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.
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.
A gradient stop that loses its link to a spot swatch kept the process
plates it printed with that ink, so it carried a DeviceN mix with no
ink. Paint::map_links, which deleting a swatch, recoloring and color
adjustments go through, now clears a stop's plates whenever it leaves
the stop without a link, as GradientStop::set_color(color, None)
already does. Library gradients and library character styles linked
to a swatch the document lacks unlink their stops the same way.
Docs: docs/target-app-parity.md.
The Color panel and Color Picker cached their out-of-gamut warning and
correction for the last color only. Assigning the document another CMYK
profile, removing it, or changing the working CMYK space in Color
Settings left the old warning showing until the color changed.
The cache entry now also holds the active color settings and the
registered profiles' generation, so the warning is checked again when
either changes. The comments and the color.gamutCheck params text name
the CMYK space actually used: the document's assigned CMYK profile, else
the working CMYK space.
The Gradient panel's Method menu gets two methods of VectorCraft's own
beside Classic and Perceptual. They mix a linear, radial, conic or
diamond gradient's colors around the hue wheel: hue, saturation and
brightness each change evenly from one stop to the next, and the hue
angle keeps one direction, as the fixed-direction rules of
https://www.w3.org/TR/css-color-4/#hue-interpolation do. Hue Clockwise
lowers the angle (red, magenta, blue), which is clockwise on the color
wheels, and Hue Counterclockwise raises it (red, yellow, green).
Two stops whose hues are less than half a color level apart count as
one hue and keep it, so a color and a tint or shade of it do not turn
the whole wheel. A stop whose RGB numbers are less than half a color
level apart is gray and takes the hue of the stop it mixes with, and
black takes that stop's saturation too.
- `paint.editGradient` and `paint.setFill` take `method: hue-clockwise`
or `hue-counterclockwise`, in any case, with a space or an underscore
for the hyphen or without it; other spellings are an error. The native
file writes `HueClockwise` and `HueCounterclockwise`.
- The canvas and raster exports draw the gradient through stops on its
curve, within half a color level.
- Reverse turns the method the other way with the stops, and a Reflect
spread is repeated from the curve's stops, so both keep the colors.
- SVG and PDF write the gradient as an RGB image, CMYK and spot color
stops included, with the spot warning. EPS writes a shading in process
colors with a warning for spot stops. A legacy .ai file and the .ai
editing data get the colors between the stops as stops of their own,
in process colors, at most 256, with a warning. CSS gets those stops
too.
- The `method` error names the four values, in every catalog.
- The Method menu is as wide as its longest name in the interface
language, within the panel.
Docs: docs/mcp.md, docs/plugins.md, docs/target-app-parity.md, ROADMAP.
Preferences > Performance > Use Monitor Profile for Canvas (on by default,
`monitorProfileDisplay`) converts the canvas's art, artboard paper and
transparency grid from sRGB into the ICC profile of the display that shows
most of the main window, after any proof. Arranged panes and the render
worker's frames are converted too; the worker keeps its frame in sRGB.
- Windows: the display's default profile for its standard color mode
(ColorProfileGetDisplayDefault, GetICMProfileW where it is missing). A
display with Advanced Color on is left to Windows.
- X11: colord's profile for the RandR output, then the output's
`_ICC_PROFILE`, then the screen's when only one output is active.
- A Wayland session stays sRGB; macOS converts the window itself.
- A profile that is missing, larger than 1 MiB, not an RGB display
profile or unreadable leaves the canvas sRGB, with the reason in
`ui.inspect`'s `displayProfile`.
The conversion is sampled into a 33x33x33 table when a profile is read, on
a background thread. Exports, `ui.render` and the document are unchanged.
With art selected, the Edit tab shows a Prominent Colors bar under the
wheel: a part for each row in its new color, as wide as the row's share
of the art, the largest first. Dragging the edge between two parts moves
width from one to the other; when the drag ends, the rows' current
colors move toward the new widths and the art previews the result. OK
keeps the recolor as one undo step.
- recolor.weigh {map, weights?, ids?} returns each row's share of the
uses of the art's colors and, with weights, the rows with their
current colors moved: one color at a time between rows that have a
new color, while a move brings the shares nearer the weights, the
color nearest in Lab to the row it goes to first. A row keeps its
first color, the tints of one global swatch move together, colors
that stay keep their order, and the command changes nothing. A use
counts for the row recolor.apply recolors it with, and the work is
bounded at 50,000,000 color-by-row comparisons.
