The following is a list of every tag supported by the Advanced SubstationAlpha format. This is basically a detailed version of ass-quickref.txt. Seethe tutorial for an introduction to typesetting,using some basic tags.
Special charactersThe following tags are written in the middle of the text, and not insideoverride blocks (i.e. not between { and }).
Soft line break\n
Insert a forced line break, but only when in wrapping mode 2. (Seethe \q tag). Note that this is a lowercase n.In all other wrapping modes, this is replaced by a regular space. This israrely (if ever) actually useful. If you're not sure whether you want this or\N, you probably want \N.
Hard line break\N
Insert a forced line break, regardless of wrapping mode. Note that this is anuppercase N.Hard space\h
Insert a non-breaking "hard" space. The line will never break automaticallyright before or after a hard space, and hard spaces are not folded when theyappear at the start or end of a displayed line.Override tagsOverride tags must appear within override blocks, which begin with { and endwith }. Any unrecognized text within override blocks is silently ignored, sothey are also commonly used for inline comments. Mixing comments and overridetags in the same override block is not recommended.
Tags fall into two general categories: those which set a property of the lineitself, and those which modifiy only the text following them. \pos, \move,\clip, \iclip, \org, \fade and \fad are those in the first category;all others are in the second. Tags in the first category should appear at mostonce in a line, and where in the line they appear is unimportant. In addition,some of them are mutally exclusive: \pos and \move; \clip and \iclip;\fad and \fade. The result of inluding multiple instances of these tags ormutally exclusive tags will vary between renderers and is not recommended.
Tags in the second category modify all text after the tag until the end of theline or until the property is re-overridden by another tag.
Override tags always follow the same form: They start with a backslash \character, then a name, and after the name the parameter to the tag. If theparameter is omitted, the default value from the line's style is used.
Some tags are "complex" and take more than one parameter. In these cases,parameters are put inside parentheses with commas between the parameters.
Note on typography:On this page, everything written in italics with around it is a parameter and you must enter a value instead of it. The anglebrackets are not part of the value you should enter. Use the examples as aguide to how the tags should be entered. In general, the same rules apply toall tags in how they look.
Italics\i1\i0
Switch italics text on or off. Use \i1 to enable italics for the followingtext and \i0 to disable italics again.Bold\b1\b0\b
Switch boldface text on or off. Use \b1 to enable boldface for thefollowing text and \b0 to disable boldface again.
The \b form allows you to specify anexplicit weight to use. Note that most fonts only support one or two weightsso you rarely need to use this. Font weights are multiples of 100, such that100 is the lowest, 400 is "normal", 700 is "bold" and 900 is the heaviest.
ExampleI am {\b1}not[\b0} amused.The word “not” is written in boldface.
Example{\b100}How {\b300}bold {\b500}can {\b700}you {\b900}get?The words are written with increasingly greater weight. Note that most fontsdo not have more than one or two different weights and you will only be ableto see “not bold” and “bold” in that case.
Underline\u1\u0
Switch underlined text on or off. Use \u1 to enable underlining forthe following text and \u0 to disable underlining again.Strikeout\s1\s0
Switch striked out text on or off. Use \s1 to enable strikeout forthe following text and \s0 to disable strikeout again.Border size\bord
Change the width of the border around the text. Set the size to 0 (zero) todisable the border entirely.If "scale border and shadow" (see script properties) isenabled, the value is given in script resolution pixels, otherwise it is givenin video resolution pixels (which means the border thickness will varydepending on the resolution of the video on which the subtitles are rendered.)
The value is not limited to whole integer pixels and can have decimal places.Border width cannot be negative.
Example\bord0Disable border entirely.
Examplebord3.7Set the border width to 3.7 pixels
Border size (extended)\xbord\ybord
Use the \xbord \ybord tags to set the border size in X and Y directionseparately. This can be useful for correcting the border size for anamorphicrendering of subtitles.
Note that if you use \bord after \xbord or \ybord on a line, it willoverride both of them.
