Playbook: Better Collaboration Through Design Reviews

Adobe
When you think about making a great product there are probably a few tools and methods that come to mind, like JTBD, Lean UX, and Agile development. I joined CrowdRiff as their Head of Platform Design a few months ago, and we think there’s another ingredient that goes beyond process that absolutely has to be there. For a product to truly be great there needs to be a culture of collaboration and design thinking supporting the team that’s making it. So how do you create and maintain one?
Obviously there are a lot of ways to go about this, and the intent here isn’t to cover all of them. Recently, Jon Lax wrote a great article about the idea of having plays that you can run at different points in your product development. In that spirit, I’d like to offer up one of my plays for increasing collaboration and spreading design thinking when I join a product design team.
The Situation
For this play to work, you first need to be in a position to make it work. These things often work best when they come from the top down, so if you’re not in a senior role then you’ll need to have the trust and support of someone who is. The idea can come from any level in the organization, but for it to be successfully implemented it’s good to have leadership onboard, so win ‘em over!
How it Works
Here’s the core of the play: institute design reviews at every meaningful stage of whatever process you’re using. A design review is a chance to look at how something works, how it feels and figure out how to make it better, but it’s also a chance for everyone on the team to be heard regardless of their area of expertise.
Design reviews should be introduced at whatever stage you, the instigator, have the biggest contribution to. For example, if you’re a UX designer – invite everyone to have a look at your wires or prototypes or customer journey map or whatever it is you’re working on and ask them to help you make it better.
Invite pretty much everyone on the team. Got an anthropologist doing ethnography (you should be so lucky) – great, get ‘em in there and tell them the problem you’re trying to solve. He or she may not be a designer but they’ll have a tremendous amount of knowledge and hopefully insight into your users. Got a bunch of devs whose prototypes look like a riff on super kid? Perfect, because they might know about a new library or API that can enable your idea to do even more than you’d hoped.
Why it Works
Change is hard. That’s why I think the fundamental building blocks of a cultural shift are Trust and Value. You want people to do their work in a different way, so your first mission is to get them to trust you and your second is to show them the value of the new approach.
The key here is to get them critiquing you first. You don’t have to implement every idea you hear, but you should listen and acknowledge. As quickly as possible you want your design reviews to:

show that receiving a critique of your work is not the same as getting a criticism of you as a person
establish that critiques aren’t just about finding fault, but also about finding what’s working and building on it
demonstrate that your work is better than it was and it’s thanks to the contribution of the team
give the whole team a feeling of ownership and pride about the deliverable you produced, even though they didn’t work directly on it

Shaping Feedback
You’ll need to put on your big kid pants as some of the initial feedback may vary from un-constructive to vitriolic. But take it with a smile and under no circumstances should you engage. Being defensive will only make the process take longer and you gotta practice what you preach. It may happen quickly or it may take awhile, but your focus on positive reinforcement for the comments that really help should turn the tide.
That’s not to say that conflict is a bad thing, just that it’s not necessarily good to start there. Once the process is working and everyone feels nice and safe in the trust tree, I sometimes encourage a bit of conflict. People who are passionate bring an energy to the process, it just needs to be balanced out so that everyone feels they can speak, arguments don’t become personal, and people are willing to be heard but then let their ideas die if necessary.
Spreading the Word
If things are going amazingly well then you may have your product team-members asking to have their own design reviews. If that’s not happening right away, then find the people that are contributing the most constructive feedback and express your interest in what they’re working on and that you’d like to return the favor.
The Instant Replay
Our team has a lot on our plate – we’re overhauling our product and incorporating nascent technologies like machine learning so you might assume implementing design reviews would have created more carnage than collaboration.
Instead the team’s been open and receptive and we do a design review at every stage from concepts to deployment. I love when our developers call out things that aren’t aligned and help to solve UX problems – cuz that’s how it should be amiright?

