One of the biggest benefits of Creative Cloud is the ability to deliver updates as soon as they’re available and better engage with our customers. The Creative Cloud allows us to respond to customer needs much faster that our old model of delivering updates every 18-24 months. Today we’re happy to announce that we’ve made several workflow enhancements for our web designer and developer customers with updates to the Edge Tools & Services family:
• Edge Reflow CC – Create and manage responsive comps for your entire site with new support for multi-page web designs.
• Edge Code CC – Test content across devices with new Edge Inspect CC integration, and get access to your favorite Kuler themes as you code.
• PhoneGap Build – Extend the functionality of your mobile app with third-party plugins.
Here’s a closer look at Edge Reflow CC’s new multi-page support with Adobe evangelist Paul Trani:
We’ve also made an update to Edge Animate CC that fixes compatibility issues with projects in Internet Explorer 11, and is recommended for all users.
Our goal is to add new functionality and evolve alongside web standards, to help everyone create and deliver beautiful content for the modern web. Get all the updates today at https://creative.adobe.com/.
Adobe Ideas users asked – the Ideas team delivered:
Adobe Ideas 2.7 is here! Our new update includes several user-requested features to the free iOS application that lets anyone create freeform vector illustrations on their iPad, iPhone or iPod Touch. Here’s what’s new:
- Stylus Support – Ideas now includes pressure sensitive stylus support for Ten One Design’s Pogo Connect Bluetooth Pen, which enables users to be more expressive with their drawing strokes and achieve creative effects more naturally. It also allows for palm rejection so that users can draw while resting their palm on the iPad without interference. In addition, users can control their brushes, colors, opacity and size by simply tapping the button on the pen. Pogo Connect works with the iPad 3, 4 and iPad Mini.
- Stroke Smoothing – Based on community feedback, designers can now choose their preference on what line smoothing method works best for them. Users can choose to smooth the drawing stroke while drawing for increased accuracy, or after to achieve smoother curves.
- Share to other applications – Users can also share designs to other applications such as Behance and Photoshop Touch.
Update your app today! If you haven’t already experimented with Adobe Ideas, what are you waiting for? It’s free! Head straight to the App Store, download it and start using it: http://bit.ly/11QiKB8
We can’t wait to see what you create next!
Image created by Tomasz Usyk: http://www.behance.net/tomaszusyk
When Adobe commissioned Jessica Walsh and her creative partner, Stefan Sagmeister of Sagmeister & Walsh to reinterpret our Adobe MAX logo back in March, little did we know that Jessica was in the middle of a courageous, curious, and very INTENSE dating experiment: 40 Days of Dating. Jessica Walsh and Timothy Goodman, friends for years, each with different relationship histories (she: dive in; he: avoid), had decided to date each other for 40 days, documenting each step of the way, asking their friends to contribute creatively to the online project. Now, Jessica and Tim are sharing their experience with the world.
We’re hooked and wanted to know more. So we interviewed Jessica and Tim, along with their friend, Eric Jacobson, who designed and developed their site. Make sure to explore the site from the beginning. NO CHEATING!
So in reading about your 40 Days of Dating, it seems clear that the concept was batted around for months before formalizing it. Still, inquiring minds want to know: who initiated the project?
Tim Goodman: It was an idea I had about a year ago, but I didn’t really know the ‘what’ or the ‘how.’ Then one day on our way to Miami for Art Basel—when Jessie was heart broken about a guy, and I was dating too many girls at once—it became crystal clear. We ran with the idea, and it really became something entirely different after that.
Jessica Walsh: We were waiting in line for egg sandwiches at a deli in JFK en route to Art Basel when Tim mentioned an idea he had for a dating project. I instantly felt that doing a personal project around relationships was a great idea. We started throwing crazy, nutty ideas back and forth during the plane ride, and by the time we landed in Miami we had a pretty elaborate and crazy plan for “40 Days of Dating.”
