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This button is in the context-sensitive tool options at the bottom of the Tools panel whenever a drawing tool is active Figure Examples of tools with access to this option include Pen, Line, all basic shapes Rectangle, Oval, and so on , Pencil, and Brush.

Merge Drawing Mode In Merge Drawing mode, overlapping fills or strokes of like color will be joined and differing colors can be used to destroy vector segments. When used properly, merge drawing is a powerful Flash feature. N ote Unlike most object-based drawing applications, such as Adobe Illustrator, Flash treats fills the inside of a square, for instance and strokes the lines surrounding a square as easily separable, discrete objects.

To understand Merge Drawing mode, it helps to understand how strokes and fills behave in Flash. You will learn more about this throughout the chapter, but for now you can see the difference between the two drawing modes with a few simple shapes. If you want to try things along with the text, start by selecting the Rectangle tool and turning Object Drawing mode off. Selecting a square and line created with Merge Drawing mode top and selecting and moving a portion of the merged shapes bottom.

At first, this is not immediately apparent. As you would expect, you can drag the Selection tool over all the artwork to select both the rectangle and the line, as shown at the top of Figure Drawing Modes When you click on either side of the shape fill, however, only that segment of the fill is selected.

Furthermore, when you double-click the fill, the fill and the surrounding strokes, including the new dividing line, are selected. You can even drag with the mouse or use the arrow keys on your keyboard to move the selected area away from the original shape, as shown in the bottom of Figure If you consider the combined shape before pulling it apart, the strokes and fill are divided at every intersection.

The fill can be isolated into two parts, and, perhaps less obviously, the stroke can be isolated into nine parts. The four sides of the rectangle result in six parts because two sides are divided by the line passing through them , but the dividing line is also subject to interaction from another shape. Accordingly, it is divided into three parts: above, inside, and below the rectangle. Union, intersection, and deselecting Within the same Timeline layer, strokes and fills of like color can join to form a union, and strokes and fills of different colors can intersect and eliminate the underlying artwork—but only when you deselect.

For example, if you overlap a circle and a rectangle shape of the same color, both without strokes, the two shapes would become one after deselecting. If you moved the topmost shape away from the bottom shape before deselecting, no change would occur. Alternately, if you centered a small circle on top of a larger circle of a different color both circles without strokes and deselected, you could delete the inner circle and end up with a donut.

Again, if you aborted the process prior to deselecting, no change would occur. The same is true of strokes. Strokes of the same color in the same layer can merge into connected strokes if they are deselected. Strokes of different color, or strokes intersecting fills, can divide the underlying shape. This behavior is similar to drawing two discrete objects in Adobe Illustrator.

When you draw a shape with Object Drawing mode on, Flash encapsulates the shape in a wrapper of sorts—hermetically sealed for your protection. You can still edit the shape, but the object wrapper prevents shapes from interacting the way they would if Merge Drawing mode were enabled.

Remember the Merge Drawing mode example of the line dividing a rectangle? This time, turn Object Drawing mode on, create a circle with the Oval Chapter 2, Creating Graphics 27 Drawing Modes tool and use the Pencil tool to draw a line over it. Because the object wrapper protects the two shapes from interacting, clicking on one half of the circle will select the entire circle, rather than a portion of it.

This contrasting behavior can be seen in Figure N ote Both the Rectangle and Oval tools have companion tools called Rectangle Primitive and Oval Primitive, respectively, which have special powers. The former can control the radius of each of its four corners independently allowing you to create tab-shaped buttons with rounded corners, for example , and the latter can control its starting and ending angle, as well as inner radius allowing you to create pie pieces, arcs, and donut shapes.

Check the companion website for examples. Grouping and Breaking Apart Figure However, you can group the shape to protect it from further edits. Changing the setting affects newly drawn assets only. Although it makes more sense to think of grouping as collecting more than one object into a single unit, you can also group a single shape to prevent it from interacting with other shapes.

This is handy when you want to join or cookiecut two shapes that were previously created as Drawing Objects. You will see this process appear more than once throughout this book, since you can use it to degrade a complex object into a less complex object.

