Transcript
0:00 Hello everyone. Welcome back to Adobe Live Thursdays. My name is Jacob. I'm very happy to be here and spending the morning, evening, or night time depending on where you're watching from. Actually, let us know where you're watching from in chat today. I I always forget to ask this, but I'm tuning in from Canada. And we have another Canadian to here not tuning in, but actually just, you know, working and doing some cool stuff with us today. Annika, welcome to the show.
0:28 >> Thank you so much for having me, Jacob. How are you today? >> I am doing very, very well. For people that are unfamiliar with you, you are definitely, I would say, an Adobe Live veteran at this point. You You've done many, many a stream, have a lot of content prepped for us today, and I always enjoy it. But for people that may not know who you are, or may not know, or may not be as familiar with your work, do you want to kind of let us know who you are?
0:52 >> Yeah, absolutely. first of all, I am so excited to be here. I haven't been on Adobe Live specifically with the America specific region and timing for a while, so I'm excited to be back. Thank you so much for having me. My name is Annika. I'm a brand strategist, and I create a lot of educational content for Adobe. So, we've collaborated over the past 6 years, which honestly feels like a long time, but also time flies at the same time. I was recently in the San Francisco office doing some Adobe Live streams, and we explored Firefly boards there as well, which is also something that we will be doing today. So, I'm excited to get into it. I do a lot of brand work. I do a lot of social strategies. So, I'm working with a part-time I'm working part-time with an agency to create their design and social media content, and I also work full-time for myself. So, it's kind of It's kind of a lot of a lot of moving parts. I also host a podcast, which is on hiatus right now.
1:49 so yeah, I I love everything. I do everything, and I'm happy to be here. >> Yeah, you stay busy, and I think that's the coolest thing about the the work that you do is like and I admire is, you know, if if for again, for people that are unfamiliar, hopefully we have your link down in the description of all those different links, but like your podcast is really really high quality. Your branding strategy is very high quality. Like there's nothing that really suffers in that sense if that makes sense. You put a lot of yourself into your work, which makes me even more excited for our demo today as well. I see that we have some stuff up on screen, some some examples of your work.
2:25 Am I okay to switch over to your screen cuz I'd love to show the audience what we're what we're looking at here. Very very cool stuff. So this is your website? >> This is my website. This is us being in the Adobe office in San Francisco. This is me and this is another Adobe friend who's sadly not not with Adobe anymore. >> I know, it's a bummer. I loved him. He was awesome. >> Yeah. there are some curated replays on my website as well that I think are really really telling of the kind of work that I share. And when it comes to educational content, I really want to put out use cases that people can learn from instead of this is how you do something, but I try to go in with the strategy of this is how you do something and this is how you apply it to your own process.
3:08 >> Right. >> So as part of that, I also get to share something about my culture, which is AAPI Heritage Week. So we did a collaboration of four streams where we are talking about Asian art storytelling and also how you can use language and glyphs in Adobe Illustrator. So I tend to do a mix of features along with this is what I believe in, but also how do I empower the design community? Along with that, I've also been a MAX speaker a few times. So that's >> Yeah.
3:38 >> I did the podcast illustrations for In the Making. So these were some of the ones that didn't make the cut, but I did do some color explorations for that. >> Which for the record, I love the In the Making branding and that is also a lovely podcast. So. >> Yeah. Yeah. yeah, and these were some of the other things that I've collaborated with Adobe on. And I'm also an Express and Firefly ambassador, so >> Nice.
4:04 >> to get into it. >> Yeah, so listen, if you guys are tuning in, you got you got someone embassified, I don't know what the word would be, but >> >> officially recognized by Adobe as an ambassador for for these tools today. I also want to call out some people in chat. We have F Burn Baum saying hey from Montreal. Canadian vibes. It is a Canadian episode today. >> Right. >> We have >> Yes. I know Frank.
4:29 >> A Bartin saying hey from LA. Hi Annika and Cody. And also we have Suman saying hello Annika. A lot of people excited for you to be on today. I see a lot of a lot of shout-outs of names in chat, so I think people know what they're in for. I think it's it's going to be a ton of fun. >> I love it. Why don't we get into it? I actually want to jump into Illustrator first.
4:50 >> Sweet. >> yeah, I came up with this really weird funky packaging idea and I was thinking about all the things that are going on in the world and that's been top of mind for me. And so like prayers go to I'm in a city where there were floods recently and so many people had their floods like basements flooded. we also got wildfire smokes from like north >> north of Canada and it's been like just terrible all around the world.
5:20 >> Mhm. >> And it got me thinking about like canned food and how I can you always need that on hand. >> Yeah. >> And then I was thinking about Adobe Live, so I came up with this brand called Tin Folk. >> I like it. >> Which is as you guessed canned food. yeah, this was just just a 30-minute exploration because I wanted to do something fun for Adobe Live. So I I like, why don't we do something fun which we can explore Firefly boards in and explore Adobe Illustrator and really talk about type lockups here as well?"
5:53 So, this is the primary logo that I came up with, and then there's some variations here as well. I really like this font. I actually saw this from one of our Adobe friends. I think it's called Sister Frisky, which is so funny. >> I'm like writing this down cuz I really like this font, too. I'm not going to lie. >> right here. Sister Frisky. It's like so fun, and it just has so much personality. I love it.
