Adobe Creative Cloud for Designers

Welcome to Adobe Creative Cloud for Designers. My name is Terry White, Worldwide Design Evangelist for Adobe, and it is my pleasure in this short amount of time that I have--just under an hour-- to walk you through what's new in Creative Suite 6 and how it integrates with our brand new Creative Cloud and what's the Creative Cloud all about, and I will be doing that along the way. What I thought I would start off with is we're going to just hop over to Adobe Photoshop CS6 and from here we're going to go in and take a look at some new things. Before we get to that, let me answer a couple of questions that some of you may have about Creative Cloud right off the bat. What is it? Am I running Photoshop CS6 over the Internet or from the cloud? And the answer to that is no. This is the same Photoshop that you would have downloaded if there had been no Creative Cloud. So the applications themselves are still running on your desktop whether you're a Creative Cloud subscriber or not. If you are a Creative Cloud subscriber, depending on which level you subscribe to, you would have access to individual products or the entire Master Collection, including products and services that didn't even exist prior to CS6. So rest assured you're running the same applications, the same performance on your regular desktops that you would have before, and you're not having to be connected to the Internet full time to run these applications. So with that said, let's take a look at some new things inside Photoshop. In Photoshop CS6, as you can see, one of the first things visually you'll notice is the new user interface. The user interface has been streamlined. As you can see, it's a little bit darker, which you can control in your preferences. You can go all the way back to the light interface that we had before, all the way down to a dark or totally black interface so that your image becomes the highlight, your image becomes the attention of the product. But beyond just making visual shifts in the color of the interface, we've also made quite a few changes in streamlining the application itself-- going in and taking out icons that people weren't using or could be moved to a better place, giving you things like layers that you can search for and select multiple layers and apply multiple things to multiple layers at the same time, and just streamlining the interface overall. And so not only is it getting new features that we're going to take a look at in a few moments here that are the whiz-bang kind of magic features you would expect but taking a look at things that people do every single day and making those things better as well. Let's stop backing up here. That will give me a little better performance. One of the things that people do all the time, including myself, is crop images. We have been using the Crop tool. It's the same Crop tool we've been using for years and years and years. And even the team looked at something as simple as cropping and said, "You know, it's 2012. Can we make cropping better?" So for example, if I go to my Crop tool now, I see that I have the ability that I had before, which is to drag out a crop. So if there is a specific area that I know that I want to crop, I can do that. But you'll also notice that you have handles now around the sides. Those handles, for those of you who have worked with Lightroom, are the same interface that you would have had in Lightroom. You have the ability to constrain it to the original aspect ratio, to a specific aspect ratio, to save it as a preset, to type in your dimensions--all the things that you're used to-- but you get a much more fluid and better response with the cropping and more visual. That in and of itself is an improvement, but I think the biggest improvement is that once I decide to crop, I click OK, I save the image, I close it, I come back tomorrow and my client says, "No, no, no," "we really did want the top of that building showing," in the past you would have basically had to start over-- hopefully you had an image that wasn't cropped to start over again because at this point in CS5 on down, those pixels would be gone. However, in CS6 you'll notice that I did not have the checkbox checked to delete cropped pixels, so therefore cropping is now non-destructive inside Photoshop CS6. So I can get right back to the same data and re-crop the image and bring back the roofline that the guys wanted. With that, there are still some people that say, "No, I still prefer my 20-year-old Crop tool," and if that's the case, you can get back to the classic mode just by changing it back to the way it used to work. But I for one am a very big fan of the new Crop tool, and I am very happy to see it work the way it works now. So with that, let's go on to the next image I have here. Let's make that a little bigger. In this particular case, you'll see that we have an image that's okay. It's a little dark, and of course in Photoshop we have all kinds of adjustments to make things brighter and lighter, and we can do it even on a brush level. But in this case, a lot of times people, especially that are new to Photoshop or even professionals, sometimes just want a 1-click solution. Hey, if Photoshop can make it better in 1 click, why not? So I'm going to go up to my Image menu, down to my Adjustments, and the typical adjustments that I would do to this photo would either be Brightness and Contrast in CS5, Levels and Curves in CS5 on down because those are the professional ways of doing it, but no matter which one of these I pick, now what's happened is we've enhanced the engine or the algorithms underneath so that before, Brightness and Contrast probably wasn't all that great prior to CS5. In CS5 the team looked at the engine behind it, stripped it out, fixed it, and made it better so you can actually use Brightness and Contrast. To add to that, they've added a 1-click button, Auto, that will just simply make your images look better than they would have using the legacy technology of the past. So if I click Auto, we get a better-looking image than I would have gotten had I done an Auto with any of the Levels, Curves, or Brightness and Contrast