Adobe Creative Cloud Express, formerly Adobe Spark, is a suite of integrated cloud apps targeted to non-designer marketers, solo entrepreneurs, small businesses and professionals who seek a sophisticated way to connect with customers. Adobe’s Creative Cloud Pro apps may be too much of a good thing, and Microsoft Word’s features may be too little. Businesses that don’t have the time for art school or money to hire design professionals can rely on the Express app to make an online splash for a product or service.
Did you know? Design is integral to branding. Your eyes take 2.6 seconds to focus on a specific element of a webpage when it loads, and you quickly form an opinion based on what you see. If you can’t afford a web designer, you can design your website with Squarespace or other DIY web builders.
Adobe Creative Cloud Express offers the opportunity to create branded stories, helping you craft your own corporate identity across graphics, video and web content to connect with customers and generate a following. It provides an easy way to create professional-looking event flyers, Instagram memes, product demo videos, animations, photo journals, and websites for sharing on desktop, laptop and mobile.
Express takes a template-first approach to creating content, providing built-in access to stock images and other assets. It is designed to be more accessible for the typical user than many of the Adobe Creative Cloud apps. While Express is similar to its predecessor, Spark, there are some key differences – the most important of which is that all of its capabilities are unified into one single app, as opposed to Video, Page and Post apps for different needs.
Any Creative Cloud subscription – from the $50 monthly package to the $10 monthly Photography plan – offers free access to the Express app. Users can opt for a free version of the app or pay $9.99 per month for a more sophisticated version, which offers additional capabilities and access to a larger stock library.
Free users will have access to a portion of Adobe Stock, the platform’s library of images and other assets. About 1 million images and assets are available with the free version. Premium plan users have access to a much larger library of assets, which includes 175 million photos and 20,000 fonts. Premium users can also use Photoshop Express and Premiere Rush, which are separate apps.
The Express app is available free of charge and without subscription for anyone not interested in the custom branding features. Basic editing and photo effects are available for all in-app users as well.
For those interested in the premium plan, there are tons of customizable branding features, as well as photo and video editing capabilities, that will allow you to expand your brand.
You can use your own logo or create an original one in Express. Just upload your current logo into the Express system and then select elements such as colors, fonts and a brand name. Express uses Adobe’s artificial intelligence engine to generate complementary color palettes and pair curated fonts to create personalized templates and themes so that your look is polished and professional.
Express will then generate a host of branded templates, themes and surfaces, including business cards, stationery, social media covers, flyers, page headers and footers, video stamps, and outros. Any changes you make are universal across templates. You can also create specific variations so that different logos or themes can represent different aspects of your business or seasonal messages.
Tip: With all the competition you face on the internet, just having a website isn’t enough. Make your business website a strong part of your brand – and make sure it’s mobile responsive – to generate maximum connections with customers.
1. Launch Express on the web and click Add Brand to open an interface that lets you start creating your brand identity.
2. If you already have a logo design, upload the file in PNG format. Otherwise, use the tool to help you build a text-based logo. Use a transparent PNG to ensure your logo can be used with any color or patterned background.
3. Express will take your primary color and generate a palette of complementary colors. Experiment with the colors until you’re pleased with the result.
4. Select your font. Most non-designers are not font experts, but Express lets you select from a slate of curated fonts to find the one that best represents your company.
5. Name your brand.
6. After you choose a main font from categories such as Classic, Loud, Clean, or Natural, Express automatically pairs it with a companion secondary font that goes well with your selection.
7. Express will generate custom templates for numerous types of documents, including business cards, social media covers, flyers, stationery and video stamps.
8. Choose video and graphic themes to use with any other branding assets so that all your business communications have a common logo, color and font set.
9. Experiment with variations on your theme – your initial choices are not set in stone. Express makes it easy to alter the look and feel of your branding at any time. If you choose a new font or color setting, the app’s style-linking feature automatically updates all the document types and themes that font or color appears on.
10. To change a single template for a special or seasonal promotion, click on the one you want to use. The Start From control lets you change only that item without applying changes to other templates.
11. You’ll be able to make granular choices in layout, color scheme, background and text. You’ll also be able to swap out logos, keeping all changes confined to a certain number of templates. Use template elements to change your design, layout, palette, background and text.
12. The Express app provides access to video editing tools that let you choose how to brand your videos in the same manner as your posts and pages.
13. You can adjust many different aspects of Page themes, such as color and font.
15. Work on the go. Everything you can do from the web app can also be accomplished on the mobile app for iPhone and iPad. If you enable syncing, all changes automatically appear in all locations.
