august 2017 rrp $5 - coreldownunder.org.au 97... · cdu meetings 2017 tuesday – march 21 tuesday...

Issue 97

August 2017 RRP $5

Darryl Howman

President:

[email protected]) 9876 9161

Vice President:Richard [email protected]) 9729 5419

03 9720 2913

Library:

Membership:

David [email protected]

0418 382 965

[email protected] Fishman

Jenette Youngman

03) 9893 1029

Fred [email protected]

03) 9008 8218

Geoff George

Secretary:

Treasurer:

[email protected]

[email protected]

Corelunder Editor:

No. 97 August 2017

CDU Meetings 2017

Tuesday – March 21

Tuesday – February 21

Tuesday – April 18

Tuesday – May 16

Tuesday – June 20

Tuesday – September 19

Tuesday – July 18 (AGM)

Tuesday – August 15

Tuesday – November 21

Tuesday – October 17

This Month’s Cover & Member’s:CDU member Jenette Youngman

Postal Address: Corel Down UnderPO Box 627, Heathmont 3135

12-13 Our Gallery

Phone: 03 9876 9161

Producing a Book in CorelDRAW4

New Painter 20188

18 Are Too Many Fonts Causing Crashes

19 Gone Phishing

20 Steve Jobs did not invent the IPhone

16 Using Lens in CorelDraw

Corelunder, No.97, August 2017, 3

At our last meeting we held the AGMand the old committee was re-electeduntil the end of this year. We werehoping for some new faces but itwasn’t to be. I’d like to thank theexisting committee for all their workduring the year and the ongoingwork for the rest of this year.

Our second daytime meeting is being

held on August the 15th. Hopefully afew more people will come out forthis, after all, it saves coming out ona cold winter’s night.

There will be many new and excitingchanges to Corel software in thecoming months. The new PinnacleStudio should be out this month.Fred gave an overview at the lastmeeting and will be talking furtherabout Pinnacle later in the year.

Also David should be availableshortly and I believe he will have alot to show us on Video Studio. Ifyou are into video and haven’t yetdecided on which is the software foryou, then come along and see boththese video software’s being demon-strated. They both do slightlydifferent things so you may evendecide you need both.

Until next time…

Darryl HowmanAugust 2017

4 Corelunder, No.97 August 2017

“Tawonga Remembering” is a 348 pagebook plus eight page Foreword andContents pages that has beencompletely laid out in Corel Draw X7.

A few weeks after starting the layoutthe author decided to get an editorinvolved, so the work up until then hadto be completely scrapped and theproject restarted from scratch.

This was at the time very annoying, butturned out to be the best thing for theproject and for me laying it out.

What the editor brought to the projectwas rules! Using these rules made thejob a lot easier, as it took the guesswork out of it.

The Rules:

1. White margin left and right of25mm, (this would change in thefinal layout to allow for binding.

2. Only two fonts were allowed forthe whole project; Myriad Pro forheadings and all text in TimesNew Roman.

3. CHAPTER 1 – All Chaptersheadings had to be in Myriad Pro14pt.

4. Setting the Scene: The Histor-ical Context – All main headings

had to be in Myriad Pro Bold20pt.

5. Early Days in Tawonga: AnOverview – All sub headings hadto be in Myriad Pro Bold 14pt.

6. This section is based on noteswritten by James W. Edmondsonwho passed away in 1976. Anyline referencing to the author ofany piece had to be in Times NewRoman Italics. The editor was notfond of Italics so they had to beused very sparingly, only for thisreferencing.

7. The main text throughout had tobe in Times New Roman (normal)12 pt. as follows:

The first white men to discoverthe Kiewa Valley and BogongHigh Plains were Hamilton Humeand Captain Hovell with theirparty of six convict followers,who, in about the middle ofNovember 1824, sighted theSouthern Alps.

8. Any references written in the firstperson had to be in Times NewRoman 11 pt and indented leftand right:

My dad, Harry Cooper andUncle John Cooper used to

Tawonga Remembers – A History Book

with Darry Howman

Producing a book using Corel Draw!


take pigs to Bright perwagon and Clyde [Clydes-dale] horses between 1930and 1933. Turkeys werealso taken to Bright thisway to the railway. —Gwen Benstead (neeCooper)

9. Minor headings had to be inTimes New Roman 12pt boldas follows; Hores Lane

10. All photos also had to havewhite space around them.They had to be 4mm on left orright and top and bottom.Titles for pics had to be inMyriad Pro 10pt where everpossible.

