
There are many ways to use Creative Cloud Libraries, and you can create as many Creative Cloud Libraries as you’d like. Some suggestions:
- Collect the “go to” assets that you like to reuse across projects
- Make a separate library for each project you’re working on, and group all related assets
- Keep all of your branded assets in one library—like having your own brand guidelines with ready-to-use assets
- Create a “kit” of user interface elements to quickly whip out screen prototypes
- Keep a set of ingredients in a library to use for a campaign you’re working on
- Gather a set of inspirational assets to build a virtual “mood board” for your next project
We’re sure you’ll come up with more ways to use them. Let us know in the comments below how you plan to use Libraries.
Inspiration can strike anytime, anywhere. It doesn’t wait until you are conveniently sitting at your desk. With our new mobile apps, Adobe Brush CC, Adobe Shape CC and Adobe Color CC you can grab inspiration with your mobile device no matter where you are. Using your device’s camera, turn what you see around you into color themes with Adobe Color CC, create shapes and vector objects with Adobe Shape CC, and unique brushes with Adobe Brush CC.
Once stored in one of your Creative Cloud Libraries, you can use these assets in other mobile apps—such as Adobe Illustrator Draw or Adobe Photoshop Sketch, and you can use in your desktop apps, such as Photoshop CC or Illustrator CC.
To jump start your creativity, we have curated thousands of high-quality assets in Creative Cloud Market. These were created by members of the Behance community, and include useful icons and vector shapes, beautiful patterns, brushes and more. Available from the Creative Cloud desktop app, select any asset as well as the library you want it in, and the asset will appear right where you need it, through your Creative Profile, whether on a desktop or mobile.
Now it’s easy to start a project with your iPhone, continue on your tablet and finish on the desktop. Your creation process is moving effortlessly and fluidly between applications and locations. This is truly connected creativity.
To get started with Creative Cloud Libraries, download our new mobile apps for iOS today from the iTunes App Store. They’re free. Use them on their own or with our completely new Photoshop CC and Illustrator CC, available today as part of your Creative Cloud membership.
And don’t forget, if you’re attending Adobe MAX join us in our session How Creative Ingredients Fuel Creativity and Productivity to learn more about Creative Cloud Libraries.
Just over three months after the major 2014 release of Creative Cloud, we’re delivering another milestone Creative Cloud release at Adobe MAX 2014. A quick run-down of the new and updated Creative Cloud apps, features and services that are available today.
Your Creative Profile connects you to your work
Think you can’t do “real” creative work on your iPhone or iPad? That’s about to change. With this release, our Creative Cloud team is setting out to transform the way you work across desktops and devices.
It all starts with a Creative Profile—your creative identity within Creative Cloud—the heart of this Creative Cloud release. Your Creative Profile connects you to your work, to the assets you create with, and to the communities you care about—wherever you are. Your files, photos, colors, brushes, shapes, fonts, text styles, graphics, and assets from Creative Cloud Market will be at your fingertips because your Creative Profile moves with you. It works across apps and across devices, giving you access to what you need, when you need it, and in the right context.
Meet the mobile app families
In June we brought the power of Adobe Photoshop CC and Illustrator CC to devices with a complementary set of imaging and illustration mobile apps. Not only do these apps break down the silos between desktop and mobile, but they’re fun and easy to use, and provide countless new ways to express your creativity. Today we’re proudly debuting more new apps, as well as updates to all of the apps we introduced in June:
The Illustrator family of apps extends the power of Illustrator CC to mobile devices:
Adobe Illustrator Draw—An all-new app that reinvents the best of Adobe Ideas, letting you work with familiar tools and features in a modern, streamlined interface. Better syncing makes it easier to send drawings to Illustrator CC for refinement.
Adobe Illustrator Line—A major update to the app we first shipped in June; Line sketches can now be sent to Illustrator CC, enabling you to edit original vector paths, and more.
The Photoshop family of apps brings the power of Adobe digital imaging to mobile devices with the full compatibility of Photoshop and Lightroom:
Adobe Photoshop Mix—Now available for both iPhone and iPad, it includes amazing new technology with a cut-out option that automatically creates a selection for the primary element in an image.
Adobe Photoshop Sketch—Draw with new expressive brushes as well as custom brushes, and send sketch artwork to Photoshop as a PSD file, opening the door to deeper integration between Sketch and Photoshop CC.
Lightroom mobile—Builds on the amazing image management and editing capabilities… view comments and favorites in Lightroom mobile that clients, friends, or family leave on the photos you’ve shared online in Lightroom on the web.