If you’re looking for a polished online presence with content that includes graphics, video and web, Adobe Creative Cloud Express may be your alternative to design school. On the Express website, Adobe offers tips on getting started and best practices for using both the web app and the mobile app. If you are already a Creative Cloud subscriber, Express is a no-brainer. If you’re not, you don’t have to plunk down cash right away. Try Adobe Express apps online or via iOS free of charge to get a feel for what the service offers. If you don’t mind Adobe Express branding – the free version won’t allow you to remove the Express watermark from your projects – you never have to pay a dime. However, if you want to push your own brand, Express makes that easy for $9.99 per month.
David Cotriss contributed to the writing and research in this article.
Adobe has announced updates to Adobe Substance 3D, expanding on the tools’ extensibility and performance.
Adobe (Nasdaq:ADBE) today announced major updates to Adobe Substance 3D – a suite of tools and services that support 3D content creation from the beginning to the end of your project – expanding on the tools’ extensibility and performance. Updates include a 3D Materials SDK for developers, powerful new plugins, and native Apple M-series chips support for Painter, Designer, and Sampler. The company also previewed innovations from Adobe Research focused on new ways to design, create, and deliver engaging and realistic immersive experiences, and showcased how leading brands are using Substance 3D tools to build unique customer experiences. Additionally, Adobe announced that Substance 3D applications will be free to teachers and students worldwide.
“Smart brands are getting “metaverse-ready” by growing their 3D and immersive content creation capabilities. That means that creative artists with expertise in 3D have a wealth of opportunities,” said Scott Belsky, chief product officer and executive vice president of Adobe Creative Cloud speaking at a customer event in Paris. “These innovations provide new superpowers to the rapidly growing number of creative people using Substance 3D.”
Substance 3D Collection for Powering 3D and Immersive Experiences
The growing importance of 3D and immersive content has contributed to strong demand for Substance 3D tools across gaming, entertainment, and e-commerce industries. 3D content creation also continues to grow into a core skill for creative professionals as more brands prepare for the metaverse and other immersive experiences. Substance tools have seen a strong 100 percent year-over-year growth, with now hundreds of thousands of monthly active users.
Adobe announced multiple updates across the Substance 3D Collection, including:
“Incorporating Adobe Substance 3D into our product design and development processes has unlocked a new level of creative freedom for the HUGO BOSS team,” said Sebastian Berg, head of digital excellence at Hugo Boss AG. “The emergence of the Metaverse presents exciting opportunities for the fashion world, and Adobe Substance 3D tools are an integral part of our approach, as we execute on our plan to develop 80% of our collections on a digital basis by the end of this year.”
“Visualisation is one of the keys to success in accelerating decision making, strengthening the link with creative direction and reducing our time-to-market by validating the product in the marketing touchpoints,” said Guillaume Meyzenq, SVP consumer category running, outdoor & sportstyle, Salomon. “The Adobe Substance tools allow us to reinforce the user experience, offer us a lot of flexibility and a reduced adoption time for the designers by importing digital assets from other tools.”
“The mix of simplicity and raw power of what I can do in Adobe Substance 3D Modeler is staggering. It’s the gold standard for two handed sculpting,” said Bay Raitt, a 3D graphic novelist and principal UX designer at Unity. “With a set of perfectly chosen controls, Modeler is deceptively simple to use, but as your skills Improve it is worthy of deep mastery for even the most dedicated sculpting and world building tasks.”
New Adobe Research Innovations for Future Metaverse Experiences
Adobe Research, a world-class organisation with research scientists, engineers, artists, and designers who shape experimental ideas into innovative technologies, today previewed research projects designed to power future Metaverse experiences:
Pricing and Availability
Native Apple M-series chips support for Substance Painter, Designer and Sampler and the Substance Materials Plugin for Photoshop are available today. The Substance 3D Plugin for Unity will be available later this month, and Substance 3D Modeler, currently in beta, will be available later this year.
The pressure on organisations to offer excellent customer experience to each unique individual is growing. Today’s consumers have much lower levels of patience for businesses that fail to meet their exacting expectations, whether around service, availability, delivery or choice.
Rises in inflation rates and cost of living are driving a decrease in spending and consumers being more selective about what they buy, and where from. According to the latest EY Future Consumer Index, 42% of people will only buy from brands that align with their values, and 36% will only visit stores that offer great experiences.
Against this backdrop, a digital experience platform (DXP) could prove a vital investment for organisations. A DXP lets companies engage more effectively with their customers and use the data to optimise and automate their digital experience. The objective is to increase customer loyalty, boost brand awareness and, ultimately, Improve business performance.
Legislation governing cookies and consent, coupled with increased concerns around data privacy, mean businesses need a new way of managing data and turning that into an understanding of customers, so they can fulfil those aims. A rebalancing of trust is required to demonstrate that if customers give brands their data, the brands will use that in a meaningful way to benefit individuals.