11. Any first person narrative hadto be indented 10mm on theleft and 15mm on the rightAND to be 11 pt NOT 12pt asin body text.

12. Captions under photos to becentred and in 10pt MyriadPro. Except for school photosor photos with large detailedcaptions!

13. All School photos to be: LeftJustified. Must be ‘First Row’,‘Second Row’ etc.

14. Top of each chapter, exceptfirst page, must have chapternumber and title. It must beleft justified on evennumbered pages and rightjustified on odd pages.

15. Page number was to be atbottom of page and centred.

The Rules were a good place to start.To begin I made up a template pageusing guidelines 25mm in from the leftand right. There were also guidelines at

the top and bottom of each page. Eachpage started in the same position butchanged at the top depending onwhether it was a heading or textflowing from the previous page. Thepage number was centred at thebottom of the page at 20mm from thebottom of the page.

Initially I had 25mm white space topand bottom but the author kept‘pushing’ for the text to have morespace so we lost some of our whitespace. The end result was still fine butwhite space is very important if youwant a clean look.

Restricting the fonts to two fonts waswise.

We chose Myriad Pro as the Sans Seriffont for all headings and titles as this isa nice clean font for headings.

All the body text is in a Serif font, andwe chose Times New Roman as this isan excellent font for reading largeamounts of text.

Technical Issues

Because of the size of the work I real-ised that it was too large to create inone document. It ended up beingproduced as 18 separate Corel files.The Directory and Foreword had to bedone last as at the start of the projectwe had no idea how many pages wewould end up with.

I set up a template page, using guide-lines to show me all the restrictedareas. The template had a pagenumber at the foot, a text box in placeand little else. At the start of a chapter,I saved the template as ‘save as’ thechapter name. The files were suppliedin Word format so I was able to copyand paste the text into the text box. Ichose copy and paste rather than


import so I could bring in a page or twoat a time instead of the lot in one go,giving me more control.

Before formatting the text, I needed toplace the photographs onto the page.Because the editor wanted a precisedistance of white space around eachphoto I first brought the photos intoanother template page were I could firstsize the photo, and then using guide-lines, draw a box which was extendedby the 4mm extra that was required.

The box was then filled with white,placed behind the photograph and theoutline changed to ‘none’. I then rightclicked on the white box and chose‘wrap text’. I then typed the captionand placed it on top of the white box,before grouping the three items. It wasthen just a matter of copying andpasting the three grouped items intothe chapter page. All text would thenwrap around the white box, ensuringthe ‘exact’ white space that wasrequired between the photo and thetext happened.

I ended up using white boxes to alsocontrol the indents that were requiredfor first person references. If the refer-ences were only indented on the left ofthe page, it would have been easy

enough to just tab them into place, butbecause they also had to be indentedon the right of the page, I found iteasier to just put a white box eitherside and force the text to wrap. It didmean we had to be very careful inproofing, as the white box could be toolong or too short meaning the wrongtype became indented or not indented.It meant using wireframe a lot to checkon the page.

I decided in the end to manuallynumber the pages. Because there were18 separate sections it seemed to bethe easiest way rather than usingmerge. I could then easily check theposition on each page number on eachpage as I went. This proved to workquite well, except for when the clientdecided to add a couple of extra pagesin the middle of one of the later chap-ters. It only caused about half anhour’s extra work but would have beena huge problem if they had added theminto chapter one right at the end of theproject.

Once all the chapters were finallycorrect I was able to work on the direc-tory. Again, the page numbers for thedirectories were set manually and inseparate text boxes. This again couldhave been achieved by tabbing but


setting them manually gave me morecontrol.

Setting up to Print

Once the final proofs were signed off Ihad to set up a document to print.During the whole laying out stage, eachpage was centred on the page withequal white space left and right.

Now all that had to be changed. As thebook was going to be Pur bound, I nowhad to offset every page. This isbecause every ‘leaf’ would lose a fewmillimetres in the binding plus youdon’t want the text too close to thecentre of the book.

This meant that every odd numberedpage needed to be shifted to the rightand every even page moved to the left. Imoved them by 5mm. By moving oddsand evens by 5mm in opposite direc-tions, it meant that in the finishedbook the pages backed up evenly.

Once this was done, a final proofreading was done, with a few minorchanges, and then we were ready to goto print.

It was now a simple process ofpublishing each of the 18 CorelDrawfiles to a pdf. I then went into Acrobatand simply inserted each of the filesuntil I had one large pdf file.