You can set the border width to 0 (zero) in one of the directions to entirelydisable border in that direction.
Shadow distance\shad
Set the distance from the text to position the shadow. Set the depth to 0(zero) to disable shadow entirely. Works similar to \bord.The shadow distance can not be negative with this tag.
Shadow distance (extended)\xshad\yshad
Set the distance from the text to position the shadow at, with X and Yposition set separately. Shadow is only disabled if both X and Y distance is0.
Note that unlike \shad, you can set the distance negative with these tags toposition the shadow to the top or left of the text.
Blur edges\be0\be1\be
Enable or disable a subtle softening-effect for the edges of the text. Theeffect isn't always very visible, but it can in some cases make the text lookbetter. It is usually more visible at smaller text sizes.
Be aware that this tag blurs the edges of the text, not everything. Thismeans that if the text has a border (set with \bord) theborder will be blurred, but if there is no border, the main text will beblurred instead.
In the extended version, strength is the number of times to apply theregular effect. Note that at high values the effect de-generates intonothingness, and generally isn't very useful. For strong blurs, \blur isgenerally more useful as a result. The strength must be an integer number.
Blur edges (Gaussian kernel)\blur
In general, this has the same function as the `\be` tag, butuses a more advanced algorithm that looks better at high strengths. Unlike\be, the strength can be non-integer here. Set strength to 0 (zero) todisable the effect. Be careful, setting strength too high can take a lot ofCPU time to render.Be aware that this tag blurs the edges of the text, not everything. Thismeans that if the text has a border (set with `\bord`) theborder will be blurred, but if there is no border, the main text will beblurred instead.
Font name\fn
Set the font face to use for the following text. There should be no spacebetween \fn and the font name, and you should not put parentheses or similararound the font name either.Example\fnArialThe text following this tag will be in Arial font.
Example\fnTimes New RomanThe text following this tag will be in Times New Roman font.
Font size\fs
Set the size of the font. The size specified is the height in script pixels,so at font size 40 one line of text is 40 pixels tall. (Technical note: it'sreally typographic (desktop publishing) points, not script pixels, but sincethe rendering is always done at 72 DPI (as per the de facto standard), onepoint ends up being exactly equal to one script resolution pixel.)You can only specify integer font sizes.
Example\fs10The following text will use a size 10 font.
Font scale\fscx\fscy
Adjust the size of the text in X (\fscx or Y (\fscy) direction. Thescale given is in percent, so 100 means "original size".
This is not the same as setting the font size, as setting the size is subjectto font hinting while scaling thetext modifies the text shape after hinting. As a result, this should always beused with \t rather than \fs, as animating changing font hinting is veryrarely desirable.
These tags also affect vector drawings.
You can use font scaling to correct for anamorphic rendering and to specifytext size more precisely than with \fs.
Note that older versions of VSFitler will truncate non-integer scales.
Example\fscx150Make the text 50% wider than normal.
Example\fscy50Make the text half height.
Example\fscx200\fscy200Make the text double size.
Letter spacing\fsp
Changes the spacing between the individual letters in the text. You can usethis to spread the text more out visually. The spacing is given in scriptresolution pixels.Spacing can be negative and can have decimals.
Text rotation\frx\fry\frz\fr
Rotates the text along the X, Y or Z axis. The \fr tag is a shortcut for \frz.
The X axis runs horizontally on the screen. Rotating on it (withpositive values) causes an effect where the top of the text moves farther"into" the screen while the bottom moves "out" of the screen. The Y axis runs vertically on the screen. Rotating on it (with positivevalues) causes the text to rotate so that the left moves "outside" thescreen, when the right moves "into" the screen. The Z axis runs perpendicular to the screen. Rotating on it (withpositive values) causes the text to rotate in 2D, counterclockwise (asstandard for degrees).The rotation amount is given in mathematical degrees, such that 360 degreesis a full rotation, and rotating any multiple of 360 is the same as notrotating. It is legal to specify negative rotation amounts, as well as amountslarger than 360 degrees.