시각적인 스토리텔링을 효과적으로 전달하기 위한 7가지 전략


Adobe

2016년 8월 업데이트
스튜디오 엘리먼트(Studio Element)의 크리에이티브 디렉터인 브라이언 배러스(Brian Barrus)에게 “시각적 스토리텔링”은 디자이너가 하는 일을 정확하게 묘사해주는 단어입니다. 배러스는 프랭클린 코비(Franklin Covey), 블루호스트(Bluehost), 마이크로소프트(Microsoft), 나바호 네이션(Navajo nation) 등의 클라이언트와 작업하면서 인터랙티브한 인포그래픽에서부터 비디오 콘텐츠를 아우르는 다양한 시각 디자인으로 이들의 브랜드 스토리를 전달해 왔습니다.
배러스는 “시각적 스토리텔링’이 현재 대세적인 트렌드로 부상하고 있는데 많은 분들이 생소하게 생각할 수 있지만, 여기에 담긴 아이디어와 기본 의미는 디자인에 항상 존재해 온 보편적인 진리와 일맥상통합니다.”라고 설명합니다. 배러스가 말하는 오늘날의 복잡한 크로스채널 환경에서 시각적인 스토리텔링을 효과적으로 전달하기 위한 핵심 비법을 소개합니다.
시각적 구현 단계에 접근하는 방식을 재고하라
효과적인 스토리텔링을 위해서는 대다수의 디자이너가 자신의 작품에서 시각적 구현 단계를 구상하는 방식과는 다른 접근 방법이 필요합니다. 막연하게 거창한 아이디어에 이끌리는 대신, 디자이너는 초기 단계부터 시각화된 컨텍스트를 제공하여 접하는 사람들이 스토리에 집중하도록 유도해야 합니다.
배러스는 “디자이너들은 ‘이것은 중요하니까 사람들에게 가장 먼저 눈에 띄게 해야지’라고 말하는 경향이 있습니다. 그러나 스토리텔링 형식으로 뭔가를 보여주고자 할 때에는 기존과는 다른 방식으로 접근해야 합니다. 먼저, 상황이나 문제를 설정한 다음 문제에 대한 해법이나 정보를 스토리로 전달해야 합니다.”라고 합니다.

관심을 유도하는 시각 요소들을 통합하라
디자인 및 시각적 요소는 특히 브랜드에 대한 사용자 참여가 소극적일 때 참여를 유도하는 강력한 도구입니다. 배러스는 “비디오가 가장 중요한 시각적 스토리텔링 형식의 하나가 되었지만, 웹 사이트에서 비디오 링크를 클릭하려는 사람이 점차 줄어들고 있습니다. 페이스북이 자동 재생 기능을 도입한 배경을 보면 흥미롭습니다. 디자이너는 자막이나 재생 시간과 같은 시각적인 요소를 사용하여 고객의 관심도를 높일 수 있습니다.”라고 조언합니다.
인터랙티브한 시각적 스토리텔링에서 소소한 디테일을 포착하라
인터랙티브한 콘텐츠의 인기가 높아질수록 많은 디자이너가 소소한 시각적 디테일을 놓치지 않아야 이러한 형식의 스토리에 생명을 불어넣는다는 사실을 발견하고 있습니다. “우리가 작업한 프로젝트에 강아지 한 마리가 있는데 진짜처럼 눈을 굴리고 꼬리를 흔들죠. 대수롭지 않은 ‘부활절 계란’ 요소를 삽입하면 흥미와 재미를 더해 주는데 이것은 사람들의 시선을 사로잡고 지속적인 관심을 갖게 하는 좋은 방법입니다.”라고 밝힙니다.

