All the design and photo editing tools you need in one app – for free.
Affinity comes with built-in Vector, Pixel, and Layout studios, but you’re not locked in. Rearrange panels and mix and match your favorite tools to build custom studios. You can save multiple setups, switch between them in a click, and even share with others or download theirs. It’s customization that flexes to your workflow. Expertly craft designs, edit your images, then lay it all out, without ever leaving your document. Import PSDs, AIs, IDMLs, DWGs, and other file types into Affinity, with structure, layers, and creative intent preserved. And because Affinity is free, collaborators can open and edit files without barriers.
Yes, Affinity really is free. You can use every tool in the Pixel, Vector, and Layout studios, plus all of the customization and export features, as much as you want, with no restrictions or payment needed.
The tools we use to communicate are not neutral or universal - it’s a particular way of seeing the world. When it comes to emoji, that way of seeing the world is decided by one organisation - Unicode, and the megacorporations in Silicon Valley that are a part of it.
Mutant Standard is an offshoot of the Unicode Standard. It offers many familiar favourites in a fun, clean design, while also providing communicative tools for communities underserved by Unicode - without asking for permission.
Mutant Standard challenges monopolies that exist on expressive technologies, while also trying to be useful and fun.
License: CC BY-NC-SA v4
Welcome! My name is Alexandre Villares and since January, 2018 I have been coding sketches everyday, publishing the source code in the same repository that stores this page. The results here are mostly tentative, exploratory, and I don’t feel like they need to be relevant or meaningful on any particular day. The everyday practice leads to the emergence of ideas that I consider interesting, worthy of further exploration. Some of those have been added to selected work, this collection itself became valuable for me, and it is my pleasure to share it with anyone willing to explore coding as a creative and expressive medium.
Has a full list of tools used for all of the attempts. The most commonly used tool is py5 (Processing 4 + Python 3).
The purpose of this article is to explain techiques that enabled me to make simulations like the one below, along with a lot of other organic looking things. We will focus on algorithmic techniques for artistic purpose rather than scientific meaning.
The very first bunnies I ever drew. Most of these were drawn on the backs of random envelopes, bills and other scrap paper. You gotta start somewhere!
Christy Lee Rogers is a visual artist known for her modern-day Baroque approach to art, working in both still and moving images. Revered for her unique underwater technique, Rogers uses light and the refraction in water to create painterly images that are often compared to the drama of Caravaggio and Rubens. Through choreographed bodies suspended in motion, her work explores the vulnerability, sensuality, chaos, and beauty of the human condition.
Rogers was born and raised on the island of Oʻahu, Hawaiʻi, where the ocean shaped both her imagination and artistic instincts. From a young age, she was drawn to the sea—surfing, swimming, and exploring underwater lava tubes. At 15, she began taking photographs with a 35mm camera and developing film in the darkroom. She later studied filmmaking at San Diego State University, where her passion for visual storytelling deepened, and her love of Fellini films began. Today, her work merges that cinematic foundation with her early love of water.
She was commissioned by James Cameron and Disney to create a collection of underwater artworks inspired by Avatar: The Way of Water, featuring ethereal portraits of Zoe Saldaña, Sigourney Weaver, and Kate Winslet. She has also collaborated with Apple for the Shot on iPhone campaign, and created the cover for Lavazza’s The New Humanity calendar. Rogers’ passion for blending light, movement, and emotion has earned her numerous accolades, including the prestigious Sony World Photography Awards Open Photographer of the Year in 2019. She is also a two time finalist for the Contemporary Talents Award from the Fondation François Schneider in France. Her influence has extended into music as well, where her image Harmony was featured on the album cover for Wang Chung’s Orchesography, fusing her dreamlike visuals with the rhythm of sound. And her Odyssey images were selected for the 2013–2014 performance season of the Angers-Nantes Opera in France. One of Rogers’ most celebrated works, Reckless Unbound, now resides at Longleat House in the UK; the stately home, which is the seat of the Marquesses of Bath and also home to Renaissance gems of the Italian masters, like Titan’s "Rest on the Flight into Egypt."
