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Once the count is updated, the new count is returned to Flash. Just like the previous remoting calls, a response handler is needed in order to capture this response. In this example, the new count is sent to the TextField located within the videoMetaInfo MovieClip to reflect the current count.

If you re really building a site that has maximum flexibility, you might want to include support for mobile devices. With screens the size of your thumb (well, a tiny bit bigger, but not much), cell phones, PDAs and other devices have been gaining the capability to let users surf the web, albeit with a very simplified browser application. Pages for these devices are written in a crude subset of HTML called Wireless Markup Language (WML). WML helps you write pages that work for wireless devices simply by omitting most of the design elements. For example, WML supports only monochrome bitmaps no animated GIFs, no streaming media, nothing fancy, just crude graphics.

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Inspired by Microsoft Word s Symbol dialog box (choose Edit Insert Symbol), InDesign s creators have created a flexible panel, the Glyphs panel, to access special symbols and characters in any font. To open the panel, choose Type Glyphs or press Option+Shift+F11 or Alt+Shift+F11. The Glyphs panel, shown in Figure 23.1, displays. By default, the panel shows available characters for the current font, but you can change the font using the Font Family and Font Style popup menus at the bottom of the panel.

The effective factor (EF) is de ned as the ratio between the effective number of channels (the equivalent number of channels required to offer the same traf c at the same GoS with FR mobiles only) and the actual number of channels EF = Effective number of channels Number of channels with = 0 = . Actual number of channels Number of channels for a certain

Transparency. You can Preserve or Discard Overprints. Overprinting allows underlying colors to appear through transparent areas of the drawing. Fonts. Choose to embed the fonts with the file (although this makes the file larger) so you don t have to worry about font substitution if someone else doesn t have your font or the same version of your font. Options. These let you include linked files to ensure that any necessary files are included. Click the following check boxes to ensure you gain the best results when saving as an EPS:

11.10 Click the disclosure triangle to reveal the other screens for a theme. Click the triangle again to hide the other screens.

26 covers clipping paths and text-wrap paths, and 12 covers the general use of the Text Wrap panel.

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Unless you want to specify cell coordinates, you cannot use whole columns (for example, A:A).

You can move between Photoshop and Illustrator in one of three ways: Place the raster image using the File Place menu. Use the Clipboard to transfer images. Drag and drop your art between the two programs. But before you get into the ins and outs of moving Photoshop art to Illustrator, and vice versa, you need to understand the difference between vectors and pixels. The essence of Illustrator is the ability to manipulate outlines. When you think vectors, think Illustrator s paths. Illustrator s paths consist of outlines, which you can resize and transform into any imaginable shape and fill with various colors and gradients. You can stretch vector-based images, and they won t look any worse unless you scale blends and gradients too large. This means that when you create a curve in Illustrator, it s really a curve not a jagged mass of pixels. When you think pixels, think Photoshop s little teeny-tiny squares of color squares that don t ever change position and that you don t add to or subtract from. The only characteristic you change about pixels is their color. Pixels can only be square, and they take up space. Pixels exist on an immobile grid. Enlarging a pixel-based image results in giant, ugly squares of color.

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