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How to Draw Prospective View? part III

Here comes the 3rd and last part for drawing prospective view...........




Enjoy............!

Note: please collect all images and re-arange them in sequence of "draw comic_pros1, draw comic_pros2 ...................................................... draw comic_pros10"

waiting for your beedback
profesor AZii
Art Lover


How to Draw Prospective View? part II

Here is Part II of how to draw prospective view


Enjoy.............!


How to Draw Prospective View? part I

I am sharing this tutorial so that you can be able to draw so sketches with prospective view.
here we go...........



Enjoy....................!

UN Commission Inquiry Report

Report of the United Nations Commission of Inquiry into the facts and circumstances of the assassination offormer Pakistani Prime Minister Mohtarma Benazir Bhutto
On 27 December 2007, former Pakistani Prime Minister Mohtarma Benazir Bhutto was assassinated as she left a campaign event at Liaquat Bagh, in the Pakistani city of Rawalpindi. In the attack on Ms Bhutto, 24 other people were killed and 91 injured.
After a request from the Government of Pakistan and extensive consultations with Pakistani officials as well as with members of the United Nations Security Council, the Secretary-General appointed a three member Commission of Inquiry to determine the facts and circumstances of the assassination of the former prime minister. The duty of carrying out a criminal investigation, finding the perpetrators and bringing them to justice, remains with the competent Pakistani authorities.
The Secretary-General appointed Ambassador Heraldo Muñoz, the Permanent Representative of Chile to the United Nations as head of the Commission as well as Mr Marzuki Darusman, a former Attorney-General of Indonesia, and Mr Peter FitzGerald, a former Deputy Commissioner of the Irish Police, the Garda Siochána.
The Commission commenced its activities on 1 July 2009 and provided its report to the Secretary-General on 30 March 2010.
In the course of its inquiry, the Commission received significant support from the Government of Pakistan and many of its citizens. The Commissioners and staff traveled freque ntly to Pakistan in the furtherance of its mandate. The Commission conducted more than 250 interviews, meeting with Pakistani officials and private citizens, foreign citizens with knowledge of the events in Pakistan and members of the United Kingdom Metropolitan Police (Scotland Yard) team that investigated aspects of the assassination. The Commission also reviewed hundreds of documents, videos, photographs and other documentary material provided by Pakistan’s federal and provincial authorities and others.
The Commission also met with representatives of other governments such as Afghanistan, the United Arab Emirates, the United Kingdom and the United States. Some relevant senior officials were not made available to the Commission, but the Commission is satisfied that this did not hinder its ability to establish the facts and circumstances of the assassination. Pertinent information from these sources, including on threats to Ms Bhutto, nevertheless, was already in the possession of Pakistani authorities and eventually came to be known by the Commission.
The Commission was mystified by the efforts of certain high- ranking Pakistani government authorities to obstruct access to military and intelligence sources, as revealed in their public declarations. The extension of the mandate until 31 March enabled the Commission to pursue further this matter and eventually meet with some past and present members of the Pakistani military and intelligence services.
The report addresses the political and security context of Ms Bhutto’s return to Pakistan; the security arrangements made for her by the Pakistani authorities, who bore the primary responsibility to protect her, as well as her political party, the Pakistan Peoples Party (PPP); events immediately before and after the assassination; and the criminal investigations and actions of the Pakistani Government and police in the aftermath of the crime.
Ms Bhutto’s return to Pakistan on 18 October 2007 and assassination on 27 December 2007 culminated a year of intense political conflict, revolving largely around the elections scheduled for later that year and their potential for opening a transition to democracy after eight years of military rule. It was also one of the most violent years in Pakistani history. She returned in the context of a tenuous and inconclusive political agreement with General Pervez Musharraf, as part of a process facilitated by the United Kingdom and the United States.
Ms Bhutto’s assassination could have been prevented if adequate security measures had been taken. The responsibility for Ms Bhutto’s security on the day of her assassination rested with the federal Government, the government of Punjab and the Rawalpindi District Police. None of these entities took the necessary measures to respond to the extraordinary, fresh and urgent security risks that they knew she faced.
The federal Government under General Musharraf, although fully aware of and tracking the serious threats to Ms. Bhutto, did little more than pass on those threats to her and to provincial authorities and were not proactive in neutralizing them or ensuring that the security provided was commensurate to the threats. This is especially grave given the attempt on her life in Karachi when she returned to Pakistan on 18 October 2007.
The PPP provided additional security for Ms. Bhutto. The Commission recognizes the heroism of individual PPP supporters, many of whom sacrificed themselves to protect her; however, the additional security arrangements of the PPP lacked leadership and were inadequate and poorly executed.
The Rawalpindi district police’s actions and omissions in the immediate aftermath of the assassination of Ms Bhutto, including the hosing down of the crime scene and failure to collect and preserve evidence, inflicted irreparable damage to the investigation. The investigation into Ms Bhutto’s assassination, and those who died with her, lacked direction, was ineffective and suffered from a lack of commitment to identify and bring all of the perpetrators to justice. While she died when a 15 and a half year-old suicide bomber detonated his explosives near her vehicle, no one believes that this boy acted alone.
Ms. Bhutto faced threats from a number of sources; these included Al-Qaida, the Taliban, local jihadi groups and potentially from elements in the Pakistani Establishment. Yet the Commission found that the investigation focused on pursuing lower level operatives and placed little to no focus on investigating those further up the hierarchy in the planning, financing and execution of the assassination.
The investigation was severely hampered by intelligence agencies and other government officials, which impeded an unfettered search for the truth. More significantly, the Inter-Services Intelligence (ISI) cond ucted parallel investigations, gathering evidence and detaining suspects. Evidence gathered from such parallel investigations was selectively shared with the police.
The Commission believes that the failure of the police to investigate effectively Ms Bhutto’s assassination was deliberate. These officials, in part fearing intelligence agencies’ involvement, were unsure of how vigorously they ought to pursue actions, which they knew, as professionals, they should have taken.
It remains the responsibility of the Pakistani authorities to carry out a serious, credible criminal investigation that determines who conceived, ordered and executed this heinous crime of historic proportions, and brings those responsible to justice. Doing so would constitute a major step toward ending impunity for political crimes in this country.
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InDesign: Tips & Tricks Session