6:18 >> Yeah, it's very cool, and I love that the the I guess shape of the star in the top, too, and how you messed around with that and like the alternate type facing. Like it's just so It's cool. I really, really like it. It's something I would gravitate towards myself. I'm a little biased, so I love a funky font. >> Yeah, same. Likewise. and then I thought of exploring some packaging designs. Now, this is not an ideal packaging design because this has any guidelines or any specific guideline here, or this is not made from a template. Just for Just for the sole purpose of demoing something, I didn't feel like I wanted to invest that much time doing it. But, if you're so inclined and if you're really doing a can packaging design, whether it's a beer can or canned food, make sure you have all of your FDA guidelines for nutrition along with the die line template for the standard or customized can that you're designing. So, this is an example of that of how the die line template would look like, where it tells you where the neck is, what the safe area is, and where the flat surface is where your design should go, along with your code the barcode. So, I made an example of that. This was like a basic design, no dimensions involved, and then I used that template to create something that would look like this. I mean, I actually >> So cool. And out of curiosity, where would you find these die lines? I know can get some from Adobe Stock, but maybe like FDA approved, per se.
7:48 >> Yeah, there are printers and basically the manufacturers who print print on cans would provide you the specific guidelines or die lines that they use. But, there are, I think, on dieline.com, you should find examples of how people use it, but not really the template itself. But, manufacturers can provide you all of those. I know a friend of Adobe Live who does a lot of beer packaging, Colby Klites. I think he'll be the one to give the right answer for that. But, without further ado, I actually want to explore some images from our mood board just to give an idea of what people can expect.
8:29 So, I gravitate towards Pinterest and Cosmos a lot. And this is where I get my inspiration. I really love that it's so curated, especially Cosmos now is so curated. And I just looked up canned food packaging, and these are all the things that came up. And not necessarily Right? Like, I would not think of designing something like this, or I would not think of like putting a shape behind text like that. It looks almost as if I'm using like a Sharpie.
9:01 >> Yeah, like a highlighter or something. That's just really cool. I've never heard of Cosmos before, which might be like a sin, artist sin, but that's I like this. >> Right? Yeah, it is a newer platform, but it's been around for, I want to say, a while. But, it's still newer than Pinterest. So, less It's very niche, and you should definitely get on it. I'm putting you on the Cosmos train. >> Yeah. >> But, let's go back to Illustrator.
9:26 Sorry, I'm running off track with my inspiration. >> No, no, no, that's okay. Yeah, we're getting into it. >> Yeah, I want to highlight a few new quality of life updates to Illustrator, and I really love that it's about the eyedropper tool. So, I got this illustration from Adobe Stock as you can see over here. And I want to showcase three things. The first one is support for zoom capability. Greater distinction between color tools and improved precision of the tools. And this is all about the eyedropper. So, if I press I on my keyboard, I can color pick anywhere on this shape, right? But what if I wanted like a precise color pick. So, if I press shift on my keyboard, I can move my cursor anywhere on this shape or this illustration. And you can see from the top zoomed in support capability, you can get any of this color.
10:19 >> Much more accessible. >> Right? Yeah. I actually love this because most of the time I'm suffering because I have to zoom in from my like as you can tell I wear glasses, right? >> Yeah, me too. >> Do I really go in or like do I want to see the big picture? >> Right. >> So, in those cases I think this is really amazing. So, again hold I on your keyboard to get the tool which is the eyedropper.
10:46 Well, click press I and then hold shift anywhere on the shape that you want color from. So, anywhere. I'm just like dragging my cursor through and then this is the shape that I have. If you wanted a greater distinction between this, what I mean by that is that if you have let's say a stroke on this shape as well. So, I'm going to press X which is going to change my fill like my prominent color from fill to stroke. And then I can press I again, hold shift, and then get the color. And as you can tell on this window, there is a color to that stroke.
11:21 I can increase that size to let's say 20 points. Now you can't really tell because both of these colors are really really similar. >> Right. >> I want to change the fill color here. Press X again, that brings up the fill to the foreground right here on this panel right here. And then what if I wanted to really see what color I'm picking? This brings up the same zoom support capability that we saw earlier. So if you double click if you select your shape, double click the fill, and then this new color picker will let you pick any color. Now if I click on this, it only changes the fill color and not the stroke here. So now I see a differentiation between fill and stroke, which is really nice.
12:07 >> That's awesome. I mean, I feel like these are things that are just so you know, we see these big updates from Illustrator, which I'm very thankful for. But the quality of life stuff, man. Give me more of that. This makes me design faster, you know? >> Exactly. And these things have been around forever. Like we have these are all features that the community wanted from us. >> Right. >> And we've been working behind the scenes. I know the Illustrator team communicated this with us as Adobe Live, and the team has been working behind the scenes to make these quality of life updates for so long based on the feedback that you get on UserVoice. And so these this improved precision not only is helpful to users every day, but users that have been talking about this for so long and wanting these features.
12:51 So I feel like it's definitely worth something more than just like here's a big update, and this is something that's like it just ships while you're in the background, and it just makes your life better. >> Right. And remember remember in the chat Adobe listens, so keep submitting that feedback. That it it's very thankful to be, you know, we're in the position of working for a company that does listen to the user profile, the people that, you know, if you feel very strongly about something positive or honestly even negative, right? Like we saw this with Adobe Animate, right? Cutting support for Adobe Animate. A lot of people were not happy about that. I know it's controversial, but it's back, you know?
13:32 >> >> So, >> Yeah. >> feedback works. >> Feedback works. with that said, let's jump into Firefly boards now because I really want to get prompting. We are about 15 minutes in, so just be mindful of our time here. >> just to explore the Firefly board, our positioning as I talked about was just simple canned food brand called Tin Folk. The brand offers three varieties right now because we're still in the exploration phase, so we have beans, tomatoes, and tuna.
