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Creative Pipeline: The ACP Blog

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Wanted to share our Tech Wednesday presentation today~

All about colors and workflow!


Tech Wednesday: Working with Colors in Adobe Photoshop





Wanted to share with you a quick project with my students.

Here is a link to the Spark presentation




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Creating Icons with the Blend tool in Adobe Illustrator


Adobe Stock or former Fotolia is the excellent stock site for creatives to buy and sell creative assets like photos, templates, illustrations, video clips and so on... One of the benefits, besides exposure to all Adobe CC users and deep integration with Adobe apps, is to publish collections directly to Adobe Portfolio to showcase offer, work, and talent.


Publish Collection to Adobe Portfolio

I will assume that you are a contributor to Adobe Stock and that you have published assets. Another requirement is to sign in and to navigate to the portfolio/Dashboard page.


The process is simple and easy. There are only 3 steps to get your work available on Adobe Portfolio:


Step 1

The first step is to create a collection. Under My Portfolio section, you can click on any tab to display assets from a category like All, Photos, Illustrations, Vectors, Videos. Click in the top right corner of an asset to appear checkmark then click on Add to a collection button. You can add an asset to an existing or create a new collection.



Step 2

The second step is to switch to the Collection tab. Click on 3 dots (...) in the top right of collection thumbnail then click on Share to Adobe Portfolio link.



Step 3

Your collection will be published as a draft to Adobe Portfolio. Visit Adobe Portfolio where you can further customize page. After customizing click on Update Live Site then share it with your community.

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Step 4

When you add more products to your Adobe Stock portfolio it is easy to update collection and Adobe Portfolio page. The best part is simplicity, just repeat steps 1-3.

Publish to Adobe Stock from Adobe Bridge.png

One of the big advantages of Creative Cloud is integration between apps and services. One of such integration allows contributors to upload photos and illustrations to Adobe Stock using Adobe Bridge, Lightroom Classic or Photoshop Mix.


In this post, I will cover how to upload assets (JPEG and Raw files) to Adobe Stock using Adobe Bridge.


Upload assets directly to Adobe Stock

The very first thing to check is that you have Publish panel displayed in Adobe Bridge (Window > Publish).


  • Before proceeding to the next step ensure that your files can meet technical requirements:
  • Images should be saved in JPEG format.
  • Minimum image resolution: 4 MP (megapixels)
  • Maximum image resolution: 100 MP (megapixels)
  • Maximum file size: 45 MB (megabytes)
  • No watermarks or timestamps.
  • Images should not be upsampled.


Here are the steps to establish a connection and to publish (upload) JPEG or Raw files:


  • Ensure that you are signed in to Creative Cloud.
  • To establish a connection between Bridge and Adobe Stock you will need to click on Adobe Stock Contributor > Setup button.
  • You will be redirected to the web page of Adobe Stock Contributor portal. Follow instructions to create a profile.
  • Navigate to the folder with files which you want to upload to Adobe Stock.
  • Click on Adobe Stock Contributor.
  • Select files in the content panel then drag them to Adobe Stock Contributor drag zone. If you drag Raw files Bridge will display a dialog to confirm and convert files to JPEG file format using Adobe Camera Raw.
  • Drag more images to upload even if the upload is in progress.
  • To cancel upload click on Cancel Upload button.
  • When upload finishes click on Go To Adobe Stock to visit Adobe Stock Contributor portal.


  • Navigate to Uploaded files > New tab in the Adobe Stock Contributor portal.
  • Select one by one your uploaded images and type title, category, and keywords. Keywords assigned to the image in Bridge will appear in the Keyword section.
  • Finally, click Save and when you are done with all images click on the Submit button to submit images for review.

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Product used in this tutorial:

Adobe Bridge

As I promised here is a link to few place that I like around the convention center and in the art district!


Enjoy your time in LA!


Explore DTLA! Adobe MAX 2018




Adobe MAX DTLA Part 2 - Food!

Posted by chanaart Aug 28, 2018

One of the greatest things to do it LA is to eat!  Yes we have so many places to go to around the convention center but I wanted to suggest some of my favorite place!



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One of my new favorites is  Hotel FIGUEROA. Hotel Figueroa has been a den for downtown LA since 1926, and went through a major renovation
or as we call it here "FACE LIFT"

I was lucky enough to be at the opening party last month and visit the new bar/restaurant , beautiful rooms and see the amazing art that hanging all over the main lobby and corridors . It is a special place to sit around after a long day at the conference and have a drink and enjoy the surrounding!

I highly recommend to go to the Bar upstairs and enjoy the view of the pool and taste really good food!


The Perch LA

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Roof top sitting at: 448 S Hill St.


Glamorous rooftop setting with French small plates, handcrafted cocktails & grand views of the city.

Great atmosphere as well as tasty food.


Bottega Louie

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The Dessert Gallery...At 700 grand street


Italian restaurant, gourmet market, and French patisserie located on the ground floor of the Brockman Building (just around the corner from Whole Food)

Great food and amazing desserts...Just  come by and look at the desserts and you feel like going to a dessert gallery. Place is fun but a bit noisy. If you need to talk business with a future client might not be the perfect place.


LA Live: $$$

If you want a fast break from Adobe MAX food you can try the restaurant in LA Live.  Here are 3 that recommended..They might be a bit pricey but very convenient!

If you love high quality sushi, try dining at Katsuya. This sushi restaurant with several locations was named Southern California’s Best Sushi Restaurant (by an L.A. Times Readers’ Poll). Master sushi chef Katsuya Uechi creates unforgettable rolls, sashimi dishes, and more.
Rock’n Fish
For a more straightforward American menu, check out Rock’n Fish, a bustling eatery known for steaks and seafood. Rock’n Fish is also known for outstanding artisanal cocktails, so it’s a good place to stop if you’re looking for a happy hour drink or a late night beverage.
When you want close the night within a hidden oasis, head back to Hotel Figueroa for poolside dining at Veranda. A light and fresh, Coastal Mediterranean menu makes abundant use of seasonal and locally sourced ingredients. The bar takes its queues from European cafe culture with the Aperol Spritz, Milano Torino and other poolside friendly cocktails.


Another area to explore is the restaurant around the Art district. A longer walk or a short Lyft/Uber/Taxi ride.



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Bavel: Art District DTLA 500 Mateo Street

Bavel, in Downtown Los Angeles’ Arts District, is a Middle Eastern restaurant from Chefs Ori Menashe and Genevieve Gergis. With family roots in Israel, Morocco, Turkey, and Egypt, Ori and Genevieve have always wanted to open a restaurant that showcases the cuisines of their family lineages, bringing together the flavors and dishes they grew up with. I ate there few weeks ago - and it is just perfect!

The restaurant was selected as one of the18 best new restaurant in America!

If you do not have reservation you can sit at the bar. Try to reserve the balcony sitting it is less noisy. I loved the lamb dishes, the salads and the pita is out of this world...(And I know since I am from the land of Pita)

Was not that crazy about the dessert..So went to

Salt & Straw

Home made Ice Cream just around the corner and it was just perfect.! (I had the coffee flavor..But try the others..It is so good!)

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Salt & Straw 829 E. 3rd St.



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Trendy Italian restaurant from an acclaimed husband-&-wife team Ori Menashe and Genevieve Gergis highlights creative seasonal fare.The concept for Bestia juxtaposes decorative contemporary elements against a raw, industrial space dripping with character. This approach pays homage to sophisticated modern-day Italian spaces, which often integrate contemporary interiors into centuries-old structures. Strong, traditional building materials such as tile, steel, marble, and wood also provide pops of festive color.

Special dishes and great atmosphere. and yes you might need reservation!


I am going to add more places in the next few weeks! Please feel free to recommend your favorites!

There are so many good place to eat!


