object.expand read `object`, `fill` and `stroke` with bool_or, `steps`
with f64_or and `gradient` with str_param, so a value of the wrong type
fell back to the default: "fill": "yes" expanded the fill, "steps": "16"
made 255 strips and "gradient": 3 made strips. They are now read with
switch_or, number_or and text_param, and such a value is an error that
names the param, before anything changes. Omitting a param or giving
null keeps its default.
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.
Generic CMYK's tone curves now pass through the CGATS TR 001 tone value
increase of each ink at 40% and 50% (C 20.0, M 17.6, Y 16.8, K 21.6 at
50%), and its 16 Neugebauer primaries mix linearly, so a single ink's
tints gain as TR 001 gives. The 300% ink limit stays. The primaries, the
black-generation curve and the black point are VectorCraft's own values.
- The black point is 90% black under neutral CMY that fills the ink
limit: sRGB black separates to C75 M68 Y67 K90 instead of C67 M67 Y67
K100.
- Black follows a curve over the gray component of the black-free
solve, raised by how far that solve stays lighter than the target.
Grays from sRGB 177 up carry no black, and sRGB 128 gray separates to
C50.5 M42.2 Y42.0 K7.5 instead of C38.8 M26.3 Y29.9 K24.4.
- Display of CMYK fills, swatches and imported CMYK values and the
separation of RGB and Lab colors use the same model.
Paper white still separates to C0 M0 Y0 K0, but other separations
change, and so does the display of CMYK colors with ink. Tests that held
numbers of the old model are updated.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
Covers the other places a Warp now moves placed gradients: a group's
and a nested group's own strokes and a compound path's stroke (with the
stroke-inflated bounds), the art of a symbol instance and the area of a
compound shape with a Warp, and a stroke's own Warp on the canvas. A
new test checks that Arc's no-bend threshold for gradients matches the
one the warp uses, and the no-bend test now covers all fifteen styles.
The render test's Fisheye case, which left the square's bounds as they
were, is replaced by a vertical Bulge, and each style there is checked
to move the outline's left or right edge. The Object > Expand test
checks that it measures the ramp and not an edge of the outline.
The params text and docs/mcp.md now state which bounds each gradient
follows, and that a warp moves them with a bend or a distortion.
A gradient placed with the Gradient tool stayed where it was when the
object's Warp effect changed the outline, so the warped shape no longer
matched its gradient.
Under each Warp style the placed gradients of a path now move and scale
from the path's bounds before the warp to its bounds after it, as they
do under Free Distort. This applies to an object's own Warp and to a
fill's or stroke's own (a stroke uses its stroke-inflated bounds), on
the canvas and in Object > Expand of the fill. In a group with a Warp
effect, each path's and compound path's gradient follows its own
bounds, and the own fills of the group and of the groups inside it
follow those groups' bounds. A warp with no bend and no distortion
leaves gradients exactly where they are, and gradients fitted to the
object are unchanged.
This changes how existing documents draw: a placed gradient on art with
a Warp effect now follows the warped outline instead of staying in
place.
How gradients follow the warp is VectorCraft's own rule. What the Warp
effects do to the object is described in
https://helpx.adobe.com/illustrator/using/reshaping-objects-effects.html
A gradient fitted to the object refit to the outline after the object's
Transform effect rotated, reflected or scaled it unevenly, so the
gradient kept running left to right while the shape turned under it.
Object › Transform already turns such a gradient.
A Transform effect that a refit would not reproduce now fixes the
gradient to its fit on the geometry the effect takes, and then maps it
with that effect and the effects after it, as a placed gradient. Under
moves and even scales it draws as a refit does, and an effect that
scales the object to nothing across leaves it fitted. This applies to
an object's own effects, a fill's or stroke's own effects, and a
group's: in a group, the gradients fitted to its paths, to its own
fill, to the groups inside it and to its images' and symbol instances'
own fills each fix to the fit on their own object. Object › Expand of
the fill draws the same.
This changes how existing documents draw: art with a fitted gradient
and a Transform effect that rotates, reflects or scales it unevenly
now shows the gradient turned with the art. How gradients follow the
effect is VectorCraft's own rule.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
The art that replaces an outlined or expanded path did not take the
path's hidden, locked or Knockout Shape state. Outline Stroke on a
hidden path, or Expand on a group with a hidden member, made the new art
visible (a filled and stroked path became half visible: the outline
shown, the fill copy hidden), and a locked member's art was unlocked.
The replacement now takes the path's visibility, lock and Knockout Shape
state, and the fill copies and clipping paths inside it are shown and
unlocked, so showing or unlocking the new art shows or unlocks all of it.
This covers Outline Stroke, and Expand's strokes, gradient fills and
pattern fills.
dotCooCoo