Adobe Fireworks CS5 Classroom in a Book [1 ed.] 0321704487, 9780321704481

Citation preview

ADOBE® FIREWORKS® CS5

CLASSROOM IN A BOOK® The official training workbook from Adobe Systems

CD-ROM Included for Windows and Mac OS

ADOBE® FIREWORKS® CS5

CLASSROOM IN A BOOK® he oicial training workbook from Adobe Systems

www.adobepress.com

Adobe® Fireworks® CS5 Classroom in a Book® © 2011 Adobe Systems Incorporated and its licensors. All rights reserved. If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. he content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. he unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample iles are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Adobe Reader, Acrobat, Bridge, Classroom in a Book, Dreamweaver, Fireworks, Flash, Illustrator, InDesign, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple, Mac, and Macintosh are trademarks of Apple, registered in the U.S. and other countries. Microsoft, Windows, and Windows NT are trademarks of Microsoft Corporation registered in the U.S. and/or other countries. All other trademarks are the property of their respective owners. Adobe Systems Incorporated, 345 Park Avenue, San Jose, California 95110-2704, USA Notice to U.S. Government End Users. he Software and Documentation are “Commercial Items,” as that term is deined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe Systems Incorporated, 345 Park Avenue, San Jose, CA 95110-2704, USA. For U.S. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. he airmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Adobe Press books are published by Peachpit, a division of Pearson Education located in Berkeley, California. For the latest on Adobe Press books, go to www.adobepress.com. To report errors, please send a note to [email protected]. For information on getting permission for reprints and excerpts, contact [email protected]. Printed and bound in the United States of America ISBN-13: ISBN-10:

978-0-321-70448-1 0-321-70448-7

9 8 7 6 5 4 3 2 1

WhAt’S on the diSC here is an overview of the contents of the Classroom in a Book disc he Adobe Fireworks CS5 Classroom in a Book disc includes the lesson iles that you’ll need to complete the exercises in this book, as well as other content to help you learn more about Adobe Fireworks CS5 and use it with greater eiciency and ease. he diagram below represents the contents of the disc, which should help you locate the iles you need.

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online resources Adobe Press Find information about other Adobe Press titles, covering the full spectrum of Adobe products, in the Online Resources ile.

Links to Adobe Community Help, product Help and Support pages, Adobe certiication programs, Adobe TV, and other useful online resources can be found inside a handy HTML ile. Just open it in your Web browser and click on the links, including a special link to this book’s product page where you can access updates and bonus material.

ContentS GettinG StARted

Xiii

About Classroom in a Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii What’s in this book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiv Prerequisites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiv Installing Adobe Fireworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiv Starting Adobe Fireworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv Copying the Classroom in a Book iles . . . . . . . . . . . . . . . . . . . . . . xv Additional resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xvi Adobe certiication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii 1

GettinG to KnoW the WoRKSPACe

2

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Getting started in Adobe Fireworks . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Preparing the canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Drawing a vector shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Saving the ile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Using the Tools panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 More tools than meet the eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Using the Properties panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Coniguring panels and panel groups . . . . . . . . . . . . . . . . . . . . . . 13 Customizing panel arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Creating custom workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Working with multiple documents . . . . . . . . . . . . . . . . . . . . . . . . . 16 Creating a loating document window. . . . . . . . . . . . . . . . . . . . . . 17 Dragging and dropping between loating windows . . . . . . . . . 18 Undoing steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

iv

Contents

2

the PAGeS, StAteS, And LAYeRS PAneLS: FUndAMentAL WoRKFLoW tooLS

22

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 About pages, layers, and states . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Importing pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Working with layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Naming objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Rearranging objects in a layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Adding and naming layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Moving objects from one layer to another . . . . . . . . . . . . . . . . . . 30 Creating sublayers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Protecting layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Working with states . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Adding multiple live ilters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Extra credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 3

WoRKinG With BitMAP iMAGeS

38

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Resolution and ile size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Cropping an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Cropping a single bitmap image in a design . . . . . . . . . . . . . . . . 42 Managing images on the canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Adjusting the watch position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Hiding and locking objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Working with guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Importing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Distortion-free bitmap scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Scaling the “old” way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Avoiding distortion with the 9-slice Scaling tool . . . . . . . . . . . . 47 Adjusting tonal range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Adobe fireworks Cs5 ClAssroom in A book

v

Using the Align panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Grouping objects together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Adjusting brightness with the Dodge and Burn tools . . . . . . . . 52 Lightening with the Dodge tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Darkening with the Burn tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Applying the Unsharp Mask Live Filter . . . . . . . . . . . . . . . . . . . . . . 54 Repairing areas with the Rubber Stamp tool . . . . . . . . . . . . . . . . 56 Retouching on a separate bitmap object . . . . . . . . . . . . . . . . . . . 57 Instant face-lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 4

WoRKinG With SeLeCtionS

62

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Understanding bitmap selections . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Selecting and modifying with the Magic Wand tool . . . . . . . . . 66 Creating the selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Using the Magic Wand tool with keyboard modiiers . . . . . . . . 68 Selecting with the lasso tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Converting a selection to a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 5

WoRKinG With VeCtoR GRAPhiCS

78

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 About vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Basic vector drawing techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Deleting shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Adding guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Measuring distances between guides . . . . . . . . . . . . . . . . . . . . . . 81 Placing an object using guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Resizing vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Changing the appearance of basic vector shapes . . . . . . . . . . . 84 Scaling vector objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Scaling the “old” way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Distortion-free vector scaling with the 9-slice Scaling tool . . . 87 Adding text to your design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Working with Auto Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Understanding paths and the Pen tool . . . . . . . . . . . . . . . . . . . . . 91

vi

Contents

Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Adding points with the Pen tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Editing paths with the Subselection tool. . . . . . . . . . . . . . . . . . . . 93 Creating custom shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Drawing the shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Customizing ills and strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Adding a gradient ill. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Customizing the stroke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Importing and resizing a vector object . . . . . . . . . . . . . . . . . . . . . 98 Using the Compound Shape tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Working with compound shapes . . . . . . . . . . . . . . . . . . . . . . . . . .100 Adding to the skyline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Adding windows to the building . . . . . . . . . . . . . . . . . . . . . . . . . . 102 6

MASKinG

106 Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106 About masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Bitmap masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Vector masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 Designing the banner ad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Creating the document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Adding the background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Editing gradient colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Editing gradient direction and angle . . . . . . . . . . . . . . . . . . . . . .114 Importing assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 Using the Auto Vector Mask for quick fades . . . . . . . . . . . . . . . .116 Importing Photoshop images . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 Creating and editing masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Creating a vector mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Changing vector mask attributes . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Converting a bitmap selection to a mask . . . . . . . . . . . . . . . . . . 125 Editing a bitmap mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 Applying Live Filters to a masked image . . . . . . . . . . . . . . . . . . .128 Adding the silhouette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 Final touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 Adding text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 Adobe fireworks Cs5 ClAssroom in A book

vii

Adding the cast names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Styling the text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Creating a custom style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Styling the irst names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134 Tweaking the background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Image positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 7

WoRKinG With teXt

140

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140 Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Text basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Creating an auto-resizing text block . . . . . . . . . . . . . . . . . . . . . . . 143 Creating a ixed-width text block . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Editing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Flowing text within a vector shape . . . . . . . . . . . . . . . . . . . . . . . .146 Anti-aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149 Changing anti-aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150 Special text efects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150 Attaching text to a path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150 Skewing text on an angle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Using text as a mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Adding Live Filters to a masked object . . . . . . . . . . . . . . . . . . . . . 155 8

oPtiMiZinG FoR the WeB

158

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158 Optimization basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160 Web graphic formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160 About the Optimize panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Optimizing a single-image ile. . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 Working with previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 Choosing optimization settings . . . . . . . . . . . . . . . . . . . . . . . . . . .168 Exporting the ile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170 About the web tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Creating and optimizing slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Creating slices manually with the Slice tool . . . . . . . . . . . . . . . . 172

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Optimizing a sliced image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Adding more slices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Optimizing illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176 Slicing tricks for working with multiple items . . . . . . . . . . . . . .179 Optimizing the illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Naming slices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Creating a hotspot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184 Previewing in a browser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184 Adding interactivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186 Exporting composite designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188 Exporting HTML and images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188 About Fireworks and CSS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Preparing for CSS and images export . . . . . . . . . . . . . . . . . . . . . .198 Exporting CSS and images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 9

USinG SYMBoLS

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Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206 What are symbols? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 Graphic symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 Creating graphic symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209 Adding a graphic symbol to a document . . . . . . . . . . . . . . . . . . 212 Editing graphic symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Adding prebuilt symbols from the Common Library . . . . . . . .216 Button symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Creating button symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Editing a button symbol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220 Adding more buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 Testing rollovers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Completing the design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Animation symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Creating animation symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Optimizing the animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230 Altering animation settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Exporting the animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234

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10 PRototYPinG BASiCS

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Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236 The prototyping worklow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238 Exploring the Pages panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238 Isolating the Pages panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239 Master pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240 Comparing wireframe pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Delivering the wireframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246 11 AdVAnCed PRototYPinG

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Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Prototype orientation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254 Master page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Content pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Fleshing out the prototype . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Creating the Master page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Adding more pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258 Creating rollover navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259 Customizing page dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . .264 Image rollover efects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Adding a rollover state . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Naming your slices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274 Adding rollover behaviors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Emulating pop-up windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276 Emulating a Spry data table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279 Adding content to empty states . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 Working with behaviors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Adding the behaviors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Editing JavaScript behaviors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .289 Completing the prototype . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Populating the last pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Exporting the prototype . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296 indeX

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BonUS SUPPLeMentAL ChAPteRS 12 And 13 ARe LoCAted on the CoMPAnion diSC 12 iMPRoVinG YoUR WoRKFLoW

S-2

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-2 Using document templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-4 Opening a document template. . . . . . . . . . . . . . . . . . . . . . . . . . . . S-4 Assembling the banners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-5 Removing unwanted templates . . . . . . . . . . . . . . . . . . . . . . . . . . S-11 Working with Adobe Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-11 Batch-processing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-13 Importing and resizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . S-19 Importing the images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-19 Cropping individual bitmaps in a design . . . . . . . . . . . . . . . . . . S-21 Cool shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-22 Exporting a speciic area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-22 Changing rectangle corners independently . . . . . . . . . . . . . . . S-24 Thinking ahead: future-prooing your projects . . . . . . . . . . . . S-27 Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-27 Using Fireworks iles with Photoshop . . . . . . . . . . . . . . . . . . . . S-30 13 GoinG FURtheR

S-38

Lesson overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-38 Starting mobile projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-40 Selecting a device proile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-40 Previewing in Device Central . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-42 Working with Adobe AIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-44 Reviewing interaction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-44 Adding AIR events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-50 Creating an AIR prototype. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-55 Installing the prototype . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-61 Extra Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-63 Creative and corrective techniques . . . . . . . . . . . . . . . . . . . . . . . S-63 Applying blending modes for image correction . . . . . . . . . . . S-63 Stroking rendered text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-71

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Adding a Flex skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-75 Adding additional button states . . . . . . . . . . . . . . . . . . . . . . . . . . S-78 Exporting the skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-80 Exporting to Flash Catalyst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-82 Exporting pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-82 Viewing iles in Flash Catalyst . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-85 Fireworks and Dreamweaver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-88 Copying and pasting to Dreamweaver . . . . . . . . . . . . . . . . . . . . S-88 Round-trip editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-92 Three-slice technique for content containers. . . . . . . . . . . . . . S-95 Fireworks and Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-99 Preparing iles for Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S-100 Importing Fireworks documents into Flash . . . . . . . . . . . . . . S-102 Importing a lattened bitmap . . . . . . . . . . . . . . . . . . . . . . . . . . . S-107

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GettinG StARted Adobe Fireworks® is a professional imaging application that combines vector and bitmap imaging technologies and techniques in a single graphics application. his unique approach to imaging is due to the speciic focus of Fireworks, which is creating and manipulating screen graphics for the Web or for other screen-based tools such as mobile applications or Adobe Flash® products. Fireworks is a tool that lets you quickly and easily create, edit, or alter graphics and designs. And it’s a blast to work with, too! With the release of Adobe Fireworks CS5, the program has gained even more distinction as a unique application for rapid prototyping. he built-in lexibility of Fireworks and its “everything is editable all the time” mandate have been present since it was created. When you’re creating mockups and prototypes, where client or design changes can come fast and furious, this type of lexibility is very important. Features such as multiple pages, Device Central and Photoshop integration, and worklows like FXG 2.0 export and AIR prototyping make Fireworks an essential tool in the design process.

About Classroom in a Book Adobe Fireworks CS5 Classroom in a Book is part of the oicial training series for Adobe graphics and publishing software developed by experts in association with Adobe Systems. he lessons are designed to let you learn at your own pace. If you’re new to Adobe Fireworks, you’ll learn the fundamental concepts and features you’ll need in order to begin to master the program. And, if you’ve been using Adobe Fireworks for a while, you’ll ind that Classroom in a Book teaches advanced features, including tips and techniques for using the latest version of the application and for creating web and application prototypes. Although each lesson provides step-by-step instructions for creating a speciic project, there’s room for exploration and experimentation. You can follow the book from start to inish, or do only the lessons that match your interests and needs. Each lesson concludes with a review section summarizing what you’ve covered.

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What’s in this book his edition covers many new features in Adobe Fireworks CS5, such as Adobe Device Central integration, the new Compound Shape tool, enhancements to the Properties panel, improved text handling, and exporting graphics for use in Flash Catalyst. An overview of the new Adobe interface is covered in the irst lesson, where you will learn how to conigure the panels and document windows in Fireworks to suit your worklow. You will learn how to edit bitmap images and work with vector paths to create web interfaces. You will learn how to create and edit symbols, a powerful feature of Fireworks, and learn how Fireworks integrates with other Adobe CS5 applications like Dreamweaver, Photoshop, Bridge, and Flash.

Prerequisites Before you begin to use Adobe Fireworks CS5 Classroom in a Book, you should have a working knowledge of your computer and its operating system. Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close iles. If you need to review these techniques, see the documentation included with your Microsoft Windows or Macintosh system.

installing Adobe Fireworks Before you begin using Adobe Fireworks CS5 Classroom in a Book, make sure that your computer is set up correctly and that it meets the necessary system requirements for software and hardware. You’ll need a copy of Adobe Fireworks CS5, of course, but it’s not included with this book. If you haven’t purchased a copy, you can download a 30-day trial version from www.adobe.com/downloads. For system requirements and complete instructions on installing the software, see the Adobe Fireworks CS5 Read Me ile on the application DVD or on the Web at www.adobe.com/support. Make sure that your serial number is accessible before installing the application.

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Starting Adobe Fireworks You start Fireworks just as you do most software applications. To start Adobe Fireworks in Windows: Choose Start > All Programs > Adobe Fireworks CS5. To start Adobe Fireworks in Mac OS X: Open the Applications/Adobe Fireworks CS5 folder, and then double-click the Adobe Fireworks CS5 application icon.

Copying the Classroom in a Book iles he Adobe Fireworks CS5 Classroom in a Book CD includes folders containing all the electronic iles for the lessons in the book. Each lesson has its own folder; you must copy the folders to your hard disk to complete the lessons. To save room on your disk, you can install only the folder necessary for each lesson as you need it, and remove it when you’re done. To install the lesson iles, do the following:

1 Insert the Adobe Fireworks CS5 Classroom in a Book CD into your CD-ROM drive.

2 Browse the contents and locate the Lessons folder. 3 Do one of the following:

• To copy all the lesson iles, drag the Lessons folder from the CD onto your hard disk.

• To copy only individual lesson iles, irst create a new folder on your hard disk and name it Lessons. hen, open the Lessons folder on the CD and drag the lesson folder or folders that you want to copy from the CD into the Lessons folder on your hard disk.

# Note: The CD also contains two bonus lessons and their accompanying lesson iles. Chapter 12 discusses how to improve your Fireworks worklow and Chapter 13 discusses some of the more complex capabilities of Fireworks and integration between other Creative Suite software. PDFs of these two chapters are located in the Bonus Chapters folder on the disc, and their lesson iles are located in the Lessons folder.

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Additional resources Adobe Fireworks CS5 Classroom in a Book is not meant to replace documentation that comes with the program or to be a comprehensive reference for every feature. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products. Whether you’re looking for a code sample or an answer to a problem, have a question about the software, or want to share a useful tip or recipe, you’ll beneit from Community Help. Search results will show you content not only from Adobe but also from the community. With Adobe Community Help you can:

• Access up-to-date deinitive reference content online and oline • Find the most relevant content contributed by experts from the Adobe community, on and of Adobe.com

• Comment on, rate, and contribute to content in the Adobe community • Download Help content directly to your desktop for oline use • Find related content with dynamic search and navigation tools To access Community Help: If you have any Adobe CS5 product, you already have the Community Help application. To invoke Help, choose Help > Fireworks Help. his companion application lets you search and browse Adobe and community content, plus you can comment on and rate any article just like you would in the browser. However, you can also download Adobe Help and language reference content for use oline. You can also subscribe to new content updates (which can be automatically downloaded) so that you’ll always have the most up-to-date content for your Adobe product at all times. You can download the application from www. adobe.com/support/chc/index.html. Adobe content is updated based on community feedback and contributions. You can contribute in several ways: add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contribute Cookbook Recipes. Find out how to contribute: www.adobe.com/community/ publishing/download.html. See http://community.adobe.com/help/proile/faq.html for answers to frequently asked questions about Community Help. Adobe Fireworks Help and Support: See www.adobe.com/support/ireworks to ind and browse Help and Support content on adobe.com.

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Adobe TV: http://tv.adobe.com is an online video resource for expert instruction and inspiration about Adobe products, including a How To channel to get you started with your product. Adobe Design Center: www.adobe.com/designcenter ofers thoughtful articles on design and design issues, a gallery showcasing the work of top-notch designers, tutorials, and more. Adobe Developer Connection: www.adobe.com/devnet is your source for technical articles, code samples, and how-to videos that cover Adobe developer products and technologies. Resources for educators: www.adobe.com/education includes three free curriculums that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certiied Associate exams. Also check out these useful links: Adobe Forums: http://forums.adobe.com lets you tap into peer-to-peer discussions, and questions and answers on Adobe products. Adobe Marketplace & Exchange: www.adobe.com/cfusion/exchange is a central resource for inding tools, services, extensions, code samples, and more to supplement and extend your Adobe products. Adobe Fireworks CS5 product home page: www.adobe.com/products/ireworks Adobe Labs: http://labs.adobe.com gives you access to early builds of cutting-edge technology, as well as forums where you can interact with both the Adobe development teams building that technology and other like-minded members of the community. Also check out these useful links:

• Community MX (www.communitymx.com) for additional free and commercial tutorials and samples

• Fireworks Zone—a tutorial, art, and news resource on all things Fireworks (www.ireworkszone.com)

• Fireworks Guru, the community forum where Fireworks enthusiasts share ideas, artwork, and solutions to design challenges (www.ireworksguruforum.com)

• Sarthak, the regularly updated Fireworks blog of Sarthak Singhal, a member of the Fireworks engineering team (blogs.adobe.com/sarthak)

• Adobe Fireworks Team blog, where you can learn the latest news from the people directly responsible for bringing you Adobe Fireworks (http://blogs. adobe.com/ireworks/)

• Johndunning.com, a proliic creator of Fireworks extensions, designed to make your job even easier (http://johndunning.com/ireworks/)

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Adobe certiication he Adobe training and certiication programs are designed to help Adobe customers improve and promote their product-proiciency skills. here are four levels of certiication:

• Adobe Certiied Associate (ACA) • Adobe Certiied Expert (ACE) • Adobe Certiied Instructor (ACI) • Adobe Authorized Training Center (AATC) he Adobe Certiied Associate (ACA) credential certiies that individuals have the entry-level skills to plan, design, build, and maintain efective communications using diferent forms of digital media. he Adobe Certiied Expert program is a way for expert users to upgrade their credentials. You can use Adobe certiication as a catalyst for getting a raise, inding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certiied Instructor program takes your skills to the next level and gives you access to a wide range of Adobe resources. Adobe Authorized Training Centers ofer instructor-led courses and training on Adobe products, employing only Adobe Certiied Instructors. A directory of AATCs is available at http://partners.adobe.com. For information on the Adobe Certiied programs, visit www.adobe.com/support/ certiication/main.html.

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1

GettinG to KnoW the WoRKSPACe Lesson overview In this lesson, you will get up to speed on the Adobe Fireworks CS5 interface. You’ll learn how to do the following:

• Set up a new document • Open an existing document • Draw a vector shape • Get acquainted with the Tools panel • Save a ile • Use the Properties panel to change attributes of a selected object • Customize the workspace • Work with multiple documents in Tab view • Use the History panel his lesson takes approximately 90 minutes to complete. Copy the Lesson01 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t be preserving the start iles; if you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

2

Fireworks shares a common interface with Adobe Photoshop, Adobe Dreamweaver, Adobe Flash, Adobe Illustrator, and Adobe InDesign. This common user interface makes it easy to switch from one application to another without feeling lost.

3

Getting started in Adobe Fireworks Fireworks is a creative production tool, and sometimes with a creative tool, the hardest thing to do is decide where to start. We’re here to help! Let’s begin with a brand-new document and explore the interface in the process. As you work through this exercise, refer to the igure on page 5 to locate the main parts of the Fireworks interface. 1 Start Fireworks. 2 Choose Create New > Fireworks Document (PNG) from the Welcome screen. If you’ve previously changed your Preferences so that the Welcome screen does not show on startup, choose File > New.

# Note: New in Fireworks CS5 is the ability to create a new document from a template. Fireworks ships with several predesigned starter templates, and you can even create your own custom templates. You’ll learn more about templates in Lesson 10.

4

lesson 1

he New Document dialog box is where you set the canvas size, color, and resolution for your new design. 3 Set both the width and the height of your document to 500 (pixels). Leave the resolution and canvas color at the default settings of 72 Pixels/Inch and White, and then click OK. he New Document dialog box closes and a new blank document opens in the Fireworks work area, as shown in this screenshot of the Windows version of Fireworks.

Getting to know the workspace

Main Toolbar (Windows Only)

Application Bar (Main Menus, Scroll and Zoom Tools, Workspace Switcher, and Help Search Field)

Panel Dock

Panels and Panel Groups

Tools Panel

Properties Panel

he default workspace in Fireworks for Windows consists of the Application bar and Main toolbar at the top of the screen, the Tools panel on the left, and open panels in the panel dock on the right. By default, when you have multiple documents open they appear as multiple tabs in one document window, but you can loat individual documents by dragging their tabs away from the main Document window. he Fireworks user interface is similar to the ones used in Adobe Illustrator, Adobe Photoshop, and Adobe Flash, so learning how to use the tools and organize panels in one application means that you’ll know how to use them in the others. he initial workspace for the Mac version is similar, except the Application bar is separate from the Menu bar, and there is no Main toolbar. By default, the Mac interface is organized a little diferently from the Windows interface. In Windows, all the panels and windows that belong to an application are contained within a rectangular frame that is distinct from other applications you may have open.

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he area within the frame is opaque, completely obscuring any application windows that may be behind it. It’s possible to re-create this same behavior in the Mac version of Fireworks by turning on the Application Frame, which is disabled by default. To enable the Application Frame, choose Window > Use Application Frame (Control+Command+F). On a Mac, however, the Menu bar is always attached to the top of the screen and can’t be moved, so it’s not part of the Application Frame. he default, on both Windows and Mac, is for multiple document windows to be opened in tabs. If you want to detach a document for side-by-side viewing, simply drag the tab away from the tab bar and it becomes its own document window. If you prefer individual document windows in the Mac version, you can disable tabs in the Preferences (choose Fireworks > Preferences and select the General category). You can dock numerous documents above and beside each other in what is called N-Up view. (To use N-Up view on the Mac, you must have the Application Frame enabled.)

Application Bar

6

lesson 1

Menu Bar

Getting to know the workspace

OS X Desktop

What is the right resolution? Pixels per inch (ppi) is a unit of measure relative only to the print world. When dealing with screen graphics, your concern should be the pixel dimensions (640 x 480, 760 x 420, and so on). The default resolution Fireworks begins with is 96 ppi (72 ppi on a Mac), and it can be left as is. If you are planning to use Fireworks for a print project, ask your printer what resolution you should be using. A general guideline for print is 300 ppi. Be aware, however, that the strengths of Fireworks lie in screen graphics, not graphics intended for the printed page. For example, you cannot change the rulers to display inches—only pixels matter on the screen, so pixels are all you get for the rulers. Likewise, Fireworks does not understand or use CMYK color or printer proiles, so your end result may not print accurately. On the plus side, Fireworks supports PDF export, so printing your designs, for example to show to a client, has become a bit more predictable.

Preparing the canvas You should set (activate) a few features before you start working. hese features will remain set from this point forward when you create or open a new document. 1 If the rulers are not visible, choose View > Rulers (Ctrl+Alt+R in Windows, Command+Option+R in Mac). 2 Choose View > Tooltips (Ctrl+] in Windows, Command+] in Mac).

Turning rulers on makes it much easier to align objects on your canvas; this is especially helpful when your work gets complex. Enabling tooltips provides you with extra information at the cursor position for the tool you’re using.

drawing a vector shape Creating shapes will be an important part of any Fireworks project. he canvas is your working area for your designs. Objects that extend outside the canvas appear clipped, but the image information is not lost; just drag the object into the canvas (or resize the canvas) to show the full object. 1 Select the Rectangle tool from the Vector section of the Tools panel. 2 Click the Fill color box—the one with the small paint bucket to the left of it—

in the Colors section of the Tools panel to set the ill color for the rectangle. he ill color is the one that will be inside your object.

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3 Using the eyedropper pointer that appears, select black from the Fill Color pop-up window. Once the color is selected, the color selector closes automatically, and the color you chose is displayed in the color box.

4 Bring the cursor to the upper-left corner of your canvas area. Note the small gray bubble, displaying x and y coordinates. his is the Tooltips feature at work, giving you the pixel-precise location of the cursor. 5 Position the cursor so both x and y read “0.”

E Tip: Technically, you could accomplish everything you did here with the Rectangle tool by simply setting the canvas color of your new document to black. But using the shape gives you more lexibility as your project grows.

E Tip: If you didn’t get an exact match for dimensions, you can tweak the vector shape’s size in the Properties panel, located at the bottom of the interface. Click inside the Width or Height ield and type the correct size. Tabbing, pressing Enter or Return, or clicking away from the ield will lock any changes in place.

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6 Hold down the mouse button, and drag to the bottom-right corner of the canvas. he tooltip follows the cursor. 7 Release the mouse button when you see the coordinates match your document dimensions of 500 x 500. he rectangle will stay selected after you release the mouse. (You can tell an object is selected by the light blue border around the object and the small control boxes at each corner.) he rectangle is a special, grouped vector object, so you won’t see the blue border when it is selected (more on grouping objects in Lesson 2).

Getting to know the workspace

Saving the ile

# Note: In Fireworks CS5, you can now lock the proportions of your objects from within the Properties panel by clicking on the small square to the left of the Width and Height ields. This makes it much easier to scale objects proportionately. If the small square linking the width and height is hollow, proportions are not constrained. Clicking on the square makes it solid and adds solid connecting lines between the Width and Height ields, locking the proportions of the selected object.

Before going any further, it’s a good idea to save your work. 1 Choose File > Save As. 2 Browse to the Lesson01 folder. 3 Change the ilename to watch_promo.fw.png. 4 From the Save As Type ield, choose Fireworks PNG. 5 Click Save.

# Note: Since you

More about the Fireworks PnG format Like many applications, Fireworks has its own native format that gives you access to all the creative options within the program—in this case, a modiied version of the PNG format. As you add efects, layers, or pages (to name a few features), this information is stored within the Fireworks PNG ile so that you can open and edit the ile easily at any time. However, this can cause a bit of confusion for new users, because there is also a standard, lattened PNG format common to many graphics applications. When you’re saving iles, Fireworks diferentiates between these “lavors” by indicating “Fireworks PNG” or “Flattened PNG” in the Save As Type ield.

began with a new, untitled document, you can also choose File > Save (Ctrl/Command+S) to display the Save As dialog box. Because you are using Fireworks image objects (the vector rectangle), Fireworks assumes you want the new design to remain as editable as possible, and gives you the option only of saving as a Fireworks PNG ile (see the following screenshot). If you choose File > Save As, Fireworks gives you many more ile format options to choose from.

From a user perspective, it can be helpful to add a moniker to the ile name, as we have here by adding .fw to indicate this is a Fireworks PNG ile. Adding a moniker makes it much easier to locate native Fireworks PNG iles at a glance.

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Using the tools panel he Tools panel in Fireworks is separated into six labeled areas: Select, Bitmap, Vector, Web, Colors, and View. his arrangement makes it easy for you to quickly identify the appropriate tool for the graphic object you plan to work on or create. he Select tools let you select, crop, and even scale or distort objects. he main selection tool is the Pointer tool ( ). he Bitmap tools are used for editing or creating new bitmap objects. You can make bitmap selections with any one of several bitmap selection tools, such as the Magic Wand or the Marquee tool. You can do basic photo editing by using the Rubber Stamp (also known as the Clone tool), or selectively sharpen, blur, lighten, darken, or smudge pixels that are part of a bitmap image. You can paint or draw bitmap objects using the Brush or Pencil tool. he only caveat is that Bitmap tools can’t be used to alter vector objects. he Vector tools let you create or edit vector paths and shapes. As you saw in the irst exercise, you can draw vector shapes on the canvas quite easily. You can use the Pen tool to create your own custom shapes or paths. Of special note is the Text tool ( ). Some people don’t realize this, but text is actually a vector—be it in Photoshop, Microsoft Word, Fireworks, or many other applications. Vector tools can’t be used to edit bitmap objects. he Web toolset is not large, but it contains two important tools: the mainstays of Fireworks and its ability to create interactive documents and optimize graphics for use on the Web. You can create interactivity with the Hotspot tools, or take things further by creating interactive visual efects such as rollovers, using the Slice tool. he Slice tool also allows you to optimize speciic graphic elements for the Web. he other two tools simply show or hide the web components on the canvas. he Colors tools let you control Stroke and Fill colors. Remember, the roots of Fireworks are in the vector world, so you will not see Foreground and Background color options, as you would in primarily bitmap-editing software such as Photoshop. You can sample colors from anywhere on the desktop using the Eyedropper tool, or ill a bitmap selection with color by using the Paint Bucket or Gradient tool. You can also swap the ill and stroke colors or reset the ill and stroke to their defaults. Last are the View tools. You can toggle between three views: Standard, Full Screen with Menus, and Full Screen (no menus or panels visible). he Zoom tool and Hand (scroll) tool are at the bottom of the View toolset. You can also toggle between views using the F key.

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Getting to know the workspace

More tools than meet the eye Take a closer look at the icons in the Tools panel. You will notice several that have a small triangle in the bottom-right corner. his triangle indicates that multiple tools are available from within that square. To access the other tools, click and hold the icon. he three shapes at the top of this list are vector primitives, or basic shapes. Everything below the dividing line falls into the category of special vectors called Auto Shapes; they are controlled “under the hood” by JavaScript and are great for creating many common but complex vector shapes without the need of any drawing skills. You’ll draw an ellipse in your document. With the document we worked on previously open, do the following: 1 Make sure the rectangle on the canvas is deselected by clicking in the gray area outside the canvas. hen click and hold the Rectangle tool in the Vector tool area. A tool menu pops up. 2 Select the Ellipse tool. 3 In the Tools panel, set the Fill color to light gray from the color picker.

When you hold down the Rectangle tool icon, you see this list of all the common vector shapes Fireworks has to ofer.

4 Move the cursor onto the canvas, and draw an oval (ellipse) that is 231 pixels wide by 401 pixels high. 5 Select the Pointer tool, and reposition the ellipse to an x and y value of 20 and 50, respectively. 6 Save the ile.

What’s a primitive shape? The word primitive borrows the same deinition used in many 3D modeling applications: a geometric form or expression from which another is derived. In other words, the Fireworks Primitive tools provide a start toward building shapes of your own.

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Using the Properties panel As you select diferent tools, the Properties panel updates and displays editable attributes for the selected tool. he Properties panel is context sensitive, so it changes based on the active selection on the canvas. As we saw in the irst exercise, it was easy to ind and add a rectangle shape and change its ill color using the Tools panel. When a shape is selected, you can change many other vector attributes in the Properties panel. 1 Select the Pointer tool (

) from the upper left of the Tools panel.

2 On the canvas, click on the black rectangle to select it. 3 In the Properties panel, choose Gradient > Linear from the Fill Category menu (next to the Fill Color box). he vector ellipse’s ill color changes to a gradient.

Next, you will set the colors for the gradient. 4 Click the Fill Color box to launch the Edit Gradient pop-up window. he top swatch sliders (little black boxes) control the opacity of the gradient. he swatches underneath the gradient allow you to change or add colors. You can ignore them for now, though, as we’re going to keep this nice and simple.

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5 Click the Preset combo box and select the White, Black preset.

he gradient ill now runs vertically, starting with white at the top and fading to black at the bottom. 6 When you’re done, click away from the Edit Gradient pop-up window to close it. Some gradient ranges produce a banding efect, which generally is not desirable. You can quickly dither a gradient to produce a higher-quality efect. 7 Click the Gradient Dither icon in the Properties panel.

You will see a dramatic change to the quality of the gradient tonal range. 8 Save the ile once again.

Coniguring panels and panel groups

# Note: Try changing the gradient colors manually by clicking on the small color swatches. If you want to add other colors, just click the mouse somewhere along the gradient preview and choose a new color for the new swatch. Feel free to experiment with the other Fill categories, but remember to come back to the White, Black gradient preset before continuing with the lesson.

# Note: In the Gradient Editor you can quickly reverse the gradient direction by clicking the Reverse Gradient button.

E Tip: There are many cool—and free—command panels for Fireworks; these are generally referred to as extensions. One very nifty extension for Fireworks is the Gradient panel. To learn more about it, visit www.adobe.com/ devnet/ireworks/ articles/gradient_ panel.html.

Your computer monitor is one of those places where you’re always trying to make more room. No matter what size the screen is, we designers always want more room to build our designs. A fair portion of the interface is taken up by panels by default. Panels contain controls that help you edit aspects of a selected object or elements of a document. Each panel is draggable, so you can group panels in custom arrangements. Many panels are visible by default in an area on the right side of the interface called the panel dock. A dock is a collection of panels or panel groups displayed together, usually in a vertical arrangement. Resizing the docked panels is one way to quickly make more room for your design. Adobe fireworks Cs5 ClAssroom in A book

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You can group and ungroup panels by dragging them into and out of the existing panel groups docked to the side of the screen. By default, the dock is in Expanded Mode, in which the foremost panel in each group is fully expanded so you can see its features. Collapse individual panel groups by clicking once (or double-clicking on a Mac) on the empty area of the gray tab bar. Drag panel edge to expand or shrink all panels

Click to collapse all panels to icon view

Drag panel tab to undock panel from group

Click bar (or doubleclick on a Mac) to collapse tab group to tab view

Double-click tab to collapse panel group to tab view

Panel options

Right-click (Controlclick on Mac) on tab bar to close panel or panel group

In the Application bar you can see the current workspace coniguration in the Workspace Switcher. You can quickly reduce the dock width by choosing a diferent workspace. 1 Select the Workspace Switcher and choose Iconic Mode. All panels collapse, and the dock narrows to display only panel icons. 2 Click any panel icon. he panel group expands, and the chosen panel becomes active. 3 Click the panel icon (or the double-arrow icon) to return the group to its collapsed state.

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4 Position the mouse over diferent icons to see a tooltip that shows which panel each icon represents. 5 Choose Iconic Mode With Panel Names from the Workspace Switcher. his setting makes the docked panel groups wider, but not nearly as wide as the default Expanded Mode. If you want to free up desktop space but aren’t sure of the tools icons, this mode might just be perfect for you.

E Tip: You can also quickly collapse the dock by double-clicking on the dark gray strip at the top of the dock.

Customizing panel arrangements It’s easy to arrange the panels and panel groups in a coniguration that helps you work faster. For example, some designers like to be able to see both the Pages and Layers panels at the same time. In this exercise, you will separate the Pages panel from its current panel group. 1 Switch back to Expanded Mode. 2 Drag the Pages panel tab just above the panel group. A blue highlighted drop zone appears. 3 Release the mouse button; the Pages panel forms its own group, just above the Layers and States panel group.

# Note: You can access all the available panels in Fireworks by choosing the desired panel’s name from the Window menu. In some cases, these panels will appear loating above the design.

4 Drag the States panel tab to the right of the Layers panel tab. Notice how easily they just slide across each other.

E Tip: You can also collapse the Properties panel by doubleclicking on the empty area of the tab bar.

Creating custom workspaces In addition to taking advantage of the existing preset workspaces, you can conigure the workspace speciically to help you work the way that’s best for you. You can also save these customized workspaces so that you can quickly switch from a compact mode to a dual-screen mode or even just a custom panel view that holds the panels you would use most often.

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To create a custom workspace, set the panels you wish to see, at the desired size and visibility. 1 Select the Workspace Switcher. 2 Choose Save Current. A dialog box appears where you can name the new workspace arrangement.

3 Name the workspace and click OK, or click Cancel if you don’t want to save the coniguration. If you save the workspace, it will appear in the Workspace Switcher from this point on.

deleting a custom workspace Although it’s easy to make a custom workspace, it’s not so easy to delete it. There is no way to remove a custom workspace within the Fireworks interface. You can overwrite the workspace by changing the panel setup and then saving the new workspace with the old name, but you’re still stuck with the workspace. To remove a custom workspace, you will need to go to Application Data\Adobe\ Fireworks CS5\Commands\Workspace Layouts in Windows or ~/Library/Application Support/Adobe/Fireworks CS5/Commands/Workspace Layouts/ (where “~” represents your Home folder) on the Mac. Then delete the JSP and XML iles associated with your custom workspace.

Working with multiple documents Before we inish this lesson, let’s have a look at the Fireworks CS5 document window features. When you have more than one ile opened, the document windows for each are tabbed and easily accessible. 1 Choose File > Open, and browse to the Lesson 1 Folder from the CD. 2 Ctrl-click (Windows) or Command-click (Mac) to select the watch.png and investigator.png iles.

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3 Click the Open button. If you haven’t changed your Preferences from the defaults, all three iles are now open in Fireworks and you can access each one by clicking on the appropriate tab at the top of the document window.

Creating a loating document window Tabbed documents function much like the tabbed panels. You can drag them to change the tab order. You can even drag a tabbed document out from the tab bar to loat it. 1 Click and hold on the watch.png tab, and drag it away from the other tabs. When you let go, it becomes a loating window. Document-arrangement options don’t stop there, however. 2 Drag the watch.png ile to the right side of the main document window until you see a blue highlight (thin blue line) appear between the panel dock and the document window. # Note: If you have chosen not to use the Application Frame on the Macintosh (Window > Use Application Frame), your document windows will still open in tabs, but you won’t be able to use the docked viewing mode described here. In the classic Mac view, you can either have documents tabbed together or loating, or a combination of both.

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3 Release the window; you now have two sets of docked document windows. You can have as many iles as you like docked in this manner. Both loating and docked windows support tabbed documents. 4 Select the investigator.png ile, and drag its tab over to the watch.png window. 5 Move the ile so the cursor appears in the tab bar. You will see that familiar blue drop-zone indicator again. Release the ile; it is now tabbed with the other document window.

dragging and dropping between loating windows With the watch_promo.fw.png ile now separate from the other two iles, it’s easy to drag and drop the watch and investigator images onto the canvas area of the promo ile. 1 Select the Pointer tool (black arrow) from the upper left of the Tools panel. E Tip: Not only does Fireworks support layers and sublayers, just like Photoshop, but for even more control over your design structure, you can also have multiple objects in a single layer.

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2 Click to select the artwork in the investigator ile, and drag it over to the promo design. 3 Position the image at the bottom of the design, near the right. 4 Release the mouse button. he new image has been added to the current layer in the Layers panel. 5 Select the watch.png ile, and use the Pointer tool to drag the watch from its own canvas to the promo canvas.

Getting to know the workspace

6 Position the Pointer tool near the left middle for now. he watch_promo.fw.png ile should look something like the following igure. Adjust the positioning as necessary, and save the ile.

# Note: Because Fireworks moves so seamlessly between vector and bitmap artwork, you probably didn’t even realize that the investigator ile was a vector object!

Undoing steps he ability to reverse your actions is an all-important feature of imaging software. Fireworks gives you a couple of ways to undo an error. Undo is, of course, the tried-and-true, familiar method. 1 Press Ctrl+Z (Windows) or Command+Z (Mac). he last step you made is undone. 2 Press Ctrl+Z/Command+Z three more times. his takes you further back in the history of the document. 3 Press Ctrl+Y (Windows) or Command+Y (Mac). his reapplies the last undone step. Another option exists: the History method.

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4 Select the History panel from your grouped panels or choose Window > History. Make sure the watch_promo.fw.png ile is selected.

5 Drag the History slider (left of the panel) down until it can go no further. 6 Drag the slider up, and watch the promo canvas. As the slider reaches each previous step, you will see your documents change.

Creating custom commands with the history panel Do you ind yourself doing the same things over and over again in a ile (or multiple iles)? Save your history steps as a custom command, which you can then use again any time, from the Commands menu. This trick can eliminate some of your repetitive but necessary drudge work. To save a custom command, simply select all the steps you need in the History panel, and then click the small loppy-disc icon in the lower-right corner of the panel. You will be prompted for a name. Make it short but relevant; it’s the name that will appear in the Commands menu. The History panel doesn’t record mouse movements, so in order to get a complete custom command, use the keyboard commands and menu items.

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Review questions 1 What is the importance of the Tools panel? 2 How do you collapse panels and why would you? 3 If you can’t ind a panel in the workspace, how can you locate it? 4 How does the Properties panel help when you are working on a design? 5 How do you access the hidden tools in the Tools panel?

Review answers 1 The Tools panel is where all the selection, editing, and creative tools are located. From cropping an image to scaling it, whether retouching or building vector objects or adding interactive elements, everything you need begins in the Tools panel. 2 You can collapse panels by choosing a diferent workspace, or by clicking on the dark gray bar at the top of a panel group. This can free up a signiicant amount of room in your workspace, letting you see more of your design without having to zoom out as much. 3 To open a panel, choose Window > [panel name], or press the panel’s shortcut (listed in the Window menu). 4 The Properties panel is a context-sensitive panel, changing its options as you select diferent tools or various objects on the canvas. The Properties panel makes it easy to alter tool and object attributes from one handy location. 5 To display hidden tools, click and hold on a tool icon that has the small triangle in the bottom-right corner. A tool menu will pop up, displaying any tools hidden in that group.

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the PAGeS, StAteS, And LAYeRS PAneLS: FUndAMentAL WoRKFLoW tooLS Lesson overview Layers are probably the most important worklow and design tool you have in Fireworks. Simply put, they add structure to your document. In this lesson, you’ll learn how to do the following:

• Import new pages • Create new layers • Create sublayers • Change the stacking order of layers • Rename layers • Protect layers and objects • Access layer options • Edit content on diferent states his lesson takes approximately 90 minutes to complete. Copy the Lesson02 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Understanding the relationship between pages, layers, and states is probably the most important concept to grasp in Fireworks. These elements add structure to your document.

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About pages, layers, and states A Fireworks document can contain multiple pages, layers, and states. At its simplest, a brand-new Fireworks document begins with a single page (Page 1), a single state (State 1), and two layers (the Web layer and Layer 1).

Pages he ability to add multiple pages to a document means you can create and store multiple designs of diferent dimensions and resolution inside a single Fireworks ile. his improves asset management, because unique designs for one project can all be stored in the same ile. herefore, you can mock up an entire website or application design within a single ile. Pages can then be linked using hotspots or slices to create a truly interactive experience for testing and proof of concept. Each page can hold multiple layers and states. Selected Page Layer Options

Page Options Blending Mode

Selected Layer

Pages

Selected Objects Delete Page Page Counter/ Navigator

New/Duplicate Page

Radio Button Lock Icon Visibility Icon

Onion Skin Marker State Options Selected State State Delay (Timing) New/Duplicate State Delete State Looping Onion Skinning

Current State New/Duplicate Layer New/Duplicate Sublayer

Delete Layer New Bitmap Object Add Bitmap Mask

Distribute to States

Layers Layers help you organize and group your artwork, as well as specify which artwork is visible and how objects are stacked. Each layer can contain multiple bitmap, vector, and text objects. With a simple design, you may be able to place all the objects in a single layer. But as you add more objects to a design, keeping everything in a single layer becomes

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the Pages, states,  and layers Panels: fundamental workflow tools

problematic; it becomes harder to locate speciic images or text areas because you have to scroll through a very long list. Layers allow objects to be independent from one another. Used properly, they impose a sense of order in your document. You can add or remove layers, or the objects within them, without afecting other elements in the design. You can change how objects within layers interact with other layers by changing the stacking order of layers. As you change the order of layers, objects overlap diferently. You can move objects from one layer to another as well. You can hide layers from view, to make it easier to select or work with other objects, and you can lock layers so they will not be selected accidentally. You can even share layers across speciic states or speciic pages in a design.

States States are used for three purposes:

• To create frame-by-frame animation. • To show the diferent states of an object, such as the normal and hover states

# Note: The interactivity described for states is controlled by adding special objects—slices and hotspots—to a special layer, called the Web layer. Regardless of your plans for the ile, the Web layer cannot be deleted. To learn more about hotspots and slices, read Lessons 8 and 10.

of a website navigation button.

• To control the visibility of objects based on user interaction. For example, hovering over a button displays a new button state, and then clicking that button displays new content elsewhere on the page. Every page contains at least one state. A design requiring no interactivity may only need a single state. If interactivity or animation is required, new states are added. Each state can represent the visibility and position of objects on each layer.

# Note: Web layers and regular layers can also contain sublayers that help you further organize your design. You will learn more about sublayers in this lesson.

Getting started In this lesson, you’ll be editing a mockup for an AIR application. You’ll reorganize the ile by working on the layers and add pages for the mockup created by another artist. 1 In Fireworks, choose File > Open and select the ile cast_ navigator.fw.png in the Lesson02 folder. 2 Click OK. 3 Select the Pages panel and, if necessary, drag the bottom of the Pages panel lower in the panel dock, so you can see all three pages. 4 Select the second page from the list. Notice how the design changes on the canvas. When you select a page, all you see on the canvas are the contents of that particular page.

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You can change the order of pages in a document by dragging a page above or below another page. 5 Drag the page called actor_view_mark below the page named cast_view. his puts the pages in a more suitable order for your next task.

importing pages Next you will add pages to this mockup. Make sure the actor_mark_view page is still selected. 1 Choose File > Import, and open cast_navigator_assets.fw.png. he Import dialog box appears. 2 Choose Open, and the Import Page window appears. he document you’re importing contains two pages, which you can preview by using the drop-down list at the top of the window or the navigation buttons below the preview image. You need to import the actor_view_wendy page irst, so make sure that is the page currently displayed.

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the Pages, states,  and layers Panels: fundamental workflow tools

3 Select the Insert After Current Page option. his option creates a new page in your open ile rather than importing the artwork onto the currently active page.

4 Click Insert (Windows) or Open (Mac). 5 Click Ignore when a warning message asks if you want to overwrite existing styles. his message appears because both iles include the same styles. Styles are prebuilt combinations of special efects that can be added to vector graphics.

E Tip: You can also move between pages by choosing a new page from the page navigator list, located near the top right of the document window.

# Note: As you A new page is added and uses the same page name as you saw in the Import Page dialog box.

change the order, the sequence numbers of the second and third pages also change. By default, Fireworks automatically changes the page numbers based on their stacking order, from top to bottom. To turn of numbering, choose Numbering from the Pages panel menu.

6 Select the actor_view_wendy page, if necessary. 7 Repeat steps 1–5, this time importing the actor_view_vitto page. he inal page is added to the ile. 8 Choose File > Save As. Name the ile cast_navigator_working.fw.png.

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Photoshop and multipage Fireworks iles While you can save a Fireworks document as a Photoshop ile (PSD), this only saves the currently active page, as Photoshop has no way of interpreting multiple pages within a single document. If you need to return to Photoshop, you can do one of the following:

# Note: To learn more about pages and creating links between them, read Lesson 10.

E Tip: Fireworks highlights independent objects as you move the mouse over them. As your mouse glides over objects on the canvas, diferent areas are highlighted in red. This highlight indicates the independent object in that particular spot; you can then click to select that speciic object.

# Note: In the rush to create a ile, you may overlook this essential part of structuring your document. But when passing a ile onto a co-worker, a document full of unnamed objects and layers can be very hard to navigate and make sense of.

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Export pages to iles: Choose File > Export, and choose Pages to Files from the Export List. This produces a lattened PNG of the irst state each page.

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Save as a Photoshop ile: Choose File > Save As and choose Photoshop from the Save as Type menu. This produces an editable, layered Photoshop ile of the currently selected page and state.

Doug Hungarter has written a free extension called Convert Pages to PSD, which allows you to export all the pages in a Fireworks document as separate PSD iles. To learn more about this extension, visit the Adobe Exchange: www.adobe.com/ cfusion/exchange/index.cfm?event=extensionDetail&loc=en_us&extid=1849527#.

Working with layers In this and the following sections, you’ll continue to work with the cast_navigator_ working.fw.png ile to see layers at work.

naming objects A good habit to develop is giving your objects meaningful names. 1 Select the home_double_identity page and then switch to the Layers panel by clicking the Layers tab. 2 To see more of the Layers panel, and to minimize the need for scrolling, collapse the other visible panel groups by doubleclicking the gray tab bar next to the panel names in other (non-Layers) panel groups. 3 Select the photo of the actor on the canvas. 4 In the Layers panel, double-click on the highlighted object called—none too descriptively—Bitmap. 5 Rename it to Cast thumbnail.

the Pages, states,  and layers Panels: fundamental workflow tools

6 Click on the second thumbnail image on the canvas, and rename it Auction thumbnail. 7 Click on the third thumbnail image on the canvas, the group, and rename it RSS thumbnail: 2 objects. 8 Proceed to rename the other objects, in this order, from the top down, as follows:

• RSS text • Cast text • Auction text • RSS heading • Cast heading • Auction heading • RSS background • Cast background • Auction background • Cast thumbnail (already named) • Close button • Logo: 2 objects • Bottom panel highlight • Top panel highlight • Panel background • Panel shadow

Rearranging objects in a layer After the previous exercise, it should be pretty obvious that objects are, well, all over the place in this design! Let’s add some structure irst by rearranging some of the objects. 1 Select the Cast thumbnail object in the Layers panel. 2 Drag it upward to the top of Layer 1 in the panel. 3 Choose File > Save to save your work so far.

# Note: Dragging an object to the top of a layer can be tricky; if you can’t seem to place it at the top, it will most likely drop in as the second from the top image. At that point, simply drag the Auction thumbnail object below the Cast thumbnail object.

