On a Wayland session Linux Display Server's default, Automatic, opened
the window on native Wayland. winit 0.30 doesn't bind the Wayland tablet
protocol, and KWin (since Plasma 6.3) and Mutter turn no tablet input
into pointer input, so the pen moved only the compositor's cursor and
the app got no motion or presses. Only X11 (XWayland) When a Pen Is
Attached, which users had to find and choose, sent the window through
XWayland, where the pen works as a mouse with its pressure.
Automatic now opens the window through XWayland when a pen is attached
as the app starts, as PhotoCraft does by default.
VECTORCRAFT_NATIVE_WAYLAND=1 keeps the window on Wayland, like
PhotoCraft's PHOTOCRAFT_NATIVE_WAYLAND. The X11 choice is unchanged.
- A radial gradient from a spot swatch to a CMYK color is written as a
DeviceN shading (ShadingType 3) of Yellow and the spot ink.
- A Lab spot color used as a flat fill and in a mixed gradient is
written as one Separation space with the Lab alternate, which the
DeviceN space names under /Colorants.
- docs/roadmap.md lists the gradients that still export without the
spot ink: mixed spot/process gradients in SVG and PDF gradients with
RGB or Lab stops. docs/target-app-parity.md also notes that a
Perceptual gradient is written to PDF as an image.
A linear or radial gradient whose stops mix a spot color with process
colors, or two spot colors, was written in process colors with a
warning. It is now written as a DeviceN shading of the process inks
its stops use and its spot inks, so each spot ink separates onto its
own plate. An off-center midpoint becomes a stop with the inks halfway
between its two stops. A gradient that mixes a spot color with RGB or
Lab colors is still written without the spot ink, with a warning that
says so.
A stored projection whose determinant is not finite is read back as the
same map divided by the largest magnitude in its w row, the scale the
overflow branch of conjugated already uses, so points that overflowed at
the stored scale draw: the identity with every entry 1e308 maps (2, 2)
to (2, 2). The overflow branch of inverse scales the map so that the
largest of the products its determinant sums is near 1, so a map with
large entries and a small w row, such as a scale by 1e305 with a move
by -3.9e307, is still inverted and read back.
The two overflow tests in persp_text.rs build their stored projections
with a w row of 1, so they still overflow after the read-back.
The reply's index came from the last object the effect was added to, while
its item came from the first selected object (or the first target for an
explicit item). When those objects held different numbers of effects on the
row, the reply named no effect of that object. The index is now read from
that object's effect list.
tool.setOption kept any finite rotate, while the Objects on Path Tool
Options dialog shows Rotate clamped to -360 to 360 and saves the value
it was given, so a rotate of 450 showed as 360 and the next attach used
450. The tool now clamps rotate to -360 to 360, and attach clamps the
saved rotate it falls back to the same way.
Double-clicking the Objects on Path tool opens Objects on Path Tool
Options: a nine-point Pivot grid, a Rotate field, Reset (the center and
0) and Save. Save sets the tool's options, which last across tool
switches and are saved with the preferences. The tool sends them with
each attach, and object.objectsOnPath.attach without pivot or rotate
uses them, so they apply to the objects attached next; groups attached
before keep theirs.
addon.pathtools.divideDashes cuts the selected paths (or only their
direct-selected segments) into separate open paths of a dash length
measured along the curve, with an optional gap (gap pieces dropped
unless removeGaps is false) and Fit to Corners and Ends; pieces keep
the path's appearance, one undo step, at most 100000 pieces. Geometry
in vectorcraft-pathops; dialog with unit fields and Preview; tests,
sweep cases, catalog rows and docs.
addon.arrange.groupOverlapping groups the selected top-level objects
whose visual bounds overlap or touch, chains included (union-find over a
sweep along x, at most 20000 objects), only within one layer or group.
Each group takes its frontmost member's stacking place; one undo step,
all groups made in one pass over the tree. Menu item, tests, sweep case,
catalog rows and docs.
While Caps Lock is on, the tools whose pointer General > Use Precise
Cursors changes show the crosshair, and the saved preference does not
change. The desktop app reads the lock state on macOS, Windows and
Linux X11 and passes each change to the new view.capsLock command. A
change to view.capsLock or usePreciseCursors through app.run refreshes
the canvas pointer. The view.preciseCursors command is labeled Use
Precise Cursors, so command search finds it by the preference's name.
