From 36646863fc943dfa47198a5510110fee2474c918 Mon Sep 17 00:00:00 2001 From: Don Omondi <282319807+mockydevs@users.noreply.github.com> Date: Fri, 6 Nov 2026 19:12:35 -0500 Subject: [PATCH 1/5] .ai import: Art brushes in the older form of their objects come into the Brushes panel Art brush objects whose first number is 1, as older files write them, have one field fewer before their numbers and 8 numbers at the end. The reader wanted exactly 15 and left every such brush out with a note, though an Art brush is read from its art's name alone. Scatter brushes still need all 15 numbers. --- crates/eps/src/import/ai/brush.rs | 7 +++++-- crates/eps/src/import/ai/tests.rs | 18 ++++++++++++++++++ docs/file-format-parity.md | 5 +++-- docs/target-app-parity.md | 5 +++-- 4 files changed, 29 insertions(+), 6 deletions(-) diff --git a/crates/eps/src/import/ai/brush.rs b/crates/eps/src/import/ai/brush.rs index 4c9bda1b1..f67724693 100644 --- a/crates/eps/src/import/ai/brush.rs +++ b/crates/eps/src/import/ai/brush.rs @@ -21,7 +21,9 @@ //! page). //! - A Scatter, Art or Pattern brush's parameters are fields split by `/`: a number, the art's //! section names (one for Scatter, five for Art and Pattern, empty where there is none, each -//! after a space for Art and Pattern), more fields, and last 15 numbers. +//! after a space for Art and Pattern), more fields, and last 15 numbers. Brushes whose first +//! number is 1, as older files write them, have one field fewer before the numbers and 8 numbers; +//! an Art brush is read from its art's name alone, so either form reads. //! - Scatter: the size (2, 3), spacing (5, 6) and scatter (8, 9) as (low, high) factors of the //! art, the rotation in degrees (11, 12), how each varies (4, 7, 10, 13) and whether the //! rotation follows the path (14). @@ -247,10 +249,10 @@ pub(super) fn parse_tool_object(kind: Tool, name: &str, params: &str) -> Result< }) .collect(); let n = fields.last().and_then(|f| numbers(f)).ok_or(BrushError::Values)?; - let [_, p2, p3, p4, p5, p6, p7, p8, p9, p10, p11, p12, p13, p14, _] = n.as_slice() else { return Err(BrushError::Values) }; let art = || tiles.first().cloned().flatten().ok_or(BrushError::NoArt); match kind { Tool::Scatter => { + let [_, p2, p3, p4, p5, p6, p7, p8, p9, p10, p11, p12, p13, p14, _] = n.as_slice() else { return Err(BrushError::Values) }; let pct = |a: f64, b: f64| (a * 100.0, b * 100.0); let values = [pct(*p2, *p3), pct(*p5, *p6), pct(*p8, *p9), (*p11, *p12)]; let codes = [*p4, *p7, *p10, *p13]; @@ -270,6 +272,7 @@ pub(super) fn parse_tool_object(kind: Tool, name: &str, params: &str) -> Result< } Tool::Art => DraftKind::Art { brush: ArtBrush { colorization: Colorization::None, ..ArtBrush::default() }, art: art()? }, _ => { + let [_, _, p3, ..] = n.as_slice() else { return Err(BrushError::Values) }; let tiles: [Option; 5] = tiles.try_into().map_err(|_| BrushError::Values)?; DraftKind::Pattern { tiles, scale: p3 * 100.0 } } diff --git a/crates/eps/src/import/ai/tests.rs b/crates/eps/src/import/ai/tests.rs index c883719e3..53ed6eb82 100644 --- a/crates/eps/src/import/ai/tests.rs +++ b/crates/eps/src/import/ai/tests.rs @@ -7110,6 +7110,24 @@ fn a_pattern_brushs_five_slots_are_kept() { assert!(matches!(d.kind, brush::DraftKind::Art { ref art, .. } if art == "Ribbon art"), "{d:?}"); } +/// An Art brush in the older form (first number 1: one field fewer before its 8 numbers) is read +/// as the newer one is, with the art of its section; a Scatter brush in that form isn't (its values +/// aren't all there). +#[test] +fn an_older_art_brush_comes_in_with_its_art() { + const OLD_RIBBON: &str = "1 / Ribbon art/ / / / / 0 1 / 1 0 1 0 1 0 0 0"; + let d = brush::parse_tool_object(brush::Tool::Art, "Ribbon", OLD_RIBBON).unwrap(); + assert!(matches!(d.kind, brush::DraftKind::Art { ref art, .. } if art == "Ribbon art"), "{d:?}"); + assert_eq!(brush::parse_tool_object(brush::Tool::Scatter, "Spray", "1 /Dot art/ 0 1 / 1 0 1 0 1 0 0 0"), Err(brush::BrushError::Values)); + let objects = [plugin_object(ART_BRUSH, "Ribbon", OLD_RIBBON), plugin_object(ART_BRUSH, "Bare", "1 / / / / / / 0 1 / 1 0 1 0 1 0 0 0")].concat(); + let r = read_ok(&format!("{}{objects}{}", brush_art("Ribbon art", 4.0), layer(""))); + let lib = vectorcraft_brush::library(&r.doc); + let vectorcraft_brush::BrushKind::Art(a) = brush_named(&lib, "Ribbon") else { panic!("art") }; + assert_eq!(a.art.geometric_bounds().map(|b| (b.width(), b.height())), Some((4.0, 4.0)), "the art of its section"); + assert_eq!(lib.len(), 1, "a brush naming no art is left out"); + assert!(r.warnings.iter().any(|w| w.ends_with("Brushes panel (1)")), "{:?