The Premiere family now has a mobile app for video editing on the go:
Adobe Premiere Clip—Our first video-editing app brings the power of Adobe Premiere Pro CC to mobile. It works on iPhone and iPad and integrates with Premiere Pro CC on the desktop for professional editing and finishing.
We’re also really excited about a new family of mobile apps for capturing inspiration on the go and dropping them directly into your creative workflow:
Adobe Color CC (formerly Adobe Kuler)—Create color themes on your iPhone from the photos that inspired them.
Adobe Brush CC—Transform images on your iPhone and iPad into unique brushes for Photoshop CC, Illustrator CC or Photoshop Sketch.
Adobe Shape CC—Turn shapes and objects from high-contrast photos on your iPhone into editable vectors for use in Illustrator CC and Illustrator Draw.
Updated desktop apps & services make it all easier
Photoshop CC—New 3D printing features, enhanced Mercury Graphics Engine performance, and improved support for Touch on Windows 8
Illustrator CC—A new Curvature tool, and new Touch support for Windows 8 devices like Microsoft Surface Pro
InDesign CC—Interactive EPUB support and a new Color Theme tool
Adobe Muse CC—SVG support and Synchronized Text
Premiere Pro CC—Search Bins and GPU-optimized playback
After Effects CC—An enhanced 3D pipeline and HiDPI support
Dreamweaver CC—Expanded Live View and Creative Cloud Extract (read on for details)
Flash Pro CC—Improved WebGL support and custom brushes
- Creative Cloud Market—A collection of high-quality, curated content that’s free to Creative Cloud members. Access thousands of patterns, icons, brushes and vector shapes to add to your own projects.*
- Creative Cloud Libraries—A powerful asset management service, connected to your Creative Profile, that facilitates a seamless workflow between our desktop and mobile apps. Save favorite colors, brushes, text styles, graphics, vector images, and content from Creative Cloud Market into one of your Libraries, and those creative assets will be available to you as you work across Photoshop CC, Illustrator CC, and our mobile apps.
- Creative Cloud Extract—Simplifies the comp-to-code workflow by making it a snap to extract design information (like CSS, colors, gradients, measurements, and fonts) from a PSD file. Extract works right inside of Photoshop CC and Dreamweaver CC, or can be accessed in Creative Cloud Assets where your files are stored.
The power of community
The Behance community has grown by leaps and bounds since joining the Adobe family, and now has over 4 million members with more than 20,000 new portfolio projects and “works in progress” published every day. The new Creative Talent Search from Behance connects creatives across the globe with job opportunities from top companies and major brands. Just one more great reason to join Behance if you haven’t yet.
A big investment in training
The pace of innovation in Creative Cloud tools and services is growing fast. So the Creative Cloud Learn team has stepped up its game to keep you on top of your game. Hone your skills with hundreds of tutorials that cater to every experience level. The how-tos are viewable in your browser, on your iPad, and some are available inside your Creative Cloud desktop apps.
There are some amazing new things in this release. And you can see it all, just as it unfolded, from center stage in the Adobe MAX 2014 Day 1 launch keynote, now available on demand. Watch the new mobile apps in action and see how they connect with the desktop apps and services through your Creative Profile—your creative identity within Creative Cloud.
Get your hands on the newest Creative Cloud apps, features and services available today. If you’re already a member, it’s time to update Photoshop and your other apps. And if you’re not a member yet, join us for the journey.
*You must be a paid member to access Creative Cloud Market assets; Creative Cloud Assets are not included with Creative Cloud photography plans.
David Fincher crafts a thriller with a talented team of artists and Adobe Premiere Pro CC.
If the first film review in Variety is any indication, Director David Fincher’s film adaptation of Gillian Flynn’s bestselling novel Gone Girl will be well worth the price of admission. Many filmgoers will see the movie because they like the actors, the genre, or because they’ve read the book. Many others will go because they love Fincher’s vigorous storytelling, his impeccable pacing, and his striking visual style.
Whether the audience is conscious of it or not, it is Fincher’s careful structuring of narrative and imagery that makes his films so powerful. Gone Girl is the first Hollywood feature-length film cut entirely in Adobe Premiere Pro CC.
