Claudia McCue

On Monday, May 6th, in the AdobeMAX keynote prefaced (somewhat ominously) by a driving instrumental snippet from the Allman Brothers’ “Whipping Post,” Adobe announced that the next versions of its creative tools will be designated “CC” — and will be available only via Creative Cloud subscriptions. This means the end of perpetual (conventional) licenses. Adobe will continue to sell perpetual licenses for CS6, but only by download — no boxed software. The new CC tools will become available on June 17th.

There are compelling new features in CC:

Photoshop

• Camera Shake Reduction
• Camera Raw as a filter
• Intelligent Upscale
• Smart Sharpening

Illustrator

• TouchType
• On-object transform controls
• Area Type to Point Type conversion (and vice versa)
• Images in Brushes
• Auto-generated corners for Pattern brushes

InDesign

• Greatly improved EPUB export
• 64-bit native (and this was a ton of work)
• De-Carbonized for future enhancements on Mac (another ton of work)
• QR Code generation

As for other applications, you’ll have to consult www.adobe.com: I’m a stodgy old print person, so I confess that I’m ignorant of what’s going on with the Web and video applications.

Pricing and Installing Nitty-Gritty

• You can now buy a year of Creative Cloud with one payment.
• If you own Creative Suite 3 or later, you can join the Cloud for $29.99/month for your first year. After that, the price goes up to $49.99/month.
• If you own a perpetual license for Creative Suite 6, you pay $19.99/month for your first year (and then $49.99/month in subsequent years).
• As with perpetual licensing, you can install on two computers (yours—not yours and your brother-in-law’s). And since the software is downloadable, one could be Mac, and one could be PC (no crossgrade charge). While the licensing implies that only one computer can be used at a time, I have CS6 running on my laptop and desktop at this very moment. InDesign and Photoshop are open on both, with no yellow terror alerts warning me that I’m going to Software Hell as a result. In my heart, I don’t think I’m violating the spirit of the license, since I’m one person. [suddenly, there’s a knock at the door...] Realistically, though, my arms aren’t long enough, nor am I sufficiently ambidextrous to truly be using both computers simultaneously.
• If you need Cloud applications on more than 2 computers, you’ll need another Cloud subscription, and another Adobe ID for additional subscriptions (no big deal; I have a bunch of Adobe IDs so I can test DPS stuff).
• As with the current version of the Cloud, you have to be online only to download and install the software. The software is installed on your computer, just like any other software. Once a month, it silently “calls home” to ensure that your credit card has been successfully charged; that’s the only time you have to be online. (There’s talk of more lenient arrangements, requiring the computer to check in over longer periods, and even more “conventional” arrangements possible for government agencies.)
• If you end your subscription, you’ll still have any files you’ve created, of course, but your software will stop working after a 30-day grace period.
• Don’t need all the programs? You can subscribe to individual products. But if, like most of us, you use more than one program, it makes more sense to just do the Cloud subscription. It gives you access to all the applications, plus numerous services, such as 20GB of Dropbox-like online file storage, free (basic) Business Catalyst hosting for a site created with Adobe Muse, and a free Behance ProSite account.

How do I feel about this change? I’m not utterly surprised — it does mean steady revenue for Adobe, and they swear that we will be given frequent new features to “sweeten the pot.” But I thought we’d be given a one-version warning before they pulled the trigger. I gather that Cloud adoption has been faster than Adobe anticipated—perhaps that hastened this move.

What should you do?

Well, it depends…
Stick with a perpetual/conventionally-licensed copy of CS6 if:

• You work alone, and submit finished files to print providers.
• You don’t anticipate creating EPUBs (or you’re happy tweaking the exported coded)
• You aren’t interested in Muse or the Edge family of products
• You plan to keep this computer and current operating system forever

What might force you into the Cloud:

• The need to collaborate with Cloud subscribers using newer versions
• The need to buy a new computer with newer operating system that doesn’t support your copy of, say, CS3.
• The need for Cloud-only applications such as Muse or the Edge products
• The need for features available only in Cloud versions of applications

I’m in an odd position: because I’m a trainer and writer, I have to keep current. But even when I was in prepress, I always upgraded my own software immediately, just because I loved playing with new stuff (and I had to stay ahead of the jobs coming in). So my natural bent would probably drive me into the Cloud. Mind you, I still have all my old versions, both for historical curiosity (“when did we get that feature?”) and to handle antique files in their native habitat (“It’s a PageMaker 6 file? How…quaint.”)

