Product updates

We're excited to announce that After Effects 2027 (version 27.0) has officially started rolling out to users around the world!The release is being rolled out in stages, so don't worry if you haven't seen it in your Creative Cloud desktop app just yet. It may take a few days for the update to become available to everyone.We'll be sharing the full release notes, documentation, and official announcements at Adobe MAX on Tuesday November 10th, so stay tuned for all the details!Until then, here's a look at some of the exciting new features and improvements coming in After Effects 2027!   After Effects AI AssistantDescribe what you need in the new AI Assistant panel, and let it organize your project, write and fix expressions, generate images and videos, build compositions and much more.  Use Layers as Material SourcesUse animated precomps, solids, images, and videos as materials for 3D objects when working with the Advanced 3D renderer.  Apply Materials on 3D Text and ShapesApply layer-based materials as well as Substance 3D Materials to 3D text and shape layers to replace default materials with photorealistic or stylized looks.  Import Illustrator Text as Editable Text LayersConvert Illustrator text to editable text layers, preserving fonts, size, fills, positions, styles, and variable font settings.  Access Adobe Stock assets in After EffectsUse the new Adobe Stock panel to add Stock assets without leaving After Effects and download them straight into your Project panel.  Stylize footage with Contour PaintUse the new Contour Paint effect to analyze the contours in your frame, then smear and posterize pixels along those contours for a highly stylized result. Recover Projects Easily with Improved Auto-SaveSafeguard your projects with Auto-Save and quickly recover your work after an unexpected After Effects crash.  In addition, there are more than 50 bug fixes and smaller quality of life improvements (including macOS native full screen mode) in this release. We are excited to see what you make with it!PS. If you're eager to jump in right now, all of these features are already available in the latest After Effects Beta! You can explore them today while you wait for the official 27.0 release to reach your Creative Cloud desktop app.

We added the ability to swap sequence dimensions in one click so you can quickly change a horizontal sequence to a vertical.  It’s soooo simple and soooo obvious we just did it.  Sometimes it’s the small things!                                               Changing a 16:9 sequence to be 9:16 for posting on the socials is a pretty common thing, it turns out, and manually typing in 1080 x 1920 (or whatever the resolution is) is slow and prone to error and it just feels like there should be a better way.  So, we added a simple button to swap the vertical and horizontal resolutions.  That’s all it does.  It doesn’t run auto-reframe or reposition your content.  It just changes the sequence dimensions.  Make sure your sequence is in focus or selected in the project panel, then go to Sequence > Sequence settings. This idea was brought to our attention by @davethegreko. Thanks Dave! Check out his video on instagram We want to know what you think.  Please join the conversation below.

Beta versions of Premiere, After Effects, and Media Encoder now provide dramatically improved support for X-OCN, Sony’s compressed raw format. This update includes:Hardware acceleration of X-OCN for faster playback and export on macOS and Windows Expanded source controls via Effect Controls > Source and the Properties panel, where you can now view and modify X-OCN attributes, including: Color Space ISO Exposure Exposure Index Color Temperature Tint Sharpness In-Camera VFX settings for customers using virtual production: LED Wall Color Temperature Light Blend Already in beta is support for the new X-OCN variants for the Sony FX5: X-OCN C1 and X-OCN C2. (Adobe’s video applications already support the other X-OCN variants: XT, ST, and LT.)Other things to be aware of:Rec. 709 has been removed from Source Settings > Color Space. In the current, shipping version of Premiere, there is an option in X-OCN Source Settings to convert X-OCN footage to Rec. 709. Using this option often resulted in clipped highlights and was rarely used by customers. Support for Sony RAW and Sony 16-bit linear F65 RAW has been removed. Sony RAW is a separate format from X-OCN, used by older cameras such as the PMW-F55/F5 and NEX-FS700. Sony 16-bit linear F65 RAW is the raw format that was used by the Sony CineAlta F65.We’d love to get your feedback on X-OCN support! Please let us know if you have questions or comments, especially about export performance in Media Encoder (Beta), the new source controls, and any projects affected by the changes above.Originally posted in the Premiere (Beta) community.

Applies to: Creative Cloud teams and Creative Cloud for enterprise organizations TL;DR  Kling and Seedance, two video-generation partner models, are now available in Firefly for Creative Cloud for teams and Creative Cloud for enterprise organizations.  Admins have controls to determine whether these models can be used by their organization. These models are enabled by default for eligible team plans and eligible enterprise customers on VIP agreements, and disabled by default for eligible enterprise customers on Enterprise Term License Agreements (ETLA). See details below.  Like all Adobe partner models, these models adhere to Adobe’s policies. As a reminder, your content is not used to train partner generative AI models.   Go to the Admin Console Review and configure access in the Adobe Admin Console.  Who this applies to  Admins of Creative Cloud for teams and Creative Cloud for enterprise organizations whose plans include access to partner generative AI models.  Users in those organizations who generate video in Firefly and Firefly Boards.   Why this matters  More choice and flexibility: Kling and Seedance are video models that generate cinematic AI video. They now sit alongside Firefly and partner models, so teams can pick the best model for each project without leaving Firefly or switching applications. Admins stay in control: Admins have the ability to turn these Chinese-developed models on or off for their users.  Uses existing credits: Generations use an organization’s existing generative credits on eligible plans, so customers do not need any additional purchases to access and use these models  The default access settingAccess to these models is turned on by default for the following plans:  Creative Cloud Pro for teams and Creative Cloud Pro Plus for teams, All Apps plans  Firefly Pro for teams, Firefly Pro Plus for teams, and Firefly Premium for teams  Creative Cloud for enterprise Edition 4 on VIP agreements  Access to these models is turned off by default for Creative Cloud for enterprise customers on ETLA agreements with Edition 4, Edition 4 with Premium Stock, or Edition 5. On these plans, an admin needs to turn on access in the Admin Console before users can generate with these models.   How to manage access  All admins with plans that get access to Chinese-developed models, will now have controls that allow them to manage access in the Admin Console.  Access to Kling and Seedance is controlled separately from other partner models, so you can allow other partner models while keeping these off.  Quick links  Partner models in Adobe products, including the disclosure on Chinese-developed partner models and credit usage  Predefined user roles in Admin Console (Creative Cloud for teams)  Predefined user roles in the Admin Console (Creative Cloud for enterprise)  Create custom roles (Creative Cloud for enterprise)   Closing Have you reviewed partner model access for your organization yet? Share how you plan to scope it for your teams, or ask your questions below and we will help. Was this helpful? Mark it as helpful, and subscribe to this space so you do not miss the next admin update. ICYMI: catch up on earlier Admin Console announcements in this space. 

Since the AI Assistant came to Premiere (beta) in June, we've been hard at work improving it including support for custom skills, attaching external files, pasting in clips as references, and making it faster and more efficient with common tasks. Thank you for your feedback and input along the way.Starting today we are removing the daily and weekly limits on usage. We've heard from many of you that you are impressed with what the Assistant can do, but you haven't been able to really put it into full use yet as you would inevitably hit our free daily limits. With this change, the Assistant will use Firefly credits from your Adobe account's plan.Each response from the Assistant will have a credits icon underneath it, and you can hover over it to see the credits used for that prompt and response. If your account is low on credits, you'll see a notification in the Assistant and can purchase more credits directly inside Premiere.We'll have more news on the Assistant soon, but in the meantime we are excited to hear from you how the Assistant is helping you with your work in Premiere. Thank you!

