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The second part of the book builds on the fundamentals discussed earlier to explore advanced features and capabilities offered in many of the standards that we discussed in the rst part of the book. We provide an overview of the individual layers of the OSI model, and explain how the layers work with one another to communicate. 8, The Upper Layers, covers the upper layers of the OSI reference model: the Application layer, Presentation layer, and Session layer. The chapter also provides information relating to the translators used so that information can ow smoothly and without error between these layers and eventually be sent over the network medium to another network node and the device servicing that node. 9, The Transport Layer, explains how the Transport layer interacts with the Network layer and the Session layer. This layer is responsible for the end-to-end connection and datagram delivery, as well as congestion control and ow control. How connections are set up, monitored, and taken down is discussed. Operations of connection-oriented and connectionless protocols are also explained, with some further exploration of some protocols that operate at this layer. 10, The Network Layer, looks at the Network layer and explains how it interfaces with the Data Link and Transport layers in communication processes. 11, The Data Link Layer, discusses the Data Link layer and how it is used to allow for direct communication between network nodes over a physical channel. Covered are topics such as one-to-one communication as well as one-to-many. We cover concerns that are experienced in a LAN, as well as some of the mechanisms that are in
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Part II Drawing in Two Dimensions
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Until now, all of your 3D objects were based on 2D objects that were on the XY plane. In other words, their Z coordinate was zero. Although you generally don t want objects to float in the air, you certainly may want to place one object on top of another. To do this, you need to start the object above the XY plane (although you can also place objects below the XY plane) and give an object elevation, which is its Z coordinate. To give elevation to an existing object, you can use one of two methods: Select the object and choose Properties on the Standard toolbar. Click the Elevation property, type a new elevation in the text box, and press Enter. Move the object(s) with the MOVE command in the Z direction. For new objects, change the current elevation with the ELEV command as described earlier in this chapter in the discussion on thickness.
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You can also see a tiny thumbnail in the General panel of the Properties dialog box. This same thumbnail appears at the desktop level, assuming that the folder is set to View Large Icons. Using the other tabs in the Properties dialog box, you can view the caption, keywords, credits, and other information created using Photoshop s File File Info command (covered at the end of 2). Unfortunately, this trick works only for images saved in the native Photoshop format. TIFF, JPEG, GIF, and other images can be previewed only from inside Photoshop s Open dialog box. Even so, it s a heck of a trick and if you need some ammunition it s something your friends on the Mac can t do.
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The first four derivatives of the characteristic function.
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Why would you want to change colors around For one thing, to achieve special effects. You know those psychedelic horror movies that show some guy s hair turning blue while his face turns purple and the palms of his hands glow a sort of cornflower yellow No Funny, me neither. But a grayscale version of this very effect appears in the second example of Figure 17-1. Although not the most attractive effect by modern standards you may be able to harvest more tasteful results if you put your shoulder to the color wheel psychedelic qualifies as color mapping for the simple reason that each color shifts incrementally to a new color. But the more common reason to map colors is to enhance the appearance of a scanned image or digital photograph, as demonstrated in the third example in Figure 17-1. In this case, you re not creating special effects; you re just making straightforward repairs, alternatively known as color adjustments, or corrections. Scans are never perfect, no matter how much money you spend on a scanning device or a service bureau. They can always benefit from tweaking and subtle adjustments, if not outright overhauls, in the color department.
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AutoCAD and AutoCAD LT have three coordinate display modes: Dynamic absolute coordinates (absolute): Absolute coordinates that change as you move the mouse, as shown in Figure 4-15. Figure 4-15: Dynamic absolute coordinates. Static absolute coordinates (off): Absolute coordinates that change only when you specify a point, as shown in Figure 4-16. The coordinate display is dimmed. Figure 4-16: Static absolute coordinates. Dynamic polar coordinates (relative): Polar coordinates that change continuously as you move the mouse, as shown in Figure 4-17. They appear after you ve already specified a point and are ready to specify the next point, as when you re in the process of drawing a line. Figure 4-17: Dynamic polar coordinates. The easiest way to change the coordinate display is to click the coordinates area on the status bar. You can also right-click the coordinate display and choose Relative, Absolute, or Off from the shortcut menu. For purposes of this chapter, I ignore the Z coordinate that follows the X and Y coordinates (in AutoCAD only). In two-dimensional drawings, the Z coordinate is always zero. In the following exercise, you practice using the coordinate display options. You can do this exercise with any new or existing drawing open on the screen. If you have Dynamic Input on, compare the display in the Dynamic Input tooltip and the display on the status bar.
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