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.
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.
Text on a path of one closed subpath that is anchored to start before
the path's start point (text-anchor end or middle, right-to-left start,
or a negative startOffset) started at the start point, and text offset
past the path's end started at its end. It now wraps around the path,
as SVG 2's startOffset attribute describes for a single closed subpath
(https://www.w3.org/TR/SVG2/text.html#TextPathElementStartOffsetAttribute):
text-anchor end at startOffset 0 ends at the start point. Open paths
and paths of several subpaths still start the text at the path's start
or end.
A CMYK TIFF written again, a CMYK JPEG that the Compression settings
resample or compress again, and a CMYK image written with its mask as
its soft mask lost the CMYK profile the image embeds. Such an image is
now written in an ICCBased space holding that profile, byte for byte,
when output.profiles is all or taggedSource, and in PDF/A-2b, PDF/X-3
and PDF/X-4 unless profiles is destination. Pixels the Output settings
convert are never tagged with it.
A CMYK JPEG embedded as it is now follows the same rule instead of
always carrying its own ICC_PROFILE segments: with profiles none it is
DeviceCMYK, and PDF/X-1a export no longer refuses a CMYK JPEG that
carries a profile.
A profile tags an image only when it is at most 16 MiB and its declared
size, acsp signature, device class, CMYK color space and tag table are
well formed. Tagged CMYK documents blend transparency in the document's
CMYK profile space, not in an image's own; without that space they
blend in DeviceCMYK, or keep their RGB space in PDF/A.
An SVG file that an <image> links to was parsed with usvg's
from_data_nested, which drops every href to a file, so a PNG or JPEG
that the SVG file linked to disappeared without a placeholder or a
warning.
The files a linked SVG file's own <image> elements link to are now read
the way the imported SVG's links are, relative paths from that file's
folder: a raster stays linked, an SVG file imports as vector art, and
one that can't be read (missing, or refused by the reader) gets the
placeholder stretched to its box, its link and a warning. The same href
in SVG files of two folders names two files. A link that leads back to
an SVG file showing it gets the placeholder and a warning. Reading the
links of linked SVG files stops at the element depth cap and at 1,024
reads and 512 MB of text per import, the same limits decoded nested SVG
images have, counted separately from them. An SVG data URL still reads
no file links, having no folder of its own.
SVG 2 tells a viewer to ignore external references in an SVG shown by
<image>; reading them on import is VectorCraft's own rule.
An instance whose baked art passed the export's placed symbol art budget,
or drew too deep, gave its count back, so any number of instances could
each bake their art in full and be dropped without the work counting.
- Art baked and then dropped is now counted with the placed art against
the budget, both before more art is baked and when baked art is checked.
- While an instance's art bakes, the art's objects before baking are held
in the budget, so instances nested in it are placed only within what is
left.
Documents whose placed art fits the budget export as before.
Checking an Extrude & Bevel (both kinds) or Inflate effect built every
shape's profile about the profiles' bounds, then built the fill and
stroke solids again about the bounds of the regions they paint. A
filled shape's profile is its fill's solid, so that solid was built
twice. When a stroke reaches past the shape, the first build also used
bounds the effect does not draw it about.
The check now builds the profile on its own only where no drawn solid
is built from it: every shape for Rotate, and for Extrude & Bevel and
Inflate a shape with no fill (strokes only, or no paint). A filled
shape's solid is built once, about the bounds the effect draws it
about. The shadow check is unchanged.
Tests count the solids the check builds: an object with a fill and a
stroke, a group of two such members, an effect on the fill and the
shadow on; a shape with no fill still has its profile built.
A recovery copy written in the background set "Saved recovery data for
<title>" (or its failure line) when it finished, over any message shown
since it started, such as Restore's count with its notes or the
"Saving…" line of a copy started after it.
The status bar now counts the messages VectorcraftApp::status sets. A
copy shows its result only while its own "Saving recovery data for …"
line is still the latest message, or right away when it was written
without the worker. A failure is still logged, and a failed folder is
still recorded for automation replies, when its line is not shown.
Place, Open and relink read a CMYK or grayscale TIFF with an alpha
channel through extra_samples_tiff_rgba, which cut every 16-bit sample
to its high byte before converting it. A faint ink or a low alpha was
lost: cyan 129 at full alpha showed as white, and an alpha of 129
became fully transparent.
