유저테스팅의 브라이언 스미스가 전하는 A/B 테스트 인사이트


Adobe
1994년 첫 온라인 구매를 경험한 브라이언 스미스(Brian Smith)는 20년 넘게 e커머스 및 디지털 마케팅 분야의 최전선에서 활동하고 있습니다. 이러한 오랜 시간 동안 전 세계 고객을 대상으로 A/B 테스트를 실시하는 데 주력해왔습니다. A/B 테스트(분할 테스트라고도 불림)란 유사한 특성을 보이는 방문자들을 대상으로 웹 사이트 또는 제품의 두 변수(A와 B라고 칭함)를 비교하여 어느 것이 더 효과적인지 확인하는 것입니다. 따라서 이를 토대로 더 나은 성과를 낼 수 있는 변수를 채택하게 됩니다.

 
현재 유저테스팅(UserTesting) 마케팅 부문 부사장인 브라이언은 “고부가가치의 전환 기회” 즉, A/B 테스트 양식 완료율, 게이티드 콘텐츠(Gated Content: 열람을 위해 사용자의 정보를 요구하는 콘텐츠), 데모 요청, 메시징에 중점을 두고 있습니다. 그에게 A/B 테스트가 UX 디자인 프로세스의 핵심 요소인 이유와 성공적인 테스트 수행을 위한 몇 가지 팁을 물었습니다.
 
A/B 테스트가 UX 디자인의 핵심 요소인 이유는 무엇입니까?
수년간 저는 스스로 뛰어난 마케터라고 자부하며 살았습니다. 옴니처(Omniture), 퀼트릭스(Qualtrics), 어도비 타겟(Adobe Target)과 같은 플랫폼을 통해 모든 데이터를 검토하고 비즈니스를 주도할 의사 결정을 내릴 수 있었습니다. 하지만 린다닷컴(Lynda.com, 현 LinkedIn Learning)의 엔터프라이즈 사이트 개편 작업을 계기로 유저테스팅과 일하게 되면서 ‘기존’ 플랫폼이 어떠한 현상을 보여주는 데 그치는 반면, 유저테스팅은 해당 현상이 발생한 이유에 대한 핵심 인사이트까지 알려준다는 것을 깨닫게 되었습니다.
A/B 테스트는 UX 디자인 프로세스의 핵심 요소이고 UX 리서치는 A/B 테스트의 핵심 요소이므로 이 두 영역이 밀접하게 연관되어야 한다고 생각합니다. A/B 테스트를 고려하는 경우 보통 무엇을 테스트해야 할지 파악하기 어려워합니다. 이때 UX 전문가가 개입하여 가장 영향력 있는 영역 중 어느 부분에 A/B 테스트를 집중적으로 수행할지에 대한 인사이트를 도출할 수 있습니다. 반면, 디자인 프로세스 과정에 어도비 XD와 같은 툴을 사용할 때 A/B 테스트를 수행하여 전략의 방향을 결정하는 것은 매우 수월합니다.
A/B 테스트와 UX 디자인 프로세스를 결합하면 탁월한 제품을 개발하는 데 필요한 요소들을 예측할 수 있습니다.
언제 A/B 테스트를 실시하는 것이 좋습니까?
저는 전체 디자인 프로세스에서 A/B 테스트를 진행해야 한다고 생각합니다.
재작업 비용 즉, 개발 도중 문제점을 시정하는 데 드는 비용이 디자인 프로세스에서 동일한 문제를 해결하는 것보다 10배 더 많이 소요됩니다. 따라서 가능한 한 빠르게 정성적 및 정량적 리서치를 시작하는 것이 좋습니다.
UX 디자이너가 제품에 A/B 테스트를 실시할 때 범할 수 있는 가장 큰 실수는 무엇입니까?
A/B 테스트를 실시할 때 저지르는 가장 큰 실수는 A/B 테스트가 간단하다고 지레짐작하는 것입니다. 모든 UX 디자이너가 A/B 테스트를 진행하기 전에 다수의 경험을 보유한 A/B 테스트 전문가와 협력할 것을 강력하게 권장합니다. 개인적으로 A/B 테스트의 단순성을 높이 평가하는데, 단순함에도 불구하고 이러한 실험을 활용하면 장바구니 결제 프로세스에 극적인 변화를 가져올 수 있습니다. 전환율이 약간만 떨어져도 수백만 달러의 손실을 보게 되므로 테스트를 시작하기 전에 A/B 테스트 계획을 세우고 테스트 목표의 범위를 적절하게 정하는 것이 중요합니다.
다시 말해, 이 테스트가 다소 간단하게 보일지는 몰라도 성공을 향한 측정 지표를 분명하게 설정하려면 꽤 긴 시간을 투자해야 합니다. 예를 들어 버튼 색상을 변경하여 고객 참여도를 높이는 방법을 고려할 수도 있지만, 보통은 특정 고객 세그먼트의 참여도를 향상시키고자 할 것입니다. 따라서 클릭 수, 클릭스루 비율(CTR), 전환율 등의 주요 지표뿐만 아니라 구매자의 특성, 고객생애가치(CLV), 반복 구매율 등 고객 여정의 지표까지 면밀히 검토해야 합니다.
A/B 테스트의 실행 횟수와 상관없이 마케터에게는 성공을 위해 필수적인 측정 지표와 사용자 여정 사이의 접점을 연결하는 연관 범위를 명확하게 파악하는 것이 가장 어려운 과제입니다.
블로그를 방문하여 유저테스팅의 A/B 테스트와 UX 리서치에 대해 자세히 살펴보십시오.
 
