Creativity Unleashed

[♪ Music ♪] [Applause] [Male] Ladies and gentlemen, please welcome Adobe CTO Kevin Lynch. [♪ Music ♪] Good morning. Wow! Welcome to MAX 2011. This is going to be very exciting. And that was obviously quite a dramatic opening, and we are living in dramatic times. If you look at what's happening right now, there's a major transformation happening with cloud computing and touch and social computing. [Kevin Lynch] [Chief Technology Officer, Adobe] This is powering a revolution in software, and this is both a deconstruction and a transformation of what you're creating. But it's also producing a transformation across Adobe and how we're enabling the next generation of creativity, so let's take a look at what we're up to. So, today I'm going to tell you about a major initiative that is set to transform how the creative world authors and delivers content. And I'm really excited this morning to introduce for the first time the Adobe Creative Cloud. Creative Cloud, this is a new thing. This is a service. Creative Cloud membership is enabling 3 things. The first thing is Creative Services, which are hosted services that you can use in your production work, in the delivery of your content. The second is Creative Community, which is all of you creatives around the world and really enabling you to connect more easily with other creatives and inspire each other with your work and really collaborate with each other as you're working. And then the third category is Creative Applications, and these are enabling you to create not only on personal computers, but also wherever you are with mobile devices, all connected through the Creative Cloud. So of course, as you'd expect from a cloud, Creative Cloud supports synchronization, so as you're using multiple devices in your work, you need to make sure your stuff is everywhere that you're using it. So, whether you're using a tablet or a phone or a personal computer, all your stuff will be with you wherever you are. And then storage. Of course, the cloud supports storage. We're starting with 20 gigabytes of storage, and of course, it can scale up from there. So, let's go through each 3 parts of the Creative Cloud now. So, the first one we're going to talk about is Creative Services. Creative Services are hosted services in the cloud, and they can help with production and delivery of creative media, and we're starting out with a few of them that are going to be part of the Adobe Creative Cloud, and then we're going to be adding more over time. Let's talk through the first 3 that we're doing in Creative Cloud. The first one is Business Catalyst. This is an existing Adobe service, and it supports designing and operating websites for small businesses, and it helps you by having pre-built services for things like handling e-commerce, doing customer relationship management, integrating with social networks, and a lot more. The second area that's part of the Creative Cloud is font service, and this is enabling the use and delivery of cloud fonts across all of your work. And then the third category is Digital Publishing, which enables publishing to tablets via the cloud. So, let's go deeper into the font service to start out here, and if we look at fonts, fonts seem really simple, and of course, we've been doing fonts for a long time at Adobe. But with the Web, using fonts has been pretty limited. It's starting to really expand now that you can use it with CSS3 with the ability to imbed fonts, but there's still technical and legal challenges in actually using your fonts on the Web, so let me show you a couple examples of fonts here. And this is really starting to happen now on websites, and you can see an example here of the New Yorker, and they have really well known fonts, and you used to actually have to put these fonts into images, of course, to have them render across browsers. Now this is starting to change, and you can see that these fonts are the unique New Yorker fonts, but they're actually embedded text in the page. So, that's better for download time, search ability, easier to author, a lot of benefits to using web fonts. Another example here is a site called The Expressive Web, which we put together to give an overview of HTML5 and some of its capabilities. And you can see web fonts are also used here, and the fonts themselves are actually transformed here on the page. This looks like an image as well, but it's actually text, and you can select it in kind of 2½ D here. So technically, very cool that you can embed fonts, but there's still lots of rights issues around fonts. In fact, the team building this site initially thought they had rights. They didn't actually have rights for this font on the Web. We solved that now, but it can be challenging. There's a little company that's solved this really well now for the Web, and it's a company in San Francisco called Typekit, and I am really pleased to announce that this morning Adobe has acquired Typekit. [Applause] And I'd like to please introduce Jeffrey Veen, founder and CEO of Typekit. Jeff. [♪ Music ♪] [Kevin L.] Good morning, Jeff.>>[Jeffrey V.] Good morning, Kevin. [Kevin L.] Thanks for joining us.>>[Jeffrey V.] Yeah, I'm glad to be here. [Kevin L.] At Adobe and on stage.>>[Jeffrey V.] That's right. We've known each other for a long time, and I'm just thrilled to share the stage with you and just that we'll be able to work together now. Yeah, I'm super excited too, Jeff. That's really great. Yeah, it is. So, good morning everybody. [Jeffrey Veen] [CEO and Founder, Typekit, Inc.] I'm super excited to show a little bit about Typekit here today and give you a sense of what we've built and what we're going to be doing in the future. It was only 2½ years ago that we started working on Typekit with my co-founder Bryan Mason, Ryan Carver, and my brother Greg. And back then, honestly, web fonts were just a curiosity. They had only just been developed--or added to the browsers and rolled out to an audience that could see the web fonts, and there were no commercially available fonts yet for the Web. But 2 interesting things were happening then. One was that CSS3 was really being embraced by designers and developers. It's kind of the future of web design. They were sort of really looking at the new capabilities in browsers and starting to implement stuff there. And the second thing was that cloud computing was really becoming a thing that we could start to rent servers by the hour and scale them up and things like that. The intersection of those 2 things is what we found very interesting and where we built Typekit. So, we created Typekit as a subscription-based service where we would host all of the fonts, and designers and developers could pay an annual fee and have access to the entire library. But perhaps even more importantly, they would have the assurance that when the fonts were served for their website, they were always backwards compatible with every browser and forwards compatible with every device, tablet, mobile phone that started coming out then. So, that gave people a lot of assurance for that sort of thing. [Kevin L.] So, it would technically work, and then also you'd be covered in terms of all the rights and usage and you don't have to worry about that-- Rights and usage, yeah, absolutely, like you guys found out as well.>>[Kevin L.] Exactly. With a Typekit subscription, you have one license for all of the different fonts, and they're all consistent that way. [Kevin L.] Maybe we can take a look at some examples? We should. We have--in fact, we've grown a lot since that. So, we've now got 50--actually, 60 foundries around the world with their fonts in Typekit. We're on a million websites, and we serve over 3 billion fonts a month now on pages for all our customers.>>[Kevin L.] That's a lot of fonts. So, let's look at some of those websites. This is the New York Times Opinion pages that have used their Cheltenham font, which is a font that used to be lead, and they actually took the lead type and digitized it a number of years ago, and now they're able to use it on the Web, so they've been super excited about that, similar to sort of what the New Yorker has done as well. But it's not just the big, giant publishing sites that are using it. Let me show you a site called Jax Vineyards, which is a winery in California. They're using a variety of different fonts here, but they've also sort of created this full screen experience with CSS and HTML5 where you can sort of click through and never really navigate. Everything just sort of comes to the page you're on, and they do cool stuff like this too. It's just a really great example of what you can do now with CSS and HTML. Here's a cool effect that was done by Twitter for their 2010: Year in Review site. Again, all of these are web fonts. This is particularly interesting because they have taken the web font and put on top of it a transparent image using CSS to give it that sort of distressed look without having to use one of those distressed fonts. And there's some just wild stuff that you can do as well. This is a design site that's just--again, all of this is-- [Kevin L.] Like the early days of desktop publishing when you could use any font, and so people did.>>[Jeffrey V.] With great power comes great responsibility. [Kevin L.] Right.>>[Jeffrey V.] You're right. [Jeffrey V.] But another example--and then this is one that's sort of fun where as you scroll down, you get all of these effects, and again, like all of this, HTML, all the way down-- in fact, if I scroll and scroll and scroll and scroll lower into the ocean-- [Kevin L.] What's at the bottom?>>[Jeffrey V.] Atlantis. You actually get down there, so that's pretty cool.>>[Kevin L.] Excellent. [Jeffrey V.] So, lots of sites doing some really amazing typography. I'd like to give you a little preview as well of--this is Typekit. This is the interface that you get when you log into the account, and this is actually a new design that we haven't even really launched yet. It's in beta right now.>>[Kevin L.] It's the first time it's been shown. It's the first time that it's been shown. We have just a small--a handful of our customers are using this now, and our goal here was to make this as fast as possible because we now have hundreds of font families that you can use, and to get it so that just a couple of clicks, all the fonts sort of come into the page. Again, that sort of like contemporary web application feeling. [Kevin L.] So instead of just a big list of font names, you're kind of paging through it. That's right. It's just coming in.>>[Kevin L.] Big characteristics. And as you can see, like I've just narrowed it down using some cool CSS3 transition effects and things like that, so a couple of clicks, looking for the fonts I want to get to, and I'm down to just the fonts that I can now use in my project.>>[Kevin L.] That's great. [Jeffrey V.] I can switch over to this, and again, it's web fonts, right? We can do things like that now.>>[Kevin L.] That's really cool. Dynamically generating them. That's great.