Window › Color Wheel opens a new panel: the Fill and Stroke proxy
beside a hue ring around a square with saturation across and
brightness up at the ring's hue. It edits what the Color panel's
sliders edit (the active proxy's color, the selected gradient stop or
freeform point) through the same paint commands, and a drag is one
undo step. Alt paints the other proxy, and Shift steps the ring by
45°. The Color panel does not change.
A pick is display sRGB and goes into the working RGB space through the
color settings. An RGB, CMYK or Lab color keeps its model, and a Gray
color or a tint of a global swatch becomes a process color in the
document's color mode. The wheel keeps the hue of the last pick while
the objects, the proxy and the color are unchanged, so a drag through
a gray and back keeps the hue.
A press gives the ring or the square the keyboard focus. The arrow
keys then step the hue by 1° or the saturation and brightness by 1%.
With Shift a press steps ten times as far, and with Cmd/Ctrl it steps
a tenth as far. Each press makes one undo step, and Escape or a click
elsewhere gives the keys back to the tools. Screen readers
read the ring as a slider from 0 to 360 with increment, decrement and
set-value actions, and the square as its name and both values. The
Color Picker's color field is the same widget, so it takes the same
keys and reports its name and values.
Color::to_hsb and Color::from_hsb now call the new rgb_to_hsb and
hsb_to_rgb, which the panel uses on display sRGB numbers.
The canvas, the gradient chips and the SVG, PDF, EPS and EMF writers mixed
freeform points in display RGB, while Object > Expand and Create Gradient
Mesh mixed them in the model the points share. Points that are all CMYK,
Gray, Lab or RGB now mix in that model in those places too. Points in
different models mix as before: in display RGB, and on ink planes as the
inks of each point.
This changes how existing art looks:
- CMYK and Lab points. With the default Generic CMYK working space and no
ink planes, halfway between C100 and K100 the canvas drew (17, 106, 139)
and now draws (54, 118, 143).
- RGB points in a working RGB space other than sRGB mix in that space.
- On ink planes (a CMYK document that shows transparency), RGB and Lab
points mix first and then separate.
Gray mixes keep their values, and CMYK and Gray points on ink planes draw
as before. RGB points in an sRGB working space draw as before except on
ink planes.
- PDF and EPS write a gradient whose points are all CMYK, or all Gray in a
CMYK file, as a CMYK image. PDF's Output settings convert it as they
convert any CMYK image.
- Darkening applies to the points before they mix.
- With Appearance of Black set to Rich, the canvas mixes a gradient with a
pure CMYK black point in display RGB, and the point fades from RGB black.
With New Art Has Basic Appearance on (the default), the selection never
reached the fill and stroke proxies, so new art kept the colours set last.
A select.* command or layer.target that changes the selection now loads
the proxies and the weight from what the selection shows in them.
A paint or weight the selected objects don't share stays as it was, and
art without paint (a placed image) changes nothing. The template is left
alone, and only a changed selection loads, so a sampled paint stays.
With Scale Strokes & Effects or Transform Patterns on, the path and each copy are moved by Node::transform, which fixed a fitted gradient to its fit before a scale of 0 flattened it to one color. Scaling::keep_fit_when_flat keeps the gradient fitted under a map that flattens the object (node::flattens, the gate fixes_fit already used), and the Transform effect's path transforms set it.
docs/target-app-parity.md also says that the Gradient tool still shows a fitted gradient's vector at its unturned fit.
dotCooCoo