 
 
 
디자인. 프로토타입. 공유. 모두가 가능한 하나의 올인원 앱 Adobe XD.
웹사이트 및 모바일 앱을 디자인하고  프로토타이핑하고 공유할 수 있는 최초의 올인원 툴인 Experience Design CC(베타)를 사용하면 아이디어 구상에서 프로토타이핑에 이르는 과정을 신속하게 진행할 수 있습니다. 베타 버전을 테스트해 보시고, 여러분의 피드백을 공유해 주십시오.  다운로드 받기 
 
 
 
패트릭 팔러
패트릭 팔러(Patrick Faller)는 프리랜서 작가, 디지털 프로듀서, 저널리스트, TV 진행자로 활동하고 있습니다. 패트릭의 주된 분야는 뉴스이지만 음악, 비디오 게임을 비롯하여 예술과 기술이 상충하는 특별한 분야에도 각별한 열정을 쏟고 있습니다.
 
 
 
 
 

Adobe Comment on TC Heartland v. Kraft Foods Supreme Court Decision

Adobe
Dana Rao, vice president of Adobe Intellectual Property and Litigation, provided the following statement on the Supreme Court’s TC Heartland v. Kraft Foods Group ruling that places new limits in patent suits on “forum shopping,” which is the practice of plaintiffs searching for friendly courts to file a lawsuit:
“Adobe commends the Supreme Court for its unanimous decision to limit forum shopping in the TC Heartland v. Kraft Foods Group ruling. This is a critical step towards ending predatory patent litigation. Like many tech companies, Adobe deals with frivolous patent suits in places like the Eastern District of Texas because plaintiffs search for friendly courts. There’s no place in the judicial system for the type of blatant forum shopping that is occurring in patent litigation today. Our country needs a patent system built for the 21st century innovator, and the first step to achieving that is ensuring forum shopping becomes a thing of the past. Adobe is a strong believer in the patent system, where high quality patents are used to defend innovation.  Ending abusive litigation tactics and continuing to focus on issuing high quality patents will help the country refocus the patent system back to its original principles.”

Download Your Assets Before August 22 When Mixamo Gets Streamlined

Adobe
Times are a-changin’ at Mixamo. Here is what you need to know:

On August 22, 2017 Mixamo is sunsetting features that are not part of the core workflow
The core workflow will stay the same
Download your assets now! After August 2017, no assets can be stored in “My Assets”

Download Your Mixamo Content

A New Era for Mixamo
It’s been a wild ride since Mixamo joined Adobe in 2015. We’ve helped to build a 3D ecosystem for creatives and we are just getting started! Mixamo continues to be a part of this ecosystem we are building and to update the website with new frameworks and prepare for future integrations, we need to sunset some of the features and tools that will hold back this evolution.
What is staying the same?

