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).
The public 3D and Materials panel options give the Light Settings as
Intensity (0–100 %), Rotation (-180° to 180°), Height (0° to 90°),
Softness (0–100 %) and Ambient Light (0–200 %), with the light moved to
the back or the front of the object. The 3D effects (Revolve included)
had Direction and Elevation (an azimuth and elevation), Intensity and
Ambient (0–100 %).
- Rotation turns the light round the object on the page (our reading:
0° on its right, counterclockwise); Height raises it from beside the
object (0°) to straight in front (90°); Light behind the object puts
it at the back. The light gizmo's ring and line are Rotation and
Height.
- Softness wraps the light round the object: at 0 % it falls off with
the angle as before, at 100 % it reaches nothing only straight away.
- Ambient Light runs to 200 %; faces stay no brighter than the art.
- lightRotation, lightHeight, lightBehind and lightSoftness replace
lightAzimuth and lightElevation. An earlier light is read as the same
direction, so it shades exactly as before (old and new code give the
same colours for the four effects and five lights); effect.setParams
turns a stored one into the new form before applying new values, and
the parameter description names lightAzimuth and lightElevation as the
earlier form, so effect.apply and effect.setParams still take them. The
default light is the earlier default's: Rotation 125.26°, Height 30°.
- The dialog's Lighting tab shows the settings in the documented order;
Softness, Ambient Light and Light behind the object are in every
catalog, and the unused Direction, Elevation and Ambient are gone.
Light colour, presets, several lights and shadows are not built.
The public 3D and Materials panel options give Perspective as 0° to 160°
("how close or far the object appears"); it was a 0–100 % strength, for
Revolve, Extrude & Bevel, Inflate and Rotate alike.
- The eye stands where a sphere about the object's centre, √3 times its
half size (the box around it fits inside), fills that angle of the
view: 0° is none, wider brings the eye nearer, and at 160° it is just
outside the sphere, never inside the object. The documentation doesn't
say how the angle places the eye; docs/three-d.md says this is our
reading.
- `perspectiveAngle` (degrees) replaces `perspective` (%). A strength from
an earlier file or script is read as the angle that shows exactly the
same view: sin(angle / 2) = √3 × strength / 4, 100 % about 51.3°. An
angle given too wins. effect.setParams turns a stored strength into the
angle before applying new values. The parameter description names
`perspective` as the earlier form, so effect.apply and effect.setParams
still take it under the key check of #1592. Old and new code draw the four effects identically at 0, 25,
60 and 100 % (bounds equal to 1e-9).
- The dialogs' Perspective fields run 0–160°.
# Conflicts:
# docs/target-app-parity.md
Expand had nothing for live repeats, so a radial, grid or mirror repeat stayed
live. Its Object option now turns every repeat in the selection (inside groups
too, inner ones first) into a group of its instances, keeping the repeat's id
and place, in the same undo step; the dialog enables Object for a repeat.
Expand Repeat shares the code.
The rail used the fields' border, which on Medium Dark (the default) is all but
the panel's colour; it now uses the buttons' border, which stands out on every
brightness.
Up and Down move the highlighted result (wrapping at the ends), the pointer
moving over a result highlights it, Enter runs the highlighted one, and a new
query starts from the first again.
The tools took `[` and `]` (the Blob Brush's and the Eraser's size, the
Symbolism tools' diameter and, with Shift, intensity), but the app never
passed the keys on: only `ui.key` over MCP reached them.
- The keyboard handler gives a typed `[`, `]`, `{` or `}` (Shift) to the
active tool when it claims the key. It reads the typed character, so
layouts where a bracket takes Option or AltGr (Option-8 on a Turkish
Mac) work too. A field with the keyboard, the Type tool and Cmd/Ctrl
shortcuts are left as they were.
- The Paintbrush has a size of its own, 10 to start as the Blob Brush's:
`[` and `]` take a point off or add one, and the next stroke is drawn
at size / 10 of the stroke weight (path.freehand `scale`). Public
references describe the keys as changing the size the Paintbrush draws
with, before drawing, the brush definition left as it is; so the
stroke weight new art takes stays, and the selected path keeps its
stroke. Every brush type, as the report and the Tuts+ guide describe;
the step is our own.
The Pencil gave every path a black stroke when the stroke was None. With Fill
new pencil strokes on and a fill set, the path now keeps no stroke; only a path
that would show nothing (no fill, no stroke) still gets black.
