Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Wake up to your world in 2 minutes.
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.
Learn How to Use Group Vector Shapes 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:
Now that we have seen a whole bunch of techniques about how to take advantage of the interaction of our vectors, let us go back to, how do we keep it from happening in the first place, now the way we talk about before is just simply separating things into other layers and working that way but not always do you want to have an element in a completely separate layer. To explore this new technique a little bit further, let us open up another file. I have got another file not less than folder and it is called the dad. And, there he is, the dad. Now this files is a fairly typical workup if you are going to be doing some kind of character animation. You will notice I have got all kinds of poses on this side and we have got an assembled character here on the left hand side and in the middle we have this kind of a -- of different pieces that we can use.
Now, typically, when you are going to animate a character like this, you will setup a whole bunch of different elements that you can use. You can see how this elements are being used together to create different expressions, different looks, I am looking to the left, I am looking to the right, even different mouths so we can mimic him saying all kinds of different pieces here. So, let us take a look at this. Now, I am going to zoom in and we will take a look at how this file has been built so far. There, I have got his head and you can see I have just got some standard shapes, I have got his top of his head and there is a 5 o’clock shadow, his hair, some outlines for his hair, even his ears and here we have got all kinds of little elements dropped in. And if we wanted to just start assembling a shape in here, we could pick out a couple of eyes and we could place them in, okay and just start assembling some pieces together. Let me grab his glasses and pop them on and you might be thinking, “Oh! Well, maybe we should move his eye a little bit.” Well, if I am working as we have been working so far, let me zoom right in and I am working in a single layer like we were and I am going to click and you will notice the eye has been cut by the eye glasses. The head has been cut by the eye glasses. Now, certain things I can pull off without really damaging stuff, we mentioned in our last exercise that we can move the strokes and they do not really delete anything, okay. They just kind of go in. Now, while they are there, they can be used as a cut and I could actually pull a part of his head out, shaped like the eye glasses. But I definitely do not want to do that at this point. I want to kind of keep things separate.
All bets are off when we start talking about different fill shapes. If I simply just grab the white part of his eye and move it around, you can see what I did, is that I left a hole in his head. In fact, if I click and move it around again, I am leaving wholes everywhere. So, we are going to have a big problem if we keep this like that. Now, our standard way of dealing with this kind of a situation, let me see if I can get his eyeball all out here, and grab all those pieces, I will leave a couple of holes in his head and I will fill them up. We can fix those with the eye dropper tool because remember I can pick up a color, it will pick up the paint color, switch me over to the paint bucket, “Oops! I want to Undo that because I had one of that selected on the side there. I use the paint bucket. Fill those holes back in and of course, they should be glued back together. So we have got him fixed back up. Now, how to keep that from happening in the first place? Well, we could say, “Oh! Let us just put everything on a separate layer.” Well, that would work but if we start doing that, you might notice the disciple is actually composed to the whole bunch of differents, I have got the stroke on the side, I have got his eyeball in the middle, I have got the white of his eye which is actually shaped on that white background and we can see by some of this faces, we are going to be wanting to move he eyeball around inside the eye socket.
We might even want him to blink or do some other things like