>>[Jeffrey V.] Yeah. They just pop right on the screen. And then to sort of use the font, I would--how about we use Bello? And look at the font page for it. Here's one interesting feature that our customers really like. We've rendered out every font in the library in every browser so that you can actually see the differences in rendering because different operating systems render differently. I'm showing sort of the difference between the Mac and Linux, in this case. We've got all the old versions, all the old browsers, everything there so you can see what it looks like. [Kevin L.] Of course, IE6, I see.>>[Jeffrey V.] All the way back to IE6. [Kevin L.] That's amazing. [Jeffrey V.] So, I've added it here to a kit. Adding it to my website is as easy as grabbing that code, sticking in the website, hitting Publish. [Kevin L.] Jeff's awesome site.>>[Jeffrey V.] That's my awesome site. I'll show it to you, yeah, if you give me just a second. And then there's the font.>>[Kevin L.] Great. Beautiful. [Jeffrey V.] So, as simple as that.>>[Kevin L.] That's awesome, Jeff. Thank you very much, and I'm really excited to be working with you.>>[Jeffrey V.] Me too. [Kevin L.] Both on the fonts and on Creative Cloud.>>[Jeffrey V.] Thank you. [Kevin L.] You're welcome.>>[Jeffrey V.] All right. Thanks, everybody. All right. Very exciting work in fonts. Now let's step into the next service here, which is Digital Publishing. Now, this is a great example of how we're looking at not only how we can help on the tooling front--of course, we're working on some great tools-- but also at distribution and publishing time. And so we've been working with some of the world's top magazine publishers over the past year on digital publishing, and one of these publications, which is a great one that we've been working with, is Vanity Fair, and we have a bit from the team on what digital publishing has meant for them, so let's take a look. [Male] Vanity Fair is all about great storytelling. [Graydon Carter] We tell stories here with great photography and great writers. [Graydon Carter] [Editor-in-chief, Vanity Fair] We do it in a better way than just about anybody else. [Jamie Pallot] The great thing about the Adobe publishing tools is that the same people who design [Jamie Pallot] [Executive Director of Multimedia Projects, Vanity Fair] and build the magazine get to build the digital edition. It makes it a relatively seamless experience going from one to the other. [Graydon C.] Adobe does enable us to give a consistency to all the various versions of Vanity Fair across all the platforms, and I think that's very important. It shouldn't look completely different on every single machine. [Jamie P.] You get to spend more time on the creative part and have to worry less about the physical act of getting that stuff published. The technology behind Adobe and the iPad is basically like you're going from A to B, but you're going in a much better car than you used to go in. [David Harris] There are many people in their 20s on staff at this magazine that are working at a print magazine that have never purchased a magazine. [David Harris] [Design Director, Vanity Fair] And those people are our audience going forward. [Graydon C.] My experience in the magazine business has changed dramatically in the technology, but not on what you actually do of telling stories. [Male] This is like extra stuff if we want to do iPad. [Graydon C.] I've started 2 magazines in my life, and if I was 27 years old and I was starting another one, I wouldn't even do a print edition. I would do a digital edition. [Adobe] [Kevin L.] That's pretty dramatic. That was Graydon Carter at Vanity Fair. And they're really doing some great work, and we actually have here with us today Hamish Robertson, Digital Editor of Vanity Fair, at MAX. So, please welcome Hamish. [♪ Music ♪] [Hamish Robertson] [Digital Design Editor, Vanity Fair] [Kevin L.] Hi Hamish. Thanks for joining us.>>[Hamish R.] Kevin. [Kevin L.] Maybe we can talk a little bit about your work and what you've been doing, and I know you've been learning a lot, of course, as you've gotten into digital editions now.>>[Hamish R.] We have. We were very lucky to be a partner with Adobe on the beta of the Digital Publishing Suite. [Hamish Robertson] [Digital Design Editor, Vanity Fair] And it's been most empowering for our team to not have to learn a new technology really, just a new way of delivering it. The Adobe plug-ins--as they were then to InDesign now, it's mostly baked into InDesign --means that our designers can continue to experiment and continue to make the same stories come to life in new ways using tools that they are incredibly familiar with. We have one page layout for our print magazine. Now we have 3. We have the page, the horizontal and the vertical. It's not intimidating, which allows your creativity to really center. [Kevin L.] So, you're basically building out the knowledge you already had with InDesign, but now you're adding some interactivity and some of the different orientations. Exactly.>>[Kevin L.] That's cool. So, Graydon was talking about how for editing the stories, that hasn't changed too much in terms of storytelling, but from a design perspective, I think it probably has changed a lot. It has. It's brought the designer more into the broader process. Before, an editor would work on a story with a writer. We would gather the assets in the photography department, and the art department would then construct that into the magazine. Now the designer is integrated at an earlier stage, so it's not just about how to design the story. It's about how to tell the story in the best way, be it through interactives, we've done interactive maps, charts, side bars. We've embedded behind-the-scenes videos. We've even gathered extended versions into ebooks that can be linked through the edition. We also even--in one rather drastic, for us, change from our usual plan-- we actually had user-generated content where earlier in the summer during Donald Trump's brief flirtation with the presidential run, we allowed our readers to actually draw hair onto Donald Trump. [Laughter] [Kevin L.] I think we've brought some with us, actually. Yes, here we go. [Hamish R.] I think there's a universal fascination with Mr. Trump's hair, as you can see, but-- So, the interactivity is not just in the design team, but now actually people who are reading the magazine can play with it, interact themselves-- Exactly. Our engagement with the reader has changed in a whole new way. We used to gauge our successes or what we were doing really by the weight of our mailbag or by--which often gets quite heavy-- and now our inboxes get quite full. But yeah, we realize that since what we do is try to create stories that inspire a conversation, because we're now delivering a product on a communication device, we can actually be part of that conversation, whether through Twitter, through Facebook, so forth, through all the social networks and just through having a communicated device with our content on, it becomes a whole new platform. [Kevin L.] You can really understand how people are interacting with the stories and what they're really reading and what editorially you need to change. Exactly.>>[Kevin L.] Something I really liked about what you said as well is that the role of designers is not just about how to make something clickable or interactive, but they're actually part of the storytelling process now, and how do you really tell that story more effectively? So, it's not just execution. I think that's really cool and empowering. Good. Well, it's been great working with you and the team at Vanity Fair. And you.>>[Kevin L.] And thanks for joining us at MAX here. Thank you.>>[Kevin L.] Thanks Hamish. All right, bye. So, there's been a lot of great work happening in digital publishing, and actually, today there are over 1,000 publications that are out now across tablets in Adobe's Digital Publishing Suite, and more continue to be added all the time. And there's over 6 million digital magazines that were distributed to readers just in the last 5 months, so really seeing some rapid adoption of these magazines now. And a number of large publishers are using a service by WoodWing, and also today WoodWing has announced that they are moving over to Adobe Digital Publishing Suite, and they're going to be transitioning all of their customers over the coming year. Adobe's Digital Publishing Suite is really the #1 publishing suite now for digital publications, which is very exciting, but we didn't want to stop there. Like we did in the early days with the digital publishing revolution, we want to empower not only the largest publishers in the world, but we want to enable everybody to publish, and so that's what we're going to be doing. I'm announcing today that we're working on and delivering now Adobe Digital Publishing Suite Single Edition, so you can publish your own stuff. [Applause] This is going to be a lot of fun. You can make comic books. You can make neighborhood magazines. Whatever you want to make, you can make. And let me show you a few examples of some that have already been created with Single Edition. And I'm showing them here on my iPad. So, this is a first--a piece that was done for preflight flight safety for hang gliding, which if you're going hang gliding, this is an important thing to have. You can see it's got some articles about hang gliding. They've done some interactive bits, so you can play around with the article because with InDesign, you can start adding that kind of interactivity. It's very simple to do that kind of effect. You can also embed rich media, like embedded video. Here we've got an inspiring bird if you're thinking about hang gliding, and there's a bunch more you can learn about hang gliding here. I'm not going to go through it all. You're welcome to go read it on your own later. Another example is a magazine called Mascord Living Spaces, and this is something where if you're looking at building a house, often people will go buy magazines on floor plans to get inspired about the house they might build, and this is now coming to tablets, produced through Single Edition. Here they've created a catalog of different floor plans. You can see the layouts of the different houses here that you might look at, and they've created an interactive piece where if you want to look around the house, you can just spin the house around and look at it from all different perspectives. So, it's a really fun, interactive way of understanding not just the top-down floor plan, but also the elevation view of the house. Now, these are some things you might find in magazine stands right now. This is also going to enable new categories of work, and something I'm really excited about is how you can actually start telling your story about how you've created your art, and I've got a couple examples of that that have been created already. This is by a group called eBoy, which is a few great graphic designers who have created these pixorama things that illustrate what different cities look like, and let me show you what this looks like in landscape first, so you can get a sense of it. Here's London. They create these conceptual pieces about what different cities are like all in pixels. And I'm going to go down to L.A., since we're in Los Angeles. Here's Los Angeles, so you can see there's-- I don't