swatch.spotOptions and swatch.resetDefaults {replace: true} rewrite the
fill and stroke for new art through map_default_paints, which also runs
for command.batch steps. Two tests now run each command on its own and
as a batch step followed by a rectangle, and check that the default
paints and the rectangles match: a Lab spot link keeps its tint and
takes the Lab values or their CMYK equivalent in both directions, and a
link to a swatch the replace removes is dropped while the color stays.
Both tests fail when map_default_paints skips every interaction.
The progress line for swatch steps in a batch names the two commands and
the new tests.
With Use Monitor Profile for Canvas converting, the art's raster was
converted on its own and then drawn over the separately converted
paper, so a translucent fill or an antialiased edge showed
blend(convert(art), convert(paper)) rather than the converted blend.
Each pixel with partial alpha over an artboard's paper, a colored
artboard, the transparency grid or Hide Artboards' paper now gets the
color that, drawn over the converted paper, shows the art blended with
the paper in sRGB and then converted. Its alpha is kept, so a grid
drawn in back still shows through. Opaque and empty pixels, art over
the pasteboard and Outline convert as before, and with no profile to
convert into nothing changes.
The frame rendered whole, the part an edit renders again, the render
worker's frame (and the pan fill), and the other windows' panes all
use the same rule. The paper is part of the canvas cache key, so
turning the grid on or hiding the artboards renders the art again.
A gradient stop linked to a spot ink that also carries process plates
(a DeviceN stop opened from a PDF) printed only its spot tint: print
separations and Separations Preview left its Cyan, Magenta, Yellow and
Black plates blank. They now print the stop's plates beside the tint.
With spots printed as process, each process plate prints the stop's
plate layered with the spot tint's process equivalent, as a separated
image's spot plates layer. Plates beside no spot link, or beside
Registration, still print nothing of their own.
The color visitor also skipped a freeform gradient's points, so print
plates kept their display colors and Document Color Mode left them
unconverted. The points are now visited as unlinked colors.
swatch.edit stored a replacement gradient without its placement, so a
radial gradient with an aspect, Alt-dropped on a gradient swatch or
given as `paint`, lost that aspect, while swatch.new keeps it and
applies the swatch with it. A gradient given an aspect without `start`
and `end` lost the aspect in both commands. A replacement pattern kept
the tile transform of the swatch it came from, while swatch.new stores
a pattern untransformed, and `paint: {pattern: name}`, which an Alt-drop
of a pattern fill sends, was refused.
swatch.edit and swatch.new now store a gradient or pattern through one
helper: a gradient keeps its aspect, with or without a vector, and holds
no swatch link, and a pattern is untransformed. swatch.edit takes a
pattern by name, as swatch.new does.
brush.freehand drew the plain path when `brush` named no brush in the
document or was not a string, and drew a pencil stroke for any `style`
other than "brush". It now refuses an unknown name with "no brush named
`<name>`", as brush.apply and brush.setCurrent do, a `brush` that is not
a string, and a `style` other than "pencil" or "brush". The document does
not change and no undo step is recorded. A `brush` left out or null still
draws the plain path.
The Paintbrush skips a tool brush or current brush that has been deleted
and paints with the other, or draws the plain path when neither is in the
document, so a stroke after a brush is deleted is not refused.
With points of a gradient mesh picked (Mesh tool, Direct Selection or the
Lasso), a solid fill color from the Color panel recolors just those points,
but the Fill proxy, the Color panel, the Color Wheel and the Control bar's
fill chip kept showing the mesh object's own fill, so the panel's sliders
jumped back after each drag.
- The new `Session::fill_mesh_points` resolves the targets as
`paint.setFill` does: the picked points of every selected mesh, unless the
Appearance panel's active row is a fill or an object of a symbol instance
is selected. When the first selected object is a mesh among them, the Fill
proxy (`paint.proxies`) shows its first picked point's color, and "?"
compares the picked points' colors with each other and with the other
selected objects' fills.
- `Session::mesh_points_picked` lists the points `transparency.set` fades: it
is empty while the Appearance panel's active row takes the opacity, and
`transparency.info` and the Transparency panel now follow it there too.
- The cached "?" state and the Transparency panel's values are recomputed when
other points are picked, which gives the document no new revision.
- The Control bar's opacity shows the first picked point's opacity, which
`transparency.set` changes then.
