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Blender 3D: Noob to Pro/Hot Keys

Blender HotKeys - Relevant to Blender 2.36 - Compiled from Blender Online Guides

Window HotKeys
Certain window managers also use the following hotkeys. So ALT+CTRL can be substituted for CTRL to perform the functions described below if a conflict arises.
 * CTRL+LEFTARROW. Go to the previous Screen.
 * CTRL+RIGHTARROW. Go to the next Screen.
 * CTRL+UPARROW or CTRL+DOWNARROW. Maximize the window or return to the previous window display size.
 * SHIFT+F4. Change the window to a Data View
 * SHIFT+F5. Change the window to a 3D Window
 * SHIFT+F6. Change the window to an IPO Window
 * SHIFT+F7. Change the window to a Buttons Window
 * SHIFT+F8. Change the window to a Sequence Window
 * SHIFT+F9. Change the window to an Outliner Window
 * SHIFT+F10. Change the window to an Image Window
 * SHIFT+F11. Change the window to a Text Window
 * SHIFT+F12. Change the window to an Action Window

Universal HotKeys
The following HotKeys work uniformly in all Blender Windows, if the Context allows:
 * CTRL+LMB. Lasso select: drag the mouse to form a freehand selection area.

 * ESC.
 * This key always cancels Blender functions without changes.
 * or: FileWindow, DataView and ImageSelect: back to the previous window type.
 * or: the RenderWindow is pushed to the background (or closed, that depends on the operating system).
 * SPACE. Open the Toolbox.
 * TAB. Start or quit EditMode.
 * F1. Loads a Blender file. Changes the window to a FileWindow.
 * SHIFT+F1. Appends parts from other files, or loads as Library-data. Changes the window to a FileWindow, making Blender files accessible as a directory.
 * F2. Writes a Blender file. Change the window to a FileWindow.
 * SHIFT+F2. Exports the scene as a DXF file
 * CTRL+F2. Exports the scene as a VRML1 file
 * F3. Writes a picture (if a picture has been rendered). The fileformat is as indicated in the DisplayButtons. The window becomes a File Select Window.
 * CTRL+F3 (ALT+CTRL+F3 on MacOSX). Saves a screendump of the active window. The fileformat is as indicated in the DisplayButtons. The window becomes a FileWindow.
 * SHIFT+CTRL+F3. Saves a screendump of the whole Blender screen. The fileformat is as indicated in the DisplayButtons. The window becomes a FileWindow.
 * F4. Displays the Logic Context (if a ButtonsWindow is available).
 * F5. Displays the Shading Context (if a Buttons Window is available), Light, Material or World Sub-contexts depends on active object.
 * F6. Displays the Shading Context and Texture Sub-context (if a ButtonsWindow is available).
 * F7. Displays the Object Context (if a ButtonsWindow is available).
 * F8. Displays the Shading Context and World Sub-context (if a ButtonsWindow is available).
 * F9. Displays the Editing Context (if a ButtonsWindow is available).
 * F10. Displays the Scene Context (if a ButtonsWindow is available).
 * F11. Hides or shows the render window.
 * F12. Starts the rendering from the active camera.
 * LEFTARROW. Go to the previous frame.
 * SHIFT+LEFTARROW. Go to the first frame.
 * RIGHTARROW. Go to the next frame.
 * SHIFT+RIGHTARROW. Go to the last frame.
 * UPARROW. Go forward 10 frames.
 * DOWNARROW. Go back 10 frames.
 * ALT+A. Change the current Blender window to Animation Playback mode. The cursor changes to a counter.
 * ALT+SHIFT+A. The current window, plus all 3DWindows go into Animation Playback mode.
 * I KEY. Insert Key menu. This menu differs from window to window.
 * J KEY. Toggle the render buffers. Blender allows you to retain two different rendered pictures in memory.
 * CTRL+O. Opens the last saved file.
 * Q KEY. OK? Quit Blender. This key closes Blender. Blender quit is displayed in the console if Blender is properly closed.
 * ALT+CTRL+T. TimerMenu. This menu offers access to information about drawing speed. The results are displayed in a pop-up.
 * CTRL+U. OK, Save User defaults. The current project (windows, objects, etc.), including UserMenu settings are written to the default file that will be loaded every time you start Blender or set it to defaults by pressing CTRL+X.
 * CTRL+W. Write file. This key combination allows you to write the Blender file without opening a FileWindow.
 * ALT+W. Write Videoscape file. Changes the window to a FileWindow.
 * CTRL+X. Erase All. Everything (except the render buffer) is erased and released. The default scene is reloaded.
 * CTRL+Y. Redo. Mac users may use CMD+Y.
 * CTRL+Z. Undo. Mac users may use CMD+Z.
 * SHIFT+CTRL+Z. Redo. Mac users may use SHIFT+CMD+Z

Object Mode HotKeys
These hotkeys are mainly bound to the 3D Viewport Window, but many work on Objects in most other windows, like IPOs and so on, hence they are summarized here.

 * HOME. All Objects in the visible layer are displayed completely, centered in the window.
 * PAGEUP. Select the next Object Key. If more than one Object Key is selected, the selection is shifted up cyclically. Only works if the AnimButtons->DrawKey is ON for the Object.
 * SHIFT+PAGEUP. Adds to selection the next Object Key.
 * PAGEDOWN. Select the previous Object Key. If more than one Object Key is selected, the selection is shifted up cyclically. Only works if the AnimButtons->DrawKey is ON for the Object.
 * SHIFT+PAGEDOWN. Adds to selection the previous Object Key.
 * ACCENT.(~) (To the left of the 1KEY in US keyboard) Select all layers.
 * SHIFT+ACCENT. Revert to the previous layer setting.
 * TAB. Start/stop EditMode. Alternative hotkey: ALT+E.
 * A KEY. Selects/deselects all.
 * CTRL+A. Apply size and rotation. The rotation and dimensions of the Object are assigned to the ObData (Mesh, Curve, etc.). At first glance, it appears as if nothing has changed, but this can have considerable consequences for animations or texture mapping. This is best illustrated by also having the axis of a Mesh Object be drawn (EditButtons->Axis). Rotate the Object and activate Apply. The rotation and dimensions of the Object are 'erased'.
 * SHIFT+CTRL+A. If the active Object is automatically duplicated (see AnimButtons->DupliFrames or AnimButtons- >Dupliverts), a menu asks Make duplis real?. This option actually creates the Objects. If the active Mesh Object is deformed by a Lattice, a menu asks Apply Lattice deform?. Now the deformation of the Lattice is assigned to the vertices of the Mesh.
 * SHIFT+A. This is the AddMenu. In fact, it is the ToolBox that starts with the `ADD' option. When Objects are added, Blender starts EditMode immediately if possible.
 * B KEY. Border Select. Draw a rectangle with the LeftMouse; all Objects within this area are selected, but not made active. Draw a rectangle with the RightMouse to deselect Objects. In orthonormal ViewMode, the dimensions of the rectangle are displayed, expressed as global coordinates, as an extra feature in the lower left corner. In Camera ViewMode, the dimensions that are to be rendered according to the DisplayButtons are displayed in pixel units.
 * SHIFT+B. Render Border. This only works in Camera ViewMode. Draw a rectangle to render a smaller cut-out of the standard window frame. If the option DisplayButtons->Border is ON, a box is drawn with red and black lines.
 * C KEY. Center View. The position of the 3DCursor becomes the new center of the 3DWindow.

 * ALT+C. Convert Menu. Depending on the active Object, a PopupMenu is displayed. This enables you to convert certain types of ObData. It only converts in one direction, everything ultimately degrades to a Mesh! The options are:
 * Font -> Curve
 * MetaBall -> Mesh The original MetaBall remains unchanged.
 * Curve -> Mesh
 * Surface -> Mesh

 * CTRL+C. Copy Menu. This menu copies information from the active Object to (other) selected Objects.
 * Fixed components are:
 * Copy Loc: the X,Y,Z location of the Object. If a Child is involved, this location is the relative position in relation to the Parent.
 * Copy Rot: the X,Y,Z rotation of the Object.
 * Copy Size: the X,Y,Z dimension of the Object.
 * DrawType: copies Object Drawtype.
 * TimeOffs: copies Object time offset.
 * Dupli: all Duplicator data (Dupliframes, Dupliverts and so on)
 * Mass: Real time stuff.
 * Damping: Real time stuff.
 * Properties: Real time stuff.
 * Logic Bricks: Real time stuff.
 * Constraints: copies Object constraints.
 * If applicable:
 * Copy TexSpace: The texture space.
 * Copy Particle Settings: the complete particle system from the AnimButtons.
 * For Curve Objects:
 * Copy Bevel Settings: all beveling data from the EditButtons.
 * Font Objects:
 * Copy Font Settings: font type, dimensions, spacing.
 * Copy Bevel Settings: all beveling data from the EditButtons.
 * Camera Objects:
 * Copy Lens: the lens value.
 * SHIFT+C. CenterZero View. The 3DCursor is set to zero (0,0,0) and the view is changed so that all Objects, including the 3Dcursor, can be displayed. This is an alternative for HOME.
 * D KEY. Draw mode menu. Allows to select draw modes exactly as the corresponding menu in the 3D viewport header does.
 * SHIFT+D. Add Duplicate. The selected Objects are duplicated. Grab mode starts immediately thereafter.
 * ALT+D. Add Linked Duplicate. Of the selected Objects linked duplicates are created. Grab mode starts immediately thereafter.
 * CTRL+D. Draw the (texture) Image as wire. This option has a limited function. It can only be used for 2D compositing.
 * ALT+E. Start/stop EditMode. Alternative hotkey: TAB.
 * F KEY. If selected Object is a mesh Toggles Face selectMode on and off.
 * CTRL+F. Sort Faces. The faces of the active Mesh Object are sorted, based on the current view in the 3DWindow. The leftmost face first, the rightmost last. The sequence of faces is important for the Build Effect (AnimButtons).