know, there's some cars on fire over here. There's some police officers. They're filming Batman in front of the Westin over here. So, this is a fun way of kind of understanding the town, but they've done something else. You can actually do multiple layouts like Hamish was saying, horizontal and vertical, and those could be anything you want, so what these guys have done is they've actually created a completely different layout for vertical that takes the pieces that you saw in the big view and pulls them out so you can see them close up. You can see, for example, there's a limo here with a person and a sign that says "Good," and then you can go back to the landscape view, and you can try to find those things in the illustration. It's kind of like Where's Waldo? but much harder. That's a great example, I think, of some of the artwork that's happening now, and this will be available in the App Store, so you can go get it and check it out if you'd like. And then the last example I'll show here is a great piece by Eric Natzke, and this is about his creative process, and he's creating a really wonderful piece about how he goes through creating things. And here we can go into the magazine he's creating. There's Eric. He plays multiple roles, so you can see him in multiple places, some very interesting treatments. This is a piece that he did a while ago. It's a multimedia piece about a poem, and this was produced on the Web several years ago, and he's now deconstructed that and shows how he created that piece, and you can actually go down into this article, and you can read the poem that it's based on. You can see the footnotes that he did all the research on about this poem. In fact, I can scroll through this, and you can see regions of the page can move as well as the whole page. You can have a lot of fine detail in how you're doing your layouts. He also did a bit of photography, of course, for his work, so he talks about that. And then he did some typographic work. The piece that he created was an animation of a bunch of letters, and to really understand how the letters would relate to each other, he actually used physical pieces of letters to play with these because actually animating them was hand-done and quite time-consuming. In fact, here's a little shot of what the animation looks like that he created, and in the magazine, actually, he made it so you can interact with it too. Just by dragging your finger you can sort of animate it. You can understand how they come together. And he put in the actual shot of the real timeline that he created for this piece. It was all hand-animated. These are individual key frames with all those characters. You can see it goes on and on and on. That's a lot of manual animation. Okay. A lot of love went into that. So, that's a very fine-tuned piece, but you can really understand how Eric does those things. He's got a lot more about his process here. He's also speaking at MAX about this process. Those are a few examples of some magazines created with Single Edition. Let's look at how these are created. I've got InDesign over here. This is InDesign 5.5. And I've got an article--and this is an example from something called Ease Out, which Mike Chambers and Lee Brimelow are putting together, and it's just a magazine they're producing about interactivity. And so this is an interview with Mario Klingemann, and you can see it's a page with text layout here, and I can do things that InDesign does, like I can place an image if I want. I can put a big Q in the article if I like. I'll just put that right here. And I could wrap text around graphics really easily, so I'm going to do that with the Q, and I'm going to wrap it to the alpha channel. And I'm going to make it so it stands out a little bit more here. So now, I've wrapped this Q in the graphics. I can move it around and position it how I'd like and get it just right, and then once I've got it laid out how I like, then I can publish this article, and I've got a little panel here in InDesign. This is a new panel called Folio Builder, and you can see my magazine Ease Out and then all the different articles that are in that magazine, and this is all connected to the cloud where the magazine is being hosted, published and delivered, and I can add this to that article. Now, I've already added it, so I'm not going to press the Add button here. But to save you time, here's the article already on the site, and so this is now in the web browser in the Folio Producer. And the reason this is in the cloud is that you can work with multiple people on a magazine, so you might be writing one article, somebody else might be producing another piece. You can all assemble that. You can all see the work coming together right here on the site. And you can rearrange the articles. If I want to drag this around, I can put it over here in a different order. You can really construct the edition how you like, and each article has metadata: the name, the byline, things like that that will appear inside the reading application when you're viewing it. For example, I know this is written by Mike Chambers, so I'll put that there, and then I can publish this magazine. Now, when you're actually working on it, though, you want to make sure that it's looking right before you've published it to the App Store, and so we've got an application that lets you see the work in progress. If we go back over here to the iPad, there's an application here called Adobe Viewer, and you can get this free from the store, and it connects to the cloud, and you can see the magazines that you're producing. Let me go vertical so you can see this. Here's the Ease Out magazine that we're producing over there on the site, and now I can page through this, and anyone who's working on this magazine can actually see this preview of it live all the time. It keeps updating dynamically as people are adding things to the magazine. Here's the introduction. There's the article I was just working on. There's the Q inside the layout. You can really get a sense of how this magazine is coming together, and then when you're ready, of course, you can publish it to the store. That is Digital Editions. Digital Editions Single Edition is going to be coming out shortly, so you can start working on your magazines today, if you'd like, using InDesign, testing and testing them on your tablet as well right now. And then you'll be able to publish to iOS by the end of this year, put your magazines in the store, and then additional platforms including Android and PlayBook are going to come out in 2012, so you'll be able to publish your editions across all the different OS's. And for all attendees at MAX, one edition is on us, so you can publish an edition for free, so you can try it out, put it up in the App Store and see what happens. [Applause] You're going to get an email about that. All right. Those were a few of the creative services that we're working on. We're just getting started on these. We're going to be adding more services as part of the Creative Cloud membership, and you're going to see more and more happening here over time through a variety of different mediums. Now let's look at the second pillar of the Creative Cloud, Creative Community. So, the community is a really critical part, of course, of our whole ecosystem, and it's a critical part of the cloud. You're not by yourself in the cloud. It's really a place to share, to communicate, to collaborate with other people and work with creatives around the world. In the center of this is the web presence of the Creative Cloud, which is creative.adobe.com. Let's go over and take a look at it here. Here I'm in my web browser, and you can see I'm on the Creative Cloud website, and the community starts with you, so here's your work--my work, in this case-- up on the site, and you can see I've got a bunch of different categories of things. And I'm going to start going through and showing you some content here that I have up in the cloud. Now, one of the great things about Creative Cloud is that we understand all the formats that you're using in your creative work, so PSD files, InDesign files, Illustrator files. Where other services might show you an icon describing the file type, we can actually show you the content, and you can interact with it. It's a much deeper understanding of creative content. Let me give you a view of that, so I'm going to go down here to a cloudscape, and this is a Photoshop file, a PSD file. It's not a JPEG, and you can see I can see the image on the site, which is great. And you can also see that I've extracted some information automatically. The Creative Cloud will show you what this was created with. It's automatically detected. You can click if you don't know what Photoshop is, and you can learn about that. I think you guys might know that. And then also, the colors are automatically extracted with this Kuler service, so here's the color palette from this image. If you like that color palette and you see it on someone's work, you can download the ASE file, and then you can go use this in Creative Suite. You can bring that into Illustrator or Photoshop and start using those colors. One of the other great things here is that because it's a Photoshop file, it has layers. Here are the layers in this image. You can see there's a copyright. There's something called New Clouds and Background, and if I want, I can actually turn off the layers right here on the website, and I can see what it looks like. Let's turn off the New Clouds, and it's going to show you the image without the New Clouds. And I can turn the clouds back on again. There they are. It really understands Photoshop layers, so you can easily understand your work. And actually, if you look at the shadows down here, someone did a great job. When you remove those clouds, the shadows go away too. I think that was Russell Brown. All right, so that's an example of one format here, and this site was designed to work across devices, so here I have a detail page. Now, if I resize this, you can see the site scales down, and it actually does a re-layout to work on different devices, so on tablets, on personal computers and on mobile phones. Let's go look at this now on a couple devices. First, I have here my--this is a Samsung Galaxy Tab I'm looking at, and I've got the same stuff I was looking at on my computer. I can go into my Comps directory, and I'm going to look at a format here. This one I'm going to show is an eye. Here's an eye. This was actually drawn with Adobe Ideas, which is pretty amazing that this was drawn by finger on a tablet. And this is in PDF being shown on the site here. I can zoom in so you can see how amazing that eye is. Kyle Lambert did that, so that's some beautiful work, and you can see it's of course the same navigation on this site as on the PC, and you can see all the same content. Even formats that may not be able to display on the device you can easily see inside of the Creative Cloud now. Let me show you an example of it on a phone, so here's a phone. And I can go into my Comps here, if the network cooperates with me. I think you're going to have to trust me on this. It works on a phone. Nope, it's not working right now. I'm