An SVG shown as an image that could not be read (text that isn't XML,
an SVG without a size) still took one of the 256 nested SVG images an
SVG may show, so an image after 256 broken ones was left out. Only
images that decode now count toward that limit; a failed image gives
its place back.
Every nested SVG image read, decoded or not, counts toward new limits
of 1,024 reads and 512 MB of text per import, so a broken image shown
many times through <use> is still read a limited number of times. Past
them, nested SVG images are left out with a warning.
A nested SVG image with text that usvg then refuses no longer warns
that its text isn't imported.
In SVG and PDF output, each piece of a warped image whose pieces can show
through was drawn through a mask of every later piece that reaches it. On a
later piece's antialiased edge the viewer multiplies the earlier piece's
coverage by the mask and draws the later piece over it, so an image with
both opaque and partly transparent pixels came out lighter at its opaque
pixels along the triangles' edges (alpha 184 of 255 in the new SVG test).
A later piece now goes into an earlier piece's mask only when a pixel of
either piece's image within 2 pixels of their overlap is less than opaque
(vectorcraft_effects::WarpSeams). Where two pieces overlap over opaque
pixels, the later one is drawn over the earlier one without a mask.
An envelope or the Warp effect cuts an image into triangle pieces that
reach a little past their edges, so neighbors overlap and no seams show.
On an image with alpha, the overlap drew that alpha twice: a 50% image
came out about 75% opaque along every cell edge and diagonal.
- The pieces now form a knockout group, and each piece is marked as a
warp piece (`warp_piece`) whose knockout shape is its whole triangle,
so where pieces overlap only the top one draws.
- The canvas knocks each piece out by its triangle at full coverage.
- SVG and PDF draw the pieces of a partly transparent image (its pixels,
opacity, color mask or colorize paint) through one mask each, of the
later triangles that reach it; pixels on a triangle's antialiased edge
come out slightly lighter there. Pieces of an opaque image are drawn
one over another as before.
- SVG writes one copy of the image for pieces cut by opacity masks
(Preserve Shape Using Transparency) too.
- A cell count past the generated-object budget makes an empty group
instead of overflowing.
Docs: docs/target-app-parity.md.
The Gradient panel's Method menu gets two methods of VectorCraft's own
beside Classic and Perceptual. They mix a linear, radial, conic or
diamond gradient's colors around the hue wheel: hue, saturation and
brightness each change evenly from one stop to the next, and the hue
angle keeps one direction, as the fixed-direction rules of
https://www.w3.org/TR/css-color-4/#hue-interpolation do. Hue Clockwise
lowers the angle (red, magenta, blue), which is clockwise on the color
wheels, and Hue Counterclockwise raises it (red, yellow, green).
Two stops whose hues are less than half a color level apart count as
one hue and keep it, so a color and a tint or shade of it do not turn
the whole wheel. A stop whose RGB numbers are less than half a color
level apart is gray and takes the hue of the stop it mixes with, and
black takes that stop's saturation too.
- `paint.editGradient` and `paint.setFill` take `method: hue-clockwise`
or `hue-counterclockwise`, in any case, with a space or an underscore
for the hyphen or without it; other spellings are an error. The native
file writes `HueClockwise` and `HueCounterclockwise`.
- The canvas and raster exports draw the gradient through stops on its
curve, within half a color level.
- Reverse turns the method the other way with the stops, and a Reflect
spread is repeated from the curve's stops, so both keep the colors.
- SVG and PDF write the gradient as an RGB image, CMYK and spot color
stops included, with the spot warning. EPS writes a shading in process
colors with a warning for spot stops. A legacy .ai file and the .ai
editing data get the colors between the stops as stops of their own,
in process colors, at most 256, with a warning. CSS gets those stops
too.
- The `method` error names the four values, in every catalog.
- The Method menu is as wide as its longest name in the interface
language, within the panel.
Docs: docs/mcp.md, docs/plugins.md, docs/target-app-parity.md, ROADMAP.
An <image> whose EXIF orientation or TIFF Orientation tag turns or flips
its pixels, linked or as a data URL, is turned before usvg reads it: the
pixels are stored as they are shown, the width and height swap, and the
box fits the turned image under preserveAspectRatio, as CSS
image-orientation: from-image describes. A turned CMYK JPEG or TIFF keeps
its inks as a CMYK TIFF, as does a CMYK TIFF that is not turned.
