Access a resource property using an AEM bundle

In this session, we will learn about how to access resources using bundles deployed in the Felix console.  After all, for Sling, everything is a resource. We will update the bundle we developed with a method that accesses a node and prints its title. Though it sounds very simple, we will learn about a very important interface ResourceResolverFactory, that helps you to get ResourveResolver. ResourceResolver gets you the Resource object that provides you the functionalities to manipulate the nodes and its properties. We will also learn about the adptTo() method that helps you to translate an object into a different object type.

So, let us start:

Add the following method in HelloService interface:
public String getPageTitle();

Add the following ResourceResolveFactory reference:@Reference ResourceResolverFactory resolverFactory;
Implement the getPageTitle() method.
Create a hashmap object with a string & object combination as shown below:
Map<String, Object> param = new HashMap<String, Object>();

Put ResourceResolverFactory.SUBSERVICE and the service associated to the HashMap object.
param.put(ResourceResolverFactory.SUBSERVICE, “readService”);
This is a new security layer added in AEM on 6.1 version. It means that the resolveResolver object we create is used by a readService process that we would be created later.
Now create a reference to the ResourseResolver.
ResourceResolver resourceResolver=null;

Create resourceResolver object as shown below:
resourceResolver = resolverFactory.getServiceResourceResolver(param);
As I mentioned earlier, for Sling, everything is a resource. Generally, you use Sling APIs for doing any content manipulation. Getting a ResourceResolver object is imperative for accessing the Nodes in Oak, and later doing various operations, such as Create, Read, Update, and Delete (CRUD). You can compare it to creating a connection object in Java to a database.
Now create a resource object using the getResource() method with a path to the company page as argument.
Resource pageResource = resourceResolver.getResource(“/content/aem-company”);

Translate the resource into a Page object using the adaptTo() class.
Page myPage = pageResource.adaptTo(Page.class);
Note that the method takes the class name to which we want to translate the resource as an argument. We do this operation to avail various APIs associated with various objects, such as Node, Page, and so on. In this case, we use the getTitle() method in the Page object. This can throw a null or Login Failed exception, and that’s the reason we added a try catch block.
Use the following Page method to get the resource title.
String title = myPage.getTitle();

Update the bundle service component
Update the bundleservice page, so that we can test if the bundle returns the value.

Login to CRXDE LIte.
Update the bundleservice page.
<%= repositoryService.getPageTitle()%>

Create a service user mapper

Login to System console.
In OSGI Configuration,  search for Apache Sling Service User Mapper Service.
Create a new service mapping as shown below:

The first part is the bundle name. Second part is the service name that we used in the method. (Step: 5) Third part is the system user who can access the service.
We are yet to create the system user. Let us do that.

Create a system user and provide access rights

Login to CRX Explorer.
Select User Administration > Create System User.
Enter user ID.
Select Yes for creation.
Provide access to the user to avail the paths.
Search for the user. (myUser)
Provide full access to the content path.
Then, Save the user.


Animating Deadpool: from Sketch to Animatic to Publish Online

This week I had the pleasure of visiting Leeds to do a one-man creativity and content velocity gig where we looked at how fast Creative Cloud makes it to produce great content, and also encouraged CC users to make a bit more of the apps they have access to as complete members but maybe don’t visit as often. On the train to Leeds I did a quick cartoon of Deadpool in my sketchbook (so I could use Capture to turn it into a shape) that I thought would be fun to animate in Animate CC, as Alex Fleisig and Joseph Labrecque did for a tutorial on recently—you should be able to access the tutorial via the welcome screen in Animate CC or go direct: My version was fairly simple at the time as I had a lot of ground to cover but thought that we could explore this in a little more detail in this post, look at a different method for animation and finally add the animatic to an InDesign Publish Online project.
Watch the Video

Using a Transparent background for the .oam file in EPUB and Publish Online
The .oam files out of Animate CC have a background by default and until there’s an option for background transparency you’ll need to add a couple of lines of code to the first frame of your timeline as an action (you can copy these and paste them in, if you like):”rgba(0,0,0,0)”; = “rgba(0,0,0,0)”;
That should fix it nicely!

Seen This Week: It’s all about work!