미디어별로 주의 집중 시간을 고려하라
효과적인 스토리텔링을 위해 미디어별로 다른 사람들의 주의 집중 시간을 측정하는 것이 중요합니다. 예를 들어 소셜 미디어 디자인의 경우 복잡한 백서 레이아웃과는 달리 보다 신속하게 스토리의 요점을 파악할 수 있어야 합니다. 배러스는 “많은 디자이너가 자신이 전달하려는 메시지에 사람들이 기꺼이 시간을 내어주는 것으로서 집중력을 과대 평가합니다. 디자이너는 자신의 아이디어에 몰입한 나머지 최종 사용자 중심의 관점을 놓칠 수 있습니다.”라고 충고하고 있습니다.
시각적 요소에만 의존하기 보다 내용이 알찬 스토리를 전달하라
배러스는 보는 이의 관심을 끌기 위해 사용하는 시각적 요소에 대해 “사람들의 시선을 끌기 위해 모션이나 애니메이션 등의 요소에 지나치게 의존하지 마십시오. 사용된 모든 시각적 요소가 공감을 불러일으키는 스토리로 귀결되지 못하면 사람들은 참지 못하고 곧바로 짜증을 낼 것입니다.”라고 조언합니다.
브랜드의 진정성을 담은 시각적 스타일을 사용하라
배러스에 따르면, 디자인은 마케팅 언어와 상투적인 수단을 넘어서 진정성 있는 브랜드 메시지를 독창적인 방식으로 전달할 때 가장 효과적입니다. “중요한 것은 확고한 시각적 스타일을 고수하면서도 시각적 요소를 실행하는 방식에서 독창성을 가미하여 약간의 상식을 뛰어넘는 것입니다. 시각적 스토리텔링에서는 진정성을 담아내는 것이 핵심인데, 그러한 울림이 없다면 고객이 스토리를 이탈하게 될 것입니다.”라고 역설합니다.

마케팅 이외의 브랜드 스토리 소재를 발굴하라
마지막으로, 배러스는 디자이너가 브랜드의 스토리에 대한 균형 잡힌 시각을 갖기 위해서는 마케팅 부서 외의 사람들과 교류하는 것이 중요하다고 강조합니다. “회사의 다른 부서 사람들과도 이야기를 나누어야 합니다. 일반적으로 마케팅 담당자가 디자이너를 채용하므로 마케팅 종사자들이 인식하는 브랜드에 의해 디자이너의 사고가 제한될 수 있습니다.”라고 배러스는 충고합니다. 실제로 고객을 응대하는 직원, 고객 및 최종 사용자와 직접 의견을 나눌 수 있게 된다면 디자이너의 시야를 넓힐 수 있을 뿐만 아니라 고객에게 감동을 주는 스토리 중심의 디자인을 창안하는 데 도움이 될 것입니다.
여러분이 현재 시각적인 스토리텔링을 효과적으로 전달하기 위해 구상 중인 디자인 전략은 무엇입니까? 아래 의견란에 여러분의 의견을 말씀해 주십시오.
 
 

The Creative Cloud Team
 
 

 
 

#CreativeImpact | Q&A with VR Designer Lucy Bonner


Adobe
Lucy Bonner uses coding, virtual reality, and illustration to confront social imbalance and bias through interactive design. Project 1324 recently caught up with the designer to chat about her latest project, Compliment, and her advice for creating impactful VR experiences.

What social issues inspire your creative work and why?
Social issues surrounding systemic imbalances and oppressive power structures drive me to create work that brings these injustices to the fore. The intersecting social structures of oppression are on such a large scale, and so entrenched, that many people don’t even think about them unless affected directly, which only serves to support and perpetuate the problems. As a feminist, much of my work has focused on the established patriarchal power structures and the ensuing gender imbalances. I want people to confront these systemic biases and think critically about what it means for our society and humanity.

What tools do you use to express your creativity?
I try to use tools best suited for the message I want to communicate. As an illustrator, I tend to gravitate to the Adobe Creative Cloud – Illustrator, After Effects – but projects like Compliment required me to learn new skills and tools, such as Cinema 4D, Unity, and the Oculus Rift. At Parsons, I learned the logic fundamentals of programming and coding, which can be easily communicated across platforms and specific languages. My previous work with coding languages like Java and Objective-C made learning C# for Unity much easier. The Parsons MFA Design + Technology program I went through instilled a mindset in which, basically, if you want to do something, figure out how and make it happen. It’s encouraging and liberating.

