With a TIFF preview, each EPS file's PNG thumbnail is now the preview
averaged down to the thumbnail's size and composited on white, so
export and Save draw the page once instead of twice. The thumbnail
keeps the size a 128 px render of the page has; a page that fits in
128 px gets the preview's own pixels. Without a preview the thumbnail
is still drawn.
- Rendered::area_resized averages premultiplied pixels over the area
under each new pixel, weighting edge pixels by the share they cover,
and returns an error for a 0 side or a buffer that does not match.
Before drawing a shape, the renderer checks that its control points stay
within the rasterizer's limits. For a long path it measured every point
of the path for this check in each frame. The kept path of a long path
now keeps the box of the points of each run of segments next to the run's
bounds, updates it with the runs an edit changes, and answers the check
from those boxes.
With a closed path of 200,000 anchors and no paint (release build,
single-threaded, medians of 21 frames), the part of the frame redrawn
after one anchor moves took 1.93 ms instead of 2.69 ms, and drawing the
same part again with nothing changed took 0.015 ms instead of 0.343 ms.
A fourth gradient kind, conic (also accepted as `angle` or `conical`),
sweeps the stops once around the center (the gradient's start),
clockwise on the page from the vector, with a seam where the last stop
meets the first. A negative aspect mirrors the sweep, and reflecting an
object turns its sweep the other way, also for a conic without a
vector or with a flat extent.
- Gradient panel: a Conic button in the Type row; the Aspect Ratio
field works for conic gradients and keeps a mirrored sweep mirrored.
- Gradient tool: the extent ellipse, aspect handle and center ring of a
radial gradient, without a focal point.
- Rendering, swatch chips, transforms, warps, plug-in round trips, and
Object > Expand into wedges or a mesh of columns around the center.
- Commands: a negative `aspect` is an error for linear and radial
gradients, and so is a `focal` point for a conic gradient.
- PDF export writes a function-based shading whose calculator function
turns the angle into the ramp, and PDF import reads a function-based
shading that turns around the origin of its space back as a conic
gradient, also when that origin lies outside the painted area. A
PDF/A file, or a conic with more than 97 stops, gets an image
instead.
- SVG export writes 360 solid wedges clipped to the shape for opaque
stops and an image otherwise, and a linear gradient on characters.
- CSS export writes `conic-gradient(from ...)`, with the stops mirrored
for a mirrored sweep.
- EPS and legacy .ai export write 360 solid wedges; the .ai editing data
holds a linear gradient along the vector with the same stops.
- .af files: conical gradients open as conic gradients.
- An export that writes the gradient in another form gives a warning.
Supersedes #2326 and includes switch87's code from it.
Co-authored-by: Gert Pellin <gert@pellin.be>
Ruler guides were a list kept beside the layers. Each guide is now an
object of its layer or sublayer, always directly in it and above the
layer's art. These behave as on main:
- Guides draw on screen only. Exports (SVG, PDF, PNG, PSD), Fit All,
Select All, the art bounds, clicks and marquees, and a layer's
Pathfinder and Transform effects leave them out. The Layers panel
lists them as guide rows of their layer, the highest guide.list
index first.
- Deleting a layer deletes its guides, and merging layers keeps their
guides in the merged layer.
- The guide commands number guides as guide.list does, in the order
they were made.
New: each guide takes an id from the document's object ids. An object
command given a guide's id fails with an error, and node.move cannot
put a guide into a group or out of its layers. A guide made while an
opacity mask, a symbol or a pattern is edited moves to the top
visible, unlocked layer when editing ends.
File format: native files still save the guides in the document's
guides list, in every file version, so older builds read them. Each
entry may now also carry the guide's id, name, locked and hidden
flags; older builds ignore those fields. Opening a file puts each
saved guide on its layer (on the top visible, unlocked layer when the
file names none or a layer it does not have), and each saved guide
counts against the object limit for opening a file. A ruler guide node
that a file holds below a layer's art moves up to the layer's guides,
and one anywhere else (in a group or another object, beside the
layers, or in a symbol) is removed. Ruler guides read from an .ai file
become guide objects on the layer they were on, numbered in the order
the file lists them.