of the past. And of course if I still don't think it's bright enough, I can continue to work with it and adjust it, but in most cases the Auto is going to do a great job for you. And the way I always like to say it, it doesn't hurt to try an Auto. The worst case is you'll just undo it if you don't like the results. All right. Let's head over to my next image. In this case, we have quite a bit of something going on here, and let me explain how this particular image was created. The photographer took a picture using a fisheye or wide angle lens, which in some cases, as you know, can cause this kind of curvature of the image. But to make matters worse, they took 3 images that were shot with that lens and stitched them together in a panorama. And so while I got the nice wide shot of this living room or family area, the curvature is just a problem for this particular shot. If you're shooting with a fisheye, you typically want that effect, but in cases where you don't want it but that's all you have is this particular image, you're probably going to want to fix it. Fixing 1 would be bad enough, but fixing 3 that have been stitched together, there's really just no automatic way to do that. However, inside CS6 we have a brand new Adaptive Wide Angle lens. So when I go to the Adaptive Wide Angle lens filter, again it just says, "I don't have a 1-click solution for you, "but I know what camera and what lens was used to create this image." "So what I will do for you is I will let you adjust it or correct it "using built-in technology to adjust the image." So for example, when I look at this roof, I can see that this probably should not be curved. So if I just start on one end and click and drag, it will automatically adapt a line or a guide along the curvature. So I'm not dragging it curved; it's doing that automatically. And when I get to the other side and let go, it will make the adjustment of what should be straight based on that. For example, we'll come along the same way, we'll go back along the floor here, and we'll just go backwards in this case along what should be straight, and, once again, Photoshop begins to correct the image. I can keep doing this all day long. I think you get the idea. You just go along your image and start straightening the things that should be straight, and ultimately, you will have a better-looking image just by dragging out a few guides to straighten out the image along the way. Once you get your image as straight as you want it-- and again, I could keep going, but for the sake of time I'm going to stop here. This is kind of like a puzzle. You just want to see it to its completion. But once you're done, you click OK. With a panorama we usually end up with areas we don't want. We can just grab our Crop tool, using the new Crop tool, and we can just simply say that this is the area of the photo that looks best. Let's go ahead and crop it to that area. And that becomes our new photo. So just that quickly and easily I was able to go from the previous version of the photo down to a version that looks and works great. Now let's go over to my next image here. In this case, we've got a situation where we've got a problem with a part of the image where something got introduced by mistake. This looks like a piece of lighting equipment. It could be a reflector, it could be a soft box, it could be a scrim, it could be anything, but the problem is it shouldn't be there, whatever it is. In the past, I might have used something like the Patch tool to patch that area out. For example, I would just make a selection with the Patch tool and grab that area and then drag it to an area that does not contain that reflector. The problem, though, is that the Patch tools never really did a good job when the image was on the edge. In other words, when the selection included the edge of the image, that's when the Patch tool would have troubles. So using the CS5 technology, if I were to now drag this over to an area that's clean and let go, you can kind of see that it did not do the good job on the edges because it started ghosting some of that white back in. And this is the problem of the past where it just didn't do a good job along the edges. Had that been in the middle of the photo, no problem. But along the edge, the Patch tool just didn't know what to do. I'm going to undo that, and we're going to now take a look at the CS6 Patch tool which has a new option: Content Aware. That's right, your Patch tool now has the same kind of Content Aware technology we introduced in CS5. So I can go ahead and just simply drag this over to around the same area that I did before, let go, and because of the Content Aware technology, we get a nice patch. And even if I don't like a part of it, no problem, I can go ahead and patch over just a little bit more to kind of get the areas to look the way I want them to look. You have the ability to control the Content Aware, turning it on or off. In some cases, turning it off may result in a more random pattern such as that. Turning it on will help you when you're working along edges. So the combination of having Content Aware is going to be great and the ability to turn it on and off as needed. That's not the only Content Aware technology that was introduced inside CS6. Here I have an example of one of my very own photos. I took this photo last year. This is actually an area called Page, Arizona. Let's go back a second here. I'm going to show you. This is where that photo was taken. The edge of the cliff at the bottom of the photo, as you can see, there is no fence, there is no guardrail, there is no anything. You fall, you're falling about 300 feet. So when I took this photo, I had my model stand way back to the right there because I did not want to have any accidents or lose a friend. I did not want her standing on the edge and a gust of wind comes up. It would be a very sad story. So, safety matter. Stand way back here. If something happens, you're at least going to fall on the rocks but you won't fall over the edge. I always wanted to have the photo where she would be standing right on the edge but too afraid to let that happen in real life. So now let's go into our Quick