TIP # 1: Break Facing Pages into Single Pages

Here's how to convert a facing-pages document into a single-page, non-facing pages document without affecting master page items:

Open the facing pages document. In the Pages panel menu, choose Allow Document Pages to Shuffle (CS3-CS4) or Allow Pages to Shuffle (CS2). (This should uncheck, or deselect, this option.) Grab the right-hand page of each spread and pull the page to the right of the spread until you see a vertical black bar appear and then release the mouse. This will separate the page from the spread, but the page will remain a right-hand page.

TIP # 2: What Is the Registration Color Good For?

The InDesign Swatches panel includes four undeletable swatches: None, Black, Paper, and Registration. The purpose of the first three is obvious. You probably know not to use Registration for any object to appear on the printed page, but do you know why?

The Registration color prints on every ink plate. In CMYK, that means anything with Registration applied to it prints in cyan, magenta, yellow, and black. The result is usually not a nice rich black but rather the color of old mud. That's why the Registration swatch should be reserved for registration marks and other information or structures that need to print on all plates (usually in the slug area), such as the client name, job number, and other specific information. The easiest way to include that information on the film is to set it in the slug area, in the Registration color swatch.

TIP # 3: Wrap Text around a Silhouetted Image

Place an image with a solid, contrasting background or an alpha channel or clipping path masking the background. Open InDesign's Text Wrap panel, choose Show Options from the panel's menu, and you'll see seven Contour Options. From the Text Wrap panel's Type pop-up menu, choose a contour option. Some, like Alpha Channel and Photoshop Path, are only available if they're embedded in the image file. But this doesn't mean you have to use a collage of empty frames to wrap text around a silhouetted image! Arranging the image behind the text (Object > Arrange > Send To Back) and choosing Detect Edges from the Contour Options' Type pop-up menu often does the trick.

