February 2016 RRP $5 - Corel Down Under€¦ · No. 89 February 2016 CDU Meetings 2016 Tuesday –...

Issue 89

February 2016 RRP $5

President:Darryl [email protected]) 9876 9161

Vice President:Richard [email protected]) 9729 5419

Secretary:David [email protected]) 9008 8218

Treasurer:Geoff [email protected] 9720 2913

Library:Fred [email protected] 382 965

Membership:Lance [email protected]

Corelunder Editor:Jenette [email protected]) 9893 1029

Member:Leo [email protected] 320 432

No. 89 February 2016

CDU Meetings 2016

Tuesday – March 16

Tuesday – February 15

Tuesday – April 19

Tuesday – May 17

Tuesday – June 21

Tuesday – September 20

Tuesday – July 19 (AGM)

Tuesday – August 16

Tuesday – November 15

Tuesday – October 18

This Month’s Covers & Member’s Gallery

64 or 32 Bit?

Using the Eraser Tool in CorelDRAW14

By Richard Crompton

Front Cover: Night Sky

Gallery pages: The lights of night.

Postal Address: Corel Down UnderPO Box 627, Heathmont 3135

12-13 Our Gallery

Phone: 03 9876 9161

18 Digitising Art

21 Bluetooth in Windows 10

Using a Ram Disk6

Night Sky Photography10

Corelunder, No.89, February 2016, 3

A new year has begun! Hopefully everyonehas come back fully refreshed and ready togo.

Fred and Jenette are our presenters forFebruary. They will be giving us theirwisdom on Painter. The Corel Cad presen-tations have been moved to later in theyear. Talking about Corel Cad, I had aphone call in January from Sandro, a CorelCad user in South Australia. Sandro washaving some technical problems with thelicencing of his product so I referred himonto Sathish who once again was able toresolve a problem that Corel head officehadn’t. There’s nothing unusual in this,however Sandro rang me back to thank me,Corel Down Under and Sathish forresolving his problem. Our small group arethe one voice for many Corel product usersstill available here in Australia. It seemsthat many people still want to speak tosomeone on the phone when they arehaving a problem.

It turns out that Sandro is a power user ofCorel Cad. He loves the programme andsays it is as good if not better than themuch more expensive Cad programmewhich dominates the market in Australia.He also made the comment that it appearsrather ‘clunky’ when you first use it,however, if you defrag your computerstraight after loading it, it then runs beau-tifully. This is a bit of valuable informationfor anyone who is buying this programme.

George Skarbek spoke about moving toWindows 10 at our last meeting, and howscary this could be. Since then a few of ushave made the move. He did warn of old

software not working correctly and in thishe is correct. I’ve found that my old Corel-Draw X3 no longer works. Version X6 andX7 do, but I have found a couple of littleproblems. I’m assuming these are Windows10 problems and that hopefully Corel areworking on fixes. The most notable problemis involving fonts. When I open an old X7file, which has Swis Black as the font, thefont becomes corrupted. Highlighting thefont and changing it to Italics or anotherfont fixes it, but¸ it does mean I have to beaware of it happening with old files.

The second problem I’ve discovered is thatcertain letters join up as one, notably an ‘f’followed by an ‘l’ as in:

This can be a bit annoying if you want tospread the text. Richard has also upgradedand with his version of X4 he has lost hisfile, edit etc. directories at the top of hispage, that is, until he puts his mouse overwhere they should be.

I’m sure all these problems will be fixed intime. Overall, I’ve found Windows 10 quitegood, but in hindsight, may have beenbetter to wait a little longer.

I’m looking forward to seeing you all at ourmeetings this year where issues like thiscan be discussed.

Darryl HowmanFebruary 2016

4 Corelunder, No.89, February 2016

By now, most of you should be runninga 64-bit version of Windows. This al-lows you to use more than 2GB ofRAM. As Windows itself often takes atleast 1GB, it is important to have moreRAM to run powerful software and workwith large les. This is especially impor-tant in the world of graphics if you areediting photos.