For example, you can break a text field into individual editable letters, and then break those letters again into vector shapes. Alternatively, you can edit the contents of a group or Drawing Object without breaking it apart.

To do this, double-click the object. The application will enter an editing mode without radically changing the interface. This allows you to edit groups and Drawing Objects in the context of any surrounding art. While in editing mode, double-clicking any unoccupied area of the Stage or Pasteboard will return you to the Stage. Clicking the Scene 1 button will exit editing mode, and you can again access the Stage. If you group two Drawing Objects together and want to edit one, you must first double-click the group to edit its contents and then double-click the Drawing Object to edit the shape therein.

The Edit Bar ultimately includes buttons that say Scene 1 and Group, followed by the text Drawing Object— again showing where you are. Drawing au Naturel Some users who are new to Flash go through a short period of adjustment when it comes to the drawing tools. In Flash, the traditional object-based model is not the primary drawing technique. Unlike Adobe Illustrator and others, Flash allows you to work with vectors in a very fluid, natural way.

Instead of manipulating curves with vertices and control handles common to objectbased graphics , you can just grab hold of a line and drag it Figure Figure shows just such a manipulation in progress. To accomplish this, start by placing your cursor over the shape you wish to manipulate. To help identify which object you might be clicking with the Selection tool, a small icon, often called a cursor badge, appears in the lower-right corner of the cursor.

A curve appears when you roll over a line segment, and a corner appears when you roll over a corner point. In Figure , you can see a curve to the lower right of the cursor, reaffirming that the cursor is over a line, not a corner. If you click and immediately drag the mouse, you can manipulate the selected stroke or fill. By contrast, if you click and let go, you select the stroke or fill, and subsequent drags will move the selected element to a new location.

However, it is also possible to manipulate curves with the same precision afforded in other object-based drawing applications. Flash offers the same Pen and Subselection tools as Adobe Illustrator and allows you to create, add, subtract, and transform vertices. Starting at the upper-right corner of the S, you can drag a bit Figure Manipulating strokes by dragging Chapter 2, Creating Graphics 29 Using Fills and Strokes upward along a path tangential to the desired curve.

Moving to the second point at the top of the S, you can drag to the left, again forming a tangent to the curve. To finish the curve, follow around the S, dragging tangentially for the four remaining vertices. Figure shows two of these vertices selected the solid points at the top-left and bottom of the curve using the Subselection tool. The control handles jutting out of any point at tangents to the curve can be dragged to reshape the curve.

Selecting Figure Despite the fact that you are dragging your Lasso tool over a vector shape, you can select a subset of that shape with the ease of surrounding pixels in a bitmap. Using Fills and Strokes As previously discussed, Flash treats the fill and stroke of a single shape as discrete elements almost unto themselves.

This is because you can select objects in Flash with a great deal of granularity. It is even possible to select a fragment of a stroke very easily, even accidentally. Figure shows the visual feedback Flash provides upon various selection actions. Figure a is the result of a single click in the interior of the shape.

If you were to try to move this shape, you would leave behind, and possibly overwrite, its stroke. A single click on a stroke selects only the clicked-upon fragment between two corner or intersection points.

Only for ellipses or circles will the entire stroke be selected, because these contain no corners. Figure c shows the result of double-clicking the stroke. A double-click selects all contiguous parts of the stroke. In the example, all four sides of the square are selected, despite the intervening corner points. Using Fills and Strokes Finally, Figure d shows the result of double-clicking the fill of the shape. This has the effect of selecting not only the entire contiguous fill, but also the entire surrounding stroke.

If you want to be sure to grab all parts of the shape, use this method. Alternately, you can drag over the object with the Selection or Lasso tools to achieve the same result. It is context-sensitive and provides access to most properties that are editable within the Flash interface. Fill and stroke properties Figure can be found in the Fill and Stroke section of the panel when a shape is selected and are itemized in the following list: Stroke Stroke is the weight or thickness of the stroke in pixels.

Clicking the pencil to the right of the menu opens an editing panel that allows you to configure advanced properties of these line styles, such as the space between dashes or dots. Scale When a movie clip is scaled, strokes scale accordingly by default. This can distort the appearance of artwork because the stroke can thin or thicken as a result of stroke scaling. A new stroke feature, Scale, lets you dictate how strokes are scaled when an object is resized.