Cheers till next time!



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Adobe MAX is back to Los Angeles October 13-14 Pre Conference and October 15-17 General Conference.

Since I live and work in Los Angeles I decided to share with you my favorite place in DTLA!

Feel free to add comments as well as new suggestions and lets keep it as an ongoing blog/conversation to make people feel welcome in our big city.


Art and Music in DTLA  part 1:


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Disney Music Hall:

Address: 111 S Grand Ave, Los Angeles, CA 90012

Probably 20 min walk fro the convention center or a short ride (with your favorite transportation: UBER, LYFT, TAXI, BUS, CITY Bike, Train)


You can enjoy a concert in the evening or just visit the place and take a tour! do not forget to go upstairs to the hidden garden !


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The Broad:

Address: 221 S Grand Ave, Los Angeles, CA 90012

Probably 20 min walk fro the convention center or a short ride (with your favorite transportation: UBER, LYFT, TAXI, BUS, CITY Bike, Train)


The Museum is closed on Mondays. It is free but you need reservation.

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The Music Center:

Address: 135 N Grand Ave, Los Angeles, CA 90012

Probably 20 min walk fro the convention center or a short ride (with your favorite transportation: UBER, LYFT, TAXI, BUS, CITY Bike, Train)


The venues includes:

Ahmanson Theatre

Dorothy Chandler Pavilion

Mark Taper Forum

Walt Disney Concert Hall

Music Center Plaza

The W.M. Keck Foundation Children’s Amphitheater

Blue Ribbon Garden



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The Museum of Contemporary Art  MOCA:

Address: 250 S Grand Ave, Los Angeles, CA 90012

Probably 20 min walk fro the convention center or a short ride (with your favorite transportation: UBER, LYFT, TAXI, BUS, CITY Bike, Train)

The Museum of Contemporary Art, Los Angeles is a contemporary art museum with three locations in greater Los Angeles, California/


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Grand Park:

Address: 200 N Grand Ave, Los Angeles, CA 90012

Probably 20 min walk fro the convention center or a short ride (with your favorite transportation: UBER, LYFT, TAXI, BUS, CITY Bike, Train)

After a full  day at Adobe MAX or early morning you can enjoy a stroll or coffee at Grand Park. checkout the information in the web site for special events and music.


I tried to cover one area around Grand Avenue!

Will post next week other areas in the art district!




Certiport's Live-in-the-Application exam format


I am glad to share with the community that starting in the fall the ACA exams will be live in the App.ACA_Headers_LITA.jpg

What does it mean for our students?


The Live-in-the-Application (LITA) exam format uses cutting-edge technology when validating software application knowledge and abilities through Certiport’s certifications. Candidates must know how to use the software and have experience performing tasks in the application to accurately complete questions.


The Live-in-the-Application exams use the real software to administer performance-based and knowledge-based questions in the actual application, thus reflecting a real-world job situation for the candidate and delivering more reliable results.


This hands-on exam experience can be administered on a PC or Mac* machine at the testing center and makes it easy to get started. This exam format is available with the Autodesk Certified User, Autodesk Certified Professional, Microsoft Office Specialist and soon the Adobe Certified Associate Creative Cloud exams.

For the first time they will be able to test their working knowledge.  Once they start the test they will be live in the app and be able to answer question while doing the task. This is a big change!



I am lucky to be part of the team that wrote the new tests.  The first test to be out and available is Adobe Photoshop. Stay tune for more information as soon as Certiport releases dates for the rest of the tests.


Here is some more information from  Certiport Site.



Uses the full application of the certification sponsor’s software.Candidate demonstrates the proficiency of the application.
Candidate applies knowledge instead of memorization.
Any method of completion in the application can be used.
Candidate is tested in the same application used for learning, practice and day-to-day tasks.
Can be administered on both PC and Mac machines.Flexible options in your classroom or lab to launch an exam on different types of machines.
Mac version of the exam uses the Mac version of the application. PC version of the exams uses the PC version.
Uses cutting-edge exam delivery formatCandidate can more accurately demonstrate their knowledge and skill of the application.
Exam format is a closer alignment to the real-world job application use.



Chana Messer


Subject Matter Expert Writer/Certiport

Your Name

Chris Georgenes
I have a couple of friends who like to call me “Toph” because it’s found in my full name Christopher. I have another group of friends from my art school days who all call me "Tux". My first party on campus freshman year I was wearing a tuxedo jacket. It wasn't mine. A friend gave it to me that day to put on before going to a party because as night fell, the temperature outside dropped and my dorm room was clear on the other side of the campus. She told me she had a "coat" for me and pulled out the tuxedo jacket. We arrived to the party and the first person I met asked me my name. I said "Chris". She frowned and told me her ex-boyfriend's name was also "Chris" and she had to change my name right there on the spot. She looked me up and down and decided to call me "Tux" for the obvious reason. Turns out she was the host of the party and knew every single party-goer in attendance. She introduced me all night long as her new friend "Tux". I woke the next day to learn the name stuck. Big time. While walking across campus, about 30+ people greeted me by my new name - some of them I recognized. Most I did not.

The new name stuck so hard that when my mom would call my room and ask for me by my birth-given name, all of my roommates told her nobody by that name lived there. That went on for months. I finally called her to say hello and she accused me of not attending art school at all and believed I was on the road somewhere playing drums for a rock band.

After 2 years of living with the same roommate, he asked to borrow my meal card one day. It had my legal name on it. I gave it to him and he looked down at it and then looked up at me with a puzzled expression and asked; "Your name is CHRIS?!"


Sorry. That was a really long and unnecessary answer to a really simple question.


#1 What is your primary job title?

Head of Interactive Design (employer-given title)
Director of Fun, Mayhem & Funky Grooves (self-titled)


#2 Who or what inspires you?

Anyone with a unique perspective and the aptitude and talent to achieve their vision. Any original thought or idea. Any stolen/borrowed idea that is better than the original idea. The most inspiring person to me is the kid in a third world poverty-stricken country that builds a working robot or HAM radio from parts he finds in a trash heap. Those are the geniuses of our world. The ones who can build something from nothing.


#3 What do you think about when alone in your car?

Usually I’m learning the drum parts to songs. Being in several bands and having gigs every week means learning new songs. If I’m not at home learning behind my practice kit while listening to each song, I can essentially map my way through songs by listening to them. It’s something I’ve always been able to do since I was very young. I can remember the exact drum parts to songs I haven’t heard in 30 years.


Other times I'm envisioning how an animation or a visual story of some kind should play out for a project I'm working on. It's part of my creative process - to just think about how I imagine stories to be told.


#4 Share a life lesson you learned?

Copperplate etching. 1989. This quick little study changed me as an artist then and to this day. It was my "throw-away" piece amongst my many larger and more realist lithographs from my 4 years at The Hartford Art School. As a graduating senior I had a gallery show and wasn't going to even display this. It slipped out during the process of hanging my show and I happened to have some glass left over. So I reluctantly hung it in the corner next to the light switch above the trash barrel next to the exit. It's small at roughly 4x10". I figured nobody would notice it and it was better they focus on the much larger prints and illustrations that I spent weeks and months on. The other prints were full of hyper-realism and foreshortening. It was all very exaggerated and in your face imagery. I was the Michael Bay of fine art then. I thought it was cool and it was going to make an impact.

The opening party came and went and later that week Dennis Nolan, my amazing illustration professor wanted to see the show for himself. He and I were alone in the gallery and without saying a word he stared at each piece quietly, thoughtfully and with great patience. I followed behind him, awkwardly, in his shadow both physically and creatively, nervous about what he was thinking. Half of the work was for his classes but this felt different. He was looking at the breadth of my work as an artist up to that point.