What was the inspiration behind your latest project, Compliment?
Upon moving to New York, every time I left the house I was harassed, and it takes an emotional toll. I lived along Broadway in Bushwick, Brooklyn, when I first moved here and started working on Compliment. I wanted to exemplify my daily experience, so took photos of the buildings and streets surrounding my apartment and on my walk to the J train to use as the textures and visuals of the project’s environment.
I’ve developed a habit of writing down the harassment I get each time in my phones Notes app. I use the harassment I myself have received – as well as a few choice anecdotes from friends – and place them in the mouths of male character models, combining them with the physical movements men have often employed alongside their verbal assaults. The harasser characters step in front of the participant, follow them, and block them from moving forward, much as in my own real-life experiences.
As a woman, multiple times a day I endure comments about my appearance, what men would do to me, how I should act, how I should properly respond, how I could please the men around me. Not to mention those who simply touch, bark, whistle, making smacking sounds, invade my space, or simply leer at my body as if the only thing keeping them from helping themselves is the fact that they have somewhere else to be. Women’s bodies are routinely perceived as objects – objects whose sole purpose is for the gratification of the men around them. The entitlement is overwhelming.
Men were surprised by the regularity, pervasiveness, and severity of my experiences with street harassment, but did not really understand the emotional and physical safety repercussions of it, or how street harassment supports, and is a symptom of, the dominant patriarchal system in which we live. As frustrating as it is for women’s experiences and voices to be dismissed so easily and so frequently, I realized that I could use my daily experience and my anger at continued disbelief to craft a project exemplifying the “compliment” of street harassment.

Compliment is an exploration and manifestation of the harassment I have received, and an attempt to convey the feelings of vulnerability and frustration it creates. Compliment points out the absurdity of calling street harassment a compliment rather than the dominance posturing it is.

What do you hope players take away from the immersive experience?
Compliment explores street harassment and conveys the forceful intrusion and violation of space and attention that makes a woman feel vulnerable, angry, and silenced in order to raise awareness and effect change.
I want participants to recognize the effect street harassment has on those forced to endure it daily, with hopes that experiencing a small portion of it will encourage them to listen in future, not disbelieve others’ experiences, abandon the dismissive notion that street harassment is a compliment, and support efforts to change the systemic patriarchal paradigms that support street harassment.

What tips do you have for young artists who are thinking about creating for VR?
For those looking to create work for VR platforms, like the Rift or Google Cardboard, I would suggest letting the topic choose the form. Rather than starting out wanting to make VR, find something in the world you want to process or reflect on through your work, and if VR suits it, use it.
I found that virtual reality has much to offer, but also has some ethical pitfalls to be aware of. There is a troubling trend of using “empathy” for self-aggrandizement, and an easy tendency to need “proof” of another’s experience before believing it. This can quickly derail conversations about the issues facing our world. In an effort to show others’ experiences, virtual reality can sometimes aid in what Leslie Jamison, in her book Empathy Exams, calls “pain tourism.” As she describes, “This is the grand fiction of tourism, that bringing our bodies somewhere draws that place closer to us, or we to it. It’s a quick fix of empathy.” Our work should challenge people’s assumptions regarding the need for our own eyes to witness in order to empathize, and validate the experiences of others, seen for ourselves or not, and I think it’s important to keep this in mind when designing and creating virtual reality work.
I would also encourage people to not be intimidated by development of virtual reality. When I decided to work with VR for Compliment, I had never worked in 3D modelling, Unity, or VR before and learned from scratch – with time and effort and the help of some very supportive friends willing to pitch in and help figure things out when Unity documentation and discussion forums failed me.

