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8: Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . 251
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These days, there s an abundance of Flash-authored cartoons on the Internet, so it s hard not to get caught up in the spirit and try one yourself after all, cartooning is easy . . . just scribble some lines, color it, and there-you-go! Whoops not so fast. Houston, we have a problem. Too much of this animation looks like junk! Like a foreign film that s been dubbed, except worse, because all the actors lips were numbed with Novocain. For animated characters to really come alive, you need to know how to do lip-sync. To get quality lip-sync effects, you either need to draw them yourself or hire someone else to do it for you. Although this tutorial can t possibly cover every circumstance known to human communication, it can get you started on the road to lip service. There are some prequalifications: (a) you must be able to draw in Flash, which usually means drawing with a tablet, preferably a pressure-sensitive graphics tablet (such as a Wacom tablet), and (b) you need to have a recorded voice track on its own layer in Flash. Because lip-sync can t be described in a simple a, b, c routine tutorial, you ll be required to improvise in your style of drawing. I can t tell you how to do that. Style comes from years of practice and experimentation. But if you do know how to draw and you do have a style, then the intention here is to provide a context in which you might discover the basic trick of lip-sync. The major sounds, known as phonemes, are less numerous than you might think. It s how these sounds meld together to become words and sentences that add an aura of complexity. Although one might surmise, from the alphabet, that there are 26 sounds, there aren t nearly that many. That s because many letters have the same basic mouth shape, movement, and pronunciation. And because we re now in the land of cartoons, we can simplify even further the really great cartoons are often the simple ones built of tireless simple reinterpretation. In this tutorial, to keep it simple, we ll deal with the two dominant views of talking heads (not David Byrne s): profile and face forward. A face forward talking head is probably the easiest to animate in Flash because the mouth can be animated on a layer that s situated in the layer stack above a drawing of a mouthless head. A talking head in profile is more difficult because of the need to redraw the portion of the face that extends down from the nose, to and including the chin, for every frame. Of course, including nose-to-chin movements can also enhance the animation of a face forward talker, and doing so would make for a more expressive animation. But we want to move quickly here. In the figure, you see a mouthless head (provided on the CD-ROM for both demonstration and practice) in both of the basic orientations: face forward and profile. Note the playback head is at frame #12, at the beginning of the word, Meyers.
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3. Set the JAVA_HOME environment variable to point to your JDK s root folder. This command assumes that JDK version 1.5.15 is installed on your system in the default location:
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This area controls guide snap-to and placement: n Snap to Zone: This field s value specifies how close you need to drag an object to a grid line or guideline to make it snap to the line (think of it as the line s magnetic field). The default Snap to Zone value is 4 pixels, but you can type a value between 1 and 36. You enable snapping to the grid through the Snap to Document Grid and Snap to Guides commands in the View menu. n Guides in Back: By default, margins and guides appear in front of all objects. If you prefer to have objects obscure margins and guides, select the Guides in Back option in the Guide Options area. Note that baseline grids and document grids always appear behind all objects, regardless of this setting.
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In addition to the full three-dimensional solution used here (or two-dimensional solution in special cases) it is possible to get a qualitative view of what to expect in terms of mutual coupling without performing a full analysis. Assuming the surface to be (locally) planar, the radiated field in the aperture plane varies as sin [Balanis 1997, p. 608]; see the dashed lines in Figure 7.16. For most element locations, the two apertures are in the far fields from each other, so the coupling has a sin 1 sin 2 variation, to which we can
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Fireworks automatically names new styles Style 1, Style 2, Style 3, and so on, which it considers to be different from the Style 01, Style 02, Style 03, and so on with which its built-in styles are named. You can rename your new style by deleting the suggested name and entering your own choice. Be aware, however, that Fireworks does not check for conflicting names, so you can easily end up with two or more styles with the same name. I find it s best to make very descriptive names for the styles I create, so that they re easy to recall later, and harder to duplicate accidentally. If you hover your cursor over a style s icon in the Styles panel, Fireworks shows you the style s name at the bottom of the panel.
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The Web submenu of the Commands menu has three entries that enhance Fireworks export features: Create Shared Palette, Set Blank ALT Tags, and Set ALT Tags.
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additional content for related links added to entries.
Figure 19.15 Dynamic abort time-out.
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