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Catalogue: most popular free digital art software, 3D & 2D design freeware download applications, OEM NFS, free 3d modeling, animation, graphic design shareware

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Welcome to the top free digital art software section. These pages have been designed to provide useful information to 3D & 2D graphic designers, artists, students, and art enthusiasts.
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Paint.NET is a free 2D image and photo manipulation software

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Paint.NET is a free image and photo manipulation software for Windows 2000, XP, Vista, or Server 2003. Paint.NET started development at Washington State University with additional help from Microsoft, and continues to be updated and maintained by some of the alumni that originally worked on it. Paint.NET features layers, painting and drawing tools, special effects, unlimited undo history, and levels adjustments. Paint.NET is completely free, and the source code is also available for free.
Simple, intuitive user interface Every feature and user interface element was designed to be immediately intuitive and quickly learnable without assistance. It is also designed to be immediately familiar to users of the original MS Paint software that comes with Windows.
Layers Usually only found on expensive or complicated professional software, layers form the basis for a rich image composition experience. You may think of them as a stack of transparency slides that, when viewed together at the same time, form one image. Powerful Tools
Paint.NET includes simple tools for drawing shapes, including an easy-to-user curve tool for drawing simple splines or Bezier curves. The facilities for creating and working with selections is powerful, yet still simple enough to be picked up quickly. Other powerful tools include the Magic Wand for selecting regions of similar color, and the Clone Stamp for copying or erasing portions of an image. There is also a simple text editor, a tool for zooming, and a Recolor tool.
-- software downloading file size 42.5MB
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Copyright GNU GENERAL PUBLIC LICENSE: GNU General Public License is intended to guarantee your freedom to share and change free software--to make sure the software is free for all its users. This General Public License applies to most of the Free Software Foundation's software and to any other program whose authors commit to using it. (Some other Free Software Foundation software is covered by the GNU Library General Public License instead.)

This License applies to any program or other work which contains a notice placed by the copyright holder saying it may be distributed under the terms of this General Public License. The "Program", below, refers to any such program or work, and a "work based on the Program" means either the Program or any derivative work under copyright law: that is to say, a work containing the Program or a portion of it, either verbatim or with modifications and/or translated into another language. (Hereinafter, translation is included without limitation in the term "modification".)
 
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Pixia a popular free painting and retouching software

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Pixia is the English version of a popular free painting and retouching software that originated in Japan. It features custom brush tips, multiple layers, masking, vector- and bitmap-based drawing tools, color, tone, and lighting adjustments, and multiple undo/redo. Like many freeware editors, there is no support for saving GIF format. Pixia is also available for many other languages. Pixia works with Windows 95, 98, Me, NT4, 2000, and XP.
The original Japanese Edition was created and developed by the author, Isao Maruoka, but has also been aggressively raised by its fans, which makes this software to be quite unique and different from other tools. Pixia Help File is available as a separate installation file. To get better tips for using Pixia, visit users' tutorials linked from the Tutorial page.
Pixia has - Original Japanese Edition / Pixia Hungarian Edition / Pixia Chinese Editions (Simplified/Traditional) / Pixia French Edition / Pixia Polish Edition / Pixia German Edition / Pixia Spanish Edition / Pixia Korean Edition / Pixia Italian Edition
System Requirements
Windows Me / Windows 98 / Windows 95 / Windows NT 4.0/ Windows 2000 / Windows XP
This is not to guarantee its functions on all environments.
There can be exceptions due to numerous number of combinations of drivers, devices, etc.
32 megabytes of RAM or over (As much as possible)
Super VGA monitor (with the screen resolution set to at least 800 x 600)
High Color or True Color (16bit/24bit/32bit) Pixia does not work on 16 or 256 color environment.
Optional: Pressure sensitive tablets (WACOM, Oce-Japan)
-- software downloading file size 3.9mb
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Most popular 3D & 2D software catalogue list
-- 3D studio MAX, Maya, Daz|Bryce, Vue’d Esprit 4. Cinema 4D, Poser, Terragen, Auto CAD, Realsoft 3D, trueSpace, Calimax and Povray, Blender, 3D Canvas, lightwave 3D, Lightscape, AIR, Mental Ray, Adobe Photoshop, Deep Paint, Macromedia Fireworks, Corel Draw, 3d Choreographer, Bodypaint 3D, geofrac2000, Bryce 5, terrainbuilder, Blueberry3D, World Builder, mojoworld, etc. After Effects , Adobe Acrobat , Bryce , Canvas , CorelDraw , Director/Shockwave Tips, Dreamweaver , Fireworks , Flash , Framemaker , Freehand , FrontPage ,Golive , Illustrator , InDesign , Infini-D , Pagemaker , Painter ,Paint Shop Pro TipsPhotoshop ,Poser , QuarkXpress , Ray Dream , Shockwave/DirectorStreamline ,Studio Max , SWiSH