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Adding and naming layers hings are a little more organized now. To help structure the ile even more, you will add a new layer to the Layers panel. 1 Click the New/Duplicate Layer button at the bottom of the Layers panel. A new layer, appropriately called Layer 2, appears above the existing layer.

2 Double-click the new Layer 2 in the Layers panel, and change its name to Content. 3 Double-click the original Layer 1, and rename it Interface.

Moving objects from one layer to another Now that you have a Content layer, you can ill it with—you guessed it—content.

# Note: You can also cut selected objects, select a new layer, and paste the objects, or you can click and drag an object (or a series of selected objects) to a diferent layer.

E Tip: To select objects that aren’t directly above or below each other, press Ctrl (Windows) or Command (Mac) as you select them.

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1 In the Interface layer, click the Cast thumbnail object. 2 Scroll down until you see the second Auction background object. 3 Hold down the Shift key and select this object. All objects from Cast thumbnail to Auction background are now selected. 4 Drag the selected objects into the Content layer. he easiest way to do this is to drag the radio button from the Interface layer onto the radio button on the Content layer. Now all the content is in its own layer, and the interface items are in their own layer.

the Pages, states,  and layers Panels: fundamental workflow tools

Creating sublayers For additional structure, you can use sublayers to contain related content in a single layer. 1 Make sure the Content layer is selected. 2 Click the New Sub Layer button at the bottom of the Layers panel to add a sublayer in the Content layer.

3 Rename this new sublayer Hide Me. 4 Shift-click to select the RSS text through Auction heading objects—a total of six objects. 5 Drag the radio button from the Content layer onto the radio button on the Hide Me layer to move these six text objects.

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6 Click the Expand/Collapse Layer icon to collapse the Hide Me sublayer. If

the text objects disappear from view in the panel, you know they are in the right place.

# Note: Often you will place text content into a design for placement or layout purposes only. The Fireworks text is not expected to be used beyond this design stage. By placing this content into a layer of its own, you can quickly hide the content from view. By naming the layer Hide Me, you make it obvious that this content is only temporary.

7 Click the Expand/Collapse Layer icons to minimize the Content and Interface layers. You can see how much more manageable this design has become. 8 Save your work. With these few simple steps, this page is far more organized. You can easily expand or collapse the individual layers in the Layers panel to display only the objects you need to work on.

Protecting layers When a layer is locked, no object within it can be selected or deleted by accident. 1 Click the Lock column in the Interface layer.

2 Expand the Interface layer. Notice the ghost of a lock appears beside each object.

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the Pages, states,  and layers Panels: fundamental workflow tools

3 Try to select one of the objects in the Interface layer. You can’t, because they are all locked. If your concern is only to protect certain objects rather than the entire layer, you can do that, too: 4 Right-click (Windows) or Control-click (Mac) the layer in the Layers panel. 5 Choose Unlock All from the context menu. 6 Lock the objects named Bottom panel highlight, Panel shadow, Panel background, and Panel outline. 7 On the canvas, hover over the logo and the Close button. Red highlights indicate those objects are selectable. 8 Hover over the bottom of the panel. No red indicators appear. hese objects are locked. 9 Unlock the objects individually by selecting the lock icon beside each object name. 10 Save the ile.

Layer options Like many panels in Fireworks, the Layers panel has options for coniguring the panel, adding new layers or sublayers, and determining how a layer interacts with other pages or states within a Fireworks design. Access the Layers panel’s options by right-clicking (or Control-clicking) any layer or ). by opening the Layers panel menu in the top-right corner of the panel ( Among other options, you can increase the size of thumbnails by selecting Thumbnail Options to make the images easier to recognize.

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Working with states States are an important part of Fireworks. hey can be used for mocking up Web site interaction (rollovers, Ajax emulation), or to show how an application may change based on user input. he cast navigator ile is a mockup of a planned AIR application. To give the user a real sense of how the application would behave, a separate state has been added to show what happens when a user hovers over or clicks on certain areas of the application. his design is still in its early stage—the interactivity has yet to be added by using slices and hotspots—but you will add a second state to the main page to add the rollover efects.

duplicating and naming states You will need various parts of the interface for the rollover efects. he simplest way to add those parts to a second state is to duplicate the existing one. 1 Select the States tab. 2 Drag the State 1 to the New/Duplicate state icon near the bottom right of the States panel. his creates a duplicate state, including all the assets and layer hierarchy. 3 Double-click on the State 1 name and rename it Up. 4 Rename State 2 Over.

Changing content on states Let’s examine these two states more closely. 1 Select the Layers panel. E Tip: States can include completely diferent content, or they can just indicate changes to certain elements that appear in both states. For example, a button may display a glow or drop shadow in a second state.

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he currently selected state is displayed at the bottom-left corner of the Layers panel. 2 Click on Current State and choose the Over state from the pop-up menu. 3 Use the Pointer tool to select the Close button.

the Pages, states,  and layers Panels: fundamental workflow tools

4 In the Properties panel, click the plus sign next to Filters, and choose Shadow And Glow > Glow.

5 Set the values as seen in this graphic: Distance: 0, Opacity: 100, Color: #DF0000, Softness: 12, Ofset: 0. 6 Click away from the Filter Properties box to lock in the changes. 7 Toggle back and forth between the Up and Over states to compare the diferences. 8 Make sure the Over state is selected. 9 Holding down Shift, click on the thumbnails and the background rectangles for all three categories (Cast Members, Auction, and RSS). If you select the text accidentally, simply click on it again while holding Shift and it will be deselected. 10 In the Properties panel, select the “i” icon beside the Photoshop Live Efects ilter in the current ilter list. he Photoshop Live Efects dialog box opens. 11 Select the Stroke option on the left. Change the Fill Color property to #FFFFFF (white).

# Note: Fireworks includes Photoshop Live Efects primarily so you can continue to edit Photoshop layer styles in Fireworks. However, the Photoshop Live Efects dialog box isn’t as robust as the Layer Styles dialog box in Photoshop.

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Adding multiple live ilters he great thing about live ilters is that you can have multiple ilters applied to a single object. You’ll add three ilters to the movie title object in the Up state. Select the Up state from the Layers panel. 1 Select the movie title. 2 In the Properties panel, choose Adjust Color > Levels. he Levels dialog box appears. 3 From left to right, set the Input levels to 0, 1, and 206 and click OK.

# Note: To learn more about Web slices and optimizing graphics, read Lesson 8. To learn more about states and interactivity, read Lessons 10 and 11.

4 Choose Shadow And Glow > Glow and set the values as follows: Distance: 0, Opacity: 22, Color: #FFFFFF, Softness: 11, Ofset: 0. 5 Click away from the Properties panel to lock in the settings. 6 Toggle back and forth between the two states to see the diferences to the mockup. 7 Save the ile.

extra credit In this lesson, you’ve learned some of the key features of working with pages, states, and layers. You have more than one page in this design, though! Based on this lesson’s exercises, try to restructure the other pages, layers, and states in a similar manner. As a Web or interactive designer, you will use these Fireworks elements on a regular basis, so a little practice is a good idea.

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the Pages, states,  and layers Panels: fundamental workflow tools

Review questions 1 What is the importance of layers? 2 What special layer does every Fireworks document have? 3 Name two beneits of using pages. 4 How do you move objects from one layer to another? 5 What are states used for?

Review answers 1 Layers add structure to your document. As you add more objects to a design, it becomes harder to locate speciic images or text areas because you have to scroll through a very long list. With objects sorted into multiple layers, you can quickly collapse layers to see your main design structure or expand a speciic layer to select an individual object. Layers also allow objects to be independent from one another. You can add or remove layers or the objects within them without afecting other elements in the design. You can change how objects within layers interact with other layers by changing the stacking order of layers. 2 Every Fireworks document has a Web layer. his is where interactive elements called hotspots and slices are stored. he Web layer does not have to be used in a design, but it cannot be deleted. 3 Pages let you create a variety of designs within a single ile. his improves asset management, because unique designs for one project can all be stored in the same ile. Pages can also be linked using hotspots or slices to create a truly interactive experience for testing and proof of concept. 4 You can move objects in one of several ways within the Layers panel:

• Cut and paste a selected object from one layer to another. • Drag a selected object or objects from layer to layer. • Select an object or objects within one layer, and drag the associated radio button from the original layer to the radio button on the target layer. 5 States can be used to create simple frame-based animation, or to show changes in the appearance of interactive elements, such as buttons. States can also display completely diferent content within the same page.

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3

WoRKinG With BitMAP iMAGeS Lesson overview In this lesson, you’ll learn how to do the following:

• Select and use some of the bitmap tools in the Tools panel • Open and import bitmap images in Fireworks • Use a variety of methods to crop images • Set options for a selected tool using the Properties panel • Use guides to help position and align images • Use the 9-slice Scaling tool to scale bitmap images • Use various bitmap tools and ilters to adjust brightness, contrast, and tonality of bitmap images

• Correct images using the Rubber Stamp tool • Align objects on the canvas using the Align panel his lesson takes approximately 90 minutes to complete. Copy the Lesson03 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t be preserving the start iles; if you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Everyone enjoys suring through a good-looking website or using a professionally designed interface. Adobe Fireworks includes a solid set of tools for creating and editing bitmap images.

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Resolution and ile size Image resolution and ile size are directly related to each other. he greater the number of pixels in an image, the larger the ile size will be. We’re not talking about the printed size of an image here; we’re dealing speciically with the number of pixels that make up an image. For example, many current digital cameras will capture an image consisting of 3000 pixels horizontally by 2000 pixels vertically (or greater). Do the math, and you’ll quickly see that an image with this resolution contains 6 million pixels in total and weighs in at about 23 MB. he higher the capture resolution, the larger the ile size will be.

image resolution vs. image quality Resolution and quality are two diferent things; you can have a high-resolution image that doesn’t look very good, due to poor quality in the original scan or heavy image compression that might be set on a digital camera. Resolution refers to the actual number of pixels that make up the image, not the empirical or subjective quality of the image.

tips for working with bitmaps Good-quality graphics are key assets to many professional websites. The imageediting and layout tools in Fireworks give you the freedom to do most—if not all— of your bitmap work without leaving the application. That said, you should keep a couple of caveats in mind:

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The maximum canvas-creation size in Fireworks is 6000 x 6000 pixels. You can work on iles that are larger than this, but 6000 x 6000 pixels is the largest that you can create within the program.

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Fireworks was designed to work with graphics destined for screen use, and it’s here that its speed and lexibility really shine. While you can open and work on very high-resolution iles in Fireworks, you may ind the application begins to get sluggish over time. And you may not want to have several of these iles open at the same time.

working with bitmap images

Cropping an image Cropping is a common way to remove extraneous detail, letting you focus more exclusively on a speciic part of an image. In this exercise, you will remove surrounding detail in a photo to help focus on just the actor’s face. 1 Choose File > Open, and browse to the ile Mark_actor06.jpg in the Lesson03 folder on your hard drive. Click Open. 2 Select the Crop tool from the Tools panel. 3 Click and drag a box around the face of the actor. Include the hat and part of the tie. 4 Press Enter or Return to crop the image.

Hmm, looks like we got a bit too close to the collar. We’d better go back. 5 Press Ctrl+Z (Windows) or Command+Z (Mac) to undo the crop.

E Tip: If you change your mind about cropping at all, you can press the Escape key to cancel the action.

6 Making sure the Crop tool is still selected, draw the crop one more time, leaving a bit more space on the sides.

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# Note: The small square boxes at the corners and middle of each crop line are control handles, which let you alter the crop dimensions before committing to it.

7 Move the cursor to the middle control handle on the bottom of the image, and drag it up. Stop when the crop line touches the upper red stripe in the actor’s tie. 8 Press Enter or Return to commit to the crop. 9 Choose File > Close, and don’t save the ile when you are prompted.

Cropping a single bitmap image in a design Cropping single images is ine, but what if you need to crop an image that’s already on a layer in a design? Fireworks ofers a way to do this as well. 1 Open watch_promo.fw.png from the Lesson03 folder. 2 Choose 150 from the Zoom Level menu on the Application bar to zoom in to 150%. 3 Use the Pointer tool (

) to select the watch.

4 Choose Edit > Crop Selected Bitmap. Crop marks will appear around the watch image.

5 Drag the top and bottom crop marks so that only the watch face is inside the crop. 6 Press Enter or Return to commit to the crop.

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working with bitmap images

Managing images on the canvas When you have more than one image or object on the canvas, Fireworks gives you a variety of ways to work with those images, from showing and hiding objects to positioning and grouping them. You’ll ind that steps like these are a common part of most design worklows.

Adjusting the watch position To experiment with this feature, you’ll adjust the position of the watch image you’ve already got open. Because you are dealing with exact measurements here, you need to be aware of the exact x and y coordinates of the image. 1 Select the watch with the Pointer tool, and check the values for x and y in the Properties panel. he watch should be positioned at X: 30, Y: 135. 2 If the watch is not in position, use the arrow keys on the keyboard to move the image one pixel at a time.

E Tip: To nudge a selected object 10 pixels at a time, hold down the Shift key as you press the arrow keys. You can also change a selected object’s position by entering new values in the Properties panel.

hiding and locking objects With the watch cropped, there’s no need for that large ellipse, so let’s hide it from view for now. 1 In the Layers panel, locate and select the ellipse. 2 Lock the ellipse object in the Layers panel by clicking the empty box beside the eye icon. Locking the object prevents you from accidentally selecting it. 3 Click the eye icon to hide the ellipse from view.

To give the design a grittier feel, you’re also going to replace the gradient backdrop with a bitmap image, so we’ll set up for that now. 4 Hide the gradient rectangle by clicking its eye icon in the Layers panel. 5 Lock the rectangle in the Layers panel by clicking the empty box beside the eye icon.

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Working with guides In this exercise, you will use guides to help ensure an exact position and height between the canvas and an image you will import into the design. Guides are great tools for aligning and placing objects on the canvas. 1 If rulers are not visible, choose View > Rulers. 2 Move the cursor to the ruler at the left of the window.

# Note: The right and bottom guides will not display on a Mac but objects will still behave correctly in proximity to them—snapping to guides, showing distances between guides, and so forth.

3 Click and drag toward the canvas. A vertical guide appears. You will also see a tooltip appear beside the guide, with an x value. (If you don’t see the tooltip, choose View > Tooltips.) his value is the horizontal position of the vertical guide. 4 When the tooltip displays 0, release the mouse. he guide drops at that location. 5 Drag in another vertical guide, and place it at 500. 6 Drag guides from the top ruler to these positions: 0 and 500. If you need to reposition guides, you can simply select them with the Pointer tool and drag them to a new position. Doing so efectively boxes in the canvas.

importing images A very quick way to add existing images to a design is to import them onto the canvas. You will add your new background image this way. Importing gives you the ability to scale the image proportionately when you add it to the canvas. 1 Zoom out to 66% using either the Zoom tool in the Tools panel or the Zoom Level menu in the Application bar. 2 Choose File > Import. 3 Browse to the Lesson03 folder, and locate the promo_backdrop.jpg ile. 4 Click Open. E Tip: When importing, if you simply click the mouse button without dragging, the image will be imported at its full height and width, with its top-left corner positioned at the import cursor’s location.

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Back on the canvas, you’ll notice that the cursor has changed to an inverted L shape ( ). his is the import cursor. If you click and drag the mouse, you will begin to draw a marquee. If you release the mouse button, your image will be imported at the dimensions you’ve created via the marquee, based on the height-to-width (aspect) ratio of the original image. If you simply click the mouse button without dragging, the image will be imported at its full height and width, with its top-left corner where you clicked.

working with bitmap images

5 Place the cursor in the upper-left corner of the canvas, and then click and drag toward the lower-right side of the canvas. You will notice from the marquee guideline that in order to get the image to cover the full width of the canvas, it’s actually going to be too tall. his will result in a portion of the image being cut of. For the purpose of this exercise, you will want the entire image to it within the height of your canvas, regardless of its width. 6 Drag the cursor up so that the height of the image its within the canvas area. he cursor should snap to the bottom guide when you get within ive pixels of it. When you release the mouse, the image will appear (a foggy alleyway), but, as noted earlier, it doesn’t cover the full width of the canvas. 7 Check the Properties panel to ensure that the x and y positions of the image you imported are both at 0, and press Ctrl+S (Windows) or Command+S (Mac) to save your changes.

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distortion-free bitmap scaling Scaling objects in one direction—whether they are bitmap images or vector shapes —can cause unwanted distortion. Take, for example, the image you just imported. Traditional scaling will distort the entire image, giving you an undesirable result. But Fireworks has a great feature called 9-slice scaling that eliminates distortion. You could use the Scale tool, but in the irst exercise, you’ll see its limitations.

Scaling the “old” way You’ll use the Scale tool to scale the backdrop image. 1 Make sure the backdrop image is still active—look for the blue control handles at the four corners of the shape. If you don’t see them, use the Pointer tool to select the image on the canvas. 2 Select the Scale tool (

) from the Tools panel.

Control handles appear around the rectangle. 3 Drag the right-middle control handle straight out to the right side of the canvas. 4 Release the mouse button, and note how the image is stretched and somewhat distorted. It can deinitely be better!

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working with bitmap images

Avoiding distortion with the 9-slice Scaling tool If a bitmap image contains an area that doesn’t have a lot of detail (a very important point to note), you can use the 9-slice Scaling tool to make the image it with no noticeable damage. 1 Make sure the backdrop image is still selected. 2 Select the 9-slice Scaling tool from the Tools panel ( ). he scaling handles appear again, but the image is now divided with special 9-slice guides. hese guides can be positioned prior to scaling, and anything that is outside the guides will remain unchanged during a scaling operation. 3 Move the cursor over the vertical 9-slice guide on the left. 4 When the cursor changes to a double-headed arrow, drag the guide in the image to the area of fog that has no noticeable detail. 5 Position the right-side 9-slice guide in the fog as well, similar to what you see here. Watch out for those puddles in the foreground of the photo! he position of the horizontal guides is not important for this example.

6 Drag the right-middle control handle out to 500 pixels. Tooltips do not display when using the 9-slice guides, so watch the top ruler to make sure you have reached the 500-pixel distance. 7 Release the mouse button. Only the areas enclosed by the 9-slice guides (areas with no real detail) were scaled (stretched). he sides of the image, where the puddles and garbage gave the image detail and deinition, were not stretched. You now have an image that actually its the canvas! Press Enter to accept the transformation.

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8 If the watch and investigator images are hidden by the new background, drag them up in the stacking order in the Layers panel (or choose Modify > Arrange > Send To Back to move the alley scene to the bottom of the pile of images). 9 Press Ctrl+S (Windows) or Command+S (Mac) to save your work.

Adjusting tonal range he background image you’ve imported adds a certain air of mystery to the design, but it’s a bit low in contrast, lacking visual impact. You will use a Live Filter to adjust the contrast. 1 Ensure the alleyway photo is selected (look for that blue bounding box), and then click the plus sign (+) in the Filters area of the Properties panel. 2 Choose Adjust Color > Levels. he Levels dialog box appears. he histogram (graph) in the Levels dialog box shows you the distribution of tones in the selected image; you use it to alter shadows, midtones, and highlights. Directly below the histogram are the input level sliders: shadows on the left, highlights on the right, and midtones in the middle. In this image, you’ll notice that there is nothing displaying in the histogram for the darker tones. 3 Drag the left slider to the right so that it almost lines up with the beginning of the histogram chart. he Input value should read about 90, as seen here.

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working with bitmap images

What Are Live Filters? Live Filters are nondestructive efects you can apply to most objects (vector, bitmap, or symbol) within Fireworks. The great power and advantage of Live Filters is that you can always edit the efect at a later time. If you feel the ilter is too harsh, or too subtle, just click the “i” icon to edit the ilter properties. Note that this icon becomes available once the Live Filter has been added to the Properties panel.

4 Lighten the midtones slightly by dragging the middle slider to the left, for an input value of 1.11. Click OK. he Levels Live Filter now appears in the Filters list in the Properties panel. he result is deinitely an improvement, but now things are a little too dark in the shadows and a bit too bright in the midtones. You will reopen the Levels ilter and make further adjustments. 5 Click the “i” icon next to the Levels ilter in the Live Filters category of the Properties panel. he Levels dialog box reopens. 6 Change the shadow input value to 80 by typing the numbers into the leftmost input box above the histogram. 7 Change the midtone value back to 1 by changing the value in the middle input box. Click OK. 8 Press Ctrl+S (Windows) or Command+S (Mac) to save your work.

Using the Align panel Guides and Smart Guides are helpful for positioning items, but they’re “one object at a time” features. If you have multiple items you need to reposition, the Align panel is the tool to use. In this exercise, you will add four more watches to show the available color range of the product. You can import each ile one at a time if you like (tan_, green_, blue_, and magenta_watch.jpg), but to make things a little easier for you, we have provided a single Fireworks PNG ile that contains all four watches, and that is the one you will use in this exercise. 1 Choose File > Import. 2 Browse to the Lesson03 folder, and select the watch_colors.fw.png ile. Unlike the cast_navigator_assets.fw.png ile from Lesson 2, this is just a singlepage Fireworks PNG ile. here are no additional pages to browse through.

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3 Click Open. he Import Page dialog box appears. 4 Make sure Insert after current page is not selected and then click Import (Windows) or Open (Mac). 5 Click anywhere on the canvas to import the collection of images at their original sizes. You can see things are a bit messy, much like how it would look if you quickly dragged and dropped the images from another document window. In the Layers panel, notice that each image is truly a separate object. his is one of the beauties of a Fireworks PNG; because each image was a unique object in the original PNG ile, each is imported as a separate, unique object. All four objects should still be selected. If not, use the Shift key and click on each watch in turn to select them all. 6 Open the Align panel (choose Window > Align if you don’t see the Align panel tab in your Panel groups). 7 Click the Align Top Edge button to align the top edges of all the objects. 8 Change the Space menu option to a value of 10, instead of the default option of Evenly. 9 Click the Space Evenly Horizontally icon right above the Space menu. You now have a nice, neat, evenly spaced row of watches. Don’t worry if the watches aren’t all fully on your canvas; we’ll deal with that in the next exercise. 10 Press Ctrl+S (Windows) or Command+S (Mac) to save your work.

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Grouping objects together he canvas is starting to ill up with several graphics. You’re going to make your life a little easier by grouping that row of watches together. Grouping temporarily turns a series of selected objects into a single object, making it easier to manipulate them. 1 Make sure the four watches are still selected. 2 Choose Modify > Group. In the Layers panel, you will see that the four watches are now part of the same object, with a new name of Group: 4 Objects. 3 Select the Pointer tool, and, if necessary, drag the group to the left edge of the main watch. Smart Guides—the purple dashed lines that appear and disappear as you move one object around the edges of other objects on your canvas—will help you get this adjustment just right. he row of watches takes up a fair amount of space and may overlap the investigator image. You will scale the group using a new feature in the Properties panel to make it it the layout better. 4 Click the hollow square to the left of the width and height. he square becomes solid and you have now constrained the proportions of the group. 5 Type 344 into the Width ield and then press the Tab key. he height is automatically scaled to proportionately match the width. 6 In the Properties panel, set the x value to 28 and the y value to 398, so the group of watches is below the main watch. 7 Press Ctrl+S (Windows) or Command+S (Mac) to save your work.

E Tip: You can also choose Modify > Transform > Numeric Transform, to scale by percentage, resize by exact pixels, or rotate an object to a speciic angle.

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Adjusting brightness with the dodge and Burn tools Sometimes a photo has good general exposure but there are areas in the image that are too light or too dark. hese areas need some local adjustment, and this is where the Dodge and Burn tools come in handy. he Dodge and Burn tools are part of the bitmap-retouching toolset; their efects are permanent (sometimes called “destructive”) in that the tools completely alter pixel values. As we go along in this exercise, you will also learn how to protect your original image. 1 Choose File > Open, and browse for the detective.jpg ile in the Lesson03 folder. 2 Click Open. his image is in pretty good shape, but the subject’s face is a bit too dark and his white shirt a bit too bright. You’ll use the Dodge and Burn tools to correct this. 3 To keep your original safe, make a copy of the photo by dragging its thumbnail down to the New Bitmap Image icon in the Layers panel.

4 Double-click the word Bitmap next to the selected image in the Layers panel, and rename it Retouch. his will help you to diferentiate between the two images with a quick glance at the Layers panel at any time. 5 Use the Zoom tool to magnify the subject’s face. Now we’re ready to delve into the diferent uses of the two speciic tools. E Tip: Rather than adjusting the zoom level from the Application bar or menus and then having to reposition the image focus on the detective’s face, you’ll ind it easiest to use the Zoom tool to drag a marquee around the face. When you release the mouse, Fireworks automatically centers the selected area on the canvas, and you’re ready to go.

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working with bitmap images

Lightening with the dodge tool Dodging—an old photo darkroom term for making speciic areas of a photo brighter—has been carried over into a variety of bitmap-editing software. he Dodge tool lightens up local areas of an image by painting over the area. # Note: Dodging

1 Select the Dodge tool from the Tools panel. 2 In the Properties panel, change Size to 48. Make sure Edge is set to 100 (for a soft-edged brush), Shape to Circular, Range to Shadow, and Exposure to 6. 3 Carefully paint over the actor’s face and neck without releasing the mouse. Avoid painting over the hat. Because you have chosen Shadows as the range, you can safely paint over the bright areas of his face without concern.

and burning are more realistic if the exposures are set to low values and then reapplied if necessary. If you ind the changes you’re making to be too subtle, you can paint over the area a second time—or more, if you prefer.

4 Press Ctrl+Z (Windows) or Command+Z (Mac) to undo the editing, and compare the original with the lightened version. he efect is subtle, but noticeable. If you ind the efect too subtle, you can paint over the area again. 5 Press Ctrl+Y (Windows) or Command+Y (Mac) to reapply the dodging.

darkening with the Burn tool he Burn tool does the exact opposite of the Dodge tool; it darkens speciic areas when it is applied. 1 Switch to the Burn tool. 2 In the Properties panel, change Size to 33, Range to Midtones, and Exposure to 15. Leave Edge and Shape the same (100 and Circular). 3 Paint over the bright area on the actor’s cheek. Burning in will add exposure, making the cheek slightly darker. his should give an appearance of more evenly applied lighting to the detective’s face, instead of one side being signiicantly lighter or darker than the other. Now we’ll alter the shirt slightly to complete the changes this image needs. 4 Set the Zoom level to 100% again. If you ind the efect too subtle, you can paint over the area again. 5 Change Size to 60, Range to Highlights, and Exposure to 8. You don’t have to change the Shape and Edge settings. 6 Without releasing the mouse button, paint over the white shirt sleeve and shirt on the left side of the image. Notice how the shirt gets somewhat darker.

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E Tip: A quick way to get to 100 percent magniication is to press Ctrl+1 (Windows) or Command+1 (Mac) or simply double-click the Zoom tool in the Tools panel.

7 Hide the upper copy of the image by clicking its eye icon in the Layers panel to compare the original with the altered image. Although each of the changes we made was small, the overall efect on the image is quite substantial. 8 Continue to alter the image if you like, or simply save the ile by pressing Ctrl+S (Windows) or Command+S (Mac).

Applying the Unsharp Mask Live Filter When resizing an image (often called resampling), pixels are added or removed from the ile. When you resize an image to larger than its original size, you are adding pixels and increasing the ile size. Generally this upsampling is not recommended in Fireworks unless it is only by a small percentage or for special efect, because the image quality can degrade noticeably. When you make an image smaller (downsampling), you are removing pixel data from the image and reducing the ile size. his tends to make the image softer, but we can gain back some of the original crispness of the photo by applying a ilter called Unsharp Mask. Unsharp Mask can be applied as either a permanent ilter or as a Live Filter. For the greatest lexibility, Live Filters are a better option. 1 Choose File > Open, and select the policeman.jpg ile in the Lesson03 folder. 2 Select the Open As Untitled option at the bottom of the dialog box. (his will open an untitled copy of the image.) 3 Click Open. When the ile opens, it is quite large—4368 x 2912 pixels in size. his is one of the high-resolution images from the movie photo shoot and is much too large for use on the Web. You will resize it to a more suitable dimension and resolution. 4 Choose Modify > Canvas > Image Size to launch the Image Size dialog box.

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5 Make sure the Constrain Proportions option is checked. 6 Set the width to 600 pixels and press Tab. he height will automatically change based on the width you have entered. 7 Click OK. After you resize the image, double-click the Zoom tool or press Ctrl+1 (Windows) or Command+1 (Mac) to bring it to 100%. 8 Click the Add Live Filters icon (+ sign) in the Properties panel. 9 Choose Sharpen > Unsharp Mask to open the Unsharp Mask dialog box. he default properties are a bit extreme for a low-resolution ile, so we’ll alter one slightly. 10 Change the Pixel Radius to a value of 1.

11 Deselect the Preview option to see the image without sharpening. 12 Activate Preview again. Notice that there is slightly more contrast and even a bit better separation between the oicer and the background. his is because Unsharp Mask increases the contrast only of edge pixels (the place where a dark and light pixel meet). 13 Click OK to apply the ilter.

Unsharp Mask Properties Generally, higher-resolution images can handle (and sometimes need) higher amounts of unsharp-masking than low-resolution images. The three controls for the Unsharp Masking ilter are the following:

•

Sharpen Amount: This property controls how much darker and lighter the edge borders become. Sharpen Amount can also be thought of as how much contrast is added at the edges.

•

Pixel Radius: This property afects the size of the edges to be sharpened. A smaller radius enhances smallerscale detail. Higher radius values can cause halos at the edges (a highlight around objects), making images look unnatural. Fine detail needs a smaller radius value. Pixel Radius and Sharpen Amount are reciprocal; reducing one allows more of the other.

•

Threshold: This property controls how far apart adjacent tonal values have to be before the ilter does anything. The threshold setting can be used to sharpen more pronounced edges while ignoring more subtle edges. Low values have a greater efect because fewer areas are excluded. Higher threshold values exclude areas of lower contrast.

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Repairing areas with the Rubber Stamp tool Fireworks is not Photoshop. here—we’ve said it. If you have large images that require major manipulation, chances are you should do that kind of heavy-duty work in Photoshop irst. Every job has a correct tool. hat said, Fireworks comes with a decent set of standard retouching tools, including the Rubber Stamp tool ( ). hese tools can handle most basic retouching requirements. he Rubber Stamp (also known as the Clone Stamp) tool copies pixel detail from one location in a bitmap image and pastes it into another (presumably damaged or unsightly) area. Maybe there is a scratch in some packaging or a ly-away thread in some clothing. Maybe you need to smooth out skin tones in a photo or remove an unwanted highlight in a shiny object. hese are all good examples of when to use the Rubber Stamp tool. Here are the general steps to using the Rubber Stamp tool: 1 Click an area to designate it as the source (the area you want to clone). he sampling pointer becomes a crosshair pointer. # Note: To designate a diferent area of pixels to clone, Alt-click (Windows) or Optionclick (Mac) another area of pixels.

2 Move to a diferent part of the image, and drag the pointer. Two pointers appear. he irst is the source and is in the shape of a crosshair. Depending on the brush preferences you’ve selected, the second pointer is a rubber stamp, a crosshair, or a blue circle. As you drag the second pointer, pixels beneath the irst pointer are copied and applied to the area beneath the second. E Tip: You can change the cursor display for many editing tools by choosing Edit > Preferences (Windows) or Fireworks > Preferences (Mac) and then selecting the Edit category. Select or deselect the cursor options to change how the cursor is represented.

Now you will test this process. In the ile we’ll open, the overall image is ine, but there are some distracting wrinkles in the sofa cushion where the actor is seated. You’re going to smooth over that area using the Rubber Stamp tool. 1 Choose File > Open, and select the Mark_actor02.jpg ile in the Lesson03 folder. 2 Click Open. 3 Zoom in, as described earlier in the chapter, to focus in on the cushion area. When retouching, it’s always good to get close to your subject matter.

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4 Select the Rubber Stamp tool from the Bitmap tools area of the Tools panel. Notice that the Properties panel updates, displaying attributes for the Rubber Stamp tool. You can set the brush size and the edge softness of the brush (100 is soft, 0 is hard). You can also decide whether you want to keep your brush aligned with the original source of sampling and if you want to sample from all the layers/objects in your document, or just the active object. 5 In the Properties panel, set your brush size to 28 pixels and the edge to 100%. Leave the Opacity setting at 100. 6 Deselect the Source Aligned option. his will ensure that the sampling always begins at the same source point, no matter where you begin your actual rubber-stamping. 7 Locate an area on the cushion that is mostly smooth and similar in brightness to the wrinkled area. Hold down Alt (Windows) or Option (Mac), and click to sample the pixels from this area. 8 Move the cursor over to the beginning of the wrinkled area. 9 Click and hold the mouse button, and then begin painting carefully over the area. Continue painting until the large wrinkles are gone. Some variation in tone is ine; you want the retouching to look as realistic as possible. If necessary, release the mouse button and repeat the process to get farther to the right or lower down in the wrinkles. Because the Rubber Stamp tool duplicates the exact pixels, the texture and tone of the leather remain visible.

E Tip: If you notice that the area you are cloning seems much too light or dark, stop stamping, press Ctrl+Z (Windows) or Command+Z (Mac) to undo the painting, and resample (Alt-click on Windows or Optionclick on Mac) from a more suitable area.

Retouching on a separate bitmap object Cloning as we’ve described is a permanent (destructive) process; you are literally replacing pixels in one area with pixels from another. If you save and close the ile, those changes become a part of the image. Many professionals prefer to do this type of retouching on a separate layer. In this way, they avoid the potential for permanently ruining (or even just changing) an original image. Fireworks lets you do this kind of work in an empty bitmap object, even in the same layer as the original artwork. Look at the actor’s face. He’s got a couple of creases on his forehead, which make him look a little older and more tired than perhaps he really is. You are going to Adobe fireworks Cs5 ClAssroom in A book

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retouch those wrinkles as a separate object, irst creating the necessary empty bitmap object. his way, you can show or hide the wrinkles, depending on your plans for the image. An empty bitmap object is an area containing no pixel data. It gives you the opportunity to add new pixel information as a separate, unique object. Once you create this object, you must add pixel data to it in your next step, or the object will be removed from the Layers panel. You might use this object if you are planning to use the Brush or Pencil tools to add colored bitmap lines. In this case, we’ll be using it as a place to hold retouching data. he beauty of this technique is that your original image is not altered in any way. 1 Open the Layers panel, and, if necessary, resize the panel so you can see all the elements. You should see the Web Layer, Layer 1, and Background layers. When you open a single image such as this one, Fireworks places the photo as an object on the Background layer, and also creates an empty layer called Layer 1.

2 Select the photo in the Layers panel. E Tip: Naming layers and objects helps you identify them as you work. Although not necessary, it’s a good practice to follow.

3 Double-click the name Bitmap under the Background layer, and type photo to rename it. 4 Click the New Bitmap Image icon ( will appear above the photo object.

). A transparent (empty) Bitmap object

instant face-lift Next, you will use the Rubber Stamp tool and the new bitmap object to take years of the actor’s face. 1 Select the Zoom tool, and draw a selection around the actor’s face. 2 Switch to the Rubber Stamp tool. 3 In the Properties panel, set Size to 5, and leave Edge set to 100% for a nice subtle blend.

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4 Select both the Source Aligned and Use Entire Document options. When Use Entire Document is selected, Fireworks samples from all visible pixels on any layer or object in the design. When the option isn’t selected, Fireworks samples only from the current object, which, as a new bitmap, has no actual pixels…yet. 5 Move the cursor above the top wrinkle at the left. 6 Hold down Alt (Windows) or Option (Mac) and click once to sample the skin tone above the wrinkle. 7 Move the cursor straight down until it is directly over the irst wrinkle. 8 Hold down the mouse button, and begin painting carefully toward the right, following the entire wrinkle. 9 When you are happy with the result, repeat steps 5–8 to remove the second wrinkle. 10 Turn of the retouching (Bitmap) layer by clicking the eye icon beside the layer name. he wrinkles return. Turn the layer back on, and the wrinkles vanish. You might also notice a blue rectangle appear on the canvas, surrounding the retouching work. his is how Fireworks indicates a selected object. Rubber-stamping can take a bit of practice, which is another reason to perform the retouching on a separate object. If your results aren’t as good as you would like, you can just delete the bitmap object by selecting it and then dragging it to the Layers panel trash can icon. One other item of note: because you are adding additional objects to a photo, you will most likely want to save this ile as a Fireworks PNG ile in order to maintain the objects and their editability. In fact, if you press Ctrl+S (Windows) or Command+S (Mac) at this time, Fireworks displays a dialog box explaining the choices you have and the repercussions of each.

Layers and objects? Why? Because the roots of Fireworks lie in the vector world—much like Adobe Illustrator—each layer can contain multiple objects. This concept may seem a little disconcerting if your experience is primarily with Photoshop, which is a layer-oriented application, but in fact, this object-oriented approach gives you much more control and lexibility over your designs. You can also create sublayers within a layer, which emulate the layer-groups worklow of Photoshop. In the retouching worklow described in this chapter, you could just as easily have selected the empty Layer 1, added a bitmap object to that layer, and performed your rubber-stamping. It’s really your choice.

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Review questions 1 What is the maximum canvas size in Fireworks, and how can this afect your worklow? 2 What is the process for cropping a speciic bitmap object in a design? 3 What options do you have for adjusting the tonal range of a bitmap image? 4 What are the advantages of Live Filters over traditional ilters? 5 How do you use the Rubber Stamp tool, and what is a recommended worklow for using it?

Review answers 1 he maximum canvas size you can create in Fireworks is 6000 x 6000 pixels. If you have a very large ile that you want to use in Fireworks, consider scaling it to more suitable dimensions before opening it in Fireworks. 2 Select the bitmap object, and then choose Edit > Crop Selected Bitmap. his will ensure that you’re cropping only one object rather than the entire design. 3 If the entire image is too dark or too light, you can use the Levels dialog box to alter overall brightness and contrast. If you want to alter speciic areas in the image, you can use the Dodge tool to lighten an area, or the Burn tool to darken an area. 4 Live Filters are nondestructive and completely editable at any time. Live Filters can also be applied to both vector and bitmap objects, whereas traditional ilters can be applied only to bitmap objects. 5 he Rubber Stamp tool can be used only on bitmap objects, and is designed to copy pixels from one location to another, for the purpose of correcting defects or removing unwanted elements within a photo. You must irst sample the area you want to use as a source by pressing Alt (Windows) or Option (Mac) and clicking on the desired area. hen you can move the cursor to the problem area and paint over it. Ideally, this type of retouching should be done within a new bitmap object, so you do not alter the original source image.

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WoRKinG With SeLeCtionS Lesson overview Making selections on a bitmap image is an important component of working with bitmaps. Bitmap selections isolate a speciic area for alteration, protecting all other areas from being afected. For example, you might want to brighten a dark part of an image. Without a selection, this change in pixel brightness would be applied to the entire photo. In this lesson, you’ll learn how to do the following:

• Make speciic areas of an image active using selection tools • Create a selection with the Magic Wand tool • Adjust the edge of a bitmap selection • Apply corrective ilters to a selection • Make complex selections using the Lasso and Magic Wand tools • Modify a bitmap selection • Save a bitmap selection for future use • Deselect a selection • Convert a bitmap selection to a path his lesson takes approximately 60 minutes to complete. Copy the Lesson04 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Making selections on a bitmap image is key to working with bitmaps regardless of the software application.

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Understanding bitmap selections he bitmap selection tools are helpful if you want to alter or copy a speciic area of an image. Before you begin this lesson, though, you must also be clear on the diference between selecting an object and making a bitmap selection. When you click on an object in the Layers panel, or use the Pointer tool to click on an object on the canvas, you are selecting (or activating) the entire object. You can then move, copy, edit, or cut that object from the design, without afecting anything else on the canvas. A bitmap selection difers in that you are selecting a speciic part of a bitmap image rather than the entire bitmap object. Once you’ve made a selection, you can only copy or edit the area within the selection border.

Bitmap selection tools: a primer The selection tools in Fireworks include the Marquee and Oval Marquee tools, the Lasso and Polygon Lasso tools, and the Magic Wand tool.

Lasso

Magic Wand

Choose the selection tool most suitable for the job. Use the Marquee (

) or Oval

Marquee ( ) tool to select regularly shaped areas. Simply click and drag to draw out one of these selections after choosing the appropriate tool. Holding Shift constrains the rectangular marquee to a square and the oval marquee to a circle. One of the Lasso tools (the standard Lasso or the Polygon Lasso tool) may be better suited to select irregular areas when you make a freehand selection. The standard Lasso Tool allows you to draw a selection on the canvas using a mouse or stylus. You outline the selection by clicking to plot points around the area you want selected. You can hold down Shift to constrain Polygon Lasso marquee segments to 45-degree increments. To close the polygon selection, either click the starting point or double-click in the workspace. If the area is full of similar shades of colors, the Magic Wand tool ( ) may be your best choice to quickly create a selection. The Magic Wand tool selects pixels based on color. If you have an area of similarly colored pixels in your image (a blue sky, for example), the Magic Wand can quickly select that part of your image. You start the

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selection by clicking the wand cursor on an area of your image. The wand selects contiguous pixels of the same color range, based on the Tolerance setting in the Properties panel. You can increase the tool’s sensitivity by changing the Tolerance setting to a higher value.

options Most of the bitmap selection tools have the option to set the selection edge to Hard, Anti-alias, or Feather. A Hard edge gives you a jagged, pixelated selection. Anti-alias blends the selection with the area outside the selection. Feather creates a softer, less accurate, blended edge selection. Unlike with the other two edge settings, you can apply a pixel value to Feather to increase the blend between the inside and outside of the selection.

Hard Edge

Anti-Aliased Edge

Feathered Edge

Additional selection features for the marquee If you choose the Rectangular or Elliptical Marquee, the Properties panel ofers you additional options:

•

Normal creates a marquee in which the height and width are independent of each other.

• •

Fixed Ratio constrains the height and width to deined ratios. Fixed Size sets the height and width to a deined dimension, in pixels.

Using Live Marquee The Live Marquee feature is available for the bitmap selection tools listed earlier. By default, it is active (selected) in the Properties panel. Live Marquee gives you immediate control over the edge of your bitmap selection after it has been drawn. You can choose Hard for an aliased, hard-edged selection; Anti-alias for a softer, slightly blended selection edge; or Feather for a very soft blend. When you choose Feather, you set the amount of feathering you want. This amount will gradually blend any efect applied to the bitmap selection on both the inner and outer edges of the selection.

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Getting started Various images may require diferent types of adjustments. In this lesson, you will use a variety of selection tools to make local adjustments on three diferent images. You will start with a simple selection exercise using the Magic Wand. 1 Choose File > Open, and browse to the Lesson04 folder. 2 Select Backdrop02.jpg, and then click Open. Notice how bright the sky is—practically without detail. You will apply a bitmap ilter to a bitmap selection, which will permanently change the pixels in the image. When you are going to apply permanent changes to a bitmap object, it’s a good idea to create a duplicate of the image irst so that the original is not damaged. 3 Select the Pointer tool, and click on the image to make it active. 4 Press Ctrl+Shift+D (Windows) or Command+Shift+D (Mac) to create a clone of the image. You now have two bitmap images in the Layers panel. 5 In the Layers panel, double-click the bottom bitmap image name, and change it to Original. 6 Double-click the top image, and rename it Retouching.

Selecting and modifying with the Magic Wand tool In this section, you are going to use the Magic Wand tool to select a part of the scene in order to apply an exposure adjustment.

Creating the selection First, create the selection using the Magic Wand tool. 1 Select the Magic Wand tool (

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) from the Tools panel.

2 Move the cursor over the sky portion of the image, and click once. As illustrated here, a selection appears.

3 To see how our alteration blends with the rest of the photo, choose View > Edges (or press Ctrl+H on Windows or Option+F9 on Mac). his hides the selection from view but still lets you perform actions on it, such as applying ilters. 4 Choose Filters > Adjust Color > Levels. 5 Set the Shadow (Minimum Intensity) value to 20. 6 Set the Midtone (Gamma) value to 0.4, and leave the Highlight value at 255. You can do this by typing into the input boxes or dragging the middle sliders. 7 Toggle Preview of and on again repeatedly to see how the cloud deinition has changed, and then click OK to apply the ilter. Midtone Values (Gamma)

# Note: When applying a ilter adjustment to a bitmap selection, you must use the main Filters menu. You should also create a copy of the image before you begin.

E Tip: It’s a good idea to zoom in on the area you are selecting to ensure a more accurate selection.

Shadow Values Output Levels (Contrast)

Highlight Values

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Using the Magic Wand tool with keyboard modiiers Because the Magic Wand tool selects based on contiguous pixel color, areas you want included may not always become part of your original selection. You can use modiier keys to add to the selection. In this exercise, you are going to use the Magic Wand tool to select parts of the actors’ faces in order to apply an exposure adjustment. You will also modify the selection by applying a feathered edge. 1 Choose File > Open, and browse to the Lesson04 folder. 2 Select actors_together.jpg, and then click Open. Notice the skin tones on the left cheek of the man. hey’re almost washed out. A similar problem exists with the woman’s face. You will be applying a bitmap ilter to a bitmap selection, which will permanently change the pixels in the image. When you are going to apply permanent changes to a bitmap object, you should create a duplicate of the image irst so that the original is not damaged. 3 Select the Pointer tool, and click the image to make it active. 4 Press Ctrl+Shift+D (Windows) or Command+Shift+D (Mac) to create a clone of the image, and rename this duplicate Retouching. 5 If necessary, select the Magic Wand tool (

) from the Tools panel.

6 In the Properties panel, set the Edge to Feather, input a value of 4, set the Tolerance to 32, and make sure the Live Marquee option is selected.

7 Move the cursor to the bright area of the detective’s cheek, and click once. A selection appears.

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Notice that the other bright areas on the woman (her cheek and nose) are not part of the selection. his is because these areas are separated by pixels that are much darker and of diferent colors, and not within the Tolerance setting of the tool. Increasing the tolerance is not the answer, either, because we would end up selecting more areas than we want for this adjustment. 8 Hold down the Shift key, and click on the bright part of the woman’s cheek, between her ear and her eye. 9 Hold down the Shift key one more time, and click on the bright side of the bridge of her nose. You now have three separate selections. 10 Choose Filters > Repeat Levels. (his option is available for the last ilter applied, as long as you have not restarted Fireworks.) 11 Set the Gamma slider to a value of 0.6.

# Note: To subtract from a selection, hold down the Alt (Windows) or Option (Mac) keys. These modiiers work with the Rubber Stamp, Lasso, Marquee, and Oval Marquee tools.

12 Click OK to apply the ilter. You’ll see that the skin tones of the actors’ faces look much more even and are no longer washed out. If you create a particularly complex selection, such as the one you’ve just done, you might want to save your eforts as an alpha channel in order to reuse the selection at a later time. See the sidebar “Saving and restoring bitmap selections.” (Your ile is currently in the perfect position to use these bitmapselection functions.)

E Tip: Sometimes the marquee itself can get in your way. You can quickly show or hide the marquee by pressing Ctrl+H (Windows) or Option+F9 (Mac).

Finally, it’s time to inish up with this ile. 13 Choose File > Save. Fireworks recognizes that this altered image has properties that are not supported in a lat JPEG ile, so you will see a dialog box asking you for a decision about which type of ile you’d like to save. If you want to retain the editability of the ile, save it as a Fireworks PNG ile. If the original image and the bitmap selection are not important, you can opt to save the ile as a lat JPEG.

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14 Click Save Fireworks PNG. his will maintain the selection information and both bitmap images. he Save dialog box appears. 15 Name the ile actors_together_retouched.png, save it to the Lesson04 folder, and click OK. # Note: If you had chosen File > Save As, Fireworks would assume you want to save the ile as a JPEG. There’s a warning message in the Save As dialog box; pay attention to it! Some people don’t notice the warning and later reopen their ile only to learn the edits have been lattened, and the original unaltered image has been lost. Make sure you click on the Save As Type options and choose the format you prefer.

Saving and restoring bitmap selections Once you’ve created a complex selection, you can save it, giving you the option to deselect it, work on other parts of the image, and come back to that selection later. These functions are available regardless of the selection tool you’ve used in the irst place. To save a selection, you irst need to have an active bitmap selection. 1

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Choose Select > Save Bitmap Selection.

working with selections

2

In the Save Selection dialog box, change the name to cheek. Leave all other settings as they are.

3

Click OK. Once a selection is saved, you can then call it up any time you need it during your session. If you save the ile as a Fireworks PNG ile, the selection remains with the ile and can be restored even after the ile has been closed and reopened.

# Note: If you have more than one saved selection, you can choose the correct one from the Selection menu in the Restore Selection dialog box. In the current exercise, the “cheek” selection is the only one in the list.

4

Press Ctrl+D (Windows) or Command+Shift+A (Mac) to deselect the bitmap selections on the canvas (so that you can see how to restore it).

5

Choose Select > Restore Bitmap Selection.

6

Click OK. The selection reappears on the canvas.

Selecting with the lasso tools Selection tools are also interchangeable; you might start with the Magic Wand tool, for example, but then turn to the Lasso tool ( ) to reine a selection. 1 Choose File > Open, and browse to the Lesson04 folder. 2 Open the ile called Mark_actor07.jpg.

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3 Select the Magic Wand tool once again. 4 Set Edge to Anti-alias, its value to 0, and Tolerance to 32, and make sure the Live Marquee option is selected.

5 Click on the gray cinderblock wall. # Note: If you don’t see the selection appear, make sure that the marquee is not hidden by selecting View > Edges.

6 Hold down the Shift key, and click on other areas of the wall. Avoid clicking the shadow of the detective, because this will also select parts of the gun. 7 Continuing to press the Shift key, click the dark segment to the right of the actor.

8 Select the Lasso tool. 9 Holding down the Shift key, draw around a large part of the shadow. Avoid lassoing the gun. You do not have to do this in one operation; indeed, it’s a good idea to zoom in for the more detailed areas and add to the selection in multiple steps.

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As long as you hold down the Shift key, you can add to the existing selection. If you select an area by accident, you can switch to the Alt (Windows) or Option (Mac) key and draw around the unwanted area. When you are done, everything except the detective should be selected.

# Note: Creating this selection took some time, so it’s wise to save the selection as you did with the previous document (choose Select > Save Bitmap Selection).

10 Choose File > Save. 11 Click Save Fireworks PNG. he Save As dialog box appears.

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12 Name the ile Mark_actor07.fw.png. Because you are using a diferent ile type, you can still keep the same ilename. 13 Save the ile to the Lesson04 folder and click OK.

Converting a selection to a path In Fireworks, you can easily convert bitmap selections to vector paths. Paths can be easier to edit than bitmap selections, in part because you aren’t as likely to delete an entire path by accident. If you are adjusting a bitmap selection and forget to use the Shift and Alt (Windows) or Option (Mac) modiier keys, you can easily delete the entire selection. To edit the shape of a path, you can use the Subselection tool ( ) to drag individual control points in the path. In this exercise, you will continue working with the Mark_actor07.fw.png ile. 1 If the selection is not active, choose Select > Restore Bitmap Selection. 2 Choose Select > Convert Marquee To Path. he selection is removed, and in its place is a new path object, illed with the last attributes used for vector objects. 3 Select the Pointer tool, if it’s not already selected. 4 Choose Pattern > Wood 3 from the Fill Category list in the Properties panel.