doing all this live. All right, maybe we'll try that later. Okay, so there it is working on a tablet and a PC, and when the wireless is going, then it works on a phone as well. Let me show you one more piece. Hopefully it's working over here, because this is hardware connected. Okay, I've got an actual Ethernet cable on this one. This is one more example I'm going to show you, which is that magazine we were just looking at, and I can go into Ease Out magazine, and here's the InDesign files. This is something that can render as well right on your site here, and it's multiple pages, so I can flip the pages on my InDesign file, and you can actually see the content here right away. And something else we did is, of course, we just have acquired Typekit, and over the weekend, the team learned about this, and they worked on connecting the Creative Cloud with Typekit over the weekend. We're actually doing font extraction, so we've detected the fonts in this particular piece of work, and you can click on the font name here, and it will go to Typekit, and it will show you that font, which is pretty awesome, so you can go get that font using your own work. [Applause] These files can be shared as well, so if I want to share this file, I can just press the Share button, and it will be published up on the Web. I can decide whether I want comments or if I don't want any comments and whether the source file could be downloaded. And then I can go view that link, and you can see that presented up in kind of a presentation view. You can have both public and private content in the Creative Cloud, and then you can share things with others as well. So, if I want to, I can send someone a link to this file, like to mikechambers@adobe.com. And then I can send that over to him, and so now, he's going to get that link and comment on that work and send me feedback. In addition to your work on the site, you're also going to have a profile area. Your profile will have your name. You can put your photo up, of course, if you want. Some of your work--I borrowed some of this work from Ty Lettau. You can see information about individuals who are doing great creative work, and then you can be inspired as well by the work that everyone is doing, not just our own stuff, but you can see what other people are doing publicly, and you can view that stuff. You can comment, discuss it, and you can also search for work by how it was created, what colors were predominantly used in the work, which fonts were used, so if you want to find something using Garamond, you can do that. It's a great way to really get outside of your thinking and get inspired by some new work that people are doing, so that is the Creative Community aspect of the Creative Cloud. [Applause] Now we're going to move on to the third pillar of the Creative Cloud, which is Creative Applications. And actually, I just want to take a second and talk about this staging, because it's pretty amazing. This is, I think, the biggest projection display that has been done, at least in my awareness. And when this thing is running, it's actually pushing 300 million pixels per second, which is amazing, and so this is all a virtual stage set. And one of the things that we've been really looking at is this confluence of the virtual and the physical, the analog and digital, and there's really a revolution happening around that, so you're seeing some of that in the symbolism of our staging, and a great team has put this together. All right, so Creative Applications. Thank you to Kenwood Group, by the way, who put this all together. You guys are amazing. [Applause] So, Creative Applications. This is a big change that's happening right now, and if you look at human-computer interaction over the past several decades, there have been some major shifts, and these shifts take a long time between each one, and if we look back in the early days, of course, with human-computer interaction, we had something called punchcards. Not very good for creative design. Pretty hard to express yourselves. Some people did, though, which is incredible. Then we move to a decade of using terminals and keyboards, and this was a bit better to express yourself, still not very good for doing creative design. And then, of course, we went to the era of the mouse, and the mouse was a huge revolution, enabling you to really express yourself in a much richer way, and it drove a whole new generation of creative applications. And of course, at Adobe, we went full-bore on that. We created the applications that you know today that were really driven by the graphical user interface and the mouse. That is a big jump. We are now in the midst of the next giant leap for human-computer interaction, and that is touch. Now you're starting to be, of course, familiar with touch and your interaction across tablets and phones. This is a big leap, and this is as big as some of the other movements that we've seen before, and if you think about this for creativity, back before computers, people were using manual creation, paintbrushes and X-acto knives and scissors and pencils, and you're able to draw and really directly interact with the work you're creating. And the era of mice and keyboards really abstracted you from the work. It made you really kind of get distance from the work that you're creating, and you had to think very abstractly about creating it. Now with touch, it's really bringing us back full circle. It's almost coming back now to the physical interaction of creating the media directly and removing that layer of abstraction. This is going to be a big, big empowering thing, I think, for all of us, and so we're really embracing this move, and this is going to be really the first time in 20 years now that we're rethinking our creative tooling, and so we're in the beginning stages of that. And I wanted to share with you a whole new collection of Adobe touch apps that we've been working on, starting with a couple you know and a number that you have not seen before. So, these are some of the new Adobe touch apps, and we're going to go through each one of them so you can get a sense of what's possible now. The first one that we came out with is already out in the market today. It's called Adobe Ideas. It runs on the iPad and iOS. And we've had over 2½ million downloads of Ideas. It's being used by people around the world, which is great. And if you look at how we've done our creative software over the years, our tools run today on Macintosh and Windows. We're going to be supporting our touch apps in the same way across operating systems. They're going to run on iOS, and they're going to run on Android and other OS's. Some may come out first on iOS and then go to Android. Some may come out on Android, then go to iOS. But ultimately, they're all going to run across both. Let's take a look at Ideas on iPad, since it was out first. So, here we have some work that was done in Ideas, and there's been some really amazing work done with illustration in these applications, and this is one that's an illustration of a wolf. You can see it's quite detailed, and in fact, if I zoom in, you can see that it's not just pixels. It's actually vector graphics, and so incredibly sharp detail in this illustration, and it was drawn with a finger, which is incredible. And you can bring these illustrations to the personal computer as well and continue working on them. This application is running on iOS right now, and it's now coming to Android, so let's take a look at Ideas on Android. All right. Here I have an Android tablet. I've got a bunch of artwork here, some of the same artwork you just saw over on the iPad, and you can do drawing here just like you could on the iPad, so I'm going to take a risk and draw in front of all of you. This is my dog, Finnegan, and what I'm doing to do here is trace Finnegan. If you don't know how to draw that well, tracing is a good plan, and I'm going to use this stylus, which basically acts as a finger, so you'll be able to see what I'm doing a little bit better. Let's see, I've got Finnegan there, and let me make him a little bit bigger so we can draw him better. All right, and now I'm going to fade out that layer so it's not as much in our way as we're drawing so you can see what I'm doing. And let me get my pen going here. That's good. Oh, and one of the things we're doing here as we're implementing these applications on tablets is we're really thinking about touch interaction, and of course, I can draw here--oops, if I pick my drawing tool, I can draw. There we go. Of course, I can draw here on the display. But one of the things we've been playing with is how you can use multiple hands at the same time, so here on the left I've got my Tool panel, and you can see I can change the thickness of the brush just by pressing and dragging, so in one gesture, I can change the pen thickness. And with my other hand, I can be drawing. If I draw a little bit there, and I can change the thickness, and I can draw a little bit there. Now, if I'm really good, I could be changing the thickness while I'm drawing so I can get a nice thick pen or a thin pen. If you're really good, you can do that. You have to experiment a little bit. [Applause] Okay. All right, now let's try to draw Finny. I'm going to use some green here, and I'm going to draw the outline of his face. It's pretty furry. And here's his ear, tufts of hair, other ear. Okay. He has a black nose, so let's go do the black nose, and make my pen a bit bigger here. There's Finny's nose. There we go. Some eyes, okay, and he has more hair, so let me go finish up his hair here. Let's see, there we go, like that. I am not the best artist in the world, but I'm doing my best here. Okay, here we go. There's Finny. Now I've got a little illustration. Let's turn off the original image and see what that looks like. There's my dog Finnegan. [Applause] He's been now cartooned. I can now bring him into Illustrator on the desktop and keep working on him, so let me show you that. Up here on the top right of the screen, you can see there's the Creative Cloud icon, and I can upload my work to the Creative Cloud and keep working on it. Now, these applications are going to support direct upload like this, and also they're going to support synchronization, so it can just be doing it in the background as you're working. Let's upload this one to the cloud. There's Finny. Upload, and it's going to ask me where I'd like to put Finnegan. I'm going to put him in Sketches. That's the previous one I drew earlier today. All right, so it's now uploading that file, so I can go over to my desktop computer now, and I should be able to keep working on that same document. Here I'm on my PC, and you can see on the top of my Mac, I've got a menu, Creative Cloud, so it's doing synchronization of the stuff that I am putting in the cloud, and so if I look at my Creative Cloud folder here, I should have the same stuff that I was just working with on my tablet, and there it is, Untitled 24. That's what I just drew, and I can double-click that file. It opens up inside Illustrator. There we go. That's Finnegan. [Applause] This allows really seamless interaction. You can start working on your tablet, go to your