Select tool, and we'll just make a quick selection of the model. The Quick Select tool, as the name implies, is just a quick way of selecting. It's not the most accurate way of selecting, but it gets the job done. Let's grab a little bit more there. Now that I've got my selection made, we're just going to expand that selection out just a little bit here. We'll modify and expand. And we'll just grab a few more pixels outside of the model. That way we're getting some of the sky, we're getting some of the rock, we're getting some of the area around her. Then we'll switch over to a brand new tool, the Content Aware Move tool. This is new inside CS6. Here's the idea. In CS5 if I wanted to move her over to the left, I could duplicate her onto a new layer, move her over. Since it's kind of the same background, it wouldn't be that hard blending her in. But then I'd have to make a selection again in the previous area and do some kind of Content Aware Fill hopefully to fill her back in or fill the area back in where she used to be. Now no longer do we need to do that in 2 or 3 steps. We have 1 new tool. I can pick her up, move her over. Keep in mind, by the way, there's no extra layer. We're on the background. So I'm just going to pick her up and move her over and let go and let Photoshop automatically do the work for me. The Content Aware Move tool just picked her up, moved her over, refilled her back in in the previous area, and took care of the whole job automatically for me. So with that, I think you'll agree that Content Aware Move for situations like this is going to be a huge time saver. Now let's go to our next photo here where we have our designer, Alice Ritter. She's the one that we want to focus on here with the bicycle. The problem, though, is that we've got this guy walking into the shot. If I go down to Mini Bridge, I've got another shot of Alice. We'll scroll over. This one is more of what I'm looking for. She's in focus even though there's another guy walking by. He's out of focus. In photography this is called depth of field where you have a particular area of the photo in focus, another area out of focus. Your eye keeps coming back to the area you want the person to be focused in on. The attention is drawn to her in this shot. However, in my other shot we didn't quite get it shot that way. We got this guy. And then you start wondering, "What is he carrying?" "What does his hat say? What's on his jacket?" You start getting distracted by him. What I'd love to do is take him out of focus, bring the focus in on her. While we've had blurring tools and tools in Photoshop and filters in the past to do that, we've introduced a brand new set that photographers or people in general are just going to love. It's under the Blur filters. It's the new Blur gallery where we have 3 new filters: Tilt-Shift, Iris Blur, and Fill Blur. I'm going to do an Iris Blur, and right off the bat the Iris Blur just plops down right on the center of the photo and starts to blur everything outside the center, which that's kind of what I want but not to that extreme. Of course I have all these sliders on the right-hand side, and I can adjust it and get it right, but the thing I love about CS6 is a lot of things I can do now I can do on-canvas editing. So I don't even have to touch the area over there. I can just pick this up and move it. I can dial down the amount of blur right here on the interface to kind of get not so out of focus for the rest of the area. I can constrain it. I can say, "No, I want more of her just in focus and everything else out of focus," dial it down a little bit more so again the attention is drawn on her. In the other photo there was a bus going by in the background, and that bus had some writing on it and we could kind of see it, and that was great too. But in this case, photography-wise that was part of the shot, so depth of field wasn't an issue. But there's no way in photography in a camera to get multiple areas in focus and multiple areas out of focus. It's just not possible with photography today. However, inside this single image I can now just simply add a new point. I want this sign to be in focus, and I want that sign to be in focus, and I want everything else to be out of focus. I can add as many of these points of focus that I want and control and dial each one individually to control the areas outside of the circle or inside the circle. Again, I can constrain this, say that, "No, just want the sign, "no, just want the sign here," and keep those areas in focus and Alice in focus and everything else out of focus. So now Photoshop CS6 is allowing me to do things that I couldn't do before inside the camera. So there is my example here. This will be great for people that are doing advertising. I saw that message pop up there. You guys will enjoy that quite a bit. Even if you're not a photographer, you'll find areas where you want to draw the eye in and draw attention. Next let's go ahead and continue working here. I'm going to swipe over just for a second. I know this probably won't play that well over Connect, but I'm going to go ahead and play it anyway. This is a video and it's kind of cool. It's a video of model shots and video with stills and titles and all kinds of things here that were done in video editing. However, what if you're not a video editor? Let's jump back over to Bridge here, and in Bridge what I'm going to do is I'm going to switch over to a different folder, and in that folder I'm going to double click on a PSD file. We'll just go ahead and double click on this one. This particular Photoshop file is something special. This particular one is actually the Photoshop file that was used to make the movie you just saw. That's right, that entire movie was composited, edited, and put together inside Photoshop. There was no Premiere or After Effects. We have great video editing tools. But this was all done by a Photoshop user. If you think about it, there isn't a camera you can buy today that doesn't shoot video. But what are you doing with all that video? In most cases, people aren't doing anything with it because they're uncomfortable with video editing. But now inside Photoshop CS6 we