1.6.0

Two things you read on a screen, both now chosen with information instead of in the dark: nine open fonts that travel inside the app, and a colour picker that measures.

System	File
Windows 10/11	Valendo-1.6.0-setup.exe
macOS, Apple Silicon	Valendo-1.6.0-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• Nine open fonts, embedded. Cascadia Mono, JetBrains Mono, iA Writer Quattro, Atkinson Hyperlegible Next, Lexend, IBM Plex Sans, Literata, Newsreader and Alegreya now ship inside the app, joining Inter. The Editing panel draws the same on Windows and on macOS. Two entries of the old list never existed: "Atkinson Hyperlegible" fell back to Verdana on every machine, because nobody has it installed, and the default monospace was SF Mono on a Mac and Consolas on Windows — not the same letter. The files are the originals as published, not web-optimised subsets: the OFL FAQ treats stripping glyphs as modification, and a modified version may not keep a reserved font name. The practical reason weighs more — a subset has missing glyphs, and a Polish surname would fall through to another font mid-line, moving where the line breaks.
• A font menu that draws each name in its own font, in both panels. The output picker was a system <select>, and Chromium ignores font-family inside an <option> — which is why that menu always came out in one letter. It is now the same control as the Editing footer.
• A live sample under the output font. One label, drawn in the chosen font, reacting to weight, ALL CAPS, letter spacing and alignment as you drag the sliders — and painted in the real output colours, white on black. The Settings panel is grey on grey; the glass is pure white on pure black, and in that contrast the stroke swells. Weight judged in the panel's light is weight judged in the wrong light. Hovering an entry redraws the sample without committing, so you can compare all of them without seven undo steps.
• The colour picker measures contrast. Colours that miss 7:1 against the current background are dimmed — a third of the grid, on the default black. Dimmed, not blocked: matching a channel's artwork is a real reason to pick a weak colour, and a picker that forbids makes you switch the warning off entirely for the rare case. 7:1 and not the web's 4.5:1 because that ruler assumes reading half a metre away in a lit office; here the text crosses a half-mirrored glass and is read three metres out by someone who cannot go back.
• Eight colours that stay apart from each other, behind More colours — eight the grid does not contain. They came from a search, not from taste: one colour per nameable family (yellow, orange, coral, pink, purple, blue, green, plus white) and, inside each family, the tone that makes the set's worst pair as large as possible. Every pair is measured twice, with normal vision and with deuteranopia, and the worse of the two counts. Run without the family constraint, the same search returns two blues, two yellows and no green — far apart on paper, useless at the desk, where you need to say "put HARI on the blue one".
• A warning when a colour clashes with one already on screen. Half-dimmed means it is too close to a presenter's colour, to the text colour or to the direction colour — the ones actually sharing the glass. It matters most in the full grid, where neighbouring cells are almost the same colour and nothing used to say so.
• Press to try a colour, release to keep it, release outside to give up. The picker always committed on click, so comparing three colours meant committing all three. Now pressing a swatch applies it at once, dragging across the palette swaps it live, and letting go outside restores what was there. The palette stays open after you give up: you refused that colour, not the whole choice.
• A font for the editor, in the Editing footer, kept per machine rather than in the project — sending a .valendo to a colleague never changes the font they type in.

Fixed

• The presenter's name line no longer nudges the caret. It was drawn in real bold, the only thing in the editor that changed a glyph's advance width. It never showed while the editor font was monospaced, because Consolas draws its bold at the same width; with the proportional fonts the menu now offers, the invisible textarea and the coloured layer underneath stopped agreeing, and the caret landed beside the letter you were looking at. It is now painted with an outline, like every other emphasis in that panel.
• Ligatures no longer widen the reading band. The fi in "final" is a single glyph in Literata, Newsreader and Alegreya, and a one-character measurement returns the whole cluster's rectangle — so the FOLLOW band and the FIND ALL boxes came out too wide. The editor's two layers now disable ligatures explicitly, instead of relying on the default font being the variant that has none.
• Changing the font with FIND ALL on now re-measures the boxes. They stayed measured against the previous font until the next keystroke in the search field.
• The speed display stops resizing with the number. Going from 99 to 100 widened the whole display and pushed what sat beside it. In a console operated at a glance, the worst moment for something to move is the one where you are looking at it — and it moved because it was being looked at. The cell now reserves three digits, which is what 60…500 needs, and centres the value inside them.
• The pace figure sits in the middle of its display. The box was already centred; the ink was not — digits have no descender, so the bottom fifth of the number's box is always empty, while the label carried spare half-leading below. Both gaps fell on the same side. It also fixes the ELAPSED and REMAINING clocks, which use the same part.

Changed

• The Editing font list is no longer the output's. They answer different questions — what is comfortable to type in for hours, versus what reads three metres away on a mirrored glass. The output keeps its seven entries and its behaviour, unchanged. If you had picked "Serif" or "Condensed" in the editor, it returns to monospace: those left the Editing menu and remain in the output. Without that, the menu would show one name while the editor drew something else.
• The Editing font list is alphabetical. It was grouped by nature — monospaced, proportional, serif — but at ten entries that ordering costs more than it gives: knowing the name of the font you want and having to work out which group it lives in is slower than scanning the whole list.
• The target duration under the speed ruler is larger and sits closer to it. It inherited the body size of a group label, because it inherited that row from the scale's endpoints. But it is a number you read at a glance and click to change the pace — small and set apart, it read as a footnote to the display instead of the ruler's other half.

Documentation · site

The README, the site and the wiki still describe 1.4.1 — they know nothing about presets, search, marks, the embedded fonts or the colour work, and are being updated separately. If the app has features the documentation does not mention, that is why.

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

They also embed ten typefaces, each under the SIL Open Font License 1.1: Inter, Cascadia Mono, JetBrains Mono, iA Writer Quattro, Atkinson Hyperlegible Next, Lexend, IBM Plex Sans, Literata, Newsreader and Alegreya. The OFL permits bundling and selling fonts with software; it forbids selling the fonts on their own. Every licence text ships beside the app, in resources/licencas/.