Adobe AI creator survey excludes traditional creatives


Adobe claims that 75% of creatives now say creative AI is essential to their work, which might be true if you’re willing to severely restrict what your definition of a creator is.

On Tuesday, Adobe released its 2026 Creators’ Toolkit Report. According to Adobe, this report is:

“[A] global study exploring how content creators are integrating creative generative AI and mobile tools in their workflows, and what they expect from the next generation of AI, including agentic AI.”

And, according to the report, an impressive 87% of creators have said that using AI has accelerated the growth of their business. Allegedly, 63% of those polled said that creative AI has made them feel more confident as a creator.

Perhaps most significantly, 75% of creatives polled described creative AI as “integrated or essential to how they work.” And 40% of the respondents said AI-assisted content consistently performs better.

Adobe says that this is not without caveats, though.

Creators polled said that it’s hard to stand out in a sea of AI-generated content. 53% said that content volume makes it difficult to stand out, and 42% blame AI-generated content for making it harder for unique voices to stand out.

And yet, somehow, 85% believe that the work they create with AI reflects their unique voice. And 81% of those polled say that human judgment remains essential to creative taste.

Nearly 60% of respondents report that creative AI outputs need moderate to extensive editing before they’re ready to share. Adobe says that around 34% of respondents say it gives users more freedom to experiment and the confidence to pursue more ambitious projects.

Most creators report that audiences now expect them to disclose when they use AI, and that most can already tell when creative AI has been used.

Self-reporting suggests that almost half of those polled disclose when they use AI, while almost a fifth say they seldom do.

And, finally, 90% of these creators want to obtain copyright protection for anything they make with creative AI.

So it seems like the tides are finally changing, and that artists are coming around to AI after all.

Or are they?

What Adobe defines as a “creative”

If you’re like me, you saw “75% of creators now say AI is essential to their work” and said, “gee, that’s a really high number for something as divisive as AI.”

I mean, that’s really high. So high that I immediately scrolled down to see if Adobe and their partner, The Harris Poll, included the perimeters for the study.

And, as is legally required, they did. As expected, it puts all of the information above in a new light.

The study was done on 16,000 creators across the U.S., U.K., France, Germany, South Korea, Japan, India, and Australia in May 2026. A good sample size, but the more interesting part is who those creators were.

According to the release:

“For this survey, creators were defined as individuals who create and publish digital content several times per month to inform, entertain or engage an audience and generate income across digital platforms, with respondents comprising emerging and professional social-first creators rather than individuals employed full-time in traditional creative industry roles.”

So, essentially, social media creators are the only people Adobe has polled for this. Not professional creatives like graphic designers, photographers, film makers, or illustrators.

It’s just people who create digital content exclusively to share on “digital platforms.”

If you spend any time on any of the major social media platforms, especially Facebook and Instagram, this report suddenly becomes a lot less surprising.

It’s nigh impossible to know what percentage of images uploaded to social media are AI-generated, platforms don’t keep track of those numbers. Yet, it’s not much of a stretch to say that many, if not most, are.

I’d argue that this study is extremely biased and designed to make AI adoption in creative fields feel much stronger than it likely is.

And, for the record, I’m not saying that “individuals employed full-time in traditional creative industry roles” don’t use AI. Especially if you’re willing to include the entire breadth of AI tools, such as context-aware editing tools or AI-powered upscaling.

I am saying, however, that the point of this study feels very much like Adobe going out on a limb to say that AI tools, especially agentic ones, are far more widely supported and adopted than they are.



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Pixar is the champion of animation, but not all of their movies have had the chance to shine. For 40 years, the studio has brought families together across 30 movies. Certain movies never enter the discussion of being among the studios’ best — they were overshadowed by other films, or they went direct-to-streaming on Disney+.

In honor of the 40th anniversary, here are four Pixar movies that are worth reevaluating in 2026.