Indesign Tips & Tricks Session

TIP #1: Optical Alignment Makes You Look Good
By default, InDesign vertically aligns type in a text frame by moving the character as far left or right as it can go. Unfortunately, smaller characters (such as punctuation marks) and characters with slanted strokes (such as A, W, and V) can look indented instead of flush to the edge. You can solve this problem by selecting the text frame, opening the Story panel (Type > Story), and checking the panel's Optical Margin Alignment box.
TIP#2: When Saving Copies, Control Which File Stays Open
In InDesign CS3 and CS4, the keyboard shortct Command+Option+S/Control+Alt+S saves a copy of your document and leaves the old document open. If you want to save a copy of your document and leave the copy open, use Command+Shift+S/Control+ Shift+S.
TIP #3: Sort Paragraphs Alphabetically
For basic alphabetical sorting of paragraph text -- bulleted lists, numbered lists, or just plain paragraphs -- use SortParagraphs.jsx, a script that comes with InDesign.
In InDesign CS3 and CS4, go to Window > Automation > Scripts to open the Script panel, click the spinning arrow beside the Application folder to see its contents, then Samples, and finally JavaScript. That's where you'll find SortParagraphs.jsx. In InDesign CS2, first grab the script from the
Adobe Web site, then drop it into the Presets/Scripts folder under your InDesign CS2 installation folder.
To sort your list, highlight a selection of paragraphs and double-click SortParagraphs.jsx on the Scripts panel.
TIP #4: Document Repair With IDML
IDML (InDesign Markup Language) is an XML-based file format that InDesign CS4 can read and write. It can also help clear the cobwebs from a creaky old document. If you're having trouble with a document (especially one created in a previous version of InDesign or converted from QuarkXPress and PageMaker), export it to IDML, then open the IDML file and work with the new InDesign document. You can even strip a document of third party plug-in information by disabling those plug-ins prior to opening the IDML file.

InDesign Tips & Tricks Session

TIP #1: No Kerning Pairs? No Problem
In many typefaces, there are no kern pairs for the number characters, and these characters occupy equal widths -- a narrow number like a 1 uses the same amount of space as a 9 or 0. This is great for making numbers line up perfectly in columns down a page, but it can look awful when numbers are in body text. To make the numbers as beautifully spaced as the rest of the characters, place your cursor between the characters you want to kern and select Optical in the Character panel's Kerning menu. By the way, InDesign has had the Optical kerning option since version 1

TIP #2: Change One Corner of a Rounded Rectangle to a Point
Once you've applied rounded corners to a rectangle, you can change one or more curves to a corner point. Select the path you want to expand, and then click either the Open Path or Close Path icon in the Pathfinder panel (Window > Object and Layout > Pathfinder). Either one converts the electronic corner effect into actual path points. Choose Open Path if you're converting an open path (like a Bezier line), or Close Path if you're converting a shape (like a rectangle).

TIP #3: Change the Default Font
To change InDesign's default font, open InDesign but don't open any documents. On the Character panel, change the Font Family and Font Style dropdowns to your preferred default. Edit the "[Basic Paragraph]" style on the Paragraph Styles panel to match your new font. Quit or restart InDesign. From now on, every new document you create will use your chosen font. Note: You will lose this Basic Paragraph Style custom formatting if you copy-and-paste a paragraph into another document. If you're sure all your documents will be created with this custom Basic Paragraph style, it's probably okay. If not, create a new paragraph style and click on it while no documents are open. That, then, becomes your default paragraph style instead of the undependable Basic style.

TIP #4: Find Out if an Image Is Flipped
In the past, editors and fact checkers couldn't tell for sure if an image was flipped after it was placed in InDesign. But in CS3 and CS4, you can find out the truth by clicking on the image with either selection tool. If the image was flipped in InDesign, you'll see a reverse "P" symbol in the Control panel. But beware! If the image was flipped in Photoshop, saved, and then placed in InDesign, there's no trail of evidence left behind.
Enjoy this session from AZii

Tips and Trick Session

I am posting some links.I hope you will enjoy and learn the cool tips & tricks.

