Adobe Mobile Apps
Recently, Adobe announced a library of mobile apps that tie seamlessly into your Creative Cloud library, which has also been updated to store preferences, libraries and assets up to the cloud, which means it follows you around to wherever you are working. The new apps are clever and innovative, and yet so simple it seems crazy that they weren’t thought of before.
The first app on the list is Adobe Color. For most artists and designers, color is an important and frequently misused component of the creative process. Complementary. Tertiary. What color schemes should you use? Well, they are all around you — thought of and deliberated on by the best designers in the world. Architecture. Cars. Consumerproduct ads. Movie posters. But when something jumps out at you, how would you remember the colors? Using the camera on your phone, Adobe Color analyzes the colors and boils them down to a Kuler color palette. You save the palette. It gets stored in your Creative Cloud library for safekeeping. Now when you need inspiration, you can tap into that library and have the exact colors that originally caught your eye. Neat, huh? Adobe Brush works in a similar way but is a little more fancy schmancy. Say you like the look of a particular pastel chalk or an oil paint stroke or a crack in the road. Just like Adobe Color, you use your camera to take a photo of that mark. From there, you can edit various parameters to get a look you like, and even setup the look of the head and tail of the stroke. Once you get something you are happy with, save it to your library and it becomes a new brush available to you in Photoshop or Illustrator – again, anywhere you login to your Creative Cloud account.
The third app also uses your mobile camera and it the most magical of all. Adobe Shape lets you take a photo and it will process that photo into vector art, ready and uploaded to your library for use and manipu- discussing the much hyped Bifrost. The reason being that it’s a very ambitious project being led by incredibly intelligent people. But, in my humble opinion, it was released before it had matured. So, I’m going to give it a little time to grow up before really digging into it.
Now, on to more positive things. In the 2015 release, we saw a lot of new tools: some brand new, some that were released in the previous extension pack. XGen is quickly finding its way into productions as well as the new Bullet solver for Dynamics. And I adore the QuadDraw tool for retopologizing. However, in the recently released extension pack, like its sister, 3ds Max, Maya has a couple new features that aren’t particularly shiny, but for the industry, I believe they are muy importante.
Color management is a difficult topic to wrap your head around. I’ve been dealing with it for over a decade and I still have to occasionally turn to people with a Ph.D. to answer some of my questions. I can’t say that Maya’s latest solution is the end all, be all in color — frankly, because the debate about a color standard still rages on behind closed doors. But it is moving in the right direction. Autodesk could have simply put
DreamWorks’ high-flying, comedy-fueled CG sequel earned a spot as the second highest-grossing animated film of the year, and now you can relive all the scaly glory from the comfort of your own lair. Written and directed by Dean DeBlois, the second outing takes place five years after Hiccup and Toothless have