Fincher is a director known for pushing technology to the edge. To help realize his ambitious vision for Gone Girl, he shot the film with a RED Dragon camera in 6K and assembled a top-notch post-production team. Two-time Academy Award winner Kirk Baxter, ACE, edited the film with help from an editorial department that included Tyler Nelson, his long-time assistant editor. Peter Mavromates worked as post-production supervisor, while Jeff Brue of Open Drives was the post-production engineer. Fincher had worked with the group before, but the decision to use an integrated Adobe workflow with Adobe Premiere Pro CC at the hub, was a first for the tech-savvy director.
After successfully cutting a Calvin Klein commercial with Premiere Pro CC, the team set out to determine what it would take to support the demands of a two-and-a-half hour feature film using the same Adobe workflow. Brue was tasked with designing the storage system that would enable Premiere Pro to work smoothly within a demanding 6K production pipeline.
“Our goal was to get as many iterations as possible of the opticals and visual effects in a given period of time to make the story as strong as we could,” explains Brue. “The ask was for nothing less than perfection, which pushed us to do better. When it came down to it, Adobe Premiere Pro CC was faster than anything else in the market. That speed meant more iterations, more time to work on a shot, and more time to perfect an edit.”
Having worked on previous Fincher projects, Mavromates comfortably assumed the role of managing the pipeline, helping determine the post-production goals, and guiding the visual effects work. With a plan in place, Baxter got started on the edit, working closely with Fincher and relying on Nelson and others on the editorial team to navigate the technicalities of working on such a cutting-edge pipeline.
“Working with the Adobe engineers was probably the best development experience I’ve ever had,” says Nelson. “Everybody was in tune with what was going on and we always had this amazingly collaborative environment. It wasn’t just about making our movie the best movie it could be, we wanted to make every movie cut on Premiere Pro in the future the best movie it could be.”
Fincher shot in 6K with multiple takes, giving the team plenty of material to work with. With a gift for bringing out the best in everyone on a project, it would be easy to assume that the film is comprised of only “perfect takes.” In fact, 80% of the shots were enhanced in some way, from reframing and stabilization to split-screening to remove an extra breath.
The result, after a lot of meticulous detail work, is a film where every shot seems flawless. As the Variety review says, “…editor Kirk Baxter cuts the picture to within an inch of its life while still allowing individual scenes and the overall structure to breathe…”
“On every film we face the challenge of reducing the screen time without losing content,” says Baxter. “If we don’t have to cut out lines, but instead remove time from a scene by making invisible edits, that’s a win. The way David overshoots the frame in his films allows me to edit within the shot, then I throw it to the guys to sew together in After Effects, make it spotless, and stabilize the shot. That way David can judge the shots by the performance and delivery, rather than making comments on the technical aspects.”
Much of the visual effects work was done in-house, which allowed the team to work iteratively, in parallel with the editing. For example, Baxter could edit in Premiere Pro while others worked on shots in After Effects. The saved compositions would automatically update in Baxter’s timeline thanks to Adobe Dynamic Link. This integrated and interactive workflow kept shots looking cleaner and eliminated distracting back-and-forth discussions so the entire team could focus on the story as it took shape in the edit bay. This streamlined workflow was one of the main advantages for “Team Fincher.”
“On Gone Girl we managed to do a huge number of effects shots, probably more than 200, in house thanks to the tight integration between Premiere Pro and After Effects,” says Mavromates. “I don’t think the average viewer will think of Gone Girl as a visual effects movie. However, when you look closely at David’s movies he is playing little visual tricks and we are doing brass polishing on a significant number of shots.”
This talented group of self-described perfectionists, supported by a gifted and driven post-production team, put the Adobe video workflow through its most rigorous use case to date with great success. Now, with the hard work behind them, they can sit back and watch their months of work unfold for theater audiences around the world.
Check the Adobe Premiere Pro blog next week for in-depth interviews with Kirk Baxter, Tyler Nelson, Peter Mavromates, and Jeff Brue about their work on Gone Girl.
Learn more about Adobe Creative Cloud.
When we asked painter/illustrator/textile designer Jenean Morrison to join us at Adobe MAX this year as a MAX Insider, we knew that she’d been using our mobile drawing apps to supplement her drawing/doodling/sketching habit. We had no idea, however, how often she used them nor how prolific she is.
It’s a love affair that began this year, in late spring, when Jenean, a long-time Adobe Illustrator CC user, picked up an iPad Air, a stylus, and started using Adobe Ideas to sketch wherever and whenever the mood struck. She was hooked. The artist, as she’s mentioned on her blog, likes to start her mornings making art: “If I’m in the middle of a painting, I like to jump right into it first thing with a cup or two of coffee. If I’m not working on a painting, then I usually sketch or make some patterns—or both.”
