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.
The tip preview square in the Blob Brush Tool Options set the Angle by a
drag but had no accessible name, no value and no keyboard control.
Screen readers now get it as the Angle slider with the Angle in degrees
as its value. A click or a drag gives it the keyboard focus, and the
arrow keys, Shift with an arrow, Page Up and Page Down, Home and End
step the Angle within -180 to 180 degrees, as the dialog sliders built
on color_slider_stepped do (crates/ui-egui/src/widgets/color.rs). The
new widgets::stepped_area gives a caller-drawn control that slider's
screen-reader node, focus, keys and focus outline.
Homography::then_after returned products whose entries could overflow to
infinity or become NaN. A move, transform or grid reproject of type or a
symbol instance whose stored projection has large finite entries stored such
a product, and the type was then drawn flat, since a projection that is not
finite reads as none.
- Homography::checked_then_after returns None when an entry of the product
is not finite.
- project_node composes each type and symbol instance projection with it and
returns false, leaving the object as it is, when one would not be finite;
moves and transforms in perspective and Define Perspective Grid with
reproject then return the horizon error and leave the document unchanged.
- transform_map, attach_homography and size_homography return None for such
a product.
- Edit Text returns the horizon error, and does not enter isolation mode,
when the type cannot be shown flat where it is drawn.
A built-in add-on in Object › Plug-ins › Arrange Tools (#4830, #4831, #4832, #4833, #4834):
- addon.arrange.grid lays the top-level selected objects out in rows and
columns, a row or a column (stacking order from the back, visual bounds,
each object centred in its cell), from the selection's top-left or
centred on the artboard.
- addon.arrange.swap swaps two objects' bounds centres, and with `size`
their widths and heights.
- addon.arrange.replace puts a copy of the topmost selected object centred
on each of the others, in its stacking place, kept, stretched or fitted
in proportion; the replaced objects are deleted unless `keep`.
- addon.arrange.size gives each selected object an exact width and/or
height about a reference point.
- addon.arrange.zoomSelection (a UI command) fits the active view to the
selection.
Places and sizes are measured as object.setBounds measures them (its
transform, now also available per object), strokes scale as Scale Strokes
& Effects says, each command is one undo step, and Arrange in Grid,
Replace with Top Object and Set Size of Each open previewed dialogs.
Catalog rows, command sweep cases, docs/mcp.md, parity docs and the
ROADMAP progress log.
- A composite (Type 0) font is noted by its descendant CIDFont's BaseFont
(ISO 32000-1 9.7.4.1), not its own BaseFont, which ends in "-" and the
CMap name (9.7.6.1, e.g. Name-Identity-H); without one, the CMap name is
taken off the end of the BaseFont.
- A font name's family is the longest part before a hyphen (or the comma of
Arial,Bold) that names an available family, so Noto-Sans-Bold is Noto
Sans, Bold and Noto-Sans-CJK-JP is Noto Sans CJK JP; a shorter family
still matches when no longer one is available.
- A missing font is split only at a comma or before the first part that is a
style word (Helvetica-BoldOblique); otherwise the whole name is its family
(MS-PGothic is reported as MS PGothic, not MS).
Synthetic tests (no host fonts): Families::of builds the family list.
# Conflicts:
# docs/file-format-parity.md
# docs/gaps.md
# docs/type-parity.md
Highlight Alternate Glyphs no longer drops a lam-alef cluster's glyphs
outright: the ligature is clear when required shaping, or shaping with
liga left on (older fonts), gives it, so an optional feature such as
salt that changes it is highlighted again. is_lam_alef takes any
combining mark by Unicode general category (Arabic Extended-A/B/C
included) instead of a partial list. The test font maps the fatha to a
mark and skips marks in its ligature, so the mark-spanning test checks
the exact ligature glyph and cluster; it gains a salt lookup and test.
Also a one-line equivalent nonminimal_bool repair in pathops'
pathtools that strict Clippy needs on main.