took the video editing tools that we started with the extended version of Photoshop CS4 and CS5, we refined them, made them easier, more approachable, and now they're in all versions of Photoshop CS6. So let's take a look at what we have here. We have the new timeline that's a lot easier to work with. When you select an area, an image, a still in the timeline, it automatically selects that layer that's associated with it. You can mix audio, you can mix stills, you can mix whatever you want. And more importantly, you can do things that you wouldn't have been able to do as easily to video inside of other products, but you can do them just thinking about Photoshop. For example, I've got that layer selected. I'm going to go ahead and convert it for smart filters, which means it's a smart object now, just like other still images. We have this video clip of her walking down the hill. I'm just going to go to my Filter menu, we're just going to go in and say that we want to apply a filter here. I'm going to do Stylize and we're going to say Find Edges. Now I've converted that 1 video clip into a sketch, basically, and I can play it back here and she's walking down the hill as a sketch. If I wanted to add a transition to that, no problem, I can just simply go out to my Transitions here. I have a Fade to White, and I can just drag that over and fade that video to white as it transitions into the next photo. Simple, easy, quick video editing. Now let's move over and let's talk a little bit more about Creative Cloud. I'm logged in to my Creative Cloud account where you're going to get 20 gigabytes of storage as a Creative Cloud member. You're going to get some storage even as a free member. I've got my images here in my Creative Cloud account, and what I would love to do is leave the office and work on the road. So what I'm going to do is I'm going to switch gears, and we're going to go ahead and switch over to Photoshop Touch running on my iPad. This is live. I'm actually on my iPad right now. As a matter of fact, just so you can see where I'm tapping, I'm going to go into the Preferences for Photoshop Touch and enable Presentation Mode. Now that I have done that, I've got the ability to start a project in the lower right-hand corner there. I'm just going to go ahead and add a new project. I can grab images from my camera roll or from that same Creative Cloud storage that you saw there. So here are the same images that we saw. I can go ahead and grab one of the images--for example, the boardwalk. I can add it to my project, and that will download the image into Photoshop Touch. So now I can work on this offline. I can go ahead and add another image to this. I'm going to add another photo layer. And with my ability here I can grab another image from the Creative Cloud. I can grab local photos, I can use the device's camera, I can use Google royalty-free images, do a Google search, I can even grab images from Facebook. But I'm going to go ahead and go to my local photos to grab my next image, where I've got one here of a model jumping in the air. So now it's already composited these 2 layers together. I can move them around, I can size them, I can put her wherever I need her to be, but there's one problem. When I say Done, we've got the original background that the model was on when she jumped in the air. So what we're going to do is we're going to grab our Selection tools. We've got some great Selection tools, including the Magic Wand and a Marquee Select, but we've also got a Scribble Select. What the Scribble Select allows me to do is simply scribble my selection. So using my finger, I can actually scribble the area of the photo that I want to keep, and I can keep doing that to make sure I get all of the hair and the arms, and then I go to Remove and I scribble in the areas that I don't want, so basically the background. Photoshop Touch on my iPad or on my Android tablet would then figure out what areas I'm trying to grab. It does that, it does a good job at it, but the problem is, as we know with selections in traditional Photoshop in the past, we've got issues where the model has got hair, and that's of course not easy to work with unless you're in Adobe's technology where we introduced in CS5 Refine Edge, and we brought that over to Photoshop Touch. So I just go ahead and tap Refine Edge, where it shows me how bad my selection is currently, and I can then say, "No, no, no, we don't want that gray background there." "Let's refine that a little bit better and do a better job refining it around the edges there." I could take a little bit more time, but since I'm running low on time, I'm just going to say OK. That becomes my new selection, and now I can simply say Extract and that will extract her from the background. And then I can of course deselect, which we will do that, and go back to my Move tool. I can still move her around, I can still scale her, and there she is jumping in midair. If I go back and say Done and go back to my layers, I can even double tap my layers and see my layers in 3D, letting me know how many layers I have and how this is composited. I think you're going to enjoy working with Photoshop Touch, the Creative Cloud, and when I'm done I even have the ability to go in and take this image, save it back to the Creative Cloud, and then open it inside Photoshop CS6 and continue to work on it. So that's kind of what the Creative Cloud is all about. It's about managing your files, storing your files, taking your files back and forth between the desktop and the touch applications or desktop to desktop. You're going to enjoy that. Next let's hop over to Adobe Illustrator. We could spend all day talking about Photoshop, we could spend all day talking about the cloud, we could spend all day talking about any one of these products, but we have to move on, so let's go over to Illustrator and let's take a look at some new things here. We have, first of all, huge performance gains inside Illustrator because now it's a 64-bit application. It's also Cocoa, rewritten from the ground up in Cocoa on the Mac, so all the users that wanted a faster Illustrator will have their faster Illustrator. It also got the new