While a 64-bit operating system(Windows) is very good, it is almostalways a poor choice to use 64-bit soft-ware unless that is your only choice.I’ve written times in the past why the64-bit version of CorelDRAW is thewrong choice for 99% of users eventhough Corel makes it quite a search tofind and install the 32-bit version.

Prior to the release of CorelDRAW X6,users claimed that a 64-bit version washighest on their wish list. I agree, I wasone who thought it sounded good. Butthe downsides far outweigh theupsides. If you scan using a TWAINdriver, you can’t use it in CorelDRAWX6 or X7 64-bit. This isn’t really Corel’sfault, there simply are no 64-bit TWAINdrivers. Corel did address this byadding a WIA driver, but it offers farfewer features than a good TWAINdriver.

This same problem will also appear inany 64-bit software that has the ability

to use a TWAIN driver. Yes, thatincludes Adobe Photoshop and AdobePhotoshop Elements if you are usingthe 64-bit versions. Many scannersalso have a Photoshop plug-in forscanning so it is less of an issue inPhotoshop.

Even you don’t think this is an issue,then why do I constantly get e-mailsasking me why a user can’t scan inthe newer versions of CorelDRAW?There are also numerous questionswhy the options for scanning are sobasic compared to previous versions.In every single case it is because theuser has the 64-bit version when the32-bit version is the far better option.

Speaking of Photoshop, its pluginfilters are very popular. Many pluginswork in a wide variety of imageeditors. For years, plugins were only32-bit and thousands of them werecreated. Now that there are 64-bitversions of software, some of the morepopular plugins have been convertedto 64-bit. But thousands have not andprobably will not be converted. So theonly way to use all of those 32-bitplugins is to run 32-bit software. Thisis a huge reason to use the 32-bitversions of Photoshop, PhotoshopElements, Corel PHOTO-PAINT andany other image editor.

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Another great way to extend thefeatures of CorelDRAW is by usingmacros. Quite a few of my favouriteswill no longer be developed. They onlywork in the 32-bit versions of Corel-DRAW. This is yet another greatreason to use the 32-bit version overthe 64-bit version.

Now let’s talk about the upsides ofusing 64-bit software. It allows you tocreate files larger than 2 TB and forthat piece of software to use more than4 GB of RAM. I don’t know about you,but I don’t think I’ve ever created a fileanywhere close to 2 TB in any soft-ware. If you are even creating files inCorelDRAW that are close to 500 MB

(25% of the size limit) then I’d suggestyou are probably doing somethingincorrectly. There are small fraction ofusers who do need to create theselarge files because they are creatingmassive pieces of artwork. Even then,I’m not sure most of those usersshould be creating files anywhere nearthe 2 TB limit.

The same is true with the 2 GB of RAMlimit for 32-bit software. While this oneis more limiting, the number of Corel-DRAW users who will come close tothis limit is a very small number.

Reprint from Corel Draw UnleashedNewsletter.

https://coreldrawunleashed.com/

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What is a RAM DISK

•A RAM drive is a part of assignedmemory that appears to the oper-ating system as an amazingly fasthard drive.

•It can be also called a RAM disk.

•It is very, very fast.

Why use a Ram Disk - 1

•This unused memory can be used toimprove productivity by creating a

RAM drive which appears as a phys-ical drive that is VASTLY faster thana conventional hard disk.

•There is no latency as you do nothave to wait for the drive’s sector tomove over the read/write head.There is no seek time either.


On all computers with 4 GB RAM and over andrunning a 32 bit operating system, typicallymemory over about 3.3 GB is not used due toreserved memory for the BIOS.

•In all versions of Windows, usingRAM drive for the temp files gives thefollowing benefits:

•Saves space and wear on drive C andreduces noise.

Reducing the amount of datawritten is especially important inextending the life of a SSD.

•There is no contention on theread/write heads when temp files arecreated, such as when opening Word.