14:01 >> Mhm. >> I feel like that would make an apocalypse meal. I don't know. It's right. What is your last apocalypse meal? Like your last meal, what would be the last meal if you had no food in your house? And I don't know. I don't hope this ever happens to you, but I think like as a type A person, I always think about like the worst case and like prepare myself for that. >> Mhm. >> And so yeah, I'm curious. All right, let us know.
14:26 >> That is totally valid. I am the opposite. I am very much like, "It'll be fine." My wife is very type A. >> Yeah. I actually brought in all my These were my initial explorations, but I brought in some of the packaging that I did for this brand. And then I brought some Adobe stock footage and generated something with using the stock footage just to have a template of where my design would go. >> Right. >> So, the first step would be exploring a realistic product shot. So, I feeded this simple prompt which says, "Create a realistic product shot." I'm going to go on generate image. Obviously, you see some sneak peeks here that you're not supposed to see, but I'm going to say "realistic product shot." Get my product mock-up and then get the design that I want to put on it.
15:18 And the two models that I've experimented a lot with using this brand have been charge EBT and Gemini. So I think I'm going to go with Gemini 3.1 keep it 4K I don't know. And then click on generate I wanted to do the same thing. >> Sorry. I was going to ask do do those models change based on the project for you? >> yes and no but I always try yes because sometimes like if I'm using myself as the subject for exploration.
15:52 I would probably gravitate more towards Gemini. >> Got you. >> But if it's product based I would go through any of these I use anywhere from Firefly image 5 I use Gemini I use charge EBT but I've also been using flux 1.1. >> Okay. >> All of those perform really well with all of those for video content I've been using Omni which is working really well but I also use Firefly video. So it really depends what my core subject is for myself I tend to use more Gemini because it has more information for my skin type my profile my features and so it works better for my likeness.
16:31 >> Yes and I think that's important to kind of bring up to is like depending on where these models are coming from they are I don't want to say I feel like scraping is kind of a negative term but like they are they are referencing from different places with different contexts. So you know depending on what you're wanting to like diversity wise or what you're wanting to pull from for what project it is kind of important so.
16:56 >> Exactly. Now I gave first the first tomatoes design to it along with the tuna design. So the first image here that we have is Gemini and as you can see it's not covering the whole thing and it's kind of rustic and maybe I want that but I also don't want that. I don't know. There is this juxtaposition of this being an apocalyptic canned food like approach. But also at the same time, this could just be at a barbecue, right?
17:26 Who knows? >> Right. Right. >> And then this is a very curated, feels like an editorial brand photo shoot, and this is what I asked for because I really want this to be a stepping stone into what I create next, which will be our brand campaign. So, I want everything to be >> clear, right? Yeah. So, let's use this as our first image while the second one is generating, which is right over here. I'm surprised by the speed at which these images are being generated today.
17:54 >> Yeah. I was about to say, like it's super quick, and you know, we're just chatting away, but like takes like a minute, and you can, you know, generate multiple at the same time, right? So, you can just keep throwing them at the wall, see what happens. >> Exactly. And the fun part is that with I'm not sure how pricing with Firefly boards work. I don't remember it off the top of my head. But I am on one of the models where I have unlimited access to Gemini and generating from ChatGPT. So, I think I'm on one of those Firefly Pro.
18:27 I want to I I don't say what model I'm on because I don't know what price model I'm on. But there are definitely various layers of pricing models that you can be for Firefly boards as well, which gives you access to Adobe Firefly and Firefly boards and Firefly everywhere else in the apps as well. So, make sure you take a look at that, which gives you like so much access. Yeah, it's insane. I haven't been able to create more than four images at once, but I don't know, that could just be me.
18:55 I'm not sure if you've had that experience, Jacob. Have you? >> I kind of wax and wane. Usually, I'm not doing more than four images at a time just because my like ADHD brain can't really keep up, but I would say usually four is where I cap off as well from from my recent memory of working within these programs as well. So, I do want to call out some comments in chat really quick. I know that we're in the middle of generation and working through this, but some cool some cool comments. Bonehouse is in chat.
19:31 Hello, welcome. Thank you for popping in. Saying that his dinner of choice for the apocalypse would be spaghetti and vegan meatballs. Also have cream cheese saying the basil adds a nice touch of color. And also hey, okay saying hello. just joined am I late? You were not late. Perfect time. We are generating some packaging within Firefly boards with Annika today. >> No. we are really getting into it. My computer is making some some noises.
20:02 >> We don't hear it on this end, so you're all good. >> Yeah, so we're good. There's no noise. Just let's just ignore it and pretend it didn't happen. >> Exactly. I really love these color choices by the way. Like they pop so well. >> Thank you. Yeah, that's actually the mood board talking because I was like, "Oh my god, I'm so inspired by all these colors." And just blue and pink have been my forever favorite. Like I always just whenever I create a dummy brand for demoing purposes, like a demo brand, I always use these colors. I don't know why. I just gravitate. They just They're just my demo colors, I guess.
20:38 >> They're very engaging. They're very engaging. They're very They pop really nice, too, which is cool. Like I don't blame you. >> >> So, we created these three right now, but I did some exploration of my own and I actually kind of like the new one that we created here. Kind of because it the background and the composition itself pulls in colors from the packaging and that's what I really like. It did change the packaging a little bit, but I'm not mad about that because it's just an exploration. We have this tuna exploration which has like a fishing hook in the back, which I don't know.