This setting affects the thinning and thickening of the stroke only when the object as a whole is enlarged or reduced. You can specify None no change to the stroke thickness , Horizontal or Vertical adjusting strokes only when the object is scaled in the specified direction , or Normal the default behavior, in which strokes are always scaled anytime the object as a whole is scaled.

For example, say you wanted to create a custom vertical scroll bar. If the overall asset is scaled in both directions, you may want the strokes in the scroll bar to scale because the entire asset is being reduced or enlarged. However, you may not want the scroll bar strokes to thicken if the scroll bar is only scaled vertically.

This would allow you to elongate a scrolling text field without thickening the scroll bar strokes. To accomplish this, you would set the Scale property to Horizontal so the stroke is only scaled when enlarging the asset horizontally or both horizontally and vertically.

Chapter 2, Creating Graphics 31 Using Fills and Strokes Hinting When enabled, Hinting attempts to nudge stroke positions to whole pixels, as opposed to subpixel positioning decimal values for x and y properties.

This prevents lines from thinning or thickening due to antialiasing side effects. Cap a b c Figure Stroke caps and joins; a miter join and no caps, b bevel join and square caps, and c round join and round caps.

Cap affects the shape of line end caps. This property can be set to Round default , Square, or None. Round and Square both add a cap to the end of the line, while None adds nothing, matching the exact length of the line. The three corner types are shown in Figure Join Join affects the corners of line joints. This property can be set to Miter, Round, or Bevel.

Examples of these joins are shown in Figure Miter The Miter property affects the sharpness of corner joins when the Join property is set to Miter.

Mining Properties with Tools Although the Properties panel is typically the go-to way of assigning most properties in the Flash interface, three tools are available to make this assignment process quick and easy for strokes and fills.

The Eyedropper tool in Flash is unique among similar tools in other applications. It not only retrieves color values, but also retrieves all stroke or fill properties and automatically switches to a tool useful for assigning these properties to another stroke or fill. After using the Eyedropper, Flash automatically switches to either the Paint Bucket or Ink Well tool, depending on whether you clicked on a fill or stroke, respectively. Both tools work in a similar fashion, applying properties to the object on which you click, but the Paint Bucket affects only fills, and the Ink Well affects only strokes.

When hovering over an object, the Eyedropper shows a cursor badge icon in the lower-right corner of the cursor. When over a line, a small line appears; when over a fill, a small paintbrush appears. Although the Eyedropper prepares only properties relevant to the element on which you clicked prepping stroke color only when clicking on a stroke, for example , it is possible to query color from a stroke and apply it to a fill, and vice versa.

If you hold down the Shift key when using the Eyedropper, Flash will populate both stroke and fill colors for your subsequent use of the Paint Bucket or Ink Well tools. For instance, this allows you to pull a color from a stroke and then apply it to a fill without an interim trip to the color tools.

You can use existing color libraries, create your own custom colors either before they are needed or on-the-fly , save color libraries for later use, and even retrieve color families from other users online. Pop-Up Palette Perhaps the quickest way to access or create a color is by using the pop-up color palette. This palette is available in the Tools, Properties, and Color panels, and anywhere a color chip is available. Figure shows the palette accessed from the Fill color chip in the Tools panel.

N ote Figure Pop-up color palette, accessed from the Tools panel Using the panel is quite simple. You can select from any precreated solid colors found in the middle of the palette or gradients found at the bottom of the palette.

You can also create custom colors on the fly using the tools along the top of the palette. The second item serves two functions. Hexadecimal numbers are used to specify color values in HTML and as additional color systems in applications. They consist of three character pairs that represent the red, green, and blue values of a color. Each character can be 0—9 or A—F, 0 being the lowest, and F being the highest.

Together, each pair represents a number from 0 to So, FF is all red, no green, and no blue. The next item in the row is the alpha value, or percent of transparency in any color. A maximum value of is opaque, while a minimum value of 0 is transparent. The red line button indicates no value, allowing you to remove color from an object. Finally, the color wheel opens the operating system color picker as an alternate color-selection tool.