There’s such an interesting design tension to this project: you both are putting yourselves out there in such an intimate, public way, sharing very personal, often spontaneous experiences. Yet at the same time, you’re both talented designers, highly aware of presentation, form and of course, design. So can you elaborate on this tension?
TG & JS: It was important to us that 40DD have an identity, but it wasn’t until the project was over that we designed the site, shot the videos, photographed our items, asked for lettering contributions, etc. We wanted to approach the project with as much honesty as possible, first.
We worked in tandem to finish everything. None of it was possible without the amazing help from our website developer, Eric Jacobsen (whiskyvangoghgo.com), as well as Santiago Carrasquilla (santiagocarrasquilla.com) and Joe Hollier (joehollier.com) who shot and edited all the videos. Furthermore, we are extremely honored to have so many talented friends and colleagues contribute to a typographic piece everyday.
For example, what design elements did you know you always wanted to include? What was discarded? Were there disagreements in the design stage between the two of you?
TG & JS: While we waited to make decisions on the design until afterwards, there were a few things we had to do before we started the experiment: 1. We decided it would live on a site with daily questions, so we wrote those questions out before hand. 2. We purposely kept things (tickets, gifts, etc.) along the way as documentation. 3. We wrote the synopsis and agreed on the dating rules before we started.
There were plenty of design disagreements along the way, but for the most part we worked extremely well together. We split up tasks, and assisted each other along the way.
In terms of the “public” presentation, you’re employing a variety of forms – video, type contributions from friends, and your own drawings, to name a few. Even with the vibrant variety, I’m curious about the gap between design and experience. To put it another way, having lived through the 40 days and dates, do you feel like anything is missing in what you experienced and how the public is receiving it?
TG & JS: Great designers make the audience see something wonderful through their own lens. This was our own experience, so there’s always a degree of sensitivity about this. Are we getting our story across efficiently? Are we being misunderstood? What if mom is judging me?
Obviously, we didn’t videotape our experience, so the audience is forced to experience the story through writing, photos and illustrations. Ultimately, it’s been difficult, but also very liberating to release it to the public. Our individual stories, issues and approaches aren’t very different from a lot of folks. We knew that if we were going to do it, we had to go the full distance. We’re happy that people are connecting so much to it.
Eric, when you were first told about the project, what did you think?
Eric Jacobsen: I thought it sounded a little bizarre, but very intriguing. I believe that “dating” in America is effectively broken, or at least in a painful stage of some sort of radical transformation, and am interested in anything that tries to creatively break down and analyze it.
How much of the final vision of the site was articulated and how did it evolve? For example, was the two-column grid included from the beginning?
EJ: The site was executed very closely to the submitted designs. I had a bit of input in the nuances of the transitions and animations, but really it was all quite straightforward.
Can you talk about the any web design and development challenges that you faced when building the site?
EJ: The challenges were perhaps a little mundane; the site is graphic-heavy, so a lazy-load script was necessary. I wanted the graphics to be retina-display-ready; Daan Jobsis came up with a solution wherein retina graphics could be generated both with greater detail and smaller file size than standard images.
Since its relaunch in May, people have been using our Kuler web app to create and share color themes and use them in their work. They’ve also given us ideas about how we could make it better. So the Kuler team got busy and incorporated some of those requested changes.
The new beta version of kuler.adobe.com includes the top three requested features:
Extract color themes from an image
- The original Kuler web app included the ability to extract a theme from an image. That feature is back. Just click the camera icon in the upper right corner of the Create page and choose a photo from your library.
A color wheel in two sizes
- When we updated the interface many of our long-term users thought we’d made the color wheel too large. Now, with a click, the wheel can be larger when you need it and smaller when you don’t.
Reduced borders around individual colors in a theme
- Now you can see more of each color and the play and interaction between them.