Since the AI Assistant came to Premiere (beta) in June, we've been hard at work improving it including support for custom skills, attaching external files, pasting in clips as references, and making it faster and more efficient with common tasks. Thank you for your feedback and input along the way.Starting today we are removing the daily and weekly limits on usage. We've heard from many of you that you are impressed with what the Assistant can do, but you haven't been able to really put it into full use yet as you would inevitably hit our free daily limits. With this change, the Assistant will use Firefly credits from your Adobe account's plan.Each response from the Assistant will have a credits icon underneath it, and you can hover over it to see the credits used for that prompt and response. If your account is low on credits, you'll see a notification in the Assistant and can purchase more credits directly inside Premiere. We'll have more news on the Assistant soon, but in the meantime we are excited to hear from you how the Assistant is helping you with your work in Premiere. Thank you!

​A boom mic sneaking into the shot. A light stand that missed its cue to leave. That background distraction you didn’t notice until you started editing. We’ve all been there—and fixing it can take a lot more work than spotting it.Meet Generative Remove, now available in Premiere (beta). Mask the object you want gone, and Generative Remove fills only the selected area—everything outside your mask stays unchanged. It’s non-destructive, too: your original footage is preserved, so you can experiment, generate again, or revert to the original at any time.From “we’ll fix it in post” to actually fixing itGenerative Remove builds on Premiere’s masking and tracking tools to help you clean up your shots without breaking your editing flow.Choose what goes: Create and track a mask around an unwanted object to control the removal. Keep editing: Removal processes in the background, so you can continue working while your result generates. Try another take: Generate again or adjust your mask and retry. You can also revert to your original footage. Clean up more than one distraction: Create separate masks for multiple objects, then select those masks to remove them in a single generation.Give it a tryOpen a project in Premiere (beta) and select a clip with an object you’d like to remove. Currently it supports 480p to 1080p SDR files, up to 30 fps, up to 10 sec Create a mask around the object, then track it through the shot. Scrub through the clip to check your mask. Include any shadows or reflections you want removed, too. Select Remove from the masking controls at the bottom of the Program Monitor, review the generative credit cost, and confirm. Review the result on your timeline. Select the clip’s AI badge to generate again, revert to the original, or rate the output.💡A tip before you hit Remove: A well-tracked mask makes a difference. Make sure the entire object stays inside the mask throughout the shot—not just on the frame where you drew it. For a tightly fitted mask, a slight expansion can help keep the object fully covered.​ We want your feedback and we can’t wait to see what you make disappear.Take Generative Remove for a spin on your footage and tell us how it goes. We’d especially love to hear about:Getting started: Was it clear how to go from selecting an object to generating a removal? Masking and tracking: Could you easily select everything you wanted removed and keep it covered throughout the shot? Results: Did the generated area blend into the scene and stay consistent during playback?Use Good Output or Poor Output from the clip’s AI badge menu to rate a result, or share your experience in the replies below. If something didn’t work as expected, include your beta build, system details, clip properties, and steps to reproduce. Alternatively, you may also share your feedback by submitting the feedback form. A few things to know during betaGenerative Remove requires an internet connection and processes footage in the cloud.For a removal that spans an entire clip, generate it in one pass where possible. Processing separate segments can produce fills that don’t match across the cuts.Current beta support includes:        Helpx | Generative Remove  ​

Hello :)Latest Beta Build 31.1.49 is now available in CCD. Following changes landed in this build: Icon Sheets:Icon Sheets lets you make complete icon sets from a single prompt or explore different styles. Each icon is an editable vector on its own layer, ready to move and refine. Build an icon set with consistent icons, explore variations of any icon, edit an icon by changing its prompt or settings, or use any icon as a style reference for a new set. We encourage you to test this feature across a range of scenarios and workflows. Some identified use cases are listed below but the possibilities are endless.Use cases:A set of Icons : Describe a set, such as “icons for a food delivery app,” or list the icons you need, such as “home, search, cart, profile.” Click on Generate to create consistent icons based on the prompt. Variations of one : Type a prompt to see diiferent versions of the same icon. For example, prompt “calendar” to see multiple ways of representing a calendar icon. Explore : Select a generated Icon and then select variations or edit from the left side of the panel to generate variations or do specific edits to the icon.Please note: the feature is available only in the English language.More Bitmap Rasterize Options: Bitmap rasterize used to produce just a single fixed black and white result. Now you get to choose how the image is converted. In Object > Rasterize and Effect > Rasterize, the Bitmap Color Model adds a choice of dithering algorithms, each with its own settings, plus custom foreground and background colors. This brings Photoshop style bitmap mode control to Illustrator.Key Points:Choose a conversion method: Instead of one fixed result, pick from Threshold, Pattern Dither, Diffusion Dither, and Halftone Screen. Fine tune each method: Adjust the Threshold level, or set frequency, angle, and dot shape for the Halftone Screen. Custom foreground and background colors: Pick any foreground and background color, or make the background transparent, instead of only black on white. Available from both entry points: Object > Rasterize and Effect > Rasterize give you the same options and output.How to Use:Select your artwork and choose Object > Rasterize, or apply Effect > Rasterize. Set the Color Model to Bitmap. Pick a conversion method and adjust its settings: Threshold level, or Halftone frequency, angle, and dot shape. Choose your Foreground and Background colors with the swatches, or set the Background to Transparent, then click OK.

Design a gratitude journal 🧡 Take part in our November challenge! Inspire students to pause and reflect on 4-6 things they’re grateful for, then bring them to life in a unique gratitude journal page.With instructions and a video walking through each step, your students can explore a variety of Adobe Express design tools:Add text to share what they’re thankful for ✍️ Add elements to represent each idea 🌟 Draw their own shapes and doodles 🎨 Animate their design to make it come alive ✨Once finished, turn the pages into a gallery to share with your classroom community and families. 🏫We’d love to see what you and your students create! What are your students grateful for, and how did they represent it in their journal?Start creating today: https://adobe.ly/acegratitude

