What do Attendees Say About MAX?

One of the best ways to learn about MAX is to hear what previous attendees say about it. Here are a few comments they shared in our MAX 2015 survey:
“Adobe MAX was PURE MAGIC! The most valuable conference that I’ve attended in the last 3 years.”
“The whole experience made me feel excited to go back to work, roll up my sleeves and dive into all the new stuff I learned! My creative self has been awakened and rejuvenated!”
“A must attend event for anyone involved in the digital marketing or creative process at any level. If not for the inspiration, just to see how vast the opportunities are to take things to the next level.”
“Motivating, exhilarating, enlightening, exciting!”

Easing and the Motion Editor

Even a small amount of easing, if applied correctly to an animated object, can go far in conveying a truer sense of reality and weight. Animate CC includes a number of mechanisms for applying easing in this way, and we will examine how to apply simple and advanced easing in this article… with a focus on the new and improved Motion Editor.

Figure 1. The Animate CC Motion Editor
The Motion Editor is a mechanism that can be used exclusively with Motion Tweens to perform advanced easing upon any tweenable property of a symbol instance being animated through an applied Motion Tween. When using a Shape Tween, a Classic Tween, or animation with an IK Armature, the Motion Editor will not be available – yet other easing mechanisms can still be applied through the Properties Panel.
Fall and Rise of the Motion Editor
The background of the Motion Editor is actually quite similar to that of the Bone Tool and associated inverse kinematics armature support within Animate back when Flash Professional (Animate’s former identity) was updated from the CS6 version to CC. The application was completely rewritten to modernize the codebase and make it more powerful than ever. However, certain features such as the Motion Editor and Bone Tool were not rewritten along with the core application. This meant that for a few release cycles, the program did not include a Motion Editor at all!
With that said… Adobe had hinted that certain features left out of the program, due to the aforementioned rewrite, would be added back in if there was enough of a desire for them. In June of 2014, we saw Flash Professional receive a revamped and reintegrated Motion Editor – and this is now available in Animate as well. Whereas the old Motion Editor was a completely separate panel (and a bit clumsy to use), the new Motion Editor is integrated directly in the Timeline and allows direct manipulation of each property of an object across time in fine detail.
Simple Easing with the Properties Panel
For an example, we’ll create a Movie Clip symbol instance in Animate and perform a variety of easing procedures upon it. First, I’ve gone ahead and captured a rough sketch created by one of my daughters with the Adobe Capture CC < http://www.adobe.com/products/capture.html> mobile app.

Figure 2. Captured potato shape in my CC Library
I’ve used the tools within Capture CC on Android (you could use iOS instead) to convert the sketch into a shape and have saved it to a CC Library in order to use it within Animate. You can download the shape, or sync it to a CC Library of your own by using this share link. < http://adobe.ly/1TwEBad>
Once brought into a document with the CC Libraries panel within Animate CC, I’ve gone ahead and applied some color to the sketch by using the Brush Tool, Fill Tool, and even some nice vector art brushes using the new Paint Brush Tool. With the coloring stage completed, I’ve gone ahead and created a Movie Clip symbol from the fully colored potato assets by selecting all of its component shapes and choosing Modify > Convert to Symbol from the application menu. In the dialog which appears, I’ve given it the name of “Potato” and chosen Movie Clip as a symbol type.

Figure 3. Movie Clip Symbol – Chill Potato
The symbol now exists within the project Library and I have an instance of it on my Stage to work with. Extending my frame span out across 50 frames in the Timeline by placing the playhead at frame 50 and choosing Insert > Timeline > Frame from the application menu, I can now begin to animate. I will create a Motion Tween across all this frame span by clicking upon any one of those 50 frames, going to the application menu, and choosing Insert > Motion Tween. I now have a Motion Tween established along the Timeline for this particular instance.

Figure 4. Creating a Motion Tween
Simple eases can be applied to any tween type through the Properties panel when any frame of a tween is selected. The Ease value can be set from -100 (indicating a strong ease in) all the way to 100 (for a strong ease out).

Figure 5. Easing through the Properties panel
As indicated, any negative value will cause a simple ease in to occur for that tween, while any positive value will result in a similar ease out. While this easing can be performed on any tween type, there are some drawbacks to this method if you require anything beyond a simple ease. In fact, any easing applied in this way will apply to all instance properties that are being animated by the tween – they cannot be isolated to exhibit different easing types through this method.
Even though we’ve created a Motion Tween and applied this simple easing to that tween, as mentioned previously – we actually have another interface at our disposal within Animate to create easing on specific properties with complete customization of those eases through a visual user interface. This is what we will examine next.
Advanced Easing with the Motion Editor
To access the Motion Editor from an existing Motion Tween, all that needs to be done is to double-click on the frame span of the actual Motion Tween. The Motion Editor will then contextually emerge from the Motion Tween, within the project Timeline. To close the Motion Editor, simple double-click on the tween once again and the Motion Editor will collapse back within.
Examining the Motion Editor Interface
Once the Motion Editor is exposed, you’ll likely wonder how to go about using it! At first glance, it may be intimidating with all of its graphs, buttons, and individual properties. Learning what these interface elements are and what they do will go far in gaining an understanding of the sort of advanced work you can accomplished with this tool.

