Announcing our first annual WhichTestWon Adobe Target Awards for EMEA

Adobe
Are you good at guessing which experiences are going to win when you run a test on your website or mobile app? Do you run great tests for your company using Adobe Target? If so then we’ve got a great competition and breakout at Adobe Summit EMEA for you!
This year at Adobe Summit we’re partnering with WhichTestWon to run the first annual WhichTestWon Adobe Target Awards. WhichTestWon is an independent organisation dedicated to bringing the world’s digital marketers inspiration, real-life data and best practices around A/B and multivariate testing as well as conversion rate optimisation. In March we kicked off with our US Awards at Adobe Summit in Las Vegas. It was a great success, with lots of great entries, six winners selected and a glitzy award ceremony at Summit itself. All six winners were on stage discussing their winning Adobe Target tests, with Steve Rude of Thomson Reuters walked away with the Grand Prize, and Melody Walk of Ferguson Enterprises was voted as winner of the People’s Choice Award.
To learn about our Adobe Summit U.S. winners, read our blog posts the winners from round 1 (Ferguson Enterprises and Time Warner Cable), round 2 (ExtraSpace Storage and Verizon Wireless) and round 3 (Thomson Reuters and McClatchy) of the Adobe Summit N.A. contest.
Now it’s on to Adobe Summit EMEA and we’re again running this fun contest with WhichTestWon, the web site that lets you guess which experience won in real-life A/B tests.
Here’s how the EMEA-based contest works:
Adobe Target customers submit their best A/B or Multi-variate tests online. We’re looking for tests that show innovative thinking, deeply tap into the power of Adobe Target and Adobe Marketing Cloud capabilities, or generally make us say, “Wow!” From a single round of the contest, which concludes on April 14 at 11:59 GMT, judges from Adobe Target and WhichTestWon will review the entries and select four winners—two from mobile and two from web – we’d love to see some mobile app tests.
Here’s what you get if you win:
Winners get a free pass to Adobe Summit EMEA 2016 in London, along with complimentary round trip airfare to London, and two nights’ hotel (nights of May 10 and 11). They get their test entered into the contest for the Grand Prize and the People’s Choice Award, which will be awarded on-stage during session P07: Step right up and guess the test winner. WhichTestWon also enters the test into their Annual WhichTestWon Awards.
If you have a great test enter the contest today—it takes only a few minutes to fill in the online form and upload your test images. With four winners to select, you could easily be one of them!
Enter the contest here: https://www.whichtestwon.com/adobe-awards-emea-2016.
Best of luck!

Security Updates Available for Adobe Flash Player (APSB16-10)

Adobe
A Security Bulletin (APSB16-10) has been published regarding security updates for Adobe Flash Player. These updates address critical vulnerabilities, and Adobe recommends users update their product installations to the latest versions using the instructions referenced in the security bulletin.
Adobe is aware of reports that CVE-2016-1019 is being actively exploited on systems running Windows 10 and earlier with Flash Player version 20.0.0.306 and earlier.  Please refer to APSA16-01 for additional details.
This posting is provided “AS IS” with no warranties and confers no rights.

Hidden Gems in Acrobat DC: Organize PDF Files Online


Adobe
These days it’s important to be able to work from anywhere – your local coffee shop, the airport, even grandma’s remote cottage. This week’s gem isn’t tied to the desktop version of Acrobat DC. Instead, it’s powered by the cloud—which means that you can even use it without access to your laptop.*
1. Point your browser to https://documents.adobe.com/ and sign in using your Adobe ID.
2. Select Organize Pages from the PDF SERVICES column.

3. Use the blue button to grab the files you need to arrange. You can choose from 20 different types of file formats— like PowerPoint, Word, JPEG, or even Photoshop.**

4. Use the dropdown to select certain types of pages. Drag and drop to arrange files. Or, rotate and delete using the arrow and trash can icons.