- Data URLs of type image/tiff, and untyped TIFF bytes, are read.
- TIFFs with extra channels, CCITT Group 3 TIFFs and planar CMYK TIFFs
are read as Open and Place read them.
- Converted images decode within the decode allowance, and a TIFF that
claims more strips or tiles than the decoder can count is refused
before any decoder opens it.
- exif_orientation moves to vectorcraft-doc so Open/Place and SVG import
share it.
Tests: crates/svg/tests/it/image_orientation.rs.
A text chunk placed by an absolute x was measured from the pen of its
first character to the farthest glyph end. The first character of a
right-to-left chunk is drawn at its right, so a chunk of several such
characters was measured as that one character: anchored by middle or
end, or starting a line beside absolutely placed characters, it opened
off its position by the width of its other characters.
- A chunk's left and right edges are the smallest glyph start and the
largest glyph end over all its characters, as SVG 2 anchors a chunk
(https://www.w3.org/TR/SVG2/text.html#TextLayoutAlgorithm). The first
character's pen is placed at its own distance from the left edge.
- The layout that measures the chunks has the direction the imported
text gets: left to right unless the text's direction is rtl. Text
starting with a digit and holding right-to-left letters was measured
right to left.
- The chunks are measured in the first of the layouts that kern the
characters onto their x, so anchored text is laid out once less.
SVG 2 defines text-anchor start for right-to-left text as placing the
right side of the text at its position, and end as placing the left
side there (https://www.w3.org/TR/SVG2/text.html#TextAnchoringProperties).
Import placed start at the left edge and end at the right edge whatever
the direction.
- Point type and type on a path swap start and end when the effective
direction is rtl. On a path, right-to-left text anchored by start now
ends at startOffset and text anchored by end begins there. Vertical
type keeps its anchoring.
- Each line and each absolutely placed chunk is anchored by the
text-anchor and direction of the element holding its first
character, a tspan's own included. A later chunk no longer takes the
first chunk's anchor.
- Each line of point type starts at its own x, also when it has the
same anchor as the line before it or another line holds absolutely
placed characters. Such lines were drawn at the first line's x.
- A test covers letter-spaced right-to-left lines: the layout keeps the
tracking of every letter in such a line, so the whole advance sits
on its anchor.
The Character panel menu has Warichu and Warichu Settings… with Show East
Asian Options. Warichu characters are set at a percentage of their size
and stacked on 1 to 6 lines inside their line: one above the other in
horizontal type and side by side in vertical type. Warichu Settings sets
Lines, Line Gap, Scale and Alignment.
- text.setFormat and text.setRangeStyle take warichu, warichuLines,
warichuGap, warichuScale and warichuAlign; ui.warichuSettings opens
the dialog.
- A stretch of warichu characters is one block that stays whole on one
line. The canvas and every export draw the stacked lines; SVG, PDF and
the .ai writers write such type as outlines, as they do ruby. Type on a
path sets the characters at their own size.
- The attributes are saved natively, carried by character styles and
translated in every complete catalog.
Docs: docs/mcp.md, docs/type-parity.md.
The Paragraph panel's Mojikumi Set lists None, YakumonoHankaku,
GyomatsuYakumonoHankaku, GyomatsuYakumonoZenkaku and YakumonoZenkaku,
then Line-end Punctuation Half Width, and text.setFormat {mojikumi}
takes yakumonoHankaku, gyomatsuYakumonoHankaku, gyomatsuYakumonoZenkaku
and yakumonoZenkaku besides none and lineEndHalf.
The spacing of each set is VectorCraft's own rule, built on the help
page's one-line description of each set:
- YakumonoHankaku sets every bracket, comma and full stop half width,
takes a quarter em off each side of a middle dot, and puts a quarter
em between Japanese and Latin letters or digits.
- GyomatsuYakumonoHankaku keeps punctuation full width inside a line,
sets an opening bracket starting a line flush and a closing mark
ending it half width, and takes the quarter em after a middle dot
ending a line off.
