An interview with Premiere Pro CC product manager Al Mooney.
Al Mooney, senior product manager for Premiere Pro CC, has a long history in digital video editing and has played his part in the evolution of the NLE. Mooney grew up in the Southwest of England and studied music and sound recording at the University of Surrey. Starting out as a broadcast engineer, he went on to work for Digidesign (part of Avid Technology) and then Apple in the UK in sales and business development work. Mooney has been product manager of Premiere Pro since 2010.
With the launch of the 2014 versions of the Creative Cloud applications, I sat down with Al to talk about video editing and the past, present, and future of Premiere Pro CC.
How did you get into the world of film and broadcast production?
The original plan was to be an audio engineer in music. I studied audio engineering and, as part of my degree, worked a year for a German broadcaster as a sound designer. While there, it became pretty obvious that working in recording studios wasn’t for me—in part because I quite like things like daylight and eating. So when I finished my studies I went to work as a music product specialist at Digidesign. My interests evolved from there: I first got excited about audio for pictures, and then pictures themselves.
You’ve been the Premiere Pro product manager since CS 5.5. What were your objectives for the application when you were overseeing that release?
It was pretty clear to me—and I don’t think I was alone in this—that we had a great engine but a pretty ugly car. I wanted to make driving Premiere Pro delightful; I wanted to make people swoon when they looked at it.
Where are we today in the evolution of the NLE?
In terms of professionals, there are a number of big themes we’re seeing. More and more editors need to work with higher-resolution footage, most notably 4K but sometimes higher than that. Editors expect to be able to sit in front of their NLE and cut 4K, or even 5K, just like they do with SD or HD. And they should be able to do that! Making it work should be our problem, not theirs. Whenever an editor has to think about the technology, rather than the creative task, I think we’ve failed.
Another interesting theme is color, which has become such an important part of the entire workflow, and no longer something that people just think about at the end. Editors expect to be able to work creatively with color from the very beginning of the process.
Aside from the needs of established professionals, there’s also a whole new group of people becoming creative with video who aren’t necessarily using NLE software to do it. I think the way people express themselves with software like Vine and Instagram is fascinating. So while I think there will always be a place for high-end, deep video editing apps, we’re seeing exciting changes in the way people use video in general.
Where do you see the 2014 release of Premiere Pro CC in terms of that bigger picture?
We’ve been focusing on higher resolution workflows for a very long time, and we make improvements every release. Alongside new format support, we’re always working on providing our customers with the best performance possible. Like I said, editors expect to be able to cut 4K just like they can HD, and the addition of the GPU debayer for RED media enables editors to cut RED incredibly fluidly.
In terms of color, we also made big improvements to Direct Link, which allows editors to dip into a powerful grading application at any point during the edit, without relinking or exporting anything. You can just open the project in SpeedGrade CC and work with it. I’m really proud of what we did with that workflow.
There’s been a lot of talk about the tighter integration with After Effects CC with new features like Live Text templates and Masking and Tracking. Why was this important?
We care a great deal about listening to and engaging with editors, and we heard loud and clear that there are certain effects-related tasks that editors often need to do many times a day. The Dynamic Link workflow between After Effects CC and Premiere Pro CC is extremely powerful but for things you need to do often and quickly it can be too much effort to go back and forth between applications. It wastes time and takes you out of the “editing mindset.” Also not every editor knows their way around After Effects CC. Editing text in AE comps is something many editors wanted to be able to do in the NLE. And it’s the same with masking and tracking—we heard that blurring of faces and license plates was hugely important, so that’s what we focused on.
I’m hugely proud of the way our engineers built Masking and Tracking into Premiere Pro CC. While we knew that blurring was crucial, our teams put the new functionality at the core of our effects engine so that the feature is capable of so much more than just blurring things out.
Are there any other features in the 2014 release that you are excited about?
I think the ability to have multiple Media Browser panels might be one of the best sleeper features. You can have as many as you need, browsing to your media directories, or, perhaps even more usefully, browsing to different projects. It’s a bit like having the Project Panel of another project open in a Media Browser, and as such you start to see a pretty powerful multiple project workflow. We also added Favorites to the Media Browser which I think a lot of people will find very helpful.
What are some of the other highlights for you in the most recent release of the Adobe video applications?
I mentioned improved Direct Link and I think that’s a huge feature for editors. I want them to be really comfortable in SpeedGrade CC and it’s really getting to a stage where SpeedGrade feels like an extension of Premiere Pro. Also I’d be crazy not to point out the spill suppressor technology in After Effects CC, which has caused many jaws to hit the floor during demos.