Character panel > Language sets the selected characters' language;
text.setFormat and text.setRangeStyle take `language` by name or tag
(unknown: an error), and character styles carry it. Document Setup's
language list gains Hindi, Marathi, Gujarati, Bengali, Punjabi, Tamil,
Telugu, Kannada, Malayalam, Odia and Urdu, with catalog rows; the
Digits menu's numeral names move to a digits context, as Hindi is now
also a language name.
Characters get a language (CharStyle::language, a BCP 47 tag of one of
Document Setup's languages; none for the default, English: USA, saved
only when set). The shaper sets it on the HarfRust buffer, so fonts use
their language forms (OpenType locl): Turkish keeps fi apart and the dot
on its i. Runs in different languages are shaped apart. New type takes
the document's language.
Ungroup multiplied each member's opacity by the group's, so a member of a
50% group stayed at 50% after the group was gone, and members that
overlapped showed through each other. Each member now keeps its own
opacity, and the group's opacity is removed with the group.
A Mesh tool click within the hit tolerance outside a gradient mesh hit the
mesh, but object.mesh.addLine looked for the point inside the outline only
and failed with "point is outside the mesh". The same click on a path's edge
made a 1x1 mesh without the line.
- GradientMesh::locate_within takes a tolerance: a point outside the mesh
within it of the outline gives the nearest point of the edge.
- object.mesh.addLine and object.mesh.create take an optional `tolerance`
(0 by default), and the Mesh tool sends its hit tolerance.
A save in the native, template or .ai formats with separateArtboards writes an
artboard file even when the document has one artboard, so an existing file with
that name now gives the data set the next free suffix too.
When a step can write one file per artboard (Save in the native, template or
.ai formats, or Export in SVG, EPS, the raster formats, DXF, EMF, WMF or .ai)
and the document has more than one artboard, an existing file with one of the
stem's artboard file names now gives the data set the next free -2, -3 suffix,
as the stem's own file does. Names a data set's outputs will take are also
reserved for the later data sets of the same batch.
Destination and Override Save/Export paths reject only the current platform's
path separators, so a folder batch writes `a\b.svg` into the destination
folder on systems where that is one file name.
The naming choice reaches batch_datasets as a field of the run, and the short
Batch entry in docs/mcp.md is back to main's text; the longer Batch section
names datasetFileNaming and when an existing output gets a suffix.
The `-2`, `-3` suffix for a data set output that already exists is now
looked up only when the destination folder and the output path pass the
read and write access checks, so a call cannot learn which files exist in
a folder it may not use.
The lookup uses only extensions of formats the app knows, without path
separators or `..`, and only paths whose parent is the destination folder.
A step whose `format` is unknown keeps its own path instead of being
pointed into the destination folder. A data set or document named `.` or
`..` gets the `Untitled` stem with its three-digit number.
The Batch dialog has a File Name choice for a Data Sets source, starting
with File + Number (`source001`), as well as File + Data Set Name
(`source_Alpha`) and Data Set Name (`Alpha`). `action.batch` takes it as
`datasetFileNaming`; a call without it keeps File + Data Set Name, and a
folder source ignores it. An unknown value is an error.
A data set output whose name already exists in the destination folder
now takes the next free `-2`, `-3` suffix instead of replacing the file,
and a Windows device name under Data Set Name gets a trailing `-`.
File › Open and File › Place read JP2 files and raw JPEG 2000
codestreams (.jpf, .jpx, .jp2, .j2k, .j2c, .jpc) through hayro-jpeg2000,
and store the pixels as PNG. Gray, RGB, CMYK and ICC-tagged images, with
or without alpha, are converted to RGBA. Several codestreams, JPX
composition or layers, other color spaces, inconsistent or oversize
palettes, inconsistent channel definitions, oversize tile grids and
images past the pixel allowance are refused with a message before the
pixels are decoded.
The capture and display resolution boxes size the image: the box that
comes last sets each axis, and an axis without a usable value uses
72 ppi.
IccProfile::to_srgb_into converts a pixel with the cached transform and
no heap allocation.