It seems we were work-obsessed this week! We released new research, held a think tank and sent one of our execs on the road to weigh in on workplace trends now and in the future. Here are a few highlights:
A look into the crystal ball at Future of Work Think Tank
On Wednesday we held a Think Tank in San Francisco about The Future of Work. It brought together thought leaders from a variety of backgrounds, locations and companies, to discuss and debate what the future holds for all of us in the workforce — through the lens of people, technology and workplaces.
We had a full day of conversations and breakout sessions that touched on current trends and brought issues to the forefront as a way make some prediction and declarative statements. Check out the replay of the one hour livestream:

Donna Morris Debates the Value of Flashy Perks at Bloomberg Breakaway Summit 2016
Donna Morris, our executive vice president of Customer and Employee Experience, spoke on a panel at Bloomberg Breakaway Summit 2016 this week, alongside Jana Rich, Rich Talent Group’s founder and CEO, about recruitment strategies for the growth-minded company.
Donna’s message was clear: when it comes to attracting new employees, it’s not all about perks – it’s about passion. She looks to hire people who believe in the company’s purpose and she thinks companies should invest in benefits that stand the test of time and focus on development.
“It’s important to invest in the people who work for you,” she says. “When I say invest I mean providing them great experiences in terms of projects and opportunities to make an impact.” Watch a full video of the panel below:

LavaCon Dublin (5–8 June): 30% off with code ADOBE

Adobe Technical Communication is proud to announce we are the Exclusive Diamond Sponsor for the LavaCon Conference on Content Strategy and Technical Communication Management:
LavaCon is a gathering place for content strategists, documentation managers, and other content professionals. Hear how your peers at SAP, IBM, Cisco Systems, and more are using multichannel publishing to save their organizations money and generate revenue.

LavaCon will be in Dublin, Ireland 5–8 June, and in Las Vegas, Nevada 25–28 October 2016.

Don’t miss keynote speaker Niamh Collins, the Global Content Strategist from Amazon Devices, speaking on “Welcome to the Brave New World: The Future of Content Authoring”.
Also make sure you do not miss the two presentations from Adobe’s Product Manager Abhishek Jain:

Monday, 6 June: 14:10: Abhishek Jain: “Increase your ROC “Return on Content” by Doing More with Less”

Tuesday, 7 June: 16:10: Abhishek Jain: “Blurring the Lines Between Marketing and Technical Content”

And any trip to Ireland wouldn’t be complete without visiting a pub or two, so join us in Temple Bar for a literary pub crawl.

Can’t make it to Dublin?
LavaCon also offers a virtual track streaming live video in Adobe Connect so your whole team can attend remotely.
Watch the 2015 keynote “Veni, Vidi, Vici: Win the Battle for Content Ownership and Take Back Your Content Carreer” by Vici Koster-Lernhard, the Global Employment Coordinator with the US Department of State, for a sample of the LavaCon Virtual Track experience:

Register today and get 30 % off!
Register today using the referral code ADOBE to save 30% off conference tuition.
See you in Dublin!

Das Magazin zum Magazin: Wie ein 19-Jähriger Heftmacher Jan Böhmermann verblüffte

Eine Woche kann ganz schön lang sein. Eine Woche musste Patrick Schürmann auf eine Reaktion seines Helden warten. Dann endlich kam sie. Am 23. Mai twitterte Böhmermann ein Bild von Patricks Fan-Mag „Neo Magazin“ mit dem Kommentar: „Fan-Art von Patrick aus Ebersberg. Ich weiß nicht, ob ich vor Freude weinen oder den Abmahnanwalt anrufen soll“. Allein dafür hat sich die ganze Arbeit schon gelohnt. „Die Sendung ist großartig. Was Jan und sein Team auf die Beine stellen, ist sehr cool. Dafür wollte ich mich einfach mal bedanken“, erklärt der 19-Jährige Hobby-Herausgeber, der im letzten Jahr sein Abitur gemacht hat.
Doch wie kam es zum Heft? Und wieso entscheidet sich ein Digital Native für das gute alte Papier?  Und was hat Böhmermanns Schmähgedicht mit der ganzen Sache zu tun?
Patrick Schürmann
1 Woche, 20 Seiten, 30 Hefte