Expression Web Quicktips: ASP.NET Master Pages (Part 1 of 2)

Expression Web Quicktips: Creating a CSS Photo Lightbox (Part 2 of 2)

Expression Web Quicktips: Creating Cascading Style Sheets

Expression Web Quicktips: Finding and Fixing Code Errors

Yours Profesorazii

Tips & Tricks Session

TIP # 1: Put Automatic Page Numbers on Top
To ensure that a text frame that contains an automatic page number always appears in front of document page elements, simply place the text frame on a master page and move it to its own top-most layer.
TIP # 2: Horizontal Pages Panel
By default, InDesign's Pages panel has a vertical orientation. If you'd prefer your Pages panel to be horizontal, choose Panel Options... from the Pages panel menu. In the Panel Options dialog box, you'll see a checkbox labeled "Show Vertically." Deselect the option for the pages and/or the masters.
TIP # 3: Hyphenate Words Your Way
To tell InDesign exactly where to hyphenate a word, open InDesign and go to Edit > Spelling > Dictionary. Do this with no document open to set the default for all new documents. Type the word in the Word field and then click Hyphenate. The tilde (~) characters indicate how InDesign will hyphenate the word. To change those settings, retype the word in the Word field using tildes as follows:
• One tilde (~) indicates the most desirable hyphenation position. • Two tildes (~~) indicate a slightly less desirable hyphenation position. • Three tildes (~~~) mark the least desirable hyphenation position. • A tilde inserted before the word tells InDesign never to hyphenate the word at all.
Finally, click the Add Button to change the word to your customized setting.

Tips and Tricks Session

Dear Art / Graphic Designers/ I am going to lauch a new TIP session for you.
These Tips are from my friends/Buddies. Here are some...............
TIP # 1. What To Include When Exporting Interactive InDesign Files to PDF
In InDesign, choose File > Export Adobe PDF to open the Export Adobe PDF dialog. If you have included bookmarks, that item must be checked in the Include section at the bottom. For buttons, transitions, and hyperlinks to appear in the PDF file, check Hyperlinks and Interactive Elements. If you've placed a movie or sound file, you'll get the best results if you choose the Compatibility to be Acrobat 6 or higher.
TIP # 2. Enlarge Characters in the Glyphs Panel
InDesign's Glyphs panel (Window > Type & Tables > Glyphs) reveals all the characters in a font. If you're having trouble seeing exactly what those characters look like, make the glyphs larger by clicking the mountain button in the lower right corner. You can also filter the display by choosing options from the Show menu.
TIP # 3. Quickly Escape Quick Apply
You open the Quick Apply window and begin typing, then change your mind. A menu command is currently highlighted in the Quick Apply window. The fastest way to close the Quick Apply window without triggering the selected menu command is to press the Esc key.

Using Effects in Freehand 11

The commands listed under the Effect menu alter the appearance of an object without changing the underlying object itself. For example, you can apply the Roughen command, transform the object with the rotate tool, scale it, and fill it with a 50% opaque red. You can then edit the roughen amount or remove it entirely, change the rotation, or adjust the opacity with no need to redraw the original object.
Editing object with effect applied
Most commands in the Effect menu have the same function and name as commands found elsewhere in the application.
Note: Many effects are available only for RGB documents. If you apply an effect, and then change the document’s color mode to CMYK, Illustrator will not be able to preserve the effect.
To apply an effect:
1 Do one of the following:
• Select artwork on the art board.
• Target an item in the Layers palette.
• Select a stroke or fill in the Appearance palette.
• Select a style in the Styles palette.
2 Choose a command from the Effect menu.
3 Specify settings, and apply the effect.
4 If you selected a style, the appearance attributes are unlinked from that style. In this case, you can do any of the following:
• Create a new style
• Leave the appearance attributes unlinked. Note: You can apply effects to type objects, but not to selected characters within the type objects.