Rogers’ work has been exhibited in museums and galleries worldwide—including Paris, London, Los Angeles, Shanghai, Sao Paulo and Mexico City—and is held in prominent collections such as Cinémathèque Française’s photography collection in Paris, France. Her images, often featuring angels, muses, and mythological figures, reimagine classical themes through a contemporary lens.
Hundred Rabbits is an artist collective that documents low-tech solutions with the hope of building a more resilient future. We live and work aboard a 10m sailboat named Pino in remote parts of the world to learn more about how technology degrades beyond the shores of the western world.
We build and design our software to work offline first. They will never need online resources to function properly, they will always be bundled with enough documentation to be repaired without our help. Our software will never be released behind any form of Digital Rights Management.
We build simple tools to tackle specific tasks. We release builds and documentation to support a wide range of platforms, from native applications to terminal tools. We target 20 years old hardware as to encourage recyclism and discourage the consumption of fashionable electronics.
The entire run of Weird Tales magazine from the early 20th century.
You have tuned in to a mysterious radio signal. Strange words float across the æther.
This tool converts MS-DOS text files using ANSI.SYS escape sequences to a format a modern terminal can display. The output will use a Unicode encoding of characters and only ANSI SGR escape sequences to set basic foreground and background colors, intensity and blinking attribute. The input is expected to use CP-437 or one of the other supported DOS codepages.
The builtin translation tables attempt to match the appearance on VGA as close as possible by default. For example, unused codepoints are mapped to U+25AE (Black Vertical Rectangle), because scans of old Microsoft documents show a glyph resembling this. This is also relevant for e.g. arabic letters that have many different forms; they are translated to unicode codepoints denoting the "isolated" form, because this was the only way they could be displayed in text mode.
As a consequence, this default mode isn't well-suited for converting arabic text. There's a flag (-X) to disable this behavior and use canonic mappings instead, which is also a good idea when using a font reproducing the original IBM character set glyphs.
A year ago, we decided to shutter UbuWeb. Not really shutter it, per se, but instead to consider it complete. After nearly 30 years, it felt right. But now, with the political changes in America and elsewhere around the world, we have decided to restart our archiving and regrow Ubu. In a moment when our collective memory is being systematically eradicated, archiving reemerges as a strong form of resistance, a way of preserving crucial, subversive, and marginalized forms of expression. We encourage you to do the same. All rivers lead to the same ocean: find your form of resistance, no matter how small, and go hard. It's now or never. Together we can prevent the annihilation of the memory of the world.
The site is filled with the detritus and ephemera of great artists better known for other things—the music of Jean Dubuffet, the poetry of Dan Graham, the hip-hop of Jean-Michel Basquiat, the punk rock of Martin Kippenberger, the films of John Lennon, the radio plays of Ulrike Meinhof, the symphonies of Hanne Darboven, the country music of Julian Schnabel—most of which were originally put out in tiny editions, were critically ignored, and quickly vanished. However, the web provides the perfect place to restage these works. With video, sound, and text remaining more faithful to the original experience than, say, painting or sculpture, Ubu proposes a different sort of revisionist art history based on the peripheries of artistic production rather than on the perceived, hyped, or market-based center.
This project runs on a Raspberry Pi Zero and creates an AI-powered internal monologue by capturing photos, sending them to OpenAI's GPT-4o vision model, and speaking the result using gTTS and pygame.
Captures an image every few seconds using libcamera-still. Encodes the image and sends it to OpenAI with a reflective prompt. Converts the GPT-4o response to speech and plays it aloud. Works fully offline (except for OpenAI API calls).
Jeff Easley was born in Nicholasville, Kentucky in 1954. He had an early interest in art, especially when it had a fantastic element. To say he is a huge Frank Frazetta fan is an understatement. He graduated from Murray State University with a BFA degree in painting in 1977.