- GyomatsuYakumonoZenkaku keeps punctuation full width and adds the
quarter em between Japanese and Latin text.
- YakumonoZenkaku sets characters as None does.
Both composers and vertical type measure each line as it is set. A
right-to-left paragraph, whose line ends are measured untrimmed, also
draws them untrimmed, and a right-to-left line that ends between a
Japanese and a Latin character is measured without the quarter em the
set adds there. With a Desired glyph scaling other than 100%, the
space a set takes off before an opening bracket or middle dot, and the
Japanese-Latin space recorded at a line's end, scale with the glyph.
The sets save with the document and paragraph styles; new type and
Reset Panel keep Line-end Punctuation Half Width. SVG export lays type
with middle dots out again for its positioned spans. A .ai save
reports a paragraph with one of the new sets as left out.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md,
docs/gaps.md.
A 9-slice guide can now be placed outside the symbol's art, by dragging
it past the art's edge in symbol editing mode, by symbol.options
nineSliceGuides, or by a Symbol Options field below 0% or above 100%.
A scaled instance then scales by the cells its art falls in.
- Each guide is a fraction from its edge in -16..16, and the two guides
of an axis keep their order (left + right < 1, top + bottom < 1).
- A guide past an edge cuts the art at that edge, so that side's outer
cell holds no art. With both guides of an axis past opposite edges,
the art scales as a whole along it. With both past the same edge, the
art keeps its size in the outer cell at the other edge.
- Symbol Options shows the guides with three decimals, and OK keeps a
field that was not changed at its exact value.
- Native files keep the guides exactly. SVG and .ai write such an
instance as its placed art, without guides.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/gaps.md.
A glyph that justification widens to fill the line keeps its Insert Aki
before it at its width, and its own width, which ligature carets stand
in, now starts where the glyph is drawn. Optical kerning measures a pair
from the letter of a cluster rather than from a combining mark whose
advance holds the cluster's Aki.
The SVG test also checks centered and right-aligned lines with Insert Aki.
- object.expand.info reports no gradient or fill to expand for a
gradient that repeats in more runs across its box than are written,
matching object.expand, which leaves it a gradient. For a path that a
painting live effect draws, it measures each piece the effect returns.
- CSS writes a repeating gradient's stop positions, and a repeating
radial gradient's radius, with enough decimals that their rounding
adds up to at most a hundredth of a period across the box (at least
four for positions and three for the radius).
- docs/mcp.md says that sharp steps and swatch-linked stops are the last
to be left out rather than always kept, and that the CSS conic limit
counts stops before midpoints and Perceptual curves add more.
When a repeated or reflected gradient needs more stops than a limit
allows, each run now leaves out the stops that change its colors
least, so every run is still written, instead of writing fewer runs
and padding the rest with the last color. Each run keeps its ends,
sharp steps, swatch-linked stops, tint and CMYK ink changes and spans
shaped by an off-center midpoint, and the colors are compared as the
gradient's method mixes them. This applies to gradients along or across
a stroke, CSS conic gradients, and PDF, EPS and .ai export.
- Outline Stroke's mesh fits the gradient to at most 1,024 stops, and
splits a stroke into several meshes when one would hold more than
2^20 points.
- Object > Expand leaves a gradient as it is when the box needs more
than 256 runs, instead of expanding only the first runs.
- CSS writes the stop positions of repeating gradients with four
decimals, so the period stays in place across the box.
- A swatch chip of a gradient that repeats gets at least four grid
cells a run along each side (at most one a point, and 128), so it
does not show one color when the count matches the chip's cells.
- docs/mcp.md states the stop limits and the PDF import sample budget.
Characters take two new attributes, `akiLeft` and `akiRight`: space
before and after each character in reading order, in thousandths of an
em from 0 to 1000, measured as tracking is. `text.setFormat`,
`text.setRangeStyle` and character styles set them; values that are not
numbers or are outside the range are refused, and a file holding one
outside the range opens with the nearer end. Both are saved only when
not 0.
- Layout: Left is the space above a character in vertical type and on
its right in right-to-left type. Wrapping counts the space, a line's
end keeps it when aligned, and justification and Optical kerning
leave it at its set width. A ligature, a letter with its marks and a
tate-chu-yoko block take the values of their first character.