Graphic Design Resources Directory is a Graphic Design Portal with Graphics Software Resources and Desktop Publishing Directory of DTP Graphics resources including Graphic Design Image Editing Graphics Software like Adobe Photoshop, Graphic Design Message BoardsForums, Photoshop Actions, Photoshop Filters, Photoshop Plugins, QuarkXpress Templates, Graphics Software Information, Online Graphic Design Classes, Graphic Design Schools, Graphic Design Jobs, and other graphic design resources.

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Digital Art Design: articles, books, 2d/3d software observations, tutorials & 3d art fantasy gallery features.

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Patterns of Software: Tales from the Software Community -- Book by Richard P. Gabriel; Oxford University Press, 1998
Preface
The essays in this book started out as a series of columns for the Journal of ObjectOriented Programming. I was trying to model myself somewhat after Samuel Johnson, and the series was aimed at being the digital age's equivalent of The Rambler. I'm certain I didn't succeed in matching Johnson's wit and style, but I matched at least two of his characteristics--procrastination and laziness. Johnson was well known for writing his essays right up to the deadline, often keeping the publisher's runner waiting for the manuscript as Johnson completed it. In fact, you can notice the effect in many of his essays: An essay starts to make an argument in one direction (corresponding to the first sheets Johnson handed the runner) and then the argument shifts radically or even to the opposite pole as Johnson continued writing and thinking--but revision of the earlier parts was impossible, as it was being typeset for final copy as Johnson pondered.

For my essays I chose the stance of critic at large. In this role I attempted to examine topics of interest to the object-oriented programming community from the point of view of someone whose experience has always had a sour component-this will be the subject of some of the essays. I had been working in the object-oriented field for seven years when I started writing them. Object-oriented programming has a very long history, which the newly initiated sometimes finds surprising. First designed primarily as a means of simulation, later as programming languages for children, object-oriented languages have become nearly mainstream, largely as a means of achieving reuse and productivity. You see, the history of computing is replete with attempts at making programming easier and, more important, cheaper.

Current software makes machines of a sort previously unknown and with capabilities unheard of, partly because there can be built into them some small portion of reason and consideration and intelligent--rather than merely mechanical--reaction. Automo-biles can run for dozens of thousands of miles without tuning because their internal operation is governed by software--it's almost more likely that your car can be fixed by a Ph.D. in computer science than by your grandfather's auto mechanic. When we start cataloging the gains in tools sitting on a computer, the benefits of software are amazing. But, if the benefits of software are so great, why do we worry about making it easier--don't the ends pay for the means? We worry because making such software is extraordinarily hard and almost no one can do it--the detail is exhausting, the creativity required is extreme, the hours of failure upon failure requiring patience and persistence would tax anyone claiming to be sane. Yet we require that people with such characteristics be found and employed and employed cheaply. We've tried to make programming easier, with abstraction as a tool, with higher-level programming languages, faster computers, design methodologies, with rules of thumb and courses and apprenticeships and mentoring, with automatic programming and artificial intelligence. Compilers, debuggers, editors, programming environments. With structured programming and architectural innovations.

With object-oriented programming. But programming still requires people to work both alone and in teams, and when people are required to think in order to achieve, inherent limitations rule. Object-oriented programming--which is merely a set of concepts and programming languages to support those concepts--cannot remove the need to think hard and to plan things, to be creative and to overcome failures and obstacles, to find a way to work together when the ego says not to, that the failures are too many and too pervasive. Reuse, productivity, reliability--these are values prized by managers and moneymakers. Software creators are usually called engineers, a connotation that usually brings to mind a person who applies well-known principles and methods to create variations on known themes. For example, a bridge builder is an engineer who uses a long list of known techniques to erect a structure to traverse rivers, chasms, and rough terrain while supporting a certain load while withstanding natural forces like wind and earthquakes.

Even though the word engineer comes from the same basic root as ingenuity does, the feeling one gets when hearing the word is of careful, detailed, nearly plodding predictability of work. This makes sense to a degree because engineering disciplines frequently have handbooks from which they work that prescribe a series of rules and principles and ways of solving problems according to a long tradition and experience. For instance, bridge builders have centuries of experience bridge building to draw upon.

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Free Digital 3D Art Software: free microsoft software downloads. Best free graphic design 3D/2D web software/freeware downloads.