Crossings of the middle of a line's band that lay within a few units of rounding of each other were joined as a seam, so two contours of an area type frame 1e-7 pt apart at x = 1e8 held one line across the gap between them. A vertical edge crosses the middle at its own x with no rounding, so a gap at one is no longer joined.
With Invert Wrap and an offset, each piece of a line's band kept only the x that one part of the shape held within the offset of every height of the piece. Where the offsets of two parts met across a gap (one above and one below), the heights between them held neither part, and the line lost that x although the grown shape covered the whole band.
The band is now also cut at every height an offset above or below an anchor of the shape (when there are at most 64 of them), and the horizontal edges at the ends of a piece's window count, so the window of the piece between the meeting offsets reaches both parts.
A line in area type of a shape other than a rectangle was measured at five heights of its band, so an edge that pinched in between two of them (a notch tip at y = 47.5 in a 40..60 band) left the line running outside the frame. The frame's intervals over a band are now the intervals at its middle minus the x range of every edge within the band, which is exact for any number of vertices, holes and crossing contours.
Edges that contours meet along do not shorten a line: horizontal ones count by coverage, and collinear ones by overlap, and an edge that only touches the top or bottom of the band is left out. Rectangles keep their fast path.
Text wrap shapes were sampled at the same five heights, so a wrap object whose tip reached into a band between two of them let the line run across it. A line now keeps clear of every x at which a wrap shape, grown by its offset, lies anywhere in the band: the shape's intervals at the middle of the band plus every edge within it. With Invert Wrap, the band is cut into pieces a quarter of the offset tall (64 at most), and a line keeps to the x within the offset of the shape at the heights each piece's offset window holds, so it stays inside the grown shape over the whole band; an offset of 0 takes the shape's intervals over the whole band.
A frame less than 0.0002 pt tall no longer panics when a line is measured in it.
A right-click on a selection that holds a path (a path, a group of
paths, a compound path, or anchors selected with Direct Selection) lists
Smooth…, after Join and Average… and the anchor entries when those are
listed. It opens the slider that Object › Path › Smooth opens, which
previews the result until OK keeps it as one undo step. With nothing,
only type or a group of type selected, Smooth… is not listed.
Docs: docs/mcp.md, docs/target-app-parity.md.
Where a band border in a gradient or a shaded area runs at a slant, its
pixels form a staircase whose steps are two or more pixels long. When one
piece of outline also runs along a sharp edge in the image, that piece as
a whole is not the contour of a smooth area, and the outline kept a
corner at every step, so the border was traced as a series of right-angle
steps.
subpixel::outline now reads a run of three or more edges of 1 to 8 px,
each turning one way where it starts and the other where it ends, with no
junction on it, as a staircase when the run's own cracks pass
subpixel::low_contrast. A run is cut at any step whose own cracks show half
of the step between the two colors or more. Its edges are steps, as
one-pixel steps already were: no corner where two of them meet, and one
point at the middle of each, moved by the mean of its cracks' shifts. The
corner where a run meets an edge that is not a step stays, so a straight
edge longer than 8 px next to a staircase stays straight. Two one-pixel
steps inside a run are read as part of the slope and do not make a notch.
Longer steps, staircases along a sharp edge and Black and White traces
keep their corners. The runs are the same from either side of the border.
On gradient and photo inputs most traces take fewer anchors. Some rows get
worse: 6 Colors on gradient and photo leaves a gap of 0.9 px (was 1.2) and
an overlap of 1.0 px (was 0.8), High Fidelity Photo with Gradients on a
blurred input takes 50 anchors (was 47), and on a synthetic 800 px photo
the 95th percentile of High Fidelity Photo's pixel difference rises from
6.33 to 6.67 and 16 Colors leaves 2 staircases of 2 px steps or more where
it left none.
Docs: docs/target-app-parity.md, docs/image-trace-quality.md.
object.expand.info reported a gradient (and a fill) to expand for any
type whose characters have a gradient fill. Expand outlines type first,
and each outline then holds the run's gradient on its own box, so a
gradient that repeats or reflects in more than 256 runs across every
outline stays a gradient: the dialog enabled options that changed
nothing.
- The query now measures the paths type.createOutlines makes of the
glyphs, ruby glyphs and underline and strikethrough bars, each with
its run's paint, and reports a gradient when one of them expands. It
lays the text out only when a run has a gradient fill, stops at the
first outline that expands, and does not change the document. Type in
symbol art, blends and repeats goes through the same check.
- docs/mcp.md says when gradient is false; docs/target-app-parity.md
gets an evidence line.
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