Inventing the Future with Up and Coming Talent

Pavel Panchekha, one of the Adobe Research Fellowship winners, receives an award from Donna Morris, Shantanu Narayen and Abhay Parasnis.
Collaboration with the academic community plays a fundamental role in Adobe Research. Projects are often done in collaboration with students and universities and lead to Adobe’s recruitment of the best and the brightest researchers and engineers. A new generation of the best of the best were recently honored with our inaugural Adobe Research Women-in-Technology Scholarships and Adobe Research Fellowships.
“We have great strength in many of the areas we need for our future success—such as computer graphics and machine learning,” said David Salesin, vice president and fellow, Adobe, who runs the initiatives. “But we need to go deeper, and we need to branch out to new fields. Offering fellowships gives us an opportunity to do that, and it will become a pipeline for recruitment, too.”
Eighteen talented students from universities in Canada, Germany, Jordan and the United States were honored with the Scholarships and Fellowships last Friday. Recipients came to our San Jose headquarters for a ceremony that was attended by Shantanu Narayen, president and CEO, Abhay Parasnis, EVP and Chief Technology Officer, and Donna Morris, EVP, Customer and Employee Experience.
Each recipient received a $10,000 award, an internship at Adobe and a mentor from our labs.
“I was going to talk to you about opportunity and how it’s never been better, but your backgrounds are putting us to shame,” Shantanu joked at the ceremony. “People double majoring, co-founding computer programing clubs, competing in international competitions, creating new programming languages… Each of you has seized this opportunity and are creating your own path. We look forward to watching and learning from the journey you’re on.”
Supporting Women in Tech
With their varied backgrounds and fields of study, this year’s recipients will bring fresh perspective to our research teams.
“One element of creating the best products for Adobe is bringing together a diverse employee base,” David says. “We want to support more women in our field; the best way to do that is to engage with them early.”
In fact, the Scholarship program was inspired by the late Floraine Berthouzoz, a former Research Scientist in Adobe Research and tireless advocate for bringing young women into science and technology.
Eight undergraduate female students were selected with diverse research backgrounds in computer science, with focuses that range from economics, to artificial intelligence, to digital media design. While these talented young women excel in their fields, several are also focused on important community work: One is working with police to help improve response time with sensors; another co-founded a children’s camp.
Expanding Research with Fellowship Recipients
In addition to the Scholarship, 10 Fellowships were awarded to graduate students (both women and men) who are carrying out exceptional research in areas of computer science relevant to Adobe. See a list of the Fellowship winners here.
The Adobe Research Fellows will work with us on visual stimuli, 3D and fabrication, machine learning, and natural language processing, among other things.
Celebrating the Winners
The celebrations included a “meet and greet” with the Adobe Research team; an awards ceremony with remarks from Shantanu, Abhay and Donna; and product demos from Russell Brown, Principal Designer, and and a Q&A with Mala Sharma, VP/GM, Creative Cloud Product, Marketing, and Community.
“Have the spirit of constantly embracing the future by inventing it,” Abhay said during his concluding remarks. “At Adobe, we strive to do that and we look forward to having an even greater impact with you here.”

Hidden Gems in Acrobat DC: Add & Arrange Graphic Objects

A picture is worth a thousand words. Whether you’re designing a brochure, writing a paper for class, or building a white paper for your company, strong images help convey key messages. You spend countless hours carefully curating an array of engaging images, hoping to catch eyes as they fly by. Placement, size, and arrangement of images are critical. Luckily, Acrobat DC makes it simple to add and arrange graphic objects within your PDF.
1. Select Edit PDF from the Tools Center.
2. Select Add Image in the toolbar to add a graphic. In this case, the header of our PDF could use a little sprucing, don’t you think?

3. Our header image is now placed, but it’s covering up our other three images. Select the Arrange objects dropdown in the right-hand pane to layer the graphic. We’ll select “Send to Back.”

4. Done! Wasn’t that easy?

You’ve now got a perfectly placed image to help make your PDF more impactful. Time to send it off to your team for review! We think they’ll love it.

Think you know everything there is to know about Acrobat DC? Think again! Learn about more hidden gems by taking a look at the “Learn” section of our blog.
Not yet an Acrobat DC user? Sign up for our free 30-day trial.