The only thing left do were the covers. Ihad to determine the width of thespine, which was done by counting outthe text pages, on the stock we wereusing, and measuring how wide it was.

The cover was then designed in Corel-Draw, allowing for the 22mm for thespine, (20mm for the back and 1mmfor the two edges were it bends around.We then printed the covers and hadthem laminated. The covers and thetext were then sent off to the binders tofinish the job. The binders Pur boundthe text into the covers and thentrimmed the three open sides to neatenthe books up.

Because the books were produced on adigital machine rather than offset, weonly had two types of binding that wecould choose. These were PerfectBinding or Pur Binding. The twosystems are very similar but PurBinding is a much stronger glue, whichwill make the books last for many yearslonger than with Perfect Binding.


Digital art & painting software

● New Thick Paint● New Cloning Capabilities● New Texture Synthesis

● New 2.5D Texture Brushes● New Natural-Media brushes

New Painter 2018(Windows/Mac)

Corel® Painter® 2018 is the world's mostrealistic digital art studio. There aremany reasons why creative profes-sionals and digital artists have chosento make Corel Painter an integral partof their design process, but two reallystand out — painting tools and work-flow features.

A loyal and passionate user baseactively participates in Painter's devel-opment by offering constructive feed-back, and sharing their work, tools andmethods. These insights and sugges-tions drive so many of these paintingand workflow innovations.

The power and diversity of its revolu-tionary digital painting tools is whatmakes Corel Painter the paint programthat all others are measured against.

Its expansive collection of paintingtools not only offers an unrivalledability to emulate traditional art, butalso gives users the power to redefinewhat's possible in digital art.

Each version of Corel Painter haspushed the envelope by consistentlyadding new tools and features that

quickly became the benchmark in thedigital art world — Texture Painting,Particle Brushes, and DynamicSpeckles to name just a few fromrecent releases. Corel Painter 2018continues this push to deliver ground-breaking features that are incrediblypowerful in a range of creative sectorsand work flows.

The addition of Thick Paint offersartists a digital painting experience likeno other. It mimics the look and feel ofthick paint with remarkable fidelity andhas a concise set of brushes inspiredby traditional tools. Some of our mostpopular brushes have been made moreversatile with new options for blendingwith underlying brushstrokes or trans-parency

Texture Painting, one of the mostpopular recent additions to Painter, ismade even more dynamic with newThick Texture brushes that apply 2.5Dstrokes.

Features that accelerate artistic work-flows and simplify the creative processare another reason why Corel Painter islike no other paint program on the

Introducing Corel Painter 2018


market. Creating photo art andcomposites is easier than ever withrevamped UI and new clone-sourceoptions. The new Texture Synthesisfeature gives digital artists of all stripesthe ability to create dynamic, one-of-a-kind textures. And the new time-savingSelection Brush tool makes protectingimage areas as easy as applying abrushstroke.

Artist proles

Concept artists

Corel Painter 2018 offers conceptartists a powerful and versatile featureset for every stage of their workflow.The ability to add randomness to brushvariants gives concept artists thefreedom to discover a world of creativepossibilities as they paint with toolsthat have a traditional look and feel.

Once the right look has beenpinpointed, Corel Painter 2018 has thetools that they need to quickly refineeven the most minute detail of everyelement of their concepts.

Illustrators

Illustratorscount on Painterbecause of thepower and diver-sity of a toolsetthat lets themwork with preci-sion, speed, andconfidence.Whethercreating a char-acter orpublishing anillustration,package design,or promotionalpiece, CorelPainter 2018

has the art tools illustrators need tobring their vision to life and immersetheir audience in the story. It’s theperfect medium for visually capturingand expressing their ideas, from initialsketches to fully rendered designs. Noother program allows them to transi-tion seamlessly from traditionalmethods to the world of digital art quitelike Corel Painter.

Whatever real-world medium they’vecounted on before, there’s a Painterequivalent that lets them create justlike they always have, only faster.

Manga and Comic artists

A wide range of sketching, drawing andinking tools make Corel Painter 2018the best digital art program for mangaand comic artists to develop a personalstyle that stands out. So much of theirwork calls on traditional methods that

Painter is renowned for emulating, fromwatercolour to oil to liquid ink. Painterhas the tools that they need to createclean, crisp lines, bold effects, and

Thick Paint Digital Art

Voluminous media you can pile, push, carve, scrape and blend to perfection.


subtle shading. Often working toaggressive deadlines, they know theycan count on a comprehensive set ofcomposition and symmetry tools andintuitive colour management features.There’s no other tool on the marketthat gives them the power to build up aconcept and then bring it to life inliving colour with such impact.