darker UI that you see here so it matches Photoshop and Bridge. But one of the things that it also got is a brand new tracing engine. I'm going to go ahead and switch over to my Tracing workspace. Using the brand new Image Trace feature, I'm going to select this photo, which is a photo of leaves, and I'm going to just simply use a preset that will allow me to convert that into a high-fidelity or low-fidelity photo. So what that did, as quickly as you saw it, it just traced this high-resolution image and made it vector. So that's the performance gain we're talking about where things just happen faster. The next thing we're going to do is we can play around with different presets. We can say, "Maybe I want shades of gray. I'm going to color it in myself." So I can switch over to shades of gray, and now we get a trace using gray. We can also go in and say, "I'm just going to use it as line art "and fill it with my own colors." When I do that, we get the solid vector that I can now expand, and we'll just expand that out and then drill down into it to where we get to the actual paths themselves. So now that I'm dealing with the paths, that means I can go in and fill this with whatever color I want. Let's go to our fill color there, let's go to our swatches, and we'll just fill that with a simple green. So taking a photograph and auto tracing it using the new Image Trace engine and converting it to vector and filling it in a matter of seconds. Now that we've done that, we can go ahead and scale it down a bit. By the way, now that it's vector, it means it's infinitely scalable. So we can make it as large as a billboard or as small as a business card and maintain the quality. But what I want to do now is use this as a pattern for perhaps my website that we're going to talk about or perhaps another design such as a business card. I'm going to go into a workspace I created called Pattern Making, and we're going to go up to our Object menu and we're going to come down to Pattern and Make. What that will do is bring up the brand new Pattern Making interface inside Illustrator-- all vector, all fluid, and of course live on screen as you're doing it. I'm going to take our original bounding box and vector. I'm going to hold down my Option or Alt key and duplicate it, and we're going to go ahead and tilt this. Move that one over, but then we'll go ahead and grab the other one. There we go. We'll just tilt that a little bit here. There we go. Now we'll fill that with yet a different color. We'll go to our color there and we'll fill that with a slightly lighter green. We'll also drop the opacity on it. Let's drop the opacity down to 50%. We'll again hold down our Option or Alt key, duplicate that one more time, and we can just continue building our pattern based on this shape. Let's tilt that around this way, and we'll fill that one with yet a different color. Again, because it maintains the same opacity as the one I duplicated, we get the same or similar effects. I can keep adjusting this until I'm happy with the pattern that it's created. Once I get that pattern looking the way I want, I can go ahead and name it. We'll call this Askapro1. That's our new pattern, and we'll just simply say Done. You're saying, "What happened to it? Why is it gone?" You saved it as a swatch at this point, so now you can get rid of everything else that's on the page and you can come in and create your new area that you want to fill this with. So I can grab this and fill this with whatever I want, then I can go back to my swatches here and grab my new pattern to fill it with. So now I can use that pattern as many times as I want and fill as many different things with it as I want. Pattern Making is going to be great in the textile, fashion, and web design industry for people that need to do patterns quickly and easily and have them be resolution independent. The next thing we'll do is we'll take a look at these cool little swirls here. Notice these swirls. They're gradients but they're variable widths and they look like they'd be complicated to make. But if we go to our originals, we see that they're just paths. There is nothing really to them. How do we make something like that? That's artwork mode, so that's showing you the originals right there. I'm going to go over to my untitled document here. I'm just going to grab a Spiral tool, and we'll just go ahead and pull out a spiral, kind of maybe an intro design here. We'll switch over to our stroke and we'll switch over to our gradient, and now I have the ability for the first time in Illustrator to make a gradient stroke. Let's go ahead and make it a little thicker so we can see it. I can apply that gradient 3 different ways around the stroke or across the stroke to get the kind of look and feel that I want. And of course I can pick any of my gradient presets to put on that or change the gradient itself using the same gradient controls I would do on a gradient fill. Once I get the gradient looking the way I want from a color perspective, I also have the ability to go into my Width tool and we can expand or contract the width of the stroke out or in to kind of constrain it and get that cool-looking variable width look as if we had drawn it that way using pressure sensitivity perhaps on a Wacom tablet. Cool features to be able to do this right inside and of course interactively and quickly with gradient strokes directly inside Illustrator. The next thing we'll do is we'll pop over now to Adobe InDesign. InDesign is one of my favorite products. I could spend all day on Illustrator, I could spend all day on InDesign, but let's take a look at some of the new things here inside of InDesign. As an InDesign user, you're probably used to designing things for print. InDesign has had a great over 10-year history of being the number 1 desktop publishing or print publishing tool, and of course that doesn't change here. We also know that people are interested in digital publishing. The feature I'm about to talk about, whether you're doing traditional print publishing or digital publishing, will apply to you. And that is, when you need to design something and you need that something to change--in other