He got to the last piece, the one pictured here. He stared at it for what seemed like an hour. He then turned to me and asked;

"Do you want to know what's the best thing you've done in the last 4 years here is?"

I excitedly pointed to one of the biggest lithographs I spent the most time on with the most outlandish hyper-realistic imagery and said;

"That one?!"

Professor Nolan, without turning to look at what I was pointing to told me...

"No. That one."

He was pointing to the etching of the girl in the corner, above the trash barrel, next to the light switch by the exit. My throw-away piece.

I was confused, hurt, disappointed, not understanding how that could ever be possible. It was a 5 minute study I didn't plan on even drawing. I was going to throw it away!

Nolan, noticing my furrowed brow line and obvious bewilderment explained to me...

"It provokes an emotion. A mood. It's a milestone for any artist to do that. If I was flipping through a book on Rembrandt, I would expect to see this in the margins as one of his pencil studies."

In that moment, I became an artist. I discovered that being subtle is far more powerful and influential than trying to slam people over the head with a vision. My entire 4 years of art school came to a final polarizing lesson in that one tiny moment. I've never looked at anything the same since.

Thank you professor Nolan. It was the single greatest lesson I carry with me to this day.



#5 Favorite period of history?

Probably the ‘60 - ‘70s simply for how much amazing music and art came from those decades.


#6 What projects are you working on right now?

My full time job is with a small startup called Patient Discovery. We are solving many issues in the healthcare industry and I’m their visual storyteller. I’m creating animations on a daily basis for interactivity based applications as well as straight video sequences for various platforms.
Other projects include a personal project where I am developing an animated series based on a character that teaches kids (ages 3-8) how to play the drums. I have a small team from Boston to Nashville and plan to launch this year.

Other projects include various small animations for various platforms and also an opening animated sequence for a live action comedy pilot. One project I worked on that just launched is called BigHeads for iOS - a really fun animated emoji platform. A current project is a 30 second promotional animation for a trampoline park company and I had 100% creative freedom from concept, to script, voice over talent selection, music and of course storyboarding and animation.

Music projects include the existing band I’m in that gets booked for months in advance but also another band and playing with various independent singers and songwriters. In some projects I’m helping write and compose, record and mix original songs in a collaborative effort. I’m also learning to incorporate triggers and sequencers into my acoustic drum kit to expand my musical sounds and abilities live.


#7 Describe your personal style.

Ooh tough one. I’d say clean and simple yet detailed but only when necessary. I love design simplicity but with a complicated approach. Hard to explain. An image composed of 3 simple lines may not seem like much but those 3 lines should represent and show a breadth of experience, talent and attitude.

#8 What tech tools do you use in your work?

Adobe products of course: Animate CC, Audition, Premiere Pro, Photoshop to name a few. I use Sketch, Principle, Moho (Anime Studio) and Storyboarder software as well. Wacom tablets range from Intuos Pros to my 22” Cintiq.


#9 When did you know you'd found your calling?

Depends on what "calling" we’re talking about. Playing drums was something I was born with. I always understood how to play them. I took a handful of lessons when I was 10 years old and everything my teacher taught me, I already instinctively knew how to do. I repeated everything he showed me and he questioned me in regards to ever having lessons before him. After 5 lessons he told my parents "He's ready for a band."

I recall as a kid in the back seat of my parents car, I'd play "drums" by tapping my hands on my lap and my feet on the floor to the music on the radio. When we'd go through a tunnel the radio signal got lost and the music turned to static. I would keep playing - to test my sense of time. When we'd exit the tunnel the radio signal returned. Most of the time I was still exactly on time with the music. Having an internal metronome is something I was simply born with. My father was a musician who played many instruments by ear. That's something he gave to me and I intend to honor that gift for as long as I can by performing until every limb falls off.


As for art, I didn’t know I could draw until college. My high school never offered any arts programs. No music either. it was a dark time for me. Hated every single day of high school. No art, no music girls. it was an all-boys school. Great.
I got accepted to The Hartford Art School after a local artist advised me to draw simple still life pencil studies and throw them in a portfolio. I had an interview with the dean of the Hartford Art School and he accepted me. I got there in the fall and saw what other artists had in their portfolios. I was blown away! I called my parents and told them I’d probably be home in 2 weeks. I wasn’t going to cut it.

I worked hard and immersed myself in the curriculum. It wasn’t until my sophomore year in a drawing class did the moment hit me; I realized I could really draw - like really draw. It was as if a switch was flipped. I remember the exact moment and what I was drawing. The professor had us all choose a real world tangible object to bring to class to use as the subject of a series realistic pencil drawings. Image one had to be as realistic as possible and each subsequent image would be an increasingly abstracted version of the same object. As I was drawing the initial image, I had an “AHA!” moment when I saw how real I could make it look. I pushed the darks and the lights. The form began taking shape. The 2 dimensional image had a very 3 dimensional feel. That’s when I knew I could do this. I graduated in 4 years at the top of my class. Felt good.


#10 What's your superpower?

The ability to say the funniest and most clever thing at exactly the right time at the right moment (appropriate or inappropriate). I’m also proud of my ability to make my wife genuinely laugh and cry at the same time. It’s one of the most difficult challengesI've faced, yet I’ve been able to do it twice. Still working on my third.


#11 Peanut Butter: Creamy or Chunky?



#12 What makes you happy?

Being on a stage playing drums. Always has and always will. I hope to die while playing on a stage. That I’d be fine with. Being a drummer means I'm always the first to arrive and last to leave due to the amount of gear. Loading in to a venue and loading out is a chore. Driving home at 3am to then unload the car and load the gear back in to the house is even more of a chore. People ask me why I do it. I always tell them the same thing: When I'm on stage and playing with a great band and the music is awesome and everybody is in sync and the crowd is dancing and cheering, it's ALL well worth it. I play for free. It's the loading and unloading of the gear they pay me for.

I also love creating something from nothing. Going from a simple thought to a tangible product that people react to emotionally is so crazy satisfying.


#13 What do you do to relax?

Nap. If there was a title like “Professional Napper”, I’d have that. I’ve perfected the art of napping. Naps for me aren’t 10 minutes of closing my eyes and never really falling asleep. Naps are under-the-covers-and-dead-asleep-for-2-hours-wake-up-confused-not-knowing-the-time-of-day -or-what-day-it-is.

Otherwise, golf is a passion I’ve had since I was 14. Love the game. You forget everything in your life to focus on that little ball for 5 hours.


Photography is also relaxing to me. It's a very personal exercise to walk around with a camera and look for that perfect angle or unique perspective to shoot from.

Practicing drums is very relaxing as well. I often practice by playing the same pattern for upwards of an hour or more. It takes a ton of concentration to maintain tempo and stick/hand control - especially 20 minutes in when your muscles and brain are screaming for you to stop. You reach a level of awareness that can only be compared to as an outer body experience. I literally will look down at my hands and feet and just watch them as if they aren’t mine. I’m not concentrating at all any more on playing the beat and it suddenly gets really peaceful and kind of weird.


#14 Your place of birth?

Boston. Love it here. Always have and always will. If I move anywhere, Nashville would be it. I know it would be Nashville and I have yet to ever visit the city. I just know from all my friends who have been. They are shocked I’ve never been. They always tell me that I belong there and would thrive as an artist.



#15 Favorite artist or art movement?

I was always a fan of Caravaggio. His paintings just made me stare at the longer than anything else. I also like Jackson Pollock but on a more modern note, Es Devlin is a visual genius.
As for an art movement I admire, I honestly love it all. Surrealism was a big one for me back when I was in art school. But then there was impressionism and I marvel at the looseness of the brush strokes and the thickness of the paint on the canvas and when you stand back, it looks like something real. That blows my mind.

Then the pop art movement came along and I was like “Yeah baby!”. Just love it all.


