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f content is king on the Web, then certainly style is queen; together they rule hand in hand. Entering, editing, and formatting text on a Web page is a major part of a Webmaster s job. Dreamweaver gives you the tools to make the task as clear-cut as possible. From headlines to comments, this chapter covers the essentials of working with basic text; inserting and formatting dynamic data is covered in 19. At first, Web designers didn t have many options for manipulating text. However, now the majority of browsers understand a number of text-related commands, and the designer can specify the font as well as its color and size. Dreamweaver includes a range of textmanipulation tools. All these topics are covered in this chapter, along with an important discussion of how to manipulate whitespace on the Web page.

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fetch sX, ( s Y > (fetch sX, sY) - move data from the data RAM to a register - pseudo operation:

Before the arrival of personal computers, publications were created by graphics designers who leaned over light tables and, armed with matte knives and waxing machines, stuck galleys of type, halftones, and plastic overlays onto paste-up boards. The paste-up boards were usually oversized

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Each path in Illustrator has a direction. For paths that you draw with the Pen or Pencil tool, the direction of the path is the direction in which you draw the path. When Illustrator creates an ellipse or a rectangle, the direction of the path is clockwise. If you re curious about which way a path travels, click any spot of the path with the Scissors tool and then choose Effect Stylize Add Arrowheads. In the Add Arrowheads dialog box, ensure that only the End button area is selected and then click OK. An arrowhead appears, going in the direction of the path. Figure 12.30 shows several paths that include an arrowhead to indicate the direction for each path.

depth through the use of perspective, wherein the proportion of the composition s foreground and background spaces lend a perceived depth. With linear perspective, parallel lines are drawn as converging lines, usually to a single vanishing point on a horizon line (see Figure 33-2). The diminution of scale is integral to the concept of linear perspective. Objects closer to the viewer appear larger, while objects farther from the viewer appear smaller. Similarly, atmospheric perspective adds to a composition s sense of depth by reducing the visibility of objects as they approach the horizon.

When these changes are complete, return to Browse mode and note that the asterisk appears when the SupplierID field is empty, disappearing when a value is entered or selected. Using variations of this technique, you can configure your solution s interface to direct the user s gaze to areas or elements on the screen requiring attention, post flags or messages, and/or highlight point(s) where the next data entry should occur. When you employ a thoughtful combination of measures of this kind, you achieve an interactive and adaptable visual interface, increasing the intuitive quality of the user experience.

Remember the first time you noticed that the link you clicked was carrying quite a bit of additional baggage Where you might have selected a link that took you to a specific product page with a URL such as http://www.idest.com/products/widgets.htm, the link in the Location field of your browser looked more like the following:

It makes no difference whether you use a frame tool or a shape tool or even the Type tool to create a frame that you want to hold a graphic. Similarly, you don t have to use the Type tool to create a frame that will hold text. Just select an empty frame and import text or a graphic into it. InDesign automatically converts the frame into the appropriate type.

Please note that in Excel, 0 normally pairs up with FALSE and 1 with TRUE. For example:

What information must be included Is this divided into sections List them. Does the client want the source files at the completion of the project (Usually

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