Swatches panel The Swatches panel is the repository of color swatches that appear in the pop-up palette. You can leave the Swatches panel open and select from it if you prefer not to use the pop-up palette, and anytime you create a custom color solid or gradient , you can add it to the swatches in this panel.

With the color active, the cursor will change to a Paint Bucket when rolling over an empty area of the appropriate section solids or gradients of this panel. Clicking will add the color to the end of that area of the palette.

Thereafter, the color will become available to any interface element that uses the pop-up palette. Using the panel-specific menu the button for which can be seen in the upper-right corner of the panel in Figure , you can also load color swatches from, or save to, an external source. Color Panel The Color panel is where you are most likely to create or edit custom colors. As in the Tools panel, here you can choose to edit stroke or fill colors, but the feature set of the Color panel is more complete.

In addition to offering input for hexadecimal color values and percentage alpha values, you can also edit standard 0— range RGB color values—both by pop-up slider and text input.

You can also use a built-in color picker and lighten or darken any color. While editing, the color appears in a large horizontal stripe at the very bottom of the panel for easy preview. In Figure , for example, the panel is configured to edit a linear gradient. Doing so adds three new interface elements to the panel. Color panel The primary new interface element is the gradient definition bar that appears between the color picker and large preview stripe at the bottom of the panel.

Figure shows a gradient featuring two colors evidenced by the color chips immediately beneath the bar , but this bar allows you to manipulate up to 15 colors in any gradient. To add a color, click the definition bar, and an editing chip will appear.

Selecting any chip allows you to edit that color portion of the gradient using the color picker and numeric input fields in the panel. Double-clicking a chip displays the pop-up palette for quick selection of preexisting colors. Any changes are reflected in the preview stripe at the bottom of the panel. Figure shows the editing of the rightmost color note the darker triangle at the top of the chip pointing to the color being edited.

Because this color has a low alpha value 0, in this case you can see a grid through the color. This is a helpful indicator to show you how much transparency is applied to the color. This menu has three options: Extend, Reflect, and Repeat. Extend continues the first and last colors of the gradient infinitely. Reflect continues to flip the gradient end to end, creating a smooth transition as though seen in a mirror.

A gradient from black to white, for example, would read black, white, white, black, and so on. Repeat cycles the gradient without reflecting it each time, creating a hard edge.

The same example gradient would read black, white, black, white, and so on. These options come into play when the scale of your gradient is smaller than the fill it occupies. The final gradient-specific addition to the panel is the Linear RGB option. You can browse, search, and submit families of up to five colors for use in your work. Unlike the Color panel, this extension allows you to use several color theories when creating families in which colors affect one another in a variety of ways.

Paint Modes When working with a brush, you can choose a paint mode that will affect what is colored by that brush. You can access these modes by the first contextsensitive option, shown in Figure The modes are fairly self-explanatory and apply primarily to unprotected shapes created in Merge Drawing mode or broken apart. Some work with Drawing Objects and some have a few subtleties worth mentioning. Paint Normal offers no special effect and allows you to return to this setting after using another option.

Paint Fills paints only fills, leaving strokes untouched. Brush paint modes Chapter 2, Creating Graphics 35 Transforming Assets Paint Behind affects only areas around the shape, leaving fill and strokes intact. Paint Selection affects only selected fills and strokes. Paint Inside paints only within a shape, as long as you originate your painting within the same shape.

Erase Modes Move Transform Point Skew Rotate Erase modes available as an option of the Eraser tool control how the eraser affects shape strokes and fills, and are similar to Paint modes.

Erase Lines affects only strokes, and Erase Selected Fills erases only selected fills, but not selected strokes differing slightly from Paint Selection. A related context-sensitive tool is also available—the Faucet tool automatically erases any contiguous stroke or fill. Transforming Assets Although there are many meanings for the word transform, when referring to the Flash user interface, transforming typically means scaling, rotating, skewing, or moving sometimes referred to as translating an object.

There are three essential ways to transform an asset. Move Scale Figure Free Transform tool cursor feedback Free Transform Tool The Free Transform tool applies a series of handles and a transformation point on any selected object. Depending on which handle you grab with your mouse, you can alter the appearance of the object in different ways. To help you with this process, the cursor changes to a shape that is specific to each available task.