•Very much faster file access.

•No cleaning up required as allcontents are lost on a re-boot.



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Why use a Ram Disk - 3a

▪ Reduces fragmentation on drive c.

▪ Saves time and disk space whendoing an image backup as junkfiles are not backed up. I haveseen over 25,000+ files in Tempfolders (not the TemporaryInternet folders). They also shouldbe on the RAM drive.

▪ Use it for timing HD & USBperformance.

How fast is it?

Insanely fast!

On an i7-3770

SSD 2TB drive


Memory is cheap. 4 GB costs about$50

•Put not only the temp files to theRAM drive but also the cache filesfrom IE, Firefox and Chrome (lessjunk to back up with Acronis).

•You can use the RAM drive for testingsoftware. No cleaning up afterwards.

•When sharing folders, using a RAMdrive is more secure. If a hacker getsin, drive C will not be accessible.


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•There are many free RAM driveprograms for both 32 and 64 bitoperating systems. The free versionsare generally limited to a maximumof 4 GB.

SoftPerfect is free, unrestricted andvery fast. It will create a temp folder,set the environment and drive aletter.

SoftPerfect RAM Disk is a free high-performance RAM disk applica-tion that lets you have a disk on your computer entirely stored in itsmemory. As the memory is much faster than physical hard disks,storing temporary data on a fast in-memory disk achieves a higherperformance. Whatever your job is, read on to find out what a RAMdisk can offer you.

SoftPerfect RAM Disk creates a virtual disk residing in the computer RAM acces-sible in Windows Explorer and other applications, allowing you to store any tempo-rary information on this disk. Furthermore, Windows can be configured to use theRAM disk for temporary files, so that the system and most applications would usethe fast in-memory disk for their temporary data. As Windows and other thirdparty applications often create a large number of temporary files for a short timeonly, using a RAM disk will extend your hard disk’s life by sparing it from exces-sive reading and writing.

Modern computers are equipped with at least 1 GB of RAM, and most of the timethere is a lot of unused memory that could be used as a high-performance alterna-tive to the slower HDD storage. This product lets you create any number of virtualRAM disks limited only by the memory available. You can also work with on-diskimages and RAM disks associated with an on-disk file, that ensures your data is

How do you create one

Putting Browser temp filesthere

•For IE click on Tools, InternetOptions, Browsing History and Moveetc.

•For Firefox typea bout:config intothe Firefox navigation bar and hitenter then find thebrowser.cache.disk.parent_directory. If it doesn't exist right clickanywhere and select New, String.Enterbrowser.cache.disk.parent_directory in the first popup box and thenthe location in the 2nd popup box

e.g. Z:\temprintfiles. If the entryalready existed simply right click andModify it.

•For Google Chrome, create ashortcut and add --disk-cachedir=z:\ at the end.

•Only possible drawback is the tempfolder filling if the computer is neverre-booted or if installing somemassive program such as CS6 withall options. Fix by temporarily usinga hard drive for temp files.


With a 4 GB RAM drive this is never going to be a problem.

Setting the environmental variables

•From Control Panel, System, click on Advanced system settings then alter asshown

Swap Location

•Do NOT put the Swapfile onto the Ramdrvie if you use a 64 bit operating system.

•With a 32 bit operating system and 8+ GB of RAM the swapfile can be placed onthe RAM drive.

•Do NOT set Readyboost to the Ramdrive as this will not be active until Windowsstarts, defeating is purpose.


Not many photographers attempt Night Sky photography. Possibly it is consideredtoo hard to do or too cold at night. Or perhaps that not many stars are visible,possibly only a few dozen because you live in a large city. However, on a moon-less night, well away from the city you can see about 2,000 stars with the nakedeye and a lot more on a photo with a long exposure.

Digital cameras are greatfor night photography•Digital SLRs are the best

•However, a mid-cost compactcamera can take very good images

•So what do you need?