 * G KEY. Grab Mode. Or: the translation mode. This works on selected Objects and vertices. Blender calculates the quantity and direction of the translation, so that they correspond exactly with the mouse movements, regardless of the ViewMode or view direction of the 3DWindow. Alternatives for starting this mode:
 * LMB to draw a straight line.
 * The following options are available in translation mode:
 * Limiters:
 * CTRL: in increments of 1 grid unit.
 * SHIFT: fine movements.
 * SHIFT+CTRL: in increments of 0.1 grid unit.
 * MMB toggles: A short click restricts the current translation to the X,Y or Z axis. Blender calculates which axis to use, depending on the already initiated mouse movement. Click MiddleMouse again to return to unlimited translation.
 * X KEY, Y KEY, Z KEY constrains movement to X, Y or Z axis of the global reference.
 * a second X KEY, Y KEY, Z KEY constrains movement to X, Y or Z axis of the local reference.
 * a third X KEY, Y KEY, Z KEY removes constraints.
 * N KEY enters numerical input, as well as any numeric key directly. TAB will switch between values, ENTER finalizes, ESC exits.
 * ARROWS: These keys can be used to move the mouse cursor exactly 1 pixel.
 * Grabber can be terminated with:
 * LMB SPACE or ENTER: move to a new position.
 * RMB or ESC: everything goes back to the old position.
 * Switching mode:
 * G KEY: starts Grab mode again.
 * S KEY: switches to Size (Scale) mode.
 * R KEY: switches to Rotate mode.
 * ALT+G. Clears translations, given in Grab mode. The X,Y,Z locations of selected Objects are set to zero.

 * SHIFT+G. Group Selection
 * Children: Selects all selected Object's Children.
 * Immediate Children: Selects all selected Object's first level Children.
 * Parent: Selects selected Object's Parent.
 * Shared Layers: Selects all Object on the same Layer of active Object

 * IKEY. Insert Object Key. A keyposition is inserted in the current frame of all selected Objects. A PopupMenu asks what key position(s) must be added to the IpoCurves.
 * Loc: The XYZ location of the Object.
 * Rot: The XYZ rotation of the Object.
 * Size: The XYZ dimensions of the Object
 * LocRot: The XYZ location and XYZ rotation of the Object.
 * LocRotSize: The XYZ location, XYZ rotation and XYZ dimensions of the Object.
 * Layer: The layer of the Object.
 * Avail: A position is only added to all the current IpoCurves, that is curves which already exists.
 * Mesh, Lattice, Curve or Surface: depending on the type of Object, a VertexKey can be added
 * CTRL+J. Join Objects. All selected Objects of the same type are added to the active Object. What actually happens here is that the ObData blocks are combined and all the selected Objects (except for the active one) are deleted. This is a rather complex operation, which can lead to confusing results, particularly when working with a lot of linked data, animation curves and hierarchies.
 * K KEY. Show Keys. The DrawKey option is turned ON for all selected Objects. If all of them were already ON, they are all turned OFF.
 * SHIFT+K. A PopupMenu asks: OK? Show and select all keys. The DrawKey option is turned ON for all selected Objects, and all Object-keys are selected. This function is used to enable transformation of the entire animation system.
 * L KEY. Makes selected Object local. Makes library linked objects local for the current scene.

 * CTRL+L. Link selected. Links some of the Active Object data to all selected Objects, the following menu entry appears only if applicable.
 * To Scene: Creates a link of the Object to a scene.
 * Object IPOs: Links Active Object IPOs to selected ones.
 * Mesh data: Links Active Object Mesh data selected ones.
 * Lamp Data: Links Active Object Lamp data to selected ones.
 * Surf Data: Links Active Object Surf data selected ones.
 * Material: Links Active Object Material to selected ones.

 * SHIFT+L. Select Linked. Selects all Objects somehow linked to active Object.
 * Object IPO: Selects all Object(s) sharing active Object's IPOs.
 * Object Data: Selects all Object(s) sharing active Object's ObData.
 * Current Material: Selects all Object(s) sharing active Object's current Material.
 * Current Texture: Selects all Object(s) sharing active Object's current Texture.
 * M KEY. Moves selected Object(s) to another layer, a pop-up appears. Use LMB to move, use SHIFT+LMB to make the object belong to multiple layers. If the selected Objects have different layers, this is ORed in the menu display. Use ESC to exit the menu. Press the "OK" button or ENTER to change the layer setting. The hotkeys (ALT-)(1KEY, 2KEY, ... - 0KEY) work here as well (see 3DHeader).
 * CTRL+M. Mirror Menu. It is possible to mirror an Object along the X, Y or Z axis.
 * N KEY. Number Panel. The location, rotation and scaling of the active Object are displayed and can be modified.
 * ALT+O. Clear Origin. The `Origin' is erased for all Child Objects, which causes the Child Objects to move to the exact location of the Parent Objects.
 * SHIFT+O. If the selected Object is a Mesh toggles SubSurf onn/ off. CTRL+1 to CTRL+4 switches to the relative SubSurf level for display purpouses. Rendering SUbSurf level has no HotKey.

should not be created, should be created empty or created and populated.
 * CTRL+P. Make selected Object(s) the child(ren) of the active Object. If the Parent is a Curve then a popup offers two choices:
 * Normal Parent: Make a normal parent, the curve can be made a path later on.
 * Follow Path: Automatically creates a Follow Path constraint with the curve as target. If the Parent is an Armature, a popup offers three options:
 * Use Bone: One of the Bones becomes the parent. The Object will not be deformed. A popup permits to select the bone. This is the option if you are modelling a robot or machinery
 * Use Armature: The whole armature is used as parent for deformations. This is the choice for organic beings.
 * Use Object: Standard parenting. In the second case further options asks if Vertex groups
 * ALT+P. Clears Parent relation, user is asked if he wishes to keep or clear parent-induced transforms.
 * Clear Parent: the selected Child Objects are unlinked from the Parent. since the transformation of the Parent disappears, this can appear as if the former Children themselves are transformed.
 * ... and keep transform: the Child Objects are unlinked from the Parent, and an attempt is made to assign the current transformation, which was determined in part by the Parent, to the (former Child) Objects.
 * Clear Parent inverse: The inverse matrix of the Parent of the selected Objects is erased. The Child Objects remain linked to the Objects. This gives the user complete control over the hierarchy.

rotation is exactly linked to the mouse movement. Try moving around the rotation midpoint with the mouse. The rotation pivot point is determined by the state of the 3DWiewport Header buttons. Alternatives for starting this mode:
 * R KEY. Rotate mode. Works on selected Object(s). In Blender, a rotation is by default a rotation perpendicular to the screen, regardless of the view direction or ViewMode. The degree of
 * LMB to draw a C-shaped curve.
 * The following options are available in rotation mode:
 * Limiters:
 * CTRL: in increments of 5 degrees.
 * SHIFT: fine movements.
 * SHIFT+CTRL: in increments of 1 degree.
 * MMB toggles: A short click restricts the current rotation to the horizontal or vertical view axis.
 * X KEY, Y KEY, Z KEY constrains rotation to X, Y or Z axis of the global reference.
 * a second X KEY, Y KEY, Z KEY constrains rotation to X, Y or Z axis of the local reference.
 * a third X KEY, Y KEY, Z KEY removes constraints.
 * N KEY enters numerical input, as well as any numeric key directly.
 * ENTER finalizes.
 * ESC exits.
 * ARROWS: These keys can be used to move the mouse cursor exactly 1 pixel.
 * Rotation can be terminated with:
 * LMB SPACE or ENTER: move to a new position.
 * RMB or ESC: everything goes back to the old position.
 * Switching mode:
 * G KEY: switches to Grab.
 * S KEY: switches to Size (Scale) mode.
 * R KEY: starts Rotate mode again.
 * ALT+R. Clears Rotation. The X,Y,Z rotations of selected Objects are set to zero.

 * S KEY. Size mode or scaling mode. Works on selected Object(s). The degree of scaling is exactly linked to the mouse movement. Try to move from the (rotation) midpoint with the mouse. The pivot point is determined by the settings of the 3D Viewport header pivot Menu. Alternatives for starting scaling mode:
 * LMB to draw a V-shaped line.
 * The following options are available in scaling mode:
 * Limiters:
 * CTRL: in increments of 0.1.
 * SHIFT+CTRL: in increments of 0.01.
 * MMB toggles: A short click restricts the scaling to X, Y or Z axis. Blender calculates the appropriate axis based on the already initiated mouse movement. Click MMB again to return to free scaling.
 * X KEY, Y KEY, Z KEY constrains scaling to X, Y or Z axis of the local reference.
 * a second X KEY, Y KEY, Z KEY removes constraints.
 * N KEY enters numerical input, as well as any numeric key directly. ENTER finalizes, ESC exits.
 * ARROWS:These keys can be used to move the mouse cursor exactly 1 pixel.
 * Scaling can be terminated with:
 * LMB SPACE or ENTER: move to a new position.
 * RMB or ESC: everything goes back to the old dimension.
 * Switching mode:
 * G KEY: switches to Grab.
 * S KEY: starts Size mode again.
 * R KEY: switches to Rotation.
 * ALT+S. Clears Size. The X,Y,Z dimensions of selected Objects are set to 1.0.

 * SHIFT+S. SnapMenu:
 * Sel->Grid: Moves Object to nearest grid point.
 * Sel->Curs: Moves Object to cursor.
 * Curs->Grid: Moves cursor to nearest grid point.
 * Curs->Sel: Moves cursor to selected Object(s).
 * Sel->Center: Moves Objects to their barycentrum.
 * T KEY. Texture space mode. The position and dimensions of the texture space for the selected Objects can be changed in the same manner as described above for Grab and Size mode. To make this visible, the drawingflag EditButtons->TexSpace is set ON. A PopupMenu asks you to select: "Grabber" or "Size".
 * CTRL+T. Makes selected Object(s) track the Active Object. Old track method was Blender default tracking before version 2.30. The new method is the Constrain Track, this creates a fully editable constraint on the selected object targeting the active Object.
 * ALT+T. Clears old style Track. Constraint track is removed as all constrains are.
 * U KEY. Makes Object Single User, the inverse operation of Link

 * (CTRL+L) a pop-up appears with choices.
 * Object: if other Scenes also have a link to this Object, the link is deleted and the Object is copied. The Object now only exists in the current Scene. The links from the Object remain unchanged.
 * Object & ObData: Similar to the previous command, but now the ObData blocks with multiple links are copied as well. All selected Objects are now present in the current Scene only, and each has a unique ObData (Mesh, Curve, etc.).
 * Object & ObData & Materials+Tex: Similar to the previous command, but now Materials and Textures with multiple links are also copied. All selected Objects are now unique. They have unique ObData and each has a unique Material and Texture block.
 * Materials+Tex: Only the Materials and Textures with multiple links are copied.
 * V KEY. Switches in/out of Vertex Paint Mode.
 * ALT+V. Object-Image Aspect. This hotkey sets the X and Y dimensions of the selected Objects in relation to the dimensions of the Image Texture they have. Use this hotkey when making 2D Image compositions and multi-plane designs to quickly place the Objects in the appropriate relationship with one another.
 * W KEY. Opens Object Booleans Menu.
 * X KEY. Erase Selected? Deletes selected objects.
 * Z KEY. Toggles Solid Mode on/off.
 * SHIFT+Z. Toggles Shaded Mode on/off.
 * ALT+Z. Toggles Textured Mode on/off.

