But at the same time, we didn’t want to constrain the next-generation photographer that wants everything at her fingertips on mobile, desktop, web, and doesn’t even think about where the images are actually stored.By the end of the 30s all three characters, drawn by illustrator Vernon Grant (1902–1990), appeared on the side and back panels of Rice Krispies packaging.Īpparently, illustrator Grant had approached NW Ayer in 1933. But we also recognize what is truly empowering for our customers is when everything works together.Īnd so sometimes we have to go that far and actually splinter and create two products.
#Snap creative kit spotlight theverge full#
You open it anywhere, it is full fidelity, truly interoperable across surfaces without any lossiness.Īnd so having Photoshop come to iPad, and now as we’ve just announced, coming to web. That’s an important thing to deliver to our customer, and that’s kind of a promise, that we’re uncompromising on. In fact, the reason why we can’t port 30 years of features to a new surface like the iPad or the web on day one is because we just have to focus on the file format and the fidelity and trustworthiness of the file itself. Because the PSD is kind of like an iconic format, to your point, that industries standardize on, to some extent. People go and they commission or they get UI kits, or they commission people to do original work for them, and then they use those as templates and starters for other derivations and evolutions of that content over time. I think that creativity will always be a collaborative discipline. And one of the things I love about Behance is just how many people in the far corners of the world have expertise in certain areas that just are superpowers for you wherever you are. Some of the best motion graphics designers I’ve ever found were in Central and Eastern Europe, in small little towns. And I don’t know how they became so great, but they are such a resource. And typically they would work for a headhunter, who’d work for an agency, who would work for a bigger agency, who worked for a brand, but now the brand can find that person directly and have them on retainer to do all kinds of cool stuff. So we’re seeing that happen all the time. I think you’ll always see a mixture of both.Ī hundred percent.
Why? Because the natural inclination of all of us is to work for ourselves to some extent, and especially a creative, it’s like, “I want to choose my own work. I want to choose my own clients and work on my own terms.” And so the better and better you are, the more likely it is that you should have that future. In the old days when no one could find you and you couldn’t get attribution for your work, you had to work for an agency. But now, if you can get attribution directly for your work and the spotlight that you deserve, you can work directly for whoever and on your own terms. And by the way, I know we’re about to get into some of the NFT stuff, but it’s interesting to see the digital artist be in some ways at the mercy of circumstance and always at the end of that chain, to suddenly monetizing their work directly, both directly through relationships like we’re describing, as well as by minting their work and having it collected by others. It was this crazy thing, for the last few years we’ve been working on something called the Content Authenticity Initiative, which originally was intended to help people know if a piece of media that you saw, for example, on your guys’ website, if it was actually edited by someone on your staff, or if it was edited by some unattributed person. And that helps me determine whether I can trust the video or image. And so we’re going to use that same technology, but we are basically embedding it into our products when you’re minting the NFTs. And then we are putting it onto the blockchain in an open-source way, that is by no means DRM or anything like that. Anyone including competitors can do this, and then we’re working with the OpenSeas of the world to surface that information with the NFT forever more - wherever it’s powered on the blockchain. So in other words, you will be able to see an NFT and not only see who minted it, but also see some attribution for who created it. It’s actually, in my own career, my quest since 2005 has been to help foster attribution in the creative world.
I just simply believe that when people get credit for their work, they get opportunity, and it’s the best thing for creative meritocracy.
0 kommentar(er)