- The New Color Group menu beside the link button has Save All Colors
(the new colors in row order) and Save Prominent Colors (the bar's
colors in its order); each saves a color group as its own undo step.
- The dialog's weights field drives the bar from ui.dialog.set. A new
Colors count drops it.
The Color Theme Picker button beside the Assign and Edit tabs turns on
picking from the canvas. A click takes the color palette of the object a
Selection tool click takes there, a drag takes the palette of the art
inside its marquee, and Shift adds more picks. The rows that are not
excluded take the palette as their new colors and the art previews them;
OK keeps the recolor as one undo step.
- recolor.pickTheme {picks, colors?} returns the palette of the art
picked: visible fills and strokes, gradient stops, text, mesh points,
pattern tiles, symbol art, colorize colors and image pixels. Clip
groups, clipping opacity masks and isolation mode limit it to what
shows, and it changes nothing.
- Each object read weighs the same; similar colors merge (k-means in Lab)
into at most `colors`, most used first. Image reads are bounded (65,536
pixels a pick, 1,048,576 pixels and 64 images in all), and past 4,096
distinct colors, close colors merge before clustering.
- The dialog's themePicker and themePicks fields drive it from
ui.dialog.set. A new Colors count keeps the picks.
View > Proof Setup > Working CMYK simulates the working CMYK space of
Color Settings in Proof Colors and Separations Preview, also in a
document assigned another CMYK profile. The active context keeps the
working context beside the assigned profiles, and the proof table cache
key includes the working settings, so a change of the working CMYK space
shows in the next proof.
When a repeated or reflected gradient needs more stops than a limit
allows, each run now leaves out the stops that change its colors
least, so every run is still written, instead of writing fewer runs
and padding the rest with the last color. Each run keeps its ends,
sharp steps, swatch-linked stops, tint and CMYK ink changes and spans
shaped by an off-center midpoint, and the colors are compared as the
gradient's method mixes them. This applies to gradients along or across
a stroke, CSS conic gradients, and PDF, EPS and .ai export.
- Outline Stroke's mesh fits the gradient to at most 1,024 stops, and
splits a stroke into several meshes when one would hold more than
2^20 points.
- Object > Expand leaves a gradient as it is when the box needs more
than 256 runs, instead of expanding only the first runs.
- CSS writes the stop positions of repeating gradients with four
decimals, so the period stays in place across the box.
- A swatch chip of a gradient that repeats gets at least four grid
cells a run along each side (at most one a point, and 128), so it
does not show one color when the count matches the chip's cells.
- docs/mcp.md states the stop limits and the PDF import sample budget.
Edit > Assign Profile wrote the profiles it assigned into the working
settings of Edit > Color Settings. Color Settings then showed the
assigned profile as the working space, and the next change in Color
Settings saved that profile for the next start.
The working settings are now kept apart from the settings in effect.
Assign Profile still makes the profiles it assigns the ones colors show
and convert through, and assigning none puts the working space back.
Color Settings shows and saves only the working settings, and a change
there keeps the profiles the document in front is assigned in use.
color.removeProfile refuses only a working space: removing an assigned
profile in use puts the working space in its place, and loading that
profile again puts it back in use.
Public reference: "Changing the color profile for a document" and
"About color working spaces",
https://help.adobe.com/archive/en_US/illustrator/cs3/illustrator_cs3_help.pdf#page=150
A linear, radial, conic or diamond gradient has a spread: Pad (the
default, as before), Repeat or Reflect, with a count of 1 to 100
(VectorCraft's own limit). Repeat and Reflect run the stops that many
times along the vector (around the turn for a conic) and keep going past
both ends, Reflect running every other run backwards, as SVG's
spreadMethod does.
The Gradient panel has a Spread menu and a Repeats field, and the
Gradient tool marks where the runs meet. paint.setFill and
paint.editGradient take `spread` and `repeats`; bad values are errors.
Presets, swatches, blends, strokes along or across a path, Outline
Stroke and Object › Expand follow the spread; Expand gives each run the
same whole number of objects, and Outline Stroke's mesh keeps the color
on each side of a sharp step between two stops at one offset.