Edit Mode - General
Again, Most of these hotkeys are useful in the 3D Viewport when in Edit Mode, but many works on other Blender Object, so they are summarized here. Many Object Mode keys works in Edit mode too, but on the selected vertices or control points; among these Grab, Rotate, Scale and so on. These hotkeys are not repeated here.
 * TAB or ALT+E. This button starts and stops Edit Mode.
 * CTRL+TAB. Switches between Vertex Select, Edge Select, and Face Select modes. Holding SHIFT while clicking on a mode will allow you to combine modes.
 * A KEY. Select/Unselect all.
 * B KEY+B KEY. Circle Select. If you press BKEY a second time after starting Border Select, Circle Select is invoked. It works as described above. Use NUM+ or NUM- or MW to adjust the circle size. Leave Circle Select with RMB or ESC.
 * CTRL+H. With vertices selected, this creates a "Hook" object. Once a hook is selected, CTRL+H brings up an options menu for it.
 * N KEY. Number Panel. Simpler than the Object Mode one, in Edit Mode works for Mesh, Curve, Surface: The location of the active vertex is displayed.
 * O KEY. Switch in/out of Proportional Editing.
 * SHIFT+O. Toggles between Smooth and Sharp Proportional Editing.
 * P KEY. SeParate. You can choose to make a new object with all selected vertices, edges, faces and curves or create a new object from each separate group of interconnected vertices from a popup. Note that for curves you cannot separate connected control vertices. This operation is the opposite of Join (CTRL+J).
 * CTRL+P. Make Vertex Parent. If one object (or more than one) is/are selected and the active Object is in Edit Mode with 1 or 3 vertices selected then the Object in Edit Mode becomes the Vertex Parent of the selected Object(s). If only 1 vertex is selected, only the location of this vertex determines the Parent transformation; the rotation and dimensions of the Parent do not play a role here. If three vertices are selected, it is a `normal' Parent relationship in which the 3 vertices determine the rotation and location of the Child together. This method produces interesting effects with Vertex Keys. In EditMode, other Objects can be selected with CTRL+RMB.
 * CTRL+S. Shear. In EditMode this operation enables you to make selected forms `slant'. This always works via the horizontal screen axis.
 * U KEY. Undo. When starting Edit Mode, the original ObData block is saved and can be returned to via U KEY. Mesh Objects have better Undo, see next section.
 * W KEY. Specials PopupMenu. A number of tools are included in this PopupMenu as an alternative to the Edit Buttons. This makes the buttons accessible as shortcuts, e.g. EditButtons-> Subdivide is also `W KEY, 1 KEY'.
 * SHIFT+W. Warp. Selected vertices can be bent into curves with this option. It can be used to convert a plane into a tube or even a sphere. The center of the circle is the 3DCursor. The mid-line of the circle is determined by the horizontal dimensions of the selected vertices. When you start, everything is already bent 90 degrees. Moving the mouse up or down increases or decreases the extent to which warping is done. By zooming in/out of the 3Dwindow, you can specify the maximum degree of warping. The CTRL limiter increments warping in steps of 5 degrees.

EditMode - Mesh
This section and the following highlight peculiar EditMode Hotkeys.
 * CTRL+NUM+. Adds to selection all vertices connected by an edge to an already selected vertex.
 * CTRL+NUM-. Removes from selection all vertices of the outer ring of selected vertices.
 * ALT+CTRL+RMB. Faces loop select.
 * ALT+RMB. Edges loop select.
 * C KEY. If using curve deformations, this toggles the curve Cyclic mode on/off.
 * E KEY. Extrude Selected. "Extrude" in EditMode transforms all the selected edges to faces. If possible, the selected faces are also duplicated. Grab mode is started directly after this command is executed.
 * SHIFT+E KEY. Crease Subsurf edge. With "Draw Creases" enabled, pressing this key will allow you to set the crease weight. Black edges have no weight, edge-select color have full weight.
 * CTRL+E KEY. Mark LSCM Seam. Marks a selected edge as a "seam" for unwrapping using the LSCM mode.
 * F KEY. Make Edge/Face. If 2 vertices are selected, an edge is created. If 3 or 4 vertices are selected, a face is created.
 * SHIFT+F. Fill selected. All selected vertices that are bound by edges and form a closed polygon are filled with triangular faces. Holes are automatically taken into account. This operation is 2D; various layers of polygons must be filled in succession.
 * ALT+F. Beauty Fill. The edges of all the selected triangular faces are switched in such a way that equally sized faces are formed. This operation is 2D; various layers of polygons must be filled in succession. The Beauty Fill can be performed immediately after a Fill.
 * CTRL+F. Flip faces, selected triangular faces are paired and common edge of each pair swapped.
 * H KEY. Hide Selected. All selected vertices and faces are temporarily hidden.
 * SHIFT+H. Hide Not Selected: All non-selected vertices and faces are temporarily hidden.
 * ALT+H. Reveal. All temporarily hidden vertices and faces are drawn again.
 * ALT+J. Join faces, selected triangular faces are joined in pairs and transformed to quads

 * K KEY. Knife tool Menu.
 * Face Loop Select: (SHIFT+R) Face loops are highlighted starting from edge under mouse pointer. LMB finalizes, ESC exits.
 * Face Loop Cut: (CTRL+R) Face loops are cut starting from edge under mouse pointer. LMB finalizes, ESC exits.
 * Knife (exact): (SHIFT+K) Mouse starts draw mode. Selected Edges are cut at intersections with mouse line. ENTER or RMB finalizes, ESC exits.
 * Knife (midpoints): (SHIFT+K) Mouse starts draw mode. Selected Edges intersecting with mouse line are cut in middle regardless of true intersection point. ENTER or RMB finalizes, ESC exits.
 * L KEY. Select Linked. If you start with an unselected vertex near the mouse cursor, this vertex is selected, together with all vertices that share an edge with it.
 * SHIFT+L. Deselect Linked. If you start with a selected vertex, this vertex is deselected, together with all vertices that share an edge with it.
 * CTRL+L. Select Linked Selected. Starting with all selected vertices, all vertices connected to them are selected too.
 * M KEY. Mirror. Opens a popup asking for the axis to mirror. 3 possible axis group are available, each of which contains three axes, for a total of nine choices. Axes can be Global (Blender Global Reference); Local (Current Object Local Reference) or View (Current View reference). Remember that mirroring, like scaling, happens with respect to the current pivot point.
 * ALT+M. Merges selected vertices at barycentrum or at cursor depending on selection made on pop-up.
 * CTRL+N. Calculate Normals Outside. All normals from selected faces are recalculated and consistently set in the same direction. An attempt is made to direct all normals `outward'.
 * SHIFT+CTRL+N. Calculate Normals Inside. All normals from selected faces are recalculated and consistently set in the same direction. An attempt is made to direct all normals `inward'.
 * ALT+S. Whereas SHIFT+S scales in Edit Mode as it does in Object Mode, for Edit Mode a further option exists, ALT+S moves each vertex in the direction of its local normal, hence effectively shrinking/fattening the mesh.
 * CTRL+T. Make Triangles. All selected faces are converted to triangles.
 * U KEY. Undo. When starting Edit Mode, the original ObData block is saved and all subsequent changes are saved on a stack. This option enables you to restore the previous situation, one after the other.
 * SHIFT+U. Redo. This let you re-apply any undone changes up to the moment in which Edit Mode was entered
 * ALT+U. Undo Menu. This let you choose the exact point to which you want to undo changes.

 * W KEY. Special Menu. A PopupMenu offers the following options:
 * Subdivide: all selected edges are split in two.
 * Subdivide Fractal: all selected edges are split in two and middle vertex displaced randomly.
 * Subdivide Smooth: all selected edges are split in two and middle vertex displaced along the normal.
 * Merge: as ALT+M.
 * Remove Doubles: All selected vertices closer to each other than a given threshold (See EditMode Button Window) are merged ALT+M.
 * Hide: as H KEY.
 * Reveal: as ALT+H.
 * Select Swap: Selected vertices become unselected and vice versa.
 * Flip Normals: Normals of selected faces are flipped.
 * Smooth: Vertices are moved closer one to each other, getting a smoother object.
 * Bevel: Faces are reduced in size and the space between edges is filled with a smoothly curving bevel of the desired order.

 * X KEY. Erase Selected. A PopupMenu offers the following options:
 * Vertices: all vertices are deleted. This includes the edges and faces they form.
 * Edges: all edges with both vertices selected are deleted. If this `releases' certain vertices, they are deleted as well. Faces that can no longer exist as a result of this action are also deleted.
 * Faces: all faces with all their vertices selected are deleted. If any vertices are `released' as a result of this action, they are deleted.
 * All: everything is deleted.
 * Edges and Faces: all selected edges and faces are deleted, but the vertices remain.
 * Only Faces: all selected faces are deleted, but the edges and vertices remain.
 * Y KEY. Split. This command splits the selected part of a Mesh without deleting faces. The split parts are no longer bound by edges. Use this command to control smoothing. Since the split parts have vertices at the same position, selection with L KEY is recommended.