Select and use characters from Mixamo’s Character Collection
Upload 3D characters to get them ready to animate using the Auto-Rigger
Apply animations to characters
Download as an .fbx or .dae

What is changing?
Until the big day in August, the site will function just like it does right now. The biggest change will be that you will no longer be able to store assets on Mixamo.com.
On August 22, 2017, the following assets and services will be removed from the Mixamo site.
1. The ability to save and retrieve assets in “My Assets”.
2. The Face Plus facial animation plugin
3. The Decimator polygon reduction tool
4. The ability to download Control-rig scripts
5. Download types for .bvh and .biped that streamline integration with 3rd party applications
6. Mixamo forums will close and all help articles will be moved to Adobe’s HelpX

FAQ
Here is an FAQ that gets to the details.
I have an existing Mixamo account, what will happen to my assets on Mixamo.com?
For customers with assets stored on Mixamo.com in “My Assets” no changes will take place until August 2017 and customers can access stored assets as normal. After August 2017, customers will no longer be able to search for saved assets stored in “My Assets.” It is recommended that customers download all assets stored on the Mixamo site prior to the site changes in August 2017.
How do I apply a different animation to characters that I already own if the character is no longer stored in “My Assets”?
Store assets locally and upload to get the character rigged as usual. After rigging is complete, select an animation and download.
If I leave the Mixamo site and come back, do I still retain the character that I was last working on?
Yes, if you return to the site logged in with your Adobe ID, you will start the workflow with the last character you were working on in your previous session.
Face Plus and the Decimator and Control-rig scripts are no longer supported or available for download, is there any way that I can still access these features?
No, after August 2017, these services and applications will no longer be available.
After August 2017, I can no longer download assets in the .bvh or .biped file format. Is there an alternative way to download assets to .bvh?
Third party applications are available that can convert .fbx files to .bvh or .biped.
What file types will still be available for download after August 2017?
Files can still be downloaded in the .fbx and .dae file types.

How to Download Your Assets
Until August 22, downloading content from Mixamo will be the same as it ever was. Just make sure you take steps to download all your assets before August 22, 2017.
1. Login to Mixamo with your Adobe ID
2. Navigate to My Assets
3. Select the asset you want to download
4. Click the Queue Download button
5. Select your download preferences and click Queue Download
6. When your asset is ready, you can download it from the Downloads page. Please note that, larger assets may take time to get ready to download.

More Questions and Support
Below is a list of resources to get your questions answered now before the Mixamo site get streamlined, and where you can go in the future.
Mixamo forums – live until August 2017
Adobe Fuse CC (Beta) Support – will contain help articles related to Mixamo workflows with Fuse
Adobe Fuse CC (Beta) forum – community of users who can help with questions around the Fuse and Mixamo integrations.
Thank you for your continued support of Mixamo. We’ll share the future integration plans as soon as we can divulge all the juicy details. Until then, happy animating!
Download Your Mixamo Content
 

THRILLING PHOTO SERIES OF QUADRIPLEGIC MOTHER AND HER SON


Adobe
In a world filled with imagery, how do we get viewers to stop in their tracks? How do we create a viral visual project that garner’s worldwide attention?
Founder of The Heart Project and Story Art, Karen Alsop, will be running a special session at Make IT in Sydney on the first day of the conference on precisely this topic.
Karen’s photographic art has been shared worldwide by such publications as Huffington Post, CNN, The Today Show, Buzzfeed, Daily Mail and Vanity Fair.
Read about her latest project below and sign up for her session at Make IT.
Her life was full of adventure Until a routine surgery changed her world forever
I am a mother of two and it breaks my heart to even try and imagine the pain of not being able to reach out and hug them. We go into each day assuming that our lives will continue to roll by untouched, until something dreadful rocks our world, and turns it upside down.

Film by Courtney Holmes Films and Photos
Sarah-Jane went into surgery after suffering a herniated disc in her back while on the job as an outdoor education instructor.  Waking up from surgery the next day she found that she was no longer able to walk, or even hold her son. The operation had rendered her a quadriplegic.
   
Sarah-Jane Staszak has weathered a storm with Hamish by her side. Her dream for her son is that she can continue provide him life changing adventures, despite her physical limitations.
      
