The Color Theme Picker button beside the Assign and Edit tabs turns on
picking from the canvas. A click takes the color palette of the object a
Selection tool click takes there, a drag takes the palette of the art
inside its marquee, and Shift adds more picks. The rows that are not
excluded take the palette as their new colors and the art previews them;
OK keeps the recolor as one undo step.
- recolor.pickTheme {picks, colors?} returns the palette of the art
picked: visible fills and strokes, gradient stops, text, mesh points,
pattern tiles, symbol art, colorize colors and image pixels. Clip
groups, clipping opacity masks and isolation mode limit it to what
shows, and it changes nothing.
- Each object read weighs the same; similar colors merge (k-means in Lab)
into at most `colors`, most used first. Image reads are bounded (65,536
pixels a pick, 1,048,576 pixels and 64 images in all), and past 4,096
distinct colors, close colors merge before clustering.
- The dialog's themePicker and themePicks fields drive it from
ui.dialog.set. A new Colors count keeps the picks.
A click just past the end of two segments that meet with almost no
turn, as the segments of a warped edge do, missed a beveled or mitered
stroke: the joint has no bevel, and the check counted that as a miss.
It now counts as painted, so the eyedropper samples an envelope's
stroke there again.
A miter join on a stroke whose dashes have round or projecting caps
still paints the miter spikes the limit keeps, and the visual box
includes them. object.setBounds with Use Preview Bounds did not count
such a stroke as one whose margins follow its segments' directions, so a
closed path at a slant missed the size typed when the width and height
were out of proportion.
A bevel join, and a miter join whose miter limit bevels a corner, end the
stroke at the outer corners of the two segments they join. The visual box
measured such a corner as if the stroke reached half its weight round it:
a 40 x 100 pt triangle with a 20 pt stroke and a miter limit of 2 measured
10 pt above its tip, where the stroke paints about 1.96 pt above it. Use
Preview Bounds, and the alignment and sizing that use it, took that box.
- With bevel and miter joins, closed paths and open paths with round or
projecting caps are now measured along their segments, as butt-capped
open paths already were, with the miter tips the limit keeps and the
caps added. Round joins still reach half the weight round each corner,
the round caps of dashes, which can end at a corner, reach half the
weight all round, and the projecting caps of dashes reach the diagonal
of their square. The visual box of
such a stroke can be smaller than before and is never larger. A path
with no width, such as a rectangle sized to 0 pt wide, turns back at
its ends, where the join bevels, so its box no longer reaches past them.
- object.setBounds with Use Preview Bounds measures an object as drawn
when a beveled or mitered corner, or a butt cap, is on a segment at a
slant. Before, a closed path with miter spikes the limit keeps missed
the size typed when the width and height were out of proportion.
- A click past a bevel or a butt cap, by more than the click tolerance,
no longer selects the stroke. Strokes with a width profile or with
dashes that have round or projecting caps, and the ends of curves that
bend more tightly than half the weight, keep the round reach.
- Paths measured along their segments skip the segments that cannot
reach past the box measured so far, which starts with the path's own
bounds.
When a blend starts a key's path elsewhere (an open path clicked at its
last anchor, a closed path turned to another start or reversed to match
the other key's winding), the steps now read that key's width profile,
pen pressure, tilt, bearing and rotation along the turned path, and a
reversed open path's arrowheads swap ends. A width profile's sides swap
when its path is reversed, a closed path's samples move past the new
start keeping the step at the old one, and a split width span is sampled
so its curve keeps its shape. A key whose subpaths turned differently
keeps its stroke as it is.
Width profiles in the steps also keep their discontinuous points instead
of only the width before them, and are sampled between their points so
each key's curve keeps its shape where the other key adds points; keys
whose points sit at the same positions are not sampled, so a preset on
both keys stays that preset. A sample of one key that lies within a
millionth of the other key's step no longer hides that step.
Paragraph panel menu > Bunri-Kinshi (with the East Asian options) and
text.setFormat {bunriKinshi} turn it on per paragraph. A line then
never breaks inside two em dashes, two horizontal ellipses, two two-dot
leaders or the two halves of a vertical kana repeat mark, the pairs W3C
JLREQ lists for class cl-08 (https://www.w3.org/TR/jlreq/#cl-08), nor
inside a chain of em dashes. Both composers, vertical type, Kinsoku
Shori Type, hyphenation and No Break follow it, and a pair wider than
the line stays whole on it. Justification and letter spacing add no
space inside a pair.
The setting works only with a Kinsoku Set: with Kinsoku Set None the
paragraph keeps the value without effect and the menu item is
unavailable. It is off by default, saved with the paragraph only when
on, carried by paragraph styles (Paragraph Style Options > East Asian
Composition Settings), and turned off by Reset Panel. A value that is
not true or false is refused. The .ai editing data has no field for it,
so saving reports a paragraph with it on and a pair in it as left out.
Docs: docs/mcp.md, docs/target-app-parity.md.
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.
A blend between two strokes drawn with a pressure-sensitive brush gave
every step the pen recording of the nearer key, so the brush jumped at
the middle step. The steps now interpolate the pressure, tilt, bearing
and rotation at every position either key has a sample. A key without a
recording counts as half pressure, half tilt and 0 degrees, as brushes
read it. Angles turn the shorter way round, and steps and whole turns in
a recording stay in the steps. Different brushes still switch halfway.