21:09 It's just It's so whimsical that I like it. Like, I don't know if it I don't know if I'm mad about it. Like, I don't know if I love it, but I'm not mad about it. So, yeah, we're going with it. >> Totally. >> So, now that we have three images, I'm just going to use these three and then bring them here. What we really want to do next is create elements and scene scenes where we can use these images as part of like a photo shoot, for instance. So, my next step or my approach would be creating a realistic scene with that. So, I'm just going to say shot on film with flash and see what happens when I take this.
21:45 Sorry, this is not the image I was talking about. Let's bring this one in. along with that, I also really like to give my reference image here just because when I give my design multiple times, the model really sees what I'm talking about because I can give more than one image reference. So, I'm going to say generate image here and then paste that shot on film with flash, retain can dimensions, and packaging design. When I give that the the packaging mock-up here along with the design, and then I give them the image of the product itself that we made using these on our first iteration, it is just easier for the model to run because there's no arbitrary information that there's like out there in the nothingness. Like, you provided everything because if you give garbage in, you can get garbage out. Garbage in, garbage out. Give most information to get the best output you want. This doesn't mean that it will work on the first try, but it does mean that you will get good results, if not better I I want to say better results than what would be if I didn't have these, which I can actually experiment with. So, let's remove these and just have that one image. I will eat my words if this generates a better >> Well, >> but we'll see.
23:01 >> I will say, like, I think that I've heard a couple people talk about this generation and the actual verbage of generating within Firefly boards or just general generative products. And I think the the descriptions and the way that you approach things and how you train the models is really important. you you said that yourself, but like you're kind of talking to it like it's like almost like it's a child. You're wanting to give it like as much information as possible, but still at the end of the day, if you give this child as much information as possible, you're still kind of pulling the slot machine, right? So, like, the more info you give, the less rules it can break.
23:37 but, you're still it is meant to be exploratory, right? Where we're in this trying to figure out what how the the language model like specifically speaks and how how it interprets information. So, it's definitely a huge trial and error process. It's It's It takes a lot of playing and general just I would say art knowledge, right? Like, having fundamentals, I guess is the word that I'm looking for. >> Exactly. yeah, like I said, this was our input and this is what we got, which just feels very like not as editorial because this has flash, the colors are overexposed. It it feels like it was at home and maybe in my kitchen, like >> Right.
24:22 >> on my kitchen whatever. And I I just kitchen island. loss of words. But, I feel like I like that more for this >> Yes. >> direction because this brand is meant to be more approachable and like an everyday brand instead of it just being here's an editorial food pro- photograph just in your face, which I also think is like think is like something to think about, especially with the diverse age of AI that we're in because do I really want this to be perfect or do I want this to feel perfect, you know?
24:55 >> Right. >> And you can use this as your exploration base for storyboarding and we'll see that in just a second where I show that I hand draw my storyboards and then bring those in. >> Wow. >> But I really think that this is like such a cool place to just an infinite mood board to just dump your thoughts and just go with it. So you can think about product photography and really do these same things except now I'm not spending all that money doing it and seeing if it works for me, but I can see preemptively if it is going to work.
25:26 >> Right. >> here's an image which I actually want to see what input it had. >> Oh, interesting. >> That is interesting. Yeah, I did not expect that. >> >> Oh, and then we made this is like a traditional tunic and >> Yeah, I was like, oh. What's going on here? this was the one I think which did not have a lot of input. It did. Oh, I want to see where that one went which just had this image. I am going to eat my words because this one is the one that's best out of all of the ones that we got.
25:59 >> Hey, sometimes the the less specific, I guess. I don't know. It feels like you know, with less reference maybe got a little less confused. >> Probably. I think that's what it was, but also I've been experimenting in this file. So the model has had the opportunity to learn from my designs already. So it's not like it's something new that it's being generated like it's generated I assume that the machine language is like the machine is learning from it, right?
26:30 >> Right. >> I do want to bring some packaging shots that I created earlier using the same thing that we saw. which like these were the inspiration and then I explored some beans. >> >> Just thrown in there like this would be fun. So >> too. That's pretty cool. >> Yeah, I was like this is an apocalypse. I don't know if I'm going to put this in the campaign, but it's there to explore. And then some of my initial packaging was just like a pantry shot.
26:59 but yeah, packaging shots 101. >> I mean >> Let's jump into the Yeah. >> Sorry, go ahead. >> You go ahead. >> Oh, I was just going to say if you were to go back to the mood the mood board, it definitely is like encapsulating that like Grotesque kind of Ole style. Like it it feels like it's pulling from that. And it and it fits in that world, right? That world building. >> Exactly. That's basically the idea of this. And it's more so about not for aesthetics, but also still being aesthetics. I don't know how to explain that, but that's what the idea is.
27:38 For our campaign images, what I was really thinking about was putting the product in various spaces and having human interaction with it. So I came up with these prompts where one would be an ingredient led short, but I would have like tomatoes and stuff in the background and that would be like my focus would be the tin can, but also the tomatoes, which is what we see here as well. So this is like how I would prompt my model with it. There's an un-aesthetic shot, which is just a real life refrigerator, which may or may not be someone's refrigerator, but like a non-aesthetic aesthetic version, which is really what we are seeing in campaigns right now. So if you are someone who's trying to target that trend or if you're trying to target that audience, this might be something that you would like to do. And then there's a rustic shot, which never gets old.
28:28 There's a tin can, like I want to pull up a crate like can from a crate, and I think this would be a perfect fit for that. So let's experiment with that. And then I think I have a few more. Yeah, like a kitchen pantry space, which how would this look in a kitchen or a pantry space? And so this would look look like that not our kitchen pantry space. let's let's >> Crazy. >> Let's rein it back in and start with the ingredient ledge shot here.