Figure 6. Motion Editor Controls
As you can see – there are quite a few tools, functions, and display adjustments to consider while using the Motion Editor. Here follows a rundown of everything detailed in the above figure.
Layer: This is the layer which contains the Motion Tween that the Motion Editor is tied to. In our example, the “Potato” Movie Clip symbol instance resides within this layer and has a Motion Tween applied to it.
Motion Tween: Double-click upon the Motion Tween to expand or collapse the Motion Editor.
Tween Properties: This column will contain all the properties of the instance being tweened which currently have some sort of value change attributed to them. Various position, scale, skew, rotation, color, and filter properties can all be manipulated through the Motion Editor.
Graph: The graph area displays all of the different property curves for this tween. Selecting a particular property along the side will highlight the associated property curve. The selected curve can then have its anchor points modified using the Selection Tool.
Add Anchor Point: Allows you to add anchor points to a property curve. Once an anchor point is added, this tool is automatically deselected so that the new anchor point can be further manipulated with the default Selection Tool.
Fit to View: This button will expand the Motion Editor along the entire width of the Timeline, making it easier to work within the graph area and further manipulate the various property curves.
Remove Property Tween: Selected property tweens from the left-hand column can be removed with this function. They can be added back in by adjusting those properties across the Motion Tween as you normally would, and then further tweaking them within the Motion Editor.
Easing Presets: Upon choosing this, a small interface will appear which allows you to apply easing presets to the selected property tweens.
Zoom: Will zoom the graph area in height for more precise modification of property tween curves.
Using Easing Presets
The use of easing presents is the simplest way to apply an effective ease to an animated property. Clicking on the Easing Presets icon will pop up a small selection window which includes a number of common easing presets, organized by category. Expanding these categories give you access to the individual presets with a visual representation of the property curve displayed across an internal graph.

Figure 7. Motion Editor Easing Presets
Selecting each preset will apply the selected preset to the individual selected property. Note that you can also apply the same Easing Preset across multiple property tweens by selecting them before entering the Easing Presets.
Modifying Property Curves
Likely, when you first enter the Motion Editor, you won’t actually see any property curves that are very curvy – they’ll more likely appear as straight lines. No matter how linear these paths are at first, they will have an existing anchor point at each end. These curves can be made more complex by adding additional anchor points along the length of the path.
Use the Add Anchor Point Tool to add new anchor points along a property curve. With the tool enabled, just click anywhere along the existing path to add a new anchor point. When this tool is not selected, it is possible to click on and modify existing points and even select and delete them. Doing this, you can manually adjust each property curve to your exact specification.

Figure 8. Modifying Property Curves
You can perform these actions in a freeform way, or even use an Easing Preset to get you started, and then tweak the resulting property curves with these modification methods. If you are used to working with paths and anchor points within Illustrator, Photoshop, or even in Animate itself… the same properties apply here.
Preview the Animation
Animate provides a mathematical-visual representation of the property value modifications through the Motion Editor graph. You can also use other tools available within the Timeline to really get a feel for your animation even before a true preview.

Figure 9. Preview with Onion Skinning
For instance, in the figure above, we are using a combination of the Motion Editor along with Onion Skinning turned on across a number of frames. Animate now provides definite colors to the onion skinning where frames that precede the selected frame have a blue tint, and those following it are tinted green. The number of frames included in either direction can be adjusted by clicking and dragging the small blue or green circles on each side of the onion skin indicators in the Timeline.
Oftentimes, using a combination of features within Animate can produce a clearer vision of what to expect when the content is actually running!
As demonstrated in this article, there are many options available within Animate CC to add a bit more weight and realism to your animated content. Easing with the Properties panel or with the Motion Editor can enhance any project type, including rich ads, web animations, interactives, and more!