Were there any insights you didn’t pick up about the game until you saw players trying it out?
I knew I wanted to create work around the issue of street harassment as it is something I feel strongly about. The possibilities presented by virtual reality were perfectly suited to the issue so I decided to teach myself the skills needed. It has been challenging at points, but I’ve learned a lot.
Several issues have emerged throughout the creation and iterations of Compliment. I struggled with lighting the scene throughout the first two prototypes, and while attempting a dark, moody environment, ended up with a scene so dark all the characters – harassers and bystanders alike – look the same: shadowed and looming. While looming is sometimes what I want, I do want to show the individuality and diversity of the characters – all types of humans make the decision to intrude on other humans’ space and attention and fail to respect the fellow autonomy and humanity of women (and men!) of all types and appearances. Whether a woman is on Wall Street, 5th, Broadway or Atlantic Avenue, in a mini-skirt or bundled up for a snowstorm, harassment finds her.
As I move forward with Compliment, I am also working to build it for the Google Cardboard platform rather than the Oculus Rift. The Rift DK1 I have has been great, but I want a more broadly available and easy-to-use platform with a higher resolution to help with the inherent motion sickness some people have experienced with the DK1. While the DK2 is available, as well as a new consumer model, there is still a lot of setup, wires, and weight involved for the system. Cardboard will offer Compliment to a broader audience.

What advice would you give young designers looking to produce meaningful work?
Don’t be put off by ideas just because you don’t know how to accomplish them yet – you can learn any program or technique as you go, and working through the issues, getting your point of view out there, is more important than any sort of “perfection” in the finished piece. I’ve found that the more passion I have for a subject or issue, the more powerful the finished piece, regardless of whether or not I’d worked with the chosen medium before.
See more of Lucy’s work at lucymbonner.com

Come for Developer Day @ Adobe San Jose on September 12th

Adobe
On September 12th, Adobe will be hosting a Developer Day hosted by SAFECode, the Cloud Security Alliance (CSA), and Adobe at Adobe’s San Jose headquarters. The agenda is packed with great content and experts from leading product security organizations. Please consider attending on Monday to have the opportunity to learn and network with peers across the industry.
Topics of the day include:

Software Assurance: Putting Industry Best Practices into Action

Driving Software Assurance Knowledge among Software Professionals
Fundamental Practices for Software Assurance
Third Party Components and Secure Software

Cloud + Dev == Security.Awesome

The power of cloud developer tools
What is DevSecOps
Security by design

Panel: Putting Software Assurance Theory into Practice

Leading industry experts from SAFECode and CSA will discuss some of the latest case studies in software assurance and new frontiers of software security. The panelists will be fielding questions and sharing experiences on the advantages organizations are gaining when leveraging the latest innovative security approaches to the development lifecycle.
For the full agenda, speakers and to register for this free event, please click here: https://www.eventbank.com/event/777/.

Adobe Works with BYU Summer Security Camp for Girls


Adobe
Adobe Works with the BYU Cybersecurity Summer Camp for Girls
This summer members of the Adobe security teams worked with Brigham Young University (BYU) on a free cybersecurity summer camp for girls in grades 8 – 12.  This event is organized by the BYU Cybersecurity Research Lab and Adobe helps with funding, curriculum development, and mentoring for the program. The camp included 4 days of hands-on cybersecurity workshops, classes, and experiences. The students learned about many topics designed to get them excited about pursuing cybersecurity as a career including hacking, privacy, viruses and how to stay safe online. At the core of the event was a space-themed “escape” challenge. This challenge required teams to solve, through a simulated space ship command bridge, common cybersecurity problems to avoid power failures, hostile alien encounters, and other pitfalls. It was a good combination of training from experts and fun experiential learning experiences.
“All the research and our own experience has shown that this age range is a critical time for young women to develop an interest in cybersecurity” says Dr. Dale Rowe, Director of the BYU Cybersecurity Research Lab. Not only was it beneficial for the participants, Adobe employees serving as mentors also had a great time. CJ Cornel, student director of the camp, said, “the camp was a great way to help us share our passion for cybersecurity with some of the next generation in a safe environment.”
This camp is one of many activities Adobe sponsors to encourage girls and young women to enter the cybersecurity field including Women in Cybersecurity, Girls Who Code, Winja “Capture the Flag” (“CTF”) Competition, and r00tz @ BlackHat.