Figure shows all the possible cursors when using the Free Transform tool. Moving clockwise from the lower left, the cursors represent move, skew vertically, skew horizontally, rotate, scale horizontally, scale vertically and horizontally, and scale vertically. Finally, the cursor in the center of the shape is for moving the point around which transformations occur.

Figure shows the effect of moving the transformation point. The top graphic shows the process of moving the transformation point from the default center of the object to the upper-left corner. The bottom graphic shows that, when rotating, the object is rotated around the new transformation point rather than the center of the object as before. Changing the transformation point 36 Learning Flash CS4 Professional Transforming Assets Transform Panel The Transform panel Figure offers options to scale horizontally and vertically independently or proportionally , rotate, and skew an object.

There are three compelling reasons to use the Transform panel. First, numeric entry for property values allows for greater precision. Reasons two and three are the unsung heroes in the lower-right corner of the panel. The first of these two buttons duplicates your most recently completed selection and transformation, akin to step and repeat in other applications. For example, you could create a series of copies of a movie clip that are progressively larger in size.

The second button removes all transformations and returns the instance to its original state. Transform panel Gradient Transform Tool The final transform tool, called the Gradient Transform tool, is used to edit gradients. It can be found in the same transform tool menu as the Free Transform tool. To more easily understand how this tool works, create a rectangle shape with a radial gradient fill. Figure shows a rectangle with a red stroke and red-to-white radial gradient so that you can easily differentiate it from the black interface elements of the Gradient Transform tool.

With the Gradient Transform tool active, click the radial gradient fill you created. A circle with a line across its diameter and a handful of icons will appear, as shown in Figure Look for this symptom when you see what looks like a solid color instead of your expected gradient if you zoom in closely to a gradient, it will look like a single color.

Use the Zoom tool or Zoom menu in the Edit Bar to zoom out until you see the Gradient Transform tool interface and scale the gradient down. In this case, use the middle of the three icons on the circumference of the circle. This scales the gradient proportionally.

Once you have the interface in view, look at the three grouped icons at the lower right. The first icon, an arrow inside a square, scales the gradient in only one direction, always along the diameter line. Try this first so your radial gradient is no longer a perfect circle. You can use the diameter scaling option in conjunction with the bottom of the three icons a rotation arrow , which rotates the gradient.

Using these two tools, you can scale a gradient along any angle. As mentioned previously, you can scale the gradient proportionally by using the middle of the three icons, an arrow inside a circle.

Dragging the circle icon drags the location of the gradient within the fill. Dragging the triangle above the circle skews the gradient in either direction along the diameter line. Figure shows the arrow all the way to the left of the fill, skewing the gradient to the left. This can create an illusion of movement.

As with scaling, rotating the gradient first allows you to skew the gradient in any direction. To put this into perspective, think about the common problem of custom typefaces also called fonts.

Text that uses a custom font usually looks fine on the machine that created it because the font is installed on that machine. The simplest solution applies when the text is static, or does not have to change at runtime. In this case, Flash provides a text type, appropriately called Static Text, which is editable at the time of authoring but treated as a graphic at runtime.

Detail of Properties panel showing select Static text properties To create a Static text field, choose the Text tool, click on the Stage, and type something. With the text field still active, make sure Static Text is selected in the menu at the top of the Properties panel, as shown in Figure The Properties panel contains several properties that you can adjust for Static Text fields. In the Character properties group, you can change these properties: Family The Family property specifies the font you want to use.

Because you are working with static text, any font that will display in Flash is appropriate. Style The Style menu includes all font styles bold, italic, and so on available for the typeface you chose.

Letter spacing The Letter Spacing setting controls the space between all the letters of the text field. This feature is sometimes called tracking in other applications. This is in contrast to kerning, which is the space between two letters.

Color Color is the color of the text, and provides access to the pop-up color palette. Selectable The final row of settings in the Character section of the Properties panel is a series of small buttons. The leftmost button controls whether the text is selectable at runtime.