See also ............ Using Styles in Freehand 11
See also............ Using Apearance in Freehand 11

Using Styles in Freehand 11

A style is a named set of appearance attributes. By applying different styles, you can quickly change the look of an object; for example, you can change its fill and stroke color, transparency, and Effect menu settings in one step. All the changes you apply with styles are completely reversible.
Using the Styles palette
The Styles palette lets you create, name, save, and apply sets of appearance attributes.
Displaying the Styles palette Choose Window > Styles.
Changing the order of styles Drag the style to a different position in the palette. When the outline of the style appears in the desired position, release the mouse button.
Using the Styles palette menu Click the triangle in the upper right corner of the palette to access commands for working with styles.
Renaming styles Double-click a style, or select a style and choose Style Options command from the palette menu. Enter a style name, and click OK.
Changing the palette display Choose a view option from the Styles palette menu: Thumbnail View to display a scrollable list of thumbnails; Small List View to display a scrollable list of named styles with a small thumbnail; or Large List View to display a scrollable named list of styles along with a large thumbnail.
Applying styles
You can apply styles to objects, groups, and layers. When you apply a style, the new style overrides any style that the item had before.
When you apply a style to a group or layer, every object on the group or layer takes on the attributes of the style. For example, assume you have a style that consists of 50% opacity. If you apply the style to a layer, all objects in or added to that layer will appear 50% opaque. However, if you move an object out of the layer, the object’s appearance reverts to its previous opacity.
Note: You can’t apply styles to type objects that use outline-protected fonts or bitmap fonts.
To apply a style:
1 Select artwork on the art board, or target an item in the Layers palette.
Note: If you selected a type object, select Override Character Color from the Styles palette menu to apply the style’s fill, stroke, and transparency attributes to the characters; or deselect Override Character Color from the Styles palette menu to preserve the current color of the characters.
2 Apply the style from the Styles palette:
• Click a style in the list.
• Drag the style onto an object on the art board. The object does not have to be selected
First.
• Copy and apply a style using the eyedropper and paint bucket tools. Depending on
What you specify in the Paint Bucket/Eyedropper Options dialog box, you can copy and paste the entire style or selected attributes.
Creating and modifying styles
A style can contain any combination of color, fill, stroke, pattern, effect (that is, any command listed under the Effect menu), transparency, blend mode, gradient, transformation, and the like. Each style can contain multiple attributes. For example, you can have three fills in a style, each with a different opacity and blend mode that defines how the various colors interact. Similarly, you can have multiple strokes.
To create or modify a style:
1 Do one of the following:
• Select an object.
• Select a style in the Styles palette to use as a starting set of attributes.
• Start with no object or style selected.
2 Specify the appearance attributes you want, such as the fill or the stroke. You can use the Appearance palette to help specify and order the appearance attributes.
3 Do one of the following:
• Click the New Style button at the bottom of the Styles palette.
• Drag the thumbnail from the Appearance palette into the Styles palette or onto the
New Style button at the bottom of the Styles palette.
Dragging a thumbnail from the Appearance palette to the Styles palette.
• Drag the object with the appearance attributes you want into the Styles palette or onto
the New Style button at the bottom of the Styles palette.
• Choose New Style from the Styles palette menu, enter a name for the style, and click OK.
The new style appears at the bottom of the list in the Styles palette.
• Alt-click (Windows) or Option-click (Mac OS) the New Style button, enter the name of