Chandler Newby
Information Security Engineer
Donald Porter
Sr. Manager, Security Engineering

“Follow Your Gut” – Sophie Ebrard’s Advice On Capturing The Perfect Shot


Adobe
Last month at the Adobe Photography Jam, the hugely talented and hilarious Sophie Ebrard talked about the importance of breaking away from the constricts of society and following your dreams in order to capture that perfect shot.
Here she discusses her career as a photographer and director, the inspiration behind her genial campaigns and what the future holds.
Describe your path to becoming a photographer.

On the 6th January 2010, I became a photographer. From that day, whenever people asked me what I did, I would say, “I am a photographer.” Even though at the beginning it was not entirely true. But I thought I had to believe in myself first if I wanted other people to believe in me.
I was raised in a tiny village right at the base of the Alps. Growing up, the arts weren’t something I was exposed to; both my parents were pilots and the Internet didn’t exist. But my dad was a keen photographer, which influenced me. I spent a lot of my time drawing and constantly had a point-and-shoot camera in my hands.
As much as I loved art, it didn’t seem right to go to art school. I wasn’t sure what I wanted to do, so I went to business school. Shortly after graduation, I went into advertising and worked at some of the top agencies in Europe. It was great at the beginning. as it seemed to partly fulfill me creatively. Over the years though, the work evolved, the industry changed, and projects became more global or political, and less creative. The work became so far removed from the reasons why I had started working in the industry.
I realised at that point that I needed a big change. That’s when I decided to become a photographer full time.
What project are you most proud of?
I would say ‘It’s Just Love’ is the project I am the proudest of, a study of the porn industry. To humanise the individuals in front of the lens and show a lighter side to the industry, I followed porn director Gazzman for four years on his sets around the world.

The results are no ordinary erotic images, in fact there’s very little sexual gratification in them. ‘It’s Just Love’ is both a study of composition and of the human relationship with the sex industry. It is porn turned on its head in a blaze of long shots, private moments and elegant compositions.
I used medium-format analogue film to catch those unguarded and human moments. An interaction between a number of like-minded people; a means to making a living and an enjoyable profession just like any other.
I exhibited ‘It’s Just Love’ at last year’s Unseen Photo Fair, the international photography festival held in Amsterdam. I decided to hold the exhibition in my own home to emphasize the duality of personal intimacy and external presentation. Porn never leaves the house – it is mostly consumed at home, which made it the ideal location for the exhibition.
The series was curated by Roderick van der Lee, co-founder and board member of the Unseen Photo Fair.
What advice would you give to those looking to get into professional photography?
The best advice I have been given is to see yourself as a company or brand, not as an individual; and know the price of what you’re making.
When you are fresh out of art school, no one tells you that when you earn money on a project, it doesn’t all go into your bank account. You have to pay the people who have helped you on the project, not to mention tax. If there is anything left, that money should be spent on a new computer or invested in making a new series of photos that you will send to a magazine to hopefully be seen by someone who will commission you for another project. 

Give us your top tips to capturing the perfect shot?
Follow your heart and your gut. Don’t do work because you think it is going to appeal to a particular person or market; do work that you think is great. I try not to think, “Is this magazine going to like my photo?”
It’s more about what I feel when I take a picture. Even when I shoot client work, I try to remember that if I press the shutter and feel something, there’s a good chance that the person seeing the picture will feel something, too.
You have to follow what’s inside you and put the best of yourself into your work.
What’s next for you?
I am always working on personal projects.
Most recently, I spent a week hanging out with 5 basketball players in an Airbnb in Harlem, New York. Some of the images were released as a preview on WeTransfer this summer.
I love immersing myself creatively in worlds I know nothing about and having to earn the trust of my subjects. I love being a chameleon, adapting to my surroundings. This is what I love doing the most.

