swatch.edit stored a replacement gradient without its placement, so a
radial gradient with an aspect, Alt-dropped on a gradient swatch or
given as `paint`, lost that aspect, while swatch.new keeps it and
applies the swatch with it. A gradient given an aspect without `start`
and `end` lost the aspect in both commands. A replacement pattern kept
the tile transform of the swatch it came from, while swatch.new stores
a pattern untransformed, and `paint: {pattern: name}`, which an Alt-drop
of a pattern fill sends, was refused.
swatch.edit and swatch.new now store a gradient or pattern through one
helper: a gradient keeps its aspect, with or without a vector, and holds
no swatch link, and a pattern is untransformed. swatch.edit takes a
pattern by name, as swatch.new does.
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 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.
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 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.
With Window › Arrange › Tile or floating document windows, every document
other than the front one was drawn through the profiles the front document
is assigned, since the active color settings are process-wide.
- cms::with_active puts other settings in place of the active ones on one
thread, fast paths included, and puts them back after (also on a panic).
cms::for_document gives the context a document's assigned profiles make,
the same one each time for the same profiles and working settings.
- Each pane renders its document's art through colormgmt::doc_cms, on the
render worker and on the UI thread alike, and draws its paper, artboard
colors and transparency grid through the same settings.
- Loading or removing a profile redraws the documents assigned it, the
ones behind the front one included.
- The ink and separation tables keep the tables of up to four color
settings, so documents with different CMYK profiles side by side do not
rebuild them on each redraw.
Placed documents inside a document behind the front one still draw through
the front document's profiles.
When an arriving box that joins everything it overlaps covers an open
box to the right and below, and starts lower than it, the open box now
keeps only its part above the arriving box's top in the sweep's tree.
Any later box that would have met the removed part meets the arriving
box instead, which is open at least as long and in the same set, so
the groups stay the same. A box held by an open box is not opened and
cuts nothing short.
512 boxes, each 1 pt right of and below the one before, now meet 511
open boxes in the sweep instead of 130,816, with and without
transparency. Staggering right and up in sweep order still meets every
earlier open box.
The every-pair test oracle skips boxes that aren't finite, as the
sweep does.
Add a test that Remove Breaks leaves type on a locked artboard as it is
when ids names it, with no undo step. Rewrap the Text tools paragraph
in docs/mcp.md and name the tests in docs/target-app-parity.md.
BFlat