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Back in high school, one of the former authors of this book, David Stiller, fancied himself a poet As often happens in those formative years, the subject was introduced in terms of rhyme schemes To be sure, there s nothing essentially wrong with that The usual Romantic role models Byron, Wordsworth, Keats, Longfellow, Emerson, and so on wallowed in rhyme It s a long-standing custom in many artistic disciplines to study the masters first, and for good reason The masters figured out where all the pebbles were, which toughened their feet Walk in their shoes, and you benefit in the same way Of course, once traditions are in place, the path is cleared for visionaries: inventive weirdos who see things differently, who dash off into the brush and break the rules People who find new pebbles Think ee cummings.

What we ve shown you in this chapter are a number of well-worn trails Shape tweening and shape hints, classic tweening and easing..these are familiar corridors for many a Flash master We encourage you to tramp along these paths until your shoes are good and comfortable, and then be at the ready to kick off your shoes and sprint with the visionaries If you can keep up with him, you ll want to chase the flapping longfellows of John Kricfalusi (http://johnkstuffblogspotcom/), creator of The Ren & Stimpy Show and pioneer of Flashanimated cartoon series A full decade ago, John broke new ground with the The Goddamn George Liquor Program, which had cartoon fans laughing until..well, until milk gushed from their noses For Flash cartooning, that was an Internet first.

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What s John s rhyme scheme Enjoy Flash for the useful tool it is, but pile up most of your eggs in that basket called your brain Here s what he had to say:.

<script> var newMap=null; function DisplayMap()

#!/bin/sh debug=1 sleeptime=3 kill_plist="dhcpd:pcpu:15:30:1 sshd:pcpu:15:30:1"

I have been asked to write up some tips about how to creatively use Flash. I guess my best advice is to lean on it as little as possible, to not use it as a creative crutch. Flash isn t inherently a creative tool. It s not like a pencil or a brush or talent.

I use it mainly as an exposure sheet to quickly test my drawings and animation to see if they work. Your best Flash tool is your drawing skill. You will always creatively be limited by your ability to make interesting drawings and movement. I see many animators using Flash mainly for its in-betweens, or t weens as they are now called. This little tool makes every movement look smooth. But if you want to compete against the best animators, whether in Flash or in traditional animation, you will be competing with drawings, acting, and real motion [see the following illustration]. Real motion has nonmathematical in-betweening. Every in-between looks different and conveys information that mere tweening can t. Tweening just moves the same drawing from one place to another, and it s completely obvious when you watch most Flash cartoons that you are watching tricks, not animation.

The following function performs all notifications and process terminations in the script. It is called with seven sequentially numbered parameters. The positional variables are somewhat difficult to understand and their values could have been assigned to more meaningfully named variables before they were used, for ease of debugging later. To streamline the script a little, I didn t do this.

Since I started using Flash back in caveman times, I ve been trying to find ways to make it not look like Flash, to try to undermine all its computery tricks. I ve tried different approaches. It s hard for me to draw my key poses directly on the computer, so I usually draw them in pencil and scan them in. Once they are in, I time them in the timeline to musical beats. When I m satisfied with the rough timing, I then draw breakdown poses directly on a Cintiq

{ newMap = new VEMap('MapPane'); newMap.LoadMap(new VELatLong(47.7512121212, -122.43234), 9 ,'r'); } function PanLatLong() { newMap.PanToLatLong(new VELatLong(txtLat.value, txtLong.value)); } function PanXY() { newMap.Pan(txtX.value, txtY.value); } </script>

(www.wacom.com/cintiq/ ) in the timeline. I constantly roll across the animation to see if the motion is smooth. If I m animating to a dialogue track, I draw the mouth positions in Flash and, again, roll back and forth to see if the animation is working.

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