SVG writes and reads spreadMethod: SVG import now reads a repeating or
reflecting gradient as one that repeats or reflects once, instead of
expanding its stops over the shape. CSS writes repeating gradients.
PDF writes a conic's sweep shading over one run. PDF, EPS, legacy .ai
and the .ai editing data write the other kinds with their stops
repeated across the shape: at most 256 runs and 16,384 stops (256 stops
in .ai files), and for a radial or diamond no farther than 65,536 runs
from its center, with a warning past those. PDF import now finds sharp
steps in any axial or radial shading instead of blurring them.
Docs: docs/mcp.md (Spread), docs/target-app-parity.md, docs/gaps.md.
Window › Swatch Libraries › Gradients gains Holographic, after Organic
Fades: seven foils (opaque linear gradients of six narrow pastel and
pearl bands with off-center midpoints) and seven glows (radial
gradients from a bright center out to a clear edge), all mixed with the
Perceptual method. They also list in the Swatches panel's library menu,
swatch.library.list/get/add and the Gradient panel's Presets.
The names, colors and stops are VectorCraft's own. A saved preset that
already uses one of the new names is renamed with the first free number
when the preferences load.
Docs: docs/target-app-parity.md Swatches line, ROADMAP.
Window › Swatch Libraries › Gradients gains Organic Fades, a gradient
library of fifteen fades (ten linear, five radial). Each runs through
three to five unevenly spaced stops with off-center midpoints, mixes
with the Perceptual method, and thins out to transparent at the end of
a linear fade or at the edge of a radial one. The colors are computed
from VectorCraft's own OKLCH anchors.
The library also lists in the Swatches panel's library menu, in
swatch.library.list (category "gradients") and in the Gradient panel's
Presets. swatch.library.add keeps each fade's stops, opacities,
midpoints and method in RGB and CMYK documents.
The other built-in libraries are unchanged: their gradients still mix
with Classic and keep centered midpoints, and a test checks it.
- Gradient previews in the Swatch Libraries panel, the Gradient
panel's Presets menu, swatch tiles and the toolbar drew every stop
opaque. Each chip vertex now takes the sampled opacity as its alpha
(freeform points too), and a chip with any translucent vertex draws
a white and gray checkerboard under the gradient. Opaque gradients
draw as before.
- When the preferences are applied, a saved gradient preset whose name
matches a built-in preset, or an earlier saved preset, in any case,
is renamed to the first free "<name> N" (N from 2), so a saved
preset named like a new built-in fade stays listed and can be
applied and deleted.
A new gradient kind, `diamond`, runs its stops from the center (the
start) out to a square with a corner at the end of the vector; the
aspect stretches the square across the vector into a rhombus. The
Gradient panel's Type row has a Diamond button, the Gradient tool draws
the square with the aspect handle and center ring, and a gradient
fitted to an object covers its box.
- Model and canvas: the level is |x| + |y| in the square's frame; a
square with no area (no vector, an aspect of 0, numbers out of range)
paints the last stop. The canvas draws it as pixels, out to a
stroke's miters, caps and arrowheads. Transforms keep the vector and
take the mapped size across it as the aspect.
- Commands: `paint.setFill`, `paint.editGradient` and
`paint.setGradientGeom` take `kind: "diamond"`; a negative aspect or
a focal point is an error. A conic or diamond gradient that a plug-in
returns with a focal point loses the focal point.
- Gradient tool: dragging the aspect handle of a radial or diamond
gradient whose file gave it a negative aspect now sets a positive
aspect; only a conic's negative aspect mirrors it.
- Export: PDF, SVG, EPS and legacy .ai write four linear gradients, one
for each quarter of the square, clipped to the shape (PDF as axial
shadings). PDF and SVG write an image for translucent stops, a
dithered fill or a flat square, and for the Perceptual method unless
PDF writes the stops as spot color shadings. SVG writes a diamond on
type characters as a radial gradient through the corners, and so
does CSS. A swatch library saved as CSS gets four corner layers, a
value for the `background` property (a circle when the swatch is
turned by an angle that is not a multiple of 90 degrees). The .ai
editing data holds a radial gradient through the corners. The
document exports give a warning.
- SVG export: a stroke drawn as an image, as conic wedges or as diamond
quarters now covers the miters, caps and arrowheads that reach past
its paint box.
