A dashed stroke of a path with more than 1,024 path elements was outlined
whole in every frame after an edit. It is now outlined in and around the
view like a solid stroke. dash_kept runs the pattern along every segment
and keeps only the dashes and dots on the segments near the view, so they
sit where dashing the whole path puts them and the pixels are the same.
A pattern too fine to draw is still drawn solid, and that solid stroke is
cropped too.
At 1600 x 1200 the frame after one anchor moves takes 14 ms instead of
102 ms on a filled closed path of 50,000 anchors with 6 pt dashes and
4 pt gaps. anchor_bench now includes that document.
Add Anchor Points builds the new anchor list in one pass, Swatch Library add looks names up in sets, full_documents dedups placed keys with a set, width profile lookups and mark insertion use binary search, and the symbolism tools cap and thin the previews of a long drag as Liquify does.
With Envelope Options > Distort Appearance on, a path whose Transform
effect has Scale Strokes & Effects or Transform Patterns on, or copies it
with a gradient, was baked with the effect as geometry only: every copy
kept the original's stroke weight, dashes and pattern placement before
the envelope bent it. bake_appearance now makes such a path into the
per-copy art that drawing, export and Expand Appearance already use, and
bakes each copy's strokes into filled outlines from there.
The geometry effects after a fill's or stroke's own Transform effect with
Scale Strokes & Effects or Transform Patterns now take the bounds of the
transformed path and all its copies as their reference box, as an
object's own effects do. A later Rotate turns the copies about their
combined center instead of turning each copy about its own, and a later
Offset Path or plain Transform applies to the paths themselves. Each copy
keeps its own scaled distances.
Part of #885
transform_item_leaf now holds back the leaf's geometry for each plain or transformed piece that follows a transformed fill or stroke, so the copies of an earlier item no longer use up the budget that a later fill or stroke still needs. The nested pass over a transformed piece keeps to the same reduced limit.
Each fill or stroke without such a Transform effect is drawn on the object's geometry again, so its cost now counts toward the budget that limits the Transform effect's copies. The object's own geometry is no longer counted a second time next to the pieces that replace it. The Transform effect options entry in docs/target-app-parity.md links the current help pages.
Part of #885
A Transform effect in a fill's or stroke's own effect list now applies its
Scale Strokes & Effects and Transform Patterns options as the same effect on
the object does: the stroke's weight and dashes, the distances of the fill's
or stroke's later effects and its pattern follow the transformation, each
copy once more than the last, and with Transform Objects off the geometry
stays and the options apply once. The fill or stroke becomes an object of
its own in the art the canvas, export and Expand Appearance draw, and Use
Preview Bounds measures that art too (also for the object-level options).
Part of #885
Effect › Color Effects › Duotone… (addon.color.duotone, also in Object ›
Plug-ins › Color Effects) prints the grey-equivalent tone of each colour
with one to four inks, each with its own tone curve. It is a colour
adjustment like the add-on's others, so it stacks with them and works as
a filter through addon.color.filter.
- One tone of a swatch the document has gives a tint of that swatch,
linked, so a spot tone separates onto its plate; several tones give
the CMYK mix of their tints (the inks overprint, so they multiply).
- Colour adjustments now map paints with their swatch links
(ColorMap::apply_link); the existing adjustments behave as before.
- Skip Objects with Spot Colors leaves spot-linked colours as they are.
- The dialog has a row per tone and the picked tone's curve (the Curves
graph, reused), its points and Reset to Linear / Inverse.
Print Ink Fixes (addon.color.printFixes, Object › Plug-ins › Color
Effects › Print Ink Fixes…) scales CMYK colours over a total ink limit
down to it, removes white overprint and sets black overprint (Overprint
Black's logic) in a CMYK document, as one undo step, and reports what
changed. RGB documents are refused.
The panel opens both under Inks.
Deferred: an opaque undercoat, tones for type only, extra gradient stops
for smoother tints, curve flip and all-100 % buttons.
Effect › Color Effects › Vector Halftone… (addon.color.halftone, also in
Object › Plug-ins › Color Effects) draws its object as the halftone dots
Object › Vector Halftone makes, live: mono (one dot colour, or each dot in
the art's colour under it) or CMYK screens, the five dot shapes,
frequency, angle, invert and clip to the art's outline.
- The screens, dots and caps move to vectorcraft_effects::addons::halftone,
shared by the command (its behaviour and tests unchanged) and the effect.
- The renderer samples the art (vectorcraft_render::addons::halftone) and
keeps the dots by the object's content and what it reads from the
document, so unchanged art isn't sampled again; past 100000 cells per
screen the object draws as it is.
- Expand Appearance turns the object into its dots, and the SVG, PDF, EPS
and AI exporters write them as paths.
- Its dialog reuses the command's fields, without Keep Original.
Deferred: stochastic and radial patterns, a dot-gain curve, per-screen
separation settings, type or symbols as dots.
A built-in add-on in Effect › Color Effects and Object › Plug-ins › Color Effects:
- Exposure (stops of linear light, offset and gamma), Desaturate and
Invert Colors as live colour adjustments, evaluated in stack order with
those of Effect › Color Adjustments.
- addon.color.filter applies any colour adjustment to the colours
themselves, through the Edit Colors pass, as one undo step.
- A panel picks an adjustment and its values, then adds it as a live
effect or applies it as a filter.
The add-on lives in its own modules (effects, engine and ui-egui addons
folders) and leaves the existing effects, commands and menus as they
were.