EditMode - Curve

 * C KEY. Set the selected curves to cyclic or turn cyclic off. An individual curve is selected if at least one of the vertices is selected.
 * E KEY. Extrude Curve. A vertex is added to the selected end of the curves. Grab mode is started immediately after this command is executed.
 * F KEY. Add segment. A segment is added between two selected vertices at the end of two curves. These two curves are combined into one curve.
 * H KEY. Toggle Handle align/free. Toggles the selected Bezier handles between free or aligned.
 * SHIFT+H. Set Handle auto. The selected Bezier handles are converted to auto type.
 * CTRL+H. Calculate Handles. The selected Bezier curves are calculated and all handles are assigned a type.
 * L KEY. Select Linked. If you start with an non-selected vertex near the mouse cursor, this vertex is selected together with all the vertices of the same curve.
 * SHIFT+L. Deselect Linked. If you start with a selected vertex, it is deselected together with all the vertices of the same curve.
 * M KEY. Mirror. Mirror selected control points exactly as for vertices in a Mesh.
 * T KEY. Tilt mode. Specify an extra axis rotation, i.e. the tilt, for each vertex in a 3D curve.
 * ALT+T. Clear Tilt. Set all axis rotations of the selected vertices to zero.
 * V KEY. Vector Handle. The selected Bezier handles are converted to vector type.

 * W KEY. The special menu for curves appears:
 * Subdivide. Subdivide the selected vertices.
 * Switch direction. The direction of the selected curves is reversed. This is mainly for Curves that are used as paths!

 * X KEY. Erase Selected. A PopupMenu offers the following options:
 * Selected: all selected vertices are deleted.
 * Segment: a curve segment is deleted. This only works for single segments. Curves can be split in two using this option. Or use this option to specify the cyclic position within a cyclic curve.
 * All: delete everything.

EditMode - Metaball

 * M KEY. Mirror. Mirror selected control points exactly as for vertices in a Mesh.

EditMode - Surface

 * C KEY. Toggle Cyclic menu. A PopupMenu asks if selected surfaces in the `U' or the `V' direction must be cyclic. If they were already cyclic, this mode is turned off.
 * E KEY. Extrude Selected. This makes surfaces of all the selected curves, if possible. Only the edges of surfaces or loose curves are candidates for this operation. Grab mode is started immediately after this command is completed.
 * F KEY. Add segment. A segment is added between two selected vertices at the ends of two curves. These two curves are combined into 1 curve.
 * L KEY. Select Linked. If you start with an non-selected vertex near the mouse cursor, this vertex is selected together with all the vertices of the same curve or surface.
 * SHIFT+L. Deselect Linked. If you start with a selected vertex, this vertex is deselected together with all vertices of the same curve or surface.
 * M KEY. Mirror. Mirror selected control points exactly as for vertices in a Mesh.
 * SHIFT+R. Select Row. Starting with the last selected vertex, a complete row of vertices is selected in the `U' or `V' direction. Selecting Select Row a second time with the same vertex switches the `U' or `V' selection.

 * W KEY. The special menu for surfaces appears:
 * Subdivide. Subdivide the selected vertices
 * Switch direction. This will switch the normals of the selected parts.
 * Mirror. Mirrors the selected vertices

 * X KEY. Erase Selected. A PopupMenu offers the following choices:
 * Selected: all selected vertices are deleted.
 * All: delete everything.

VertexPaint Hotkeys

 * SHIFT+K. All vertex colours are erased; they are changed to the current drawing colour.
 * U KEY. Undo. This undo is `real'. Pressing Undo twice redoes the undone.
 * W KEY. Shared Vertexcol: The colours of all faces that share vertices are blended.

EditMode - Font
In Text Edit Mode most hotkeys are disabled, to allow text entering.

 * RIGHTARROW. Move text cursor 1 position forward
 * SHIFT+RIGHTARROW. Move text cursor to the end of the line.
 * LEFTARROW. Move text cursor 1 position backwards.
 * SHIFT+LEFTARROW. Move text cursor to the start of the line
 * DOWNARROW. Move text cursor 1 line forward
 * SHIFT+DOWNARROW. Move text cursor to the end of the text.
 * UPARROW. Move text cursor 1 line back.
 * SHIFT+UPARROW. Move text cursor to the beginning of the text
 * ALT+U. Reload Original Data (undo). When EditMode is started, the original text is saved. You can restore this original text with this option.
 * ALT+V. Paste text. The text file /tmp/.cutbuffer is inserted at the cursor location.

UV Editor Hotkeys

 * E KEY. LSCM Unwrapping. Launches LSCM unwrapping on the faces visible in the UV editor.
 * P KEY. Pin selected vertices. Pinned vertices will stay in place on the UV editor when executing an LSCM unwrap.
 * ALT+PKEY. Un-Pin selected vertices. Pinned vertices will stay in place on the UV editor when executing an LSCM unwrap.

EdgeSelect Hotkeys

 * ALT+CLICK. Selects an Edge Loop.

FaceSelect Hotkeys

 * ALT+CLICK. Selects a Face Loop.
 * TAB. Switches to EditMode, selections made here will show up when switching back to FaceSelectMode with TAB.
 * F KEY. With multiple, co-planar faces selected, this key will merge them into one "FGon" so long as they remain co-planar (flat to each other).
 * L KEY. Select Linked UVs. To ease selection of face groups, Select Linked in UV Face Select Mode will now select all linked faces, if no seam divides them.
 * R KEY. Calls a menu allowing to rotate the UV coordinates or the VertexCol.

 * U KEY. Calls the UV Calculation menu. The following modes can the applied to the selected faces:
 * Cube: Cubical mapping, a number button asks for the cubemap size
 * Cylinder: Cylindrical mapping, calculated from the center of the selected faces
 * Sphere: Spherical mapping, calculated from the center of the selected faces
 * Bounds to x: UV coordinates are calculated from the actual view, then scaled to a boundbox of 64 or 128 pixels in square
 * Standard x: Each face gets default square UV coordinates
 * From Window: The UV coordinates are calculated using the projection as displayed in the 3DWindow

Render Window Hotkeys (to be written)
To be written (if someone could it would be very useful! : there's no place about it on the internet (or I didn't search enough) )
 * J KEY. Changes the image output. You have two slots in which to render. Very useful when you want to see what a specific change did to the image.
 * A KEY. Toggles display of alpha channel. The alpha channel of a picture determines it's transparency: Black areas are fully transparent, white areas are fully opaque and grey means semi-transparent. This can be useful when rendered images are arranged in layers, or used in applications which support alpha channels in images. To save images with alpha channel, make sure that the RGBA button in the render panel (F10) is enabled. Also, not all image formats support alpha channels, i.e. TGA and PNG do, but JPG does not. Note: Any background texturing which is done via the world panel (F8) will have an alpha value of 0, meaning it will be transparent. However, the world background will still be rendered correctly on (opaque) surfaces as reflections (i.e. mirrors) - this must be taken into account when later composing rendered images with a different background.
 * Z KEY. Toggle Zoom (2x). This will zoom the rendered image. The mouse can still be used to scroll around the zoomed image.

title: Blender 3D: Noob to Pro/Hot Keys


text: Van Dwelling/Stories from the Road

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Van Dwelling/Stories from the Road


text:
User:BrokenSegue

I am an administrator on the english wikipedia. If you must contact me quickly see me here.

Also can find me at...

 * English Wikipedia
 * Commons
 * Simple English
 * Wikiquote
 * Wiktionary
 * Meta

title: User:BrokenSegue


text:
User talk:BrokenSegue

I may not see this page for some time since I edit only sporadically. If you want to chat see my talk page.

title: User talk:BrokenSegue


text:
User talk:61.95.194.42

what is the basis?

title: User talk:61.95.194.42


text:
User talk:Walabio~enwikibooks

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Walabio. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Walabio~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:51, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:38, 19 April 2015 (UTC)

title: User talk:Walabio~enwikibooks


text:
User:Walabio~enwikibooks

=	Ŭ.	A.	L. A.	B. I.	O. =

Ŭireless

Artificial

Lifeform

Assembled For

Battle And

Intensive

Observation

title: User:Walabio~enwikibooks


text:
User:JamesTeterenko~enwikibooks

Hello.

I do not expect to monitor this frequently. If you want to leave me a message, do so on my Wikipedia page.

James.

title: User:JamesTeterenko~enwikibooks


text:
Cookbook talk:Ukrainian Cabbage Soup (Kapusniak)

Borshch vs. Kapusniak
I have moved this article from Borshch to Kapusniak. In Ukrainian cuisine, borshch is beat soup and kapusniak is cabbage soup. Looking at the ingreadients, this is clearly a recipe for kapusniak. -- JamesTeterenko 05:13, 30 Nov 2004 (UTC)


text:
Cookbook:Ukrainian Cornmeal Stuffing (Nachynka)

| Ukrainian Cuisine | Side Dishes

Nachynka in Ukrainian literally means stuffing. This dish is usually not stuffed inside anything, but served as a side dish.

Ingredients

 * ½ cup (125 g / 4.4 oz) butter
 * 1 cup (140 g / 4.9 oz) cornmeal
 * 3 cups (750 ml / 1.6 pints) homogenized milk
 * 2 large eggs
 * 1 tsp salt
 * ½ tsp sugar
 * 1 tsp baking powder
 * Butter

Procedure

 * 1) Preheat oven to 350°F (175°C).
 * 2) Melt butter in a pot on medium heat.
 * 3) Add cornmeal. Stir mixture to warm up the cornmeal.
 * 4) Add milk. Stir until mixture has thickened.
 * 5) Beat eggs. Beat in salt, sugar, and baking powder.
 * 6) Slowly add some of the thickened cornmeal mixture to the egg mixture while mixing to temper the eggs.
 * 7) Stir the egg mixture into the rest of the cornmeal.
 * 8) Pour the mixture into a greased casserole dish.
 * 9) Bake at 350°F (175°C) for 30–40 minutes or until the top has browned.

Notes, tips, and variations

 * While you are thickening the cornmeal mixture, you have enough time to beat the eggs.
 * Doubling the recipe will yield enough to fill a 2 litre casserole dish.
 * For different flavour variations:
 * Mix in a ¼ teaspoon of cinnamon.
 * Chop up a small onion and cook till tender in the butter, before adding cornmeal.