- PDF import reads a function-based shading whose color is the same
along each square about the origin of its space as a diamond.
- Object > Expand gives nested squares or a mesh of rings.
Docs: docs/mcp.md, docs/target-app-parity.md.
A fourth gradient kind, conic (also accepted as `angle` or `conical`),
sweeps the stops once around the center (the gradient's start),
clockwise on the page from the vector, with a seam where the last stop
meets the first. A negative aspect mirrors the sweep, and reflecting an
object turns its sweep the other way, also for a conic without a
vector or with a flat extent.
- Gradient panel: a Conic button in the Type row; the Aspect Ratio
field works for conic gradients and keeps a mirrored sweep mirrored.
- Gradient tool: the extent ellipse, aspect handle and center ring of a
radial gradient, without a focal point.
- Rendering, swatch chips, transforms, warps, plug-in round trips, and
Object > Expand into wedges or a mesh of columns around the center.
- Commands: a negative `aspect` is an error for linear and radial
gradients, and so is a `focal` point for a conic gradient.
- PDF export writes a function-based shading whose calculator function
turns the angle into the ramp, and PDF import reads a function-based
shading that turns around the origin of its space back as a conic
gradient, also when that origin lies outside the painted area. A
PDF/A file, or a conic with more than 97 stops, gets an image
instead.
- SVG export writes 360 solid wedges clipped to the shape for opaque
stops and an image otherwise, and a linear gradient on characters.
- CSS export writes `conic-gradient(from ...)`, with the stops mirrored
for a mirrored sweep.
- EPS and legacy .ai export write 360 solid wedges; the .ai editing data
holds a linear gradient along the vector with the same stops.
- .af files: conical gradients open as conic gradients.
- An export that writes the gradient in another form gives a warning.
Supersedes #2326 and includes switch87's code from it.
Co-authored-by: Gert Pellin <gert@pellin.be>
A dithered fill or a Perceptual linear or radial gradient whose stops
are all CMYK was written as an RGB image. It is now a CMYK image.
The stops keep their inks, an off-center midpoint is halfway between
its two stops' inks, and a Perceptual curve uses the ink mixes a
DeviceN shading uses. Dither's noise is added per ink and adds no ink
where the gradient has none.
The Output settings convert the inks as they do for any CMYK image.
A gradient with an RGB, gray or Lab stop, a stop linked to a spot
swatch, or a Perceptual curve of more than 4,096 stops is still written
as an RGB image.
Window › Color Wheel opens a new panel: the Fill and Stroke proxy
beside a hue ring around a square with saturation across and
brightness up at the ring's hue. It edits what the Color panel's
sliders edit (the active proxy's color, the selected gradient stop or
freeform point) through the same paint commands, and a drag is one
undo step. Alt paints the other proxy, and Shift steps the ring by
45°. The Color panel does not change.
A pick is display sRGB and goes into the working RGB space through the
color settings. An RGB, CMYK or Lab color keeps its model, and a Gray
color or a tint of a global swatch becomes a process color in the
document's color mode. The wheel keeps the hue of the last pick while
the objects, the proxy and the color are unchanged, so a drag through
a gray and back keeps the hue.
A press gives the ring or the square the keyboard focus. The arrow
keys then step the hue by 1° or the saturation and brightness by 1%.
With Shift a press steps ten times as far, and with Cmd/Ctrl it steps
a tenth as far. Each press makes one undo step, and Escape or a click
elsewhere gives the keys back to the tools. Screen readers
read the ring as a slider from 0 to 360 with increment, decrement and
set-value actions, and the square as its name and both values. The
Color Picker's color field is the same widget, so it takes the same
keys and reports its name and values.
Color::to_hsb and Color::from_hsb now call the new rgb_to_hsb and
hsb_to_rgb, which the panel uses on display sRGB numbers.
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.
The Generic CMYK solver clamps each ink to 0..1 after a step. When an
ink sits at 0 or 1 and the step pushes it further out, the clamp
removes most of the step, and the solve can stop after a step under
1e-6. Where it stopped depended on the input's last float bits. For hex
ed1e79, magenta ranged from 93.2% to 93.9% and yellow from 15.3% to
16.3% over 4,001 f32 values of its red, with 230 jumps over 0.001
between neighboring values.
