Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
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.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Learn How to Adjust Cap, Join, and Other Stroke Properties in Macromedia Flash 8
Tags:adobe acrobat,adobe illustrator,adobe indesign cs2,adobe pagemaker,adobe photoshop,cmyk,control palette,object styles,rgb,total training
Grab video code:
And we have got a couple of other settings. Let me pick out some other pieces here. I think I need to bring my balloon up. I wanted to take a look at a couple of very specific settings down in here that I think a really zoomed in view of the tip of this would look at. I am looking at the cap settings, so I want to see the end of my line here, the bigger the better.
The cap settings on each one sometimes are a little bit confusing for people because they are very subtle but for some illustrations it is going to make all the difference in your gaps and your end points looking proper. It is pretty obvious going from, none to round, because you can see we got a little rounded edge to our tip there. The last one, going from none, round, and square, kind of looks like the first one but if toggle between these two, you will notice what is going on here, the square one is a little bit longer than the first one. And we can see what is going on by taking a look at the outline and that is the exact edge of where the vector ends. I am going to turn outline back off and you can see that cap setting is a little bit longer than where the outline ended so what we are really doing is we are adding a little tip on the end of there and the tip is either going to be rounded or square.
Now it does not make too much difference for our balloon end here whether we have that because it is only a fraction of the couple pixels longer when it is at full screen size. But for some joint or corner drawings you might end up seeing a little gap or some little strangeness where the caps would give you a little overlapping, clean that up. Now that last setting has to do with miter and adjoins here at the end.
I am going to zoom in on some of these blades of grass just like we did before and we will take a quick look at how these settings are going to affect our strokes. Now it might be better if I have really a contrasting stroke here so we can really see it and I am most concerned at these corner points and tip areas up in here. So let me come up with a rider line for the time being. There we can see it really well. With the joints, I think these are also fairly obvious. Miter is going to be a hard pointy corner, whereas round is going to round off the edge.
Now if I zoom on that even more, you can see that definitely it is rounded and the last option bevel takes the same edge but cuts it off at a hard corner. Again, these are going to be very subtle settings but especially if you are using very thick lines, they will show up a lot better or for some graphic drawings it might show up as an uneven or bouncy corner if you do not have the right setting on there to match whatever your graphics are going to be.
When you use the miter setting, it actually gives you a value to choose in here and this value is going to allow you to cut off pointiness of the corner. The reason for that is, if we actually had a completely pointy corner in these ones our corner would go all the way up to the end and it actually will do so if the angle is wide enough.
Now let me make a little modification to this stroke. If I have got a wide angle in here, that miter setting is going to give me a very pointy angle. There we go. But you can see that in order to join this two lines together, this edge is going to be sticking further and further out especially if I get to a much narrower angle in between these two. So that is what is the miter setting is doing is allowing us to set a cut off point that when our angle gets small enough instead of extending this point out further and further, it simply is going to cut it off so that we will not have little spine needles sticking out at the top.
Okay. Let us zoom back out and I probably should set my grass color back to something a little bit more green in here. So I had that green setting from the beginning. The last two properties I want to mention, we probably will not be able to see too much on the screen but we should talk about them just in case you ever encounter situations where you might need them. Stroke hinting is a special new feature of version 8 that allows us to set strokes on even pixel positions.
Now what we are referring to is whenever we draw something, you might even see down to the properties window, you can read off the x and y location of where that files is going to go. Now that is the location of the entire stroke but this is referring to the control points underlying that we are not really seeing right now. They each have an individual position as well.
What is similar about this is you will notice that these are not fixed onto even numbered pixels. This is a 347.3 which is really a strange designation for a vector program. We normally do not have decimal locations because we do not have such thing as half-a-pixel. This refers to a feature of flash that is its scalability and a flash movie can be played back in different scale environments. The feature that we are trying to fix here with stroke hinting is more visible on the player or the playback for the client and if you ever encounter a stroke that looks unusually wiggly in the playback environment it maybe because all the control points are just set off of even pixel locations and we can fix that with the simple check box here.
So you can try that as a fix to see if it smoothes out your line in the playback window. The scale function is also very similar and the scale we are referring to is not the scale of the movie or the scale of the object. It is the scale of the playback environment that you are playing in it. Now most flash movies are set so that they can be scaled in either the webpage or whatever device you are playing the flash movie in.
This feature is referring specifically to whether this thickness of each stroke is going to scale normally with the environment, whether it will scale not at all or whether it will scale when the flash movie is played, scaled vertically or horizontally. So we can. You will not really see this until the user goes to the playback environment and test your movie.