Interp::font took a font's FontMatrix times 1000 as the matrix of one
em, the Type 1 convention (glyphs in 1000-unit space). A Type 42 font's
glyph space is one unit an em, its FontMatrix usually the identity, so
type in Type 42 fonts (cairo, Inkscape, LibreOffice) came in 1000 times
too large and off the page. FontType 42 now takes the matrix as it is.
Fixes#1552
An alpha soft mask's vector art is whitened so its luminance is its
alpha, but images kept their colour: cairo (and so Inkscape) draws a
mask as an image whose alpha is in its own SMask, often black pixels,
so the mask came in empty. While reading an alpha mask's art the
importer now reads images white with their own alpha (under their own
cache key, without the JPEG and CMYK shortcuts), and stencil masks
white; a luminosity mask nested inside reads them as they are.
Fixes#1550
Against the documented panel (https://helpx.adobe.com/illustrator/desktop/manage-objects/traces-mockups-symbols/image-trace-panel-options.html):
- Ignore Color: "Ignores a specific color while tracing. Use the color picker to selectively ignore a color."
The panel's Ignore White is now Ignore Color with a colour button beside it (white until another colour is
picked); `imageTrace.make` takes `ignoreColor: "#rrggbb"` beside `ignoreWhite`, and leaves out the palette
colours within about 30 levels of it. Documents saved before have no such setting and ignore white as they
did. Flat Logo mode leaves out white only.
- Auto Color ("Creates a posterized image from a photo or artwork"): Color mode with the Automatic palette.
- Outline ("Simplifies the image to black outlines"): Black and White with Create: Strokes and no fills.
- The Outline preset's name is translated as a preset's name, not as the Outline view's.
Measured (docs/image-trace-quality.md): Auto Color on flat art is 0.140 px off on average with 4.0 paths (16
Colors: 0.141, 4.2). Outline on the line inputs, the first measure of Create: Strokes: 0.310 px off on average,
1.84 at worst, 81 anchors for 5 lines (Line Art's filled outlines: 0.055, 0.96, 46).
Black and White read every pixel as a blend of "black" and "white", and took for those the mean luminance of
the image's black and white pixels. In blurred or scanned line art most black pixels are part paper, so the
mean black was a gray: the middle of every line counted as more than all ink, and by how much changed as the
line crossed the pixel rows, which put a ripple on its edges that the fit then followed with anchors.
- Black is the image's darkest black (the 2nd percentile of its black pixels' luminance).
- White is the lightest pixel within a few pixels of each crack: the paper as it is there. A scan's paper is
darker in one corner than in another, and read against the image's lightest white it counted as part ink.
On each preset's own inputs, all sizes and variants (docs/image-trace-quality.md), before -> after:
- Line Art: 78 -> 46 anchors, outlines 0.093 -> 0.055 px off on average (blurred lines 168 -> 53 anchors,
scanned 199 -> 70); before sub-pixel edges it was 25 anchors and 0.158 px off
- Technical Drawing: 56 -> 46 anchors, 0.092 -> 0.084 px off
- Sketched Art: 0.197 -> 0.186 px off; Default 0.092 -> 0.090; Black and White Logo 0.063 -> 0.059 with
27 -> 29 anchors
Not kept: reading lines up to six pixels deep by their ink's centroid and width, and a looser tolerance for
straight runs, neither of which measured better.
The font scan read /usr/share/fonts, /usr/local/share/fonts, ~/.fonts and the
XDG data folders. Packages add folders outside those to fontconfig's
configuration (TeX Gyre under /usr/share/texmf/fonts), so fc-list and other
apps showed fonts VectorCraft didn't have. The scan now also reads the <dir>
folders of /etc/fonts/fonts.conf and the files it includes (conf.d, the user's
own), as the fontconfig documentation describes them. The files are read as
they are: no library is linked and no program is run.
A drag near an anchor refitted the whole segments on either side of it, so a
short drag over a small bump on a long side turned the side into a curve from
end to end. The segments leading into the anchors under the drag are now split
where they enter the tool's reach, and only what is in reach is refitted.
A <textPath href="#id"> pointing at a basic shape imported as point type
with "textPath has no usable path", as only <path> was followed. SVG 2
allows any basic shape, and Inkscape writes one whenever text is put on
a circle. The shape now becomes its equivalent path as SVG 2 defines
it: circles and ellipses start at 3 o'clock and rounded rects after the
top-left corner, all clockwise; lines, polylines and polygons follow
their points. The shape's transform applies as for a <path>. Shapes
that render nothing (zero radius or size) still fall back to point
type with the warning.
Fixes#1527
Live Corners cut a corner between a curve and another side with the handles of
the arc between straight sides. The curve has turned by the time the cut meets
it, so those handles reached past where the tangents at the cut's ends cross,
and from a middling radius on the cut bulged out of the shape or looped. Each
handle is now the share an arc takes of its tangent up to that crossing.
Corners between straight sides are cut as before.
A PDF-compatible .ai keeps its art past the artboard edge unclipped (#646),
and its pages are laid out in a row 36 pt apart. Art that a page draws far
to the left of its artboard (notes beside a design, say) then lay over the
page before it. There it was taken for that page's art: the check against
the editing data found art its layers don't have and opened the file as
its PDF part, without the art outside its artboards, and place_pages left
that art behind when it moved the pages.
Such a page now moves right until its art clears the art before it.
Plain PDFs (clipped to the page) keep the 36 pt gap.
Every colour layer took a mask, component labels, a fill stack and an edge map the size of the whole image,
and as many layers were traced at once as the machine has cores.
- A layer is traced within the box its pixels lie in.