What I like least probably falls into conceptual art. When I was in my senior year of art school there was a student majoring in Experimental Studio. I always regarded that class as the area of study artists went to die. I know that sound mean and unfair but this one dude spent most of his year with 100 cinder blocks. He built various abstract sculptures with them on the campus grounds outside the art school. He would set them up by stacking them in random ways as if they were giant Legos. Every time I walked by these ugly monstrosities I couldn’t help but wonder what the hell he was going to do after he graduates. There are no careers for cinder block artists - unless you go into construction…???


#16 Share a funny moment from your career?

There was an animated series on ABC’s Saturday Morning segment that ran for 3 years called Science Court. It was an education show that taught kids the laws of science in a courtroom setting. I was the art director and there were a lot of characters. I did almost all of the character designs and each one had to be approved by the network.
All of them were immediately approved except for one: Alison Kremple, Prosecuting Attorney. I designed her head to resemble a frog and gave her green skin. ABC liked the design but wanted to change the skin from green to orange. I did not. In fact I was adamant that her skin remain green. It’s how I designed her and it was to remain that way.

I was young. I had a little too much ego at that point in time.

There were many emails back and forth and even a conference call. I held my ground and argued my case.

During that week of contention, me and the Animation Director went to lunch. He drove and I vented in his ear about how this character should be green and that making her orange was stupid and will look bad.

We arrived at the pizza place we loved to have lunch at, got out of the car and shut the doors. He stopped and looked at me over the roof of the car and said, “When the worst part of your job is whether or not a character looks too much like a frog, that’s not such a bad day”.
It was like a switch got flipped for me. I got quiet for the rest of lunch and just thought about how childish and stupid I was acting. We got back to the studio, I changed the character from green to orange and sent it to the network. Approved immediately! I look back on that character and couldn’t imagine her being green now.


#17 Color of the car you drive?

Blackberry Pearl. Seriously. It’s like a deep dark purple with sparkle flakes. But at the end of the day, I drive a purple car.


#18 Any new skills you'd like to learn?

I’m always learning something new. I love that and it keeps me young and relevant - at least in my own mind. Right now, learning how to record and compose music for publishing but more-so for sampling and triggering live. Just too much fun to be able to play a killer beat on an acoustic drum set while triggering a horn or string section that plays with you. The look on the audience’s face is priceless.


#19 How do you get your news?

The web or my phone (same thing I guess). I have my morning phone alarm set to not play a ringtone or music but rather a female voice who gently briefs me on the latest headlines. If there's a particular story that I find intriguing, I'll google it or look it up on my CNN app. I watch the local televised newscast but mostly because I'm friends with the news anchor and it's always fun to keep up with her in that one-sided way.
I don't have a regular go-to schedule on news consumption. You could call my condition NDD (News Deficit Disorder). I'll start with the intention of learning the latest news stories but then quickly trip down a rabbit hole of drum videos or animation tutorials or a compilation of Russian dash-cam videos featuring the worst drivers in the world. We’re all on a big giant ball hurling through space at thousands of miles per hour for a limited amount of time. I’d rather listen to music or learn something cool than watch the news.


#20 Advice to other creatives?

Trust your instincts. Listen to others. Learn from others. But then retreat within yourself and start again. Take everything you know, go back to the beginning and take a left turn. Head straight down that path and you’ll find something unique and original. That’s where I want to be.


-Chris Georgenes



I just completed a FREE collaborative Video course on the Adobe Exchange , taught by educators for educators.
It was an online self-paced class with videos, live video sessions, student reviews, and projects to complete each week.
We started with photos, then a video montage, then project on framing, the 180 rule, and rule of thirds, cutting on action, and then an Instructional video!


I went a little overboard with longer videos, and using my own footage, and characters rather the supplied video, and actors.

But it helped me learn Premiere and the fundamentals of video much better, and helped me create better Instructional Videos.
I love using Premiere and After Effects and I would love to find work in this arena! Super fun. Thanks Adobe!


Check out my Spark Journal & Short Videos HERE!



ICC profiles explained


Here you'll find information on what ICC profiles are, descriptions of the basic types, an explanation of why they are important to you and info about how they are made and used.

Simply put - a good ICC profile provides an accurate description of the characteristics of a digital device or working colour space.

sections below

why are accurate ICC profiles needed

RGB working spaces

input profiles, for cameras and scanners

the monitor display system profile

output profiles, printing


profiling the printing press

how profiles work - some in depth explanation

making a printer profile, more detail

free profiles

does everyone need good ICC profiles



image copyright neil barstow

why are accurate ICC profiles needed?


In the chain of capture or scan > view > edit > proof > reproduce, there may be restrictions due to equipment capability, i.e. limitations to the range of colour and tone which any specific digital device can handle capture, display or reproduce, this range is known as a device's "effective gamut". Accurate description of device gamut is one very important function of an ICC profile.

No matter how carefully devices such as display screens and printers are manufactured, there are inevitable small variations, even from the same production line.  Added to this is the problem of mixing devices from different manufacturers or production lines.  So each device might interpret the numbers in an image file differently and if we don't take control each device is likely to produce differing colour and tone from that intended.
Ideal working practice requires an automatic way of describing the capabilities of each digital device and a mechanism to compensate for the performance of each. With the right settings, the colour management system fulfills this need by using each device's ICC profile and its ability to unequivocally* and accurately describe device capabilities. The colour management system can now properly translate digital data between devices using those ICC profiles in order to maintain appearance, within limits of device capability, of course.
Fortunately there are many excellent measuring tools and software which allow us to make accurate ICC profiles for our various devices.
*Unequivocal / Unequivocally are vital terms in colour management, basically they mean:  leaving no doubt, clear, unambiguous.


above, the UGRA FOGRA "Media Wedge", used to check profile accuracy in proofing.

The Media Wedge, above, allows comparison of printed colour on a proof directly with a press reference, so can guarantee a match from proof to press.

RGB working spaces are device independent

An RGB working space is a specific type of colour space, defined by its ICC profile, it is effectively the hub of many profile based conversions.

Back in the late 1990's, with Photoshop 5, Adobe introduced an invaluable concept to its users, the RGB working space. These "device independent working spaces" are designed to be used for editing and storage or archiving of images. Unlike printer, scanner, camera or display screen profiles, working spaces are not used to describe specific devices.


breakout box: converting image data between colour spaces, more detail


Converting image data from an input colour space (e.g. "camera.icc" or "scanner.icc") to a working space ("workingspace.icc") will re-align the often non-linear (wonky*) RGB numbers, so that the editing process is more predictable. Appearance is normally unchanged by this conversion, as long as the working space has sufficient volume to enclose the incoming data. Working space choice is a very important part of a workflow, which should ideally be designed to preserve all of an image's data.

*Wonky? Whereas a device colour space is often non-linear, an RGB working space is both grey-balanced and perceptually uniform. These qualities mean that when editing different regions of colour and of tone, i.e. saturated or pastel, dark or light, results will be consistent and predictable. What's more, a set of matching RGB numbers will always equal neutral grey, right from RGB 0,0,0 to RGB 255, 255, 255. This important feature allows for easy one-click neutralisation of global colour casts in many images. Linearity of behaviour in editing is vital if the process is to be predictable, this is hardly ever the case if working within a device based colour space.





Each workingspace is designed to encompass a specific range of colour values (a few are illustrated right in a simplified two dimensional projection), the designed range or "gamut" is often relative to a particular group of image sources or image destinations. However, do remember that working spaces have no direct relation to any specific device, hence the term "device independent working space". It is worth noting, too, that bigger isn't always better when it comes to working space choice, in fact choosing too big a working space for your workflow can create issues. It's important, therefore, that workflow is tested and a working space is carefully selected.

