Good morning. I absolutely love Sam Black in that video. He's the small kid. When he says, you know, it's coming, it's coming, I think we've all had that moment when we wait for that creative spark to emerge. Good morning, and welcome on behalf of over 10,000 Adobe employees, both those of you joining us at this beautiful de Young Museum in San Francisco, as well as all of you who are joining us on webcast all around the world. We're actually running simultaneous events in London and Tokyo because it is a really big day in Adobe's history today. It's always so inspirational to see these artists talk about the impact of creativity. It's clear that we're all here today because we all share a calling. We all share this calling to create now. We're clear that we're experiencing just an explosion, an explosion of digital expression.
The urge to create has never been greater than it is today. The ability to create and share and distribute a point of view is frankly unprecedented. People want to and absolutely need to create. Creativity goes way beyond just art. The impact of this creativity goes well beyond each of us as individuals. It is actively fueling the entire economy. In a world where even the most sophisticated electronics rapidly become commoditized, it's clear that the creative economy, the ideas that bring meaning or fun to the objects that we use, the objects that we love, is what actually creates value today. Change and reinvention and creating things of meaning are the hallmarks of what we see today. This morning, we actually released some findings from a global study that we did about the impact of creativity.
What we did was study the impact and significance of creativity on society, on the economy, and on everyday lives that we all have. What was striking about this research was that it was found that over 80% of people believe that unlocking creativity is absolutely key to economic growth, not just here in the U.S., but all around the world. What was also striking was that globally, people feel that only one out of four, that they're living up to be able to get the impact that they need off their creative potential. It's clear that at Adobe today, we are passionate about addressing this gap between what the creative economy can create and the gap that exists today in the tools. It's clear that our connection to the creative economy and the creative community has been deep and enduring.
All around us, you see the impact that the community has had on visual culture using Adobe tools and solutions. From the newspaper or magazine that you read this morning, or the digital edition now, the ads that you may have read in the newspaper, the special effects that you may have seen in the movie last night, the application that you used on your smartphone or tablet to check up on the Giants score in San Francisco, the couple of minutes that you might have used playing a game or playing Angry Birds, and the website that you booked your vacation on, we are proud at Adobe of the role that we have played in empowering creators.
We started off as a company that helped revolutionize desktop publishing, from the technology that we created with fonts to work beautifully on both computers as well as printers, and how we quickly got into products like Illustrator and Photoshop that have had such impact on visual society. It was really exciting with the Creative Suite when we brought it all together to be able to create the best tools in one place to deliver content for web, for print, for video, as well as for mobile.
In recent years, we've expanded our footprint into digital marketing, where we are working with businesses in various industries, like media, retail, education, and financial services, where in addition to being able to create content, we're helping them manage that content and deliver that content, personalized experiences that we all expect, and creating compelling campaigns that can be run across multiple channels, as well as monetizing that content through advertising. It is clear to us that we're living in perhaps the most disruptive time that we've ever seen in the history of technology. As all of us expect this technology to work across multiple screens, to be socially aware, and for us to always have access to our tools and our solutions, there has never, ever been a more exciting time to innovate. Our vision at Adobe has always been to change the world through digital experiences.
As a company, we're now focused on all aspects of this content lifecycle, from making the content to managing this content to measuring it, as well as to enable people to monetize this content. We've reimagined the creative process multiple times in our history. We've done this before, with InDesign, when we created the best page layout application to allow people to create content. The world's content now for newspapers and magazines is being created through InDesign. Through the Creative Suite, we extended that through the web and through the acquisition of Macromedia, and we helped integrate all of these products into one consistent experience. We reimagined video recently. The entire video workflow is going to go through IP networks. It was gratifying to see that at the recent NAB conference, Premiere Pro was awarded Best of Show as it related to editing applications.
We've extended this to enable people to manage their content through the acquisition of Day, to be able to measure that content through the acquisition of Furniture, and to be able to monetize that content through the acquisition of Fortitude. Today is all about our most ambitious offering ever, where we're ready to do this again. We're ready to do it with a focus on the millions of creatives who use the software all around the world. We're incredibly excited to mark the next generation of how we reimagine the creative process with the unveiling of both Adobe Creative Cloud, as well as groundbreaking Creative Suite 6 releases. We hope this will fuel your creativity through the cloud anywhere, anytime, and with anyone. The goal for us is to be able to deliver rapid, ongoing innovation through the cloud for our print, web, mobile, and application developers.
Our goal is to be able to attract the next generation of creative professionals who demand access to the software in a mobile environment. Our goal is to be able to reinvent the creative process between creatives and between enterprises and the agencies that serve them. What we have for you here today is for David Wadhwani, who runs that entire creative business, as well as his entire team, to show you the incredible innovations that we intend to deliver through the Creative Cloud, as well as an exclusive sneak peek of some of the things that will emerge in this roadmap in the next few months. Enjoy the unveiling of the Creative Cloud and the Creative Suite. David?
Great. Thank you very much, Shantanu. Hello, everyone. I couldn't possibly be more excited to introduce all of you to two remarkable offerings. The first is Creative Suite 6, and the second is the all-new Creative Cloud. CS6 is the first major release that we've had in over two years. We've invested more than 10 million person hours into it and literally added hundreds of new features since CS5. The Creative Cloud, as you'll soon see, gives our product teams a powerful platform for innovation to solve problems beyond what's possible in traditional desktop tools, which is more important now than ever because the content landscape is changing faster than ever. For example, 500 million smartphones now sell every year. 400 million tablets are expected to sell by 2014. Nearly 1 billion people use Facebook, and over 40 billion applications are expected to be downloaded this year.
With an average user spending an hour a day browsing the web or using those apps on their mobile devices, the way we build content and the way we deliver content is about to change. Designers used to have to think about how do I build a great website for a PC? Now they have to think about how I build a great website for a PC and how that content looks on a tablet and how that content looks on a smartphone. They also have to think about the fact that some of that content should probably be repurposed as an application for the iOS App Store or for Google Play. What elements of that content should actually be packaged so they can be syndicated out to Facebook?
Navigating this can be very tricky and can impact and will impact every aspect of the content development process, from the creation of the core assets, the images, the video, the illustration, to the implementation of interactivity around those core assets, and all the way to the actual act of publishing itself. We believe the future of content creation is fundamentally changing. It will still obviously continue to require great tools in the hands of amazing talent. That's what creates the new, the breathtaking, and the effective experiences we all aspire to build. Designing for the future will also require an open, collaborative, iterative design. It will include ideation on tablets. It will produce responsive content capable of refactoring and looking different depending on the device it's consumed on.
It will all be enabled by a flexible, integrated creative process that takes you all the way from ideation to creation to publishing. Over the next 45 minutes, we'll walk you through how CS6 and the Creative Cloud help creative professionals stay ahead of these trends. We'll start by looking at some amazing CS6 demos and the incredible innovation that's gone into it. Before we do, here are the four things you need to know about CS6. First, we've made enormous strides in performance. The Mercury Performance work that we started a couple of years ago has made its way into all of our core imaging, illustration, and video tools, resulting in some actions that are now 100 times faster, enabling our customers to do things that were never before possible.