28:58 >> Yeah, I mean >> this prompt. >> It's so interesting to also see how it interprets these things because like I don't know as a designer I guess like or more of an illustrator side of things like I don't know if I this might be like a speaking to my my experience, but I don't know if I have like what makes these images feel the way they feel like in my head. Like I don't know if I can identify that on my own if that makes sense.
29:28 >> Yeah. >> Which makes it interesting to like see like oh well yeah, this is exactly the vibe that it's you know, that this is why it feels the way it feels. This is why Grasso feels so at home. This is why like Ola feels so at home like and it's being directly translated in these generations that you're doing. Like it's very cool. >> Yeah, it took a lot of hit and trial to not be referencing the actual images >> Right.
29:55 >> come up with the idea and what pinpoints the exact feeling. >> Mhm. >> So, this with this ingredient ledge shot for instance it says top down photograph of three colorful tomato cans lying directly among an abundance of fresh tomatoes still on their vines. >> Mhm. >> Cans retain their dimensions and packaging >> And >> This was something that I had to like think about so much because every single time I would generate it would just blast up the design and not give me perfection. And I was like this is crazy. Why are you doing this?
30:25 >> Right. Right. >> then cans casually spaced and partially surrounded by leaves and produce natural sunlight nostalgic grainy film photography. And that's just something that I add every time now it's because I like that aesthetic and it kind of hides the imperfections a little bit to be honest. >> Mhm. >> and so I feel like that's a good add-on. This is what was generated with that. I don't think the cans are the same size here. So, that's an issue.
30:54 >> Okay. >> Yeah, we fixed that. And then with this rustic shot for instance, it is very different from what we had earlier. Slightly angled photograph of cans arranged inside a wooden crate. So, it is very specific about the kind of crate I want, the material, the angle of the photograph, the grainy film photography, retain their dimensions and can packaging and neatly group it surrounded by the wooden box. So, be as specific as you want, but also don't confuse it by giving unnecessary detail.
31:29 >> Right. You don't want to get too like too detailed. There's a there's a balance when it comes to these things, right? >> Exactly. And you learn all of that just by hit and trial. There's no way to teach this because it the model as we are learning from it, it's also learning while we are teaching it things. So, while you explore and create something from your prompt, you might get different results with every try you do, which is also something that I really like exploring because while this may not be the right output I was expecting, I use the same exact prompt with a different model and it gave me a better result in my opinion. So, I feel like I would not gravitate towards this because it feels like not natural. The lighting doesn't feel the same. And in this composition, the lighting kind of is I can see shadows on the can here. I can see that light's coming from right and there's shadows forming here and it's cohesive in that sense.
32:27 >> Right. It kind of adds that like the I I always forget the word, but whatever makes it like more showing the imperfections of things, right? >> Yes. That's it. okay. We are I'm going to create one more. Let's do the fridge shot as well. I don't know what will come out, but we'll see. Are there any questions in chat? Do you have any questions >> Yeah, we do have a couple questions for you. there's there's a lot of a couple call-outs, too. So, have someone in chat saying, "I like the pink. It's really unexpected for canned food."
33:00 Which I I I think yeah it stands out in a way, which is really really cool. Oz Mini saying, "I'm trying to incorporate Firefly boards in my process. Is this all Is all of this content free to use commercial and personal or commercial or personal?" nice design, by the way. Greetings from California. So, I think that's a good question, right? Like if if these are commercially safe. >> Yeah, Firefly models are all commercially safe. You can learn more about the partner models in Adobe products here, but I do know that all the partner models are not commercially safe.
33:38 >> Right. >> And it's only Firefly, which is Adobe Firefly, that's commercially safe to use. You can or cannot use these for like depending on who you're working with. So, if you're working for yourself, think about that and think about like talk about your Talk to your legal team and see if you can really use these models. And if you're working with the client, talk to their legal team and see what are the implications and if you can or cannot use them with with their products or their logos and stuff like that. Since I'm doing this for myself and this is a demo on how you can use it, I'm able to use any of the models that I want in my explorations. But I'm when I'm working with my clients, for instance, I would prefer using Firefly image 5, which is supposed to be commercially safe you use images that are licensed properly and not sourced from unethical sources.
34:27 >> Right. And that's where this transparency is so important as well, too, right? Because where, you know, it may work for an exploratory process like what with what we're doing right now, I think it's important to remember that, you know, if you're shipping this off to I mean, God forbid, like Apple or something like that. Like, if we're using these, you know, models without being having that language being I guess communicated that you can get a lot of people in trouble, unfortunately.
34:54 Like, that's just the nature of this technology growing so fast. Also, a few more comments here. Pearly Cream Cheese saying, "Love the old lure and the overhead shot." Which I think was on the tuna can, which is cool. And Cody saying, "I explore, quote, I explored some beans." Annika 2026. Good Clip that. Clip that for our motto of 2026. That's really funny. >> Yeah, that's from Good Mythical Morning would be very proud of >> Yes, >> which I don't know if he's watching. If Rhett, you're watching, you'll be very proud of me for saying that. This is so niche.
35:34 >> I I have to call something out cuz you candidly brought it up and I didn't know this and I think a lot of people don't know this. So, there is a Do you know Oh, why am I forgetting her name? I feel so bad now. There There's someone that we work with like Adobe Live. It's been on Adobe Live. >> I know who you're talking about. I know exactly what you're talking about. >> design >> we're talking about Cara Sykes.