From Ideas to Illustrator CC:
By July, Jenean was “head over heels” about her newly adopted creative process and had added Adobe Line and Adobe Ink & Slide to her creative toolkit. She began experimenting more and more with the potential of the apps and has become particularly fond of Line. Although designed for precise drawing and drafting, Jenean appreciates “the organic results from loosely playing with shapes and color.”
Sketching on her iPad has become a daily occurrence that she attributes to being enamored with her new drawing tools. In a July 24 blog post she wrote, “It’s so interesting how sometimes new tools—be they apps, devices, or something as simple as a new paintbrush or pen—can inspire you to do new things with your art.”
Using Adobe Line along with Ink & Slide:
Jenean continues to use Line’s in-app tools to experiment with drawing techniques—erasing work she’s already done or putting a lighter color on top of a darker one—that she “could never do on paper.”
And, appreciating the freedom that comes with designing on a mobile device, she’s begun creating versions of images that before now she’d created using Illustrator CC. Experimenting with various combinations of freehand drawing, Ink & Slide, and the drafting templates in Line, she gets a pleasant mix of freeform lines and digital details.
Jenean’s new way of working gives her patterns, designs, and geometric prints new dimension and a new look:
Jenean wasn’t an early adopter of drawing digital on mobile; now it sounds as if she wishes she hadn’t waited so long… “I resisted buying an iPad for the longest time. I just didn’t see the need for it in my life. When I finally got one several months ago, I realized I’d been missing out on a whole new wonderful way of creating art! I had no idea how much I would enjoy this.”
See so much more of Jenean’s work on her Instagram along with occasional insights into her inspiration and her process:
This article was compiled from a series of posts on Jenean Morrison’s website and Instagram.
Presentations by an impressive group of Adobe pro video users signal a promising event.
This Friday, IBC 2014 will kick off in Amsterdam and Adobe will be there previewing the updates coming soon to Creative Cloud’s pro video tools. In addition to Adobe presentations on our video and audio applications, we’ll also have a five-day lineup of our top customers sharing their workflows, tips and tricks.
Pulling off the broadcast of the largest sports event on earth, The World Cup, is no small task. HBS will feature its workflow, its use of Creative Cloud, and the well-integrated partners used, like EVS, to produce this amazing event.
Swiss Radio and Television (SRF) gave us the chance to witness magic moments of incredible artistry and athleticism performed by the athletes competing at the Sochi Games. For video content, like their stunning Sochi opener, SRF used Adobe SpeedGrade CC to give content from different sources a uniform look, and switched to Adobe Premiere Pro CC as their main editing tool, which replaced Final Cut Pro. Simone Nucci and Simon Renfer share their incredible work starting the Sunday of IBC.
Red Bull is not just a brand that sells energy drinks—it is also a multi-platform media company that produces premium sports, culture, and lifestyle content with help from Creative Cloud and Premiere Pro CC. The well-known international brand has expanded into streaming video through Red Bull TV, an independent music label, and sponsored dozens of athletes, teams, and events. Red Bull Media House’s Andreas Gall, will share how the team users Creative Cloud to give the company the wings to connect people with the international Red Bull brand.
Veteran filmmaker Philip Bloom will share his unique approach to documentary filmmaking using Creative Cloud with Premiere Pro CC at the hub. His outspoken approach to low-budget video creation and whole-hearted embrace of social media has helped hobbyists as well as experienced professionals shoot better video.
The United Kingdom’s Karrot Animation has become a recognized industry leader, producing 2D-animated shows including the international hit Sarah & Duck. Karrot co-founder Jamie Badminton will be presenting the studio’s use of Creative Cloud in the making of the series.
Bryn Balcombe, technology director for London Live, will share how the new UK station’s broadcast and production infrastructure’s use of Creative Cloud supports the fast-paced production and distribution of standard-definition television over the air and high-definition television on any device.
ITV Studios shares how it has modernized its approach to broadcast productions and highlights its use of Adobe Story CC Plus and Premiere Pro CC through Creative Cloud to produce the UK’s well-known serial dramas, Coronation Street and Emmerdale.
With blockbuster films such as Godzilla, the Harry Potter franchise, and Life of Pi, and advertising campaigns for global brands including Samsung, Ikea, and Visa, you can see why MPC is one of the world’s leading visual effects and motion graphics studios. William MacNeil will feature the studio’s stunning work and explain how Creative Cloud is used to craft their most compelling visual experiences.
