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.
A freeform gradient's image was sampled, encoded and written inline at
every fill, outside the reuse placed images have. Fields now go through
the same codes and placements: a fill whose encoded image (color setup,
image dictionary, filter, operator and samples) matches one already
kept draws from it, so its samples are written once in the setup as
VCim<i>. A field drawn once is still written where it is drawn.
A fill whose placement can't be drawn, or that arrives when the page is
already at the 256 MB limit, is no longer sampled first, and a field
image taken back with art that passed the limit is forgotten.
A gradient vector drawn on the art, a click that applies one, and the
dragged start and end handles snapped through snap_draw, which gathers
the bounds and anchors of the art only. Path segments, View › Snap to
Glyph's guides and the construction guides through the vector's start
did not pull them, and a click applied the gradient from the pointer
rather than from the snapped point. They now snap through DrawSnap, as
the Pen and Line Segment tools do:
- The press gathers the targets, for a vector drawn on the art and the
start and end handles only, and the drag keeps them. A click applies
the gradient from the snapped press.
- A dragged end or handle leaves its start as a Line Segment's end does:
it lands on the construction guides through the start, and with Shift
it keeps to 45° steps from the Constrain Angle and snaps along them.
- The pointer hovering where a press would draw a vector (anywhere with
art selected, over art with nothing selected), and not over the
annotator, shows the guides of the point the vector would start on.
A press that snaps onto a nearby target no longer starts the drag
early: the 3 px drag threshold counts from where the pointer was
pressed, not from the snapped start.
The palette listed the Layers panel's Delete Selection twice: as
Window › Layers › Delete Selection, which ran layer.delete and deleted a
layer holding art without asking, and as a bare Delete Selection, which
ran ui.layerDelete and asked first.
- The palette now lists one Window › Layers › Delete Selection result,
which runs ui.layerDelete, so a pick asks before deleting a layer or
sublayer that holds art. Scripts and the control channel still run
layer.delete at once.
- New Brush…, Brush Options…, Symbol Options…, Import SVG Filter… and
Convert to Text were also listed twice under the same name, once as
the engine command, which the palette ran with no params. Each is now
listed once, as the UI command that opens its dialog or file chooser
or acts on the edited paragraphs.
- A search for a wrapped engine command's id or menu path still finds
the one result.
Docs: docs/target-app-parity.md (Layers panel deletion).
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