36:02 >> Yes, Cara Sykes. >> who made a pride campaign for Good Mythical Morning, which is a very big YouTube channel and they now have a Netflix show, which is very interesting, but I love them. I've been watching Good Mythical Morning for the longest time. This is not a partnership. They're not sponsoring us. >> They're just awesome. >> But, this is my personal opinion. Yeah, I love them and Rhett's favorite is actually beans. If If give anything to Rhett and it's bean related, he will eat it, no matter what it is.
36:29 >> Absolutely. >> one of the things here is that the beans packaging is amazing. >> I didn't even notice that. That's awesome. >> yeah, so you can tell I'm a Rhett fan. yeah. >> She also designed the logo for the Ear Biscuits podcast, which I had no idea, which is so cool. Sorry, we're nerding out real quick, guys. Go go watch Good Mythical Morning. It's It's It's a good show. If you like beans, of course. >> amazing.
36:59 >> Yes. >> It's super fun. It's like a food taste test, but also like goofy things that you would see. Like the whole vibe in general is something that I like. meanwhile, yeah. Just like that. I was actually talking about this non-aesthetic aesthetic. Like my fridge would never look like that, but I love this. >> Yeah. This is sweet. It's It's so like it looks like it was taken on a film camera. >> Exactly. >> Very, very like imperfect, but like I feel like I would buy this.
37:31 You know? >> Exactly. Thank you. Yeah. And then, while I was doing that exploration, in the interest of time, I don't want to do more exploration since I already have stuff here. So, what I want to do is show this pantry shot and load my prompt. And this is also handy when you created something and forgot what the prompt was. You can click on your image here and click on load, which loads our prompt here, which is what was used to create the image. So, as you can see, I gave it a couple of images, which is the same image, for some reason. And then, I say photograph of the cans sitting on a pantry shelf among everyday groceries.
38:07 Cans retain their dimension and packaging design, which is the theme of our prompting today. Slightly messy and unstaged, direct flash and grainy film photography. >> Yeah, this is awesome. >> The thing about this is that it looks real because you do get like a bag of onions like this and olive oil and like >> What about the ripped packaging on the crackers, too? That's a pretty insane touch. >> Yeah. It's like yeah, we like our pantry organized and yes, it gets disorganized every month and then you have to reorganize it.
38:38 So it is very telling to like a real life scenario and I think that's what makes you gravitate towards it rather than it being something like this where you know obviously that this was staged. >> Right. >> doesn't look like this when I'm having six cans of like tomatoes like put there. Like it never looks like this. I would probably just have two. Like I would never have six and stacked on top of each other. Yeah, that's not happening.
39:04 >> >> Neither does this look real. So that's the difference between these two, which again, if you are looking to editorial food photography, maybe this is the direction that you want to go. Nothing wrong with that. I love myself some really staged editorial food photographs, which is necessary if that's your campaign, but our niche is not that. Our niche is more accessible, more approachable. This is for everyone, which is why this is the direction we went with.
39:31 >> I think identifying that campaign, identifying what mood and feeling that you're trying to go for is super super important. Also, this is sick. Wow. >> This was a really fun exploration as well. So the theme here again is top down photograph of the cans sitting in a metal grocery basket filled with fresh ingredients. So again, cans retain their dimensions and packaging design. You can tell I was really just focusing on the product being the foreground and everything else is adding to that. So there is that lure here as well.
40:07 >> Yeah. >> part of the campaign. So there's that wood here as well because I referenced that image. It is pulling in those things from here, which actually brings us to some of the things I created earlier. So, I went ahead and did some more exploration of my own before the stream, and these were some of the things that we made. So, >> So cool. >> Right. So, there are these cans, which if I load this prompt here, it will say the same initial prompt, but if I load this one, it says same scene, a different angle.
40:41 So, I gave it this as my image reference. I can generate this one again right here and see what comes up. Click on generate image, and then same different angle. get this eye dropper sample from your canvas and use as image reference. Then select your model, where you can go anywhere from Firefly image 5, Flux, Gemini, Chat GPT, any of the partner models here as well, and then click on generate. Because I've given it an image reference, it will generate that same scene just with a different angle, which is what the prompt was.
41:14 Super simple one-liner, and it still works for us. >> Right. Man, this is it's so detailed. Like it it's so cool that you're able to like just dive into it so deeply as well, right? Like and with without the compromise of like I don't want to say like creative like brain power, because like obviously there's so much effort that's going into the prompting and the positioning and the just the phrasing, but like being able to kind of knock all these things out with without kind of I guess compromising the important parts of the design process, right? Not getting burnt out from having to re-stage, reframe, go back to the studio, do this again. Like you can really get an idea of what you want this to look like now, right?
42:06 >> Yeah. And there's something to that element as well, which I agree with you. I also don't want to say that it like isn't the same amount of effort, but also there's something to like really doing it with your hands with a photographer and hiring someone to do it. And you know this very well being in the industry of like products and merchandise where if you're showcasing that product with a real human doing things, it brings in that I don't know how to explain that, but that human element of >> Right.
42:38 >> putting in things with your hand and then maybe it not being just like 100% perfect and it also being perfect, but just that brain power that was used to create that scene and everybody has different ideas. This is just one brain with prompting working here, but if you're working with a team, everyone has a different perspective, they have different levels of experience, they have different domains that they've worked in and they may be getting inspired from a Good Mythical Morning episode.