“A lot of our customers are looking to CDP [customer data platform] technology to enable that to happen, which is why we created the Real-Time CDP,” says Steve Allison, senior manager, strategic marketing EMEA, audience & data technologies at Adobe.
“The core part of the CDP is a profile containing the latest, greatest information about that customer that can be used to coordinate and activate that customer, making sure that everything we do for them is relevant to the context to that moment in time that they’re in.”
Adobe has introduced streaming segmentation to help companies get a real-time view of customers while ensuring compliance with any legislation. The issue with traditional segmentation, which divides customers into groups that share similar characteristics, is that it relies on batch, often outdated information. Streaming segmentation changes the definition that an individual belongs to in real time, as they are interacting with the brand.
“When that information comes back, it has already re-evaluated you and said what your new segments are going to be,” says Allison. “That means you can be relevant far quicker and keep attention span far quicker with customers.”
These latest innovations in DXPs will enable firms to establish omnichannel personalisation without being hampered by delays in obtaining data or by disparate systems for different channels. This is down to CDPs with real-time data-processing capabilities over all the different systems feeding in and out of the platform, and machine-learning algorithms that offer the scale and speed of insights needed to translate this information into the next action.
“Businesses are able to drive a single conversation across any channel, jumping between the real world and the digital world, phones and web pages, and anything else that they use, like the new Metaverse coming up, to build that loyalty with the brand, rebuild the trust about giving data and give a much more responsive level of personalisation than we’ve ever done before,” says Allison.
Composability is currently one of the biggest trends in the DXP space. The next generation of DXPs will feature composable architecture as the foundation layer through which all the data, systems and fundamental infrastructure for the delivery of digital engagements can sit upon.
OpenText is supporting this flexible, composable approach via its Experience Cloud, which brings together tools for creating, managing and using content, experiences, communications and digital assets.
“It brings a pattern, not a prescription, to our customers,” says OpenText VP Guy Hellier. “This is not a monolithic platform.”
Companies can opt for the cloud service managed by OpenText or can run the technology in their own private datacentre cloud. They can also combine DXP elements such as the CMS, CDP and DAM from OpenText and integrate other capabilities they already have.
“They are all composable, and this is the way we are building it,” says Hellier. “By bringing in the CDP, this doesn’t in any way prevent our customers from using something else they may already have in place.
Guy Hellier, OpenText
“What we are doing is pre-building the pathway of a data flow and the use of tagging, so they are going to get to market that much faster by using our pattern, but the tools are open, they are able to be plugged into whatever data sources, whatever content sources our customers are using.”
On top of that composable architecture, a raft of highly flexible, agile, headless components and applications can sit. A headless approach involves decoupling content – whether a snippet, headline or image – from the presentation layer, so the end-user can receive a personalised experience dependent on the device they are using, their interests and their relationship with the brand.
“It allows for not only a high level of personalisation, but also digital channel contextualisation,” says Liz Miller, vice-president and principal analyst at Constellation Research. “Headless really decouples from not only the where someone is going to experience what you have built, but also the what fundamentally they are going to experience.
“The new focus of any DXP is to have the flexibility to not only bend toward where the organisation needs to be by way of composition and delivery and presentation layer, but also where the customers are going to be.”
Although this headless approach is increasingly popular, it will not suit every firm, many of which still have traditional headed websites and content management systems.
Miller adds: “While many businesses are now creating new points of engagement and experience ahead of the fashion, they can’t necessarily just blink their eyes overnight and their entire digital footprint is now headless or can be managed by a headless system.
“The builders and the content creators don’t all live in an environment where headless is 100% possible. They need systems that allow flexibility to support headed environments, hybrid environments or a completely headless content management system.”
Another trend in the DXP space is ease of access for a broader range of users. OpenText will next turn its attention to developing a common user experience for the hundreds of different tools in the MarTech ecosystem. Currently, the onus is on end-users to visit different applications, such as project management or social publishing, to carry out different tasks. OpenText plans to start bringing those tools into a common unified experience.
Hillier says: “It’s not just marketing users, it’s business users, it’s the department that’s responsible for onboarding customers to new services where you’ve already acquired the customer, and now you need to go deliver the service itself.
“What we’re doing is bringing automation and analytics tools to business that marketing has been enjoying in more narrow marketing solutions.”
Whereas DXPs were initially embraced by organisations operating lots of different websites and digital experiences – retail, commerce, banking, insurance – they are now becoming much more important to any organisation wanting to Improve customer relations. DXPs are reaching into customer service, enabling agents and managers to quickly deploy a new FAQ or answers page to help resolve an emerging challenge without needing to involve marketing or developers.
“Someone who has access in customer service can spin up that page quite quickly,” says Miller. “We’re starting to see deployments in product, in customer service, where the DXP is working to unify and normalise how any digital experience can be composed, developed and deployed, regardless of function of where that deployment needs to happen.”