personal computer, go back to your tablet, play around. All your stuff is available. You can keep working on it. Let's look at a second application. This application was announced recently at Photoshop World, and it's called Carousel. Carousel is now being built on iOS, and we're also working on an Android version, and you'll be able to access your photos across your devices through shared libraries up in the cloud, and so you can have multiple devices. You could have thousands of photos, and you can see all your photos on all your devices, and this is a big maintenance problem right now, which I'm sure you know if you're taking a lot of photos, copying them around and remembering where they were and editing them and sharing them with someone else. There's a lot of work that has to be done. We're working to remove the hassle from that process. Let's look at Carousel on the iPad. So, here I have Carousel, and you can see I've got a bunch of images in my Carousel right now, and you can have multiple Carousels, and you can share them with other people, and you can see I've got a bunch of photos, and they're arranged by date. And you can view a bunch of different images, and when I scroll through these, it's actually bringing them in. You can see some of the images appearing right now. It looks like the network is working again, which is good. So, they're appearing streaming in, so you could have many thousands of photos, and the ones you're looking at will appear as you need them. And of course, they're cached on your device as you are looking at them. And you can go into these photos, and you can edit them. If I want to go to--let's say the flower here, I might want to edit this flower and do some image processing on it so I can develop it. I'm going to go into Development mode here, and if I want to create some effects on it, I might do some built-in ones, and it's actually getting the high resolution image, so you've got thumbnails when you're looking at overview, and then it does the high resolution as you go into editing. So, you're kind of getting the resolution you need when you need it, so that was a dream application of an effect, and here's a super punch. It makes it a little bit brighter, and so you can see it better here. I'm going to go into sepia tones, so you can see the sepia. And then if I want to, I can manually adjust this as well, so I can go in and play with the exposure. I can make it moodier. I can play with the light balance here a bit as well, and you can really tune this in how you like it. And then when you're ready, you can press Apply, and it's actually not modifying the original image. It's keeping the original intact, and it's just remembering all the different transformations you did on that image, so everyone else who has the Carousel can also see those transformations, but they can continue editing the photo. They can undo some of that stuff. They can do their own transformations if they want to. So, the stuff I'm editing here is on my tablet, but let's go back over to my personal computer again. You can see that we've got an application on here. It's running on the Mac. It's a desktop version of Carousel. And you can see I've got the same photos that I was looking at on the tablet, and I can scroll around here and look at detail views of these images. And I can see the whole catalog just like I could see on my tablet. Now, if we go around here, we should be able to see that one that I was just editing. I want to see where that is. There it is. And you can see it actually just applied the effect as I was looking at it. That's something that's great, because now you can work wherever you are, and all your stuff is available to you without having to do lots of manual work, and you can share these carousels with other people. This Carousel, you can see I've got Kevin's Carousel here, and I've shared it with my wife, Margaret. And so when she's walking around, she can have her own application on her iPhone or on an iPad, and she can be using that to take photos, and so when either of us are taking photos, they get contributed to the same Carousel, and we can see it at the same time. So, here's an iPod touch. It also works with iPhone, of course, and let's look at the Carousel application on this device. I don't know if you can see my--there we go. There's the Carousel application. I can scroll the photos. Again, it streams in the photos. I could have 10,000 photos, but I could still see them all on my little phone. Although they all won't fit on my phone, I can still view my entire collection. In addition to seeing your photos--and you can edit them here too, same kind of development capability--I can take photos since I'm walking around with my phone, so I'm going to go into Take Photo mode here, and I'm going to take a picture. In fact, I'm going to take a picture of all of you, if you don't mind. Smile. All right. So, now I've got this photo here, and it's going to show up inside my Carousel. Okay, so there it's at the top of my phone. Now, I don't have to do anything. I just took the photo. I don't have to synchronize or upload or share or anything. I just took a photo. Now I'm going to go back to my personal computer here, and if the network is with us, we should see that photo momentarily popping in magically into my Carousel. The Creative Cloud is doing its magic right now. All right, the bits are slowly moving through the wireless network. We're going to have to come back to this. Okay, you can try it on your own at home. You can use the device, and you can use the PC. You can see that it works. It's amazing what it does. Now, Carousel is one of the applications that we're working on, and that's for photography, and you're going to see a lot more from us in this space as we keep developing these applications. Now, there's 3 more I want to introduce you to. The next applications we're going to look at are first Kuler, which is the color service I was talking about earlier now coming to a tablet, so you can mix colors and automatically extract colors from photos that you're taking. Collage, and Collage enables you to visualize and refine concepts as you're brainstorming, and you can bring in inspirational images and drawings and texts and any Creative Suite files you like into a really fun mood board that you can then share with other people and get feedback on it. And then there's Adobe Debut. Adobe Debut is enabling you to do really elegant presentations of your designs to clients and colleagues, and you get feedback on that work and refine your designs as you're working on it. These are 3 new applications, so let's start. I'm just going to show you Kuler for a second, and then we'll move on to the others. So, this is Kuler, and you can see I've got a color theme here already that's a color theme I've been developing, and you can go look at multiple color themes. And you can see it's bringing in some different themes that people have been creating, so it's very much a social network around colors, and you can share with other people because picking colors can actually be pretty challenging. You can go in and you can mix colors and make your own, so if I want to go into this color here, I can tap this guy, and it will go into the color, and I can start editing it. It brings you into a very fun color editing mode. I can drag these little pins around, and I can constrain my colors, so I want to have only complementary colors. If I have a color matching problem, I can be constrained on that. You can make your own color sets. You can also take photos of any image, and it will automatically detect the colors from the photo. So, to show you some color work but also to show you what Collage and Debut can be used to produce things together, I'd like to invite up a special guest, Mark Magner from the Sesame Workshop, to show you how he's using these applications. Mark? [♪ Music ♪] [Mark Magner, Sesame Workshop] Hi Mark.>>[Mark M.] Hi Kevin.>>[Kevin L.] What have you got there? [Mark M.] I brought you something special from Sesame Street. [Mark M.] Let's Rock Elmo.>>[Kevin L.] Oh, thank you very much. Awesome. This is cool. My kids are going to love this.>>[Mark M.] I hope so. I'm going to put it right over here. Let's take a look at some of your work. Okay. So, I know you've been playing around with Collage and with Debut and Kuler and these apps, so maybe we can look at what some of the things are you've been doing. [Mark M.] Yes, we've been looking at Collage, and we found that it could be a very handy thing, especially since we've been talking about rock 'n' roll a lot at Sesame now. [Mark Magner] [Design Director for Global Consumer Products, Sesame Workshop] And we'd like to demonstrate how we might use this at a meeting.>>[Kevin L.] Okay. So, I'm going to open Collage, start a new document. The back of the page is a little white, so what I'm going to do is tone that down a bit with a background color, and then we're going to bring in some characters. So, what we're going to do is go to the Creative Cloud where we've uploaded some already. I'm going to choose Elmo and Grover. We're going to add them. What I'm going to do is I'm going to bring these down into position, size them, leaving room around them so that we can actually add a little bit of inspiration there. I'm going to go back to the Creative Cloud because we've done some work before, and we've downloaded some images that we can use. And we've got another one I want to get, Angus Young from AC/DC. [Kevin L.] So, you're doing a lot of Google search here to extract some images. Exactly.>>[Kevin L.] And something cool here is you can get them from Flikr, of course, as well, but you can also web clip. You can go into websites and cut out pieces of websites as part of your brainstorming. This is very handy because I'm going through right now, and you can see all that I've got ready at my fingertips. I really like that photo, and I think I have a great idea for this guitar.>>[Kevin L.] Okay. So, I'm going to add all these at once. [Kevin L.] So, it's bringing them in, and it's placing them on the page. It brings them all in and places them on the page. Now what I want to do is I'm just going to spread them around so that the artist can look at them and use them for inspiration. I'm going to pull that out of the way for the time being, put Run DMC up here in the corner because I just like these guys. I've got Slash and Kurt Cobain. So, we'll just spread those guys around, and what I want to do with this guitar is I want to mask it out so that I can actually put it into Grover's hands. So, what I'm doing is I'm tracing around the outside of this guitar. And I don't have to be too careful. It's a little bit easier to do this with a pen, but I've gotten so used to doing it with my hands. [Kevin L.] You're basically cutting out that part of the image-- [Mark M.] So, I'm cutting it out. I'm going to say Done. It's going to be a little rough, but you get the idea. I can actually put that in here. I can resize it, rotate it. Okay, so we can imagine Grover with the guitar.