The 80s aesthetic has taken over the internet, and honestly, we're here for the retro revival! From bold typography to grainy textures and vintage print effects, everything old is cool again.But have you ever wondered how those iconic retro visuals were created before digital design took over?Back in the day, designers relied on a clever technique called halftoning, turning photographs into patterns of tiny dots. By varying the size and spacing of these dots, they recreated highlights, shadows, and depth, giving printed images their signature textured look.And in the 80s, designers took this technique beyond traditional printing, embracing its imperfections to create bold, experimental graphics that defined an era. Let’s recreate them in Photoshop by designing a record cover.. Step 1: Create a new square Photoshop document, I chose 2000 px X 2000 px, but you can use any size you want.Leave the default parameters as is.There’s already a 2000 x 2000 new file preset within Photoshop in the “art & Illustration” section if you need one. Step 2: Add a new solid fill layer (Layer>new fill layer>solid colour or click on the “new fill or adjustment layer” icon at the bottom of the layer’s panel), choose a saturated dense colour for maximum impact. Mine is #a70037 Step 3: Add your image on top of the layer stack by going to “file>place embedded”, and locate the image on your system. Resize using the handles and press enter to confirm and place. Holding ALT while dragging allows you to resize from the centre, making it easier to place accurately.I downloaded mine for free on Adobe Stock - > #AdobeStock_273942975 Top tip:You will notice that the file comes with a small icon at the corner. It indicates you are dealing with a smart object.Smart objects are really useful as they retain all their original state and anything done to them are simply added dynamically. Any adjustment, filter and transformation can be reversed. It’s called “non-destructive” workflow and ensures that if you change your mind, you can still go back to the layer original state. Step 5: We are now going to select the subject, allowing us to hide the background. Choose a method of selection of your choice, but the easiest is to use the “select subject” option, either from the selection menu, or from the contextual bar. You can also use the “object selection tool” (Shortcut W) and choose the “select people” option in the application bar at the top. Step 6: Once the subject is selected in its entirety, create a mask from this selection by clicking on the “create mask” icon in either the layers panel or the contextual bar. Your image is now masked, with the mask hiding the background. Step 7: Create a new solid white layer using the same method as step 2, and duplicate the mask from the image to the new solid layer. Do do that, simply hold ALT and drag the mask to the new solid layer. Be sure you select the mask first, and not the layer thumbnail. Step 8: Drag the new solid colour layer underneath the image. Wait until a blue double line appears between the two layers so you know your layer is correctly placed. Step 9: Now we are going to add a slight white gap between the image and the bright background to mimick what is called a “registration error”, when the different colour plates on the printing machine are misaligned.First unlock the link that binds the layer to its mask and select the mask (note the white border around the mask now it’s selected).Now simply enlarge the mask a little (by a few %) by using the transform handles (CTRL/OPT+T or edit→ free transform) and nudge it to one side using the arrow keys of the keyboard. You should now see a white gap on one side of the image. Step 10: Now go back to the image and duplicate the layer (either layer→ duplicate layer or drag the layer to the + sign at the bottom of the layers panel), hide it by clicking on the “eye” icon on the left side of the layer Step 11: Go back to the image layer below and turn it into black and white (image → adjustment→ Black and White), accept default settings. Step 12: Lighten that layer until the white areas are washed out (image → adjustment → levels and then push the right rectangle (white) until most light areas loose their details, the exact number depends on your image but my white point is at 177) Step 13: Select the top, still hidden, image layer and show it by clicking on the eye icon again. Apply a halftone pattern by going to filter→ filter gallery → halftone pattern. Choose the different settings until you find something you like, mine are: Size: 3, Contrast: 40. Pattern type should be “dot”.In the foreground and background layer, replace the default foreground with a bright colour that clashes with the original background of the artwork, I chose green #0b824c. Background should be white. Step 14: Change this layer’s blending mode to “hard light” so the black and white layer underneath interacts more boldly with the top one, and lower the opacity to 75%.Bonus Tip: You can add a worn out texture on top, for added vintage look simple by going to file → search Adobe stock and toggle the free search option, choose a texture of your choice and click on “download”. Resize, move and change the blending mode and opacity to suit.The file I chose is #196393610 with a “hard light” blending mode and a 30% opacity. Now add some type if you want to, you got a bona fide 80s record cover! Join the conversationPlease feel free to share where you used these tips! I hope these tips were helpful. If you have any more questions or need further assistance on this topic, feel free to reply here.

Rolling out now in the After Effects Beta, starting with CCD Beta build 27.1.0.028.Layer controls are how you grab, move, and align your work, so they should keep up with you. We’ve been tuning how After Effects calculates and draws them, and the results are now available in beta. What’s newSmoother text and shape editingEnjoy more responsive layer controls and less lag as you drag to make adjustments. Mask outlines draw faster on Windows and macOS, and previews keep up better with your changes as you edit shapes.We tested these changes on heavy shape-layer and heavy mask outline comps by comparing builds with and without them. Layer controls drew noticeably faster in those projects, and the demo video above shows the difference.  Where you may notice it You’re most likely to observe these improvements in comps that were already hard to work in with layer controls on: many shape layers, masks with detailed outlines, or a mix of shapes and text that you’re lining up by hand. In those projects, layer controls should keep pace with your cursor more closely as you drag, and mask outlines should redraw with the layer more promptly.Your results depend on what’s in your comp and on your hardware. Simple comps were already fast, so you may not see a comparative difference there. Before:Dragging shape layers with layer controls on, BEFORE these improvements. Same project, same machine.After:Dragging shape layers with layer controls on, AFTER these improvements. Same project, same machine. FAQQ: Do I need to turn anything on?No. These improvements are part of the beta build, so you don’t need to update any settings.Q: Will layer controls look different?They shouldn’t. Controls should sit exactly where they did before. If you see misaligned controls, tell us.Q: Will this speed up every project?These improvements focus on layer controls and shape interaction, so they won’t speed up every part of a project. If a comp still feels slow, send it to us. Real projects help us decide what to look at next.Q: Will this change how my final renders look or how long they take?Your output shouldn’t change. We ran pixel-verification tests to confirm it matches. These improvements target interactive work. Try it and tell us what you thinkThese improvements are included in After Effects 27.1.0.028 beta. Try them on your own projects and tell us:Which projects improved the most Anything that looks wrong or out of position Instances when the projects are still slow

We’ve noticed some comments here about the images appearing small on the right side in Generations, but you can switch to grid view to see them in a larger size. GenerationsThe new generation and editing workspace shows your generation history alongside the generation and editing tools, so you can browse and reuse previous results without leaving your work.Open the workspaceOn the left navigation bar, select Generations. The workspace opens with the last project you were working on.Switch between List and Grid viewsUse the view control in the upper-right corner of the workspace to switch between List and Grid view.  Firefly saves every image, audio file and video you generate in the Generation history tab under Files. This post shows where to find it.Open your generation historyOn the Firefly homepage, select Files in the left panel. Select the Generation history tab. It lists all your previously generated content. Use the dropdown menu to show only images, videos, audio, or all generated content. Actions for each generationHover over an item, then right-click it or select the three dots to open the context menu. StorageYour Generations are saved in your Adobe cloud storage and uses your allocated storage space, like any other file saved in the cloud.👍 Like if you found this helpful · ⭐ Subscribe to catch future Firefly updates as they land · 📣 Share with someone who'd want to try this out!