Second, we've added an enhanced UI for user experience in our tools, with an emphasis on a few core principles: focus on the content, reduce the UI clutter, allow for easy customization, and above all else, enable direct on-canvas editing of that content. Do all of that without disrupting the way many of our users already work. Third, we're taking a very practical approach to responsive content. We've made it easy to build high-performance Flash or HTML5 content that runs on the web across PCs, tablets, and smartphones, in Facebook, and on iOS and Android application stores. We've also enabled customers to build gorgeous print magazines and catalogs that can quickly be optimized for the iPhone or the iPad. We've built great new tools that start to unleash the power of HTML5.
Fourth, but certainly not least, we've added a little bit of that Adobe secret sauce, the crazy stuff that just shouldn't be possible, like deleting or moving an object from a photograph and automatically filling in the background, or adding an object to a video and having it know when to move behind other objects or when to stay in the foreground. These four pillars: performance, enhanced UI, responsive content, and that crazy stuff in the hands of our customers will have a profound impact on what we all see as we browse the web or as we use mobile applications in the years ahead. To help illustrate that, I want to tell you a true story about a real woman, a remarkable woman named Alice Ritter. Alice grew up in France. She loved fashion growing up.
When it was time for college, she got the same advice we probably all got when we went to college from our parents, which was, you're going to need to get a real job after you graduate. Instead of studying fashion, Alice studied economics, slight diversion. Later, she moved to New York City, where she reconnected with her love of fashion and taught herself all of the basics by taking apart her own clothes. Eventually, she got good enough to start her own clothing line. At that point, Alice faced a new challenge. How does she take her ideas, her style, her sensibility, and move it from a tangible world of fashion to a less tangible world online? Let's take a look at how Alice or anyone else, frankly, in a company, big or small, can benefit from the innovations that we've added in CS6.
For that, I'd like some help. I'm going to invite up Paul Trani, Adobe Evangelist, and Steve Ford, Senior Product Manager, to walk us through some of the demos.
Thank you. Thank you, David.
Let's start with Paul here. Alice has asked us to basically create a web experience, a website and digital catalog. She loves what's happening in the world of tablets and how interactive and how personal the content can look on a tablet. She wants us to build an entire digital experience for her. Obviously, in order to do that, we need to start by building the assets. What are the things that actually capture the work that she's done? We're going to start by getting the right photography and the right imagery in place. Alice loves her clothes in the context of outdoor settings. We've done a photo shoot. Let's take a look at what we've got from that.
All right. Thank you, David. First off, you'll notice I'm in Photoshop CS6. The first thing you'll notice is the new darker user interface, allowing you to focus on the imagery that you're working on rather than the UI. You can always make it lighter or darker by customizing it in your preferences. Before I dive into my first couple of tools, I'm going to use some of the tools that are part of the Content-Aware family. If you guys remember, Content-Aware Fill in Photoshop CS5 was very popular because it was so powerful. In Photoshop CS6, I'm going to use Content-Aware Patch and Content-Aware Move. In this photo particularly, I have this reflector in the lower right. That just shouldn't be in the shot. All I need to do is select it.
Using the Patch tool, I can take that item and move it to the area I want to sample from. When I do that, it patches it up in one motion. That's done. I can move on to editing this in a different way now. With that finished, I actually want to take this model that's on the right-hand side. She's too far on the right. I want to move her closer to the center. All I'm going to do is just quickly select her. Let me just make sure I have all those pixels, just like that. In this case, I'm going to use Content-Aware Move. Content-Aware Move tool allows me to move her anywhere I want. I can take her and put her right there. Not only did it move her, it patched up that area where she was. Pretty impressive. One motion. Thank you for clapping.
You understand the process it would take to actually do this.
That would have been virtually impossible previously.
Time-consuming.
I think Alice is going to love that picture. She's not going to have a clue how it was done, but she's going to love it. Alice also loves the way her clothes look in contemporary indoor settings. She feels like the contemporary architecture really sort of pulls out some of the traditional fashion that she's drawn from, from France.
OK. I'm going to go ahead and use a photo that was taken in this house here, again, pretty modern. You'll notice there's pretty drastic warping going on here in this photo. In particular, it happens to be a panoramic. You'll get this warping if you're dealing with a wide-angle lens or a fisheye lens. In this particular case, I want to focus on the model, not necessarily the background. I need to get rid of it using the adaptive wide angle. I'm going in here. If you'll notice, in the lower left-hand corner.
Previously, just to make sure everyone understands, what he was working with was a composited image of a shoot that was done of the house and then composited with the woman wearing the fashion afterward. Now he's just working on the house.
Yeah, exactly, just on that background. What's great is Photoshop knows the camera as well as the lens that was used to take this shot. OK. Regardless of what the shot is, it doesn't matter. Photoshop knows. When I draw a line, based on that data, it's bending that line. If I want something straight, all I need to do is draw a line. Straightens it out. Let's go down here for the floor, drawing that line based on that data, straightening it out just like that. In fact, let's do some of these vertical lines.
While he's doing that, this is remarkable enough on a single wide-angle lens that causes that kind of warping distortion. Note that this is three separate pictures that were taken with wide-angle lenses that were warped, that were stitched together. Photoshop knows how to manage all of the data about those lenses to straighten these images.
Yeah. This would be virtually impossible to do otherwise, let alone have something straightened along a line, but based on that data as well, being able to straighten out this photograph. Let's do that last line. I'd say that looks good. Let's see how this looks in the composition with the model. Overall, with the time I spent on it, a big improvement. In fact, let me go ahead and crop this down really fast with the new crop tool. Something like that. I can always straighten it out. Let's go with that. If we can just view that full screen for you. This is, of course, the after. If we look at the before, what a drastic difference from here to here. This is a 100 MB file, by the way.
Yeah, the performance here was fantastic. Obviously, all the computation that went into it was remarkable. Now we have some great imagery that sort of shows her fashion in these two settings. The other thing that Alice loves, she was born and grew up in France. She loves the impressionists, van Gogh in particular, and deeply believes that her fashion pulls out, really beckons back to some of the nostalgic feel. She wanted to do something with her imagery that leveraged the impressionist movement.
Yeah, definitely. I happen to have the perfect image right here. Let's go ahead and work with this. In this case, I'm going to use Liquify to, again, start pushing around these pixels quickly. In this case, this happens to be a 300 MB file, and I'm pushing this around as fast as I can do these swirls. I can make this look like it's wet paint. Again, this is a 300 MB file. In previous versions, there would be a lag doing something like this. You notice how responsive this is, and this is thanks to the Mercury Graphics Engine in Photoshop CS6. I can get pretty creative like this. In fact, we can get even more abstract as I start to screw it up a little bit.
That might not be exactly what Alice is looking for. The previous one was fantastic. We'll go with that. I think that really ties off the examples of the images that Alice wants. At this point, why don't we shift gears? We've got great shots from the photo shoot. We've adjusted them in Photoshop. Now let's go ahead and think about the website. We're building the website for Alice. She has a whimsical side, so she wanted a whimsical feel on the website. Maybe let's pull together some articles of fashion to build the background for the website.