Toy Story 4

A surprisingly strong sequel

In 2010, Toy Story 3 brought Pixar’s debut franchise to an emotional close, as Woody (Tom Hanks), Buzz (Tim Allen), and the gang said farewell to Andy, preparing for a new life with Bonnie (Madeleine McGraw). After bringing their genre-defining animated trilogy to a fitting conclusion, I was doubtful that any follow-up could ever live up to the trilogy’s legacy. However, I was pleasantly surprised when I finally found the time to watch Toy Story 4.

As the gang of toys and Bonnie embark on a trip, Woody sets out to help the handcrafted toy Forky (Tony Hale) while also reuniting with Bo Peep (Annie Potts), who has become a rescuer of stray toys. As expected, Pixar’s animation remains ever-impressive, but Toy Story 4 manages to recapture the charm of the original 3 movies and offer a surprisingly fitting epilogue to Woody’s story in particular. Even with a new installment on the horizon, the emotion behind Toy Story 4‘s major status quo change for the gang ensures that the movie will be able to stand on its own merits for many years to come.

Turning Red

A stylistic reinvention

2022’s Turning Red saw Pixar take another crack at a coming-of-age story. The young Mei (Rosalie Chiang) clashes with her mother, Ming Lee (Sandra Oh), leading to her learning that she inherited the power to turn into a gigantic red panda in moments of heightened emotion. With her favorite boy band in town, Mei and her friends plan to use these gifts to attend the concert. As the concert draws nearer, however, Mei continues to clash with her mother, building to a generational showdown to heal her family’s curse.

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When compared to what came before, Turning Red is a drastic stylistic departure from Pixar’s filmography. Mei’s story is told in a more informal manner when compared to other features, as Mei breaks the fourth wall and is incredibly expressive when compared to how past features tiptoed the line between cartoon and realism. However, this stylistic decision gives Turning Red a unique charm while making its story feel all the more personal and emotional, as we are given a clearer insight into Mei’s state than any other Pixar protagonist that has come before.​​​​​​​

Monsters University

Expanding a universe

While Toy Story had proven that Pixar could create successful sequels, expanding on a movie was still a rare move for the studio in the early 2010s, with said franchise and Cars being an exception. As such, Monsters University had a lot of pressure placed upon its shoulders when it released. Set several years before the events of Monsters Inc, the prequel explores how Mike (Billy Crystal) and Sully (John Goodman) went from fierce rivals to the firmest of friends during their time at the titular scaring school.

Blending the setting and cast of Monsters Inc. with a teen college movie was an ideal choice to expand the world of this Pixar movie, as most of the charm found in Monstropolis comes from how it drastically imagined elements of our own world in its monstrous lens. Furthermore, it is interesting to see that Sully and Mike began as rivals, and Mike’s arc focusing on his struggle to be a scarer does add layers to where his journey ends in the original movie. As such, Monsters University is a worthy prologue to one of Pixar’s most enduring franchises.​​​​​​​

Soul

A deeper tale with age

Pixar is unafraid to tackle deeper and more mature subjects. However, I feel Soul stands as one of their most ambitious explorations yet. On the verge of fulfilling his dream, Joe (Jamie Foxx) is caught in a near-death experience, leading to him becoming a disembodied soul in the “Great Before.” When his soul is tasked to guide the reluctant 22 (Tina Fey) into finding the passion that will drive her during her time on Earth, Joe is taken on a journey to not only return to his body but also reconsider what drives him and what is important in life.

For a studio that has prided itself on packaging deeper themes into a family-friendly package, Soul easily stands as a movie that feels targeted for its older viewers. Children may be inspired to take joy in everything life can offer through 22’s journey, but Joe’s story is particularly relatable to those who have had to grapple with their passions being lost or an unpredictable turn in life putting a stop to a dream, and watching him regain that through his experiences with 22 is incredibly emotional. While it may not have had a chance to shine at the box office, Soul will stand as a fondly remembered Pixar classic. Hopefully, new viewers and young fans can begin to see the movie through different perspectives as they face their own trials.​​​​​​​


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