Fine artists

Corel Painter 2018 provides the mostnatural way to transition from tradi-tional to digital art on the market. Fineartists can easily combine classic artpractices and time-honoured tech-niques with state-of-the-art Natural-Media technology to create digital artthat’s just as impressive as what theycan create on a physical canvas. CorelPainter 2018 can save them valuabletime thanks to the ability to undomistakes in a way that only a digital artstudio allows. What's more, there’s notoxic fumes or costly art supplies.

Photo artists

With powerful Auto-Painting andCloning tools, plus one-of-a-kind imagepainting features found only in CorelPainter 2018, photo artists can capturea moment and easily transform theimage into a digital work of art. Theyhave everything they need to producevisually stunning painted keepsakesand sellable works of photo art in notime.

Students and teachers

Painter is a vital asset for all buddingartists and an essential component forany art-related curriculum. It hasdigital tools that mimic the look andfeel of their real world counterparts,and perspective and compositionfeatures that simplify some of the

fundamentals of art. Corel Painter2018 offers a natural way for studentsto learn traditional art techniques in anenvironment that’s very conducive toexperimentation — without the costand mess associated with traditionalart supplies.

What’s included?

Main application

●Corel Painter 2018, macOS® andWindows® versions

Content

●Libraries of unique brushes,gradients, nozzles, patterns,textures, and paper textures

Documentation

●HTML Help (Windows) and AppleHelp (Macintosh®) files

●Online User Guide and GettingStarted Guide (PDF)

●Welcome Screen

●youtube.com/paintertutorials

●Painterartist.com

Key features

Corel Painter 2018 is the world’s mostauthentic digital art studio.

Painting Tools

Painter is famous for an expansivecollection of painting tools that inspireartists and give them the freedom tocreate without boundaries.

New! Thick Paint

Ask a digital artist to list off the thingsthat make Corel Painter so different

� Previous Page –


from every otherpaint program,and one thingalways comes up— the ability toeasily combineclassic art prac-tices and time-honoured tech-niques withstate-of-the-artNatural-Mediatechnology. Andthis traditioncontinues inCorel Painter2018 with theintroduction ofThick Paint,which mimicsthe look and feel of thick paint withremarkable fidelity.

Thick Paint has brushes inspired bytraditional tools that you'd instantlyrecognize in any art supply store. Thereare a range of bristle brushes andpalette knives carefully crafted todeliver the feel and behaviour you'dexpect.

These new brushes use paint that haspigment and volume that behaves justlike real paint. This means you canblend, build up, push, pull and scrapethe paint using the pressure, tilt, androtation of your stylus. These variantsdeliver versatile, scalable brushloading, so you can spend more timefocusing on your work and less on theUI. Using a quick keyboard shortcutand dragging, you can precisely loadthe brush on the fly, thanks to a cursorthat displays the amount of paintyou've loaded and the colour.

Just like in the real world, you cancreate strokes that have ridges of paint

within. But what really makes theridging pop, of course, is shadows inthe canyons of the stroke.

With that in mind, Painter lets youadjust the shadow strength andambient lighting to get depth in abrushstroke like never before. What'smore, the ability to tweak the transpar-ency of brushstrokes and control howpaper texture interacts with the paintopens up a world of creative possibili-ties.

The Thick Paint property bar offerspresets for painting technique, as wellas quick access to settings that allowyou to prevent the brush from runningout of paint and control how newbrushstrokes blend with existing ones.This makes it easy to jump in and getstunning results right away. Or if you'drather tinker and experiment to get acertain look, there are new Thick Paintpanels where you can modify controls.

Thick Paint brushes offer a natural-media experience with the look and feel

Cloning Photo Art

Easily transform the size and shape of your opaque or transparent clone sources.

➢ Page 14


The Rose GardenJenette Youngman


Enhanced! Drip and Liquid Brushtechnologies

Brushes that use drip or liquid technol-ogies are even more versatile in Painter2018.

