Adobe’s Project Concept: A Browser-Based Mood-Boarding Tool

Adobe faces competition from subscription-free apps and AI image generators, but it always seems to have something up its sleeve to stay on top. The creative tech giant has been adding a slew of AI-powered tools to its legacy programs, from Photoshop to Premiere Pro, but gen AI is now being put at the centre of an entirely new product, Project Concept.

A Browser-Based Mood-Boarding Tool

First announced at Adobe MAX in October, Adobe Project Concept is a browser-based mood-boarding tool that provides a flexible infinite canvas for ideation. I was given a demonstration this week as the program enters private beta. And what I can say it that it should make it easier to get the ideas in your head onto a screen.

AI-Powered Remixing and Generation

Danielle Morimoto, Group Design Manager for Generative AI with Adobe’s Machine Intelligence and New Technologies team, showed me examples of how mood boards can be built in the web app by mixing original assets, free Adobe Content and AI image generation as desired. You can drag and drop images where you want, rearrange them and then edit them or remix them using generative AI all in the same platform.

Eyedropper Tool for Granular Control

An eyedropper tool allows you to pick characteristics like shape, texture and atmosphere from a source image and combine them with a text prompt to influence the output when you click ‘generate’, much like the eyedropper in Photoshop, but for more than just colour. In the demo, the eyedropper identified “concentric spirals” as one salient feature in the background of a source image, and the AI applied a similar pattern to the output.

Streamlined Proof of Concept Stage

I think Project Concept has a lot of potential to streamline the proof of concept stage for creatives, coming after the initial idea but before work on the final product. I like how the non-linear flexibility recognises the sometimes messy play and iteration in the creative process. As a mood-boarding tool, it could serve for pretty much anything from photography to branding and product design and save hours of time scouring the web for the right references.

Multimedia Integration and Future Developments

At the moment, Concept only supports still images, but the idea is to make it multimedia, and that’s when it could really come into its own. Allowing video and motion references to be combined with photos, sketches and colour swatches all in the same place would reflect the more cross-discipline approach that many creative teams now work in. It’s really for the creatives testing the product to work out the many different ways it could be used.

Conclusion

Project Concept has a lot of potential to streamline the creative process, and its integration with other Adobe apps could make it a valuable tool for creatives. Whether it will be added to the standard Adobe Creative Cloud All-Apps suite or available as a standalone tool remains to be seen.

FAQs

Q: What is Project Concept?
A: Project Concept is a browser-based mood-boarding tool that provides a flexible infinite canvas for ideation.

Q: What is the purpose of the eyedropper tool?
A: The eyedropper tool allows you to pick characteristics like shape, texture and atmosphere from a source image and combine them with a text prompt to influence the output when you click ‘generate’.

Q: What is the future of Project Concept?
A: Adobe plans to add multimedia integration, allowing video and motion references to be combined with photos, sketches and colour swatches all in the same place.

Q: Will Project Concept be added to the standard Adobe Creative Cloud All-Apps suite?
A: The decision has not been announced, but it could be available as a standalone tool or integrated with other Adobe apps.

Q: Can I sign up for the waiting list?
A: Yes, you can learn more and sign up for the waiting list on Adobe’s website.

Rebranding a Beloved Brand: GF Smith’s New Identity

A Radical Departure from the Past

GF Smith, a much-loved British paper company, has undergone a significant rebranding. The company’s previous wordmark, which dated back to 2014, was classic and refined, with a focus on heritage. The new look, created by cause-led branding agency TEMPLO, is a bold departure from what came before and brings GF Smith firmly into the present.

Mixed Reactions

As with many rebrands, the new identity has sparked a range of emotions. Some have described it as a "significant misstep" and "visually quite upsetting," while others have praised its simplicity and dynamism. Designers, in particular, have been vocal about their opinions, with some loving the new look and others expressing disappointment.

A Team Effort

TEMPLO and GF Smith’s global brand director, Ben Watkinson, emphasized that the rebrand was a true team effort. "Collaboration was an essential part of our brief, and why we wanted to work with TEMPLO," Ben explained. "It was important for us to ensure our whole team was part of the journey."

Understanding the New Identity

The new brand is built around three key pillars: "Why paper?", "Why GF Smith paper?", and "Why GF Smith?". These questions are combined to form the new strapline: "GF Smith. Feel good papers". The new logo features the letters of the name formed into a smiling face, allowing for playful animations and a winking effect. A bespoke sans-serif font, GF Smith Homie by Blaze Type, adds to the friendly feel.