From a product development point of view, what do you think of Creative Cloud so far?
It’s so much fun, to be honest! This is really about the evolution of software itself. Changes come so fast these days and Creative Cloud gives us a framework to continually develop the tools, rather than being limited to a rigid twelve- or eighteen-month schedule. Now we can release features when they’re ready—and when our users need them.
How do you feel the Creative Cloud model has worked for users?
Professional users need tools that keep up with their world. In a fast moving industry, the Creative Cloud model has been an ideal fit for Premiere Pro—well all our video apps, really. Creative Cloud brings us much closer to our customers and product development is closely tied to user feedback. It’s much more of a partnership now with a lot more ongoing contact than we used to have.
Overall Creative Cloud membership is growing faster than we expected. Video pros in particular have been upgrading to Creative Cloud at an incredible rate. I’m really proud of that.
You’ve had plenty of personal experience with competing NLEs. Why should users consider switching to Premiere Pro CC now?
There are so many reasons! Our industry-leading native format support. Our amazing integration with other Adobe apps like Photoshop CC, After Effects CC, SpeedGrade CC. Our rich, diverse third-party ecosystem. Our speed of innovation. My cat. The list goes on!
What do you love most about your work now?
I love how engaged we are with the community. I adore speaking at user group events, showing off what we’ve been working on and gathering feedback from editors. I also have to call out the amazing team I work with—the amount of skill and knowledge in the Premiere Pro team is mind boggling. I’m so lucky to be part of this group of people.
Where do you hope to take Premiere Pro CC in the future?
To infinity and beyond! I want this product to be synonymous with video production. I’m jealous that Photoshop has become a verb—I want people to say, “I Premiere Pro’d it!”
Get a free trial of Premiere Pro CC
As users update their Adobe Creative Cloud apps with the 2014 release they’ll be greeted with more than just new features… the splash screens for their favorite apps are also new and feature inspiring artwork from some talented designers. For anyone who hasn’t updated yet (or even for those who have) here’s a preview of a few of the new screens, along with the the inside scoop from the artists who created them:
Kylli Sparre—Adobe Photoshop CC
A self-taught designer, Kylli Sparre was attracted to Adobe Photoshop because of the endless options it gave her. According to Sparre, who describes her style as dreamlike, symbolic, and sometimes surreal, the limitlessness of image-making helped to open up her creativity. The image featured on the Adobe Photoshop CC splash screen is one of Sparre’s personal projects. She knew she wanted to combine the photo of the woman with the location shot, but none of the things she tried worked until she noticed an interesting connection between the two images. After adjusting the angle she was able to emphasize the connection with extraordinary results.
Geso/Pablo IA—Adobe After Effects CC
With a style that straddles art and design, Pablo Iglesias enjoys exploring all kinds of visual disciplines, most recently focusing on more live and video art that combines a range of creative disciplines. For the Adobe After Effects CC splash screen, he first created some graphic elements in Photoshop—a kind of digital illustration recreating a transparent prism with iridescent colors. Next, he generated some video loops with the image in Adobe Premiere Pro CC, using different movements and mirror effects. He then played the loops in a program he uses for live video performance, applied effects such as zoom, RGB delays, and 3D deformations, and captured it all with Syphon. The last step was to make the final edit and composition in Adobe Premiere Pro. The After Effects CC splash screen is one of the frames he captured from the final video.
Črtomir Just—Adobe Muse CC
The design for the Adobe Muse CC splash screen was the result of an experiment. Artist Črtomir Just typically begins all projects by sketching, but moves quickly into the digital realm, working with Adobe Illustrator, Photoshop, and InDesign CC. For this project, he was trying out some new things on his own time, working with abstract 3D shapes that started to remind him of real-world animals. He developed the idea into a series of abstract yet realistic forms.
Nick Taylor—Adobe Flash Professional CC
Nick Taylor’s generative projects tend to follow a similar pattern. He starts by creating several short snippets of code, and when the code produces an output he likes, he’ll flesh it out into a larger program. He often imports vectors from Illustrator or raster images from Photoshop and manipulates them with code. He’ll tweak parameters to adjust color, scale, and composition, save unique PDF files, and take those he likes back into Illustrator or Photoshop for additional adjustments.