- With Fractional Widths off or System Layout on, the space before and
the space after a character are each set in whole points and added
to its rounded width, so justification keeps them at that width. A
tate-chu-yoko block rounds the space above and below it the same way.
- Character panel: with Show East Asian Options on, Insert Aki Left and
Insert Aki Right fields with 0, 250, 500 and 1000 in their menus;
Reset Panel sets both to 0.
- Character Style Options › Advanced Character Formats shows Insert
Aki Left and Insert Aki Right, with the Character panel's 0, 250, 500
and 1000 in their menus; a typed value below 0 or past 1000 sets 0 or
1000, and Reset Panel unsets both.
- SVG export: live text places each character the space moves, and
type on a path with Insert Aki is written as outlines.
Docs: docs/mcp.md, docs/target-app-parity.md.
SVG Options gets an Include Variable Data checkbox (the `variableData`
option, off by default). With it on, the saved SVG carries the document's
text variables, its data sets' text values and each text variable's bound
type object as a `variableSets` element, in the layout Load Variable
Library already reads. A bound object is named by its element id in a
`docRef="id('...')"` attribute; an object without an id gets one.
Opening such an SVG reads the variable data back: the text variables, the
data sets (none active) and the bindings, so choosing a data set changes
the type again. Variable data that Load Variable Library would refuse is
left out with a warning, and the art opens. Markup that only looks like
the element (in comments, CDATA sections, processing instructions or the
document type declaration) is skipped.
Variables of other kinds, names XML can't hold, more than 256 text
variables or 1,000 data sets, and variable data over 8 MiB or 2,000,000
XML nodes are left out of the file, each with a warning. Type written as
outlines opens as art, so its variables are written unbound, with a
warning.
Each writer marks its notes as a loss (something of the document that the
file leaves out or that reaches it changed) or as a note on the options
(an option it didn't apply or applied another way while the art reaches
the file as it looks, or something an option turns off). The PDF, SVG,
EPS, legacy .ai, DXF and HP-GL writers return their notes on the options
in a list of their own (`setting_notes`) beside `warnings`, and the
engine's `Encoded` does the same.
The replies of the save and export commands, and of
`clipboard.exportPdf` and `clipboard.exportPng`, list the losses first,
each kind in the order the writers gave them, across every file that
Export for Screens writes. The status bar names the first note, so an
export to lossy WebP of type in a font that isn't installed now names the
fallback-font note instead of the lossy WebP note. A print to a file
keeps the order its notes are given in.
A linear, radial, conic or diamond gradient has a spread: Pad (the
default, as before), Repeat or Reflect, with a count of 1 to 100
(VectorCraft's own limit). Repeat and Reflect run the stops that many
times along the vector (around the turn for a conic) and keep going past
both ends, Reflect running every other run backwards, as SVG's
spreadMethod does.
The Gradient panel has a Spread menu and a Repeats field, and the
Gradient tool marks where the runs meet. paint.setFill and
paint.editGradient take `spread` and `repeats`; bad values are errors.
Presets, swatches, blends, strokes along or across a path, Outline
Stroke and Object › Expand follow the spread; Expand gives each run the
same whole number of objects, and Outline Stroke's mesh keeps the color
on each side of a sharp step between two stops at one offset.
SVG writes and reads spreadMethod: SVG import now reads a repeating or
reflecting gradient as one that repeats or reflects once, instead of
expanding its stops over the shape. CSS writes repeating gradients.
PDF writes a conic's sweep shading over one run. PDF, EPS, legacy .ai
and the .ai editing data write the other kinds with their stops
repeated across the shape: at most 256 runs and 16,384 stops (256 stops
in .ai files), and for a radial or diamond no farther than 65,536 runs
from its center, with a warning past those. PDF import now finds sharp
steps in any axial or radial shading instead of blurring them.
Docs: docs/mcp.md (Spread), docs/target-app-parity.md, docs/gaps.md.
A text on a path that many <use> elements show was laid out along the
whole path once per <use>, and the path was found in the file and parsed
again each time, while the 1 MiB limit on texts built for <use> elements
counted only the text's nodes and characters. A file with a short text on
a very long path and many <use> elements of it could keep the importer
busy far past that limit.