Yeah, definitely. The tool of choice that I'm going to use, and really for creating any graphics, is going to be Illustrator CS6. Now, notice I have to point out the interface. It is darker, really allowing you to focus on the artwork that you're working on. You'll notice with this artwork, there's a lot of gradients going on here. I need to finish this design. Previously, you could only apply gradients to shapes. With Illustrator CS6, I can take, for instance, a stroke and apply a gradient to it as well. This is great because I have that sort of control with the stroke. I can use the width tool, jump in here, and again, make it a little more organic, making it thick and thin in different parts, just like that. Having that control is great.
Like David mentioned, I do want to make sort of a fun background. I'm going to select all these graphics, and I'm going to make a pattern out of it. I'm going to jump in here. Let's make it a pattern. Illustrator shows me what this will look like as a pattern. I'd say it looks pretty good. There are a couple of spaces right in here. As a designer, I want to fill that in and just make it a little more seamless. I'm going to go to my graphics right down here. This is what's being tiled. I can take this crown, move it in the upper right-hand corner, just like that. I really could care less about this frame. What's happening is anything off the right-hand side immediately appears on the left-hand side. If it goes off the top, it appears on the bottom.
I didn't have to duplicate that three different times and go through the tedious process of lining everything up. It does it for me. Me as a designer, I can just focus on the design in Illustrator CS6.
Great. Do you want to zoom that out so we see what the full pattern looks like? Great. You get the idea. We could mute that. That obviously will make a great background for a website. We feel pretty good about that. We've got the core images now. One thing Alice also believes very strongly is that her clothes are clothes, and they flow. The way the clothes fall on an individual when they're moving or the way they shift in the breeze is very important to her. She also wanted to include elements of video on her website. For that, I'm going to turn over to Steve. She wanted to do it. She wanted to shoot it in a contemporary setting again, and she wanted to brand it somehow with the Pluralist, her clothing line. Maybe you can show us what you have in mind there.
Yeah, sure. Just before I do that, I just want to take a second to remark on how exciting it is to be part of the video business at Adobe. Since we introduced the Mercury Playback E ngine two years ago, we've seen tens of thousands of editors move over to Premiere Pro as their primary edit of choice. During that time, we went and talked to folks, whether that's a filmmaker like Angus Wall, who just won an Academy Award for The Girl with the Dragon Tattoo, to broadcasters, to commercial and corporate video editors. One of the things that they said was pretty unanimous. They wanted us to focus on telling the story, to get kind of the technology out of the way, and really focus on the media. One of the first things you'll notice with Premiere Pro CS6 is that the technology is out of the way.
The media is front and center. That's been a general theme throughout CS6 from that perspective.
Let's take a look at it. This is obviously in Premiere Pro and After Effects. That theme, as I mentioned earlier, is pervasive throughout the products, really letting people work directly with the content.
I think that's one of the reasons actually why we got that award, the National Association of Broadcasters.
All right. Back to Alice.
Back to Alice. One of the things that we've got here is during the photo shoot, we were able to get some pretty good video from that perspective. One of the key features of Premiere Pro CS6 is something called the Media Browser. From that perspective, I'm going to bring this up full screen. The point is that I can make, again, the media front and center. I can look at it very quickly. I can actually use a feature called Hover Scrub that allows me to quickly see what's in the clip. I can choose my in and out points. In fact, I can do a traditional play on that, choosing the in and out points, just meaning picking the part of the video that I want to bring into the sequence and then go from there. I think I've got something that looks pretty cool for Alice's website.
If I just bring that up and play it, I think it really matches. We've got a bit of a photo montage and so forth. I think there's an opportunity here in this clip from the perspective of one of the things you mentioned, that she really wants to make her brand punch. From that perspective, there's this nice big gray wall right at the back. I think that might be an opportunity to use.
Just put the brand right on the wall.
Exactly. From this perspective, I'm going to jump over to Adobe After Effects. One of the things I'm going to do is take this and make sure I'm using a technology called Dynamic Link. From that perspective, I'm going to apply a technology called the 3D Camera Tracker. It's a little abstract, but what it does is it actually puts a 3D point cloud over 2D footage. It means this is from a camera, and we want to understand the shape and the texture of a 3D object. In this case, I've got my model and the gray wall and so forth. The interesting thing.
In more layman's terms, it means we know that the woman is there in the shot.
Exactly.
We know where she is and what her shape is.
One of the cool things about that is you can notice, in fact, I can actually shape the shoulder of my model here because we can understand, essentially, for lack of a better term, her 3D construction inside of that 2D footage. That has never been done before. In fact, what I'm going to accomplish with this visual effect is probably something that would take about three to four hours in the past using a different technology. One of the really cool things about this is that I think this gray wall is a fantastic candidate to basically take, I'm going to put a point here. I'm going to take an element that was used throughout the campaign. Essentially, I'm going to bring in the logo from Illustrator. I'm going to drop it right on top from that perspective.
I'm just really going to match it using this 3D Camera Tracker from that side. As I make this a little bit bigger from that side, you'll get to see, OK, that's tracking to the wall pretty well. It's sticking in the right place with one minor problem.
Right. Too sad for Alice.
Essentially, it's still 2D footage from that perspective. What we want to be able to do is pull her out, make sure using an effect called Occlusion to really bring it out from that perspective. I'm going to just go to a different point here. What I'm going to do is duplicate what I've done and just place it on top. The nice thing about that is that as I go in, I'm just going to tell After Effects, essentially, to give it a lot of information around what I want to keep by just painting out my model here, really just giving a lot of context. What this is going to do is tell After Effects, essentially, what I want to keep in terms of my foreground scene. From that perspective, I can just go back just a little bit.
I should be able to see quite nicely where I'm getting in from an Occlusion effect from that perspective so that I can quickly see, OK, is she in front of the scene the way I want?
What that has done now is it's gone through and found the model in every frame of footage and decided that she should be in front of the background.
Exactly. From that perspective, you'll start to see that we get something like this. I can really just bring this up full screen so that you get the idea. The point is that I think we've got something that's really well branded, and it's going to fit her website.
It's going to work perfectly for Alice. We got the clothes, the flowing, and the breeze, all of that put together nicely. Now we have the images we put together. We've got a great background. We've got a fantastic video. The thing that we now need to do is to punch up, make sure we can punch up the website a little bit too. Alice wanted to make sure that we had some animation and motion on the website. When you came there, it was drawing you in a little bit more. You want to show us what you have in mind there?
Definitely. I was actually able to take some of the assets I've created in Illustrator, in Photoshop. Here I am, bringing them into Flash. This is where I want to bring them to life. Flash really is the tool of choice when it comes to creating this rich, animated content. I could scrub through the timeline here. Let's just go ahead and run this. I'm publishing this for the Flash Player. You can see it playing just fine.
One thing worth pointing out here, over the last couple of years, we've been making Flash, the animation tool, able to output to multiple formats. It obviously outputs and runs fantastically in Flash. It also outputs and runs well now on Android devices and on iOS devices. Most recently, we've introduced the ability to output to HTML5 itself.