•Warm clothing

•Good tripod

•Torch to see camera settings andpossibly to illuminate the foregroud

•Reddish coloured cellophane tomake the light warmer when lightinga foreground object

What else?•A camera with as wide a lens as you

can get, or a wide angle lens on aninterchangeable lens camera.

•A remote shutter release device canbe of considerable use.

•Clear night well away from the citylights and pollution.

•Patience, and be prepared to keeptrying as your first photo may not begreat.

What now?•On a moonless night the camera

might not have enough light to focus.So all settings should be on manual,even focusing.

•Be aware that on many lenses theinfinity mark may not focus exactlyon infinity. Take a number of photosmoving the focus and look at theresults magnified as much aspossible.

•Start setting the ISO to 3,200 or6,400 and try 10 to 30 second expo-sures.

•Use your maximum aperture or stopdown ½ a stop to get sharp edges

•The exposure will vary considerablydepending on how clear or dark thenight sky is.

By George Skarbek

Presented at our October 2015 meeting.


Rotation of the earth•As the earth rotates 15 degrees every

hour and your camera is fixed, a longexposure may result in the starslooking elongated.

•The formula to determine themaximum exposure time is:

•Max time = 600 divided by the FocalLength (35 mm equivalent) inseconds.

•For example 17 mm on a Canon 5D= 600 / 17 = 35.3 seconds or a 50 mm on a Canon 5D =600 / 50 = 12 seconds

Zodiacal light•Zodiacal light is a faint, roughly

triangular, diffuse white glow seen inthe night sky that appears to extendup from the vicinity of the Sun alongthe ecliptic or zodiac. It is best seenjust after sunset. This is caused bysunlight scattered by space dust inthe zodiacal cloud, it is so faint that

either moonlight or light pollutionrenders it invisible.

•It is recently been found to be causedby dust from occasional fragmenta-tions of Jupiter-family comets thatare nearly dormant.

Hot Pixels Fix•Hot pixels only show up when the

camera sensor gets hot during longexposures and/or when the ISO iscranked up. A few dozen pixels in a20 Megapixel sensor is no realproblem. Hot pixels are normal butthere is no easy fix.

•If you have many photos andPhotoshop then you can createan Action by recording the useof a small spot healing brush toremove these.

Note: We have not included all of theoriginal images used in the presentationdue to our black and white print presen-

tation.


By Richard Crompton


You can find the Eraser Tool in theToolbox grouped with Crop, Knife,and Virtual Segment Delete tools.

The Eraser Tool completely removes anarea of an object when youclick-drag over it. The EraserTool has two shapes tochoose from. You can alsochange the size of each shapeby using the Property baroptions. Changing the sizewill increase or decrease theamount of area you will erasewhen you click-drag.

Eraser Operations

There are four ways to remove portionsof a selected object:

●Double-clicking - When youdouble-click, you remove thearea that is covered by thecursor. The amount removed isdetermined by how big yourcursor is.

●Single-click two points - First,single-click a starting point onyour selected object, move yourmouse to another point on the

object and single-click again. TheEraser Tool will “erase” every-thing between the two points.The amount removed is alsodetermined by how big yourcursor is.

●Click-drag - First, click and holddown the mouse button while


dragging it across the selectedobject. Release the mousebutton when you are done. Thearea that you have dragged yourmouse over will be erased. Thewidth of the area is determinedby the size of the cursor.

●Hovering and pressing TAB -The hover-TAB technique usesseveral connecting straight-linepoints to erase specific areas ofan object. Pressing TAB definesthe intermediate points betweeneach of the points along the

eraser path to create severalconnecting straight lines.

With an object selected, single-clicka starting point. From that point,you will move your mouse to a newarea (notice the path preview whenyou move the mouse). Instead ofanother single-click, you will pressTAB. A new erasure will appear..

You can now move your mouse to athird point (without single-clicking).Press TAB again. A third point hasbeen set. A new erasure will appear

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and the path between the secondand third points has been erased.Single-clicking will end this erasingoption.

