Only a painted effect's references are checked, so a refusal recorded for a painted effect stayed in plugin.info after an effect that paints nothing replaced it under the same id.
A painted live effect's pieces name swatches, so a kept evaluation could outlive a swatch that was renamed or removed and answer a click with art the document no longer draws. The kept evaluation now holds the document's swatches and color groups and is stale when they change.
A painted effect's cached result passed its swatch and pattern check and cleared the error of a failed run, so plugin.info reported none while the effect still failed on another object. A run and a reference check now record their errors separately, and each clears only its own.
On Linux and the BSDs, VECTORCRAFT_TITLEBAR=app now uses the app bar as the title bar with System Title Bar on. Before, System Title Bar kept the desktop's frame while the Preferences note said the variable chooses the title bar.
While the variable is set, Preferences dims System Title Bar, and the note that System Title Bar takes precedence over VectorCraft Title Bar on Every Desktop does not show. macOS and Windows do not read the variable.
craft-update moves from c5a1cbfb to the head of storytold/craft-libs#696.
The check result window now shows for every status but idle, so the first
start after an update reports that it installed or why it failed. Restart
to Update on a ready update asks the app to close.
The install helper now starts when the app exits. on_exit calls
Updater::start_pending_update through VectorcraftApp, because the macOS
exit in end_before_teardown ends the process without dropping the app.
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.
The text a non-string argument converts to stays rooted while the parse runs, so a
collection still counts it. A property name read from the text is charged to the heap
until its property is defined. Boolean.prototype.toString and valueOf are added, so a
Boolean object writes `true` or `false`. The json2 sample no longer includes U+2028:
the polyfill escapes it and section 15.12.3 does not.
With New Art Has Basic Appearance on (the default), the selection never
reached the fill and stroke proxies, so new art kept the colours set last.
A select.* command or layer.target that changes the selection now loads
the proxies and the weight from what the selection shows in them.
A paint or weight the selected objects don't share stays as it was, and
art without paint (a placed image) changes nothing. The template is left
alone, and only a changed selection loads, so a sampled paint stays.
dotCooCoo