>>[Kevin L.] Something like that, right. And we can even duplicate it, so I can go here and say Duplicate so I can give Elmo a guitar too. [Kevin L.] Awesome. That's great. That's really cool. Now, our art department is probably going to ask for a color as well, and we went into Kuler, and we created a color palette. I was able to upload the ASE file to the Creative Cloud. If I look here, you'll see there's a file called Rock ASE. This is the color palette we chose, and I'm going to add it, so I can take that and I can rotate it and position it just off to the side so when I pass this off to the artists, they're going to look at it. They're going to know these characters, this inspiration, this color palette. [Kevin L.] That's awesome. >>[Mark M.] Let's see what they've done. So, if I exit out of this, go back to Home, I can actually go to Debut. So, let's look what they've done here as a first round, and we've got Elmo with a little Run DMC. He's got the gold chains. He's got the hat.>>[Kevin L.] Beautiful. [Mark M.] And we've got Elmo with Kurt Cobain.>>[Kevin L.] And a hoodie. [Mark M.] And a hoodie. He's got the nice striped outfit. I'm going to say this is great. This is exactly the direction we want to go. But first what I want to do is tell them, before they proceed, please just eliminate the inspiration that they put on the page. I'm just going to mark this up a bit. I can continue marking up if there was anything I wanted to change color on or delete, and what I can do is send this back to them, and let's see what they come back with. Let's go to the final. [Kevin L.] That's exit. There you go. Right on. Here we go, and this is the final guide that they've sent, and we're going to present this at a meeting, so we've got-- actually, the artwork is different. It's done in a new scribble style, and you can see they've taken the color palette, and they've expanded upon it. We can have-->>[Kevin L.] The scribble style works really well, of course, with tablets. [Mark M.] You can see how they've incorporated the Slash theme into Grover. He's kind of fun.>>[Kevin L.] It's funny how your tools influence your art. I mean, you get a tool and then it really starts changing what you're expressing, and that's kind of happening.>>[Mark M.] Absolutely. [Kevin L.] And we're getting scribble art. That's cool. [Mark M.] Oh, the scribble art is great. It's fun and it's loose. [Kevin L.] It's like spray paint got to grafitti, like you keep getting these different changes that happen with each medium.>>[Mark M.] Absolutely. So, we've got Cookie Monster doing a cool jazz thing.>>[Kevin L.] Beautiful. [Mark M.] And I think we're ready to rock.>>[Kevin L.] Okay, awesome. This is really great work, Mark. Thank you very much for coming and showing us. [Mark M.] Thank you.>>[Kevin L.] Thank you. And so Rock 'n' Roll Elmo. So, what's the deal with that? Well, Rock 'n' Roll Elmo is available in stores right now. We hope it's going to be a big hit this winter.>>[Kevin L.] Okay, good. [Mark M.] Thank you.>>[Kevin L.] Thank you. Thanks for the ad, and thanks for the Rock 'n' Roll Elmo. I'm going to keep it here. So, those were a few more new applications. We've been working on a bunch of these at the same time. I'm going to show you another one, and this one is very interesting to me because I've been working on web design for a long time and working on pretty traditional tooling for that with Dreamweaver, and I'm really excited now to see what we could do with touch. And so we've got a new application that we've been developing that I get to introduce here today called Proto. And Adobe Proto will enable you to create interactive wireframes and prototypes of websites, and so you can start sketching out a website on a tablet, and then you can go to your personal computer and keep working on it. Let's take a look at what Proto can do. Here I'm in Proto, and you can see we've got the consistent UI across all of these applications, and I'm going to create a new prototype, and I'm going to use a design grid. You can change how big you'd like your grid to be and gutter space and things like that. I'll go with the default, and when you go into each of these applications, they will initially show you kind of some little hints about how the application works, and then when you click through, they go away and they don't come back again. We clicked through the other ones already. So, I tap into that, and I've got this application working, and you can see I've got a Gesture Guide, so you can see that you can actually scribble things, and Proto will interpret your scribbles and turn them into objects. You can place things on the page, but a fun way to do this is actually drawing, so again, I'll use my little pen here to show you, but I can draw a div on the top of the document here. So, there's a div. It turns into a div. If I want to put some text up there, I can scribble some text. I get some lorem ipsum. If I want to put a nav bar, I'm going to use 4 fingers. Watch this. Okay, come on. There's the nav bar. [Applause] There's a lot of gestures, and once you start learning them you can go really fast. That's a nav bar, and then I might want to put an image over there, so I put an image. Here's how you can put things--from the tool bar as well you can place them using a bunch of different tools here, and I'm going to put an accordion menu here. And let me just draw that out like that, and then I'm going to go back to my little drawing thing, and I'm going to put a video player right here, just that. All right, video player. So, there's a video player, I've got my nav thing. I'm going to make this bigger so it uses up the page. In a few seconds, I've just mocked up a website, which is pretty amazing. [Applause] I'm going to go into one here that has already been created. It has a bit more content. It has the same kind of stuff that I was doing just a second ago, but in addition to this one page here, which has a bunch of items on it, it actually supports multiple pages, so in Proto you can actually have multiple wireframes, and you can connect them together, so you can do little interactive prototypes. Here I've got a second page that's called Reservations, and when I press on the Reservations thing here, I want it to go to that page. If you go and select that item there, you can see you get some properties, and each cell you can connect to things. Here I'll go to look at the Reservation cell, and I can say I want to link that to the Reservations page, and now when I run the prototype, it will actually be a bit interactive. Let's go into preview mode here, and it's going to bring up that page. And it's all rendering in HTML and CSS. Here I've got the page, and I can play around and talk about what this page does, and then if I tap the Reservations link, it's going to take me to the Reservations page. This lets you really work with a client, understand what's going on in your design, and make totally interactive prototypes. Now, actually, after you've created these prototypes, you can turn them into real websites, so I'm going to go back out here to my overview, and you can see the different projects here. And then I'm going to send this to the cloud, because I'm a brave, brave person. Upload, and I'm going to put that in my Citrus Cafe directory, and it's going to upload it. Looks like it is uploading that file to the cloud right now, so it's appearing there. It's actually creating a zip file with the assets I just generated. It has HTML, CSS, a bit of jQuery. All that stuff is being automatically generated from the sketchy design that I did. We can go over here to Citrus Cafe. A-ha, Project1.zip file is already on my PC, synchronized in the background. Life is good. I can unzip this file now. There's the project that was generated. We go inside here. These are the files that were just created on my tablet by that sketching work that I was doing, and I can open up this file in Dreamweaver, and you can see the layout that I was working on here, Citrus Cafe. Awesome, huh? [Applause] And of course, I can skin that, and I've already got a CSS file I'm going to link to, and so you can see what you can do. Just by applying a little bit of CSS, you can start making the site really come to life. Amazing, amazing application. So, that is Proto. [Applause] That's not all. We've got one more application to talk about. This application is also quite amazing, and it's embracing the spirit of Photoshop and bringing Photoshop to tablets. I'm happy to announce today Photoshop Touch is real, and it's coming to tablets. And of course, it does what you'd expect from a Photoshop. You can take images, you can recombine them, you can apply filters, other effects to your images, do editing, and you can-- because you're on a tablet--bring images in, publish them to your social network and really be part of the social experience as you're designing on your tablet. I'm going to give you a little overview, and then we'll dive into what Photoshop Touch can do. Here we are in Photoshop Touch, and this application has tools that you might expect. I'll create a little blank document so we can see what it looks like. And it has tool bars we've seen in the other applications, as well as a Layers panel that you'd expect from Photoshop and a whole bunch of different commands and filter effects and things like that that you can apply to your work. Now, we did a lot of real design work around how to represent all the capabilities here, and we have done some innovative things with our tool bar, so if you press on the tool, it lets you choose another tool. I can go here and select a lasso tool, and then the properties of that tool show up right underneath it, so it's a big space saver. It's very convenient, and again, I can use one finger to change these tools, and you start getting kind of memory of where the different tools are. A lot of tools you'd expect are in this application, including some new ones. There's magic wand, but there's also a scribble selection tool, which is appropriate for touch, and a refinement capability as well for touch. And we've got painting and spray cans and clone stamping and eraser and blur, everything you would expect, so a great, great set of capabilities here inside of Photoshop Touch, and some of the work that already is starting to happen is very interesting. And if we look at some artwork here, these are a number of photos that were actually created by Chase Jarvis, who has been using Photoshop and a bunch of other software for a long time to really express himself artistically, not just with photos, but other pieces. And these are really energetic pieces, so if we look at this one, for example, we've got this guy who's composited over a desert flying through the sky. That's some amazing stuff that you can do when you're putting things together. And we actually have Chase with us here today, so I'd like to invite out Chase Jarvis to give us a look of what he can do with Photoshop Touch. [♪ Music ♪] [Chase Jarvis, Photographer] Hey, Chase.