This is handy in some cases, such as for copy and paste support. Typically, you should disable this setting. For paragraphs you can alter: Format The Format property controls the alignment of the text within the field, and can be left, center, right, or full justified. N ote You can use the Properties panel to apply individual settings to subselections of a text field. For example, different words or paragraphs within the same text field can have different settings.

Found in the Brush submenu of the Tools panel, the Spray Brush automatically adds shapes or symbols to the Stage as long as the mouse button is pressed. The results of each spray are conveniently collected in a group for easy management. Figure shows a detail of the Properties panel and an example configuration of the Spray Brush. The first setting of the brush dictates whether the brush will use a default shape a small square of your color choice, or a symbol from the Library.

More on that in a moment. The next section controls the horizontal and vertical scale of the shape or symbol to spray. Random scaling, as the name implies, scales each symbol instance randomly. Rotate symbol rotates the symbol as it leaves the virtual spray nozzle, orienting the instance based on the movement of the mouse. Rotate randomly rotates each instance randomly, regardless of mouse movement.

Creating a Symbol Now consider the idea that you can spray a symbol of your choosing instead of the default small square. You learned a bit about symbols in Chapter 1 and you will learn much more about them in the next chapter. Take a quick moment now, however, to review how to create a movie clip symbol. This tool can create multisided shapes polygons and multipointed shapes stars, starbursts, and so on. To specify the shape you want to use, deselect any active selection by switching to the Selection tool and clicking on any unoccupied location of the Stage or Pasteboard.

With nothing selected, choose the PolyStar tool. A Tool Settings section with an Options button appears in the Properties panel. Clicking this button brings up a straightforward dialog, shown in Figure Using this dialog, you can switch between polygon and star, and dictate the number of sides or size of the star points accordingly.

Remember, this is going to be sprayed many times from a virtual spray can, so it needs to be small enough to look good in numbers, but big enough to see. Next, switch to the Selection tool and drag over the entire star to select everything.

When the resulting dialog appears, choose Movie Clip for the Type property, a center registration point, and name the symbol Star. Do so by clicking the Edit button at the top of the Symbol section of the Properties panel while the Spray Brush Tool is active.

Figure shows the result of spraying with the setting shown in Figure Project Progress In Chapter 1 you created a template that you will use throughout the asset creation phases, described in this and later chapters. In the following stepby-step instructions, you will focus on creating the assets for the home page, as well as the user interface widget used to control sound playback. This provides a convenient way for many people to contribute simultaneously to a large job without having more than one person share a single file.

Keep in mind that the interface visible in this figure, including the controls, logo, frame, and paper background, are all part of the guide layer you created in Chapter 1. N ote Throughout this project, numerical values are provided for entry into the Properties panel. In all cases, feel free to adjust these values to suit your preferences or better match a provided image. Many small factors can contribute to discrepancies in these numbers. For example, your choice of typeface may alter the size of text fields.

The exact numbers are not always important. This not only allows you to preview your work in an appropriate setting, but it also contains a correctly positioned movie clip within which you can add your content. You will soon see that this will make it much easier to transfer your work from one file to another.

You will be creating the content for the Home page and adding this content later to an ongoing project file. To keep your assets organized, rename the container movie clip by opening the Library and double-clicking the name field of the content movie clip in the vertical list to edit its name. Rename it HomePage. Moving your attention to the Stage, double-click the placeholder content symbol to open the movie clip for editing you will delete the placeholder artwork in the next section, after you have added some content.

If you see that the movie clip is still named content, consider trying step 2 again. The name of the symbol will not affect anything in this FLA, but if you neglect to give each symbol a unique name, it will be harder to manage your assets when you combine them into a larger master file. Adding Title Text and Underline N ote When adjusting the size of a text field, do not use the Free Transform tool unless you want to distort the text.

Use the handles visible when the Selection or Text tools are active. These handles will adjust the size of the field but not the text therein. Use the Timeline New layer button or the Modify Timeline New Layer menu to add a new layer called title to the Timeline of the HomePage movie clip, and place all art created in this section into this layer. However, this is only relevant because the size of the field may slightly affect numeric input values specified in these instructions. If your text field is larger or smaller, either adjust the field size or adjust the numbers as you enter them to whatever looks best.