On top of that, I do freelance work for Adobe: I present at printer-sponsored co-hosts and at AIGA events. So I have no choice but to install the latest and greatest. So you might question my objectivity—fair enough. But I truly am trying to maintain my natural cynicism nonetheless. So, with that in mind:

Pros for Adobe:

• Steady revenue stream is good for bottom line (and that means that people I really like at Adobe get to keep their jobs)
• I’m trying to think of another, but that pretty much covers it. UPDATE: As someone remarked to me, maybe this means that the teams aren’t forced to exactly the same release schedule, since features can come “down the pipe” as they’re ready. That could benefit the development teams (and consumers).

Cons for Adobe:

• This could really piss off customers: the appeal of an optional Cloud may not carry over to the forced Cloud. If people don’t upgrade, revenue sags.
• Even if Adobe backs down from the forced Cloud, the bad taste will remain in the mouths of the disgruntled.

Pros For Users:

• Access to every application
• Cross-platform installation
• New features without additional upgrade costs

Cons For Users:

• You’re leasing software: stop paying, it stops working.
• Printers will either have to obtain multiple individual subscriptions, or use the (more expensive) Teams subscription.
• Government and other corporate agencies will have to make special arrangements for Cloud subscriptions, to accommodate firewall and other security concerns.

What About Compatibility?

The potentional for incompatibility with clients’ and collaborators’ versions isn’t new—I have numerous clients who are still using CS4 (especially on Windows). That’s why I keep all my old versions. Adobe has said that they will make every version from CS6 forward available, which implies that, even when “CC3” is released, subscribers would be able to download and install CS6 applications. So this sounds like we’ll have a continuum of versions available for those situations. How will any changes in file architecture affect us? Well, given that, for example, InDesign CC can export IDML that can be opened in CS4 or later, I don’t anticipate problems in the very near future.

I currently have CS4, CS5, CS5.5, CS6 Cloud installed on both my laptop and desktop computers. I used my AIGA 15% discount to purchase a PC version of CS6 Design Standard, and a Mac version of Design Premium, so I have “hard” versions of CS6 that I can install on both platforms if necessary. And if I wake up all my old laptops, I have everything back to the last century. Why, look—here’s my installer for InDesign 1.0.

Tell Us How You Really Feel

So, am I pro-Cloud or anti-Cloud? To quote an old coworker, “I feel strongly both ways.” Want to hedge your bets? If you’re not yet a Cloud subscriber, join AIGA at the Supporter level ($150/yr) or above, and take advantage of the software discount benefit to get a copy of CS6, and keep that on the back burner. Join the Cloud, see if you like it. If you don’t, you always have CS6 to fall back on when civilization collapses (which is imminent, given that elementary schools are not teaching cursive writing, basic grammar, or multiplication tables).

I’ll be frank— I don’t like the idea of leasing software. I know that software is licensed for use, not ownership, but it doesn’t evaporate when you have a conventional perpetual license. I don’t resent the fact that I “rent” my cellphone, cable, and internet services. But I wouldn’t want to lease a car, or rent my house. I can’t quite put my finger on what makes me uneasy about this, but I’m not fond of the idea. Despite the advantages (easy download, tons of features, the promise of constant improvements), the software now seems less real. Less mine.

Then again, it’s not exactly like leasing a car, since the software is not unchanging. If car leases were like Creative Cloud, I’d walk out to the garage one morning to find that I now had heated seats and a sunroof, without an increase in my monthly lease. I could get used to that.

I will soon have to present the new Creative Cloud model to groups, and I’ll be interested to see how they respond. Or maybe I should say “I’ll be steeled” for their reactions: maybe I’d better download “Whipping Post” to serve as the soundtrack.

It may be much like this:

http://bit.ly/11THKHL

What do you think?

CORRECTION:

I had tried a driver for the Intuos 4, which fixed the pressure issue, but lost the Touch capabilities of the tablet. I’m actually not crazy about that feature, and turn it off. But you might like it, and the 6.3.1w2 driver fixes both the pressure and touch features under Mountain Lion. I’ve corrected this post to include the later driver number, which is better for the Intuos 5 Touch.

Have I mentioned that I hate updating the OS? I used to be bleeding edge…

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I finally replaced (well, supplemented) my oldish Wacom Graphire tablet with a Wacom Intuos 5. It’s probably overkill for the amount of retouching I do these days (sadly), but I justified it by the fact that I need to show the spiffy Erodible Brushes when I demo Photoshop CS6.

I have not plumbed the tablet controls; I simply wanted pressure and tilt ability in Photoshop and Illustrator. This is not a tablet review; it’s more of a driver review, I suppose.

I recently bit the bullet and updated to Mac OS X 10.8.2, Mountain Lion. [This is why PC users laugh at Mac users—because our Unix-based operating system versions are named after kitties.] After dreading it for so long, I wiped my drives and did clean installs; there were a few little kinks, but not as dire as I’d feared.

