The new Trim at Crossings Tool removes stretches of paths between the
places where they are crossed by another path or by themselves. A click
removes the stretch under the pointer, a drag removes every stretch its
rectangle touches, and an Alt-drag removes every stretch its freehand
line crosses. It works on every path that can be edited, selected or
not, and each gesture is one undo step.
- `addon.pathtools.trim {at, tolerance?}`, `{rect}` or `{points}` is the
command behind the tool. A closed path that loses a stretch becomes
open, an open path that loses a middle stretch becomes two paths with
its appearance in its place in the stacking order, and a path that
nothing crosses is removed whole. The stretches that stay get no new
anchors.
- Hidden and locked paths, guides and clipping paths are not trimmed and
do not count as crossing. Only the paths the gesture reaches are
searched for crossings, and one work limit covers every path the
command trims.
- `crossings_on` and `crossings_on_within` in `vectorcraft-pathops` find
the crossings on one path and compare it only with the segments in
its box.
- The new tool shares the crossing search with Add Points at Crossings
and Split at Crossings, so those change too: two segments of a path
that meet at an anchor, directly or across segments with no length,
now count as crossing where they cross again away from that anchor,
and do not count as crossing at the anchor itself. With Self
Crossings, a curved segment that loops over itself counts as crossing
itself. Before, both crossings were missed.
- The tool is an add-on tool: Object › Plug-ins › Path Precision Tools
and the All Tools drawer list it, it has no shortcut, and neither
shipped toolbar shows it.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
A Transform effect whose result would pass the geometry budget (2 million
anchors or 8 million lines drawn) is left out and the art stays where it
was, but the raster effects listed before it still scaled and moved with
it: before a Transform effect that scales the art 1000 times, a Drop
Shadow's offset grew 1000 times and its blur went to the 1000 pt limit
around art that had not moved, and Expand kept those values.
The geometry pass now notes each Transform effect that moves the art once
and that it leaves out, in the Carry it already returns, and
Carry::hide_skipped hides those effects in the list the raster effects
are read from. The canvas (a path's own effects and its fills' and
strokes'), its bounds, bake (SVG and PDF export), shape art, Expand,
Expand Appearance and Outline Stroke use it, and a fill's Transform
effect inside a piece no longer scales the effects before it when the
budget leaves it out. The budget itself is unchanged.
A path drawn as its own art inside a group whose geometry effects run
after its members' own read its object effects whole. The reshaping pass
now notes a Transform effect that no path in the art took past the
budget, and the member's art hides it before its raster effects are read.
The bounds skip the extra geometry pass when no raster effect could
follow a Transform effect, and painted_reach runs it once for both
measurements.
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.
When a Fit to Artwork Bounds step of `command.batch` takes the batch's
`artboard` as its `index`, the batch's journal entry now records that
`index`. Before, the entry kept the step without it, so a replay with the
Artboard tool choosing two or more artboards fitted those instead.
The params text, docs/mcp.md and docs/target-app-parity.md state that the
step uses the Artboard tool's selection only when two or more artboards
are selected, and the active artboard otherwise.
The Live Paint Selection tool always showed the plain arrow. Its cursor
now says what a click at the pointer selects, by the same rules as the
click (Alt, Select Fills, Select Strokes, locked, hidden and isolated
groups): the arrow with a filled square over a face, with a short line
between two anchor marks over an edge, and with an x where a click
selects no face or edge. From a press to the release the cursor keeps
the look it had at the press. Use Precise Cursors shows the crosshair.
- Cursor: LivePaintSelectFace, LivePaintSelectEdge and
LivePaintSelectOutside, with cursors.toml entries and drawn glyphs.
- Tests: live_paint_selection_cursor_shows_what_a_click_selects,
live_paint_selection_shows_the_arrow_with_a_face_edge_or_x_badge, and
the precise-cursor list.
Docs: docs/mcp.md, docs/target-app-parity.md.
An Overlapping layer covers the colors above it within its area, so an
area of another color that a shape enclosed was a hole in that shape
and in the shape of every layer around it, and its outline was fitted
once for each of them. In a code-drawn test, a white disc in a black
ring that four grays touch had six copies of its outline.
With Fills and without Create Strokes, each shape is now filled whole,
by a fill rule of VectorCraft's own. The area inside a filled hole is
traced on its own and drawn after the shapes around it, so its outline
is fitted once. An area of one color is drawn from the hole's outline.
