The creative team, consisting of art directors, graphic designers, and retouchers, used their imagination, technique, and Photoshop to transform an ordinary stock photo into stunning works of art.

"PS in the Landscapes" is a series of eight landscape images that, while fictional, are surprisingly realistic and exquisite. Upon closer inspection, you may notice the playful incorporation of hidden typography within each visual, subtly forming the letters P and S.

With these visuals, we aimed to communicate and spread the Thought Leadership Project.

As AI's influence grows across various fields, the creative industry is no exception, sparking concern among creators worldwide about the future of their professions, particularly in Japan.

In fact, the replacement of jobs by AI is being talked in all sorts of contexts.

Consequently, Gen AI adoption is relatively low compared to other countries.

While Firefly is gaining momentum, Japanese Creative Professionals are apprehensive about the emergence of AI, which may be contributing to the relative slow adoption of AI features.

This is a part of the thought leadership project regarding AI in the creative industries initiated by Adobe Japan. The goal is not to emphasize the attractiveness or ease of use of AI, but rather to allay fears about AI and inspire creatives to believe in themselves and explore new possibilities.

Adobe Japan invited a professional creators team, art directors, graphic designers and retouchers who are focused on their creative journey.

They used ordinary stock photos to create eight "PS in the Landscapes," fictional landscapes, that are stunningly realistic and precise.

Create social interactions with Creative professional-focused media as the starting point, and tell the creators' stories through owned content.

By doing this, will maintain and improve Creative professional users' retention in product use and enhance Adobe's brand image in the creator community.

Created and directed typography using the letters P and S from Photoshop with motifs from each of the eight visual landscapes.

At first glance, it appears to be an ordinary-landscape with typography, but as you gets closer, you can see human activity and even the realistic laws of nature, and included in this is time.

We'll see that while we can make good use of AI, on the other hand, we still've room left for our own minds to imagine, create works of art, and generate excitement.

We directed the creation of visuals that are attractive when enlarged and impactful when pulled back, aiming to hide the typographic shape until the very last possible moment with an awareness of the boundary between readable and unreadable.

By directing the designer-retoucher hundreds of times back and forth, we succeeded in creating a work that can surprise both from a distance and up-close.