※以下は、2016年5 月18日に弊社米国本社から発表されたプレスリリースの抄訳です。
米国カリフォルニア州サンノゼ発:インフレ率は常に変動しており、オンラインショッピングの急増に大きく左右されます。しかしながら、従来の経済レポートでは、価格や数量の変動と実際の消費者行動をリアルタイムで把握できないため、小売業者の倒産やパソコン市場の軟調といった主要な市場の変化が及ぼす影響を迅速に測定することができません。それに対して、アドビが毎月発行するDigital Price Index(DPI)は、オンラインによる購入価格と数量をリアルタイムで測定します。DPIは、シカゴ大学ブースビジネススクール経済学教授でオバマ米大統領経済諮問委員会の元委員長であるオースタン グールズビー(Austan Goolsbee)氏と、スタンフォード大学経済学部教授であるピート クレノー(Pete Klenow)氏の2名の経済学者の協力を得て開発されました。

消費財価格に関するアドビの4月のレポートによれば、アドビが現在追跡しているカテゴリーのうちホテルを除いた全てにおいて前月比0.2~2.4%の物価下落となりました。ホテル料金のみ、1.6%の上昇となりました。テレビ、パソコン、航空運賃、家電製品、おもちゃ、家具類、寝具類、スポーツ用品の価格は、2015年3月~2016年3月に2.2~19.8%下落しました。これに対し、米国労働省労働統計局が発表する消費者物価指数(CPI)では、同カテゴリーの製品価格が同期間で1.1~16.6%下落しました。スポーツ用品については、2015年3月~2016年3月のDPIはCPIの3倍の下落率を示しています(DPI 4.7%に対してCPR 1.3%)。航空運賃の下落(前月比0.9%、2015年4月~2016年4月で4.6%)は、燃料費の下落による利益が消費者に還元されていることを示しています。










DPIは、150億回のWebサイト訪問回数と、オンラインで販売された220万の製品に対する何十億ものデジタルトランザクションを分析し、従来の情報源よりも高い精度でデジタルトランザクションを追跡します。一方CPIは、消費者調査を基に、消費者が購入した製品カテゴリー別に実際の売上高を概算しています。DPIは、何百万もの製品を対象とし、実際に購入された数量のトランザクションデータを使用して、リアルタイムでデータを収集します。全米で上位500社の小売業者のWebサイトにおける購入につき、10ドル中7ドル50セント分がAdobe Marketing Cloudを介して行われています。*
アドビのマーケティングおよびカスタマーインサイト担当バイスプレジデントであるミッキー メリクル(Mickey Mericle)は、次のように述べています。「ブランド企業による技術革新と新製品の発売が急速に進んでおり、消費者によるオンラインショッピングが増加しているため、オンライン価格の傾向を迅速かつ正確に特定するメカニズムが必要不可欠です。月次のDPIは、これに対応できる唯一の米国経済分析です。3回目のDPIレポートではさらに対象カテゴリーを増やし、2016年末までにCPIの80~90%をカバーし、全体的な物価上昇率の数値と併せて報告する予定です。」
アドビは、実際に支払った価格の情報と実際に販売した数量にリアルタイムでアクセスすることで、デジタル中心の分析を実施した初の企業です。Adobe Digital Indexは、インフレの測定に実際の購入数を使用するフィッシャーの理想算式を採用しており、この方法はインフレ率算出する際の標準的な算式として著名な経済学者に認められています。フィッシャーの理想算式を使用するためには、各期間における個々の製品の購入数量を把握する必要があるため、現在この方程式を採用している組織はアドビ以外にありません。アドビの測定以前には、十分な規模での測定は不可能でした。
* 出典:Internet Retailer’s 2015 Top 500 eGuide (英語)
Adobe Digital Economy Project April Report(英語)

Adobe Digital Price Index Reports Signs of Deflation in U.S. Economy from Adobe
How hot shopping tips led to a new way to track the economy(英語)

Adobe Marketing Cloud Japan Blog

Adobe Marketing Cloud Japan Blog


Black Diamond Anticipating $500K Savings with Sales Workbook App

Whether you’re on rock, ice, or snow, Black Diamond Equipment has the clothing and gear to help you conquer the mountains—safely and in style. Black Diamond shares its customers’ passion for adventure and innovation, so it’s no surprise that the company is reinventing the way that the sales cycle operates in an industry used to antiquated, analog sales tools.
Sales representatives traditionally used a printed “workbook”—essentially a catalogue describing all of Black Diamond’s products in detail when presenting to retail buyers each season. But sales often start before product lines are even finalized, making it challenging to keep printed sales collateral up to date. Now, the Black Diamond Spring 2017 Workbook app, created with Adobe Experience Manager Mobile, gets instant updates into the hands of sales teams to improve planning and reduce errors during the buying process. Eric Wynn, Marketing Director from Black Diamond and Matt Law, Executive Creative Director from technology partner Blink Worldwide talked with us about the decision to go digital.
Adobe: What does the sales cycle look like for Black Diamond?
Wynn: It takes time for factories to manufacture an entire season’s worth of products, so Black Diamond starts working with our retail partner buyers one year before our products hit their shelves. Product lines often aren’t completely finalized at this point; designers are still trying to predict what colors and styles will be popular with customers. Every season, Black Diamond presents from 400-500 individual product styles to retail buyers, with about 25% of those styles changing each season, so it can take a long time to hammer out the details for every product.

