Results tagged “Adobe Creative Cloud”
Today, Adobe is happy to announce an update to Adobe Muse CC that makes it even easier to create unique HTML websites without writing code.
Now designers can:
• Access the new Adobe Muse Exchange to download the more than 100 design elements that have been submitted by the Adobe Muse community, including starter templates, prototyping tools, interactive widgets, and more.
• Collect reusable design elements like icons, buttons, headers and footers, styles, and grids using the new Library panel, and share them with teams and other designers.
• Easily connect sites to social media with a dozen new drag-and-drop Social Widgets including Facebook, Twitter, LinkedIn, and Pinterest buttons, plus Google Maps, and Vimeo and YouTube videos.
• Choose from even more scroll effects options from the updated Scroll Effects panel, including the ability to apply opacity and fading to scroll elements and add scroll effects to Adobe Edge animations and slideshows.
• Set a full-screen slideshow that adjusts to the width of the screen whether on desktop or a mobile device.
This update is available to Creative Cloud members now: Simply open Adobe Muse and click Install Now from the updater screen. Then, check out the new training videos in Creative Cloud Learn to help you get started, also included with your membership at no additional cost.
Not yet a Creative Cloud member? Sign up for a free membership and get access to 30-day trials of every Adobe creative desktop app, including Adobe Muse. Free members also have access to the new training videos in Creative Cloud Learn to get started.
For a complete list of new features and updates, read the Adobe Muse CC Release Notes.
Dylan Roscover illustrates, programs and designs. Hailing from the Rocky Mountains of Colorado, and currently residing in Los Angeles, he bridges the gap between art and technology—man and machine—to take his work in thoughtful and timeless directions. We caught up with him after his session at our San Francisco Create Now event; he spoke with us about controlled chaos, working without the burden of time, and how things are always more epic when we’re young.
When did you know that you wanted to be an illustrator/digital artist? In the first grade I became obsessed with the story of the Titanic, so I drew a huge wall mural of the ship (everything seems more epic when we’re young; it was probably only six or seven feet) and illustrated a short book about it.
In the fifth grade I thought computers were awesome (and the future), so I started learning how to create with them. As Heinlein so eloquently wrote in Stranger in A Strange Land “…contemporary art always paints the spirit of its times.”
Of your pieces to date, which turned out exactly as you’d pictured it? Is it your favorite? I’ve never produced anything exactly the way I envisioned it because I envision all of my work perfectly, much like a program or code—abstract, unattainable, like Pi. If I told you I illustrated something perfectly, I’d be a liar; there is always a pixel off somewhere. Turns out da Vinci was absolutely right in his assertion “Art is never finished, only abandoned.”
What was your first paid assignment? I honestly can’t remember. It was during high school, and probably involved the design of a website with Fireworks or Dreamweaver. Oh, those were the days.
When knee-deep in a project, do you prefer solitude and silence or company and chaos? Why? I prefer solitude and chaos—solitude for focus (just me and the pen/tablet/camera; no interruptions to the workflow) and controlled chaos for energy (music, film, art, lighting, electricity).
Which Creative Cloud application, that you don’t already use, are you most interested in teaching yourself? Prelude CC. After seeing demos of what’s possible with it, I’m quite intrigued.
What social network do you use most often? Why? LinkedIn! Just kidding. I joined Facebook back in 2006 because it was designed well, and there is always plenty to learn from a well-designed application.
If you had to choose: creative freedom or a bigger budget? Bigger budget. So I could afford to take time off at the end of the project and focus on my creative freedom without the burden of time.
Whose work do you most admire? Stanley Kubrick. His masterpieces redefined filmmaking.
What one item in your studio (that’s not a tool for work) would you miss if it all of a sudden went missing? The rug. It really ties the room together.
What advice would you give someone just entering your profession (something you wish you knew when you started your career)? Never rat on your coworkers and when it comes to clients always keep your mouth shut.