- The stack that fills components holds `u32` indices (a mask has at most 64 million pixels).
- Layers are traced as many at a time as fit in half a gigabyte (about ten bytes a pixel of the largest
layer's box each), on however many cores.
Peak memory above the image itself, photo-like image (docs/image-trace-quality.md), before -> after:
- 16 megapixels: High Fidelity Photo 3,856 -> 880 MB (2.85 -> 3.65 s), Low Fidelity Photo 1,972 -> 754 MB
(1.49 -> 1.80 s), 16 Colors 1,625 -> 298 MB, Shades of Gray 852 -> 407 MB, Default 256 -> 199 MB
- 4 megapixels: High Fidelity Photo 981 -> 643 MB, 16 Colors 408 -> 122 MB, times unchanged
The traces are the same, path for path.
An image whose decode needs more than the 2 GiB allowance (512 MB on the web) is not drawn.
A raster export says so since #1517; on screen it was still blank with no word. Open and
Place now carry a warning for it, and the Links panel's row a note (links.list: note).
Paste read PDF only from the Windows clipboard and EPS nowhere, so on macOS a copied
equation or drawing pasted nothing new (the last thing copied in the app came back).
- macOS: the pasteboard's PDF, EPS and SVG are read, ahead of text and bitmaps.
- Windows: EPS is read beside PDF.
- Everywhere: an .eps file copied in a file manager pastes.
- clipboard.importEps loads an EPS into the clipboard as document.open reads one.
A group has no paint of its own, so a compound path made of one (outlined type) had none
and drew nothing until a fill was set. The paint now comes from the backmost path, or
from the compound path that painted it.
Complete Polish catalog (4,492 rows): every menu string, tl! literal,
plural and status/error message, enforced by the existing completeness
tests (complete_menus, KEEPS_MENU_NAMES, COMPLETE_MESSAGES).
- pl.tsv: clean-room translation from the English meaning, following
common Polish desktop-software conventions (obszar kompozycji for
artboard, obszar roboczy for workspace, obrys, wypełnienie, próbki…)
- plural_polish: one / few (2–4, not 12–14) / many (0, 5–21, 25…)
- every pl-* locale (pl-PL, pl_PL.UTF-8) resolves to it
- tests: Polish plural forms, vocabulary, nested message translation;
Polish letters in the bundled-font coverage test
- docs: README, development.md, localization-parity.md
Drafted with AI assistance; native review welcome.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01DukHNvUY45rjRnvtz91x33
SaveOptions::for_doc chose pretty-printed JSON by the object count in
the layers alone. A document with few layer objects but many anchors,
or with its art in symbols, patterns or graph designs, was therefore
written pretty, about ten times the compact size: every anchor's "p",
"in" and "out" spread over several indented lines.
A document is now pretty only when it has at most PRETTY_MAX_OBJECTS
objects and its compact JSON is at most PRETTY_MAX_BYTES (1 MiB). The
size is measured by serializing into a writer that stops at the limit,
so a large document costs at most 1 MiB of extra serializing. Small
documents stay readable and diffable.
Fixes#1484
Each region's outline was fitted on its own, so the edge between two regions was fitted twice, a little
differently, and left hairline gaps and overlaps.
- An outline is cut at its junctions: the pixel corners where three or more regions meet, where two parts of a
region touch by a corner only, and where an edge reaches the image's border (each side of the image is a
neighbour of its own, so the image's corners stay exact). A junction lies where the edges around it say, the
same for every region around it.
- Each piece between two junctions is the whole edge between two regions. Both get exactly the same points for
it (shifts are rounded to 1/1024 px so that the two sides agree to the last bit; whether a piece is hard is
decided by the piece alone) and it is fitted the same way from either side (from its end further left), so it
is one and the same curve in both paths. A loop without junctions is fitted clockwise from its leftmost point:
a shape's outline and the hole it leaves in the shape around it are one curve too.
- Stacked layers (Overlapping) share no edges and are cut at the image's border only.
On each preset's own inputs, all sizes and variants (docs/image-trace-quality.md), before -> after:
- Default: gaps 22.2 -> 0.8 px, overlaps 22.4 -> 0.5 px
- 3 Colors: gaps 48.6 -> 0.0, overlaps 29.4 -> 0.0; outlines 0.087 -> 0.104 px off on average
- 6 Colors: gaps 39.0 -> 0.2, overlaps 35.7 -> 0.3; 0.137 -> 0.140 px off, largest 1.09 -> 1.34
- 16 Colors: gaps 34.5 -> 0.2, overlaps 26.4 -> 0.2; 0.133 -> 0.141 px off, largest 1.09 -> 1.31
The public 3D and Materials panel options list Depth, Twist, Taper and Cap
for every 3D type; Inflate had only Depth.
- Twist (0° to 360°) and Taper (1–100 %) turn and scale the back about the
shape's centre, as Extrude & Bevel's do: a puffed back is turned and
lowered in proportion, and the sides follow in slices.
- Cap: Solid closes the back; Hollow leaves it off, so the inflated front is
a shell open behind. The documentation doesn't say what Cap means for
Inflate; this reading is stated in docs/three-d.md.
- The dialog's Object tab shows them in the documented order (Depth, Twist,
Taper, Cap), then Volume and Both sides.
At 0 % volume a twisted, tapered Inflate has the extrusion's outline from
every side (tested).
A twisted, tapered, hollow Inflate draws on the canvas exactly as it
exports, and expands to faces with their own ids (tested). ROADMAP and the
parity pages list the new options; the 3D score stays at ~25 %.
bflatastic
Gert Pellin
EricKuck
fortesnow
Tomasz Lewandowski
Anders Brownworth
Ayberk A.