The Adobe Flash Professional CC splash screen is one of a number of images spawned from a single program. The program began as a very basic experiment involving a pair of individually-rotating vectors, with the second vector attached to the end of the first. It was inspired by the motion of a double pendulum. Taylor connected a number of these vector-pairs and introduced mouse tracking, allowing him to “draw” unique compositions onto the canvas. He finished the piece in Photoshop with texture overlays and color correction.
Holger Lippman—Adobe Premiere Pro CC and Adobe Audition CC
German artist Holger Lippman’s likes to incorporate rhythm, repetition, and iteration into his projects and says that his artwork is heavily influenced by electronic music. His work process starts with simple code that grows over weeks, and months, even years. The piece of art that appears on the Adobe Audition CC splash screen was based on the simple Peter De Jong map equations: x’ = sin(a * y) – cos(b * x) and y’ = sin(c * x) – cos(d * y)
The artwork chosen for the Adobe Premiere Pro CC splash screen was created using Adobe Flash Professional and programming. Lippman used an iteration algorithm consisting of a three-sided pseudo cube within an X Y matrix. The algorithm is divided down by two on six to eight layers, with randomness in number, size, color, and on/off state. Each repetition of the process results in one iteration, which is used as the starting point for the next iteration. He also coded a slight force to cluster the cubes to create little cloud gatherings.
Patrick Seymour—Adobe Illustrator CC
When Patrick Seymour was four-years-old, his mother predicted that he would be an illustrator. Today, with a degree in graphic design, he primarily works on personal projects and likes drawing the same thing many times using different styles. He typically begins with a picture or hand drawing and traces his lines over it. The illustration selected for the Adobe Illustrator CC splash screen was created using this line style. Seymour drew five or six gorillas and three or four lions. The illustration Adobe selected came from experimenting with different colors rather than using his typical black and white style.
The Creative Cloud Splash Screen collection on Behance.
Adobe InDesign CC’s Fixed Layout EPUB Format
While we’re often overly focused on the technology, tools and formats, the truth is that our customers tell us they really want to create something beautiful, something compelling, something that simply tells a great story and then they want to get it into the hands of their customers (or readers, or maybe just their moms). Providing our customers with the right kinds of choices for how they publish that content seems to be just as important, if not more so, than how they create it.
That’s why I’m particularly excited about the new Fixed Layout EPUB export capability that we announced in the 2014 version of Adobe InDesign CC. This new capability provides one more publishing choice for our customers: If you want to create a beautiful fixed-layout digital book to sell or give away via digital book stores, like the iBook store, then this is the feature for you.
If you’ve been making e-books for a while, then you’re probably familiar with the EPUB format. It’s an acronym for “electronic publication” and it’s the most widely supported e-book format. Developed by the International Digital Publishing Forum, it makes it possible for any device to change the format of any reflowable EPUB book. (There’s also a fixed-layout EPUB where the format does not change from device to device and the original design of the book or document is preserved.)
Lock-down your design
InDesign CC has provided the capability to create reflowable EPUBs from InDesign documents since 2007; reflowable EPUBs are great for text heavy documents like novels (like the one you read on your mobile device last time you were on vacation). However, as soon as you want to create a “beautiful design” for a coffee table book, a travel guide, a comic book, or a cook book, the reflowable nature of the EPUB simply doesn’t allow your design to successfully translate. With InDesign CC’s new fixed layout capability, you can truly “lock-down” your beautiful design and make sure that your book looks as beautiful on the device as it did in your layout. No author likes seeing their carefully chosen images moved around, or their artfully chosen layout changed, at the whim of an e-reader. Now those disappointing moments can be gone for good and the appearance of your document will be as you intended.
I’m obviously biased but, really, you should try it. There’s something magical about taking a beautiful design and creating a version that will stay beautiful and true to your original design when viewed on a device. Once you’ve created the digital document, it’s just a short step to take it to one of the many digital bookstores.
A better way
I can hear you say, “But I don’t make books.” Well, we built this new capability with two kinds of customers in mind: The first are professional book authors and publishers who are very clear that this is the kind of capability they want, if not need, right now; the second, and in my mind just as interesting, are casual book creators.