You recently spoke at our San Francisco Create Now event… What’s one thing you hope people learned about Creative Cloud? I hope they learned more about the core philosophy behind Creative Cloud: the cross-pollination of ideas, between apps and the world at large. Just the simple fact that I can save a file directly from Photoshop or Illustrator and make it instantly available to the entire world is magical and empowering.
Now designers can:
• Experiment with scroll motion effects quickly using the new Scroll Effects panel
• Make long, single page sites easier to navigate
• Have confidence that sites with scroll motion effects will work more smoothly on tablets and smartphones, including iPhones and iPads
To see these updates in action, watch this video.
With over half a million websites created with Adobe Muse, there are a lot of great ideas for inspiration to get started. Visit the Adobe Muse Site of the Day to see some of the more engaging sites Adobe Muse users are creating.
The Adobe Creative Cloud gives you access to features as soon as they are released. Learn more about the benefits of joining Creative Cloud here.
An American Bar Association survey found that half of Americans would search online to find a lawyer if they needed one. One of their likely destinations is FindLaw.com, the world’s most popular destination for consumers looking for legal information or an attorney. Or they may end up at one of the websites designed by FindLaw for attorneys and small law firms. FindLaw, a Thomson Reuters business, specializes in designing award-winning websites that help law firms connect with qualified clients. Design manager Abraham Bumpus says his team of 27 designers uses Adobe Creative Cloud for teams to develop both traditional web and mobile solutions. Abe estimates each designer works on at least 100 sites every year using solutions such as Adobe Illustrator and Photoshop, delivering properly layered PSD files without writing code. The team may also produce associated identity materials using Adobe InDesign and Acrobat Pro.
As design manager, Abe recommended purchasing Adobe Creative Cloud for teams to accommodate his diverse and dispersed staff of full-time employees, which include flex-time, in-office, and remote-access designers. So far, Abe says the transition to the Cloud has been great—for him and his staff.
Adobe - Tell us about yourself.
Abe - I have a multimedia degree in visual communications from Collins College in Tempe, Arizona. I’ve worked for printers, agencies, and corporations doing design, project management, and operations. I have a freelance business building websites, too.
After I moved to Minnesota, I applied at FindLaw as a design team lead. I saw a lot of opportunity as Thomson Reuters is a huge proponent of technology. I do a lot of management and provide direction for the team. I manage mobile processes and work with the product and marketing teams to bring new products to market. The best part is mentoring employees and working with others to get the right products to FindLaw’s customers.
Adobe - Why is Adobe Creative Cloud for teams such a good solution for FindLaw?
Abe - First, Creative Cloud is amazing because you get all the software in one seat. Because I do freelance work at home, I got a Creative Cloud membership for myself for $29 a month and have been using it consistently. That’s how I knew Creative Cloud for teams would be a great solution for FindLaw. Employees have access to their day-to-day tools, plus other tools that they may use less frequently. We can experiment with what’s new and learn about different tools and improve the way we do things. That’s why Creative Cloud is sweet.
Adobe - How has the team responded to working in the Cloud?
Abe - The experience has been huge for the design team. It is especially great for employees who work remotely, or split their time between our office and their home office, because they have the same access no matter where they are. They love that they can more easily share files.
We’ve also been able to apply it to initiatives we’re doing here. We’re establishing more of a collaborative, agency-style workflow. The Cloud is awesome because the team can review and approve projects and send them right back—it saves a lot of time.
Adobe - How did your team previously handle approvals?
Abe - It was a bit of an outdated process. We’d send an email with an attachment, which could be very large. Or we’d Skype and share screens. If we put the file on an in-house file server, it could be slow to access, especially when you have to wait to upload a 50 megabyte file and then have to download it on the other end.
With Creative Cloud, this process is eliminated. We can view files in the browser, add notes, and shoot them back to the folder. I think it cuts half an hour to an hour out of review and approval for each project.
Adobe - You’ve been handling administration personally. What has that experience been like?