Take, for example, the Sargent Brush,one of most popular Painter brush vari-ants ever. Loved by artists for its richbrushstrokes, the Sargent Brush cannow be used on an empty layer toblend the currently selected colour withan oil-like transparency. Alternatively,you can use variants that use drip orliquid technologies to pick up colourfrom underlying layers. What's more,this step forward in brush technologyoffers artists of all stripes a range offresh brushes, opening up a world ofpossibilities

New! Thick Texture Brushes

Concept artists and characterdesigners love Texture Painting for itsability it to deliver powerful realism,and Painter 2018 takes the experienceto a whole new level.

New 2.5D Thick Texture brushes applystrokes that feel like they’re jumping offthe canvas. Do you need to make acharacter authentically reptilian? Youcan paint thick, exotic scales that looklike they're rising off the canvas. Orwhen you need to make skin more life-like, Thick Texture brushes let youpaint cavernous pores and amplifythem by adjusting the directionallighting and appearance of depth.

New! Natural-Media brush library

The new Natural-Media brush librarymakes it easy for artists transitioningfrom traditional to digital art. It givesquick, one-stop access to brushes thatmimic traditional media, from pencils

and pastels to oils and acrylics, andmuch more. If you've used it in the realworld, chances are you'll find thedigital equivalent in the Natural-Mediabrush library. You can access the newcollection by opening the BrushSelector and choosing Natural Media

Brushes from the Brush Library listbox.

New! Random Grain Rotation

Another user request in Painter 2018 israndom grain rotation. This newfeature slightly rotates the paper grainin each stroke, giving brushstrokes amore natural, organic look.

Enhanced! Cloning Workflow

It's easier to create compelling photocomposites in Painter 2018. A range ofcloning enhancements let photo artiststo do more, in less time. You canincrease the sophistication of yourphoto composites in Painter 2018 withnew cloning transparency support. Youcan now use transparent and semi-transparent clone sources whencreating a collage, so all elements in acomposite interact naturally. And foreven more accurate transparency

cloning, there's a precise cloning optionthat picks up colours from the centre ofthe brush dab. Photo artists can nowuse a texture as a clone source.

Transformations can be applied totexture clone sources, so you can resizeand shape them to easily and intui-tively craft a composite. The UI hasbeen streamlined to simplify switchingbetween clone sources. The revampedcloning controls give you more space towork, but not at the expense of easyaccess to the settings you need most.All critical cloning controls are easily


accessible from a flyout on the propertybar. Whatever your favourite cloningworkflow is, Painter 2018 has youcovered. Whether tracing paper or acrosshair cloning cursor works best foryou, the choice is yours. And when youfind or create a clone source that youwant to reuse, you can save it with theimage as an embedded source or as atexture in the Texture library so it'salways at your fingertips. There's alsoan option that lets you embed a clonesource in a document, saving you timefinding the source when you get backto work and simplifying sharing withother photo artists.

New! Texture Synthesis

The limitless creative possibilities thatmade Texture Painting an instantfavourite with concept artists and char-acter designers just got even morepowerful thanks to the addition of theSynthesis feature. It allows you tocapture and synthesize an area of atexture or document and reproduce iton a larger scale, using all the visualelements of the input sample. Duringthe synthesis process, properties of the

selected area are randomised, creatinga new texture based on settings thatyou've chosen. You can then paint withit to give every texture brushstrokeeven more depth and detail.

Texture Synthesis gives digital artistsof all stripes the ability to createvibrant, one-of-a-kind textures.Because you can also use part of animage, you can use favourite brush-strokes as the DNA of a new texture,offering infinite possibilities. Thesynthesized texture can then be usedjust like any other texture or it can beexported to a layer.

And in Painter 2018 you can fill withtexture, whether you created it usingthe Texture Synthesis feature, importedit to use with a Texture Painting brush,or found it in the Texture library.

2.5D Texture

Paint with stunning 2.5D texture that lifts off of the canvas taking yourdigital art to the next level.

Painter 2018 will be featuredat our meeting next month,September. We look forward toseeing you.

An often underused and forgotten tool in CorelDraw is the ‘Lens’ tool. This is a very powerful tool that can give some really interesting special effects.

You will find the lens tool under Effects/Lens or you can use the hot key Alt + F3.

ABC

The brighten effect brighten’s any object below it.In the example in Fig 1 I have drawn a box and then applied an 80% brighten to the box. Normally of course you would remove the outline of the box and cover the letters completely.

Fig 1

The brighten effect brighten’s any object below it.In the example in Fig 1 I have drawn a box and then applied an 80% brighten to the box. Normally of course you would remove the outline of the box and cover the letters completely.

In Fig 2 I have copied the text and pasted on top of the original. Then just apply the brighten to the text on top, (I have moved it slightly off to show the effect).