43:04 Same for you. >> Absolutely. >> Everyone brings something else. You may be inspired by a D&D campaign that you did and that can bring in more experience to my photography like staging. And so I think there's something to that working with the team and working in real life and really hiring someone to do your stuff for you. But there's also something about the exploration phase. So >> Right. >> there's like weighing those things and seeing what's more important to you.
43:30 >> Well, I also think the accessibility of just being able to explore even just the pitch idea of coming to a photographer and saying, "Hey, like I would love to work with you and can you explore this idea? But instead of it being a reference from Pinterest or a reference from Cosmo, you can say, "Oh, here's my product in this specific setting with these specific colors, with this specific packaging. how would you imagine this to encapsulate this energy, encapsulate this vibe, but maybe give it your own human element to it, right?"
44:04 >> Absolutely. yeah, we were chatting so much. Time got from us. >> yeah. We've got to go. >> We've got about 10 minutes left. >> Okay. So, with those 10 minutes, I actually want to talk about this little storyboard that I did on one of my index cards. >> Sweet. >> for my to-do lists every day, but I was like sitting around my desk and I was like, "What campaign can we actually create with this?" So, I took a photograph of that and brought it here.
44:32 And my idea was to really like start with the image that we had here, which is like these tomato cans on a vine. >> Right. >> And then pan the camera, like a pan shot, the camera is moving across the scene. There's a hand that comes into the scene and picks up the can and throws it to the camera. And then the next cut is like throwing it into a grocery basket, which we saw earlier, the grocery basket scene.
44:58 >> Mhm. >> The grocery basket then knocks over one of the tomatoes, which bounces over to the fridge and somehow magically opens the door of the fridge. and then these two cans come to the pantry, and then you see the pantry scene. the next scene is a macro close-up of someone opening the can. >> Right. >> Which we see here, and then you pour and then goes on. So, the idea is like really going from farm to table.
45:26 >> Yeah. >> So, you're taking all of this in these shots. And the fun part is that I like used Claude I think I used ChatGPT for all of these prompts here, and I haven't tested all of them. >> Mhm. >> So, yeah, let's test out a couple of >> is going to be so interesting. >> >> So, I ended up making this one, which is just a zoom in, and then there's another one, which is like sort of a pan, but I don't know if it's working.
45:52 >> a tilt. Yeah, yeah. >> I just said add motion to that. So, let's use this one, and then I'm going to say generate video over here. Add motion is already in there. I am going to change Sorry, I wanted to first frame. So, first frame and I want to sample that image. I'm using Kling 3.0 Omni 1080 and then you can change the duration anywhere from >> Oh, interesting. >> 15 seconds. Yeah, let's do generate.
46:19 This might take a while, so I'm glad I cooking showed this one. >> Absolutely. Man, this is Yeah, I'm not I'm not as versed in in generative video per se, but like it is it it's very hard to believe that this is generated. >> >> I'm not going to lie. >> Right? >> The detail's pretty nuts. >> It's so interesting to me and I say hand reaches through the leaves, grabs the can, pulls it towards camera, leaves brush past the lens. It obviously didn't do the leaves part, but I'm not mad about it. It's fine.
46:58 >> Right. >> I I was really struggling with my pantry scenes. I'm going to zoom out real quick and bring my pantry scene here. I don't know where that is. somewhere here. >> Hiding. These are the the beauty of Firefly boards being so large is sometimes things get lost. >> Where is it? It's so everything's so tiny now. It's fine. >> Okay, what was my pantry scene? The pantry scene was the can drops into a metal basket with tomatoes, blah blah blah. Okay.
47:31 >> Mhm. Mhm. >> So, let's go generate video and then I'm going to save this. I don't know how I can do this, but this also is like very fun to me in this space because it's feels like a challenge. Like, am I able to do this? Will it happen? >> Like kind of like doing a puzzle. Use >> Exactly. yeah, I don't know if it'll work, but we'll find out. So, there's this thing button here which says capture area as reference. Since I already used the basket as one of the image references, I actually don't want to use a frame here. Instead, I want to use the area as reference. So, let's let's do that here.
48:14 >> And see if it does anything. It should technically bring that image. It did earlier. I'm not sure why it's not doing that right now. Let's see. Please do it. >> Might be thinking too hard right now. >> >> Yeah, probably. Or maybe it's the model that I have. Hold on. >> Oh, maybe. Maybe. >> It is. It's right here. Oh, wait. Is it? No, it's not. It is It was the model that I had. I think Ray doesn't let you do that.
48:42 Use as last frame? Sure. >> Oh, okay. There we go. Yeah, there we go. >> I will create a different scene for this one because this is the pantry shot. So, where's the pantry shot? Hand slides in across That's not what I want, but let's let's do this one. I don't know what will come out of this. >> Hey, we're here for the explorative process. We're just seeing what what happens, you know? That's the fun of this though, right? Like especially doing these things live is like we get to kind of explore. And, you know, you can sit here for hours and just like generate, figure some stuff out, see what the vibe is, maybe do something a little different.
49:22 Like this looks awesome. >> Yeah, there is some type that's being messed up in this case. >> Oh, yeah. >> But, that's because we I the it was like not messed up in this one. Like you can say it See, it says canned and peeled. But, as soon as I asked for more, like a close-up shot, it couldn't learn from it because I did not give the design as an image reference. So, if you give the design Exactly. So, since there is scope and like arbitrary information and like scope for guessing, it is able to guess.
49:57 I guess one of our prompts didn't work. It says generation error for some reason. I guess most a lot of people are using Firefly both right now. But yeah, it it got better slightly, but it's not really what I wanted. Let's see if Omni will work with us. But yeah, apart from we having a server issue right now, this is how I would take that initial image from this campaign. Where's my campaign? let's see. Yeah, just coming up with that campaign.
