A mesh read from a file can have any number of patches, and the view any zoom: a 150 x 150 mesh from a 3 MB file exported at 20x asked for about 23 million quads (2 GB), and the command's own cap of 50 rows and columns does not apply to a loaded one. One tessellation now makes at most 1,048,576 quads, the subdivision per patch giving way before that, and a mesh with more patches than that is malformed, like a point count that does not fit.
The Bosnian catalog still carried the Color (,) and Gradient (.) rows, which no longer match the toolbar's tips. It now translates Color (, or Shift+,) and Gradient (. or Shift+.) like the other catalogs.
The Color and Gradient tips now read "Color (, or Shift+,)" and
"Gradient (. or Shift+.)". The shortcuts follow the key positions, so on
layouts where Shift at those keys types another character the tips name
the keys to press. The 25 catalogs with these rows and the toolbar
accessibility test follow.
The key-position match for Shift+Comma and Shift+Period now applies only
when Shift is the only modifier. Cmd/Ctrl+Shift and Alt+Shift presses at
those keys keep their logical key, so the type-size shortcuts on German-like
layouts behave as before. The typing test also checks that no paint command
runs while text is edited.
When the conjugate a ∘ self ∘ a⁻¹ overflows, conjugated now forms every
entry of the product as a sum of terms whose factors are split into a
mantissa and a power of two, and scales the whole product by one power of
two from its w row at the end. Scaling each partial product to a largest
entry of 1 could round an entry to 0 that the next factor would restore,
so a projection with entries far apart in size, such as a scale by
(1e160, 1e-160) seen through the same scale, was removed and the art drew
flat.
When the conjugate of a projection overflows, it is now formed one factor
at a time, and each partial product is divided by its largest entry
magnitude. Scaling the affine factors up front let the w row underflow to
0, so a scale by 2 seen through a move by 1e308 returned None and the
projection was removed, though its conjugate is finite.
When conjugating a projection overflows, the scaled-down result is now divided by the largest entry in its w row. A valid conjugate is no longer dropped by the determinant cutoff at the arbitrary scale, and every point of a kept projection passes the horizon test in apply instead of none.
When moving type or a symbol instance in perspective makes the
conjugated projection overflow, Homography::conjugated now forms the
product from factors scaled to a largest entry of 1 and returns it at
that scale, which maps every point to the same place. When even the
scaled result is not invertible, the transform removes the projection
and the art is drawn flat, instead of keeping the old projection while
the flat art moves.
Homography::apply checked that w is in front of the horizon but not the quotients, so a point with w just above 1e-9 and a large x or y, or a NaN w, mapped to an infinite or NaN point. apply now returns None unless the mapped point is finite. inverse, conjugated and affine_at return None when their result has an entry that is not finite.
The move drag remembers the plane it places loose art on. Pressing 4
during the drag, or dragging on after it, previews and commits the move
on that plane instead of dropping it. A 1-3 key pressed before the drag
threshold also sets the plane the move uses.
perspective.move takes constrain: true instead of a plane-space
direction. For each object, the command snaps the move to the nearest
axis or 45-degree diagonal of that object's own plane, so a selection on
several planes keeps every object on a line of its plane. The tool sends
the raw pointer with the flag.
On a diagonal, Snap to Grid now moves along the diagonal by the nearer
per-axis correction, so that edge lands on its gridline.
perspective.move takes an optional constrain: [dx, dy], a plane-space
direction. For an in-plane move, Snap to Grid's correction is projected
onto that direction, so a move the Shift key constrains to a plane axis
or a 45-degree diagonal stays on that line when an object edge lies near
a gridline. The Perspective Selection tool sends the direction for
Shift moves and copies. Moves without the param behave as before.
Holding Shift while dragging objects with the Perspective Selection tool
snaps the move, in the plane's own coordinates, to the nearest plane axis
or 45 degree diagonal. This applies to plain moves and to Alt and
Ctrl+Alt copies. The preview, the final move and the measurement label
use the snapped point. Pressing or releasing Shift, pressing 5 and
pressing 1 to 4 during the drag recompute the preview from the pointer;
a move perpendicular to the plane is not constrained.
The targets are in paint order, so the first selected object is not always the first target. The active row is now matched against the first selected object wherever it is among them.
Reduce to Basic Appearance kept the topmost visible fill and stroke even
when another fill or stroke row was selected in the Appearance panel.
It now keeps the selected row in place of the topmost one of its kind,
and in each other selected object the row equal to it. With ids, or
with no selected row, it keeps the topmost ones as before.