the style, and click OK.
To create a new style by merging existing styles:
1 In the Styles palette, Ctrl-click (Windows) or Command-click (Mac OS) to select all the styles you want to merge.
2 Choose Merge Styles from the palette menu. The new style contains all the attributes of the selected styles and is added to the end of the list of styles in the palette.
To replace style attributes:
Do one of the following:
• Alt-drag (Windows) or Option-drag (Mac OS) the style you want to use onto the style you want to replace.
• Select artwork (or target an item in the Layers palette) that has the attributes you want to use. Then Alt-drag (Windows) or Option-drag (Mac OS) the thumbnail from the Appearance palette onto the style you want to replace in the Styles palette.
• Select the style you want to replace. Then select artwork (or target an item in the Layers palette) that has the attributes you want to use, and choose Redefine Style _ Style name_ from the Appearance palette menu.
The replaced style keeps its name but takes on new appearance attributes. All occurrences of the style in the Illustrator document are updated to use the new attributes.
To duplicate a style:
1 In the Styles palette, select the style you want to duplicate.
2 Choose Duplicate Style from the Styles palette menu. The new style appears at the bottom of the list in the Styles palette.
Unlinking styles
You can remove a style from an object, group, or layer by breaking the link to the style. The object, group, or layer retains the same appearance attributes; however, these attributes are no longer associated with a style.
To break the link between a style and a selection:
1 Select the object, group, or layer that has the style applied to it.
2 Do one of the following:
• Choose Break Link to Style from the Styles palette menu, or click the Break Link to Style button in the palette.
• Change any appearance attribute of the selection (such as a fill, stroke, transparency, or effect).
Deleting styles
Deleting a style removes it from the Styles palette. Any objects, groups, or layers that used the style retain the same appearance attributes; however, these attributes are no longer associated with a style.
To delete a style:
1 In the Styles palette, select a style you want to delete.
2 Delete the style:
• Choose Delete Style from the Styles palette menu.
• Click the Trash button in the palette.
• Drag the style onto the Trash button in the palette.
Using style libraries:
You can import styles from other files into a palette associated with the current file using the Style Libraries command. These libraries are stored in the Presets/Styles folder inside the Adobe Illustrator application folder. You cannot add, delete, or edit styles in a library; however, once you import a style, you can change its attributes using the Appearance palette.
To import a style from a Style Library to the current Styles palette:
1 Make sure the Styles palette into which you want to import a style is open.
2 Choose Window > Style Libraries > Style Library name. To locate a Style Library not stored in the default location, choose Window > Style Libraries > Other Library.
3 Select a style you want, and then do one of the following:
• Use the selected style in the current artwork (recommended for one or two styles at a time). Once you use it in the artwork, the style is copied from the Styles Library to the Styles palette.
• Drag the selected style to the current Styles palette (recommended for multiple styles at a time).
To create a Styles Library:
1 Create a file containing the styles you want in the Styles Library.
Delete all unused Swatches, Brushes, Symbols, and Styles to reduce the library’s file size.
2 Save the file.
3 Choose Window > Style Libraries > Other Library, and navigate to the location where you saved the file.
To have a Styles Library appear in the Styles Libraries menu:
1 Do one of the following:
• When you save your Library file, save it into the Presets/Styles folder inside the Illustrator application folder.
• Drag the Styles Library file into the Presets/Styles folder inside the Illustrator application folder.
2 Restart the program.
see also ....... Using Appearance in Freehand 11