Some things haven’t changed
- The beta features are available at https://kuler.adobe.com/features/enable/newFeatures
- The current version of kuler.adobe.com will remain unchanged until we’re confident that the beta features and functionality are working for our audience.
- We’ve made no changes to the Kuler iPhone app or the Kuler panels in Adobe Ideas or Illustrator CC.
Ready. Set. Go.
To start using the beta features go to https://kuler.adobe.com/features/enable/newFeatures
Once you’ve spent some time with the beta, let us know what you think: http://forums.adobe.com/community/kuler_forums
Update: August 15, 2013: Creative Cloud for teams single app is now available for purchase through resellers worldwide. Purchase before August 31, 2013 and receive the same pricing at your first renewal (this applies to either a Creative Cloud for teams complete or single app plan)! That means, all your favorite CC apps like Photoshop CC and Illustrator CC for your team at a reduced rate for up to two years.
To find a reseller near you, visit our Partner Finder site. Simply enter your city, country and then choose “online retail” under the specialization category. This will provide a list of resellers you may contact in your area to purchase Creative Cloud for teams single app.
Late last year Adobe announced Creative Cloud for teams, which includes the very latest CC desktop apps, updates to those apps the moment they are released, and all of the services and business features a team needs to create their best work and collaborate with peers. Today, we are excited to announce the addition of a new plan called Creative Cloud for teams single app.
With a membership to Creative Cloud for teams single app, you can select from one of the brand new CC apps – Photoshop CC, Illustrator CC, etc. – and you’ll also get 20GB of storage, the ability to sync, store and share your work and seamlessly collaborate with colleagues, as well as access to Behance ProSite so you can publish to the world’s leading creative community. That’s 1.6 million creative professionals viewing your projects!
The Creative Cloud for teams complete and single app plans are both managed by an easy-to-use, web-based admin console, so your plan administrator can centrally purchase, deploy and manage seats across your organization. So regardless of if your team needs access to all of the CC apps, or just one, everyone can reap the benefits of Creative Cloud for teams.
Creative Cloud for teams single app can be pre-ordered via resellers worldwide beginning Aug 1 (for shipment on Aug 15), and on Adobe.com in the coming months. Check with your reseller for pricing. Adobe’s suggested pricing is US$29.99 per user per month, or US$19.99 per user per month for customers with Creative Suite 3 and above and Creative Cloud for teams complete. We can’t wait to share more as it becomes available.
To coincide with the launch of the new Creative Cloud apps, we paid tribute to the late, great Charles Eames by hosting our own Eames’ Chair Remix contest. The task: take the iconic Eames chair and using Adobe products (Illustrator and Photoshop) personalize a digital version and share it with us and the Behance community.
Among the impressive and creative entries we received (check them all out below), we’re excited to announce that ANDESIGN is our grand prize winner and will be receiving an Eames Molded Plastic Dowel-Leg Armchair, one year membership to Creative Cloud and an Eames poster for his impressive “Eames Nest” design.
Also, did you know that we put six top designers to the test as well? See what impressive designs they came up with.
All Eames’ Chair Remix Entries:
Many companies are born out of a simple solution to a specific problem. For UK manufacturer UNICOL, this solution was a stand to hold a slide projector. Fifty years later, the company is a leading manufacturer and supplier of mounting solutions for a broad range of audio visual equipment. UNICOL creates wall, ceiling, and floor brackets for LCDs and projectors, as well as video walls for large displays.
IT Technician, Mike Butterworth, says that UNICOL relied on Adobe Creative Suite software for years to create the company’s detailed product catalogs and other marketing and sales support materials. Recently, UNICOL made the switch to Adobe Creative Cloud for teams to provide the marketing department with access to a broader toolset, regular software updates, and simplified purchasing and deployment.
Adobe: What were you working with before joining Adobe Creative Cloud for teams and why did you decide to upgrade?