New Elements

The rebrand includes several new elements, including the GF Smith Colorplan carabiner, which reimagines the swatch as a wearable and versatile tool. "It’s designed as a quick-access tool in the studio, at home, at the printers, or in a client meeting," Pali Palavathanan, co-founder of TEMPLO, explained. "It’s something that can be used purposefully, played with, and torn apart, rather than being a decorative item, or an unwieldy swatch that spends most of its time sitting on a shelf."

Conclusion

GF Smith’s new identity is a bold and daring move, one that is sure to cause a stir in the design community. While some may not be pleased with the changes, others will appreciate the fresh direction. As Ben put it, "We’re proud of the work we’ve done together, and we’re happy to talk about it."

Frequently Asked Questions

Q: What inspired the new identity?
A: The new identity was inspired by a desire to bring GF Smith’s values to the forefront and to create a brand that truly reflects the company’s commitment to community, charity, education, and sustainability.

Q: What was the process like for the rebranding?
A: The process involved a collaborative effort between TEMPLO and GF Smith, with input from across the company, from the warehouse and accounts teams to the paper consultants and delivery drivers.

Q: How did you approach the rebranding?
A: We approached the rebranding with a focus on creating a bold and playful identity that would bring the company’s values to life. We worked closely with the team to ensure that everyone was on board with the transformation and excited about the change.

Q: What do you hope the new identity will achieve?
A: We hope the new identity will help GF Smith to establish itself as a leader in the paper industry, while also fostering a sense of community and connection among its customers and partners.

The Art of Horror Illustration: An Interview with Angie Hoffmeister

The Folio Society has made some striking books over the years, including the beautifully illustrated 400th anniversary of Shakespeare’s first folio, The Complete Plays, from Neil Packer. The new book, The Lottery and Other Dark Tales, illustrated by Angie Hoffmeister, takes on the art of psychological horror, both in words and pictures.

Balancing Text and Illustration

In my interview below, Angie shares her approach to creating horror art, saying the less you show the spookier the image for the viewer. You can see some of the artist’s work below, but visit her website for more illustrations. This special edition of The Lottery and Other Dark Tales will be available exclusively from The Folio Society on the 18th February, 2025.

CB: How do you approach translating an unsettling or eerie description from a book into a horror illustration?

Angie Hoffmeister: I believe the power of horror lies in what remains unseen. When translating an unsettling description into an illustration, I tend to leave a lot to the imagination. The more you show, the more you give the viewer to dissect and analyse. It’s the ambiguity, the things lurking just beyond the frame, that spark the imagination. By withholding certain details, I aim to evoke that same sense of unease and suspense that the written word does.

CB: What techniques or mediums do you use to evoke atmosphere in your illustration?

AH: I exclusively work with traditional mediums, using digital tools only for minimal retouching. For **The Lottery and Other Dark Tales**, as well as previous Shirley Jackson projects for The Folio Society, I begin by sketching with graphite pencils. Then, I define the light and shadows with shades of blue ink. Layering ink washes builds a depth, and I finish the illustrations with a light touch of watercolour – just enough to hint at colour, but never overpower the mood. The combination of these techniques helps maintain the somber, eerie atmosphere that I feel is very fitting for Jackson’s works.

CB: When working on **The Lottery and Other Dark Tales**, how did you balance the writer’s subtle, psychological horror with your own style?

AH: I adapt my style depending on the project and the medium, so I have different approaches for different kinds of illustrations. For example, my personal project illustrating the first **Harry Potter** book, done entirely with mechanical pencils and graphite, feels much softer and more nostalgic – suited for a younger audience. However, working on Shirley Jackson’s short stories, especially after having illustrated **The Haunting of Hill House** and **We Have Always Lived in the Castle**, felt almost like visiting an old friend, and so balancing my style with her nuanced storytelling came naturally.

CB: What have you enjoyed most about this project for The Folio Society, and what have you learned for future projects?

AH: Collaborating with The Folio Society has been an incredible experience. The team is so passionate about creating beautiful books, and it’s been a joy to design not just the illustrations, but also the cover, slipcase, endpapers, and chapter vignettes. Being able to contribute to such a thoughtfully designed, tactile object is truly fulfilling. What I enjoy most is the opportunity to immerse myself in a world created by an author I deeply admire. Each project is a journey, and I’m always learning something new, whether it’s about refining my technique or better capturing the essence of a particular story.

Conclusion

Angie Hoffmeister’s approach to horror illustration is a testament to the power of subtlety and atmosphere in creating a sense of unease and suspense. By withholding certain details and using traditional mediums, she is able to evoke a sense of eeriness that is both haunting and captivating.