In summary, the RGB working space functions as a container for tonal and colour data independently of any specific device. A well chosen working space will be large enough to contain all the image data from a particular source, be it camera or scanner.

Working Spaces, use in image storage & archiving

When a file is being edited in Photoshop it will ideally be kept in a properly suitable RGB working space.
As well as predictable editing, this practice also offers future-proof repurposeability. Archiving all the original image tonal and colour information within a suitably sized working space, rather than, say, data converted to a printer colour space, allows scope for repurposing to take advantage of future improvements in imaging; perhaps a novel printing process of the future will allow far more of the original colour to be reproduced than with today's technology.

breakout box: importance of workingspace selection


Workingspace choice is more important than generally considered because its not not just about keeping colour saturation - if image colour data is compressed into a workingspace smaller than the source data, detail in highly saturated areas can be lost (clipping) - because colorimetric rendering is always used whatever option is selected. To imagine what happens, think about using Photoshop's levels pallet, if the "input" endpoints are moved inwards previously separate values can be clumped together (clipped), e.g. shadow or highlight detail - so detail in the original is now lost. Permanently. The same thing can happen if an original has values outside the range of the destination workingspace for it's conversion. This is easy to demonstrate, take a high gamut image in, say Adobe RGB. Have a look at the ends of range in Photoshop's levels pallet, generally if unclipped the data will taper off at the edges, not "wash up" against the ends of the levels data display. Now convert that image to sRGB and look at the Photoshop's levels pallet again. Now you might well see some detail "washing up" against the ends of the scale, that’s showing clipping. Google Photoshop's "clipping display" for more on how to see this.

Back to the prospect of future repurposing - for example, imagine finishing the editing of a beautiful image, at this time perhaps only intended for use in newsprint, apart from the inevitable colour and tonal edits to suit the restricted colour range available, at some stage the image data will need to be converted into the newspaper's colour space (e.g. news.icc) so that it will suit the printing process. Maybe the operator inadvisedly saved this converted version over the original image - thus, only retaining the news.icc version, a pretty unsaturated CMYK file.
Sometime in the future, this same image may unexpectedly be wanted for a job where original gamut could be well utilised. What if that newspaper image actually turned out to be of a popular subject, maybe now, you'd like a big inkjet print for an exhibition. The inkjet printer would likely be able to do a great job of reproducing your lovely original scene, since the process has a pretty good colour gamut. However, because you now only have the news.icc file, all that can be printed is a large version of the de-saturated picture. You can, of course, add saturation, but you can't bring back the subtlety, detail and beauty of the original. If a version of the image stored in a decent sized working space had been archived, you'd be in a much better position. It would have been repurposeable. That's why working spaces are important as storage colour spaces.
Also note that ANY CMYK file will likely have had its gamut reduced from the original RGB, so, where possible, always  archive an image as RGB, within an RGB working space. Not just the CMYK conversion. Preferably save as an uncompressed format like .tiff or .psd, certainly NOT as a JPEG, since the JPEG can't even be resized without further damaging compression.

Example Working Spaces
AdobeRGB(1998).icc, intended to encompass most of the colours found in a photographic image on film, but a little restricted for that purpose.

sRGB Color Space Profile.icc, designed to contain all the colours we can expect to see on an average PC monitor.

Chrome Space 100, J. Holmes.icc, meticulously designed to enclose virtually all the colours an Ektachrome film can record.
Please scroll down the downloads page to find "workflow tools for sophisticated photographers and retouchers where you can learn more about Joseph Holmes' working spaces.

The working colour space sits at the centre of colour management. Each relationship with an external device, be it a scanner, monitor screen or printer, is provided for via an ICC profile which describes each device and thus allows translation between a working space and the various devices.

input profiles, for cameras and scanners


Input profiles are a type of device colour space. Digital cameras and scanners are profiled in a different way to printers, one similarity, though, is that much of the process depends on suitable software settings and repeatability. In order to make an input profile, the camera or scanner is set to a repeatable state and a physical profiling target is captured as an image which is then analysed.

For cameras, a suitable target would be the basICColor DCAM or ColorChecker SG (pictured above).
For scanners a high quality target would be a HutchColor Target, "HCT", or, for less critical processes, an IT8 style target, either transparency or reflective.


First the target is carefully captured using good repeatable software settings.

Next, the captured target image values, expressed as RGB, are evaluated within the profiling software and a transformation table is created, which provides for translation between RGB device values and the known L*a*b* values sourced from the target reference file. This means that now any RGB value in a file from the relevant input device can be cross referenced against unambiguous vales related to human vision.

This ICC input profile can now be used when opening any capture or scan made using the "profiled" device as long as the device remains consistent. The ICC profile will effectively filter out consistent undesirable device characteristics like a caste or tonal anomaly.
In practice, the ICC profile is assigned to each capture or scan and this action provides an imaging application like Photoshop with the information needed to interpret the file's numbers, including the ability to produce accurate appearance on screen. Accurate screen display is achieved in a transformation or "conversion" using the input profile, the display profile and perhaps also a working colour space profile.

An accurate ICC input profile can certainly save some work by minimising the repetitive editing tasks often necessary to correct consistent digital camera or scanner variations.

A good input ICC profile is also used by colour management savvy RAW processing or scanning software to provide an accurately colourmanaged screen display during the process of capture. This provides the advantage of continuity of image appearance from the capture application to, for example, Photoshop.
If we are to utilise the sometimes excellent colour and tonal editing tools available in RAW processing or scanner software, it is imperative to use good ICC profiles - so that, ideally, any image optimisation we’ve done using input software will still be valid once viewing the image in Photoshop.
Without good colour management, appearance is unlikely to be continuous between applications, i.e. although optimised within scan or capture software, the image might then seem to change significantly once saved and then opened in Photoshop. In this case it can be a matter of starting again with adjustment, quite a waste of effort and time.
more about input profiling and my profiling service here


the monitor display system profile

Display profiles are a type of device colour space. Monitor display profiles are part of what is perhaps the most important colour management of all, since the display screen is our only window on digital content.

Display system profiles are made in a process which uses an accurate screen sensor like basICColor's discus device - and good software like basICColor display (display's verification report is shown at right) to assess the display system capabilities and build the ICC profile which describes them.
In a standard display system the first step in the process calibrates the system, loading a Look Up Table ("LUT") to the systems video card - step two then measures calibrated appearance to produce an ICC profile.
Hardware calibrated displays are similar in practice, but, in the background, the calibration LUT is actually loaded straight to the screen's internal circuits which operate at a higher bit depth to optimise the transformation of image data during display.
(only the calibration software can load that LUT, beware switching profiles in any other way).
On completion of the process, the resulting ICC display profile is built, containing both the calibration instructions for the computer's video card (where relevant) and the device characterisation table used by a colour-management savvy application like Photoshop to correctly display image files.
Good calibration and profiling software will provide a wide range of calibration target settings which are used in order to tune and optimise screen appearance, these options are vital since e.g. optimal targeted luminance and white point are set relative to work room lighting conditions.

Above right: verification screen.


output profiles, printing

TC918 Colour Chart

Output profiles are a type of device colour space. Let's start with an inkjet printer; this is profiled by first choosing suitable options from amongst all the available settings in the printer's RGB driver or CMYK RIP software. Options such as resolution and media type can all affect output, so must be optimal.
Next, test prints of a relevant set of colour patches are made, using the chosen software settings and using the correct paper and ink.
After drying, accurate measurements of the test prints are made using a high quality spectrophotometer device.
Next, these measurements are analysed within the profiling software and, in a process of assessing both the measured patch values and the target reference data, the software can produce an accurate device characterisation - an ICC output profile.


Now, Adobe Photoshop, and other colour management capable programs, can use this ICC profile to adjust image data, as it is sent to the printer. This means that we can expect an accurate reproduction of the original image file, within the limits of gamut of the printer and paper chosen.

