Creative Cloud Edges Forward

When Adobe moved away from the traditional shrink-wrap software model with Creative Cloud, one of the promises was that updates—incremental and otherwise—would be more frequent. The frustrating wait for the next version release, and the speculation about whether desired features would be added or not, would be replaced by a more benign, less hype-filled process.

Today’s announcement has confirmed that trend. Creative Cloud subscribers—all 1.4 million of them by Adobe’s count—will receive some significant feature updates, along with relatively minor improvements that, taken as a whole, continue to improve the design and production experience. (Caveat: The announcement also marks Adobe’s entry into 3D printing, but this review will focus primarily on issues of interest to publishers.)

To be sure, Adobe has had to weather the revenue transition—away from selling disc-based Creative Suite packages and towards a subscription model.* However, as I predicted over a decade ago in The Seybold Report, the service-based model is infinitely more sustainable, and better for the graphic arts community as a whole.

According to Adobe, there have been around 50 “feature-bearing” updates since Creative Cloud’s inception, comprising about 500 new features. While some of these have been relatively minor, others certainly have not, including the single edition DPS license for creating iPad apps.

Feature Overview

For magazine and business publishers, today’s update contains some cost-saving new features. Muse, Adobe’s highly-intuitive Web design environment, now directly supports HTML animations created in Adobe Edge. These animations can now be stored and re-used—and even shared with other users via a free online exchange. (There is currently no way to sell these resources, or even obtain customer information as part of the download.) Muse has also automated social links, letting website creators simply drag-and-drop a widget to specify a Facebook page or a Twitter feed to be used on the site.

Improvements to Photoshop are mainly for designers, but production workers will appreciate the addition of linked smart objects—items copied from Illustrator or Photoshop that can be used multiple times and changed globally. (This has been standard fare for InDesign, using the links feature, for some time.)

Illustrator received some long-awaited new features aimed at designers, including “live corners” (the ability to easily specify the roundness of any object corner) and a much improved pencil tool. Also in the time-saving category is Illustrator’s new ability to customize the toolbox—a godsend for a complex, mega-multi-tool program. Customized toolboxes can be made part of a custom workspace and, presumably, shared with other users.

Both Illustrator and InDesign are now tightly integrated with Typekit, which offers over 900 fonts as part of a Creative Cloud license. Users can search for Typekit fonts from within the program, rather than switch to a browser. Selected fonts are downloaded as desktop and/or Web fonts, and can be used in non-Adobe applications.

InDesign itself has been improved in one very important aspect—at least for publishers of interactive content. Hyperlink creation, once a source of extreme frustration, is now remarkably easy. Users can create URLs automatically from selected text, and can easily re-use those hyperlinks elsewhere in the publication. Hyperlink tracking is not only more intuitive, it is also “live,” so long as the InDesign user is connected to the Internet. If a created hyperlink does not resolve to a valid URL, a red warning icon appears. This warning is regrettably not part of InDesign’s live preflight, but it is still a welcome respite for those creating interactive PDFs, tablet apps, or e-books.

On the subject of e-books, InDesign CC now supports EPUB3’s pop-up footnote convention which, alas, is not supported universally by all e-reading devices. It also supports right-to-left languages like Japanese and Hebrew.

The Bottom Line

Those who create and publish content in a multimedia environment will appreciate many of the changes announced today. The thrill of waiting for “the next big release” may be diminished, but so is the stress of worrying if a particular feature will make the cut. This is a solid, albeit not earth-shattering improvement.

Only time will tell whether Adobe’s new model will remain an agile one—adding publishing-essential features incrementally but with shorter wait times. However, since publishers today are less likely to be among Geoffrey Moore’s 16% group of early adopters and innovators, the steady, more predictable subscription model is the right one.


*  Technically, Creative Cloud is not a true cloud service, like Google Docs, but a members-only online download, installation, and periodic verification process for traditional computer software. Adobe applications are simply too large and complex to be used in a client-server fashion.

Irony Alert

As I develop my class curriculum for the upcoming PRINT 13 event on creating tablet apps, I realized I needed to become an Apple developer. This was not an unreasonable requirement, since my class involved teaching people how to create content apps for Apple iPad using Adobe’s Digital Publishing Suite (DPS) and Quark’s AppStudio.

For the cost of only $99 a year, I thought, “why not? What could possibly go wrong?” So I dutifully went to the Adobe-recommended page (http://bit.ly/Rjz90j) and, with a shiny new Apple ID and a credit card, prepared myself to enter the Holy of Holies.

To my dismay, the vast majority of sites I needed were down for “overhaul.” Check it out:

Apple developer status screen, as of July 26, 2013.
With only two out of 15 servers online, it made me wonder how Apple, with all its marketing panache, can survive over the long haul. Yes, developers will continue to gather at the “cool kids’ table” for bragging rights on the latest gadgets. However, sooner or later, if companies treat developers with disdain, then even the most sycophantic will start to look elsewhere.

InDesign CC and 2D Barcodes

I’ve been reviewing, using, and talking about InDesign since version 1.0. With each new incarnation, I marvel that Adobe continues to add new functionality. After all, it’s page design software; how many new things can there be?

With the latest Creative Cloud-deliverable version, users can now auto-generate QR Codes—those ubiquitous 2D barcodes that, when scanned by one of many smartphone apps, point users to a mobile experience of some kind.

The InDesign feature itself seems to be well implemented. The QR Codes are vector-based, with transparent backgrounds, which means they can be scaled without degradation, and even brought into Illustrator for enhancement. (I’ll explore the issues with that in a future blog.)

What really concerns me is that InDesign’s new feature will put a dubious power in the hands of designers who do not understand the nature of the mobile experience. Everyone I know has had the disappointing experience of scanning a QR Code only to be directed to a non-mobile-optimized website. Worse, there is seldom a viable mobile call to action to be found in many QR-Code-related campaigns. (For examples of how it SHOULD be done, check out www.print2d.com.)

QR Codes are already in disrepute, thanks to ill-advised campaigns and over-use of free QR Code generators on the Web. The new InDesign feature is a logical, potentially practical innovation, but dangerous in the wrong hands.