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).
Review follow-up (CodeRabbit): paint.setStroke kept `dither: true` from its
gradient, and a stroke can hold dither anyway (swapped from a fill). Outline
Stroke and appearance expansion copied the stroke's paint into the outline's
fill, which then drew dithered although the stroke never did. The outline's
fill now goes without dither (Paint::stroke_as_fill), and paint.setStroke
refuses a gradient with `dither: true`, as paint.editGradient does.
A filter could reshape and repaint objects, but not set the stroke's
join, cap or miter limit, nor the effects an object's appearance holds.
A tool that prepares objects for a live effect (a sheet of samples,
each with the effect at its own settings) had to leave the user to
apply the effect to each object by hand.
- Each input stroke has its join, cap and miterLimit beside its paint
and width (live effects get the same, through the shared encoder),
and each object its own effect records, {id, params, visible}.
- An output stroke may set them (miter limit clamped to 1-500), and an
output object's "effects" replaces its own effects.
- The host admits each record as effect.apply does: an effect that
effect.list lists or an installed live-effect plug-in, parameters it
takes (filled in to their defaults; a plug-in's checked against its
manifest), one 3D effect that fits the object (its fills' and
strokes' own effects counted), and the texture of an effect with
Load Texture (Glass, Texturizer) as the effect stores it, never a
file to read. A record the object already had stays as
it is, so a filter that hands its input back changes nothing. One
refused record refuses the whole output and the document stays as
it was.
The plug-ins crate checks the records' form; which effects exist is the
engine's to say (objects::AdmitEffects, engine plugin::admit_effects).
effects::validate_three_d is the one check of whether a 3D effect fits
an object, for effect.apply, effect.setParams and the filters.
A path handed back as it was now stays the live shape it was: write()
dropped a live rectangle's or ellipse's parameters whenever the output
held a path, changed or not, so a filter that returned its input
turned a live rectangle into a plain path.
objects/tests.rs checks the round trip, stroke styles on existing and
new strokes, the host's refusal, the bad forms refused, and a live
rectangle handed back unchanged (a plain path before the fix);
tests_plugins.rs runs filters that set a built-in and a plug-in effect,
an echo that changes nothing, and six refused outputs.
CRAFT_PLUGIN_FRAME_WASM=<folder> saves a test filter to try in the app.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
Users can pick an image in the Texturizer dialog; it is stored as relief heights and survives save/open like Glass textures.
Co-authored-by: Cursor <cursoragent@cursor.com>
Overlapping faces take the highest of each CMYK channel from every covering shape and drop strokes, matching Illustrator's Hard Mix effect.
Co-authored-by: Cursor <cursoragent@cursor.com>
Random in a Transform effect takes its seed from the object's id. When
art evaluated from an object repeats ids (the copies a Transform effect
makes, a copied group's members included, and the object under Crop
Marks), Expand Appearance and the baking in bake_document gave the
pieces new ids before expanding or baking their effects. The result
then drew with other random values than the canvas did: on main, 2,382
to 5,205 pixels of a 200 x 200 render changed after Expand Appearance,
and 7% to 14% after Flatten Transparency, for 50 pt squares with a
random Transform on their stroke, on their group or under Crop Marks.
bake_pieces now bakes each piece with the ids it has and gives new ids
after. expand_pieces expands the object's own pieces, and the other
members that repeat an id and hold a random Transform, before their
ids change. Expand Appearance now expands a node value
(expanded_node). The Crop Marks branch expands the object before the
object and the marks get new ids. The reply still lists the expanded
object first, then what was expanded inside it.
The renderer clips a clip group by its clipping path's geometry before
the path's geometry effects, and paints the path's strokes over the
clipped art without clipping them, with those effects. With Offset Path
on a stroked clipping path, the stroke paints along the offset shape
while the group was measured by the path's own stroke.
With Use Preview Bounds on, a clip group or layer whose clipping path
has strokes with geometry effects is now measured as the clipping
path's geometry and those strokes as drawn, in the Transform panel, the
bounding box, Align and Distribute. This holds inside groups and for a
clip group with a fill or stroke of its own. A clipping path
without a stroke still measures as the region it clips to, and a hidden
one adds no stroke.
bflatastic