The samples are now normalized at the depth the file stores them, and
only the resulting color and alpha are rounded to 8 bits (a 16-bit
alpha to the nearest 8-bit value). Associated alpha is divided out at
16 bits. A pixel whose associated alpha is zero now has no color,
instead of keeping its stored color. TIFF 6.0's Associated Alpha
Handling section states this arithmetic and the zero-alpha rule for
RGB data; applying them to CMYK and gray samples is VectorCraft's own
rule.
With Invert Wrap and a positive offset, a line's band was cut into at
most 64 pieces, and anchor cuts were dropped when a shape had more than
64 of them. Beside a notch the offset fills, a line could stop at the
notch instead of at the grown edge: 20 pt short beside a 0.5625 pt notch
with an offset of 1, and short beside sloped notch sides and tall bands.
The grown shape is now measured exactly: the shape near the band is cut
into trapezoids, each grown by the offset into a convex polygon, and the
line keeps the x at which those polygons hold every height of its band.
The work is capped; a shape that needs more steps than the cap, for
example one whose edges cross one another tens of thousands of times,
keeps the 64-piece measure, which keeps the line inside the grown shape.
A band of no height exactly the offset past a shape's tip now holds a
line too.
With Smart Guides on, a selection the Selection tool grabbed by one of
its anchors only landed that anchor on other anchors and centers, or
lined its bounds up. The anchor now also lands on the other objects'
paths ("path"), and where a path crosses another path or a ruler guide
("intersect"), in the order Direct Selection uses for a dragged anchor.
When the anchor lands on a path, the bounds do not also line up with
other objects, and a ruler guide nearby does not pull it off the path.
A selection grabbed anywhere else keeps lining its bounds up.
- Targets::for_move_by_anchor gathers the other art's path segments as
well, and Targets::snap_onto_path lands a point on them or on their
crossings with each other and with the ruler guides.
- MoveSnap::by_anchor uses those targets; the Selection tool picks it
when the press grabbed an anchor.
Reported by pivot-al.
Docs: docs/target-app-parity.md.
While the Type tool edits text, a zoom marquee started with Cmd+Space
read Space as up once Cmd was let go. Space pressed again moved the
marquee only in the frame of the key press, and later frames sized it.
The marquee now reads the Space key itself, so it moves and sizes as it
does outside text editing.
A space typed or committed by an input method during a Zoom tool drag
(the marquee or an animated zoom) is no longer typed into the text.
With no zoom drag, Space types a space as before.
type.ruby, text.setStyle, text.setText, text.fitHeadline, text.reshapeArea,
text.reshapePath and text.setPathHandle recorded an undo step even when the
call left the type as it was: the same ruby reading again, a removal where
there is no ruby, attributes the characters already have, the same text, a
second run of Fit Headline, or a reshape by 0. Each now runs on a copy and
records a step only when one of its type objects (or, for text.setStyle, a
graph's kept label styles) changed; otherwise the undo and redo steps and
the saved state stay as they were.
Area Type Options already skips unchanged options, and Scale Text
Attributes returns an error for type with no scale to bake, so neither
changes. Type Orientation, Optical Margin Alignment, System Layout and
Fractional Widths are fixed in #7505.
The Confining file access bullet said the app's own folders are not
confined. It now names the commands that check the roots for a file
there: the arrowheads edit, reload and list commands, the New Document
profile commands and file.new, and the Scripts folder listing and run,
each linked to its section.
An inset ring limited a corner's miter by moving the corner four times
the bevel width along its bisector. At a corner sharper than about 29°
that the bevel opens (a convex corner with the bevel outside, a notch
with it inside), the bevel still ran out to a spike up to four times
the width and no longer lined up with the art. With the bevel outside,
the wall behind it spiked the same way.
Such a corner is now given twice in the outline before the solid is
built, and each copy moves along its own edge's normal, so the bevel
(and, with the bevel outside, the wall) cuts the corner square, as a
bevel join cuts a stroke. Corners within the limit keep their miters,
and corners where the inset edges meet keep the four-times limit.
A cap's outline skips the straight segment of no length between the
two copies where they do not move apart.