Looking ahead, Miller believes artificial intelligence (AI) will have the biggest impact on DXPs. AI will be at the heart of everything from smart tagging to smart templates, layouts, assets – anything that can help and guide the user in their ability to create and deploy digital assets quickly.
“AI is really becoming central to the next phase of digital experience,” says Miller. “Not only does the end-customer thrive on personalisation, but it’s also all the people along the way that are building these digital experiences. The user and the developer also need that level of personalisation, that level of help, to do their jobs and be more successful.”
In the ultra-competitive battle for talent in the tech market, strong employer branding is vital to help build and retain a competitive edge, even for established names such as Adobe.
Best known for its suite of printing, publishing, and graphics software, Adobe is a global organisation with more than 26,000 staff across almost 40 countries.
Central to its employer brand is allowing employees to share some of their own experiences and stories to reflect how the organisation focuses on wellbeing, diversity and employee welfare. Having access to a suite of industry standard DTP software products helps to make that happen.
Both EMEA Talent Marketing Manager, Isabelle Galére and UK&I Talent Acquisition Manager Ollie Hayes, are latest recruits. Galére joined to help coordinate the employer brand in local territories.
“I joined the company three months ago,” she says, “and the brand was driven mainly from the global team. I was hired to make it more local, make it more regional. The philosophy and strategy have a global alignment but our intent is to go from bottom up, meaning that the stories are coming from the employees but with direction from our talent teams.
“The first guideline is authenticity. We don't want to push people to share if they don't want to. People have great stories to tell at Adobe.
“Sometimes, you have the company promoting a lot of benefits, campaigns, etc. Which are not always a reality. Everything that was mentioned during my interview process was true. For me that is authenticity.”
“It's a really pragmatic approach,” adds Ollie Hayes.” I've seen other companies who are less keen to let their employees drive employee advocacy. But I think people trust what the individuals in those companies say, so it has real value.”
The aim of an employer brand and EVP for a global organisation is to bring cohesion across the company.
There must be a local opportunity to interpret the global message in every territory. From a framework strategy perspective there are going to be elements that are global and central so it’s non-negotiable - the positioning statement, the brand guidelines, the typeface, the colours and so on and then elements which are globally defined and locally tailored and purely local elements.
There is also the consideration of the different mix of employees within the organisation which, in Adobe includes software engineers, marketing, sales, HR, and everything in between.
“What we asked ourselves is ‘what is our talent looking for?’, says Galére. “And they are all over all regions looking for the same things as career opportunities, work life balance, and probably flexible work. That’s something I can see all over EMEA.
“We have a lot of well-being programmes for our employees because Adobe is really a company that cares about the employee. Work/life balance is very important to us. We have tools for mental health apps to help, we have an employee assistance programme and also programmes offering funds to buy a bike, to do sports, whatever.” for wellness and education.
Hayes says staff have bought into the employer brand and employee advocacy quite naturally, with an inherent creativity and technical understanding among the workforce, coupled with the confidence and the ‘permission’ to share their stories and experiences.
“With other companies, you might need to go for a big behavioural change and educate the recruiters around making that mindset shift and thinking more like marketeers when it comes to their work. But at Adobe, maybe it's because we're a creative company with creative people, that has been something that has come quite naturally, “ he explains.
“People are quite keen to get involved with employer branding. And then you show them that, to drive an employer brand, programme, or project or to launch micro stories or videos, you don't need months and months of preparation, you don't need a specialist agency to come in and take over, you can drive a lot of it yourself.
“You can show people how you can make it quite simple, using the company’s own products and solutions. If we're trying to drive a micro story we can provide thought out questions that really drive authentic content, that resonate with the people we're trying to hire and engage with.”
Adobe’s employee advocacy is also demonstrating how intuitive its products are to use, so it aligns nicely with its product marketing too. Employees Talent Acquisition teams are not necessarily experts in how to use the Adobe suite.
“It's really about encouraging people to learn to test and to get some success,” adds Galére. “And if I have success, what I really love is that I can share it. And why don't we? Why do we have to reinvent the wheel? We have simple, easy stories that come from our employees that we leveraged from UK to Germany to Romania. It's really about the employee initiatives, more than the leadership.”
Language, locality, and imagery are all key to creating local flavour, says Hayes, With video being particularly impactful.
“What's always been noticeable for me is when you see content coming from certain organisations, especially US tech companies, which I've worked for in last 10 years, you get good at spotting whether it's European content or media content, or whether it looks very Americanized.
“I always remember speaking to colleagues in Germany, and they said content in Germany lands better when it's in German, or it references a German institution or the German university. That's what they really grab hold of.