A placed document drawn without a bitmap (renders without progressive
placed art, exports) drew type in the placed document's own composite
font in the fallback font: only the outer document's composite fonts were
lent to the font database. The placed document's composite fonts are now
lent while its art is drawn.
A symbol whose natural size is not 20 x 20 is drawn through its 9-slice
guides by an instance that only moves, so art the guides move can draw
outside the art box moved by the instance. The visual box took that
moved art box alone, and the renderer culled the instance when only the
moved art was in view. The visual box now measures such an instance as
it does a scaled one.
Raster renders, ink renders, thumbnails and node renders now lend the
document's composite fonts to the font database while they draw, as the
PDF, SVG and EPS writers already do. A document that is not in front, a
document read from a file (library thumbnails, save previews) and a
placed document's art drew such type in the fallback font or in another
definition of that name.
render_node_with and render_node_thumbnail_with ignored RenderOptions::supersample
and RenderOptions::precise, so the Asset Export tiles, which ask for both, were drawn
with the canvas's shape-by-shape edges and the fast render mode instead of the export's
look. A node render now supersamples Art Optimized edges as a page render does, and
picks the quality render mode when precise is set, for the art's offscreen groups too.
The canvas key did not change when a plug-in was installed, replaced or
removed, so the canvas kept showing the frame drawn with the old plug-in,
and a pan by whole pixels copied that frame's pixels next to strips drawn
with the new one.
The key now carries the plug-in revision of the last install or removal
after which the document draws a plug-in effect, in its layers, in a
symbol's or pattern's art, or in a brush's art. The canvas looks through a
document once after each install or removal; a document without a plug-in
effect keeps its key.
- Resolving the symbol instances, blends and clipping groups a 3D effect
builds from counts every object it visits or makes and stops past
262,144 with an error. Nested symbol instances that end in hidden art
are refused instead of being expanded at every level. Each object is
visited once; a group is no longer walked again for each level above it.
- A symbol instance, blend or clipping group inside a 3D group keeps its
appearance, so its geometry effects reshape the art it shows. A nested
group's geometry effects now reshape its members inside a 3D group too,
and inside a clipping group they apply before the clip cuts the art.
- Hidden members and guides of a group inside a clipping group build no
solid.
- Tests cover an empty clipping group, a blend set to no steps, an
instance of an empty symbol, a symbol holding a clipping group, the
paint-copy budget across resolved art, and art past the limits drawing
as it does without the effect.
Extrude & Bevel, Extrude & Bevel (Classic), Inflate, Rotate and Revolve
now apply to a clipping group (or a layer with a clipping mask), a blend
or a symbol instance, alone or inside a group or layer. The solid is
built from the art the object shows: the art inside the clipping path
(fills cut to the clip, strokes as their outlines cut to the clip), the
blend's keys and steps, and the symbol's art where the instance places
it. Validation, the canvas, bounds, Expand Appearance, Rasterize and
assets.add3D read the same art from the document.
An image is refused, alone or in a group, with a message to trace it
first with Object > Image Trace > Make. A missing symbol, a symbol that
holds an instance of itself, art nested more than 64 levels deep and
more than 4,096 objects are refused. The refusal messages change, and
their rows change in every catalog.
Docs: docs/three-d.md, docs/revolve.md, docs/mcp.md,
docs/target-app-parity.md.
a_coarser_glow_kept_whole_draws_after_a_pan_as_made_again compared only
whole-pixel pans with a fresh render. At a fractional pan it now compares
the pixels right of the rectangle, where only the glow draws, with a fresh
render at the whole pixel nearest the pan (either neighbor on a half pixel).
RenderOptions::background and render_node_thumbnail's background are
straight-alpha colors, as over_background reads them; their docs said
premultiplied.
Type sweeps as its glyph outlines and stays editable. On a group or layer every visible member sweeps about one axis on the edge of the members' bounds together, each in its own paint.