- The `paint.setFill` and `transparency.set` params texts name the picked
points instead of the point last clicked, and the `paint.proxies` text,
docs/mcp.md and the progress doc describe what the panels show.
When a document opens or is reverted with dimensions whose art is not in
its color mode, the dimensions are drawn again before the document's
composite fonts are registered. A label whose font names a composite font
that another open document defines differently was measured in that other
definition, so it was centered off its anchor. The redraw now measures the
labels in the document's own composite fonts, in front and in the back.
A blend between two gradients whose matching stops are tints of one spot
swatch kept the link and interpolated the tint, but every step's stop lost
the process inks (C, M, Y, K) printed with the spot ink, so PDF export wrote
the steps as the spot ink alone.
- Matching stops linked to one swatch interpolate each process ink with the
tint; a stop without process inks counts as none of each, and the ends
keep their own.
- Gradients with different stop counts keep the inks at every resampled
stop, interpolated with the midpoint-adjusted fraction between two stops
of one swatch.
- A solid blended with a gradient brings no process inks of its own: its
stand-in gradient no longer copies the other gradient's.
Stops of different swatches, or linked and unlinked stops, still blend into
unlinked process colors without plates.
A gradient's Separation or DeviceN space, and EPS's %%DocumentCustomColors,
named the spot ink of every linked stop. A stop out of order whose
neighboring stretches have no width, a stop at a tint of 0 without process
plates, and in PDF a stop whose stretches are fully transparent print no
ink, but their spot inks were still declared, so separations got an empty
plate.
- vectorcraft-color: Gradient::drawn_stops (the rule Document Info uses,
moved here) and Gradient::reached_stops (every stop taken as opaque).
- PDF: Separation and DeviceN shadings, the Perceptual spot shadings and
the spot-image warning name only inks of drawn stops at a tint above 0
or with process plates; other stops are written with no ink, so their
process inks and RGB or Lab colors no longer shape the space either.
- EPS: the same with reached stops, since EPS writes stops opaque; a
transparent spot stop keeps its ink.
Output is unchanged when every stop colors part of the gradient and every
spot stop has a tint above 0 or process plates.
The canvas clips a clip group by its clipping path with the path's live
geometry effects applied, but clicks, hovers and marquees still tested
the plain clipping path. A click where a Transform effect had moved the
clip selected nothing, and a click on the clipping path's own place
selected art that was not drawn there.
- The engine registers the effect-shaped region with the doc crate
(`hit::set_clip_region`), as it does for image paint and live art. It
gives a region only when the clipping path holds a visible geometry
effect; otherwise clicks keep the plain shapes, and type keeps
counting by its frame.
- Clicks, `objects_at`, the hidden art of a selected object, the Unlock
submenu's list and marquees inside a clip group or a clipping layer
use that region. Outline view and layers with Preview off draw no
effects and keep the plain shapes; the Selection, Direct Selection
and Enclosing Lasso marquees pass the view's outline state
(`hit::marquee_in_view`). Each container around a selected object
tests its clipping path in the outline state a click has there.
- A marquee touches the clipping path itself by its own geometry, as a
click on its outline finds it, and also on the edge of the region, so
a marquee around a clipping path that an effect moved into large art
still selects it. `hit::marquee_in` keeps the plain shapes for the
Color Theme Picker, which clips by them.
- The region is kept per thread until the clipping path or the live
inputs change. A clip group's reach takes in the region's box, so
culling does not skip art the region moved past the plain clipping
path. Up to 4096 boxes are kept; when they are full, a new box
replaces only as many others as it needs room for.
Docs: docs/target-app-parity.md.
Create Outlines copied each character run's fills and strokes onto every
glyph, ruby glyph and underline or strikethrough bar as they were, so a
gradient with no vector of its own refitted to each piece's own box,
while the canvas fits it across the whole layout. A gradient with a
vector kept its text-space coordinates in the document, and the
characters' stroke kept its text-space weight on scaled type.
Each piece is now painted by paint_type_piece, the rule outline_text
already used: unplaced gradients are fixed to the layout's bounds, then
the type's transform places the piece, its gradients, stroke weights and
pattern tiles. Object > Expand outlines type the same way, and
object.expand.info measures gradient fills on the same paths.
dotCooCoo