DOCSLIB.ORG

Amiga Workshop Special

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Amiga Workshop Special ■■>; AMIGA WORKSHOP SPECIAL - ALL YOU NEED TO KNOW! DPAINT - THE DIRECTOR'S CUT mlgo has brrn runningscrips of DPaint ■ tutorials by Petor tn n th It diewing f.itif ni'i to a clot*, n thought wg'd present Hh first to ". worth hi mini-booklet In case any readers have missed out on a particular installment. What's more, we've alto Included torn* additional material which couldn't be squeezed la the first time around, »o even if you've read each and every installment, you'll still find some useful hints and tips you've not coma across befora. Hod* you enjoy It. Dan Slingsby, Editor. November 1993. THE DPAINT STORY Lots face It. almost every Amigapossesses ownera copy of Electronic Art*1 DPaint program. Acknowledged as tho leadingpaint'n'create package on the Amiga,pro the gram has been bundled with successive generations ofcomputer tho for many years now. Although the manual that comes with DPaint is a fairly compichonslva tome, there's no way It can hope to detail every function of tha program, let alona give •■ample* «nd step-by-slep walkthroughs. That's where we coma In. or rather our resident graphics and animation expert, Peter Lee. Acknowledged as one orleading the eiperts on DPaint in the country, Pete knows more about the program than almost anyone else. And we've commissioned him to write this special booklet to help YOU get more out of on* of the finest graphics tools ever published. Take it sway... CONTENTS PAINTING MODES ....page 01 BRUSHES AND FILLS ....page 07 A DIFFERENT....page PERSPECTIVE11 A SPLASH OF COLOUR ....page 16 THE WRITE STUFF ....page 21 HAM IT UP ....page 25 ANIMATED ANTICS ....page 30 ON THE MOVE! ....page 34 ...AND ACTION! ....page 38 POT POURRI ....page 43 PART ONE PAINTING MODES Whether you own a copyof the original Deluxe Paint or one of the later revisions, you'll soon want to explore the program in greater depth than the manual allows. Fortunately help is at hand as we present the CU Amiga guide to getting the most from DPa'mt ules aresad afactlife and of you meet the major DPaint rule when you Colors: first Start the program. It's the mode/colour trade off. You car have a high resolution mode with fewer colours, orlow- a I.i t up B*312 Bj IA\ res mode with 64. Which to choose? It dearly Ml II.- HAH | Depends what youin havemind for the fin til| H.<>< HTSCIES3 ishedThe work.only time I use high res is for video titling or for creating logos which will be Loading: Siiap|».m:ffl either photographed or gen locked onto video. m:i> 1 ! Ok _| Most people gladly trade off resolution (or a ■Hi larger number of colours:and the lower your resolution and fewer your colours, the more eclllom, doc gions. Do you i pln-vharp P|J ola? Ill make out mindtime up memory1 as for any youanimations haveyou >n a* DPnint begins. might tie contemplating. The interlace option is best left to sight-impaired users (...they soon will be...) or those with monitors which don't display the irritating flicker. Overscan is smaller than pencils and paintbrushes. Always bear in mind that the opportunities offered by DPaim actually raise your artistic skill level. For instance, how many people do you know who can draw a straight line (or curve for that matter) freehand? You can probably count them on Hook's bad hand. And this is the simplest example of how using computer software can give you a real head start. But drawing lines is just the tip of the iceberg. What Happens to the image under neath asdraw you is one of the great thrills Of computer graphics. This brings us to the Mode menu, where a click of the mouse but at-a-glance-guide to the tools menu. Right ton can help unlcck the doors of your imagi clicking on several (such as symmetry or line) leadway theto even greater control of the nation, program. UNDERCOVER WORK only really useful if you are working with video DPaim IV offers ten very powerful painting in mind (it extends Ihe boundaries of Ihe pic modes. Most mode selections only take ture bejonu1 ihe screen limits so there isn't a effect if you have some artwork on screen oorder around it). If youless haveman 1Mb(they need source colours to work with) and of RAM. it's best to click on the Swap button they caneither use one of the default brush so that the program loads the information it shapes (the pens), or sometimes the shape needs when il needs it rather than