50:27 It could be as simple as farm to table and then really breaking it down into scenes and how that would happen in a regular use case because my use case is making it approachable. So, farm to table bring that this is how this product was made using real ingredients that were locally grown. Someone was bringing it to the grocery store and then we stocked it up, brought it to our house, a tomato rolls out, and also making it that cinematic kind of film.
50:54 While and then bringing into a pantry, a juxtaposition of that editorial photography, and then a close-up of the actual product, which is a nod to some of the older campaigns ad campaigns that I saw growing up. And then once you have all of that, I would go into Adobe Express and really use their video timeline to bring it all together. yeah, it's a lot a lot of fun to do all of these. I didn't get to the Adobe Express part, but if you go on to new.express.adobe.com, there's a lot of templates that you are able to explore. You can explore with Right? You can explore with these filters and there's like video templates as well. So, while you have the option of creating something from scratch, you also have the option of using templates if that's something that you're into.
51:44 So, I think the fun thing about this is that one you once you have generated your whole campaign, you're able to bring it all together with just either the Firefly video editor or using Adobe Express. I like Adobe Express more. I'm biased because I use it almost every day, but there is a schedule, right? Like the content scheduler is free in Express. So, if you are using Adobe Express on the free version as well, you're still able to schedule your content out to socials. So, if you're a brand that's new and you don't have necessarily or you don't want to spend a lot of money on your content scheduling, use Adobe Express. The free version gives you access to the content scheduler and you're ready to send it out to all your socials. so, if you click on schedule, you're able to connect your platforms here and then post stuff. I know I said I use it every day, but it's not showing up here. But, here you go, you have some things here.
52:42 I use it sometimes. Yeah, no. Yeah, super good stuff. >> Well, we've got about a minute, 2 minutes left. So, if you don't mind for the people that might be tuning in a little bit late or might maybe watching the replay, do you want to kind of give us like a rundown of how we got to this point? >> Absolutely. I'm glad you asked me. Okay, so we had a mood board. First of all, thank you so much for bearing with us for the past hour and thank you for being here and all the lovely comments in chat. If you did miss the video, go back, watch the VOD. We have everything on our YouTube. So, go back and watch that.
53:20 I came up with this brand called Tin Folk and this is our primary logo. It's a canned food brand and we have three flavors, tomatoes, beans, and tuna. these are the lockup variations, which is just the type exploration, the iconic version as well along with our brand colors. I ended up making a product mockup using one of these canned images from Adobe Stock. So, I brought in all my packaging design into Firefly boats, and these are just PNG files that I exported from Illustrator. So, these were all made by me. I want to open up the Illustrator file just to show that. these are all vectors that were made by me, and I designed this quick mock-up. These are all images if I go on outline mode, right? And then I brought that into Firefly boats. The first step was really seeing how this packaging would look like on an actual can. So, we did some explorations with that, and then we started bringing in these cans into actual scenes and how they would look like along with what our marketing campaign would be. So, I started thinking it from which is where is the interaction that I want? So, do I want human interaction? Do I want ingredients? Do I want an aesthetic shot? Do I want a rustic-looking shot?
54:37 Do I want this to be an editorial food photography, or do I want it to be in a pantry space? So, doing that research is really important when you're doing something like this, and that's what we explored today as well. Along with it being like a fun like let's do a grocery store hall, and we're doing a grocery basket campaign. I did some more personal explorations previously, so we looked over some of those as well along with some of these. Actually, I didn't show these before, but we have some pantry images >> here as well.
55:10 >> The colors are crazy. >> >> Yeah, they are. >> So cool. >> we ended up, right? And then we ended up using some of these images. I did get this one which I didn't really like, so we didn't talk about that, but I wanted some someone actually holding it very like a low angle to the camera, so I did that. But then we ended up making some video with my storyboard as well. So, yeah, we ended on video using all the images.
55:39 >> I mean, absolutely incredible work today, Annika. I think you you just flew through so much content like with with so much detail. Like, I feel like I learned a lot and now I'm like, you know, I have all these ideas just like pinging off of my brain of of what I want to do and I highly suggest, you know, if you're watching today and you haven't used Firefly boards or you're thinking about Firefly boards, give it a try. Like, you use it in your creative process, even if it's exploration. Like, it's a ton of fun.
56:06 there's a lot to learn from these different streams and from what Annika's taught us today, maybe design along with Annika. That's always really fun with the VOD. But, also leave a like and subscribe and let us know if you liked this episode of Adobe Live. This this live stream that we do we do these every single week and there's plenty of information to take from these videos these these these tutorials. And and Annika, for people that want to, you know, keep in touch with you or or stay up-to-date with some projects that you have. Maybe check out some of those scheduled Adobe Express posts. Do you want to let us know where we can find you after after the stream?
56:43 >> Yeah, absolutely. I know there's a link for my Instagram and my website in the stream description. So, go on those for that, but I am just a n i k a a g g on Instagram. Or if you just look up my name Annika Agarwal on the internet, I'm sure you'll be able to find me. I'm working really hard on that SEO. So, yeah, thank you so much for having me, Jacob, and thank you Adobe Live for having me.
57:07 >> We are very happy to have you and thank you so much for showing us your expertise in these programs and giving us just some more design knowledge and design information. So, make sure to stick around, everyone. There's still so much more jam-packed today for our Adobe Live Thursday and we will see you in the next stream. Bye, guys.
57:43 >> >> Mhm.