Eigentlich wollte Patrick nur mal Böhmermann und das „Neo Magazin Royale“ live erleben. Tickets hatte er bereits ergattert, den Trip von München nach Köln geplant, dann kam die Absage und Patrick war sauer: „Nicht auf Böhmermann und die Produktionsfirma Bildundtonfabrik, sondern einfach nur, dass die Sendung ausgefallen ist.“ Weil Böhmermann sich gerade mitten im Zwist mit einem beleidigten Staatsoberhaupt befand, wurde die Sendung abgesagt. Patrick ließ die Sache keine Ruhe:
„Ich wollte unbedingt das Neo Magazin sehen und da das nicht mehr ging, habe ich mir selbst eines gebastelt. Dann habe ich beschlossen, es zu drucken und nach Köln zu schicken und bin natürlich recht glücklich gewesen, als es Jan gesehen hat.“
So einfach geht das. Es war aber auch nicht sein erstes Mal. Schon für die Satireshow „Walulis sieht fern“ hatte er eine Printausgabe erstellt – zu sehen auf
Dass Patrick sein „Neo Magazin“ tatsächlich in nur einer Woche fertiggestellt hat, ist ziemlich beeindruckend. Seine Texte, die treffend den Humor der Sendung widerspiegeln, und das durchaus schicke Layout kreierte er in kompletter Eigenregie. Für das Layout kam ausschließlich InDesign, für die Mockups auf seiner Webseite und auf seinen Social Media-Seiten Photoshop zum Einsatz. „Ich bin jetzt nicht wirklich der große Layouter, aber ich konnte mit InDesign ganz intuitiv mein Magazin gestalten. Es ist wirklich praktisch und man kann sich unfassbar schnell einarbeiten – auch wenn man ein Laie ist“, sagt Patrick. Bereits bei seiner Abi-Zeitschrift konnte er Erfahrungen mit dem Programm sammeln.
„Es ist vielleicht nicht perfekt, was ich da erzeugt habe, aber InDesign ist ein praktisches Tool, das sich schnell verwenden lässt – ob für eine Abizeitschrift oder jetzt das Neo Magazin!“

Nach einem Testdruck entdeckte er noch ein, zwei kleine Fehler, veränderte die Texthelligkeit hier und beseitigte einen Überdruckfehler dort und fertig. 30 Exemplare ließ er durch eine Online-Druckerei produzieren. Fünf Hefte gingen an Böhmermanns Redaktion, zwei sind beim WDR gelandet und den Rest verteilte Patrick an die Presse oder an Freunde.
Oft wurde er gefragt, warum er sich für Print entschieden hat. Für ihn stand das nie zur Debatte: „Es ist einfacher, meine Texte auf Papier zu produzieren als ins Internet zu stellen. Einfach aus dem Grund, dass du im Internet ein völlig anderes Layout hast. Außerdem musst du die Seiten so anpassen, dass es auch auf Mobilgeräten gut aussieht.“ Er habe zudem schon sehr früh angefangen zu schreiben und für Zeitungen zu arbeiten. „Für mich gibt’s kaum ein schöneres Gefühl, als eine Hochglanzseite Papier in der Hand zu halten. Das ist viel besser als denselben Text irgendwo auf dem Bildschirm zu lesen.“
Waiting for Böhmi
Patricks Traum wäre natürlich von Jan Böhmermann die Erlaubnis zu erhalten, ein offizielles Heft zur Sendung zu produzieren. Lässt Böhmermann sich darauf ein? Immerhin ist die Nachfrage groß. Ob über Twitter oder in seinem Bekanntenkreis – viele möchten wissen, wo es das Heft zu kaufen gibt. Doch Geld verdienen darf er mit seinem Werk nicht. Dafür fehlen ihm die Namens- und Bildrechte. Leider hat Patrick seit dem Tweet noch nichts von seinem Vorbild gehört. „Eine kurze Mail mit ehrlichem Feedback zu meinem Magazin wäre cool gewesen“, so Patrick und hofft einfach weiter.
Sonst wäre er aber auch erstmal mit einem Praktikumsplatz in der Redaktion von „Neo Magazin Royale“ zu besänftigen. Immerhin dürfte kaum jemand bessere Arbeitsproben in petto haben als Patrick: „Also klar, wenn Jan schon vor Freude weinen musste, dann wäre es doch schön, wenn ich für ein Praktikum da reinschnuppern dürfte. Mein Fan-Mag war ja schon Teil meiner Bewerbungsunterlagen.“
Aber auch sonst wäre das Nachwuchstalent viel beschäftigt. In seiner Freizeit ist Patrick am liebsten in kreativen Sphären unterwegs – egal ob schreiben, filmen oder einer Freundin in der Tonregie bei der Aufnahme ihres Albums helfen. Sein nächstes Print-Projekt hat er jedenfalls schon in Angriff genommen. Über eine Gruppe von nicht gerade unbekannten Berliner YouTubern plant er ein Heft, das sich mit deren Kanal auseinandersetzt: „Auf jeden Fall möchte ich gern wieder etwas drucken. Weil es einfach Spaß macht!“ Eines noch: Über Ersatzkarten für die verpasste Show hätte sich Patrick auch sehr gefreut.

