Without group labels, the single column no longer draws a dash between
the groups: its tools are evenly spaced from top to bottom, as two
columns already run on from group to group. With the labels, each group
still starts under its name.
- Without group labels, the double-column toolbar fills every row: a
group no longer starts a half-empty row, as the reference's Basic
toolbar runs on in two columns. One column keeps its faint dashes, and
with the labels each group still starts its own row under its name.
- The All Tools drawer, now a tall single column, never goes above the
toolbar's top: on macOS it ran under the window's buttons. Its scroll
height is what is left from there to the window's bottom.
- Preferences › User Interface › Show Tool Group Labels is off as it
ships: the toolbar sets its groups apart with a faint dash, as the
Basic and Advanced toolbars of the public toolbar reference do (the
categories there are the Getting Started toolbar's). It no longer cuts
"Navigate" to "Navi...". The labels are a preference away.
- The All Tools drawer lists the tools one per row (icon, full name,
shortcut on the right), each flyout group framed together under the
heading most of its tools have (the Pencil's group, led by the Shaper,
under Draw). Tools already in the toolbar stay dimmed; dragging and
picking are as before.
- Its ☰ menu has Reset and the Basic and Advanced toolbars, the drawer's
flyout menu of the reference.
- Its Show section shows or hides the controls under the toolbar's tools
(Fill and Stroke, Coloring, Draw Mode, Screen Mode), as the reference
describes; `toolbar.show {control?, on?}`, saved with the preferences
(`ui.toolbar_show`, all on for older ones). Edit Toolbar's ••• stays.
- New strings in every catalog.
Reference: https://helpx.adobe.com/illustrator/using/tools.html (the look
is VectorCraft's own, with its own icons).
Gradients (off unless asked for) found a blurred or noisy linear gradient in
part or in pieces, with bands around it.
The areas that may be a gradient are tried largest first, and one that is a
gradient is grown over every pixel next to it whose colour is within 10 levels
of the gradient's there: the pixels noise put a little off, a soft rim, the
pieces noise cut off it.
Linear-gradient inputs with Gradients on, paths beside the gradient, before ->
after: blurred 3.0 -> 0.5 (6 Colors) and 55.5 -> 0.5 (High Fidelity Photo);
noisy 11.0 -> 0.5 and 23.5 -> 1.5; scanned 5.5 -> 3.0 and 46.5 -> 37.0; clean
and aliased as before; dE within 0.02. No gradient on any input that is flat
colour, with any preset (the harness fails if there is one).
Each documented preset has an enhanced version (`enhanced: true` in
`imageTrace.make`, an Enhanced checkbox under the panel's preset): the preset
with Auto Grouping, and with Shapes in all but High Fidelity Photo. Gradients
stay an option. Flat Logo, a preset of our own, has none. The legacy presets,
and documents traced with them, are as they were.
So that an enhanced preset is no worse than its preset on that preset's inputs:
- A hole that one colour fills is the same shape as the path that fills it, so
the two still share one outline (a shape beside a fitted hole left slivers).
- A rectangle is as large as where its sides lie on average, not their farthest
points.
- Auto Grouping keeps the paths of a group in the order they were traced in. It
put a path first and what is inside it on top: a white counter traced under
its black letter was then painted over the letter's edge, a light seam
(Default with Auto Grouping, edge dE 10.24 -> 9.88; legacy 10.05).
The harness measures every enhanced preset beside its preset.
Create: Strokes drew every line with round caps: a square-ended line 10 px wide
had its corners 2.94 px outside the stroke.
- A line's ends are square when its ink reaches as far a third of the width to
either side of its middle as along it (a round end stops short there by a
seventh of the width); told from lines 3 px wide and more, all the ends of a
line together. The stroke then has square caps (`TracedPath::square_caps`).
- The last points of a wide line's skeleton can turn towards a corner of its
end. An end that has left the line the skeleton followed a width back (by a
quarter of the width, 1 px at least) is put back on it; and an end may be
pulled back as well as pushed out to where the ink ends.
Outline on the thin-line inputs: largest distance from the art 2.94 -> 0.88 px
(clean 2.94 -> 0.41; aliased 0.88 -> 0.81), mean 0.055 -> 0.050 px, anchors
14 -> 10.