Yeah, you know what? Let's go ahead and dive right into that, taking that same animation, publishing it out to HTML5. I'm using the toolkit for Create.js, and up at right, you see it right there. All I need to do is hit Publish. It takes my Flash content and publishes it out as HTML5. That's HTML5 content running right here, very impressive. With Flash, I can publish out to iOS native app, Android native app, and even to HTML5.
HTML5 file. Great. At this point, I think we're done with the assets. We have everything we need to create a great website. Let's jump over and actually put together the website. The key thing here was that in the fashion industry, a lot of people are walking around with the phones. It was important for Alice to make sure that the website worked well on a desktop, on a tablet, and on a smartphone.
Yeah, definitely, which is no small task necessarily. You'll notice right in here, I'm in Dreamweaver. I'm just going to refresh this. Again, I'm running this page in Dreamweaver. We can see my HTML content generated from Flash, my photos edited in Photoshop. Down here is Steve's great video. In fact, you can see that fun background made in Illustrator. Like David said, I need to take this. I need to make sure I can make sure it looks good across multiple screens. In order to do that, I'm going to use the new Fluid Grid Layout. From there, I can create a new document that has media queries set up for mobile, tablet, and desktop. I can turn around and add properties for each one of these to set this up for these different screens. This is a great place to begin. That's how I've created this website.
In fact, if we just preview that really fast, again, in Dreamweaver, I'm clicking in the lower right. I can see how this looks, say, on a desktop. Everything looks good using that media query. Next up is the tablet, taking that same content and just reorganizing it based on those CSS properties in that media query, as well as the mobile one as well.
The key thing here is that the way Dreamweaver sets it up is so that when you go to these different profiles, it's not just making the content smaller. It's actually reflowing it out. It's making decisions about what to put in the foreground, what to put in the background. A lot of logic is behind that, all automated in this process.
Exactly. You can see it scales well. It doesn't matter the browser you're on or the device you're on. Again, taking that same content, even adding additional functionality if you want to implement that as well.
Now people can obviously come learn about Alice's fashion regardless of the device they're coming from. All of that's now starting to stitch together the entire digital brand. The last thing I mentioned earlier was that Alice also wanted a catalog. She wanted a catalog that ran on a tablet, and she wanted it to be interactive and engaging. Why don't we take a look at how that's built?
Definitely. I'm going to use InDesign for that. InDesign is the publishing standard out there today. Here you can see I have a document already set up, multiple pages set up in a vertical orientation, set up for an iPad is how this is currently laid out. For some of these items, if I select this designer profile, it has certain rules associated with it. It's actually pinned to the upper right-hand corner. Regardless of that page size, it's always going to stay right there. That's how I have this set up. What I need to do next is make sure this looks good when I tilt the device, say, horizontally. Don't make me recreate anything. All I need to do is in this same document, create an alternate layout. From there, InDesign says, hey, you know what? This is a vertical layout. Therefore, you must want a horizontal layout.
Thank you very much, InDesign. I can pick iPhone, any Kindle devices, Android devices, customize it if I want to. I'm just going to click OK. Here we are. If you'll notice on the right-hand side, there's my horizontal layout. If I click to it, everything looks great. As I click on down, I can see, aside from maybe some tweaks I need to make, everything looks really good.
If you're not a designer and this looks pretty obvious, it should. That's the whole point of it. For a designer, the ability or the effort to re-lay out for the different mobile devices and orientations is a remarkably time-consuming effort.
Exactly. It would normally, in the past, take multiple documents. What happens when a change comes in in those cases? I'd have to change it in all those documents. In this case, I can jump in here to my primary layout. I know I need to change this quote because she did move to New York. Type that up. I make that change in the primary layout. I go to that secondary layout. I just click Update. Those are linked together. This is good to go.
That's great. Alice is, of course, going to want to see this on the tablet. Why don't we go ahead and see it on the tablet?
Here it is. Again, that vertical layout. Everything looks good. I can swipe through these various pages. Even as I tilt it horizontally, in that same document, it switches to that layout. I can swipe further. Even on this last page, I just have a fun little slideshow also implemented in InDesign.
Great. Thank you, guys. Thank you very much, Paul. Thank you very much, Steve. I wanted to just kind of thank you. What they accomplished in less than 20 minutes is a remarkable attribution to what's possible with the power of Adobe Creative Suite 6. They built the core content, the core creative content with Photoshop, Illustrator, Premiere, and After Effects. They built all the interactive media with Flash Pro, Dreamweaver, and InDesign. The result was a beautiful digital representation of Alice's style and philosophy. It was really important to get that across. They did it. They built it with responsive content, content that looked great in the browser, on the PC, on tablets, and on smartphones. They built an elegant digital brochure for an iPad. To net it out, we could not be happier and prouder of the innovation that we've done in CS6.
We can't wait to see what all of our customers do with it. Beyond that, as we discussed earlier, the future of creativity is changing and will require an open, collaborative, iterative design process. Creatives need to start sharing their content early and often with each other, with clients, and with end users. It will also include ideation on tablets. Most of our customers either already own or plan to purchase a tablet this year. The vast majority of them tell us that they want to use the tablet as part of their creative process.
Finally, when you put it all together, the whole end-to-end process will be enabled by a flexible, integrated creative platform that stitches together the tools and services you need to take you from ideation to creation to publishing, all of it tied together with a single purpose to help you move from idea to finished work. That's why we're introducing the Adobe Creative Cloud. A membership to the Creative Cloud gives you everything you need to create incredible content and apps. Members can download and install all of the CS6 tools that you just saw and the rest that we didn't have time to show you. Plus, they have access to Muse, the new HTML5 tool for designers, and Edge, our new HTML5 tool for interaction design tools. They also get deep integration with our touch apps, like Photoshop Touch and Adobe Ideas.
As they create content in those tools, the content gets automatically synchronized across PCs, tablets, and the cloud. The files are accessible from anywhere and on any device and are easily shared with colleagues and clients to help facilitate better collaboration and rapid iteration. When the work is finally complete, Creative Cloud members are able to easily publish and host finished websites and will be able to create and fulfill those rich magazines and catalogs that we just showed you to the iPhone, to the iPad, and to Android devices through their app stores. Members are also guaranteed to always have access to the most up-to-date technology. They'll get updates to existing products and services. They'll regularly get updates, regularly get new products and services. This is an ongoing living platform. We intend to update it every week or every month.
All of this is included for the cost of membership. Speaking of the cost of membership, members get access to all of this, the tools, the storage and sharing, the publishing, and the ongoing innovation for just $49.99 a month with no upfront payment, $9.99 a month. We're excited about what the Creative Cloud is going to enable and unleash. As Shantanu said earlier, three out of every four people on the planet want more kind of access to creativity. We believe this is a great opportunity for us to expand our market. Since we're so excited about it, we're kicking this off with a special promotional price for our longest, most loyal customers. If you're a CS3, CS4, or CS5 customer, you can get your first year of Creative Cloud for $29.99 a month.
