The wheel kept the hue of its last pick while the selected objects, the
proxy, the slot and the color were unchanged. Switching to another fill
row in the Appearance panel, another range of characters in the Type
tool, or a new gradient with the same stop color kept that hue too, so a
pick there could paint the earlier hue. The wheel now also checks the
active appearance item, the selected characters and the gradient.
A set value on the hue ring above the f32 range became infinite before it
was wrapped into 0 to 360 degrees, so the ring dropped it. The value is
now wrapped first. Catalan, now a complete catalog, gets the panel's rows.
The wheel kept the HSB picked last while the objects and the color were unchanged, even after a
change of the working RGB space or the document's profile made the same color display differently.
It now also stores the display sRGB of the color it picked, and shows the color's own HSB when that
no longer matches.
An arrow key or a screen reader's step outward at the edge of the
square returned the clamped point, which equals the current one, and the
wheel picked it again. For a CMYK fill the pick separated the color
again, so one step at 100% saturation turned C100 into C71 M16 and added
an undo step. color_field now returns no point when the clamped point is
unchanged; with no marker a key or an action still sets a color.
The saturation and brightness square, and the Color Picker's color field
it shares `widgets::color_field` with, gave screen readers its name and
both values but took none of their actions, so an increment, decrement
or set-value on it left the color as it was.
The field is now a slider over its first component (saturation on the
Color Wheel), from 0 to that component's units with a step of 1, as the
hue ring is from 0 to 360. Increment and decrement move it one unit as
→ and ← do, and set-value sets it; the second component stays where it
is. Without a marker the value reads 0 and a set value still applies, as
on the ring.
`screen_readers_read_and_move_the_ring_and_the_square` checks the
square's range, step and actions, an increment, a set value and a
decrement, and `the_color_pickers_field_takes_the_arrow_keys` checks an
increment on the Color Picker's field.
With None, a pattern or a mixed paint the hue ring and the square drew
no marker and also ignored the arrow keys and screen readers' increment,
decrement and set-value actions, so only a pointer could set a color.
They now step from the last solid color the panel shows; the marker and
the values screen readers read still need a solid color.
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.
The text a non-string argument converts to stays rooted while the parse runs, so a
collection still counts it. A property name read from the text is charged to the heap
until its property is defined. Boolean.prototype.toString and valueOf are added, so a
Boolean object writes `true` or `false`. The json2 sample no longer includes U+2028:
the polyfill escapes it and section 15.12.3 does not.
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.
dotCooCoo