Eraser Tool Properties

The width and shape of the Eraser Toolare set using the Property Bar options.You can also control the complexity ofthe shape, the number of segments in apath, and the number of connectingnodes that are created when a sectionof the object has been erased. Likemany of the tools in the Toolbox, youcan get to the options by doubleclicking the button in the Toolbox.

Eraser Width

The width of the Eraser can be setbetween 0.001 and 100.0 inches. Youcan enter the values either in the Prop-erty Bar combo box or you can pressthe UP or DOWN ARROW keys to eitherincrease or decrease the size of theeraser. Each keystroke of the arrow

keys will increase or decrease theEraser’s Width by 0.025 inches.

You can use the arrow keys to increaseor decrease the size of the cursor whileyou are using the Eraser Tool. Pressthe UP or DOWN ARROW key while youclick-drag the mouse.

Once you have released the mousebutton, the Eraser Tool will reset to theoriginal settings.

Auto-Reduce Mode

Erasing a path removes a portion of theoriginal object and creates new sidesthat are made up of vector path

segments and nodes. Howcomplex and accurate youwant the new edges to bewill be determined by the

number and properties of the nodesthat are produced. The more nodes youhave for the erased shape, the morecomplex and accurate that shape willbe. When erasing continuously free-hand-style, you can control thecomplexity of the new erased shapewith the Reduce Nodes option or Auto-Reduce Nodes Of Resulting Objects.The Auto-Reduce Nodes Of Resulting

Objects can be found in the Eraser tooloption in the Options window.

Adding too many nodes may make theobject more complex than it needs tobe. The Auto-Reduce Nodes OfResulting Objects option lets youcontrol how complex you want theerased shapes to be thus controllingthe overall complexity of the object.

By default, the setting for the Auto-Re-duce Nodes Of Resulting Objectsoptions is the same as the defaultsetting for the Freehand and Beziertools Freehand Smoothing option. To


set this option yourself, double-clickthe Eraser Tool in the Toolbox.

NOTE: When using the Eraser Tool,CorelDRAW considers each click of themouse that erases a portion of theobject as a separate and unique action.Whether you have used the single-clickmethod or the click-drag method, youcan use the Undo command (CTRL - Z)to reverse any action that you havedone.

Also, you cannot use the Erase Tool onGrouped Objects. However, if youCTRL-click an object within the group,you can isolate that object from therest of the group and use the EraseTool. When you are done erasing, theobject will return to being a part of thegroup.

From CorelDraw Help magazine November 2015


Putting art into digital form can be away of building bridges to the work.

From an interactive digital gallery wallat Google’s Le Lab in Paris to MuseumVictoria’s virtual navigation tour,galleries and museums are busily digi-tising artworks so we can experienceart in different ways.

In Australia, MONA in Tasmania ledthe way with its O app that replacedthe traditional information plaques onthe wall to give visitors more informa-tion about an installation, whether it’sreading reviews or watching videointerviews with the artist.

Meanwhile, in Paris, Google’s culturalarm, Le Lab, is looking at the future ofdigitised art. It has a huge digital walldedicated to displaying paintings withsuch high resolution that you can zoomin and see the brush strokes. You cansee more than the naked eye, and waymore than when stuck behind a barrierwith other gallery visitors.

But can digitising art replace the realgallery experience? The director of LeLab, Laurent Gaveau, says thatmuseums have seen a big growth inattendance when there are digitalstories of the artworks.

‘‘It’s about the storytelling,’’ he says.‘‘The more you tell a story, the moreyou share, and the more you givecontext. You’re building bridges [to thework] and it creates a desire to experi-ence the real thing. I spend days

working with digital masterpieces, andI still want to go to the museum.’’

Google has partnered with MuseumVictoria and recently walked throughthe latter’s sites with a street trolleyfitted out with cameras. In November,people will be able to go online andvirtually walk around its galleries (likean inside street view) and zoom in onartworks.