The PLOTSETTINGS part of each LAYOUT wrote the paper image origin as a point
(148 and 158), but the origin is two values at 148 (x) and 149 (y), and 158 is
not a PLOTSETTINGS code. Strict readers such as Autodesk Fusion can reject the
file. The ezdxf re-save the reporter found Fusion accepts differs from our export in
these objects, not in the geometry.
- 148/149 for the paper image origin
- shade plot mode, resolution level and DPI (76/77/78) from DXF 2004
- plot flag 1024 (model type) on the Model layout
- the plot style ACDBPLACEHOLDER without a subclass marker
Test r2000_and_later_files_have_the_structure_cad_apps_require checks the
required sections and table entries, handles below $HANDSEED, references
that resolve, and LAYOUT group codes.
# Conflicts:
# docs/file-format-parity.md
An envelope whose contents are being edited is written the other way
round from one that isn't: its contents, a group on `%_` lines, then
its dictionary, which holds the mesh that shapes them. Only a group of
meshes was left out before an envelope's dictionary, so those contents
were read as art and their undistorted shapes drew over the distorted
art that follows on plain lines (and that the page draws).
The group on `%_` lines before an envelope's dictionary is now left
out whatever it holds; text in it stays as hidden text, as the
dictionary's own source text does.
# Conflicts:
# docs/file-format-parity.md
Art inside a dictionary in the editing data, such as an area text's
frame (`/ConfiningPath`) or a mask's art, can set a transparency
(`Xy`). The writer goes on from it: the objects after an area text
whose frame sets one have no `Xy` of their own. The reader dropped
that state when the dictionary closed, so those objects took the
transparency before the dictionary instead; in a user's file a Lighten
glow before an area text made everything after it fade into the light
background.
The last transparency the art inside a dictionary sets is now the
current one after it (and the enclosing dictionary's). Dictionaries
outside the layers (the setup's styles) are left as they were.
# Conflicts:
# docs/file-format-parity.md
Area type made from the editing data's text document was laid out with
its first baseline the font's ascent below the frame's top. The text
document keeps where each of its lines starts, and the file's page draws
them there: for some fonts the first line sits well above the font's
ascent (Oswald's at about its cap height), so headings came in lower
than on the page and the layers were taken to differ from it.
When the file's first line is more than half a point from where it is
laid out here, the first baseline is now fixed where the file has it
(First Baseline: Fixed), measured in the text document's own frame so a
copied object's type moves with its frame.
# Conflicts:
# docs/file-format-parity.md
Type made from an Illustrator file's text document took each character
attribute its run doesn't set from the document's base attributes, not
from the character style the run names ([Normal Character Style] or
another of the file's). Where the two differ the type came in wrong: a
file whose base fill is white and whose Normal Character Style is black
came in with its text white, invisible, so the layers differed from the
page wherever the page's own type didn't stand in for it.
A run now takes its own attributes, then its character style's (and the
styles that one is based on, up to 16), then the document's.
The tangent and perpendicular case is done for every tool the public pages name; its evidence stays in the revision row and in gaps.md and ui-parity.md.
With write root ...\out, a save to ...\out\x.svg:evil was accepted: it stays inside the root, but writes a hidden stream no folder listing shows. A ':' in any name after the drive is now refused with the device names. The check is a plain name test, so it is covered on every platform; the check-then-open race (item 1 of the report) is a documented limitation and is not touched.
The canvas keeps a hairline visible by raising a stroke's weight to half a device pixel. A width profile multiplies that weight, so a 1 pt stroke with a 6x width point swelled to twice its size at 25% zoom and shrank back on zooming in. The minimum now goes to the profile's widest point instead; plain strokes are unchanged.
The grid options' public page lists a Preview option: the repeat on the canvas follows the fields while the dialog is open. Object > Repeat > Options had none, so a change showed only after OK. Now a Grid Repeat's dialog has the checkbox: Cancel puts the original back without a history step, OK keeps the previewed values as one undo step. Radial and Mirror Repeat Options are left as they are, since their public pages list no Preview.