}", r.warnings); +} + /// A brush's art filled with a pattern the file defines before it is read, with that pattern. #[test] fn a_brushs_art_takes_the_patterns_defined_before_it() { diff --git a/docs/file-format-parity.md b/docs/file-format-parity.md index d3e2f0303..5bd00e353 100644 --- a/docs/file-format-parity.md +++ b/docs/file-format-parity.md @@ -1,6 +1,6 @@ # File format parity -> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-06 · **Change:** minor (SVG import: filter and mask regions clip, #5876, #5875; SVG import: Gaussian blurs keep `color-interpolation-filters`, #5877; PDF and `.ai` export: objects' URLs as links, #5785; SVG import: `color-interpolation="linearRGB"` gradients, #5878; `.ai` import: paths with a Calligraphic brush open brushed, #372) · **Target:** Adobe Illustrator 2026 (30.x) +> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-06 · **Change:** minor (`.ai` and EPS import: Art brushes in the older form of their objects come into the Brushes panel; SVG import: filter and mask regions clip, #5876, #5875; SVG import: Gaussian blurs keep `color-interpolation-filters`, #5877; PDF and `.ai` export: objects' URLs as links, #5785; SVG import: `color-interpolation="linearRGB"` gradients, #5878; `.ai` import: paths with a Calligraphic brush open brushed, #372) · **Target:** Adobe Illustrator 2026 (30.x) Every format Illustrator opens, places, saves or exports, against VectorCraft's format table (`FORMATS`, `OPEN_EXTS`, `PLACE_EXTS` in `crates/engine/src/cmd/fileio/formats.rs`). Illustrator's list comes from its public @@ -143,7 +143,7 @@ private editing data. VectorCraft: ### Illustrator's private editing data -the app's own editing copy of a file (an EPS after its `%%EOF`, a `.ai`'s `AIPrivateData` streams, a PDF's `AIPDFPrivateData` streams when it was saved with the editing data (#868), Zstandard or zlib, the EPS's in ASCII85) is not documented as a whole. VectorCraft reads its structure: layers and sublayers (names, order, visibility, lock, printing, preview, dimming, colour), groups as they were nested, compound paths (painted by their last path, or the last painted one, with the paths of groups inside them kept as their paths: #1410), clipping groups and layer clipping (several clipping paths in a clipping group, a layer or an opacity mask's art clip to their intersection, and a compound path of clipping paths stays one clip; clipping paths that would nest the art past the document's 32 levels stop the editing data from being read: #5789), object names, hidden and locked objects, fills and strokes (grey, CMYK, RGB, named and spot colours, spot colours defined in Lab with their Lab values (#1032), global process colours as global swatches at their tint; a stroke of width 0, `0 w`, on a path, a gradient-filled path, legacy type or in an art style comes in as a 0.25 pt hairline, as from PDF: #1671), linear and radial gradients, pattern fills with their patterns as pattern swatches (#1025), gradient and pattern names in the file up to their first newline (a name that another swatch, or a gradient or pattern defined earlier, already has is numbered "Sky 2"; a name without a newline is kept, and when another swatch has it, the pattern's swatch, or a named color sharing a gradient or pattern swatch's name, is numbered the same way), opacity, blend modes, isolation and knockout, embedded images where their matrix puts them, rotated ones too (#2269), with their alpha channel (CMYK images keep their ink amounts, as they do when a `.ai` opens from its PDF part, and an alpha channel that hides part of a CMYK image becomes a grayscale opacity mask), placed (linked) files as linked images in their place, each showing the low-resolution preview the file keeps of it until its file is found or relinked in the Links panel (#1264), with the folder the file keeps relative to the document's, where the link is looked for when its path is gone, guides, and every artboard where it is, with its center mark, cross hairs, video safe areas and video ruler pixel aspect ratio. VectorCraft reads `CropAreaActive`, an `/Int` in the dictionary that holds the artboard array, as the index of the active artboard in that array, and the file opens with that artboard active; without it, or when it names no artboard that opens, the first artboard is active. It also reads the Document Raster Effects Settings (resolution, color model, background, anti-alias, clipping mask, Add Around Object and Preserve Spot Colors), the author from the header's `%%For` (an EPS's own header when the editing data's has none), swatches for the header's `%%CMYKCustomColor` and `%%RGBCustomColor` colors that the document has none of, and `%%TemplateBox` in older files; a setting with a value of another type or out of range keeps its default. Objects on Path groups open live, with their path, their objects in order along it, Pivot and Rotate; one with