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Download the supplements from the same page as the lesson files. How to Use the Lessons Each lesson in this book provides step-by-step instructions for creating one or more specific elements of a real-world project. Some lessons build on projects created in preceding lessons; most stand alone. All the lessons build on one another in terms of concepts and skills, so the best way to learn from this book is to proceed through the lessons in sequential order.

In this book, some techniques and processes are explained and described in detail only the first few times you perform them. The files in the End fold- ers 01End, 02End, and so on within the Lesson folders are samples of completed projects for each lesson. Use these files for reference if you want to compare your work in progress with the project files used to generate the sample projects.

Additional Resources Adobe Animate CC Classroom in a Book release 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 Animate Learn and Support: helpx.

Visit helpx. Adobe Creative Cloud Learn: For inspiration, key techniques, cross-product workflows, and updates on new features, go to the Creative Cloud Learn page, helpx. Available to all. Adobe Forums: forums.

Adobe Create: create. Resources for educators: www. Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certified Associate exams.

Also check out these useful sites: Adobe Add-ons: creative. Adobe Animate CC product home page: www. A directory of AATCs is available at training. Herbert School of Communication at Hofstra University where he teaches multimedia storytelling, data journalism, and information design. Download the project files for this lesson from the Registered Products tab on your Account page at www. Motion tweening is the basic technique of creating animation with symbol instances.

Account page, make sure to do so now. See 1 Double-click the 04End. The project is an animated splash page for an imaginary soon-to-be-released motion picture. This file is an ActionScript 3. Saving a working copy ensures that the original start file will be available if you want to start over.

Animation can be as simple as moving a box across the Stage from one frame to the next. It can also be much more complex. In Animate, the basic workflow for animation goes like this: Select an object on the Stage, right-click, and choose Create Motion Tween from the context menu. Move the red playhead to a different point in time and move the object to a new position or change one of its properties.

Animate takes care of the rest. Motion tweens create animation for changes in position on the Stage and for changes in size, color, or other attributes. Motion tweens require you to use a symbol instance. Animate also automatically separates motion tweens on their own layers, which are called tween layers. There can be only one motion tween per layer without any other ele- ment in the layer. Tween layers allow you to change various attributes of your instance at different key points over time.

For example, a spaceship could be on the left side of the Stage at the beginning keyframe and at the far-right side of the Stage at an ending keyframe, and the resulting tween would make the spaceship fly across the Stage.

Senior animators would be responsible for drawing the beginning and ending poses for their charac- ters. The beginning and ending poses were the keyframes of the animation. Understanding the Project File The 04Start. All the necessary graphic elements have been imported into the library. The Stage is set at a generous pixels by pixels, and the Stage color is black.

You might need to choose a different view option to see the entire Stage. It will begin slightly lower than the top edge of the Stage, and then rise slowly until its top is aligned with the top of the Stage. Create a new layer above the footer layer and rename it city. This positions the cityscape image just slightly below the top edge of the Stage.

Motion tweens require symbols. Animate asks if you want to convert the selection to a symbol so it can proceed with the motion tween. Click OK. Animate automatically converts your selection to a symbol with the default name Symbol 1, and stores it in your Library panel.

Animate also converts the current layer to a tween layer so you can begin to animate the instance. Tween layers are distinguished by a special icon in front of the layer name, and the frames are tinted blue.

The range of frames covered by the tween is the tween span. The tween span is represented by all the colored frames from the first keyframe to the last keyframe.

Tween layers are reserved for motion tweens, and hence, no drawing is allowed on a tween layer. Holding down the Shift key constrains the movement to right angles. A small black diamond appears in frame at the end of the tween span. This indicates a keyframe at the end of the tween. Animate smoothly interpolates the change in position from frame 1 to frame and represents that motion with a motion path.

Animating changes in position is simple, because Animate automatically creates keyframes at the points where you move your instance to new positions. Integrated into the bottom of the Timeline is a set of playback controls. You can also use the playback commands on the Control menu.

The playhead loops, allowing you to see the animation over and over for careful analysis. The playhead loops within the marked frames. Click Loop Option again to turn it off. Changing the Pacing and Timing You can change the duration of the entire tween span or change the timing of the animation by dragging keyframes on the Timeline. Changing the animation duration If you want the animation to proceed at a slower pace and thus take up a much longer period of time , you need to lengthen the entire tween span between the beginning and end keyframes.