Ending the line up is one of our favorite game-developers and games, Angry Birds. Rovio animation director Jussi-Petteri Kemppainen and pipeline and tools developer Pauli Suuraho will share how they created the first season of Angry Birds Toons, which can be viewed on the company’s multiplatform video channel, ToonsTV. You’ll also see how they used Adobe After Effects CC and Photoshop CC to do 3D-like rigging to build one of the world’s must popular games.
If you’ll be attending IBC, check our Booth Schedule to see the presentations live, and stay tuned to the Pro Video playlist on the Adobe Creative Cloud YouTube channel (we’ll share the recorded video presentations in an upcoming blog post after the show ends).
Read more about the top new features and enhancements being revealed at IBC, and for more in-depth information, visit the product blogs for Premiere Pro CC, After Effects CC, SpeedGrade CC, Prelude CC, Media Encoder CC, Audition CC, and Adobe Story.
Streamline video workflows with industry-leading integration
This month at IBC 2014 in Amsterdam, Adobe will preview the updates coming soon to Creative Cloud’s pro video applications. In a fast-moving industry, video pros need tools that keep them ahead of the curve, allowing them to work confidently with the latest hardware and camera formats. With regular updates, Creative Cloud meets that need, making everyday tasks faster and easier—and opens new creative possibilities with a little more Adobe magic.
- Powerful media and project management—Take control of large projects with new features like Search bins, Consolidate & Transcode, and Multi-project workflows in Adobe Premiere Pro CC.
- Support for cutting-edge technologies—Focus on the content with a refreshed user-interface across all of the video applications, including HiDPI support for Windows 8.1 and Mac Retina displays.
- Streamlined workflows—Complete everyday tasks more efficiently, thanks to new tools and refinements, such as Curve adjustments and hover preview Looks in Adobe SpeedGrade CC.
After a successful run using Premiere Pro CC to edit David Fincher’s upcoming thriller Gone Girl, two-time Academy Award winner Kirk Baxter has made Premiere Pro CC the NLE of choice for his new company, EXILE. “I’m happy to see so many of the new features we asked Adobe for during Gone Girl in the upcoming release.” —Kirk Baxter, ACE
This post provides an overview of the upcoming video releases, including many of the top features and enhancements. For more in-depth information, visit the product blogs for Adobe Premiere Pro CC, Adobe After Effects CC, Adobe SpeedGrade CC, Adobe Prelude CC, Adobe Media Encoder CC, Adobe Audition CC, and Adobe Story Plus CC.
Updated user interface
All of the Creative Cloud video applications have been given gentle facelifts, using a more subtle color scheme and simplified UI elements.
“The first thing you’ll notice when you open them, is the cleaner look to all of the video apps,” said Bill Roberts, senior director of product management. “We’ve modernized and simplified the user interface so that it doesn’t compete with the content. The point is to allow video pros to focus more on their content, and less on the widgets.”
In addition to the UI refinements, the video apps have all been updated to work with HiDPI displays, including Mac OSX and Windows 8.1 devices. “We foresee a day when video professionals will be creating and interacting with their content in a variety of ways across a variety of devices. Our goal is to support this transition as it evolves and this UI refresh lays the foundation for that,” added Roberts.
New Search bins allow users to automatically generate dynamic bins based on search criteria, including new Advanced Timeline Search capabilities. Search bins update as new content is added to a project, so users can keep projects organized, even as new footage is still coming in.
Consolidate & Transcode allows users to move all relevant files in projects and sequences to reduce the overall project size. Once the setting is selected in the Project Manager panel, all content is rendered into a single codec and a compact new project file is created.
Multi-project workflows allow editors to bring everything they need into one workspace. Users can open multiple Media Browser panels for easy access to as many projects as needed. The new Source Monitor Timeline view opens a second Timeline for media and sequences from other projects, making it easy to bring existing clips, edits, transitions, or graphics directly into your current project.
Premiere Pro CC now offers full support for reading and encoding GoPro CineForm, an easily managed, cross-platform intermediate codec, ideal for high resolution footage. And the Premiere Pro CC engineers keep finding ways to get more out of the GPU with native support for 4K, 5K, 6K (and higher) content, including new GPU-based deBayering for AJA RAW, Canon RAW, and Phantom Cine, as well as RED and Cinema DNG footage.