When we heard SJ’s story, we immediately started devising a plan to help make this dream more of a reality. The Heart Project is all about bringing joy and hope through Photography.
This project however required an extra special force of nature – Benjamin Von Wong

It was not enough for me to want to provide adventure through a studio based photo. We knew that the reality of taking SJ and Hamish back to the familiar rock faces of the Blue Mountains required an extraordinary team and an artist that takes his photography to the outer limits.

Von Wong is a conceptual photographer who takes photos that people think are Photoshopped. Collaborating with Benjamin made so much sense. Our methods are different. I Photoshop images together to create false reality. Our reasons for creating however are the same. We want to make a difference with our work. We tell stories, and in telling those stories hope to bring change to our world.
    
 
Behind the Scenes Photos by Courtney Holmes Films and Photos
Von Wong scaled the side of a misty mountain to photograph SJ and Hamish’s epic adventure. Meanwhile, I stayed safely on the sidelines capturing my background plates that made up the adventure scenes I’d planned in my mind.
SJ and her son’s love for adventure prompted the theme for my series of three images. I wanted to show their connection through my work, highlighting the mother and son dynamic at play.
My first background plate was captured early in our adventure at some ruins at the base of the Blue Mountains.
SPEED EDIT – THE RESCUE

Weathering the rain in our marshmallow ponchos, I pictured the final photograph as I set up my shots. In this first piece I wanted Hamish’s new role of protection to be the theme.
FINISHED IMAGE – THE RESCUE
The Rescue (c) Karen Alsop 2017
Click here to continue reading about the entire series.
About Karen Alsop
Karen Alsop is an internationally acclaimed Melbourne, Australia-based photographic digital artist. Expanding on two decades of photographic and graphic design experience, Karen brings photography and art together to create stunning artworks that tell a story and take the viewer into another world.
Specializing in Portrait Art, her digital portraiture captures the personality and character of her subjects by placing them within a visual story highlighting their interests. Karen uses the power of Photoshop to composite multiple captures together, making the impossible possible within her art. Register for Make IT and hear her speak.

Mise à jour de Premiere Pro 11.1.1

Adobe
Nous publions ce jour une mise à jour de Premiere Pro CC 2017 qui contient deux correctifs importants et que nous conseillons donc vivement d’effectuer.
Vous pouvez l’installer via l’application Creative Cloud pour postes de travail ou vérifier la disponibilité des mises à jour directement dans n’importe quelle application Creative Cloud en choisissant Aide > Mises à jour. Il faut compter 24 heures au moins pour que la mise à jour soit disponible dans l’ensemble de nos centres de données internationaux. Si vous n’y avez pas encore accès, réessayez plus tard.
La mise à jour 11.1.1 de Premiere Pro corrige un problème concernant une nouvelle fonctionnalité qui supprime automatiquement le contenu du dossier des caches de média au bout de 90 jours.
Avec cette mise à jour, le mode de suppression des caches de média est modifié. Seuls les fichiers qui se trouvent dans les sous-répertoires du dossier des caches de média seront supprimés. Les fichiers directement dans le dossier ne seront plus concernés. Nous recommandons toutefois de bien séparer le dossier des caches de média et les médias originaux.
Pour disposer des fichiers de cache pendant une plus longue période (la durée par défaut est de 90 jours), vous pouvez facilement modifier le paramètre correspondant en choisissant Premiere Pro CC -> Préférences -> Cache de média.
La mise à jour corrige un second problème : la variation de l’amplitude de crête au moment de la normalisation de toutes les crêtes sur les clips audio. Il n’y a plus de valeurs positives ou négatives extrêmes.

