issue159:inkscape
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue159:inkscape [2020/08/11 14:27] – d52fr | issue159:inkscape [2020/08/11 17:58] (Version actuelle) – auntiee | ||
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Known informally as the “where’s my invisible stuff” mode, this feature renders every element as a simple outline, regardless of its usual fill and stroke settings. It’s invaluable for those times when you’ve created an otherwise invisible object – whether by accident or intent (there are some good reasons why you might want to). Typically, this is an early mistake by new users who inadvertently clear both the fill and stroke, make the colors transparent, | Known informally as the “where’s my invisible stuff” mode, this feature renders every element as a simple outline, regardless of its usual fill and stroke settings. It’s invaluable for those times when you’ve created an otherwise invisible object – whether by accident or intent (there are some good reasons why you might want to). Typically, this is an early mistake by new users who inadvertently clear both the fill and stroke, make the colors transparent, | ||
- | Ce mois-ci, nous continuerons de regarder les nouvelles fonctionnalités d' | + | Ce mois-ci, nous continuerons de regarder les nouvelles fonctionnalités d' |
- | Connu de façon informelle comme le mode "où est tout mon bazar invisible", cette fonctionnalité restitue chaque élément comme un simple contour, sans se soucier des habituels paramètres de remplissage et de contour. C'est inestimable dans ces moments où vous avez créez | + | Connu de façon informelle comme le mode « où est tout mon bazar invisible |
**The new view mode is related, but different. Whereas Outline mode renders everything as outlines, losing patterns, fills and strokes in the process, the new “Visible Hairlines” feature just makes really thin strokes a bit thicker, but otherwise displays most other objects and properties the same as usual. An example will probably help to explain, so take a look at these five stars: | **The new view mode is related, but different. Whereas Outline mode renders everything as outlines, losing patterns, fills and strokes in the process, the new “Visible Hairlines” feature just makes really thin strokes a bit thicker, but otherwise displays most other objects and properties the same as usual. An example will probably help to explain, so take a look at these five stars: | ||
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Bottom right: Red fill.** | Bottom right: Red fill.** | ||
- | Le nouveau mode d' | + | Le nouveau mode d' |
- | « Cinq étoiles », dites-vous ? « Mais je n'en vois que deux. Peut-être trois ou quatre si j'agrandis pas mal et que je louche un peu. » | + | « Cinq étoiles », dites-vous ? « Mais je n'en vois que deux. Peut-être trois ou quatre si je les agrandis pas mal et que je louche un peu. » |
- | Bien sûr, il y a cinq étoiles. Aucune d' | + | Bien sûr, il y a cinq étoiles. Aucune d' |
- | En haut à gauche : trait noir de 1px. | + | En haut à gauche : trait noir de 1 px. |
En haut à droite : trait noir de 64 px. | En haut à droite : trait noir de 64 px. | ||
- | En bas à gauche : trait gris clair de 64 px. | + | En bas à gauche : trait gris clair de 64 px. |
- | En bas au milieu : trait noir de 0,1px. | + | En bas au milieu : trait noir de 0,1 px. |
En bas à droite : remplissage rouge. | En bas à droite : remplissage rouge. | ||
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Although it may not be clear in the magazine, the top left star is ever so slightly thicker. Our previously invisible star is also rendered with the same thickness. The two stars on the right just appear as they usually would – as does the star at the bottom left, which is still difficult to see.** | Although it may not be clear in the magazine, the top left star is ever so slightly thicker. Our previously invisible star is also rendered with the same thickness. The two stars on the right just appear as they usually would – as does the star at the bottom left, which is still difficult to see.** | ||
- | À droite, les étoiles visibles sont assez faciles à expliquer -l'une a un trait épais, l' | + | À droite, les étoiles visibles sont assez faciles à expliquer -l'une a un trait épais, l' |
Voyons à quoi elles ressemblent dans le mode Contour. | Voyons à quoi elles ressemblent dans le mode Contour. | ||
- | Là, vous voyez le problème du mode Contour. Oui, nous pouvons voir toutes les étoiles, ce qui est super pour retrouver les objets invisibles. Mais elles se ressemblent toutes, | + | Là, vous voyez le problème du mode Contour. Oui, nous pouvons voir toutes les étoiles, ce qui est super pour retrouver les objets invisibles. Mais elles se ressemblent toutes, |
- | Comparez | + | Comparez |
- | Bien que ça puisse ne pas être clair dans le magazine, l' | + | Bien que ça puisse ne pas être clair dans le magazine, l' |