Mystérieuse Juliette Bates

Photographe de l’étrange inspirée par la confrontation de l’homme et de la nature, Juliette Bates signe des images à la fois surréalistes et froides qui interpellent par leur singularité, la fragilité et la poésie qui émanent de ses compositions.
    Quel est votre parcours de photographe ?
C’est après avoir étudié l’histoire de l’Art et de la photographie à l’Université jusqu’en Master que je me suis inscrite en école de photo. En sortant de l’école en 2011, j’ai reçu quelques prix qui m’ont permis de faire connaître mes images et de les exposer.
Quelles ont été les étapes importantes de votre apprentissage photographique ?
L’école a été une étape importante qui m’a permis de tout expérimenter : du reportage en film diapo à la conception de sites web, en passant par le graphisme, la retouche et les cours de studio à la chambre 4×5 inch. En première année, l’argentique était imposé, avec un boitier uniquement manuel, et nous avions une dizaine d’heures de labo noir et blanc par semaine, alors que toutes les autres écoles abordaient presque exclusivement le numérique dès la première année. J’ai pu suivre aussi quelques stages formateurs, notamment dans le domaine de la post-production (tirages argentiques et numériques, traitement de l’image, etc.) mais aussi de la conservation de photographies anciennes. Après l’école, j’ai travaillé comme assistante puis comme Studio Manager pour Simon Procter, un photographe de mode anglais basé à Paris.
Aujourd’hui, sur quoi travaillez-vous ?
Aujourd’hui, je partage mon temps entre des travaux de commande et la préparation d’une nouvelle série. Comme pour « histoires naturelles », il s’agira d’une fiction narrative mêlant mises en scènes et natures mortes, cette fois-ci autour du thème de l’alchimie, de l’idée de transformation, de création et de confrontation de l’Homme avec la Nature et les éléments. C’est un sujet passionnant et très dense qui nécessite beaucoup de recherche et de documentation, d’autant plus que je m’attache à ne rien laisser au hasard.
Comment se répartissent votre travail de commande et vos travaux personnels ?
En général, les travaux de commande me prennent beaucoup de temps, car je m’investis autant que s’il s’agissait de travaux personnels. Travailler pour un client est très stimulant, et les commandes me permettent souvent de rebondir sur de nouvelles idées pour mes travaux personnels, que je note dans un carnet pour plus tard. Ce n’est que lorsque les clients m’oublient un peu, que j’arrive enfin à me consacrer à mes propres images !

Qui sont vos clients aujourd’hui ?
Je produis et vends des images à des maisons d’édition (l’Olivier, Points, Laurence King Publishing…), à la presse française et étrangère (Libération, Causette…), pour l’horlogerie de luxe (Omega Watches), mais aussi à des collectionneurs, et des particuliers qui me sollicitent pour des projets sur mesure.
Quels sont les photographes qui vous ont influencé ou dont vous suivez le travail ?
Quand je cherchais une façon de traiter « histoires naturelles » je passais beaucoup de temps en bibliothèque à regarder des ouvrages sur le Symbolisme, les estampes d’Hokusai et d’Hiroshige, la peinture de Vilhelm Hammershoi. Ce sont les arts picturaux qui influencent d’abord mon regard. Je crois que j’aurais été peintre ou illustratrice, si je n’avais pas été photographe. Mais je pourrais ensuite citer les photographes Robert & Shana ParkeHarrison, pour leurs images en couleur, et le japonais Masao Yamamoto, dont j’adore l’humilité et la poétique de ses haïkus photographiques. J’aime aussi suivre le travail brillant et sensible de Dorothée Smith.