If you want to shorten the animation, you need to decrease the tween span. Lengthen or shorten a motion tween by dragging its ends on the Timeline.

Your motion tween shortens to 60 frames, reducing the time it takes the cityscape to move. The timing of your entire animation remains the same; only the length changes. Add frames by Shift-dragging the end of a tween span. The last keyframe in the motion tween remains at frame 60, but Animate adds frames through frame The keyframe at frame 60 is selected.

A tiny box appears next to your mouse pointer, indicating that you can move the keyframe. The last keyframe in the motion tween moves to frame 40, so the motion of the cityscape proceeds more quickly. Span-based vs. However, if you prefer to click a motion tween and have the entire span the beginning and end keyframes, and all the frames in between be selected, you can enable Span Based Selection from the Options menu on the upper-right cor- ner of the Timeline or you can Shift-click to select the entire span.

With Span Based Selection enabled, you can click anywhere within the motion tween to select it, and move the whole ani- mation backward or forward along the Timeline as a single unit. You can change the color effect of an instance in one keyframe and change the value of the color effect in another keyframe, and Animate will automatically display a smooth change, just as it does with changes in position.

Animate will create a smooth fade-in effect. The cityscape instance on the Stage becomes totally transparent. The cityscape instance on the Stage becomes totally opaque. Animate interpolates the changes in both position and transparency between the two keyframes. Animating filters is no different from animating changes in position or changes in color effect. You simply set the values for a filter at one keyframe and set different values for the filter at another keyframe, and Animate creates a smooth transition.

Click the upper-right side of the Stage to select the transparent instance. Or, click the woman layer in the Timeline to highlight it; then click within the outline that appears on the Stage. Set the Blur X and Blur Y values to 20 pixels.

The woman instance is blurred throughout the motion tween. Animate establishes a keyframe for filters at frame The Blur filter changes from the keyframe at frame to the keyframe at Animate creates a smooth transition from a blurry instance to an in-focus instance. Understanding property keyframes Changes in properties are independent of one another and do not need to be tied to the same keyframes. That is, you can have a keyframe for position, a different keyframe for the color effect, and yet another keyframe for a filter.

Managing many different kinds of keyframes can become overwhelming, especially if you want dif- ferent properties to change at different times during the motion tween. Fortunately, Animate CC provides a few helpful tools for keyframe management.

When viewing the tween span, you can choose to view the keyframes of only cer- tain properties. For example, you can choose to view only the Position keyframes to see when your object moves. Or, you can choose to view only the Filter keyframes to see when a filter changes. Right-click a motion tween in the Timeline, choose View Keyframes, and then select the desired property among the list.

You can also choose All or None to see all the properties or none of the properties. When inserting a keyframe, you can also insert a keyframe specific to the property you want to change.

Right-click a motion tween in the Timeline, choose Insert Keyframes, and then select the desired property. You can also view an advanced panel, called the Motion Editor, to see and edit how the different properties of your object change over the course of the motion tween. These kinds of changes are made with the Free Transform tool or with the Transform panel.

The car will start small, and then become larger as it appears to move forward toward the viewer. The transformation handles appear around the instance on the Stage.

The car becomes totally transparent. The current layer becomes a tween layer. A new keyframe is automatically inserted at frame to indicate the change in transparency. You have used Animate to tween the change in position and the change in scale as well as the change in transparency from frame 75 to frame Motion presets If your project involves creating identical motion tweens repeatedly, Animate allows you to save and reuse motion tweens as presets.

For example, if you want to build a slideshow where each image fades out in the same manner, you can save that transition as a motion preset. Alternatively, right-click the motion tween and choose Save As Motion Preset. Animate provides a number of motion presets that you can use to quickly build sophisticated animations without much effort. In the Properties panel, choose a darker brown Fill color Click the top surface of the coffee that is inside the cup.

The fill of the top oval changes to the darker brown color. Tip If your Paint Bucket tool changes the fill in surrounding areas, there may be a small gap in the shape outline that allows the fill to spill over. Close the gap manually, or use the Gap Size menu at the bottom of the Tools panel to choose the gap size that Animate will close automatically.