Project Progress 3. Select the text field with the Selection tool. Using the Properties panel while the text field is selected, set the Character properties of the field.

For the Family setting, specify a strong font worthy of a title. The sample files use Arial Narrow, not as a design choice, but because it is common on both Mac and Windows platforms. Feel free to choose another font.

Use a bold Style, and a Size of 36 points. Feel free to change these settings based on your font choice. Use black for the Color and turn off the Selectable option by deselecting the button at the bottom left of the Character properties if it is enabled.

Optionally, set tighter Letter spacing adjacent to the Size property if your chosen font warrants this adjustment. Set the Paragraph properties of the field, choosing Align left for Format. With the text field selected, use the Transform panel to rotate the field to —15 degrees by clicking on the blue number under the Rotate option and entering — With the text field selected, use the Properties panel to position the field at approximately point , Use the Line tool to draw a line anywhere on the stage.

Select the line with the Selection tool, then use the Properties panel to set the width and height of the line to and 1, respectively. Set a Stroke color of black, Stroke of 4 points, and Style of Stippled. Use the Transform panel or Free Transform tool with Snap to Objects turned on to rotate the line to —15 degrees. With the line selected, use the Properties panel to position the line at approximately point , Adjust the position based on the font you chose so that the line appears under the title text.

Now that you have the title and underline in place, remove the placeholder artwork by deleting the layer with the placeholder content. Lock the title layer by clicking the dot across from the layer name and under the lock icon to prevent unwanted editing in future sections.

If desired, feel free to start with this file when moving on to the next section. N ote Notice that after rotating the line, its width and height are approximately pixels and 50 pixels, respectively. These settings have changed from the original values of approximately and 1, respectively, due to the rotation. Chapter 2, Creating Graphics 43 Project Progress Adding Skills Text and Underline Before moving on to the primary graphical element of the page, you need to repeat the text exercise to add a small list of skills professed by the portfolio owner.

Add a new layer called skills to the HomePage movie clip Timeline, and place all art created in this section into this layer. Repeat the title creation process, but populate the field with the word Skills.

Use a font style that is not bold Plain, Regular, Roman, Book, or equivalent , a type size of 24, and set Paragraph Format to Align right. Remember, the result of your efforts should please you, not adhere rigidly to these values.

Do not apply any rotation, and position the text at approximately point , Create a second underline at approximately point , that is 75 pixels wide with no rotation.

Create another Static text field, and populate it with a handful of one- to two-word skills. Use a bold style of the same font you used previously, at a size of 14 at approximately point , Set the Paragraph Format to Align right again.

With the To stage option off, click on the Align right edge button the last of the second group of buttons in the panel. All three elements should now be right-aligned and tidy. Now that you have the remaining text in place, lock the skills layer to prevent unwanted editing in future sections. Again, if you prefer, start with this file when moving on to the next section.

Add a new layer called cascade to the Timeline. You will place all art created in this section into this layer. Select the Rectangle tool from the Tools panel and select Object Drawing mode from the context-sensitive options at the bottom of the panel. Use the Properties panel to set a Fill color of black. If you are on windows, installation of Adobe Flash Player 10 may require administrative access to your PC.

Depending on your PC security settings, you may see a Security Warning dialog box. Click Install to install the ActiveX control. Save the Installer to your desktop, and wait for it to download completely.

An Installer icon will appear on your desktop. Double-click on it to install Flash Player You may be prompted to close all open browser windows to continue with the installation. On completion of installation of Flash Player 10, you can verify the version you have installed by visiting the About Flash Player page.

Enjoy rich media experiences on the web by downloading free Flash Player All software that you can find here is freely downloadable and legal.

Adobe Flash Player installation package is prepared to be downloaded from our fast download servers. Various leading antiviruses have been used to test Adobe Flash Player, if it contains any viruses. No infections have been found and downloading Adobe Flash Player is completelly problem free because of that reason.

Our experts on malware detection tested Adobe Flash Player with various spyware and malware detection programs, including fyxm. All software that you can find on our servers, including Adobe Flash Player, is either freeware, shareware or open-source, some of the software packages are demo, trial or patch versions and if possible public domain licence , we also host official full versions of software.

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