SVG export wrote an SVG filter as a live <filter> when its SVG 1.1 form
was at most 64 KB, without counting the region and id it writes into
it. A filter close to the limit came back over it, SVG import dropped
it, and the reopened object had no filter.
Export now leaves room for the id and the measured region, checks the
SVG 1.1 form the way import does, and counts each character past U+00FF
as the character reference Latin-1 output writes. A filter that does not
fit is exported as the other pixel effects are. The SVG 1.1 form and its
check are kept for the filters seen last, as checked filters already
are, so export does not check one filter again for each object.
`plugin.clearCache` without an id empties the cache of every plug-in
installed in the process. In the engine's library tests it could empty
the cache of another storage test running at the same time, and its
`bytesFreed` could count that test's cache. It now runs in
`crates/engine/tests/plugin_clear_cache.rs`, and the library test checks
that clearing one plug-in's cache leaves the other plug-in's cache.
The storage fuzz test starts each case with an empty plug-in store,
deletes the store when the case ends, and installs `fuzz.storage` with
`replace: true`, so the cases that shrink a failure install their
module.
docs/mcp.md says that files `plugin.remove` can't delete stay in the
folder renamed with `.removed` until the plug-in is removed again.
Align to Path moved the whole line by the largest ascent and descent
among its characters. Each character now moves by its own font, size
and vertical scale. Ascender runs the top of the font's em box along
the path: the ideographic em box that the font's BASE table gives, or
in a Chinese, Japanese or Korean font the one that its typographic or
hhea box, a one-em box-drawing cross or its ideographs give; else an
em box centered on the cap height. Descender runs the bottom of the font's
bounding box along the path, and Center runs a line at half the height
of the top of the font's H along it. In vertical type, Ascender and
Descender move the characters half an em, and Center leaves them on
the path.
Existing documents with Align to Path set to Ascender, Descender or
Center lay their type out at a new distance from the path.
Generic CMYK's tone curves now pass through the CGATS TR 001 tone value
increase of each ink at 40% and 50% (C 20.0, M 17.6, Y 16.8, K 21.6 at
50%), and its 16 Neugebauer primaries mix linearly, so a single ink's
tints gain as TR 001 gives. The 300% ink limit stays. The primaries, the
black-generation curve and the black point are VectorCraft's own values.
- The black point is 90% black under neutral CMY that fills the ink
limit: sRGB black separates to C75 M68 Y67 K90 instead of C67 M67 Y67
K100.
- Black follows a curve over the gray component of the black-free
solve, raised by how far that solve stays lighter than the target.
Grays from sRGB 177 up carry no black, and sRGB 128 gray separates to
C50.5 M42.2 Y42.0 K7.5 instead of C38.8 M26.3 Y29.9 K24.4.
- Display of CMYK fills, swatches and imported CMYK values and the
separation of RGB and Lab colors use the same model.
Paper white still separates to C0 M0 Y0 K0, but other separations
change, and so does the display of CMYK colors with ink. Tests that held
numbers of the old model are updated.
swatch.new stored a gradient or pattern as it was given. A gradient
swatch made from a gradient swatch by name, from a fill linked to one,
or from a gradient that names one (the Gradient panel's add to
swatches) kept the link to that swatch, so copying art that uses the
new swatch brought the other swatch along too. A pattern swatch made
from a current fill picked up from art with transformed tiles kept
that transform, and art the swatch was applied to took it in place of
its own.
The new swatch now drops the gradient's link and stores the pattern
untransformed. A gradient swatch keeps its aspect as before.
SVG viewers center each <textPath> glyph on its midpoint on the path and
turn it to follow the path, which is how the Rainbow effect draws. Type on
a path with any other effect and no spacing was written as a plain
<textPath>, so a viewer drew it as Rainbow. It is now written as outlines
with a warning, as type with an end bracket, Align to Path or Spacing
already is.
Docs: docs/mcp.md, docs/target-app-parity.md.
A top object's corner test treats a straight segment as having its
handles a third of the way along it, so an anchor between two straight
segments is a corner only when it turns out of the outline. docs/mcp.md
and the doc comment now say so, and a new test covers an inward anchor
between straight segments. The bulging-curve corner test checks against
a fixed point instead of the same nearest-point routine the code uses.
Saved corners from an .ai file stay on the same anchors when the
envelope is reflected, as they already did when it was moved or
rotated. A reflected outline runs counter-clockwise; the corners were
then mapped as if the outline had been drawn the other way round, no
longer fit it, and were found again from the outline.
On a tie between two corner anchors, or two nearest outline points,
the one met first along the outline in the order it was drawn wins,
for outlines drawn counter-clockwise too.
The docs state the corner rule in full: a handle 0.01 pt long or
shorter makes an anchor a corner whichever way it turns; otherwise its
tangent unit vectors must differ by 0.01 or more in x or y and turn
out of the outline. Content spreads evenly along a segment without
handles.
An anchor with a handle shorter than 0.01 pt counts as a corner of a top
object whichever way it turns; only an anchor whose tangents differ must
turn out of the outline. docs/mcp.md and the progress line in
docs/target-app-parity.md now say so.
A top-object envelope splits its outline into four sides at four corners
and maps the content onto the Coons patch of those sides. The sides
shared out the content by length, and the corners were the anchors or
curve points nearest the bounding box corners.
Each piece of a side between anchors and corners now takes a share of the
content's width or height in proportion to the length of its control
polygon, spread along the piece by its curve parameter. A straight
segment spreads it evenly by length. A rounded rectangle stays close to
the identity, and the content follows the curves of a side whose segments
differ in size.
Each corner is now the nearest anchor to its bounding box corner among
the sharp anchors that point out of the outline and lie within 47.5% of
the box's width and height from that corner. A handle shorter than
0.01 pt, or tangent unit vectors that differ by 0.01 or more in x or y,
makes an anchor sharp, and the first one along the outline wins a tie.
Without such an anchor, the corner is the outline's nearest point to the
box corner, moved onto the end anchor of its segment within 0.5% of the
segment's parameter. Envelopes opened from .ai files keep the corners the
file saves.
These are VectorCraft's own rules. Existing top-object envelopes redraw by
them. Gradient meshes made from a path keep their sides measured by length.
- crates/doc/src/live/mesh.rs: Coons::from_top_object and the corner
search, used for top-object envelopes.
- EnvelopeKind::TopObject gains an optional `corners` field (anchor
indices); the .ai importer fills it from the mesh's corners.
- Params text of object.envelope.makeWithTopObject, docs/mcp.md
(Envelopes) and a progress line in docs/target-app-parity.md.
Covers the other places a Warp now moves placed gradients: a group's
and a nested group's own strokes and a compound path's stroke (with the
stroke-inflated bounds), the art of a symbol instance and the area of a
compound shape with a Warp, and a stroke's own Warp on the canvas. A
new test checks that Arc's no-bend threshold for gradients matches the
one the warp uses, and the no-bend test now covers all fifteen styles.
The render test's Fisheye case, which left the square's bounds as they
were, is replaced by a vertical Bulge, and each style there is checked
to move the outline's left or right edge. The Object > Expand test
checks that it measures the ramp and not an edge of the outline.
The params text and docs/mcp.md now state which bounds each gradient
follows, and that a warp moves them with a bend or a distortion.
BFlat