Warnings

 * Do not add the egg mixture to the cornmeal. Some of the eggs will cook on impact resulting in streaks of cooked eggs and a heavier Nachynka.


text:
User:CipherGnome

Current Task on Wiki Books
Cryptography

title: User:CipherGnome


text:
Cryptography/Hashes

A digest, sometimes simply called a hash, is the result of a hash function, a specific mathematical function or algorithm, that can be described as $$f(message) = hash$$. "Hashing" is required to be a deterministic process, and so, every time the input block is "hashed" by the application of the same hash function, the resulting digest or hash is constant, maintaining a verifiable relation with the input data. Thus making this type of algorithms useful for information security.

Other processes called cryptographic hashes, function similarly to hashing, but require added security, in the form or a level of guarantee that the input data can not feasibly be reversed from the generated hash value. I.e. That there is no useful inverse hash function $$f'(hash) = message$$

This property can be formally expanded to provide the following properties of a secure hash:
 * Preimage resistant : Given H it should be hard to find M such that H = hash(M).
 * Second preimage resistant: Given an input m1, it should be hard to find another input, m2 (not equal to m1) such that hash(m1) = hash(m2).
 * Collision-resistant: it should be hard to find two different messages m1 and m2 such that hash(m1) = hash(m2). Because of the birthday paradox this means the hash function must have a larger image than is required for preimage-resistance.

A hash function is the implementation of an algorithm that, given some data as input, will generate a short result called a digest. A useful hash function generates a fixed length of hashed value.

For Ex: If our hash function is 'X' and we have 'wiki' as our input... then X('wiki')= a5g78 i.e. some hash value.

Applications of hash functions
Non-cryptographic hash functions have many applications, but in this section we focus on applications that specifically require cryptographic hash functions:

A typical use of a cryptographic hash would be as follows: Alice poses to Bob a tough math problem and claims she has solved it. Bob would like to try it himself, but would yet like to be sure that Alice is not bluffing. Therefore, Alice writes down her solution, appends a random nonce, computes its hash and tells Bob the hash value (whilst keeping the solution secret). This way, when Bob comes up with the solution himself a few days later, Alice can verify his solution but still be able to prove that she had the solution earlier.

In actual practice, Alice and Bob will often be computer programs, and the secret would be something less easily spoofed than a claimed puzzle solution. The above application is called a commitment scheme. Another important application of secure hashes is verification of message integrity. Determination of whether or not any changes have been made to a message (or a file), for example, can be accomplished by comparing message digests calculated before, and after, transmission (or any other event) (see Tripwire, a system using this property as a defense against malware and malfeasance). A message digest can also serve as a means of reliably identifying a file.

A related application is password verification. Passwords should not be stored in clear text, for obvious reasons, but instead in digest form. In a later chapter, Password handling will be discussed in more detail—in particular, why hashing the password once is inadequate.

A hash function is a key part of ../message authentication/ (HMAC).

Most distributed version control systems (DVCSs) use cryptographic hashes.

For both security and performance reasons, most digital signature algorithms specify that only the digest of the message be "signed", not the entire message. The Hash functions can also be used in the generation of pseudo-random bits.

../SHA-1/, ../MD5/, and RIPEMD-160 are among the most commonly-used message digest algorithms as of 2004. In August 2004, researchers found weaknesses in a number of hash functions, including MD5, SHA-0 and RIPEMD. This has called into question the long-term security of later algorithms which are derived from these hash functions. In particular, SHA-1 (a strengthened version of SHA-0), RIPEMD-128 and RIPEMD-160 (strengthened versions of RIPEMD). Neither SHA-0 nor RIPEMD are widely used since they were replaced by their strengthened versions.

Other common cryptographic hashes include ../SHA-2/ and ../Tiger/.

Later we will discuss the "birthday attack" and other techniques people use for ../Breaking Hash Algorithms/.

Hash speed
When using hashes for file verification, people prefer hash functions that run very fast. They want a corrupted file can be detected as soon as possible (and queued for retransmission, quarantined, or etc.). Some popular hash functions in this category are:
 * BLAKE2b
 * SHA-3

In addition, both SHA-256 (SHA-2) and SHA-1 have seen hardware support in some CPU instruction sets.

When using hashes for password verification, people prefer hash functions that take a long time to run. If/when a password verification database (the  file, the   file, etc.) is accidentally leaked, they want to force a brute-force attacker to take a long time to test each guess. Some popular hash functions in this category are:
 * Argon2
 * scrypt
 * bcrypt
 * PBKDF2

We talk more about password hashing in the Cryptography/Secure Passwords section.

title: Cryptography/Hashes


text:
Cryptography/Asymmetric Ciphers

In cryptography, an asymmetric key algorithm uses a pair of different, though related, cryptographic keys to encrypt and decrypt. The two keys are related mathematically; a message encrypted by the algorithm using one key can be decrypted by the same algorithm using the other. In a sense, one key "locks" a lock (encrypts); but a different key is required to unlock it (decrypt).

Some, but not all, asymmetric key cyphers have the "public key" property, which means that there is no known effective method of finding the other key in a key pair, given knowledge of one of them. This group of algorithms is very useful, as it entirely evades the key distribution problem inherent in all symmetric key cyphers and some of the asymmetric key cyphers. One may simply publish one key while keeping the other secret. They form the basis of much of modern cryptographic practice.

A Postal Analogy
An analogy which can be used to understand the advantages of an asymmetric system is to imagine two people, Alice and Bob, sending a secret message through the public mail. In this example, Alice has the secret message and wants to send it to Bob, after which Bob sends a secret reply.

With a symmetric key system, Alice first puts the secret message in a box, and then locks the box using a padlock to which she has a key. She then sends the box to Bob through regular mail. When Bob receives the box, he uses an identical copy of Alice's key (which he has somehow obtained previously) to open the box, and reads the message. Bob can then use the same padlock to send his secret reply.

In an asymmetric key system, Bob and Alice have separate padlocks. Firstly, Alice asks Bob to send his open padlock to her through regular mail, keeping his key to himself. When Alice receives it she uses it to lock a box containing her message, and sends the locked box to Bob. Bob can then unlock the box with his key and read the message from Alice. To reply, Bob must similarly get Alice's open padlock to lock the box before sending it back to her. The critical advantage in an asymmetric key system is that Bob and Alice never need send a copy of their keys to each other. This substantially reduces the chance that a third party (perhaps, in the example, a corrupt postal worker) will copy a key while it is in transit, allowing said third party to spy on all future messages sent between Alice and Bob. In addition, if Bob were to be careless and allow someone else to copy his key, Alice's messages to Bob will be compromised, but Alice's messages to other people would remain secret, since the other people would be providing different padlocks for Alice to use...

Actual Algorithms - Two Linked Keys
Fortunately cryptography is not concerned with actual padlocks, but with encryption algorithms which aren't vulnerable to hacksaws, bolt cutters, or liquid nitrogen attacks.

Not all asymmetric key algorithms operate in precisely this fashion. The most common have the property that Alice and Bob own two keys; neither of which is (so far as is known) deducible from the other. This is known as public-key cryptography, since one key of the pair can be published without affecting message security. In the analogy above, Bob might publish instructions on how to make a lock ("public key"), but the lock is such that it is impossible (so far as is known) to deduce from these instructions how to make a key which will open that lock ("private key"). Those wishing to send messages to Bob use the public key to encrypt the message; Bob uses his private key to decrypt it.

Weaknesses
Of course, there is the possibility that someone could "pick" Bob's or Alice's lock. Unlike the case of the one-time pad or its equivalents, there is no currently known asymmetric key algorithm which has been proven to be secure against a mathematical attack. That is, it is not known to be impossible that some relation between the keys in a key pair, or a weakness in an algorithm's operation, might be found which would allow decryption without either key, or using only the encryption key. The security of asymmetric key algorithms is based on estimates of how difficult the underlying mathematical problem is to solve. Such estimates have changed both with the decreasing cost of computer power, and with new mathematical discoveries.

Weaknesses have been found in promising asymmetric key algorithms in the past. The 'knapsack packing' algorithm was found to be insecure when an unsuspected attack came to light. Recently, some attacks based on careful measurements of the exact amount of time it takes known hardware to encrypt plain text have been used to simplify the search for likely decryption keys. Thus, use of asymmetric key algorithms does not ensure security; it is an area of active research to discover and protect against new and unexpected attacks.

Another potential weakness in the process of using asymmetric keys is the possibility of a 'Man in the Middle' attack, whereby the communication of public keys is intercepted by a third party and modified to provide the third party's own public keys instead. The encrypted response also must be intercepted, decrypted and re-encrypted using the correct public key in all instances however to avoid suspicion, making this attack difficult to implement in practice.

A Brief History
The first known asymmetric key algorithm was invented by Clifford Cocks of GCHQ in the UK. It was not made public at the time, and was reinvented by Rivest, Shamir, and Adleman at MIT in 1976. It is usually referred to as RSA as a result. RSA relies for its security on the difficulty of factoring very large integers. A breakthrough in that field would cause considerable problems for RSA's security. Currently, RSA is vulnerable to an attack by factoring the 'modulus' part of the public key, even when keys are properly chosen, for keys shorter than perhaps 700 bits. Most authorities suggest that 1024 bit keys will be secure for some time, barring a fundamental breakthrough in factoring practice or practical quantum computers, but others favor longer keys.

At least two other asymmetric algorithms were invented after the GCHQ work, but before the RSA publication. These were the Ralph Merkle puzzle cryptographic system and the Diffie-Hellman system. Well after RSA's publication, Taher Elgamal invented the Elgamal discrete log cryptosystem which relies on the difficulty of inverting logs in a finite field. It is used in the SSL, TLS, and DSA protocols.

A relatively new addition to the class of asymmetric key algorithms is elliptic curve cryptography. While it is more complex computationally, many believe it to represent a more difficult mathematical problem than either the factorisation or discrete logarithm problems.

Practical limitations and hybrid cryptosystems
One drawback of asymmetric key algorithms is that they are much slower (factors of 1000+ are typical) than 'comparably' secure symmetric key algorithms. In many quality crypto systems, both algorithm types are used; they are termed 'hybrid systems'. PGP is an early and well-known hybrid system. The receiver's public key encrypts a symmetric algorithm key which is used to encrypt the main message. This combines the virtues of both algorithm types when properly done.