Docs: docs/three-d.md, docs/target-app-parity.md.
Once a right-to-left line holds a tab and a glyph with a negative
advance, the least it can be drawn at no longer grows with its tab
stops, so a line that overflowed in the order of its text read on to
the end of the paragraph before settling its break. Setting every line
of a long paragraph that way took time quadratic in its length.
Such a line now reads at most 256 legal breaks past where it first
overflows in the order of its text, and ends at the latest break read
that fits as drawn, the same limit the breaker uses for breaks it
measures one by one. Lines without negative advances, and lines that
fit, keep their breaks.
File › Place of a text file with the Unicode character set read UTF-16
only after a byte-order mark. Without one, UTF-16 text was read as UTF-8
(or the 8-bit set): characters outside U+0001 to U+00FF came out as
other characters, and each CR LF placed as two paragraph breaks.
Place now reads a file without a byte-order mark as UTF-16 by the rule
Import Data Sets uses, through the shared byte-order helper: an even
length, at least half of the two-byte units holding a NUL byte, the
byte order that reads a line break (for one line, the order its NUL
bytes give), and valid UTF-16 with no NUL character in that order. Any
other file is read as before, as UTF-8 or else the platform's 8-bit set.
Docs: docs/mcp.md, file.place params text, docs/target-app-parity.md.
Finding where the Rotate All, Space, Move All and Select/Move widgets
go and testing whether the pointer is over one flattened the group's
path two to three times per widget. Starting a Space, Move All or
Select/Move drag flattened it five times, and one pointer move over the
group could flatten it eleven times. Each lookup now flattens the path
once and shares that measurement across the widgets:
- vectorcraft-doc makes `Measured` public with `stop` and `stops`, and
adds `attachable`, which returns the path with its measurement.
- `Widgets::of` gives all four widgets for the canvas, `widget_at` gives
the widget under the pointer, and `WidgetDrag::hit` gives the drag a
press starts, each from one flattening. The Selection and Objects on
Path tools and the canvas use them.
- A Space, Move All or Select/Move drag keeps its measurement and
measures again only when the group's path changes.
Widget places, hits, cursors and drag results are unchanged. The new
`spine-count` feature of vectorcraft-doc exposes the flattening counter
to vectorcraft-tools' tests; it is enabled only as a dev-dependency and
leaves Cargo.lock unchanged.
An instance whose symbol art has live effects is replaced in the export by a group holding the baked art. That group now takes the instance's attributes as well, so a PDF export keeps the instance's URL as a link annotation over the art where its effects draw it.
On a pie with Legends in Wedges, the graph draws legend labels white on
dark wedges unless they keep a fill of their own, and it read a kept black
fill as no fill of its own. A label recolored from white to black on a dark
wedge went back to white the next time the graph was drawn.
The graph now marks the legend labels' fill as set when a command sets it
(legendFillSet in the graph's label styles, kept through save and open), and
draws a marked fill on every wedge, black included. Undo clears the mark. A
size, font or stroke change does not set it, and neither does a whole-pie
recolor that gives the legend labels different fills; one that gives them
all the same fill sets it. A swatch edit or color conversion leaves the
default black legend fill as it is, and keeps a non-black legend fill from a
file saved without the mark as the labels' own when it turns black.
With ids, Combine Point Text and Join Point Text take locked and hidden
type. They kept the first piece's object and removed the others, so
naming a visible piece and a hidden one beside it hid the visible text
or showed the hidden text, and the same held for locked pieces and for
pieces in a locked or hidden group or layer.
A piece now joins only pieces that are as visible and as locked as it
is, counting their groups and layers. The selection route takes only
editable type, so it behaves as before.
Hidden instances, instances in hidden groups, on template layers, and
on hidden layers or layers that do not print when the exporter leaves
those out are no longer placed for PDF, print, EPS and DXF. Their art
was baked and counted toward the 16,000,000-object limit for placed
symbol art, so it could leave a visible instance written without its
effects.
bake_document_placing_symbols takes a WrittenLayers value: PDF passes
the layers its settings write, EPS writes layers that do not print but
not hidden ones, and DXF writes both. Print removes the layers that do
not print before baking.