In the Tools panel, select the Ink Bottle tool. In the Properties panel, choose a darker brown stroke color Click the top stroke above the surface of the coffee. Tip You can also select a stroke or a fill and change its color by using the Properties panel without selecting the Paint Bucket or Ink Bottle tool. The stroke around the surface of the coffee changes to a darker brown color. Using gradient fills The fill is the interior of the drawn object.

Currently, you have selected a solid brown fill color, but you can also use a gradient as a fill, or you can specify that the object have no fill at all. In a gradient, one color gradually changes into another.

Animate can create linear gradients, which change color horizontally, vertically, or diagonally, or radial gradients, which change color moving outward from a central focal point. By default, a linear gradient moves from one color to a second color, but you can use up to 15 color transitions in a gradient in Animate. A color pointer determines where each color is defined, and smooth color changes happen between each of the pointers. Add color pointers beneath the gradient definition bar in the Color panel to add more colors and, hence, more gradients.

Select the Selection tool and then select the fill that represents the front surface of the coffee cup. The front surface of the coffee cup is filled with a color gradient that changes from left to right. In the Color panel, select the color pointer at the left end of the color gradient definition bar the triangle above it turns black when selected , and then type FFCCCC in the Hex value field to specify a light tan color.

You can also select a color from the Color Picker or double-click the color pointer to select a color from the color swatches. Select the far-right color pointer, and then enter B for a dark tan color.

The gradient fill for the coffee cup changes from light tan to dark tan across its surface. Click beneath the gradient definition bar to create a new color pointer. Drag the new color pointer to the middle of the gradient. The gradient fill for the coffee cup now changes gradually from light tan through white to dark tan. Deselect the fill on the Stage by clicking elsewhere on the Stage. Select the Paint Bucket tool and make sure the Lock Fill button at the bottom of the Tools panel is deselected.

The Lock Fill option locks the current gradient to the first shape to which it was applied so that subsequent shapes extend the gradient. This allows multiple columns of tools to be shown. With the Paint Bucket tool, select the back surface of the coffee cup. Animate applies the gradient to the back surface. Tip To delete a color pointer from the gradient definition bar, simply drag it off the bar.

Using the Gradient Transform tool In addition to choosing colors and positioning the color pointers for a gradient, you can adjust the size, direction, or center of a gradient fill.

Select the Gradient Transform tool Free Transform tool. The Gradient Transform tool is grouped with the 2. Click the front surface of the coffee cup. Transformation handles appear. Drag the square handle on the right side of the bounding box inward to squeeze the gradient tighter. Drag the center circle to move the gradient to the left so the white highlight is positioned slightly left of center.

You can even rotate the gradient counterclockwise by dragging the round handle in the upper-right corner of the bounding box. Drag slightly to the left so that the gradient tilts along the curve of the cup. Click the back surface of the coffee cup. Drag the round handle on the corner of the bounding box to rotate the gradient degrees so that the gradient fades from dark tan on the left to white to light tan on the right.

Narrow the gradient and move it to the right slightly so that the highlight falls on the right side of the inner surface. The coffee cup now looks more realistic because the shadows and highlights make it appear that the front surface is convex and the back surface is concave. Tip Move the center circle to change the center of the gradient, drag the round handle to rotate the gradient, or drag the square handle to stretch or compress the gradient.

Select the top surface of the coffee with the Selection tool. Open the Colors panel and choose Radial Gradient. For the left color pointer, choose a light brown color, and for the right color pointer, choose a deep, chocolate brown color. The top surface of the coffee is filled with a radial gradient that is lighter in the center and darker at the edges. Select the Gradient Transform tool. Drag the center point handle of the gradient near the right edge of the cup. Drag the width handle to the right to flatten the elliptical gradient so that it is about twice as wide as high.

Drag the size handle to the left to shrink the ellipse so that the gradient just covers the surface of the coffee. The top surface of the coffee is complete! With subtle variations to linear and radial gradients, you can achieve nice effects that give dimensionality and form to your objects. Rename the layer containing your completed drawing coffee cup. Tip You can also use the Gradient Transform tool to change the width, orientation, size, or rotation of a bitmap fill.

A group holds together a collection of shapes and other graphics to preserve their integrity. When the elements that compose the coffee cup are grouped, you can move them as a unit without worrying that the cup might merge with underlying shapes.