That is, until I cranked up the Intuos tablet for a demo 2 nights ago, and had no pressure: the option was grayed out in Photoshop and Illustrator. I was not amused. So I dug through Google and the Wacom forums for solutions: I used the Wacom driver’s “wipe out the preferences” option—no help. I uninstalled and reinstalled. Nope. I repaired permissions—grrr.

Finally, in a thread about Cintiq tablets (now I was on a quest), I came across a suggestion to install an older version of the driver. Made no sense, but I was desperate. I downloaded several of the antique drivers (current one for Intuos is 6.3.5w3). I thought what the heck and went for WacomTablet_6.3.1w2.dmg. I figured I’d try it, it would fail, and I’d work my way forward.

To my delight/relief, it did the trick—I now have pressure options in both Photoshop and Illustrator, thanks to the antique driver.

I posted in the Adobe Illustrator forum in hopes of helping other users, and thought I’d go back to the Wacom forums to do the same. I signed up, and when the confirmation email came from Wacom, I tried to confirm…and their confirmation process is broken. Sheesh. The forums are peer-to-peer, with no Wacom oversight, but since they’re available only through a portal on the company website, you’d think you could at least get in. I can read, but I can’t post.

Wacom makes good products: when I think “tablet,” I automatically think “Wacom,” and never considered another vendor’s products. But clearly they need to respond to the countless angry posts on their own forums (and others), and fix their dadgum driver. The latest one is dated just 2 weeks ago, but it doesn’t fix the problem.

Recently, I was out with a group of InDesign geek friends (yes, we travel in packs) having drinks after a day-long seminar. Mind you, this is a group of some of the brightest — and funniest — guys I know. We’d had a few rounds of debilitating laughter already, so we were primed to laugh easily. As we were sharing keyboard shortcuts (or something like that), a woman from a nearby table came over and struck up a conversation with one of the guys. Soon, she began handing out her business cards. In the dim light, we each looked down at the card she’d handed us, and apparently all had the same thought simultaneously, finally voiced by one of the guys: “Uh, I can’t pronounce your last name.” Loosened up by earlier laughing fits, we all started chuckling. Finally, someone said it aloud: “Well, I think she’s Polish. Or maybe Czech.” That was the last straw, and we dissolved in the final laughing fit of the evening (well, maybe you had to be there…) Let me explain. Here’s a recreation of the card, with the name and company changed to protect the kerning-impaired. Squint to replicate looking at it under subdued lighting.

The professional abbreviation, CITP.CPA, is so tightly set, and so close to the name, that a casual reader reads it all as one unit, seeing “CITPCPA” as the last name. Of course, a careful re-reading decodes it correctly. But after a couple of Bailey’s, it’s fairly hilarious.

Here, I’ve reworked the name and title to prevent such hilarity. The dual professional designations are separated by a slash, and generous kerning before and after the slash makes it unambiguous. See? Good kerning isn’t just a nicety—it’s a must.

Disclaimer: Any resemblance to the business card of a real person, living, dead, or undead, is purely coincidental. Professional driver on closed course. Your kerning values may vary. No offense is intended to Polish or Czech individuals, or any other vowel-limited group.

Remember when printing companies used to give out free tint sample books, showing combinations of cyan, magenta, and yellow so you could get an idea of what your CMYK combos might look? I haven’t seen one in a while, so I have created files so you can print your own. Of course, unless your printing device is carefully profiled, your output won’t necessarily match a commercial printer’s results. But if you print in-house, you may find them helpful. They show only combinations of C+M+Y —adding all the black combinations would result in over 400 pages, so I’m afraid you’ll have to imagine what adding 15%K might produce.

I’ve provided two versions:

Illustrator CS5 file: www.practicalia.net/tintblocks/ColorBlocksBy5.ai
Adobe PDF file: www.practicalia.net/tintblocks/ColorBlocksBy5.pdf

Hope you find them useful!

This was brought to my attention by a friend at EBSCO Media.
The scenario: You’ve created a dieline in Adobe Illustrator, which uses the manually created global spot color “Dieline.” It’s set to, say, a fluorescent green for easy identification.

Place the AI file in InDesign; the dieline spot color is added to the Swatches panel. So far, so good.
Select the dieline art and choose Edit Original.
In Illustrator, change the spec for the dieline spot color to, say, red, and save the file.

Return to InDesign. Although the Links panel shows that the link is updated, the swatch appearance and the artwork appearance have not changed.

The only way to fix this is to delete the artwork, then delete the swatch and and re-import the artwork.
NOTE: Sometimes it DOES work as it should (i.e., updating the link DOES change the appearance of the artwork and swatch.) But most of the time, it doesn’t.
And…If you use a genuine PANTONE spot color from one of the sanctioned color books, it behaves as it should: change to another PANTONE color in Illustrator, and InDesign will update the swatch and the placed artwork.