Beta versions of Premiere, After Effects, and Media Encoder now provide dramatically improved support for X-OCN, Sony’s compressed raw format. This update includes:Hardware acceleration of X-OCN for faster playback and export on macOS and Windows Expanded source controls via Effect Controls > Source and the Properties panel, where you can now view and modify X-OCN attributes, including: Color Space ISO  Exposure  Exposure Index  Color Temperature Tint Sharpness In-Camera VFX settings for customers using virtual production: LED Wall Color Temperature Light Blend Already in beta is support for the new X-OCN variants for the Sony FX5: X-OCN C1 and X-OCN C2. (Adobe’s video applications already support the other X-OCN variants: XT, ST, and LT.)Other things to be aware of:Rec. 709 has been removed from Source Settings > Color Space. In the current, shipping version of Premiere, there is an option in X-OCN Source Settings to convert X-OCN footage to Rec. 709. Using this option often resulted in clipped highlights and was rarely used by customers.  Support for Sony RAW and Sony 16-bit linear F65 RAW has been removed. Sony RAW is a separate format from X-OCN, used by older cameras such as the PMW-F55/F5 and NEX-FS700. Sony 16-bit linear F65 RAW is the raw format that was used by the Sony CineAlta F65. We’d love to get your feedback on X-OCN support! Please let us know if you have questions or comments, especially about performance, the new source controls, and any projects affected by the changes above. 

 Hi Acrobat Community, How much of your week goes to the business of creativity instead of the creativity itself? Email chains, invoicing, chasing feedback, hunting down that one file... it adds up fast.  What if you could spend less time on the busywork and more time doing what you love?Join us on Tuesday, November 10, for a free session at Adobe MAX, where we’ll explore how a real creative agency uses Acrobat Studio and Adobe Express to simplify everyday workflows and make more room for creativity. 📌 Wish You Had More Time for Actual Creative Work? [OS351] Speaker: Lori DeFurio, Principal Business Solutions Technologist, Adobe Time: Tuesday, Nov 10 | 4:30–4:45 PM EST (1:30–1:45 PM PST / 21:30–21:45 UTC) Who it’s for: Everyone. No special expertise needed.  It’s only 15 minutes, and you’ll learn how to:  Collaborate with clients and stakeholders without endless meetings  Automate repetitive work like text editing, PDF creation, and asset sourcing  Let AI Assistant handle the repetitive editing so you don’t have to  Turn past work into searchable business intelligence  Spend less time on overhead and more on creative output  You’ll see the whole workflow in action, from pitching a new client to collecting feedback, revising copies, and delivering final assets.  Ready to make more time for creativity?👉 Register/add to your Adobe MAX schedule here.  💬 Let's hear from you!What's the one task in your creative workflow that takes up more time than it should? Chasing feedback, making revisions, organizing files, or something else?Share it in the comments! We'd love to know what you'd automate first. 👇 

November 2026: "South Beach Deco"by Cyn LagosJoin me live on November 2nd at 9am PT on YouTube, where I'll be remixing the "South Beach Deco" image myself and answering your questions in real time!  About Lightroom ReMix It:My graphic design brain has always come along on my photo walks. I photographed this Art Deco building in South Beach while exploring my voice as a street photographer. I was drawn to the straight lines, the way the shadows created new shapes, and a color palette that felt like something I’d build in a design. Photography became another way to explore those same instincts, this time by finding them out in the world. I’m curious to see what catches your eye and where you take it with your edit.Have fun with the Remix and be sure to share yours! I’ll announce my favorites at the end of the month, and we’ll be randomly selecting one entry to receive a complimentary 3-month Creative Cloud subscription.Note: the selected recipient will be asked to provide their full name, email address, and country of residence. Some countries may not be eligible to receive the prize.  About Me: I’m Cyn Lagos, a visual artist and educator working across photography, design, and video. I’m always collecting little things that catch my eye: a color combination, an unexpected shadow, or a different way of seeing something familiar. Teaching lets me share that curiosity and help others build confidence in their own creative instincts. See more of my work at youtube.com/@cynlagos.  About Lightroom ReMix It:The “Remix it!” challenge is a fun, community-driven creative activity that invites you to jump in, experiment, and share your unique editing style. Inspired by the collaborative spirit of Lightroom’s Remix feature, where photographers build on each other’s edits, this challenge is all about creativity, learning, and having fun together. Take an image, make it your own, and see how others in the community interpret the same starting point, because every remix tells a different story. How to JoinMake sure you have the latest version of Lightroom Desktop, iOS, or Android Follow this link to the November ‘26 Remix It! Challenge in Lightroom: https://lightroom.app.link/Z0hs5eLrD7b Share a screenshot and/or link to your Remix in the comments below!Complete all three challenge steps for a chance to be randomly selected for a complimentary 3-month Creative Cloud subscription. Grab the image, open it in Lightroom, and show me what you’d do differently. I can’t wait to see your take on it, live or in the comments! 😄 

If you’re working on a new or updated plugin or add-on that you hope will be live by Adobe MAX, please submit it for review before November 4.Need an expedited review? If you have specific circumstances that require a go-live by MAX, please:Add the context to the Notes for Reviewer field in your submission. Send an email to ccintrev@adobe.com with your plugin name, plugin ID, and the reason for the urgency.The closer we get to MAX, the less we can promise, but we’ll do our best to prioritize urgent cases.A request to the community:Out of respect for fellow developers, please escalate only if there’s a real need. Out of respect for the review team, submit as early as possible and double-check that your submission is complete.Thank you, and we’re looking forward to seeing your work at MAX!