비콘 마케팅으로 오프라인 고객을 잡다

Adobe
모바일과 온라인으로 소비자의 활동 무대가 옮겨감에 따라 마케터들은 디지털 마케팅에 집중해 왔습니다. 하지만, 오프라인 매장은 여전히 고객과 브랜드가 만나는 주요 접점으로써 중요성을 가지고 있습니다. O2O(Online to Offline) 서비스나, 매출보다는 고객 경험을 제공하기 위한 공간으로써 오프라인 매장을 꾸미는 것도 오프라인에서 소비자와 소통하는 것의 중요성을 보여줍니다. 디지털 마케터들에게도 여전히 오프라인은 중요한 공간인데요. 오늘은 오프라인 고객을 잡기 위한 비콘 마케팅에 대해 알아보려고 합니다.
비콘 마케팅이란?
비콘(Beacon)은 ‘등대’라는 뜻으로, 주기적으로 위치 정보를 전달하기 위한 신호를 전송하는 기기를 말합니다. 대부분 저전력 블루투스(BLE; Bluetooth Low Energy) 기술을 사용하며 약 20cm 정도 거리에서 작동하는 근거리 무선통신(NFC)에 비해 약 50m 정도의 넓은 범위에 신호를 보낼 수 있습니다.
매장 근처에 있는 고객의 스마트폰 앱으로 할인 쿠폰 등 프로모션 정보를 전달하는 위치 기반 서비스(LBS; Location Based Service)로 활용되는 경우가 많습니다. 예를 들어, 매장 앞을 지나가고 있을 때 그 매장에서 1+1 프로모션을 하고 있다는 알림을 받으면 그 제품을 살 확률이 높아진다는 소비 심리를 이용하는 것이죠. 사업자의 입장에서는 매장 주변에 있는 고객을 대상으로 제품을 알려 매출을 늘릴 수 있고, 고객도 주변에 있는 매장의 프로모션을 편리하게 제공받을 수 있다는 장점이 있죠. 뿐만 아니라, 실내에서 제대로 작동하지 않는 GPS 신호를 대신해 실내 내비게이션의 역할도 가능합니다.
국내외 비콘 마케팅 사례
국내의 대표적인 비콘 서비스로는 ‘시럽(SK플래닛)’과 ‘얍’을 들 수 있습니다. 매장별로는 편의점과 카페에 비콘을 설치하는 경우가 많은데요. 특정 시간에 편의점을 방문한 고객을 대상으로 할인된 가격에 제품을 구입할 수 있는 쿠폰을 제공하거나 멤버십 혜택을 제공합니다. 모바일 결제 시스템과 연동해 비콘에서 전달받은 쿠폰으로 바로 결제하는 것도 가능합니다.
해외에서는 야구장에 비콘을 도입한 사례도 있는데요. 뉴욕 메츠의 시티필즈 구장에서는 비콘을 활용해 경기장 입구에 들어서면 경기에 대한 정보를 제공하고, 경기장 내 매장에서 사용할 수 있는 쿠폰을 받을 수도 있습니다. 그 외에도 국내외에서 쇼핑몰, 경기장, 전시장 등 일정한 공간 내에서 소비자들의 활동이 일어나는 곳에서 비콘을 활용한 마케팅이 계속되고 있습니다.
성공적인 비콘 마케팅을 위해 잊지 말아야 할 것
비콘을 통해 브랜드를 알리고 고객을 끌어오기만 해서는 길에서 나눠주는 전단지의 디지털 버전과 다를 것이 없을 것입니다. 쿠폰을 받은 사람 중에서 얼마나 실제로 매장을 방문해 제품을 구매했는지 등의 데이터를 통해 고객의 행동을 이끌어 내는 요인에 대한 이해를 높이고 마케팅 활동의 효율을 높일 수 있습니다.
애널리틱스 툴이 이런 데이터 분석에 도움을 줄 수 있는데요. 어도비 애널리틱스 모바일(Adobe Analytics Mobile)은 비콘, GPS 위치정보를 기반으로 콘텐츠를 타게팅해 앱을 개인화할 수 있으며, 모바일 앱에서 고객 활동을 분석하고 오프라인을 포함한 크로스 채널 마케팅 효과를 측정할 수 있습니다.
오프라인 매장은 고객이 오감을 통해 브랜드를 직접 만나는 공간으로, 고객 경험 측면에서 매우 중요합니다. 오프라인과 온라인에서 고객의 활동을 통해 더 나은 고객 경험을 제공할 수 있다는 면에서 더욱 그렇습니다. 비콘을 비롯한 오프라인 마케팅이 다시 한번 주목받는 이유이기도 하죠. 고객과 더 긴밀하게 소통하고자 하는 마케터라면 온라인과 함께 오프라인에서 고객이 어떻게 행동하는지 관심을 기울여야 할 것입니다.