‘Less than 1 per cent of many collec-tions are on display at any one time, sodigitising artworks gives peopleaccess,’’ says Timothy Hart, director ofpublic engagement at MuseumVictoria.

‘‘It’s more than a trend, it’s a move-ment. It’s been happening since digitalphotography, and we’re getting betterat it. We have super resolution labs inAustralia, such as at the University ofNSW.’’

The next step is opening up collectionsworldwide so people can, for example,‘‘access all the Van Goghs at once’’, hesays.

But is a digitised version of an artworkstill a ‘‘real’’ work of art, or perhapsanother work of art altogether?

‘‘It’s a new art form where people canmanipulate objects in virtual exhibi-tions; people can zoom in and play,’’Hart says.

But Gaveau disagrees. ‘‘No, it’s not awork of art. It’s an image of a work ofart.’’

Pixelating Picasso: putting gallery collections online


Either way, digitising art also givesaccess to works in hard-to-see places.Earlier this year, Gaveau’s team spentfour nights taking photos of MarcChagall’s painting on the ceiling of theParis Opera.

‘‘Eighteen metres is too high to reallysee it, and there is a chandelier in thecentre, obstructing the view,’’ he says.

Chagall’s painting is visually stunningand will attract people, but what aboutan old brown wooden sculpture?

Digitising art and making it more inter-active through a screen is a way to getworks in front of people glued to theirtablets and phones, says CrispinHowarth, curator of Pacific Arts at theNational Gallery of Australia.

CSIRO worked with the gallery tocreate interactive digital 3D models ofsculptures from Papua New Guinea ona touchscreen alongside the works inthe current exhibition.

‘‘You don’t just see the one angle tradi-tionally displayed in a museum,’’Howarth says. ‘‘Digitising helps tounderstand plasticity of the form ofsculpture.’’

People can use the touchscreen torotate, zoom in and explore the nooksand crannies of the pieces, and learnmore about the details and the cultur-ally significant features, such assymbols and materials.

‘‘Visitors can get more informationabout, for example, the blue colour ona mask, or an area where a large woodcarving was burnt by fire,’’ says MattAdcock, research engineer at CSIRO.

‘‘We developed this 3D content platformusing open web standards to transformthe physical exhibits into fully interac-tive digital sculptures. So it’s easily

redeployed into a web browser, tablet,or even virtual reality viewers.’’

This means that a piece could be virtu-ally taken back to where it came from,and used to stimulate conversationswith the people there, Howarth says.

This sharing of works and tellingstories about them is the next step,Adcock says.

‘‘We’ll see more and more 3D scansonline, and used by any organisationthat wants to tell a story about a phys-ical object. And not just museums, butalso educators, journalists, or anyonewho wants to tell a story.’’

Perhaps one day people will be able tostep inside a virtual painting or sculp-ture, but Adcock says we’re not at thestage where we can create a 3D worldfrom a two dimensional artwork. ‘‘Fornow, we’re more interested in faithfulreproductions of the 3D physicalworld.’’

Most museums and galleries havegreatly increased public interestthrough digitising their artworks, saysSeb Chan, chief experience officer atACMI, formerly director of digital andemerging media at the SmithsonianDesign Museum in New York.

‘‘The real challenge for museums whomake their collection digitally availableis to be able to match the demandonline with rotations of the originals intheir physical galleries.’’

“I spend days working with digitalmasterpieces, and I still want to go tothe museum.” Laurent Gaveau

The Age Green Guide Nov 5 2015writes Cynthia Karena.


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Assuming that you have not unin-stalled the Bluetooth driver ( likesomeone else :-)) you will need a Blue-tooth USB dongle to enable the Blue-tooth connection, then windows will dothe usual paringwith the newconnection ie amobile phone orany other Blue-tooth device, justlike one woulddo to connect amobile to ahands free Blue-tooth device.

You will need to know both the PC &Mob pin numbers

The only consideration is the followingconcerns.

