Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
Now let us talk about palettes, configuring palettes on screen inside Illustrator so you feel cozy and warm and everything that you need is right there where you need it. Now, by default, I think the palette construction in Illustrator just verges on bizarre and we maybe kind of changing things around past this point as well, but there are few things I want you to change right now.
Now notice, see this Color palette right up here, I am going to drag it over to the side. Notice when I drag the title bar for the Color palette, a bunch of other palettes move as well. That is because they are docked on each other. They are actually sort of attached to each other. So we have three rows of palettes going. This is a feature that was introduced a view versions ago inside the Illustrator. It's okey-dokey, the fact that you can dock palettes like this. I am just not that crazy about it, I have never really taken to it so I do not happen to work this way.
Now, if you want to work the same way I am working, it won't really affect things that much if you choose to go your own way. But one of things I am going to do is kind of drag some of these palettes off of here, like if you drag the Stroke palette out of this bottom group, it is going to appear in its own floating palette here. I am also going to expand the Stroke palette a little bit. You see this little sort of Up Down Arrow icon, if you click it once, you collapse the palette, if you click it again you expand the palette for its full worth. Click it a third time now, it goes back to just the Weight option inside the Stroke palette. So I want to see everything inside of here. I am going also move Gradient into the same palette and expand it and then Transparency I am going to move in here as well and expand it.
Alright. Next I am going to grab Color, I am going to move it out on its own and I am going to expand it otherwise we can't define colors very easily. I am going to get Swatches and I am going to move it in with Color. So do you see that? If you just drag a palette by its tab and drop it into the palette, I will do that again just so that we are all on the same page here. If you drag and drop it in like that so you get a heavy border around the entire thing like so. Then you will merge the two palettes together. So you will make them both tabs inside of a single palette here.
If you do like docking and you want to dock one palette on to the bottom of another, like let us say Transparency here, you can drag it from one palette and drop it on to the base. See that, I am just seeing this horizontal line here at the bottom of the palette, and then they will dock on to each other so the two palette groups sort of move together. I do not want that, I think, I made that clear so I will move to where it was.
I have got Brushes and Symbols together, I am also going to move Graphics Styles into this group right here and I am just going to start sort of aligning these palettes to the upper left corner of the screen like so. I am going to move these palettes out of the way here and I am going to move this group in. You should see a click in a place. It is little hard to see what is going on, on the PC against this gray background because it is inverting. See how I can see this nice sort of preview of where the palette is going to be against the white background, but as soon as I move it against my gray background, it is inverting against the gray, it is inverting that line against gray and the inversion of gray is gray. So you can't see anything, so you just have to sort of play with it to get things in place, pain in the neck, I know.
So now I am going to move Layers and Appearance into the same palette together and drag them open just little bit like that and move them down to the bottom as well. Same palettes are basically on screen as were before, they are just grouped differently. Now that I have done that, this is a great thing about Illustrator CS2, once you have saved your palette configuration, once you have gotten things the way you want them to be, including by the way the new Control palette at the top of the screen, make sure that you can see it. If you can't, go to the Window menu and choose Control palette.
Notice that all of your palettes are available here from the Window menu in alphabetical order, just so as you know. The Control palette lets you access all kinds of stuff including Fill & Stroke attributes, Text, Formatting, Functions on and on and on. It is very much like the Control palette that is inside of Adobe InDesign as well as the Options bar inside of Photoshop. So it is a really great addition in terms of just making options handy inside Illustrator CS2. Here is what I really want to show you, Workspaces, you can now save workspaces inside Illustrator CS2 finally, which is a great thing because that means you can save how your palettes are set up on screen and also which palettes are visible.
So if you decide to work one way one day and another way anther day and you want to have your palette set up differently for sort of different kinds of jobs, then you can save your palette configurations by saving a workspace. I am going to go ahead and choose the Save Workspace command and I am going to change the name of this workspace to Preferred 1024x768, because I am working in a 1024x768 pixel resolution and this is my preferred setting inside this resolution. Then I am going to click OK in order to accept that change.
Now if I go to the Window menu and choose Workspace, you will see that there is this Preferred 1024x768 setting right there. If I switch to [Default], I can switch back to my original default configuration which was oh so awful with these things, all sort of glunked together like this, all these palettes going together and my toolbox sort of shifted over into the right a little bit so that is wasting a bunch of screen real state. But I do not have to sit here and manually reconfigure my palettes, I can just go to the Workspace menu, choose Preferred 1024x768 and everybody goes back where I want them to be, such a nice addition to Illustrator CS2.