The rotation is performed around the subtitle line origin point, this isdescribed with the \org tag.
These tags also affect vector drawings.
Example\frx45Rotate the text 45 degrees on the X axis.
Example\fry-45Rotate the text 45 degrees in opposite direction on the Y axis.
Example\frz180Rotate the text 180 degrees on the Z axis, making it upside-down.
ExampleThe following two rotations produce the same result:
\frz-30\frz330This is because 330 degrees is 30 degrees less than a full rotation of 360 degrees.
Example\t(\frz3600)Perform an animation where the text performs 10 full revolutions on the Z axis. Also see the \t tag.
ExampleThe following screenshots illustrate the effect of rotating on the different axes:
\fax\fay
Perform a shearing (perspective distortion) transformation of the text. Afactor of 0 (zero) means no distortion.
Usually factor will be a small number; values outside the range -2 to 2 areunlikely to have desireable results.
Shearing is performed after rotation, on the rotated coordinates. Thecoordinate system used for shearing is not affected by the rotationorigin.
Example
\fe
Set the Windows font encoding used to select the font mapping table used totranslate Unicode codepoints to glyph indices in the font. For some fontswithout a Unicode mapping table this might be required to get text in certainlanguages to work. For fonts that do have a Unicode mapping table, it might beused to pick regional variations, such as picking the correct glyph for a Hanideogram that is different in Simplified Chinese, Traditional Chinese,Japanese and Korean.Some common font encoding IDs are:
0 - ANSI, Windows CP-1252 for Western-European languages. 1 - Default, depends on the configuration of the user's system, but alsoallows the font sub-system to dynamically pick a different mapping table insome circumstances. 2 - Symbol, codepoints in the 0-255 range are translated to per-font definedsymbol glyphs, this is used for fonts such as Wingdings. 128 - Shift-JIS, used for Japanese. 129 and 130, respectively Hangeul and Johab, two encoding schemes for Korean. 134 - GB2312, used for Simplified Chinese. 136 - BIG5, used for Traditional Chinese. 162 - Turkish. 163 - Vietnamese. 177 - Hebrew. 178 - Arabic.Is that really correct?
A more complete list can be seen the style editordialog box.
In ASS files stored in non-Unicode encodings, this tag also affects whatcodepage the text following it should be interpreted in. Aegisub doesn'tsupport this use and some renderers might not support it either. It isrecommended you do not rely on this and instead always store your files in aUnicode encoding. (Aegisub stores files in Unicode UTF-8 by default.)
Set color\c&H&\1c&H&\2c&H&\3c&H&\4c&H&
Set the color of the following text. The \c tag is an abbreviation of \1c.
\1c sets the primary fill color. \2c sets the secondary fill color. This is only used for pre-highlight instandard karaoke. \3c sets the border color. \4c sets the shadow color.The color codes are given inhexadecimal in Blue Green Redorder. Note that this is the opposite order of HTML color codes. Color codesmust always start with &H and end with &.
The Pick Color toolbar buttons 
canassist in picking colors and entering the color codes.
\alpha&H\1a&H\2a&H\3a&H\4a&H
Set the alpha (transparency) of the text.
\alpha sets the alpha of all components at once. \1a sets the primary fill alpha. \2a sets the secondary fill alpha. This is only used for pre-highlight instandard karaoke. \3a sets the border alpha. \4a sets the shadow alpha.An alpha of 00 (zero) means opaque/fully visible, and an alpha of FF (ie. 255in decimal) is fully transparent/invisible.
Example\alpha&H80&Set the alpha of all components to hexadecimal 80, decimal 128, making thetext 50% transparent in general.
Example\1a&HFF&Set the primary fill alpha to hexadecimal FF, decimal 255, making it invisibleand effectively leaving only the border and shadow.