Adobe: How will switching from printed workbooks to a mobile app change the selling process for your reps?
Wynn: Workbooks are obsolete by the time they reach the sales reps’ hands. We’d send out updates as soon as we could, but getting information distributed to all sales reps and buyers around the world wasn’t easy. People would mark up their workbooks with pens and sticky notes and dog-eared pages as they tried to keep up with the changes. The resulting confusion could lead to errors and delays if buyers were getting the wrong SKU numbers or planning their season around discontinued styles.
We reached out to our long-time creative partner Blink to create the Black Diamond Spring 2017 Workbook app. With a mobile app, we could reach our entire sales force at the same time with quick, accurate updates. Moving to an app would also give us new options for interactive, hands-on sales materials that bring our products to life in a way that paper documents can’t.
Adobe: Why did you decide to work with Adobe Experience Manager Mobile?
Wynn: We were familiar with the reliability and innovation of Adobe, as our internal marketing team uses Adobe creative software regularly. After talking with Blink, Adobe Experience Manager Mobile offered the best solution as the familiar interface allows our marketers to make changes themselves, resulting in faster updates.
Law: The workbook app we developed with Adobe Experience Manager Mobile is flexible enough that we can continue building on it, updating for every season instead of starting from scratch. It has the features that we want now, such as push notifications when there are dramatic shifts in the product line and deep linking, which takes users directly to the changes described in the push notification. But the app also has the ability to expand with new features in the future, such as video asset libraries and the ability to place orders straight through the app. It takes no extra effort to publish the app to both the iPad and web viewer so that everyone can view it, and the entitlement capabilities mean that we’ll eventually be able to have separate entitlements for sales management, sales reps, and retailers.
Adobe: How will the app change the way you do business?
Wynn: With the workbook app, Black Diamond is changing the rigid sales cycle to something more agile. Adding a new product line last minute is much less of a gamble when we can distribute changes, call attention to the update, and judge interest through one app.
For the next two seasons, the only collateral we’re printing is something that we’re calling the Quick Start Book. It gives a high-level overview of product lines at a glance and drives buyers to look for more detailed information in the app. Black Diamond expects to save about $500,000 over the next three years on printing and distribution, so the company will see significant ROI when we’ve gone completely digital. Working with a digital app also makes it much easier to reuse content and create multi-language versions of the workbook to better reach global audiences for very little added cost.
Eventually by using the built-in analytics in Adobe Experience Manager Mobile, we’re hoping to get better insight into what buyers are looking at. Right now, forecasts are largely based on anecdotal evidence from the sales force about what seems to be resonating with retailers. If forecasts are wrong, Black Diamond may either miss out on sales or be stuck dealing with excess stock. With analytics, we’ll get a much better idea of what retailers are looking at, giving Black Diamond a better idea of what orders to place with factories.
Adobe: What are the app benefits for the sales force?
Law: In addition to the app always being up-to-date and having a cutting edge workbook to present to retailers, the Black Diamond brand is known for its visuals. Its marketing materials feature amazing photographs of athletes climbing mountains or zooming down ski slopes. With the app, we can take visuals to the next level by adding animations and 3D renderings. Interactive content helps sales representatives articulate the benefits of complex Black Diamond technologies like the JetForce Technology powering Black Diamond’s award-winning avalanche airbag packs. Sales reps can even create customized “playlists” of products so that they have the right content on hand for each buyer.
We’re also working to integrate the app with ERP and order-taking systems. Sales reps will be able to show buyers real-time inventory updates and place orders right away. So if a certain style of jacket won’t be available for a few weeks, buyers will know that they need to adjust their orders.
Adobe: How does the app help buyers and retailers?
Law: Trying to organize orders with a changing workbook is always difficult for buyers. Fast updates will allow Black Diamond to keep buyers better informed, and we’re planning to use push notifications to highlight major updates, like new product lines that launch outside of the seasonal sales cycle. The workbook also contains in-store marketing materials for retailers—everything from posters and signage to videos. Collateral can get lost with a long sales cycle, but with push notifications we can remind retailers when products are ready to hit shelves. We’re hoping to also include instructions for how to construct displays and use proper color schemes that get customers interested in Black Diamond.
Wynn: Working with Adobe Experience Manager Mobile, we’ve created an app that allows us to tell enriched stories and get product detail into the hands of our sales team and buyers. There’s nothing quite like our workbook app in the industry. With the app, we’ll give retailers support and communication that immediately improves the buying experience and makes them feel like partners invested in Black Diamond.
Read Black Diamond’s recent news coverage from MobileStrategies360.