A menu under each of the five tiles in Pattern Brush Options lists None,
Original and the document's pattern swatches; the corner menus keep the
four automatic corners. A swatch choice copies the swatch's whole art and
its tile frame into the brush, so the brush keeps drawing after the swatch
is deleted, and the menu then shows that art as Original. Side cannot be
None: OK shows "You must choose a side pattern." and keeps the dialog open.
brush.options takes side_tile, outer_corner_tile, inner_corner_tile,
start_tile and end_tile (a pattern name, none, original, the corner auto
ids, or {"pattern": name} for a swatch named like one of those words), and
rejects side_tile "none" and unknown names before editing.
The question for brushes no stroke uses reads "Delete the brush selection?" with Yes and No, from the bottom button and the panel menu, and Alt-click (Option-click on macOS) on the button still deletes them without asking. When a stroke uses one of the brushes, the button, Alt-click and the menu item ask with Remove Strokes and Cancel; Remove Strokes deletes the brushes and the strokes that used them become plain strokes.
brush.unused also counts the tile that pattern editing's Cancel puts back, which brush.delete already clears, so the panel asks the in-use question for a brush only that tile uses.
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.
Blends, envelopes, repeats and Intertwine groups that hold a pattern fill
with a transparent tile image were each expanded under a limit of their
own, so many of them together had no limit. Their art now counts toward
the same limit as the pattern tiles, and an object whose art would pass
it stays live.
EPS export expanded the pattern fills whose tile images need flattening and
then flattened the result with flatten_document, which expanded them again
with a new object limit. PostScript printing did the same, on the layers
shown rather than the layers that print. EPS export now flattens the
expanded document without expanding it again (flatten_expanded), and
PostScript printing leaves the expansion to the flattener, which runs on
the layers that print, and only checks for such pattern fills to warn.
The expansion counted the objects a pattern fill made only after making
them, so one shape could clone up to 250,000 tile positions times the
tile art's objects past the limit. Each fill now counts its tiles before
they are made, and after outlining strokes and effects for turned or
sheared tiles, and keeps room for the copy and group of the fills after
it. A fill that does not fit stays a pattern fill.
A pattern fill in a pattern's tile art that paints a see-through or
colorized image was not counted, so PDF 1.3 export kept it as a
pattern and failed on its transparency. Detection now follows pattern
fills in tile art down to the three levels the canvas draws, skipping
hidden tile art, and the tiles the expansion makes are expanded again
for them. Expansion stops once the expanded art holds MAX_GENERATED
objects.
Blends, envelopes, repeats and Intertwine groups that hold a see-through
or colorized pattern tile image are expanded into the art the writers
draw for them before the tiles are expanded, so those tiles are
flattened too. Random Transform effects in that art are baked first.
Hidden shapes, shapes in hidden groups or layers and template layers are
skipped: expanding a hidden shape made its tiles show in the file, and
art that is not written no longer makes a flattened copy of the document.
Flattening counted every colorized image as transparency, in the art and
in pattern tiles. A new flattener option, keeps_colorize, stops counting
an image colorized with a solid paint whose pixels are grayscale or 1-bit,
for a format whose writer draws such images in their ink. Opacity,
blending modes, opacity masks and effects still flatten them, and pattern
tiles are still expanded for those. The option is off, so exports flatten
as before; the EPS writer that draws colorized images turns it on.
The EPS pattern tile tests now check the exported colors, and a tile
group with opacity for the warning.
PDF 1.3, PDF/X-1a, PDF/X-3, EPS and PostScript printing flatten
transparency with `flatten_document`, which only looked at art in the
layers. An image with see-through pixels, a colorize paint, opacity or
a blending mode drawn only through a pattern fill stayed in the pattern
definition, so the flattener returned early and the writer drew the tile
opaque and uncolorized (PDF 1.3 export failed on the transparency left).
`flatten_document` now first expands pattern fills whose tile image
needs flattening into their tiles, as legacy .ai save does. See-through
tile pixels count only where the caller counts see-through images (PDF
1.3); EPS level 3 already masks them out. The EPS and PostScript print
transparency warnings now see those tile images too.
objects_nested_in_text_are_clipped_by_the_type now also nests a 4 x 4 Rstr pixel layer under the TxtA and checks that it is read as an image in the clipping group, next to the shape.
An Affinity text object whose children are nested in it (an image dragged
into artistic text, for example) opened as a plain group, so the image
was drawn over the text. The text now becomes a clip group whose
clipping path is the type, as a shape with children already does: the
nested art shows only inside the characters, with the characters' fill
behind it and their stroke over it.
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.
bflatastic