An ICC printer profile is specific to one certain printer, one type of paper, one inkset and, even, to one print resolution and media setting. If you buy a different make of ink or type of paper, or alter software settings, then the printer will likely behave differently, this inevitably means that the profile we made will no longer describe the printed behaviour. So, now, the process of printing using the ICC profile fails to give an accurate printout. A new profile would be needed in order to assess the printer's new behaviour.
The need for consistency is often called "process control".

Because of the importance of consistency, it is not a good idea to use low cost "compatible" ink cartridges when profiling, because the vital continuity of performance using those inks is very unlikely - due to poor quality control, they often differ, one to the next.


softproofing, proofing on a monitor display system

Good printer profiles can also be used within colour management savvy applications like Adobe Photoshop for on-screen softproofing in order to predict printed output. Softproofing means that a screen preview, simulating the output of a printer, can be viewed during image optimisation.
Of course, accuracy in softproofing relies entirely on having a decent quality, well calibrated and profiled, display system as well as a good accurate output (printer) profile.

press profiling

In a very similar process to that outlined above for inkjet printers, (i.e. optimise, print, measure, run in a constant state) a printing press can be profiled too.


However, it is important to understand that profiling a press properly is quite a big task. It's very important to analyse a press for profiling in a well optimised state, that can take a lot of time.
Printing press ICC profiles are vital as they are used for conversion (separation) of RGB files to CMYK, also for both printed proofing and softproofing. There is no "just use CMYK" any longer, each press type and paper type has it's own ink recipes and those are respected in the freely available standards based profiles.
So, there is a more practical way to work than by than profiling each press individually. Almost all presses can be run in accordance with specific ISO standards, which means that RGB to CMYK separations no longer need to be made for each specific press machine. What is on the plates is easier to work with which makes for faster more efficient use of the machine.


Standards based ICC profiles result from standard press runs measured by technical experts - these "standard" press ICC profiles are available freely e.g. from the European Colour Initiative.
More information about pre-press and standards based working here.


breakout box: how profiles work - some in depth explanation


There’s some science in here in the tech box, and it’s not necessary to fully understand this section, but many users find it helpful to have at least a basic knowledge of the workings of ICC profiles, so they cease to become quite so mysterious.
ICC profiles are vital because the RGB and CMYK values in any digital file have no unequivocal* values unless associated with an ICC profile. Once a profile is associated (or "assigned" in Photoshop terminology), then the relationship between the file's numbers and human vision is established. (i.e. RGB or CMYK can now be converted using either of the scientifically defined unequivocal human vision based colour spaces XYZ or L*a*b.)
*Unequivocal means: leaving no doubt, clear, unambiguous, a useful term in colour management.

An example: the RGB values R=10, G=100, B=10 have no meaning by themselves other than the colour is greenish. That's because the actual colours of the constituents, Red Green and Blue are not defined. By associating a colour space definition, (i.e. by assigning and embedding an ICC profile) the same RGB values are translated into XYZ or L*a*b giving the values an exact meaning related to human vision. The data can now be a passed off to a display screen or to a printer in a process that uses those exact colour definitions - terminating in a conversion to optimise the data for the receiving device.
Having a set of RGB or CMYK values associated with a defined colour space (as in "with an embedded ICC profile") allows for the exact reproduction of the colour.

about L*a*b* and XYZ colour spaces

You’ll hear mention of these colour spaces and their use as way of defining colour, when you're getting into understanding ICC profiles. So, what are they? Both L*a*b* and CIE XYZ colour spaces are designed to encompass human vision. These colour spaces define colour using a full scale, based upon how humans see colour, so that a particular set of values always means the same colour. As you learned above, RGB and CMYK don't work like that.
CIE L*a*b* (normally named just L*a*b*) colour space is based on the CIE 1931 XYZ colour space, formulated to contain the whole range of colours and tones visible to the human eye and referenced by numbers that provide unequivocal colour meaning. The CIE XYZ color space was derived from a series of experiments done in the late 1920s, experimental results were combined into a specification from which the CIE XYZ color space was derived.
In summary, XYZ and L*a*b* numbers are unequivocal. Unlike numbers in the RGB or CMYK colour models, L*a*b* and XYZ numbers have an actual meaning.
L*a*b*: L*= lightness axis, a = Green to magenta axis, b = Blue to Yellow axis.
XYZ: Y is luminance. Z and X are related to human cone response curves.
There are lots of papers online for those who'd like to delve further but that's certainly not needed in a quest to better understand how ICC profiles work in practice. Just appreciate that XYZ and L*a*b* define colour properly, unequivocally.


ICC profiles

Adobe RGB 3D plot

Any ICC profile contains one or more tables to allow calculation between “device colour space” ICC and XYZ or L*a*b colour space, or the inverse.
Even a working colour space like AdobeRGB(1998).icc (3D pic. right) is treated as a "device colour space" in this scenario. Some ICC profiles do contain quite a few tables to allow for conversion using different rendering intents, but, basically, all those tables do is to provide for variants on the above calculations.
L*a*b* or XYZ are used in ICC profiles as the Profile Conversion Space or P.C.S. - because they are unequivocal, each numerical value in either XYZ or L*a*b defines a single colour relative to human vision. (3D L*a*b* profile map at right)

Basically, the following describes the way the profiles are used in an RGB or CMYK print conversion
A: “document” (perhaps an image) RGB or CMYK converts to XYZ or L*a*b
- then -
B: XYZ or L*a*b converts to printer RGB or CMYK.

Liken this to translating a word from French to German without access to a French to German dictionary.
If you had a French to English dictionary and an English to German one you could do it in two steps:
A: Translate from French to English 
- and -
B: Translate from English to German.
In this example English is acting as the “conversion space”, the P.C.S.

When a conversion between two colour spaces takes place we are normally offered a choice of rendering Intent. For output conversions all the intents, Perceptual, Relative Colorimetric, Absolute Colorimetric and Saturation are all available within the process and will affect the result. However, when converting from an input colour space to working space, although Photoshop offers the options above, all that's actually available is a form of Colorimetric rendering. There are some important implications to this because image data can be clipped during the conversion process which may happen unnoticed in the background. Issues arise especially if the working space is not large enough to contain all the image data which happens all to often. Disappointment with image quality, especially in detail in dark, light or saturated areas may result and, although this may be thought an inevitable part of the process, there are sophisticated ways of controlling it. Taking control of this, by careful working space selection and properly managing the process, is something I provide training in.

making a printer profile, in detail

In an attempt to make a description of the ICC print profiling process easy to comprehend, many writers, myself included, have alluded to a process of comparison between printed results and the actual desired appearance of the patch file. That's not entirely wrong in spirit, but, technically, calculating an ICC profile is NOT a process of comparison of printed (output) to patch values. This is because the patches actually have no "ideal" appearance (i.e. no L*a*b* values - please read on to understand that better). The ICC profile does have an ability to adapt colour data (perhaps in an image) before printing and, thus, the result is printed material that compares well to desired or “correct” appearance. SO, good comparison isthe end result, but comparison’s not included in the actual process of making the ICC profile.

In practice, L*a*b* measurements of the printed patches are analysed within the profiling software and, in a process of assessing how the measured patches (measured in L*a*b*) relate to the target reference data (expressed as RGB or CMYK), the profiling software can produce an accurate device characterisation - a table for calculation between L*a*b* and RGB or CMYK, which is used in the ICC output profile.
You read earlier that RGB and CMYK values are ambiguous, because the primaries are not defined, well, here in the printer profile, the ambiguous file values of the target are made unequivocal by the table calculating between printed output and target values.