Escape still ends editing (an empty new point type is discarded) and the type
stays selected; the Type tool now claims Escape while editing and asks for the
Selection tool, so tool shortcuts work again without the mouse.
Escape while dragging anchors, handles, segments, objects, a type area, a blend
spine or a marquee with the Direct (or Group) Selection tool cancels the drag:
what it moved goes back and the release after it does nothing.
winit 0.30 gives an undecorated window WS_CAPTION | WS_BORDER; on some Windows
systems the compositor still reserves that frame, so the content is drawn
offset while the pointer isn't, and the cursor no longer points at what is under
its tip. Strip the two styles once and again each frame (winit restores them on
maximize/restore), as PhotoCraft does (storytold/photocraft#2401).
0.9.1 enforces the decompressed size of each block, which 0.9.0 didn't
(memory exhaustion on crafted .ai / Affinity zstd data). The manifests now ask
for at least 0.9.1.
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 %.
A twist bends the strip between two slices into a saddle; its normal came
from one corner's triangle, which leaned so far back that from about 60° of
twist every wall was taken for facing away and dropped, leaving the front
cap alone. Each strip now takes the whole quad's average normal (Newell's),
as Inflate's facets do. A test checks the faces kept against each strip's
average normal oriented away from the axis, for twists up to 300° and four
views.
The public 3D and Materials panel options give Twist as up to 360°; it took
-360° to 360°. Values beyond either end now hold at that end (the effect is
a day old, so only fresh files carry a negative twist).
Extrude & Bevel, Inflate and Rotate sampled every curve at sixteen points and
refused a shape past 1,024 points, about 64 curves: outlined words reached
that quickly, and Rotate refused them although it only turns the outline.
- Each curve takes as many straight pieces as keep it within 1/2000 of the
shape's size (at least 0.05 pt), by Wang's bound: 1 to 32.
- Extrude & Bevel and Inflate take up to 2,048 points, Rotate 65,536.
- Inflate's distance and crossing tests use a bucketed edge index, and
cells no edge crosses skip clipping: about 80 ms at 2,000 points (it was
over 600 ms with the old search; 95 ms at the old 1,024-point limit).
Revolve's own sampling is unchanged.
The three 3D types besides Revolve, as live effects in the three-d crate,
drawn as shaded vector faces by the canvas, SVG/PDF export and Expand
Appearance alike, from the public 3D and Materials documentation:
- Extrude & Bevel: depth (0-2000 pt), twist, taper, solid or hollow caps,
and bevels in six original cross-sections (classic, rounded, cove, step,
ogee) with width, height, repeat, spacing, inside and both sides.
- Inflate: the shape as a membrane under pressure (a Poisson solve held at
zero along the outline and holes), so it rises vertically from the edge
and rounds without creases; volume, depth and both sides. Steep cells
near the outline are refined without cracks.
- Rotate: every fill and stroke turned in 3D and shaded as one plane.
All three share Revolve's view and lighting parameters, the rotation and
light gizmos (turning about the art's centre) and a dialog with Object,
Rotation and Lighting tabs, with Position presets (Front ... Isometric
Bottom, our own values). An object takes one 3D effect. Inflate cuts the
grid cells that straddle a hole's edge with pathops, hence the new
pathops -> three-d layer order.
Docs: docs/three-d.md, mcp.md, and the 3D rows of the parity docs.
With Double Click To Isolate on, the Selection tool isolated groups only. A
double-click on a single path, compound path, image, mesh or placed file now
isolates it too, as the public documentation describes. Type still switches to
the Type tool; blends, envelopes, repeats and symbol instances keep their own
editing modes.
While a single object is isolated only it is hit, marqueed and taken by Select
All, new art goes beside it in its group or layer, and a double-click on the
empty canvas leaves with it selected. object.isolate accepts any object except
type.
The buttons were placed (WIDTH - 36) / 2 from the panel's content edge, but
the docked panel's content is narrower than WIDTH: the 1.5 pt frame stroke on
both sides and the 1 pt separator line egui reserves on the right leave 44 pt.
So the single column sat 6.5 pt from the left border and 1.5 pt from the right
(2.5 pt right of centre), and the double column's second button ran over the
right border. Centre each row on the panel's inside instead, and widen the
double column to 80 pt so its two buttons fit with 2 pt either side.
Ayberk A.