Abe - It’s really been pretty easy. I simply enter the email address of the person I need to add into Team Management. The employee gets an email and sign’s up. I can also reassign seats easily. I have done that quite a bit. We have contractors that we bring in and I just add them to the team, and reassign the seats when they’re done. We don’t have to buy new software, so it’s a huge benefit from a financial standpoint.
Adobe - What was it like in the past when it came time to upgrade?
Abe - I went through the upgrade to Photoshop, Illustrator, and Dreamweaver CS5. We had to get approval of $30,000 for the whole team, which is a big request. It was a complicated process to get everything approved and to justify the upgrade to management. Then we had to go through installation. Now, I can pay the monthly fee and I don’t have to wait for access codes or someone to install it. We just manage everything through the browser.
Plus, it makes sense financially. I pitched using Creative Cloud to my management and explained how easy and cost-effective it would be to leverage new technology. It’s great to be able to offer a solution that leads to efficiency and cost-savings.
Adobe - Besides the design team members, who else benefits from FindLaw’s Adobe Creative Cloud for teams membership?
Abe - We have our design team of approximately 30 employees plus our support and maintenance teams, which is nearly 40 licenses. We’ve also have a development team of 17 employees that have Adobe Photoshop licenses for the Cloud. All they need is Photoshop, but I encouraged them to use Creative Cloud.
Adobe - What are your favorite tools in Adobe Creative Cloud?
Abe - I love Adobe InDesign. I have since my first job. Right now, I’m just digging in to Adobe Edge Tools & Services. I’m particularly interested in Edge Reflow for responsive design work. I’ve also put a site together in Adobe Muse. I’m looking at all of those solutions right now. I’m always on the lookout for better tools.
Inspiration is everywhere here at Adobe MAX! Here’s a quick recap of our events from yesterday.
Day Two Keynote: Community Inspires Creativity
David Wadhwahi, our SVP of Digital Media, opened up our day two keynote, then handed it off to creative luminaries to share their stories. We heard about breaking the brief from Paula Scher, were inspired by embracing limitations from Paul Hansen, and experienced the making-of-details from innovative creatives such as Erik Johansson and Rob Legato. Check out the playback available here for the next 24 hours.
There were a number of special guests at the MAX sneaks. First up, Rainn Wilson, actor and co-creator of SoulPancake, who opened up the night to talk about creativity, what it meant to him and how it was the catalyst for how SoulPancake came to be.
Then we got an early look at amazing technologies that might become product features in the future. Host Ben Forta shared the stage with Rainn and celebrity guest, actress/comedian Mary Lynn Rajskub, as we walked through exciting developments from the our engineering teams. Everything from the future of drawing, as inspired by Project Mighty, to experimenting with light in photos and videos, to audio layers to remove unwanted background noise were all shown at MAX. Check out some of the sneak peeks below.
Sneak: Playing with Light
Sneak: Perspective Warp
Sneak: Audio Layers
Stay tuned for more as we wrap up our final day at Adobe MAX 2013!
And…we’re off! Adobe MAX is buzzing today as we kicked things off with our day one keynote session, “A Creative Evolution.” We announced a slew of news today, including all-new updates to our Creative Cloud apps – Photoshop, Illustrator, After Effects, Edge Tools & Services, and more! If you missed the keynote, watch the playback available here until tomorrow morning’s day two keynote at 10 a.m. PT or catch the community-curated version captured in Storify by MAX attendee, @GayaneAdourian.
Even more exciting, we shared an early look at a number of new explorations:
- Project Mighty – A Creative Cloud pen
- Project Napolean – Complementary to Mighty, Napolean is a digital ruler designed to bring back some of the feeling of drawing with analog tools like the t-square and triangle
- Project Context – Reimagines the editorial room for publishers
Watch the overview below and get all of the details from our experience design team in “Adobe XD explores the analog future.”
Adobe Creative Cloud for teams allows you and your team to get the entire collection of latest and greatest CS6 tools, along with lots of team-specific features that make working together easier than ever. So the question is; is it right for you? This series helps Adobe customers, such as creative directors and IT professionals, understand if Creative Cloud for teams is a good fit…
- Size Doesn’t Matter – Design agency? Growing startup? Regardless of your workgroup situation, Creative Cloud for teams fits.