Opportunities Abound for Public Sector to Improve Citizen Experience Via Big Data

Adobe
Posted by Siddharth Kulkarni, data science analyst, Digital Insights, Digital Economy Project at Adobe, and Luiz Maykot, data science analyst for Adobe Digital Insights
The public sector faces many of the same challenges as the private sector when it comes to making use of digital information. By harnessing their data, forward-thinking organizations can identify opportunities not only to improve digital experiences but also to offer unparalleled speed and insights into policy making.
Government is no stranger to ambitious use of big data. From censuses to shipping logs, federal, state, and local governments collect massive amounts of information and have used it for decades to improve government effectiveness and make key decisions. Today, the public sector is actively looking for ways to make the most of the shift to digital in order to create data-driven insights that create meaningful digital experiences for anyone who interacts with government.
Think about tax season. In an era where everything from setting your thermostat to seeing your doctor can be done via smartphone, nearly 70% of tax documents are still handled via paper forms.  Almost 42% of consumers say that an entirely electronic experience would make filing taxes online easier and they probably feel the same way about many other interactions with the public sector. But even the private sector is struggling to keep pace with ever-changing technology and customer behavior. Total visits to U.S. websites has stayed flat since 2014 but traffic is rapidly shifting away from the desktop and to the smartphone, where visits are up 69% year-over-year. This is an opportunity for the public sector to be an innovator, optimize for mobile, and get ahead of the curve when it comes to reaching citizens where they are.
As younger audiences grow into key constituencies, it’s becoming even more important for both the public and private sector to leverage digital technology. We ran a survey of millennials this past February and found that younger Americans are almost twice as likely as older adults to value publicly available policies and information from brands and companies they trust. Since government agencies are often already required to post policies publicly, making this information easily accessible can be an easy way for the public sector to build trust and engage with new demographics. Before your team can deliver the right information in the right ways to consumers or constituents, you must understand your user.
That’s where the power of big data comes in. At Adobe, we’ve found ways to leverage our own technology and big data to develop insights with major policy implications. In the spring of 2016 we launched the Digital Economy Project (DEP), an effort to use data from Adobe Experience Cloud clients to produce a faster, more detailed tracking of economic conditions. By aggregating billions of anonymized online transactions, we created a monthly Digital Price Index (DPI) that tracks inflation in more than a dozen consumer spending categories.
Our work has caught the attention of government entities in the U.S. and the U.K. who are interested in how our data can complement their own so that a fuller, faster profile of the economy can emerge. When political or economic events are poised to move markets, real-time data becomes a critical input to policymaking. For more than a year, we’ve been analyzing inflation rates for goods and services purchased online in the U.S., giving the public and interested stakeholders in the business, academic, and government sectors early signs of price changes. Last summer, on the tail of the Brexit vote, we analyzed transactions in the U.K. to better understand consumer sentiment across the pond. We plan to expand our project to include more categories of consumer spending and implement our DPI methodology to countries around the globe.
Without the power of the Adobe Experience Cloud, the Digital Economy Project wouldn’t be possible, but it’s not only about having the right technology. Sometimes the most daunting challenges can be getting buy-in from key stakeholders across and outside an organization. At Adobe, when building the Digital Economy Project, we focused much of our time consulting with stakeholders and getting buy-in from our teams, leadership, academic advisors, and others. The result was more than just a powerful new database of information:  We also had a pipeline for developing and disseminating insights and a set of champions for our findings.
The public sector has some hurdles to overcome in using big data to develop insights to craft engaging, meaningful digital experiences, though many of the challenges are shared with organizations in the private sector as well. This presents the public sector with an opportunity to lead, meet constituents where they are, and discover rich insights that will allow them to more effectively achieve their missions.
If you’d like to receive an email when we release new Adobe Digital Insights findings, register for our email at www.cmo.com/adiregister.html.
 
 
 

Léo Caillard pour la collection Adobe Stock Premium : une photo est d’autant plus forte que l’objet photographié arrive à devenir réel


Adobe
Cinq talentueux photographes français à l’univers singulier ont rejoint la collection Adobe Stock Premium. Léo Caillard que vous connaissez sans doute pour ses séries Hipsters in Stone ou Below The Museum entre autres est l’un d’entre eux. Il nous parle de sa vision de la photographie, de son impact et de son rôle aujourd’hui dans l’univers des marques.