a dragged spacing or other options opens as a plain group. A gradient with stops in the middle runs its whole ramp across its shape, and a gradient object does not pass its fill to the next path (#1390). An object whose art style is one fill and one stroke at most (solid colours, its own gradient, a variable-width profile) with Drop Shadow, Inner Glow, Outer Glow, Feather, Round Corners, Scribble, Offset Path, Outline Object, Outline Stroke, Convert to Shape, Tweak (only when it moves nothing) or Pucker & Bloat at 0 comes in as itself with them and their saved settings. A path, compound path or group (not a clipping group) whose only effect is Transform (not with copies or Random) or a Free Distort whose corners make a parallelogram comes in as itself with it too, when neither it nor anything in it paints with a gradient or pattern and everything in it is a path, compound path or group with no opacity mask and no effects of its own; Transform that scales, rotates or reflects needs nothing in it to be stroked. Twist as the only effect is read the same way on an unstroked path or compound path whose segments are all straight. One with more, other effects (Zig Zag, a Pucker & Bloat of another amount, a Free Distort with other corners), an effect setting that is not read (an unknown key, a missing or out-of-range value, a Scribble with a color of its own), dashes aligned to corners, a brush other than a Calligraphic one, or a Calligraphic brush with settings of its own or an angle that follows the path comes in as its drawn look (a group named after it). A path with a Calligraphic brush otherwise comes in as the path, the brush on its stroke at the stroke's weight, which scales the brush (#372). A Calligraphic brush's Pressure, Tilt, Bearing and Rotation come in as those channels (a 6D Art Pen's brushes vary with the pressure, the bearing and the barrel's rotation); its Stylus Wheel varies at random. The file's Calligraphic, Scatter, Art and Bristle brushes replace the default ones in the Brushes panel, in the file's order, also when the file comes in as its PDF part (a brush library has no layers); pattern brushes and brushes it can't read are left out with a note. Type keeps its art style as a live appearance whatever its stack, so it can be retyped: each fill and stroke of the style's stack (solid colours, gradients and pattern fills, placed as the drawn look places them) with its own opacity, blend mode and effects, the effects on the whole object, and where the characters paint among them; the effects read are Warp, Offset Path, Outline Object, Outline Stroke, Transform (with copies, Transform Objects, Transform Patterns and Scale Strokes & Effects; not with Random), Free Distort, Pucker & Bloat, Twist, Zig Zag, Tweak (only when it moves nothing, the file holding none of its random outline), Drop Shadow, Inner Glow, Outer Glow, Feather, Round Corners, Scribble, Gaussian Blur, Bas Relief (its settings at their defaults) and Convert to Shape, and a style with others, or with an effect setting that isn't read, keeps the type's drawn look. Convert to Shape keeps its Rectangle, Rounded Rectangle or Ellipse, its Absolute or Relative size (a relative size in the file is added to each side) and its corner radius; a relative Ellipse, or a setting that isn't read, keeps the drawn look. The page's drawing of such a style isn't held to look like VectorCraft's where its drawn look lay. Gradients take their matrix (`Xm`, radials and skewed ones too), focal point and the order of stops sharing a ramp point; gradient meshes, a clipping path's own fill and its stroke, and the artboards' names are read too. `editingData: "always"` (`convert --editing-data`) opens a `.ai` or an Illustrator EPS from its editing data even where it draws differently from its page, which can be older, with a note. Type is made from the file's text document, whole and editable, shown or not: point type (its frame's matrix, which newer files leave out when it is neither turned nor scaled, read as none), area type (a story in several frames as threaded type) and type on a path, with its characters, fonts, size, leading, tracking, scaling, baseline shift, fill and stroke (grey, RGB or CMYK), alignment, indents and paragraph spacing (a character attribute a run doesn't set comes from its character style, then the style that one is based on, then the document's defaults); area type keeps its frame's Area Type Options rows and columns, the gutter between rows and the gutter between columns, and its first baseline (Fixed, Cap Height, Leading or x Height) with its minimum; the page's drawing of it (often in pieces) is left out. Vertical type keeps its orientation, its columns from right to left, and a run set to Tate-chu-yoko