SVG has no freeform shading: an object's freeform fill or stroke is now
written as an <image> of the colour field over its painted box, sampled
on the grid the canvas uses (twice the box's size in points), clipped to
the shape or to the stroke's outline, with the fill or stroke opacity and
blend mode on the group. Linked image mode writes the PNG next to the
SVG. Character paints keep the linear approximation (with a warning);
gradients along or across strokes stay vector slices. The grid sizing
moved to the colour crate so the canvas and the export share it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Pattern strokes are written as the pattern's tiles clipped to the stroke's
outline (dashes, caps, profile, arrowheads and alignment included) instead
of mid-grey; freeform gradients on fills, strokes and type as an image of
their colour field at the document raster effects resolution, clipped to
what they paint, instead of their average colour. Both read back within
2% of the canvas at 150 ppi with no warning. Text strokes are covered for
cap, miter limit, dash array and alignment; knockout groups keep their
soft-masked form with a warning. The freeform box and grid sampling are
shared with the renderer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A CMYK document that shows transparency is drawn once per ink plane
(complemented C, M, Y; complemented K as a grey) so every blend mode,
opacity, group, knockout and effect composites inks, PDF-style; the
planes' inks are shown through the working CMYK profile (cached 4-D XYZ
table). Cyan multiplied over magenta now shows C100 M100. Opacity masks
keep screen luminance; RGB colours and placed images are separated
first. RGB documents and opaque CMYK documents keep the screen-colour
path.
PDF export of CMYK documents writes its transparency groups with
/CS /DeviceCMYK (luminosity mask groups stay RGB) and puts top-level
transparency in a non-isolated page-wide group so it blends in CMYK too.
Flatten Transparency composites CMYK documents ink by ink and makes CMYK
regions. Non-separable modes no longer give NaN for greys.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Colours gain a CIE Lab model (`Color::Lab {l,a,b}`, serde tag `lab`), handled through the
CMS (display, separation, conversions, gamut), tints (toward paper white), keep_model, harmonies,
recolouring, blends, Info and the Color panel. Swatch Options gets a Lab mode
(`swatch.edit {mode: "lab"}` / `{color: {l,a,b}}`), and colour params accept `{l,a,b}`.
Swatches panel → Spot Colors… (`ui.spotColors`, dialog `spotColors`) runs `swatch.spotOptions
{useLab}` (Document.spot_use_lab, default on): Lab spot colours show and separate from their Lab
values, or art linked to them takes their working-CMYK equivalents, as one undo step. PDF export
writes Lab spot inks as Separation spaces with a Lab alternate (tint function from paper white),
or a DeviceCMYK one with CMYK equivalents.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Freeform gradients carry their own points (colour, opacity, spread) and lines
(Catmull-Rom curves through points), blended by inverse-distance weighting
from each disc of pure colour. paint.editGradient {kind: "freeform", mode?}
places 4+ points inside the shape, coloured along the stops (which follow the
points' colours). The renderer samples the field on a cached colour grid
drawn as an image paint clipped by the fill or stroke. Moves, transforms,
box rebases and warps move the points; old files load unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