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he detective is now up against another type of wall, so to speak. In the Layers panel, the newly created vector object is called a composite path. 5 Double-click the object name in the Layers panel and change it to wall. 6 Rename the bitmap image detective. 7 Choose File > Save. You will learn much more about working with paths in Lesson 4.

other selection options Select inverse Sometimes, selecting the unwanted part of the image is easier. The Select Inverse command toggles between the active selection and the unselected area. Let’s say you have a photo of a city scene with a clear sky in the background. You want to do some levels or ilter adjustments to the city area. Using the Magic Wand tool to select the evenly colored sky will be easier (and faster). Then you can choose Select > Select Inverse to reverse the selected areas, making the city scene the active selection.

Select Similar Select Similar adds to the current bitmap selection, based on colors within the active selection. Anywhere the colors within the selection appear throughout the image, they will become part of the new selection. You can choose Select > Select Similar with any bitmap selection.

Modifying a selection You can expand, contract, or smooth any active bitmap selection by choosing the desired action from the Select menu.

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Review questions 1 What is the diference between selecting objects and making bitmap selections? 2 What are the ive bitmap selection tools in Fireworks, and what are their functions? 3 What does the Tolerance setting do when you’re using the Magic Wand tool? 4 What are the two keyboard modiiers you can use in conjunction with the bitmap selection tools? 5 How do you create a clone of a bitmap image? Why would you do this?

Review answers 1 When you click on an object in the Layers panel or use the Pointer tool to click an object on the canvas, you are selecting (or activating) the entire object, allowing you to move, copy, edit, or cut that object from the design, without afecting anything else on the canvas. A bitmap selection difers from this in that you are selecting a speciic part of a bitmap image rather than the entire object. Once you’ve made a selection, you can copy or edit only the area within the selection border. he bitmap selection tools cannot be used on vector objects. 2 he Fireworks selection tools are the Marquee and Oval Marquee tools, the Lasso and Polygon Lasso tools, and, inally, the Magic Wand tool. Typically, you use the Marquee or Oval Marquee tool to select regularly shaped areas, and the Lasso or Polygon Lasso tool to select irregular areas. You use the Magic Wand tool to select pixels based on color. While drawing the initial selection, the Shift key constrains the marquee tools to symmetrical objects (squares and circles) and the Polygon Lasso tool segments to 45-degree increments. After a selection has been created, hold down the Shift Key to add to the selection. Pressing Alt (Windows) or Option (Mac) subtracts from a selection.

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3 he Magic Wand tool selects contiguous pixels of the same color range based on the tolerance setting in the Properties panel. You can increase the tool’s sensitivity by changing the Tolerance setting in the Properties panel to a higher value. 4 he Shift key is one of the keyboard modiiers you can use with bitmap selection tools, and the Alt (Windows) or Option (Mac) key is the other. Both of these modiiers work with the Rubber Stamp and freehand Lasso tools, as well as the rectangular and elliptical marquees. Holding down the Shift key lets you add to an existing selection. To subtract from a selection, hold down Alt (Windows) or Option (Mac). 5 To clone a bitmap image (or any other object), press Ctrl+Shift+D (Windows) or Command+Shift+D (Mac), or choose Edit > Clone to create a clone of the image. Creating a clone of your original image lets you edit and retouch a copy without damaging the original.

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WoRKinG With VeCtoR GRAPhiCS Lesson overview Using vector tools is intuitive, but to the new user, these tools may seem a bit intimidating. In Fireworks (similar to Illustrator or Flash), you can draw almost any shape at all by using vectors. Now is your chance to familiarize yourself with several vector tools, including vector shapes and the Pen tool. You will also use the Properties panel and Subselection tool to modify vectors you’ve created. In this lesson, you’ll learn how to do the following:

• Draw simple vector shapes • Use guides to place objects on the canvas • Identify the diferences between vector and bitmap images • Use the 9-Slice Scaling tool to scale vector shapes • Use Auto Shapes • Create paths with the Pen tool • Edit paths with the Pen and Subselection tools • Create a custom shape • Customize the ill and stroke of a vector shape his lesson takes approximately 90 minutes to complete. Copy the Lesson05 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Vectors are a powerful component of Fireworks, giving you the lexibility to create unique custom shapes or call on the many prebuilt vectors that are part of Fireworks.

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About vectors # Note: Most designs contain elements to hold other objects such as text and graphics, and when standard shapes aren’t enough, you can turn to the Pen tool to create your own custom vector shapes or paths.

Computer drawings that use mathematical equations to draw lines and ills onscreen are known as vectors. A vector is simply the path between two deined points on the screen, with properties such as color and thickness applied to the path. Fireworks comes with a range of prebuilt vector shapes, most of which are found in the Tools panel in their very own section. here is also a series of special prebuilt Auto Shapes that can be found in the Shapes panel. he most commonly used vector tools are the Text, Shape, and Pen tools.

Basic vector drawing techniques he Tools panel contains several basic vector shapes, which include the Line tool, the Rectangle tool, the Ellipse tool, and the Polygon tool. (You’ve already worked with the Rectangle and Ellipse tools in Lesson 1.) To create one of these shapes, select the appropriate tool, and then click and drag on the canvas. hese basic shapes can be scaled, skewed, and distorted using the Transform tools in the Tools panel. You can use the Properties panel to change the ill and stroke and even add a texture for a more realistic look. # Note: Text is also a vector, but you’re focusing on shapes and paths in this lesson.

With a bit of practice, you’ll be creating your own custom vector shapes and masks before you know it. But we’ll start of simply by adding a couple of vector shapes to the watch_promo.fw.png ile you worked with in Lessons 1 and 2, and then altering those shapes and learning how to use guides for more precise placement.

deleting shapes In Lesson 1, you created an ellipse. In Lesson 3, you hid and locked it. Now you’ll delete it. 1 Choose File > Open, and navigate to the Lesson05 folder. 2 Select the watch_promo.fw.png ile, and click Open. 3 Click the lock icon next to the ellipse in the Layers panel to unlock the object. 4 If it’s not already selected, select the ellipse in the Layers panel.

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5 Drag the layer to the Delete Selection (trash can) icon in the Layers panel.

Adding guides Guides are great tools for aligning and placing objects on the canvas. To help place the new shape, you will set up guides on the canvas. 1 If rulers are not already visible, choose View > Rulers. 2 Move your cursor over the left ruler. 3 Click and drag toward the canvas. You will see a vertical guide appear. You will also see a tooltip appear beside the guide, with an x value. his value is the horizontal position of the vertical guide, as measured in pixels.

# Note: Tooltips are

4 When the tooltip displays x:19, let go of the mouse. he guide drops at that location.

E Tip: If you want a higher degree of accuracy, double-click on the guide and then set the location numerically.

5 Drag another vertical guide, and place it at 255 pixels. 6 Drag guides from the top ruler to these positions: 125 pixels and 362 pixels. If you need to reposition guides, you can simply select them with the Pointer tool and drag them to a new position.

visible only if View > Tooltips is selected.

E Tip: To quickly toggle grids on or of, use keyboard shortcuts: Command+ ; (Mac) or Ctrl+ ; (Windows)

Measuring distances between guides Once guides are drawn, you can easily measure the distance between guides. 1 Select the Pointer tool and then place your cursor over the watch. 2 Hold down the Shift key. Note the distances that appear along with dashed lines and arrowheads (the areas highlighted in red in the following igure). hese are

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guide measurements, and they can be invoked any time you have guides on the canvas. he guide dimensions should be 236 x 237 pixels.

3 Move the cursor around the canvas. he guide measurements will update based on the nearest guides.

Placing an object using guides Once guides have been placed, you can accurately draw the new shape, as long as objects are set to snap to guides. 1 Choose View > Guides, and make sure that Snap To Guides is selected. 2 Select the Rectangle tool from the Tools panel. 3 Move the cursor onto the canvas, near the upper-left intersection of the guides that box in the large watch. Click and drag to draw a rectangle. When you come within 5 pixels of the guides on the right and bottom, the rectangle snaps to those guides, giving you an exact dimension, placed exactly where you want it to be. 4 Before releasing the mouse, press the Up Arrow key four times. If you pay close attention to the rectangle you are drawing, you will see the corners become rounded. 5 Release the mouse. he shape appears, with all of the Fill properties that were used last. It will also cover the watch.

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6 In the Properties panel, set the Fill Category to Solid and the color to medium gray (#999999).

7 If necessary, expand the Layers panel so that you can see both the new rectangle and the watch layers. 8 Double-click the new rectangle name, and change it to watch background. 9 Drag the watch background object below the watch in the Layers panel to change the stacking order.

Resizing vectors Early in the creation of the watch_promo.fw.png ile, you added a grouped vector shape in the form of a silhouetted detective pointing a rather exaggerated gun. You are going to resize this vector object, with the added side beneit of seeing how this resizing afects—or doesn’t afect—the quality of a vector. 1 Select the detective silhouette using the Pointer tool. 2 Select the Scale tool, and drag the object inward from any corner to make it proportionately smaller. 3 Press Enter or Return to accept the new size. Note that other than the reduced size, the object does not appear damaged or altered. he edges and overall shape have not been distorted. 4 Select the Scale tool again.

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5 Drag the upper-left corner of the scale handles up and to the left, until the tooltips read approximately w:250, h:369.

If you had treated a bitmap image in this manner (sizing down, and then sizing up beyond the original size), the image quality of the bitmap would have decreased noticeably. he edges could become jagged and the image itself would become pixelated. his vector shape, however, remains undamaged.

Changing the appearance of basic vector shapes As mentioned earlier, you can scale, skew, and distort basic vector shapes using the Transform tools in the Tools panel (hidden under the Scale tool). You can change their ill, stroke, color, and even texture using the Properties panel. In this section we’ll concentrate on basic modiications. 1 Select the gray rectangle you created in the previous exercise. 2 In the Properties panel, choose Pattern > Paint Blue from the Fill Category menu. 3 Below the Fill Category menu, choose Onyx from the Texture menu. 4 Adjust the amount of the texture to 40%.

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5 Still in the Properties panel, from the Stroke Category menu, choose Dashed > Dash Double.

6 Set the stroke color to Black from the color picker in the Stroke section. 7 Set the Tip Size to a value of 2. he end result should be similar to what you see below. 8 In the Layers panel, make sure the detective object is stacked above the rounded rectangle. his creates a sense of depth in the design, as the detective object now slightly overlaps the rectangle.

Feel free to try other textures and strokes. If the stroke is heavy enough, you can even add a texture to it to further enhance the efect.

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Bitmap and vector graphics: What’s the diference? The intrinsic ability of Fireworks to move back and forth between vectors and bitmaps—and even combine both graphic types—makes it a powerful creative tool. But it’s important to understand the diferences between these two types of graphics, so you can know which to use in any situation. As the name implies, bitmap graphics (also referred to as “raster”) are made of a speciic number of pixels “mapped” to a grid. Each pixel has a speciic location and color value. The greater the number of pixels, the higher the resolution of the image and the larger the ile size. If you resize a bitmap image, you are either adding to or taking away pixels from the image, and this will afect image quality and ile size. The initial number of pixels in a bitmap image is set at the time of capture (when taking a digital photo or scanning an image, for example). Vector graphics are, simply put, mathematical equations describing the distance and angle between two points. Additional information, such as the color and thickness of the line (stroke) and the contents of the path (ill), can also be set. Unlike bitmap graphics, vectors can be resized up or down with no detrimental impact to the vector shape itself. Another example of the diferences between vector and bitmap is this: A photograph can accurately depict a physical scene in a single image layer. Producing similar realism in a vector illustration could require hundreds and hundreds of vector shapes stacked on each other.

This is not to suggest that bitmaps are better than vectors, or vice versa; both of these main graphic types are integral to visual communication.

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Scaling vector objects In Lesson 2, we talked about how scaling—whether for bitmap or vector shapes— can cause unwanted distortion, and how the 9-slice Scaling tool eliminates that problem. Because this is such a useful tool, and because it’s a bit diferent for vectors, we’ll practice with it again, this time scaling the rounded rectangle in the watch_promo.fw.png ile to make it large enough to hold the text that you will be adding to the design.

Scaling the “old” way Remember, traditional scaling will distort the corner radii of this rectangle, giving you an undesirable result. Let’s try this irst to see what happens. 1 Make sure the rectangle is still active; look for the blue control handles at the four corners of the shape. If you don’t see them, use the Pointer tool to select the shape on the canvas or in the Layers panel. 2 Select the Scale tool ( ) from the Select section in the Tools panel. Control handles appear around the rectangle. 3 Drag the top-middle control handle straight up by 60 pixels. Refer to the tooltips as you drag the handle. 4 Release the mouse, and note how the corners of the rectangle have been distorted. (If the guides or the rectangle’s bounding box are obscuring your view of the corners, click Preview on the Document window, but be sure to click back to Original to continue working.) 5 Press the Esc key to cancel the transformation, or press Ctrl+Z (Windows) or Command+Z (Mac) to undo the scaling if the rectangle is no longer active or if another tool was selected.

distortion-free vector scaling with the 9-slice Scaling tool Now let’s see how big of an improvement we get with this method. 1 Drag in a guide from the top ruler, and position it at 64 pixels. (Tooltips do not display when using the 9-slice Scaling tool, so this step is necessary in order to set an accurate height.) 2 Select the 9-Slice Scaling tool from the Tools panel. As in the previous exercise, the scaling handles appear again, but the image is now divided with special 9-slice guides. he default settings are ine in this case.

# Note: The 9-slice guides can be repositioned prior to the scaling operation; any elements in the four corners created by the guides do not scale.

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3 Drag the top-middle control handle straight up to the guide. Note that the corners do not distort this time.

4 Double-click inside the object or press Enter or Return to accept the new dimensions.

Adding text to your design Images and text go together in many designs. In this exercise, you will add a call-to-action tagline to the design. 1 Select the Text tool. 2 In the Properties panel, choose a showy, bold font family (we chose Cooper Std). 3 Set a large font size. For Cooper Std we chose 24 points; if you are using another font, start at 24 and see if that size works for you. 4 Set Fill Color to Black.

text engine integration Since CS4, Fireworks uses the same text engine as Illustrator and Photoshop, so copying and pasting text from these applications, or opening a Photoshop ile containing text, has become much more predictable. Prior to CS4, Fireworks used its own proprietary type engine to render fonts. If you open a Fireworks CS3 or earlier source PNG ile, Fireworks CS4 prompts you to update the fonts in the ile. In most cases, updating the fonts is recommended, but you may have to reposition your text areas once the update has been completed.

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5 Type See the Movie. 6 Press Enter or Return, and then type Get the Watch. If you ind the spacing between your letters is too narrow, you can set the tracking to a higher value. Tracking adjusts the space between two adjacent characters, and is the method Fireworks uses for manual kerning (spacing) of letters. 7 Use the Pointer tool to select the text box. 8 Change the tracking value to alter the distance between letters. Using the Cooper Std font, we adjusted the tracking to a value of 40. 9 Set the font’s weight to bold. If the font has multiple families, you can do this in the Font Style menu in the Properties panel. If the font doesn’t have any derivatives, you can apply faux bold by clicking the B icon. 10 Use the Pointer tool to position the text area so it is centered left to right within the rectangle. A Smart Guide appears when you’re in the correct location. To dress up the text a bit more, you can add a Live Filter. 11 In the Filters area of the Properties panel, click the Add Live Filter button, and then choose Shadow And Glow > Drop Shadow. Set the Distance to 4, and click away from the Live Filter settings to close them.

E Tip: If you ind the guides getting in the way, you can hide them temporarily by pressing Ctrl+; (Windows) or Command+; (Mac), or by choosing View > Guides > Show Guides. You can clear the guides completely by choosing View > Guides > Clear Guides. # Note: You will learn more about working with text in Lesson 7.

Working with Auto Shapes Auto Shapes are art with JavaScript logic attached. hey include additional diamond-shaped control points that let you alter visual properties, such as corner roundness, corner shape, or the number of points in a star. Most of these control points also have tooltips that describe how they afect the Auto Shape. You will now add an Auto Shape as a background for the watch thumbnails. 1 Choose the Chamfer Rectangle tool from the Vector section of the Tools panel (click and hold the Rectangle tool to see the other tools available). 2 Drag out the shape so it covers the width and height of the four watch thumbnails. When you release the mouse, you’ll see the yellow diamonds in each corner. You’ll also see that the shape takes on the properties of the last vector shape, which can make for a pretty busy-looking design. 3 If necessary, change the Fill setting from Pattern to Solid. 4 Set the ill color to #343434, matching the gray background of the watches.

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5 Make sure the Stroke category is set to None. 6 Click on one of the four yellow corner diamonds to toggle the corners of your shape to other designs. Keep clicking until the chamfer shape returns. 7 Resize the total shape by clicking and dragging the ifth yellow diamond, located near the bottom right of the shape. Set the dimensions to 390 pixels wide by 100 pixels high. 8 In the Layers panel, rename the new shape sample background and adjust the stacking order so that the sample background is below the watches.

9 Use the Pointer tool to reposition the shape so it is centered under the watch group. Smart Guides will help you align the objects. Toggle the shape's visibility of if needed. 10 From the Stroke Category menu, choose Pencil > 1-Pixel Soft and set the stroke color to black (#000000). Your inal design should be similar to this. E Tip: The Auto Shapes panel (Window > Auto Shapes) contains a collection of even more complex shapes. You can download other shapes from the Adobe Exchange at www.adobe.com/ cfusion/exchange/. You will have to sign up irst, but membership is free.

11 Save and close the ile.

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Understanding paths and the Pen tool he Pen tool lets you create custom shapes and paths by drawing with the mouse or a stylus. You can also use it to edit existing shapes by adding anchor points. Unlike the Pencil bitmap tool, where you basically just click and drag to draw a bitmap line, using the Pen tool involves clicking the mouse to set a straight line between two anchor points (a place where the path can change direction) or clicking and dragging to create a curved section of a path. Every time you want to change the direction of a path, you move the mouse to the desired position and then click to set an anchor point. Let’s try out the Pen tool in a new document. 1 Create a new document that is 500 x 500 pixels. 2 Set the Canvas color to white if it isn’t already, and click OK. 3 Select the Pen tool. 4 Make sure a stroke color has been applied, so you’ll be able to see and select the inished path later. Black is ine. 5 Click once near the left side of the canvas. 6 Move your mouse near the middle of the canvas. 7 Click again to set another anchor point.

8 Move the mouse to the right area of the canvas. 9 his time, instead of just clicking the mouse, hold down the mouse button and drag. his will pull out curve control arms for that section of the path.

10 When you have drawn a curve to your satisfaction, release the mouse button. As you add more anchor points, Fireworks displays the path outline in blue. If you move the mouse around, you will see the Pen tool is still active. To disengage the tool, do one of the following:

• Close the path (create a shape) by clicking the original starting anchor point. • Double-click the last anchor point to create an open path.

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Anchor point basics Anchor points have two states: straight and curved. You can convert a straight point to a curved point by using the Pen tool to click and drag out the curve control arms, also known as Bezier control arms. To convert a curved anchor to a straight point, just click on it once with the Pen tool. Click a second time to delete the anchor point entirely. If you want to delete a straight anchor point, select it with the Subselection tool, and press the Delete key.

other vector tools Vector Path tool The Vector Path tool ( ) can be handy if you like to draw vector shapes in a more freehand manner. While it’s best suited for a stylus, due to the precise control and varying degrees of pressure that a tablet allows, you can also use a mouse to draw independent paths.

Redraw Path tool The Redraw Path tool ( ) gives you another way to edit a vector shape or path without having to use the Pen tool. Much like the Vector Path tool, you use this freehand, to draw a new path and connect it to an existing path to change its shape. Draw outside the existing path to add to the shape or draw inside to cut away from the shape. The path’s stroke, ill, and efects are retained.

Freeform tool The Freeform tool ( ) lets you bend and reshape vectors interactively instead of altering anchor points. You use this tool to push or pull any part of a path, and Fireworks adds, moves, or deletes points along the path as you change the vector object’s shape.

Reshape Area tool The Reshape Area tool ( ) is another way to distort a path. It pulls the area of all selected paths within the outer circle of the reshape-area pointer. Think of it as a smudge tool for vectors, but instead of smearing pixels, it alters a path’s shape.

Path Scrubber The Path Scrubbers ( , ) are interesting tools. They don’t change the path; rather, you use them to alter the heaviness of the stroke which is applied to the path. They afect the stroke only in the areas you paint over with the tool. This can give the stroke a bit more of a hand-drawn look.

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editing paths Creating paths and shapes is empowering (and fun!), but it’s only half the battle. Knowing how to edit vectors—that is, to be able to customize them—is equally important.

Adding points with the Pen tool You can add anchor points to an existing path using the Pen tool. You will do this with the path from the previous exercise. 1 Make sure the path is active by selecting it with the Pointer tool. 2 Select the Pen tool. 3 Click on the path where you want the new anchor point to be; note the plus sign (+) that appears next to the Pen tool’s cursor. Click once to add a straight path connection; click and drag to create a curved path section.

# Note: If you add a point to a curved segment, it is automatically a curved anchor point.

# Note: If you see a

4 To stop the Pen tool from adding to the end of an open path like this one, double-click the last control point in the path.

crosshair cursor icon instead of the Pen icon, you will need to deselect the Precise Cursors option in the Edit area of the Preferences dialog box.

editing paths with the Subselection tool After a path is created, you can use the Subselection tool ( ) to select and alter the location of individual anchor points, thus changing the shape of the path. he Subselection tool works similarly to the Direct Selection tool in Photoshop or Illustrator. 1 Select the Subselection tool from the Tools panel. 2 Move the tool to the middle anchor point of the path you created earlier. If the vector is no longer active (highlighted in blue), click anywhere on the path to activate it. 3 Click and drag the middle anchor point lower on the canvas. he path redraws when you release the mouse.

# Note: To use the Subselection tool on Auto Shapes or on vectors created by the Rectangle tool, you must irst ungroup them (choose Modify > Ungroup, or press Ctrl+Shift+G [Windows] or Command+Shift+G [Mac]). They will lose their unique characteristics: Auto Shapes will lose their yellow control handles, and you will no longer be able to change the corner radius of a rectangle from within the Properties panel.

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Creating custom shapes Creating custom vector shapes opens up a lot of creative options. In this exercise, you will use the Pen tool to draw a custom vector shape. he ile you will work on (street_scene.fw.png) is all vector artwork, from simple shapes in the background to complex vector illustration of the movie’s lead actor. To practice custom shapes and other techniques, you’ll be updating this ile to look like street_scene_complete.fw.png. To begin, you will create a stylized background to run behind the movie title in this design.

drawing the shape You will do your best to imitate the shape shown in the following igure. It’s made up of a series of straight anchor point segments. his is a custom shape, so don’t worry if you don’t create an exact match. To help you further, you can make the original shape visible in the Layers panel and use it as a guide. 1 Open the street_scene.fw.png ile from the Lesson05 folder.

2 Hide the detective object by clicking on its eye icon in the Layers panel. his will make it easier for you to trace the original shape. You can hide the skyline layer as well, if it is distracting you. 3 Select the Pen tool and specify the layer you'll draw on. 4 In the Properties panel, set Fill to None. For Stroke, choose Basic > Hard Line. hen set the stroke’s color to #990000 and Texture to 0%. 5 Click and release the mouse to set each point for the shape. here is no need to click and drag any of these points as you set them, because they all need to be straight lines.

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6 When you bring the cursor back to your starting point, notice that the Pen tool icon changes to the Pen tool with a small circle, indicating you can close the path by clicking. his closed path is your custom shape.

7 Select the Subselection tool. 8 If necessary, you can reposition any anchor points in the new object; use the mouse to reposition anchor points. Note how both paths extending from the anchor point adjust based on the new location of the anchor point. Feel free to adjust anchor points until you have the shape you want. 9 If you were using the original image as a guide, hide it now in the Layers panel. 10 Save the ile.

Customizing ills and strokes Creating a custom shape is just the beginning; once you have a vector object on the canvas, you can apply a variety of ill and stroke efects to it as well. Here, you’re going to customize the look of your newly created custom shape by adding a gradient and a stylized stroke efect.

Adding a gradient ill First you’ll add the gradient, rotating it to match the original object. 1 If necessary, select the custom object you just created from the Layers panel. (Because this object has no ill, it’s easier to select it from the Layers panel.) 2 Choose Gradient > Linear from the Fill Category menu in the Properties panel. A standard linear gradient appears. 3 Select the Pointer tool. A black control arm appears.

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his “arm” controls the location, direction, angle, and length of the gradient ill. he arm has a circle control point at one end and a square control point at the other. he circle controls the position/starting point for the gradient; the square controls the angle and length. By default, the linear gradient runs from top to bottom, the full height of the object. 4 Use the mouse to click and drag the circle point so it rests on the top edge of the shape. As you drag, the gradient updates live on the canvas.

5 Move the mouse onto the arm itself. A rotation icon appears. Click and drag the arm so that it is roughly parallel to the angle of the shape.

6 Drag the circle point again so it is positioned in the gap of the shape at the lower left.

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7 Drag the square control point to shorten the gradient and to change its angle.

8 Click the Fill Color box. he Edit Gradient pop-up window opens. Opacity Controls

Reverse Gradient

Color Selection Preset Gradients

Gradient Preview

9 Click the left color swatch, and when the color picker appears, type #252A41 in the input ield. hen press Enter or Return. 10 Click the right color swatch, input #C3112E, and press Enter or Return. 11 To make the gradient smoother, select the Dither Gradient button ( Properties panel.

) in the

12 Still within the Properties panel, click the Add Live Filters button, and choose Shadow And Glow > Drop Shadow to add a drop shadow to the object.

Customizing the stroke Much like adding a ill to a vector, styling the stroke can also add impact and interest to an object. he plain red stroke we’ve got currently is okay, but to achieve a sense of grittiness and danger, you will customize the stroke using one of the preset Stroke categories. 1 Making sure the object is still selected, set the Tip Size to 38. 2 From the Stroke menu, choose Oil > Splatter. 3 Choose Stroke Options from the Stroke menu.

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4 Select the Fill Over Stroke option, and click away from the Stroke Options panel to close it. his hides the stroke efect inside the shape. 5 Change the stroke’s edge softness to 19. 6 Choose DNA from the Texture menu, and set the value to 30%.

7 In the Layers panel, unlock and unhide the detective object, and position the shape you created below it in the stacking order. his puts the detective in front of the shape. 8 Save the ile. E Tip: Dragging layers up and down in the Layers panel moves them away or toward the front of the canvas, respectively. You can also choose Modify > Arrange, and then choose one of the four options to alter the stacking order of selected objects: Bring to Front, Bring Forward, Send Backward, and Send to Back. If you use this feature frequently, memorizing the keyboard shortcuts (Ctrl+Up/ Down arrow for Windows, or Command+Up/Down arrow for Mac) will be a great time-saver.

Next you will import the movie title.

importing and resizing a vector object he movie title is a vector object. You’ll import it and then scale it to it the design. 1 In the Layers panel, select the custom path shape you created in the previous exercise. 2 Choose File > Import, and browse to the Lesson05 folder. 3 Select the movie_title.fw.png ile, and click Open. 4 Make sure Insert after current page is not selected and then click Import (Windows) to return to the canvas. On the Mac, click Open, then click Open again (Mac). he import tool icon replaces the standard cursor.

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# Note: When importing images in Fireworks on the Mac, you may have to click once on the canvas to make it active, then click a second time to import the image.

5 Click anywhere on the canvas to import the title at its original size. 6 In the Properties panel, lock the proportions of the object. 7 Set the width to 390 pixels. 8 Press the Tab key and the height adjusts automatically, giving you dimensions of 390 x 286 pixels. 9 Use the Pointer tool to position the title so the letter “Y” is near the brim of the detective’s hat. he x and y coordinates should be around 178 x 183. # Note: Did you notice that the movie title’s overall quality did not change after resizing? That’s because the title is made up of a group of vectors. And, to ensure that the text style does not change from designer to designer, the text was converted from true text to paths.

Using the Compound Shape tool You have one last task for this ile. Notice the skyline scene? he client has asked that the entire width of the design be illed with a skyline, so you need to add one more building. Rather than creating a single complex custom path, you will use the Compound Shape tool to temporarily group multiple vector shapes together as you draw them, making it easy to move the objects at the same time, yet also allowing for quick and easy editing of any shape within the compound group. You can also test efects such as punching, intersecting, or cropping overlapping vectors. When you use the Subselection tool ( ), each vector is easily accessible and editable.

# Note: Yes, you could just copy one of the existing buildings, but you already know how to copy and paste!

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Applying a pattern to a vector object Adding a pattern works much the same way as adding a gradient. The available preset patterns are arranged alphabetically in the Fill Category Pattern submenu in the Property selection list (or you can create your own). They are bitmap images that have been designed to seamlessly tile inside a vector shape. 1 Create an exact copy of the custom shape by choosing Edit > Clone. 2 Choose Pattern > Wood from the Fill Category menu in the Properties panel. As with the gradient, the control arms allow you to change the direction of the pattern or even distort it. 3 Place the cursor over one of the arms (not the points) to rotate the pattern to suit the orientation of your object. 4 Delete the object from the Layers panel.

E Tip: The Path panel (choose Window > Others > Path) opens up a lot of possibilities for creative design, even if you are not a whiz with the Pen tool. You can punch out corners, knock holes out of a shape, distort existing paths, and have a great degree of control over anchor points.

Working with compound shapes Before you begin, take some time to study one of these compound shapes. 1 Lock and hide the foreground layer, then unlock and expand the skyline layer. 2 Select the Pointer tool and click on the leftmost building. Notice that it is made up of multiple shapes. 3 Select the Subselection tool and click on any of the windows in the building. Notice that only the selected window remains active; none of the other shapes remain selected.

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4 Press Delete. Only the one shape is removed. 5 Press Ctrl/Command+Z to undo the deletion. 6 With the window still selected, look to the right side of the Properties panel. he Compound Shape tool consists of six controls: Normal, Add/Union, Subtract/Punch, Intersect, Crop, and Combine. Normal is the default setting; each drawn shape is a single independent object. When you draw a vector shape such as a rectangle, ellipse, or polygon, or use the Pen tool, you can use the other tools to group shapes together. Subtract/Punch Add/Union

Intersect

Normal

Crop Combine into single composite path

he rectangles that make up the windows are set to Subtract/Punch, which means they literally punch a hole through the larger rectangle of the building. 7 Change the condition of the selected rectangle from Subtract/Punch to Intersect. he entire building ill color disappears and only the single window (with its solid shadow efect) remains visible. In fact, if you click away from the building, you will see only the one rectangle, loating on the canvas. 8 Make sure the window is selected and change the shape’s condition back to Subtract/Punch.

Adding to the skyline Now it’s time to add the new building. 1 Click away from the current building and make sure nothing else is selected. 2 Choose the Rectangle tool from the Vector tools section of the Tools panel, and near the right side of the canvas, draw a rectangle that is 106 pixels wide by 500 pixels tall. 3 Select the Zoom tool and draw a marquee that includes the top of the large rectangle and some space above it. 4 Select the Rectangle tool again. hen, in the Properties panel, click the Add/Union icon.

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5 Draw a second, short rectangle at the top of the irst one. Don’t worry about position or size; you will adjust that next.

If you switch to the Pointer tool, you will see that both rectangles are selected. 6 Choose the Subselection tool and click on the small rectangle. 7 Drag the small rectangle until it sits lush on the top of the larger shape and is centered side to side. Smart Guides will help you with this positioning. 8 Repeat steps 5–7, this time drawing a slightly smaller rectangle. he Add/Union attribute remains in place until you deselect the current compound shape.

9 Zoom out until you can see the entire building.

Adding windows to the building # Note: Selecting the compound shape is just a way to make sure you are adding the other shapes to the correct object. Once you choose the Rectangle tool, the compound shape is no longer selected. This is normal.

It’s time to add the windows. We’ll make use of the History panel to speed up this process, but irst we need to create one set of windows. 1 Make sure your building is still selected and then choose the Rectangle tool again if necessary. 2 Change the Compound Shape tool attribute to Subtract/Punch and draw a rectangle that is 20 x 40 pixels. When you release the mouse, a hole is punched through the main rectangle. Remember you can always adjust the dimensions in the Properties panel. # Note: The act of punching one vector through another can also be done using the Path panel or the Modify menu, but doing so requires multiple steps and is a destructive process. Punching one vector through another is normally a three-step operation: draw the punching shape, select both shapes, and then use the Path panel or Modify menu to perform the action. This worklow permanently changes the vectors by combining them into a single composite path. You did the same thing in just two steps, and the objects remain unique and editable!

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3 Using the Subselection tool, position the rectangle about 13 pixels from the left edge and 26 pixels from the top edge of the main rectangle. 4 Press Ctrl+Shift+D (Windows) or Command+Shift+D (Mac) to create a clone of the window. 5 While holding down Shift, press the Down arrow key ive times. 6 Open the History panel (choose Window > History) and locate the last two steps, Clone and Move. 7 Hold down the Shift key and click on Clone and Move to select them both.

8 Press the Replay button six times to create your irst column of windows. 9 Choose the Subselection tool, and while holding down Shift, click on all of the windows to select them. 10 Clone the selected group of windows. 11 Hold down Shift and press the Right Arrow key three times. 12 Repeat steps 10 and 11 using the new column of windows. 13 Select the Pointer tool and drag your new building until the bottom lines up with the bottoms of the other buildings. Again, Smart Guides display a horizontal dashed line when the building matches up with the others. 14 One last step is to apply the solid shadow to this new building. Make sure the object is selected with the Pointer tool, and then choose Shadow And Glow > Solid Shadow from the Live Filters menu in the Properties panel. 15 Leave the Angle and Distance settings as they are, but enable the Solid Color option.

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16 To make sure the new shadow has the same color as the others, click on the Color ill box and then place your cursor over one of the other shadows and click to sample that color exactly. Until you add the correct solid color, the whole object turns black.

17 Click OK. Your skyline is complete! 18 Unhide the foreground layer and save your ile. his has been a big lesson, but vectors are a large part of the creative toolset in Fireworks and it’s important that you get comfortable with the tools. Although we did not work with the Auto Shapes panel, we recommend you have a look at the panel and check out the prebuilt vector shapes that are included with Fireworks.

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Review questions 1 What is one of the main diferences between bitmaps and vectors when scaling is applied? 2 When drawing a rectangle, how can you easily round the corners of the shape? 3 What are Auto Shapes, and where can you ind them? 4 How do you edit the control points of a vector object once it has been drawn? 5 What is the Pen tool used for? 6 What does the Compound Shape tool do?

Review answers 1 Vector images do not degrade in quality when they are resized, either smaller or larger, and bitmap images do. 2 Before releasing the mouse, press the Up Arrow key to increase the roundness of the rectangle’s corners. Press the Down Arrow key to reduce the corner radius. 3 Auto Shapes are objects that include additional diamond-shaped control points that let you alter visual properties, such as corner roundness. Dragging a control point alters the associated visual property. Most control points have tooltips that describe how they afect the Auto Shape, too. Basic Auto Shape drawing tools are found in the Tools panel; more complex ones are found in the Shapes panel. 4 To edit the control points of an existing vector object, select the Subselection tool, click on a control point, and drag the control point to reposition the paths connected to it. 5 he Pen tool lets you create custom shapes and paths by drawing with the mouse or a stylus. It also allows you to add anchor points to existing paths. Using the Pen tool involves clicking the mouse to set a straight line between two anchor points (a place where the path can change direction) or clicking and dragging to create a curved section of a path. Every time you want to change the direction of a path, you move the mouse to the desired position and then click to set another anchor point. 6 he Compound Shape tool lets you create complex vector shapes by temporarily grouping other, simpler shapes together, while maintaining the editability of each individual shape. You can quickly and easily experiment with various vector efects such as punching or intersecting, without having to walk through a series of destructive steps.

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6

MASKinG Lesson overview Masking is a key technique for creating imagery, without permanently afecting images. Combined with stroke efects and gradient ills, you can achieve customized results. Fireworks lets you work with both bitmap and vector masks easily and seamlessly. In this lesson, you’ll learn how to do the following:

• Create a bitmap mask from a selection • Edit a bitmap mask using the Brush tool • Create a vector mask from a custom vector shape • Edit the vector mask and change its properties using the Properties panel

• Use the Auto Vector Mask command his lesson takes approximately 90 minutes to complete. Copy the Lesson06 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Masking opens up a world of creative options and adds lexibility to your designs as well, because you are not permanently deleting pixels—you’re merely hiding them from view.

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About masks In this lesson, you will work with masks to create a banner ad for the promotion of the Double Identity movie, and you’ll have a chance to brush up on importing images and using the Pen and Subselection tools along the way. Before we get into that, we’ll talk about the diferences between the two types of masks, and take a look at the inished artwork to give you an idea of where you’re going. 1 Open the movie_banner_inal.fw.png ile from the Lesson06 folder. In this ile, masks have been used on the cars and the actors. In many cases, the mask ill has been changed to a gradient, to provide a more realistic fade into the background. 2 Close this ile, or keep it open for reference as you progress through the lesson. In a nutshell, masks hide or show parts of an object or image. At their simplest, masks are a nondestructive way of cropping objects in your design, without permanently deleting anything. A mask can be edited or discarded at any time. You can also permanently apply a mask, lattening it to the image being masked. here are two basic kinds of mask: bitmap and vector.

Bitmap masks Bitmap masks hide bitmap image data using a pixel-based mask. You can create bitmap masks using other bitmap images, selections, or the Brush ( ) tool.

E Tip: You can also mask one bitmap image with another. The darker tones in a photo used as a mask will hide areas on the image being masked. Lighter tones reveal parts of the masked image.

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To create a selection for a mask, you can use any of the bitmap selection tools. Decide on the type of edge you want for the selection (Hard, Anti-alias, or Feather) using the Live Marquee settings in the Properties panel. hen, just draw your selection. Bitmap selections can create masks only for other bitmaps. Using the Brush tool, you can easily create or edit the mask live on the canvas, just by painting. Black hides, white reveals, and shades of gray produce semitransparency. (We’ll remind you of this important basic concept later in the lesson.) If you set your brush color to a shade of gray, the pixels you paint over will be semitransparent.

Creating a bitmap mask with the Brush tool

Original image

Beginning to paint a bitmap mask using the Brush tool and black for the brush color

The inal masked image

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Vector masks Vector masking is one of the most powerful features in Fireworks. Like bitmap masks, vector masks are a nondestructive way of cropping, but unlike bitmap masks, vector masks can be applied to vectors, bitmaps, groups, or graphic symbols. Compared to bitmap masks, vector masks tend to have a higher degree of control and accuracy, because you use a path, not a brush, to create them. It’s easy to change the ill or stroke of a vector mask. Generating the same type of efect with a bitmap mask can be more time consuming. Vector masks use one of two modes: Path Outline or Grayscale Appearance. You can change the mode in the Properties panel.

In Path Outline mode, the vector mask acts like a cookie cutter, using the shape of the path to act as the mask.

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In Grayscale Appearance mode, any bitmap information in the vector ill gets converted to a grayscale alpha channel. Grayscale Appearance uses the pixel values of the vector’s ill and the vector shape itself to create the mask. If your vector mask has a range of tones in it—such as a gradient ill—the image will be hidden or revealed based on those tones. Just like with bitmap masks, black hides, white reveals, and shades of gray produce semitransparency, as in this example, where a linear gradient has been used to ill the vector shape.

he convenient Auto Vector Mask command works in this way as well. We’ll try that out later in the lesson. You can easily apply a shape as a mask, whether you drew a vector shape using a shape tool or used the Pen tool to create a custom shape.

designing the banner ad he banner you build in this lesson has many elements to it—imported assets, masks, gradients, text, layers, and so on.

Creating the document Start by creating the new, basic document to hold all your further work. 1 Choose File > New. 2 In the New Document dialog box, set the dimensions to 728 pixels wide by 90 pixels high. his is a standard horizontal leaderboard banner size.

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3 Click the color swatch to set a custom canvas color. 4 Choose black (#000000) from the color picker and click OK. Ultimately, this document will use multiple layers. You will add those now. 5 Double-click the existing Layer 1 name in the Layers panel and rename it background. 6 Click the New/Duplicate Layer icon (

) at the bottom of the Layers panel.

7 Name the new layer main. 8 Repeat step 6 to create one more layer, and name it text.

9 Save your ile as movie_banner_working.fw.png.

Adding the background he background for the inal banner is not just a lat color; it’s got some depth and variation in tone. You will create that now. 1 Lock the text and main layers by clicking the empty box beside the layer names. his will force any new objects into the background layer. 2 Select the Rectangle tool, and draw a rectangle the same size as the canvas (728 x 90 pixels).

3 In the Properties panel, set the X and Y coordinates to 0. 4 In the Properties panel, change the Fill Category to Gradient > Starburst. 5 Click the Fill color box to open the Gradient editor.

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editing gradient colors Now you will set the colors for the gradient. 1 Click the far-left color swatch. 2 Use the Eyedropper tool to select the black color swatch.

Click color swatch to launch color picker

3 Add a new swatch by clicking just below the gradient ramp, where your cursor becomes an arrow with a plus sign next to it. A new gradient color swatch appears.

4 Click the color swatch, change the existing color value in the ield to #535973, and press Enter or Return. 5 Continue adding color swatches to the gradient by typing the following values into the ield: 181C25, 000000, 6A7295, and 323647. 6 Place the color swatches so that they resemble this igure, and click away from the Edit Gradient pop-up window when you’ve inished. #535973 #181C25

#000000

#000000

#6A7295 #323647

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editing gradient direction and angle You can alter the angle and direction of a gradient by moving the gradient control arm (or arms). With the rectangle still active, and the gradient applied, you should see two control arms. he arms are normally black, but we’ve outlined them in white here to make them easier to see. Controls origin/position of gradient

Controls angle, direction, and length of gradient

1 Select the Pointer tool from the Tools panel. 2 Change the length and angle of the upper gradient arm by dragging the square control point until it is similar to what you see here. Again, we have outlined the control arms in white so it’s easier for you to see the change.

3 Rename the rectangle background. 4 Lock the background layer. 5 Save your ile.

importing assets

E Tip: When importing Fireworks iles, remember you will have to click Open, then Import (Windows) or click Open, then Open again (Mac). Make sure that Insert After Current Page is not selected.

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You’re ready to import the movie title and cars now. 1 Unlock the text layer by clicking the lock icon beside the layer name. 2 Choose File > Import. 3 Open the movie_title.fw.png ile in the Lesson06 folder.

4 When the import icon ( ) appears, position the cursor near the left side of the canvas. Drag until the width is approximately 160 pixels and the height 78 pixels. Tooltips do not appear when you are scaling an imported image, so keep an eye on the Properties panel.

E Tip: On the Mac, you may have to click once to bring the canvas back into focus, then click a second time to import the image.

5 Release the mouse. he text appears. # Note: This text is actually a series of paths that have been grouped together.

6 In the Properties panel, set the x and y coordinates for the title to 30 and 3 pixels, respectively. 7 In the Layers panel, rename the object movie title. 8 Lock the text layer, and unlock the main layer. 9 Choose File > Import, locate the policecar1.fw.png ile, click Open, and then Import (Windows) or Open and then Open (Mac). 10 Drag the import icon until the width is approximately 80 pixels, and release the mouse.

E Tip: If you don’t get the dimensions you want, you can constrain proportions in the Properties panel and enter the values numerically. Because the movie title is all vectors, enlarging it will not afect the quality of the grouped object.

11 In the Properties panel, set the x and y coordinates to 157 and 44 pixels, respectively.

12 In the Layers panel, rename the object car1. 13 Import the policecar2.fw.png ile. 14 Release the mouse when the width reaches approximately 56 pixels. Set its x and y coordinates to 217 and 24 pixels, respectively. 15 In the Layers panel, rename the object car2.

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Using the Auto Vector Mask for quick fades You’ll do more complicated masking shortly, but for these police cars, the Auto Vector Mask is just the feature to use. It not only creates a mask quickly, but lets you preview the efect. his command can be used on vector or bitmap objects. 1 Select car1 in the Layers panel. 2 Choose Commands > Creative > Auto Vector Mask. A dialog box appears.

3 Choose the vertical linear gradient, solid to transparent. 4 Move the dialog box so it is not covering the car, so you can see the efect previewed on the canvas.

5 Click the Apply button. 6 Use the Pointer tool to reposition the gradient so it begins lower on the car. Place the circle control handle on the hood.

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7 Drag the square control handle up and slightly to the right, to shorten the gradient and change the angle. he bottom front wheel of the car should appear to fade into the background.

E Tip: If you accidentally click of the car, clicking the gradient thumbnail in the Layers panel will retrieve the control handles again.

8 Select car2 from the Layers panel, or use the Pointer tool to select it on the canvas. 9 Choose Commands > Creative > Auto Vector Mask again. 10 Select the Radial shape gradient, and click Apply. 11 Use the Pointer tool to reposition the gradient circle control handle on the right side of the hood.

12 Drag the square control handle to the lower right. his will fade the top and left sides of the car, blending it with the other car and the background.

E Tip: Thanks to the Live Preview of the Auto Vector Mask efects, not only can you see the result of your choice before you apply it, the Properties panel also shows you what type of gradient is being used to create the efect.

13 Save the ile.

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importing Photoshop images You are getting lots of practice importing images. You will import two more images now, but there’s a twist. hese images are Photoshop (PSD) iles. Fireworks has some special features for importing such iles, even if the ile is only a single image. 1 Choose File > Import, and browse to the Lesson06 folder. 2 Open the mark_actor06.psd ile. he Photoshop File Import Options dialog box appears. his dialog box contains many settings, but you are only concerned about image size at this time.

3 Set the width to 340 pixels. he height adjusts automatically. Click OK. 4 When the import icon appears, click on the canvas once to load the image at the dimensions you set. 5 Reposition the image to X: 97, Y: –45 pixels.

6 Rename the image in the Layers panel to Mark. 7 Lock and hide the Mark object.

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8 Choose File > Import again. 9 Open the wendy.psd ile. 10 Set the width to 290 pixels, and click OK. 11 When the import icon appears, click near the middle of the canvas once to load the image at the dimensions you set.

12 Rename the object in the Layers panel to Wendy.

E Tip: Remember, importing iles into an open document saves you the time of opening, copying, and pasting one image into another.

opening Photoshop Files Opening layered Photoshop iles within Fireworks is as simple as choosing File > Open or File > Import and browsing for the native Photoshop PSD ile. Fireworks CS5 supports hierarchical Photoshop layers, layer groups, layer styles, layer comps, vector layers, and common blend modes, making it easy to handle iles you receive from another designer. Exceptions to this integration include adjustment layers and clipping groups. These features can either be lattened into bitmaps or ignored when you import or open a PSD ile within Fireworks. Flattening retains the appearance, but editability is lost. continues on next page

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opening Photoshop Files

continued

To globally customize how Fireworks opens or imports PSD iles, change the preferences. Choose Edit > Preferences (Windows) or Fireworks > Preferences (Mac), and then select Photoshop Import/Open from the list on the left. the General Photoshop import options include:

•

Show import dialog box/show open dialog box. These identical windows give you document-level import/ open control.

•

Share layer between frames. This option is important for animation or “page state” efects.

the custom ile conversion settings area includes the following options: Image layers:

•

Bitmap images with editable efects. This option is the default setting that gives you the most lexibility. Layer styles remain editable.

•

Flattened bitmap images. This option lattens layer efects and blend modes to maintain the exact appearance. Photoshop layer styles are no longer editable.

Text layers:

• •

Editable text. This option is the default. Flattened bitmap images. This option preserves the look and style of text, but the text is no longer editable.

Shape layers as:

•

Editable paths and efects. This is the default option with the most lexibility, but vectors may not render exactly as in Photoshop.

• •

Flattened bitmap images. When this option is enabled, vectors and efects are rasterized to bitmaps. Flattened bitmap images with editable efects. When this option is enabled, vectors are rasterized but layer efects and blend modes remain editable.

Layer efects:

•

Prefer native ilters over Photoshop live efects. This option is only recommended if the ile will not be going back to Photoshop.

Clipping path masks:

•

Flatten to maintain appearance. When this option is enabled, the mask is converted to a bitmap mask.

Adjustment Layers:

•

Maintain appearance of adjusted layers. This option lattens adjustment layers to retain the image’s appearance, but you can no longer edit the image. If this option is not selected, adjustment layers are discarded completely.

With the defaults left as they are, opening or importing a PSD ile displays the Photoshop File Open Options or File Import Options dialog box. This gives you the opportunity to set options for opening a speciic PSD ile, overriding any options set in the Preferences panel.

# Note: A Photoshop layer comp is essentially an editable snapshot of the current state of the design. It’s similar to pages in Fireworks in that each layer comp can show a diferent set of visible elements or diferent positions for those elements.

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Creating and editing masks You’ve now come quite a long way with the banner ad ile, and a lot of the assets are in place—enough for you to notice that there is far too much background visible in both of the actor photos. You will use masks to hide most of those backgrounds.

Creating a vector mask Comparing the completed version with your working version, you can see that Wendy is facing the opposite direction from Mark. You will alter your image of Wendy so she faces the same direction as the inished ile. 1 Select the Wendy image. 2 Right-click (Windows) or Control-click (Mac) Wendy’s face on the canvas. A context menu appears. 3 Choose Transform > Flip Horizontal.

4 Set the position to X: 340, Y: –39.

5 Select the Ellipse tool from the Tools panel. 6 Change the edge from Anti-alias to Feather, with a value of 10, if necessary.

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7 Draw an oval shape around Wendy’s face, approximately 90 x 106 pixels. he ellipse should be roughly centered on her face.

8 Release the mouse. he vector ellipse appears, illed with the last Fill Category option used for a vector. he category needs to be a gradient ellipse; if this is not what shows up in the Fill Category ield, choose Gradient > Ellipse from the Fill Category menu. 9 Select the Fill color box and change the gradient in the Fill Color box to the White, Black preset.

10 Select the Pointer tool. 11 Hold down the Shift key and select the Wendy photo. Now both objects should be selected. 12 Choose Modify > Mask > Group As Mask.

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he ellipse now masks the photo of Wendy. he small blue handle in the center of the masked image allows you to reposition the image within the mask, by dragging with the Pointer tool.

Changing vector mask attributes As you learned earlier, Grayscale Appearance mode uses the pixel data of the vector ill to alter opacity. hat’s why the image of Wendy fades out around the edges. Combined with the feathered edge, you get a subtle blend into the background. You will edit the angle and length of the gradient now. 1 Select the mask thumbnail next to the Wendy image in the Layers panel.

he Ellipse shape appears on the canvas and the Gradient ill control arms appear.

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2 Use the Pointer tool to move the circle control point of the gradient so that it is near her nose. You will ind this easier to do if you zoom in to at least 200%. 3 Use the Pointer tool to set the arms to a clock position of roughly 4:35.

E Tip: Once a mask

4 Extend the left arm slightly out of the canvas area.

has been added, you can reposition the image being masked by dragging the small blue control icon ( ) in the middle of the image. This icon is visible when the image object, rather than the mask, is active.