Fig 2

Fig 3

In Fig 3 we see the effect of Color Add. Using the same method as above, copying and pasting on top and then applying the effect on the top copy, you change the colour. This in itself is no big deal as you could just change the colour in the text. However, when you move the top copy you see the result.The colour is applied to an invisible lens and has to be on top of an object for you to see the colour change. This now allows for some interesting special effects as seen in Fig 4.

Fig 4

Using Lens in CorelDrawwith Darry HowmanThe Print Managers


Down loadable images

We all seem to spend a fair bit of time searching the net for suitable images for various projects. There seems to be no end of free clip art images out there. The problem is that Corel Draw is a vector program which achieve wonderful effects with true vector images.I subscribe to a company called Vector State which for a relatively small yearly subscription I can download up to 100 images every month. There is no way I can use 100 images every month, so in practice I have all the downloads I would ever need. And the bonus is that most of the images are true vector images.Unlike a bitmap, I can make these as large as I want, I can pull them apart and colour them or use other special effects to come up with truly unique effects.

Samples of two of the downloadable vector files from the Vector State web site.

Original Vector Coloured in Corel

Heat Map 30%

Colour Limit50% Black

Colour MapBlue to Red

Fish Eye(On face)

Invert Tinted Grayscale

All these special effects have beenproduced using the above vector fileand then applying special effectsusing nothing but the lens tool.However, do remember to copy andpaste a copy of the image on itselfbefore applying the effect!

Corelunder, No.97 August 2017, 17


Are Too Many FontsCausing Windows orCorelDRAW Crashes?I recently heard from a longtime readerabout fonts. It is certainly a topic we’vediscussed on many occasions andoverall they have their font library ingood control. I’ll include their messageto many first and then my answer. Notethat I’ve made very minor edits to theirmessage to clean up the formatting.

I recall reading somewhere that after400 fonts are installed (into theWindows/Fonts folder), we tend to seea significant drop off in systemperformance.Does that number include those fontsthat are installed as shortcuts (theactual fonts reside elsewhere)?

If we run Bitstream Font Navigator(again or periodically, i.e. the secondpass to the Master Folder for ourCompany ‘moved’) to ‘Find Fonts’, is itbest to, first, delete our previous or ‘oldfont catalogue? Even if we have/havehad, only one version of CorelDRAW onour computer system?

Recently, we have had issues w/ Corel-DRAW users needing our IT Dept. toclean out or edit their ‘registry’ of oldpaths to fonts … due to Windowslocking up / CorelDRAW crashing …(too many fonts installed) and Iwondered whether the ‘old shortcuts’need to be deleted out of the ControlPanel (Windows) Fonts folder or if itcould be something else (that we maybe doing, incorrectly)!

The “400 fonts” limit goes back manyversions of Windows. There is no hardlimit in the last few releases ofWindows (definitely Windows 7 and

higher) though each font does useresources. I probably have around1000 installed on my desktop computerwith no issues. It is always a good ideato have a smaller number installed. Itis certainly better to have fontsinstalled as shortcuts, but they still useresources.

Having references to fonts that don’texist is problematic. If they are “unin-stalled” it should take out the badreference and they wouldn’t workanyways so hopefully that solves it.

I run Bitstream Font Navigator on firstinstall (or after deleting catalog) threetimes. First pass, I only point atWindows / Fonts folder. Second pass Ipoint at only the master folder where Istore all fonts. Third pass (optional) Ipoint at a drive letter to catch anyother fonts that aren’t stored in themain folders.

Unless there is a bad font (could havealways been bad or file could havegotten corrupt), it shouldn’t causeWindows or CorelDRAW to crash. Itcan be difficult to find a corrupt fontfile so you can simply try uninstallingblocks of fonts to find when theproblem goes away. After enough tests,you can narrow it down to the bad font.

For those who want more informationon font management, I highly recom-mend you get a copy of the Fonts, FontManagement, Typography and Open-Type Success Kit. Not only do you getdetailed information on using andmanaging fonts, you’ll also get 500fonts!

Foster D.Coburn III

July 31, 2017


These days scammers demandlittle and often. Scammersposing as businesses we trustkeep tricking Australians intopaying bogus bills.

‘‘Phishing’’ scams have becomeby far the most common tricksreported to Australia’s consumerwatchdog. They’re called suchbecause the scammers cast theirnet wide, sending bogus emailsto thousands of people in thehope that a few of us won’t spotthem as fakes.