Use groups to organize your drawing. Select all the shapes that make up the cup of coffee. The cup of coffee is now a single group. When you select it, a blue-green outline indicates its bounding box. If you want to change any part of the cup of coffee, double-click the group to edit it. Notice that all the other elements on the Stage dim, and the Edit bar above the Stage displays Scene 1 Group. This indicates that you are now in a particular group and can edit its contents. Click the Scene 1 icon in the Edit bar at the top of the Stage, or double-click an empty part of the Stage, and return to the main scene.

Using variable-width strokes You can make many different styles of lines for your strokes. In addition to a solid line, you can choose dotted, dashed, or ragged, or even customize your own. In addition, you can create lines with variable widths and edit the variations with the Width tool. Transparency is measured as a percentage and is referred to as alpha.

In the Tools panel, select the Pencil tool. Choose Smooth from the Pencil Mode menu at the bottom of the Tools panel. In the Properties panel, select a dark brown stroke color.

In the Fill And Stroke section of the Properties panel, enter 15 for the stroke size. From the Style menu, choose Solid, and from the Width menu, choose the thick and thin profile, Width Profile 2. Tip Edit variable-width lines as you would any other stroke. Use the Selection or Subselection tool to bend the curves or move the anchor points. Draw a few wavy lines above the coffee. Animate renders each line with a thick-and-thin width.

Although it appears as a complicated shape, the entire object is a single selectable stroke. Editing the width of lines You can finesse where the bulges appear in your lines, and how much of a bulge there is. Use the Width tool to make those edits. In the Tools panel, select the Width tool. Move your mouse pointer over one of your variable-width strokes. Anchor points appear along the line to show you where the thick and thin portions of the line are located. Drag the handles at any anchor point to change the width of the line.

Exaggerate some of the restrictions and bulges. Drag an anchor point along the stroke to move its location. Drag anywhere along the stroke to add a new anchor point and define the width at that location. Animate displays a small plus sign next to your pointer to indicate that you can add an anchor point. Using swatches and tagged swatches Swatches are predefined samples of color. Tagged swatches are specially marked swatches that are linked to the graphics on your Stage that are using them.

If you change a tagged swatch in your Swatch panel, all your graphics that use the tagged swatch will be updated. Select the Selection tool and click one of the variable-width strokes above your coffee mug. The Swatches panel opens, showing the default colors with gradients in the bottom row.

A new swatch appears with the exact color of the coffee wisp that you selected. The Tagged Color Definition dialog box appears. Enter coffee steam in the Name field and click OK. The dialog box closes and a new tagged swatch appears in the Tagged Swatches section of the Swatches panel. Select the Selection tool and, holding down the Shift key, click every coffee wisp above the mug.

Open the Swatches panel. Select the coffee steam tagged swatch. The selected graphics use the tagged swatch as their color. In the Properties panel, a tagged swatch is indicated by the white triangle in the lower-right corner of the color.

Updating tagged swatches The real power of tagged swatches is apparent when you have to make updates to your project. Since each wisp uses a tagged swatch, you can simply update the color of the tagged swatch and all graphics using that tagged swatch will update. In the Tagged Swatches section of the Swatches panel, double-click the coffee steam tagged swatch. The Tagged Color Definition dialog box opens with the name and color information.

Change the color to a different shade of brown and a different Alpha, or transparency, value. The new color appears in the top half of the color preview window. Click OK to close the dialog box. The new color information is saved and all the graphics using the tagged swatch update to the new color.

For more precise control, you can use the Pen tool. First, change the Stage background to a light brown color CC Drag the layer to the bottom of the layer stack and then lock all the other layers. In the Tools panel, select the Pen tool.

Choose Hairline from the Style menu and Uniform from the Width menu. Begin your shape by clicking off the left edge of the Stage to establish the first anchor point. Keep holding the mouse button and drag in the direction you want the line to continue. You will drag out a direction line from the new anchor point, and when you release the mouse button you will have created a smooth curve between the two anchor points.

Continue to move the mouse to the right across the Stage, pressing and dragging out direction lines to build the outline of the wave. Keep going past the right edge of the Stage and click once to set a corner point. You have drawn the top edge of your wave; now you need to complete the shape by drawing the bottom.

Click once below the previous corner point, and then draw a wavy line back to the left across the Stage, similar but not exactly parallel to the first curved line. Take care not to place your anchor points directly under the anchor points in the upper line so that the wave has a free-form outline.