- Cloud collaboration + latest creative tools = staying ahead of the curve – Creative Cloud for teams makes it happen. That’s right –you and your team receive the latest updates as soon as they’re available.
- Changing needs = changing team – With Creative Cloud for teams, adding and removing licenses for team members is a walk in the park.
- HELP! – Creative Cloud for teams provides you with help when you need it. Enjoy two deep-dive expert support instances (per seat per year).
Interested in hearing how Creative Cloud for teams is benefiting Scott Kelby’s own Kelby Media Group? Check out this video to see how Creative Cloud for teams allows them to reach millions of people all over the world through websites, podcasts, online training, magazines, and more:
Stephen Gates, Vice President and Creative Director for Global Brand Design at Starwood Hotels & Resorts will be joining us at Adobe MAX this year to share design and development secrets behind building Starwood’s mobile roadmap. Prior to MAX, he sat down with our Adobe Edge Inspect team to discuss how the tool has been helping his team come up with new ways to best show off their nine hotel brands. They’ve managed to accelerate their production and gain buy-in from a dispersed global team of designers, developers, strategists and stakeholders. Pretty impressive, right? Learn more about their success and get to know Stephen in our Adobe Edge Inspect Team Blog Q&A.
Want to hear more from Stephen Gates? Attend Adobe MAX and hear him talk about the “Secrets to Creating a Successful Mobile Roadmap, Apps, and Mobile Websites.” Don’t forget to enter promo code MXSM13 when you register to receive $300 off.
Vasava, founded by Bruno and Toni Selles in 1997, is the brainchild of an illustrator/graffiti artist (Bruno) and a graphic designer/advertising art director (Toni) who, tired of traditional studio methodologies, set out to create something different. Some fifteen years later, the team is comprised of eighteen designers each with a unique set of cross-media skills. (There are no administrative or account people.)
When Vasava said “yes” to our invitation to speak at Adobe MAX, we wanted people to get to know them better. Partner Enric Godes took time out of a crazy-busy schedule to talk to us about revelation and inspiration, personal projects, the man behind the Vasava ski mask (on the speaker page) and which Adobe product he couldn’t work without.
Adobe: You reinterpreted our Adobe MAX logo. What was the inspiration/concept behind your design?
Vasava: The idea behind the logo interpretation of Max 2013 was to dissect a vision of graphic coolness into a classic logo. We’ve put different layers of graphic languages into a single piece to represent the many things going on at MAX—as a symbol of all the things going on. The main challenge was to have multiple styles and voices together in the same place, in harmony and acting as a unique new style. The main character, the red bird, is the creative spark that changes everything; the inspiration wave that comes after a revelation. What’s behind the bird’s trail is awakening from a long sleep and the new challenges the phoenix is facing. We see it as a nice metaphor of the transformative power of the creative conference.
Two years ago you made a limited-edition toy for street wear brand 55DSL? What was it like to make Plastic Señor Blanco? Was he modeled after someone you know?
Señor Blanco’s original shape was modeled by the very talented Julian Pastorino and Cecilia Suarez for Atom Plastic; it was part of a custom series celebrating 55DSL’s 15th anniversary using a 100% Italian vinyl toy. The brief was to represent the core values of the brand and their style into a toy to be distributed worldwide to selected stores and trendsetters in the fashion and street wear world. We customized him using the allover graphic we developed for the brand for this project. Also we designed an ambigram for his belly to show the ambiguity of the character.
You’ve mastered multiple media in a way that many studios have not; when you bring new creatives into Vasava are you careful to bring in people with varied skillsets?
It’s in Vasava’s DNA to try to have as much variety and eclectic influence as possible. For us, the important thing is not to stick to a certain style or approach but to evolve in a natural way. We try to follow a path that investigates a commitment to creativity and different ways of producing our craft. Skills are so important and everyone has a different set. What we manage to do with all this possible combinations is what can make a difference and what we enjoy the most: Embrace randomness, try the happy accident, and identify when something unexpected can be a good solution to a problem.