5 Hide and lock the Wendy object.

editing a vector mask When a vector mask is made active from the Layers panel, you can use the Properties panel to change the Fill Category and Edge settings, as well as those of the stroke (category, size, and edge). You edit the vector shape itself by choosing the Subselection tool and repositioning the vector control points, just as you would with a regular vector shape. You can even add points by using the Pen tool. For more information on editing vectors, refer to Lesson 5.

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Converting a bitmap selection to a mask Sometimes cropping and masking go hand in hand. If you have a small area that you want to mask within a larger image, it may be a good idea to irst crop out the unnecessary parts of the larger image. For the Mark image, you won’t need the surrounding background at all, so you will crop the image irst, and then make a selection mask. 1 Unlock and reveal the Mark object in the Layers panel. 2 Choose Edit > Crop Selected Bitmap. 3 Adjust the cropping marquee so that you exclude the background on either side of the detective, and then press Enter or Return.

4 Reposition the image to approximately X: 215, Y: –45. he exact position will vary depending on how much you cropped the image. 5 Select the Polygon Lasso tool (

).

6 Make sure the Lasso edge is set to Feather, with a value of 5. he Live Marquee can remain selected.

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# Note: To refresh your memory on how to use the Lasso tools, you may want to review Lesson 4 before proceeding.

7 Zoom in on the detective’s face and trace a selection around him. Don’t be concerned if the selection is not 100 percent accurate; you will remedy this in the next exercise.

8 Click the Add Mask button ( ) at the bottom of the Layers panel. he background disappears from the Mark object.

editing a bitmap mask Notice that the mask object has a green highlight around it in the Layers panel. Additionally, the mask icon appears beside the object name. his indicates that the mask—and not the image—is active. Mask Icon (displays when mask is selected)

Show/Hide Object

Link/Unlink Object and Mask

Bitmap Mask (selected) Bitmap Image

It is important that the mask remain active while you are performing these next steps. If at any time the mask is deselected, just click on it in the Layers panel. Take a look at the mask. he color black has replaced the nonselected area. Remember that the color black, when painted on a bitmap mask object, hides pixels. White, on the other hand, reveals pixels. You will adjust the mask as needed using the Brush tool. 1 Zoom in to 200%. 2 Select the Brush tool. 126

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3 Press the D key to set the brush color to black (the default color). 4 Make sure the Stroke Category is set to Soft Rounded (if necessary, choose Basic > Soft Rounded from the Stroke Category pop-up menu). 5 Change the Tip Size value to 10 pixels and the Edge to 100 pixels. he Texture value should be 0%.

6 Paint over any areas of the background that remained when you drew the original bitmap selection with the Polygon Lasso tool.

7 Press the X key to switch the brush color to white. 8 Find an area on the actor that was masked by accident. Paint over the area. he mistakenly hidden pixels are revealed.

# Note: If you didn’t make any mistakes while creating the selection, you can still test this technique by painting over part of the background. The area under the brush reappears when you paint with white, and disappears when you paint with black.

If you end up revealing areas you don’t want, switch back to black and paint over those areas. Adobe fireworks Cs5 ClAssroom in A book

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Changing colors quickly When working with bitmap masks, you may want to switch from black to white to gray to customize the mask. You can do this quickly with these shortcuts:

• • •

Press the B key to switch to the Brush tool. Press the D key to set the color boxes to their default colors (black for stroke, white for ill). Press the X key to toggle the current colors between stroke and ill.

Applying Live Filters to a masked image To give the two actors a darker, grittier, and mysterious look, you will apply a Live Filter to each of them. Remember that the advantage to Live Filters is that they remain editable at all times. 1 Reveal and unlock the layer named Wendy. 2 In the Layers panel, drag the Wendy layer underneath the Mark layer. Mark is large in the design, so it makes more visual sense to have him in the foreground, in case of any overlap between the two actor images. 3 Hold down the Shift key, and use the Pointer tool to select both actors. 4 Click the Add Live Filters (+) button in the Filters category of the Properties panel, and choose Adjust Color > Brightness/Contrast.

5 Set the Brightness to -20 and the Contrast to 20, and then click OK. Because both images were selected, the efect is applied simultaneously to both.

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If the settings are not to your liking, select one of the objects, and then click the i icon beside the Live Filter name in the Properties panel. he dialog box will open again, and you can edit the settings.

Adding the silhouette Your last graphical touch will be adding in the silhouette of a man. 1 Choose File > Import. 2 Open cameo.fw.png. 3 When the Import icon appears, click on the canvas to load the image at its original size. 4 In the Properties panel, set the x and y coordinates to 611 and -1 pixels, respectively.

5 Save the ile.

Final touches here are several inishing touches you have to add to this design: you’ll put in some more text, tweak the position of some objects, and add an accent highlight behind the movie title.

Adding text First you will add the promotional text. 1 Lock the main layer, and unlock the text layer. 2 Select the Text tool.

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3 Select the following settings in the Properties panel: Font Family: Arial Font Style: Bold Font Size: 12 points Color: White Anti-aliasing: Strong Anti-alias

4 Move the cursor to the canvas just below the movie title. 5 Type COMING SUMMER 2010. 6 Double-click “2010” to select the year. 7 Choose Brush Script or a similar sketch-like font from the Font Family menu. 8 Triple-click anywhere on the text to select the entire text block. 9

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Hold down Shift + Ctrl (PC) or Shift + Command (Mac) and tap the right arrow key once, to increase the tracking between each character by 100.

10 Use the Pointer tool to reposition the text box so the irst word is below the E of “Identity” in the movie title.

Adding the cast names he main stars of the movie are important, too, so you will add those now. 1 Make sure the font is set to Brush Script (or a similar sketch-like font) and that the Font Style is set to Bold. If Bold isn’t available, click the Faux Bold icon ( ). Change the size to 20 points. he size may vary depending on your font choice. 2 Move the cursor between the Wendy image and the silhouette. 3 Type Mark. 4 Set the position to X: 519, Y: 3 in the Properties panel. 5 Move the cursor away from the text box, and click on the canvas. 6 Type Wendy. 7 Set the position to X: 519, Y: 43.

8 Select the Text tool again and click on the canvas to start a new text block. 9 Choose Arial Black with font size 28. hen, type SOUSA.

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10 Set the position to X: 507, Y: 17 in the Properties panel. 11 Click on the canvas again, and type CARTER. 12 Set the position to X: 502, Y: 59. 13 Adjust the irst names so they appear slightly above the last names.

Styling the text Now you’ll spice up the text of this banner ad a little bit by changing its ill. 1 Zoom in to 300%. 2 Select the Pointer tool, and then select SOUSA. 3 Open the Text Color box, and click the Fill Options button.

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4 Choose Gradient from the Fill Category menu, Linear from the gradient type menu, and White, Black from the gradient preset menu; then press Enter or Return.

5 Reposition and shorten the gradient control arm so that it extends over the text only, rather than the entire text box.

Creating a custom style You’re going to use this gradient efect again, so it’s a good time to create a custom style. 1 Make sure the text block is still selected, and open the Styles panel by double-clicking on the panel tab or by choosing Window > Styles. 2 Click the New Style icon ( dialog box appears.

) at the bottom of the Styles panel. he New Style

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3 Deselect all the text properties.

4 Name the style Movie Text, and click OK. he new style appears in the Current Document section of the Styles panel.

# Note: Custom styles remain available to any object in the document from which they were created. To make a custom style available to other documents, you must export it. To learn about exporting styles, see Adobe Fireworks Help.

5 Select the Pointer tool. 6 Select CARTER. 7 Click on the newly created style. he selected text block receives the same treatment as the SOUSA text.

Styling the irst names You will keep things simple for the irst names. 1 In the Layers panel, rearrange the layers so that the names Mark and Wendy are stacked above the two last names. 2 Hold down the Ctrl (Windows) or Command (Mac) key, and select the Mark and Wendy objects in the Layers panel.

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3 Change the text color to #CCCDDA in the Properties panel. 4 Select the Scale tool from the Tools panel. 5 Position the cursor just outside of the scaling handles to the right of the text. 6 When the cursor changes to a rotate icon, click and drag upward just slightly.

7 Press Enter or Return to commit to the rotation. 8 In preparation for the next exercise, hide and lock the text and main layers, and unlock the background layer. 9 Save the ile.

tweaking the background he background ill has a nice look, but it’s a bit dark. You will adjust this now. 1 Select the background rectangle. 2 Click the Add Live Filters (+) button in the Filters category of the Properties panel, and choose Adjust Color > Brightness/Contrast. he Brightness/Contrast dialog box appears. 3 Set Brightness to 20 and Contrast to 0, and press Enter or Return.

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4 Select the Ellipse tool from the Vector section of the Tools panel. 5 Draw an oval that is 135 pixels wide by 84 pixels high. Don’t worry about the ill color for now. 6 Set the position to X: 14, Y: 3. 7 Hold down the Alt (Windows) or Option (Mac) key, and press the right arrow key. his creates a duplicate of the oval. 8 Select the Pointer tool and drag the new oval to the right so that it slightly overlaps the irst ellipse. Smart Guides help you align them at their top edges. Final positions should be X: 14, Y: 3 and X: 126, Y: 3.

9 With both ovals highlighted, choose Add/Union from the Compound path tool in the Properties panel.

10 Click the Combine button in the Properties panel. his joins the two separate ellipses into a single path.

11 In the Properties panel, set the edge to Feather, with a value of 22 pixels. # Note: If you have multiple color swatches in the gradient, choose the Black, White preset before setting the custom colors listed in steps 13 and 14.

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12 Change the Fill Category to Gradient > Ellipse. 13 Click the Fill Color box to open the Edit Gradient pop-up window. Click the left color swatch, and choose black from the color picker. 14 Click the right color swatch, and then click the eyedropper on a bright area of the background rectangle in the ile to set the new color.

15 Press Enter or Return.

16 Reposition the gradient to the right, as shown here.

image positioning Before you wrap up, you will do a inal check on the image locations and save the ile. 1 Unlock the main layer. 2 Select the Mark image. 3 Conirm that its position is approximately X: 211 and vertically centered. he actual X coordinate may vary depending on how you cropped the photo. 4 Select the Wendy image. 5 Reposition the image to approximately X: 340. Her face should be a little above vertical center and just to the right of the detective’s face.

6 Save the ile—you’re done!

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Review questions Questions 1 What Revieware uses theNumber primaryList diferences between bitmap masks and vector masks? 2 How do you use the Auto Vector Mask? 3 How do you create a vector mask? 4 How do you create a bitmap mask? 5 How do you create a custom style?

Review answers 1 Bitmap masks are made using selections or the Brush tool. Using the Brush tool, you can easily edit the mask live on the canvas. Bitmap masks can be applied only to other bitmaps. Vector masks tend to have a higher degree of control and accuracy because you use a path, not a brush, to create them. It’s easy to change the ill or stroke of a vector mask. Generating the same type of efect with a bitmap mask can be more time consuming. Vector masks can be applied to bitmap or vector objects. 2 he Auto Vector Mask can be applied to bitmap or vector objects. Select the object on the canvas, and then choose Commands > Creative > Auto Vector Mask. Choose the type of mask from the dialog box, and then click Apply. 3 To create a vector mask, draw a vector shape, then hold down Shift and select the object to be masked. Choose Modify > Mask > Group as Mask. You can select the mask in the Layers panel, and change its ill, edge, and stroke properties. You can also use the Pen tool or Subselection tool to edit its shape. 4 You create a bitmap mask in one of two ways:

• Draw a bitmap selection, select the object you want to mask from the Layers panel, and click the Add Mask button in the Layers panel.

• Select the object you want to mask from the Layers panel, and click the Add Mask button in the Layers panel. Select the Brush tool, setting the brush color to black, and then paint on the canvas. As long as the mask object is selected, painting with black will hide pixels from view. 5 To create a custom style, select an object that has Live Filters or ill and stroke attributes applied to it. Click the New Style icon in the Styles panel. Select the properties you want to maintain, deselect those you don’t, and name the style.

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WoRKinG With teXt Lesson overview Fireworks CS5 uses the same text engine as Photoshop and Illustrator, which makes moving or copying between these applications fairly straightforward. Aside from the improved text handling between applications, working with type can be a fun and creative part of your design. Fireworks includes many text-formatting features normally found in desktop publishing applications, such as kerning, spacing, color, leading, and baseline shift. You can edit text any time—even after you apply Live Filter efects. In this lesson, you’ll learn how to do the following:

• Create both ixed-width and auto-sizing text blocks • Edit text properties • Use commands to alter text • Scale, rotate, and distort text • Use text as a mask • Attach text to a path • Flow text within a vector shape his lesson takes approximately 60 minutes to complete. Copy the Lesson07 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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You don’t need to settle for dull text. Fireworks includes the text-formatting features that help you get the look you want. You can make your text pop of the page with Live Filters, masks, and strokes, or even make a block of text low within a custom vector shape.

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Getting started You will be working with a partially complete ile for this lesson. he artwork is already in place; you just need to add some text elements. 1 In Fireworks, choose File > Open. 2 Browse to the Lesson07 folder, and open the movie_promo.fw.png ile. 3 Choose File > Save As. 4 Save the ile as movie_promo_fw_working.png.

text basics Text in Fireworks always appears inside a text block (a rectangle with handles). Text blocks can be either auto-sizing or ixed width.

Underline Faux Italic

Orientation

Faux Bold

Tracking

Leading Units

Font Family

Paragraph Indent

Alignment

Leading

Horizontal Scaling

Font Style

Space After Paragraph Space Preceding Paragraph

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Font Size Font Color Opacity

Auto Kern Anti-Aliasing Level

Blend Mode

Creating an auto-resizing text block When you click on the canvas with the Text tool and just start typing, Fireworks creates an auto-sizing text block, which expands horizontally as you type. Autoresizing text blocks only expand vertically when you press the Return or Enter key. 1 Unlock the Text layer in the Layers panel. 2 Select the Text tool (

).

When the Text tool is active, the Properties panel displays text attributes, such as font family, font style, size (measured in pixels), color, alignment, tracking, leading, indent, horizontal scaling, text indent, and paragraph spacing. You can also add a stroke color, stroke style, and Live Filters to text. You can change these settings before or after you have added text. 3 In the Properties panel, set the font family to Arial or another sans serif font like Helvetica. 4 Set the font style to Regular, the font size to 12 pixels, the color to Black, and Anti-Aliasing Level to Smooth. 5 Click anywhere on the canvas. Auto-sizing text blocks are created by default when you click on the canvas with the Text tool and start typing. 6 Type He was called crazy, and he was . . . crazy like a fox! Note how the text box expands horizontally as you type. It shrinks when you remove text, or adds lines automatically as necessary. 7 Place the text cursor before the letter c in the second instance of the word crazy and press Enter or Return.

# Note: Fireworks remembers the most recent fonts used by the Text tool, even after you’ve shut down and restarted your computer. They appear at the top of the font family list. You can change the number of recent fonts displayed by editing the Type preferences.

Creating a ixed-width text block Fixed-width text blocks allow you to control the width of wrapped text. As you add more text, the box expands vertically. Fixed-width text blocks are created when you drag to draw a text block using the Text tool. 1 Move the cursor away from the irst text block. 2 Drag a box that is about as wide as the previous text box. he exact size is not important. his is a ixed-width text block. 3 Release the mouse.

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4 In the Properties panel, change the font family to Poplar Std or a similarly strong font. 5 Set the font style to Bold, the font size to 20 pixels, and the color to #64667F. Leave all the other settings as they are. 6 Type A Film directed by Robert Legato. Notice that the text wraps to the next line when you reach the right edge of the text box.

When the Text tool is active within a text block, a hollow square or hollow circle appears in the upper-right corner of the text block. he circle indicates an auto-sizing text block; the square indicates a ixed-width text block.

Auto-Sizing Text Handle Indicator

Fixed-Width Text Handle Indicator

7 Make sure the text cursor is lashing in the text block. If it isn’t, use the Text tool to click once anywhere in the text.

8 Double-click the hollow control point to change the new text box from a ixedwidth block to an auto-sizing block. he text relows into one line.

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editing text You must select a text block or speciic text within a text block to edit it or change its properties. 1 Select the Pointer tool, and make sure the most recent text block is active. Anything you change within the Properties panel or through text commands afects the entire text block. 2 Choose Commands > Text > Case Uppercase.

You can change parts of the text in a text block by selecting the text irst. 3 Double-click inside the DIRECTED BY text block. his puts you in textediting mode. 4 Select the words DIRECTED BY. 5 Change the font size to 12 pixels in the Properties panel.

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6 Switch back to the Pointer tool, and reposition the text to X: 379, Y: 369. 7 Select the irst text block. 8 Change the font family to Poplar Std or a similarly bold font. 9 Change the font size to 28, the leading to 100, and make sure the text color is still set to Black. # Note: When you

10 For now, change the position of the text block to X: 303, Y: 264.

edit a text block, each change during that edit session is considered a separate step, making it easy to undo individual changes.

11 Save the ile.

Flowing text within a vector shape In sophisticated page layout software such as Adobe InDesign®, you can wrap text around an object. You can achieve this efect in Fireworks CS5 by inserting text within a vector shape. 1 In the text layer, hide the irst text object you created, which contains the words He was called crazy… by clicking the eye icon.

2 Select the Pen tool (

).

3 Click once to set a control handle near the shoulder of the detective.

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4 Continue clicking with the Pen tool as you follow the contour around the detective’s shoulder, and then move across to the right and click to create a straight bottom, straight up the right side, and then back across to the left for the top. Remember, each time you want to change direction, click the mouse to set a control point. 5 Click on the starting control handle to close the path. he inal shape should be similar to what you see here.

6 Make both the ill and the stroke of the path transparent by setting their colors to None in the Properties panel. 7 Reveal the text (“He was called crazy”) you hid in step 1. 8 Select both the shape and the “He was called crazy” text block in the Layers panel. 9 Choose Text > Attach In Path. he text relows within the vector shape.

# Note: If you are having trouble creating this shape, we’ve created it for you; just unlock and reveal the object called “crazy path.”

10 Change the Paragraph Indent value to 10. his pushes the paragraph 10 pixels to the right from its original starting point.

Text attached in a path—or to it—remains editable at all times.

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# Note: If you create a shape with one of the Auto Shape tools or the Rectangle tool, you irst have to ungroup the shape before you can attach the text within it. Choose Modify > Ungroup to do this.

11 Place the text cursor after the comma and press Enter or Return. 12 Select the word fox and then in the Properties panel, add faux italic styling by clicking the I icon ( ).

# Note: If you have more text than can it inside a vector shape (or on a vector path), Fireworks hides the extra text and displays the Text Overlow indicator. In order to see the extra text, you must either increase the size of the vector or reduce the size of the text.

Text Overlow Indicator

typography terms Let’s look at some typography terms you should be familiar with: Kerning: Adjusts the space between letters based on character pairs. There is strong kerning (more space) between the letters V and A, for example, and no kerning between the letters S and T. You can turn Auto Kerning on or of in the Properties panel. tracking: Unlike kerning, tracking adds equal amounts of space between all selected characters. Leading: Also known as line spacing, leading is the amount of vertical spacing between lines of type. The word comes from the lead strips that were put between lines of type on a printing press to ill available space on the page. horizontal Scaling: Adjusts the width of each selected character or characters within a selected text box. Baseline Shift: Controls how closely text sits above or below its natural baseline. For example, superscript text sits above the baseline. If there is no baseline shift, the text sits on the baseline. To adjust baseline shift, select the actual text (not the text box) and input a value into the Baseline Shift ield in the Properties panel. Paragraph indent: Sets the amount of indent for the irst line in the paragraph. Paragraph Spacing: Sets the amount of spacing before and after a paragraph in a selected text block. Any value set here is respected by all paragraphs within a text block.

# Note: As of this writing, you may experience text issues when opening a ile created in versions of Fireworks earlier than CS4. Text must be updated when opening a legacy ile to minimize issues.

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Anti-aliasing Text anti-aliasing controls how the edges of the text blend into the background so that large text is cleaner, more readable, and more pleasing to the eye. Fireworks examines the color values at the edges of text objects and the background they are on. It blends the pixels at the edges based on the anti-alias settings in the Properties panel. By default, Fireworks applies smooth anti-aliasing to text. However, small font sizes tend to be easier to read when anti-aliasing is removed. Anti-aliasing settings apply to all characters in a given text block.

Anti-alias settings Fireworks provides four preset anti-aliasing levels and a custom setting:

•

no Anti-Alias: Disables text smoothing completely. Text is not blended, and anything but horizontal or vertical lines are noticeably jagged. Although not ideal for large text, it can actually make text at small sizes (8 point or less) easier to read.

•

Crisp Anti-Alias: Displays a hard transition between the edges of the text and the background. Some blending occurs, but text still appears sharp.

•

Strong Anti-Alias: Creates an abrupt transition between the text edges and the background, preserving the shapes of the text characters and enhancing detailed areas of the characters. Text appears almost bold in comparison to Crisp Anti-Alias.

•

Smooth Anti-Alias: Creates a soft blend between the edges of the text and the background, and is the default for text pasted into Fireworks.

•

Custom Anti-Alias: Applies the settings you select from the following options: oversampling: Sets the amount of detail used for creating the transition between the text edges and the background. Sharpness: Sets the smoothness of the transition between the text edges and the background. Strength: Sets how much the text edges blend into the background.

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Changing anti-aliasing he text you formatted seems a bit fuzzy against the solid color background. he other preset anti-alias settings do not improve matters signiicantly, so you are going to apply custom anti-aliasing to this text. 1 Select the Pointer tool, and click the crazy text block to make it active. 2 Change the Anti-Alias setting to Custom Anti-Alias, using these values:

• Oversampling: 16 times • Sharpness: 100 • Strength: 0

Smooth Anti-aliasing

Custom Anti-aliasing

3 Select the Pointer tool and click of the canvas to ensure nothing is selected.

Special text efects here are several kinds of efects and changes you can apply to text to jazz it up.

Attaching text to a path Attaching text to a path—as opposed to in a path—lets you put text on an angle, or even follow a curve. 1 Select the Text tool. 2 Set the font size to 24 pixels in the Properties panel and if necessary, deselect the italics and bold icons. 3 Click on the canvas, and type COMING SUMMER 2010. 4 Select the Pointer tool and drag the text block to X: 327, Y: 237. 5 In the Properties panel, change the horizontal scaling to 109% and the color to #DAEEFA.

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Now you can create the path. 6 With the Pen tool ( starting point.

), click at the bottom edge of the red banner to set a

7 Follow the angle of the red banner, and click one more time to set a stopping point for the path. If you move the cursor again, notice the Pen tool is still active, dragging a new path segment. You need to disengage the Pen tool and stop the path.

8 Select the Pointer tool and the Path snaps back to a single, selected segment. 9 Hold down the Shift key, and select the COMING SUMMER 2010 text block. Holding Shift lets you select multiple objects on the canvas.

10 Choose Text > Attach To Path. he text follows the angle of the path (and remains editable). E Tip: If you have

he vertical skew of the text doesn’t match the movie title. You will alter this now.

more text than can it on the path, that extra text will disappear, and a text overlow indicator will appear at the end of the path. Select the Subselection tool, and drag the end control handle of the path to make it wider. Your text reappears.

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11 With the text object still selected, choose Text > Orientation > Skew Vertical. 12 Reposition the text object, if necessary, and save the ile.

Skewing text on an angle Another way to change the angle of text is to use the Skew tool. In this ile, where the cast names are all in separate text blocks, it is easier to change the angle in this manner rather than attaching each text block to its own vector path. 1 Press the Shift key, and select each actor name. 2 Open the Align Panel (Window > Align). 3 Click the Align Bottom Edge icon (

).

4 Choose Evenly from the Space area, and click the Space Evenly Horizontally icon ( ). 5 Select the Skew tool (hidden beneath the Scale tool) from the Tools panel.

6 Move the cursor over the middle control handle on the right side of the selected block of text.

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7 Click the mouse and drag upward until you match the angle of the movie title text.

8 Release the mouse to apply the skew.

Using text as a mask You will add two more special efects to cast names to add some more pizzazz. First, you’ll create a text mask efect. his efect uses the text outline to mask another object. 1 Select the Rectangle tool (

) from the Vector section of the Tools panel.

2 Draw a rectangle large enough to cover all three cast-member names. 3 For the Fill, choose Gradient > Linear. 4 Select the Fill Color box and select the Silver preset gradient.

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5 Move the rectangle below the cast names in the Layers panel.

6 Deselect the rectangle. 7 Press the Shift key, and select all three cast names. 8 Choose Edit > Cut. 9 Select the rectangle. 10 Choose Edit > Paste As Mask. he gradient rectangle is now masked by the text.

11 Click on the text, using the Pointer tool. he gradient control arm appears. E Tip: The text remains editable as a mask. Just select the Text tool and click on the text to go into textediting mode.

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12 Drag the square control handle for the gradient to the right so that the gradient runs at approximately the same angle as the text. Drag the square upward to shorten the length of the gradient. You want some contrast between the text and the background.

working with text

Adding Live Filters to a masked object Notice the hard, solid shadow on the movie title? To quickly add a similar efect to the masked gradient, use the Solid Shadow Live Filter. Once applied, Live Filters remain editable so you can adjust the ilter or even remove it without damaging the original object. 1 If necessary, select the masked rectangle. 2 Click the Add Live Filter (+) button in the Filters category of the Properties panel and select Shadow And Glow > Solid Shadow. 3 Set the Angle option to 335. 4 Set the Distance value to 8. 5 Select the Solid Color checkbox and change the Fill color to #3B3F5A. We determined this number by moving the cursor over the dark blue background and clicking the mouse. 6 Click OK and save the ile. You’re done! E Tip: You can tell which object (mask or maskee) is active by looking at the Layers panel. The highlighted object is the one that is active.

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Review questions Questions 1 What Revieware uses theNumber two types List of text blocks you can create, and how do you create them? 2 What is anti-aliasing? 3 How do you low text within a path? 4 How can you quickly select a single paragraph in a text block? 5 What typographic attributes can you control using the Properties panel, and how do these elements afect text?

Review answers 1 You can create auto-sizing and ixed-width text blocks. Auto-sizing text blocks are created by default when you select the Text tool, click the canvas, and begin typing. Auto-sizing text blocks expand in width as you add more text. Fixed-width text blocks are created by dragging out with the Text tool on the canvas before typing. Fixed-width text blocks allow you to control the width of wrapped text. As you add more text, the box expands downward. 2 Text anti-aliasing controls how the edges of the text blend into the background so that large text is cleaner, more readable, and more pleasing to the eye. 3 Draw a vector shape using the vector shape tools or the Pen tool. Select both the vector shape and the text, and then choose Text > Attach In Path. If you create a shape with one of the Auto Shape tools or the Rectangle tool, you will irst have to ungroup the shape before you can attach the text within it. Select the Auto Shape and then choose Modify > Ungroup to do this. Once text is attached in a path, it still remains editable.

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4 You can quickly select a single paragraph in a text block by triple-clicking anywhere inside the paragraph. 1 Review Number List Horizontal Scaling, Baseline Shift, Paragraph Indent, 5 Kerning,uses Tracking, Leading,

Review Questions

and Paragraph Spacing can all be controlled from the Properties panel.

• Kerning adjusts the space between letters based on character pairs. You can turn Auto Kerning on or of in the Properties panel.

• Tracking adds equal amounts of space between all selected characters. • Leading, also known as line spacing, is the amount of vertical spacing between lines of type.

• Horizontal Scaling adjusts the width of each selected character or characters within a selected text box.

• Baseline Shift controls how closely text sits above or below its natural baseline. To adjust Baseline Shift, select the actual text (not the text box) and input a value into the Baseline Shift ield in the Properties panel.

• Paragraph Indent sets the amount of indent for the irst line in the paragraph. • Paragraph Spacing (two settings) sets the amount of spacing before a paragraph (preceding) and after a paragraph in a selected text block.

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8

oPtiMiZinG FoR the WeB Lesson overview Fireworks has its roots in web graphics. And with web graphics, you have to balance quality and ile size. Optimization reduces the amount of time a web browser takes to download and display those images. In previous lessons, you learned the basics of working with graphics in Fireworks. Now you’ll apply those skills to creating and optimizing assets for web pages, and for web-page creation itself. In this lesson, you’ll learn how to do the following:

• Export a single image to a web-ready format • Determine the optimal web format for a sliced graphic • Use the Optimize panel and Preview views to optimize images • Slice up graphics in a web-page mockup using the Slice tool • Create a rollover efect using the Slice tool • Add a hyperlink using the Hotspot tool • Export an interactive mockup of a website • Export a single page as a standards-based CSS and HTML web page his lesson takes approximately 90 minutes to complete. Copy the Lesson08 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Fireworks does many things, but at its roots it is a web graphics application—be it for creating mockups, editing screen-resolution images, exporting graphics to the Flash platform, or optimizing and exporting images to CSS and HTML.

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optimization basics Why optimize images for the Web? Simply put, not everyone has the luxury of a high-speed Internet connection, where web pages download at lightning speed. Optimizing images reduces the size of iles, decreasing the amount of time it takes for them to be downloaded to a user’s computer, regardless of the available bandwidth (connection speed). he efective page weight (combined ile sizes of all assets of a web page, including the page itself ) is reduced. Files take up less room on the web server and reduce the bandwidth required for downloading. Optimizing graphics ensures they possess the right balance of color, ile compression, and quality. You are trying to get the smallest possible ile size (for quick download) while maintaining acceptable quality. Optimizing graphics in Fireworks involves two basic and important components:

• Choosing the best ile format for your various graphics • Setting format-speciic options, such as color depth or the quality level

Web graphic formats To a degree, the ile format you choose is a subjective decision, but here are some deinitions and general guidelines: JPEG. For photographic images, JPEG format gives you photorealistic (24-bit) color, and you can control the quality and compression of the ile. Higher quality means less compression, which in turn means a larger ile size. JPEG is also a lossy format, meaning that each time a JPEG ile is saved, more of the original image data is discarded. If you require the JPEG format, try to edit iles in a lossless format such as PNG, TIFF, or PSD, and then save or export the inal ile as a JPEG. (JPEG format is also used when a composition includes gradients, shadows, or glows.)

# Note: Microsoft Internet Explorer 6 or earlier requires a special JavaScript to render alpha transparency for 32-bit PNG iles. Without the JavaScript added to your web page, IE 6 or earlier displays an opaque color rather than the transparency you would be expecting.

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GIF. GIF images are limited to 256 colors (8-bit), but these colors are customizable. GIF iles are best for images with solid color, such as logos, line art, or text-based graphics. his format supports transparency settings (indexed transparency) that can give your image the impression of loating over the top of another image or colored background. GIF supports frame-based animation, for creating simple web-graphic animations. (For complex or large animations, consider using Adobe Flash Professional.) PNG. he PNG format tries to give you the best of both worlds: you can choose among 32-bit, 24-bit, and 8-bit PNG output. A 32-bit PNG allows for 24-bit photorealistic color with 8-bit alpha transparency, so you can get more realistic drop shadows or glows around an image or even make the image appear semitransparent on the web page. he image will blend seamlessly with the background color of the web page. A 24-bit PNG is mildly compressed and lossless, meaning that no image data is discarded when the ile is saved. However, you cannot control

optimizing for the web

the compression or quality as you can with JPEG iles. he ile size is what it is. An 8-bit PNG is much like a GIF, but it does not support frame-based animation. Often, you will get smaller ile sizes by exporting as PNG-8 rather than GIF. It’s deinitely worth testing. # Note: Fireworks uses a modiied version of the PNG format as its native ile format, giving you a great deal of lexibility for editing iles. This modiied format contains information about layers, states, and efects, and as a result produces a much larger ile size than a standard lattened PNG ile. For this reason, avoid using a native Fireworks PNG format as part of the real web page, even though the browser will render them. If you want to use the PNG format for web graphics, export an 8-bit, 24-bit, or 32-bit PNG ile.

Saving vs. exporting Fireworks makes a distinction between the terms saving and exporting. In general, exporting a ile results in a lattened bitmap image; the inal ile has no layers, vectors, or other unique editable objects. Exporting a ile also uses the information in the Optimize panel to control the exported ile format, quality, and color depth. Two exceptions to this rule are the Export As Adobe PDF and Export FXG And Images options. You will learn more about these export options in Lessons 10 and 13. Exporting a ile may also include an HTML page, if that option is selected. Saving a ile (File > Save) saves the ile back in original format, unless features not supported by that format have been added. For example, a JPEG ile is a lat ile; it doesn’t support additional objects, layers, or editable efects. So if you add these types of features to an open JPEG ile, Fireworks displays a warning message about losing the editable features and asks if you really want to save the ile back as a JPEG or would rather save it as a Fireworks PNG ile. Saving a ile bypasses the Optimize panel settings and uses the default settings inherent in the ile. Saving As (File > Save As) ofers a wider variety of formats. You can save in lattened formats such as JPEG, BMP, and GIF; SWF or multilayered Adobe Fireworks PNG iles; Adobe Photoshop® PSD iles; or even Adobe Illustrator® AI iles (AI version 8 only). Other options, such as the ability to maintain XMP metadata, are available for certain ile types when you save them; however, XMP data is not maintained when you export a ile. Choosing File > Save ignores the Optimize panel’s settings as well, but you can customize those settings by clicking the Options button in the Save As dialog box.

About the optimize panel By default, the Optimize panel is located in the topmost panel group. If you don’t see it, choose Window > Optimize to bring it to the front. In the Optimize panel, you choose the graphic ile format you would like to use when exporting a single image ile or a selected image slice. Each slice in a design can have completely

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E Tip: You can also set basic web-optimization settings for a slice using the Properties panel, but the Optimize panel gives you much more control. The Optimize panel also contains non-web formats such as TIFF and BMP, in case your designs—or elements of it—are destined for other uses or mediums.

diferent optimization settings; this allows for a high level of control over a web page’s weight.

If an image has no slices, there is one optimization setting for the entire image. An image with one or more slices can have diferent optimization settings for each slice and another optimization setting that applies to any unsliced areas. Any changes you make to the optimization settings in either the Properties or the Optimize panel applies to the currently selected slice or slices. If no slices are selected, the optimization setting applies to all the unsliced areas. he Optimize panel is context sensitive. As you change export formats, the panel displays options for that speciic format. For example, when you choose JPEG, the Optimize panel displays options only for Matte color, Quality, Selective Quality, and Smoothing.

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For GIF, Animated GIF, and PNG 8 formats, you can change Matte color, Indexed Palette type, number of colors, Loss, Dither, and Transparency options.

For PNG 24 and 32 formats, you can change the matte color option. he Optimize panel menu contains several features and actions not available in the panel itself, such as the ability to interlace GIF iles or to select Progressive JPEG. he panel menu also gives you quick access to the Export Wizard and the Optimize To Size command.

What is matte color? Matte color—available in all the export formats—is the color Fireworks uses on all areas of the canvas not covered by an object. Changing the canvas color of the document updates the matte color to match, but you can also change the matte color independently in the Matte Color ield without afecting the original canvas color. This feature is helpful when you need to export the same graphic for use on a variety of web-page background colors. Matte color is also used when you export a GIF or lat PNG ile with a transparent background. Set the Matte color to match your web-page background color for a more seamless blend in transparent areas.

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optimizing a single-image ile You will start by exporting the banner ad you made in Lesson 6 to web-ready format. You will learn about several fundamental features of the Fireworks export process by altering image quality, format, and compression.

Setting preferences You will be performing detailed work in this exercise, so before you begin, you need to alter one of the application’s preferences. 1 Start Fireworks. 2 Choose Edit > Preferences (Windows) or Fireworks > Preferences (Mac). 3 Select Guides And Grids from the list on the left. 4 Change the Snap Distance to 2 pixels and click OK.

Working with previews he movie banner has multiple layers and objects. hat’s ine for editing, but not so ine for iles you export to the Web. # Note: If you do not have the fonts used in the sample ile, select Maintain Appearance when Fireworks asks if you want to maintain appearance or replace the font.

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1 Open the movie_banner_inal.fw.png ile from the Lesson08 folder.

2 Choose Window > Optimize to open the Optimize panel, if it isn’t visible in the panel dock. At the top of the document window, there are four view options: Original, Preview, 2-Up, and 4-Up. he default view is Original, which is your editing view. he other three views let you preview your design in diferent formats, based on the settings in the Optimize panel.

3 Click the Preview button. his view is similar to the Original view, but it applies the settings from the Optimize panel. You cannot edit or select individual objects while in this view. 4 In the Optimize panel, choose GIF WebSnap 256 from the Saved Settings pop-up menu.

# Note: Fireworks uses the last-chosen optimization settings as the defaults for a new ile or one that hasn’t been previously exported.

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5 Zoom in to 150% and look closely at the gradient between Wendy’s face and the actor names. he efect isn’t as smooth as in the Original view. he efects appear banded.

GIF iles can display up to 256 color values and, as a result, don’t do a good job of rendering many gradient efects. 6 Look at the bottom-left corner of the document window. he status bar displays export ile information. Here it reads “30.62K 4 sec @56kbps GIF (Document).” (hese ile sizes may difer slightly on your system.) his ile information area, also visible in Original view, tells you the ile size and the download time of the image if it is exported as a GIF ile.

7 In the Optimize panel, choose JPEG – Better Quality from the Saved Settings pop-up menu. Recall that JPEG is usually a much better option for exporting an image with gradients and a wide color range.

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he gradient smoothes out in the banner ad. Equally—if not more—important is the updated information in the status bar of the document window: 18.09K 2 sec @56kbps. he image quality has improved, and the ile size has decreased.

8 Zoom out to 100% and select the 2-Up view. he document window splits into two panes. On the left, the Original view is displayed. On the right, the current optimization settings for the image are displayed. he 2-Up view is helpful when comparing diferences in quality between the original design and an optimized version.

9 Select the Pointer tool and click on the right pane. A border appears around that window, indicating it is the active window.

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10 In the Optimize panel, change the Quality setting to 60. You can change the value by typing it in and pressing the Tab key (or Enter or Return) or by dragging the slider. (When you type the value, there is a slight delay before the preview updates with the new quality setting.) he ile size decreases to approximately 11.34K.

# Note: If you use the N-Up feature (the ability to dock multiple windows to the application frame), each document window ofers its own Original, Preview, 2-Up, and 4-Up views.

11 Zoom in to 150%, if necessary, and compare the two versions of the movie title (Original and Preview). he panes are synchronized, so as you zoom or pan in one window, the other displays exactly the same view. If you study the movie title closely in the Preview version, you will see that the background surrounding the text is not as smooth as it is in the Original view. What you see here is the result of the JPEG quality setting. hese JPEG artifacts become more visible as you reduce the image quality of the ile.

Choosing optimization settings Comparing the potential exported image to the original is important, but there are subtle changes in the Optimize panel that can make a big diference to the inal exported ile. You’ll now experiment with the other preview options. 1 Zoom back out to 100%. Even at this 1:1 magniication, the artifacts are still somewhat visible and may be unacceptable to you or a client.

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2 Click the 4-Up button. he document window is now split into four previews, with the Original view remaining in the top-left corner.

3 Select the bottom-left preview, and change the Quality setting to 80 in the Optimize panel. 4 Select the bottom-right preview, and change the Quality setting to 70. You can now compare three diferent quality/compression previews to the Original view. By comparing these versions of the same ile, you can quickly determine the best combination of ile size and image quality. 5 Zoom in to 150%, and compare the three JPEG versions against the original image. Bearing in mind that none of them will be quite as good as the original, try to determine which of the three is most suitable. he 80% quality looks good, but it’s just over 18K. he 60% quality is a great ile size, but the artifacts are pretty noticeable. So it looks like 70% could be the winner. But you’re not done yet.

# Note: Understand that, to a degree, optimization is a subjective choice, especially when you’re dealing with small changes in quality or ile size. If you’re designing a site for an intranet, you have a little more leeway with your decisions about ile size and quality.

6 Change the 60% and 80% previews to 65% and 75%, and inspect them again. he 75% Quality setting seems to give the best combination of ile size and image quality. 7 With the 75% Quality preview selected, click the Original button. he document window displays a single view, and the settings you selected remain in the Optimize panel. E Tip: The JPEG format can compress areas of solid color too much, and because text is often a solid color, the quality of text can sufer noticeably. If you have large text—or a great deal of text—in your design, you can sometimes improve the text quality by enabling the Selective Quality setting in the Optimize panel, and selecting the Preserve Text Quality option. We didn’t use this option to improve quality in the banner because of the resulting increase in ile size.

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exporting the ile he inal step is to export the Fireworks PNG ile as a JPEG ile. While a Fireworks PNG ile can be displayed by web browsers, it contains information not necessary to a web-page image, such as layers, objects, and efects, which can make the ile size quite large. JPEG iles, on the other hand, are lattened images, which you can further reduce in ile size by adjusting the quality settings of the ile. 1 Choose File > Export. 2 Browse to the Lesson08 folder. 3 Change the ilename to movie_banner.jpg. 4 Choose Images Only from the Export menu, if it is not already chosen.

5 Leave the Include Areas Without Slices and Current Page Only options selected. 6 Click Save (Windows) or Export (Mac). 7 When you return to the canvas, save the ile so that the settings you made in the Optimize panel remain with it, and then close the ile.

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About the web tools To produce compositions in Fireworks that make their way into a web page, you need to be familiar with the available web tools. You’ll ind a number of web-related tools in the Tools panel:

• he three hotspot tools let you draw rectangular, circular, or polygonal shapes over portions of your image. When exported with HTML, hotspots link to other web pages or trigger other events on a web page, such as a remote rollover.

• he Slice tool (

) and the Polygon Slice tool ( ) let you cut a larger image into smaller pieces, or select which parts of a web-page prototype will be exported as graphics for a web page.

• he Hide Hotspots and Slices button (

) hides slices and hotspots.

• he Show Hotspots and Slices button (

) makes slices and hotspots visible.

Creating and optimizing slices A slice is a portion of an image or design that you intend to export as a unique graphic. When exported as HTML and Images, individual slices can include interactivity such as image rollovers, hyperlinks, and remote rollovers. Slices are always added to the Web layer of a Fireworks document. Each web slice has its own optimization settings. Without slices, your image or design has only one optimization setting applied to it, as in the irst exercise in this lesson. In this section you’ll learn several ways to create slices, how to optimize the slices for various types of graphics, and how to name the slices.

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Which slice tool do you choose? You can choose from two slice tool styles: rectangle or polygon. Because web pages are essentially laid out in a grid format, you will most often use the standard (rectangular) Slice tool. The Polygon Slice tool can be useful if you want a nonrectangular area to be interactive, but this tool uses HTML tables and hotspots as well as slices (the resulting exported ile consists of rectangular slices in a table and a polygon hotspot). You can’t have true polygon-shaped images, just like you can’t have ellipticalshaped images on a web page. Like it or not, everything ends up as a rectangle, because HTML uses only width and height for an image in a web page. If you use a lot of polygon slices, your HTML code can become quite complex and require more CPU processing time, thus slowing down the browsing experience.

Creating slices manually with the Slice tool You will use the standard Slice tool to cut up a web-page mockup. Accurate slicing is important. If you are going to create manual slices, be sure to zoom to at least 150% or 200% to ensure your slice includes the entire area you want to export. 1 Open the check_mag_home_start.fw.png ile from the Lesson08 folder. his is a completed web-page mockup. 2 Select the Zoom tool, and zoom in to the upper-left area of the design by dragging the zoom tool around the watch image. Zooming in helps you slice only the graphic and not any surrounding area. 3 With the Pointer tool, select the watch image. Make a note of its dimensions in the Properties panel (237 x 90 pixels). 4 Select the Slice tool, draw a box over the entire watch graphic, and then release the mouse.

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A green translucent rectangle appears on top of the watch image.

A slice has three main components: the slice name (user-deinable), slice selection handles (for resizing a slice), and the behavior handle for adding interactivity to a slice. Red slice guides also appear, showing you how Fireworks will automatically slice up the rest of the document. Slice Name Selection Handle Slice Guide Behavior Handle

Slice Guide

When it creates a slice, Fireworks automatically assigns the slice a name, based on the image’s ilename and future location inside an HTML table-based layout. hese names become the actual ilenames for the slices when they are exported. hey can be fairly cryptic, and likely won’t have any relevance to you later in the web production process. We recommend that you give meaningful names to all the slices you create. 5 In the Properties panel, double-click the slice name to select the entire name. Change the current slice name (check_mag_home_start_r2_c2) to img_watch_ promo. Note there are no spaces in this name. It’s a good idea to use standard web-naming conventions with slices; avoid spaces and special characters, and— ideally—decide on and stick to a system for using upper- and lowercase letters. We keep things nice and simple by putting all web ilenames in lowercase. Now even without seeing a thumbnail of the ile, you would easily know what this graphic is and where it’s supposed to go on the web page.

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Adjusting slice dimensions If this is your irst time creating a slice by hand, don’t be surprised if you need to tweak the dimensions of the slice. When you zoom in, it should be easy to see if the slice is smaller or larger than the image behind it. If you need to make adjustments, you can either use the Pointer tool to resize the slice or change the dimensions numerically in the Properties panel.

# Note: With the exception of button symbols, a slice object is not attached to the image below it, so if you reposition the image, you also need to reposition the slice.

Seeing web objects in the Layers panel Slices and hotspots fall into the category of web objects. When you create either type of web object, Fireworks automatically places them in the Web layer of the Layers panel. The Web layer is always at the top of the Layers panel.

optimizing a sliced image his image is also a photo, which means—for optimization purposes—the format should be JPEG. 1 In the Optimize panel, make sure the slice is set to JPEG – Better Quality. hen, click the 2-Up preview button at the top of the document window.

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Notice that everything except the watch seems to be grayed out in the preview window. When you preview a design with multiple slices, only the selected slice (or slices) appear normal, so you know which part of your design you are optimizing. Likewise, the optimization information in the preview window is speciic to the watch slice. 2 Change the Quality setting to 40. Note that the only area that changes in quality is the watch. 3 Change the Quality setting to 70. 4 Click the Original button.

Adding more slices he beauty of slices is that you can have diferent formats, and even diferent optimization settings, in a single design. his gives you the lexibility to truly optimize an entire page design in a single document, rather than having multiple separate image iles. You will now add a new slice using an alternative method. 1 Select the Pointer tool. 2 Scroll down near the lower-right corner of the design, and select the illustration of the race-car driver. 3 Right-click (Windows) or Control-click (Mac) the image, and choose Insert Rectangular Slice from the context menu. (Hotspots can also be created in this manner.)

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A slice is automatically added, based on the object’s dimensions.

4 In the Properties panel, change the slice name to img_racer.

optimizing illustrations Images that are made up of solid colors need diferent optimization settings than JPEG to get the best results. For our racer image—the slice you just created—your best format option is either GIF or PNG 8, both of which handle solid colors quite well and will compress this image better than the JPEG format. In this exercise, you will discover which of these two formats does the best job. 1 Zoom to 100% so you can see the racer image at its normal size. 2 Select the 4-Up preview. 3 Holding down the spacebar, click and drag within any preview pane to pan over to the racer. 4 Click on the racer image within any of the preview panes to make sure it’s active. 5 Select the upper-right preview pane, and choose GIF Adaptive 256 from the Saved Settings menu. 6 Set the Transparency option to No Transparency.

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7 Select the lower-right preview pane, and set the format to PNG 8 from the Export File Format menu. 8 Make sure Indexed Palette is set to Adaptive and Colors to 256. 9 Set the Transparency option to No Transparency. 10 Note the ile size for each. he PNG ile should be about 1 KB smaller than the GIF. PNG 8 is the way to go for this image.

Reducing illustration ile size he main way to reduce ile size in GIF or PNG 8 images is to reduce the number of colors used in the image. 1 Set all three previews to PNG 8. 2 Select the upper-right pane, and change the number of colors to 64 in the Optimize panel. Note the drop in ile size. Even at 64 colors (instead of 256), the image looks good, and the ile size is pretty reasonable, too.

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3 Make sure the Indexed Palette and Transparency settings are the same as the lower-right preview pane. 4 Now select the lower-right pane, and change the number of colors to 32 in the Optimize panel. 5 Make sure the Indexed Palette and Transparency settings are the same as the upper-right preview pane. 6 Change the number of colors in the lower-left pane to 16.

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At this setting, the number of colors has been reduced so much the image is losing some of its subtle colors and tones, like the gray in the sunglasses.

7 Select the 32-color window. To maintain color integrity, you may need to accept a slightly larger ile size. You’ll need to make decisions about balancing quality and ile size for every asset you export. 8 Click the Original view button. 9 Save the ile.

Slicing tricks for working with multiple items You will add and format the inal slices for this design. First you’ll use a handy shortcut to create the rest of the slices. 1 Select the Pointer tool. 2 Hold down the Shift key, and click on the remaining ive graphics in this layout. 3 Right-click (or Control-click) on any one of the selected objects. 4 Choose Insert Rectangular Slice from the context menu. his time a conirmation box appears, asking if you want to create a single slice or multiple slices from the selected objects.

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5 Click Multiple. All ive image objects get sliced. hey will all have the same optimization settings that you just used in the previous example, and each will be auto-named by Fireworks.

6 Click outside the canvas to deselect all the slices. 7 Hold down the Shift key again, and select just the slices that overlay photos. hese are the movie banner, the large photo of the actor, and the photo of the car.

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his time, instead of using the Optimize panel, you’ll set basic optimization options in the Properties panel. 8 Change the ile format to JPEG – Better Quality in the Slice Export Settings menu in the Properties panel (below the Type menu).

9 Click outside the canvas to deselect all the slices.

optimizing the illustrations For the racer illustration, you were able to get a nice combination of image quality and ile size using PNG 8. You’ll change two more slices to that format. he PNG 8 setting is not available in the presets in the Properties panel, so you’ll make the changes in the Optimize panel. 1 Hold down the Shift key, and select the navigation area slice and the illustration below the words DATA ADDICT. To make it easier, we’ve hidden all the slices you don’t need to worry about in this illustration.

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E Tip: If you create a custom optimization setting, you can save it for use at a later time. Just choose Save Settings from the Optimize panel menu.

2 In the Optimize panel, set the format to PNG 8. 3 Make sure Indexed Palette is set to Adaptive. 4 Hold down the Shift key and click on the DATA ADDICT slice. his leaves only the navigation slice selected. (Pressing Shift when you click on a selected slice deselects only that slice.) 5 In the Optimize panel, change the number of colors to 16. 6 Set the Transparency option to No Transparency. 7 Set Dither to 0%.

# Note: Best practices today are to turn text links into true HTML text and control the color using CSS. You will learn more about this in the last exercise in this lesson.

8 If you see a button titled Rebuild, click it. his will remap the actual colors based on the value in the Colors ield. 9 Select the slice below the heading DATA ADDICT. 10 Switch to the Preview view. 11 Set the number of colors to 32. 12 Save the ile.

naming slices It’s easy to forget to rename slices, but it’s a really good idea. You will name all those new slices now, before going any further. Remember, you can change the name of any slice directly in the Properties panel. 1 Select the slice that covers the movie banner image.

2 In the Properties panel, change the name to img_banner. 3 Select the slice covering the logo and navigation bar, and change the name to img_nav. 4 Select the slice covering the actor’s photo, and rename it img_main. You’ll rename the last two slices in a diferent manner. 5 Open the Web layer in the Layers panel if it is collapsed. Collapse the Optimize panel by clicking on the gray bar next to the tabs if you need to free up more room for the Layers panel to expand. 6 Select the slice covering the car.