>>[Chase J.] Hey, Kevin. Thanks so much for having me. Good to see you again. [Kevin L.] Thanks for coming. Appreciate it. [Chase J.] So, I get to demo Photoshop Touch to you guys, and one of the things that I was trying to figure out is what would be a good image to show? I want to just build a quick little layered file, walk through some of the stuff that you were just illustrating, and I thought I'd do so featuring a soccer image. I'm a big soccer buff. It's the world's sport. [Chase Jarvis, Photographer] So, I figure I couldn't go wrong, so one of the things-- [Cheering] There you go. The world's sport. What I'm going to do is I'm going to grab a new image, and I'm going to do so--this is from the device. I'm going to go here and grab a green screen image. This is an image I shot in the studio with a bunch of fancy stuff. I'm going to bring that into Photoshop Touch. [Kevin L.] So, you had a guy jumping in front of a green screen. [Chase J.] Yeah, yeah, went through some fancy lighting and what-not. Now, you had mentioned earlier the scribble tool, so I'm going to go down here and actually use that scribble tool, which I love the scribble tool. Just for the record, love the scribble tool. I'm going to click on what I want to keep, and it's basically just with really rough gestures I get to draw right on the guy's body there. That's what I want to keep, and then I'm going to go over here with what I want to remove, and you can see how brutal I'm doing here. It's just really, really rough. And voila! It's going to select because of the fine folks at Adobe and their great math. If I was up there, I'd be flying right now. [Kevin L.] That was designed for finger interaction, so you can just roughly indicate what's good and what's not, and then it just calculates and figures out how to-- [Chase J.] Yeah, and it just did basically a perfect cut, so I'm going to extract that. Boom, pulls that off that layer and I'm left there with my soccer player. Now, him floating in air doesn't make much sense, so I'm going to go ahead and bring in a background. I was thinking about a bunch of backgrounds to bring in, and what I thought would be an interesting one was a sky. So, I'm going to grab another photo layer, and instead of grabbing off the device here, I'm going to go up to the cloud. You guys have given me some space in the cloud ahead of the rest of all you out there. Lo and behold, I've got skies in my cloud. Isn't that funny? Ha ha. So, I've got a range of skies. I've got some stuff from Hawaii, from Montana, from New York. There's Paris.>>[Kevin L.] Paris is awesome. Okay, we'll use Paris. Sure. And I'm just going to add that, so it's going to bring that in as a layer. And then the first thing I'm going to do is I'm going to scale that out to fit the document there. Stretch that out a little bit. A little bit more like that. Kind of center it up. That looks good. I'm going to say Done, and I don't really like the look of this sky exactly as it is right now. I want it to match the guy that I brought in a little more, so I'm going to do a couple basic adjustments. If I touch this adjustment tab up here I've got a-- brightness and contrast is one of the things I want to do. I'm going to add a little contrast, make those clouds bounce just a little bit. There we go, and then maybe a touch of saturation. I'm going to go back there and go up here to Saturation. Just a little bit, so that's going to help match the guy with the sky. And I'm going to drag that down so I can see my guy on there. Now, the first thing I notice is I don't want the guy sitting right where he is, so I'm going to tap on that layer. I'm going to move him down just a little bit. There we go.>>[Kevin L.] Beautiful. [Chase J.] And then clearly we're missing one item, right? [Kevin L.] Soccer ball.>>[Chase J.] We're missing the ball. I'm going to go bring in another layer, and I'm going to bring in another photo layer, and this is back on the device. I showed a green screen of a ball, which I'm going to do right there. I'm going to add that, and instead of using the Scribble tool-- which I don't know if I mentioned this 3 times yet, but I'm a big fan of the Scribble tool-- I'm going to go up and just use the Marquee selection tool. The circle selection tool, actually. And that is--I'm just going to draw out a little circle like that, and I'm going to move that to sit right on the ball there, and then I'm going to hit Extract. And voila! There's the ball.>>[Kevin L.] Beautiful. [Chase J.] So, a couple things that I notice about the ball. One, I'm going to deselect it. Two, it's not in the right position, so I'm going to go up here and tap this thing. Actually, it's a little bit small too, so I'm going to make it a little bit larger. I'm going to move it in the right position right about there, going to hit Done. Looking pretty good now, I think. There's one thing that I want to do left, and that's another thing that's new to Photoshop Touch, which is selective brushing. I'm going to go up here to the tool. I'm going to do down to my brush. Lo and behold, if I tap on this guy right here, you can see a range of effects that I can brush selectively in. I'm going to dodge his jersey, because there's some heavy shadows in there. If you go up here, you can just see the different modes. Up here the brush is just kind of exactly what you'd expect. I'm going to trim that down a little bit, and I kind of like the hardness about where it is. And then this gives me the range of what I'm doing. I'm going to put this all the way up to 100% so we can see it really, really active. I want to make sure we're on the right layer there, and then I'm just going to--with my finger--dodge, make his jersey a lot lighter, and you can see the number there. Voila.>>[Kevin L.] That's beautiful. So, you can do dodging and burning and paint on effects wherever you want. [Chase J.] Anywhere in the place.>>[Kevin L.] That's cool.>>[Chase J.] I do like that. And that's new to Photoshop-->>[Kevin L.] That's unique to Photoshop Touch. It's not even in desktop Photoshop yet.>>[Chase J.] I love that. [Kevin L.] Of course, we're working on that. [Chase J.] Now, my time here is limited, but before I depart, I want to show you all something--what I think is really cool. And us photographers, when we get a lot of layers going, we get confused. We're easily confused, so it's nice to be able to show us what we've got, because instead of a long list of things, we now get to-->>[Kevin L.] Really see the layers. [Chase J.] Oh, yeah.>>[Kevin L.] Yes. That's awesome. [Chase J.] Now, in addition to just looking sexy, it actually serves a great function. You can see all the different layers right there. [Kevin L.] Understand the relationship between them. [Chase J.] And I just press Out, and here I go. And I'm going to flatten this image now because I want to share it. What good is work if you make it and don't share it? That's a little saying I've got, so I'm going to share it. But right before I do, I just noticed I didn't do a very good job with the placement of the sky there, so I'm going to go in there, and I'm going to hit Crop, and I'm just going to crop just a little bit because I've got some edges here that aren't looking all that sweet. So, I'm going to move that up just a little bit, just call that good. And then I'm going to save this image, and I'm going to do so by the back arrow. I'm going to hit Save. It's going to take me to the front page here, and lo and behold, my guy right there. I'm going to call it Soccer Stud. And then I'm going to go up here to the Share icon, click Share to Facebook and tap on this project here, hit Okay. And at this point, I get to be the first person in the world to share something to Facebook from Photoshop Touch. I'm very happy about that.>>[Kevin L.] That's exciting. Let's do it. [Chase J.] Created Using Photoshop Touch, I'm going to tap, then you can fill in whatever you want. [Kevin L.] Yep, say whatever you want. [Chase J.] I'm going to claim "First" and write Done. I'm going to share to my Facebook page. It's publishing. There you go. [Kevin L.] That's awesome, Chase.>>[Chase J.] Thank you very much Kevin. I really appreciate it. I've got to say, before I go, I do have one question.>>[Kevin L.] Yes. I'm an iOS guy, so you're telling me, it's coming to iOS? We're working on it right now, yes. Exactly, it is. Good deal.>>[Kevin L.] It'll run across both. Okay, thank you Chase.>>[Chase J.] Appreciate it, have a great day. Thank you. [Kevin L.] Thank you. That was a lot of fun. Thank you. All right, so there's one more thing I wanted to show you about the Photoshop Touch application, and I didn't want to ask Chase to do this. And what I'm going to do here is show you something that we've been working on with the camera and the tablet and Photoshop, and let me see if I can find my artwork here. Here it is. This is a pirate hat, and what you're going to be able to do is composite things live with a camera, so I'm going to pirate myself inside of Photoshop Touch. So, I've got my tablet here now, and what you can do is actually make a new layer, so I'm going to make an empty layer here. I'm going to put it underneath the hat so that I'm behind it. I'm going to go into my menu here and add a camera fill. And what it's going to do is turn on the camera on the device. I'm going to flip it around so it's my camera. Get my lighting good here. All right, there I am. I can get my face kind of lined up here. Argh! [Applause] I'll keep that. Now, my hat is not exactly in the right spot, but I can go fix that. I can put the hat right over here. I can make it a little bit wider. There we go. I've now pirated myself, and I can, of course, publish this on Facebook and make fun of myself online. That's something you can do now, and so you can go out in the world and if you see something that really wants to be added to your composition, you can bring it right in, and you can start clipping it right into the work that you're doing and overlay things in ways that you couldn't do before, so really pushing the edges of what is possible to do on these new devices in terms of interaction and capabilities that just didn't exist before that we can now make all kinds of exciting new things happen with. Another area we've been working on in our work on these applications is making sure that they're pen ready, and I've been working here with a stylus that basically just acts like my finger, but we have been enabling these applications to work with real styluses, and we've been working in partnership with Samsung on a prototype device that--I'm going to save that-- that enables you to actually use your pen. Let me make sure this is the right one. Nope. It's this one. Okay, so this tablet is a prototype device. We've been using it in development, and it's really enabling us to make sure that as styluses are coming to these tablets, you can start using them in your work. Let me create a blank project here, and what we're able to do is actually paint now with the stylus, and you can see when I hover over it, you can see where I'm about to draw before I draw. You can see a little circle there, and then when I start drawing, it paints. And also notice that it's pressure sensitive, so as I'm painting lightly, it does lightly. When I'm painting heavily, it does heavily. So, I'm able to actually do the pressure sensitivity with the pen now that you couldn't do before. [Applause] And you can have the pen actually control both the intensity, the size of the brush, as well as opacity. And