5. Once you’ve completed your masterpiece, hit the Save button. Your file is saved in Adobe Document Cloud under the Files tab.
No more worrying about accessing and organizing your files, no matter where you are. Did we just hear a sigh of relief?
 
*Included with a subscription to Acrobat DC.
**A complete list of supported file formats is available here.

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

Professor Penny Ann Dolin Ushers the Next Generation of Creative Technologists into the Workforce


Adobe
Penny Ann Dolin, an Associate Professor of Practice at Arizona State University, in the Graphic Information Technology program, recently shared her experiences with how Adobe Creative Cloud enables her students to become relevant and employable in the workforce upon graduating.
Penny’s focus is instructing students in the creation of visual content with a commercial output. The commercial focus of GIT distinguishes it from a regular Fine Arts program, but creativity is sill a top priority within the major. Penny affectionately calls her students “Creative Technologists” because they seamlessly combine the two schools of thought (digital creativity and current technology).
Within the GIT program, in addition to general business knowledge, students learn skills such as graphic design, photography, web design, videography, and animation. Penny specifically calls out the emergence of 2D/3D motion graphic design as an important skill-set to have in the industry, and how Adobe After Effects has been instrumental in preparing her students for that job requirement.
Due to having access to all the tools offered within Creative Cloud, students are able to learn a wide breadth of skills that will make them more competitive in the work force. Graduates from Arizona’s GIT program have gone on to work as Art Directors, UX designers, Videographers, Production Managers, and more, at some of the most respected companies in the world.
Penny asserts that her students have gained a jump-start using Adobe Creative Cloud. She urges other teachers: “If you’re [teaching grades] K-12, these programs are extremely important, because by the time they get to a program like ours  it gives them a real head-start”.
“If we equip our students with the best tools so that they can hit the ground running, then we feel like we’ve done our job”.
Other helpful links:

Follow Penny Ann Dolin on Twitter
Adobe Education Exchange
Creative Cloud Help | User Guides

 

Le voyage artistique de Raphaël Lacoste


Adobe
— En partenariat avec Tuto.com
Directeur Artistique Senior chez Ubisoft avec un grand palmarès à son actif, on a le plaisir de vous présenter Raphaël Lacoste.
Il nous en dit plus sur ses créations sous Adobe Photoshop, sur la conception des jeux vidéo tels que Assasin’s Creed, son workflow, son enseignement et ses astuces et il revient sur ce qui l’a conduit à se retrouver dans l’un des plus gros studios de jeu vidéo du monde.

Bonjour Raphaël, tout d’abord peux-tu te présenter et revenir sur ton parcours en quelques mots ?

Bonjour, difficile de faire rapide
On dira que j’étais un élève assez peu épanoui à l’école, mais les cours de dessin m’ont toujours passionné. Quand j’ai eu mon Bac Lettre et Arts, je me suis orienté vers le Théâtre en photo et les beaux-arts. Par la suite, trouvant que j’apprenais peu à l’école des Arts “contemporains”, j’ai fait le CNBDI d’Angoulême, où j’ai eu l’immense honneur d’être un des élèves de René Laloux. Mon film d’étudiant Nïumb a d’ailleurs été montré au Siggraph 2000, à plusieurs festivals et également diffusé sur Canal+.
J’ai commencé à travailler en tant qu’Artiste d’environnement chez Kalisto en France, puis au moment du crash du jeu vidéo en 2002 en Europe, j’ai été contacté par Ubisoft Montréal pour être D.A. sur la Franchise Prince of Persia, c’est là que tout a commencé.
J’ai ensuite été D.A. dans le studio cinématiques, puis sur la Franchise Assassin’s Creed. Enfin, j’ai aussi fait beaucoup de contrats en film en tant que Matte painter et illustrateur.

Pourquoi avoir décidé de t’orienter vers le jeu vidéo ? Quel a été l’élément déclencheur ?