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7 In the Web layer, locate the selected slice. 8 Double-click slice name, and change it to img_car.

9 Select the slice covering the data illustration, and rename it img_data. 10 Save the ile.

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Creating a hotspot E Tip: Although you should avoid overlapping slice objects, it is quite all right to place hotspot objects on top of slice objects. When you add hotspots on top of a slice, you’re creating an image map.

You can use the various hotspot tools to create hyperlinks within any slice object. You’ll add one hotspot to this design, on top of the img_nav slice. 1 Select the Rectangle Hotspot tool (

).

2 Draw a box around the words FASHION + LIFESTYLE.

he Properties panel updates to display attributes for the hotspot.

3 In the Link ield, type http://www.adobepress.com/ and type Visit the Website in the Alt ield. Previewing the page in a browser (or uploading as a graphical web page) enables the link. When someone clicks the hotspot, they’ll jump to the URL you’ve entered. 4 Save the ile.

Previewing in a browser Previewing in a browser gives you the opportunity to test interactivity (rollover efects, hyperlinks) and also lets you see how your choices for image optimization look within a browser. # Note: The page is a true HTML page, but all assets, including text, are rendered as graphics. These previews are helpful when building site mockups or testing interactivity, but they should not be considered as the inal web page.

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1 Choose File > Preview In Browser, and choose your browser from the submenu. Depending on your computer setup, the browsers listed may vary. In our case, the default (Primary) browser was Firefox.

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Fireworks loads the selected browser and loads a temporary copy of the webpage design.

2 Click on the FASHION + LIFESTYLE text. If you have a live Internet connection, the browser will load the home page for Adobe Press. 3 Close the browser. 4 Save the ile in Fireworks. If your design has multiple pages (we’ll come to that in Lesson 10), you can create links from one page to another using hotspots or slices.

More on the hotspot tool Fireworks provides three hotspot tools: the Rectangle Hotspot tool ( ), the Circle Hotspot tool ( ), and the Polygon Hotspot tool ( ). You can quickly access the hotspot tools by pressing the J key. Like all multiple tool icons in the Tools panel, if you keep tapping the shortcut key (or hold down the left mouse button on the tool itself ), you will toggle through all the available tools. The Rectangle and Circle Hotspot tools are pretty self-explanatory, and produce fairly simple image map HTML code when a ile is exported as HTML and Images. The Polygon Hotspot tool creates precise hotspot shapes around irregularly shaped objects. But the amount of HTML markup this type of hotspot produces is signiicant, so it’s best to use the Polygon Hotspot tool sparingly.

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Adding interactivity # Note: A Swap Image behavior is a prebuilt JavaScript used by Fireworks (and Dreamweaver) to create a rollover image efect. Behaviors do not require the user to know any JavaScript and can be customized using the Behaviors panel.

As with hotspots, you can add hyperlinks to slices. If you export a web-page design from Fireworks as HTML and Images, the URLs remain with the images. If you export an interactive PDF, again, those links will remain with the slices. Slices can become rollover images, but hotspots cannot. Because a slice becomes a separate image, you can use built-in JavaScript behaviors within Fireworks to set up a Swap Image behavior. JavaScript rollovers were common in navigation bars not so long ago, but the use of CSS and background images has gained in popularity. # Note: A rollover image is a combination of images used to provide interactivity between the user and the web page. The term originates from the act of “rolling the mouse cursor over the image” causing the image to react (usually by replacing the image’s source image with another image), and sometimes resulting in a change in the web-page itself.

However, JavaScript rollovers are quick and easy to do when creating a graphical website click-through. his way, you can easily show a client all the visual interactivity using JavaScript for the mockup, and then deal with coding the CSS rollovers later for the production site. Here’s how to create a simple rollover efect: 1 Open the check_mag_home_start.fw.png ile if it’s not already open. 2 Click the Hide Slices And Hotspots button in the Tools panel. 3 Hold down the spacebar, and then drag to pan down to the racer illustration. 4 Select the illustration of the racer. 5 Choose Edit > Copy. 6 Open the States panel. 7 Click the New/Duplicate State button to add a new, empty state.

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8 Choose Edit > Paste. he racer image appears in the same location as the original, but on (or in) this new state.

9 Select the racer image on the canvas. 10 Click the Add Live Filter button (+) in the Filters section of the Properties panel, and choose Adjust Color > Invert.

11 Click on State 1 in the States panel. he entire design reappears. 12 Reveal the slices by clicking the Show Slices And Hotspots button in the Tools panel.

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13 Click the Behaviors handle on the img_racer slice, and choose Add Simple Rollover Behavior.

14 Click the Preview button at the top of the document window. 15 Move your mouse over the racer image, and watch it change.

16 Save the ile.

exporting composite designs Fireworks has two main worklows for converting your visual concepts into web pages: you can export as HTML and Images or as CSS and Images.

exporting htML and images he HTML And Images export option produces table-based HTML layout, which does an excellent job of matching your Fireworks design. It can also include hyperlinks and rollover efects. hat’s the good news.

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Now for the bad news. his table-based layout is rigid; removing or adding elements to the page using a web-page editor like Dreamweaver can cause the table structure—and web-page layout—to break. By default, everything in the design is exported as an image, including the text. From a best-practices perspective, you should avoid table-based layouts for your inal websites, and learn how to use CSS for laying out inal web pages. hat said, there is a place for this feature in the modern worklow. Many designers use the standard HTML capabilities in Fireworks for creating interactive graphical HTML prototypes for client feedback. It’s a great way to test ideas and concepts without having to code any HTML right away. he client can request changes on the visual aspects of the design, and you can accommodate them without having to write a single line of HTML code—just update the design in Fireworks and export the ile again. After prototype approval, you should code the inal pages in a web editor such as Dreamweaver. You will test out this export process now: 1 Open check_mag_home_start.fw.png if it is not still open. 2 Choose File > Export, and browse to the Lesson08 folder. 3 Create and open a new folder in the Lesson08 folder and call it webpage. 4 Change the Export ield to HTML And Images. 5 Set the HTML ield to Export HTML File, and the Slices ield to Export Slices. Make sure the following three options are selected: Include Areas Without Slices, Current Page, and Put Images In Subfolder.

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6 Click the Options button, and then the Table tab. 7 Make sure Space With is set to Nested Tables, No Spacers. his setting will maintain the layout without adding multiple transparent spacer images to hold everything together. All other settings can remain at the defaults.

8 Click OK to close the Options dialog box, and then click Save (Windows) or Export (Mac) to create your web page. 9 Browse to the webpage folder using Windows Explorer or the Finder. Inside the folder you will see the web page, check_mag_home.htm (or check_ mag_home.html if you’ve previously altered the default ile extension settings) and an images folder. hese igures show the folder contents as displayed in the Finder (left) and Windows Explorer (right).

10 Double-click on the web-page to view it in your default browser.

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11 Compare the web-page to the Fireworks PNG design; they appear very similar, if not identical. You can even click on the hotspot you created earlier over the words FASHION + LIFESTYLE and go to Adobe Press again.

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12 Scroll down to the bottom of the web page, and try to select the text. You can’t— because it’s a graphic. he three blue headings are also one graphic. 13 In your browser, view the source code of the page. (In Firefox, choose View > Page Source.) Fireworks added JavaScript to the head of the document, and the inline code in the body of the document that is necessary for the image swap. 14 Close the browser. 15 Open the images folder within the webpage folder. Twenty-six images—many of which are solid-white images—were exported. For the Fireworks-generated HTML to display properly, all these images are needed.

In actuality, there are only eight truly necessary images, if you were to build this page in a web editor such as Dreamweaver, or export as CSS and Images from Fireworks:

• img_watch_promo.jpg • img_racer.png • img_racer_s2.png (rollover image) • img_car.jpg • img_data.png • img_main.jpg • img_nav.png • img_banner.jpg 192

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Ideally, any text that was exported as images should be re-created as true text within Dreamweaver, and styled using CSS. From a mockup perspective, this export is ine: it shows the client how the page will look and it’s interactive. However, from a practical, end-user perspective, you would want to build the inal web-page in a web-page editor. 16 Go back to Fireworks, and save the ile.

exporting states Creating rollovers as you did earlier does present one problem at this time. If you choose to export the HTML and images, including all states, you end up with a bunch of unnecessary extra graphics. You see, Fireworks doesn’t just export that one extra rollover image—it exports slices for every part of the design in that second state, even if there are no graphics! he workaround for this is not elegant, but it works, and saves you from having to delete many unneeded graphics later on. 1 Reopen the images folder that you exported to previously, and delete all the graphics. 2 Return to Fireworks, and choose File > Export. Make sure the export ile type is still set to HTML And Images. 3 Choose Export Slices from the Slices menu. 4 Make sure that the Include Areas Without Slices, Current Page, Put Images In Subfolder, and Current State Only options are all selected. 5 Click Save (Windows) or Export (Mac). Let Fireworks overwrite any existing iles, if you are prompted to do so. 6 When the main document window appears, switch to State 2 in the Layers panel and then select the image_racer slice. 7 Right-click (or Control-click) on the slice, and choose Export Selected Slice.

# Note: There have been some enhancements to the HTML setup. You can now customize the ilenames for states. You can set this up by choosing File > HTML Setup and clicking the Document Speciic button. A ile must be open in Fireworks in order to access this menu item. You can also click the Options button when you are exporting a ile, and click the Document Speciic button.

# Note: When you export all states of a multistate ile, Fireworks—by default— appends the ile names with _s1, _s2, and so on, including the main state. This ensures that the graphics on other states are not overwritten.

8 Browse to the image folder within the webpage folder. 9 Change the Export option to Images Only, if necessary.

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10 Make sure Current State Only and Selected Slices Only are selected and that Include Areas Without Slices is not selected. Fireworks will export only the current (State 2) version of the racer, and ignore all other areas.

11 Change the ilename to img_racer_over. 12 Click Save (Windows) or Export (Mac).

editing the htML When you export a single state—as you did in steps 2–5—Fireworks still adds in the JavaScript to create the rollover, but it doesn’t add a ilename for the rollover image. You need to make one small update to the HTML ile in order for the rollover to work. 1 Launch Dreamweaver or your preferred web-page editor. For the purposes of this exercise, we’ll assume you are using Dreamweaver. 2 Open the web-page (check_mag_home.htm). 3 Switch to Code View. 4 Scroll down to line 80 and locate this bit of code: ‘images/.png’.

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5 Change the code to ‘images/img_racer_over.png’. 6 Save the ile. You can test the rollover right in Dreamweaver CS4 or CS5 by clicking the Live View button, or simply open the ile from within your web browser. 7 Quit Dreamweaver and your browser, and then save and close the design ile in Fireworks.

About Fireworks and CSS CSS (Cascading Style Sheets) is the current standard for web-page design, and Fireworks has an export worklow to help you in this regard as well. Bear in mind that this doesn’t exempt you from learning and understanding how to use CSS in your web-page layouts! It is meant as a starting point to producing a more usable web-page right from Fireworks. Typically, even after exporting in this manner, you will want to do some customizing in your web-page editor. Here you will learn how to export a CSS-based layout, but we won’t be discussing the ine details of Cascading Style Sheets. Entire books have been written on CSS and its use, and this book does not pretend to be one of them. To begin with, we’re going to give you a lot of preparatory information, explaining the logic behind the CSS and Images export feature. If you want to just try exporting, you can skip down to the next section, “Exporting CSS and images.” Here are some design concepts to keep in mind if you plan to export a CSS-based layout from Fireworks:

• Keep it simple. Overlapping slices will cause Fireworks to export a complete, absolutely positioned layout. While still HTML and CSS valid, it is generally not good practice to produce layouts that are based entirely on absolute positioning.

• Only text, rectangles, and image slices are exported. To export as CSS and images, any images you want to include in the web-page must be sliced. Any text you wish to remain as true HTML text should not be sliced. Fireworks creates an HTML web page, using DIV tags to contain the text and images, according to the slices, rectangles, and text it inds in the design. A Cascading Style Sheet is also created, to handle positioning of the DIVs and styling of the text.

• Text, rectangles, and image slices are all treated as rectangular blocks. he exporter (also called the export engine) examines the size of text blocks (the actual bounding box, remember, not the width/height of the text itself ), rectangles, and slices in order to create the proper spacing between the elements. It also determines the logical placement of columns and rows, based on the position of the design elements in your ile. Text blocks can be deceiving, because the rectangle area that deines the text block may actually be much larger than the text, causing two objects to overlap, as seen here. Adobe fireworks Cs5 ClAssroom in A book

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• he exporter must be able to interpret where the columns and rows of objects exist. Even though you are not using tables for layout, keep thinking in that grid-like fashion. Make it easy for the export engine to igure out where logical containers—such as a header, a sidebar, a main content area, and a footer—would go.

What is a diV tag? The HTML DIV tag is used for deining a section of your document. It acts as a container for other elements of a web page. With the DIV tag, you can group HTML elements together and format them with CSS. For example, you could have your header section, navigation section, and main content sections wrapped in their own separate DIVs. Fireworks wraps text and images inside DIV tags based on the layout, which is why the placement of design elements is critical when exporting in CSS and Images format. In order for Fireworks to lay out the page using its CSS layout engine, it is important that slices do not overlap other slices, and that text areas do not overlap slices.

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• Use rectangles to create a speciic DIV around objects. If you draw a rectangle around speciic elements, Fireworks understands that the objects inside the rectangle should be in their own DIV container in the inal CSS layout. For example, if you wanted to guarantee that each of the lower columns in the check_mag_home_working.fw.png ile were given their own DIV containers in the inal layout, you could draw a rectangle around each column. his helps the exporter decide what to do. In the following illustration, we’ve drawn a rectangle around the left column. Notice how all bounding boxes of the design elements in the column are inside the large rectangle. here are no overlaps.

# Note: We left the stroke black so you can discern the rectangle from all the other selected objects. If you were to export this ile, Fireworks would respect the stroke and create a CSS border around the column. Remove the strokes from rectangles unless you want the border to show up in your web page.

If Fireworks encounters any overlaps, a warning message appears, telling you where the irst overlap was encountered and that the export is switching to Absolute Positioning mode. his mode is still CSS-based, but Fireworks places each object at an exact location in the web page—the elements in the page are ixed in place. If you later wish to add text in a web-page editor, or other content using a contentmanagement system, or if a user increases the size of the text for better readability, the other page elements won’t shift to accommodate the extra space needed. # Note: For more information on the CSS Export feature, be sure to check out the Adobe Fireworks Developer Center at www.adobe. com/devnet/ireworks/.

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he CSS and Images export feature does not export rollover graphics or hotspot information. Hyperlinks are maintained for foreground images, though Fireworks displays a warning message to remind you of that fact. Image maps or JavaScript behaviors need to be added in a web-page editor. On the bright side, you would get to practice creating CSS-based rollovers!

Preparing for CSS and images export You will test the CSS and Images export using the same ile you’ve been working with (check_mag_home_start.fw.png). If you prefer, you can skip to the exercise, “Exporting CSS and images,” and use the prepared ile, check_mag_home_css_ inished.fw.png, which has all the slicing and prep work done for you. (Hint: You’ll learn more if you keep working with your own ile). E Tip: To check for overlaps in your design, press Command+A (Mac) or Ctrl+A (Windows) to select all the objects in the design. This will show you if any bounding boxes (text or graphics) are colliding.

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1 Press Command+0 (Mac) or Ctrl+0 (Windows) so that you can see the entire design. Notice the layout is grid-like. here are distinct gaps between the various content areas. Although these gaps are not necessary for a successful CSS and Images export, they make it easier for someone new to the feature to understand what is going on. he important thing to remember is to avoid overlaps between slices, rectangles, or text.

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he basic structure of web pages is, essentially, some sort of grid. Sometimes that grid is not very obvious and sometimes there are objects in DIV containers that sit above the main page layout (such as a pop-up slideshow or a SWF ile), but these are in addition to the basic page structure. 2 Select the img_nav slice. In the Properties panel, notice that the Type ield says Foreground Image.

For CSS and Images export, you can set three diferent types of slices:

• Foreground Image—Sets the images in the web-page to be inline images, which are part of the low of the document. his is the default slice type.

• Background Image—When this type is selected, you can set other CSSrelated attributes for background images, such as repeat, scroll, vertical position, and horizontal position. A background image is referenced in the style sheet and is not part of the HTML page itself.

• HTML—Allows you to add true HTML code to a slice, rather than just an

# Note: For the HTML

image. his slice type does not work with the CSS and Images export; it works only when exporting HTML.

and Images export option, you can choose between foreground image or HTML. Choosing Background image still exports the ile as an inline image within a table cell.

All the slices in this ile are Foreground Image slices, but you will be changing that. 3 Change the img_nav slice type to Background Image. 4 In the Layers panel, expand the navigation layer, and hide the sublayer called text. If the text remains visible in the slice, it will be exported as part of the graphic. Because this slice will become a background image, it cannot have HTML links applied to it. Most important, in a CSS layout, best practices call for these links to be created using HTML text, usually formatted as an unordered list and styled accordingly. As this navigation sits within a sliced image area, creating the navigation is not a job for Fireworks, and the navigation menu would need to be created later in a web-page editor. 5 Save your ile as check_mag_home_css_working.fw.png. E Tip: In the HTML section of the Common Library panel, there are two component symbols: Link and List Item. These component symbols can be used to created text-based links that will export as true HTML text, as long as there are no slices covering the text. To learn more about component symbols, refer to Fireworks help and to this excellent article by Matt Stow: www.adobe.com/devnet/ ireworks/articles/standards_compliant_design.html.

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Creating your own diV containers To ensure that the three columns at the bottom of the page remain as three unique columns, you will use rectangles to identify the DIVs. 1 Select the Background layer. 2 Use the Zoom tool to zoom in on the irst column. 3 Select the Rectangle tool from the Vector tools and draw a box around the heading, image, and text in column 1. 4 In the Properties panel, set Fill Color to None, Stroke Color to Black, Size to 1 Pixel, and Stroke Category to Basic > Hard Line. 5 Set the width of the rectangle to 318 pixels, the height to 322 pixels, X to 5 pixels, and Y to 581 pixels. his ensures that the rectangle border does not overlap the header, image, or text edges. You can check this yourself by holding Shift and clicking on the three objects. 6 In the Layers panel, rename this rectangle col1. E Tip: Feel free to hide other layers (from the Layers panel) if doing so makes it easier to add the DIV rectangles.

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7 Create two more rectangles, either by copying and pasting, or by drawing with the rectangle tool, and place them over the other two columns. heir coordinates should be: col2 X position of 331 and col3 X position of 657. It’s important that none of the three rectangles overlap each other.

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8 Rename the rectangles col2 and col3, respectively. hese names will become the ID names for each column DIV tag.

9 Set the stroke color for each rectangle to None. If the stroke is left visible, Fireworks will generate CSS border code for each rectangle, and the design doesn’t call for borders around each column. 10 Save your ile.

exporting CSS and images You’re now ready to export the design. 1 Choose File > Export, and browse to the Lesson08 folder. 2 Create a new folder called csswebpage and name your ile check_mag_home_css. 3 Choose CSS And Images from the Export menu in the Export dialog box. 4 Make sure the Put Images In Subfolder option is selected. he path to this folder should be the new “csswebpage” folder you just created. If it looks like Fireworks is pointing to another images folder (such as the one from the last export), click the Browse button and create an images folder in the proper location. 5 Click the Options button. For CSS export, the General tab is the only one you need to concern yourself with. You can tell Fireworks to write the CSS to a separate ile, choose an existing image to set as a background image, and set the page alignment. 6 Ensure that Write CSS To An External File is selected.

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7 Make sure the Page Alignment ield is set to Center.

8 Click OK, and then click Save (Windows) or Export (Mac). A warning box appears, telling you this ile uses nonstandard web fonts, and recommends that you either a) add a slice over that text to export it as a graphic or b) cancel the operation and change the fonts to more common ones.

his is important to note. Web browsers rely on the user’s fonts for displaying text on a page, so if you have chosen an unusual font, the person visiting your site may not see what you had intended. Instead, they may end up with Arial, Helvetica, Times New Roman, or some other more common font. his time, though, by agreeing to use whatever nonstandard fonts you like, you will laugh in the face of the World Wide Web. Well, maybe a quiet chuckle will do. 9 Click OK to continue with the export.

Viewing the page You’re now ready to view the page in a web browser. 1 Open the csswebpage folder in Windows Explorer or the Finder. he folder contains check_mag_home_css.htm (or check_mag_home.html if you changed the ile extension preferences), check_mag_home.css, and the images folder containing seven images. 202

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2 Double-click on the web-page to open it in a web browser.

E Tip: To learn more about which fonts are safe to use on the Web, check out Code Style’s Most Common Fonts survey results at www. codestyle.org/css/ font-family/samplerCombinedResults.shtml.

he page opens, centered in the browser window. Other than that, it seems pretty much like the HTML export. Or is it? 3 Run your mouse over the racer image. No image rollover occurs. When you export as CSS and images, any JavaScript behaviors—such as image rollovers— are ignored. Additional states are also ignored. In your web-page editor, you can work with CSS to generate the rollover image. 4 Notice that the navigation slice has no text links. Again, creating your navigation as HTML text would need to be done in your web-page editor. 5 Scroll down to the bottom of the page, and try again to select the text. his time you can. he CSS Export script has recognized these unsliced areas as text and has exported them as such. Even the blue headings have been exported as text.

If you were to open the page in Dreamweaver and select the text, you would see that the text is within paragraph tags. Each column is surrounded by a DIV with an ID name based on the rectangles you created in Fireworks. 6 Save and close the ile in Fireworks. Adobe fireworks Cs5 ClAssroom in A book

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Review questions 1 Why should images be optimized for the web? 2 What are the two types of web objects you can create in a Fireworks design, and how do they difer? 3 How do you create an image slice? 4 What are the main worklows for generating web pages from Fireworks?

Review answers 1 Optimizing graphics ensures that they are set to a suitable format and possess the right balance of ile size, color, ile compression, and quality. You are trying to get the smallest possible ile size (for quick downloads) while maintaining acceptable quality in the image. Optimizing graphics in Fireworks involves choosing the best ile format for a graphic and setting format-speciic options, such as color depth or quality level. 2 Slices and hotspots are the two main kinds of web objects you can create in Fireworks. Both types of web objects can have URLs added to them for interactivity. Slices let you cut up a larger design into smaller pieces and individually optimize each slice to get the most suitable combination of ile size and image quality. Slices can also be used to generate rollover efects. Hotspots create an interactive area within an image. hey do not cut up an image like slices do. hey were commonly used to create image maps—a single image that had multiple hyperlinks applied to it in diferent areas of the image. Hotspots can also be used to trigger rollover events on the web page. 3 You can create an image slice in one of two ways:

• You can right-click (or Control-click) an object in your design, and then choose Insert Rectangular Slice.

• Using the Slice tool, you can manually draw a slice on top of an object or objects within the design.

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4 here are two main worklows for exporting complete HTML pages:

• File > Export > HTML and Images. his exports rigid, table-based design consisting entirely of graphics. Even the text is exported as graphics. Pages created this way are diicult to edit, because removing or adding new elements to them using a web-page editor can break the layout. However, this export is ideal for creating interactive prototypes of a web page or a website. While not suitable for a inal website, the HTML pages can show the client how the site will look, and can also support rollovers and hyperlinks, so a client can interact with the prototype and request changes or approve a design before any work needs to be done on the coding side of the project.

• File > Export > CSS and Images. his option can generate a more standards-based, editable web-page by creating the layout using Cascading Style Sheets rather than tables. Moreover, this export option recognizes text, and exports it as true HTML text. With a working knowledge of CSS, these pages are easier to edit and more lexible in terms of adding new elements within a web-page editor.

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USinG SYMBoLS Lesson overview Symbols are one of the great time-saving features in Fireworks. hey’ve been around since the beginning of the application. Symbols can contain multiple objects within a single asset while still giving you quick access to editing those objects. hey are a great option for reusing common graphical elements in a design—like a logo or a button. Symbols can contain text, vectors, and bitmaps, each with its own Live Filter attributes. In this lesson, you’ll learn how to do the following:

• Create and edit a graphic symbol • Create and edit an animation symbol • Create and edit a button symbol • Save a symbol to the common library his lesson takes approximately 60 minutes to complete. Copy the Lesson09 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Symbols are great to reuse and share common graphical elements in a design—like a logo or a button.

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What are symbols? A symbol is a master version of a graphic or of a collection of graphics. A symbol is essentially a self-contained document within a document. You have all the editing capabilities at your ingertips that you would have for a complete design, but all the assets of the symbol itself are kept together. When you place a symbol on the canvas, you’re actually placing a linked copy of the symbol, which is known as an instance. When you edit the original symbol object, the linked instances on the canvas automatically change to relect the edited symbol. You can also edit any symbol instance on the canvas, changing size, color, or opacity, or adding Live Filters, without altering the original symbol. For example, you might have a fairly large image of a company logo. If you convert that image into a symbol, you can simply drag an instance onto the canvas and scale it down without afecting the quality or size of the original large version. Another advantage to symbols is increased productivity. Instead of having to locate the original ile each time you need a logo, you can turn it into a symbol and make it quickly available from the Document Library panel. his is a big advantage if you regularly reuse objects. Although you can build your own, Fireworks also comes with a wealth of predesigned symbols that you can use as part of your designs or for jump-starting your own creative talents. hree main types of symbols are available within Fireworks: graphic, button, and animation symbols. here is also an enhanced graphic symbol type referred to as a component symbol. In this lesson, you will be creating and editing the three standard symbol types. You’ll be taking a bit of a break from the Double Identity assets in this lesson. Instead, you’ll work with and create some symbols for a diferent web project.

Graphic symbols A graphic symbol is a commonly used asset in Fireworks. It is a static, single-state symbol that can be used over and over again throughout a document (or other documents as well, depending on how you set it up). Use a graphic symbol if you do not require built-in animation or multiple states.

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Creating graphic symbols In this exercise, you will convert a simple logo graphic into a graphic symbol. 1 Open the ile called baretree_logo.fw.png. 2 Make sure rulers and tooltips are active (View > Rulers And View > Tooltips). 3 Press Ctrl+A (Windows) or Command+A (Mac).

4 Choose Modify > Symbol > Convert To Symbol.

5 Name the symbol baretree logo. 6 Make sure Type is set to Graphic, and leave the options deselected.

7 Click OK.

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8 Open the Document Library panel. he new symbol is displayed there.

Saving to the Common Library When creating a new symbol, saving it to the Common Library removes the object from the canvas. You need to locate the newly created symbol in the Custom Symbol folder of the Common Library panel and insert it back into your document. The advantage to selecting the Save To Common Library option in the Convert To Symbol dialog box is that the new symbol becomes available to any document you work on, not just the current document. You can always add a symbol to the Common Library after it has been created; for details, see the section “The universal Common Library.”

# Note: Once a symbol is created, you will notice a faint blue plus sign (+) in the middle of the graphic on the canvas. This indicates that the graphic is a copy—or instance—of the symbol.

the universal Common Library When you create a symbol without adding it to the Common Library, it is linked only to the document where it was created. If you open or create another document, you won’t see your newly created symbol in the Document Library. After you have gone to all the trouble of creating those symbols, you may want them available for use in other designs, without having to irst open a ile, copy the instance on the canvas, and then paste it into a new document. his is where the Common Library comes to the rescue. he Common Library makes symbols easily accessible for any design. 1 In the Document Library panel, select the baretree logo symbol. 2 Choose Save To Common Library from the Document Library panel menu.

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A Save As dialog box (or Save dialog box on the Mac) opens, and it should point to the Custom Symbols folder, where all user-created custom common symbols are located by default. his folder displays automatically in the Common Library panel, so it’s a good idea to save your new symbol there. here is a speciic structure to symbol ile names, starting with the symbol name and appended with the symbol type (graphic, animation, or button), preceded by a period.

3 Click Save.

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Adding a graphic symbol to a document You will now add this graphic symbol to a partially completed web-page design. 1 Open the ile simple_page.fw.png from the Lesson09 folder. 2 Open the Common Library panel (Window > Common Library). 3 Choose the Custom Symbols folder. he baretree logo symbol is displayed in the panel.

4 Drag the symbol onto the canvas. You now have an instance of the symbol of the canvas—a rather large instance, actually. 5 In the Properties panel, lock the proportions and change the width to 100 pixels, and then press the Tab key to move to the height ield. he instance resizes proportionately. # Note: Once a symbol has been copied from the Common Library, it becomes part of that ile’s Document Library. Dragging the symbol a second time from the Common Library will prompt a warning message from Fireworks stating that one or more library items already exists in the document.

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6 Use the Pointer tool to reposition the instance of the logo to the upper-left corner, at a position of X: 10 and Y: 10.

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7 If necessary, open the Document Library panel. Now you’ll add another instance of the same symbol, but don’t worry—it won’t end up looking repetitive. 8 Drag a new instance of the baretree logo from the Document Library panel onto the canvas. 9 In the Properties panel, lock the proportions and change the width to 70 pixels, and then press the Tab key to move to the height ield. 10 Select the Pointer tool and drag the object to the lower-left corner, 10 pixels from the right and bottom edges (X: 10, Y: 340).

editing graphic symbols Some attributes—like size, opacity, blending mode, and Live Filters—can be applied to individual instances on the canvas. Changes to a selected instance do not afect other instances on the canvas. Editing the symbol, however, changes properties in all instances of the symbol. In this exercise, you’re going to add another graphic element to this admittedly rather bare logo. 1 Using the Pointer tool, double-click on the larger of the two baretree instances. Everything but the instance fades slightly, and a breadcrumb bar appears above the document window.

You are now in a symbol-editing mode called Edit In Place mode (a feature that has been available in Adobe Flash for quite some time). You can also enter this mode by choosing Modify > Symbol > Edit In Place. he breadcrumb trail tells you how far you have drilled down into a symbol. Changes made to a symbol in this mode are instantly relected in all the linked instances on the canvas. You can exit in-place editing and switch back to the main design by clicking on the top-level breadcrumb (Page 1) or by double-clicking anywhere on the canvas except the active symbol.

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2 Choose File > Open and browse for leaf.fw.png. his image comprises three vector objects. 3 Press Ctrl+A (Windows) or Command+A (Mac) to select all the objects. 4 Choose Modify > Group to group the three vectors together. his will make it easier to move and manage the image. You can always ungroup it later, should you need to edit it again. 5 Choose Edit > Copy and return to the simple_page ile. You should still be in the Edit In Place symbol-editing mode. 6 Choose Edit > Paste. Note that the smaller instance also updates with the pasted leaf. 7 Zoom in to 200%. 8 In the Properties panel, lock the proportions and resize the leaf to about 25 pixels wide. 9 If you zoom back out, you will see the smaller logo also has the leaf. 10 Reposition the leaf to X: –1, Y: 0. When you are in symbol-editing mode, the X and Y coordinates are relative to the registration point in the center of the symbol.

isolation Mode Another option for editing symbols is referred to as isolation mode. This is the default mode for any symbol to which the 9-Slice Scaling Guides option has been applied. You can access isolation mode for any symbol, though, by choosing Modify > Symbol > Edit Symbol. The symbol remains on the canvas, but all other objects are hidden from view. If you have a full design, this mode may make it easier for you to edit aspects of symbols without any distractions.

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11 Click the background rectangle of the logo. 12 In the Properties panel, change the Fill Category to Gradient > Radial. he outer part of the gradient should be the original green ill color; the central part will be black. You need to change the inner color from black to yellow. 13 Click the Fill color box in the Properties panel, and then click the black color swatch in the Gradient pop-up window. Choose a rich yellow (#FFFF00) from the color picker.

14 Reposition the gradient so that it starts near the center of the leaf. 15 Adjust the length of the gradient so that the rectangle fades to a solid green at the right side, similar to what’s shown here.

he efect is applied to both instances. 16 Click on Page 1 of the breadcrumb trail to return to the main design. 17 Save the ile as simple_page_working.fw.png.

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Adding prebuilt symbols from the Common Library # Note: The Common Library does not become populated with symbols until a document is open in Fireworks.

he Common Library holds a wealth of prebuilt symbols you can use for your designs or as a starting point for your own symbols. To familiarize yourself with this useful feature, you will add a mockup of a search box using a rectangle and a prebuilt symbol. Make sure you’re back on Page 1 in your document. 1 Open the Common Library panel and scroll down until you see the Web & Application folder.

2 Double-click the folder icon (Windows) or click the disclosure triangle (Mac) to open the folder. 3 Locate the Search symbol.

4 Drag the symbol—either the graphic itself or its name—onto the canvas. he instance of a magnifying glass is fairly large and needs to be resized. 5 Lock the Proportions in the Properties panel and set the width to 20 pixels. 6 Tab to the next ield and the instance dimensions update on the canvas. 216

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7 Select the Pointer tool, and reposition the magnifying glass to X: 720, Y: 12. 8 Select the Rectangle tool, and then unlock the proportions in the Properties panel. 9 Draw a rectangle that is 200 pixels wide by 20 pixels high. 10 Fill the rectangle with white, and give it a black, 1-pixel hard stroke. 11 Use the Pointer tool to position the rectangle at X: 510, Y: 12. 12 Save the ile. You now have a mockup of a search bar.

Button symbols Button symbols serve a speciic purpose: making button rollover states for navigation buttons. Button symbols are an eicient way of generating up to four visible states for a button (Up, Over, Down, and Over While Down) and adding a hyperlink. Almost any graphic or text object can become a button. After you have created a single button symbol, you can reuse it again and again for navigation. Each instance of a button symbol can also have its own custom text label, URL, and target without breaking the two-way symbol–instance relationship. A button instance is self-contained. he slice object, graphic elements, and states are kept together, so as you move the Up state of a button on the main canvas, the other states and the button slice move with it. When you export a button using the HTML And Images option, Fireworks generates the JavaScript necessary to display the rollover efect in a web browser. In Adobe Dreamweaver, you can easily insert JavaScript and HTML code from Fireworks into your web pages or into any HTML ile (handy for interactive HTML prototypes).

# Note: For production sites, most designers tend to create the rollover efect using CSS and background images, rather than JavaScript and inline images. However, button symbols can’t be beat for creating interactive HTML prototypes.

Creating button symbols You can create a button from any object, but usually the button starts out as a vector shape or a bitmap object. Make sure the simple_page.fw.png ile is still open. 1 Select the Rectangle tool, and draw a rectangle that is 100 pixels wide by 20 pixels high. 2 Use the Pointer tool or the Properties panel to position the rectangle at X: 80 and Y: 115.

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3 Open the Styles panel, and choose Plastic Styles from the Styles list.

4 Choose the style Plastic 044. he rectangle takes on a glassy, green style.

5 Choose Modify > Symbol > Convert To Symbol. 6 Name the symbol navButton.

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7 Change Type to Button, and click OK.

You’re now back on the main canvas. Fireworks automatically adds a slice to a button symbol, because button symbols are mainly used for rollover efects, and a slice allows for image swapping to other button states.

To maintain a good-quality gradient, you will set the export options for this ile to PNG-24. 8 Open the Optimize panel and, if necessary, choose PNG-24 from the Export File Format list. PNG-24 will do a better job of maintaining crisp text than the JPEG format, and even though PNG iles will be larger in ile size than JPEGs, the small size of these buttons should not add too much weight to the inal page.

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editing a button symbol At irst, a button symbol (like a graphic symbol) only has one state. Buttons also need text labels. he slice created by Fireworks tries to include all visual properties of the button, some of which are not easy to see. You will add text to the button, and add another state. 1 Double-click the button slice. All objects other than the button are grayed out.

2 Select the Text tool and then in the Properties panel, set the font family to Arial, font style to regular, size to 12 points, Fill Category to Solid, and Color to Black. 3 Set the text alignment to Center Alignment and the anti-aliasing level to No Anti-Alias.

E Tip: The expectation with button symbols is that you will be creating one or more graphical navigation buttons, with diferent visual appearances to relect the state of the button. So it is important to determine what the longest string of button text will be, in order to set a font size that will allow the various button-text strings to it comfortably within the button shape.

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4 Click right on top of the rectangle, and type Funding Options. 5 Select the Pointer tool, and drag over both the rectangle and the text block to select them. 6 Open the Align panel, and click the Align horizontal center ( ) and Align vertical center ( ) icons to position the text within the rectangle.

While we’re here, let’s create a rollover state. 7 Click away from the button using the Pointer tool.

Using symbols

8 In the Properties panel, choose Over from the State menu. he button disappears.

9 Click the Copy Up Graphic button. his adds a duplicate of the Up state to the Over State.

10 Select the rectangle using the Pointer tool. 11 Open the Gradient Editor and choose Reverse Gradients.

12 Select the text block. 13 In the Properties panel, change the font style to Bold and the color to White. 14 Click the Page 1 breadcrumb to go back to the main canvas.

# Note: If you only have Faux Bold (rather than the true font style option), you may have to reduce the size of your font by a couple pixels to keep the text inside the button rectangle.

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Adding more buttons Most sites need more than a single navigation button, so you will add a few more. 1 Make sure the Pointer tool is selected and the button slice is active. 2 Hold down the Alt (Windows) or Option (Mac) key, and use the Pointer tool to drag the button to the right, until it snaps to the right edge of the original button. (Holding down Alt/Option creates a copy of the selected object.) Let the Smart Guides help you position the new button directly next to the irst button. 3 Select both buttons, and then repeat step 2 twice, so you have six buttons.

All six buttons currently have the same text labels. hat’s not much help! 4 Select the leftmost button. he words Funding Options appear in the text box in the Properties panel. 5 Change the text to Home, and press Enter or Return.

he button text updates. 6 Select the second button. 7 Change the button text to Our Mission, and press Enter or Return. 8 Skip the third button, as it already says Funding Options. 9 Select the fourth button, and change the text to Events. 10 Change the text for the ifth button to Contact and the sixth button to Gallery.

Take this time to rename the slices as well. 11 Click on the Home button, and in the Properties panel, change the button name to button_home. 12 Click on the Our Mission button, and change the button name to button_mission.

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13 Click on the Funding Options button, and change the button name to button_funding. 14 On the subsequent three buttons, change the names to button_events, button_contact, and button_gallery, respectively.

testing rollovers Now it’s time to test the rollovers. 1 Click the Hide Slices And Hotspots icon (

) in the Tools panel.

2 Click the Preview button at the top of the document window.

E Tip: Using a consistent “heading” word for each slice name (such as “button_” in this exercise) makes it easier to ind groups of similar graphics in Windows Explorer, the Mac Finder, or even in Dreamweaver’s Files panel, as this is the name Fireworks will use when you export the graphics.

3 Move your mouse over the six buttons. On each one, the gradient reverses and the text turns white when you mouse over it.

4 Switch back to Original view.

Completing the design For a inishing touch on your mockup, you will add some text next to the top logo instance. 1 Select the Text tool. 2 In the Properties panel, choose a conservative serif font. We chose Georgia. 3 Set the font style to Bold. 4 Set the font size to 28 points. his may need some adjustment, depending on your own font selection. 5 Set the Kerning/Tracking value to 20. 6 Set Leading to 110, instead of the default 120. 7 Set the text alignment to Left aligned and the text color to White.

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8 Click to the right of the logo at the top of the page, and type he Bare Tree Society. Use the Return or Enter key to break the text into three lines.

9 Double-click the word Society to select it. 10 Hold the Shift and Ctrl keys (Shift+Command for Mac) and press the right arrow key twice. his increases the kerning by another 200%. 11 Release the Shift key and press the right arrow key three more times, increasing the kerning by another 30%. At this point, the word Society should stretch to the width of the words just above.

12 Save the ile. With your main page mockup completed, save the ile as simple_page_complete. fw.png. You will use this ile again in the next exercise lessons. You can compare your version to our completed one, simple_page_inal.fw.png, if you like.

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Animation symbols Animation symbols let you quickly generate various types of state-based animation, including movement, visibility, opacity, and size. Because animations require multiple states in a document, they are best created on their own—either in a new document or on a separate page of an existing document, rather than as part of a complete web-page design. his eliminates the potential for exporting unwanted images from other parts of the design.

# Note: If you need a refresher on the concepts of pages or states, refer back to Lesson 2.

Creating animation symbols In your sample design, you have a small version of the logo placed at the bottom left of the page. You are going to animate this instance so it enters the page on the left and slides over to the right, reducing in size slightly as it moves across the page. You will do this on a new page of your existing simple_page_complete.fw.png ile. 1 Open the Pages panel by clicking the Pages tab in the panel dock. If you cannot ind the Pages panel, choose Window > Pages. 2 Create a new empty page by clicking the New/Duplicate page icon at the bottom right of the panel.

A new, empty page is created, using the same dimensions as the original page. In the Pages panel, you now have Page 1 and Page 2.

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3 In the Properties panel, click the Canvas Size button. Be sure that Current Page Only is selected and change the canvas size of this page to 760 pixels x 140 pixels.

4 In the Properties panel, change the Canvas Color to #00CC00. 5 Open the Document Library panel and drag the baretree_logo symbol onto the canvas. 6 In the Properties panel, lock the proportions and change the width to 102 pixels and then tab to the X ield. 7 Set X to 16 pixels and then tab to Y and set that value to 20 pixels. 8 Right-click (Windows) or Control-click (Mac) on the instance, and choose Animation > Animate Selection.

9 Change the following values in the Animate dialog box:

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Leave all other ields as they are, and click OK.

10 A dialog box appears, asking if you want to add additional states to this page. Click OK.

You are returned to the canvas. he logo now has a blue path attached to it, with nine anchor points, representing the position of the nine states of the animation. he starting anchor point is green, and the ending anchor point is red.

Fireworks has added this instance of the logo as a new symbol in the Document Library panel. It needs a better name.

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# Note: Any object can be turned into an animation symbol in the manner described here. You don’t have to start with a symbol.

11 Double-click on the symbol in the Document Library panel to open the Convert To Symbol dialog box, rename the symbol logo animation, and click OK.

At the bottom of the document window are animation playback controls. 12 Click the Play icon to see the animation.

# Note: You have also created a nested symbol by making this animation. Double-clicking on the irst frame of the animation instance will bring you to the logo animation symbol. Double-clicking again will bring you to the original baretree logo symbol. Any changes you make to the nested baretree logo will update all instances of the symbol on all pages, whether or not they are part of the animation symbol. To eliminate this potential problem, you can right-click (or Control-click) the nested baretree logo symbol and choose Symbol > Break Apart. This will break the link between the artwork in the animation symbol and the original baretree logo.

onion skinning Animation symbols are a bit diferent from just having objects in diferent states. he animation direction and distance is controlled by dragging the animation path in State 1. Normally, you see only the objects that are part of a selected state. However, you can use a feature called onion skinning to see as many states as you like. Onion skinning allows you to see states that occur before and after the currently selected state. E Tip: If you ind the guide color hard to see, you can change it in the Preferences panel. On Windows, choose Edit > Preferences. On the Mac, choose Fireworks > Preferences.

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You are going to adjust the angle of the animation slightly, so the inal state is at the same distance from the bottom of the screen as the irst state. 1 Making sure rulers are visible (View > Rulers), drag down a guide from the top ruler so it rests at the bottom of the logo. 2 Select the logo on the canvas.

Using symbols

3 If necessary, open the States panel. 4 Choose Show All States from the Onion Skinning ( the panel.

) menu at the bottom of

he canvas now displays each state of the animation.

# Note: You will also

5 Select the Pointer tool. 6 Click outside the canvas area to show your canvas settings in the Properties panel. 7 Change the Canvas color to white. his will make the next steps easier. 8 Select the irst state of the animation. he animation path will reappear.

notice a vertical line with start and stop nodes running down the States panel to the left of the state names. This is a visual representation of the onion skinning. You can adjust the onion skinning settings by clicking in the onionskinning box next to each state name.

You need to adjust the animation path so the states line up at the bottom edge, and you will also need to reposition the inal state so it is completely within the canvas.

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9 Click and drag the red anchor point lower and inward to the left so that the last state of the animation rests on the guide you added earlier in the exercise. here is no preview for this process, nor do tooltips or guide snapping work. his will involve a bit of trial and error.

optimizing the animation To make this series of states into a true web animation, you must change the format to Animated GIF. First, however, you will trim the canvas to get rid of any unnecessary image data. 1 Choose Modify > Canvas > Trim Canvas. his deletes any excess canvas area from the page. 2 Click outside the canvas area and then reset the canvas color to #00CC00. 3 Select State 1 from the States panel. 4 Open the Optimize panel and choose Animated GIF from the Export File Format menu. 5 Set the number of colors to 256. 6 Set Transparency to Alpha Transparency. his will force the number of colors to 255 in the color input box, because the canvas color is now reserved as a transparent color. E Tip: To see changes in the color table, you may have to click the Rebuild button in the Optimize panel.

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7 Set Matte color to #00CC00. he matte color helps blend the edges of an anti-aliased bitmap with the background color of the web page.

Using symbols

7 Click the 2-Up preview button at the top of the document window. he irst thing you might notice is the glow behind the leaf is no longer a subtle gradation. GIF images support only up to 256 colors. Typically, gradients contain a greater range of hues/tones than that, and this logo is no exception. If you compare the original view to the optimized preview, you will see the gradient in the optimized version is made up of a series of color circles. his “banding” is a result of the GIF’s inability to display the full hue range of the gradient. You will also notice the checkerboard canvas area. his checkerboard indicates a transparent area. By choosing Alpha Transparency in the Optimize panel, Fireworks will export this animated GIF with a see-through canvas area. It also saves us a few bytes in ile size. As for the banding issue, your options are:

• Accept this result • Switch to a solid-color glow • Experiment with the optimization settings For the purposes of this exercise, you will experiment. he current ile size of the GIF image is approximately 20 KB. Ideally, we want to keep the ile size no larger than this, but we also want a better-looking gradient. 8 Change the dither setting to 100%, and compare the images again. A higher dithering percentage creates the appearance of more colors in an image, but can also increase the ile size. 9 Again, if a button labeled Rebuild appears in the Optimize panel, click it to rebuild the color table for the document. he gradient looks only slightly better now, but this ile has increased in size to about 24 KB. You need to walk the balance between image quality and ile size. he process of optimization has already been explained in great detail in Lesson 8, so in this case we will simply make suggestions here. As always, you are welcome to experiment further.

# Note: You may see slight variances in ile size compared to our numbers, depending on whether you are running Fireworks on Windows or on a Mac. Fireworks on the Mac tends to compress iles slightly better.

10 Change the number of colors to 32. here is a noticeable drop in ile size. And, odd as it may seem, the glow seems to have slightly less banding in it.

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Now, 32 colors isn’t bad, but you should be able to squeeze a bit more out of this ile. Time to split some hairs. Aside from the preset color settings, you can also type in your own value for the number of colors. 11 In the Optimize panel, select number 32, and type in 28. his gives us a ile size of about 14 KB. he banding is even less noticeable. he reason for this is that due to the reduced number of colors, the dithering is being applied more heavily. Overall image quality has also been somewhat reduced, but as this will be an animation, the change should not be too noticeable.

12 Switch back to the Original view by clicking the Original button. 13 Save the ile.

other ways to reduce ile size You can reduce the ile size of a GIF animation in a few diferent ways:

• • •

•

Reduce the number of colors used, as demonstrated earlier. Reduce the dimensions of the animation. Remove states from an animation. The number of states in a GIF animation plays a big role in the inal ile size. By reducing the number of states to the barest minimum needed, you can signiicantly reduce the inal ile size. As with objects or layers, to delete a state, simply drag it to the Delete State button in the States panel.

Altering animation settings Although you can use the playback controls to watch the animation, they do not emulate the true speed of the animation. For this, you will have to preview the animation in a web browser or in the Preview window. he speed at which the animation runs is referred to as “state delay,” and by default, each state in an animation remains visible for 7/100 of a second. Increasing this value (to 20/100s, for example) will slow the animation; conversely, decreasing the value will speed up the animation. You can change the state delay for any individually selected state, or you can select a series of states and alter the delay for all of them.

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1 Click the Preview button at the top of the document window. 2 Click the Play icon in the playback controls at the bottom of the document window. Click the Stop icon once the animation has run a couple of times. 3 If necessary, open the States panel. 4 In the States panel, click State 1. 5 Hold the Shift key, and then click State 9.

6 Double-click on any of the number 7s that appear to the right of a state name. he State properties box appears. 7 Change the value to 20, and press Enter or Return. All the states are now set to 20/100 of a second.

8 Click the Play icon again. he animation plays at a much slower pace. 9 Select all the states again, change the delay to 4/100, and press Enter or Return. # Note: Regardless

10 Click the Play icon again. he animation plays much faster. 11 Reset the delay value to 7. You can also preview the animation in a web browser by choosing File > Preview In Browser and selecting your preferred web browser. Your playback experience may vary between the browser and the Preview window in Fireworks; as with any web-destined artwork, you should always view your work in as many browsers as you have available.

of the looping setting you choose, Fireworks will always loop the animation when you click the Play icon in the document window. To test looping, you will have to preview in a browser.

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# Note: Animated GIFs don’t have a lot of features when it comes to animation, which is why you don’t see a lot of fancy special options for animation in Fireworks. If you are interested in creating complex animations for the Web, it would be a good idea for you to investigate Adobe Flash.

Looping controls how many times an animation repeats. he default looping value is Forever. hat may be useful for some generic animated graphics, but it can also be quite annoying visually. 12 In the States panel, click the Looping icon ( ), and change the value from Forever to No Looping. his forces the exported animation to run once only, and stop. 13 Save the ile one more time.

exporting the animation You’re now ready to export the ile as an animated GIF. 1 Choose File > Export. 2 Browse to the Lesson09 folder. 3 Change the name to logo_animation. 4 Choose Images Only for the Export type. 5 Set Slices to None, if necessary.

6 Click Save (Windows) or Export (Mac). Feel free to launch a browser and open the GIF animation from the browser’s File menu or drag the ile onto the page of an already open browser.

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Review questions 1 What are the three main types of symbols? 2 What objects can be included in a symbol? 3 How do you create a graphic symbol? 4 What is one way to create an animation symbol? 5 What is the importance of the Common Library?

Review answers 1 he three main types of symbols are graphic symbols, button symbols, and animation symbols. 2 A symbol can include vector, bitmap, or text objects. You can even include other symbols in a symbol, which is referred to nesting symbols. 3 To create a graphic symbol, select the objects you wish to be part of the symbol, and then choose Modify > Symbol > Convert To Symbol. Name the symbol in the Convert To Symbol dialog box, and set Type to Graphic. Based on your requirements for this symbol, you can choose to select the Enable 9-slice Scaling and Save To Common Library options. 4 You can create an animation symbol by right-clicking on an object on the canvas and choosing Animation > Animate Selection. In the Animate dialog box you can change properties such as the number of states for the animation, its direction, movement, opacity, size, and rotation. 5 he Common Library contains a large number of prebuilt graphic, button, animation, and component symbols that you can easily drag and drop into your design. You can also save your own custom symbols to the Common Library, so they can be used in any of your documents.