We discuss asymmetric ciphers in much more detail later in the ../Public Key Overview/ and following sections of this book.

Crittografia/Cifrature asimmetriche

title: Cryptography/Asymmetric Ciphers


text:
Cryptography/Common flaws and weaknesses

Cryptography relies on puzzles. A puzzle that can not be solved without more information than the cryptanalyst has or can feasibly acquire is an unsolvable puzzle for the attacker. If the puzzle can be understood in a way that circumvents the secret information the cryptanalyst doesn't have then the puzzle is breakable. Obviously cryptography relies on an implicit form of security through obscurity where there currently exists no likely ways to understand the puzzle that will break it. The increasing complexity and subtlety of the mathematical puzzles used in cryptography creates a situation where neither cryptographers or cryptanalysts can be sure of all facets of the puzzle and security.

Like any puzzle, cryptography algorithms are based on assumptions - if these assumptions are flawed then the underlying puzzle may be flawed.

Secret knowledge assumption - Certain secret knowledge is not available to unauthorised people. Attacks such as packet sniffing, keylogging and meet in the middle attacks try to breach this assumption.

Secret knowledge masks plaintext - The secret knowledge is applied to the plaintext so that the nature of the message is no longer obvious. In general the secret knowledge hides the message in way so that the secret knowledge is required in order rediscover the message. Attacks such as chosen plaintext, brute force and frequency analysis try to breach this assumption


text:
Cryptography/Proportionality of Secrecy

"The more secret information you know, the more successful the concealment of the plaintext."

It is important to realize that any crypto system in its design is an exercise in resource allocation and optimization.

If we were to return to the postal analogy used in the discussion of Asymmetric Ciphers. Suppose Alice has a secret message to send to Bob in the mail. Alice could put the message in her lock box and use Bob's padlock to lock it allowing Bob to open it with his key, as describe earlier. But if it were a really important message or Alice and Bob had a higher expectation of the opponent they wished to thwart (Bob's girlfriend knows where Bob keeps his keys) Alice and Bob might want to resort to a more complicated crypto system. For example Bob could have multiple keys, one he keeps on his key chain, one he keeps in a rented Post Office box and one that is in a box in a Swiss bank vault. Bob might welcome this sort of security for really serious messages but for day to day messages between Bob and Alice Bob will no doubt find a daily flight to Switzerland rather expensive inconvenient. All crypto systems must face a resource trade-off between convenience and security.

title: Cryptography/Proportionality of Secrecy


text:
Cryptography/Random Quality

"The higher the entropy of a random source, the better the quality of the random data it generates."

Many cryptographic algorithms call for a random source, either in key-generation, or some other primitive. Implementors must be extremely cautious in selecting that random source, or they will open themselves up to attack. For example, the only formally proven encryption technique, the one time pad, requires a completely random and unbiased key-stream that is at least as long as the message itself, and is never reused. There are many implicit complications presented in this requirement, as the only sources of "true randomness" are in the physical world (silicon decay is an example), and are impossible to implement in software. Thus, it is often only feasible to obtain pseudo-randomness. Pseudo-Random Number Generators, or PRNGs, use multiple sources that are thought to be difficult to predict (mouse movement, least significant digits of the computer clock, network statistics, etc.) in order to generate an entropy pool, which is passed through assorted algorithms which attempt to remove any biases, and then used as a seed for a pre-determined static set of numbers. Even with all of the sources of entropy, a determined attacker can usually reduce the effective strength of an implementation by cutting out some of the factors—for instance making educated guesses on the time. PRNGs that are thought to be acceptable for cryptographic purposes are called Cryptographically-Secure Pseudo-Random Number Generators, or CSPRNGs.

Entropy
In terms of information theory, entropy is defined as the measure of the amount of information expressed in a string of bits. For example a traditional gender classification contains 1-bit of entropy as it can be represented using a 1 for males and a 0 for females. The quality of a random source is determined by just how much entropy it generates, if the entropy is less than the actual number of bits then there is some repetition of information. The more information that is repeated, or the shorter the period of some PRNG, the lower the entropy and the weaker and more predictable the source of randomness. Therefore in cryptography one seeks to get as close to perfect randomness as possible with the resources available - where a perfect random number generator creates a sequence of bits which are unpredictable no matter how large a sample of previously generated bits is obtained.

title: Cryptography/Random Quality


text:
Blender 3D: Noob to Pro/Nav Demo Page 2

This is page two of this three-page sample wikibook, so it has link to the next page as well as a link to the previous page.

=Test Tutorial=

This is a test tutorial. Please feel free to play around with this and try new things.

title: Blender 3D: Noob to Pro/Nav Demo Page 2


text:
Blender 3D: Noob to Pro/Nav Demo Page 3

This is the last page of this sample Blender wikibook, and therefore does not link to a Next Page.

title: Blender 3D: Noob to Pro/Nav Demo Page 3


text:
Blender 3D: Noob to Pro/Nav Demo Page 1

Notice that this is the first page in this example book, and therefore does not link to a previous page.

title: Blender 3D: Noob to Pro/Nav Demo Page 1


text:
User:Jni

See my user page in English Wikipedia.

title: User:Jni


text:
Tok Pisin/Adjectives

Tok Pisin > Tok Pisin Adjectives

Main types of adjectives
There are basically four types of adjectives in Tok Pisin:

Class 1 adjectives They have the suffix -pela in attributive position, and also when they follow the copula. Example:
 * bikpela, big. Bikpela haus, A big building, Haus i bikpela, The building is big.

Class 2 adjectives They have the suffix -pela in attributive position, but they usually lose it when they follow the copula. Example:
 * kolpela, cold. Kolpela wara, Cold water but Wara i kol, The water is cold.

Class 3 adjectives They do not have the suffix -pela. Example:
 * liklik, small. Liklik haus, A small building, Haus i liklik, The building is small.

Class 4 adjectives They do not have the suffix -pela either. Unlike other adjectives, they stand after the noun in attributive position. Example:
 * nogut, bad. Tok nogut, bad words, insults.

Numerals
Numerals belong to class 1 (they have -pela in all positions), or to class 3 (they never have -pela, and stand before the noun in attributive position). Examples: More about numerals
 * tripela, three. Tripela man o meri, Three persons.
 * tupela ten or twenti, 20. Tupela ten pikinini or Twenti pikinini, 20 children.
 * nambatri, third. Bilong nambatri kain, Of the third type.

Quantifiers
Quantifiers also belong to class 1 (they have -pela in all positions), or to class 3 (they never have -pela, and stand before the noun in attributive position). Examples:
 * sampela, some. Sampela buk, Some books.
 * planti, many. Planti buk, Many books.

More about quantifiers

title: Tok Pisin/Adjectives


text:
Talk:Blender 3D: Noob to Pro

Terrific project, may I help at all?
Hi all. I am a complete n00b to 3d graphics and to Blender, so I'm a good test bunny for an instructional guide. I have zero background in 3d, animation, ray tracing, or any of the major features of Blender. However I am literate in several computer languages, have been a professional software engineer (retired now), and have copy-editing and technical writing skills. I am making my way through this wikibook with gratitude and pleasure and would like to contribute something to the project.

I took the liberty of adding a Question to the Dicing with Depth chapter, because I had seen other Questions added by other readers to previous chapters. Then I realised should have put this question into the Discussion page for that chapter instead; please bear with me while I learn the local etiquette, and apologies for the inappropriate editing. I will fix it asap.

I am very keen on both Blender and this tutorial. Please let me know how I might contribute; for example, if notes on differences between the UI as described here and the current 2.78 version would be useful, I will probably notice these differences and could report them to the authors and/or update text here and there.

Many thanks for this excellent resource

Tazling (discuss • contribs) 21:12, 14 November 2016 (UTC)

How much time is this course taking in average ?
I mean, do you have any data or experience to share, so I could get an approximation of the time needed to complete each unit, including the moments when you apply the tutorials ? It would be great, so I could build myself a curriculum, and break it on a Day by Day basis. It think I'm going to do this course, and share the time datas, but if anyone can help me, it would really accelerate my learning speed. Thanks

Update to v2.8x
It should be noted that v2.80 has significantly changed user interface, and default keyboard as well, which results most of the menus moved to somewhere else and the hotkeys changed. I can't quite try to update it since I cannot finish them all and it'd leave half of the book at v2.7 and the scattered pages on 2.8. Would be neat to tag every page which version it is suited for, and keep them updating gradually. Unfortunately I can't find time to do all of these. Maybe someone else. --Grin (discuss • contribs) 11:43, 10 January 2020 (UTC)

 * I'm hoping to get some updates made to the pages as soon as possible, but I'm held back a bit because I need to make a couple more edits before I can upload photos! Theonixie (discuss • contribs) 04:01, 23 April 2021 (UTC)

Major cleanup required
A beginner reading this book in the current state is going to be very confused by the absolute mess of different Blender versions. It will switch major versions even during the same tutorial, and the vast majority is so heavily outdated it's not helpful anymore. Keeping it up in the current state is likely more harmful than helpful. If there is no manpower to update it properly, please put a big warning on the front page so no beginner wastes their time going through it. Wolfos123 (discuss • contribs)

 * Agreed. Most of the content here is outdated, unorganized, and has an inconsistent writing style. I want to help get this book back on track but frankly I think writing another book, targeted for Blender 3.0 and later, would be much easier than trying to maintain the dozens of outdated pages here. The fact that some of the pages here were written well over a decade ago doesn't help much.
 * Money-lover-12345 (discuss • contribs) 01:10, 20 January 2023 (UTC)
 * Money-lover-12345 (discuss • contribs) 01:10, 20 January 2023 (UTC)

title: Talk:Blender 3D: Noob to Pro


text:
Tok Pisin/Class 1 adjectives

Tok Pisin > Tok Pisin Adjectives > Tok Pisin Class 1 Adjectives

Definition
Tok Pisin Class 1 adjectives have the suffix -pela in attributive position, and also when they follow the copula.