FAQs

Q: What inspired you to become an illustrator?
A: I’ve always been fascinated by the way art can be used to tell stories and evoke emotions. As a child, I spent hours drawing and painting, and I knew from a young age that I wanted to pursue a career in illustration.

Q: How do you approach creating horror art?
A: I believe that the less you show, the spookier the image will be. I tend to leave a lot to the imagination, and I use ambiguity and suggestion to create a sense of unease and suspense.

Q: What is your favorite project that you’ve worked on?
A: I’ve been fortunate to have worked on many projects that I’m proud of, but if I had to choose one, it would be The Haunting of Hill House. It was a challenging project, but it was also incredibly rewarding to see my illustrations bring Shirley Jackson’s classic novel to life.

Q: What advice would you give to aspiring illustrators?
A: My advice would be to never stop learning and experimenting. Try new mediums, techniques, and styles until you find what works best for you. And always be open to feedback and criticism – it’s a valuable way to grow and improve as an artist.

Despelote: A Soccer Game About People

Think about football video games and it would be natural to immediately think of FIFA (or rather, EA Sports FC these days), super slick titles that aim to replicate the experience of watching the beautiful game on television. They tap into the cutting edge tools of Unreal Engine to deliver photo-real results, but somehow leave the emotion of the sport behind.

A Personal Experience

However, for indie developer Julián Cordero, designer and programmer of Despelote, described on Steam as “a soccer game about people”, he was inspired by a more immediate, personal and universal experience.

“I grew up playing so much football in Ecuador, and I was very passionate about it,” he tells me. “When I was thinking about what football meant to me, it’s not FIFA. I’ve never played in a stadium full of thousands of people with Cristiano Ronaldo next to me. It’s been just more like playing in the neighbourhood, kicking a ball everywhere. That’s what we wanted to show in Despelote, the experience of actually growing up with it.”

The Game

While you can kick a ball around then, the Unity-made game also acts as a time capsule, transporting players back to Quito, Ecuador’s capital, where the now New York-based Cordero spent his early childhood. It’s set in during the qualifiers for the 2022 World Cup, all the more significant as this was the first time the country would reach this international milestone.

Visuals

To recreate that period visually, Cordero sought out artist Sebastian Valbuena, having already been a fan of his work. Indeed, his music video for ‘Saturno’ by Ecuadorian artist La Madre Tirana, has an aesthetic that has monochrome hand-drawn characters juxtaposed with real environments layered with a grainy filter and palette that Despelote also uses.

“We wanted to combine these characters that are more expressive with a setting that is more real and evokes what Ecuador was like in those years,” Valbuena explains. “The world has this gritty quality that is more like the textures that you actually see in the street. We really like the contrast that it had with the characters that really stand out because they’re just like these cartoon characters.”

Photogrammetry

The key difference being that while the characters are two-dimensional, you’re actually moving around in 3D environments as Cordero wanted to be able to capture the physical sensation of kicking a ball around in a 3D space. 3D modelling as well as working on a game have been new experiences for Valbuena. But recreating Quito has also been an approachable process with photogrammetry, a 3D-scanning technique of capturing real-world textures and environments that is as accessible to indie developers as they are to AAA studios.

The Filter and Palette

The filter and purple-sepia palette adds to the nostalgic feeling that you’re stepping into a photograph come to life. That said, this version of Quito is just a digital representation rather than a 1:1 recreation. Having lived in New York for so many years, Cordero admits that the city in the game is more of an “idealisation”. It’s also for practical reasons, as Valbuena describes the environments as “more like a collage of different places that we mash together.”

Conclusion

Despelote is a game that is deeply personal to its creator, and it shows. The attention to detail, the passion, and the love for the sport shine through in every aspect of the game. It’s a game that will resonate with anyone who has ever played football, and it’s a game that will make you feel like you’re part of something special.

FAQs

Q: What is Despelote?

A: Despelote is a soccer game about people, developed by indie developer Julián Cordero.

Q: What inspired the game?

A: The game was inspired by the developer’s personal experience of growing up playing football in Ecuador.

Q: What is the game set in?

A: The game is set in Quito, Ecuador’s capital, during the qualifiers for the 2022 World Cup.

Q: How does the game use photogrammetry?

A: The game uses photogrammetry to capture real-world textures and environments, making it possible to recreate Quito in a 3D space.

Q: When is the game coming out?

A: The game is coming out later this year on PlayStation 5, Xbox Series X, and PC (Steam).