“The main thing is making it look less like it is American content. But is it more sort of UK content, for example, I think EMEA is sort of quite diverse as with all the different regions, we've recently launched a video, which was specific to the Nordics. And you can see in the imagery and a video that that was done that it's very specific to the Nordics.
“But I think the key messages that come across are all those around internal mobility, why people love Adobe, the memories that they've created here and so on. That resonates across different markets, but it's quite clearly not somebody standing in California or New York or something.
“And then there is local content, people resonate a bit more with that. It comes through in the imagery you use, or the just the language or combination of both.
“And I think it is videos than imagery. You know, taking a photo of somebody in the office could probably be anywhere. But I think for the videos, you can showcase the local office. Our Paris office, for example, was in a video created not that long ago, and from the rooftop you can see the Eiffel Tower, it's quite hard to sort of think you're anywhere else.
“With video I think you can showcase the local flavours. Not everyone is speaking in English with a specific accent, which is the beauty of it.”
Galére has seen improved localisation and targeting content create a huge pick-up in engagement rates.
“Additional to what we are seeing as a company, employees are really talking about their experience in their own language, which makes it also very personal and very sincere for me.
“When you see the engagement, when people are liking or sharing, you can see when it's personal, and written with heart, it's really something that is very engaging for the followers.
“I am very focused on target audience, instead of pushing your content over the world about something happening in UK that nobody elsewhere would care about. That engagement rate would only be focused on the UK and that really decreases the engagement rate. Now I'm really targeting specific audiences like UK or Romania or France, whatever. Since I started that targeting, I've been seeing a lot of improvement from I would say engagement rates going up from two per cent to 20 per cent.”
According to the report, Tekno Point's most significant vertical market focus is on the banking, insurance, construction, and engineering industries
MUMBAI, India, July 6, 2022 /PRNewswire/ -- Tekno Point has been included in the Forrester Now Tech: Adobe Services Partners in Asia Pacific, Q1 2022 report. The Now Tech report is designed to help enterprises "understand the value they can expect from an Adobe services partner in APAC and to select one based on size and functionality."
Forrester defines this market as "Third-party service providers that help Adobe customers successfully transform digital experiences using Adobe Experience Cloud solutions." It also states that "Key services include strategy, design, consulting, implementation, training and enablement, change management, and support."
"We believe that experiences can't only be designed, they also need to be engineered. Our Experience Engineering approach combined with deep Adobe Experience Cloud expertise empowers customers to cover significant ground at the first go-live. Our unique focus on post go-live enablement helps customers drive faster adoption & better ROI from their Adobe investments. To us, this recognition by Forrester, a leading independent global research and advisory firm, validates our approach," said Himanshu Mody, Founder & CEO, Tekno Point.
Tekno Point has been consecutively awarded the Adobe Digital Experience Emerging Partner of the Year, APAC in 2022 & 2021.
With over 50 Adobe DX Go-lives, Tekno Point has been a reliable go-to partner for enterprises across industry verticals in Banking, Life Insurance, General Insurance, NBFC, Retail & Manufacturing â€“ Paints, Tyres, Cement.
About Tekno Point
Tekno Point is an Adobe solution partner for 16 years. Tekno Point's award-winning expertise has helped brands deliver personalized customer experiences that change with the speed of business â€“ at scale. Tekno Point enables business, digital and IT leaders deliver faster time to market & accelerate continuous innovation driven by in-depth analytics and hyper-personalization capabilities. Our in-house API accelerators help brands expand the possibilities to deliver a truly omnichannel experience to their consumers.
The Independent Care Review has highlighted what most of us already knew. The current fostering system is broken – there are not enough foster carers; too many siblings are separated; too many children are moved miles away from their communities, too many young people leaving care struggle in life; and private independent fostering agencies and residential care homes are making a profit on the back of the public sector.
The care review also sets out a vision for the future, but, in the words of the Children’s Commissioner, ‘the ideas… [are] only as good as their implementation.’ It is very likely that if reform is delivered by the same organisations that created the current mess, we’ll be here again in 15 years. We need fundamentally different organisations than the ones that landed us here.
Assembling a dream team
We are a collaborative of social workers, and experts in human centred design and digital transformation supported by a network of care experienced people. Our aim is to set up a not-for-profit start-up that raises the bar for service delivery in fostering. We’re also lucky to have Katie Waldgrave (Co-Founder and Director, Now Teach) and Dominic Campbell (Founder, FutureGov and Co-Founder, Impossible Ideas Inc.) bringing their serious experience in public sector entrepreneurship to the team.
We’re building an organisation that takes the best of modern start-up tools and culture, without the profit-driven incentives, and with community power designed in. We want to make the experience of foster care seamless for carers, loving and supportive for children and young people and meaningful for social workers.