Let’s Explore Texture Brushes in Adobe Photoshop!Designing with texture brushes in Photoshop can produce a lot of interesting textures in your compositions. Of course, knowing how to adjust the application of these brushes and best apply them to your subject can take some additional know-how rather than simply laying down texture all over the place… and what should we keep in mind as we create our texture brush and adjust its settings? We're going to have a quick look at all these considerations when using texture brushes. How to Design with Texture Brushes in Photoshop: Create a Texture BrushFirst, we'll need to access the Brush tool and create a texture brush through the Brush Settings panel.In Photoshop, select the Brush tool and open the Brushes panel - you can find that under Window > Brushes. In the Brushes panel, twirl open the General Brushes set and select the Soft Round brush preset.   Open the Brush Settings panel by choosing Window > Brush Settings from the application menu or click the Brush Settings button in the Brushes panel itself. This panel will display all of the settings for the selected brush. Active settings have an active checkbox next to them and inactive settings display an inactive checkbox. Initially - none are active.   Once activated, clicking on the name of any setting will give you access to adjust each setting's properties. Some settings have no properties beyond being on or off and therefore will display nothing when clicked. Let's create our texture brush. Brush Tip Shape: Select this setting and set the Size to 300 px. Adjust the brush Hardness value to 0% - creating soft edges. Note: This is the only setting you do not have to activate - as it contains all the standard brush properties. Shape Dynamics: These settings allow some variation in our brush strokes. Enable it and be sure to select it as well - the Shape Dynamics category will be highlighted once selected. Set Size Jitter to 70% and Angle Jitter to 50%. This will create more randomness as you lay down each brush stroke.   Scattering:   The Scatter property determines how far apart - or scattered -  the results of a brush stroke are. Keep an eye on the preview toward the bottom of this panel to see how your changes affect the stroke.   Texture: Now for the actual Texture settings of a texture brush!Activate and select Texture. The first property is a texture selection dialog right at the top of this section. Choose the Grass-Autumn texture from the default set of Grass textures.   Note: The textures that appear in this dialog are defined patterns from Photoshop. You can define your own patterns by making a selection and choosing Edit > Define Pattern… from the application menu. Set Depth first before any additional properties. I've set my depth to 10%. Now set the following additional property values, keeping an eye on the stroke preview area to witness the results of each change:Scale 70% Brightness 120 Contrast 40 Depth Jitter 30%   The settings we've dialed in here will create a brush that has great randomness and variability in the textures it creates while avoiding the stamp-pattern-effect so common to these brushes. You can always adjust additional settings to provide even greater variability in your strokes.We now have a subtle texture brush ready to use in adding fine texture to our photographic compositions.Note: You can also add your own textures through the pattern selection dialog by clicking the little cog icon and choosing Import Patterns… from the menu that appears. Adding Texture with the BrushLet's put our new texture brush to use and design a textured composition using an image from the Adobe Stock free library. We'll add some texture to the model's face… keeping her hands untextured - as though she's made her face up for a festive autumnal party.Open the .jpeg image file in Photoshop and choose File > Save As… from the application menu to save the files as a .psd to your local computer.   In the Layers panel, click the New Layer button to create an empty pixel layer above the background. Later on, you must ensure this layer is selected so that any brushing will be contained in this new layer.   Select a Foreground Color to use with your texture brush. I've selected #440000 as my color as it will work with her skin tone and the orange backdrop in the photograph.   Ensure the Background layer is selected in the Layers panel so that we can make a selection of her face and choose the Object Selection tool from the Toolbar to easily isolate the face of the model. Click Apply with her face selected and a selection is established.   You will want to clean up the selection with other selection tools within Photoshop - such as the Lasso tool. I've made sure her eyebrow is part of the selection, for instance.   Select the Brush tool and verify that your newly created texture brush is chosen. You can, of course, adjust the size of the brush (along with other common properties) from the Options bar.   Now ensure the empty pixel layer is selected within your Layers panel and begin brushing within the selected area. Be sure to adjust the size of your brush as needed. I'll brush mostly to add texture around her eyes, building the strokes up around the darker parts of her face and keeping them more light and subtle everywhere else.   In the Layers panel, apply a suitable Blend Mode to the texture layer to more fully integrate your texture brush strokes within the composition.   Lastly, dismiss your selection entirely and blend in any additional textures such as at her hairline… unencumbered by any selection.   The result is a composition of a model playfully obscuring her painted face with her hands - which presents the texture we've added. Fixing Common ProblemsLike any process, you may encounter some problems when exploring texture brushes. Here are a few things to check or adjust to get around common problems designers can encounter.Verify Blend Mode: Ensure the Blend Mode assigned to your brush through the Options bar is set to what you actually want to use. In the walkthrough above, we controlled layer-based blend modes… but it can be set on the brush level as well.Brush Settings Option Menu: If having too many issues brushing, you can reset a number of properties by accessing the panel options within the Brush Settings panel such as Clear Brush Settings and Reset All Locked Settings.This is a good thing to check if your brush all of the sudden behaves strangely and you aren't sure what went wrong. Join the conversationPlease feel free to share how and where you’ve applied these tips! I hope you found them helpful. If you have any questions or need further assistance, don’t hesitate to reply here.

Applies to: Enterprise (CCE 4 / 5) admins TL;DR Admins can enable or disable supported AI assistants with the organization-wide “Access Firefly-powered AI assistants" setting in the Adobe apps section of the Admin Console.  Turning it off blocks the assistants without disabling the rest of the product.  It does not disable standalone generative AI features. Use model controls for those.  Existing third-party model restrictions still apply when assistants are enabled.  Go to Admin ConsoleFirefly AI Assistant: FAQ  Q: Can administrators enable or disable AI assistants?   Yes. Use the organization-wide Access Firefly-powered AI assistants in the Adobe apps setting in Admin Console. Turning the setting off blocks those assistants without disabling the rest of the product.  Q: What content can AI assistants access?   It depends on the product and workflow. Some experiences are limited to content in the current product context, while others may use project assets or cloud-hosted content associated with the user's workflow. Available content sources vary by application.  Q: Does disabling AI assistants also disable Firefly or other generative AI features?   No. The control applies to supported assistants, not standalone generative AI features. Use model controls for third-party partner models and Firefly models to manage other generative features.  Q: Do existing model restrictions still apply when AI assistants are enabled?   Yes. Existing third-party model restrictions continue to apply to generation across supported AI assistant experiences. Assistant access control is separate: it lets you disable the AI assistants, rather than only restrict the models used for generation.  Quick links Manage custom roles (manage access to Adobe Express, Firefly features, and partner model options across organization) Firefly AI Assistant FAQ  Partner models in Adobe products  Admin Console Have questions about this update? Drop them in the thread below. More questions? Start a conversation | Catch up on all updates: ICYMI