Au départ j’étais plus attiré par la photo, mais j’ai vite compris qu’il était très difficile de réussir dans ce domaine.
Le cinéma m’attirait tout autant, mais le métier de Freelance sans port d’attache ne me convenait pas à l’époque ; j’avais envie de m’établir avec une certaine stabilité et aussi avec une liberté créative que le cinéma ne propose pas toujours.
C’est pourquoi le jeu reste un domaine (même s’il est parfois instable et difficile) plus attirant en ce qui me concerne.

Tu as beaucoup travaillé dans le domaine de la photographie, comment cela t’aide dans la conception d’univers virtuels ?

Mon père m’a initié à la photo quand j’avais 14 ans, j’étais assez doué et j’ai continué à pratiquer avec différents types d’appareils, 6×6, 24×36, moyen formats… cela reste pour moi une grande passion et mon travail de photographie m’inspire pour mes illustrations, tout comme mon approche d’illustrateur peut inspirer mes photos !

En tant que Directeur Artistique, quel est ton rôle au sein de l’équipe de conception et de développement ?

Au départ, mon rôle en conception est de m’assurer qu’on ait une vision artistique forte et que l’on crée un univers visuel qui ait de l’impact ; autant pour créer une immersion forte qu’un plaisir pour les yeux ! Je passe les premiers mois à dessiner avec mon équipe, c’est une période créative que j’apprécie beaucoup !
Ensuite, pendant le développement, l’équipe peut grossir jusqu’à 800 personnes à travers le monde ! C’est énorme et le suivi est beaucoup plus important que la dimension purement créative dans mon emploi du temps. C’est un peu moins plaisant car je dessine moins, mais c’est une étape absolument nécessaire pour que l’on puisse acheminer le jeu à bon port, en respectant la vision originale.

Tu travailles actuellement sur Assasin’s Creed. Dans les premiers volets, l’univers était essentiellement axé sur la verticalité et depuis le 6ème épisode, on retourne sur un gameplay plus horizontal. Comment arrives-tu à renouveler sans cesse l’expérience et à définir l’univers du prochain épisode ?

Dans sa dimension Artistique, Assasin’s Creed se renouvelle beaucoup. Même si le titre et les personnages peuvent un peu se ressembler tout comme les mécaniques de jeu, les univers visuels et l’immersion quant à elles changent beaucoup.
Revelation se passe durant la renaissance à Constantinople, AC4 Black Flag sur des Bateaux Pirates et des îles paradisiaques au 18e siècle dans les Caraïbes.
Unity prend place pendant les périodes troubles de la révolution française dans un Paris Sombre…
Pour l’équipe ce sont des expériences de production tout de même très variées et remplies de challenges ! Je pense que le choix des lieux et des moments historiques sont des moments clefs pour à la fois surprendre les joueurs, mais aussi pour conserver une équipe de développement motivée et créative.

Quelles sont les techniques qui permettent aux joueurs de toujours s’identifier au personnage principal dans un univers en perpétuelle évolution ?

Il n’y a pas vraiment d’aspect technique selon moi, c’est surtout qu’il faut arriver à créer un personnage attachant et charismatique, auquel on ait envie de s’identifier. Personnellement, je pense que le héros ne doit pas être parfait, il doit nous ressembler, être humain !

Qu’envisages-tu pour le prochain Assassin’s Creed ? As-tu d’autres projets en cours ?

Je travaille sur quelque chose, mais nous ne pouvons pas en parler encore, ce qui est sûr, c’est qu’on écoute nos fans
 

Quels sont les logiciels Adobe que tu utilises ? Quel est ton favori ?

J’ai été un éternel fan de CS3, je suis passé a Photoshop CC et j’en suis très satisfait   c’est mon outil de base, pour tout !
Je suis aussi un fervent utilisateur de Lightroom, et par le passé j’ai beaucoup utilisé After Effects et Premiere Pro.

En parlant de Adobe Photoshop, peux-tu nous parler de ton workflow ? As-tu des méthodes que tu mets en place sur cet outil ? Des trucs et astuces à transmettre à nos lecteurs ?