**This view mode is intended to help if you are designing an image for use with a laser cutter or similar device. These machines often require paths to have a purely nominal thickness – 0.1mm is a typical value – which can easily result in them disappearing from view when you zoom out. By switching to Visible Hairlines mode, you ensure that Inkscape will always display strokes at a thickness that is enough to keep them visible. It doesn’t change the actual widths in the SVG file, so your laser cutter won’t complain, but does mean that objects no longer vanish while you work. | **This view mode is intended to help if you are designing an image for use with a laser cutter or similar device. These machines often require paths to have a purely nominal thickness – 0.1mm is a typical value – which can easily result in them disappearing from view when you zoom out. By switching to Visible Hairlines mode, you ensure that Inkscape will always display strokes at a thickness that is enough to keep them visible. It doesn’t change the actual widths in the SVG file, so your laser cutter won’t complain, but does mean that objects no longer vanish while you work. | ||
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Any stroke that is already above the minimal limit will be rendered as usual. That’s why the thicker strokes on the top right and bottom left stars are unaffected. As you can see with the bottom left, however, that can still lead to barely visible shapes, so Outline view still has its place. As the bottom right star shows, fills and other properties are also rendered as normal in this view. Filters don’t fare very well, but as they are purely visual effects that don’t alter the geometric information that a laser cutter might use, they’re not generally used in the sort of situations that this mode is intended to address.** | Any stroke that is already above the minimal limit will be rendered as usual. That’s why the thicker strokes on the top right and bottom left stars are unaffected. As you can see with the bottom left, however, that can still lead to barely visible shapes, so Outline view still has its place. As the bottom right star shows, fills and other properties are also rendered as normal in this view. Filters don’t fare very well, but as they are purely visual effects that don’t alter the geometric information that a laser cutter might use, they’re not generally used in the sort of situations that this mode is intended to address.** | ||
- | Le but de ce mode d' | + | Le but de ce mode d' |
- | Tout contour qui est déjà au-dessus de la limite minimale sera restitué comme d' | + | Tout contour qui est déjà au-dessus de la limite minimale sera restitué comme d' |
**Most users won’t need this mode. If you just want to find an invisible object, Outline mode is still your best bet. But if you do have to work with exceptionally thin strokes, and find they vanish when you zoom out, this mode is just the thing for you. | **Most users won’t need this mode. If you just want to find an invisible object, Outline mode is still your best bet. But if you do have to work with exceptionally thin strokes, and find they vanish when you zoom out, this mode is just the thing for you. | ||
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This image is made up of four stars, identical except for their size. I created the smallest one first, and set its opacity to 25%. Then I duplicated it and resized to create the second one; then duplicated and resized the second to make the third; same for the third to the fourth.** | This image is made up of four stars, identical except for their size. I created the smallest one first, and set its opacity to 25%. Then I duplicated it and resized to create the second one; then duplicated and resized the second to make the third; same for the third to the fourth.** | ||
- | La plupart des utilisateurs n' | + | La plupart des utilisateurs n' |
- | Si vous êtes à la chasse aux objets invisibles | + | Si vous êtes à la chasse aux objets invisibles |
- | Cette image est faite de quatre étoiles, identiques sauf par la taille. J'ai créé d' | + | Cette image est faite de quatre étoiles, identiques sauf par la taille. J'ai créé d' |
**My question to you is this: what’s the easiest way to select the smallest star? Due to the order in which I created them, it’s at the bottom of the z-stack, so a simple click won’t do the job. Here are some methods that would work in this particular case: | **My question to you is this: what’s the easiest way to select the smallest star? Due to the order in which I created them, it’s at the bottom of the z-stack, so a simple click won’t do the job. Here are some methods that would work in this particular case: | ||
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The last option is arguably the most practical. It doesn’t require you to change the arrangement of items in your drawing, and is probably less likely than the others to result in the wrong thing being selected. But it’s a pain to turn Outline mode on and off via the menu, and you may not use it often enough to warrant learning more keyboard shortcuts.** | The last option is arguably the most practical. It doesn’t require you to change the arrangement of items in your drawing, and is probably less likely than the others to result in the wrong thing being selected. But it’s a pain to turn Outline mode on and off via the menu, and you may not use it often enough to warrant learning more keyboard shortcuts.** | ||
- | Je vous pose la question : quelle est la façon la plus facile de sélectionner la plus petite étoile ? Du fait de l' | + | Je vous pose la question : quelle est la façon la plus facile de sélectionner la plus petite étoile ? Du fait de l' |
- | ••Une sélection élastique prudente | + | ••Une sélection élastique prudente. |
••Maintenir Alt appuyé (ou Maj-Alt sur la plupart des machines Linux) et des clics répétés au même endroit pour sélectionner sous l' | ••Maintenir Alt appuyé (ou Maj-Alt sur la plupart des machines Linux) et des clics répétés au même endroit pour sélectionner sous l' | ||
- | ••Ré-ordonner la pile manuellement avant de sélectionner. | + | ••Ré-ordonner la pile manuellement avant la sélection. |
- | ••Ré-ordonner la pile en utilisant Extensions > Organiser > Réempiler | + | ••Ré-ordonner la pile en utilisant Extensions > Organiser > Réempiler |
••Passer dans le mode d' | ••Passer dans le mode d' | ||
