Object > Live Paint > Make gave each new face and edge one fresh row
built from only the source's topmost fill or stroke paint and the top
stroke's weight. A lower row that draws was lost, a hidden top row
became visible, and the rows' opacity, blending mode, effects and
stroke settings were dropped.
- A face takes every fill row that draws (shown, with paint and an
opacity above 0) of its front-most covering source that has one and
an opacity above 0, in order with their settings. A source in front
whose fill does not draw no longer hides the fill behind it.
- An edge takes every stroke row of its source that draws (also with a
weight above 0). Faces and edges take the source's opacity and
blending mode; gradients keep their fit on the source, and pen
pressure stays with the source.
- Where a path is cut into several edges, each edge runs the way the
path does, its dashes go on from where it starts along the path, the
arrowheads stay at the path's own ends, and a width profile or brush
stays only on an edge that runs the whole path.
- Rows that draw nothing stay with the stored sources, which Release
returns unchanged. Merge and Gap Options build their new parts the
same way.
Docs: livePaint.make params, docs/mcp.md, docs/target-app-parity.md.
A freeform gradient's image was sampled, encoded and written inline at
every fill, outside the reuse placed images have. Fields now go through
the same codes and placements: a fill whose encoded image (color setup,
image dictionary, filter, operator and samples) matches one already
kept draws from it, so its samples are written once in the setup as
VCim<i>. A field drawn once is still written where it is drawn.
A fill whose placement can't be drawn, or that arrives when the page is
already at the 256 MB limit, is no longer sampled first, and a field
image taken back with art that passed the limit is forgotten.
A gradient vector drawn on the art, a click that applies one, and the
dragged start and end handles snapped through snap_draw, which gathers
the bounds and anchors of the art only. Path segments, View › Snap to
Glyph's guides and the construction guides through the vector's start
did not pull them, and a click applied the gradient from the pointer
rather than from the snapped point. They now snap through DrawSnap, as
the Pen and Line Segment tools do:
- The press gathers the targets, for a vector drawn on the art and the
start and end handles only, and the drag keeps them. A click applies
the gradient from the snapped press.
- A dragged end or handle leaves its start as a Line Segment's end does:
it lands on the construction guides through the start, and with Shift
it keeps to 45° steps from the Constrain Angle and snaps along them.
- The pointer hovering where a press would draw a vector (anywhere with
art selected, over art with nothing selected), and not over the
annotator, shows the guides of the point the vector would start on.
A press that snaps onto a nearby target no longer starts the drag
early: the 3 px drag threshold counts from where the pointer was
pressed, not from the snapped start.
dotCooCoo