A surface now takes up to 16,384 profile points and 163,840 faces. Curves take fewer samples, down to 4, when a surface passes those limits, and the command reports the failure below that, after the geometry effects before the Revolve and with the cumulative size of its paint copies counted. Mesh export turns the walls of holes toward them. Expand Appearance works on type with Extrude as well as Revolve.
Fixes#3617
A new test changes the document in place (Arc::make_mut, with no other
holder and no change of revision) and checks the answer is measured
again: keyed on the document's address alone, it would keep the old
answer. The kept answer's doc says what it holds after the measure,
and that the fonts set the bounds of all type. Should measuring ever
ask again while it runs, it is measured without being kept, rather
than borrowed twice.
The stack overflow fixed in d5d04f868 also hit EPS export, and the
parity rows now say so. Two test docs are corrected: the fill-only
clipping is an older bug on main, and the outline-view difference runs
both ways on a few dozen hairline pixels.
- The parity rows say what the fix covers: a 3D effect on a fill or
stroke that builds nothing overflowed the stack with no effect of the
object's own too, on the canvas, in Object › Rasterize and in raster
exports.
- The builds-nothing test says the fill-only difference (a raster
effect clipped to the path, cutting Roughen's spikes, when drawn
without the 3D effect) is an older bug, not the design.
- The traced-shape test says why its area is bounded rather than drawn
again: a partial render in outline view differs from the whole by one
in alpha on 37 pixels, older than the test and unrelated to the edit.
- A doc comment rewrapped.
Flatten Transparency composited each region over white, so a blend mode
on the bare page read that white. Raster renders now draw their
background under the finished art, and the flattened color no longer
matched them: a Color Burn object on the bare page flattened to white
and rendered in its own color. The region now composites the art alone
and puts the white under it.
- Tests that relied on the white under the art now draw art under the
style (`every_builtin_style_paints_visibly_on_a_rectangle`) or compare
only whole-pixel pans with a fresh render
(`a_coarser_glow_kept_whole_draws_after_a_pan_as_made_again`).
- New tests cover every blend mode on white and blue backgrounds, a
thumbnail and the ink planes with a Screen glow, and
`over_background` at background and pixel alpha 0, 128 and 255.
- A 3D effect that builds nothing: af754bcb2 said the object draws exactly
as without it under a Drop Shadow or Gaussian Blur. That holds only for
a stroked object. With only a fill, the raster effect draws from the
art made for the object, where without the 3D effect it is clipped to
the path, so Roughen's spikes differ: the earlier wording was right.
The test keeps the stroked cases exact and restores fill-only cases
with a Drop Shadow and a Gaussian Blur, which differ in under 4% of
the pixels and nowhere inside the path. Its reach check compares with
the object drawn without its raster effect, since Roughen alone
reaches past the path.
- The Vector Halftone test's bounds are a consistency check, and only
holding no art tests the branch: its doc no longer says no solid is
built (the free measure's halftone arm builds one). The overprint
test's area check is labeled likewise.
- Recoloring a traced shape bounds the area the renderer that drew the
trace object measures too, inflated by half the stroke and a pixel.
- The let-go test pins the nothing-to-draw branch: no frame, whole or
part, began since the measure.
- The parity doc's feature row names the stack overflow fix and its
test; a group test's doc says what its fixture holds.
A raster export filled its background into the page before the art, so
blend modes read it as art underneath: an Outer Glow in Screen mode, the
default, turned white on a white background and was missing from PNG and
JPEG files while the canvas showed it. Blending against nothing also
differed from the canvas for Difference and the other modes.
The background now goes under the finished art, in frames and in object
thumbnails. A blend mode reads only the art below it. A white object
under a Difference object still inverts.
Page Isolated Blending no longer changes a raster export on a bare page.
Docs: docs/mcp.md, docs/target-app-parity.md.
Review follow-ups:
- The tests that a group with effects of its own is measured once a pass
plant its kept bounds after the first artboard and read them back over
the next two, so a measure made again fails. Its solid is built by the
free measure, which the renderer's three_d_built doesn't count.
- The budget test checks that every object, past the budget too, is
measured as the free measure does and draws as a new renderer draws it.