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You can activate the new mode, via the View > Split View Mode menu. The default keyboard shortcut is Ctrl-6, but this is 6 on the main keyboard, not the numeric keypad. I find this a little odd, given that the default shortcut for cycling through the display modes uses Ctrl with 5 on the numeric keypad. However you trigger it, enabling this mode will immediately split the workspace in two, with the left side showing the normal view of your document, and the right side showing the outline view.** | You can activate the new mode, via the View > Split View Mode menu. The default keyboard shortcut is Ctrl-6, but this is 6 on the main keyboard, not the numeric keypad. I find this a little odd, given that the default shortcut for cycling through the display modes uses Ctrl with 5 on the numeric keypad. However you trigger it, enabling this mode will immediately split the workspace in two, with the left side showing the normal view of your document, and the right side showing the outline view.** | ||
- | Ce qui pourrait en fait être pratique, ce serait une façon d' | + | Ce qui pourrait en fait être très pratique, ce serait une façon d' |
- | Vous pouvez | + | Vous pouvez |
**A large circular handle at the middle of the screen can be dragged to move the split point, allowing more or less of the view to be displayed in outline mode. Four triangles within the control let you switch the orientation of the split between horizontal and vertical, and determine which side of the split should show the outline view. Both sides of the display work as normal, so you are free to select items in the outline view then manipulate them in the normal view, or vice versa. Clicks and drags on the splitter control are not propagated through to the objects below so you can, for example, make a selection in outline view then adjust the split to give you more of a normal view without the objects becoming deselected as you do so.** | **A large circular handle at the middle of the screen can be dragged to move the split point, allowing more or less of the view to be displayed in outline mode. Four triangles within the control let you switch the orientation of the split between horizontal and vertical, and determine which side of the split should show the outline view. Both sides of the display work as normal, so you are free to select items in the outline view then manipulate them in the normal view, or vice versa. Clicks and drags on the splitter control are not propagated through to the objects below so you can, for example, make a selection in outline view then adjust the split to give you more of a normal view without the objects becoming deselected as you do so.** | ||
- | Une grosse poignée circulaire au milieu de l' | + | Une grosse poignée circulaire au milieu de l' |
**On the surface, this looks like a great addition for working with complex documents. Just enable Split View Mode then slide the splitter to one side to give you a normal view most of the time, swinging it back into play for tricky selections, before swiping it away to the side again, ready for redeployment in an instant. Except it doesn’t work like that. | **On the surface, this looks like a great addition for working with complex documents. Just enable Split View Mode then slide the splitter to one side to give you a normal view most of the time, swinging it back into play for tricky selections, before swiping it away to the side again, ready for redeployment in an instant. Except it doesn’t work like that. | ||
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En apparence, ça semble être un bon ajout pour un travail sur des documents complexes. Juste activer le mode Affichage scindé puis déplacer le séparateur d'un côté pour vous donner un affichage normal la plupart du temps, en le ramenant lors de sélections sensibles, avant de le reléguer à nouveau sur un côté, prêt pour une réutilisation instantanée. Sauf que ça ne marche pas comme ça. | En apparence, ça semble être un bon ajout pour un travail sur des documents complexes. Juste activer le mode Affichage scindé puis déplacer le séparateur d'un côté pour vous donner un affichage normal la plupart du temps, en le ramenant lors de sélections sensibles, avant de le reléguer à nouveau sur un côté, prêt pour une réutilisation instantanée. Sauf que ça ne marche pas comme ça. | ||
- | Si vous déplacez la poignée trop près du bord de l' | + | Si vous déplacez la poignée trop près du bord de l' |
**Worse still, moving the big handle towards any edge has the same effect, regardless of the splitter orientation. With a vertical splitter, separating the two halves to the left and right, you might be tempted to move the handle up or down to get it out of the way of your content. But even though you’re not moving the splitter itself, drag it a pixel too high or low and the whole mode turns off, requiring you to start at the menu again. | **Worse still, moving the big handle towards any edge has the same effect, regardless of the splitter orientation. With a vertical splitter, separating the two halves to the left and right, you might be tempted to move the handle up or down to get it out of the way of your content. But even though you’re not moving the splitter itself, drag it a pixel too high or low and the whole mode turns off, requiring you to start at the menu again. | ||
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This mode also doesn’t store the split state between invocations. Every time you enable it you’ll be put directly into the same 50/50 view with the outline on the right. It doesn’t matter if you previously switched to 70/30 with the outline at the bottom, or any other combination. Once this mode is turned off, and then back on again, it drops you straight to the default. And given how easy it is to accidentally turn it off, it makes working with this mode more of a pain than a pleasure. It does make for nice screenshots when demonstrating the density of objects in a complex drawing though.