Existing features see some significant new capabilities, too, like enhanced Masking & Tracking, that enables users to adjust feathering directly in the Program Monitor, or use the free-draw polygon tool to create complex mask shapes. Use Render & Replace to speed up performance of VFX-heavy sequences by flattening After Effects CC compositions into video clips—and thanks to Dynamic Link, the original comps are always accessible if you need to make further changes. Improved Master Clip effects, Send to Audition, and AAF export to DAWs, are just a few other enhancements coming to Premiere Pro CC this Fall.
“This is a packed release for Premiere Pro CC with some really nice additions to existing features, but our big focus here was on creating easier workflows for large projects,” said Al Mooney, product manager for Premiere Pro CC. “Consolidate & Transcode, for example, is perfect for facilities who need to trim down large projects. It makes it easy to pass work on to other teams, or to archive editable projects which are still reasonably-sized.”
The next release of After Effects CC offers an enhanced Live 3D Pipeline, adding Cineware 2.0 and CINEMA 4D R16 compatibility, so that artists can work faster and more easily with 3D elements in their compositions. Broadcasters and large facilities that use Adobe Anywhere for video will benefit from improved Anywhere collaboration to streamline remote workflows with version tracking and project sharing. In addition, the new version offers a number of usability refinements, such as more visible anchor points on layers, tracking behavior improvements, and more incremental improvements that make motion graphics and visual effects work easier and more efficient.
“We’re really excited about where we’re going with After Effects CC” said Steve Forde, principal product manager. “A special highlight of our 2014 releases is the deeper integration with Premiere Pro CC and Anywhere for video. This is a great example of how we are streamlining workflows for motion graphics and visual effects artists—and enabling collaboration between teams.
The next release of SpeedGrade CC is focused squarely on the creative tools, including a significantly enhanced Looks workflow, Curve adjustments and awesome new Grading Layer Grouping capabilities.
Working with Looks in SpeedGrade CC has never been easier: Hover to preview Looks in the main image Monitor, and click to apply. Looks can be dragged into the grading layer stack where they will immediately appear as a new Grading Layer Group, making it easy to combine existing Looks and LUTs; just adjust the opacity of each group to get the result you want and… Voila! A real “Look mixer.” It’s also possible to create your own Grading Layer Groups, or copy and paste selected grading layers to apply them to new clips or save as new Looks.
SpeedGrade CC now offers Curve adjustments, including RGB curves familiar to Adobe Photoshop CC and Adobe Lightroom users, as well as Hue & Saturation curves, which allow you to boost or mute parts of the color spectrum. Use Curve grading layers on their own or in tandem with the other SpeedGrade CC color correction tools.
Improvements to existing features include audio support for Premiere Pro CC projects in Direct Link, faster tracking, better Autosave, improved performance with masks, and Enhanced Mercury Transmit, providing 4K output for 4K monitors and new support for Blackmagic video cards.
Log metadata while an event is unfolding in front of you. Use keyboard shortcuts on your laptop together with your custom tags to prepare content efficiently—and without typos. Deliver media that gives your editor a running start for a faster turnaround in post-production. Add In and Out points more efficiently and apply transitions across clips in the Rough Cut timeline. Replace, or augment, camera audio with new support for multiple audio tracks.
Render and deliver your work in one fell swoop with Destination Publishing: Add preset options for FTP sites, or your Creative Cloud folder. Send to multiple locations and track rendering and upload in the same panel. With new Watch Folder support for projects, you can automate transcoding of all of your project files at once by dragging Premiere Pro CC, After Effects CC, or Final Cut Pro XML projects into Watch Folders. Mux during encode for faster rendering of MPEG2 files with audio. Extended Match Source support now includes QuickTime and DNxHD formats.
Open virtually any video format, including RED, XDCAM, MXF, and others. Video files now load faster and play more smoothly. Minimize background noises while amplifying and leveling speech with a powerful new Target Dynamic Range parameter providing even better volume leveling for spoken content. Read and add notes to audio files with iXML metadata support, including information such as Scene, Take, or time code formats.
Screenwriters and writing teams can now Customize text boxes so that notes and comments stand out. Fine tune production planning and assign numbers to camera shots to align with scene order.
Adobe Anywhere for video adds robust collaboration support for After Effects CC users and brings refinements to the Adobe Anywhere app for iPad, including new scrubbing gestures and sorting options. A new streaming API allows facilities and broadcasters to integrate content from Adobe Anywhere into a variety of user experiences on the web or mobile devices.
“We’re excited to be showing another strong release at IBC 2014,” said Bill Roberts. “Constant refinements across all of our applications mean we’re always improving the tools, integration, and collaboration. The demands on video pros keep growing and our efforts are empowering our users to deliver better work, faster and more efficiently than ever.”