What’s next? A new series where I can immerse myself again in a world I know nothing about and try to capture the beauty in it.
It’s quite therapeutic in a way because you forget about your own world and see things very differently. The more remote it is from me, the more pleasure I take; and the better I am at capturing the beauty in what I see.

#dmexcoChat auf Twitter: Führende Experten diskutieren das neue Kundenerlebnis

Adobe
Kunden sind dem Erlebnis treu, nicht der Marke. Darauf müssen sich Unternehmen zunehmend einstellen. Für sie geht es nicht länger um Produkte oder Services, sondern um Erlebnisse. Das Zeitalter des Experience Business hat begonnen. Worauf es dabei ankommt und wie Unternehmen am effizientesten in diese neue Ära durchstarten, diskutieren führende Experten am 14. und 15. September in unserem #dmexcoChat auf Twitter.
Rund eine Stunde lang – von 14.30 bis 15.30 Uhr – teilen der Content-Stratege Robert Weller, Social Media Profi Enrico Hanisch, Microsofts Head of Digital Channels Magdalena Rogl und Digital Leadership Experte und Internetpionier Ibrahim Evsan an zwei Tagen ihr umfangreiches Praxis-Wissen mit allen Interessierten. Moderiert wird der #dmexcoChat auf Twitter vom erfahrenen Fachjournalisten und Digital Consultant Falk Hedemann (u. a. Lead Digital).
Tag 1: Was macht ein begeisterndes Kundenerlebnis aus?
Kunden verfügen im digitalen Zeitalter über mehr Kanäle als jemals zuvor, um mit gewünschten Marken in Kontakt zu treten. Und zwar wann und wo sie es wollen. Um sich im zunehmenden Wettbewerb abzuheben und die Kunden auf den eigenen Angeboten zu halten, müssen Unternehmen heute konsistente und begeisternde Erlebnisse schaffen. Wie ein solches Erlebnis konkret aussehen sollte und welche Rolle dabei Themen wie Personalisierung, datenoptimierter Content und die richtigen Mitarbeiter spielen, erfahren Sie am ersten Tag unseres #dmexcoChat.
Tag 2: Worauf kommt es den Kunden an?
Generell zielt Business Experience darauf ab, den Kunden ein Markenerlebnis zu bieten, das die Erwartungen, Wünsche und Bedürfnisse erfüllt. Noch besser wäre es, die Kunden zu überraschen und die Erwartungen zu übertreffen. Damit das gelingen kann, müssen sich die Unternehmen intensiv damit auseinandersetzen, was die Kunden wirklich wollen. In einer aktuellen Adobe Studie haben wir die Kunden befragt, worauf es ihnen online ankommt (Personalisierung, Advertising, Video, Ad Blocking etc.). Erste Ergebnisse präsentieren wir erstmals am zweiten Tag unseres #dmexcoChat, um sie gemeinsam mit Ihnen mit unseren Experten zu diskutieren.
Seien Sie dabei: Profitieren Sie vom praktischen Wissen unserer Experten und diskutieren Sie mit! Ganz einfach unter dem Hashtag #dmexcoChat auf Twitter.
Die Termine des Adobe #dmexcoChat auf Twitter im Überblick:

„Customer Experience“
Mittwoch, 14.09.2016
14.30 – 15.30 Uhr
„Customer Needs“
Donnerstag, 15.09.2016
14.30 – 15.30 Uhr