- A 3D effect that builds nothing draws the object exactly as without it,
with a Drop Shadow or Gaussian Blur too, which reach past the path. The
doc comment said those differ past the path; they don't.
- The brush widened in view first checks that the wider brush draws
otherwise.
- Recoloring a traced shape changes no more than the shape, its stroke
and a pixel's anti-aliasing.
Review follow-up: these three branches of what a renderer measures had no
test. Under Overprint Preview a renderer measures an edit as changed()
does and holds none of the 3D art it made for it; a 3D effect with
Vector Halftone is measured by the free measure, with no solid built and
no art held; and on screen in symbol editing mode, an edit to the
instance it was entered from changes nothing. Each test fails with its
branch taken out.
Diff took the Image Trace flag of the old version for both sides when it
read each version's first member. Both versions have the same extras
there (same_but_members), so the result was right, but each side now
reads its own node.
The doc of Renderer's three_d_bounds now says what adds an entry, when
entries are swept, and the bound that follows: about twice the live 3D
art plus 1024 entries.
Review of #6290.
- An Image Trace object's hidden source image counts as shown in each
version by that version's own first member: an edit that puts it
first again (undoing Send to Back on a traced shape), or a new source
image in its place, redraws where it shows. Tested with an image
source on screen with the objects' views.
- A shape of an Image Trace object in Outline view is left out by the
rule every object is (node_checks::left_out), so the drawing and the
measure of an edit can't disagree.
- The renderer keeps the brush library's key from its first measure of
3D art until the library changes; the test says so, and that a change
lets it go.
- The test of a 3D effect that builds nothing covers it on a fill and
on a stroke, without effects of the object's own (exactly as without
it) and under a raster effect.
On the commit before, "Canvas: a 3D effect on a fill that builds nothing
draws without it": it needs no effect of the object's own. A 3D effect
on a fill or stroke that builds nothing overflowed the stack on its own
too. With a raster effect, the object now draws from its art, where
without the 3D effect it draws as a path, whose raster effects are
clipped to the path's own geometry, cutting off the item's Roughen
spikes: the new drawing is the one that keeps them.
An object with an effect of its own (Drop Shadow, Roughen) and a 3D
effect on its fill or stroke that builds nothing (Revolve after
Roughen, a solid too complex) overflowed the stack when drawn, on the
canvas and in Object › Rasterize: the art made for the object kept the
item's 3D effect, so drawing it drew it as an object with effects again,
and that art again, without end.
That art now leaves out the 3D effects on its fills and strokes when
none built anything, as a group's or layer's own are left to the art of
each fill or stroke. The fill draws as without the effect; with a raster
effect the object draws from that art, so its edges differ a little
from the same object without the 3D effect, drawn as a path.
Review of #6290.
- An edit is measured as the renderer draws: an object it leaves out
(hidden, a template layer or guide the view hides, drawn hidden, the
instance a symbol is edited from) is measured as nothing, by one
predicate the renderer and the measure share (node_checks::left_out,
before culling).
- An Image Trace object's members are compared one by one again, its
hidden source image, which some views draw, counted as shown: moving
the source redraws where it was and is, and recoloring a traced shape
redraws only the shape.
- The renderer checks the brush library between frames only while it
keeps bounds measured with brushed strokes in 3D art.
- Tests: the sweep of 3D art's bounds counted while the art is held,
and Fit to Artwork Bounds' menu answer kept for a revision.
When an edit changes an object, the canvas draws again only the area
the object painted before and after it, measured by its cull bounds.
Type and groups with Extrude & Bevel, Inflate or Rotate were measured by
their letters or members, not by the solid the effect draws, which
reaches well past them. Making the solid shallower or turning it left
pieces of the old solid on the canvas outside that area until the view
was drawn again.
An object with a 3D effect is now measured by the effect's art, as the
renderer draws it: with its geometry effects, each object in it with
the raster effects of its own fills and strokes and the art its brushed
strokes draw, grown by the reach of the object's own raster effects.
One function measures that art for every bounds the renderer and
exports take, where three copies of it disagreed.