keeps that setting. When it makes the type of every text object that shows, the page's type is only compared with it, each text object keeps its own group, frame and layer, and a line break inside a paragraph stays one. Where it can't make a text object's type (a frame of another kind), that text object takes the page's type where the text document puts its lines, or else what is left of the page's type in painting order (no group around it); the page's type where made type draws stays that type's, and hidden type is left out with a note. Text wrap is read too: an object whose dictionary has the wrap options (offset and Invert Wrap), or any graphic of a legacy wraparound group (`*w` … `*W`, before or after its type, with no offset), is a wrap object, and area type below it in its layer flows around it when the file opens, threaded type included (#2763). Kerning, underline and the other character and paragraph options aren't read yet. A `.ai` saved without PDF compatibility (a placeholder page) opens from its editing data alone, its point type, area type and type on a path made from the text document. A `.ai` whose PDF part shows only text isn't taken for that placeholder when its page states an art, trim or bleed box: it opens from its editing data alone where that reads, else from its PDF part (#1387). A `.ai` whose PDF part draws nothing at all (an empty page, with or without those boxes) opens from its editing data alone where that reads too: there is no page art to check its layers against, and the empty page would lose all of it. Text objects with an appearance keep their own text and frame, type of hidden layers stays hidden, and type on later artboards lands on its text objects (#1391); area type whose frame is too short for a line of the fallback font shows its first line (the frame is made taller, with a warning in the open result) (#1392). Symbols are read into the Symbols panel, in the file's symbol list order, with their art, their registration point and the instances in their art, and their instances come in live with their matrix, name, hide, lock, opacity, blending mode, isolation, knockout and opacity mask; a symbol whose art isn't read whole (type, placed files, an image it leaves out or anything else it doesn't read) isn't kept. Symbols are read only with the layers: a file that comes in as its page or PDF part (editing data with no layers, layers that can't be read, or any of the cases below) opens with an empty Symbols panel. Instances of symbols it can't read, instances with appearance changes of their own (a dynamic symbol's), pattern fills whose pattern it can't read, placed files the data keeps no preview of and anything else it doesn't read make the file come in as its page (on a layer that doesn't show, they are left out of that layer), with a warning saying what. An unread object on a shown layer whose box can be found instead comes in as a group of the page's objects inside that box, named after it, with the rest of the layers and groups kept and a warning listing what came in as the page's art; the file still comes in as its page when live art or another unread object shares that page art, when the object spans two artboards or lies on an artboard that has no page, when no page art lies inside its box, when that page art is inside a page group with a clip, mask, transparency or appearance, when the object holds a frame of threaded type, when the page art uses a pattern, image or swatch that the page lacks or that differs from the editing data's, or when the page art doesn't carry its transparency (#4806). The layers' art is also compared with the page (by lightness, so colours written as their CMYK equivalents compare alike, and by whether a pixel is inked at all); the page is used when they differ by more than 5% (away from type, when all the type is made from the text document), where one draws an object the other doesn't (away from type, whose lines may be laid out afresh), and when an EPS whose page is its art's box has art printed outside it (#735). A `.ai` is not compared with its page, and its PDF part is not imported, when its text document makes the type of every text object (at least one shows, and none is drawn by the appearance of the layer or group it is in), no object is unread, no placed file has a second placement, no live envelope keeps its drawn art, it declares no large canvas, and its artboards are its pages' trim boxes one for one, in points or in the first page's `UserUnit`: it opens from its layers, with the bleed of its pages' bleed boxes. When they differ because some objects draw differently (an object in another color, or one that only one of them draws), each top-level object of the layers that holds such a difference comes in as