The ICC profiling process involves a few steps, which are worth explaining

Epson 7900

1: set-up printer and print a file with RGB or CMYK patches

It's vitally important at this stage that either the printer control software (i.e. driver or RIP) settings or press adjustments (CTP tone curves, ink weights etc.)  are chosen properly; often this ideal machine state is reached as a result of a process of step-by-step testing of various options. This method optimises the process. Thereafter, those same settings must be used whenever the profile is to be used. Consistency is king, machine behaviour must be invariable.

So, what are we printing in this patch file? The RGB or CMYK patch data in the image file is allowed no embedded ICC profile, so it has no associated L*a*b* or XYZ "visual" values and nothing to inform a conversion to L*a*b* or XYZ, thus, there is no way that its values can actually be related to a visual colour meaning. The file data has no unequivocal appearance, the numbers are ambiguous.
How can we see patches on screen then? On screen display of patch files is, as default, made using a "guess"** as to document colour space.

We must not assign an ICC profile to patches in practice, because it could invalidate the printing process. We need raw CMYK or RGB patch data printed.
But, if an ICC profile were assigned** to the file with the patches, then the colour management process would provide L*a*b* or XYZ values for each patch and, this information, passed through the monitor profile, can provide what is shown on screen with a visual appearance. So we have now given those patches "unequivocal" values - but this is only one possible appearance, one interpretation for the values of those RGB or CMYK patches, because if a different ICC profile was assigned to the patch file, then the visual appearance would change, (this happens because the calculated L*a*b* or XYZ values would change).

**In Photoshop and similar applications, when an image without an ICC profile is displayed, the L*a*b* or XYZ data normally provided by a profile is missing. So, it's not possible to send the data through the screen profile to the screen - therefore, to allow display, Photoshop assumes (i.e. temporarily assigns, for viewing only) the default working colour space profile – just so the file can be shown on screen. This doesn't affect the printing process, but it does explain why the file appears to have a set appearance on screen.

2: measure the printed target

The printed patch set is measured using an accurate spectrophotometer.As you read above, after printing and reading the target no comparison to anticipated results is actually made, because there is no anticipated result for the printed patches.
So, what does actually happen?

3: calculate the profile

Colorimetric values in XYZ or L*a*b* result from the measurement of the printed target. Reference data for the patch set containing the original RGB or CMYK values for each patch is used, in conjunction with those measured values, to calculate and build the “device values to XYZ or L*a*b*” table which is part of the ICC profile, this is called the A2B transformation table. This table simply describes the printer to software, so that the system "knows": “What happens if I send particular RGB or CMYK numbers to printer - what actual colour (what visual appearance) will result”.

This table A2B is not actually the part of the output profile used when converting a file to print it, it’s an “inversion” of that table - into an XYZ or L*a*b* to device transformation table, called the B2A, that provides the information needed for this important transformation. What the system can learn from this table is “I have read the profile of a pixel in the image, so now I have an XYZ or L*a*b* value to print; what RGB or CMYK numbers do I need to send to the printer to get that appearance?”

Pixl_CMnet_Test_imageUsing the printer profile, printing

When selected in an imaging application like Photoshop, the printer's ICC profile provides a prediction, which is used, along with the document profile, to work out how to alter each of the document file's pixel values to get a print that looks like it should. That is, it should closely match the source image shown on a calibrated and profiled display screen, or another print from a profiled workflow.

It works like this, document RGB or CMYK is converted to XYZ and then XYZ is converted to device RGB or CMYK.

As well as on-site profiling, I also offer remote inkjet profiling, here.

Using the printer profile, softproofing

Good printer profiles can be used in on-screen softproofing in order to predict printed output on a well set up monitor screen. This useful output preview process is available in Photoshop and some other imaging applications; softproofing provides a screen preview, simulating the output of a printer, which can be viewed during image optimization. Of course, accuracy in softproofing relies on having a decent quality, well calibrated and profiled, Display System and a good accurate output (printer) profile. Without going too deep, the process involves the original file's values passing "through" the printer profile en-route to the display profile.

document RGB to XYZ or L*a*b*-and- XYZ or L*a*b* is converted to printer RGB (or CMYK)
printer RGB (or CMYK) to XYZ or L*a*b*-and- XYZ or L*a*b*  is converted to display RGB


using a camera or scanner ("input") profile

The ICC input profile is used to compensate for consistent issues in the capture or scanning process. The relevant ICC profile is assigned to the image when opening any original capture or scan. In many software applications, the profile can be assigned and embedded automatically. Assigning the ICC profile to an incoming image provides for accurate appearance on screen through a transformation using the input profile and display profile - and, often, also the chosen working colour space profile.

In initial display on screen, once the device ICC profile is assigned, each pixel in the RGB image file is
A: transformed to XYZ or L*a*b* - and then -
B: XYZ or L*a*b* is transformed to monitor space RGB ICC.

In most cases device RGB is converted to a working space first, so
A: device RGB to XYZ or L*a*b* - and -
B: XYZ or L*a*b* is converted to working space RGB ICC.
- then -
C: working space RGB ICC is converted to XYZ or L*a*b*- and -
D: XYZ or L*a*b* is converted to monitor space RGB ICC (or even printer colour space ICC if printing at this stage).

Much of this is dealt with automatically in a well set-up system.

profiles for free?

Unfortunately, however well intentioned they may be, ICC profiles supplied with products or found around the internet which might claim to accurately represent a particular device can often be quite poor. Since each individual device may differ, these “canned” or generic profiles are sometimes only useful as a starting point. In some instances the provider even fails to provide instructions on device settings for use with their profile.
Making a profile from one printer and attempting to use that same profile on a different printer, even if it’s the identical printer model using identical paper and inks, is unlikely to provide identical or accurate results.

Success with colour management relies on good device characterisation, provided by ICC profiles and on consistency in devices and working methods.

does everyone need good ICC profiles?

In even the most basic workflow, if the aim is to view images with true colour, we need a monitor profile and a document (image) profile in order to accurately view that image. So, yes, anyone viewing images on a computer monitor screen needs decent ICC profiles.

Do you need help with the above? You can get in touch for free chat, just follow the link to my free consulting page.

In Adobe Illustrator CC 2018 we have a new tool = Puppet Warp, which  lets you twist and distort parts of your artwork, such that the transformations appear natural. You can add, move, and rotate pins to seamlessly transform your artwork into different variations using the Puppet Warp tool in Illustrator. You can use this tool also for some creative work. Let’s see what kind of interesting transformation we can do with this tool and how use it for creating animation with Adobe Animate CC.


Distorting 3D Object

  1. Create any shape
  2. Create any 3D object with Live Effects
  3. Select object with Selection Tool
  4. Add pins with Puppet Warp Tool into 3D object
  5. Distort or rotate (pins) with Puppet Warp Tool


This allow us easy distort 3D object in any direction.





Distorting Character or Whole Text

  1. Add any text
  2. Select Puppet Warp Tool and add pins to one character
  3. Distort character


For Distorting Whole Text you need to activate “Show Mesh” in the Properties Panel and Expand it with “Expand Mode” value to overlap all text with mesh.





Creating Animation Tweens with Puppet Warp Tool, Blend Tool in Adobe Illustrator CC and finalizing in Adobe Animate CC

  1. Create shape in Adobe Illustrator CC
  2. Select shape with Selection Tool
  3. Use Puppet Warp Tool and add pins to shape
  4. Copy and paste shape (you need to add pins than copy shape. This allow to copy pins with shape)
  5. Make change with Puppet Warp Tool for creating motion or animation that you want to create
  6. Use Blend Tool for creating objects for animation
  7. Expand Object and Ungroup
  8. Select all shapes
  9. Copy shapes


  1. Open Adobe Animate CC and past into stage
  2. Select all shapes on stage in Adobe Animate
  3. Right click and open context menu.
  4. Select “Distribute to Keyframes”
  5. Play animation


Update listing on Adobe Exchange.png

   ‘Adobe Exchange’ logo used with permission


Earlier in December 2017 Adobe announced that Adobe Add-ons is evolving to Adobe Exchange. which will be launched on March 05, 2018. Existing listing/products and preview images will be automatically transferred. It is time to get started or to update existing listing for better compatibility with new design and approach. In this post, I will guide you through steps to update preview images, add videos which supports product and to update description when necessary.