- A sharp corner may fall up to 0.75 px short within 3 px of where it should be:
anti-aliasing and blur take that much off a corner (not on a thin bar, which
is all corners).
- A rounded rectangle gets the radius that fits its outline best, searched
around the one its area says, instead of that one alone.
- A rectangle's direction is tried along its longest straight side, the longer
axis of its area and the pixel grid: a blurred one may have no straight side.
- A regular polygon's sides, corners and size are read from the outline's shape
(how its distance from the middle goes round, and its area), not from how many
anchors the fitter gave it.
- An outline without anti-aliasing is known to half a pixel: it gets half as
much room again.
Plain shapes found with Shapes on, all sizes and variants: Default 57% -> 98%,
6 Colors 62% -> 100%. The harness counts false shapes: none on any input but one
thin line (a rectangle 2 px wide) whose trace is 0.70 px off with or without
Shapes.
With Type › Show Hidden Characters on, the canvas laid out every
visible text object in view in every frame to place the dots on
spaces and the ¶ and # marks. With 1,000 two-line labels in view,
drawing the marks took a median of 19.7 ms per frame in a release
build.
The overlay now keeps each text object's marks in document space,
together with the node it laid them out from. In a frame it lays out
a text object only when its node is a new `Arc` (an edit makes one)
or the frame before did not draw it, and it lays out all type in view
again when the fonts or the hyphenation exceptions change. The marks
are still placed for the current view in every frame. With the same
labels, drawing the marks takes 0.8 ms per frame, and the shapes drawn
are the same as before.
Docs: docs/target-app-parity.md.
Only type at full opacity, in Normal blending and without object
effects took its glyph outlines from the geometry the renderer keeps
for each type object. Type at less than 100% opacity or in a blend
mode, and the art drawn for type with a drop shadow, glow, blur or
other raster effect, were laid out again in every frame.
draw_text now takes the geometry from text_geom_of when the type it
draws is fx_owner, the node draw_arc is drawing, and the frame does
not snap type to pixels. While the effect-art cache keeps type art,
that art is drawn as fx_owner. The geometry is laid out again when the
type is edited or the fonts change, and frames with Type Optimized
anti-aliasing lay type out as before. On 8 threads at 2880 x 1800, a
page of 1,000 type objects at 80% opacity takes 13 ms a frame instead
of 23 ms, with the same pixels.
Opaque type kept the layout of earlier frames when a symbol it shows
as an inline graphic changed size and the document's inline graphics
had not been resolved again. text_geom_of now lays type out without
the cache when the text it is given is not the node's own, such as the
copy that Document::inline_resolved makes with the new size.
Docs: docs/target-app-parity.md.
For a name that is neither a loaded nor an installed family,
FontDb::canonical built the list of names of every loaded face on
every call. Layout asks for a style's face for each span it shapes
and three more times per paragraph, so the time to lay out type set
in a font that is not installed grew with the number of fonts loaded:
a story of 1,000 paragraphs took a median of 409 to 507 ms in a
release build with 400 fonts added.
The database now keeps canonical's answer for each such name and style
until fonts are added or rescanned, and it keeps at most 4,096
answers. The same story takes a median of 56 to 71 ms, and canonical
gives the same answers as before.
Docs: docs/target-app-parity.md.
When the last frame took more than 8 ms to render, the desktop app's
canvas sends the next frame to the render worker and draws the last
one until the new one arrives. After a pan or a zoom it draws the last
frame moved and scaled. After the view angle changed, it drew no art
until a frame at the new angle arrived. The angle changes during a
Rotate View drag and when the status bar's angle menu, Reset Rotate
View or a saved view sets it. In a headless run of the canvas on a
document of 50,000 paths, none of the 60 frames of a turn from 0° to
90° drew any art.
The canvas now draws the last frame as a mesh turned into the new
view. Each corner goes where the new view puts the document point that
the corner showed. The frame at the new angle replaces it when it
arrives, as before. Pixel Preview's frames already turned with the
view and are drawn as before.
Docs: docs/target-app-parity.md.
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