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.
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.
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.
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.
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 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.
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.
With Document Swatches as the library, traced fills and strokes take the
library color without a swatch link. Global, spot and tint swatches no
longer link the trace, so editing a swatch later leaves the trace
unchanged, and swatch order no longer decides whether a fill is linked.
Each region still takes the nearest library color, and a tint traces at
the color the tint swatch shows.
The Tabs panel's ruler shows an upper marker at the first line's position
(left indent plus first-line indent) and a lower marker at the left
indent. Dragging the upper marker sets the first-line indent. Dragging the
lower marker sets the left indent and keeps each paragraph's first line
where it was; Ctrl-dragging it (Command on macOS) moves both markers.
Marker drags land on whole points, or on ruler ticks with Snap to Unit or
Shift, and each release is one undo step through text.setFormat. With a
marker selected, the X (or Y) field shows and sets its position.
When the touched paragraphs have different left indents, only the upper
marker is shown, and its position applies to every touched paragraph.
Path Precision Tools gains the Shared Edge Merge Tool, kept out of the
toolbars (All Tools drawer and Object › Plug-ins › Path Precision Tools,
no shortcut), and Keep Shared Points Together:
- Shared Edge Merge Tool (sharedEdge): over two paths touching at two
coincident anchors (tolerance 0 to 3 pt) hovering shows the two
stretches and the merged edge; a click replaces both with it, half way
between them, or following the upper (Shift) or lower (Alt) path. Both
paths stay closed or open, anchors either stretch has inside are
matched on the other, one undo step.
- Making ends: near anchors meet on a click and an anchor one path lacks
is added to match; Shift+Alt asks for this inside a stretch.
- Keep Shared Points Together: an option that makes Slide Anchor Along
Path, Extend Path and Set Anchor take coincident anchors along. Nothing
else in the app changes.
- Shared Edges section in the Anchor Inspector: brush diameter,
coincidence and the option.
- Commands addon.pathtools.mergeEdge and movePointsTogether, params
validated and covered by the command sweep.
- Cursor stand-in, catalog rows in every language, docs and tests.
With the Live Paint Bucket, Alt-click on vector art samples its fill,
stroke and stroke weight into the paint defaults, and on a placed image
it samples the pixel as a solid fill with no stroke. Alt+Shift-click
samples only the color under the pointer, including an intermediate
gradient color or image pixels, into the active fill or stroke. Neither
click paints or changes the selection or selected art, and the next
Bucket click paints with the sampled paint. While Alt is held, the
Bucket shows the Eyedropper cursor and no face or edge highlight.
appearance.copyFrom takes `defaultsOnly: true` to update only the paint
defaults, and paint.sampleColor takes `clearStroke: true` to clear the
stroke default after an image sample into the fill.
A knockout element with one opaque Normal solid fill (a path or
compound, no mask, effects or isolation) is drawn once under
AntiAlias::None, including the internal hard-edge frame of Art
Optimized supersampled exports, instead of being erased and added back
through per-element backdrop layers. Analytical antialiasing keeps the
existing compositor and rounding.
Exact-pixel tests compare against the general knockout path for paths
and compound holes across precision, supersampling, translucent parents
and copied backdrops, and check that the backdrop rasters are skipped;
translucent fills keep their knockout compositing.
# Conflicts:
# docs/roadmap.md
# docs/target-app-parity.md
With a path selected that the Smooth tool can change, Alt held at a
Paintbrush press now switches the drag to the Smooth tool: it smooths the
selected paths under the drag with the Smooth tool's radius and Smooth Tool
Options' Fidelity, and the cursor shows the Smooth tool before the press.
Alt pressed after a stroke begins still closes the path on release. With no
such path selected (nothing, only text or an image, or only a two-point
line), Alt at the press draws the closed stroke as before.
The Paintbrush no longer reads the Pencil's "Alt key toggles to Smooth Tool"
setting: its Alt close and Alt smoothing do not depend on it.
dotCooCoo