words, you designed in 8½x11, but you also need it for your international market, which is 8x4-- just that simple change alone, the designer would probably make a copy of the file, change the page size, and then start adjusting everything to fit the new page. And of course that work is great because a designer wants to have complete control over the look and feel of that new layout. But what the designer doesn't want to have to do is the tedious work of just moving everything over and sizing everything over and then having to tweak it. Why not just do the last part, which is making it look the way you want, without having to do all the drudgery? So let's go to our Page tool. In our Page tool now inside CS6, we have the ability to grab the corners of the page. I'm going to basically show you what would happen if we were to size this page differently. We can do it 1 of 2 ways. We can just simply change the orientation or the size in the Page tool, or now we can actually grab the page itself and change it. If I were to hold down my Option or Alt key, that would physically make the change. If I don't, I let go, it snaps right back. But let's say we wanted this page to just change to be wide. When I do that, the page changes but the content doesn't. And of course herein lies the problem. Your customer says, "Instead of a tall brochure this season, we want a wide one." "Take what we did last year and just change it to be wide." You do this to the page and now you've got to go redo all the content. We're introducing something new inside CS6 called Liquid Layout. What Liquid Layout allows me to do is it gives me a set of rules that I can work with to control how the content will be liquid. I have 4 choices. I can do Scale, Re-center, Object-based, or Guide-based. Let's try just a simple scale. What Scale means is that, as the name implies, if the page changes in size, the content scales. If it changes this way, it scales, but it doesn't change its orientation. It just gets bigger or smaller. This might work for a simple page size change where the page is going to stay the same orientation but maybe get a little smaller or a little bigger. Scale might work fine for you. But it's not going to cut it in some areas. So what about Re-center? Re-center, as the name implies, just simply re-centers the content. No matter what you do to the page, the content stays in the center. And again, for simple changes that may be okay. But what you really want are the next 2: Guide-based or Object-based. I'm going to switch to Guide-based first and then we'll come back to Object-based. With Guide-based I can go in and drag out these new kinds of guides with the Page tool that intersect my content. Let me undo that one. I'm going to move this one over just a little bit more. There we go. The guides intersect my content and basically control how my content will change both vertically and horizontally. So I intersected the logo, I intersected the background graphic both horizontally and vertically; I did not touch the Alice Ritter. So for example, as I now adjust my page, my content that the guides is intersecting with changes dynamically without me having to do anything. Of course once it got past a certain point, we're going to start losing that logo. But you get the idea. Just by using simple guides we can control what content will change and what content won't change by the guides themselves. So I'm going to undo, take off the guides, and now let's go to the one that you are probably going to want to use the most for ultimate control, and that is Object-based. With Object-based we have the ability to go in and select exactly what areas or what objects will be scaled, sized, or whatever and how they will be scaled or sized. I can go in and I can choose whether or not they'll be resized, whether or not they'll be pinned, what happens to the actual content as it's being scaled or not scaled. We can pick and choose things that will just stay in place and move along the page or things that will actually change in size. Now as I change this page, the content dynamically adjusts based on the object rules. So whether I change the page to simply be bigger or wider or taller or skinnier, the content will dynamically adjust. That goes hand in hand with another new feature. Liquid Layout goes hand in hand with something called Alternate Layouts. With Alternate Layouts I have the ability to add multiple layouts to the same InDesign document for different orientations, for different sizes, for different things that we want to do. So for example, I have in this case an example for digital publishing where we have an iPad vertical version. If I want the user to be able to rotate their tablet, then I'm going to need to make the wide version. To do that, we're just going to go into our Layout menu and we're going to come down to a new command called Create Alternate Layout. When I say Create Alternate Layout, we have the ability now to go in and say whether or not we want it to be tall or wide, what page preset sizes we want, everything for print, for devices, or you can custom make whatever you need. And since I was on iPad vertical, it assumed I wanted iPad horizontal. All I have to do now is just simply click OK, and it will go in and make the new version for me. So just as simple as that I have now made the new version that is the horizontal version right next to the vertical version using Liquid Layout and of course having both layouts now in the same InDesign document. But you're not limited to just 2 layouts. Now my customer wants an Android version as well. So I just simply go up to my Layout menu, create another alternate layout. We'll make this one based on the vertical pages, and we will say that this one is going to be Android tall. Click OK and now I have my third layout. So we have the Android tall version, which we can zoom out there. And of course the Android tablets are 16x9, 4x3, wide, and you know what we need next. We'll create one more alternate layout, and we will make the horizontal version for the Android as well. That was it. That quick I was able to create 4 different layouts based on my Liquid Layout rules. This isn't going