Continue the lower wavy line past the left edge of the Stage and click below the initial anchor point to place another corner point. Close your shape by clicking the first anchor point. Select the Paint Bucket tool. Set the Fill color to a dark brown. Click inside the outline you just created to fill it with color. Select the Selection tool, and double-click the outline to select all of it. Press the Delete key to remove the stroke. It takes practice to get used to the Pen tool.

Use the Selection tool or the Subselection tool to refine your curves. Hover over a line segment and look at the arced line segment that appears near your pointer. This indicates that you can edit the curve. If a right-angle segment appears near your cursor, this indicates that you can edit the corner point. Drag the curve to edit its shape. In the Tools panel, select the Subselection tool. Click the outline of the shape. Drag the anchor points to new locations or move the handles to refine the overall shape.

Lengthening the handles makes the curve flatter. Tilting the handles changes the direction of the curve. Deleting or adding anchor points Use the hidden tools under the Pen tool to delete or add anchor points as needed. Press and hold the Pen tool to access the hidden tools under it.

Select the Delete Anchor Point tool. Click an anchor point on the outline of the shape to delete it. Select the Add Anchor Point tool. Click the curve to add an anchor point. Creating paths with the Pen tool You can use the Pen tool to create paths that are straight or curved, open or closed. Understanding the elements of a path and how to create those elements with the Pen tool makes paths much easier to draw. Creating a straight line. To create a straight path, click the mouse button.

The first time you click, you set the starting point. Each time that you click thereafter, a straight line is drawn between the previous point and the current point.

To draw complex straight-segment paths with the Pen tool, simply continue to add points. Creating a curved line. Curved line segment B. Direction point C. Direction line D. Selected anchor point E. Unselected anchor point Creating a closed path. To create a curved path, start by pressing the mouse button to place an anchor point, then drag to create a direction line for that point and release the mouse button.

Then move the mouse to place the next anchor point and drag out another set of direction lines. At the end of each direction line is a direction point; the positions of direction lines and points determine the size and shape of the curved segment. Moving the direction lines and points reshapes the curves in a path. Smooth curves are connected by anchor points called smooth points. Sharply curved paths are connected by corner points. When you move a direction line on a smooth point, the curved segments on both sides of the point adjust simultaneously, but when you move a direction line on a corner point, only the curve on the same side of the point as the direction line is adjusted.

When a path contains more than one segment, you can drag individual anchor points to adjust individual segments of the path, or select all of the anchor points in a path to edit the entire path.

Use the Subselection tool to select and adjust an anchor point, a path segment, or an entire path. Closed paths differ from open paths in the way that you end each one. To end an open path, select the Selection tool or press Escape. Closing a path automatically ends the path. You can apply transparency to either the stroke or the fill. Modifying the Alpha value of a fill 1. Select the Selection tool and select the shape in the dark brown wave layer. The Paste In Place command puts the copied item in the exact same position from where it was copied.

Move the pasted shape slightly to the left or to the right so the crests of the waves are somewhat offset. Select the fill of the shape in the light brown wave layer. The color swatch in the Color panel previews your newly selected color.

Transparency is indicated by the gray grid that you can see through the transparent color swatch. Tip You can also change the transparency of a shape from the Properties panel by clicking the Fill Color icon and changing the Alpha value in the pop-up color picker. For a more painterly approach, use the Paint Brush tool. The Paint Brush tool allows you to make shapes that are more organic and free-form as well as shapes with regularly repeating patterns for borders and decorations.

And, as with other graphics created with Animate, the shapes you create with the Paint Brush tool remain fully vector based. In the timeline, add a new layer on top of your other layers and rename it chalk. Select the Paint Brush tool. In this example, we chose a vibrant yellow. In the Fill And Stroke section, enter 15 for the stroke size.

Now, to choose your brush style, click the Brush Library button to the right of the Style menu. The Brush Library panel opens. Select a category to see the subcategories, and select a subcategory to view the individual brushes. The Charcoal — Thick brush is added to the Style menu in the Properties panel, and it becomes the currently active brush style.

Select the Selection tool and move your coffee mug and its aroma to the side to make some room. Select the chalk layer, and then select the Paint Brush tool. Now for the fun. If you double-click a letter with the Selection tool, you can edit the path of the letters. You can also use the Subselection tool to edit the vector path of the paintbrush mark. Push and pull on the stroke, move, or edit it with the Transform tool just like you would any other vector shape. Create a new layer above all your other layers and rename it border.