Managing Image Licenses with Adobe Stock for enterprise

When Geraint Williams founded ADI twenty years ago, he pioneered the use of LED screens in stadiums. ADI’s visual focus hinted at trends that would take over the market, including video and high-quality imagery at live events. Today, the company has more than 100 live venues connected to their network including all 72 of the premier English football stadiums.
When your business is driven by images and video, it’s critical to have a plan that supports a streamlined workflow that includes image licensing. Adobe Stock for enterprise helps large organizations seamlessly preview, license and manage high-resolution images that can be used across the entire organization.
Increasing Use of Images Creates Challenges
As visual content becomes more important, large organizations are facing unique challenges. According to the CMO Council, 65% of senior executives say that visuals are critical to how their brands communicate. 46% feel that photography drives their marketing and storytelling efforts. Large organizations need a steady supply of fresh images, videos and other visual assets. Yet they also require the right tools for integrating images into the creative workflow, managing image licenses, controlling costs and tracking usage.
Streamlined Workflows for Creatives
For businesses that rely on visuals, a streamlined workflow is key. “We work in a very visual business. Photos and video are what we trade in, so having access to everything in Adobe Creative Cloud is very important for us,” says Williams.
Designers can search Adobe Stock’s image libraries through an in-app search feature. For example, when your design team is working on a project in a Creative Cloud app, it’s possible to find a photo, create watermarked libraries to share with your team, automatically apply edits made to watermarked images to the licensed images, and share content changes across teams for consistency. Each step happens in Creative Cloud’s integrated interface, eliminating collaboration challenges and unnecessary administrative steps.
Eliminate Duplicate Purchases and Redundancy
For large organizations, eliminating duplicate purchases and redundancy is key. Adobe Stock for enterprise’s advanced reporting capabilities improve budget controls and let teams quickly see whether images have been used before. Pooled images makes it easy to share images across teams, without having to email assets back and forth. When updates are made to images in the library, your team can access the latest version for consistency across channels. You have better control over both your team’s time and your brand’s visual identity.
Managing Licensing Rights
Enterprise users have access to a single dashboard to manage their licenses. Images are royalty-free, with no file restrictions in terms of deadlines or expiration dates, and no geographical restrictions. Plus Adobe Stock for enterprise offers unlimited distribution, print runs and usage rights. For large organizations with unique needs, it’s also possible to explore custom licensing agreements. Adobe Stock’s licensing management meets critical licensing and indemnification requirements or organizations that deliver global brand campaigns – allowing expanded creative freedom and minimizing administrative responsibilities.
Learn more about how Adobe Stock for enterprise lets your team find the perfect image while meeting critical licensing requirements.

Le monde (partiellement) animé de Julien Douvier

–  Par Lex van den Berghe, Principal Product Manager, Digital Imaging team
À force d’expérimenter, on peut réaliser des choses extraordinaires dans Photoshop : c’est ce que montre Julien Douvier avec ses cinémagraphes. Si les créations de cet artiste en effets visuels sont extrêmement variées, il apprécie particulièrement l’exercice du cinémagraphe, ou comment, en quelques images, par la juxtaposition d’images fixes et en mouvements, il peut produire un résultat qui accroche le regard.
Nous avons échangé avec lui pour en savoir plus sur son processus de création.
Parmi tous les cinémagraphes que vous avez créés, pourriez-vous nous dire lequel vous préférez ? En quoi se démarque-t-il des autres ?
Difficile d’en choisir un seul… Il y en a tellement ! Mais celui-ci est l’un de mes préférés :

J’aime son côté paradoxal : cette immobilité des piétons et des cyclistes, au premier plan, alors que le tram poursuit son chemin à l’arrière-plan. Les effets de flou directionnel autour des gens amplifient le contraste entre les éléments fixes et les éléments en mouvement. C’est quelque chose qu’on ne peut pas du tout voir dans la réalité, et qui n’est pas facile à produire… C’est la raison pour laquelle j’aime particulièrement ce cinémagraphe.
Quels sont les conseils que vous voudriez donner aux personnes qui souhaiteraient créer leurs propres cinémagraphes ?
Le secret est dans la préparation : plus vous planifiez votre image avant de la capturer, plus sa finalisation sera facile ensuite. J’essaie systématiquement d’imaginer l’image finale en amont et pendant la prise de vue. Tant de petits détails peuvent influer sur le résultat final, ou poser problème au moment de la création des boucles.
Un autre élément important à garder en tête : il faut optimiser autant que possible la taille du fichier .gif, pour qu’il puisse s’afficher facilement. La durée de chaque boucle ou le nombre de pixels qui bougent sont des facteurs importants à prendre en compte. Si la boucle est trop longue, s’il y a beaucoup d’éléments en mouvement dans l’image, le fichier .gif comportera beaucoup d’informations et sera trop gros pour s’afficher rapidement sur Internet..