Read the Experience Manager Mobile solutions brief for the retail industry to learn how Adobe’s mobile app solution can deliver even more solutions for retail.
Learn more about the new Adobe Experience Manager Mobile.
Want the technology partner’s point of view on building this app? Read Blink Worldwide’s blog post here.

The Future of Work: People Pick Technology Over Perks

What will work look like in the future? How will employees’ priorities affect the way organizations are run? New research released today gives insight into the future workplace, and underscores that these transformative trends are on the move. The report, “Work in Progress,” reveals findings from more than 2,000 global workers who were surveyed in the U.S., U.K., and India who use a computer daily for work.
We found that an astounding 70 percent of U.S. office workers report loving their jobs. More than perks like food and slick office designs, those surveyed listed access to cutting-edge technology as the top contributor to their overall satisfaction. Not only did the majority of respondents report loving their jobs, 8 in 10 would keep working even if they won the lottery.
Tech is the New Perk

More than three-quarters (81 percent) of respondents say technology that helps them connect to colleagues more efficiently is important to their ideal workspace.

Workers believe technology makes them more productive (85 percent), improves work-life balance (70 percent) and would make their workday better and easier (74 percent).

Workers predict that over half (53 percent) of menial office tasks will be done by a machine or technology in the next 20 years.

See what other workplace myths were busted in this article, or take a look at the full report here.
Join the Conversation
Adobe is hosting a “think tank” event on May 25, with an exclusive group of industry leaders who will explore the Future of Work—including the many opportunities and challenges it presents to organizations and business leaders across technology, people and workplaces.   Be sure to join us for the livestreamed discussion from 1:00 – 2:30pm P.T. Follow @AdobeDocCloud and #AdobeTT on Twitter and share your thoughts on the future of work.

JLL Helps Turn Properties Into Homes

With 230 corporate offices in more than 80 countries, JLL delivers real estate services grounded in a deep understanding of real estate markets. Investors, developers, and tenants alike can rely on JLL’s commitment to service and value. For JLL’s offices serving residential properties in the United Kingdom, agents work hard to deliver excellent communication and fast service while meeting legal requirements.
“Many residential developments are owned by investors or developers from abroad,” explains Cheryl Fulcher, Office Manager at JLL. “We want to fill property vacancies quickly and get tenants moved in as soon as possible, but it could be difficult to get all of the paperwork signed in a timely manner.”
Obtaining signatures on the many documents—including sales agreements, terms of business, tenancy agreements, and contracts—associated with listing, buying, or renting a residence could take weeks, especially for overseas clients. JLL decided to implement an electronic signature solution that could eliminate paperwork delays and accelerate getting signed paperwork for properties around the world.
Cheryl Fulcher notes, “Adobe Sign is incredibly easy to use, helping administrators process paperwork associated with properties faster to get tenants moved in quickly.”
With Adobe Sign, an Adobe Document Cloud solution, administrators can send documents for signature anywhere in the world. People can access and sign documents from any computer, tablet, or mobile device. This is particularly good for reaching one of the company’s target markets, younger tenants, as they almost always have smartphones on them at all times. When multiple signatures are needed on documents, such as situations with a guarantor or more than one tenant, administrators can plan for concurrent signatures or automatically forward documents along a pre-planned workflow to swiftly get all required signatures.
“Using Adobe Sign is much easier for customers, who no longer need to print, sign, and scan lengthy documents,” says Cheryl Fulcher. “Sales or rental contracts that once took two weeks are now getting returned in less than a week. With a faster turnaround, we can deliver better service to our tenants.”
Switching to electronic documents also eliminates printing and paper waste, which fits into JLL’s commitment to sustainable and green practices. “Contracts can be up to 16 pages long, and we send about three to four thousand per month, so we’re saving many trees. It’s a nice byproduct of the more productive workflow,” notes Cheryl Fulcher.
When marketing or renting a property, JLL must follow several legal guidelines and requirements. Adobe Sign makes it much easier to maintain compliance, with customizable templates useful in standardizing contracts and agreements. Automated tracking gives administrators more control over a document, providing insight into when the document has been looked at or signed. Not only does this information contribute to faster turnaround times by helping property administrators spot delays quickly, but the tracking information is also saved with signatures to provide a clear audit record.
“We conduct yearly audits, and we must also be prepared for external auditors,” says Cheryl Fulcher. “Through Adobe Sign, we have clear electronic archives that contain all of the audit information in one spot. We no longer need to store and hunt through paper files, which helps our audits move much smoother.”
Another advantage to using Adobe Sign is the improved quality of information on contracts and agreements. Signers cannot submit an electronic signature until all required information has been filled in. This means that administrators no longer have to spend time tracking down missing information, giving them 20% more time to spend updating websites with accurate information about active properties or clients.
“The number of agreements we process can range from 2,000 to as high as 6,000 per month depending on the time of year. With the productivity gained through Adobe Sign, administrators can handle all of their workflows, even during peak periods, without needing to pull in additional assistance from other departments,” adds Cheryl Fulcher.
Read the full story here.