En ce qui me concerne j’ai maintenant un bon 20 ans derrière la casquette, j’ai utilisé Photoshop pour faire de la PAO il y a très longtemps, à l’époque où j’ignorais même qu’on pouvait dessiner avec !
J’ai fait en premier lieu beaucoup de retouches photo pour la compagnie de théâtre, puis de la texture pour mes scènes 3D, pour enfin me mettre à temps plein à l’illustration depuis 2006.
J’utilise maintenant Photoshop toujours de façon traditionnelle, je commence par des croquis en noir et blanc, avec des brushes simples et standards sans effet d’opacité.
Ensuite, je fais un travail de composition avec des sélections et je mixe mes photos avec du dessin. Toutes les techniques que j’utilise sont très simples (correction de couleur, niveaux, coups de pinceaux…) cela demande surtout un travail d’approche traditionnelle, par rapport à la lumière et à la composition.
J’explique tout cela dans mes tutos Photoshop sur Tuto.com.

Voici un exemple d’illustration proposée par Raphaël Lacoste dans son tuto Initiation au design d’environnement
 

Sur Adobe Photoshop tu crées une image de A à Z, combien de temps s’écoule entre l’idée et le rendu final et quelles sont les différentes étapes pour sa réalisation ?

Souvent je passe par une étape de dessin sur papier, entre 30 minutes et une heure. Le rendu final d’une image dépend un peu de mes techniques utilisées. Je dirais qu’une de mes illustrations peut être finie en 3 heures tout comme en 8 heures si j’ai utilisé 3ds Max pour faire une scène 3D

Comment fais-tu pour retranscrire le mood qui se dégage d’un lieu ?

Pour retranscrire un mood, il faut être capable de faire ressentir des émotions à la personne qui regarde l’image ou qui joue à ton jeu.
Personnellement je pense qu’un Directeur Artistique doit être un voyageur et doit permettre aux observateurs de son travail de voyager, grâce à ses créations.
Le D.A. doit être capable de synthétiser le monde qui l’inspire, le styliser, mettre l’emphase sur les bonnes choses pour que l’observateur soit transporté.
Par exemple sur Assassin, nous faisons des voyages de repérages. Nous prenons beaucoup de photos et de prises de son pour nous assurer que nous recréons avec authenticité les ambiances des lieux. L’idée n’est pas du tout de copier littéralement les lieux, mais bien de retranscrire les émotions qui s’en dégagent.

Où puises-tu ton inspiration ? As-tu des artistes qui t’inspirent dans tes réalisations ?

Je m’inspire beaucoup de mes voyages, en Islande, Norvège, Italie, Brésil… mais aussi de peintres classiques comme Bierstadt, Friedrich, ou contemporains, comme Ugarte, Steve McCurry, Craig Mullins, et j’en passe !

Si tu devais choisir l’une des créations dont tu es le plus fier ? Un moment fort de ta carrière ?

Je suis très fier de Assassin’s Creed 1 et de Black Flag Black Flag a été une expérience merveilleuse de production avec l’équipe. Le résultat montre que quand une équipe a du plaisir à faire un jeu, les joueurs le sentent et l’apprécient !

Tu es également enseignant depuis maintenant plus de 5 ans dans l’École prestigieuse NAD, School of Digital Arts, Animation and Design – UQAC. Que t’apporte l’enseignement ? Comment agences-tu tes cours ?

J’enseigne l’illustration en design d’environnement principalement sur Photoshop.
L’enseignement est très enrichissant, et pour moi, il est très gratifiant de voir des élèves produire des illustrations superbes, alors qu’ils ne pensaient pas s’orienter en design d’environnement.
En donnant mes cours, j’apprends à “déconstruire” mon travail, cela me force à avoir un processus clair, et en l’expliquant, je pense que je deviens meilleur et plus efficace dans mon travail personnel.
C’est une excellente chose d’enseigner pour ne pas tourner en rond. De plus, les élèves sont jeunes et très motivés, pleins d’imagination, cela redonne un coup d’énergie quand on commence à être un peu fatigué par son travail

Du 18 au 20 Mars 2016 s’est tenu l’IAMAG Master Classes ’16 à Paris où on a pu te compter parmi les intervenants. Pour ceux qui n’ont pas eu la chance d’assister à l’évènement, peux-tu nous dire sur quel thème portait ton intervention et les conseils que tu as pu donner ?