With a fill row selected in the Appearance panel, Add New Fill now
inserts a copy of that row directly above it and selects the new fill.
Rows already above the selected one stay where they are. Before, the
new fill was always a copy of the topmost fill, added at the top.
The selected row belongs to the first selected object. In a mixed
selection, an object that shares that row gets the copy above its own
equal row; an object that does not share it gets a copy of its top
fill on top, as before. With a stroke row selected, or with `ids` or
`target: "contents"`, Add New Fill works as before.
The panel drops rows that were Cmd- or Shift-clicked together when the
active row changes outside the panel, so after Add New Fill (button,
menu or shortcut) only the new fill is selected.
transparency.makeOpacityMask with two or more layers below the mask
object (or a layer and objects of other layers) wrapped the layers
themselves in a new top-level group, so a layer ended up inside a
group. A layer among several masked items now stands for its art: the
masked group takes the layer's visible, unlocked objects, a hidden,
locked or template layer gives none, and the layers stay where they
are. One layer under a mask object, or one layer alone, is masked as
before.
Pattern tiles were drawn with the default render options, so an image
whose pixels cannot be decoded drew nothing inside a pattern fill even
when the render marks undecoded images, as the canvas does. Tiles now
follow the caller's mark_undecoded_images setting, and the tile cache
keys on it.
An opacity mask with such a pattern now treats the mark as part of the
mask, as it does for an undecodable image outside a pattern.
The renderer drew the root node of an opacity mask's art, of placed symbol
art, of an art brush piece, of an Image Trace source image and of a node
thumbnail without its own opacity mask. Make Opacity Mask uses the top
object as the mask art, so a mask made from an object that already had an
opacity mask ignored that inner mask. These roots now draw through the
same masked group as any other node, still drawn whatever their visibility
and bounds, and an incomplete inner mask still leaves out the outer object.
An art, scatter or pattern brush piece whose art carries a linked opacity
mask was bent along the path while the mask's art kept its place in the
brush's own coordinates, so the mask no longer covered the piece. The
mask's art now bends and has its strokes scaled with the object it
masks, on bent runs, on straight runs and where the brush narrows along
the path. A mask whose art cannot bend becomes an empty group. The
anchor budget for a brushed stroke counts the mask's art as well.
The Tool Options tip preview floored the short axis at 1% of the long one, while the brush draws 0% Roundness at 0.1%. The preview now uses the same 0.1% minimum, with a test that compares it with the tip the brush draws.
Blob Brush Tool Options gain Angle (-180 to 180 degrees, 0 by default)
and Roundness (0 to 100 percent, 100 by default), with a preview of the
tip and three dabs; a drag in the preview square sets the Angle. The
elliptical tip keeps its angle on the page along a stroke, a 0 percent
tip is drawn 0.1 percent as wide as it is long, and Size set to
Pressure still varies its size. path.blob takes angle and roundness,
and both values are kept with the tool's options.
While a non-round tip drags, the Blob Brush shows the outline of the
area it covers with its length label, and an Alt drag that smooths
shows the Smooth tool's thin line.
A polyline with a linetype now sets group 70 bit 128, so the dash pattern runs on through its vertices instead of restarting at each corner. This applies to LWPOLYLINE and the R12 POLYLINE.
Alter Paths for Appearance wrote every stroke as its filled outline, so a
1 pt circle became two circles and a hatch, and an open arc became a
closed outline and a hatch: two cut lines where a CAM program expects
one. The option now outlines only the strokes a line can't draw: the ones
Preserve Appearance outlines, strokes wider than the widest lineweight
(2.11 mm, to the hundredth), and every stroke in R13 and R14, which have
no lineweights. Other strokes stay CIRCLE, ARC, SPLINE and LWPOLYLINE
entities with their lineweights; R12 keeps them as POLYLINEs with their
width.
A dashed stroke whose offset starts part way into its pattern is now
outlined with Preserve Appearance and with Alter Paths: a linetype always
starts at the start of its pattern, so the dashes were written in the
wrong place.
A closed path of four cubics that is the four-cubic circle under an
affine map (an ellipse, or a circle scaled out of proportion) is written
as a native ELLIPSE in R13 and later, with its center, major axis and
minor to major ratio. The check maps the path back onto the unit circle
and runs the existing circle recognition on it. R12 keeps the existing
fallback, and ellipses with a ratio under 1e-6 stay splines. The ratio
and end parameter are written in full so that a thin ellipse keeps its
size and a whole turn reads back closed.
Part of #1299.