Since you’d probably be using the homegrown-spot approach only when you’re creating components such as dielines and varnish plates, the actual color really isn’t important: It’s only important that a plate is generated. But it’s still odd that either InDesign ignores the change, or Illustrator doesn’t successfully communicate it. Guess it’s Just One of Those Things.

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Don’t you just love the tabbed document display in Creative Suite 4 applications?

If you do, you’re in the minority, judging by the number of people who ask “How do I change that?” often followed by “What were they thinking?!” I can help a bit with the first question, but I can’t answer the second one. I guess it’s part of the increasing Macromediafication of the application interfaces: perhaps the flat gray architecture is meant to be chic and soothing, and maybe the tabs are intended to conserve screen real estate. Whatever the explanation, here are some tips for returning to the Land of Floating Windows, as nature intended.

Photoshop

Open Preferences > Interface. UNcheck “Open Documents as Tabs” and “Enable Floating Window Docking.” If you just uncheck “Open Documents as Tabs,” document windows will still insist on docking if they’re dragged near each other.

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InDesign

As in Photoshop, open Preferences > Interface and uncheck “Open Documents as Tabs” and “Enable Floating Window Docking.” Heave great sigh of relief.

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Illustrator

Alas, Illustrator only lets you get halfway there: You can turn off the option to open documents as tabs, but you can’t prevent documents from docking if you move them too close together. Some strange magnetic force compels them to huddle together for warmth.

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Feature Requests

Here’s an idea: if you dislike the tabbed interface, put a note in the suggestion box. Fill out the Feature Request form on the Adobe website and ask that this compulsive behavior be an option, not the default.

I’m an advocate of neatly-trimmed filenames — I use InterCapsAsVisualSeparators  or underscores_as_physical_separators. You should avoid using the special characters that are often used to represent ?/@#$*\&! profanity, not to be polite, but because some of these characters have special meaning to operating systems.

For example, a period at the start of a filename drives it to the top of a directory list on a Mac, but if that file is uploaded to a Unix server, it becomes invisible. Whee! We’re no longer limited to the old eight-dot-three strictures (eight alphanumeric characters, then a period, followed by the three-letter extension, for you young folks out there), but excessively long filenames are truncated by some systems, which could munge your file linking in an InDesign file. (Where’s that file named “Rhododendrons in the mountains in Spring New Final Image.psd”? Oh, it’s now named “Rhododendrons in the mo~.psd”. No wonder InDesign is confused.)

For the most part, long names and special characters become an issue only when jumping platforms, but I discovered today that Illustrator CS3 and CS4 won’t allow you to place a file with a forward slash (/) in the filename. It allows you to select the file, but when you click to “deposit” it in the Illustrator file, nothing happens: there’s no error message — it just sort of turns up its nose, digitally speaking. (It has no objection to a file with a backslash (\) in the name, however.)

Oddly, InDesign and QuarkXPress don’t care; just Illustrator.

This won’t affect you, however, because you’re conscientious about your file naming, aren’t you?

Look in the Swatches panels of InDesign and Illustrator, and the Colors list in QuarkXPress, and you’ll see a mystery color named “Registration.” It’s intended for page information, registration marks, and trim marks. When we used to output film and strip it up on light tables, we used registration marks to ensure that all the inks printed in alignment. Registration is intended for use only by the application, not the user, except in rare cases.

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Need to find the area of a selected object in Illustrator? Illustrator can’t do it on its own, but you’re in luck — there’s a free filter for Illustrator that will.

Go to the Telegraphics website and download the free Path Area filter. Yes, free.
It’s intended for CS2, but I found that it will also work in CS3 and CS4, although it appears under a different menu in CS4.

Download and unStuff or UnZIP the archive (it’s available for Windows and Mac; I confess that I haven’t tried it on Windows), then copy the “patharea_cs2.aip” file into the Adobe Illustrator/Plug-ins/Illustrator Filters folder.

To use in CS2 or CS3, select an object, and choose Filter > Telegraphics > Path Area.
In CS4, select an object and choose Object > Filters > Telegraphics > Path Area.

A dialog appears, displaying the linear length of the path, plus the area in millimeters squared and square inches. It’s a one-trick pony, but it’s very good at the trick.

I’m happy to announce that Worker72a has updated the spiffy Scoop plug-in for Illustrator CS4. Scoop gathers up the necessary fonts and placed artwork for an Illustrator file so you have everything you need. It’s like InDesign’s Package feature, but for Illustrator. If you own Scoop for CS3, the upgrade to CS4 is a paltry six bucks. Shoot, the full retail price is only $47. If you work in Illustrator, I don’t see how you can live without it!

For more information, see the Worker 72a website.