A few weeks ago, I attended a large well-established conference for book publishers. While it’s always fun to represent Adobe, it’s sometimes even more fun to talk to people “incognito.” As I wandered around the show floor, full of publishers of every kind, I came across a small, children’s book publisher. As well as proudly displaying his hard copy books, he had also mounted a tablet device onto a podium to showcase the EPUB versions of his books. I asked how many of his books were available as the digital version. “Some,” he said. “But ultimately all our books will be available and in fact need to be available as Fixed Layout EPUBs.” I asked him how he made these books today, and he visibly deflated right in front of me. He proceeded to tell me a sad story of how he had to find and hire a “coder” to take an InDesign document and convert it into a Fixed Layout EPUB. It was time consuming, it was costly and, in his words, “there has to be a better way.” Eventually I felt I had to explain who I was and why I was asking these questions. He said “So can you just give me a Fixed Layout Export from InDesign?” (Well, yes. But I couldn’t tell him as we hadn’t yet announced the new feature.)
We’ve obviously spoken with a lot of book publishers and authors, and they’re very excited. In fact they seem VERY excited. InDesign CC gives them a simple way to take their existing beautifully-designed content, use their existing workflows, and existing skills to create something wonderful that they can publish in digital book stores or serve up in their readers’ browsers.
So what about the second group I mentioned? The casual book creators? This is the group that, if I’m honest, has surprised me the most with their excitement around this new capability. As I’ve talked to more and more people, I’ve discovered that the world is full of would-be book publishers who all have stories to tell. There are millions of people who have created something beautiful in InDesign, or who know someone who can create something beautiful for them in InDesign CC. Why shouldn’t they be able to create a digital book?
Export to the format of your choice
When I talk about digital books to either professional or casual book creators I’m often asked one important question: “How is this capability different from making a PDF or using the Adobe DPS (Digital Publishing Suite) format?” This answer is straightforward and mostly comes down to how you want to distribute your content and whether you want to give the content away or sell it.
If you want to distribute your digital document as an application, free or paid, then the DPS solution will give you that capability (along with analytics, and connections to social). If you want to create a digital book to sell or give away via one of the digital book stores, then EPUB is almost certainly the format of choice. If you want to create a digital document, typically one that you want to give away, that can be read on most digital devices, and you want more flexibility about how you get it onto the device, then PDF or one of the other publishing choices may well be your answer. The good news: If you use InDesign CC, you’re going to be able to export to any of these formats.
Perhaps the thing I want you to remember after reading this, is not so much that InDesign CC has a great new Fixed Layout export capability, but that this new capability represents the fact that Adobe is committed to offering designers and publishers a choice about how and where they publish. Too much choice is often confusing, but too little choice… is worse.
Chris Kitchener is the Group Product Manager for Adobe InDesign CC.
We’re thrilled to announce a new feature called Creative Cloud Market, a collection of high-quality, curated assets for creatives by creatives. Now you can access a remarkable selection of vector graphics, icons, patterns, UI Kits, for-placement images, and more from your Creative Cloud Desktop app—all part of your subscription to Creative Cloud.
We’ve partnered with some of the most talented and experienced Creatives on Behance to create a library of ready-to-use, royalty-free assets that assist in the creative process. Gone are the days of scouring the web for UI/presentation kits, settling for mediocre placement images, and spending hours masking products and devices. Now you can access thousands of professionally crafted files including devices, branding layouts, wireframes, charts, vector shapes, repeatable patterns, backgrounds and brushes for your next personal or commercial project.
Creative Cloud Market is available to all paid Creative Cloud members except for Photography Plan customers (Photoshop Photography Plan and Creative Cloud Photography Plan). Creative Cloud members can download up to 500 unique assets each month including PSD, ABR, TPL, JPEG and PNG files. This powerful new service allows you to seamlessly find templates and objects to build upon, manipulate, and modify to jumpstart your creative process.
iOS and browser-based versions of Creative Cloud Market are in the works and will be released in the future. For more info on Creative Cloud Market for Desktop, please see our Help Page.
Now all Creative Cloud members can work well with others. New features in Creative Cloud Files allow you, your clients, and your colleagues to connect and collaborate more efficiently.
Invite other Creative Cloud users to collaborate by sharing folders with editing rights. Don’t worry about losing your vision: Recent iterations are tracked; if you don’t like what someone did, revert to another version with the click of a button.
What’s more, collaborative sharing makes distributing creative assets a breeze. With everything loaded in one place you bypass the need for email and, instead, manage team permissions and give each department access to everything they need.
You can also send links to share files and folders with anyone outside the cloud, and retain control by administering read-only rights. Creative Cloud membership is not required for others to view and comment on your high-fidelity preview, so you can quickly collect feedback from all parties, and make things as “jazzy” as they want them.
Once you manage and sync files via the Creative Cloud, modifications are automatically downloaded to all connected computers and devices.
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.
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.
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.
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.