Select the Line tool. Click the Stroke color swatch in the Properties panel and select a muted brown or orange color that would harmonize well with the rest of the background graphics. In the Properties panel, click the Brush Library button next to Style. The Brush Library panel opens, unless it is already open. If you find something more appealing, feel free to select it instead. Double-click your choice. The Dashed Square 1. Create a long horizontal line at the top edge of the Stage and another one at the bottom of the Stage.

Tip Hold Shift while drawing with the Line tool to constrain the tool to horizontal or vertical lines. The dashed regular pattern at the top and bottom of the Stage provides a nice contrast to the curves and chalk-style lettering.

Editing and creating your own Art or Pattern brush You might not find a brush to your liking in the Brush Library, or you may need something very specific for your project. In either case, you can edit an existing brush or you can create an entirely new one.

Pattern brushes repeat a shape over the length of a stroke whereas Art brushes stretch the base art over the length of the stroke. The Paint Brush Options dialog box appears, with multiple controls for refining how the brush applies the base shapes.

Art brushes and Pattern brushes have different options. Experiment with different spacing, how the shapes repeat or stretch to fit, or how corners and overlaps are handled.

To create an entirely new brush, first create some shapes on the Stage that you want to base your brush on. For example, if you want to create a train track, create the base art that repeats for a Pattern brush. The Paint Brush Options dialog box appears. From the Type menu, you can choose either Art Brush or Pattern Brush, and then refine the brush options.

The preview window shows you the results of your chosen options. Enter a name for your new brush and click Add. Your new brush will be added to your Style menu and available for you to use. Click the Manage Paint Brushes button in the Properties panel. Select the brushes you want to delete or save to your Brush Library.

You cannot delete a brush that is currently in use. Pressure-sensitive graphics tablets Animate supports input from pressure-sensitive tablets, such as the Wacom graphics tablets, to control variable-width strokes or the Art or Pattern brushes. Pressing harder with the stylus creates fatter strokes, whereas pressing lightly results in thinner strokes.

You can adjust the tilt or sensitivity percentages in the Paint Brush Options dialog box to modify the range of thicknesses in the shapes you create. Try drawing with a stylus on a tablet with variable-width strokes enabled for a natural, intuitive way of creating vector images.

In Animate, you can do the same thing with the Stage using the Rotation tool. The Rotation tool is grouped under the Hand tool in the Tools panel. Select the Rotation tool and click the Stage to specify the pivot point, indicated by a crosshair. Once the pivot point has been established, drag the Stage to rotate it to your desired angle. Click the Center Stage button at the top of the Stage to reset the Stage to its normal orientation.

When you create static text on the Stage and publish to an HTML5 project, Animate automatically converts fonts into outlines. The downside is that too much text can bloat your file size. Use dynamic text to leverage web fonts available either through Adobe Fonts formerly Typekit or Google Fonts. Thousands of high-quality fonts are available to you through your Creative Cloud subscription, and the fonts are hosted by Adobe and accessible directly through the Properties panel within Animate.

High-quality open source fonts are available through Google Fonts, which are hosted on Google servers. Select the top layer.

Select the Text tool. Begin typing. Enter Taste the difference. The text may not fit, or it might not be the size or font that you want.

Exit the Text tool by selecting the Selection tool. Add three more pieces of smaller text on the Stage in the same layer just below your tag line: Coffee, Pastries, and Free Wi-Fi. Make sure you have an Internet connection because Animate retrieves the list of available fonts from the web. The processes for adding an Adobe font and a Google Font are very similar. Choose Google Fonts from the menu that appears. Animate displays the Google Fonts dialog box. The list of fonts can be very slow to load.

Be patient! Choose Alphabet from the Sort By menu. The list of Google fonts on the right is displayed alphabetically. You can choose to sort by date, by popularity, or by other criteria.

The Google Fonts are listed with a sample sentence fragment. You can scroll through the font families with the scroll bar on the right. You can also search for specific fonts or use the Category menu to narrow your search. For now, peruse the range of typefaces and pick one that you think would suit this banner ad.