** | This mode also doesn’t store the split state between invocations. Every time you enable it you’ll be put directly into the same 50/50 view with the outline on the right. It doesn’t matter if you previously switched to 70/30 with the outline at the bottom, or any other combination. Once this mode is turned off, and then back on again, it drops you straight to the default. And given how easy it is to accidentally turn it off, it makes working with this mode more of a pain than a pleasure. It does make for nice screenshots when demonstrating the density of objects in a complex drawing though.** | ||
- | Pire encore, le déplacement du gros contrôle vers n' | + | Pire encore, le déplacement du gros contrôle vers n' |
- | Ce mode n' | + | Ce mode n' |
**View > Xray Mode is a closely related, but slightly different feature. The keyboard shortcut for this is Alt-6, by default, but once again this has to be the 6 on the top row of keys, not on the numeric keypad. Switching this on enables outline view in a circle immediately surrounding the mouse pointer. Like an X-ray, it cuts through the body of your drawing to show you the bones that support it. But it’s more like a tightly controlled “X-ray beam” from a pulp comic book than the large format plates that are routinely hung from wall-mounted light boxes in medical dramas. | **View > Xray Mode is a closely related, but slightly different feature. The keyboard shortcut for this is Alt-6, by default, but once again this has to be the 6 on the top row of keys, not on the numeric keypad. Switching this on enables outline view in a circle immediately surrounding the mouse pointer. Like an X-ray, it cuts through the body of your drawing to show you the bones that support it. But it’s more like a tightly controlled “X-ray beam” from a pulp comic book than the large format plates that are routinely hung from wall-mounted light boxes in medical dramas. | ||
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Affichage < Mode rayons X est une fonctionnalité très voisine, mais légèrement différente. Le raccourci clavier pour celui-ci est Alt-6, par défaut, mais, une fois de plus, il s'agit du 6 de la rangée de touches du haut, pas du pavé numérique. Son activation permet une vue en contour avec un cercle entourant l' | Affichage < Mode rayons X est une fonctionnalité très voisine, mais légèrement différente. Le raccourci clavier pour celui-ci est Alt-6, par défaut, mais, une fois de plus, il s'agit du 6 de la rangée de touches du haut, pas du pavé numérique. Son activation permet une vue en contour avec un cercle entourant l' | ||
- | Comme pour le mode Affichage scindé, vous pouvez encore faire des sélections et réaliser d' | + | Comme pour le mode Affichage scindé, vous pouvez encore faire des sélections et réaliser d' |
**If you struggle to select objects in busy drawings, then it might be worth changing the keyboard shortcut to make it easier to toggle on and off. What would be nice is a ‘hold-to-activate’ key, like the ‘Q’ key for the quick-zoom function, which would allow you to press and hold a key for long enough to make a tricky selection, but would return you to the normal view as soon as you release it. It would certainly make for a better use of the ‘X’ key than as a shortcut for the largely useless 3D box tool. I have, of course, filed a feature request for this – as well as one for improvements to the Split View mode. | **If you struggle to select objects in busy drawings, then it might be worth changing the keyboard shortcut to make it easier to toggle on and off. What would be nice is a ‘hold-to-activate’ key, like the ‘Q’ key for the quick-zoom function, which would allow you to press and hold a key for long enough to make a tricky selection, but would return you to the normal view as soon as you release it. It would certainly make for a better use of the ‘X’ key than as a shortcut for the largely useless 3D box tool. I have, of course, filed a feature request for this – as well as one for improvements to the Split View mode. | ||
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That’s it for the new view features in v1.0. Next month will be the 100th article in this series, so I’ll be celebrating this milestone by… continuing to bring you details of some of the other new features in the latest Inkscape release.** | That’s it for the new view features in v1.0. Next month will be the 100th article in this series, so I’ll be celebrating this milestone by… continuing to bring you details of some of the other new features in the latest Inkscape release.** | ||
- | Si vous peinez pour sélectionner des objets dans des dessins chargés, alors ça vaudrait le coup de modifier le raccourci clavier pour faciliter la commutation des modes. Ce qui serait bien, ce serait une touche « appuyer-pour-activer », comme la touche « Q » pour le fonction de zoom rapide, qui vous permettrait de maintenir | + | Si vous peinez pour sélectionner des objets dans des dessins chargés, alors ça vaudrait le coup de modifier le raccourci clavier pour faciliter la commutation des modes. Ce qui serait bien, ce serait une touche « appuyer-pour-activer », comme la touche « Q » pour le fonction de zoom rapide, qui vous permettrait de maintenir |
- | Voilà pour les nouveautés d' | + | Voilà pour les nouveautés d' |
issue159/inkscape.txt · Dernière modification : 2020/08/11 17:58 de auntiee