Line alignment\an
Specify the alignment of the line. The alignment specifies the position of theline when no position override ormovement is in effect, and otherwise specifies theanchor point of positioning and rotation.The \an tag uses "numpad" values for the pos, ie. the alignment valuescorrespond to the positions of the digits on the numeric keypad on a regularkeyboard:
Bottom left Bottom center Bottom right Middle left Middle center Middle right Top left Top center Top rightLine alignment (legacy)\a
Specify the alignment of the line using legacy alignment codes from SubStationAlpha. This tag is supported but considered deprecated; you should usually use\an in new scripts instead, as it is more intuitive.The exception is that \a6 should be used for lazy sign translating, becauseif you're going to be lazy you should do it right and save the extra character.
Calculate pos as follows: Use 1 for left-alignment, 2 for center alignmentand 3 for right-alignment. If you want sub-titles you're done. To gettop-titles, add 4 to the number, to get mid-titles add 8 to the number:
1: Bottom left 2: Bottom center 3: Bottom right 5: Top left 6: Top center 7: Top right 9: Middle left 10: Middle center 11: Middle rightKaraoke effect\k\K\kf\ko
Please note that these tags alone only create some very specific effectsand all other effects are created with a combination of multiple differenttags.
The \k family of tags mark up subtitles for karaoke effects by specifyingthe duration of each syllable. You place a \k tag before each syllable inthe line.
The duration is given in centiseconds, ie. a duration of 100 is equivalentto 1 second. You generally don't enter \k tags manually but rather usekaraoke timing tools such as Aegisub's karaokemode.
The different \k tags create various effects:
\k: Before highlight, the syllable is filled with the secondary color andalpha. When the syllable starts, the fill is instantly changed to useprimary color and alpha. \K and \kf: These two are identical. Note that \K is an uppercase Kand is different from lowercase \k. The syllable fill starts out secondarycolor, when the syllable starts, the fill changes from secondary to primarywith a sweep from left to right, so the sweep ends when the syllable time isover. \ko: Similar to \k, except that before highlight, the border/outline ofthe syllable is removed, and appears instantly when the syllable starts.Note: There is an additional karaoke tag, \kt, which is very different fromthe other ones. It is rarely useful and Aegisub does not support that tag, soit is not documented.
Wrap style\q
Determine how line breaking is applied to the subtitle line. The following_style_s are available: 0: Smart wrapping, make each line approximately equally long, but top linewider when equal width is impossible. Only \N forces line breaks. 1: End-of-line wrapping, fill as much text in a line as possible, then breakto next line. Only \N forces line breaks. 2: No word wrapping, wide lines will extend beyound the edges of the screen.Both \n and \N force line breaks. 3: Smart wrapping, similar to style 0, but bottom lines are made wider.Reset style\r\r
Reset the style. This cancels all style overrides in effect, includinganimations, for all following text.The first form that does not specify a style will reset to the style definedfor the entire line, while the second form, that specifies the name of astyle, will reset the style to that specific style.
Example-Hey\N{\rAlternate}-Huh?\N{\r}-Who are you?Assuming the current line style is “Default”, this has first “Hey” in theDefault style, then follows on next line “Huh?” in the style “Alternate”, andon the third line the style is reset to “Default” for the “Who are you?”text.
Set position\pos(,)
Set the position of the line. The X and Y coordinates must be integers andare given in the script resolution coordinate system. The meaning of X andY changes slightly depending on alignment.The alignment of the subtitle line is used as anchor point for the position.I.e. when you have a line with alignment top-left, the top-left corner of thesubtitle is placed at the coordinates given to \pos, and for bottom-centeralignment, the bottom center of the subtitle is placed at the coordinatesgiven.
ExampleThe following screenshots illustrate the way alignment affects positioning.The green cross marks the point (320,240) on the video.
\move(,,,)\move(,,,,,)
The \move tag works similar to `\pos` in that itpositions the subtitle line, the difference is that \move makes the subtitlemove.
The two versions of \move differ in that one makes the movement occur overthe entire duration of the subtitle, while on the other you specify the timeover which the movement occurs.