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How to avoid creative block

Struggling for ideas? Not to worry, it happens to the best of us. All creatives suffer from creative block from time to time, so to help you get your creative juices flowing, I’ve pulled together some inspirational top tips from some of our friends in the creative community…

Stop panicking

“Although it’s easier said than done – stop panicking! Take a step back and get a clear view of what’s going on. You need to free up some space to think, so take a few deep breaths without worrying about the looming deadline. Go for a run or go for lunch. Just get out of your studio when you can,” says my good friend, award winning art director, illustrator and graphic designer Radim Malinic.

Do something different for a while

“Creative block can be an absolute pain, especially when you have a deadline looming. But whenever I find myself feeling that concrete wall building, I go and take some photographs. Even if I’m feeling like a sack of potatoes and don’t want to leave the house, I force myself to try and go out and take some nature photography,” says freelance illustrator and designer Tom Watkins. “Even just breathing fresh air helps reset the mind, and with a camera I can still be creative. If it’s extra bad, I’ll take the evening off and watch football, completely removing the problem from my mind, tackling it in the morning when I’m feeling fresher.”

Don’t think – just go with it!

“Whatever you think you are meant to be doing, do the opposite,” says Radim. “Put together a mood board of working samples, collect images on a new Pinterest board, pick up a pencil and draw, or write down anything that comes to your mind. The key is in picking up momentum and collecting fragments to help you form a fitting answer to your problem.”

Limit your use of the internet

“The internet can help with creativity, but it’s best to take some time out from it when you’re suffering from creative block,” says top illustrator, animator and designer, Jonathan Ball of Poked Studio. “It tends to be the first place people go to find inspiration, but at times it can actually have the opposite effect. The thing to do when trying to get over a case of creative block, is to not overload your mind with too many distractions, which the world wide web is full of.  Instead, try engaging in another activity, as this can really help to clear your mind and make way for new creative ideas.”

Make a mind map

“It’s easy to get overwhelmed when you’re not sure which direction to take your work in,” says photographer Calvin Chinthaka. “Get a pen and paper and start by jotting down a simple mind map – it’s a great way to develop your ideas. Scribble down thoughts and sketches using different coloured pens to categorise your concepts, and the strongest ideas will soon jump out at you.”

About Tom
Tom is a self-taught Designer/Art director, currently studying Creative Advertising at the University of Lincoln (UK). He has worked as a freelance Illustrator/Designer/Creative for clients such as: Visa, Innocent Smoothies, Spotify, Adobe and Airbnb. Before that, starting when he was just 16, he worked as a freelance logo designer, successfully branding over 100+ businesses.
Follow Tom on Twitter: @TomAnders_
About Radim
Radim Malinic is an award winning art director, illustrator and graphic designer based in London. Radim has firmly established himself as one of the most successful commercial illustrators and designers working today. His work is renowned worldwide for its innovation, passion and attention to intricate detail.
Follow Radim on Twitter: @brand_nu
About Jonathan
Jonathan Ball is an illustrator and company director for Pokedstudio based in Wales. Jonathan has built a reputation for wacky and non-conformist character designs, intricate worlds and video graphics. He creates characters, brands, packaging, logo’s illustrations, animations and adverts.
He has worked with many well-known brands such as; MTV, BBC, Sony, Playstation, McDonalds and Sainsburys.
Follow Jonathan on Twitter: @pokestuff
About Calvin
Calvin Chinthaka is a London based fashion and commercial photographer.
Follow Calvin on Twitter: @CalvinChinthaka