Steps to update listing on Adobe Exchange

For those who are not informed about requirements for preview images here is reminder and link to download PSD template.

  • App icon which should be 570x570px.
  • Up to 10 large image previews and videos per product. Image previews must be: min 1280 x 720px, max 2560 x 1440px saved in PNG or JPG file format.


Here is the process to update the listing with new preview images and optionally video which should be uploaded to YouTube, Vimeo or Adobe TV:


Click on Exchange App Listings.jpg

  • Your existing products will be listed in the Published tab. Click on the product name.

Click on product name to edit it.jpg

  • When App Editing page opens click on Edit in the top right corner.

Click on Edit on App Editing page.jpg

  • In the App Details, you can change Purchase Method, change the price, change description... Required fields are marked with an asterisk, you must choose Primary and Secondary tags from the drop-down lists. When you are done, scroll down and click Save & Next button.

App Details page.jpg

  • The next step is to upload images. Click on Choose File buttons and upload App Icon, Featured Image (must be 300Kb or smaller) and Preview Images. You can type the caption for preview images. At the bottom, you will see text field to paste video URL to provide video instructions. If you have a video on YouTube then just copy URL from the address bar and paste it. Here is sample URL copied If you need to add more images or videos (up to 10) click on Add Image or Add Video buttons. Click Save & Next button to proceed.

Upload images and videos.jpg

  • The next step is Upload & Docs. You can upload readme, sample files etc. Uploaded documents should be in PDF file format. The limitation is 10 documents to upload. Click on Save & Next button to proceed.
  • The last step is Notes & EULA. You can paste EULA and to type instructions for the user in Where to Find It - this is a required field which is automatically transferred from Adobe Add-ons. The important thing to remember before submitting listing is to click Save button to be able to preview listing before submitting it for approval.

Preview and submit.jpg

This is a blog post I wrote back in 2012, and decided to share it with you.


Mac in art: Creating Photoshop Brushes using Adobe Illustrator Objects

Creating Photoshop Brushes using Adobe Illustrator Objects


Creating Photoshop Brushes with Illustrator Shapes. Easy. Seamless workflow. Great results!
In this sample I am using stars, circles and lines.
You can use any shape desired to achieve the look you want to get.


1. With the Ellipse tool selected, create a perfect circle (best to draw from center: hold down the option/alt and shift key). From the view menu bar: guides: make guides. Lock the guide.

Guide from an object (you can make a guide from any object in Illustrator)

2. With the Star tool selected, create a star, and snap it to the guide (View: Snap to Guide)

    With the Rotate tool selected (from the tool box) hold down the Option/alt key and click


    on the center of the guide. 36° and click copy. Make sure your preview is on!



Stars around the guide
3. Once one star is copied, go to the Object menu bar: Transform: Transform again (command/Control D). Repeat to create a complete circle of stars.


Circle of stars
4. Repeating the same commands, create a line and rotate in to the center of the guide.
Lines rotated in 36°
5. Repeating the same commands, create a circle on top of the line and rotate it again 36°.

   With the Circle selected, choose the Scale tool from the tool box to scale the group of the small

   circles to the center of the guide, and use the Transform again command to scale the group of   the small circle to the center of the guide 80% each time.  


   6. Go to the View menu: Guides: hide or clear guides.

Final shape
7. Select the final shape: Object: Group  (Command/Control G). Edit Copy (Command/Control C).

8. In Photoshop: Create a new document 72 DPI. White Background. Edit menu bar: Paste (command/Control V) Select the Path in the dialog box.

9. the path is loaded to the selected Background. In the path Panel save the path.

(give it a name in case you want to bring another path to the same file -only one work path per file)

Path from Illustrator
10. Now the fun starts! Add a new empty layer and name it: Brush practice.

     Make sure that the path is loaded to the new layer. With the brush tool selected choose a brush

     stroke the path. (Best to choose first the brush and than go to the stroke path command) .    

    stroke the path. (Best to choose first the brush and than go to the stroke path command)

     Make sure the foreground color is black: Select the Path with the path selection tool.

     Go to Path: Stroke Selection. Experiment with the brush size.



Brush size, stroke path command
11. Select the outer Stars and play with the Brush size to stoke it. Select the rest of the shapes and

      stroke it with a smaller brush size.


Path is stroked with 2 or 3 different sizes of brush
12. Load the selection of the stroked layer (Select load Selection or Command/Control Click on
      the layer thumbnail to load the selection. Edit: Define Brush Preset and give it name.


Saving the brush


13. Now the fun begins! Create a new layer and start testing the brush you created!


Drawing with the new brush

14. Working on the brush variations. Changing the size on the  spacing in the main brush dialog

      box, finding the space and size needed for the design.


Spacing preview


15. Changing the Shape Dynamic controls, playing with the direction of the brush - make sure

      you see the preview of the brush. Choose a color for the Foreground and Background.

      In the Brush control - adjust the color dynamic controls. Work with the saturation and

      the brightness Jitter. You can introduce more colors to the brush if you change the amount

      of the Hue slider. Play with the Purity slider to achieve pure colors or gray scale.


16. With the brush tool, explore the brush strokes and the colors. Add effects to the brush.

      Drop Shadow, Bevel and Emboss to create any metal look! (gold, copper, silver).

      Adding different effects will effect the brush look as well. Save the brush preset.



Final Brushes! Keep playing and exploring!



Left to right top row: Tom Briere, Cathy McDonough, Barry Robinson, Seth Dewey, Chris Bower, Laura Carlsen. Bottom: Christian da Silva, Dave Therrien, Adelia Masella, Rick Branscomb



If you're looking ideas to engage your group you might consider sponsoring a Creative Challenge or scheduling a Member Spotlight.  Far from being an orginal idea, this is our version of what Sally Cox often did with the San Jose group.


There's always a good participation rate when we run a creative challenge, or ask members to showcase their work for a member spotlight. And we’ve been delighted to see some amazing results.


For example, this past December, fourteen of our members stepped up to participate in the Creative Challenge that we hold a couple of times a year. This is always a fun meeting! We invite our members to use their favorite Adobe application (including mobile apps) to create something new to share with the group. For this challenge we came up with several topics for members to choose from: Above and Below, Children and Cell Phones, Fall Foliage, Secret Spaces, and Public Art.


During the meeting each participant walks through their process and answers questions. At the end of the meeting we vote for the top three entries. The member whose project wins the most votes takes first prize… a subscription to the Creative Cloud.


Please be sure to click the links to look at their Spark Pages and click the appreciate button! It was exciting to see how many of them used Spark for their show and tell!

The winning entries:

Category: Photography

First place: Chris Bower
Entry: Stairway to Heaven

App: Photoshop

*Spark Page Here*

Category: Illustration

First place: Christian da Silva

Entry: Children with Cell Phones

App: Illustrator

*Spark Page Here*

Category: Photography

Second place: Seth Dewey

Entry: Calendar

App: Lightroom

*Spark Page Here*

Category: Photography

Second place: Rick Branscomb

Entry: Dory

App: Lightroom


Category: Image Editing

Third place: Tom Briere

Entry: Photoshop Filters

App: Photoshop

*Spark Page Here"

Category: Spark Storytelling

Third place: Laura Carlsen

Entry: Time In Between

App: Spark

*Spark Page Here*

Nashua Adobe User Group