Stock Photography calendar


Adobe
It’s September! That means back to school, back to work and back to reality! Hopefully after the summer, your batteries are recharged and you are full of energy to boost your stock creations. Of course, you want to work efficiently, stay organized, produce and submit compelling content, and get on top of your game. That’s why we’re here to help you plot out your stock calendar year!
Timing is extremely important when producing and submitting stock content. Submitting seasonal content at random intervals throughout the year isn’t the best approach, as the newest content has the most visibility on the site. So it’s best to upload relevant content at the right time, to ensure buyers come across it first.
ADDICTIVE STOCK / ADOBE STOCK
Developing a stock content calendar will help you plan your productions and submissions for next year’s content, maximizing your visibility and sales. We recommend making a digital version so it’s easier to update and edit.
GEORGEJMCLITTLE
Start with marking the most important events in the year like the turn of the seasons, holidays and major global events. Once something is in the calendar you can then start to plan the master and all the finer details, such as concepts, models, locations, equipment, and releases. The more you plan ahead, the smoother the actual production will run.
KANASHKIN / ADOBE STOCK
When planning, it’s important to research your market and your audience. If you are dealing with tech or medical themes, make sure that you have the most up-to-date motifs and gadgets. As you are planning in advance, you need to be on top of the upcoming trends. Visual trend reports are a great way of informing yourself of what to expect and source for the upcoming market.
FSTOP / ADOBE STOCK
Producing and submitting your content are two different things and must be scheduled accordingly. Content buyers also plan their annual campaigns well in advance, licensing their images, videos or vectors weeks before they publish their advertisements.
RAWPIXEL.COM / ADOBE STOCK
So, its best for you to submit relevant themed content weeks in advance of the event, as this is when customers are buying. For example, the content you produce this winter around the theme of Christmas will most likely be needed next year. Be sure to hold onto the files and submit them for next year’s campaigns, as generally the theme is consistent.
HVOSTIK16 / ADOBE STOCK
Running a calendar will also help you maximize your visibility by scheduling the frequency of your submission. Consistent, regular submissions are key!
ARTUR MARCINIEC / ADOBE STOCK
It’s important to remember to stay realistic – don’t over do it! Use your calendar to set up a schedule that you can handle, then follow it. Decide how many productions you can complete each month, how many submission you will do per year.
.SHOCK / ADOBE STOCK
Now you can plan ahead and quit stressing over tight deadlines, as well as tracking all your great ideas and ensuring your submissions are consistent. Ultimately, you can gain better control to your entire content creation process!

Illustrator Dynamic Symbols


Adobe
A really effective way of dealing with repeating elements in projects—especially in UX/UI work—is to use symbols; they are to graphic elements what paragraph styles are to text and changes to the “master” are reflected in all instances immediately.
However, there have been limitations that have required making hierarchical symbols structures or groups of symbols to work around—at least until Dynamic Symbols surfaced in CC2015. Dynamic symbol instances retain their link to the master symbol even when their shape and visual attributes are altered—and this gives you a lot of flexibility. If symbols are like the graphic equivalent to paragraph styles, dynamic symbols give you the character equivalent (and then some) in that you can override certain local attributes as well, as well as effect transformations over the whole object (sticking with the type analogy, this would be like a “based-on” style).
Any fundamental changes to the master symbol are automatically applied without undoing any previous change or overrides to the individual instances of the symbol, and in the video below you’ll see some of what can be achieved with them and discover many new possibilities.
Dynamic Symbols: Video

Webinar: BNP Paribas educates and informs clients with mobile apps

Adobe
Don’t miss our next customer webinar on September 27 where Salvatore Vidal, Global Head of Products & Services Marketing from the BNP Paribas Weath Management team, will share how they are delivering market trends to their wealth management customers through mobile apps using Adobe Experience Manager Mobile.
During this session—specifically designed for business leaders from banks, brokerage firms, wealth management firms, and insurance companies–you’ll learn about mobile app strategies and technologies that can help build, manage, and deliver powerful mobile app experiences.
Watch this video for a sneak preview of what you’ll learn at the webinar:

Learn more about the webinar and register now!