That's a remarkable price for a remarkable platform that's just going to continue to get better and better and better with time. We can't wait to see what you do with it. With that, I'd like to invite up Jeff Veen. Jeff was the founder and CEO of Typekit, a company we recently acquired and is now a core part of the Creative Cloud platform. He heads up the product management for Creative Cloud now. Jeff, there's Jeff. Come on up. We'd love to have you give us a tour of the new Creative Cloud.
I'd love to give everybody a tour. Hi, everybody. Thank you. I have to tell you, it's an honor to be up here today to show you all of the stuff we've pulled together. You've seen these amazing demos that Paul and Steve have done. One of the things that we've been really hard at work at is taking all of the pieces of CS6, as well as a whole bunch more services, and really stitching it all together in an integrated and seamless experience. The Creative Cloud website is really the place where all of your cloud-based files will live, and you can manage them there. You'll be able to download and install all of the apps that you've seen here, as well as manage all the services that we've pulled together for this.
I think probably the best way to show you all of this is over at creativecloud.com. Let me show you the website. All right. Here we go. This is creativecloud.com. I'm just going to sign in with my account here and give you a tour. As I'm logging in, you'll see all of the files that I've started storing in the Creative Cloud here. There are these beautiful previews that we're doing to give you a very visual way of browsing around. I can sort things in folders. There are a bunch of tools here for just all kinds of file management, searching, and things like that. I'm going to go over to the apps and services section. This is a place that we've built to pull together everything you've seen so far in as clear and understandable a way as possible.
You have access to all of these desktop apps. All you have to do is click to install, and I'll show you that in just a moment. It's everything that comes in CS6, plus Edge and Muse, like David mentioned, just right here at your fingertips. Also, all of the services that we've included in Creative Cloud are listed down here. 20 GB of file storage is included with your membership. You also get to host up to five websites that you can publish out of any one of our tools that does website publishing. That's using our Business Catalyst service for hosting and then a full Typekit membership, which makes me very happy, that comes along with it as well. All of our touch apps are right down here as well.
I'm going to show you some of those as well, and all of those are integrated in the Creative Cloud service. We have links here so that you can get all of those. As David mentioned, we're doing some pretty remarkable pricing on all of this, I mean, as low as $29 a month for some of our most loyal customers. We believe that the way we've done pricing is going to make the Creative Suite applications much more accessible to lots more people. We realized getting those tools into people's hands is going to have to become a very, very seamless experience. We talked to our customers about the Adobe Installer, and they said, yeah, it's a powerful way of getting all of my apps onto my computer, but it's also very complex and can sometimes frankly be a little frustrating. We just reimagined how that would work.
We went back to the drawing board and created a very streamlined experience with one-click install. What our customers told us is that their expectations for the way they manage, download, install all of the applications that they use every day is really being fueled by how app stores work now. What we wanted to do is create an experience like that to give you everything that comes with your membership in an as easy as possible way. I'm going to download the Edge tool that David was talking about for doing HTML5 and CSS3 authoring. I click on Download, and I switch over to the Application Manager, and I'm getting it. It's now downloading Edge for me. It's going to start installing Edge for me, and when it's done, I can click to start using it. That's it. I don't have to touch anything else.
In fact, if I want to use, let's see what else. Let's get Fireworks while I'm here, and let's install that Flash Professional that Paul was just showing us. Those are queued up now. Those will download. Those will install right after this. I can go get coffee now, and when I come back, my tools are here. This is where you'll get updates. That's where you'll do everything. This, to me, is one of the things that I'm so excited about now that I've joined Adobe, is this installer and just starting from scratch there. I think this is going to be a great experience for all of our users. Perhaps one of the first things that you'll want to install when you get a Creative Cloud membership is a little application we wrote called the Creative Cloud Connection.
You can see it running right here in my menu bar. This is a little piece of software that keeps all your devices totally in sync with every file that you've stored in the cloud and, as we continue to work on this, so much more. This shows me that currently, all of my files are up to date on this computer and that I've used how much of my 20 gigabytes of storage. I've got shortcuts to the website. There are shortcuts here to the files that are on my machine. We want to keep this, again, simple, intuitive, and a very seamless experience. Let me open up that Creative Cloud Files folder, and you can get a look. This is just a file here on my computer. For Mac users, you'll have a little shortcut in the sidebar here. I've got these View This icons.
We can really see, again, those rich previews. To upload a file into the cloud is just so easy. I've got this color palette that I've pulled out of Illustrator and saved here on the desktop. It shows some of the colors that Alice is thinking for her spring fashion line. That color palette, I'm going to just drag this and drop it into my folder for the Creative Cloud. You see a little arrow here is going. I've got a little indication of here. There it is. This is an Adobe file out of one of Adobe's apps.
When we put it in the Creative Cloud, we know that, and we can do stuff with it. There are lots of alternatives for cloud-based storage, but putting Adobe files into our Creative Cloud means that we can understand what that file is and do interesting things in the cloud to that file. This is just a very simple example. If I switch back to the website and I go here, you can see that here the file is, and it's available to me. We have rendered out that color palette, so I can just see it here instead of just an icon. That's a very simple example. I'm going to show you some more complicated examples, some really exciting stuff that we're doing with this. I think it gives you the tiniest glimpse into what we're trying to do with Creative Cloud.
It's not just keeping all of your devices in sync. While that's a really important function that needs to happen for our customers, it's also a great way for us to add more and more value to the creative process and the collaborative process. All right. That file is up there. Let me show you this too. I'm just so impressed with this because honestly, I've been working on the web for, I'm not going to tell you how long, for a long time. The things that web browsers are able to do continuously impress me. This seems simple, but this is cool. When I am not at my computer, but I have access online to a web browser somewhere, and I've got some creative files that I want to get into my cloud, I don't have to install a whole bunch of stuff just to do that.
I can just log into my Creative Cloud account right here. I can take right here, I've got an Illustrator file, and just drag it into the browser. It says drag and drop to upload. I'll do that. The site will upload the file. When it's done, it'll just let me know. I can say, great, show me that file. There it is. We've already rendered out a preview of that. That's the kind of stuff that I think is just getting so exciting about what's available here. All right. Let's do some work for Alice now. We saw a bunch of pieces happening here between Paul and Steve. David walked us through all the kinds of things that Alice wanted for her website. I'm going to switch over now to this tablet that I have running here. Thanks. Perfect.
Here, I'm going to do a little work on Photoshop Touch. This is good because now I get to play my favorite role, and that is the Impatient Art Director. I'm just going to imagine that I'm out scouting to see what we're going to do for this microsite that we're building for the spring fashion line. I've found the perfect location. I've taken a photograph of that. Before I even get back to the office, I want the team to get started working on that. Let me just launch Photoshop Touch and kind of mock up my vision of what I have in mind here. I'll do it very quickly and then sort of head off to the office. We can really get started working on it. This is Photoshop Touch. We launched this about a month ago in the iOS App Store. The response has just been fantastic.