A shape keeps a hole where the area holds a transparent pixel or a
color that Ignore Color or Keep Colors leaves out, and a hole smaller
than Noise is filled with the shape's color as before. Nested areas are
traced within a work budget of VectorCraft's own: four times the
image's pixels (counted as at least 65,536) times its colors, each area
costing its box times its colors. An area that costs more than what is
left keeps its holes and is not charged. Create Strokes and outlines
without Fills are unchanged.
Shapes have holes only in those cases, there are more paths, and the
stacking order changes. Expand by Color starts another group of a color
where an area is drawn above the shape around it. The trace's progress
counts finer steps across the rounds of enclosed areas, not one step
per color layer.
A layer's components without its own color are now left out after its
mask is traced, instead of in a labeling pass before it. Every route
finds its components through the same function.
file.close {index} on a tab other than the current one made the
document now at the closed index current and reset the tool, so the
document the user was working in went to the back. The current
document now stays current, found by its id as document.move does, and
its tool keeps its state. Closing the current tab still makes its
neighbor current.
Docs: docs/mcp.md, docs/target-app-parity.md.
A blend pixel took a side of its edge only when the picture's own colors
on both sides lay within 2 px of it. With a limited palette, an edge
blurred over more than about 4 px kept the middle of its ramp in the
palette's in-between tones, which traced as rings of thin paths around
the edge.
With a Limited palette of at most 16 colors (3 Colors, 6 Colors,
16 Colors) and in Grayscale with at most 16 grays (Shades of Gray),
settled_wide looks for the own colors within 8 px, pairs the 8 of them
nearest to the pixel's color, and moves the pixel to the nearer side of
the best pair when that pair explains it twice as well as its own color,
or when it lies between the two and off the line between them by less
than 0.15 of their distance apart. These values are VectorCraft's own.
Of two pairs that explain it equally well it takes the closer one. A
pixel keeps its color when an own pixel of that color lies within 4 px
or when its color is one of the pair. Grayscale compares lightness. The
colors within reach are kept as bitsets for a strip of 7 columns at a
time.
High Fidelity Photo, Low Fidelity Photo, Black and White and the other
palettes keep the 2 px rule unchanged.
On the quality harness, blurred and scanned flat art with 6 and
16 Colors goes from 6 to 9 paths to 3, and from 0.23 to 0.26 px off to
0.07 to 0.11. Askew shapes take up to 11 px more area in colors the art
does not have, thin lines with 16 Colors lose more (largest distance
23.5 to 45.3 px), and Shades of Gray traces thin lines in 7.3 paths
where it took 5.3.
Noisy images settle more of their pixels: the dense grouping test
traces 150 x 150 noise instead of 120 x 120 to keep more than its 500
paths.
Covers the limited-palette part of #1911 (leogrox).
Docs: docs/target-app-parity.md, docs/image-trace-quality.md.
Under automation read roots, stroke.arrowheads.list gives `file` as
null for an arrowheads file outside them and names it by its file name
in `error`. stroke.arrowheads.edit and stroke.arrowheads.reload refuse
such a file with the root-check error, naming it by its file name:
edit makes no folder or file and neither opens nor activates the file,
and reload does not read it. Inside the roots, edit opens the file
under the client's roots. The Stroke panel menu is not confined.
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.
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.
The Color panel and Color Picker cached their out-of-gamut warning and
correction for the last color only. Assigning the document another CMYK
profile, removing it, or changing the working CMYK space in Color
Settings left the old warning showing until the color changed.
The cache entry now also holds the active color settings and the
registered profiles' generation, so the warning is checked again when
either changes. The comments and the color.gamutCheck params text name
the CMYK space actually used: the document's assigned CMYK profile, else
the working CMYK space.
When a document holds two brushes with the same name, the canvas drew
a stroke that names it with the last of them, while brush.get, Brush
Options, expanding, outlining and the SVG, PDF, EPS and .ai exports
took the first. Document Info gave the last one's type, and every row
of that name in the Brushes panel previewed and dragged the last one.
The renderer, Document Info and the Brushes panel now take the first
brush of a name, so the canvas, the panel and the exports agree.
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.
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 app that does not send the image back wrote the window capture to
vectorcraft-window-<pid>.png directly in the system's temporary folder.
On a shared Unix temporary folder another user could put a link at
that name, and the app would then overwrite the file it points to. A
failed read also left the file behind.
The capture now goes to window.png in a new folder made for it inside
the temporary folder (owner-only on Unix; a name that is taken is
skipped). The folder is removed after the read, also when the app or
the read fails.
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