loading it ofcustom a brush (one you've cut out youi- all in at one go. Well De covering HAM self). The matching commands in DPaim III 14096 colour Hold And Modify model later. work in identical ways. Here's a brief outline Right now let's think positive. After selecting of what each■ and doesan example which your screen type you get that familiar, un-nerv- shows off the technique, plus a peppering of ing blank screen and tool icon strip mat has useful tips: challenged Amiga artists since the dawn of time (or at least,since 1985 if you're being 1. Matte This uses any custom brush you oicky). decide to pick up or load in as the painting Vou may find it useful to remove this toolpen. Any background colours present when box from time lo time to reach partsyour of you picked up the brush are transparent. image which it covers up. Pressing FID tog This is the default mode when you cut out a gles the icons on and off .Right from version brush, and you use it for repositioning parts one. DPaint has had this irritating Quirk; if you of your image, or cutting and pasting in differ- draw out a shape which goes under' the toot- ent locations. bo*, the area of screen hidden by the tools will remain blank. This holds good for fills, T"e last Brush you used is always too. so get into the habitremoving of it when available (even after you've been needed. drawing with other tools such as pens or shapes) by right button clicking with the point QUICK ON THE DRAW er on the brush selector tool. If you've got an Using ordinary tools to draw with is a doddle ammbrush in memory, too, this can also be (or doocle...), but computers are a lot called back on screen in the same way. PART ONE '■ ■ 2. Colour ■ Creates a solid shape of your the drawing area and drag out a new sized brush in the current foreground colour. brush to suityour needs. Extremely useful for placing a brush's shadow before stamping down the brusha matte. as 5. Shade - For this mode to work, a range of colours should have been previously defined. While drawing with an inbuilt It allows you to pass a brush over a colour in brush, or a custom brush using the range,press the left button and replace it the matte mode, youquickly can cycle with the next highest colour. Pressing the through the palette's available foreground right button as you draw changes the underly colours by hitting the open and close square ing colour to the next darker colour. bracket keys (1. so your brush is the right colour. The greater the number of lours in the range, the better. This 3. Replc - Very similar to Matte, except there mode is wonderful for adding high are no transparent colours. lights to metallicbut don't objects;be too heavy handed or else the colours tend to Remember that using DPaint's move to the extremes of light and dark too quick Key shortcuts cuts down on Quickly. If you choose a palette colour not in a time. Pressing Fl will make the brush defined range. DPatnl will use the whole into a Malic form, and F3 will bring it back to palette, which serves no useful purpose! Replc mode. You can see the difference on screen and decide which mode suits your 6. Blend - The program will try to soften the needs beforeto commit havingthe brush to edgescolours wheremeet by adding a third. Ideal for making smooth the screen. averaged colour. transitions - as in light :o dark skies,where or 4. Smoaf - This blathers pixels around like so clouds are drawn, to softenedges. the many grams of sand. It's great too for adding granular texture to objects,but lacks finesse. DPami does its best, but if there 'f/ijj is no real average colour in the The bigger your brush, the ']/' palette, results can be unpredictable. rougher the smear gets, and Ma*e sure your palette reflects the mid-tones unless you're careful too much smear of any colour sequences to givethe software ing can destroy the shape of your original a chance. object. Incidentally, if you want to enlarge one of the program's inbuilt brushes, to smear 7. Cycle • This mode only works with a colour large areas at a time, click on an inbuilt from a previously defined cycle range, and as Brush withright thebutton, then move onto you draw the colours are cycled through in turn. A big help in drawing objects which will need smoothingsmearing later; rocks and or dir! for instance. By defining a range of five or so different greys or browns, then cycling through them as you pamt. you add light and dark elements automatically.