Click the name of your preferred font under the sample text, then click Done. The dialog box closes and the selected Google font will be added to your Animate project. In the Properties panel, Character section, choose the newly added web font from the Family menu. Web fonts are listed at the very top of the menu. Your selected Google font is applied to the text box on the Stage. Choose a color that works nicely with the composition. Select the other three pieces of text and use the Family menu to apply the same web font.

Removing a web font If you change your mind, you can easily remove a Google web font and choose a different one. Select all the text that uses the web font you want to remove. Deselect the font by choosing a different one.

Click the Selected Fonts tab. Animate displays all the fonts, indicated by a blue checkmark, that have been selected for your project. In this example, the Google font Architects Daughter is selected because it was previously added to our project.

You must deselect a font from every bit of text before removing it from your project. Deselect the font by clicking it. Now, no fonts are displayed in the Selected Fonts area. Click Done. The Add Web Fonts dialog box closes. The web font is removed from the Family menu in the Properties panel. Matching the color of an existing object If you want to match a color exactly, you can use the Eyedropper tool to sample a fill or a stroke.

After you click an object with the Eyedropper tool , Animate automatically switches to the Paint Bucket tool or the Ink Bottle tool loaded with the selected color and associated properties that you can apply to another object. Select the Eyedropper tool. Click the fill of the shape in the dark brown wave layer. The three selected pieces of text change color to match the fill of the dark brown wave layer.

Using the same colors helps to unify the composition. Aligning objects The Align panel, as you might guess, aligns any number of selected objects horizontally or vertically. It can also distribute objects evenly. Select the first small piece of text, Coffee. Move the text box left or right until smart guides appear. Align the left edge of the selected text with the left edge of the larger text above it. Select the third small piece of text, Free Wi-Fi.

Move the text left or right until smart guides appear. Align the right edge of the selected text with the right edge of the larger text above it. Shift-click all three small pieces of text to select them.

Deselect the Align To Stage option, if it is selected. Click the Align Bottom Edge button. Animate aligns the bottom edges of the text.

Click the Space Evenly Horizontally button. The selected text is adjusted so that the spaces between them become uniform. Using rulers and guides You may want to be more precise in your placement of your graphics. In Lesson 1, you learned how to use the x and y coordinates in the Properties panel to position individual objects. Another way to position objects on the Stage is to use rulers and guides.

Rulers appear on the top and left edge of the pasteboard to provide measurement along the horizontal and vertical axes. Guides are vertical or horizontal lines that appear on the Stage but that do not appear in the final published movie. Horizontal and vertical rulers measured in pixels appear along the top and left edges of the pasteboard.

As you move objects on the Stage, tick marks indicate the positions of their bounding boxes on the rulers. Move your mouse pointer over the top horizontal ruler or the left vertical ruler and drag a guide onto the Stage.

A colored line appears on the Stage that you can use as a guide for alignment. Double-click any guide with the Selection tool to call up the Move Guide dialog box to enter pixel values for precise guide positioning. Objects will now snap to any guides on the Stage. This prevents you from accidentally moving them.

You could copy the existing cup and paste it into the document, but that would add to the size of your file and performance can suffer. Instead, a better approach is to convert your coffee cup into a symbol so you can use it over and over again.

A symbol is a reusable asset that you can use for special effects, animation, or interactivity. Animate uses three kinds of symbols: graphic, button, and movie clip. You can use a symbol countless times in a project, but Animate includes its data only once. That means that symbols can reduce file size and download time for many animations.

Symbols are listed in the Library panel. When you drag a symbol to the Stage, Animate creates an instance of the symbol, leaving the original in the library.

An instance is a copy of a symbol that has been placed on the Stage. You can think of the symbol as an original photographic negative, and the instances on the Stage as prints of the negative. From a single negative, you can create multiple prints. At any time, you can go inside your symbol and edit it, which means editing or replacing its contents.

Three types of symbols Each of the three kinds of symbols in Animate is used for a specific purpose. You can tell whether a symbol is a graphic , button , or movie clip by looking at the icon next to it in the Library panel.

Movie clip symbols The movie clip is one of the most powerful and versatile types of symbol. When you create animation, you will typically use movie clip symbols. You can apply filters, color settings, and blending modes to a movie clip instance to enhance its appearance with special effects. A movie clip symbol also contains its own independent timeline. Report DMCA. The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases new features for Creative Cloud customers.

All buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and interactive multiple-choice quizzes.