Mon intervention portait sur le design d’environnement dans les jeux à mondes ouverts. Je parlais du défi de créer des mondes invitants, immersifs, dans lesquels on a envie de passer du temps.
J’ai montré une bonne partie de mon travail personnel d’illustration, et aussi celui de l’équipe du jeu Black Flag, qui est une de nos fierté dans la Marque Assassin’s Creed !

Un dernier mot pour la fin ?

C’était un plaisir de vous rencontrer à Paris, j’espère toujours continuer à échanger et rencontrer des personnes de talent, inspirantes, grâce à mon travail et aux évènements tels que IAMAG 2016

Retrouvez les tuto de Raphaël Lacoste sur Tuto.com.
Behance | Twitter

What the Public Sector Can Learn from Private Sector Creativity

Adobe
By Jerry Silverman, Principal Solutions Consultant
In areas like cybersecurity, partnerships and information sharing between the public and private sectors are becoming increasingly necessary to protect the online networks of both industries. Having the ability to collaborate across sectors is critically important to helping governments, businesses and organizations improve their cybersecurity protocols.
But cybersecurity shouldn’t be the only area where public and private sectors collaborate.
According to Adobe’s Creativity in the Public Sector Survey, 94 percent of public sector employees say that government should be as creative as business, yet only 46 percent say government currently is as creative as business.
This gap between government organizations’ creative potential and the reality that public sector creatives face is a perfect opportunity to engage with the private sector to learn from their best practices and most creative ideas.
Respondents cited tech companies like Apple, Google and Amazon, as well as large corporations such as GE, WalMart, Disney and Deloitte as highly creative private sector companies. All of these companies have creative properties that set them apart from competitors and enable them to maximize the effectiveness of their communications to consumers.
What could Disney’s Imagineering team do to help rethink the look and feel of government websites? Could Google’s coders develop an algorithm to easily connect citizens with their elected officials?
While the private sector is ripe with examples of digital creativity, survey respondents did name NASA and the White House as two of the most creative public sector organizations. In terms of information sharing and collaboration, what could be better use-cases for the private sector? What private sector organization wouldn’t want to learn from the engineers and developers at NASA how to share information and images from across the galaxy with the world? And how could the social media and web teams at the White House that manage the President’s online communications help companies better connect their executives with their customers online? There are clearly areas of excellence across both sectors, but creativity is one area in which the private sector has jumped ahead.
Although the public sector hasn’t caught up with the private sector in creativity yet, we have the opportunity to have an important conversation between sectors about creativity and digital transformation. We’re proud to have worked with organizations like 18F and the U.S. Digital Service to help bring fresh ideas to the public sector.
Adobe believes creating these partnerships and opening up a dialogue about creativity will be an effective means to maximizing creativity in both sectors, and enabling government agencies to provide the highest quality, most effective creative communications.
Visit here to learn more about the Adobe Creativity in the Public Sector Survey and Adobe’s efforts to bridge the creativity gap.