Load more

Recommended publications
  • BOLD VISIONS SPACE CITY PORT Enormous Space Cities Docking Over a Terrestrial Metropolis on a Distant World
    2_Spaceports_TEMP.jpg on ftp site. *THIS IMAGE IS NOT FINISHED - Gary will send final version prior to repro BOLD VISIONS SPACE CITY PORT Enormous space cities docking over a terrestrial metropolis on a distant world. T H E D I G I T A L P A I N T I N G B I B LE FOR FANTASY AND SCIENCE-FICTION ARTISTS GARY TONGE To my daughter Catherine, light of my life. A DAVID & CHARLES BOOK Copyright © David & Charles Limited 2008 David & Charles is an F+W Publications Inc. company MASTER UNIVERSE Depiction of the universe. 4700 East Galbraith Road Cincinnati, OH 45236 First published in the UK in 2008 First published in the US in 2008 Text and illustrations copyright © Gary Tonge 2008 except those acknowledged on page 128. Gary Tonge has asserted his right to be identified as author of this SYSTEM BIRTH An alignment of celestial bodies orbiting in a young solar system. work in accordance with the Copyright, Designs and Patents Act, 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic or mechanical, by photocopying, recording or Introduction 6 otherwise, without prior permission in writing from the publisher. Materials 8 The publisher has endeavoured to contact all contributors of pictures for permission to reproduce. Basic Techniques 18 A catalogue record for this book is available from the British Library. CONTENTS Colour and Light 32 ISBN-13: 978-1-6006-1-020-2 paperback Concept and Design 48 ISBN-10: 1-6006-1-020-X paperback Textures and
    [Show full text]
  • Database of Amiga Software Manuals for SACC
    Database of Amiga Software Manuals for SACC Disks 1 - MUSIC & SOUND Description Notes Copies available? A-Sound Elite sound sampler / editor manual 1 yes ADRUM - The Drum Machine digital sound creation manual and box 1 - Aegis Sonix music editor / synthesizer manual 2 yes Amiga Music and FX Guide music guide - not a software manual book 1 Deluxe Music Construction Set music composition / editing manual and DISK 1 yes Dr. T's Caged Artist's K-5 Editor sound editor for Kawai synthesizers manual 1 - Soundprobe digital sampler manual 1 - Soundscape Sound Sampler sound sampling software manual and box 1 - Synthia 8-bit synthesizer / effects editor manual 2 yes Synthia II 8-bit synthesizer / effects editor manual 1 yes The Music Studio music composition / editing manual 1 yes Disks 2 - WORD PROCESSING Description Notes Copies available? Final Writer word processor manual 8 yes Final Writer version 3 word processor manual addendum 1 yes Final Writer 97 word processor manual addendum 1 - Final Copy word processor manual 2 yes Final Copy II word processor manual 2 yes Word Perfect word processor manual 2 yes Scribble! word processor manual 1 yes TransWrite word processor manual 1 yes TxEd Plus word processor manual 1 - ProWrite 3.0 word processor manual 6 yes ProWrite 3.2 Supplement word processor manual addendum 3 yes ProWrite 3.3 Supplement word processor manual addendum 2 yes ProWrite 2.0 word processor manual 3 yes Flow 2.0 (with 3.0 addendum) outlining program manual 1 yes ProFonts font collection (for ProWrite) manual 1 - Disks 3 - GAMES
    [Show full text]
  • Archive and Compressed [Edit]
    Archive and compressed [edit] Main article: List of archive formats • .?Q? – files compressed by the SQ program • 7z – 7-Zip compressed file • AAC – Advanced Audio Coding • ace – ACE compressed file • ALZ – ALZip compressed file • APK – Applications installable on Android • AT3 – Sony's UMD Data compression • .bke – BackupEarth.com Data compression • ARC • ARJ – ARJ compressed file • BA – Scifer Archive (.ba), Scifer External Archive Type • big – Special file compression format used by Electronic Arts for compressing the data for many of EA's games • BIK (.bik) – Bink Video file. A video compression system developed by RAD Game Tools • BKF (.bkf) – Microsoft backup created by NTBACKUP.EXE • bzip2 – (.bz2) • bld - Skyscraper Simulator Building • c4 – JEDMICS image files, a DOD system • cab – Microsoft Cabinet • cals – JEDMICS image files, a DOD system • cpt/sea – Compact Pro (Macintosh) • DAA – Closed-format, Windows-only compressed disk image • deb – Debian Linux install package • DMG – an Apple compressed/encrypted format • DDZ – a file which can only be used by the "daydreamer engine" created by "fever-dreamer", a program similar to RAGS, it's mainly used to make somewhat short games. • DPE – Package of AVE documents made with Aquafadas digital publishing tools. • EEA – An encrypted CAB, ostensibly for protecting email attachments • .egg – Alzip Egg Edition compressed file • EGT (.egt) – EGT Universal Document also used to create compressed cabinet files replaces .ecab • ECAB (.ECAB, .ezip) – EGT Compressed Folder used in advanced systems to compress entire system folders, replaced by EGT Universal Document • ESS (.ess) – EGT SmartSense File, detects files compressed using the EGT compression system. • GHO (.gho, .ghs) – Norton Ghost • gzip (.gz) – Compressed file • IPG (.ipg) – Format in which Apple Inc.