Easley began his professional carreer as a freelancer, including a few projects with Warren Publishing and Marvel comics. In 1982, he joined the art staff at TSR Inc. which would also include such talents as Larry Elmore, Keith Parkinson, and Clyde Caldwell. Easley's art contributed significantly to the success of TSR's Dungeons and Dragons role playing game in the 1980's and early 1990's.
During his more than two-decade tenure at TSR/Wizards of the Coast, Jeff painted many rulebook, boxed set, and module covers, including iconic Advanced Dungeons and Dragons (AD&D) core rule books. In addition, Jeff was responsible for many famous Dragonlance and Drizzt paintings.
After parting ways with WOTC in 2003, Jeff found himself freelancing once again, and is currently producing art for various companies and individuals.
I have been creating fantasy and science fiction art for over 40 years. After receiving a BFA degree from Western Kentucky, I married Betty Clemons and was drafted into the army almost at the same time. After two years in the service, I got a job at Fort Knox, Kentucky as an illustrator. In addition, I started freelancing at home and was published in a few magazines, including Heavy Metal and National Lampoon. During this time I produced my best work with my wife, our two children, Jennifer and Jeremy.
Eventually, I was contacted by TSR Inc., the company that produced the role playing game Dungeons & Dragons, and I went to work there from 1981 to 1987. While at TSR, I helped set the standards of gaming art in the role-playing genre. Besides creating covers for Dungeons & Dragons, AD&D, Star Frontiers and other gaming books, I created SnarfQuest Tales for the company’s Dragon Magazine. I may be best known for my work with the world of Dragonlance, exemplified by the covers of the DRAGONLANCE book series.
Since 1987, I’ve been working as a freelance illustrator, creating covers for comics, computer games, magazines, fantasy and science fiction books and many other projects. I have worked for other publishers such as BAEN books, Bantam, Warner Books, ACE/Berkley, Doubleday, and Del Rey. I am also the co-author of Runes of Autumn and creator of the Sovereign Stone series. In the gaming and comic industries, I have freelanced for TSR, Inc, FASA, Mayfair Games, Game Designer’s Workshop, White Wolf, Iron Crown Enterprises, Dragon Magazine, Amazing Magazine, Wizard Press, D. C. Comics, First Comics, Eclipse Comics and Frank Frazetta’s Fantasy Illustrated. Miscellaneous credits include LJN Toys, Mattel, Lucas Films, Tonka, Monogram Models, Western Publishing, Sony Entertainment’s EverQuest, and various computer game covers.
They're cute. They're cats. They look like pills. What's not to love?
Unknown Binaries' online store.
ASCII art of Snoopy and friends.
Art that has to do with hackers.town.
‘Dead Drops’ is an anonymous, offline, peer to peer file-sharing network in public space. USB flash drives are embedded into walls, buildings and curbs accessible to anybody in public space. Everyone is invited to drop or find files on a dead drop. Plug your laptop to a wall, house or pole to share your favorite files and data. Each dead drop is installed empty except a readme.txt file explaining the project. ‘Dead Drops’ is open to participation. If you want to install a dead drop in your city/neighborhood follow the ‘how to’ instructions and submit the location and pictures.
There's a database of dead drops around the world, with map coordinates, photographs of locations, and instructions for adding your own. Of course, you're sticking a random USB device into your computer, you never know what's going to be on it so be sure you understand the risks before going on an expedition.
Piet is a programming language in which programs look like abstract paintings. The language is named after Piet Mondrian, who pioneered the field of geometric abstract art. I would have liked to call the language Mondrian, but someone beat me to it with a rather mundane-looking scripting language.
I wrote the Piet specification a long time ago, and the language has taken on a bit of a life of its own, with a small community of coders writing Piet programs, interpreters, IDEs, and even compilers. I have not written any "authoritative" interpreter, and the different ones available sometimes interpret the specification slightly differently.
Piet uses a stack for storage of all data values. Data values exist only as integers, though they may be read in or printed as Unicode character values with appropriate commands. The stack is notionally infinitely deep, but implementations may elect to provide a finite maximum stack size. If a finite stack overflows, it should be treated as a runtime error, and handling this will be implementation dependent.