These updates to the Creative Cloud video apps and Adobe Anywhere for video are expected to be available in the coming weeks.
We’ll share even more amazing innovation coming to Creative Cloud—across desktop, mobile, services and community—at Adobe MAX, The Creativity Conference, October 4–8 in Los Angeles. To be among the first to know when these and other Creative Cloud updates are available, follow Creative Cloud on Twitter and Facebook.
Visit the Creative Cloud video page for links and news from Adobe at IBC 2014 from September 12–17. And if you can’t make it to IBC, please join us for a special, live from Amsterdam, Ask a Video Pro session on Friday, September 12 at 10:00am PT (7:00pm CEST) when Jason Levine will introduce the new features coming to the CC video apps.
Think you’re a good designer? Are you brave enough to put your design skills up against other world-class designers in a fast paced competition? If the answers are “yes,” it’s time to play Layer Tennis.
We’re excited to be working with Coudal Partners to bring Layer Tennis back for a fourth season. When it begins again on September 12 the competition will be stiff. For anyone who’s never heard of it, Layer Tennis is an online design competition where two players swap a file back-and-forth in real-time, building on each other’s work.
In past seasons, designers like Jessica Hische, Jason Santa Maria, and Aaron Draplin have competed against each other and against up-and-coming designers who’ve won qualifying match rounds. If you’re a designer, illustrator, animator—or in any other creative profession—and you think you’ve got what it takes to compete in a qualifying match, then show us:
Create a Behance profile and
- tag existing work that best shows off your style with “LayerTennisQualifier,”
- or play your own Layer Tennis match with a friend and upload the layers in a shared project.
We’ll be looking through the entries and inviting designers to play in a qualifying match. If you need some inspiration visit the archive of past seasons and follow Layer Tennis on Twitter for updates, and details about the players and matches.
Then mark your calendar for the Season 4 start of Layer Tennis on September 12 and get ready to watch another season of real-time design!
“When Geoff Dowd and David Macy visited School of Visual Arts earlier this year to share Ink & Slide with my graduate illustration students the delight on the students’ faces, when experimenting with Adobe Line, reminded me of how the designers and illustrators of my generation felt about Photoshop.”—Matthew Richmond, The Chopping Block
In response to the creative industry’s enthusiastic reception of Adobe’s new digital drawing tools, on July 29 the Adobe XD Team lovingly packaged Adobe Ink & Slide and sent them into the world for the first in a series of month-long tours.
The road trip, conceived to introduce the hardware in-person to the design community, began in Brooklyn, New York, in the hands of Matthew Richmond, at The Chopping Block (the same studio that designed the official Ink & Slide Tour sticker).
Over the past four weeks, Ink & Slide also made it to XO Group, Studiomates, and Shutterstock, where they remained for a week at each stop and their steward decided who to share them with and where they would go next.
Ink & Slide will continue to make their way around the country (eventually ending up back on the West Coast at Adobe MAX) throughout the Fall. Keep up with Ink & Slide’s travels on Adobe Drawing’s Facebook and Twitter by following #inkandslidetour.
Here’s how a handful of designers and illustrators, who got their hands on Ink & Slide, responded when we asked them to sum up their Ink & Slide experience with a drawing and a sentence:
“I think I mastered the art of holding my right hand out and drawing it with my left with no smudges to show for it! (Lefties drag their hands over paper vs. pulling like righty artists do.)” —Jordan Roland, designer/illustrator/letterer
“Ink & Slide is the beginning of something that designers/illustrators have been waiting for. A magical little pen, and a portable connected sketchbook with all the markers, brushes, and colors required to go outside and draw.” —Matthew Richmond, designer/illustrator
“Ink & Slide made me reconnect with my inner drawing little mini-me. I am thrilled.“ —Tina Roth Eisenberg, designer
“It was a lot of fun to play around with Ink & Slide and I can see myself using this as a digital sketchbook as well as a tool to help me do a quick sketches of how my work would fit in a space.” —Daniel Fishel, illustrator/letterer
“I’ve used my fair share of digital drawing tools and Ink & Slide are easily the best translation of real-world drawing tools. Not only that, they are attractive and people cannot help but ask about them when they see you at work.” —Thomas Romer, designer/illustrator (who drew Voyager’s historic 1981 flyby of Saturn and it’s giant moon Titan)
“Great for sketching on the train!” —Chi Birmingham, illustrator