Que diriez-vous si vous deviez décrire votre style artistique en trois mots ?
Simple, naturel, soigné.
J’essaie de produire des images le plus naturelles possibles, afin de mieux mettre en valeur les éléments en mouvement. J’aime créer des images qui semblent à la fois très proches de la réalité, à la manière d’instantanés ou de séquences vidéo du quotidien, tout en étant légèrement décalées par rapport à la vie réelle : dans la vraie vie, on ne voit quasiment jamais ce type de boucle qui se répète à l’infini.

Quels sont vos projets pour cette année ? 
Actuellement, je travaille en freelance et je crée différents types de contenus (productions vidéo et photos, en plus des images animées), et je souhaite poursuivre dans cette voie. À maints égards, mes images animées sont le fruit d’un mélange entre la photographie et la vidéo : ce travail ne permet donc de me former et de m’améliorer de jour en jour dans les deux domaines.
Cela dit, j’aimerais pouvoir me consacrer à un seul sujet, en me lançant par exemple dans des projets 100 % photo ou des créations de vidéos ou de films. Je ne veux pas que les gens pensent que je ne sais faire que des images animées. C’est la raison pour laquelle je ne m’arrête pas trop dessus et que je continue à tester de nouvelles choses. Et puis je ne suis pas du genre à planifier les choses à l’avance, je verrai bien ce que l’avenir me réserve !
Pour voir d’autres travaux de Julien, vous pouvez vous rendre sur son site web, sa page Facebook, son portfolio Behance ou son Tumblr

Something fell between the cracks!


A peculiar series of events that took place on April 1st (no joke) and 2nd of this year led to the discovery of what can only be described as somewhat of a revelation: A small number of CJK Compatibility Ideographs are necessary for China. This is important, because I made the following statement on page 168 of CJKV Information Processing, Second Edition:

Event #1: My mobile phone, a Verizon Wireless–branded Samsung Galaxy S6 edge, received notification on the morning of April 1st that an OS update was available. Because this is for Android OS Version 6.0.1 (aka Marshmallow), I immediately installed it.
Event #2: I navigated into the /system/fonts/ directory to see what new fonts were lurking inside of my mobile phone, and to my (pleasant) surprise, I noticed the following four Noto Sans CJK fonts: NotoSansJP-Regular.otf, NotoSansKR-Regular.otf, NotoSansSC-Regular.otf, and NotoSansTC-Regular.otf.
I also noticed a font called SECHans-Regular.otf, and when I inspected its tables, I discovered that it was a derivative of NotoSansSC-Regular.otf (the Adobe-branded equivalent is SourceHanSansCN-Regular.otf). Someone, presumably Samsung based on the “SEC” (Samsung Electronics Co., Ltd.) in its filename, added 18 glyphs and removed 100 others.
The following is an excerpt from the /system/etc/fallback_fonts.xml file:
    <file lang=”zh-Hans”>SECHans-Regular.otf</file>
    <file lang=”zh-Hant”>NotoSansTC-Regular.otf</file>
    <file lang=”ja”>NotoSansJP-Regular.otf</file>
<!– Changing the priority of samsungkorean font to be higher than the Google Font, because font style –>
    <file lang=”ko”>SamsungKorean-Regular.ttf</file>
Event #3: Being the font person that I am, I first analyzed the 100 glyphs that were removed, and all but 28 of them are for characters that have the UTR #51 property Emoji. Removing those glyphs makes sense for fonts that function in a font fallback environment. My guess is that the presence of these glyphs, or rather the mappings to these glyphs in the 'cmap' table, was interfering with the glyphs in the SamsungColorEmoji.ttf or NotoColorEmoji.ttf fonts that are also present in the /system/fonts/ directory (for reasons that should be obvious, the former takes priority over the latter on my device).
Event #4: I then analyzed the 18 glyphs that were added, and this is where things became very, very interesting, at least for me.
After fully analyzing these 18 glyphs, it turns out that there are nine CJK Compatibility Ideographs, along with the 12 CJK Unified Ideographs that are in the CJK Compatibility Ideographs block, that are necessary for GB 18030 support, and hence necessary for China. Glyphs for three of the nine CJK Compatibility Ideographs—U+F995, U+FA0C, and U+FA0D—were already present in NotoSansSC-Regular.otf, which explains the 18 glyphs that were added.
Actually, when I dug further, I determined that these 21 characters pre-date GB 18030, and were included in GB 16500-95 (aka GBK). What’s interesting is that the Unihan Database lacks kIRG_GSource references for these 21 characters. In other words, these 21 characters fell between the proverbial cracks, which, in my experience, is particularly easy to happen for the twelve CJK Unified Ideographs in the CJK Compatibility Ideographs block.
This points to the following actions that need to be executed:

China needs to submit a horizontal extension to add the 21 kIRG_GSource source references to the Unihan Database, and supply representative glyphs for the code charts. Because these characters pre-date GB 18030, they should use the “GE” source reference prefix that corresponds to GB 16500-95 (aka GBK), and being the helpful person that I am, I already prepared the new records.
China is apparently in the process of revising GB 18030, and it would be a Very Good Idea™ to reflect the Standardized Variants that correspond to the nine CJK Compatibility Ideographs.
I need to prepare an Adobe-GB1-x UVS (Unicode Variation Sequence) definition file for the Standardized Variants that correspond to the nine CJK Compatibility Ideographs. Actually, I already prepared the Adobe-GB1_sequences.txt file, which will be added to AFDKO and its sources.
In terms of the Adobe-branded Source Han Sans and Google-branded Noto Sans CJK projects, most of these 21 characters will require a CN glyph, because the existing glyph is inappropriate for CN use. In addition, the region-specific subset definition for China needs to include CN glyphs for these 21 characters, and a UVS definition file for CN use also needs to be prepared, which will be derived from Adobe-GB1_sequences.txt. These actions are now on the radar for the Version 2.000 update.

It is important to point out that these 21 kIRG_GSource source references have been missing from Unicode for over 20 years, at least when one considers that they originated from a standard that was published in 1995.
Better late than never, right?

#CreativeFriday – Google Nik collection now available for free.

This week Google released it’s Nik Collection for free. This is a wonderful move by the software company and will be a fantastic option for all Lightroom and Photoshop users to further enhance their images. Google Nik Collection, is available for download now, from it’s Nik collection site.

Territory Studio creates UI screen graphics for Avengers: Age of Ultron

 Nik Hill will be presenting the session “Avengers: Age of Ultron: The Screen Graphics, 3D Design & Animation Work in After Effects” in the Adobe booth at NAB 2016 on Monday, April 18th at 5:00 PM and Tuesday, April 19th at 3:30 PM.
Territory Studio is an independent creative agency with expertise in branding, motion graphics, and digital. The studio tackles a range of projects including feature films, advertising campaigns, brand identities, collateral, and popular video games. In the past few years, Territory has worked on Marvel’s Guardians of the Galaxy and Avengers: Age of Ultron, Hitman: Agent 47, and The Martian, applying its design expertise across screen graphics and UI, VFX, logos, and titles. Senior Motion Designer Nik Hill enjoys the opportunity to work creatively and watch his designs come to life with help from Adobe Creative Cloud.

Adobe: Tell us about your background.
Hill: I grew up in Bristol, England, which has a huge street art culture, and I loved all of the graffiti. I bought a graffiti magazine and spent hours sketching. I never watched much television, but when I did I was more fascinated with the advertisements than the shows. I decided to pursue a B.A. in Motion Graphics at the London Met and was introduced to Adobe After Effects, Photoshop, and Cinema 4D in my first class!
Adobe: How did you get the opportunity to work on Avengers: Age of Ultron?
Hill: The first project I worked on at Territory was Guardians of the Galaxy. The art department for that film then jumped right into the Avengers project and so did we. It was a fluid transition between projects.

Adobe: How did you decide on the look and feel for the screens?
Hill: The graphics for Avengers: Age of Ultron were based around director Joss Whedon’s vision for a grittier, more human story, so our concepts were based on the characters lives and interests, as well as on their superhero efforts and collaborations. We looked at real-world references and merged them with the Marvel comic book-based design work.
The design team and art department established a style for each character and created mood boards that developed into concept frames. Those were refined for specific story points and the art directors and designers worked with the 3D artists to develop story-specific assets that we designed screens around. We varied the color palette when we designed the screens for the different characters to give each of them their own look. In total we created more than 200 screens and 80 minutes of unique animations across all 11 sets.
Adobe: What tools did you use throughout the process?
Hill: After Effects, Illustrator, and Photoshop are integral to my workflow; I couldn’t do a day’s work without them. Remaking Illustrator assets as shape layers in After Effects gives me more scope to animate things. And it would be pretty difficult to design a computer screen for a movie without the integration of Cinema 4D and After Effects. All of the screens I worked on for the film went through After Effects. I created assets in Cinema 4D, a designer created assets in Illustrator, and I put everything together in After Effects to create a 20-second loop so when it plays on set they can shoot continuously.
Adobe: What do you enjoy most about your work?
Hill: It’s mad to see the screens you’ve been designing next to Tony Stark and Bruce Banner. It’s a hard process and a fast pace and you pour everything into it when you’re working. When you see it at the end it’s such a big payoff. We work with a great team so the process of designing for films is always fun.