« Une image se doit d’être belle, c’est une évidence. Elle doit être narrative aussi. La photographie amène du sens, met notre société en perspective. Elle offre ce pouvoir de déconstruire le réel, de le « décodifier » pour créer la surprise. Mon regard d’artiste plasticien m’amène à questionner ce qui nous entoure, à représenter une chose non pas pour ce qu’elle est mais pour ce qu’elle pourrait être, toujours avec légèreté et humour, en étant positif et accessible.
Je conçois mes images sur un mode conceptuel selon une dialectique passé-présent qui dépasse l’instant et, finalement, crée un message intemporel et universel. Quand j’habille, en photomontage, des statues photographiées au Louvre ou dans d’autres musées avec des vêtements de notre quotidien, je joue de ce décalage. Même chose quand je les replace, comme prises sur le vif, dans un moment de vie de notre siècle. Je veux apprendre aux gens à regarder, à s’interroger, par exemple sur l’identité à travers le vêtement. L’habit ne fait pas le moine ? Je n’en suis pas si sûr !

Dans les années 1950, on voyait en moyenne 50 images par jour. On en voit aujourd’hui plus de 1 000. Quelles sont les photographies assez fortes pour exister dans la durée ? En publicité, c’est précisément par des mises en scène burlesques ou incongrues, des décalages que l’on valorise les qualités d’un produit. Mais, paradoxe, la publicité doit réinventer des univers tout en respectant son devoir d’honnêteté sur le produit, qui porte en lui ses propres codes. Pour autant, la publicité se renouvelle aujourd’hui par des univers nouveaux, des narrations fortes qui dépassent le produit, une créativité très folle qui n’hésite pas à casser les codes publicitaires. La photographie a cette capacité à insuffler aux marques des représentations du monde qui créent la surprise et à placer les choses simples dans ce qu’elles ont de plus universel. »

Parcourez le portfolio le Léo Caillard sur Adobe Stock Premium et rendez-vous du 31 mai au 6 juin à la Fisheye Gallery à Paris pour découvrir trois photos inédites.

Fantastical Realism


Adobe
Benoit Challand is a 3D artist known for work that is fantastical, yet rendered with an amazing amount of realistic detail. We recently commissioned him to create such an illustration for us, which he achieved using 3D textures and still photos purchased from Adobe Stock; serious Photoshop Brush tool prowess; and what seems like an infinite amount of patience.
Watch the videos below for glimpses into Challand’s process, and then download 10 images from Adobe Stock for free to make your own creation.
Download 10 free images here

Click to zoom in on Benoit Challand’s original sketch and his final illustration.

To ensure that his perspective is correct, Challand begins with a 3D base, and then sketches on top of that in Adobe Photoshop CC using the Brush tool.

Challand then goes to Adobe Stock to purchase 3D textures, which he applies to shapes in Maxon Cinema 4D.

Next, he opens the illustration in Photoshop to correct colors.

Wielding the Brush tool, Challand adds details that make elements look like metal sheets with rivets, and others that resemble machine controls.

Challand pulls a JPG still photo of water from Adobe Stock and carefully blends it into the existing flask of liquid by adjusting Hue/Saturation, removing spillover with the Eraser and Lasso tools, and applying a gradient.

Challand continues to build the illustration’s details; he purchases charts and graphs from Adobe Stock to act as computer screens, and he hand-draws power cords and machine parts using the Brush Tool.

Just watching this part of the process could make your drawing hand ache. In it, Challand adds a fish to the water, gives the pink goo more drips, and ages the pink cup using Photoshop’s Brush and Eraser tools.

It’s time for the final touches, one of which is to import an Adobe Stock photo of fire. Challand removes the black pixels from the photo, resizes it, and positions the semi-transparent flame above a pipe. It’s simple (for Challand, anyway) but effective.
To see more work by Benoit Challand, visit his Behance page.

