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To start, simply press the Return/Enter key to see the project in action. As the playhead moves, the panda says: Sweet and sour chicken. This is accomplished through the use of the ten graphic symbols you see on the pasteboard and in the Mouth shape with graphic symbols folder in your Library. Each symbol represents a sound or range of sounds, which means you won t need one symbol for each letter of the alphabet. As you have seen, there are a couple of methods of swapping out the symbols. If you look at the mouth layer, the first conclusion you may come to is that each key frame in the layer represents a symbol from the collection on the pasteboard. This looks complicated because just the word sweet looks like you need to use three of the symbols. You could if you are into beating yourself in the head with a board. Click the first mouth symbol on the stage and open the Properties panel. The first thing you will notice, as shown in Figure 7-47, is it isn t one of the symbols on the pasteboard. It is the mouth symbol. Twirl down the Looping parameter in the Properties panel, and you will immediately see why this example falls smack into the category of Work smart. Not hard. The Looping Option is set to Single Frame, and each key frame or swap is accomplished by shooting the playhead to a specific frame in the mouth symbol and letting it play from there.

wo of the fundamental types of operations in any programming language are the comparison and the test. They are the building blocks of conditional statements (if/ then and case) and iteration statements (while). They give you the ability to examine relationships between data items, such as files, variables, strings, and numeric values, and to take action based on the result. You can also carry out actions based on the attributes of a particular item, such as a file s type, whether a variable has been assigned a value, and the return code of a command. The examples in this chapter illustrate various ways to compare items or to check their properties, and use the results. I have used all of these techniques throughout this book, although some are used more frequently than others. Here I want to present a diverse set of examples that demonstrate the many uses of the test shell programming structure.

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Figure 7-47. Graphic symbols can be used as mini-libraries to keep the real Library from overcrowding. This is a perfect example of how a graphic symbol s timeline can be used to reduce clutter in the Library. Sure, you can use the Swap button to replace any symbol with another at any keyframe, but it is much less hassle to update the First field in the Properties panel for graphic symbols. This technique is one of those hidden gems that becomes a favorite once you realize it, and we thank Chris Georgenes for sharing such a useful trick.

For more information about character design, advanced tweening, and lip-syncing techniques, search Chris Georgenes on the Adobe website (http://www.adobe.com/ ). You ll find a number of Chris s articles and Macrochats (Flash-based recordings of live tutorial presentations).

Figure 3-10. Running your first ASP .NET AJAX application that uses JavaScript classes and namespaces

Tweening in a straight line is effortless, and we ve shown how easing can make such movement more realistic. But what if you want to tween along a curve Wouldn t it be great if we could tell you that it s only marginally more difficult Well, we can, and we ll even show you. The trick is to use something called a motion guide, which requires its own layer. You were first introduced to this feature at the end 1, but now is the time to really look at it. When you get to 8, you ll see an even easier way to do this for motion tweens, but for classic tweens, motion guides are the way to go.

In UNIX shell scripting there are both internal operators that allow you to test attributes or to compare values, and a /usr/bin/test system call. Please refer to Appendix A for more specific information. The following two comparison examples are among the most common forms:

symbol in one layer and a curvy squiggle in another. If you scrub the timeline at this point, you ll see the butterfly tween in a straight line with a slight rotation between frames 240 and 275. Butterflies don t really fly like that, so let s fix the flight pattern.

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