Ever Feel Like You’ve Painted Yourself Into a Corner? Sometimes in Photoshop, the shape of your brush makes a simple cleanup harder than it needs to be. A round tip is useful for curved edges and soft transitions, but its curved outline can leave a gap where two straight edges meet.A square brush gives you straight sides and defined corners that you can align with your subject. In this guide, we’ll find a square brush, rotate its tip, draw straight strokes, and combine it with layer masks and selections for precise cleanup.Note: A square tip fits a right-angle corner when it is aligned correctly. For an acute angle or an irregular edge, use a smaller tip and a selection to protect the surrounding area Get the BrushStart with a simple square tip in Photoshop on desktop. Use a temporary empty pixel layer to test the brush before working on your image or mask.Select the Brush Tool in the Tools panel, or press B. If another tool in that group is active, choose Brush Tool from the group. Choose Window > Brushes to open the Brushes panel. Open its panel menu and choose Legacy Brushes. Confirm the loading prompt if one appears. Expand Legacy Brushes, then expand Square Brushes. Select a plain square preset in a size close to the area you want to edit.   Set the Brush Tool’’s mode to Normal. For a solid test stroke, set Opacity and Flow to 100% in the Options bar. Adjust the brush size to fit the corner.   Choose a foreground color that contrasts with your test background. Click once to check the tip shape, then paint a short stroke.   Note: Already have a square brush in an .abr file? Choose Import Brushes from the Brushes panel menu, select the file, then expand the imported group. Preset names and panel organization can vary by version. Control the BrushRotate the square tip so one of its flat sides follows the edge you want to paint. These shortcuts change the brush tip angle.Keep the Brush Tool active and move the pointer over the canvas. Exit any text or numeric field before using the arrow keys. Press Left Arrow to rotate the tip counterclockwise by 1°, or Right Arrow to rotate it clockwise by 1°. Hold Shift and press Left Arrow or Right Arrow to rotate in 15° increments. Use these larger adjustments first, then fine-tune with the arrow keys alone.   Make a Straight StrokeClick once at the start of the stroke. Release the mouse, hold Shift, and click at the endpoint. Photoshop connects the two points with a straight brush stroke. Release Shift and click a new starting point before beginning a separate line. Rotate the tip as needed to match the next edge.Tip: The stroke has the width of your brush. Position its flat side against the boundary; placing its center on the boundary paints on both sides. A square looks the same after a 90° turn Paint and Mask a Tight CornerTry this on a window frame, a sign, or a product with straight sides. Use a layer mask to hide unwanted pixels while keeping the original image editable.Open your image and save a working copy as a PSD. In the Layers panel, select the image layer you want to refine. If the layer already has a mask, click its mask thumbnail. Otherwise, choose Select > Deselect, then click Add Layer Mask at the bottom of the Layers panel to add a white mask. Select your square brush and zoom in on the corner. Confirm that the mask thumbnail, rather than the image thumbnail, is active.   Set the foreground color to black to hide pixels. Paint with white to reveal them again; press X to swap black and white when those are your foreground and background colors. Size and rotate the tip to align with one edge. Use short strokes near the corner, or click then Shift-click along a straight section. Reorient the tip for the adjoining edge. Inspect the result at 100% zoom and zoom out to judge the whole image. Paint white on the mask to restore any detail you hid by accident.Note: Black hides, white reveals, and gray partially reveals on a layer mask. Start with 100% brush opacity and flow for a hard boundary; lower them when you need a gradual transition. Go FurtherCombine a selection with your square brush when the surrounding pixels need extra protection. The selection limits where the brush can affect the active layer or mask.Choose the Rectangular Marquee Tool for a rectangular area, or the Polygonal Lasso Tool for angled, straight-sided boundaries. For a crisp boundary, set Feather to 0 px before making the selection. Select the area you want to change. If you selected the area you want to protect instead, choose Select > Inverse.   For mask cleanup, click the layer’s mask thumbnail. To paint color, create and select an empty pixel layer, then choose a foreground color. Switch to the Brush Tool, choose your square tip, and rotate it to suit the edge. Paint or Shift-click within the selected area. Pixels outside the selection stay protected. Choose Select > Deselect when you finish. Inspect the boundary and make any final adjustments.   Tip: A selection is especially useful where the angle is narrower than the square brush’s corner. Keep the selection active while you work, even if part of the brush outline extends beyond it.Try it: Clean the corner of a sign on a mask, then add a colored border on a separate pixel layer using straight strokes. Save as PSD to retain the layers and mask. Fixing Common ProblemsIf the result looks wrong, check the active brush, target, and selection before starting over.Cannot find Square Brushes: Load Legacy Brushes from the Brushes panel menu and expand its folders. Clear any brush search filter. If needed, import an .abr file containing a plain square tip. Arrow keys do not rotate the tip: Make sure Brush Tool is active and no text or number field has focus. In an older version without the shortcut, open Window > Brush Settings > Brush Tip Shape and adjust Angle. The tip scatters or turns unexpectedly: In Brush Settings, check Shape Dynamics for angle variation and turn off Scattering or Texture if they are active. Use a plain square preset for predictable edges. The line has gaps or rough edges: Lower Spacing in Brush Settings > Brush Tip Shape so the tip impressions overlap. Use an appropriately sized preset and inspect at 100% zoom; extreme enlargement can soften a sampled tip. Paint is faint or does not appear: Check brush mode, Opacity, and Flow, plus layer visibility and opacity. Confirm that the active selection includes the area. For solid masking, also check mask Density and Feather in Properties. You paint on the photo instead of the mask: Undo, then click the mask thumbnail. To paint color, use a visible, unlocked pixel layer. You cannot brush directly onto a Smart Object, but you can paint on its layer mask. The cursor is a crosshair: Turn off Caps Lock to restore the brush-tip outline. If the square still seems misaligned, test a single stamp on a temporary layer before changing the mask.Join the conversation!Let me know if this was helpful! Feel free to chime in with any questions or share your own tips and tricks for using square brushes in Photoshop.

Hello ACE Community! ✨Hoodie weather has arrived for most of us, the first quarter is wrapping up, and this month brought a second round of our combined Community Call plus a whole lot of community energy worth catching up on. ACE Community Call 🎉On October 8, ACE Leaders and ACE Innovators came together again for our second global, combined Community Call. THANK YOU to over 125 of you who joined the sessions, bringing the same energy we saw back in September. A huge thank you to ​@Ann Kozma for helping lead both sessions, followed by ​@NicoleO'Connor, ​@Wezi_Thindwa5713 with our Student Ambassador Site Lead continuation calls. Are you a secondary/high school educator? Learn more about being a Student Ambassador Site Lead: adobe.ly/siteleadAdobe Product Manager, Tom Macildowie joined both calls to share product updates and listen in as the community filled the chat with YAWL ideas for Comic Creator and Animated Video Maker. He took your feedback and his team just released some epic updates. Thank YOU! It was so exciting to welcome 500 new ACE Leaders to our community this month! That growth is because of you being an incredible inspiration to your scholars, and also educators around the world in what you do and share. Keep it up! 🎉ACE Innovator Spotlight Shares:⭐ Furahi Achebe shared how her 10th grade broadcasting students use Express to create the digital signs and morning announcements that shape school culture. Her reflection stuck with the room:"Let's is a powerful word when it comes from an equal."⭐ Pam Amendola used Comic Creator and Animated Video Maker to bring Beowulf to life with her students. Her yearbook journalism class also turned Adobe Express audio cleanup and captions into a hallway gallery, "Voices from 9-11," mounted on iPads for the whole school to experience. In her words:"Adobe Express made it happen just like that. I could not do that in the past. ​   ​    Want the recap from this Community Call? Go to the ACE Leader Toolkit for an Adobe Student Spaces in Acrobat recap (cheat sheet, podcast, and video summary). And mark your calendar: our next ACE Community Call is November 12. Be sure to register to save to your calendar, get reminders, and the join link!  YAWL 🙌 You Asked, We Listened 💬❤️🎉Comic Strip Assignments are officially live! Teachers can now assign Comic Strip as a project type right inside Adobe Express for Education. Students open the assignment, go straight into Comic Creator, and turn it in with one click on both desktop and tablets. From standalone activity to full classroom workflow. Massive thanks to ​@michael clear for his feedback when Comic Creator first launched this summer and ​@StevieFrank23 to see this as an assignment option in Adobe Express for Education Classrooms. 💯 ​ Animated Video Maker is now available on tablets! Students can create their animated videos directly on a tablet, no desktop required, making it that much easier to bring stories to life on the go.  Another shoutout and thank you ACE Innovator, Charell Milton and Pam Amendola ​@Kubeous giving feedback recently to our team helping make this possible! 🥰 Read more on this YAWL update HERE. Fresh Tools Worth a LookAdobe Student Spaces in Acrobat now has entry points right in Express. Look for it in the left rail on desktop, the mobile drawer, and on the Teach tab for K-12 educators. https://acrobat.adobe.com/studentspaces/home As educators, we have resources, PDFs, and more already created. Setup a Student Space for your scholars to use as a trusted space sourcing only what you’ve provided for them to study with and set them up for classroom success. I did this with my own son and his school work - so powerful and helpful!  ACE Community Spotlight: Yaritza Villalba 🎉​​This month's Spotlight shines on Yaritza Villalba, who began her career teaching Social Studies to high school students in Brooklyn. Meet ​@Eccentric_art8651 in her ACE Community Spotlight "I'm deeply grateful for this recognition and proud to be part of a community that is committed to empowering the next generation of creators and changemakers. I can't wait to see who is featured next!”➡️ Read the full spotlight on Yaritza here. Classroom Idea Sparks for OctoberOctober's Creative Challenge: Design a Hero Card This creative challenge is already live in Adobe Express and a great fit for any class this week. Students design a trading-card-style tribute to someone (real, historical, or entirely invented) who embodies what being a hero means to them. 😎 Our team has LOVED seeing all the creations you and your students have made and shared this month and this creative challenge!  Have your students create their Hero Cards today: adobe.ly/eduhero  Adobe Live: Education Edition 📺This month we had so many great Adobe Live: Education Edition episodes. Catch them on the playlist: adobe.ly/adobeliveeduplaylist Halloween (October 31)Design a Character Mash-Up Comic: Using Comic Creator, students remix two characters into one spooky, silly new creation, a fun seasonal hook to close out the month. Design Spooky, Scary Movie Posters with AI: Catch the Adobe Live: Education Edition episode where Wezi Thindwa and Meredudd Jones walked through creating fun seasonal movie posters with Adobe Express and Firefly. adobe.ly/spookymovieposters  Looking Ahead to November  November Creative Challenge - get a jumpstart on it! https://adobe.ly/acegratitude Our next ACE Community Call lands November 12, and we'd love for you to join, share what's in the works, and tell us what you want to create together next. Get the link in the ACE Leader Toolkit. Haven’t signed up? Sign up now: http://adobe.ly/joinaceleader   Join the ConversationThis forum is the place to bring it, whatever it is this month. Share your story, you may even be our next Featured Educator! 🤩Drop into the forum and share: Questions: Stuck on a feature, unsure how to roll out a new activity, or just want a second opinion? Ask here. Impacts: Hero Card creations, comics, animated videos, or a moment from the Community Call that stuck with you. Plans: What you're building toward before the semester wraps, or an idea you want feedback on before you try it. Celebrations: A win from this quarter, or a story worth marking down before the busyness of the holidays creeps in. Here's to badges earned, heroes designed, and everything November has in store. 🎉Your ACE Community Team ❤️