Building a Team of Digital Marketing Security Champions

Two years ago, I joined the Digital Marketing Product Security Team and took on the responsibility of establishing and managing the Secure Product Lifecycle (SPLC) process for Digital Marketing Product Engineering. There are currently eight Digital Marketing Solutions with engineering teams located all over the world.  Many of these solutions came to Adobe by way of acquisition.  I work with differing stacks, languages, company cultures, and time zones.  I knew some of the engineers from having run our 3rd Party Penetration Testing program for three years – however, I was mostly starting the process from scratch. My main goal was to lower security overhead in the product development cycle and leverage existing processes.
I am very passionate about quickly making improved security an integrated part of our product development and leveraging as many existing processes and tools as possible.   In order to promote security knowledge throughout the large Digital Marketing engineering organization.  I created a human “botnet” of security champions. These champions come from positions all over the organization and coordinate with our security team to facilitate ongoing management and enforcement of our SPLC process.
Security, admittedly, has a bit of an “image problem” among development teams.  It is something that developers often think of as this big, scary set of tasks intended to make their jobs more difficult or less enjoyable.  We placed a big emphasis on changing this perception. The Digital Marketing Security team is focused on being a supportive, service organization – a far cry from the perception that we can be a terrible force of nature leaving engineers feeling like they’ve been hit by a truck or would like to be.  Rather than coming in with the metaphorical hammer, we thought, “can we get people to actually enjoy their interactions with our security team?  How can we make this incredibly important, but often dreaded, piece of software development an integral and easier to implement piece of the existing process?”
The first thing I did was to meet with the solution owners and program managers to learn about how these teams develop and deliver software for these SAAS offerings.  Adobe has an incredible program management network, and an existing Service Lifecycle program that I was able to leverage and adapt to help meet requirements of our Secure Product Lifecycle.  I worked with the program managers to figure out how we could best add SPLC steps to their development and release process. I also ensured we had a clear process for adding security requirements and checkpoints to the release process. I worked with solution engineering directors to identify Security Champions on their engineering teams who would work with me to continue to improve our approach to security for the solutions.
A Security Champion is: ‘An advocate of security and the Digital Marketing Security team’s point of contact for the solution.  The champion has a good understanding of the technology, an interest in ensuring better security for their offering, and a strong personal network in the engineering organization.’  Once this human “botnet” of Security Champions was established, the heavy lifting began.  I set key performance indicators (KPIs) for the different elements of the SPLC around security training, threat modeling, static/dynamic analysis and penetration testing. The very first KPI that we focus on, for the purpose of enabling the proper background for having security conversations with the engineers, is technical security training.  Adobe’s corporate secure software engineering team (known as “ASSET”) has created a fantastic training program that focuses on technical security topics and awards certifications in the form of white and green belts, similar to karate training. Each of the program managers have added this training to the new engineer onboarding steps and they and the security champions have helped to develop strong measurements for the other KPIs.
My Security Champions helped increase the pervasiveness of our “security culture” more than I could have imagined when first starting this program.  They are one of the driving forces in helping to further improve security across Adobe’s Digital Marketing solutions.  They have been an amazing force multiplier helping to prioritize security practices in their teams’ design process, roadmap development, and mindset.
About 6 months after kicking off the Security Champions program, Digital Marketing Engineering had grown their base of security knowledge to have over 95% of their engineers white and green belt certified.  We’d also increased the number of threat models, penetration tests, ongoing security projects, and automated security testing. Our metrics against these initiatives have continued to increase and improve. The teams are more proactively involving the Digital Marketing and corporate security teams in their design discussions helping to ensure better security implementations throughout the process.
Messages like this from the teams show it’s working and make it all worth it:

We’re committed to building and maintaining the trust of our Digital Marketing customers by developing and providing them with the most secure software possible – solutions that help meet business demands and allow configurations to help meet their security and compliance needs.  The SPLC and Security Champions program have helped to broaden the security knowledge and awareness of the Digital Marketing engineering teams.  We will continue to raise that bar by continuing to iterate and improve on these programs.
Julia Knecht
Security Analyst, Digital Marketing

Brocreative’s Dave Broberg on creating compelling sports stock photography

Sports photography is notoriously difficult in the world of microstock due to strict copyright and property IPO laws. As most sports pitches and players themselves are generally coated in brands and their faces, game numbers and clothes falling under licensing constraints means photographers have to develop other ways of sourcing sports photography.  
Dave Broberg, or Brocreative is one sports stock photographer who’s managed to. A best-selling contributor on Adobe Stock, renowned for his high-definition, cutting edge sports imagery. Because of his top-level compositing skills, he’s been able to write his own rules using Adobe Photoshop. We spoke to him to find out more!
Can you firstly share a little bit about yourself and your journey to becoming a stock contributor?
My journey to be a stock contributor started in 2008. I’ve been a graphic designer and art director for many years. My greatest strength as a designer has always been as a photo editor and Photoshop guru. In my graphic design work I often used stock images and thought to myself, “I could learn to do that. I could create those type of images.” I already had the post processing skills, I just needed to learn the photo capturing skills.
We have to ask, ‘Brocreative’ – where did the name come from?
Growing up my nickname was “Bro” which is short for Broberg. So I combined that with creative because I want the images I create to be unique and creative.