- The elements of the path a <textPath> follows now count toward the
limit. Past it, the remaining <use> elements show the text with its own
properties, and the warning names text paths as well as text.
- The path of each <textPath> is found and parsed once and shared by
every <use> that shows its text.
Files within the limit import as before.
The element a <use> shows inherits from the <use> rather than from where it
is defined (SVG 2, https://www.w3.org/TR/SVG2/struct.html#UseElement). A
text shown by a <use> now takes the font, size, weight, fill, stroke and
other text properties the <use> or its parents set, in clip paths too,
while the text's own properties still win. Uses with the same parent and
properties share one text. A <use> inside the text it shows is ignored for
inheritance, and texts built for <use> elements stop at 1 MiB of text with
a warning.
Object › Plug-ins › Image Tools gains Color Mask… (`addon.image.colorMask`),
Remove Color Mask and Apply Color Mask. Color Mask hides colors of the
selected images without changing their pixels. It matches colors as Remove
Background does: the edge color, the corner color or picked colors, with
Contiguous, Match, Tolerance and Softness. The mask is kept with the image
object and saved with the document: its settings, and a PNG of the image's
pixels with the hidden colors made clear, at the source's depth with its
color profile and resolution. It is a VectorCraft addition.
- The canvas (clip groups and white-shape opacity masks included),
printing and separations, PDF (soft masks of CMYK images included), SVG,
EPS, the raster formats, the legacy .ai and .ai editing data, EMF/WMF,
DXF and the flattener draw the masked pixels. A linked image stays
linked, and an output that would refer to its file writes the masked
pixels instead.
- Copy and paste, placing a document and placed documents carry the masked
pixels with the image, under the names they are given there.
- The dialog opens on the selected image's mask settings, with a Preview.
Without settings, the command returns them and changes nothing.
- Setting, removing and applying a mask are each one undo step, and no
step is added when nothing changes. Apply makes the masked pixels the
image's own and embeds a linked image. A mask that hides nothing is only
taken off, and the image keeps its pixels and its link.
- When an image's own pixels are replaced (Update Link, Relink, Crop
Image, a recolor, a linked file read again on open), its mask is made
again for the new pixels, in every art tree and in opacity-mask art.
Crop Image cuts the image's own pixels. When the new pixels can't be
masked, the mask keeps its settings and hides nothing.
- Objects in `ids` that are not images, CMYK images, linked images that
show their preview, images past the decode allowance, masks that would
hide every pixel, and grayscale images colorized with a process color
are refused. The Eyedropper, Object Mosaic, Create Gradient Mesh, Crop
Image's trim and Image Trace read the image's own pixels.
- An image is selected by a click anywhere in its frame, as before.
Remove Background now also refuses a grayscale image colorized with a
process color. Its result has an alpha channel, and a process color is
refused on a grayscale image with transparency.
Docs: docs/mcp.md (Image Tools add-on › Color Mask),
docs/target-app-parity.md.
A Warp effect on an image, or on a group that holds one, bent the image's
frame but drew the pixels unbent, cut by the bent frame. The image now
bends with the frame as a raster mesh warp, as an envelope bends it: after
the last effect in the list, the image is cut into 10 x 10 cells of two
triangles, each a clipped piece of the image under its own affine map,
through every Warp it took and the Transform moves between them. Effects
after a Warp reshape only the frame, and a placed gradient on a group
that holds the image follows the group's bounds as the pieces draw them.
The image itself is unchanged, so editing or removing the warp redraws
it. The images stay unbent when their pieces would make the art pass 2
million objects, and an image stays unbent when its clipping frame keeps
its shape because the warp would pass the effects' anchor budget.
- SVG export writes the image once and draws the pieces with <use> when a
group holds pieces of one image clipped by triangles. PDF, EPS, .ai and
PNG exports write the bent pieces.
- Envelopes: a grayscale image's fill color now colorizes the pieces an
envelope cuts. Before, the pieces drew the gray image.
- Geometry effects: an image under any geometry effect keeps its fill
color and its smoothing setting. Before, it drew the gray image,
smoothed.
Docs: Warp params text, docs/mcp.md, docs/target-app-parity.md.
Dylan M. Taylor