Changing the perception of fostering
As Josh MacAlister sets out in the Independent Care Review, recruiting more foster carers is crucial. We need to get more excellent people into foster care, which means we need to dramatically change the perception of fostering. Fostering can and should be an aspirational life choice.
It is estimated that by 2026 there will be a recruitment deficit of 25,000 foster care families (Social Market Foundation, 2021). Yet we continue to rely on old-fashioned methods of recruiting, based on word of mouth and local adverts. Study after study shows that the general population knows little about foster care, and that much of what they think they know is based on myths and misconceptions.
This is a problem, but it also shows the huge potential for targeting, recruiting and supporting new groups of people who wouldn’t have otherwise thought about care. In order to create a more diverse foster carer pool, we need to rethink how we approach people and how we make fostering easier to integrate with their lives.
A 21st century recruitment & support service
The first service we’re designing is one that can have an immediate impact. We are building a non-profit to recruit and retain more great foster carers. The organisation will support Local Authorities and charitable IFAs.
Data shows that there are people out there who are currently not reached but would be great foster carers. We will use data analytics as a basis for a recruitment campaign that will target a currently untapped pool of people.
We’re designing a wrap around support programme for people who want to become foster carers. Our support will add to the statutory training delivered by partners to maximise retention of Now Foster carers. It will be in large part delivered by care experienced people and experienced foster carers.
We’ll build a strong peer network from the start, so that people applying to become foster carers can lean on each other, stay motivated throughout the process and get information and support from people who know what they are going through.
We’ll build a digital ecosystem around the application journey to guide people through the process, provide reassurance and celebrate milestones to keep them engaged at any stage.
Whilst we plan to start with recruitment and retention support we have an ambition to transform wider parts of the experience – looking at how to support foster carers to continuously learn, working with care experienced people to provide better support for families and finding new ways to give children and young people a voice and become active participants on their journey.
Immediate next steps
We are currently designing the recruitment & retention service and are aiming to run a pilot in 2023. We will be partnering with TACT for the pilot and are still looking for Local Authority partners, so please do reach out.
Whilst we have secured some funding for a pilot we’re still looking for investors and supporters who can help make sure we hire the best people and build the best systems to run a genuinely transformative recruitment & retention service.
Laurie Kilby, is a qualified social worker and secondary school teacher who is currently training to be a foster carer with her partner; Beth Vecchione, is also a qualified social worker and director of Care to Dance, a national dance group for care experienced young people; Jan Blum, is co-founder of Impossible Ideas Inc., a former design director and head of service design at FutureGov and working in public sector digital transformation.
It was an interesting set of results for Adobe this week. On the one hand it delivered record-breaking Q2 numbers, beating analyst expectations, but on the other it saw its share price fall as the market reacted negatively to its weaker than expected outlook.
However, CEO Shantanu Narayen said during an investors call this week that the “importance of digital remains undiminished”, despite the obvious macroeconomic uncertainties that face the global economy. Narayen said:
When you talk about a recession, when you look at the three things that Adobe does, which is focus on content, focus on automation, focus on customer engagement, I just don't look at any of those and feel like the secular trend for that will change.
There may be some change in the rhythm of that quarter-over-quarter, but the fundamental shift of what we are doing, this real time CDP [customer data platform] engagement, is going to be the only thing that differentiates a business from another business.
So, we’ll navigate it. We have an incredibly experienced management team and we're planning for the upside right now, which is all of our growth initiatives. We are clearly not going to be in denial. But right now, it feels like a very strong time for Adobe to continue to execute against the things that we have on our plate.
Turning to the numbers, for Q2 2022 Adobe reported:
Record revenue of $4.39 billion in its second quarter of fiscal year 2022, which represents 14 percent year-over-year growth or 15 percent in constant currency.
Diluted earnings per share was $2.49 on a GAAP basis and $3.35 on a non-GAAP basis.
GAAP net income was $1.18 billion, and non-GAAP net income was $1.59 billion.
Remaining Performance Obligations (“RPO”) exiting the quarter were $13.82 billion.
Breaking the numbers down by Adobe’s various business segments, the company reported:
Digital Media revenue was $3.20 billion, which represents 15 percent year-over-year growth or 16 percent in constant currency.
Creative revenue grew to $2.61 billion, representing 12 percent year-over-year growth or 14 percent in constant currency.
Document Cloud revenue was $595 million, representing 27 percent year-over-year growth or 28 percent in constant currency.
Net New Digital Media Annualized Recurring Revenue (“ARR”) was $464 million, exiting the quarter with Digital Media ARR of $12.95 billion.
Creative ARR grew to $10.82 billion and Document Cloud ARR grew to $2.13 billion.