you can choose to do one or the other, however you want to work in the things that you're creating. One of the other fun things is that the pen has both an eraser and a button on it, so the eraser--I just turn the pen upside down, and I can start erasing. A lot easier than picking the eraser tool. I'll turn it around. I can start drawing again. If I want to pick a color out, there's a little button on the side. If I press it, I get the eyedropper. I can pick yellow. I can start drawing in yellow, or here I can pick red and start drawing in red. So, really easy to use this pen now. [Applause] You can actually see the prototype in Samsung's booth here at MAX. There's going to be tablets coming out with these types of pens, and we're already ready for them. Our applications are designed to take advantage of pens as they come out. These are a bunch of applications. We've just done a rapid tour of many applications here, and these touch applications are amazing, and it's been a lot of fun working on them, and we're really just getting started. You're going to see us continue enhancing these as well as adding more touch-centric applications, and we have a little bit of a recap video for you if you've kind of forgot what the applications were because there were so many. Let's take a look at the video. [♪ Music ♪] [Music stops] [The world is your studio] [Applause] So, very exciting applications, and these are all part of the Creative Cloud connected up to it. Now, it's not just our new touch apps that are part of the Creative Cloud. Our desktop apps are as well, and Creative Cloud membership includes access to all Adobe creative apps that you know and love, including Photoshop, Illustrator, and Dreamweaver and Premiere and InDesign, Lightroom, more. You're going to be able to download and install any of these applications as you choose as part of your membership, and these are all connected to Creative Cloud via desktop sync that we saw working here this morning. They also interact with the touch apps, and you can start moving files between desktop and touch as you're working, and this model of software is going to be a real great change for us at Adobe as well because this means our engineering teams can improve these applications more frequently, and as they come up with new ideas, we can put them in the app and you can get them, not just once a year. [Applause] Creative Cloud is bringing all of this stuff together, and the Creative Cloud is 3 pieces. We have the Creative Services, Creative Community, and Creative Applications, and overall with Creative Cloud, we're changing how we provide software from our traditional desktop model now to devices and also to the cloud. You can think about this, as we started with point products like Photoshop or Dreamweaver you could get individually, and then we did Creative Suite, and that was a great breakthrough for creative software and how you can actually acquire the software, and that now is the most popular creative software in the world. Now our next step is moving to Creative Cloud, and this is going to be a whole new way that you can interact with our software, and of course, you're going to continue to be able to get the point products and the suites as you used to as well, but this is a great new adventure for us, and there's a ton of innovation ahead for us, so it's going to be a very exciting time. The touch applications are going to be available on the Android market in November, along with a beta of Creative Cloud so you can immediately start using the storage and the synchronization with those applications. Then full Creative Cloud membership is going to be available early next year, and the Creative Cloud is going to be very attractively priced, and we're going to be announcing pricing in November as well, so you can learn more about that then. But regardless of pricing, I am happy to announce that all attendees of MAX are going to get a free 1-year membership to the entire Creative Cloud as soon as it's available next year. [Applause] I'm really excited. The teams at Adobe are super excited to be working on this new generation of software. There's a lot of potential, a lot more ahead, but already there's a lot there you can play with, and we're really excited to see what you can do with all this stuff. This is a transformative time for you. It's also a transformative time for Adobe. There's going to be even more that we're talking about tomorrow morning, some breakthrough enhancements for the Web, both in terms of application development and websites and HTML and Flash. You'll see more about that in Day 2 Keynote. In the meantime, have a great time at MAX, and thank you very much. [♪ Music ♪] [Male #1] So, that's a big deal.>>[Male #2] Wow. Yeah, big announcement, lots of big announcements. There wasn't just one. There wasn't just one. I mean, so the Typekit acquisition was a big hit on Twitter. I think a lot of people are jazzed about that, and some nice quotes I saw were Adobe has been in the font business and typography business for a long time, and now this is kind of a great way to bring that to the Web with Typekit, so I'm really excited about that. Then we have--what else? What was your favorite part of the keynote? Well, this.>>[Male #1] Oh, what are you playing with? Well, with you on Photoshop Touch. I mean, this is you.>>[Male #1] That is a handsome guy. Almost as handsome as your lookalike. So, yeah, the touch tooling apps were a big deal, right?>>[Male #2] Absolutely. You've been playing with the touch tooling apps a lot, and you're a big fan of them. Well, now you have Photoshop just everywhere you go.>>[Male #1] Exactly. And that was one of the other things. Kevin said in the keynote that it's about rethinking how creatives are working today and kind of going where they're going, re-enabling the design tools for the new touch as the mouse kind of phases out, so that's going to be--touch is such a nice tactile thing. That will be a great thing for designers in the touch apps and seems fantastic. Hey, we saw some amazing tweets from people in Brazil, Australia, France, Japan, Thailand, and of course, Belgium. Your favorite country. Well, now your second favorite country. Well, more or less.>>[Male #1] After America. Thank you so much for the Twitter feedback. It was fantastic. It was great to see some of those-->>[Male #2] So, let's talk about some of them. A lot of people said "Hey, there's no Flash or AIR in this keynote." But you know guys, there's another one tomorrow. Yes, exactly. So, a lot of the designer stuff was clearly today, big focus on obviously Creative Cloud, the designer aspect of Adobe. Tomorrow will be very developer-focused, so if you're a developer and you're thinking there wasn't a lot for you here, day 2 will be what you want to see and check out. And if you want to get a little sneak peek of what we're going to talk about tomorrow, then check out the Flash Platform blog. They just published a blog post with some of the new stuff, and actually, AIR 3 and Flash Player 11 are available today, going live at 9 o'clock tonight, so you can download Flash Player 11 and AIR 3 at 9 o'clock tonight exactly. Some people actually also mentioned that the projectors here-- I mean, the screen is huge, but I didn't think it was going to be this big, 300 million pixels per second. That's one of those things, you've got to see it to believe it. The Twitter--people were blown away by the opening and the screen because they have the screen set up so it's almost like a 3-dimensional field, so it's really a cool way to do up the Nokia Theater. Absolutely, and then there was also Digital Publishing Suite and now you have a personal edition.>>[Male #1] Exactly, which I'm excited about. I'm going to do a beer magazine, I think, with my personal edition subscription. He was actually already working on it during the keynote.>>[Male #1] Exactly. What can I say?>>[Male #2] But it's all so very easy. I mean, if you know a little bit of InDesign, you can easily create little interactions and stuff like that. It's just beautiful-->>[Male #1] And it's cool to see the-- coming from Martha Stewart here last year talking about digital publishing, how that's now sort of grown to be the mainstream and now it's accessible for everyone, so I think it's a really, really cool thing, kind of a nice subtle announcement there for the keynote. Yeah, we always talked a little bit about the tablet applications, but our colleague Paul Trani, he actually tweeted that there are a lot of videos up on Adobe TV already, so if you want to see how these tablet apps work, then go to Adobe-- sorry, it's tv.adobe.com. Yeah, and the video that they showed at the end of the keynote, which is really one of the cooler videos I think Adobe has done, is up on tv.adobe.com, so you can go check that out if you want. And then Kevin drew a picture of his dog Finnegan. Yeah, people are all about Finnegan, exactly. Finnegan's famous. Vicki Choo asks if Finnegan is actually on Twitter. We'll ask Kevin. Yeah, we'll see if we can find Kevin and ask him about Finnegan being on Twitter. Exactly. And then about the Creative Cloud, this was actually a pretty good tweet. I didn't think about that, but I. Fluga, I think that's his name, he tweeted that you can now edit 10,000 photos on your device like this one without even having the photos on your device. Yeah, that's one of the things I love about the Creative Cloud and touch tooling combined is how--rethinking where designers are working and how they're working and enabling that across now multiple devices. One of the other things that was really, really big was Proto, the prototyping tool that we have that you saw the demo up here. I think people are going to be really excited about that and how quick and easy it is to mock up websites. I think that was maybe the demo that everyone loved the most of today was the Proto demo, I think, big time. Yeah, and it's also so easy, and again, you can do it on the go when you're on the train, waiting for a plane-- Wherever you want to work, exactly. That's the critical part. So, tomorrow, we'll be back. Yes, so make sure to please join us for day 2. Like I said, that's going to be--a lot of the developer stuff will be day 2. You'll hear a lot more about Flash, AIR, the developer side of things, on day 2. This keynote is going to be looping for 24 hours, so if you missed any part of this one, you can go to max.adobe.com/online and see the keynote looping as well as the 3 most popular sessions of the day across our tracks. We have a designer track, a developer track, and an envision track, and the 3 top sessions from those are going to be available online at that URL. You can come actually see some of the sessions as they're-- not as they're happening but pretty soon after they happen, at max.adobe.com/online. You know what? And I think I'm going to watch the keynote now again, because I just can't believe some of the stuff that we showed. Exactly. Yeah, that was a great day. Same time tomorrow-->>[Male #1] 10 o'clock tomorrow. It's a little bit later tomorrow so we can sleep in and have a party tonight. Exactly, but thank you guys a ton for joining us, and we'll see you tomorrow.