List of very useful Class 1 adjectives
yangpela - young nupela - new olpela - old

bikpela - big draipela - huge hatpela - hard strongpela - strong

longpela - long sotpela - short raunpela - round

retpela - red blakpela - black blupela - blue braunpela - brown grinpela - green waitpela, wetpela - white

gutpela - good naispela - nice, beautiful switpela - sweet

dispela, despela, tispela - this, that sampela - some narapela - another, other arapela - other diskain, tiskain - this kind of

Reference

 * Wurm, S.A. et Mühläusler (eds) (1985). Handbook of Tok Pisin (New Guinea Pidgin). Canberra : Australian National University. ISBN 0858833212.

Exemples of use found on the Internet

 * Orait papa bilong kanu i larim wanpela yangpela man i was i stap long kanu. > There the father of the canoe left a young boy to watch over it. (Sepik Stories)
 * Yumi mas lainim ol pikinini bilong yumi... long stretpela pasin taim ol i yangpela yet.> We have to teach our kids... about good habits while they are still young. (CBS Press)
 * Kantri ibin bungim bikpela heve longpela taim tumas na mi hop olsem dispela eleksin bai bringim ol gutpela lida. > The country have been facing some big problems for far too long a time, and I hope that this election will bring good leaders. (asiapacific)
 * ...dispela wei bilong developmen i gutpela. > ...this form of development is good. (Time to talk, ABC)

title: Tok Pisin/Class 1 adjectives


text:
Tok Pisin/Class 2 adjectives

Tok Pisin > Tok Pisin Adjectives > Tok Pisin Class 2 Adjectives

Definition
Tok Pisin Class 2 adjectives have the suffix -pela in attributive position, but they lose it when they follow the copula.

List of very useful Class 2 adjectives
draipela (em i drai) - dry hevipela (em i hevi) - heavy, important maupela (em i mau) - ripe strongpela (em i strong) - strong taitpela (em i tait) - tight sappela (em i sap) - sharp

stretpela (em i stret) - correct trupela (em i tru) - true

hatpela (em i drai) - hot kolpela (em i kol) - cold

yelopela (em i yelo) - yellow

Reference

 * Wurm, S.A. et Mühläusler (eds) (1985). Handbook of Tok Pisin (New Guinea Pidgin). Canberra : Australian National University. ISBN 0858833212.

Exemples of use found on the Internet

 * Sapos pipol or ol kampani ino bihainim stretpela we bilong yusim..., kain pasin ia iken kamapim bagrap long helt bilong yumi pipol. > If people or companies don't use this product correctly (in a correct way), it may affect our health. (Radio Australia)
 * Mi no longlong? Tingting blong mi i stret no mo. > Am I crazy or what? My thoughts aren't straight any more. (Tua Theater)
 * Mi laik wara tru, olsem kolpela wara tru. > I was longing for water, really fresh water. (Akono na Silimala)
 * Tasol long taim bilong ren, ...wara i kol, i olsem ais. > But when it rains, the water is cold as ice. (Masalai Wokim Tripela Ailan)

title: Tok Pisin/Class 2 adjectives


text:
User talk:213.202.153.55

Please stop. If you continue to use Wikibooks for advertising, you will be temporarily blocked from editing.
 * 17:42, 30 Nov 2004 - Placed nonsense hyperlinks on Russian:Internet resources

title: User talk:213.202.153.55


text:
User talk:213.91.217.118

Please stop. If you continue to use Wikibooks for advertising, you will be temporarily blocked from editing.
 * 10:04, 25 Nov 2004 - Placed nonsense hyperlinks on Russian:Internet resources
 * 15:36, 26 Nov 2004 - Placed nonsense hyperlinks on Cell Biology

title: User talk:213.91.217.118


text:
Introduction to Philosophy/Logic/Modal Logic

Introduction to Philosophy > Logic > Modal Logic

Modality
"Still holding the copy of The Grasshopper Lies Heavy, Robert said, 'What sort of alternate present does this book describe?' Betty, after a moment, said, 'One in which Germany and Japan lost the war.' They were all silent. (Philip K. Dick, The Man in the High Castle)" This is the basic premise of modal logic: some things could have been otherwise. In our everyday reasoning, we distinguish between necessary truths and statements that just happen to be true but could have been false. We say that the latter are contingently true, or that their negation is possible. The concepts of necessary, contingent, possible and impossible are very closely related: something is necessary if it is impossible for it to be false, and something is possible if its falsehood is not necessary. Contingency is the negation of necessity, and impossibility the negation of possibility. Modal logic attempts to include the notions of modality (necessary, contingent, possible and impossible, among others) into the structure of classical logic (propositional logic and predicate calculus) and is therefore an extension of classical logic.

Syntax
Modal logic introduces three new symbols into classical logic: $$\Box$$(necessary),$$\Diamond$$ (possible) and $$\Rightarrow$$ (if, then). Formulae are constructed in the usual way, with the following rules added before the closure clause (see the rules for Well-Formed Formulae in propositional calculus):  If $$\alpha$$ is a well-formed formula, then $$\Box \alpha$$ and $$\Diamond \alpha$$ are also well-formed formulae. If $$\alpha$$ and $$\beta$$ are well-formed formulae, then $$\alpha \Rightarrow \beta$$ is also a well formed formula.  Actually, one can define the modal propositional calculus axiomatically using just $$\Box$$ or $$\Diamond$$. For example, if we wish to define $$\Diamond$$ and $$\Rightarrow$$ in terms of $$\Box$$, $$\Diamond \alpha$$ can be defined simply as a abbreviated notation for $$\neg \Box \neg \alpha$$ and $$\alpha \Rightarrow \beta$$ as another way of writing $$\Box (\alpha \rightarrow \beta)$$.


text:
Internet Technologies/Remote Desktop Connection

Note: This is for Windows. Linux users may be interested in VNC.

What you can do with Remote Desktop Connection
Wish you could access your home desktop from work? Going on vacation, but want to be able to use your home computer? This can be easily done with Windows XP’s built in Remote Desktop Connection feature.

Some companies also use remote Desktop for technical support. Cisco systems (among others) allow engineers to use remote desktop to look in on issues and correct them. This troubleshooting method can save time and money for numerous industries.

Setup
'''In order to take advantage of remote desktop connection, you have to have port 3389 (TCP) open on your firewall/router. To do so consult your firewall or router’s manual.'''

User Password
In order for remote desktop to work, you have to set a password on your user account. Follow these steps to set a password.

 * 1) Go to Start then to My Computer (or go to your desktop and go to My Computer)
 * 2) Go to Control Panel
 * 3) Go to User Accounts
 * 4) Click on your user account
 * 5) Go to Create a Password
 * 6) Fill everything out and hit Create Password

Enabling Remote Desktop Connection (on the host)
Now you’re ready to enable remote desktop. You have to be logged in as an administrator

 * 1) Go to Start then right click on My Computer (or right click My Computer on your desktop)
 * 2) Select Properties
 * 3) Go to the Remote tab
 * 4) Check “Allow users to connect remotely to this computer”
 * 5) If you have other users that you want to allow remote access to the computer then go to Select Remote Users and select add and type in the user account name of the user where it says “Enter the object names to select”

Getting your IP address
You now have to get your ip address. Please see Finding Your IP Address for more information.

Connecting to the host machine from another machine
Now, this is how to connect to your computer from using Remote Desktop Connection. If you’re using a computer that doesn’t have Windows XP then you can load the client side of Remote Desktop Connection. Get it at http://www.microsoft.com/windowsxp/pro/downloads/rdclientdl.asp and then you can follow these steps.

 * 1) Go to Start
 * 2) Go to All Programs
 * 3) Go to Accessories
 * 4) Go to Communications
 * 5) Click Remote Desktop Connection
 * 6) Go to Options and modify the options as you seem fit
 * 7) Type in your IP address by 'Computer'
 * 8) Log in with your username and password

You should now have access to your computer. Take note that playing music will not work well with over the remote connection unless you have it stay at the local computer (change this in the options). Also, if you view images and webpages over the connection it will be very slow. Oh, and of course, you can’t play games like Quake 3 over the connection, this simply isn’t possible.

Similar software does exist for other operating systems, such as rdesktop.

Pros

 * You can access your documents from anywhere.
 * You can keep your IRC (internet relay chat) and IM clients open on one machine and then connect to your computer from other places. Thus you don’t have to leave your screen names and whatnot behind on other people’s computers.
 * Check and save email in YOUR email client instead of using webmail.
 * Perhaps your workplace/school doesn’t allow you to run IRC or IM clients, but you can use remote desktop. Then you can log on to your computer and IRC and IM from there.
 * You could use this as some sort of tech support method.
 * You can use Remote Desktop if you can’t always have a monitor plugged in to the box.
 * Great for servers, you don't need to buy keyboard, mouse, monitor etc. to use.

Cons
See the following link for more information on the procedure for enabling it.
 * Applications with high graphics abilities can't be used (due to network and graphical lag).
 * In order to start the server you have to log into your account, meaning if you’re on vacation and your computer locks up, you’ll have to have someone else reboot the computer and log in with your password. But this problem can be fixed by modifying a DLL file and adding a registry value. And up to 2 more computers can be connected remotely at the same time.

http://www.golod.com/2005/10/enabling-multiple-remote-desktop-sessions-in-windows-xp-professional-and-media-center-edition-2005/

 * You need a broadband connection that is always on, if you want to be able to access it all the time. Dialup won’t cut it there.


text:
Hungarian

Welcome to the Hungarian Wikibook, a free online textbook on the Hungarian language. Hungarian is spoken by roughly 14.5 million people in Hungary and elsewhere. Hungary is a country in the south-eastern region of Central Europe, bordering the Balkan Peninsula. Hungarian is spoken in Europe but is not an Indo-European language, and bears little resemblance to languages of the Indo-European family. It is classed as a Finno-Ugric language, its closest relatives being Finnish, Estonian and some similar languages spoken in the parts of Russia adjoining Finland and Estonia.