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PRototYPinG BASiCS Lesson overview Layout features (smart guides and tooltips) and the ability to switch seamlessly from vector to bitmap graphic editing make Fireworks an ideal application for building prototypes. In this lesson, you’ll learn how to do the following:

• Edit a multipage wireframe • Share layers to multiple pages • Add a button symbol • Preview a wireframe design in a web browser • Export a secure, interactive PDF ile his lesson will take about 60 minutes to complete. Copy the Lesson10 folder into the Lessons folder that you created on your hard drive for these projects (or create it now), if you haven’t already done so. As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Fireworks is a graphical, rapid-prototyping tool with a multitude of features, such as the Pages panel, interactive Web layers, and component symbols, making it an ideal application for building prototypes to test user interaction and nail down interface or page design issues.

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the prototyping worklow Web-page design, game design, mobile, and application design projects can all beneit from adopting some form of prototyping worklow. Developing a prototype is a good way to maintain design consistency, minimize project creep, and test functionality and design concepts before moving to the coding stage. A typical prototyping worklow would include:

• Creating a project concept (website, mobile application, game, etc.) • Creating a wireframe to plan the application layout and functionality • Creating a realistic prototype to address the aesthetic concerns of the project • Generating an interactive prototype for “proof of concept” and/or usability testing

• Upon approval, building the inal project his is a simpliied description and a worklow may very well require several wireframes and numerous design concepts before a project reaches the realistic prototype stage. In this lesson you will be working with a wireframe. A wireframe is a simplistic rendition of the inal project. he idea behind a wireframe is that it can be quickly built and just as easily discarded when it has served its purpose. he goal of a wireframe is to describe an application’s function, low, and general layout, without focusing on the aesthetics of the application.

exploring the Pages panel In Lesson 2, you learned the basics about the Pages feature. As you added content to a simple mockup in that lesson, you learned that pages are a key prototyping strength in Fireworks. he ability to create multiple pages in a single Fireworks ile makes it a great tool for creating rich, realistic multipage mockups. With multiple pages, you can easily generate a series of design concepts, an entire website mockup, or an application design in one location, making it easier to keep track of assets for a speciic project. he Pages panel is the control center for adding, duplicating, deleting, and renaming pages.

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Options Menu Show/Hide Master Page Thumbnail

Page Selector

Delete Page

Total Page Count

New/Duplicate Page

Each page in a document has a sequence number automatically applied by Fireworks. his numbering can be turned on or of from the Pages options menu. You can rename any page just as you can rename layers and objects; simply double-click on the page name to edit it. If your design uses a master page for common page elements, that master page will always appear at the top of the Pages panel.

isolating the Pages panel Typically, the Pages panel is grouped with the Layers and States panels, but we ind it more useful to move it into its own group. You will do that now. 1 Open the Pages panel (Window > Pages). 2 Hold down the left mouse button on the Pages tab, and reposition the cursor so that it is between any two groups.

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3 When a thin blue highlight bar appears and the panel’s opacity fades, release the mouse button. he Pages panel is now in its own group.

Master pages he master page is an optional but useful item. Use it if you have visual elements or web objects that will be common to all pages, and in the same physical location on each page. Because each page can have diferent dimensions, it’s best to use a master page only for elements that appear at the top of a design or share a common canvas color. If you are positive your page dimensions will not change, you can also include common background images or footer information in a master page; just bear in mind that if you shorten or lengthen a page, that information may not appear in the correct position. Each Fireworks design can contain only a single master page. 1 Choose File > Open, and open the local_banner_wireframe.fw.png ile. his is the almost-complete wireframe for a new interactive project. Your goal is to complete the wireframe and turn it into an interactive PDF for client review.

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2 Select the master page in this wireframe. Just the navigation elements are present. You may also notice slices on top of the buttons. hese buttons are actually button symbols. Using button symbols makes it easy to use the same object for all navigation but still have unique labels for each object. In this case, the buttons have been labeled 1–4. 3 Double-click on the page name.

# Note: While you can change the name of the master page, the identiier—[Master Page]—cannot be removed or edited.

Change the name to common.

Comparing wireframe pages By their nature, wireframes are supposed to be simple diagrams, designed to focus on function and not aesthetics. 1 Select the 2_wheels page. he canvas is illed with simple shapes, and many of these shapes have been converted to symbols to make it easy to build more wireframe pages. Color issues for the inal design have been deferred by using shades of gray for all the objects in the wireframe. his way, a client is not focusing on color, hue, or saturation; they are focusing on the functionality of the concept.

# Note: While this wireframe is making use of some custom symbols created for the project, you are welcome to use the vector tools to create your own shapes, or build on the knowledge you gained in Lesson 9 to create your own symbols.

his page contains three main layers, plus the master page layer. Although you can see the master page elements, they cannot be selected or edited from any page but the master page.

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2 Select the bike page. 3 Expand the Layers panel. All three main layers have a small page icon appearing near the right side of the layer. his icon indicates that these layers are shared with other pages in the design—another timesaving feature.

4

Switch to the shop page. It’s identical to the bike page on the canvas.

5 Using the Pointer tool, select the large heading text at the left side of the wireframe. 6 Hold down the Shift key and press the Up arrow twice to reposition the text block higher. 7 Switch back to the bike page. he heading text has been repositioned on this page as well. hat’s the power of a shared layer; you can edit it on any page where it is shared, and the changes propagate across all the sharing pages. 8 Switch to the restaurants page. Its layer hierarchy is similar to the bike and shop pages, but the main image is not a big box with an X through it. he main image on this page has ilm canisters running through it, symbolizing a video or movie segment, rather than a still image. On this page, there is no shared main image layer. As with the 2_wheels page, the main image layer on the restaurants page is unique to that speciic page. he ability to share layers across speciic pages gives you far more control and lexibility than the Master page. he beauty of this feature is that you are in control.

Adding a page he most expedient way to add more pages to any design is to create a duplicate of another page, if that page is similar in layout. If you have no similar pages, then creating a standard new page is the way to go. You will add one inal page to the wireframe, and then use a combination of techniques to lesh it out.

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1 Select the restaurants page. 2 At the bottom of the Pages panel, click the Add/Duplicate page icon. Do not drag the restaurants page to this icon; you don’t need a copy of that speciic page. 3 Save your work. he new page only displays the content from the master page. 4 Rename the page future. 5 Create two more layers in the Layers panel. his makes for a total of three layers. 6 Name the layers feature left, text, and main image in descending order. 7 Lock the text and feature layers. 8 Open the Document Library and drag the video symbol onto the canvas. 9 Set the X position to 253 pixels and the Y position to 35 pixels.

Video Symbol

10 Lock the main image layer and then unlock the feature left layer.

Adding to the feature layer he main image layer was pretty easy. You’ll be working a bit harder on the feature layer. 1 Drag the photo box symbol onto the canvas. his instance will be too small and will require scaling. 2 In the Properties panel, make sure the proportions are not locked; then set the width to 253 pixels and the height to 275 pixels. 3 Set the X value to 0 pixels and the Y value to 35 pixels. 4 Drag the overlay symbol onto the canvas. 5 Scale and position the overlay symbol using the same settings as the photo box.

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6 Drag in one more instance of the overlay and set X to 253 pixels and Y to 224 pixels. he dimensions of the instance are ine as they are. 7 Drag the left nav symbol onto the canvas and place it at X: 13 pixels and Y: 144 pixels to complete the work on this layer. 8 Lock the feature layer and unlock the text layer.

Adding content to the text layer Text needs to go here, obviously, but there’s no need to create it from scratch. 1 Select the 2_wheels page. 2 While pressing the Shift key, select the three text objects on the canvas. 3 Press Ctrl+C (Windows) or Command+C (Mac) to copy the objects. 4 Select the future page, and then select the text layer. 5 Paste the objects by pressing Ctrl+V or Command+V. 6 Change the X value to 267 pixels to place the text in the correct location. 7 Save your work.

Nav Symbol

Overlay symbol covering photo box symbol

Overlay symbol on top of video symbol but underneath text block

Completing the interactivity he inal step is to add the link to the new page. 1 Select the master page. 2 Select button 4 on the canvas. his is a button symbol. 3 Press the Alt key (Windows) or the Option key (Mac) and tap the right arrow key once. his creates a slightly ofset duplicate of button 4. 4 In the Properties panel, set the X coordinate to 549 pixels. 5 Change the Button name and Text ield values in the Properties panel from 4 to 5.

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6 From the Link drop-down menu, select the newly created page, future.htm.

7 Select the future page in the Pages panel. 8 Right-click (Windows) or Control-click (Mac) the left nav object on the canvas and, from the context menu, choose Insert Hotspot.

9 In the Properties panel, set the link to restaurants. 10 Save the ile. 11 Select File > Preview in Browser > Preview All Pages In to test the wireframe. You should be able to navigate from page to page using either the buttons or the directional arrows in the wireframe. 12 Close the browser when you’re done and return to Fireworks.

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delivering the wireframe Now that the wireframe is complete, it needs to be sent to the client for feedback and/or approval. Fireworks gives you several methods for delivering designs and concepts to a client, but two of them are ideally suited for interactive wireframes: PDF or HTML And Images. Interactive PDF iles enable the client to review the ile oline and allow for direct feedback via Acrobat’s commenting feature. Links placed on rectangular slices or hotspots are also supported, so the client can browse through the pages using the wireframe’s built-in interactivity. Rollover efects, however, are not supported. But for a wireframe, this isn’t a huge concern. Rollover efects can be dealt with in the prototyping stage. PDF iles can also be password protected. HTML And Images export supports hyperlinks, rollovers, and any shape of hotspot or slice, but there is no direct feedback mechanism. he wireframe must also be uploaded and viewed online, or delivered on a CD or a lash drive for oline viewing. Which you choose is up to you. For our simple wireframe, let’s export it as a secure, interactive PDF.

exporting the wireframe You create a PDF ile from Fireworks by exporting the ile. But in this case, you only want to export the actual wireframe pages, excluding the master page. 1 In the Pages panel, select 2_wheels. 2 Hold down Shift and then select the future page. All the main pages of the wireframe are now selected.

3 Select File > Export. 4 In the Export dialog box, choose a suitable folder location and ile name.

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5 Change the Export type to Adobe PDF. 6 From the Pages menu, choose Selected Pages. 7 Make sure the View PDF After Export option is selected if you have Acrobat Reader or Acrobat Professional installed. Opening the PDF is the only indication that Fireworks has completed the export.

8 Click the Options button. 9 Select the Convert To Grayscale option. his reduces the size of the ile slightly, and considering the wireframe is all shades of gray anyway, you won’t be compromising the image quality. 10 Select the Use Password To Open Document option and type in the password test. 11 Click OK to return to the main Export dialog box, and then click Save (Windows) or Export (Mac). When the PDF ile has been exported, Acrobat Professional—if installed—will launch, allowing you to test the PDF and enable commenting—after you’ve input the correct password.

# Note: You can also password-protect speciic tasks. If you choose to passwordprotect any of the listed tasks, you must create a diferent password from the one used to open the document.

# Note: If you do not have Acrobat Professional, your default PDF reader will launch. Although you won’t be able to enable commenting in the reader, you will be able to view the ile once you’ve entered the password.

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enabling the comment feature If your end user has Acrobat Professional, he or she can add comments right away. But not every client owns a copy of Acrobat Professional; they may only have Adobe Reader, which does not allow commenting by default. So if you want direct feedback added to the wireframe, you will need to enable the feature within Acrobat Professional. 1 Type your password at the password window.

he wireframe opens in Acrobat. 2 Select Comments > Enable For Commenting And Analysis In Adobe Reader.

Acrobat prompts you to save the ile immediately. Feel free to overwrite the existing ile.

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And that’s it. Yes, we did something in fewer than ive steps!

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Review questions 1 What are the beneits of using a master page? 2 What are the steps for sharing a layer to other pages? 3 How do you create a copy of an existing page? 4 What is the purpose of a wireframe? 5 How can symbols help you when building a wireframe?

Review answers 1 he master page can be used for displaying common elements across all pages in a design, such as a header or a background. his speeds up the creation of other pages, because all pages are initially based on the master page. When you edit an object on a master page, that edit is relected on all pages in the design. 2 Select the layer you wish to share from the Layers panel, and choose Share Layer To Pages from the Layers panel menu. In the Share Layer To Pages dialog box, add the pages you wish to share the layer with, and click OK. 3 To create a copy of an existing page, drag the page from the Pages panel to the Add/Duplicate Page icon at the bottom of the Pages panel. 4 A wireframe is a simplistic rendition of the inal project. he idea behind a wireframe is that it can be quickly built and just as easily discarded when it has served its purpose. he goal of a wireframe is to describe an application’s function, low, and general layout, without focusing on the aesthetics of the inal project. 5 Using symbols when building a wireframe speeds up your work. here is no need to create new shapes on other pages for the same intended purpose, and no need to even copy and paste. With symbols, you just drag and drop them on to the canvas, and if they are vector objects, scale as needed to it your requirements.

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AdVAnCed PRototYPinG Lesson overview In Fireworks, you can create complex, interactive prototypes to demonstrate how a inal project will work. As you work through this lesson, remember that Fireworks is an excellent graphics editor—but keep in mind that it is not designed to be, nor should you expect it to be, an HTML web-page editor. For the purposes of prototyping, you won’t be focusing on image optimization to any great degree in the lesson, and you’ll only use slices when they are needed for visual efects such as rollovers. In this lesson, you’ll learn how to do the following:

• Create a multipage website prototype • Use the Slice tool for interactivity • Use the Hotspot tool to trigger a disjointed rollover (a pop-up window)

• Simulate a Spry data table (disjointed rollovers) • Preview an interactive web-page design in a web browser • Export an interactive mockup of a website his lesson will take about 2 hours to complete. Copy the Lesson11 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Fireworks gives you the power to create a realistic, fully interactive, clickable HTML mockup using standard Fireworks tools. Creating button rollovers and emulating pop-up windows is a snap.

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Prototype orientation Many of the concepts you learned in Lesson 10 apply to this lesson as well, so you’ll have the opportunity to practice them again. You’ll open the completed website prototype irst (check_mag_site_inal.fw.png), in order to familiarize yourself with the inal goals. If you are prompted about missing fonts, simply choose Maintain Appearance for now, as we will not be interacting with this ile much. his is the completed web-page mockup that you will be building during this lesson.

You may recall from the last lesson that we moved the Pages panel into its own group in the panel dock—a setup we ind more useful and convenient than its default location. If your Pages panel is not still in its own group, drag to position it as such now.

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Master page In Lesson 10, you learned that the Master page is an optional item. Use it if you have visual elements that will be common to all pages and in the same physical location. In this sample ile, you have common elements for the header, so it uses a Master page. 1 Open the check_mag_site_inal.fw.png ile. 2 Select the Master page at the top of the Pages panel. Several graphics that are common to each page in the mockup are present in the Master page.

3 Click Show Slices And Hotspots in the Tools panel. here are several hotspots and slices applied to the objects on the Master page. he links are common to each page, so it makes sense to apply the Web objects to the Master page. Creating button symbols for the navigation generated the slices. Button symbols were chosen for the navigation in order to create rollover efects.

4 Open the Web layer. he hotspots appear in the Web layer, but because the slices for the main navigation are part of the button symbols, you won't see them in the Web layer. You will only see the slices by double-clicking on a button symbol.

Content pages In this inal mockup, all the pages have been named using standard naming conventions. his is especially important because you will be generating HTML pages from this ile. You will look now at a page that includes the Master page elements as well as its own distinct graphics. 1 Select the page called index. You may recall this page from Lesson 8 (“Optimizing for the Web”).

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2 Zoom out enough that you can see most of the document. 3 Click Show Slices And Hotspots in the Tools panel. he hotspots from the Master page are visible, but there are no slices for the graphics on the page itself. Because this is a prototype only, slices are kept to a minimum and used only when visual efects are needed. Once the prototype is approved, the designer can come back to slice up the graphics for optimization and export for the inal web pages. Note also that you cannot select the slices or hotspots that are located on the Master page. # Note: As a prototype, PNG 24 could also have been used as the default optimization setting, but the resulting iles would be signiicantly larger and might create a noticeable lag when the pages are viewed online for testing.

4 Click of the canvas to make sure no objects are selected, and open the Optimize panel. he base optimization setting for this (and for all the other pages in this design for that matter) is set to JPEG – Higher Quality. Overall, this is a good choice for image quality. 5 Switch to the feature page. his page does make use of slices, but only for rollover efects and links to subpages of the features page. 6 Turn of slices and hotspots, and then click the Preview button at the top of the document window. 7 Select the Pointer tool and move your mouse over the thumbnail photos on the left side of the page. Note the subtle rollover efect.

8 Close the ile without saving it.

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Fleshing out the prototype To expedite the lesson, most of the art for the pages has already been added. You will, however, create the Master page and two new pages, as well as add the art to the new pages. Much of your time will be spent building the interactivity for this prototype.

Creating the Master page Because this is a website mockup and pages may vary in length, only common elements that appear at the top of the page will be included in the Master page. 1 Open check_mag_site_start.fw.png. If you are prompted about missing fonts, choose Replace Fonts and select fonts on your system that look similar to any fonts you’re missing. If you don’t know what a missing font looks like, search the Internet for samples. 2 Select the header page, if it is not already active. 3 Select the index page. he header content is missing for the index page and all subsequent pages.

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4 Right-click (Windows) or Control-click (Mac) on the header page in the Pages panel, and choose Set As Master Page.

5 Rename the Master page to common. 6 Select the index page and note that the header area is now visible. 7 Save the ile.

Adding more pages Next you will add more pages to the mockup: 1 Select the page called blog. 2 Click the Add/Duplicate Page icon and rename the new page to video.

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3 Select the new page, and then repeat Step 2, this time naming the page fashion. You will be adding content to these pages shortly, but irst you will add the main navigation.

# Note: Page names become HTML ilenames when you export as HTML And Images or CSS And Images, so it’s a good idea to follow standard naming conventions for page names, just as you would with slice names. Avoid spaces and special characters, and to keep things really simple, only use lowercase letters.

Creating rollover navigation To show the client the intended rollover efect for the navigation bar, each piece of text should be linked to a button symbol. his is the most expeditious option, as it allows you to set up rollover efects and customize the text label for each instance in the navigation. If you don’t wish to show a rollover efect, you could use hotspots instead of button symbols. 1 Select the Master page. 2 In the Layers panel, expand the HEADER 1 layer. 3 On the Canvas, zoom in to 200%. 4 On the canvas, right-click or Control-click on the text block FEATURES to bring up the context menu. 5 Choose Convert To Symbol.

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6 When the Create Symbol dialog box appears, name the symbol navigation and choose Button as the type; then click OK.

# Note: It may look

7 In the Properties panel, change the button name to features.

like the symbol is being added to the ADS sublayer, but if you look closely at the Layers panel, you will see that the ADS sublayer is collapsed.

8 In the Optimize panel, change the Export ile format to PNG 8. You can use the default settings for this format. 9 Hold down the Option or Alt key and press the right arrow key four times. here are now ive instances for your navigation. 10 In the HEADER 1 layer of the Layers panel, select the topmost button symbol, hold down the Shift key, and select the bottom button symbol. All ive copies should be selected.

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11 Open the Align panel and type a value of 50 in the Space ield.

12 Click the Space Evenly Horizontally icon to distribute the navigation buttons. 13 Make sure that the Show Slices And Hotspots icon is selected and that you can see the green slice boxes around the text. 14 Select the second button and in the Properties inspector, change the Text label to FASHION. 15 Change the Button name to fashion. 16 Change the text labels and button names for the other buttons to: CALENDAR VIDEO

E Tip: If you can’t see your slices, and the Show Slices And Hotspots tool has been selected, try clicking Hide Slices And Hotspots, then reselecting the Show tool. You can toggle between the two settings by pressing 2 on your keyboard.

BLOG For consistency, keep the button names in lowercase lettering. Now that the text lengths have changed, you need to adjust the spacing between each button. 17 Select all ive buttons. 18 In the Align panel, make sure the Space value is still set to 50 and click the Space Evenly Horizontally icon again.

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Adding the rollover efect We have the initial (or Up) state of our buttons, but we need to create the rollover state. With button symbols, this is very easy. 1 Double-click any of the buttons. Everything else on the canvas fades slightly as you’re now in the Edit-in-Place mode for the symbol. 2 In the Properties panel, change to the Over state.

3 Click the Copy Up Graphic button. 4 Select the text with the Pointer tool. 5 In the Properties panel, change the color of the text to #0099FF. 6 Double-click on the canvas, away from the button, to exit the Edit-in-Place mode. By editing the button symbol, you ensure that all the buttons receive the same rollover efect.

Adding hyperlinks With the buttons in place, you need to make them interactive. Each button needs to point to a speciic page in the design. 1 Select the FEATURES button. 2 In the Properties panel, choose feature.htm from the bottom section of the Link list.

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3 In the Alt ield, type Visit the features page. 4 Link the other buttons to the following pages:

• FASHION: fashion.htm • CALENDAR: calendar.htm • VIDEO: video.htm • BLOG: blog.htm 5 Add suitable text to the Alt ield for these buttons as well. 6 Save the ile. here are other areas we wish to serve as navigation, also. You will now add hotspots to a couple of the graphics. 7 Right-click on the watch image and choose Insert Hotspot from the context menu.

8 In the Properties panel, set the link for this hotspot to ad_popup.htm. 9 In the Alt ield, type View the watch advertisement. 10 Select the rectangular hotspot tool from the tools panel and draw a hotspot over most of the website name. he inal dimensions should be 389 pixels x 100 pixels.

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11 Set the position of the hotspot to X: 71 pixels and Y: 97 pixels. 12 In the Alt ield, type Return to home page. E Tip: If you do not see all the Web objects, click the Hide Slices And Hotspots tool in the Tools panel, and then click the Show Slices And Hotspots tool. This will refresh the view.

13 Set the link for this hotspot to index.htm. You should now have two hotspots and ive slices on the Master page, all linked and ready to go.

14 Save the ile.

Customizing page dimensions he index page was based on the original page dimensions, but if you scroll down to the bottom of the page, you’ll see a lot of empty space between the text and the footer. his white space is unnecessary, so you will shorten the length of this speciic page so the footer is closer to the text. 1 Select the index page in the Pages panel. 2 Right-click (or Control-click) on the footer layer in the Layers panel. # Note: Detaching a shared layer is diferent from removing the shared layer using the Share Layer To Pages command. If you remove the shared layer, you are also deleting the layer and its contents from the current page.

3 Choose Detach Shared Layer. his retains a copy of the footer on the current page, but it is no longer linked to the original shared layer. You need to do this in order to customize the position of the footer text on this speciic page. If you left the layer as a shared layer, you would be altering the position of the footer on all the pages that share the layer. 4 Select the footer text using the Pointer tool.

5 In the Properties panel, change the Y value to 940. 6 Choose Modify > Canvas > Canvas Size.

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7 Set the height to 970 pixels. 8 Change the anchor point to the top middle button. 9 Select the Current Page Only option, and then click OK.

image rollover efects he feature page is where you really start to work! Each thumbnail on the left side needs to have a rollover efect applied to it, and also needs interactivity to link to a diferent mockup page. You’ll create a rollover efect that changes the thumbnails from a sepia-tone image to a full-color image. You will be working with commands, states, slices, and shared layers for this part of the exercise. Hey, we did say this was the advanced lesson, after all!

Adding a rollover state A rollover efect needs content on a separate state for the rollover to work. You will add the new state in this exercise. Because the content of each thumbnail is diferent, you can’t use button symbols to speed things up. So you will be building these rollovers by hand. 1 Select the feature page. 2 In the Layers panel, expand the feature layer.

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his layer holds all the objects that are speciic to the feature pages. To further structure the ile, many objects have been placed in separate sublayers. his feature layer has also been shared to other pages, as indicated by the familiar icon at the right of the layer name.

3 In the Layers panel options, choose Share Layer To Pages.

he Share Layer To Pages dialog box shows that this layer is shared to a total of eight pages. As you learned in the previous lesson, this sharing can expedite some editing tasks; as you change objects in a shared layer, those changes are propagated to all the pages that share the layer. his includes the editing, visibility, and addition/deletion of objects or sublayers within the shared layer.

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the importance—and limitations—of sublayers Sublayers are a great organizational tool; rather than having to search for individual objects within a long list of layers, you can group related objects into sublayers. Layer and sublayer hierarchy is also preserved as layer groups when you save a page as a Photoshop ile. Similarly, if you open a Photoshop ile in Fireworks that contains Photoshop layer groups, that layer hierarchy would also be preserved. Sublayers do have their limitations, however. When you copy a layer that contains sublayers, only the parent layer elements are copied to the clipboard; sublayers are ignored. If you copy a sublayer, only the objects within the sublayer are copied. So if you were to paste the clipboard contents into a new design, only the objects—and not the actual sublayer that contained them—would be pasted. If you share a layer to other pages, all sublayers are automatically shared with that page as well. You cannot selectively share certain sublayers with diferent pages.

4 Click Cancel to dismiss the Share Layer To Pages dialog box. 5 Expand the thumbs sublayer, and select the thumb1 object in the sublayer.

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6 Scroll down in the Layers panel until you see the thumb6 object. 7 Hold down Shift, and click on the thumb6 object. his selects all six thumbnail images.

8 Choose Edit > Copy. 9 Open the States panel. All iles opened in Fireworks have at least one state—the current one. You will now add another state to the feature page. 10 Choose Add States from the States panel menu.

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11 When the Add States dialog box appears, click OK. he defaults are ine for our simple purposes.

A new empty state appears in the States panel.

12 Go back to the Layers panel, and make sure the feature layer is still active. 13 Choose Edit > Paste. he color thumbnails appear on the new state, in exactly the same location as on the original state.

E Tip: You can also drag the selected images to the thumbs sublayer in the Layers panel.

In order for the rollover to work in the mockup, the new state needs to be added to all pages.

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14 Select the featurelarge page.

# Note: If you were building this prototype from the start, you would probably add the rollover efect to the irst page you create, saving you the time of going back and adding in the rollover graphics to every completed page.

15 Click the New/Duplicate state button in the States panel. he new state appears, containing your rollover images. In this igure, we have separated the States panel from the Layers panel, so you can more easily see the relationship between the panels. 16 Repeat steps 15 and 16 for the six remaining feature pages.

Creating the rollover efect You will make a small change to the State 1 thumbnails so that you can establish the rollover efect. 1 In any feature page where you can easily select all six thumbnails, select State 1 again. his is a shared layer, remember, so we can edit it from any page that it’s shared to.

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2 Shift-click to select each thumbnail, if they are not already selected. 3 Choose Commands > Creative > Convert To Sepia Tone. his applies an editable Live Filter to all six images.

Creating the rollover slices Now you will add the slices needed for the rollovers. Make sure all six objects are still selected. 1 Right-click or Control-click on any of the six thumbnails, and choose Insert Rectangular Slice from the context menu.

# Note: If for some reason the context menu does not give you this option, irst check to make sure all the images are selected, and then choose Edit > Insert > Rectangular Slice.

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2 Choose Multiple from the alert box. You need multiple individual slices, instead of one large slice covering all six images, so that each image can have an independent rollover efect applied to its slice.

Each thumbnail now has a slice applied to it, and the slices are currently selected. 3 Choose JPEG – Better Quality from the Slice Export Settings in the Properties panel. Even though we’re not too worried about optimization settings, JPEG will render the thumbnails best in the clickable prototype.

Because these rollover efects are going to be used on many pages, you should share the slices. 4 Right-click or Control-click on the Web layer in the Layers panel, and choose New Sub Layer from the context menu.

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5 Change the sublayer name to thumbs, and click OK.

6 he slices you created should still be selected. If they are not, select the top slice in the Web layer, and then hold Shift and click the bottom slice. 7 Drag the six slices to the thumbs web sublayer.

E Tip: If you are

8 Choose Share Layer To Pages from the Layers panel options. 9 Add all the feature pages to the Include Layer To Page(s) list, and then click OK.

inding it diicult to drag the objects to the correct layer, you can choose Edit > Cut, select the thumbs web sublayer, and choose Edit > Paste.

E Tip: It can be diicult to tell when objects are part of any sublayer. When in doubt, collapse the sublayer. If the objects become hidden, you know they are part of that sublayer. Adobe fireworks Cs5 ClAssroom in A book

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naming your slices Even though you are building a mockup here, it is entirely likely that these thumbnails—and their rollover counterparts—will be needed for the inal website. With that in mind, you will name each slice. # Note: If the active slice on the canvas is not the topmost thumbnail image (which can happen, depending on the order in which the slices were added), name it accordingly. For example, if the slice is the third from the top, name it thumb3.

# Note: Because slices are usually exported, each slice name must be unique, or you run the risk of overwriting your graphics while you export them.

1 In the new thumbs web sublayer, select the top slice in the stack. hen, locate the active slice object on the canvas, which should be the slice that appears superimposed on the topmost thumbnail image. 2 In the thumbs web sublayer, name this slice thumb1. A generic, functional name is a good idea, in case the image content changes.

3 Select each of the remaining thumbnail slices, one at a time, and rename them, from top to bottom, thumb2, thumb3, thumb4, thumb5, and thumb6. 4 When the naming is done, save your work. E Tip: If your slice or object names have a common element (such as thumb, in this case), save yourself some typing by selecting the text while your cursor is active in the object’s label ield, and then copying it. When you double-click on the next object you need to name, just paste the copied text into the ield and inish of the name.

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Adding rollover behaviors Now it’s time to add interactivity to these slices. But irst, let’s recap. You have two states for the thumbnails, each containing a diferent version of each thumbnail image. he feature layer is shared to all the feature pages. here is a uniquely named image slice covering each thumbnail. hese slices are in a web sublayer called thumbs, and that web sublayer is shared to all the feature pages as well. Get ready to make all this work—states, thumbnail versions, slices, shared layers—come together as rollovers. 1 Make sure all six slices are selected. You will see a small circle in the middle of each slice. his is the behavior handle.

2 Click on the behavior handle of any of the six slices. 3 Choose Add Simple Rollover Behavior. his adds a basic swap image behavior to each of the selected slices.

What are behaviors? Behaviors are a quick way to add JavaScript functionality to a web-page mockup, without having to write a single line of JavaScript code. Image rollovers are a pretty common use of JavaScript in web pages (although CSS-based rollover efects are becoming more popular). Behaviors are also used in Dreamweaver for creating rollover efects, navigation bar efects, and many other JavaScript-driven events.

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4 Save the ile. 5 Choose File > Preview In Browser > Preview In [default browser]. In our case, the default browser is Firefox. Yours may very well be a diferent web browser.

When the web browser loads the mockup, move your mouse over the thumbnails. Each image should change from a sepia-tone to a full-color image.

6 Close the browser, and return to Fireworks.

emulating pop-up windows Each of the large images in our design is a unique size, and the goal for the prototype is to display each image as if it were popping up on top of the feature page. Having a unique slice for each diferent image and attempting to achieve this efect on a single page in Fireworks would be problematic, because Fireworks handles overlapping slices by generating multiple smaller slices to make up the image. he result is a lot of small images on export, with the potential for unpredictable display results. In order to mimic a pop-up window, where the window varies in size, you can use pages to display the unique content.

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the problem with overlapping slices Overlapping slices can cause unexpected results, because Fireworks must decide how to cut up the imagery beneath those slices. If a ile is exported as HTML And Images, the result can be a series of smaller slices. For example, two overlapping slices may result in three or more images, just to re-create the overlapped efect. For prototypes this is not a big deal because the goal of a prototype is to provide a realistic mechanism for user interaction and feedback, but you still end up with a lot of small graphics, which can be problematic if you are trying to locate a speciic ile. The CSS And Images export won’t allow you to overlap slices and still produce a standards-based page. If Fireworks detects overlapping slices during this type of export, you are warned about the problem, and Fireworks exports the ile as an absolutely positioned web page. If you export overlapping slices manually (right-click on a slice and choose Export Selected Slice), the topmost overlapping slice is the only one that is exported correctly. Slices that are lower in the stacking order of the web layer are literally cut at the point where the slices intersect. For example, if you have a logo on a background image and need to export both as separate individual images, you have to export one object at a time while hiding the other object (and changing the stacking order in the Layers panel). Now many web-page designs have overlapping elements. How do you resolve this issue when you need to export graphics for the real web page? A common worklow solution is to create an “assets” page that contains any artwork that would be overlapping within the design. Each object and its slice are kept clear of other objects. The objects can then be exported from this assets page.

You must now add links to these six thumbnail slices. 1 Select each slice, and choose the appropriate link from the Properties panel Link menu. For example, the thumb1 slice should link to featurethumb1.htm. # Note: While inline images in web pages require alternate text, we're not requiring you to ill in this image description in this exercise, because this is only a prototype and not the inal website.

You should also add a link for the main feature image, though you won’t bother with a rollover for this one. Adobe fireworks Cs5 ClAssroom in A book

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2 Draw a hotspot over the large plus sign (+) and the word ENLARGE.

3 Set the link for this hotspot to go to featurelarge.htm. 4 Make sure the hotspot is in the thumbs web sublayer. Drag it into the sublayer, if necessary.

Are pop-up windows evil? The dreaded pop-up window: it’s so feared that all major browsers have some form of defense against allowing it to display without the user’s permission. These “pop-up blocker” mechanisms are in place because, too often, pop-up windows are either used incorrectly—windows popping up all over the desktop because they were not set up properly—or used as an intentional annoyance by some nefarious advertiser, bent on dominating the user’s desktop with a myriad of ads. But while many users consider them irritating, pop-up windows, when properly executed, can be useful for a website. There are many things to consider when creating true pop-up windows, in order to make them accessible and searchable (two things that contribute to their usefulness). It’s beyond the scope of this book to discuss those details, but you can check out sitepoint.com for a discussion on building better JavaScript pop-up windows (www.sitepoint.com/article/perfect-pop-up).

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5 Rename this latest hotspot to main_feature. 6 When you have added all the links, save the ile. 7 Choose File > Preview In Browser > Preview All Pages In [default browser], and test the links. Clicking on the thumbnails should take you to the proper page.

emulating a Spry data table Ajax (Asynchronous JavaScript and XML) gives you the ability to create dynamic web pages without forcing the entire web page to refresh. Spry, Adobe’s framework for Ajax, is geared to making it easier for designers to create these dynamic elements within Dreamweaver. Granted, these deinitions are very simplistic—a detailed discussion of either Spry or Ajax is not within the scope of this book—but with a little understanding of the desired end result, you can, for example, mock up the feature page like a dynamic photo gallery or data table within Fireworks. Our sample Check website requires the creation of a dynamic data area for the calendar page, and Fireworks—with your help—can create the look and feel for client feedback, before a single line of code is written. 1 Select the calendar page.

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2 Open the States panel. he calendar page has a total of seven states, each one representing a diferent state for the calendar menu or the detail section of the data table.

3 Click on the silver_lake state, and note how the left side of the page is updated with new content. (We’ve undocked the States panel so you can better see the relationship.)

4 Switch to the Layers panel. Here you can select diferent states by choosing from the Current State pop-up menu at the lower left of the panel.

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5 Choose the up state. Note the orange-colored background behind the calendar menu.

6 Choose the over state, and note the change in the background color.

By adding in some new content, and making use of slices and behaviors, you will make this into a completely interactive page.

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7 Select the up state again. 8 While holding down the Shift key, use the Pointer tool to click on the large black and white photo and the text block on the left side of the page.

9 Right-click or Control-click, and choose Insert Rectangular Slice.

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10 Because you have more than one object selected, a dialog box appears, asking if you want to create single or multiple slices. Click the Single button, so that one slice covers both objects. Change the Slice export settings in the Properties panel to JPEG – Better Quality.

11 Rename the slice table_data.

12 Change the height of the slice to 680 pixels. 13 Move over to the calendar section on the right of the page, and with the Zoom tool, draw a box over the top thumbnail and text in the calendar. You want to be able to see the background from side to side.

14 Select the Slice tool, and draw a slice that covers the orange background, thumbnail, and text for the top event. he slice should include a bit of orange background at the bottom.

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15 Select the Pointer tool, hold down the Alt (Windows) or Option (Mac) key, and drag copies of the slice object over the other three calendar events. Position the slices with the help of the smart guides.

16 You’ll see that the Skate event requires a larger slice than you’ve created, so drag the control points of the slice to set a dimension that covers the entire area. When you’re done, there should be no gaps between the slices. 17 Select all four slices.

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18 If necessary, change the Slice export settings in the Properties panel to JPEG – Better Quality.

19 In the Properties panel, rename the four slices, from the top to the bottom, cal_event1, cal_event2, cal_event3, and cal_event4.

Adding content to empty states A couple states in the calendar page need content added to them for the rollover magic to work. 1 In the Layers panel, select the calendar layer from the Layers panel, and then choose the skater state from the Current State drop-down menu at the bottom right of the Layers panel. 2 Choose File > Import, and browse to the Lesson11 folder. 3 Locate and open the skater.fw.png ile. Make sure the Insert After Current Page option is not selected. 4 When the import icon appears, place it at the upper-left corner of the table_data slice.

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5 Click to import the ile.

# Note: If the imported images do not appear exactly where you expect, use the arrow keys to accurately reposition the visible parts of the objects so they are covered by the slice.

6 Select the architorture state, and repeat steps 1–4, importing the architorture. fw.png ile this time.

7 Save your work.

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Working with behaviors Creating this simulation is fun, and probably a lot easier than you think. You will be adding prebuilt JavaScript behaviors and then editing them with the Behaviors panel.

Adding the behaviors Adding behaviors in Fireworks is very easy, as you are about to see. 1 Still in the Layers panel, select the up state.

2 Use the Pointer tool to select the cal_event1 slice. 3 Click the Behavior handle and choose Add Nav Bar.

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he Set Nav Bar Image dialog box gives you the chance to set other optional settings, but you will leave those options deselected.

4 Click OK. 5 Use the Pointer tool to drag the behavior handle over to the table_data slice. A curved blue line will connect the slices, and a dialog box will appear.

6 Select bangski_graiti (4) from the Swap Image From menu. his creates your remote image change.

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7 Click the More Options button. 8 Deselect the Restore Image OnMouseOut option. his makes the efect “sticky,” meaning it won’t change back unless there is additional user interaction.

9 Click OK. 10 Repeat this process with the other event slices; be sure to select the right rollover for each—associating the cal_event2 slice with silver_lake (5), and so on.

editing JavaScript behaviors You have just created in a visual manner a series of JavaScript events. As mentioned earlier, Fireworks (and Dreamweaver) call these prebuilt events behaviors. Using them does not require any knowledge of JavaScript, nor do you need to edit the actual JavaScript code. However, you can customize the behaviors using the Behaviors panel. he default event for this type of image swap is for the table_data image to change when the user’s mouse moves over event slices. his is referred to as a remote, or disjointed, rollover. In your case, though, you want the appropriate table_data image to swap in when the user clicks on the matching slice, rather than when the user hovers the mouse over the area. his is where the Behaviors panel comes to your aid.

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1 Select the cal_event1 slice. 2 Choose Window > Behaviors.

3 Select the OnMouseOver event, which is part of the Swap Image action. 4 Choose OnClick, the second item in the list.

5 Select the cal_event2 slice on the canvas. 6 In the Behaviors panel, select the OnMouseOver event, which is part of the Swap Image action.

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7 Choose OnClick. 8 Repeat the process with the other two slices, and save your work.

Previewing the remote rollover You will now preview the rollover efect right in the main workspace. 1 To test out our dynamic data table simulation, click the Preview button at the top of the document window.

E Tip: If the Behaviors panel is getting in the way, you can either collapse it by clicking the Behaviors tab, or you can dock it with the other panel groups on the right side of the application.

2 In the Tools panel, choose Hide Slices And Hotspots. 3 Move your mouse over the top slice. he background gets lighter. hat is your swap image at work.

4 Move down to the next slice. he silver lake event button gets brighter, and the graiti button goes back to normal. As you move from event to event, the swapped image is restored. his is the standard mouseover behavior people expect to see.

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5 Click on the silver lake event. he left side of the page updates with the silver_lake state, and the event remains highlighted. his information will remain until you click on another event.

6 Click on the skater event. Again, the left side updates.

7 Switch back to the Original view, and save the ile. 292

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Completing the prototype You have accomplished quite a bit so far—just a little more work to do before this prototype is complete.

Populating the last pages Remember near the beginning of this lesson you added two new pages—video and fashion. Well, your crowning touches on this prototype are to add the visuals for those pages. 1 Select the video page. 2 Drag a vertical guide, and place it 71 pixels in from the left. Remember, to add guides, the rulers must be visible. If Tooltips are visible (View > Tooltips), they will help you with placing the guides accurately. 3 Drag down a horizontal guide and place it at 200 pixels. hese guides will help you import the content for the video page.

4 Choose File > Import, and browse to the Lesson11 folder. 5 Locate and open the new_pages.fw.png ile. 6 Navigate to the video page and choose Import from the Preview window. Again, make sure that Insert After Current Page is not selected. 7 Place the import cursor at the intersection of the two guides, and click to import.

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he video content is now in place.

8 Switch to the fashion page, and set up guides at the same positions.

9 Import the fashion page from the new_pages.fw.png ile.

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10 Place your import cursor at the intersection of the two guides, and click to import.

Adding the footer A few last steps remain to complete the prototype; you need to add the footer to the new pages. 1 Select the index page and, using the Pointer tool, select the footer text object on the canvas. 2 Copy the object and go back to the fashion page. 3 Select the empty Layer 1 in the Layers panel and then paste the text. 4 Rename the layer to footer. 5 In the Properties panel, set the Y value for the text to 1150 pixels. 6 Select Modify > Canvas > Canvas Size. 7 Set the canvas height to 1200 pixels and choose the top-center anchor point button. Make sure that Current Page Only is selected. 8 Select the empty Layer 1 in the video page, and paste the text again. 9 Position the text at 830 pixels. 10 Select Modify > Canvas > Canvas Size and change the height to 880 pixels. Remember to center the anchor point and make sure that Current Page Only is selected. 11 Save your work.

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exporting the prototype Your inal step in the prototype is to export the design so the client can test-drive the low and function of the site (and of course, be impressed with your graphic design skills!). 1 In the Pages panel, select all the pages except the Master page. 2 Choose File > Export. 3 Browse to the Lesson11 folder, and create a new folder there called check_site. 4 Open (Windows) or select (Mac) the new folder. 5 Choose HTML And Images from the Export list.

# Note: The HTML And Images option generates a series of table-based HTML pages, which are ine for prototype testing. However, due to the vast number of images and the rigid table structure of the pages, this export is not recommended for use as the inal production website.

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6 Make sure that the HTML ield reads Export HTML File and that the Slices ield reads Export Slices. 7 Choose Selected Pages from the Pages list. 8 Make sure Include Areas Without Slices is selected. You sliced only a speciic number of elements—mostly for interactivity purposes—and if you don’t export unsliced areas, your web pages will not look right. 9 Make sure Put Images In Subfolder is selected, too, just to keep things a bit more orderly. You can browse to an images folder in your prototype directory, or let Fireworks create a default images folder for you.

Advanced Prototyping

10 Click the Options button and select the Table tab. 11 Choose Nested Tables, No Spacers from the Space With menu. his reduces the table complexity a little, but is by no means mandatory for the export.

12 Select the Document Speciic tab. 13 In the State Names section, make sure the naming convention is set to State # (f2, f3, f4…).

14 Click OK to close the HTML setup dialog box, and then click Save (Windows) or Export (Mac) to complete the export process. here is no progress bar for this export process, but you should see the hourglass in Windows or the spinning beach ball on the Mac. he export process for this design should be inished within a minute or two.

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15 Using Windows Explorer or the Mac Finder, locate your prototype folder. You will see 14 web pages and a folder called images.

16 Open the images folder and you will see a frightening number of graphics. As discussed in earlier lessons, Fireworks exports everything as graphics when you choose the Export HTML And Images option. Any areas that were not manually sliced are exported using the Fireworks autonaming and autoslicing process. Again, as this is for prototyping only, it is not something you should be overly concerned about. It’s also a good example of why you should not use the HTML And Images export to generate inal website pages. You’re done! Feel free to double-click on the index page to launch your mockup in a web browser, and test out the links and other interactive elements.

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Review questions 1 What is a “remote” rollover? 2 How do you add new states to a page? 3 What are behaviors, and how do you apply them? 4 How do you edit JavaScript behaviors? 5 How do you turn a completed multipage Fireworks design into a clickable Web prototype?

Review answers 1 When you click or mouse over an area on a web page, a visual change occurs in a different location on the same page. he efect is called a remote rollover. You can create this efect in Fireworks using a combination of hotspots and slices, or slices alone, along with Fireworks behaviors to add in the necessary JavaScript. 2 You add new states by choosing New State from the States panel menu. 3 Behaviors are prebuilt JavaScript functions that can be added by clicking the behavior handle of either a hotspot or image slice object. 4 You can edit applied behaviors by opening the Behaviors panel (Window > Behaviors). Select the slice or hotspot that has the attached behaviors, and then select the speciic behavior in the Behaviors panel. You can also add additional behaviors using the Behaviors panel. 5 Choose File > Export, browse to the desired directory, choose HTML And Images from the Export menu, and make sure that Include Areas Without Slices is selected and that Current Page Only is not selected.