Pouvez-vous raconter la genèse de « histoire naturelles », vos choix artistiques ?
J’ai eu envie de concrétiser cette série après la visite de l’expo « C’est la vie ! » au Musée Maillol en 2010, qui offrait un panorama du thème des « Vanités » à travers les époques. J’avais beaucoup aimé l’exposition mais je trouvais qu’il manquait un regard un peu différent sur ce thème : une vision un peu moins attendue, plus lumineuse, plus légère, qui au lieu d’être uniquement axée sur l’humain, se porterait sur le vivant en général, ce qui inclut donc toutes les autres formes de vie, les espèces, le végétal. Ça m’amusait de traiter avec légèreté un sujet aussi tabou que la mort.
Vous semblez avoir un goût certain pour le gothisme et les cabinets de curiosités? Qu’est-ce qui vous inspire ?
Je parlerais plutôt d’une sensibilité pour l’étrange et le mystère qui me vient de l’enfance. Les cabinets de curiosités se rapportent à tout ce qui m’attire et me fascine depuis (presque) toujours : les collections, l’animal et le végétal, le contre nature, l’étrange. En prime, tout cela s’apparente aux notions d’éphémère, d’anormalité, de conservation et de fragilité qui m’intéressent particulièrement. J’aime aussi chiner, et bien souvent, ce sont des objets insolites qui m’inspirent des images. Actuellement, pour ma prochaine série, je lis, étudie et digère des textes occultes anciens.
Cette série se poursuit-elle aujourd’hui ?
Non, cette série est bel et bien achevée. Elle correspond à une période donnée. Mes envies évoluent au fil du temps, et sont assez différentes aujourd’hui.
Pouvez-vous décrire votre façon de travailler ? Est-ce que vous préparez minutieusement vos séries ?
Je fais toujours beaucoup de recherches en bibliothèque et de croquis préparatoires. C’est une phase que j’adore, qui m’est indispensable, probablement à cause de ma formation universitaire et aussi car c’est important pour moi que le moindre détail fasse sens. Pour chaque série, j’utilise une boîte dans laquelle je dépose des notes, des carnets, des croquis, un genre de storyboard, des lectures, des photos de repérage, des objets. Une fois que le contenu est suffisant et satisfaisant, vient alors la réalisation. J’aime avoir une idée précise et globale de ce que je vais faire avant d’entamer une série.
Quelle place tient la retouche d’image dans vos projets ?
J’essaie de l’utiliser le moins possible, de la faire discrète, mais c’est bien souvent ce qui me permet de terminer une image. La retouche n’est surtout pas une fin en soi, mais elle permet aussi de retrouver une certaine liberté, de déjouer les contraintes du réel qui ne convient pas toujours à l’image mentale qui pré-existe. En général, ma retouche se résume à un travail de chromie, du contraste, et à effacer quelques subterfuges comme des bouts de fils de pêche pour suspendre des objets.
Qu’est-ce qui vous intéresse dans la photo ?
La photographie est un médium protéiforme, et est pour moi synonyme de liberté. On peut la pratiquer en solitaire, et elle permet de traiter tous les sujets et les domaines possibles et imaginables. Si par exemple demain je souhaite peindre ou dessiner sur mes images, ou au contraire revenir à la photographie pure et faire mes propres tirages, c’est possible aussi. Cela ne m’empêchera pas de répondre à des commandes pour des marques ou la presse, à partir du moment où le projet est en accord avec mon univers.
Comment qualifierez-vous votre travail ?
Pas facile d’y répondre. Si je devais prendre du recul et mettre des mots sur mon travail je dirais « épuré, froid, obsessionnel, contrasté, surréaliste ». Pour l’instant, c’est ce qu’il ressort quand je m’applique à produire une image.
Quel matériel utilisez-vous ?
En général, pour le numérique, j’utilise un Canon 5D Mark III, et pour l’argentique, un Hasselblad 500c. Sinon, je ne pars plus jamais en vacances sans mon petit Olympus XA, qui est le plus pratique et le plus joliment cheap des appareils « point and shoot ». Dans ces conditions j’adore bâcler mes cadrages et gâcher de la pellicule pour le plaisir de laisser faire le hasard; ça me change et c’est reposant.
Comment vous faites-vous connaître ?
Je n’ai jamais cherché à me faire connaître autrement qu’en créant un site internet, en postant quelques travaux sur Behance, et en participant à quelques concours et prix. Le reste s’est fait presque tout seul, notamment grâce aux publications et à la diffusion spontanée sur les réseaux sociaux, ainsi qu’au travail remarquable de la galerie Esther Woerdehoff qui soutient mon travail depuis 2013.