    [Show full text]
  • ´Anoq of the Sun Detailed CV As a Graphics Artist
    Anoq´ of the Sun Detailed CV as a Graphics Artist Anoq´ of the Sun, Hardcore Processing ∗ January 31, 2010 Online Link for this Detailed CV This document is available online in 2 file formats: • http://www.anoq.net/music/cv/anoqcvgraphicsartist.pdf • http://www.anoq.net/music/cv/anoqcvgraphicsartist.ps All My CVs and an Overview All my CVs (as a computer scientist, musician and graphics artist) and an overview can be found at: • http://www.hardcoreprocessing.com/home/anoq/cv/anoqcv.html Contents Overview Employment, Education and Skills page 2 ProjectList page 3 ∗ c 2010 Anoq´ of the Sun Graphics Related Employment and Education Company My Role Dates Duration 1 day=7.5 hrs HardcoreProcessing GraphicsArtist 1998-now (seeproject list) I founded this company Pre-print December 1998 Marketing www.hardcoreprocessing.com Anoq´ Music Graphics Artist 2007-now (see project list) I founded this record label Pre-print December 2007 Marketing www.anoq.net/music/label CasperThorsøeVideo Production 3DGraphicsArtist 1997-1998 1year www.ctvp.com (Partly System Administrator) Visionik Worked Partly as a 1997 5 months www.visionik.dk Graphics Artist (not full-time graphics!) List of Graphics Related Skills (Updated on 2010-01-31) (Years Are Not Full-time Durations, But Years with Active Use) Key for ”Level”: 1: Expert, 2: Lots of Routine, 3: Routine, 4: Good Knowledge, 5: Some Knowledge Skill Name / Group Doing What Level Latest Years with (1-5) Use Active Use Graphics Software and Equipment: Alias|Wavefront PowerAnimator Modelling, Animation 2 1998 1 Alias|Wavefront Maya Modelling, Animation 2 1998 1 LightWave 3D Modelling, Animation 2 1997 4 SoftImage 3D Modelling, Animation 5 1998 0.2 3D Studio MAX Modelling, Animation 5 1997 0.5 Blue Moon Rendering Tools (a.k.a.
    [Show full text]
  • R-Photo User's Manual
    User's Manual © R-Tools Technology Inc 2020. All rights reserved. www.r-tt.com © R-tools Technology Inc 2020. All rights reserved. No part of this User's Manual may be copied, altered, or transferred to, any other media without written, explicit consent from R-tools Technology Inc.. All brand or product names appearing herein are trademarks or registered trademarks of their respective holders. R-tools Technology Inc. has developed this User's Manual to the best of its knowledge, but does not guarantee that the program will fulfill all the desires of the user. No warranty is made in regard to specifications or features. R-tools Technology Inc. retains the right to make alterations to the content of this Manual without the obligation to inform third parties. Contents I Table of Contents I Start 1 II Quick Start Guide in 3 Steps 1 1 Step 1. Di.s..k.. .S..e..l.e..c..t.i.o..n.. .............................................................................................................. 1 2 Step 2. Fi.l.e..s.. .M..a..r..k.i.n..g.. ................................................................................................................ 4 3 Step 3. Re..c..o..v..e..r.y.. ...................................................................................................................... 6 III Features 9 1 File Sorti.n..g.. .............................................................................................................................. 9 2 File Sea.r.c..h.. ............................................................................................................................