An open path with a single straight segment was written as a two-vertex
LWPOLYLINE (POLYLINE before R14). It is now a LINE entity from its start
to its end point. A stroke with a weight in R12, R13 and R14 keeps its
polyline, since a LINE has no width. Closed paths and paths with more
than one segment are unchanged.
Part of #1299.
The art that replaces an outlined or expanded path did not take the
path's hidden, locked or Knockout Shape state. Outline Stroke on a
hidden path, or Expand on a group with a hidden member, made the new art
visible (a filled and stroked path became half visible: the outline
shown, the fill copy hidden), and a locked member's art was unlocked.
The replacement now takes the path's visibility, lock and Knockout Shape
state, and the fill copies and clipping paths inside it are shown and
unlocked, so showing or unlocking the new art shows or unlocks all of it.
This covers Outline Stroke, and Expand's strokes, gradient fills and
pattern fills.
select.font (the Find Font dialog's Find button) selected every text
object using the font, including hidden or locked text and text in a
hidden or locked group or layer. It now selects only text that is
visible and unlocked through every group and layer, and not on a locked
artboard. Text on a visible, unlocked template layer is still found. A
font used only by hidden or locked text selects nothing.
In these languages a count ending in 1 (other than 11) takes the singular form, which read as one swatch or one group. That form now names swatches and groups with the count in parentheses.
The confirmation for deleting several swatches and groups now goes
through i18n::tn, as the Graphic Styles prompt does, and each catalog
gives the count-dependent forms in an @plural row.
The first UI pass installed the default theme over the one the saved
preferences had applied earlier in the same frame, and later frames saw
the preferences as already applied. Classic, a non-default accent and a
Canvas Color showed as the defaults until a preference changed, and again
after the app took a new graphics context. The first pass now applies the
saved preferences.
Select > Same > Fill Color and Fill & Stroke from a face of a Live Paint
group now select the matching faces of that group only, and from any
other object they select no Live Paint face. Before, they matched faces
of every Live Paint group and paths outside them alike.
With a blend selected, the Contextual Task Bar's Corner and Smooth
buttons failed with "select paths or anchor points", since
`path.convertAnchors` only read paths. They now convert every point of
the blend's spine, as they convert every anchor of a path selected
whole, in one undo step. The key objects stay where they are.
With Direct Selection, the Control bar and the Properties panel now
show their Convert buttons for a selected blend too.
A test that spawned the test binary with `start /affinity 1` ran while the control server's socket tests held connections; the child inherited them and reset one (idle_expiry_closes_without_writing_a_line failed every full run). The one-core worker count stays covered by `automatic_threads`.
The renderer sized its worker pool from available_parallelism, which on
Windows counts every processor in the machine, also when the process's
affinity mask allows fewer. A process allowed one core started 8 workers,
and the renderer's flush spun on that core while the workers got no time,
so renders crawled or stalled.
The desktop app and vectorcraft-cli now read the affinity mask at startup
(src/windows_cores.rs, shared) and pass the count to the renderer with
vectorcraft_render::set_usable_cores. With one usable core the renderer
renders on the calling thread.
The command palette runs a picked command with no params. Export Assets
then failed with "no assets yet" (or, with assets collected, exported
to no folder), and Remove, Rename and Asset Export Settings failed or
did nothing. Run with no params from the palette, a menu or a shortcut,
these four commands now show the Asset Export panel, and leave it open
when it already shows, docked or floating. Calls with params are
unchanged.
In the web build, pressing Shift and then a letter in one frame sends the Shift press, the
letter's text and then the letter's key press. The text paired with the Shift press as the press
before it, so a key-position shortcut looked up Shift instead of the letter, and a held Shift's
repeated presses dropped the text as a repeat. Modifier key presses now never pair with a text.
A text-only event right before a desktop keystroke in the same frame ([text, key, text]) took the key press as the press after it, which left the keystroke's own text with no key. A text now takes the press after it only when every later text in the same run of alternating texts and presses has a press after it too, as in the web build's [text, key] order; otherwise the press goes to the text after it.
eframe's web build sends a keystroke's text before its key press. On a
layout without Latin letters, the one-key shortcuts paired each text with
the last key press before it, so in the web build a lone keystroke had no
key and ran no shortcut, and a second keystroke in the same frame used
the first one's key.
Each text now takes the press right before it, unless an earlier text in
the frame took that press, and otherwise the press right after it. The
one-key shortcuts and the shortcut names a tool sees while it is busy use
the same pairing. The desktop order (key, then text) pairs as before.
Taha-Mahmoodi