to always do it perfectly, so as the designer, you're still going to want to go through, for example, in a situation like this where you have content that did not get set that you want to adjust for that new layout that you just created. As the designer, you're still in ultimate control over the overall finished piece, but we took all the drudgery out of it for you of going through and having to recreate all those layouts manually. All right. Let's move on. Let's go back to my original layout here. Let's talk a little bit about collecting content to be used in other places. For example, in this layout here I've got a few pieces of content here. I've got a logo, I've got some text, I've got a photo, I've got some more text. Let's say I want to repurpose that to use it somewhere else. On this particular page what I'm going to do-- Let's make sure I'm on the right page. Okay. That's Page 2. On Page 2 I'm going to go ahead and just simply add a Page 3. Page 3 is blank, Page 2 has the content on it. I want to repurpose some of this content onto Page 3 or in a different document or in something totally different--a different layout, whatever. But I'm just using the same document for simplicity's sake. We have our brand new Content Collector tools. From here I can go in and I can say I want that logo, that photo, this article, that article, and I'm basically collecting these items whether I click on them, drag select, multiple select--however I want to do it. Now I can go anywhere else--to another InDesign document, same InDesign document, different page, wherever I want to use these items-- and flip a switch. Instead of it being the Content Collector, I now want it to be the Content Placer, and here I have options of placing and removing the content from the Conveyer-- this is the Conveyer--placing multiple times and keeping it in the Conveyer, or place and keep in the Conveyer and load the next file. So click, place, go to the next one, keep the original one. Right now it's basically set to unload the Conveyer once I start placing these items. I can switch to whichever one I want just simply using my arrow keys. The beauty of this over copy and paste is not only can I do multiple objects, but I'm giving the Place command instead of just pasting it onto the artboard or the page. So I can go in and scale these to new sizes and new dimensions and put them where I want them to be without having to worry about working with the original sizes and then having to touch them later. I can also do linked styles or links so that that content would be linked. If I make changes in the original one, it would automatically update the new one as well. So that is using the Content Collectors in the same document or multiple documents for repurposing content in different layouts quickly and easily, way faster and easier than copy and paste, not having to set up libraries or snippets. Okay, so with that, let's take a look at one more. We're in InDesign. We can continue spending all day in InDesign. There's lots to show here. I've got a document, and this particular document has a great first page, kind of cool second page-- oh, but this third page has something interesting on it. It's designed to be a form. We have the Reserve Your Seat and checkboxes and things that we want people to be able to fill out. While InDesign in the past could always design the form, we didn't really have any way for you to fill it out or create fields without having to save it as a PDF and head over to Acrobat. Now, for the first time, I can do things like drag out a text frame here, and when I get that text frame, I now have the ability to go into a new Buttons and Forms panel. I can go in and create a simple field or a complex field if that's what you want-- in this case, a text field. I can name it whatever I want. I can use the Show and Hide commands. I can create buttons. I can do all the PDF form things that people are used to doing inside of Acrobat directly inside of InDesign now. When I save this out as a PDF, it's a PDF form. I don't have to do anything else to it. I don't have to go to Acrobat. I even have the ability to create a Submit button that will email the form to whoever I designate. I can do that all inside of InDesign now for the first time. If we go ahead and swipe over, here is a PDF that we just saw of the InDesign document. In the PDF inside of Acrobat, here is the actual form fields that we can now type in and fill out, all generated inside of InDesign, complete with the rollovers and buttons and the ability to submit the form, reset the form, or print the form when you're done. Great forms capabilities now introduced inside of InDesign itself. We could spend all day in InDesign, but I have one more product to show you. Let's pop over to Adobe Muse. Adobe Muse. Let me answer some questions right off the bat. This is a product that is a part of the Creative Cloud. It is only available through subscription. Whether it's individual subscription to Muse or a subscription to the Creative Cloud, you're going to get Muse as a tool to use. This is our web tool for designers. As you know, we have industry professional tools like Dreamweaver and Flash and our new tools like Edge. Those are all great for professionals, people that do web development every single day. But for a designer that says, "I'd love to create a website, web design, "web page, a test, a mockup, a microsite"--whatever it is-- "and not have to rely on calling my web team every single time," Muse is for you. Muse works just like InDesign. For example, you have your master page here. This is the page where you would put what you want to be on all of the pages of your site. And then you have the actual pages of the site itself. For example, if I go to the master page and double click on it, I get a page that I can go in and set the Browser Fill. I can set the Browser Fill to a color, to an image, to whatever I want. In this case, if I grab an image--I think I've got some images here-- that image can be tiled, it can be scaled, it can be set to scroll or not. And when I'm done filling that with that image-- and of course Muse will do the right job in optimizing that for