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indeX Entries for bonus supplemental chapters 12 and 13 are noted with the letter S.

nUMBeRS 2-Up view option, 165, 167 4-Up view option, 165, 169 9-slice Scaling tool, 47–48, 87–88

A active objects, 155 Add States dialog box, 269 adjustment layers, 119, 120, S:31, S:35 Adobe Acrobat Professional, 247, 248 Adobe AIR. See AIR Adobe Bridge, S:11–S:13 Adobe Dreamweaver. See Dreamweaver CS5 Adobe Exchange, 90 Adobe Fireworks. See Fireworks CS5 Adobe Flash. See Flash Adobe Flash Builder 4, S:82 Adobe Flash Catalyst. See Flash Catalyst Adobe Flex, S:75, S:81 See also Flex skins Adobe Illustrator, S:87 Adobe Photoshop. See Photoshop Adobe Reader, 248 Adobe XMP format, S:27 AIR (Adobe Integrated Runtime), S:44–S:63 adding AIR events, S:50–S:55, S:111 creating AIR prototypes, S:55–S:60 functionality in Fireworks, S:44 installing AIR prototypes, S:61–S:63 transparent chrome option, S:57 Ajax (Asynchronous JavaScript and XML), 279 Align panel, 49–50, 152, 220, 261 aligning objects, 49–50 text, 152 alpha transparency, 160, 230

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anchor points adding with Pen tool, 93 basics of using, 92 Animate dialog box, 226–227 Animated GIF format, 230 animation symbols, 225–234 creating, 225–230 exporting, 234 ile size reduction, 232 looping settings, 233, 234 onion skinning, 228–230 optimizing, 230–232 overview of, 225 previewing, 232, 233 state delay settings, 232–233 Anti-Aliased selection edge, 65 anti-aliasing bitmap edges, 65 text, 149–150 Application bar, 5, 14 Application Frame, 6, 17 assets, importing, 114–115 Auto Shapes, 11, 89–90, 93, S:24 Auto Shapes panel, 90, 104 Auto Vector Mask command, 111, 116–117 auto-resizing text blocks, 143

B Babbage, Jim, S:46 Background Image slices, 199 backgrounds adding to documents, 112 steps for adjusting, 135–137 banding issues, 231 banner ad project, 111–137 background, 112, 135–137 creating document for, 111–112 gradient settings, 113–114 image positioning, 137 importing assets into, 114–115

mask creation/editing, 121–129 Photoshop image import, 118–119 quick fade efect, 116–117 styling text for, 132–135 text added to, 129–132 baseline shift, 148 Batch Process dialog box, S:15 batch-processing images, S:13–S:19 behavior handle, 275 behaviors adding, 275–276, 287–289 editing, 289–292 explanation of, 275 previewing, 276, 291–292 rollover, 186–187, 275–276 Swap Image, 186 Behaviors panel, 289–291 Bezier control arms, 92 bitmap images, 38–60 aligning, 49–50 batch-processing, S:13–S:19 brightness adjustments, 52–54 correcting, S:63–S:71 cropping, 41–42, S:21–S:22 darkening, 53–54 Flash support for, S:110 lattened, 120, 161, S:102, S:107–S:110 grouping, 51 guides and, 44 hiding objects, 43 importing, 44–45, S:19–S:20 lesson overview, 38 lightening, 53 locking objects, 43 managing on the canvas, 43–44 masks based on, 108 positioning, 43, 49–50 repairing areas in, 56–59 resolution and ile size, 40 review questions/answers, 60 scaling, 46–48 selections on, 62–77 sharpening, 54–55 tips for working with, 40 tonal range adjustments, 48–49 vector graphics vs., 86 bitmap masks changing colors of, 128 converting selections to, 125–126 creating with Brush tool, 108, 109 editing, 126–127

overview of, 108–109 review questions/answers, 138 vector masks vs., 110 See also vector masks bitmap selections, 62–77 converting to paths, 74–75 explanation of, 64 ilter adjustments and, 67 inverse selection option, 75 Lasso tool for, 71–74 lesson overview, 62 Magic Wand tool for, 66–70 masks based on, 108, 125–126 modifying from Select menu, 75 primer on, 64–65 restoring, 71 review questions/answers, 76–77 saving, 70–71 similar selection option, 75 tools for making, 64–65 Bitmap tools, 10 blending modes applying for image correction, S:63–S:71 Flash support for, S:101 Photoshop support for, S:36 BMP ile format, 162 Bridge application, S:11–S:13 brightness adjustments, 52–54 browsers. See Web browsers Brush tool, 108, 126–127 Burn tool, 52, 53–54 button states, S:78–S:80 button symbols, 217–224 adding multiple, 222–223 creating, 217–219 editing, 220–221 overview of, 217 prototypes using, 259–264 rollover efects, 220–221, 223, 259–264 text for, 220, 222, 223–224

C canvas adding guides to, 81 preparing, 7 resizing, 226, 264–265, S:25 trimming, 230 Canvas Size dialog box, 226, S:25 Cascading Style Sheets. See CSS chainlink icon, S:6

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Chamfer Rectangle tool, 89 checkerboard canvas area, 231 Circle Hotspot tool, 185 clipping groups, 119 Clone Stamp tool, 56 Close event, S:50–S:51, S:55 colors adjusting, S:67–S:68 bitmap mask, 128 gradient, 12–13, 113 guide, 228 matte, 163, 230 selections based on, 64–65 Colors tools, 10 commands batch-processing, S:16 custom, 20 See also speciic commands Commands menu, 20 comment feature, 248 Common Library adding prebuilt symbols from, 216–217 saving symbols to, 210–211 Common Library panel, 199, 212, 216 component symbols, 199, 208 Compound Shape tool, 99–104 compound shapes, 99–104 adding shapes to, 101–104 how they work, 100–101 constraining proportions, 115 content pages, 255–256 control handles for cropping, 42 for scaling, 46, 47 conversions pages to PSD ile, 28 selection to path, 74–75 Convert Pages to PSD extension, 28 Convert to Symbol dialog box, 209, 228, 260 correcting images, S:63–S:71 Create AIR File dialog box, S:56–S:60 Crisp Anti-Alias setting, 149 Crop tool, 41 cropping bitmap images, 41–42, S:21–S:22 images in designs, 42 CSS (Cascading Style Sheets), 195–203 CSS and Images export, 201–203 Fireworks functionality and, 195–198 preparing to export, 198–203 cursor display options, 56

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curved anchor points, 92, 93 Custom Anti-Alias setting, 149, 150 custom shapes, 94–95 custom styles, 133–134 Custom Symbols folder, 211 custom workspaces creating, 15–16 deleting, 16 customizing ile names for states, 193 page dimensions, 264–265 Photoshop export options, S:34–S:35 strokes, 97–98

d darkening images, 53–54 deleting anchor points, 92 custom workspaces, 16 shapes, 80–81 templates, S:11 Device Central, S:40–S:43 previewing applications in, S:42–S:43 selecting device proiles in, S:40–S:42 digital signature, S:59–S:60 disjointed rollover, 289 distortion-free scaling, 46, 47–48, 87–88 Dither Gradient button, 97 dither settings, 231 DIV tags creating, 197, 200–201 explained, 196 dock, coniguring, 13–15 Document Library panel, 210 document templates, 4, S:4–S:11 opening, S:4–S:5 project assembly using, S:5–S:10 removing unwanted, S:11 documents creating new, 4, 111–112 graphic symbols added to, 212–213 templates for creating, 4, S:4–S:11 working with multiple, 16–19 Dodge tool, 52, 53 downsampling images, 54 Drag event, S:55 dragging/dropping from Fireworks to Flash stage, S:110 between loating windows, 18–19 objects into layers, 269, 273

drawing vector shapes, 7–8, 80 Dreamweaver CS5, S:88–S:99 copying and pasting to, S:88–S:92 creating pods for, S:95–S:99 round-trip editing using, S:92–S:95 duplicating states, 34

e edge pixels, 55 Edit Gradient pop-up window, 12, 97, 113 Edit in Place mode, 213 editing bitmap masks, 126–127 button symbols, 220–221 FXG iles, S:85–S:87 gradients, 113–114 graphic symbols, 213–215 JavaScript behaviors, 289–292 objects within groups, S:9–S:10 paths, 93 round-trip, S:92–S:95, S:99 text, 145–146, 154 vector masks, 124 Elliptical Marquee tool, 65 e-mail, sending iles to, S:26 empty bitmap objects, 58 empty states, 285–286 emulations pop-up window, 276–279 Spry data table, 279–286 Escape key, 41 Expand/Collapse Layer icon, 32 Export Area tool, S:22 Export As Adobe PDF option, 161 Export dialog box, 201, 246–247, S:23 Export FXG And Images option, 161 exporting animations, 234 CSS and Images, 195–203 iles to Photoshop, S:34–S:35 Flex skins, S:80–S:81 FXG documents, S:82–S:84 HTML and Images, 188–195, 296 optimized iles, 170 overlapping slices, 277 pages to iles, 28 prototypes, 296–298 resetting options for, S:24 saving vs., 161 speciic areas, S:22–S:24 states, 193–194

wireframes, 246–247 extensions, 13 Eyedropper tool, 113

F face-lift technique, 58–59 Feathered selection edge, 65 ile formats Adobe XMP format, S:27 Fireworks PNG format, 9, 161 Flash FXG format, S:82 Photoshop PSD format, 28, S:33–S:34 for Web graphics, 160–161 ile names customizing for states, 193 specifying for symbols, 211 ile size GIF animations and, 231, 232 resolution and, 40 Web optimization and, 160, 169, 177–179 iles adding metadata to, S:27–S:29 exporting vs. saving, 161 saving in Fireworks, 9 Fill Category Pattern submenu, 100 Fill Color box, 97 ills gradient, 12–13, 95–97 vector shape, 7–8 Filmstrip workspace, S:11 ilters applying to bitmaps, 67 supported in Flash, S:101 Unsharp Mask ilter, 54–55 See also Live Filters Find Source dialog box, S:93, S:108 Fireworks CS5 AIR functionality in, S:44 blending modes supported in, S:36 CSS and, 195–198 Developer Center, 197, S:81 Dreamweaver and, S:88–S:99 Flash and, S:99–S:110 Flash Catalyst and, S:82 Illustrator and, S:87 interface illustration, 5 native PNG format, 9, 161 Photoshop and, 28, 119–120, S:30–S:36 worklow, S:2–S:37 ixed-width text blocks, 143–144

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Flash, S:99–S:110 complex animations and, 234 considerations for importing to, S:110 Fireworks features supported in, S:101 lattened bitmaps imported into, S:107–S:110 PNG iles imported into, S:102–S:107, S:111 preparing iles for, S:100–S:101 Flash Builder 4, S:82 Flash Catalyst, S:82–S:87 downloading, S:85 editing FXG iles in, S:85–S:87 exporting pages to, S:82–S:84, S:111 Fireworks and, S:82 overview of, S:82 viewing iles in, S:85 Flash platform, S:82 Flash Professional CS5, S:102 Flatten Selection command, S:70 Flattened bitmap images exporting iles as, 161 importing into Flash, S:102, S:107–S:110 opening in Fireworks, 120 Flattened PNG format, 9 Flex skins, S:75–S:81 adding button states to, S:78–S:80 choosing components for, S:111 exporting, S:80–S:81 steps for creating, S:75–S:78 Web resources on, S:81 loating document windows creating, 17–18 dragging/dropping between, 18–19 folders Custom Symbols, 211 prototype, 298 Font Style menu, 89 fonts banner ad project, 130 converted to paths, S:45 formatting features, 142 issues with missing, S:13 resizing, 145 Web-safe, 203 footers, 295 Foreground Image slices, 199 Freeform tool, 92 future-prooing projects, S:27–S:36 metadata information and, S:27–S:30 Photoshop integration and, S:30–S:36 FXG iles, S:82 editing, S:85–S:87 exporting, S:82–S:84

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Fireworks efects and, S:86 viewing, S:85

G GIF iles, 160 animated, 230–232, 234 illustrations optimized as, 176–179 Optimize panel options, 163, 230–232 range of colors in, 231 Gradient Dither icon, 13 Gradient panel, 13 gradients adding gradient ills, 95–97 editing direction and angle of, 114 setting colors for, 12–13, 113 graphic symbols, 208–217 adding to documents, 212–213 creating, 209–211 editing, 213–215 isolation mode for, 214 overview of, 208 prebuilt, 216–217 saving to Common Library, 210–211 graphics Web ile formats for, 160–161 See also bitmap images; vector graphics Grayscale Appearance mode, 111, 123 groups of objects, 51, S:9–S:10 of panels, 13–15 of shapes, 148 guides 9-slice scaling, 47, 87–88 adding to canvas, 81 changing color of, 228 hiding/showing, S:32 measuring distances between, 81–82 placing objects using, 44, 82–83 Snap to Guides option, S:19–S:20 toggling on/of, 81, 89 vector graphics, 81–83 web slice, 173

h Hard selection edge, 65 Hide Slices and Hotspots icon, 171, 223, 261, 264, 291 hiding guides, S:32 marquee, 69 objects, 43

histogram, 48 History panel, 20, 103 horizontal scaling, 148 Hotspot tools, 10, 171, 185 hotspots creating, 184 Layers panel view of, 174 slice objects and, 184 tools for, 10, 171, 185 HTML AIR prototypes and, S:44 CSS layouts and, 196, 199 DIV tags in, 196, 197, 200–201 editing rollovers in, 194–195 exporting states with, 193–194 Flash support for, S:110 HTML and Images export, 188–195, 296 HTML Setup dialog box, 297 Hue/Saturation adjustments, S:67–S:68 Hungarter, Doug, 28 hyperlinks adding to slices, 186–187 creating within slices, 184 prototype navigation, 244–245, 262–264

i icon images, S:58 illustrations optimizing, 176–179, 181–182 reducing ile size of, 177–179 Illustrator program, S:87 Image Description (Alt Text) dialog box, S:92 Image Preview dialog box, S:22–S:23, S:90 Image Size dialog box, 54–55 images batch-processing, S:13–S:19 correcting, S:63–S:71 importing, 44–45, S:19–S:20 linking thumbnails to, S:19 positioning, 43, 49–50, 286 resolution vs. quality, 40 rollover, 186–187 See also bitmap images import cursor, 44 Import dialog box, 26 Import Page window, 26 importing assets, 114–115 bitmap images, 44–45, S:19–S:20 documents into Flash, S:102–S:110 pages, 26–27

Photoshop images, 118–119 vector objects, 98–99 installing AIR prototypes, S:61–S:63 instances of symbols, 208 instant face-lift technique, 58–59 interactivity prototype, 262–264 Web page, 186–187 wireframe, 244–245 interface annotated illustration, 5 common to Adobe programs, 3, 5 custom workspaces, 15–16 default workspaces, 5–6 document window features, 16–19 panel coniguration, 13–15 Properties panel, 12–13 review questions/answers, 21 rulers and tooltips, 7 Tools panel, 10–11 isolation mode, 214

J JavaScript behaviors adding, 275–276, 287–289 editing, 289–292 rollover efects, 186–187, 275–276 Swap Image behavior, 186 JPEG iles, 160 exporting PNG iles as, 170 Optimize panel options, 162, 256 saving images as, 70 slices optimized as, 174–175 text quality and, 169

K kerning, 148 Key Type option, S:59 Kuler panel, S:44

L Lasso tools selecting with, 71–74 situations for using, 64 layer styles, 35, S:33, S:35 layers, 24–25, 28–33 adding/naming, 30 detaching shared, 264 Fireworks support for, 18

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moving objects between, 30 multiple objects in, 59 naming objects in, 28–29 Photoshop ile, 120 protecting, 32–33 rearranging objects in, 29 retouching on separate, 57–58 review questions/answers, 37 shared, 242, 264, 266–267, 273 stacking order of, 98 sublayers and, 31–32, 267 Layers Magazine, S:81 Layers panel accessing options in, 33 active objects displayed in, 155 adding/naming layers in, 30 empty bitmap objects in, 58 Flex skin creation and, S:76 locking objects in, 32–33 moving objects between layers in, 30–31 naming objects in, 28–29 rearranging objects in, 29 Share Layer to Pages option, 266, 273 Show/Hide icon in, S:65, S:97 stacking order of layers in, 98 sublayer creation in, 31–32 leaderboard banner, 111, S:5–S:6 leading, 148 Levels dialog box, 36, 48–49 Levels Live Filter, 49, S:35 Library panel, S:105, S:107–S:108 lightening images, 53 linear gradients, 95 links. See hyperlinks Live Efects. See Photoshop Live Efects Live Filters, 49 adding to states, 36 contrast adjustments and, 48–49 image correction using, S:67–S:68 masked objects and, 128–129, 155 sharpness adjustments and, 54–55 supported by Photoshop, S:35 Live Marquee feature, 65 locking layers, 32–33 objects, 33, 43 proportions, 9 logo iles, S:6

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looping animations, 233, 234 lossy format, 160

M Mac OS Fireworks interface, 5–6 importing images on, 99, 115 Magic Wand tool, 66–70 creating selections with, 66–67 keyboard modiiers used with, 68–70 situations for using, 64–65 Main toolbar, 5 Maintain Appearance option, 164 Marquee tool, 64 masks, 106–138 Auto Vector Mask command, 116–117 banner ad project using, 111–137 creating and editing, 121–129 explanation of, 108 image corrections and, S:69–S:70 lesson overview, 106 Live Filters and, 128–129 quick fades with, 116–117 review questions/answers, 138 selections converted to, 125–126 text used as, 153–154 two types of, 108–111 See also bitmap masks; vector masks master pages, 240–241, 255, 257–258 matte color, 163, 230 Maximize event, S:55 Menu bar, 6 metadata, S:27–S:30 adding to iles, S:27–S:29 template creation, S:29–S:30 Minimize event, S:55 mobile projects, S:40–S:43 previewing in Device Central, S:42–S:43 selecting device proiles for, S:40–S:42 mockups. See prototypes; wireframes mouse adding AIR events for, S:50–S:55 highlighting objects by moving, 28 testing rollovers using, 223 moving objects between layers, 30 multiple documents, 16–19

n

P

naming/renaming layers, 30 objects, 28–29 slices, 182–183, 274 states, 34, 193 symbols, 211 navigation buttons, 220 nested symbols, 228 New Bitmap Image icon, 52, S:65 New Document dialog box, 4, 111 New Flex Skin dialog box, S:75 New From Template dialog box, S:4 New Style dialog box, 133–134 New Sub Layer button, 31 New/Duplicate Layer button, 30 New/Duplicate page icon, 225 No Anti-Alias setting, 149 Numeric Transform options, 51 N-Up feature, 168

page weight, 160, 162 pages, 24, 26–28 adding, 242–243, 258–259 content, 255–256 customizing dimensions of, 264–265 exporting, 28, S:82–S:84 importing, 26–27 master, 240–241, 255, 257–258 moving between, 27 reordering, 26, 27 resetting export options for, S:24 review question/answer on, 37 sharing layers to, 266–267 wireframe, 241–245 Pages panel isolating, 239–240 overview of, 238–240 panels accessing, 15 arranging, 15 coniguring, 13–15 extensions for, 13 See also speciic panels paragraph indent, 148 paragraph spacing, 148 password-protected tasks, 247 Path Outline mode, 110 Path panel, 100 Path Scrubbers, 92 paths attaching text to, 150–152 drawing with Pen tool, 91 fonts converted to, S:45 methods for editing, 93 selections converted to, 74–75 text converted to, S:73 tools for working with, 92 patterns, applying to vector objects, 100 PDF iles, creating interactive, 246–247 Pen tool adding points with, 93 creating custom shapes with, 94–95 drawing paths with, 91, 151 Pencil bitmap tool, 91 Photoshop blending modes supported in, S:36 customizing export options for, S:34–S:35 Fireworks integration with, 28, 119–120, S:30–S:36 importing images from, 118–119

o object-oriented approach, 59 objects aligning, 49–50 determining active, 155 editing within groups, S:9–S:10 grouping, 51 hiding, 43 layers and, 59 locking, 33, 43 naming, 28–29 overlapping, 198 placing with guides, 44 positioning, 43, 49–50, 82–83 proportions of, 9 rearranging, 29 selecting, 64 onion skinning, 228–230 Optimize panel, 161–163 choosing settings in, 168–169 view options in, 165, 168 See also Web optimization Original view option, 165 Oval Marquee tool, 64 overlapping objects, 198 overlapping slices, 277 Oversampling option, 149

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Live Filters supported in, S:35 multipage Fireworks iles and, 28 opening iles from, 119–120 saving iles for, 28, S:33–S:34 Photoshop Export Options dialog box, S:34, S:35 Photoshop File Import Options dialog box, 118 Photoshop Live Efects, 35, S:30 explanation of, S:33 Flex skin button states, S:79 steps for using, S:30–S:32 Photoshop Live Efects dialog box, 35, S:9 pixel dimensions, 7 Pixel Radius property, 55 pixels per inch (ppi), 7 playback controls, 228 PNG iles, 9, 160–161 exporting as JPEG iles, 170 Fireworks vs. Flattened, 9 illustrations optimized as, 176–179, 181–182 importing into Flash, S:102–S:107 Optimize panel options, 163, 256 round-trip editing of, S:92–S:95 saving documents as, 9 pods, S:95–S:99 Pointer tool, 12 Polygon Hotspot tool, 185 Polygon Lasso tool, 64, 125 Polygon Slice tool, 171, 172 pop-up blockers, 278 pop-up windows consideration on using, 278 emulating in prototypes, 276–279 positioning bitmap images, 43, 49–50 vector graphics, 82–83 ppi (pixels per inch), 7 prebuilt symbols, 216–217 Preserving Text Quality option, 169 previews AIR prototype, S:60 animation symbol, 232, 233 browser-based, 184–185, 202–203, 276 cropped area, S:22–S:23 rollover efect, 276, 291–292 Web optimization, 164–169 primitive shapes, 11 Properties panel, 12–13 proportionate scaling, 9 protecting layers, 32–33 prototypes, 236–299 adding pages to, 258–259 Adobe AIR, S:44, S:55–S:63

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advanced or complex, 252–299 behaviors added to, 275–276, 287–289 buttons used in, 259–264 comment feature, 248–249 content pages, 255–256 customizing page dimensions for, 264–265 delivering to clients, 246–249 editing behaviors in, 289–292 exporting, 246–247, 296–298 leshing out, 257 footers added to, 295 image rollovers in, 265–279 interactivity added to, 244–245, 262–264 lesson overview, 236, 252 locating folder for, 298 master pages, 240–241, 255, 257–258 naming slices in, 274 navigation buttons in, 259–264 Pages panel and, 238–240, 254 populating last pages of, 293–295 pop-up window emulations in, 276–279 review questions/answers, 250, 299 rollover efects in, 259–264, 265–279 Spry data table emulations in, 279–286 steps for completing, 293–298 wireframe page comparison, 241–245 worklow for creating, 238 See also wireframes PSD iles exporting iles as, S:34–S:35 importing, 118–119 saving documents as, 28, S:33–S:34 punching vectors, 102

Q quality resolution vs., 40 Web optimization and, 166–169

R raster graphics. See bitmap images Rectangle Hotspot tool, 184, 185 Rectangle tool, 7–8 rectangles changing corners of, S:24–S:26 drawing with Rectangle tool, 7–8 Rectangular Marquee tool, 65 Redraw Path tool, 92 remote rollovers, 289, 291–292 renaming. See naming/renaming

resampling images, 54 Reshape Area tool, 92 resizing. See sizing/resizing resolution ile size and, 40 image quality vs., 40 setting in Fireworks, 7 Restore Selection dialog box, 71 retouching images general steps for, 56–57 instant face-lift technique, 58–59 separate layer used for, 57–58 retouching tools Dodge and Burn tools, 52–54 Rubber Stamp tool, 56–59 Reverse Gradient button, 13 review questions/answers on bitmap images, 60 on layers, 37 on masks, 138 on pages, 37 on prototypes, 250, 299 on selections, 76–77 on states, 37 on symbols, 235 on text, 156–157 on user interface, 21 on vector graphics, 105 on Web optimization, 204–205 on worklow, S:37 rich Internet applications (RIAs), S:82 rollover efects behaviors added to, 186–187, 275–276 button symbol, 220–221, 259–264 creating, 186–187, 217, 220–221, 259–264, 270–271 image, 265–279 navigation, 259–264 previewing, 276, 291–292 remote rollovers, 289, 291–292 slices and, 186–187, 271–273 states added to, 262, 265–273 testing, 223 Rounded Rectangle Auto Shape, S:25 round-trip editing, S:92–S:95, S:99 Rubber Stamp tool, 56–59 instant face-lift technique, 58–59 repairing image areas with, 56–57 retouching on a separate layer with, 57–58 rulers, viewing, 7, 81

S Save As dialog box, 9, 70, S:33 Save Script button, S:17 Save Web Image dialog box, S:91 saving bitmap selections, 70–71 exporting vs., 161 iles for Photoshop, 28, S:33–S:34 Fireworks PNG iles, 9 operations as scripts, S:17 symbols to Common Library, 210 Scale tool, 46, 83, 87 scaling 9-slice guides for, 47, 87–88 bitmap images, 46–48 distortion-free, 46, 47–48, 87–88 proportionate, 9 traditional method of, 46, 87 vector graphics, 83–84, 87–88, 99 scripts, saving operations as, S:17 security certiicates, S:59 Select Inverse command, 75 Select menu options, 75 Select Similar command, 75 Select tools, 10 selecting objects, 64 selections, bitmap. See bitmap selections Selective Quality setting, 169 Send To E-mail option, S:26 Set Nav Bar Image dialog box, 288 shapes Auto, 11, 89–90, 93, S:24 compound, 99–104 custom, 94–95 deleting, 80–81 downloading, 90 drawing, 7–8, 80, 94–95 lowing text within, 146–148 primitive, 11 ungrouping, 148 See also vector graphics Share Layer to Pages dialog box, 266–267, 273 shared layers, 242, 264, 266–267, 273 sharpening images, 54–55 Sharpness option, anti-aliasing, 149 Show Slice and Hotspots icon, 171, 261, 264 Show/Hide icon, S:65, S:97 silhouettes, 129 sizing/resizing canvas, 226, 264–265, S:25 slices, 174

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thumbnails, 33, S:14 vector graphics, 8, 83–84, 99 Skew tool, 152–153 skewing text, 152–153 skyscraper banner, S:7–S:9 Slice tool, 10, 171 choosing style of, 172 creating slices with, 172–173, 283 slices, 171–185 adding, 175–176 button symbol, 219, 220 creating, 172–173 CSS layouts and, 195, 199 explanation of, 171 exporting states and, 193–194 hotspots added to, 184 hyperlinks added to, 186–187 illustration optimization, 176–179, 181–182 JPEG image optimization, 174–175 Layers panel view of, 174 main components of, 173 making multiple, 179–181 naming/renaming, 182–183, 274 overlapping, 277 pods for, S:95–S:99 resizing, 174 rollover, 186–187, 271–273 Smart Guides, 51, S:25 Smooth Anti-Alias setting, 149, 150 Snap to Guides option, S:19–S:20 Soft Burn blending mode, S:66–S:67 Solid Shadow Live Filter, 155 special efects for text, 150–155 Spry data tables, 279–286 adding content to empty states, 285–286 steps for emulating, 279–285 stacking order of layers, 98 state delay settings, 232–233 states, 25, 34–36 adding content to empty, 285–286 changing content on, 34–35 customizing ile names for, 193 duplicating and naming, 34 exporting, 193–194 Flex skins and, S:78–S:80 Live Filters added to, 36 review question/answer on, 37 rollover, 262, 265–273 States panel, 229, 268, 269, 280 Stow, Matt, 199 straight anchor points, 92 Strength option, anti-aliasing, 149

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strokes customizing, 97–98 Photoshop Live Efects, S:31–S:32 rendered text, S:71–S:74 true text, S:74 Strong Anti-Alias setting, 149 styling text, 132–135 custom styles for, 133–134 steps in process of, 132–133 sublayers creating, 31–32 determining objects in, 273 importance/limitations of, 267 Subselection tool, 74, 93, 95, 99, S:9–S:10, S:106 Swap Image behavior, 186, 288–289 Swap Image dialog box, 289 symbols, 206–235 animation, 225–234 button, 217–224 component, 199, 208 explanation of, 208 ile names for, 211 graphic, 208–217 instances of, 208 isolation mode for, 214 lesson overview, 206 nested, 228 prebuilt, 216–217 review questions/answers, 235 saving to Common Library, 210–211

t table-based layouts, 188–189 templates, 4, S:4–S:11 creating metadata, S:29–S:30 opening, S:4–S:5 project assembly using, S:5–S:10 removing unwanted, S:11 Test Devices panel, S:41, S:42 text, 140–157 adding to designs, 88–89, 129–132 anti-aliasing, 149–150 attaching to paths, 150–152 button symbols and, 220, 222, 223–224 converting to paths, S:72 custom styles for, 133–134 editing, 145–146, 154 Fireworks versions and, 148 Flash support for, S:110 lowing within vector shapes, 146–148 formatting features, 142

improving quality of, 169 lesson overview, 140 Live Filters added to, 155 mask efect using, 153–154 review questions/answers, 156–157 skewing on an angle, 152–153 special efects for, 150–155 stroking, S:71–S:74 styling, 132–135 temporary placement of, 32 text blocks created for, 143–144 tracking adjustments, 89 typography terms for, 148 wireframe, 244 text blocks auto-resizing, 143 ixed-width, 143–144 text engine, 88 Text Overlow indicator, 148 Text tool, 10 adding text to designs with, 88–89, 129–132 Properties panel options for, 142 text blocks created with, 143–144 three-slice technique, S:95–S:99, S:111 hreshold property, 55 thumbnails batch-processing, S:13–S:19 linking to full-sized images, S:19 rollover efects for, 265–279 sizing/resizing, 33, S:14 TIFF format, 162 Timeline panel, S:106 tonal range adjustments, 48–49 Tools panel, 10–11 tooltips, 7, 81 tracking, 89, 148 Transform options Flip Horizontal, 121 Numeric Transform, 51 Transform tools, 80, 84 Trim Canvas command, 230 TweetDeck, S:44 typography terms, 148 See also text

U Undo command, 19, 57 undoing steps, 19–20 History method of, 20 Undo command for, 19, 57

ungrouping masked images, S:64–S:65 shapes, 148 Unsharp Mask ilter applying as Live Filter, 54–55 properties controlling, 55 upsampling images, 54 user interface. See interface

V vector graphics, 78–105 anchor points, 92 Auto Shapes, 89–90 bitmap images vs., 86 compound shapes, 99–104 custom shapes, 94–95 deleting, 80–81 drawing, 7–8, 80, 94–95 editing, 93 explanation of, 80 Flash support for, S:110 lowing text within, 146–148 gradient ills, 95–97 guides for, 81–83 importing, 98–99 lesson overview, 78 modifying appearance of, 84–85 paths and, 91–93 patterns added to, 100 Pen tool and, 91 positioning, 82–83 resizing, 8, 83–84, 99 review questions/answers, 105 scaling, 87–88, 99 stroke styling, 97–98 text and, 88–89, 146–148 vector masks changing attributes of, 123–124 creating, 121–123 editing, 124 overview of, 110–111 review questions/answers, 138 See also bitmap masks Vector Path tool, 92 vector primitives, 11 Vector tools, 10 View tools, 10 viewing guides, 81, 89 rulers, 7, 81 tooltips, 7, 81

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W web banner project, S:4–S:11 banner assembly, S:5–S:10 document template, S:4–S:5 removing unwanted templates, S:11 Web browsers animations previewed in, 233 CSS layouts viewed in, 202–203 designs previewed in, 184–185 rollovers previewed in, 276 Web layers, 25 AIR events and shared, S:51 slices and hotspots in, 174 web objects, 174 Web optimization, 158–205 browser preview of, 184–185 choosing settings for, 168–169 CSS-based layouts and, 195–203 exporting optimized iles, 170, 188–203 graphics formats and, 160–161 hotspot creation and, 184 HTML and Images export and, 188–195 illustrations and, 176–179, 181–182 interactivity and, 186–187 JPEG images and, 174–175 lesson overview, 158 matte color and, 163 Optimize panel for, 161–163 overview of, 160 preference settings, 164 previews used for, 164–169 quality settings and, 166–169 review questions/answers, 204–205 saving settings for, 182 slices used for, 171–185 tools for, 171 web slices. See slices Web toolset, 10, 171 Web-safe fonts, 203 Welcome screen, 4 Windows OS, Fireworks interface, 5 wireframes adding pages to, 242–243 comment feature for, 248 comparing pages in, 241–242 delivering to clients, 246–249 exporting, 246–247 feature layer, 243–244 interactivity added to, 244–245 main image layer, 242, 243 master pages, 240–241

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text layer, 244 See also prototypes worklow, S:2–S:37 adding metadata, S:27–S:29 Adobe Bridge and, S:11–S:13 batch-processing images, S:13–S:19 changing rectangle corners, S:24–S:26 creating metadata templates, S:29–S:30 cropping individual bitmaps, S:21–S:22 customizing Photoshop export options, S:34–S:35 document templates and, S:4–S:11 exporting speciic areas, S:22–S:24 Fireworks/Photoshop integration, S:30–S:36 future-prooing projects, S:27–S:36 importing images, S:19–S:20 lesson overview, S:2 Photoshop Live Efects, S:30–S:32, S:33 prototyping process, 238 review questions/answers, S:37 saving iles for Photoshop, S:33–S:34 shortcuts for improving, S:22–S:26 Workspace Switcher, 14, 16 workspaces Adobe Bridge, S:11 custom, 15–16 default, 5–6

X x and y coordinates, 43 XMP metadata, 161, S:27

Z Zoom Level menu, 42, 44 Zoom tool, 52, 172, 283

Production notes he Adobe Fireworks CS5 Classroom in a Book was created electronically using Adobe InDesign CS4. Art was produced using Adobe Fireworks. he Myriad Pro and Warnock Pro OpenType families of typefaces were used throughout this book. References to company names in the lessons are for demonstration purposes only and are not intended to refer to any actual organization or person.

images Photographic images and illustrations are intended for use with the tutorials.

typefaces used Adobe Myriad Pro and Adobe Warnock Pro are used throughout the lessons. For more information about OpenType and Adobe fonts, visit www.adobe.com/type/opentype/.

team credits he following individuals contributed to the development of this edition of the Adobe Fireworks CS5 Classroom in a Book: Writer: Jim Babbage Associate Editor: Valerie Witte Developmental Editor: Brie Gyncild Production Editor: David Van Ness Technical Editor: Sheri German Compositor: WolfsonDesign Copyeditor: Liz Welch Proofreader: Patricia Pane Indexer: James Minkin Cover design: Eddie Yuen Interior design: Mimi Heft

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Contributor Jim Babbage Jim Babbage teaches imaging, Web design, and photography in Toronto at Centennial College’s Centre for Communication, Media, and Design (centennialcollege.ca/thecentre) and at Humber College’s Digital Imaging Training Centre (digital.humber.ca). He is also a creative partner/co-owner of NewMedia Services (newmediaservices.ca), a communications company. Beginning his career as a commercial photographer, Jim started with Photoshop and then moved to Web design, using early versions of Fireworks and Dreamweaver, and was hooked. Jim is a frequent contributor of articles on Fireworks, Dreamweaver, Photoshop, and other general Web topics to the Community MX website (communitymx.com) and adobe.com and has presented at Adobe MAX as well as several other conferences. Jim is also the author of several Fireworks video training titles at Lynda.com, including Fireworks CS5 Essential Training.

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IMPROVING YOUR WORKFLOW Lesson overview Fireworks is full of ways to save you time. From batch processing and custom automation of tasks to built-in features and integration with Adobe Bridge, there are many ways to speed up your project worklow without cutting corners. In this lesson, you’ll learn how to do the following:

• Use document templates • Batch-process tasks • Locate and process iles in Adobe Bridge • Add project information to a ile • Add Photoshop Live efects his lesson will take about 90 minutes to complete. Copy the Lesson12 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Fireworks is all about getting the job done professionally, in as little time as possible.

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Using document templates Many designers love Fireworks because it lets them get in and get out quickly. Expediting your worklow is indeed a key goal of Fireworks. One feature that may help you in concept and prototyping stages is document templates. Fireworks comes with a number of prebuilt templates you can use to jump-start a brand-new project. he template options range from common document sizes for web and mobile projects, to grid layouts for creating original web-page layouts and wireframes, to mobile application and website prototype samples. You will use one of these templates to quickly generate a series of web banners to promote a website.

Opening a document template You’ve been asked to create a series of web banners from some supplied artwork. his is a great chance to see how document templates can save you time. 1 Choose File > New From Template or select the From Template option on the Welcome screen. he New From Template dialog box opens directly to the main Templates folder.

You can choose from one of ive default categories. 2 Open the Document Presets folder and select the Web banners template. In Windows, a preview window appears automatically. On the Mac, click the Preview button to open the preview window. 3 Use the playback controls below the preview image to browse through the various design options.

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4 Choose the 728 x 90 – Leaderboard page and click Open.

he entire document opens, with the 728 x 90 Leaderboard template as the active page. Note that all the other banner sizes are still part of the document, including a summary page that has all the banners on a single page. his is already saving you time because you don’t need to research banner sizes or create the banner iles.

Assembling the banners he main graphics are already created for you as separate iles. It’s up to you to use them in a variety of ways to create unique banners. We’ll walk you through the process for the Leaderboard and skyscraper ads. A inal version of the banners can be found in the Lesson12 folder. Feel free to refer to this as you work through the exercise.

Building the leaderboard banner Once again, you will be using the Import command to speed up your worklow. 1 Choose File > Import (Ctrl+R on Windows or Command+R on Mac) and browse to the meridian_header.png ile. his is a lattened PNG, with no special layers or efects.

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2 Click Import, then Open (Windows) or Open, then Open (Mac) and place your import cursor at the top left of the banner rectangle.

3 Click once to import the image at its original dimensions. On the Mac, you may need to click once to set the focus to the Document window irst. 4 Hold down the Ctrl or Command key and press the down arrow key once. he image is moved behind the banner rectangle. 5 Select the Pointer tool and click on the banner rectangle. 6 Press Ctrl+X or Command+X to cut the rectangle. 7 Select the image and choose Edit > Paste As Mask. he banner rectangle now masks the image at the correct dimensions for the banner. 8 In the Layers panel, select the image rather than the mask. E Tip: If you want to numerically control the position of the masked object, rather than drag it with the mouse, first break the link between mask and masked object by clicking on the chainlink icon found between the two objects in the layers panel. Then select the image itself and use the Properties panel to alter its location.

9 On the canvas, locate the blue control handle and reposition the image within the mask. Your inal X and Y coordinates for the image (not the mask) should be X: –206 and Y: 32. Don’t use the Properties panel to do this; use the image control handle within the image.

10 In the Properties panel, reduce the opacity of the image to 50%. 11 Save your ile as meridian_banners_working.fw.png.

Adding a logo and a call to action You’ve got your background image. Now it’s time to add the logo and call to action. 1 Select File > Import and bring in the local_logo.fw.png ile. 2 Click once on the canvas to import the ile at its original size. his ile is made up of several grouped elements: a logo and three text objects. S-6

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3 Position the group at X: 30 and Y: 75.

4 Import the join_local.fw.png ile at its original size and place it at X: 490 and Y: 62.

5 Save your work.

Creating the skyscraper banner You will now add content to the skyscraper banner on the 160 x 600 Wide Skyscraper page. 1 Select the 160 x 600 Wide Skyscraper page in the Pages panel. 2 Import the ile called meridian_skyline.png at the upper-left corner of the skyscraper rectangle. 3 Hold down the Ctrl or Command key and press the down arrow key once. 4 Select and cut the banner rectangle. 5 Select the image and choose Edit > Paste As Mask. 6 In the Layers panel, select the image rather than the mask. 7 In the Layers panel, break the link between the image and the mask by clicking the chain-link icon between the two objects, and then select the image.

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8 In the Properties panel, set the coordinates for the image to X: –1118 and Y: –79. 9 Import the local_logo.fw.png ile at its original size. 10 Place it at X: 22 and Y: 70. he text will be located of the canvas. You need to ungroup the logo so that you can place the text lower in the banner. 11 Select the logo with the Pointer tool and then press Ctrl+Shift+G or Command+Shift+G. he objects are ungrouped but remain selected. 12 Click of the canvas to deselect the objects, and then holding the Shift key, click on the three text blocks to select them.

13 Use the Pointer tool to drag the text below the logo. he inal coordinates should be about X: 22 and Y: 203. he text is in the right place, but it’s too small. You will adjust this next. 14 With all three blocks still selected, change the text size from 18 pixels to 24 pixels in the Properties panel. his will force all three blocks to overlap each other. Not to worry. 15 Open the Align panel and in the Space ield, set a value of 2 and then click on the Space Evenly Vertically icon.

he text is now spaced evenly and no longer overlaps. S-8

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16 Double-click inside the irst text block and replace the comma with an ampersand. 17 Save the ile.

Editing individual objects within a group You will work with the same call-to-action ile as before, but as with the logo, you will customize it once it’s been imported. You will use the Subselection tool to edit individual objects in the group, without ungrouping them. 1 Scroll to the bottom of the banner. 2 Import the join_local.fw.png ile near the bottom of the banner. 3 Select the Subselection tool and click on the gray circle behind the words JOIN LOCAL. his circle is a bitmap graphic rather than a vector. You could replace it with a vector, but all that’s necessary is a simple color change, so you will just edit the bitmap’s live properties. 4 In the Properties panel, you will see that a Photoshop Live Efect has been added to the circle. 5 Click on the i icon beside the ilter name. he Photoshop Live Efects dialog box appears.

6 Select the Color Overlay option by clicking on the name. ADOBE FIREWORKS CS5 CLASSROOM IN A BOOK

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7 Click the color box in the main window and choose a bright red instead of the gray currently in use, and then click OK. he circle is now red.

8 Hold down the Shift key and click on the JOIN LOCAL text so both the text and the circle are selected on the canvas. 9 In the Properties panel, change the position to X: 24 and Y: 538. 10 With the Subselection tool still selected, double-click on the text block beside the circle, and then triple-click the top line of text to select it. 11 Press Delete. 12 Click away from the text; then, making sure the Subselection tool is selected, click once on the text block again and reposition it beneath the red line. 13 Shift-click to select the two red lines along with the text and reposition the selection to X: 14 and Y: 597.

14 Finally, select just the horizontal red line and change its width to 150 pixels in the Properties panel. 15 Save the ile. For extra credit, study the meridian_banners_inal.fw.png ile and see if you can replicate those banners.

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Removing unwanted templates Chances are you won’t need the All Sizes page in your inal ile so now you will remove it from your new document. 1 From the Pages panel select the 01 All Sizes page. 2 Click the trashcan icon to delete the selected page. You are now left with just the four banner pages sample. 3 Save your ile and close it.

Working with Adobe Bridge In this lesson, you’ll develop an art section for an ecotourism company. You will use another application to get started this time, however: Adobe Bridge. Adobe Bridge can save you a lot of time by letting you view, sort, and open images you wish to use in Fireworks. You can also add information to certain types of images, such as JPEG iles or Fireworks PNG iles, using the Metadata panel in Bridge. If you have purchased a Creative Suite edition, Adobe Bridge installs with Fireworks, which is automatically linked to Bridge on installation. You can also use Bridge to work with other Adobe applications, such as Photoshop and Illustrator.

# Note: If you purchased Fireworks as a standalone product, Adobe Bridge is not included.

1 In Fireworks, choose File > Browse In Bridge.

2 When Bridge opens, select Filmstrip from the Workspace Switcher.

As in other Adobe applications, Bridge has a number of preset workspaces that you can use, or you can create custom workspaces to use whatever arrangement of panels you ind most useful for your own worklow. For the purpose of this lesson, the Filmstrip workspace best suits what we’re about to do, because we can see thumbnails of the artwork and a large preview of a selected image at the same time. 3 Click the Folders tab on the left side of the Bridge window.

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4 Navigate to your Lesson12 folder in the Folders panel.

At the bottom of the Bridge window, in the Content pane, you will see a folder called fullsize and several PNG iles.

5 Click once on the nature_tours.png ile. An enlarged preview appears above the Content panel.

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Typically, PNG iles are associated with Fireworks upon installing Bridge and would therefore open automatically, but just to make sure, this time you will “manually” open this ile in Fireworks. 6 Choose File > Open With > Adobe Fireworks CS5.

# Note: To resolve

Bridge returns you to Fireworks, where the PNG ile is ready and waiting.

Batch-processing images You will be importing thumbnail images to this page—at this point, thumbnails are all we need, and all we have space for. A set of guides (green lines) has already been put in place to help you align the images as you import them.

potential issues with missing fonts, we converted the text in the file to paths. This can be a useful technique if you have used nonstandard fonts and need to pass the file on to someone else. The paths retain the shape and attributes of the text, but they are no longer editable as text. As paths, or vectors, they can still be scaled without losing any quality in your work.

Let’s have a look at the images irst.

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1 Choose File > Browse In Bridge. If you have not done anything with Bridge since the last exercise, Bridge displays the Lesson12 folder. If you have been exploring Bridge, use the Folders panel to locate the Lesson12 folder. 2 In the Content panel, double-click on the fullsize folder. A series of ten images loads into the Content panel.

# Note: If you don’t see the file properties, choose Edit > Preferences (Windows) or Bridge > Preferences (Mac), click Thumbnails, and then select Show Tooltips at the bottom of the dialog box.

3 Select any single image, and Bridge displays a large preview as before. 4 Place your cursor over the thumbnail view of the irst image. After a short delay, ile properties appear. he dimensions of this ile are great for making a print, but far too large for a web page.

E Tip: You can change the size of the content thumbnails by dragging the slider at the bottom of the application.

Currently, all the supplied artwork is in high resolution, at much larger dimensions than are needed for thumbnail images. You could use Fireworks to import each ile, but this is tedious and time-consuming. Besides, you will also need actual thumbnail images for the inal web-page design, not just for the prototype. What you need is a way to resize, optimize, and rename iles quickly and easily. Batch processing can take care of sizing, optimization, and even naming the needed iles. 5 Click on the irst thumbnail, and then Shift-click the last thumbnail to select all ten iles.

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6 Choose Tools > Fireworks > Batch Process.

E Tip: Batch Process is a native Fireworks command, so you don't need Bridge installed in order to use it. You can access the Batch Process Wizard in Fireworks by selecting File > Batch Process.

he Batch Process dialog box appears, and all the selected images are displayed in the pane at the bottom of the dialog box.

7 Click Next.

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8 From the left column, select Scale, and then click the Add button to move Scale to the right column. Do the same for Rename and Export.

hese are the batch-processing commands you will run on the images, in the order they appear in the list. Each command in the list has editable properties. You will customize them for this project. 9 Select the Scale command from the right column, and then choose Scale To Fit Area from the Scale options list at the bottom of the dialog box. 10 Set the Max Width and Max Height to 125 pixels.

11 Select the Rename command from the right column, and then select the Replace option from the list at the bottom of the dialog box. 12 In the irst ield (Replace), type DSC. 13 In the With ield, type wallpaper.

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14 Select the Add Preix option, and type thmb_ in the text ield.

E Tip: If this is a series of steps you think you will repeat again, you can save the operations as a script by clicking the Save Script button. You can then access this custom command any time from the Commands menu.

15 Select the Export command from the right column. 16 Choose JPEG – Better Quality from the Settings drop-down list, and then click Next.

17 Choose the Custom Location radio button, and browse to the Lesson12 folder.

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18 Create a new folder called thumbnails, and open that new folder, if necessary.

19 Click Select humbnails (Windows) or Choose (Mac).

20 Click the Batch button. Fireworks displays a progress box as it processes the images.

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Once Fireworks is done, it will tell you that the process has been completed, and you can click OK to dismiss the progress box.

# Note: As mentioned earlier, we needed only thumbnail images for this page in the design. However, should you wish, you could link the thumbnails to the fullsized versions of images using Dreamweaver or your preferred webdesign software so that, when clicked, the full-sized images open for viewing.

In a few short steps you have scaled, renamed, and exported ten images all at once. he new images are in the thumbnails folder you just created.

Importing and resizing images Now that you’ve optimized the thumbnail images, you’re ready to import them into Fireworks, and, if necessary, easily make them visually consistent.

Importing the images he main thing, of course, is to get your newly optimized images into your design in Fireworks. 1 Make sure the Snap To Guides option is selected by choosing View > Guides > Snap To Guides. 2 Make sure the main sublayer is selected in the Layers panel. 3 Choose File > Import, and browse to the thumbnail directory. 4 Select the ile thmb_wallpaper_2424.jpg, and click Open. 5 Click an insertion point where the irst two guides (the green lines) intersect.

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6 Choose File > Import again; you should still be in the thumbnail directory. 7 Select the ile thmb_wallpaper_2581.jpg, and click Open. hese irst two images don’t it the guide dimensions. You will correct that problem a bit later in the exercise. 8 Place your import cursor where the third vertical guide intersects with the top guide so the thumbnails are moving across the document toward the right.

9 Continue with this process, in numerical order, until all ten images have been imported. Each image should snap to the intersection of two guides. When all the images are imported, the layout should look like the following igure.

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Cropping individual bitmaps in a design Everything lines up nicely, except those irst two images. hey were shot with a diferent camera, and their dimensions difer from the other images. You will crop these two images right on the canvas. 1 Zoom in to 150%. 2 Pan around the canvas by holding down the spacebar and dragging the mouse until you see the irst image you imported, at the upper left. hen select this image with the Pointer tool. 3 Choose Edit > Crop Selected Bitmap. A cropping marquee appears around the object. 4 Use the Pointer tool to drag the top crop mark down until the tooltip reads w:125, h:83.

5 Release the mouse. his current crop cuts into the top of the sign. You will adjust that now. 6 Press the Up Arrow key four times to reposition the crop. 7 Press Enter or Return to commit to the crop. 8 Drag the image up until it snaps to the top guide.

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9 Repeat steps 3–5 for the second image. he crop dimensions should again be w:125, h:83. 10 Reposition the crop as you see it. 11 Press Enter or Return, and use the Pointer tool or the arrow keys to line the image up with the top and left guides as necessary. 12 Save the ile as nature_tours_working.png.

Cool shortcuts Improving worklow also means knowing how to speed up your work without cutting corners on quality.

Exporting a specific area he client for Nature Tours is wondering about changing the font for the banner, and has asked to have a look at just the website banner. Without changing the layout at all, you can export a speciic area of the page. 1 Choose the Export Area tool (hidden beneath the Crop tool) in the Tools panel.

2 Draw a crop that includes the entire width and height of the banner.

3 Double-click inside the crop. he cropped area will appear in the Image Preview dialog box.

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4 Set the format to JPEG and the Quality to 70%, if those settings are not already present. In the Image Preview dialog box, you can move around your document by clicking on the preview and dragging your cursor, allowing you to inspect the impact of your formatting choices.

5 Click the Export button. he Export dialog box appears. 6 Browse to the Lesson12 folder, and change the ilename to nature_banner. 7 In the Type menu (Windows) or Export menu (Mac) near the bottom of the dialog box, choose Images Only. 8 Make sure Slices is set to None. An alert box may appear telling you that slices will be ignored. If it does, click OK to continue.

At this time, you want to export only the area you cropped. All other settings can remain as they are.

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9 Click Save (Windows) or Export (Mac). Fireworks exports the cropped area as a JPEG ile. You’ll take a look at it in Bridge. 10 Back in Fireworks, choose File > Browse In Bridge. Locate the Lesson12 folder. You’ll see that the area you cropped—the web banner—has been exported as a separate JPEG ile, which can easily be e-mailed to the client for feedback.

Globally optimize pages Fireworks remembers the last default export options you selected, and applies those settings to new documents as you create them. You can reset the export options for all pages very easily in a design:

• • •

Shift-click in the Pages panel to select the pages you wish to change. Select a new export option from either the Properties panel or the Optimize panel. All nonsliced areas of each selected page will now export based on the new image settings you define.

Changing rectangle corners independently Way back in Lesson 4, you were introduced to a special vector shape called an Auto Shape. You used the Chamfer Auto Shape as a design element in the watch_promo. png ile. here are three rectangular Auto Shapes in the Vector tools section of the Tools panel: Bevel, Chamfer, and Rounded Rectangle. Here’s a little secret: all three shapes ofer the exact same corner options, but which corner is used as the default is based on the shape you choose to add. You can also customize the individual corners of any of the three shapes. he client has asked to see a revision to the wallpaper page design. He likes the shapes that act as containers for the thumbnails and navigation, and wants to see something similar to contain footer information. You will be changing layout elements this time, so you’ll create a duplicate page irst.

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1 Drag the current page to the Add/Duplicate page icon at the bottom of the Pages panel. 2 Rename the new page footer_concept. 3 Choose Modify > Canvas > Canvas Size. 4 Change the height to 968. 5 Select the top middle anchor in the anchor grid. 6 Make sure Current Page Only is selected, and click OK.

7 Select the Rounded Rectangle Auto Shape from the Tools panel. 8 Starting at X: 20 and Y: 790, draw a rectangle that is 963 pixels wide and 100 pixels high. he Smart Guides will help you align the new shape at the left and right sides, to match the combined width of the two shapes above.

9 Select the Pointer tool.

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10 Hold down Alt (Windows) or Option (Mac), and click on the top-right yellow diamond. Only the right corner changes to a chamfer. 11 Do the same with the top-left yellow diamond.

E Tip: To quickly fill a shape with the attributes of another shape, select the shape that has the desired attributes and press Ctrl+C (Windows) or Command+C (Mac), and then select the new shape and choose Edit > Paste Attributes.

You want to quickly send of this new page design to the client. 12 Save the ile. 13 Choose File > Send To E-mail > JPEG Compressed. Your e-mail client will open, with the image already attached and ready to be sent.

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Thinking ahead: future-proofing your projects In many situations, your iles and projects aren’t necessarily going to stay only with you, or even within Fireworks. hey may take on a further life of their own. You’ll want to make sure not only that other people who need to use them can access and understand them properly, but also that the iles will display and behave as predictably as possible when opened within Photoshop.

Metadata Metadata is additional information about a digital ile. his information can be helpful for organizing and locating a project or its assets or just sharing information across the design team. he Adobe XMP (eXtensible Metadata Platform) format lets you add ile information to saved PNG, GIF, JPEG, TIFF, and Photoshop PSD iles. Data such as author, copyright, keywords, contact information, and even job history can be shared and updated between Adobe applications.

Adding metadata You can add metadata using Adobe Bridge, but it is easy enough to do right inside Fireworks as well. 1 Choose File > File Info. he XMP data window opens.

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Depending on the ile you are working with, there may already be metadata applied to the image. his is most often the case with photographs shot with a digital camera. In the case of this ile, there is no metadata as of yet. But you will change that. 2 In the Description tab, add the information you see in this igure.

3 Click the IPTC tab to add more speciic contact information, as seen here.

4 Click OK.

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his data will now travel with the Fireworks PNG ile. If you export a JPEG, GIF, or lattened PNG ile, the data is automatically stripped out to reduce the web image ile size (by default, metadata can easily add 10KB to the ile size, even when there is no data added to the individual ields).

Creating a metadata template You can automate this process even further by creating a metadata template. A template speeds up the addition of common information to project iles, such as your company’s contact information. 1 Choose File > File Info again. 2 Remove any project-speciic information from the Description tab, such as keywords and description. 3 Click on the Import button at the bottom of the box (to the left of OK and Cancel) and choose Export. his is a list of options, letting you import, export, browse the metadata templates folder, or apply an existing metadata template.

he Export metadata dialog box (Windows) or Save dialog box (Mac) will appear, pointing to a speciic folder. All custom templates must be saved in this location.

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4 Name the ile fire_designs.xmp.

5 Click Save, and then click OK or Cancel to exit the XMP data window. he next time you start a new design, you can select File Info and use the Import option to import your custom metadata template (or any other) into your ile.

Using Fireworks files with Photoshop With each product cycle, Fireworks and Photoshop come closer to having a fully integrated working relationship. If you need to move your Fireworks designs to Photoshop, you’ll get the best results by understanding Photoshop Live Efects, best practices for saving your ile for Photoshop, and Photoshop export options. Many elements can be preserved for editing in Photoshop. Text, hierarchical layers, layer groups, vector shapes illed with Photoshop Live Efects, solid color, many gradients, and masked objects are maintained and supported when you save a ile in PSD format from within Fireworks.

Photoshop Live Effects You will add a border around the images in the wallpaper page using a Photoshop Live Efect. 1 Switch to the Pointer tool, hold down Shift, and click each of the thumbnails.

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2 Click the Add Live Filter (+) button in the Filters section of the Properties panel, and choose Photoshop Live Efects.