The coordinates x1, y1, x2 and y2 are given in the script resolutioncoordinate system, like \pos. The subtitle starts out at point (x1,y1)and moves with constant speed so it ends up at (x2,y2).Alignment influences movement coordinates the sameway as it influences \pos coordinates.
In the second version, the times t1 and t2 are given in milliseconds, ie.one thousandth of a second, and are relative to the start time of thesubtitle. For example, a t1 value of 1500 means that the movement begins 1.5seconds (one and a half second) after the line has appeared on screen. Whenyou specify times for the movement, the position of the subtitle is asfollows:
Before t1, the subtitle is stationary at point (x1,y1). Between t1 and t2, the subtitle moves with constant speed from (x1,y1) to (x2,y2). After t2 the subtitle is stationary at point (x2,y2).Note that it is legal to have t1 and t2 specify times greater than theduration of the line, but it might not be very useful to do so. Specifyingboth t1 and t2 as 0 (zero) is the same as using the first version of\move, ie. the movement will occur from the start time of the line to theend time of the line.
There are some things \move can not do:
Non-constant-speed movement is not possible. The movement can not, forexample, start out slow and end fast. There can only be one positioning or movement tag in a line. Putting both a\pos and a \move tag in a line will not work. It will also not work toput two or more \move tags in a single line.If you need to do do any of those two you will need to split the movement intosegments that are done on separate subtitle lines. (How to do this is outsidethe scope of this page.)
Example\move(100,150,300,350)When the line appears on screen, the subtitle is at (100,150). While thesubtitle is displayed, it moves at constant speed such that it will arrive atpoint (300,350) at the same time it disappears.
Example\move(100,150,300,350,500,1500)The line appears at (100,150). After the line has been displayed for half asecond (500 milliseconds) it begins moving towards (300,350) such that it willarrive at the point a second and a half (1500 milliseconds) after the linefirst appeared on screen.
Rotation origin\org(,)
Set the origin point used for rotation. Thisaffects all rotations of the line. The X and Y coordinates are given ininteger script resolution pixels.When there is no \org tag in a line, the rotation origin is implicitly thesame as the position anchor point. This means thatthe rotation origin will move if the line moves and there is no origin setwith \org. Note that you can not animate the \org tag, you are limitedto a fixed origin if you use it.
If the rotation origin is placed on the vanishing point in a 3D scene, 3Drotations of subtitle line will produce the correct perspective to match thescene.
It's perfectly possible (and occasionally useful) to place the origin pointfar outside the actual image; if it is sufficiently far away, doingappropriately calculated small rotations will seem to move the text along astraight (or almost straight) line through the image. This is somewhat hard tocontrol, but can be used to work around format limitations with \move, such asthe inability to do accelerated moves or several moves per line.
There can be at most one \org tag in a single line, if you put more than onein a single line, only the first is used.
Example\org(320,240)Fix the rotation origin at point (320,240).
Example\org(10000,0)Placing the rotation origin at a far away point allows you to use slight\frz rotations to produce “jumping” effects; the text will move up or downwithout seeming to rotate.
Fade\fad(,)
Produce a fade-in and fade-out effect. The fadein and fadeout times aregiven in milliseconds, ie. 1000 means one second. You can specify fadein orfadeout as 0 (zero) to not have any fade effect on that end.Adding a fade effect does not extend the duration of the line, rather thestart or end of the line's display time is used for the fade effect. For thisreason, you should be careful that fadein+fadeout is not greater than theduration of the line. For example, for a line displayed for 4 seconds, the sumof fadein+fadeout should not be greater than 4000.
Example\fad(1200,250)Fade in the line in the first 1.2 seconds it is to be displayed, and fade itout for the last one quarter second it is displayed.
Fade (complex)\fade(,,,,,,)
Perform a five-part fade using three alpha values a1, a2 and a3 and fourtimes t1, t2, t3 and t4.The alpha values are given in decimal and are between 0 and 255, with 0being fully visible and 255 being invisible. The time values are given inmilliseconds after the start of the line. All seven parameters are required.(For most common fade effects the [[\fad|ASS_Tags#fade]] tag works fine.)