Using Appearance Attributes, Styles, and Effects in Freehand 11

About appearance attributes, styles, and effects
Appearance attributes are properties that affect the look of an object without altering its underlying structure. If you apply an appearance attribute to an object and later edit or remove that attribute, it does not change the underlying object or any other attributes applied to the object. Fills, strokes, transparency y, and effects are all types of appearance attributes. A style is a named set of appearance attributes. The Styles palette lets you store and apply a set of appearance attributes to objects, groups, and layers. This gives you a fast and consistent way to change the look of artwork in documents. If the style is replaced (that is, if any appearance attributes that make up the style are changed and the new attributes are saved as that style), all objects with that style change to the new appearance.
Effects are a type of appearance attribute and are listed under the Effect menu. Most effects have the same function and name as commands found elsewhere in the application. However, Effect menu commands do not change the underlying object, only it appearance. You can distort, rasterize, and modify any path using any number of effects, but the original size, anchor points, and shape of the path never changes—only the way it looks. The underlying object remains editable, and an effect’s parameters can be changed at any time.

Working with appearance attributes
The Appearance palette is your gateway to working with appearance attributes, including styles and effects. Because you can apply appearance attributes to layers, groups, and objects, the hierarchy of attributes in your artwork can become very complex. For example, if you apply one effect to a layer and another effect to an object in the layer, it may be difficult to determine which effect is causing the artwork to change. The Appearance palette shows you exactly the fills, strokes, styles, and effects that have been applied to an object, group, or layer.
Using the Appearance palette
The Appearance palette shows you the hierarchy of appearance attributes in your artwork. When you make a selection on the art-board or target an item in the Layers palette, the Appearance palette displays the attributes associated with the artwork. Fills and strokes are listed in stacking order (front to back); effects are listed in the order in which they are applied to the artwork.
Layers, groups, type, meshes, linked files, bitmap images, blends, envelopes, Ares, symbols, symbol sets, and graphs all function as containers in the Appearance palette. When you apply appearance attributes to a container, all artwork in the container takes on these additional attributes.
A. Path with stroke, fill, and effect
B. Layer with transparency
C. Group with effect
D. Stroke with effect
Displaying the Appearance palette Choose Window > Appearance.
Displaying attributes in the Appearance palette Make a selection on the art-board, or target an item in the Layers palette. The attributes of the selected item appear in the Appearance palette. If the item is a container (such as a layer or group), double-click the word Contents in the Appearance palette to display the attributes of artwork in the container. Click the name of the container to redisplay its attributes.
Expanding and collapsing fills and strokes click the triangle to the left of the fill or stroke in the Appearance palette. Click again to collapse the fill or stroke.
Reordering appearance attributes Drag an appearance attribute up or down in the palette to change the order that strokes, fills, and effects are applied. (If necessary, expand fills and strokes.) When the outline of the appearance attribute you are dragging appears in the desired position, release the mouse button. The stacking order of strokes and fills directly affects an object’s appearance. For example, if the fill attribute is below the Contents entry, any fill attributes applied to objects will be applied in front of the fill.
If you apply a style to an object, but the style’s fill color doesn’t appear in the artwork, drag the Fill attribute above the Contents entry in the Appearance palette.
Using the Appearance palette menu Click the triangle in the upper right corner of the palette to access commands for working with appearance attributes.
Showing and hiding thumbnails.
Choose show thumbnail or hide thumbnail from the appearance palette menu.
Modifying and removing appearance attributes
The Appearance palette makes it easy to modify appearance attributes. You can edit effects; copy attributes to items, duplicate attributes, and remove attributes.
Note: Changing the attributes of an item that has a style applied to it breaks the link between the item and the style.
To display the dialog box for an effect:
Double-click an effect name in the Appearance palette.
To copy attributes to an object:
1 if a thumbnail isn’t showing in the Appearance palette, choose Show Thumbnail from the palette menu.
2 Drag the thumbnail onto an object on the art board. The object does not have to be selected first.
To duplicate an appearance attribute:
Select an attribute in the Appearance palette, and do one of the following:
• Click the Duplicate Selected Item button in the palette, or choose Duplicate Item from
The palette menu.
• Drag the appearance attribute onto the Duplicate Selected Item button in the palette.
• If the attribute is a fill or stroke, choose Add New Fill or Add New Stroke from the
Appearance palette menu.
To remove appearance attributes:
Do one of the following:
• Select an attribute, and choose Remove Item from the palette menu.
• Select an attribute, and click the Trash button in the palette.
• Drag an attribute to the Trash button.
• To remove all appearance attributes, including any fill or stroke, choose Clear
Appearance from the palette menu or click the Clear Appearance button in the palette.
• To remove all appearance attributes except a single fill and stroke, choose Reduce to
Basic Appearance from the palette menu or click the Reduce to Basic Appearance button in the palette.
Applying appearance attributes to new artwork
You can specify whether you want new objects to inherit appearance attributes or have only basic attributes.
To specify how appearance attributes are applied to new objects:
Do one of the following:
• To apply only a single fill and stroke to new objects, click the New Art Has Basic
Appearance button in the Appearance palette, or select New Art Has Basic Appearance from the palette menu.
• To apply all of the current appearance attributes to new objects, click the New Art
Maintains Appearance button in the Appearance palette, or deselect New Art Has Basic Appearance from the palette menu.
Applying fills and strokes to containers
Adding fills and strokes to a container (such as a group or layer) applies the fills and strokes to all artwork in the container.
To apply a fill or stroke to a container:
1 Target a container in the Layers palette.
2 Do one of the following:
• Choose Add New Fill or Add New Stroke from the Appearance palette menu.
• Click on a brush in the Brush palette to add a brushed stroke to the container.
• Click on a style in the Styles palette which has a fill or stroke.
See Also ...... Using Styles in Freehand 11
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