“If I close my eyes I envision myself sitting alone in a bar somewhere in Europe, documenting my observations with Ink & Slide and then it is a year later and I’m flipping through old images and I feel nostalgic, motivated to take another trip and sketch more and I am happy because my sketches aren’t lost somewhere in between other unfinished sketchbooks sitting on my discontinued Ikea bookshelf—they are here at my fingertips, wherever I am, urging me to start a blog of my new observation, or an Instagram account, or a clever book, or to, at least, keep drawing.” —Deanna Paquette, digital designer
“Adobe really went out of its way to make a system that is both intuitive but also inventive. Ink & Slide makes you wish for a GIANT iPad.” —Clay Rodery, illustrator
“I remember the day I first tried crayons and it totally reminded me of those feelings of excitement and fun. Def enjoyed it!” —Hyesu Lee, illustrator
“A sketchbook with an ‘undo?’ Yes please!” —Lori Richmond, illustrator/writer
“Ink & Slide are fun tools for traditional artists who want to translate their craft to the digital world.” —Chris Becker, illustrator
“I like doing really fine line work and building up through a lot of layers, which is usually challenging on a tablet. I started with the same problems using Ink; I never knew precisely where the line was going to begin relative to where I put the stylus. Once I discovered the zoom functionality, though, everything changed (for the better!).” —Erin McCue, designer
It’s a short story that begins with, in mid-June of 2014, the introduction of Ink & Slide, Adobe’s innovative digital drawing tools (and the mobile apps, Adobe Line and Adobe Sketch, that launched alongside the hardware); a new friendship with Portland, Oregon, design studio Jolby & Friends; and Adobe’s for-the-second-time sponsorship of WMC Fest, a music-filled art and design conference that takes place in Cleveland Ohio).
The seemingly unrelated series of events coincided on July 10 at ICON8 in Portland, where the co-founders of Jolby & Friends, Josh Kenyon and Colby Nichols, were speaking. Adobe wanted its drawing tools (hardware and software) to see some real-world application. And also wanted something to hand-out at our booth at WMC Fest. As luck would have it, Josh and Colby were planning to attend, and speak at, WMC Fest.
A practical canvas
In short order, Adobe Line, along with Ink & Slide were in their designerly hands. All they needed was an idea for a “product.” They very quickly came up with one: A pencil case, the brainchild of a design duo who, along with designer Brett Stenson, had a sudden need to carry Ink & Slide in their bags. Their decision, they explained, was based on utility, “We like things that have a use beyond the aesthetic; we were trying to think of something practical and thought that designers could put Ink & Slide in it, or just use it for their tools.”
While most Jolby & Friends projects begin with pencil and paper this time the team’s concepting stage incorporated Adobe’s hardware and software. Thinking back on the decision to go digital they said, “If Ink & Slide weren’t going to be part of the process of making the case, we couldn’t really see the point of doing it. We wanted to challenge ourselves to use the products.”
So they forged ahead with the same free-sketching process they always use. Endearingly termed Ride The Weird, the concept is a simple one: “When ideas come to mind, instead of shelving them or not allowing them to come out we let the ideas flow.”
In this particular case, the means justified the end, and Ride the Weird (“the elements and objects and things that help with creation”) became the underlying concept for the art on the pencil case. The end result is a refined amalgamation of the studio’s lighthearted vibe, it’s freeform approach to ideation, and the collaborative intermingling of ideas.
Fueled by “busy”
Although admitting it was a challenge to “learn how to draw again on an iPad,” no hurdle was too big for the trio. Despite a hard deadline (about three days), they quickly got up-to-speed on their brand-new tools, quickly mastering the hardware. And the software. And the ability to merge them with Creative Cloud. They briefly described their process, “With any of the digital tools we use, we try to replicate what we can do with our hands… but with the efficiency and the ease of transferring files back-and-forth. Once we learned how to use Ink & Slide to get the look we wanted we were able to, all three of us, do little bits and pieces and effortlessly put them all together.”
Last week Jolby & Friends sent off their files to ArtOfWhere and today the cases are on their way to a first public appearance. At WMC Fest. In the Adobe booth.
And that’s the story of how Adobe’s hardware, and software, was tested, a design relationships was further cemented, and a pencil case was born.
Attending WMC Fest?
Stop by our booth for a Jolby & Friends pencil case and the latest details about the tools and services in Creative Cloud.
And don’t miss out on Josh and Colby’s talk, Beyond A Collaboration, on Saturday August 16 at 4:15pm at the Cleveland Public Theatre.