In one word describe the studio environment at Vasava.
You do quite a lot of work for fashion (and fashion sports) brands. Is it because Barcelona is becoming more noted as a fashion capital or is it Vasava’s design aesthetic that attracts them?
Yes, we’re involved in a bunch of fashion and sport brands, and not sure how this has happened; it never has been a part of a planned strategy but things happened this way and we are vey pleased and proud to be taking part in projects in these fields. Fashion capitals are well identified and Barcelona, although a very cool city, still has quite a way to go to be one of them. There’s a lot to do to really reclaim our role as trendsetters, but that’s less something related to creative potential than to institutional and political support.
Do you foresee opening an office in the US?
Yes, why not, it’s not a crazy idea. We have an agent in the US, Bernstein & Andriulli, and we’re producing projects for the states on a daily basis, so it’s not impossible to foresee it in the near future.
If you had to give up all but one Adobe software product, which one would you keep? Why?
That’s a tough question. We, as creative, are linked so much to the entire collection; they are the tools we use everyday and are our weapons of mass creation. Obviously all of them are important, but if had to face the choice: Illustrator or Photoshop.
It could be anyone from Vasava; it could be no one: Who’s the man behind the ski mask on the MAX speaker page?
Hahaha, that’s funny. We as Vasava, always like to be there as a collective, a team of creatives behind a name. The guy behind the mask is the super talented Albin Holmqvist. He spent three years with us but he wanted to go back to his beloved Stockholm. He’s still a great friend and a Vasavian at heart.
Personal projects are hugely important for creative expression, experimentation and learning new skills, but how does a small studio find the time to devote to them when you’re so busy with client work?
The answer is actually the contrary of the question: How would we be busy with client work if we wouldn’t do personal projects? When Toni and Bruno started Vasava thirteen years ago, we were nothing, nobody knew about us. It was through personal projects that we came to be known by people and got onto the map. And, to this day, it’s something we never skip; it’s very important for us to still be doing our things, to engage in our passions, to create for the commissions and be able to find entertainment in creativity outside of the commercial frame. We produce films, objects, projects, typography and projects only for the joy of doing it. Vasava is not just about the business, it’s our lifestyle.
How has working in Adobe’s Creative Cloud changed the workflow for your studio and with the freelancers with whom you work?
It’s helped us keep things tight. It’s easier to keep an eye on everything and be able to explore iterations and versions knowing that everyone on the team is connected and using the same tools. It provides a great control and helps everyone not to be worried about the technology focus on the project. I mean, before it was a nightmare to work in different places different OSs or versions and share documents. We’ve gotten rid of all those distractions and can focus on our craft and projects.
To go see Vasava speak on the “Designing for International Fashion and Sports Brands” at Adobe MAX this year, visit MAX.Adobe.com. Be sure to use promo code MXSM13 when you register and save $300.
Hey, Creatives: want to Hangout?
Join us on Thursday, March 21 at 8 a.m. PT for “Behind the Creative Curtain: Adobe Creative Cloud for teams”, a Google Hangout all about Creative Cloud for teams – our solution that makes working together — and managing licenses — easier than ever.
Whether you’re a designer, creative director or IT director – all can agree on one thing: creative work requires creative tools. Remaining competitive requires a lot of time and money, especially when keeping up with the pace of technology and high customer demand.
It’s these issues and more that Greg Wilson, Director of Evangelism, Creative Cloud and Paul Trani, Creative Cloud Evangelist will be discussing on Thursday.
What? Google Hangout: Adobe Creative Cloud for teams
When? 8 a.m. PT on Thursday, March 21
- Greg Wilson, Director of Evangelism, Creative Cloud
- Paul Trani, Creative Cloud Evangelist
- Lori DeFurio, Social Marketing, Digital Media
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