- A live color adjustment recolors a masked image's masked pixels, on the
canvas and in outputs that apply the adjustment, so the colors the mask
hides stay hidden. Before, the adjustment recolored the image's own
pixels and the hidden colors showed again.
- An envelope warp gives each piece of a masked image the image's color
mask, so the warped image shows its masked pixels.
Tests: a_live_color_adjustment_keeps_the_hidden_colors_hidden and
an_envelope_warp_draws_the_masked_pixels.
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.
- The legacy .ai and the check for see-through images in pattern tiles
read a color-masked image's masked pixels, as the flattener does. A
legacy .ai flattens a masked opaque image with the art under it, or
leaves it out with `transparentImages: "omit"`, and a pattern tile that
holds one is expanded before PDF/X-1a, PDF/X-3 and legacy .ai output
flatten it.
- Printed separations check whether a colorize paint shows on the masked
pixels, as the canvas does, rather than on the image's own pixels.
- A saved mask that leaves out `contiguous`, `tolerance` or `softness`
reads them as the command's defaults: true, 10 and 10.
- Remove Background is unchanged on this branch. Its refusal of a
grayscale image colorized with a process color is left for a separate
pull request.
Tests: legacy_ai_flattens_a_masked_image_as_a_see_through_one,
a_pattern_tile_with_a_masked_image_counts_as_see_through,
pdf_x1a_and_x3_flatten_the_hidden_pixels (PDF/X-3 added),
separations_colorize_masked_pixels_whose_own_pixels_are_a_preview,
a_record_without_settings_reads_the_defaults, and the dialog's query on a
linked image at its preview.
A four-component JPEG whose EXIF orientation turns or flips it went
through the image decoder, which reads CMYK JPEGs as RGB, and was
stored as an RGB PNG without its inks. It is now stored the way a
turned CMYK TIFF is: its inks, 8 bits each, turned and written as a
CMYK TIFF with the turned resolution.
- vectorcraft_doc::cmyk::turned_cmyk turns the inks of a CMYK JPEG or
TIFF, next to stored_cmyk_tiff; tiff_inks is private again.
- raster_image swaps the resolution axes inline, as its HEIF branch
does.
- The links comment and the docs/target-app-parity.md line on EXIF
orientation now describe the turned CMYK TIFF.
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 linked opacity mask moves with the art it masks, and an unlinked one
stays in place. Geometry effects on a group or layer reshaped its
members but left their linked masks where they were, Free Distort left
a linked mask behind, and an envelope bent unlinked masks too.
- Geometry effects on a group or layer run over the art of the linked
masks of the paths, compound paths and groups inside it, nested and
inverted masks included. Each Transform copy of a masked path carries
its own mask, and an image or symbol instance moved by a Transform
effect carries its linked mask. The effects on an object do not move
that object's own mask.
- When a mask can't take an effect as the art it masks does (a path in
either would pass the geometry budget, or the mask would get fewer
Transform copies), the art and its masks keep their shape under that
effect. Mask art counts toward the budget.
- Free Distort (`object.distort`) warps a linked mask with its object;
the params text says so.
- An envelope bends only a linked mask.
Docs: a line in docs/target-app-parity.md.
- A custom arrowhead path allows at most 4,096 subpaths; stroke.set
refuses a longer one and reading drops it.
- A symbol whose shapes cannot be united or clipped is listed in
skipped instead of becoming a head that misses part of its art.
- The arrowheads file is refused when its document unpacks to more
than 64 MB.
- Edit Arrowheads creates the starter file only when none exists and
otherwise opens the file unchanged.
- After a save to the arrowheads file, the heads are read back from
the written file.
- The plug-in argument check accepts path under startArrow.Custom and
endArrow.Custom in stroke.set.
- A custom head's menu preview is scaled to fit its box, and rows
outside the visible part of the menu do not render previews.
Opening or placing an image whose orientation turns it a quarter
(EXIF or TIFF Orientation 5 to 8) stored the pixels turned but kept
the resolution as stored, so a photo at 300 x 150 ppi came in at the
wrong width and height. XResolution counts pixels in the ImageWidth
direction of the stored image (TIFF 6.0,
https://www.itu.int/itudoc/itu-t/com16/tiff-fx/docs/tiff6.pdf; EXIF
uses the same tag, CIPA DC-008-2012,
https://www.cipa.jp/std/documents/e/DC-008-2012_E.pdf), so a quarter
turn now swaps the axes, in the size Open and Place use and in the
stored image, with jxlread::oriented_resolution as JPEG XL does.
Three kinds of TIFF did not follow their Orientation tag:
- grayscale TIFFs with extra samples and 1-bit CCITT Group 3 TIFFs
were not turned;
- a CMYK TIFF with its inks together was turned but stored as RGB,
losing its inks, and one with a plane per ink did not open
("Planar TIFF with CMYK color type is not supported").
They now turn as the other images do, and a CMYK TIFF keeps its inks,
8 bits each, written again with the turned resolution.
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