Your portfolio has a strong focus on sports, is this a specific passion of yours or did you just see a gap in the market that you could fill?
I’ve worked as a designer in the sports industry for over 15 years and sports are a huge passion of mine so it’s no surprise that I have a lot of sports imagery. It’s an area that I’m good at and have a lot of connections with. A lot of the training I’ve received from other photographers has been in the sports industry. As a creative professional, it’s always good to play to your strengths, and this is a real strength of mine. It’s what I know best and so I strive to be excellent at it. I’m still learning, and working at getting better, but it has definitely been a focus of mine. I also have access to athletes and athletic facilities that a lot of stock photographers do not, so why not use that to my advantage.
Do you think there are trends when it comes to sport image purchasing?
I would say the more popular sports are more engrained in the culture and thus they have a wider need. I’ve tried to have images that cover all the major U.S. sports and those have been some of my most popular images. This is really my most successful niche when it comes to stock images. I will say that fitness and exercise images have also been great sellers for me as well.
Whether it’s individual sports or team sports, I think people are looking for authentic-looking images when it comes to sports. People want an image that looks as good as what they see in Sport Illustrated or on a sports promotional poster.
Can you share a bit about your working process?
A lot of my inspiration for sports stock comes from being surrounded with great sports imagery as an art director in the sports industry. Some of my best sports stock images are composite images and require some real planning out. When it’s a composite images such as this one I have to plan out all three shots. I have to build the background first. This is probably the hardest and most time-intensive part. Taking out the identifiable aspects of an authentic sports background can be a real Photoshop challenge. After the background is created I shoot the action photo of the athlete with a clean background that makes it easy to cutout. I shoot them with Alien Bees strobe lighting typically in an indoor studio. The soccer goal is the third piece of the composite.  I have to light it similarly to soccer player and make it easy to cutout. This goal I shot with a black background and then added it into the composite as a “screen” or “lighten” blending mode so the non-black areas show up in the image. When I put them all together in Photoshop, I need to make it look like they all fit and have similar color tones. I use a Photoshop plug-in called RadLab in my post processing that does a great job of making my composites look authentic. These images take hours to create, but they have always been great sellers, so it’s totally worth it.
Do you see a pick up in your image sales prior to a big game/sporting event such as the Super Bowl or the Olympics?
Yes definitely. I have a lot of American Football images and my sales spike quite about around the start of the football season in August and September as well as around the Super Bowl. Sports are a big part of American culture and transcend into the almost every area of life and business. Sports are big business and there is a large demand for quality stock imagery.What’s your favorite image from your Adobe Stock portfolio?
It’s tough to pick a favorite, but if I have to I would choose this one  as my favourite sports image and this one for my favorite non-sports image because I love the beauty of this scene.
A big thank you to Dave for taking the time to speak with us. Discover more of his work on his Adobe Stock portfolio here.

Analyst Report Shows 10x Productivity Gains with Adobe Stock

If you’ve ever wondered how to dramatically shorten creative cycles, look no further. Pfeifer Consulting recently issued a report, commissioned by Adobe, that examines the productivity and efficiency gains from Adobe Stock versus other stock services. We’d heard anecdotal reports of dramatic productivity gains from customers, but wanted to vet them.
According to the Pfeiffer Report “Adobe Stock for Enterprise: Boosting Design Efficiency Through Integration,” creatives can see a 10x productivity gain with Adobe Stock in Photoshop. So many steps are eliminated that the process of licensing an image goes from nearly 3 minutes to 16 seconds.

Some background:
Stock assets are typically accessed through a browser, downloaded to a computer, and edited with watermarks prior to sharing for approval, licensing, and re-editing of the finished asset. With Adobe Stock, which is integrated directly into Creative Cloud desktop apps such as Photoshop CC, Illustrator CC, InDesign CC and more, you have access to the ever-growing catalog of 50M images, videos and assets without ever having to leave your design environment, and all edits made to a watermarked image are preserved once the image is licensed. In other words – a significant number of steps are eliminated from the “traditional” process of working with and buying stock imagery.
Here’s an example of how Adobe Stock is integrated with CC Libraries in Photoshop:

If you’re already using Adobe Stock, then you’re likely seeing improvements in productivity. If not, share the Pfeiffer report with your team or visit our Adobe Stock for Enterprise landing page to get started.