Digital Experience segment revenue was $1.10 billion, representing 17 percent year-over-year growth or 18 percent in constant currency
Digital Experience subscription revenue was $961 million, representing 18 percent year-over-year growth
Commenting on the Digital Experience numbers specifically, which is core to Adobe’s enterprise business, Narayen said:
The digital economy runs on Adobe’s tools and platforms. Customers from individuals and small businesses to the largest enterprises are using our products to unleash their creativity, accelerate document productivity, and deliver personalized customer experiences.
Digital experiences from the apps on our devices, to the digital documents we consume, edit and sign, to the personalized online shopping experiences, is made possible by Adobe. Our mission to enable the world's digital experiences has never been more relevant, and we remain focused on executing our long term growth initiatives.
As mentioned, Adobe’s forecast for the full year is slightly weaker than what analysts had predicted, which forced the company’s share price down in after hours trading. However, CEO Narayen is keen to focus on the big picture - that buyers are unwavered on their commitment to digital, despite any future macroeconomic uncertainties. He said:
In the conversations that we're having, I would first say that the interest level in executives all around the world is very high. I would say right now, the focus is also a lot on execution. So a lot of the investments that people have made in digital, they recognize how critical the imperative is to engage with customers digitally. So we're actually pleased that both Adobe, as well as the entire systems integrator and partner network, are finding that there's a lot of demand for implementation on Adobe products.
I think the other part of the conversation that you all have with enterprise CEOs right now is they all recognize it's an uncertain time. But despite that uncertain macroeconomic environment, the thing that all of them recognize is that digital is a priority. And they really want to continue to have conversations with us as to how they can do digital. The importance of digital remains undiminished.
Our philosophy right now, given all of the myriad opportunities that we have, is we're planning for the upside.
I’ve said it before and I’ll say it again, although the current economic climate will require a more pragmatic approach to forecasts, it’s also been proven time and time again that when a crisis hits, investments in technology typically increase. We saw it with the 2008 financial crisis and buyers’ adoption of cloud and we saw it with the COVID-19 pandemic and the investment in digital engagement. Yes, optimism will be subdued, but buyers will recognize that the best way to navigate through the storm is a smarter use of digital tools.
The Sundance Institute has announced details about the incoming group of Women at Sundance | Adobe Fellows. The eight recipients of the fellowship work across disciplines and stood out for their boundary-pushing work in fiction, documentary, and episodic.
All eight fellows will receive bespoke support throughout the year, including mentorship from the Sundance Institute and Adobe executives, two skill-building workshops, referrals to career development opportunities, coaching, a $6,250 cash grant, introductions to industry contacts and advisors, a one-year subscription to Adobe Creative Cloud, and a one-year membership to Sundance Collab. Each of the fellows has already participated in a Sundance Institute Lab or program relevant to their career path.
Created in 2020, the fellowship was formed by the Institute and Adobe around a shared commitment to champion underrepresented voices. Filmmakers are nominated from across Sundance Artist Programs including the Documentary Film Program, the Episodic Program, the Feature Film Program, the Indigenous Program, and Women at Sundance.
The fellows selected for the 2022 Adobe Women’s Fellowship are:
Elizabeth Ai is a documentary and fiction filmmaker, show creator, and fellow of Berlinale Talents, Center for Asian American Media, Film Independent, Firelight Media, Tribeca Institute and Sundance Institute. She’s currently in post-production with her documentary feature “New Wave” and is simultaneously developing the dramatic series adaptation.
Deidre Backs worked at Alexander Payne’s development company before transitioning to independent producing. She was an associate producer on “Kumiko, the Treasure Hunter,” then served under Daniel Lupi on Spielberg films and Jordan Peele’s Us. She produced “Little Chief,” premiering at Sundance 2020, and is a 2021 Sundance Producing alum.
Aisha Bhoori is a Pakistani-American writer who has written on “Ms. Marvel” (Disney+) and “The Staircase” (HBO Max). She is a 2021 Sundance Episodic Lab Fellow. She graduated from Harvard, where she was a three-time recipient of the Edward Eager Memorial Fund Prize for Best Creative Writing.
Zandashé Brown is a writer/director born and bred in and inspired by southern Louisiana. Her work raises a Black femme lens to the tradition of southern gothic horror by exploring the axis of catharsis, spirituality, and Black southern experience. She recently participated in the Sundance Directors and Screenwriters Labs.
Joie Estrella Horwitz is a filmmaker, writer and producer based in Los Angeles. Her work employs a mixture of research-based fieldwork with a collaborative approach to filmmaking to explore the space between fact and fiction at the intersection of physical and emotional borders.
Miciana Hutcherson’s feature script, “Nancy’s Girls,” led to the 2019 and 2021 Sundance Institute Indigenous Program Fellowships. Her second feature, “Fancy Dance” (co-writer), was supported by the 2021 Sundance Screenwriters Lab, 2021 SFFilm Rainin Grant, and was featured on the Indigenous List hosted by The Black List and the 2022 Scripted Cannes Screenplay List.