YAWL - You Ask, We Listen ❤️ 💬 🎉 Product Update #1 - Animated Video Maker now available on iPads & tablets      The Animated Video Maker experience is now available on iPads and Android tablets for Adobe Express for Education. Students and teachers can create, edit, and share animated videos using a tablet/iPad device! This has been widely asked for by students and educators but we want to give a shoutout to ACE Innovator, Charell Milton and Pam Amendola ​@Kubeous for their feedback, too! Now, see Pam’s post and example creation on her iPad! 🤩 🎥 Get Started:Open the app and select Animated Video Maker in the Create section to get started.🔗 Quick Link: adobe.ly/animatedvideomaker  Product Update #2 - Comic Creator now available to assign as a Classroom Assignment Comic Creator Assignments are officially live! Teachers can now assign Comic Creation as a project type right inside Adobe Express for Education. Students open the assignment, go straight into Comic Creator, and turn it in with one click on both desktop and mobile. From standalone activity to full classroom workflow.Massive thanks to ​@michael clear for his feedback when Comic Creator first launched this summer and then ​@StevieFrank23 to see this as an assignment option in Adobe Express for Education Classrooms. 💯​​🗯️ Get Started:Open your Adobe Express for Education Classroom and create a new assignment selecting Comic as a new project type.Your turn 👇Have your students create a short class explainer or book recommendation video on a tablet and share a screenshot or link, we’d love to see student work!Create an assignment today for your students to create a comic about what you’re currently covering in class. These creative formative assessments make learning so much more dynamic and memorable for your scholars. We’d love to see them!

We recently released Substance 3D Painter 12.2, bringing improvements designed to make baking and everyday texturing quicker and more direct.Cage Painting is a big addition. You can now paint the cage distance directly onto your mesh, either with a brush for per-pixel control or with Polygon Fill to change whole sub-objects at once. That means you can spot problem areas and clear baking warnings in specific places before you bake, cutting down on the back-and-forth.Cage PaintingPolygon Fill gets some upgrades of its own. You can select loops of polygons with a live preview of where the loop will land, or grab just a small patch with the new Partial Polygon Loop mode, alongside the existing rectangular marquee. A new Visible Polygons Only option also stops a fill from spilling onto the back of your model, which is especially handy with clean topology.Polygon Fill (loop)Texture Set Highlighter makes it easy to match texture sets to geometry. Hover over a texture set in the list and the matching part of the mesh is highlighted in the viewport. Hold Ctrl/Cmd + Alt while hovering over the model and it works in reverse, highlighting that part’s texture set. It’s a quick way to find your bearings on assets with many texture sets, or if you’re working on a project built by somebody else.Texture Set HighlighterOrder Independent Transparency, found in the Display settings, tackles a common problem with low-opacity materials. When several translucent objects overlap, it can be tricky for the renderer to determine how the objects are arranged, and the result can look unrealistic. With this option switched on, Painter sorts them much more accurately.Order Independent TransparencyYou can find more information in the Painter 12.2 release notes and in our article on 80 Level. We can’t wait to see what you’ll create!

いつもPhotoshopベータ版をお使いいただきありがとうございます。Adobe MAX 2025のスニークProject Trace Eraseで紹介された機能が搭載されました。 [削除ツール：関連要素の削除]削除ツールのオプション、「関連要素の削除」は選択したオブジェクトを削除する時に、そのオブジェクトに関わる影、反射、足跡、煙、水面の軌跡、レンズフレア、などもそこになかったかのように一緒に削除します。よりクリーンで自然な結果をご確認ください。使い方は簡単。削除したいオブジェクトを「削除ツール」で囲んでください。そのオブジェクトに関連するものがあればPhotoshopは自動でをそれを検知して消すので、オブジェクトを削除したあとの手作業のクリーンアップは必要ありません。 使用方法：1. Psベータ版をダウンロード＋起動する2. 削除したいオブジェクト（関連した要素があるもの）がある画像を開く3. 左のツールバーから「削除ツール」を選択する4. 添付画像の中央画像にあるようにコンテキストタスクバーのドロップダウンから「関連要素（Related elements）」を選択する5. 削除したいオブジェクトや人物を削除ツールのブラシで塗ります。マウスを離すと削除のプロセスがスタートしますが、「各ストローク後に削除」をオフにしている場合は、Enterキー押下かオプションバーの◯アイコンをクリックしてスタートします。画像全体が生成され結果は新レイヤーとして表示されます。6. その後、上図右のように「強調」ボタンが表示され、解像度をあげたり画像をシャープにすることでディテールがはっきりします。必要がないときは「完了」ボタンで終了です。「強調」ボタンでアップスケールした結果は別レイヤーではなく「削除ツール編集レイヤー」に統合されます。 生成クレジット：関連要素10クレジット、強調10−20クレジットお使いいただきご感想をお知らせください。よろしくお願いします。