The Reality of Editing Reality TV


Adobe
As reality TV food shows continue their popular trend with viewers, the Rocky Mountains have grown to become a hotbed for food television production. Over the past 32 years, Frank Matson and Denver-based Citizen Pictures have received multiple Emmy nominations and Daytime Emmy awards for work on shows like Diners, Drive-ins & Dives, Giada at Home, and other well-known lifestyle programming. Adobe talked to Andrew Moraski, Post Production Supervisor at Citizen Pictures, about how the growing company puts together shows for some big names in reality TV.
Citizen Pictures’ Awards
Adobe: How did you get involved in video production?
Moraski: When I went to film school, I thought that I really wanted to be an editor. I was lucky enough to get an opportunity with Citizen Pictures, but as I worked my way up, I realized that I was more interested in the workflow and computer operations side of the business. In editing, it’s all about focus and finding that one piece of footage that will make the show even better. In operations, it’s more about exploring best practices and coming up with the most efficient way to use equipment, ingest footage, or even store digital clips.
Adobe: What types of shows is Citizen Pictures working on?
Moraski: We’ve really found our niche in food reality TV shows. Some of our big shows right now are Diners, Drive-Ins & Dives; Smoked; and a digital series for Bravo. It’s been fantastic seeing Citizen Pictures grow. We’ve been producing more shows and more recognition. We’ve grown from 14 to 26 edit bays just in the past year.
Andrew Moraski
Adobe: What are some of the challenges of shooting for reality TV?
Moraski: One of the biggest challenges of shooting reality TV is turnaround time. For Diners, Drive-ins & Dives, we will shoot about seven restaurants, in one week, in a city using two crews, and at least one restaurant will be featured in an episode that will air within the next month. Since reality TV doesn’t shoot from a script, our writers can only start forming the story after we’ve filmed. That means that we only have a few weeks to take hours of raw footage and somehow transform it into a cohesive and entertaining segment.
Adobe: What does your typical workflow look like?
Moraski: The first step is ingesting, logging, and syncing all of the footage that we receive. For a show like Smoked, which uses six cameras and up to 18 different camera setups per day, just trying to organize all of the footage can be a tough job. Many of our talented freelancers work outside of Denver, so we’ll ship a hard drive full of raw footage to a writer before we’ve even finished syncing.
The writer’s job is to find those key pieces of dialogue that can drive a story, write any additional voice-overs, and cut the bones of the segment together. This cut goes to an editor who flushes out the writer’s story and adds elements like b-roll, bugs (icons), and lower-thirds. For a show like Diners, Drive-ins & Dives, the footage finally ends up in the hands of a stacking editor who edits the segments into one episode.
Citizen Pictures
Adobe: How does Adobe Premiere Pro CC contribute to the workflow?
Moraski: Adobe Premiere Pro CC helps us get a faster, more streamlined editing workflow. Several years ago, writers were handing off written scripts to editors who had to search through footage, find the right clips, and pull together a segment from scratch. Now writers are ditching paper entirely. They’re working on Premiere Pro to cut together a rough edit of the segment and using that as a script that the editors can build upon.
Everyone loves working with Premiere Pro. We worked with Final Cut Pro previously, but we switched to Premiere Pro and haven’t looked back. It’s a relief to have a product that’s always up-to-date so we know that we’re keeping up with the times. Our graphics team also uses Adobe Photoshop CC, Illustrator CC, After Effects CC, and we use Media Encoder CC to transcode all media.
Adobe: How do other shows you work on differ from the reality food programming?
Moraski: Citizen Pictures isn’t just food shows. We’ve also done travel shows, commercials, and documentary projects like Race Across The Sky, which followed cyclists on the Leadville Trail 100 race. Every project has its own challenges.
For our reality food shows we’re dealing with tight schedules and even tighter kitchens. For Race Across The Sky we’re dealing with 30 cameras set on a mountain racecourse and a helicopter following the racers. It’s all about communication and keeping everyone on the same page.
Citizen Pictures
Adobe: How do you like working in Denver?
Moraski: Denver is a small city, and the different producers, editors, and assistant editors in town all know and work with each other throughout the year. I’ve been very fortunate to have the opportunity to work at Citizen Pictures and in Denver. The production and post production community of Denver is extremely talented.

Inventing the Future with Up and Coming Talent


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

Hidden Gems in Acrobat DC: Add & Arrange Graphic Objects


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

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

4. Done! Wasn’t that easy?

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

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

Managing Image Licenses with Adobe Stock for enterprise

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