OFFF Inspirations: Wang & Söderström Exchanged New Ideas at OFFF 2017


Adobe
Anny Wang and Tim Söderström work together as the creative duo Wang & Söderström in Copenhagen. Both were invited to OFFF in Barcelona this year to share their impressions with this blog’s readers.
“We got the chance to exchange new ideas and discuss them with incredible people and listen to inspiring talks. Since this was our first time at OFFF we didn’t know what to expect. We definitely enjoyed how everything felt thought-through, from the architectural elements of the venue to the presentation of the speakers and the stage,” says Tim Söderström.
“What we liked the most was the overall vibe and atmosphere, something that probably comes as an extension from Barcelona. After lunch and a beer in the sun it was a bit harsh to venture back into the impressive mainstage and we often found ourselves watching a presentation at the “Open Room” stage instead. We like the spectrum of presentations we saw here, from visual artist Santiago Carrasquilla to the unconventional studio O,” says Anny Wang.
Wasted Rita was the favourite speaker
“However our favourite speaker spoke on the mainstage and it was graphic designer and illustrator ‘Wasted Rita’. It was both hilarious and powerful. She really made a great impact on us as she turned her insecurity, humour and vulnerability to a weapon. To provoke and make a statement. We will definitely visit OFFF festival again,” says Tim Söderström.
Digital work into more physical elements
Wang & Söderström are currently exploring ways of expressing their ideas in new mediums and cross-interacting their usual tools with new ones. Anny and Tim are really looking forward to interpreting their digital work into more physical elements and at the same time utilising and pushing the duo’s digital universe. The OFFF experience has kickstarted this further:
“Right now we get inspired by artists that are able to create a whole universe around them. Either by starting to work in multidisciplinary ways to push their work further or possessing the power to create the big perspective,” says Anny Wang.
“Emerging from the DIY-era and the longing for nature and its chaotic honesty, we see that more people explore the beauty within the imperfections. A reaction to when the design community’s work becomes too perfect that it ends up being hollow and uninteresting. We also experience that more and more people start to work in multidisciplinary ways to push their work further. An artist’s signum isn’t found in a single format anymore, but rather the artist’s full universe. Our work draws inspiration from all and every corner of the creative field,” says Anny Wang.
5 that inspires Wang & Söderström right now
The below five artists inspire Anny and Tim at the moment and they are all specialised in different areas whilst creating a whole universe for themselves.”
Ella Boucht, STOCKHOLM / HELSINKI

Website: https://www.instagram.com/ellabct/
Her mega puffy jacket blew the world’s mind when she graduated from The Swedish School of Textiles last year. Today she’s continuously feeding us with great content on her Instagram. The fashion world has a way of pushing movements constantly and it doesn’t stagnate, which becomes inspiring to follow.
Inès Longevial, PARIS

Website: http://www.ineslongevial.com/
A genius within colour combinations and abstraction. We admire how she manages to create such a depth with so minimal techniques. Working with colours is such an essential part of our workflow and painters like Inès shows us the importance in fine tuning and the unexpected touch.
Carlota Guerrero, BARCELONA

Website: http://carlotaguerrero.com/
We love her way of creating a unique world that is sensitive yet powerful, washed out yet rich in colour. Her photos radiate calm but still massive energy. We really respect the photo format. The camera captures so much so in order to tell an elegant story through this medium, you have to be a master of distillation.
Maiko Gubler, BERLIN

Website: http://maikogubler.com/
Since we started with 3D illustration, Maiko has been on our radar all along. She has a creative and forward pushing approach to the 3D art world, that is very refreshing and necessary. She is far away from being stuck in old patterns and her way of taking her digital work into a physical space with 3D printing is something we want to explore as well.
Matylda Krzykowski, BASEL / LONDON

Website: http://matyldakrzykowski.com/
“We recently had the pleasure to work with the curator Matylda Krzykowski for one of her latest curations of objects for Chamber Gallery in New York. She’s got a fantastic eye for finding artworks that break the traditional perception of objects and furniture. We get inspired by her way of collecting and paring singular entities to create a stronger whole.”
About Wang & Söderström
Wang & Söderström is a Copenhagen based creative studio with a focus on digital/physical explorations, design and production. The studio strives to create mind tickling and unexpected experiences through materiality and technology. With a background in architecture and spatial design Wang & Söderström combines, collects and explores physical elements in a digital environment. Utilising new technologies to shape tomorrow’s visual and spatial experiences. Founders: Anny Wang (Sweden) and Tim Söderström (Sweden).
Website: http://wangsoderstrom.com/