We've had so many downloads. We've been consistently one of the top apps in the photo and video category. The feedback we've heard from our customers has just been fantastic. We're iterating on this. We're super excited about Photoshop Touch and all the other touch apps that are coming that are included with your Creative Cloud subscription and integrated, rather, into your Creative Cloud subscription. Let me give you a little tour of this. You might see right here at the top that I've got a Creative Cloud icon. That is very similar to what I showed you here, the Creative Cloud Connection, in that it shows me where are my files. Are they synced? Are they not? What's the progress? You can see here, I can turn syncing on and off.
I can decide to only sync if I want to when the Wi-Fi is on so I don't use up my cellular bandwidth. I'm currently all up to date. I've been using some of my cloud storage there. Great. These are all the files, the same structure that I had over here on the desktop. I'm just going to load this location file that I got started with and show you a bit of this. You'd sort of recognize some of the more familiar parts of the toolbar and palette from Photoshop on the desktop, all of this reconsidered for a touch app, for a touch-based experience, and really trying to emphasize what is the best use for these kinds of devices.
I've got editing tools here and selection tools and things like that, a bunch of color adjustments that I can do on photos and illustrations and things like that, some fantastic effects here that I can use, and then just so much more. What I want to do here is now kind of mock up the vision that I have for what this photo shoot might be like. Let me just add a layer. I'm going to add a photo layer. You can see some of the integrations that we've done. This is all the photos that I have on my local device. I could just grab one of those and pull it in. I could also turn on the camera and just snap a photo and bring that right in. We've done an integration with Google Images. Here, I've got a search for nature.
It just shows me a whole bunch here. I could pull one of those, bring it right in, or even stuff from my Facebook account. What I'm going to do is go back to the Creative Cloud and see all of the files that I have synced into my cloud account. Let's see, here in the comps folder, I've got a couple of models wearing some of the spring fashion. I think this one is the one we'll start with. When I add this, I can sort of position it around if I like. I think I'll just put it right there in the middle. Here, I've got this Scribble Selection tool, which is a great example of what you can do on a touch device now, since we can really, I've got a little stylus here. I could use my finger.
What I'm going to do is tell Photoshop here which parts I want to keep, which parts I want to knock out. I can kind of position her where I want. All I really have to do is kind of, oops, sorry, all I have to do is scribble here and here. I just go right around there like this. Good. I want to remove kind of this part. I don't want any of that. All right. Perfect. It will do my selection just like that. Now, I could probably fuss around here and make it really clean if I wanted to. I'm the Impatient Art Director. If this is good enough, they'll know what I mean. There we go. Perfect. Let me just extract that out. All right. That'll work for me for now. I'll just deselect it and then move it into place.
Why don't we put that right there? I think that looks not too bad. Right there. Perfect. OK. I'm going to grab one more because I think we can probably get a couple of models into this scene. I'll take this green dress one, add that in. This one's been knocked out. This is a Photoshop file now that I've added as a layer. I'll put that there. That looks just about, yeah, perfect. I'm going to put that right there. Now I'll finish up. I'm going to save this. As it's saving, it's going to automatically sync right over to the Creative Cloud. That's good because we're going to switch over to the Creative Cloud website. I'm going to share everything there. You can see now some sync behavior is going on, that the sync is in progress. There it goes. That's perfect.
We should see the sort of blue line here that tells me the progress of the syncing happening here in just a moment. There we go. Good. That's going to sync over to the website. Now, I want to bring it over here. Let's switch over to the computer here a second. Perfect. Thanks. What we'll see is that I have some activity here in my sync folder. Let me just switch over to that and go into my folder. There it is. The file has updated. I'll open it up in CS6. Sure, now again, I could spend some time cleaning this up. This is great. I've got my layers right here. I can turn these on and off. Perfect. I'm going to send that off. Let's not save that yet. I'll go right back over here onto the website. Let's see, where is it? Here we go.
I've got the preview generated already. That's the image that I just created. Let me click into that and show you some of the other integrations. Now, like I was talking about before with that color palette, I can do stuff here to this Photoshop file, since we know it's a Photoshop file. We've done some processing on it in the cloud. You can see that I already have this color palette that's been extracted from the image and shown to me here, which I could download and share and do all that kind of stuff. This would be great to say, hey, I've got some ideas for the kind of colors that we should be using. I pulled it right out of here. I also have a list of all the layers right here. I can click on any one of the layers.
We'll do a little bit of processing on the back end there. There you go, like, yeah, I don't want that one, or maybe I do. Either way, this is a centralized place where I can start to share this and have everybody come and start to leave comments and collaborate on all of this stuff. Let me just turn that right back on. Great. We're going to leave a comment here and say, this is my vision. Get me a shot like this. Perfect. I've worked with a few art directors in the past. There we go. Perfect. That's great. Now, let's go over to the sharing. Right now, you can see this is private, just in my account. I'm going to open this up just by clicking here. Now I've got a URL that I can share with anybody. I'll let them leave comments.
I'm going to let them download the original. They've got the layers and stuff like that. They can take my two models off of there, add their own, and things like that. I'll share this with my designer who will, that's right, who will give it to the rest of the team. I'll get started working on that. When they come, literally all they have to do is this download button right here is to click that. You'll see that the file just starts downloading. Now they've got the original as well. That's perfect. Let's see. Oh, yeah, one other thing. You know how Paul was showing that he was using Dreamweaver to make a responsive website that would adapt to the different devices that we have?
As we were building this tool internally in Adobe, we're practicing what we're preaching and built everything for the collaboration and the file management and all of that to be as responsive as possible. My designer and my photographer may pick up this image while they've got their cell phone while they're out on another shoot. This website needs to be able to be completely functional for them. If I were to just sort of scale down, pop, the whole interface changes. Now it looks great on that device as well. All of this stuff works. You can see my comments are here. Thank you. I like this too. I can even see all of my files. This is just a great little utility here for doing that stuff. I just love this effect too. The team is just putting all these little details in so everything just, oh, gorgeous.
All right. Good. All right. That is perfect. That's exactly what we're going to do. The microsite, I still have to update that now. It will fly forward a little bit. The team has been doing all of their work. They sent me back the image. I'll switch over to Muse, which is the tool that David was mentioning. It's the authoring tool that's designed specifically for designers who have been working in InDesign and things like that and want a very, very quick and powerful way to express themselves in HTML5 and CSS and all of those things. Muse opens up here in a view of the entire website, kind of a site map that gives me some context. Before I dig into this, one thing that's really important that I just forgot to mention is that Muse is only available through the Creative Cloud here.
Not only do you get all the CS6 apps, but if you buy a Creative Cloud membership, that's the way to get Muse. That helps us sort of iterate very, very quickly on all of this stuff. That's why we wanted to get this very integrated. I'll show you the integration that we've done here. It's great. All right. The microsite, spring fashion line, we've created a slideshow here, very, very simple to do that kind of stuff. It's the kind of stuff that you would expect from that you see on sites all over the place. We literally just dropped this in here and started dropping some of the imagery in. I'm going to add that image that they gave me. Here in the file menu, I'll take Place. That's perfect. Let's see, where is slide? Oh, I want to make it the second slide. Let's have a look.