In the past six months alone the ACCChas received 11,000 reports ofphishing, with nearly $260,000 lost toscammers, and that’s obviously notincluding those Australians who don’teven realise they’ve been duped.

The details of the scams vary widelybut the basic idea is always the same:tricking people into handing overmoney or sensitive information.

Rather than offering deals which soundtoo good to be true, like winning thelottery, scammers send emails thatseem far more boring. Often they’ll poseas your bank, energy retailer or couriercompany. Other times they’ll pretend tobe the tax office or Centrelink chasingan unpaid debt, or perhaps the policeissuing a speeding fine.

Instead of cleaning you out, the idea isto fool you into paying what seems likea reasonable amount of money. Some-times they might be angling for infor-mation such as account details and

passwords, as the first step in a multi-stage scam.

Scammers use the same tricks tosneak malware onto computers, hopingthat people will open innocent-lookingattachments or click on links. With theend of the financial year having justpassed, you can expect for a spike intax refund scams. The aim here is toquietly infect your computer withspyware sniffing for passwords, orperhaps ransomware which encryptsyour precious files and demandspayment for their release.

Anti-virus will sometimes pick up thesethreats, but phishing scams are moresinister because there’s no virus todetect or technical flaw to exploit –scammers are simply targeting people’strusting nature.

Phishing attacks don’t just arrive viaemail; scammers are also known topick up the phone. You could receivean automated call supposedly from thetax office asking you to enter yourfinancial details, or a call

Gone PhishingAdam Turner

➢ Page 22


An important lesson in innovation—andteamwork—on the 10th birthday of themost popular product of all time.

The iPhone just turned 10 years old,and if you were anywhere near a maga-zine, newspaper, or screen—swipeableor otherwise—you probably saw a storyor nine celebrating its advent. Thatstory would likely run alongside animage of one man in particular. Therehe is, Steve Jobs on stage at theMoscone Center in San Francisco.Steve Jobs with an aluminum-backedrectangle in his palm. Steve Jobshanding the iPhone down unto theworld.

The narrative is clear: Steve Jobs gaveus the iPhone, which, at over 1.2 billionunits sold, has become the single bestselling product of all time. But thatnarrative also happens to be ratherflawed, even misleading. And that’s wellworth noting, all these years after theiPhone was set upon its trajectory forworld domination—because Steve Jobsdid not invent the iPhone.

Rarely is it worth going to the troubleto point out that someone did notinvent something. ‘Brian Merchant DidNot Invent the Cuisinart’ is a headlinethat is unlikely to generate muchinterest anywhere, ever, even inside thewhirring world of cuisinart aficionados.So why pick on Steve Jobs? Why theiPhone? Because the myth is becominginextricable from the man. Jobs mayhave never claimed outright that healone invented the one device—though

he did seem to insist on putting hisname first on many of its patents—buthistory is beginning to conflate the artof invention with CEOship, marketingprowess with innovation.

Think back to those photos of theiPhone. There are few, if any, images ofthe team(s) of impossibly hard-workingdesigners, engineers, and hardwarehackers who deserve the lion’s share ofthe credit for bringing it to life. (And I’mnot just talking about Jony Ive, either!)We are being encouraged to believe aversion of a myth that has been prom-ulgated for decades, if not centuries:The myth of the sole, or lone, inventor.

At least since Edison—and probablysince Newton and beyond—the publichas glommed onto narratives of greatmen with great ideas, overcomingadversity and uncertainty to transformthe world with the invention of the lightbulb, the telephone, the iPhone. Thisisn’t anyone’s fault, and everyone’sguilty; our brains just tidily computesuch appealing narratives, suffused asthey are with moral rectitude and justi-fied outcomes. But in a research paperpublished in 2012, the renownedpatent scholar and Stanford professorMark Lemley found that the vast, vastmajority of inventions were achievednot just by people working in teams,but often simultaneously, by differentteams, even sometimes working indifferent parts of the world. Ideas aretruly “in the air” as he says.

Steve Jobs did notinvent the iPhone


We now know, for instance, that Edisonmost certainly did not invent the light-bulb—he simply perfected it as aconsumer product. His team found theideal bamboo filament that made hisbulb’s glow much more appealing thanthe competition. And even then, Edisonmanned a large lab staffed by brilliantresearchers; but who remembers aname besides Edison’s when we thinkof the bulb, going off, signifyingthe spark of a new idea?