- The renderer measures the art it draws. What it makes to measure an
object it holds until the frame ends, with what the art read from
outside the object (fonts, symbols, color settings), and keeps it
with the art it draws if it draws the object while that is
unchanged. Art measured but not drawn (culled, off the view) isn't
kept. It holds at most as much as it keeps for the art it draws
(64 MB); past that, an object is made again to draw it. An object
whose 3D effect builds nothing (Revolve on a group, a solid too
complex) is measured as it is drawn otherwise, as without a renderer.
FrameStats::three_d_built counts the 3D art the renderer makes.
- The canvas measures what an edit changed through the renderer that
drew the frame shown (Renderer::changed). When it draws the part on
its own thread, it draws it with the art it made to measure it; when
the render worker draws the frame, or nothing in view changed, that
art is let go. Under Overprint Preview or Separations Preview, which
draw copies of the objects, the edit is measured afresh. An object
the frame doesn't draw (hidden, in a hidden group or layer, or
hidden by the view) is measured as nothing, before and after, so an
edit to it builds no solid: changed() without a renderer counts it as
nothing too, where it measured it. The canvas measures the edit
before it knows where the frame is drawn: when the worker draws it,
the solids it built to measure it are built again there.
- Fit to Artwork Bounds, the Artboards panel's check for it and
per-artboard SVG export measure every artboard through one renderer
(Renderer::art_bounds_on, Renderer::effect_bounds), which keeps each
object's bounds for the pass, a group holding 3D art or a hidden
member included, so each solid is built once: 30 extruded type
objects over 30 artboards take about 2 ms, where measuring their
letters took under 1 ms and building each solid for each artboard
would take 70 ms. Objects with brushed strokes, which culling leaves
room for and exports don't, are measured on each artboard. The
Artboard tool's canvas menu keeps whether Fit to Artwork Bounds has
art to fit for the document's revision, where it measured it on
every frame it was open.
- Other exports, Object › Rasterize and changed() without a renderer
build the art on each call, as 3D paths and groups already did.
Exports and Rasterize now take the solid of 3D type, where they
cropped it to the letters, and the art its brushed strokes draw, not
the room culling leaves for it. Rasterize on drawn 3D art measures it
once while the art is kept.
- A shadow after a 3D effect, on the object or on a fill after the
fill's own 3D effect, reaches past the solid once; it was counted
twice.
- With Crop Marks or Vector Halftone, which draw other art, the object
is measured by that art, as before.
- Culling leaves room for a 3D object's brushed strokes as for any
object's, and the renderer measures a 3D object again when the brush
library changes: a brush widened past that room would leave the
object culled.
A document's first frame builds the solid of every 3D object, those off
the view too, to know whether it reaches into the view: 200 extruded
words with 150 off the view take about 12 ms, where measuring their
letters took 6 ms.
Type whose object effects leave it as it is (Revolve builds no art from
type) is measured by its own box grown to hold its glyphs, as plain
type is; it was measured by its box alone, which needn't hold them.
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.
A path whose live effect paints its pieces was measured with the
flattened output and the source appearance's strokes, so a piece with a
wider stroke of its own could be culled while the stroke was on screen,
and Rasterize and raster effects worked over bounds that were too small.
visual_bounds and shape_bounds now measure the art reshape returns, each
piece with its own appearance, and a raster effect on a fill or stroke
spreads that art.
The test for Crisp and Strong type in a scatter brush stroke at 50% opacity
now checks that every pixel is half of what the same stroke draws at full
opacity. It fails without the coverage fix for Crisp as well as for Strong.
A piece linked to a global swatch is drawn in the swatch's current color at its own tint, and kept art and rasters follow a color or spot edit and its Undo. A value of `paintOutput` other than true is refused by a translated error. Tests in the effects crate pass the new document argument.
Crisp and Strong reshape each edge pixel by the type's coverage, drawn
in black. Type in the art of a scatter brush on an undashed path drew
that coverage with the path's opacity folded in, so Strong made fully
covered pixels opaque at 50% path opacity. The coverage is now drawn
at full opacity; the pixels keep the folded opacity.
The evidence entry for the Anti-aliasing Method notes that scores and
hours are unchanged.
BFlat