There it is. It's kind of hooked onto my cursor right now. I'd like that to go as the second slide. There it is. That's exactly what I had in mind. That's my vision. All right. Perfect. Let me quickly preview that so I don't have to publish out every time I want to see it. There's my preview. If I were to go to the next, there it is. Cool. We've got another set of photos here with all of the great stuff. Perfect. I'm going to consider that part done. Of course, I can't open this up without wanting to mess around with the typography a little bit. Let me do that as well. Here's some text that's set over here. You can see it's set in Georgia. Georgia is a font that has shipped with web browsers for a decade now, I think.
It's probably been, maybe even longer. That was a set of what we have always called web safe fonts. The way web browsers worked for a very long time was that the only control that designers had over typography was the fonts that their users already had installed. You couldn't actually take a font that you were excited about, use it in your HTML, and have it show up in your user's browser without doing some kind of hacks or something. Some people resorted to the JavaScript stuff. Most people just put all of that text into an image. When it's an image, it's not HTML anymore. The things that the web is really good at are no longer available.
We spent a lot of time working on that, especially once the browsers innovated and allowed designers to take a font and design with it via CSS so that the font gets delivered with the page, just like images or scripts or things like that, then renders the page beautifully. That is what we did with Typekit. I'm so excited that we've done an integration here between Muse and Typekit to make that absolutely simple and incredibly powerful. Let me just show you that a little bit. Here is the Web Fonts menu. I'm going to add a web font to this project. Here they are. We've added hundreds of web fonts. A couple hundred web fonts now are included here. In fact, we've got so many that we added a bunch of filters.
Here is sans-serif and serif and some nice script or handwriting fonts or even some Gothic fonts. Nice stuff there. In fact, we had the font experts over at Typekit pick out some of their favorites to do things like paragraph fonts, very clean and legible fonts for lots of bits of text, or some nice headline fonts that really capture things. I think this one, Abril, right here, really kind of captures the feeling of what Alice is doing with her brand and her website here. I'm going to add that. It's going to tell me that a font family was added to the Web Fonts menu. That's great. I've got that now. Now really, all I have to do is go over here and say, I'd like the italic. That looks great. I think that really matches what's going on here. I think that's beautiful.
I could probably add it to the rest. I'm not going to do that right now. That's perfect. I've just made a series of changes to the website. I'd like to publish those out. Muse is totally integrated via the Creative Cloud with our Business Catalyst service. This is a great example of all the pieces that Adobe has been working on for quite some time, all coming together into one account. I have published to the site before, so it's configured, in which we sort of set up a domain name and a couple of things like that. Now to update it to the live site, I do that. Now I'm publishing to the web, and all of those files are getting generated out of Muse and are getting pushed out over there. My microsite is updated. As that goes over, we'll see the site will come forward.
This will be the live site out on the web. Just check out the URL. You can go visit it yourself, and it's all right there. Here we go. There we go. There's the site on the live web. If I go over to the spring bit of it, I've got my, yeah, perfect. If I start going through, there's the image that we had them take. That's perfect. I've got some of the other images here over to that brand story bit, and there's my beautiful font. Everything else is loading up. I can select this text. This, to me, is one of the reasons that we started with Typekit, which was to take the power.
Of what designers and typographers and designers have been doing literally for hundreds of years in print and finally bring it over to the web. I'm thrilled that we've got this integrated into the Creative Cloud and are giving everybody the ability to access all of this stuff. All right, one last thing to show you over here at the Creative Cloud website. You saw that publication that Paul was doing in InDesign in which he output to the iPad. We have that right here as well. They finished that up, and now it's here and been shared with me, and I've got it in my account. If I were to drill into this, it shows really sort of everything coming together here in this publication. I've got a couple of things here on the site.
Again, there's a color palette pulled out of this, so you get a sense of that. Also, we've extracted the typefaces that are inside of there and now linked them over to my Typekit account so I can have an integrated and consistent experience from print to tablet to the web. I like that. We've also, again, we know this is an InDesign file, so we've added some pagination. This is an InDesign file that's a dozen pages with loads of images and typefaces and things like that. For those of you that have collaborated with clients or even a team on a publication like this, you know that getting feedback and sending around comments can be a difficult task to manage that, frankly, has very little to do with the creative process of the process of creation.
Now, to do all of that, you simply put it in your Creative Cloud folder. It goes into your storage, and you send around the link like I did with that image that we created. We have everything then shared with everybody in a browsable, viewable rendition of the file. They don't even need to have InDesign to be able to look, to make comments, give you the feedback that you need. This is great. This is because Adobe understands its applications and the files that come out of those applications. Adobe, I think better than anybody, understands the creative professionals that are out there in the world, and we understand how they create. When we put these applications and files and our users together into the Creative Cloud, it just multiplies into these really amazing things.
We've talked about how the Creative Cloud is going to get more valuable over time. There are a tremendous number of features that we're working on right now that are going to be added in the days, weeks, and months that are coming. The memberships that you get will continue to be more valuable and more valuable as we add more and more. I could list off all the things that are coming because I'm so excited about them. We put a video together that kind of walks through the next few months of features that will be added to the Creative Cloud. As you watch that, just keep this in mind: we're working so hard to take everything that Adobe does and create for you an integrated, seamless, and intuitive experience. Thank you very much.
We're on a journey right now at Adobe. We're really focusing on how to reinvent creativity as you're all starting to create content for a bunch of new mediums and in a number of new ways. We realized that we really need to rally ourselves together and create something that was a broader and more cohesive vision for what could be accomplished given all these changes. This is really now resulting in Creative Cloud and a new era of creativity for us. You're going to see the results of this innovation much more quickly than you've seen before because, as a Creative Cloud member, you can access it as soon as it's ready. We actually are going to give you a little sneak peek right now of some of the innovation that's coming soon to Creative Cloud.
In the beginning, with Adobe Creative Cloud, you'll have syncing and storage of your creative files, and you'll have access to them anywhere. What we're really excited about is the opportunity you'll have to share and collaborate with other creatives through our community galleries. You'll be able to go in, see community galleries where everyone is sharing their work, and you'll be able to find work you're really interested in, filter down, browse that work, see other work related to it or groups dedicated to this type of work, join it, and then be able to go back to your files, quickly select a few, and share it immediately to that group.
Creative people get inspired anywhere that they are, and they often want to sketch something or take a picture of whatever inspires them. That's really what we're trying to enable with our touch-outs. For instance, if I see something where the colors really strike me, I can just hold up my camera, and it will capture that color theme for me, which I can then edit. Maybe I really want a different shade. When I get it where I like it, I can save it to the cloud, and I can have it with me when I get back to my desktop or share it with someone I'm working with.
Coming soon to Adobe Creative Cloud, every member will get Lightroom. Professional photographers have loved Lightroom since it was introduced. It's essential to become the foundation of their digital photography workflow. One of the reasons it's that foundation is because they have access to cutting-edge math and science to get the best out of their images, and it's wrapped in this very easy-to-use, elegant interface.