3 Choose the Stroke category. 4 Set the size of the stroke to 1, the position to Inside, and leave the opacity at 100.

Enhanced integration in CS5 Fireworks and Photoshop CS5 have tighter integration in many ways: Importing from Photoshop to Fireworks You can force flattening of Photoshop adjustment layers when importing PSDs, which you can enable/disable in the Preferences. Hue, saturation, and color blend modes and the Hue/Saturation filter in Fireworks now use the same algorithms as Photoshop to improve color fidelity and appearance Importing editable gradients from Photoshop now match better:

• • •

Linear to Linear (close to perfect match) Radial to Radial (close to perfect match)

• •

Diamond to Rectangular (approximate match) Angle to Conical (approximate match)

Reflected to Bars (close to perfect match)

Saving/Exporting Fireworks files as PSD files Exporting editable gradients from Fireworks to Photoshop are likewise more accurate:

• • • • •

Linear to Linear (close to perfect match) Radial to Radial (close to perfect match) Bars to Reflected (close to perfect match) Rectangular to Diamond (approximate match)

• • • •

Ellipse to Radial (approximate match) Ripples to Radial (approximate match) StarBurst to ShapeBurst (loosely matched) Contour, Satin, Waves to Linear (loosely matched)

Conical to Angle (approximate match)

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5 In the Fill area, change the stroke color to Black by clicking the black color swatch.

6 Click OK. All the thumbnails now have a black border. We’ve hidden the guides and slice guides in this igure so you can better see the borders. If you want to hide them yourself, choose View > Guides, and then deselect Show Guides. To hide the Slice Guides, choose View > Slice Guides. Don’t forget to set them to be shown again afterward if you do this.

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What are Photoshop Live Effects? Photoshop Live Effects are editable visual effects you can apply to objects within Fireworks. They are supported in Photoshop as layer styles. Fireworks maintains layer styles as Photoshop Live Effects when you open a PSD file in Fireworks. The Live Effects dialog box in Fireworks is not as robust as its Photoshop counterpart, but using these Live Effects instead of native Fireworks Live Filters will guarantee Photoshop support of the effect, if you or someone else needs to edit the file in Photoshop. If Photoshop is not part of your workflow, by all means stick to the Fireworks Live Filters or any third-party filters you may have.

Saving your file for Photoshop If your designs and comps must go from Fireworks to Photoshop for further editing, and you want to retain as much editability as possible, make sure you save a copy of your ile in the Photoshop PSD format. 1 Choose File > Save As. 2 Browse to the Lesson12 folder. 3 Choose Photoshop PSD from the Save As Type (or Save As) menu. he menu name will change to Save Copy As when Photoshop PSD is chosen.

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4 Click the Options button. 5 To maintain as much editability as possible, choose Maintain Editability Over Appearance.

6 Click OK to accept the settings, and then click Save to save the new ile. If you open the ile in Photoshop, you will see that the ile is very similar to the original Fireworks design, with two exceptions: the brightness of the header and the texture in the background are missing.

Customizing Photoshop Export options While maintaining editability makes the ile as lexible as possible when opened in Photoshop, you may also lose certain efects or features. In the current ile, the vector shapes used as containers will remain as vectors, and because the ills are linear gradients, even those will export properly. Other gradients such as contour, satin, or waves will be loosely matched. he header, which uses a Levels Live Filter to help with its appearance, will lose the Live Filter, and as a result, the header will look diferent in Photoshop. If the appearance is more important than the object’s editability, you can customize the Photoshop export options. 1 Choose File > Save As. 2 Browse to the Lesson12 folder, if necessary. 3 Change the name of the ile to nature_tours_custom.psd. 4 Choose Photoshop PSD, if necessary, from the Save As ield. 5 Click the Options button. 6 Choose Custom from the Settings menu.

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7 Change the Vector setting to Maintain Appearance. his will convert vectors to bitmaps, but leave any true text as editable text.

# Note: The only way to maintain the Levels Live Filter is to completely flatten the objects in Fireworks. If this is an effect you desire and still wish for editability, let Fireworks discard the effect and then you can add an Adjustment Layer while in Photoshop.

8 Click OK to accept the custom settings, and then click Save to save the ile.

Common Live Filters Some Fireworks Live Filters are supported by Photoshop and behave as standard Photoshop layer styles. Photoshop Live Filters can be added while in Fireworks, or they can be supported (editable) or maintained (only editable in Photoshop) if they are added as a layer style in Photoshop. The following list of Fireworks Live Filters are supported and maintained between Photoshop and Fireworks:

• • •

Drop Shadow, Inner Shadow Glow, Inner Glow Bevel and Emboss (all)

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Common blending modes supported by Photoshop and Fireworks Blending modes can be applied to objects or layers. When you apply a blending mode, the object’s color and opacity are blended with the object beneath it in the Layers panel. Fireworks has 46 different blending modes. Photoshop and Fireworks share many common blending modes (23 in total). If a blending mode in this list is applied to an object or layer, the mode will be supported and remain editable in either application.

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Normal

Color Dodge

Hard Mix

Dissolve

Linear Dodge

Difference

Darken

Overlay

Exclusion

Multiply

Soft Light

Hue

Color Burn

Hard Light

Saturation

Linear Burn

Vivid Light

Color

Lighten

Linear Light

Luminosity

Screen

Pin Light

Improving Your Workflow

Review questions 1 How do you access Bridge from Fireworks? 2 How do you batch-process iles from within Bridge? 3 How do you crop a bitmap object that is part of a design? 4 How do you add metadata to a Fireworks PNG ile? Why would you do this? 5 How do you customize the export options for saving a Photoshop ile? 6 How can document templates save you time?

Review answers 1 To access Bridge from Fireworks, choose File > Browse In Bridge. 2 To process multiple iles within Bridge, select the iles in the Content panel, and then choose Tools > Fireworks > Batch Process. 3 Select the object, and then choose Edit > Crop Selected Bitmap. Adjust the cropping marquee to suit, and then press Enter or Return to commit to the crop. 4 To add metadata, choose File > File Info. Select the appropriate tab from the metadata panel, for the type of information you want to add, and ill in the areas relevant to the project and image. Adding metadata can help organize and locate content by adding contact information about the designer or company, and can include basic data about the client, such as client name, project goals, and copyright. 5 You can globally customize the Photoshop Export options by opening the Preferences panel, or you can adjust the settings on an image-by-image basis when you choose to Save As a Photoshop PSD ile. 6 Document templates can save you time by giving you a head start on the design or prototyping stages of a project. he Grid templates give you several variations of grid structures to help you lay out your wireframe or even a website prototype. he Document Presets folder contains a range of iles set at speciic dimensions, making it easy to start designing a series of web banners at the common banner sizes, for example.

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13

GOING FURTHER Lesson overview In this lesson, you’ll learn how to do the following:

• Start and preview mobile designs in Device Central • Apply AIR event commands to slices and hotspots • Create an AIR prototype for client review • Create skins for Flex components • Export a Fireworks design to Flash Catalyst • Use round-trip editing between Dreamweaver and Fireworks • Create graphics for ixed and luid web-page containers • Work with native Fireworks PNG iles in Flash his lesson will take about 90 minutes to complete. Copy the Lesson13 folder into the Lessons folder that you created on your hard drive for these projects (or create it now, if you haven’t already done so). As you work on this lesson, you won’t always preserve the start iles. If you need to restore the start iles, copy them from the Adobe Fireworks CS5 Classroom in a Book CD.

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Throughout the book you have learned how Fireworks can be an essential part of your design workflow. Vectors, bitmaps, prototyping, symbols, interactivity, animation…the list goes on. In this final bonus lesson you will work with a few of the more complex capabilities of Fireworks, giving you a well-rounded perspective on this unique program.

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Starting mobile projects Mobile application development is a growing industry. As PDAs, netbooks, web tablets, and smart phones become increasingly common, it’s only natural that the users of these devices want to do more and more with them. As you’ve seen in Lesson 12, you can begin a mobile project by selecting one of the mobile document templates. But you can also base your new mobile project on an existing device, or even a custom device, thanks to integration with Device Central. Device Central integrates parts of the Creative Suite, including Fireworks, to ofer an easier way to preview and test Flash Lite, bitmap, web, and video content for mobile devices. In this exercise you will work with both Fireworks and Device Central to take advantage of their integration.

Selecting a device profile Fireworks can access Device Central directly from the File menu. 1 Choose File > Device Central to open the software. # Note: Rather than adding all the device profiles when you install Device Central, the profiles are kept on a server hosted by Adobe. This ensures that Adobe can maintain a current list of devices. Device Central automatically checks for new profiles when you select Browse.

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2 When Device Central opens, click the Browse button. his action connects you with the latest device proiles list from adobe.com. 3 In the search ield, type nokia and Device Central displays a list of all Nokia devices in its database. You can search by a wide variety of parameters; if you are more interested in all devices of a speciic screen dimension, you can type in the dimensions and get a list of all brands and models that match those dimensions.

Going Further

4 Select the nokia search term and replace it with 240x320. 5 Scroll the list and select a phone. We chose the Nokia 6600 slide phone. 6 Double-click the listing to see a larger screenshot of the phone and more details on the device.

7 Drag the phone photo over to the Test Devices panel. Device Central downloads the proile to your computer.

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8 Click the Back arrow to return to your last search. 9 Select another phone with the same screen dimensions. We chose the Motorola RAZR2 V9M. 10 Drag the listing over to the Test Device panel.

11 Select one or both of the phones in the panel and click the Create button.

# Note: You can add devices of different dimensions to your Test Devices panel, but you can create only one new document layout at a time.

12 he New Document window displays, showing the selected phones. In the upper-left corner of this window is the Fireworks logo. You can change your design software choice by clicking on this logo and picking a diferent Adobe software package. But don’t you dare! 13 Click the Create button near the bottom-right corner of the window. Fireworks appears and generates a new document based on the screen dimensions of your selected phone.

Previewing in Device Central Once you’ve created a mobile application mockup, you can preview it in Device Central to see how the graphics look on the device’s screen. You will try this out using a document template.

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1 Choose File > New from Template. 2 Open the Mobile folder, choose Navigator.png, and open the ile. 3 When the ile is open in Fireworks, choose File > Preview In Device Central. he current page is displayed in Device Central. he phones that you selected in the previous exercise should still be in the Test Devices panel. 4 Choose Emulate Image. 5 In the Test Devices panel, double-click on the phone you want to use. he current page from the Fireworks document appears on the device screen.

6 If it isn’t already visible, open the Display panel. You can use the controls in this panel to emulate diferent environmental conditions, such as how the screen looks when indoors or outdoors in sunshine. You can also alter the backlighting. If you want to see a diferent page in the mockup, choose File > Return to Fireworks, select a new page in the design, and choose File > Preview in Device Central again.

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Working with Adobe AIR AIR (Adobe Integrated Runtime) is a cross-platform runtime environment for building rich Internet applications using Adobe Flash, Adobe Flex, HTML, or Ajax. Unlike traditional web applications, the AIR application runs on your desktop without a web browser, often as a loating panel. Some examples of AIR applications are Adobe’s Kuler desktop (www.adobe.com/products/kuler/) and TweetDeck (www.tweetdeck.com/desktop/), for Twitter.

# Note: To learn more about AIR, visit www.adobe.com/ products/air.

# Note: Fireworks CS5 exports AIR prototypes using the AIR 2.0 specification. Before you begin this lesson, make sure you have AIR 2.0 installed on your system so that you can install your prototype when it is completed. At the time of this writing, AIR 2 is in public beta, so you may have to visit Adobe Labs (http://labs.adobe.com/ technologies/air2/) to download version 2.

With its combination of HTML and JavaScript support, Fireworks has everything you need to create a realistic interactive AIR prototype. he console mockup you will soon be working with contains all the necessary elements to give the client the appearance of a functional AIR application. he artwork is mostly complete, and you will be adding AIR interactivity to the ile as well as making some adjustments to the imagery.

AIR functionality in Fireworks An AIR prototype is akin to an HTML And Images export for a website. You will get the look and feel and the interactivity of the application, but there is no live data connection to other content—it’s not a fully functional AIR application. Likewise, features such as scrolling in a text window are not possible. However, rollovers, hyperlinks, and dragging are all possible. Fireworks gives the client an opportunity to “test-drive” the design and functionality of an AIR application before any time is spent on the coding side. Most of the techniques used in creating an HTML mockup can be applied to creating an AIR prototype.

Reviewing interaction You’ll preview a simulation of a console designed to allow visitors to browse campsites. You’ll test the console’s interactive features as well. 1 Open the ile nature_tours_console.fw.png from the Lesson13 folder. If you are prompted about missing fonts, you can simply click Maintain Appearance. his console allows users to browse various campsites ailiated with the ictitious Nature Tours Company, and to check rates and availability of sites. Standard web interactivity has been used to create this simulation, even though the end result will not be a website.

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# Note: The decorative font used in this design is called JI Chaffs. To minimize rendering issues, this font has been converted to paths. The only other font used in this file is Arial and that has been left as a true font, rather than being converted to paths.

2 Expand the Pages panel so you can see the entire list of pages in the document (a total of ten).

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# Note: While the

3 Select the sites page.

company may be fictitious, the photos are the work of the completely real Jim Babbage, of an equally real location called Obatanga Provincial Park in northern Ontario, Canada.

4 Click Show Slices And Hotspots in the Tools panel. A little squirrel mascot displays the current location. here are buttons to close the application and to return to the main console display. Note the hotspots over the site names and the slices over the tree icons and the console screen.

5 Switch to the Preview view at the top of the document window.

6 Click Hide Slices And Hotspots in the Tools panel.

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7 Roll over the Site B link in the right column. Efects have been added so that the screen updates with a diferent photo when you hover your mouse over the link, and the small tree icon also changes in appearance. he hotspots also link to other pages in the design.

# Note: In order for the interaction to work, you must select the Pointer tool in the Tools panel.

8 Select the Site A page in the Pages panel. Our squirrel acts as a way-inding device, displaying the current location. he only rollover efects on this page are for the navigation.

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9 Switch to the maps page in the Pages panel.

10 Mouse over the diferent map links. he appropriate map thumbnail highlights in response to your rollover.

11 Select the map_A page from the Pages panel. Only one inal site map has been completed, but this is enough to show the client how that aspect of the console will function.

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Although Fireworks cannot create a user-scrollable area, it can simulate zooming in and out of an area. 12 Click the plus sign (+) on the map zoom bar. A new state appears, with a magniied view of the map.

13 Click the minus sign (–). A reduced view of the site appears.

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14 Click the green dot to return to the original map-A page. 15 Switch back to the Original view in the document window.

Adding AIR events Fireworks supports four AIR mouse events: Close, Drag, Minimize, and Maximize. Just like rollovers or links, AIR events must be attached to a web object (a slice or a hotspot). If the area being used as an AIR event doesn’t require a rollover, you can use a hotspot. If you do need a rollover efect (as is the case with our Close button), you’ve got to use a slice to enable image swapping. You will add hotspots and mouse events to various parts of the console so users can drag the prototype around on their desktop. You will also add a mouse event to the Close button. You will now add an AIR mouse event to the Close button. 1 Choose the home page from the Pages panel. 2 Click Show Slices And Hotspots in the Tools panel if the slices and hotspots are not visible. 3 Select the slice that covers the Close button (the pictogram of the hikers).

4 Choose Commands > AIR Mouse Events > Close.

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Nothing changes in the slice, but if you look down to the Properties panel, you will see that some JavaScript has been added, along with some alt text.

his AIR event has already been added to the other pages, using a shared Web layer. 5 Switch to the sites page, and select the slice over the Close button. he Properties panel displays the same JavaScript code and alt text. 6 Expand the Web layer in the Layers panel. 7 Expand the common web sublayer. It stores the slices for both the close and home slices.

he common sublayer was not shared to the home page because there was no need to have a home link on that page.

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8 Select the main Web layer in the Layers panel again. 9 Choose New Sub Layer from the Layers panel menu.

10 Name this new Web layer drag events. Note that even web sublayers are shared across states. 11 Right-click (Windows) or Control-click (Mac) on the squirrel illustration, and choose Insert Hotspot.

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12 Use the Pointer tool to resize the hotspot so it doesn’t overlap the Close button.

13 Check the Layers panel. he new hotspot might not be nested in the drag events sublayer. If the hotspot is not in the sublayer, move it there now by cutting and pasting the hotspot or by dragging the layer to the correct position in the Layers panel.

Not inside the drag events layer

Inside the drag events layer

14 Make sure the new hotspot is selected. his will force additional hotspots to be created above the current one, but they will still be nested in the drag events sublayer.

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15 On the canvas, draw a rectangular hotspot around the Camp Sites sign, without overlapping the squirrel.

16 Draw one more hotspot, covering the entire console from the left corner to just before the tree rollover slices.

17 Select all three hotspots, and then choose Commands > AIR Mouse Events > Drag.

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Going Further

AIR mouse events You can attach specific mouse events to hotspots or slices in your AIR mockup. Select the web element (slice or hotspot), and then choose Commands > AIR Mouse Events. You can choose from four options:

• •

Close. Closes the application.

• •

Maximize. Maximizes the application.

Drag. Applied to a web object, this option lets the user drag the application around the desktop.

Minimize. Minimizes the application.

Creating an AIR prototype Yes, you are inally at the point where you create the prototype! Much like an HTML prototype, this gives you and the client a chance to interact with a simulation of the AIR application before any time is spent coding the real thing. First you should save this ile to its own directory. his makes the rest of the process a little easier. 1 Choose File > Save As. 2 Create a new folder inside the Lesson13 folder, and call it nature_tours_console. 3 Open this folder, if necessary, and save the PNG.

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4 Copy the Lesson13/icons folder to the nature_tours_console folder. 5 Select the home page in the Pages panel. 6 Choose Commands > Create AIR File.

he Create AIR File dialog box appears, and it’s a big one. In this igure, we’ve illed in the ields—refer to this igure to complete the Create AIR Package dialog box:

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• Name. Specify the name that appears on installation screens when users install the application. By default, the ilename is used, but you can change this.

• ID (required). Enter a unique ID for your application. Don’t use spaces or special characters in the ID. By default, the ilename is used.

• Version (required). Specify a version number for your application. he default value is 1.

• Program Menu Folder (affects Windows only). Specify the folder in the Windows Start menu where you want the shortcut to the application created.

• Description. A description of the application to be displayed when the user installs the application. he description we used is Nature Tours presents an interactive console where you can view our preferred camp sites, check out rates, and even inquire about site availability.

• Copyright (affects Mac only). Include copyright information to be displayed in the About information for Adobe AIR applications installed on OS X.

• Window Style. System Chrome surrounds the prototype with the standard window control of the operating system. Transparent lets you use your own custom chrome instead. Choose Transparent.

• Window Size. Specify the dimensions of your application window in pixels when it opens. Depending on your page sizes, outer glows, and drop shadows, you may need to increase the dimensions slightly to prevent scroll bars from appearing. Set the dimensions to 547 and 346, respectively.

Transparent chrome in AIR prototypes One of the unique characteristics of an AIR application is that it can “float” on your desktop. So you could have a custom shape to the application interface—much like we have in our nature tours console—and you will see only the application, not the background of the original PNG file, surrounding the design. To use this look, make sure your canvas color for each page is set to transparent and that you use PNG 32 as your Optimization setting. The pages in this file have already been set to PNG 32.

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• Icon. You can select custom images for the application icons. Select the folder for each icon size, and select the image ile you want to use. Only PNG iles are supported for application icon images. Click the button and for each of the four icons, browse to the icon folder you copied over to the nature_tours_console folder. Match the 16x16-pixel icon with the small.png ile, the 32x32-pixel icon with the medium.png ile, and so on. hese icon iles must be in the root directory in order to be selected.

• Content. Select the Use Current Document option to automatically select

# Note: Fireworks generates all the graphics needed for the prototype at this stage, so it’s not unusual for Fireworks to become nonresponsive for a couple of minutes as it runs through all the pages in the design.

the folder from which the iles are to be included. he resulting list will be simpler if your PNG ile is in its own folder rather than, for example, your desktop or main documents folder. his is why you saved the PNG ile to its own folder earlier.

• Initial Content. Browse to select the page that appears as the starting screen of the prototype. If you selected Current Document, the initial content is automatically set.

• Included Files. Specify the iles or folders to include in your application. You can add additional HTML and CSS iles, image iles, and JavaScript library iles. Click the plus button (+) to add iles, and click Folder to add

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folders. To delete a ile or folder from your list, select the ile or folder, and click the minus button (–). he iles or folders you include in the Adobe AIR package must be in the root content folder. Scroll through this list and locate the original PNG ile. Select it, and then click the minus button. he PNG ile is not necessary for the AIR application, and this will reduce the ile size of the AIR ile.

• Digital Signature (required). All Adobe AIR applications require a digital signature in order to be installed. To add a digital signature, click the Set button next to the Digital Signature ield, and do one of the following: To sign an application with a digital certificate that you have already purchased, click the Browse button, select the certiicate, enter the corresponding password, and click OK. To create your own self-signed digital certificate, click the Create button. his is the method you will use for this exercise, so click Create.

You must ill in every ield in order for the Create button to become active. You can use the settings in the following igure as a guide.

# Note: The Key Type option refers to the level of security of the certificate: 1024-RSA uses a 1024-bit key (less secure) and 2048-RSA uses a 2048-bit key (more secure).

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When you’re inished, click Create. hen enter the corresponding password in the Password ield of the Digital Signature dialog box, and click OK.

• Destination (required). Specify the folder to save the new application installer (AIR ile). he default location is the initial content folder. Click the Browse button to select a diferent location. Create a new folder called AIR in the nature_tours_console folder, and select this new AIR folder as the location to place the installer package.

he only ile required by the user is the AIR installation ile. All the necessary iles are added to the AIR installer by Fireworks. 7 Before you click the create button, test the prototype by clicking Preview. Fireworks builds a temporary version of the prototype and launches it. You can test interaction and check for unsightly scroll bars at this time. Click the prototype’s Close button (the hiker pictogram) to exit the application. 8 Click Create AIR ile.

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Installing the prototype You will test the installation of the AIR prototype now. To do this, you may have to have administrator rights on your computer, because this is like installing a real software application. 1 Browse to the AIR folder, and double-click on the nature_tours_console.air ile to launch the installer. An AIR Application Install window will open.

You may be asked whether you want to install this program, because it is created by an unknown publisher.

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2 We’ll assume you trust yourself. Click Install. he window contents will change, displaying the description you wrote earlier. You can choose to add a shortcut icon to the desktop, specify whether you want to start the application after installation, and indicate where you want to install the application. 3 Change the installation location to the Lesson13 folder, so it is easy for you to ind and remove the application afterward.

he application will take a minute or two to install.

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Once installed, the application will start. If you accepted the defaults, you will also see a shortcut icon on the desktop. he smallest icon will also display in the application bar. 4 You can experiment with the prototype or just close it by clicking the Close button.

Extra Credit For extra credit, you can make some additional changes to the Fireworks document.

Creative and corrective techniques You will use a couple of techniques to alter the look of both bitmap images and vectors: image correction and stroking text. he majority of the work has been completed on this ile, but there are still chances for you to practice the techniques.

Applying blending modes for image correction here are many ways to improve the look of bitmap images. Sometimes, though, as here, a quick ix is all you need. 1 Switch to the Site C page. he photo in the console screen lacks color and contrast, due to the sun shining on the lens. You will use blending modes and Live Filters to improve the image.

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2 In the Layers panel, expand the screen layer. You see a masked photo. 3 Select the photo thumbnail in the screen layer. On the canvas, you will see the telltale blue control handle on the image, indicating this photo has been masked. he blue outline indicates the true size of the photo.

4 Choose Modify > Ungroup.

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his breaks the mask apart into its two original objects.

5 Hide the rounded rectangle by clicking the Show/Hide icon ( Layers panel.

) in the

6 Drag the photo to the New Bitmap Image button at the bottom of the Layers panel, or press Ctrl+Shift+D (Windows) or Command+Shift+D (Mac).

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A duplicate of the photo appears in the screen layer.

7 Making sure the topmost of these two images is selected, change the blending mode from Normal to Soft Burn in the Layers panel.

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he image darkens noticeably, but not so much that a lot of detail is lost.

Before Soft Burn

After Soft Burn

8 Click the Add Live Filters (+) button in the Filters section of the Properties panel, and choose Adjust Color > Hue/Saturation.

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9 Set the Saturation to a value of 30, and click OK.

he new image appears much more lush and green. And because the manipulation was all done using Live Filters and blending modes, the efects are completely editable in the future.

Original image

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Image with Soft Burn blending mode and Hue/Saturation Live Filter applied

In this case, though, you also need to mask the image combination, which means you’ve got a decision to make. You can’t apply a single mask to a stack of objects in the Layers panel. Grouping the two images together would let you mask the group, but would remove the blending mode once the mask is applied. If you convert the objects to a symbol, the blending mode is also removed. Flattening the two images together (to maintain the appearance of the efects) would rasterize them, so they will no longer be editable. he solution is to create a duplicate set, then hide and lock one set and latten the other for masking. Doing so means you can always go back to the images and make changes. 10 Select both image objects in the Layers panel.

11 Press Ctrl+Shift+D (Windows) or Command+Shift+D (Mac) to create backup copies. 12 Press Ctrl+G or Command+G to group the duplicates. 13 In the Layers panel, rename this group to enhanced group. 14 In the Layers panel, hide and lock the group. 15 Hold the Ctrl key (Windows) or the Command key (Mac) to select the remaining two images.

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16 Select Modify > Flatten Selection to merge the two images. he efects are now a permanent part of the new image. 17 Rename the new lattened image enhanced lattened.

18 Reveal the rounded rectangle path in the Layers panel by clicking the empty square to the far left of the object name. his will also select the object. 19 Choose Edit > Cut. 20 Choose the enhanced lattened object, and then select Edit > Paste As Mask.

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If you need to edit the efects later, you can unlock and ungroup the duplicate, make your changes, and then walk through the same steps to put the new version in place.

21 Save your ile.

Stroking rendered text At the beginning of the lesson, we mentioned that all the decorative text was converted to paths to minimize any rendering issues. But this technique can be used on paths or text. he text in this example is a little rustic, and is in keeping with the color theme of the site—but without a stroke, it blends into the background elements too easily. While all the other text is ine, the Site C text on the squirrel’s sign has not yet been changed. You will do this now. 1 Use the Pointer tool to select the Site C rendered text.

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2 In the Properties panel, change the Stroke color to #F3E8C9.

how do you convert text to a path, anyway? Select the text block with the Pointer tool, and then choose Text > Convert To Paths from the main menu bar. The text is converted to a grouped set of paths. You can select individual letters with the Subselection tool.

3 Set Stroke Category to Pencil > 1-Pixel Soft.

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You may ind that the stroke does not match the other text elements on the console.

his mismatch is due to the default stroke position of Stroke Centered. If this has happened to your object, follow these steps to ix it. 4 Zoom in to 500%. 5 Select the Subselection tool. 6 Hold down the Shift key, and click on each letter (remember, the letters are no longer a true font but rendered paths).

7 In the Properties panel, change Stroke Location to Align Stroke To Outside.

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Your Site C text should now match the text on the console.

8 Save your work.

Stroking real text The workflow for adding strokes to true text is a little different. 1

Select the Text block with the Pointer tool.

2

Choose the Stroke (or Text Outline) color box.

3

Choose Stroke Options.

4

Select the type of stroke you want (in our example, it was Pencil > 1-Pixel Soft). You can choose a stroke color at the same time by clicking on the color fill box in the Stroke Options dialog box.

5

Press Enter or Return.

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Adding a Flex skin Flex is a free, open source framework for building web applications that behave consistently across diferent browsers, desktops, and operating systems using Adobe Flash Player or Adobe AIR. Before you say goodbye to the nature tours console ile, you will convert the graphics into a form that a Flex application developer can use. Fireworks has a default Flex skin from which you can modify either a single component or multiple ones. 1 Select the home page of the design. 2 Choose Commands > Flex Skinning > New Flex Skin.

# Note: In a reallife scenario, we recommend you talk with your Flex developer first, to make sure you are both using the same style-naming conventions.

3 In the New Flex Skin dialog box, choose Speciic Components. 4 Select Button from the list of components.

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5 For Apply Skin To, choose Instances With Style Name, and type close in the input ield. (here are other buttons in this prototype, so it’s a good idea to use style names so the right skin is applied to the right button.) 6 Click OK.

# Note: The Layers panel is populated with a series of prebuilt layers. When skinning a Flex component, it is important that you do not delete or rename any of the layers in the file.

A standard Flex button template opens as a new document within Fireworks.

7 Switch back to the home page of the console design, and click Hide Slices And Hotspots in the Tools panel if the web objects are showing. 8 Click the Close button (the hiker icon). 9 Choose Edit > Copy.

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10 Switch back to the skin template, and expand the Button_close_upSkin layer.

11 Select the group in that layer, and delete it. 12 Choose Edit > Paste to paste the Up state of the Close button in the layer. 13 Reposition the button where you see it.

14 Return to the console design, and select State 2 from the bottom of the Layers panel.

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15 Select the Over iteration of the Close button, and copy it. 16 Switch back to the Flex template. 17 Expand the Button_close_overSkin layer, and delete the group of objects making up the existing button.

18 Paste the copied Over console button. 19 Reposition as necessary. Don’t worry about lining up the buttons with the labels; those labels are simply there to tell you what button is for which state.

Adding additional button states he current button in Fireworks contains only two states, but you will quickly add the two inal states to the template. 1 Expand the Button_close_downSkin layer, and delete the original button’s group. 2 Paste the Over iteration of the console button.

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3 In the Property inspector, click the i icon next to the Photoshop Live Efects ilter.

4 Change the direction of the bevel from Down to Up, and click OK.

5 Delete the button from the Button_close_disabled layer, and paste in the Up state of your button again. You can copy the Up state from the Flex skinning template you’re working on instead of going back to the console. 6 Change the Fill color to #71400F. 7 Reduce the plaster texture to 20%. 8 Turn of the Photoshop Live Efect by clicking the check mark beside the ilter name. We have highlighted the three areas to change in the following igure.

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9 Your new button template should look something like this image. Again, placement of the button states on the canvas doesn’t matter, as long as they’re in the correct layers.

Exporting the skin he last step is to export the button template. 1 Choose Commands > Flex Skinning > Export Flex Skin.

2 Browse to the Lesson13 folder, and create a new folder called skins.

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3 Open this folder, if necessary, and click the Select “skins” (Windows) or Choose (Mac) button.

Fireworks exports out just the four states of the button to this folder.

Flex skinning resources In-depth discussion about Flex or skinning entire applications is beyond the scope of this book, but we won’t leave you hanging! Here are a few resources that you can continue with, if you are interested in learning more about Flex skinning.

• • •

Adobe Flex Developer Center (www.adobe.com/devnet/flex/) Adobe Fireworks Developer Center (www.adobe.com/devnet/fireworks/articles/flex_app_design_04.html) Layers Magazine (www.layersmagazine.com/fireworks-cs4-flex-skinning.html)

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Exporting to Flash Catalyst Adobe® Flash® Catalyst™ is a new professional interaction design tool for rapidly creating interactive content without writing code. You can create interactive portfolios, product guides, site navigation, interfaces for rich Internet applications (RIAs), and more. You can convert static artwork created in Adobe Fireworks into interactive designs, and then publish a inished project as a SWF ile ready for distribution. Flash Catalyst lets you work eiciently with developers who use Adobe Flash Builder™ 4 to create RIAs. Designers use Flash Catalyst to create the functional user experience and then hand of the project ile to developers who use Flash Builder to add functionality and integration with servers and services.

Fireworks and Flash Catalyst Fireworks is optimized to create screen graphics. As such, it’s the ideal application for creation of Flash Platform assets. Fireworks CS5 supports the latest FXG format (2.0). You can use Fireworks to design assets (individual graphics or multipage design mockups) for the Flash platform, export them as FXG, then move them into Flash tools like Flash Catalyst, all the while maintaining your design idelity.

What is FXG? FXG 2.0 is an XML-based graphics interchange file format for the Flash platform. FXG contains high-level graphical and text primitives that can be used to create, group, transform, and visually modify basic vector and bitmap shapes. The FXG rendering model follows very closely the Flash Player 10 rendering model and exposes all graphics capabilities of the Flash platform, as well as offering expandable support to accommodate future capabilities of the Flash Player. For more information about FXG, visit http://opensource.adobe.com/wiki/display/ flexsdk/FXG+2.0+Specification.

Exporting pages Fireworks pages translate directly to Flash Catalyst pages. As a designer, you can build your mockup for a rich media application within Fireworks, and then export the ile as an FXG document to open in Flash Catalyst or pass it on to the developer.

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You will export a web banner from Fireworks as an FXG document. 1 Open the fc_banner.fw.png. You might ind this ile a bit familiar; you helped to build the wireframe for this project in Lesson 10.

2 Open the Pages panel and click on the individual pages. Each one has some different elements while common elements have been added to the master page.

3 Select the Shop in Meridien page and then open the Layers panel.

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4 Expand the content layer. here are two sublayers: next feature and teaser.

5 Choose File > Export. 6 Name the ile fc_banner. # Note: When exporting a file as FXG And Images, you can choose to export the current selection, the current page, or all pages in the file.

7 Choose the FXG folder in the Lesson13 folder as the location for saving the ile and associated assets. 8 Make sure that FXG And Images is selected from the Export drop-down list. 9 Select All Pages from the Pages drop-down list.

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# Note: This exercise

Viewing files in Flash Catalyst Next you will check out the idelity between the Fireworks document and the FXG export by opening the exported ile in Flash Catalyst. 1 Launch Flash Catalyst. 2 When the Flash Catalyst welcome screen appears, choose From FXG File, or select File > New Project From Design File.

requires Flash Catalyst. If you do not own Flash Catalyst, you may skip this section, or download the 30-day, fully functional trial version of Flash Catalyst from Adobe at www. adobe.com/downloads.

3 Browse for the fc_banner.fxg ile. 4 Open the ile. he entire design opens, looking identical to the original Fireworks document. Each page has been exported as a Flash Catalyst Page/State.

Editing the FXG file in Flash Catalyst Next you will make some changes to the ile in Flash Catalyst.

# Note: Depending on the complexity of your design, Flash Catalyst may take noticeable time to analyze the file and object structure.

1 Select the page called page_2__Bike_in_Meridien.

2 Double-click on the paragraph of text below the photo. Flash Catalyst switches to text-editing mode so you can make changes, adding or removing the existing characters.

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Fireworks Effects supported by FXG 2.0 FXG 2.0 also supports many of Fireworks native effects and filters, retaining their editability, including:

• • • • •

•

Opacity Solid color fill Canvas color: Mapped into Flash Catalyst as a Rectangle that has the same color and is the size of the project; it is placed on the locked Background layer Gradients fills: Linear and Radial Blending Modes: Normal, Multiply, Screen, Lighten, Darken, Difference, Add, Subtract, Invert, Alpha, Erase, Overlay, Hardlight, Color Dodge, Exclusion, Hue, Saturation, Color, Luminosity, Color Burn, and Soft Light Live Filters: Blur, Blur More, Inner Shadow and Drop Shadow

Vector objects, right down to their opacity, are preserved as vectors with editable attributes. 3 Select the Pointer tool in Flash Catalyst and click once on the gray rectangle underneath the text. Note that the rectangle is translucent.

4 In the Properties panel, change the opacity from 90 to 60. he selected rectangle becomes more transparent.

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5 Select page_2_Shop_in_Meridien and then open the Layers panel. 6 Expand the content layer. he layer structure from the Fireworks ile has been maintained, right down to the sublayers.

7 You can close the ile without saving it.

Fireworks and Illustrator Another advantage of the new FXG export in Fireworks is that Adobe Illustrator also supports this format. If you have ever tried saving a Fireworks file as an Illustrator file, you’ve no doubt been frustrated with the poor version support for this option. Fireworks only saves AI files at the version 8 level. This means that very few of Fireworks’ more advanced features are preserved. But now you can export your Fireworks design as FXG And Images for further editing in Illustrator. FXGsupported vector fill effects are retained as vectors, so your screen-based design could easily be converted into a high-resolution CMYK file for printing, or simply opened in Illustrator for further editing.

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Fireworks and Dreamweaver # Note: This exercise requires Dreamweaver CS5. If you do not own Dreamweaver, you may skip this section, or download the 30-day, fully functional trial version of Dreamweaver from Adobe at www. adobe.com/downloads.

It’s no surprise that products within Adobe Creative Suite are meant to play well together—they are a suite, after all. In this section, you’ll learn some techniques for making the most of the integration between Fireworks and Dreamweaver.

Copying and pasting to Dreamweaver You can quickly add objects from a Fireworks design directly into a website layout in Dreamweaver. 1 Start Dreamweaver. 2 Open the check_mag_home.html ile from the webpage folder of the Lesson13 folder. his is an HTML prototype page that has been reviewed by the client. It has also undergone a lot of layer restructuring for better organization.

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Another watch image has been sent as a replacement for the existing watch promo image. he client has requested the blue background be removed and replaced with a gradient background.

his work has already been done in the ile called watch.fw.png, using a bitmap mask and a gradient-illed rectangle.

he image is currently not the right dimensions for the watch promo section of the banner. You will create the correct image size without afecting the original ile in any way. 3 In Fireworks, open the watch.fw.png ile in the Lesson13 folder. 4 In the Layers panel, hold down the Shift key and select both the watch and the background.

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5 Choose Edit > Copy. 6 Switch to Dreamweaver. 7 Select the original watch image, and delete it. 8 Choose Edit > Paste. he Image Preview window opens. his is the same Image Preview window you can access from Fireworks, but in this case, it’s initiated by Dreamweaver. 9 In the Options pane, set the ile format to JPEG – Better Quality.

10 Switch to the File tab, and then set the scaling to 95%. 11 In the Export Area option, type 237 in the width ield and 90 in the height ield. hese are the dimensions of the original watch image.

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12 Type 0 in the x ield and 35 in the y ield, and click OK.

he Save Web Image dialog box appears.

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13 Browse to the images folder within the webpage folder of the Lesson13 folder. 14 Rename the ile to watch_promo2.jpg, and click Save. he Image Description (Alt Text) dialog box appears. 15 Type Win a watch! in the Alt Text ield, and click OK.

he new, cropped image appears on the page, where the old image used to be.

16 Return to Fireworks; the original PNG ile remains unchanged. 17 Close the watch.fw.png ile without saving.

Round-trip editing Another request has come in—this one for a change to the navigation bar. he client would prefer the navigation text to be closer to the right and with more spacing between each link. You will make this change using round-trip editing. 1 Select the navigation bar image within Dreamweaver.

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# Note: Editing the

2 In the Properties panel, click the Edit icon.

PNG file works properly only if the page was originally exported as HTML And Images. If the file was exported as CSS And Images, roundtrip editing will have a negative effect on the HTML page.

he Fireworks prototype opens with two diferences. he watch image slice is now a bright green HTML slice because the image was changed within Dreamweaver, and the new watch image is not part of the original PNG ile. To maintain the new image, apply an HTML slice rather than the original image slice.

Find Source dialog box The Find Source dialog box may appear, asking whether you want to edit this individual image or locate the Fireworks PNG file. If it does, follow these steps:

1

Click the Use A PNG button. The Open dialog box appears.

2

Locate and open the check_mag_home.fw.png file in the Lesson13 folder.

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A Done button and the status message, Editing From Dreamweaver, appear near the top of the document window.

3 Click Hide Slices And Hotspots in the Tools panel. 4 Select the ive text links using the Pointer tool.

5 In the Properties panel, change the X value to 456. 6 Open the Align panel, and change the Spacing value to 30. 7 Click the Space Evenly Horizontally icon to spread the text links apart.

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8 Click the Done button. You are returned to Dreamweaver, and the navigation bar has been updated to relect the changes in the PNG. he PNG ile is saved automatically.

Three-slice technique for content containers A common visual technique for containing web content is to put the content inside some sort of container, often called a pod, which can expand vertically or horizontally to contain additional content. he three-slice technique creates a pod that expands in one dimension while the other dimension remains ixed. In this exercise—we’re back in Fireworks now—you will create the slices for vertically lexible pods for the Bare Tree Society website. 1 Open the bare_tree.fw.png ile from the Lesson13 folder.

Content Pods

Conveniently, both pods are the same width, so you need only slice up one pod and use the same exported graphics for both pods in the inal web design. To create slices that will export only the pod areas and not the text, you will have to hide the text in one pod.

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he content layer holds all the elements for the content area of the design: two text blocks and two rounded rectangles.

2 Select the text in the left pod with the Pointer tool.

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3 Locate the selected object in the Layers panel, and hide the object by clicking its Show/Hide box ( ).

4 On the canvas, right-click (or Control-click) on the rounded rectangle, and choose Insert Rectangular Slice. his slice will cover the entire rectangle, including the outer glow. When you have shapes that use glows or drop shadows, letting Fireworks create the initial slice can be more accurate.

5 In the Properties panel, change the height of the slice to 20 pixels.

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E Tip: If you hold Shift while pressing the arrows, your slice will move ten pixels at a time instead of just one pixel.

6 Choose Edit > Clone to create an exact copy of the slice. 7 Use the Down Arrow key to reposition this new slice below the original slice.

8 Change the height to 10 pixels in the Properties panel. his will become the repeating background image for the pod. Its exact Y position is not too important, as long as it doesn’t overlap the other slices.

9 Select the top slice and clone it again. 10 Use the arrow keys to reposition the new slice at the bottom of the pod. he Y value for the new slice position will be 338. 11 Select all three slices, and change the Slice Export Settings option to JPEG – Better Quality from within the Properties panel. 12 Name the slices appropriately in the Layers panel: pod_top, pod_ bg, and pod_bottom.

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Once the graphics have been exported, the design can be assembled in Dreamweaver using a combination of HTML and CSS. here are several diferent ways to achieve this result. In this igure, you can see how adding additional content to a container within Dreamweaver expands the left container, leaving the right container unafected. # Note: For information on different methods for creating expandable containers in a web page, visit www.smileycat.com/ miaow/archives/ 000044.php.

Fireworks and Flash Fireworks and Flash work together in several ways. Fireworks PNG iles can be imported into Flash as movie clips, maintaining the layer structure of the PNG ile. Fireworks button symbols are imported as fully functional Flash button symbols. Flattened bitmaps can be altered using round-trip editing—similar to round-trip editing between Dreamweaver and Fireworks.

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You will use the movie_scene.fw.png ile as a backdrop for a Flash interface promoting the Double Identity movie. It consists of a background image, two text blocks, and a vector path illed with a gradient.

Preparing files for Flash Before you jump into this process, it’s best to know what to expect from the process of importing and editing between these two programs. Transformations such as skewing text are not carried over into Flash. Likewise, custom letter tracking is ignored by Flash. You can convert the type to paths to retain text transformations and tracking, but it will no longer be editable as text with Fireworks or Flash.

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Going Further

Additionally, certain Live Efects and blending modes are not supported in Flash. Table 13.1 and Table 13.2 list the supported features. Table 13.1 Fireworks effects supported in Flash FIREWORKS EFFECT NAME

F L A S H F I LT E R N A M E

Drop shadow

Drop shadow

Inner shadow

Drop shadow (with Inner Shadow automatically selected)

Blur

Blur (where blurX = blurY= 1)

Blur more

Blur (where blurX = blurY= 1)

Gaussian blur

Blur

Adjust color

Adjust color brightness

Adjust color

Adjust color contrast

Table 13.2 Fireworks blending modes supported in Flash FIREWORKS BLENDING MODE NAME

FLASH BLENDING MODE NAME

Normal

Normal

Darken

Darken

Multiply

Multiply

Lighten

Lighten

Screen

Screen

Overlay

Overlay

Hard light

Hard light

Additive

Add

Difference

Difference

Invert

Invert

Alpha

Alpha

Erase

Erase

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Importing Fireworks documents into Flash It’s important to understand the diferences between importing a layered Fireworks PNG ile and importing a lattened version of a Fireworks PNG ile. In this exercise you will import a native Fireworks PNG ile as well as a standard JPEG ile.

What are my import options? With Fireworks PNG iles, you have two main choices. Fireworks PNG. Import the Fireworks PNG as a multilayered ile if you will need to animate or add ActionScript to individual objects within the PNG design. he document imports into Flash as a PNG (for positioning) and a Fireworks folder that holds the bitmap objects and a movie clip containing all the layers (vectors, text, bitmaps, and button symbols) from the original Fireworks PNG ile. here is no dynamic connection between the imported ile and the original Fireworks PNG ile; if elements within the design require additional editing, you will have to open the source PNG ile within Fireworks, make your changes, save the ile, and then update the speciic object within Flash. he real advantage of this method is that you can bring into Flash a fully layered ile, so that your various bitmaps are available as separate objects and your vector elements are editable within the Flash environment. You can also import a speciic page from a multipage Fireworks document. Flattened bitmap. Flattening is the process of converting a multilayered image ile into a single graphic with no individual editable layers or objects. A lattened ile is imported into the Flash library using the original ilename as its label.

# Note: Standard flat files such as JPEG files are automatically imported as flattened bitmaps.

With lattened bitmaps, you can make use of round-trip editing by right-clicking (or Control-clicking) the desired object in the Library panel or on the stage.

Importing a Fireworks PNG # Note: This exercise requires Flash Professional CS5. If you do not own Flash, you may skip this section, or download the 30-day, fully functional trial version of Flash from Adobe at www.adobe. com/downloads.

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he text in this design has been skewed to a speciic angle and has custom tracking applied to diferent letter pairs in the text block. Flash will discard the tracking and skewing on import, so you will convert the text elements to paths to retain its look. 1 In Fireworks, open movie_scene.fw.png from the Lesson13 folder. 2 Select both text blocks using the Pointer tool.

Going Further

3 Choose Text > Convert To Paths.

4 In the Layers panel, rename the groups of text to DOUBLE group and IDENTITY group. 5 Save the ile as movie_scene_working.fw.png. 6 Start Flash Professional CS5. 7 Choose Flash File (ActionScript 3.0) from the Create New column of the Welcome screen.

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A new document opens. 8 Choose Modify > Document. 9 Change the dimensions of the ile to 600 pixels wide by 462 pixels high (the same dimensions as our Fireworks design). Leave all other settings at their defaults and click OK.

10 Choose File > Import > Import To Library.

11 Browse to the Lesson13 folder, and open the movie_scene_working.fw.png ile.

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Going Further

12 When the Import dialog box appears, use the settings seen in the following igure to keep objects as editable as possible, and then click OK.

he PNG ile is placed in the Library panel.

Flash creates a special folder to store the objects from the Fireworks PNG ile. he alleyway photo is saved as a separate bitmap, and the vector objects are grouped within the movie clip. 13 Drag the Page 1 movie clip onto the middle of the stage. he layer structure of the PNG ile has also been maintained within the movie clip.

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14 Double-click on the stage.

15 Open the Timeline panel (Window > Timeline); you will see all four objects in their own layers in the timeline. he object names used in Fireworks are retained by Flash.

Each vector object within the timeline is editable within Flash. 16 Use the Selection tool ( the stage.

) to double-click on the sign background object on

Double-clicking on the object dims everything on the stage but the object you just selected. his is called editing in place, as can be seen from the breadcrumb trail above the document window. 17 With the Subselection tool ( ), move your cursor near the border of the shape, and click. Vector control handles appear, and, just as in Fireworks, you can drag those control points to alter the shape of the path.

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Going Further

18 Drag a control point.

19 Press Ctrl+Z (Windows) or Command+Z (Mac) to undo the edit. 20 Click the Scene 1 segment of the breadcrumb trail to go back to the main stage.

Importing a flattened bitmap Standard bitmap objects are easily imported into Flash. 1 Choose File > Import > Import To Library. 2 Browse to the Lesson13 folder and select thumb5.jpg. Because this is a lattened image, no dialog box appears. he image is just directly imported into the Library.

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Bitmap objects cannot be edited within Flash, but this is where Fireworks comes in handy. Flattened objects like this image can beneit from the other Flash/Fireworks integration feature, round-trip editing. 3 Right-click (or Control-click) on the image name in the Library panel.

4 Choose Edit With Fireworks. If it doesn’t say Edit With Fireworks, then choose Edit With, navigate to where Fireworks is located, and open it that way. From then on, it will say Edit With Fireworks, as expected, here. he Find Source dialog box may appear and you will be asked if you want to edit this image directly or locate a PNG ile to make the edits. 5 here is no PNG ile for this image, so click the Use his File button.

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Going Further

he image opens in Fireworks, and above the document window you see a Done button and the phrase Editing From Flash.

6 In the Properties panel, click the Add Live Filters button (+) button to add a Live Filter. Choose Shadow And Glow > Inner Shadow.

7 Click the Done button. Fireworks prompts you to save a PNG version of the image, because you have added a Live Filter. As this change will be a permanent one to the JPEG ile, it would be wise to create a PNG image that can be edited later.

8 Click Yes, and save the ile as thumb5.fw.png in the Lesson13 folder. his way, you can always further edit the Live Filter at a later time.

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You are returned to Flash, where the thumb5.jpg image has been updated with the inner shadow.

From this point forward, if you need to make further edits to this image, choose Use A PNG from the Find Source dialog box. In this manner, you are not constantly editing and resaving a JPEG ile, thus reducing its quality each time. 9 Close the Flash ile without saving it.

Additional considerations when importing to Flash Here are some factors to keep in mind when importing to Flash:

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LESSON 13

•

HTML: Pop-up menu code is not supported by Flash. Likewise, interactivity and button behaviors are not imported to Flash.

•

Vectors and text: Flash does not support all the special effects, fills, and strokes available in Fireworks. When you import a Fireworks PNG file and choose to keep the file as editable as possible, these features may look different. Flash supports only solid fills, gradient fills (except the contour gradient), and basic strokes.

•

Bitmaps: When Fireworks graphics are imported or copied and pasted into Flash, some attributes are lost, such as certain Live Filters and textures.

•

Graphic symbols with 9-slice scaling are supported in Flash, but 9-slice scaling is not maintained for animation symbols.

•

Drag and drop: You can drag and drop selections from the Fireworks Canvas directly on the Flash stage. The import dialog box will appear when you release the mouse so that you can control how the objects are imported into Flash.

Going Further

Review questions 1 What is the three-slice technique? 2 How do you add AIR events? 3 How do you export Fireworks iles for use in Flash Catalyst? 4 What are the steps to choosing a Flex component for skinning? 5 How do you import a multilayered Fireworks PNG ile into Flash?

Review answers 1 he three-slice technique creates graphics for an expandable panel or box on a web page. In Fireworks, you draw your container, and then add a slice to the top and the bottom, and a third slice to be used as a repeating background image for the main content area of the container. You can then assemble the panel within a series of div tags within Dreamweaver, or use the Fireworks CSS And Images option to export a page containing the lexible container. 2 To add an AIR event, you draw a slice or hotspot to cover an interactive element in the AIR mockup, choose Commands > AIR Mouse Events, and then pick the desired event. You can choose from Drag, Close, Minimize, and Maximize. 3 If you wish to use your Fireworks designs or artwork in Flash Catalyst, choose File > Export and then select FXG And Images from the Export list. You can choose to export a selected object, selected pages, the current page, or the entire document. 4 Choose Commands > Flex Skinning > New Flex Skin. Select the Speciic Components option, and then choose the component you wish to skin from the component list. You can also choose whether to apply this skin to all instances of that component, or apply it only to skins with a speciic class. 5 To import a multilayered Fireworks PNG into Flash, irst you open an existing Flash document or create a new one. Choose File > Import > Import To Library. Browse for the ile. You can then choose whether to import the ile as a lattened bitmap or as a multilayered, editable ile. You gain more lexibility within Flash if you do not latten the ile.

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