SVG export ignored an image's colorize paint and wrote the image's own
black, white and gray pixels. EPS export flattened every colorized image
into a process-color raster, so a spot color lost its plate. Both now
write the image in the fill color, with the coverage the canvas and PDF
export use (darkness times alpha), so white and transparent pixels take
no color.
- SVG writes a coverage PNG as a mask over a rectangle in the color,
shared between repeated images while each keeps its own color. Linked
mode writes the coverage PNG as a file, and SVG Tiny 1.2 writes a PNG
in the color. A colorized image whose pixels are missing, or whose
grayscale pixels can't be decoded, is left out with a warning.
- EPS writes fully covered or uncovered pixels as an imagemask in the
color's process or Separation ink (Registration on every plate), and a
grayscale image as ink samples scaled by coverage. Level 3 masks its
uncovered pixels out and Level 2 writes them white; gray midtones are
written over white, with the existing warnings.
- EPS flattening no longer counts a solid colorize paint on a grayscale
or 1-bit image as transparency by itself. Opacity, blending modes,
opacity masks, effects and overlapping transparent art still flatten
it, and so does a colorize paint the writer can't draw.
The svg crate's tests turn on resvg's raster-images feature to render
the embedded PNGs.
Docs: docs/mcp.md, docs/target-app-parity.md.
Each patch of a gradient mesh was cut into 8 x 8 flat quads for SVG export,
Object > Expand and the other outputs that cannot shade a mesh, whatever its
colours, so a patch of one colour became 64 identical pieces. Neighbouring
quads are now joined into square blocks wherever the colour changes by no
more than about one 8-bit step across the block; the block's outline runs
through its quads' corners, and a patch that folds over itself is not joined.
With Styling set to Internal CSS, Inline Style or Style Entities, font-size
and letter-spacing were written as bare numbers. Only presentation attributes
take a bare number; in CSS a browser drops them, so the type was drawn at its
default size. They are now written in px, SVG's user unit, and presentation
attributes keep bare numbers.
Writer::fresh_id probed prefix-1, prefix-2, ... from 1 on every call,
formatting and hashing each candidate, so writing N gradients, clip
paths or masks cost O(N^2). Ids are never released, so every number
below the last one handed out for a prefix is taken: remember where
the search for each prefix stopped and resume there. The ids written
are the same as before.
examples/still-life.vectorcraft (12k gradients, 6.3 MB SVG) exported
in about 8.6 s (median); it now takes about 0.15 s. Output is byte-identical
for every document in examples/.
Add crates/engine/examples/export_bench.rs to time document.export
on the example documents, and a test pinning the generated id
sequence when object names already take some of the numbers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CI: line tables only for workspace crates, no debug info for dependencies
* CI: one integration-test binary per crate
Each crate's tests/*.rs files become modules of tests/it/main.rs. Files that change
process-wide state (Color Settings, the font database, installed plug-ins, the working
directory), the fuzz sweeps and the test targets the Affinity corpus workflow names stay
their own binaries.
* Docs: name the integration tests' new paths
* CI: xtask test with nextest and doctests, one wasm check, clippy --keep-going
cargo xtask ci runs the tests with cargo nextest (cargo test when it is not installed),
builds them with --lib --bins --tests, runs the doctests as their own step, and checks
the wasm crates in one cargo check --keep-going call.
bflatastic