Before t1, the line has alpha a1. Between t1 and t2 the line fades from alpha a1 to alpha a2. Between t2 and t3 the line has alpha a2 constantly. Between t3 and t4 the line fades from alpha a2 to alpha a3. After t4 the line has alpha a3.Example\fade(255,32,224,0,500,2000,2200)Starts invisible, fades to almost totally opaque, then fades to almost totallyinvisible. First fade starts when the line starts and lasts 500 milliseconds.Second fade starts 1500 milliseconds later, and lasts 200 milliseconds.
Animated transform\t()\t(,)\t(,,)\t(,,,)
Perform a gradual, animated transformation from one style to another. Thestyle modifiers are other override tags as specified in this reference. Onlya limited set of the override tags are animateable with \t:
Font Geometry Other effects \fs \fscx \bord \fsp \fscy \xbord \c \frx \ybord \1c \fry \shad \2c \frz \xshad \3c \fr \yshad \4c \fax \clip \alpha \fay \iclip \1a \be \2a \blur \3a \4aNote: For \clip and \iclip, only the rectangle versions can be animated. Thevector drawing versions cannot be animated.
Note: Mixing \clip and \iclip in \t tags has undesireable results.
The t1 and t2 parameters specify the time interval to perform thetransformation over. In the versions without t1 and t2 the transformationis performed over the entire duration of the line. The times are given inmilliseconds and are relative to the start time of the line. (For the rest ofthe description of \t, t1 and t2 are assumed to be specified, orimplicitly be respectively 0 and the duration of the line.)
The accel parameter can be used to make the animation non-linear and insteadfollow an exponential curve. An accel parameter of 1 (one) causes theanimation speed to be linear. A value bewteen 0 and 1 causes the animation tostart fast and end slow. A value greater than 1 causes the animation to startslow and end fast. (For the mathematically inclined, the function is y = xwith x ∈ [0;1] = (t-_t1)/(_t2-_t1), _t being the current time.)
Before t1, the style is as all tags before the \t tag specify. After t2the style is as all tags before the \t tag, and further overridden by thegiven style overrides. Between t1 and t2 the style is gradually animatedbetween those two points, following the acceleration function described above.
Example{\1c&HFF0000&\t(\1c&H0000FF&)}Hello!The text starts out blue, but fades towards red so it is completely red when the line ends.
Example{\an5\t(0,5000,\frz3600)}WheeeMakes the text rotate 10 times, counterclockwise, lasting for 5 seconds.
Example{\an5\t(0,5000,0.5,\frz3600)}WheeeSame as above, but it will start fast and slow down, still doing the 10 rotations in 5 seconds.
Example{\an5\fscx0\fscy0\t(0,500,\fscx100\fscy100)}Boo!Text starts at zero size, i.e. invisible, then grows to 100% size in both X and Y direction.
Clip (rectangle)\clip(,,,)\iclip(,,,)
Define a rectangle to clip the line, only the part of the line that is insidethe rectangle is visible. The \iclip tag has the opposite effect, it definesa rectangle where the line is not shown.
The x1, y1, x2 and y2 coordinates are given in script resolutionpixels and are relative to the top-left corner of the video. The coordinatesmust be integers, there is no possibility to use non-integer coordinates.(Increasing the script resolution will not increase the precision, theclipping always happens on video pixel boundaries.)
Example\clip(0,0,320,240)Assuming 640x480 script resolution, only the part of the line within the topleft quadrant is visible.
Example\iclip(0,0,320,240)Similar to above, but instead the part of the line within the top leftquadrant is hidden.
ExampleExample of \clip(0,0,704,245) on a 704x480 video:
\clip()\clip(,)\iclip()\iclip(,)
Use the shape defined by a vector drawing to selectively display (\clip) orhide (\iclip) parts of the line.
The drawing commands are drawing commands as those used with the \p tag,the coordinates are given in script resolution pixels and are relative to thetop left corner of the video.