    [Show full text]
  • Scape D10.1 Keeps V1.0
    Identification and selection of large‐scale migration tools and services Authors Rui Castro, Luís Faria (KEEP Solutions), Christoph Becker, Markus Hamm (Vienna University of Technology) June 2011 This work was partially supported by the SCAPE Project. The SCAPE project is co-funded by the European Union under FP7 ICT-2009.4.1 (Grant Agreement number 270137). This work is licensed under a CC-BY-SA International License Table of Contents 1 Introduction 1 1.1 Scope of this document 1 2 Related work 2 2.1 Preservation action tools 3 2.1.1 PLANETS 3 2.1.2 RODA 5 2.1.3 CRiB 6 2.2 Software quality models 6 2.2.1 ISO standard 25010 7 2.2.2 Decision criteria in digital preservation 7 3 Criteria for evaluating action tools 9 3.1 Functional suitability 10 3.2 Performance efficiency 11 3.3 Compatibility 11 3.4 Usability 11 3.5 Reliability 12 3.6 Security 12 3.7 Maintainability 13 3.8 Portability 13 4 Methodology 14 4.1 Analysis of requirements 14 4.2 Definition of the evaluation framework 14 4.3 Identification, evaluation and selection of action tools 14 5 Analysis of requirements 15 5.1 Requirements for the SCAPE platform 16 5.2 Requirements of the testbed scenarios 16 5.2.1 Scenario 1: Normalize document formats contained in the web archive 16 5.2.2 Scenario 2: Deep characterisation of huge media files 17 v 5.2.3 Scenario 3: Migrate digitised TIFFs to JPEG2000 17 5.2.4 Scenario 4: Migrate archive to new archiving system? 17 5.2.5 Scenario 5: RAW to NEXUS migration 18 6 Evaluation framework 18 6.1 Suitability for testbeds 19 6.2 Suitability for platform 19 6.3 Technical instalability 20 6.4 Legal constrains 20 6.5 Summary 20 7 Results 21 7.1 Identification of candidate tools 21 7.2 Evaluation and selection of tools 22 8 Conclusions 24 9 References 25 10 Appendix 28 10.1 List of identified action tools 28 vi 1 Introduction A preservation action is a concrete action, usually implemented by a software tool, that is performed on digital content in order to achieve some preservation goal.
    [Show full text]
  • Open Source Design Software Overview
    SEGD.org Open Source Design Software prepared by Chad Eby Herron School of Art + Design at IUPUI SEGD Academic Task Force SEGD Training Module Training SEGD Introduction to EGD Overview What is Open Source? Free and open source software (sometimes called FOSS) tools are developed “in the open” so that anyone may inspect an application’s source code—the underlying set of instructions that make the application work—that is hidden by design in proprietary tools. Not only is the source code visible, it is generally permissible to use, re- distribute and modify without restriction. This makes it free (as in freedom). As a side effect, many open source software tools are also free (as in beer), meaning image credit they are usable at no cost. Photo by Marc Mueller from Pexels Open Source Design Software Overview Why Use Open Source? An open source design software tool may be attractive to individuals and organizations due to the transparent nature of its development, the lack of restrictions on distribution and use, the suitability for a niche purpose too small for commercial viability, the low cost/no cost aspect or some combination of these factors. As good as open source tools may seem at first blush, there are some caveats. FOSS projects, especially in the early stages, may have sporadic development cycles and are sometimes abandoned entirely. Even in projects that are actively developed and well established, the documentation for the tool may lag well behind the latest released version. Finally, since some FOSS tools are passion projects of individuals or small teams, the software user interface may be quite eccentric.