Right now, if you want to target iOS, Android, BlackBerry, and Windows Phone, you'll need four different projects on four different native SDKs. With Adobe's awesome new PhoneGap Build web service, you don't need any of that. You just need your app, you upload to our cloud service, and we'll send you back the applications for six different platforms. It's just a matter of scanning the links with your phone and letting it install directly. A moment later, your app's available.
I'm really excited that we've launched Creative Cloud because, until now, DPS has been limited to professional customers. Soon, all Creative Cloud members will be able to create an unlimited number of single-edition applications. Let me show you some examples of single-edition applications that some of our customers have already created. The thing I like about this app is that not only do they have a story about every single album The Beatles has made, but you can come in here and listen to the songs as you read the story about how they created them. Another really good example is this app called The Final Hours, which is about the creation of Mass Effect 3, a video game. One of the things that I love is this 360 animation that they have that really gives you a sense of the inside of BioWare's headquarters.
These two single editions that you saw were created by professional publishers. Soon, all the Creative Cloud members will have the tools they need to create applications just like this.
As we keep reinventing ourselves, we keep empowering you to do things that maybe you couldn't do before, and you keep inspiring us about things that we ought to be doing to keep improving the software. It's really an iterative process that we work on with all of you.
I hope the last hour with Jeff, Paul, and Steve really emphasized the journey that we're on as a company and what we're starting to enable for creativity over the next decade. We have an incredible release coming up with Creative Suite 6, the stunning performance, the enhanced UI, the responsive content development for devices, and a lot of that secret sauce that every release we're able to do those things that were previously impossible. We couldn't be more thrilled about the journey we're beginning with the Creative Cloud. Members get access to all of those CS6 tools, plus Edge, plus Muse, plus that deep integration into all of the tablet workflows, the storage and synchronization, the sharing and collaboration, the publishing that Jeff ended with, and all of that ongoing innovation that we just showed you in the video.
We're so excited about these releases and more excited about the months and years ahead as we get to continue to leverage these platforms to do more and more for you. We hope you are, too. We can't wait to see what our customers do with it all. To that end, I wanted to close by answering the question we started with. Why do we create? Specifically, why does Adobe create? We do what we do because we're inspired by what's around us. Something as small as the label on the bottle of water or as involved as the magazine you read last night or as touching as a video of a child's first steps or as breathtaking as the amazing art in this amazing museum.
They all have one thing in common: an individual artist who took the time to notice something, mixed it with their life story, and shared that emotion with the world. That's what makes us human. In some small way, we do what we do because we want to see the world through your eyes, and we want to celebrate your creativity. To make this a little bit more tangible, we handed off the cover design for our products to our users. Every CS6 box was designed by an artist, not by Adobe. Like any piece of art, you may love it, you may hate it, but the real value is that it makes you feel something. Before Shantanu comes back and closes, I'd like to show you a video of the artist who designed the Photoshop cover art. In the end, why did we make Photoshop?
We made it for him.
My name is Oleg Dou . I'm an artist, but sometimes some people call me a photographer. It's not true. I'm an artist who uses photography as a medium for my works. I was born in Moscow, and I lived all my life in Moscow. I think the first time I realized that I wanted to be an artist was around six or seven years old. My mother used to be an artist, and she spent a lot of time with her friends, other artists at their studio. Me and my brother, we spent a lot of time with them. The earliest thing I remember is when I was two years old. I was shocked with electricity. The worker came to our house to repair some electricity things, and he left open wires, and I played with them. It was a wrong decision.
I spent a lot of time visiting different museums and galleries. I was always interested in something really beautiful aesthetically and very sad at the same time because sometimes it's a conflict. I think it's interesting. I think the photography was something that opened me a new way, new possibilities. I've got a first Photoshop when I was 14 or 13. It was version 4. At the beginning, I just pushed all the buttons, and I saw I was looking, what will happen if I will push this and this and this? It was really magic. You can draw something with the brushes, different kinds of brushes, mixing layers, moving layers. Wow. It was wow. I have a friend who's very pale, and she has an old classical face. I decided to make a present for her and to make a good portrait of her.
I wanted to try to clean her face like in fashion magazines, how to remove spots from the face and so on. I didn't know the techniques at all to make it the right way, and I made it too much. I saw the result was interesting, and I made it once again and once again on the same image. It was just made by mistake. As a result, it was something like what I do now. I decided to develop this and to see what will happen if I will try more. I wanted people to be a little bit shocked, and I make the skin lighter than it is to look the person's more like ill persons or dead persons, maybe. The result was that many people were frightened with the images.
The beautiful face for my art is not the same as the beautiful face for my life. I prefer to work with unusual faces. I use real-world objects quite often for textures and combine them with the photography. It depends on what I'm planning to do. Sometimes I know definitely what I want, and sometimes I know just a little bit. I'm trying not to think about my future. The only thing I really want is to create. I hope that what I will do will be interesting for the people and for me myself.
We really believe that it's artists like Oleg who are fueling the next generation of the creative economy all around the world. I hope for those of you here at the de Young, you actually took some time to see all of that visually stunning imagery that we are going to be celebrating on our boxes. We're thrilled. We're thrilled to have Oleg here with us today from Russia, along with some of the other artists who've actually been kind enough to share their work with us, so folks from Non-Format, Mizo, Tolleson Design , and Autofast. What these artists have done is truly, truly remarkable. There's a lot more information about their work and documentary videos on adobe.com. If you would please stand, we'd love to give you a round of applause. Thank you for being here.
It's clear that we all draw inspiration from the work of young creatives all around the world. That strikes home for me as well. My younger son is actually an avid photographer. One of the thrills of his life was to be able to apprentice with the Photoshop team earlier this year. His name is now on the splash screen, which he proudly has put on his Facebook page as a sign of the fact that he's recognized. The power of creativity to change these young lives, to be able to attract the next generation of creative, is frankly what drives us and inspires us at Adobe. A large part of the Adobe Foundation's work also focuses, therefore, on young people. We believe that for every person, the next generation, having access to digital literacy is a critical need and a skill that they absolutely need to have.
That was the reason and the rationale for creating the Adobe Youth Voices program. It was really to be able to serve underserved communities and allow kids a chance to amplify their skills, their voices, as well as to depict issues that were critical to them and important to them through the use of the Adobe Creative software. We're thrilled that we've been able to reach over 150,000 kids in 52 countries through this program. Our goal is to touch millions. Today, we're really happy to be able to announce yet another element to this really breathtaking program, and that is a new AYV Creativity Scholarship. We've announced that we will issue $1 million, and the scholarship will be given to fresh graduating high school students worldwide who wish to pursue work in the arts. Our future as a global society really hinges on this creativity.
We hope that this scholarship will, in a small way, inspire a next generation of creative artists to pursue their dreams in whatever field they choose. We hope, in summary, that you are as excited about all of the innovations that David and his team showed as we are today. I could not be more proud of the over 10,000 employees who worked hard to be able to deliver this innovation to all of you. The Creative Cloud and the Creative Suite represent not only an incredible new set of tools and capabilities, but frankly a reimagining and a transformation of the entire creative process. To everyone on the website and to all of you here at the de Young Museum, thank you so much for joining us today. Now let's go create something. Thank you.