The image a mesh's quads are filled into is clipped to the frame; at 16 MP a
mesh filling a large canvas allocated up to 64 MB per frame. A larger mesh is
drawn quad by quad, backed by its patches' outlines.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01Dt49z1ubK9x1bPq51APgz3
Drawing each mesh as one image through its antialiased outline (dadfa06b)
left a thin line of the background wherever two meshes met: the two
partly covered edge pixels don't add up to full coverage. A page made of
thousands of small meshes (a PDF from a gradient-mesh illustration) showed
a grid of lines on screen and in raster exports.
- The outline is flattened and moved out by half a device pixel
(grown_outline), as the quads drawn one by one are, and filled once: no
doubled edge, so translucent meshes are grown too.
- The edge colours spread two pixels out of the quads (the grown edge
samples up to about a pixel and a half out), and the buffer has two
pixels of margin.
Tests: an_outline_grows_by_half_a_pixel_both_ways_round; the edge-spread
test checks the second pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A PDF of thousands of gradient meshes in a CMYK document with transparency
took minutes to export (186 s at 72 ppi for an 18,577-mesh page). Each mesh
was cut into quads coloured in RGB, and drawing a CMYK document by ink planes
separated every quad's colour back to CMYK through the profile, twice: the
4,096-colour separation cache, flooded by the meshes' interpolated colours,
cleared over and over.
- doc: GradientMesh::color_at mixes corners that are all CMYK (or all grey)
in that space, as a PDF shading mixes in its own: exact inks, nothing to
separate.
- render: the separation cache holds 65,536 colours.
- render: a mesh's quads are filled into one image by scanline (every pixel
to the quad its centre is in: no seams) and drawn through the mesh's
outline, instead of one path per quad; meshes over 16 MP on screen are
drawn quad by quad as before, backed by each opaque patch's outline (#2456).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
While an export runs in the background (Background Export), a dialog shows
what is being exported and how far it has got: artboard by artboard for a
raster export of several artboards, busy otherwise. Cancel (also Esc) stops
it and writes no file; Continue in Background leaves it to the status bar.
It opens after 0.4 s and never over another dialog.
Built on the shared vectorcraft_doc::cancel (#2546): fileio::progress::Progress
wraps its CancelToken and a progress sink, so a cancelled export stops
drawing and keeps no half-drawn pattern tile or effect raster.
- ui: background jobs carry their Progress; export_progress draws the
dialog; UI commands file.cancelExport and file.exportInBackground.
- i18n: the strings in every language with complete menus, Danish, Dutch
and Indonesian included; "{n} more exports waiting" is a plural (trn).
- docs: ui-parity, gaps (G12) and ROADMAP rows.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01Dt49z1ubK9x1bPq51APgz3
The Paragraph panel menu's Justification… was a disabled stub, and justified
lines stretched word spaces between fixed limits (80% to 150%).
Each paragraph now has Justification options: Word Spacing, Letter Spacing
and Glyph Scaling (Minimum, Desired, Maximum, in percent), Auto Leading and
Single Word Justification. Desired applies to every line; a justified line
fills its measure with word spacing first, then letter spacing, then glyph
scaling, each within its range, and past them its word spaces take the
rest. The Every-line Composer scores lines by that flexibility. Auto
Leading sets the leading of characters whose leading is Auto. A justified
line holding one word is spread between its letters (Full Justify) or
aligned left, centre or right.
The defaults are the documented ones (80/100/133, 0/0/0, 100/100/100, 120,
Full Justify), saved only when they differ. Because the default maximum
word spacing is 133%, justified paragraphs break differently than before;
the Every-line Composer's second pass is now unbounded for justified text
(it used to give up past four times the stretch and fall back to the
Single-line Composer, which the narrower default range would make common),
and lines that can't stretch at all are still refused.
text.setFormat takes wordSpacing, letterSpacing, glyphScaling ([min,
desired, max] or {min?, desired?, max?}), autoLeading and
singleWordJustification; Minimum ≤ Desired ≤ Maximum must hold or nothing
changes. Paragraph styles carry the options (New and Redefine capture
them), and Reset Panel resets them. Justification… opens a dialog
(ui.justification) with Preview; OK is disabled while a row is out of
order. Live SVG text places characters the options move, and a glyph that
Glyph Scaling scales is stretched to its width; PDF uses the glyphs'
transforms. Vertical type isn't glyph scaled; type on a path doesn't use
the options.
Docs: docs/mcp.md, docs/type-parity.md, docs/gaps.md.
Closes#2755.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Evidence list in docs/target-app-parity.md had two or three
versions of several items.
Seven items now have one line each: the Actions panel, Editing type,
Releasing ruler guides, the Layers panel, choosing the Artboard tool,
Image Trace Flat Logo mode and Create Strokes. Each kept line holds
every number, path and pull request reference of the lines it
replaces. The Layers panel line gains the #2260 note on layers dropped
under the last row. The Create Strokes line keeps the newer of its two
statements, which no longer lists the skeleton graph among the
remaining work.
Open pull requests edit the lines of seven other items, or the lines
beside them (Preferences that act, Initial live Revolve, Live effects
with previewing dialogs, Type, Masks and clipping, SVG/SVGZ, and EPS
and DXF), and those items are unchanged.
The blend, envelope and gradient mesh commands read their optional
numbers with f64_or or as_f64, which fall back to a default for a value
that is not a JSON number. object.blend.make {"steps": "8"} made a
Smooth Color blend and reported success. Blend Options did the same
with steps, distance and value. Make with Warp, Reset with Warp and
Envelope Options did the same with bend, h and v (and their long
names). Make with Mesh, Reset with Mesh and Create Gradient Mesh did
the same with rows, cols and columns. Envelope Options did the same
with fidelity, Create Gradient Mesh did the same with highlight, and
Set Mesh Point Color did the same with opacity.
These commands now fail with "`<key>` must be a number, not <value>"
for a value that is not a number or null, as the transform commands
do, and change nothing. Envelope Options refuses the warp keys whether
or not a warp envelope is selected. Create Gradient Mesh refuses an
`at` that is not exactly two numbers with "`at` must be [x, y]".
Before, it took the first two entries of a longer array, and for any
other value it made a mesh with no lines through the point.
Docs: docs/mcp.md, docs/target-app-parity.md.
Dragging a user slice's edge or corner handle with the Slice Selection
tool never snapped, while drawing a slice with the Slice tool snaps to
the grid, to whole pixels, to the art and to the ruler guides.
The handle drag now gathers its targets when the handle is pressed and
snaps what the handle moves through PointSnap::snap_scale, as the
Selection tool's bounding-box handles do: to the nearest gridline with
Snap to Grid, to whole pixels with Snap to Pixel, to the art and the
artboards with Smart Guides, and with Smart Guides off to the art's
anchors and the ruler guides with Snap to Point. Then a shown, unlocked
ruler guide within 5 px moves the side or corner onto it, as the Slice
tool moves a drawn slice's corner onto a guide. Shift still keeps the
proportions, and Alt still resizes about the center.
Docs: docs/target-app-parity.md.
BFlat