Follow-up to #4345 / #4145 per maintainer guidance from @bflatastic.
- In `crates/effects/src/geometry.rs` & `crates/effects/src/reshape.rs`:
- Implements `optimize_geometry_effects`: reorders pure-translation Transform effects
with copies after a terminal round-join Offset Path effect when the effective style is safe
(NonZero fill and no stroke).
- Offsetting a union equals the union of offsets for round (Minkowski) offsets; moving
pure-translation copies after the terminal offset evaluates Offset Path once on the base
geometry rather than over dozens of multiplied copies, turning O(copies * segments) planar
sweep explosion into a single fast offset plus lightweight affine copies.
- Safely commutes across multiple consecutive pure-translation Transform effects.
- Preserves exact visual geometry by leaving miter, bevel, EvenOdd, stroked, or non-terminal
effect stacks in their original order.
- Added comprehensive unit and regression tests in `crates/effects/src/tests.rs`.
- Added contributor entry in `contributors/people.toml`.
CodeRabbit findings #4, #34, #46, #51, #77, #101, #170, #171, #188:
- `vectorcraft_geom::flatten`: kurbo's flatten with each curve's tolerance raised so it makes
at most ~4096 segments (non-finite curves become a line); the canvas outline and
variable-width strokes use it.
- Plug-ins: a heavy filter's budget is the host's `Limits::heavy_fuel`/`heavy_wall_time_ms`,
never more; a start function runs on one fuel slice; the effect cache holds at most ~1M
anchors of inputs and results, and doesn't keep a result past a quarter of that.
- Loaded textures are cached by their PNG (base64 spacing doesn't matter), and live textures
hold at most 512 MB together.
- Revolve draws the source path when the faces' paint copies would pass 256 MB.
- Color books: names with prefix and suffix take at most 64 MB.
- ICC: localized-name (`mluc`) records over 1 MB together are refused before moxcms copies them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review follow-up (#3785, CodeRabbit): traps() tried every pair of visible solid paths on each redraw of the live effect and in the panel command, so many separated shapes cost quadratic work that neither the segment cap nor the overlap budget bounds. Each visible part's bounds are now computed once and a sort-and-sweep on x finds the pairs whose bounds come within the trap's reach (the clamped thickness across x, thickness × height/width across y, plus a hair for rounding); only those reach same_color, lighter and trap_band, which rejected the rest by the same bounds test, so the traps and their order are unchanged. Tests: 2,000 separated squares of two colours and one abutting pair give one candidate pair and one trap; the traps of a mixed scene match those of each pair alone, in order.
The Pathfinder panel menu's Trap… (object.pathfinder.trap) and Effect › Pathfinder › Trap… (pathfinder.trap, live on groups) share one geometry (vectorcraft_pathops::trap_band, vectorcraft_effects::trap): Thickness, Height/Width, Tint Reduction, Traps with Process Color and Reverse Traps, plus the effect's Precision and Remove Redundant Points. The panel's Trap is one undo step and groups the traps above the topmost selected object. Behaviour from https://helpx.adobe.com/illustrator/using/trapping.html and https://helpx.adobe.com/illustrator/using/pathfinder-panel-overview.html.
COLR and SVG glyphs, which have no outlines, were left out wherever type was taken as its outlines: geometry effects, Expand Appearance, EMF/WMF export.
A chain of geometry effects makes at most 2 million anchors of a path (of a
type, symbol or image art's paths together) and about 8 million lines for the
renderer to draw at 1 px/pt, or what the path costs when that is more.
Roughen spaces its points further apart, Zig Zag makes fewer ridges a
segment, Free Distort, Twist and the warps split segments into longer pieces
(map_nonlinear_within) and Transform makes fewer copies where they would pass
it; a result drawn with too many lines is built again with fewer points, and
an effect that still doesn't fit is left out.
Three Roughens of a rectangle in a 25 KB file needed gigabytes of geometry,
and 2 million anchors of them flattened into 141 million lines (7 GB, past
vello's 2^27 lines a path); the file now opens in 0.4 s at about 450 MB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator 30.0's gradient Method, from the public documentation
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-perceptual-interpolation-in-gradients.html):
Classic or Perceptual; perceptual interpolation matches colour transitions to
how the eye perceives differences between colours, and perceptual gradients
are rasterised when saved as PDF or SVG.
- Gradient gains `method` (Classic | Perceptual; serde default Classic,
written only when Perceptual, so older files open as Classic and Classic
files are written as before). The colour crate's OKLab helpers open up for it.
- Perceptual mixes neighbouring stop colours in OKLab (sample, and
sample_keep_model for the stroke meshes, Expand and blends); opacity stays
linear. Renderers that mix linearly get stops on the perceptual curve,
placed by halving each half segment where a straight line strays more than
0.4 of a colour level (a nearly straight segment needs none). Classic
gradients expand exactly as before.
- draws_as_pixels includes Perceptual gradients, so SVG and PDF write a
Perceptual fill or stroke as an image at the document's raster effects
resolution, clipped to what it paints. A gradient along or across a stroke
stays slices (PDF no longer draws it as a within-stroke image).
- With Dither: a dithered Perceptual fill is the perceptual mix with dither's
noise (the canvas's dithered grids are keyed by method too); SVG and PDF
write it as an image with the noise, and a dithered Perceptual stroke as an
image without it, as the canvas draws it (GradientPaint::pixels, SVG's
raster_paint and PDF's area are told whether they paint a fill).
dotCooCoo