The Future of Work is Bright

Yesterday I had the pleasure of joining a Think Tank in San Francisco about The Future of Work. It brought together thought leaders from a variety of backgrounds, geographies and organizations, to discuss and debate what the future holds for all of us in the workforce – through the lens of people, technology and workplaces. I’ve outlined my top takeaways from the full day of discussions below. Stay tuned for additional videos, interviews and blogs in the coming weeks!
Optimism & changing the definition of work

The Future of Work is bright around the globe. There was a deep sense of optimism on what the future of work holds for employees: the sense that we can have more impact, create faster than ever before, take on new challenges and learn new skills will accelerate in the next 5 years.
The definition of career success is changing. The old model for success often meant working for a big company for 30+ years, and getting a gold watch retirement gift. Those days are over, led by the work patterns emerging with millennials. Workers will attach to a company or job for a time and they move onto something else once the satisfaction is gone or the job is complete. Employees get the freedom to experience new challenges and employers get the benefit of new and vibrant talent for their organization.
The balance of power shifts to the employee. As people become more and more independent, an increased focus on personal brand-building will take even more of a hold on recruiting or choosing who to work for. In the same way that an actor or athlete builds a brand that carries them from film-to-film or team-to-team, the idea of building a portfolio of skills that everyone takes with them is powerful and may be the way that we will measure success.
It’s not about work-life balance: it’s about life balance. Workers can do the work they love, make an impact and get paid for it.

New models for the workplace
The workplace of the future is about giving workers a palate of tools, and the spaces to unleash creativity and follow their passion. Whether you work from home, work in an open corporate space, or work in a café, the level of innovation and experimentation on how workspaces can and should evolve was a hot topic. The workplace will become more personalized and evolve into a space where anyone can design a working environment to their liking, whether that’s at home or in a grey space or in an office building.
For example, There’s a love for everything local. As the world flattens, there’s a risk of homogenization of space and a lot of companies are trying to break that mold by going local – bringing in local art, local food, local talent and really building a sense of culture, community and uniqueness within the company walls. And, once that rich community and culture is built, going out and impacting the local neighborhood with service and support is a key desire of the current and future generations who are already starting companies and establishing these mission statements.
Technology will re-shape the future of work

Appification of the enterprise needs to accelerate. Some of the critical pain-points discussed were that the majority of the line of business applications and productivity software, while shifting to the cloud, remain monolithic, silo’ed, and makes it too hard to mash-up the solutions really needed. And the opportunity for intelligent bots is (think about AI or “Siri for the knowledge worker” or “IFTTT for teams”) un-realized. Teams should have virtual assistants that automate the mundane work that stands in the way of faster creativity and time-to-impact. We’re seeing teams within the enterprise move with more agility, provisioning themselves with the apps needed to move fast, to create, and to collaborate. Of course there will still be company security and compliance, but workers will soon have much more flexibility in the tools they need to just get work done, how they want to do it.
Augmented reality goes much more mainstream. It’s not about the headset. Rather, the availability of lightweight wearables (i.e., glasses, contact lenses, nanobots, etc.) with just-in-time information will be critical to improving productivity. Alan Lepofsky from Constellation Research shared a vision that this tech advancement will refactor meetings with customers, partners and co-workers: instant access to the data helps us be more effective. The future of work is about enabling employees to follow their passion and these wearables will facilitate advanced communication and interaction.

Maybe the future of work is that we won’t have to work at all. We’ll just do what we’re passionate about and get paid for it.

To dive into “Work in Progress,” the Adobe Future of Work survey that Jeremiah Owyang mentioned, visit our blog post on Adobe Conversations.

The Global Fund: Saving Lives by Saving Time

Minutes can mean the difference between life and death in the fight against global epidemics like AIDS, tuberculosis, and malaria. That’s why the Global Fund, a not-for-profit that mobilizes nearly $4 billion annually to fight the diseases, is speeding up delivery of life-saving medicine and assistance with help from Adobe Sign, an Adobe Document Cloud solution.
The organization used to collect signatures by manually circulating hard copies of documents in large binders called “black books.” When staff members were traveling—and up to 40% of the workforce typically is on the road at any given time—delays were more likely.
“We chose Adobe Sign because it definitely was the strongest solution in the market for our environment,” says Andrew Tatam, IT Business Partner Management at The Global Fund. “We also were buying into a company we weren’t just buying a solution.
The Global Fund can send PDF forms to any Internet-enabled device to support the organization’s increasingly mobile workforce. Concurrent signature workflows in Adobe Sign help the Global Fund distribute money faster by enabling up to 40 people to approve budgets, plans, and forecasts, and review and sign documents simultaneously.
The Global Fund is also driving internal efficiency with Adobe Sign. The organization’s HR department now completes recruitment evaluations in less than a day, so crucial operations can be staffed 80% faster than before. Templates and automated processes also help procurement obtain resources and fund programs more efficiently. Integration with Salesforce CRM lets the Global Fund draft grant documents with fewer errors so they can get funds to people and programs faster than before.