If the scale is not specified it is assumed to be 1 (one), meaning thatcoordinates correspond directly to pixels. The scale works the same way asthe scale for \p drawings.
Unlike the rectangular clip, the vector drawing clip can not be animatedwith \t. If you need to animate a vector drawing clip, you must createmultiple similar subtitle lines with each their own "frame" of the clippinganimation.
Example\clip(1,m 50 0 b 100 0 100 100 50 100 b 0 100 0 0 50 0)Only show the portion of the line within the defined pseudo-circle.
Drawing tagsAdvanced Substation Alpha also supports some advanced drawing tags that allowyou to draw with vectorial graphics. Certain familiarity with vectors andsplines will make the understanding of this much simpler.
\p - Toggle drawing modeSetting this tag to 1 or above enables drawing mode. Text after this overrideblock will then be interpreted as drawing instructions, and not as actuallyvisible text. Setting this to zero disables drawing mode, restoring normalbehavior. When turning on, the value might be any integer larger than zero,and will be interpreted as the scale, in 2^(value-1) mode. This is done toallow sub-pixel accuracy.e.g.:
\p1(Enables drawing with normal coordinates)
\p0(Disables drawing)
\p2(Enables drawing, and resolution is doubled. So drawing to 200,200 willactually draw to 100,100)
\p4(Enables drawing, and resolution is 8x larger (2^(4-1)). So drawing to 400,400will actually draw to 50,50)
\pbo - Baseline offsetDefines baseline offset for drawing. This is basically an Y offset to allcoordinates.e.g.:
\pbo-50(Draws everything 50 pixels above specified)
\pbo100(Draws everything 100 pixels below specified)
Drawing commandsThese commands should appear either in a \clip tag (vectorial overload) orbetween \p# and \p0, outside override blocks. For example (taken straightfrom the ASS specs):
Square:
{\p1}m 0 0 l 100 0 100 100 0 100{\p0}
Rounded square:
{\p1}m 0 0 s 100 0 100 100 0 100 c{\p0}
(c equals to "p 0 0 100 0 100 100" in this case)
Circle (almost):
{\p1}m 50 0 b 100 0 100 100 50 100 b 0 100 0 0 50 0{\p0}
(note that the 2nd 'b' is optional here)
Drawing commands use the primary color for fill and outline color for borders.They also display shadow. The idea of drawing vectors is that there is aninvisible "cursor" (think of it as the mouse pointer in a drawing program, oras a pen moving through the image) on the video frame, and you tell it to moveto other positions. As it moves, it draws on the area behind it, and when youclose the line formed, it fills it with the primary color.
m- MoveMoves the cursor to x,y. If you have an unclosed shape, it will automaticallybe closed, as the program assumes that you are now drawing a new, independentshape. All drawing routines must start with this command.
n- Move (no closing)Moves the cursor to x,y, without closing the current shape.
l- LineDraws a line from the current cursor position to x,y, and moves the cursorthere afterwards.
b- Cubic Bézier curveDraws a cubic (3rd degree) Bézier curve from the cursor position to (x3,y3),using (x1,y1) and (x2,y2) as the control points. Check the article onWikipedia for moreinformation about Bézier curves. In this picture taken from that article, P0is the cursor position, P1 is x1,y1, P2 is x2,y2 and P3 is x3,y3:
Note that the curve begins at P0, heads towards P1, then arrives at P3 comingfrom P2's direction.
Draws a cubic (3rd degree) uniform b-spline to point N. This must contain atleast 3 coordinates (and is, in that case, the same as b). This basically letsyou chain several cubic Bézier curves together. Check this other article onWikipedia for more information.
p- Extend b-splineExtends the b-spline to x,y. This is essentially the same as adding anotherpair of coordinates at the end of s.
c - Close b-splineCloses the b-spline.
Note: The vector clip visual typesettingtool only supports the m, l and bcommands, and may corrupt drawings which use the other commands.