An ink at 0 or 1 whose descent direction points out of the range now
stays where it is, and the step moves the other inks. The solve stops
when every ink is held. Two new tests step a channel one f32 at a time
and check that every ink stays within 0.001: the red of ed1e79 (cyan
held at 0) and the blue of sRGB (0, 0, 0.25) (cyan and magenta held at
1).
The solver still minimizes plain Lab distance to the gamut-mapped
target. The CMYK values of many RGB colors change; hex 00ff00 now
separates to C=61 M=0 Y=100 K=0 (cyan 0.6235 before, 0.6064 now), and
the swatch test that pins its name is updated.
Mixed in display RGB, red and blue darken past blue's lightness and come
back. The weight search for a Perceptual DeviceN shading then found a
red-side weight for stops near the blue stop, and the inks jumped there.
When the display RGB mix's lightness turns back between two stops, the
inks are mixed at each stop's mix position instead.
moxcms parses every entry of the tag table, so a profile listing one
description, copyright or table tag thousands of times, each pointing at
the same large data, made it decode and copy that data once per entry.
The ICC specification allows each tag signature once; such a table is now
refused before parsing.
A gradient whose stops are not strictly increasing (repeated offsets, or
a file's unsorted stops) sampled each Classic off-centre midpoint, and
each freeform point when recoloring, by scanning the stops from the
start, so many stops and points cost their product. Such stops now get
an index of the furthest offset reached so far, which never decreases,
and each sample finds the pair of stops sample() would pick by binary
search, giving the same colour for any order of offsets.
A tint linked to a global swatch of the color group that recolor.apply
rewrites kept its link and showed the swatch's adjusted color at its
tint, which differs from the same color adjusted on its own. It now
keeps the link only when the two match, and otherwise takes the
adjusted color, unlinked.
The Edit tab's color mode menu offers Global Adjust, with Saturation,
Brightness, Temperature and Luminosity sliders from -100% to 100% that
open at 0%, which changes nothing. One slider changes every recolored
color, each one separately, in its own model; the rows keep their new
colors and the art previews the change. The Edit tab also shows the
color sliders of the selected new color in the other modes.
recolor.apply takes globalAdjust {saturation, brightness, temperature,
luminosity}. Excluded rows and colors no row holds stay as they are, a
rewritten color group takes the same change, and with Limit to Library
each row's new color takes it before it snaps to the library.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md.
A Perceptual linear or radial gradient that mixes spot colors with each
other or with CMYK or gray stops was written as an image in process
colors. It is now written as a DeviceN shading of its inks, with the
stops on its Perceptual curve: at each one, the inks of the two stops on
either side are mixed at the weight where the two colors mixed in
display RGB have the OKLab lightness of the color on the curve.
- Gradient::ink_mixes gives the curve's stops as weights between stops,
under the same 4,096-stop limit as ink_tints.
- Perceptual gradients that mix a spot color with RGB or Lab stops,
dithered fills and freeform gradients stay images, and the warning
now names those cases.
A Perceptual linear or radial gradient was always written as an image,
so a gradient of spot ink tints lost its plate, and no warning named the
spot ink.
PDF export now writes a Perceptual gradient whose stops are tints of one
spot color (and paper white) as a Separation shading in that ink. Its
tints follow the gradient's curve: at each stop the renderer places on
the curve, the tint with the OKLab lightness of the color there.
Dithered fills, freeform gradients and Perceptual gradients that mix a
spot color with other colors are still images, and the export now warns
when such a gradient has stops linked to a spot swatch that its spot
colors are written in process colors.
File › Open and File › Place read JP2 files and raw JPEG 2000
codestreams (.jpf, .jpx, .jp2, .j2k, .j2c, .jpc) through hayro-jpeg2000,
and store the pixels as PNG. Gray, RGB, CMYK and ICC-tagged images, with
or without alpha, are converted to RGBA. Several codestreams, JPX
composition or layers, other color spaces, inconsistent or oversize
palettes, inconsistent channel definitions, oversize tile grids and
images past the pixel allowance are refused with a message before the
pixels are decoded.
The capture and display resolution boxes size the image: the box that
comes last sets each axis, and an axis without a usable value uses
72 ppi.
IccProfile::to_srgb_into converts a pixel with the cached transform and
no heap allocation.
Found while testing crates/color/src/recolor.rs:72 (Display for ColorKey)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
BFlat