We've all got that one resume, proposal, or report that reads great but looks like it was formatted in 2009. Stylize in Adobe Acrobat fixes that. Upload a PDF, pick an Adobe Express template, and Acrobat redesigns it for you. Same words, whole new look. What is Stylize in Adobe Acrobat?Stylize is an AI-powered feature in Adobe Acrobat that redesigns the look of an existing PDF, including its layout, formatting, and visual style, using Adobe Express design templates. Your original words and images stay the same. Only the design changes. What can I use Stylize for? Resumes & cover letters: Stand out without touching a design tool. Client proposals: Make them look as sharp as the work inside. Invoices & static documents: Turn plain paperwork into something polished. Business reports: Create professionally designed reports ready to share with clients or stakeholders.  How do I stylize a PDF in Adobe Acrobat? Open your PDF in Acrobat on the web (up to 100MB). Select Edit, then Stylize under DESIGN WITH ADOBE EXPRESS. Choose from suggested designs or browse thousands of Adobe Express templates. Select Apply template to give your PDF a completely new look while keeping the original content. Tweak the text, layout, or formatting until it's right. Save and share your redesigned PDF.  Which PDFs work with Stylize?Stylize supports English-language PDFs with selectable text and fewer than 15 pages. Scanned PDFs, password-protected PDFs, signed documents, and PDFs with fillable form fields aren't supported. Quick FAQ Will Stylize change my actual content? No. Your original text and images stay the same. Only the design changes. Can I edit after it's generated? Yes. Text, layout, and formatting are editable. Can I use AI to redesign an existing PDF without rewriting it? Yes. Adobe Acrobat Stylize uses Adobe Express design templates to refresh your PDF's appearance while preserving its original content. Does Stylize cost extra? It's included with eligible Acrobat Studio, Acrobat Express, and AI Assistant Plus plans, subject to applicable usage limits. Your turn 👇What's the one document sitting on your desktop that really needs a glow-up? A resume, a proposal, an old report? Run it through Stylize and drop a before/after in the comments. We want to see the transformation.Learn more: Stylize PDFs with Adobe Express templates. 

Let’s Create Some Grass Brush Details Using Adobe Photoshop!The Grass brush in Photoshop can be used to effectively add grass details to a composition in a randomized - yet controlled - way. We'll discover how to access the Grass brush - which can be a major stumbling block for designers unfamiliar with this brush. We'll also examine the peculiar features of this brush through an examination of Brush Settings. Finally, we'll go ahead and use the Grass brush to add details to a photographic composition to make the scene appear to be more overgrown and unkempt. How to Create this Detail in Photoshop: Loading the Legacy Brushes CollectionThe first item that needs to be addressed is the location of the Grass brush. If you are looking for it within your pre-installed brush collections… you likely will have a hard time finding it - as it is considered a Legacy Brush and that collection of brushes must be loaded first, before you can access the brush.In Photoshop, select the Brush tool  and open the Brushes panel - you can find that under Window > Brushes.   Photoshop comes loaded with all sorts of brushes - but the Grass brush is notoriously difficult to locate. It exists as part of the collection of Legacy Brushes which are not loaded into the Brush panel by default. In the Brushes panel, click the options icon in the upper-right to open the Options menu. Locate the Legacy Brushes option and select it.   The Legacy Brushes collection will be added to the Brushes panel below any existing brush collections.   Note: In older versions of Photoshop, the Grass brush is easily located. In newer versions, you must load the Legacy Brushes to access it. Locating and Selecting the Grass BrushNow that the Legacy Brushes have been loaded into the Brushes panel, we still need to locate and select the Grass brush in order to use it.Within the Brushes panel, twirl open your newly added Legacy Brushes collection.   Locate and open the Default Brushes folder within.   Scroll down the long list of Default Brushes and locate the brush named "Grass".   Select the brush to activate it.You can also simply perform a search for the Grass brush to easily locate it within the Legacy Brushes collection.Within the Brushes panel, twirl open your newly added Legacy Brushes collection.    Type "grass" into the search field at the top of the Brush panel. Any brushes with that term in their name will appear and all others will be hidden.   Locate and select the Grass brush to activate it.Note: Do not forget to clear your search term if looking for other brushes so they will no longer be hidden.  Controlling the Grass BrushWhile you can certainly use the Grass brush without making any changes to it, you do have access to things like scattering, texture, tip shape, and other properties through the Brush Settings panel.Open the Brush Settings panel by choosing Window > Brush Settings from the application menu. This panel will display all of the settings for the selected brush. Active settings have an active checkbox next to them and inactive settings display an inactive checkbox.   Clicking on the name of any setting will give you access to adjust each setting's properties. Some settings have no properties beyond being on or off and therefore will display nothing when clicked. . You can also adjust properties of the brush such as size and blend mode though Photoshop's Options bar when the Brush Tool is selected. The Brush Settings panel can also be accessed directly from the Options bar!Note: You can get access to both the Brush panel and Brush Settings panel immediately by choosing the Painting workspace. Let's have a look at some of the settings that impact the Grass brush the most.Shape Dynamics - Here is where you can control the Size Jitter, Angle Jitter and the important Flip X Jitter. Size and Angle determine the variations across those properties through use of a slider - while the Flip X Jitter setting is a checkbox. Adding jitter to the X in this way will randomly flip the grass along the X axis - making the grass appear more natural.   Scattering - The Scatter setting can be located here. This determines how far apart the grasses will appear in proximity to one another through a percentage slider. You can make your grass more or less densely packed through this setting.   Color Dynamics - Here you can locate the slider which determines the amount of Foreground/Background Jitter as you paint with the Grass brush. This brush uses a combination of both Foreground Color and Background color for each bunch of grass that is generated. This allows you to determine greater or less variability between these two colors.   Note: You can, of course, experiment with the many additional Brush Settings available to you through this panel. Painting with the Grass BrushLet's put the Grass brush to use and design an overgrown city street composition using an image from the Adobe Stock free library.Open the .jpeg image file in Photoshop and choose File > Save As… from the application menu to save the files as a .psd to your local computer.   Select the Brush Tool and choose the Grass brush to use. Adjust any brush properties as desired. Be sure to adjust the size of your brush along with the desired Blend Mode from the Options Bar.   Choose a Foreground Color and Background Color for your Grass brush from the Toolbar. Remember that this brush uses a combination of both colors based upon the Foreground/Background Jitter property from Brush Settings.   In the Layers panel, click the New Layer button to create an empty pixel layer above the background. Ensure this layer is selected so that any brushing will be contained in this new layer.   Rename the new pixel layer by double-clicking its name and typing in a more identifiable name - like "Grasses". Ensure this layer is still selected.   Now, think about where grass would naturally begin to take over if this area were abandoned. Look for spots where vegetation already exists, as well as cracks and seams in the pavement, gaps between cobblestones, and edges of sidewalks. These are the places where grass would most likely start growing and spreading over time.   Begin brushing over these spots… being sure to adjust the blend mode and size of your brush as appropriate. Remember that you can always undo your strokes (Edit > Undo) so feel empowered to experiment!   You can also draw out tufts of grass from one point to another by clicking and then holding down shift and clicking once more. Grass will populate the area between both clicks.   Lastly, with the grasses layer selected, choose the Harmonize option  from the Contextual Taskbar and adjust the Blend Mode and Opacity of the Generative Layer to blend it with your original strokes for a more realistic blending effect.   That's all there is to it! Join the conversation!How did you like these tips? I’d love to hear how you use the Grass Brush in your artwork! Feel free to share your techniques, tips, and creations here in the comments.