VectorCraft reads the symbol definitions of a large canvas .ai or EPS,
and of a .ai whose page is in larger units, in the same units as its
layers. Opening such a file scaled the layers and graphic styles up to
full size but left the symbols' art as it was. Instances on the layers
drew at the right size, but each one's transform carried the factor N,
and a newly placed instance came in at 1/N of the size, where N is the
file's large canvas scale or its page's unit.
- Opening the file now scales each symbol's art, strokes and effects with
the layers. Instances on the layers, in symbol art, in pattern tiles
and in opacity masks keep their own scale and rotation and draw where
they did.
- A symbol library without layers from such a file gets the same scale
as its graphic styles.
- Opacity masks on the layers that do not move with their object are
scaled with the layers too, as are those in symbol art.
- Editing data that VectorCraft wrote (its %%Creator line) keeps its
symbols and those masks at their own size, as the .ai save writes
them, so files saved by earlier versions open as before.
A gray or RGB TIFF that reached PDF export as a TIFF, for example in a
native document or from a script, was decoded to 8-bit RGBA and written
as DeviceRGB, which dropped the ICC profile of its tag 34675, its 16-bit
samples and its gray color space. It is now written in an ICCBased color
space holding that profile, as a tagged PNG is: gray stays gray, 16-bit
samples stay 16-bit from PDF 1.5 on, and the alpha becomes a soft mask
only when some pixel is not opaque.
A gray or RGB image that the Compression settings resample or compress
with JPEG keeps its source profile too, a PNG included. Pixels that the
Output settings convert are written without it, and so is a profile whose
color space differs from the samples'. CMYK images are unchanged.
The untranslated report listed these messages as missing from the
Swedish catalog. Among them are the image export encoders and size
limits, color profiles, color books, swatch exchange files, DXF import,
3D and Revolve errors, and the `index` check of document.activate. Each
now has an @msg row in sv.tsv, with its placeholders, backticked names,
format names and values kept as the English writes them. Messages that
open pull requests already translate into Swedish are left to them.
The Swedish row in docs/localization-parity.md is recounted, and
docs/target-app-parity.md gets a line for the Swedish catalog.
An absolutely placed character starts its own text chunk, anchored on its
own x (SVG 1.1 text chunks). In a right-to-left line the import kerned the
character before each placed one as if kerning moved the placed character
right, but a right-to-left glyph takes its kerning at its left, so the
correction moved the wrong glyph. In <text direction="rtl" font-size="20">,
<tspan x="100 160" y="80 80">אב</tspan> on a second line put the right
edge of א at 393.48 instead of 100.
The placement now works in drawing order: each kerning is a cut after its
character (before it when it runs right to left), each gap between two
placed neighbors takes one cut, and the line's left edge is measured again
every round. Corrections are divided by the character's horizontal scale,
so text stretched with lengthAdjust="spacingAndGlyphs" lands on its x too.
A left-to-right character drawn between two placed right-to-left ones has
no kerning slot before the next one, which then keeps its place in the
line; the import warns about it.
A raster that SVG import decodes and stores again (a TIFF, a BMP or any
other format that is not PNG, JPEG, GIF or WebP, or an image whose EXIF
or TIFF orientation turns or flips it) was written as a PNG with no pHYs
chunk, and a turned or planar CMYK TIFF was written without resolution
tags, so the image lost the resolution its file declares.
The converted PNG now carries the source's resolution in a pHYs chunk,
and the CMYK TIFF in its resolution tags, as Open and Place store them.
A quarter turn (orientations 5 to 8) swaps the horizontal and vertical
values. An image that declares no resolution is stored without one, and
an image stored unchanged keeps its own bytes.
The PNG, JPEG, TIFF, WebP and BMP resolution readers and the pHYs writer
move from the engine to vectorcraft-doc, so the SVG importer can use
them; the engine and renderer entry points forward to them unchanged.
perspective.grid.preset stored the preset's grid every time, so applying
the preset the document already holds recorded an undo step that changed
nothing. It now compares the new grid with the stored one, as
perspective.grid.set does through grid_kept, and records a step only when
the grid changes. When only whether the grid shows or its active plane
differs, the preset sets them without an undo step, as
perspective.grid.show and perspective.plane.set do.
dotCooCoo