Read the full story here.

Start your free trial today!
Subscribe to keep up with all things Document Cloud.

Hidden Gems in Acrobat DC: Search & Remove Sensitive Information

Employment applications, medical forms, tax audits, and many government documents contain confidential information that needs to be safeguarded. But in a paperless office, sharpies are a thing of the past. So how can you protect personal information before distributing it to others?
The redaction tool in Acrobat Pro DC is designed to permanently remove sensitive information —all while keeping the entire workflow digital. Plus, you can use patterns (i.e., social security numbers) to quickly locate and remove confidential information.
Prepare for the redaction process

Copy the document to be redacted to a new folder.
Convert scanned images into searchable text using the Recognize Text command.
Review and identify the type of information that needs to be redacted (i.e., social security or credit card numbers).

Start the redaction process
In this example, we’ll quickly locate a specific text pattern, like a social security number, and remove it.
1. Select Redact from the Tools Center.
2. Choose Find Text from the Mark for Redaction dropdown.

3. In the Search dialog, select the “Patterns” radio button and choose Social Security Numbers from the dropdown. Select Search & Remove Text.

4. Confirm the results and then select Check All in the Search dialog.

5. Select Mark Checked Results for Redaction in the Search dialog to place the markups your document.

6. Review all marked redactions and select Apply from the toolbar to permanently remove the information.

7. Save your file to apply all the redactions.

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 trial.

Facing the Challenges of Evolving Customer Expectations

There’s no doubt that the digital revolution has put customers and their expectations at the center of a brand’s marketing strategy. Marketing, in large part, is about the customer journey and personalising an experience that is unique and inspiring. Of course, though, as consumer expectations are always changing, so must our marketing methods. Several contributors over the past couple weeks shared their thoughts on how to shape the customer experience and face challenges along the way in our exclusive content on
Brands often operate from an assumption that reducing the amount of effort a customer has to go through gives the brand a competitive edge. Stuart Crawford-Browne, director at Phoenix Rising, shared some reasons brands may want to increase customer effort. He argued that making the customer experience overly intuitive could result in an experience that is “automatic, invisible, and easily forgettable”. He suggested a helpful distinction between unproductive and productive customer effort.
Virgin Media’s head of marketing, Rhona Bradshaw, sat down with to discuss the role of digital in marketing. The digital revolution created opportunity for customers to connect with the brands they love, which has caused many brands to reevaluate their level of customer-centricity. Bradshaw discussed the way customer data has grown to drive company decision making, including where to advertise, what products to create, and what conversations the brand should have.
Tim Grimsditch, director of global product and performance marketing at Spotify, shared the ways his company is personalising a unique customer experience. For Spotify, the customer experience is all about storytelling, personalising narratives around the music customers have been listening to. Grimsditch encouraged brands to utilize storytelling to deepen their connection with customers while giving customers something to share that leads others to the brand.
In an exclusive interview with, Guy North, managing director at UK broadcast service, Freeview, shared some of the challenges his company faces in a world where consumers have so many different ways to access content. Freeview aims “to provide a really simple, honest, and easy-to-understand way for people to get the content they love”. North also shared the company’s goal of bringing technology to the mass market in accessible and affordable ways.
Several Gartner analysts shared their thoughts on the future of marketing. Vice president Yvonne Genovese compared the role of the CMO to the hero’s journey, suggesting that today’s marketer sets a goal, puts together a team, fights important battles along the way, learns new things about what will drive success throughout the journey, and succeeds at the end. Research director Augie Ray compared the customer journey to a story with characters, with the customer being the most important character. Ray emphasised the role of the marketer as the one shaping the entire journey and the responsibilities and challenges that entails.
We hope you’ll like our exclusive content on and learn from some of the world’s top marketing minds. Please let us know what you think.