Is Bluetooth secure?Wireless is always less secure thanwired communication. Remember howold spy films used to show secretagents tapping into telephone wires tooverhear people's conversations?Cracking wired communication is rela-tively difficult. Eavesdropping on wire-less is obviously much easier becauseinformation is zapping back and forththrough the open air. All you have todo is be in range of a wireless trans-mitter to pick up its signals. WirelessInternet networks are encrypted (use

scrambled communications) to getaround this problem.

How secure is Bluetooth? Like Wi-Fi,communications are encrypted too andthere are numerous other securityfeatures. You can restrict certaindevices so they can talk only to certainother, trusted devices—for example,allowing your cellphone to be operatedonly by your Bluetooth hands-freeheadset and no-one else's. This iscalled device-level security. You canalso restrict the things that differentBluetooth gadgets can do with otherdevices using what's called service-levelsecurity.

Criminals get more sophisticated allthe time; you've probably heard aboutbluebugging (people taking over yourBluetooth device), bluejacking (wherepeople send messages to other people'sdevices, often for advertising purposes),and bluesnarfing (downloading infor-mation from someone else's deviceusing a Bluetooth connection) anddoubtless there are more ways ofhacking into Bluetooth networks still tocome. Generally, though, providing youtake reasonable and sensible precau-tions if you use Bluetooth devices inpublic places, security shouldn't worryyou too much.

Tiny Bluetooth Adapter$9 @ PC Case Gear

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Is Bluetooth better or worsethan Wi-Fi?

People often get confused by Bluetoothand Wi-Fi because, at first sight, theyseem to do similar things. In fact,they're very different. Bluetooth ismainly used for linking computers andelectronic devices in an ad-hoc wayover very short distances, often for onlybrief or occasional communicationusing relatively small amounts of data.It's relatively secure, uses little power,connects automatically, and in theorypresents little or no health risk. Wi-Fiis designed to shuttle much largeramounts of data between computersand the Internet, often over muchgreater distances. It can involve moreelaborate security and it generally usesmuch higher power, so arguablypresents a slightly greater health risk ifused for long periods. Bluetooth andWi-Fi are complementary technologies,not rivals, and you can easily use bothtogether to make your electronicgadgets work more conveniently foryou!

Bluetooth is normally used to providead-hoc (device-to-device) voice/datatransfer between mobile devices withinshort range, low bandwidth small datatransfers (voice transfer between wire-less headset and cell phone or datatransfer between PDA and laptop), andsome peripheral connections(keyboards, mice, printers). It is notintended to transfer large amounts ofdata (that require a high-bandwith,high-speed connection) and usuallyhas a normal maximum range of 20feet between the two objects andusually require a direct line of sight.The cost of Bluetooth devices still aver-ages at 2x the cost of the equivalentWiFi devices. Bluetooth is found,primarily in cellular phones (includingSmartphones), gaming consoles (likePlaystation 3), and some of the higherend laptops. Most desktops and low tomid-range laptops, and netbooks come“Bluetooth-ready”, but require an addi-tional external adapter to actuallymake the connection to the devices.

Wi-Fi is mainly used to provide wire-less networking and Internet connec-tion between wireless devices with alarger coverage area (up to 250 feet forareas without interference) and highbandwidth data transfers (to sharehigh-speed Internet connections ordata and files between computersconnected). Many new smartphones arenow also using WiFi technology as away to cut costs on data usage (prima-rily on Internet, etc.) for users whenthey are near hotspots. All laptops,netbooks, mid to high-end Apple prod-ucts, some desktops, some TVs andHome Theatre Receivers, most gamingconsoles, and some personal audiodevices (like iPods) all come WiFi-ready.

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My Notes

If you are already a Corel Painter user check theCorel web site www.corel.com for special offers.

February 2016 RRP $5 - Corel Down Under€¦ · No. 89 February 2016 CDU Meetings 2016 Tuesday –...

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