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301. Proc. 9th Int. Congr. Catalysis, Calgary, 1988, M. J. Phillips and M. Ternan, eds., The Chemical Institute of Canada, Ottawa, 1988, pp. 883-997. 302. 1st Workshop on the Catalytic Methane Conversion, Bochum, 1988. Catal. Today 4, 271-500 (1989). 303. Natural Gas Conversion, Studies in Surface Science and Catalysis, Vo!' 61, A. Holmen, K.-J. Jens, and S. Kolboe, eds., Elsevier, Amsterdam, 1991, pp. 1-221. 304. Methane Conversion by Oxidative Processes: Fundarnental and Engineering Aspects, E. E. Wolf, ed., Van Nostrand Reinhold, New York, 1992. 305. C. A. Jones, J. J. Leonard, and J. A. Sofranko, Energy Fuels 1, 12 (1987). 306. G. E. Keller and M. M. Bashin, l. Catal. 73,9 (1982). 307. J. A. Sofranko, J. J. Leonard, and C. A. Jones, l. Catal. 103,302 (1987). 308. M. Baerns, Catal. Today 1, 357 (1987). 309. J. A. S. P. Carreiro, G. Follmer, L. Lehmann, and M. Baerns, in Proc. 9th Int. Congr. Catalysis, Calgary, 1988, M. J. Phillips and M. Ternan, eds., The Chemical Institute of Canada, Ottawa, 1988, p. 891. 310. K. Asami, S. Hashimoto, K. Fujimoto, and H. Tominaga, in Methane Conversion, Studies in Surface Science and Catalysis, Vo!' 36, D. M. Bibby, C. D. Chang, R. F. Howe, and S. Yurchak, eds., Elsevier, Amsterdam, 1988, p. 403.
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To eliminate camera shake when taking a photo, position your subject and then set the timer on your camera. This way, your camera will snap the picture, and your hand will not be touching it.
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FileMaker Pro 8 will wrap your fields to the next line in Layout mode to keep them within the label s borders; however, the previewed and printed labels will not wrap. In fact, if you click with the Text tool within the text element, the wrapping disappears. If your database contains no records, viewing this layout in Preview mode as well as any other layout that doesn t have a theme will present a blank page.
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InDesign lets you have the lines between columns and rows alternate color, thickness, and even type. Figure 25.6 shows the Row Strokes pane; the Column Strokes pane is identical, except that it applies to column (vertical) strokes rather than to row (horizontal) strokes. You can choose a predefined alternate pattern by using the Alternating Pattern popup menu, or by simply typing a number in the First and Next fields. The First field at the left of the pane specifies how many row strokes (or column strokes) get the formatting specified on the left side of the pane, whereas the Next field at the right side specifies how many get the formatting specified at the right. InDesign applies the formatting at left to the number of rows specified in its First field and then switches to the formatting at right for the number of rows specified in that First field. If there are still more rows, InDesign switches back to the left side s formatting, repeating the alternating pattern until it runs out of rows. The Column Strokes pane works the same way.
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FIGURE 3-13: Left Original. Right Special effect created using the freeform Pencil tool to draw arbitrary curves in the composite, red, green, and blue channels and then applying the Smooth button. Below Details from the Curves dialog box showing the arbitrary maps.
The Layers panel is the control center where all layer-related activities take place. Most activities occur in the main section of the Layers panel, which is always visible when the Layers panel is onscreen. Other activities take place in the popup menu that appears when you click the triangle in the upper right of the panel. Illustrator has wonderful options in the Layers panel. First is the capability to thin the display of layers in the panel for those illustrations with tons of layers. Second is the capability to drag to a hidden layer. Third is that Illustrator displays in italic those layers that you don t have set to print so that you can see quickly what will and what won t print. Clicking the Close button in the Layers panel closes the Layers panel. You can also close the Layers panel by choosing Window Layers or by pressing F7. To bring the Layers panel back to the screen, choose Window Layers or press F7 again.
6. Now select the first image or link you want to use as a control. As described in the preceding Technique, attach the Control Shockwave or Flash behavior to the selected object. As you learned in the preceding exercise, this entails the following actions: With the image or link selected, open the Behaviors panel. Add the Control Shockwave or Flash action. In the Control Shockwave or Flash dialog box, specify the movie and select the required action (Play, Rewind, Stop, or Go to Frame). 7. The major work is finished now. All you still need to do is add a little HTML. Switch to Code view, open the Code inspector, or use your favorite external editor to edit the file. 8. Locate the image or link controls in the code. Each JavaScript routine is called from within an <a> tag and reads something like the following, where fMovie is the name of the Flash movie:
The graphic background on a worksheet is for on-screen display only it isn t printed when you print the worksheet.
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CHAPTER
Starting a New Tween
Part III
Part V Entering the Web
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