    [Show full text]
  • Woody In2it 3.0) the Interplay User Configured in the Application Must Have Rights to Read and Write in Interplay Source and Destination Folders
    Technical specifications 1. System and network requirements ........................................................................................................... 2 2. Cards structures detected and analyzed automatically .........................................................3 3. Supported source formats .............................................................................................................................. 4 4. Supported ingest modes and delivery protocols .......................................................................... 5 5. Supported target formats ................................................................................................................................ 6 A. SD PAL and HD 25/50 fps ..................................................................................................... 6 B. SD NTSC and HD 23.976/29.97/59.94 fps ....................................................................... 7 C. 4K PAL 25/50 fps ...................................................................................................................... 8 D. 4K NTSC 23.976/29.94/59.94 fps ...................................................................................... 9 E. Avid Proxy PAL/NTSC 23.976/25/29.94/50/59.94 fps ............................................ 10 F. JFIF PAL/NTSC 23.976/25/29.94 fps ................................................................................. 11 6. Spanned clips support ......................................................................................................................................
    [Show full text]
  • R-Linux User's Manual
    User's Manual R-Linux © R-Tools Technology Inc 2019. All rights reserved. www.r-tt.com © R-tools Technology Inc 2019. All rights reserved. No part of this User's Manual may be copied, altered, or transferred to, any other media without written, explicit consent from R-tools Technology Inc.. All brand or product names appearing herein are trademarks or registered trademarks of their respective holders. R-tools Technology Inc. has developed this User's Manual to the best of its knowledge, but does not guarantee that the program will fulfill all the desires of the user. No warranty is made in regard to specifications or features. R-tools Technology Inc. retains the right to make alterations to the content of this Manual without the obligation to inform third parties. Contents I Table of Contents I Introduction to R-Linux 1 1 R-Studi.o.. .F..e..a..t.u..r.e..s.. ................................................................................................................. 2 2 R-Linux.. .S..y..s.t.e..m... .R...e..q..u..i.r.e..m...e..n..t.s. .............................................................................................. 4 3 Contac.t. .I.n..f.o..r.m...a..t.i.o..n.. .a..n..d.. .T..e..c..h..n..i.c.a..l. .S...u..p..p..o..r.t. ......................................................................... 4 4 R-Linux.. .M...a..i.n.. .P..a..n..e..l. .............................................................................................................. 5 5 R-Linu..x.. .S..e..t.t.i.n..g..s. .................................................................................................................. 10 II Data Recovery Using R-Linux 16 1 Basic .F..i.l.e.. .R..e..c..o..v..e..r.y.. ............................................................................................................ 17 Searching for.
    [Show full text]
  • Game Developers Who Started Their Careers by Working on Mods
    you can make games now! ANNUAL FALL 2012 INSIDE: HANDS-ON HOW-TOS FOR THE UNREAL DEVELOPMENT KIT, THE SOURCE ENGINE, AND MORE! Change Your World DOWNLOAD FREE* 2013 AUTODESK SOFTWARE The future is closer than you think. Join a whole new class of artists in the Autodesk Education Community, and receive free* access to the same software and tools used by professional digital artists. autodesk.com/freesoftware *Free products are subject to the terms and conditions of the end-user license agreement that accompanies download of the software. The software is for personal use for education purposes and is not intended for classroom or lab use. Autodesk is a registered trademark of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. Autodesk reserves the right to alter product and services offerings, and specifications and pricing at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document. © 2012 Autodesk, Inc. All rights reserved. DigiPen student games have won 40 awards at the Independent Games Festival—more than those of any other school. Download and play them at digipen.edu/gamers. NOUS PIXI NITRONIC RUSH 2012 IGF Student Showcase Winner 2012 IGF Student Showcase Winner 2012 IGF Honorable Mention DigiPen Institute of Technology offers bachelor's and master's degrees in hardware and software engineering applied to VLPXODWLRQYLGHRJDPHGHVLJQDQGGHYHORSPHQW¿QHDUWVDQG digital art production, and sound design. www.digipen.edu ANNUAL FALL 2012 CONTENTS postmortem 44 SNOWFIELD THE SNOWFIELD is an experimental project in emergent narrative set during World War I, made in eight weeks by a team of 10 student interns from Singapore and the U.S., that was featured in the Independent Games Festival 2012 Student Showcase.