Hungarian is spoken in a number of countries since the Treaty of Trianon redefined Hungary's borders in 1920 and because of the emigration that followed the outbreak of World War II and the Revolution of 1956:

(To those working to develop this page, let's collaborate on the discussion page)

Lessons

 * INTRODUCTION
 * LESSON ONE

 * LESSON TWO

 * LESSON THREE
 * LESSON FOUR
 * VOCABULARY
 * LIST OF EXERCISES
 * COMMON PHRASES
 * OFFENSIVE PHRASES

 * ADDITIONAL RESOURCES

Maďarština הונגרית Węgierski Macarca

title: Hungarian


text:
User talk:Koos Jol

Name choice
Did you like the browser or were you around before it using this name? --Me at work 22:43, 30 Nov 2004 (UTC)

title: User talk:Koos Jol


text:
User talk:Rpugatch~enwikibooks

Remote Desktop Connection
Can you add a bit on how to route it over SSH? It would be nice to have secure RDC on windows. There is information out there about this but not on Wikibooks, and none clear enough for me to even attempt. --Me at work 22:44, 30 Nov 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Rpugatch. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Rpugatch~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:39, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:26, 19 April 2015 (UTC)

title: User talk:Rpugatch~enwikibooks


text:
User talk:Me at work~enwikibooks

Hello Me at work, As answer to your question, yes, I like the browser, but that's not the reason for my name. I've had this name before on whole the internet: nl.wikipedia, MSN and so on. I've to confess I don't have the browser myself (at this moment). My opinion says that you should have the right browser on the right platform (and I use Windows XP at this moment.) When I will install Liunux Redhat (this Christmas), I'll surely take Firefox, because I've seen the preview and also the full version on the pc of a friend of me and I liked it.Firefox 18:08, 1 Dec 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Me at work. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Me at work~enwikibooks that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:29, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:14, 19 April 2015 (UTC)

title: User talk:Me at work~enwikibooks


text:
Finding Your IP Address

Note: This documentation assumes you already know what an IP address is, see here for more information on IP addresses.

Windows 98 And Above
It will say something like Windows IP Configuration
 * 1) Go to Start
 * 2) Click on Run
 * 3) Type cmd and hit enter (use command in Win98)
 * 4) Type ipconfig and hit enter

Ethernet adapter Local Area Connection Network Connection: Connection-specific DNS Suffix. : IP Address. . . . . . . . . . . . : 192.168.0.102 <-your IP address Subnet Mask. . . . . . . . . . . : 255.255.255.0 Default Gateway. . . . . . . . . : 192.168.0.1    <-your system Gateway

If you are on broadband, or use a network modem or your internet connection is not through your current PC, that IP is a local ip. Meaning, that is the IP my router gave me, not the IP the world sees. This means that the address is only specific to me in my local network.

If you use dialup with a modem on your current computer, that will be your external IP.

Windows XP
You can double click on the two computers on the task bar at the lower right hand corner also known as your Local Area Connection. Once that opens you can see the status of your local area connection as well as the activity of it. The status referring to whether or not it's connected, how long it has been connected, and the speed of the connection. The activity referring to the number of packets sent and received. Then you click the Support tab. The support tab shows you your IP address, the address type, subnet mask and default gateway if you have one. You can also click details. Details shows you your Physical (MAC) address, IP address, the subnet mask address, the address for your DHCP server, your DNS server as well as when you obtained the lease for your IP address and when it expires.

Windows VISTA

 * Click Start --> Control Panel--> Network and Internet--> Network and Sharing Center
 * In the left side pane select the fifth option Manage Network Connections.
 * In the new window right click Local Area Connection (or Wireless Network connection in case your connected to the net via wireless).
 * Select the second option Status and in the Local Area Connection Status dialog click the Details button.
 * The Network Connection Details window will appears with Property and Value.
 * In that you can find the fifth property as IPv4 Address and a value similar to this format 192.168.1.2.
 * That's the IP address.

Windows 7

 * Click on Windows Logo -->Control Panel --> Network and Internet --> Network and Sharing Center.
 * In the left side pane select the second option "Change Adapter Settings".
 * In the new window right click "Local Area Connection" (or Wireless Network connection in case your connected to the net via wireless).
 * Right click on the appropriate connection and select the third option Status.
 * In the new "Local Area Connection Status" dialog click the "Details" button.
 * The "Network Connection Details" window will appears with Property and Value.
 * In that you can find the fifth property as IPv4 Address and a value similar to this format 192.168.1.2.
 * That's the IP address.

Another simple way is to use a little tool at:http://www.softpedia.com/get/Network-Tools/IP-Tools/JMCNSOFT-My-IP.shtml

MAC OS X LION

 * Click the Apple icon that is located on the top left hand side.
 * From the menu select the option "System Preferences..."
 * Select Network under the heading Internet & Wireless (Internet & Network in 10.5).

WIRELESS "Wi-Fi is connected to NETWORK1 and has the IP address 192.168. 1.2" WIRED
 * If Connected via Wi-Fi(Airport in 10.5), select that option from the left.
 * In the right, you can find a message reading something similar to this
 * Where NETWORK1 is the network you are currently connected to and the 192.168.1.2 is the "IP ADDRESS".
 * Select the Ethernet option from the left.
 * In the right you can find IP Address : 192.168.1.2

Linux
In Linux the are two commands that are used to find IP addresses of the machines interfaces. These are the new ip command that is used for almost all configuration of networks and the old obsoleted ifconfig command. Most installations of Linux has both of them installed, but some only have the new command.

where the 192.168.1.2 is your machines IPv4 address in your LAN. [user@wikibooks]$ ip add show dev eth0 2: eth0:  mtu 1500 qdisc pfifo_fast state UP qlen 1000 link/ether 00:80:C8:F8:4A:51 brd ff:ff:ff:ff:ff:ff inet 192.168.99.35 Bcast:192.168.99.255 scope global eth0 inet6 fe80::0280:c8ff:fef8:4a51/64 scope link Not valid: no accessible. You can also use curl and the ipinfo.io API: not valid to accesss
 * 1) Open a Terminal/Console
 * 2) Type ip address show or ifconfig
 * 3) Look for inet 192.168.1.2/24 resp. ''inet addr:192.168.1.2

where 192.168.1.11 s your global IPv4 address. If you are behind a NAT:et router, this isn't the same as your machines private IPv4 address in your LAN.

Finding your global IP address
To find your global IP which is what the outside world sees, you may use a website such as INet Clue or IP Finding or IP Chicken.

On this page
Click on edit. Anywhere in the edit box type four tildes: ~ Click Show preview (please, not Save page!). Lo and behold, in the preview your ~ has become your external IP address!

In Firefox
Simply download the extension "Live IP Address" to keep track of your current IP address. Useful if you are used to using automatic proxies.

In any browser on any operating system
Many websites can give you your IP address. These include, but are nowhere near limited to:
 * http://ipinfo.io/
 * http://inetclue.com/
 * http://en.toolpage.org/tool/ip-address
 * http://whatismyipaddress.com/
 * http://whatismyip.com/
 * http://www.geoipinfo.com/
 * http://whatismylocalip.com/

title: Finding Your IP Address


text:
User:Rossami

I primarily work in Wikipedia and can most easily be reached there.

title: User:Rossami


text:
User talk:Rossami

I thought you'd like to know that sense wikibooks has moved to different domains for each language, links back to the english wikipedia can be made with or simply  links.

Gentgeen 00:41, 1 Dec 2004 (UTC)

 * Oops, I guess I caught you in the act of moving the history. Sorry, I saw the red link and made an assumption.  By the way, welcome to Wikibooks!. Gentgeen 00:44, 1 Dec 2004 (UTC)

title: User talk:Rossami


text:
User talk:202.175.26.152

Please don't vandalise the main page of Wikibooks. EuropracBHIT 01:24, 1 Dec 2004 (UTC)

title: User talk:202.175.26.152


text:
Reaktor/Hosts/Tracktion

 * Traction is an audio/MIDI sequencer that is working fine with R4.
 * it supports Reaktor as a VST & VSTI.
 * VST & MIDIin Tracktion.
 * Tracktion also supports Multi in/out via the racks.
 * Those racks are also useful if you want to use Reaktor as a send fx within traction or if you need to send MIDI to an fx like the R4 libary's Classic Vocoder(for example).

 * the multi in/out & send fx tutorials in in french

 * And the Best Part of it is that it's FREE

title: Reaktor/Hosts/Tracktion


text:
Koine Greek/14

14. Since a knowledge of the verb to be is necessary for formation of the most simple sentence, the conjugation of the verb to be, in the Indicative Mood, is given. (Breathings & accents need to be added)

title: Koine Greek/14


text:
User:Cluster~enwikibooks

See my user page on Wikipedia.

title: User:Cluster~enwikibooks


text:
Blender 3D: Noob to Pro/Blender Interface

Here's a preview screenshot of Blender's interface, after a new installation.

For those familiar with older versions of Blender, this will look very different. The redesign makes it much easier to find things.

For a detailed rationale explaining the redesign, read this.

Why does Blender use its own windowing system instead of the operating system's?
Blender follows its own user interface conventions. Instead of making use of multiple windows as defined by your particular OS/GUI, it creates its own “windows” within a single OS/GUI window, which is best sized to fill your screen. Many people accustomed to how applications normally work on their platform of choice, get annoyed by Blender’s insistence on being different. However, there is a good reason for it.

The essence of the Blender UI can be summed up in one word: workflow. Blender was originally created by a 3D graphics shop for their own in-house use. Being a key revenue engine for them, they designed it for maximum productivity, speed and smoothness of operation. That means avoiding “bumps” that slow down the user. For example, windows never overlap, so there’s no need to keep reordering them. You don’t have to click in a window to make it active, just move the mouse. There is a minimum of interruption from popups asking for more information before performing some action. Instead, the action is immediately performed with default settings, which you can adjust afterwards and get immediate feedback on the results.

Blender may not be “intuitive” to start learning, in that you cannot simply sit down in front of it and figure out things on your own, especially from a position of knowing nothing at all. But once you have picked up some basic conventions, you will find it starts to make sense and then you will be free to experiment and discover things on your own.

"Save changes on exit" prompt
As of Blender version 2.79, you are prompted on exit when there are unsaved changes. You can change this behaviour in Edit → Preferences → Save & Load → Save Prompt.

Prior to that version, Blender was not asking about unsaved changes. Instead, Blender saved changes, when it closes, to a file called 'quit.blend'. The next time you use Blender, you had to select File → Recover Last Session to resume right where you left off.