So it is with Steve Jobs and theiPhone. In fact, some of theparallels are almost eerie.There was work being doneon smartphone products atleast a decade and a halfbefore the iPhone waslaunched—Frank CanovaJr. built the IBM Simon,which was a large blackrectangle with touchscreenbuttons, apps, and a webbrowser. Sound familiar?It should—but it waslaunched in 1993, andflopped. It was ahead ofits time, and the tech-nology wasn’t ready.

What Jobs did at Applewith the iPhone wastake a smattering ofpercolating technologies, and drovehis team to integrate them in a waynever executed so elegantly before. Thekey word is “team”; the iPhone, in fact,grew out of a series of clandestine meet-ings, under even Jobs’ radar, in thebowels of Apple’s 2 Infinite Loop build-ing—where designers, user interfaceexperts, and hardware engineers exper-imented with a collection of technolo-gies until they’d come up with the set ofdemos that would form the core of theiPhone experience: Multitouch fingersensors married to custom Apple soft-

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ware that would bring the pixels todance underneath your fingers.

I had a chance to meet many of thesepioneers over the course of reportingmy book: Bas Ording, Imran Chaudhri,Greg Christie, Brian Huppi, JoshStrickon—any of those names ring abell? Probably not—yet they’re the fore-fathers of the iPhone. They prototyped

what would become the “one device”long before Steve Jobs

even had a whiff ofits existence. Andthen a whole slew ofsoftware engineers—Scott Herz, RichardWilliamson, NitinGanatra, And Grignonand so on, organizedby product managerKim Vorrath—tookthose experiments andbuilt the world’s moststealthy mobilecomputer around it. Andthen a crack team ofhardware engineers,including David Tupman,Michael Culbert, and—okay, you’re getting thepoint. There’s a small cityworth of people who contrib-uted to the iPhone, whomade it tick, who unfurledits innovations, who designed

the most popular software interface ofall time, who made it sing on a tinyhandheld device. And that is to saynothing of the miners, laborers, andmanufacturers who collect and convertthe raw materials into tiny componentsand finished products around theglobe.

Steve Jobs made crucial decisions. Hisbusiness maneuverings—especiallyabsorbing info from the carriers andthen winning near-total


from a real live crook. They might askfor payment or simply claim to be‘‘verifying customer records’’ in thehope you’ll reveal your online pass-word and the answers to your securityquestions.

Never trust someone who calls youand then expects you to prove whoyou are or hand over sensitive infor-mation. No legitimate service providershould ever ask for your online pass-word or demand that you hand overmoney on the spot. Tax officescammers are even known to ask forpayment in the form of iTunes Giftcards.

When in doubt, tell the caller you’llhang up and call them back via thebusiness’ main switchboard. Theymight give you a number to call, orinclude one in their email, but don’ttrust it. Look up the number for your-self in the phone book.

If the caller is legit they’ll understandyour security concerns. The morepersistent, irate and threatening theybecome, the more likely you’re dealingwith a scammer trying to catch you intheir net.

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freedom to build his iPhone any wayhe liked, and winning favorablecontract terms—and his aesthetictastes in the space were unparalleled.He deserves a lot of credit. Justnowhere near all of it.

“The thing that concerns me about theSteve Jobs and Edison complex,” BillBuxton, who helped pioneer multi-touch in the 1980s (Jobs said Appleinvented it in 2007), told me, “is thatyoung people who are being trained asinnovators or designers are being soldthe Edison myth, the genius designer,the great innovator, the Steve Jobs,the Bill Gates, or whatever,” Buxtonsays. See: The current myth of thefounder-hero, that is partly to blamefor steering companies like Uber intoperil. “They’re never being taught thenotion of the collective, the team, thehistory.”

Which is why it pains me a bit to seethe story of the iPhone reduced toJobs, brilliant as he may have been.The true version is more intense,messy, convoluted—and human. Andit’s not just a matter of doling outcredit, either; it’s a matter of under-standing how innovation actuallyhappens, so we might facilitate itbetter in the future. There are lessonshere for anyone who might try to builda product, advance a technology, stirprogress—or understand how innova-tion really unfurls. The iPhone is theproduct of a collaboration carried outon a scale that’s so massive it canseem almost incomprehensible—but itmakes more sense than the loneinventor myth. And we can learn moreabout where we're headed if we lookinto the iPhone's black mirror and tryto see the huge host of faces reflectedback—not just Steve Jobs'.

Brian Merchant is the author of The One De-vice: The Secret History of the iPhone.

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