Meghan Ross is an Austin-based writer/director and Sundance Episodic Lab fellow. Her shorts were featured in The New Yorker’s Best Shouts of 2020 and nominated for The Webby Awards 2021. Her writing has been published by Reductress, VICE’s Broadly, TV Without Pity, The Toast, and other defunct but beloved sites.
Jin Yoo-Kim is producing “Manzanar, Diverted: When Water Becomes Dust.” She directed and produced for “Take Out with Lisa Ling” on HBO Max, and is in development for her docuseries, “Cult Foods.” She was a Sundance Producers Fellow, Firelight Media Impact Producing Fellow, and participated in the Film Independent Doc Lab.
Recent highlights for the 2021 Women at Sundance Adobe Fellows include: Meryam Joobeur just wrapped production on her debut fiction feature “Motherhood,” Malika Zouhali-Worrall’s short film “Video Visit” premiered at the 2022 SXSW Film Festival, McKenzie Chinn is directing a short film based on her scripted feature “A Real One,” and Cris Gris is directing multiple TV shows for various streamers and is preparing to direct her feature “Forward.”
In addition to the support for Women at Sundance, Adobe is a leadership supporter of the Sundance Institute, as a presenting sponsor of the Sundance Film Festival and founding supporter of Sundance Ignite (a year-long artist development program for filmmakers ages 18-25). Adobe also supports Sundance Collab, our global digital space for learning and community.
Women at Sundance is made possible by leadership support from The David and Lura Lovell Foundation, The Harnisch Foundation, and Adobe. Additional support is provided by Kimberly Steward, The Latinx House, Paul and Katy Drake Bettner, Barbara Bridges, Abigail Disney and Pierre Hauser—Like a River Fund, Hollywood Foreign Press Association, Susan Bay Nimoy, Ann Lovell, Zions Bank, Pat Mitchell and Scott Seydel, and an anonymous donor.
Press release content from Business Wire. The AP news staff was not involved in its creation.
DUBLIN--(BUSINESS WIRE)--Jul 14, 2022--
The “Global Cloud Computing Market, By Deployment Type, By Service Model, Platform as a Service, Software as a Service, By Industry Vertical & By Region - Forecast and Analysis 2022 - 2028” report has been added to ResearchAndMarkets.com’s offering.
The Global Cloud Computing Market was valued at USD 442.89 Billion in 2021, and it is expected to reach a value of USD 1369.50 Billion by 2028, at a CAGR of more than 17.50% over the forecast period (2022 - 2028).
Cloud computing is the delivery of hosted services over the internet, including software, servers, storage, analytics, intelligence, and networking. Software-as-a-Service (SaaS), Infrastructure-as-a-Service (IaaS), and Platform-as-a-Service (PaaS) are three types of cloud computing services (PaaS).
The expanding usage of cloud-based services and the growing number of small and medium businesses around the world are the important drivers driving the market growth. Enterprises all over the world are embracing cloud-based platforms as a cost-effective way to store and manage data. Commercial data demands a lot of storage space. With the growing volume of data generated, many businesses have moved their data to cloud storage, using services like Amazon Web Services, Microsoft Azure, and Google Cloud Platform.
The growing need to regulate and reduce Capital Expenditure (CAPEX) and Operational Expenditure (OPEX), as well as the increasing volume of data generated in websites and mobile apps, are a few drivers driving the growth of emerging technologies. Emerging technologies like big data, artificial intelligence (AI), and machine learning (ML) are gaining traction, resulting in the global cloud computing industry growth. The cloud computing market is also driven by major factors such as data security, Faster Disaster Recovery (DR), and meeting compliance standards.
Aspects covered in this report
The global cloud computing market is segmented on the basis of deployment type, service model, and industry vertical. Based on the deployment type, the market is segmented as: private cloud, public cloud, and hybrid cloud. Based on the service model, the market is segmented as: Infrastructure as a Service (IaaS), Platform as a Service (PaaS), and Software as a Service (SaaS). Based on industry vertical, the market is segmented as: Government, Military & Defense, Telecom & IT, Healthcare, Retail, and Others. Based on region it is categorized into: North America, Europe, Asia-Pacific, Latin America, and MEA.
Key Market Trends
For more information about this report visit https://www.researchandmarkets.com/r/m9wewu
View source version on businesswire.com:https://www.businesswire.com/news/home/20220714005444/en/
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INDUSTRY KEYWORD: SOFTWARE TECHNOLOGY NETWORKS DATA MANAGEMENT
SOURCE: Research and Markets
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PUB: 07/14/2022 06:38 AM/DISC: 07/14/2022 06:38 AM