the Web-- but when I go back to my site, that becomes the background for the entire site. So if I make any more changes to it--for example, in the Browser Fill area I can say put that over to the upper left, I can make it fit, I can make it tile, I can do whatever I want, and I can get that set the way I want-- it adapts and updates accordingly. Once I am satisfied with whatever I want on the master page, I can then go in and create all of my other pages for the site and continue working and adding the actual content to those particular pages. So we'll do a Contact Us, for example. It's kind of boring watching me create all this from scratch, so let me pop over to a site since I only have a few minutes left that's a little bit further along where we can see how some of this design came together and we can continue working on it. For example, let's go to the homepage. That's a little bit further along now. What I want to do is I want to place something on that homepage. So how do I place something on the homepage? The same way you always do inside InDesign. You would use a Place command and you would go and find what you want. I want the letter-b.png. I think that's the one I want. We'll go ahead and select that. I get the same Placement tool that I would inside of InDesign. I place that wherever I want that on the website, and again, just the same kind of free-flow ability that I had inside of InDesign. I can scale that to whatever I want and have that be wherever I want it to be. For those of you who are experienced with Muse, you know how to do this already. This is great. And once I'm ready to preview this, I can preview it right inside of Muse so I can see what my website looks like, how it will interact, but I can also preview it inside of a browser. I can say, "Show me what this page looks like inside of a web browser "so that I can see if it's performing the way I want." But what's new and what we're showing you here for probably the first time for many of you and what will be introduced in the shipping version is the integration with Typekit, which is one of our acquisitions. For example, in a case where you wanted to create that fancy logo or that fancy heading for a particular page or part of the site, in the past, working with fonts inside of web design you know is a chore because you can only use fonts that people would have to be able to view your page, and if they don't have your new fancy font, then they're going to see a generic font that doesn't look like your logo. So what a lot of people tend to do is turn that into an image or do some other kinds of weird workarounds. But with the integration of Typekit, I have the ability to work with not only my web safe fonts that we know are in all the current browsers or my system fonts, which is all the fonts on my system that will export as an image, but I now have the ability to add web fonts, and these web fonts are a part of the Typekit integration. So yes, you get all of these to use in your web design, and once you pick a font that you want--for example, let's do Dancing Script-- we can do filters on this, do sans serif, serif script, so forth and so on. But once I pick the font that I want to add and it added it, now I can go ahead and I can say, "Welcome to the Pluralist." We'll select that and of course we'll go back to our Font menu and we'll say that we want to use our new Dancing Script. We have bold or regular. I'll try bold. And using our same InDesign commands, Command Shift > or <, we can make that as big as we want. Now that will actually be text when the person sees this on their web page or sees this in their web browser. It won't be an image, it won't be something weird, it won't be some kind of weird plugin or anything they have to download; it will integrate the Typekit font into the actual web design for the customer that is viewing this. Typekit integration, easy web design, being able to export this out as HTML and host it wherever you want or publishing it directly to your Business Catalyst account, part of the Creative Cloud. You get, I believe, up to 5 websites as part of your Creative Cloud subscription. With that, let's see if I've got one more in my 1 minute left. Let's go over here. I believe on this particular page--I'm going to zoom out a little bit so you can see it-- when we preview this page, this is actually a self-running slide show. We'll see the slides start sliding by. That's kind of cool. How do you do that? As a photographer, I'm used to photographers walking up to me all the time saying, "I just want to create a photography website. Please help me. How do I do it?" I'm going to go ahead and select this. I'm going to move this out of the way here for a second. I'm going to get to the controls for this particular slide show, and I'm going to turn on the thumbnails. The thumbnails weren't on because they didn't need to be on for the slide show to work, but I'm going to turn them on so I can see and rearrange the images that are in it. Not only can I see and rearrange the images that are in it, I can also place new images. So I'm going to place that image that we saw earlier, one of the ones that I had done with the model. We'll go ahead and select that image. We can put that wherever we want, and it will add the image to the slide show. We can double click and we can rearrange that and put that wherever we want in the slide show. Now I can say that, "No, I don't need to see thumbnails anymore. We're good to go." Let's go ahead and preview this. It will preview the page and start the slide show. I believe that should be the next image if I did that correctly. And there it is. Our next image is the new image coming by in the slide show. Creating all of this web content easily, quickly, using my design technologies and theories that I've learned over the years in InDesign, Photoshop, and Illustrator without having to write a single line of code. And for those of you who are early users, you'll find the new version creates much better code than the original version ever did. With that, I am going to stop right now. I think we're going to close things up with some question and answer time as well as our polls.