    [Show full text]
  • Cheap Tricks Index 1990-2000
    Cheap Tricks Index 1990-2000 ?, Wildcards Oct 91 4 3D CAD Shootout Apr 98 1 $, Dollar Sign, Keyboard Macro Apr 91 4 3D cars & people Nov 98 2 $ Dec 99 1 3D Cars & Trucks Feb 99 8 $$$ Marker file Feb 99 6 3D Construction Drawing Apr 95 1 *, Wildcards Oct 91 4 3D CAD Design Shootout, observations Dec 97 3 %1 to %10, DOS Replaceable Parameters Dec 91 5 3D CAD Design Shootout, playoff-caliber teams Dec 97 3 0, Alt-0 keyboard interrupt Apr 93 4 3D Cursor Dec 94 2 1.25 Million Questions May 99 7 3D Cursor Aug 95 4 10-Base-2; 10-Base-T Dec 97 4 3D Cursor Mar 95 3 16 bit processing Sep 96 2 3D Cursor, undocumented features Jun 97 4 16-bit processing May 93 3 3D Cylinder stretching Jan 98 8 3D Design & Presentation Dec 94 1 2 ½ D 3D Design Models, DC Viewer Mar 97 1 3D Designer's CADD Shootout Sep 99 2 2 1/2 D, vs. 3D for sections Jun 96 1 3D Designers CAD Shootout Dec 98 1 2 1/2D Modeling May 94 1 3D Designers CAD Shootout Nov 98 8 2 1/2 D massing model Jan 99 6 3D Drawings, As Construction Drawings Dec 91 2 2 line trim for stretching Jul 96 4 3D, Easy Method, Neal Mortenson Jan 94 3 2 1/2D vs. 3D, chart of differences Apr 00 3 3D Edit Menu May 94 3 2 1/2D vs. 3D Apr 00 2 3D Edit Plane Dec 94 4 2 1/2D, defined Apr 00 2 3D Edit, Won't work May 91 5 20/20 rule Feb 95 2 3D Editing Jan 98 8 286, 386, 486, with DOS 5.0 Aug 91 4 3D, Elevation save Mar 99 5 3D Elevation View Jun 91 2 3D Entity Menu May 94 3 2D 3D Framing macro Oct 94 8 3D, from 2D Transformations May 97 1 2D vs.
    [Show full text]
  • A Guide for File Extensions
    A Guide to File Extensions You will find attached a list of the extensions you might find on your pc, floppy or the internet. The list includes the extension, description, whether it's text, and the likely programs to use to view the contents. Because I included the internet there are unix, mac, … files included - where possible I've include PC programs which will read them. Some of the programs will only read or write or only accept certain variants of the file so even though a program is listed it doesn't mean it will read your particular version of the file. I have done my best to keep this accurate but this is supplied on a all care but no responsibility basis. Extension Description Ascii/Bin Viewer $$$ Used by OS/2 to keep track of Archived files ? *KW Contains all keywords for a specific letter in the ? RoboHELP Help project Index Designer. Where * is a letter eg AKW will contain the index for works starting with the letter A. @@@ Screen files used in the installation and instruction on ? use of such applications as Microsoft Codeview for C \ FoxPro Memo File for a Label (See LBL Extension) FoxBase, Foxpro ~DF A backup of a DFM file. (See the DFM File Extension) ? ~DP A backup of a DPR file. (See the DPR File Extension) ? ~PA A backup of a PAS file. (See the PAS File Extension) ? ~xx usually a backup file ? 001 Hayes JT Fax format Bin PhotoImpact 00n Used to signify a backup version of a file. It should be Either ? fine to remove them.
    [Show full text]