Butterworth: We previously had four licenses of Adobe Creative Suite 4 Design Premium. We were working with an outside designer for a large AV tradeshow in Europe and had some difficulty exchanging files because the designer was using Creative Suite 6 software. We were already working with our system integrator, Softcat, on some server workstation upgrades and decided to add the Adobe Creative Cloud for teams membership to that deal.
Adobe: What cost and deployment benefits have you seen?
Butterworth: We don’t have a large deployment, but Creative Cloud for teams was still easier to deploy than the perpetual software. I just filled in the names, hit invite, and the team was able to start downloading and working with the software. Before making the purchase, we compared the cost to upgrade our CS4 Design Premium license to the cost of Creative Cloud for teams and felt that the cloud offering was more cost effective given the additional software and future licensing costs. We also have a continuous licensing model with Microsoft, so purchasing software in this manner just made sense.
Adobe: What were the main drivers for you to join Creative Cloud for teams?
Butterworth: Access to all of the products in Adobe Creative Suite Master Collection was a key factor. We previously had to pick and choose what suite to purchase and sometimes had to purchase point products if they weren’t included in the suite we chose. In addition to the broad set of Creative Suite tools we can now use through the cloud, we also appreciate having access to new tools and services available only through Creative Cloud, such as Adobe Muse.
Adobe: How important are the regular Creative Cloud updates?
Butterworth: The frequent software updates in Creative Cloud and the ability to gain access to the latest features and enhancements as soon as they are available is very valuable. We no longer have to worry about compatibility issues with our outside designers and can immediately take advantage of new features that can make our processes more efficient.
Adobe: What type of content are you creating and how has it changed since joining Creative Cloud?
Butterworth: A large portion of the work we do is print based catalogs. We also create advertising materials for the trade press and support customers with imagery of parts and products. With Creative Cloud for teams, we’re looking at creating product assembly and demonstration videos with Adobe Premiere Pro, which was previously out of scope of products available to us. Some of our products are static, while others are dynamic and functional, so video demonstrations will be very useful. We’re also looking into Adobe Muse to see if it can be used to create content that installers can easily access on their smartphones when they’re in the field, rather than lugging around print-based installation guides.
Adobe: What feedback have you received from the team using the solution?
Butterworth: The marketing director splits his time between working from the office and working remotely, so he likes being able to access Creative Cloud from more than one location. I also do some photography and web development for the company and can sync my files to the cloud and then use the collaboration features to share the files with our marketing manager. It’s really convenient. It’s been a very smooth transition for us and we look forward to exploring even more Creative Cloud benefits over the next year.
Looking at a normal object in a different way helps creatives bring a fresh perspective to everyday items. The Argentinian artist Leandro Elrich did just that in his piece titled “Dalston House,” turning a house on its side.
The piece uses a wall of giant mirrors, which reflects against a huge horizontal print of a Victorian terraced house. Visitors are then free to climb and jump around on the print of the house, which is reflected in the mirror above. Visitors hang from windows, skateboard along ledges, and crawl along walls in this optical illusion.
If you’re in London, be sure to check it out now through August 4, 2013. Check out the full article on Colossal. Also keep an eye on our blog, Twitter and Facebook for more spotlights on creative projects.
Delivering on the Creative Cloud Promise of Continued Innovation – NEW Premiere Pro features available NOW
One of the best things about Creative Cloud is that the product teams are able to develop and release features in cadence with the demands of the rapidly growing and evolving creative industries. The Premiere Pro CC July 2013 update, available now, is the first example of that, and the Premiere Pro team is thrilled to be able to give the video community multiple new editing features so soon after the first CC release – less than a month after we shipped CC. These features are focused in the areas of timeline editing, viewing, navigation and media management, and are direct responses to customer feedback we’ve been closely listening to. The release also includes a number of bug fixes, including a documented critical bug with multicam workflows, and is recommended for all users.
For all the details on the July 10th release of Premiere Pro CC visit: http://adobe.ly/13Kqfyr