Seen This Week: Donna Morris Named Among ‘50 Most Powerful Women in Technology’

Donna Morris, Adobe’s executive vice president of customer and employee experience, was recently named to National Diversity Council’s 2016 list of “50 Most Powerful Women in Technology” alongside well-known tech execs Sheryl Sandberg, Marissa Mayer, Safra A. Catz, and more.
“The 2016 Top 50 Most Powerful Women in Technology list honors female executive leaders of the highest caliber within the tech industry,” said Dennis Kennedy, founder and Chair of the National Diversity Council. “It is my honor to announce this group of powerful inspirational women who have reached new heights of achievement in business.”
Donna has made waves in the industry by significantly expanding Adobe’s family leave benefits, and she is well known for abolishing performance reviews in favor of ongoing “Check-ins”.
Each year, the National Diversity Council recognizes its list of the 50 most prominent leaders in technology that have reached the top of their professions, are effective leaders in their organizations, and inspire others to succeed while contributing to business growth. Last year, our CMO Ann Lewnes was honored on the list. The complete list of the 2016 Top 50 Most Powerful Women in Technology is available at
Follow Donna on LinkedIn, Twitter @DonnaCMorris, and Instagram @dcmorrishr.

Now in Beta: Ensure Pet Compliance with eSign services for Pet Parents

Our customers have seen an incredible impact on workflows with Acrobat DC and eSign services. But what happens when the workflow isn’t exactly work? We’ve come to realize that compliance is critical in the office and in the home. That’s why we’re proud to announce our latest product offering, Adobe eSign services for Pet Parents.

We imagine a future where Fido doesn’t hog all the sheets. We dream of a time when Mr. Meowington understands that toilet paper is a finite resource. We hope that this latest advancement in paw print e-signature technology will be an asset to your home in ensuring pet compliance.
To make this even easier, we’ve created a form to help you keep your pets from becoming pests. Simplify pet compliance in your home by downloading the Acceptable Pet Behavior Violation form.

Start your free trial of eSign services right meow!
Subscribe to keep up with all things Document Cloud.

Delivering Digital Experiences that Matter for Government

By Erica Fensom, Director of Digital Government Marketing
Adobe Summit, the world’s largest digital marketing conference, took place in Las Vegas last week, attracting a record-breaking 10,000 attendees. This year’s theme focused on becoming an “Experience Business,” which tapped into our observation that we’re entering a new era across industries that’s all about creating an exceptional customer experience at every touch point – from websites and mobile apps to in-person transactions.
Marketing leaders had three full days packed with 150+ sessions in nine different tracks to explore the latest strategies for delivering the ideal experience to every customer. Main stage speakers featured Oscar-award winning actor and director George Clooney, “Silicon Valley” star Thomas Middleditch, actor and singer Donny Osmond, World Champion soccer player Abby Wambach, and more.
While there were plenty of takeaways for government leaders throughout the conference, on Thursday morning we hosted a government-specific session for the first time, explaining the importance of delivering digital experiences that matter for government. We also took some time to explore how new breakthroughs in Adobe Digital Marketing technology will be relevant for digital government in areas such as forms modernization, in venue screens and video management. For those who were unable to attend Summit last week, you can watch the full replay of the government session here.
Digital government has never been easier or more difficult than it is today. With the explosion of touch points and ways to communicate with government, connected citizens have higher expectations than they ever did in the past. Because technology has progressed so quickly, this has encouraged new ways for citizens to engage with government.
What is the experience of government? It’s about what matters for people and for the community, it’s about the education of our children and the future, and it’s about the safety of our world for our military and our police forces. Adobe is the digital experience company, and we are helping enable governments to transform what they’re doing in their outreach to their constituents. If you’ve had a great experience interacting with the government, we would love to hear about it! Send us a note on Twitter using #adobegovexperience.