a group of the page's objects inside its box and the layers stay, with a warning that names the layer or sublayer of each such object as the Layers panel shows it (`` for one without a name) and how many came in from it; an export or Save As to the file's own path then needs `acknowledgeLoss: true`, and a wrap object replaced this way keeps its wrap options. The file still comes in as its page when only edges or type differ, when a difference lies outside every top-level object, when more than half of the top-level objects or more than 64 hold one, when such an object is or holds type or holds a wrap object inside a group, when the page's type of a text object that stays lies inside such an object's box, when the page's art can't replace such an object for one of the reasons above for an unread object, when matching the differences to the objects would take too much work, or when the result still differs from the page. `editingData: "always"` keeps the objects as read, and placed files at the other point their data gives are tried as well. An EPS whose page is its art's box keeps that page when it comes in through its layers, not the editing data's artboard, and a text object counts as drawn by the page by its colours, not only its lightness, so a red stroke stacked over a dark red one stays (#1102). `textAs: "outlines"` opens a `.ai` whose type shows from its PDF part, which has the outlines; `editingData: false` opens any of them as its page or PDF part only, for print pipelines (#735). A file whose import left something out (hidden text, art or layers) is never written over by an export or Save As to its own path unless `acknowledgeLoss: true` (`convert --replace-lossy`), so the original keeps what the document lacks. Where a `.ai` can't be read that way (or its layers are turned off in the import options), we read its PDF-compatible part, so Illustrator-only live objects arrive as appearance, and plain groups arrive ungrouped: that part draws each object on its own and marks only layers, clipping groups and groups with opacity, blending or a mask (those come back). Art outside the artboards isn't in that part at all (Illustrator's PDF part leaves it out), so it doesn't open; the import says so in a note (#472). Its pages still go where the editing data puts the artboards (a grid stays a grid), with the art on each, when it has as many artboards as pages, of the same sizes (#1068); the page of the artboard `CropAreaActive` names is then the active artboard. A `.ai` whose editing data has artboards but no layers also opens on that page under the same check, and its pages stay where they are. A `.ai` whose PDF part's pages are cropped to its art (each page the box of all the art, which is the editing data's bounding box) instead of its artboards opens from its layers, with its own artboards, where they draw as that page does. Its pages are laid out so that art one of them draws past its artboard (notes beside a design, which the part doesn't clip) doesn't lie over the page before it in the row, where it was taken for that page's art: the check against the editing data then found art its layers don't have there and opened the file as its PDF part, without the art outside the artboards. That part also has no paragraphs: area type is written line by line, and comes back as area type only where its font is installed and lays the lines out with the same breaks, else as a point type object per line (#508). Art off the page that a PDF does draw opens on the pasteboard. +the app's own editing copy of a file (an EPS after its `%%EOF`, a `.ai`'s `AIPrivateData` streams, a PDF's `AIPDFPrivateData` streams when it was saved with the editing data (#868), Zstandard or zlib, the EPS's in ASCII85) is not documented as a whole. VectorCraft reads its structure: layers and sublayers (names, order, visibility, lock, printing, preview, dimming, colour), groups as they were nested, compound paths (painted by their last path, or the last painted one, with the paths of groups inside them kept as their paths: #1410), clipping groups and layer clipping (several clipping paths in a clipping group, a layer or an opacity mask's art clip to their intersection, and a compound path of clipping paths stays one clip; clipping paths that would nest the art past the document's 32 levels stop the editing data from being read: #5789), object names, hidden and locked objects, fills and strokes (grey, CMYK, RGB, named and spot colours, spot colours defined in Lab with their Lab values (#1032), global process colours as global swatches at their tint; a stroke of width 0, `0 w`, on a path, a gradient-filled path, legacy type or in an art style comes in as a 0.25 pt hairline, as from PDF: #1671), linear and radial gradients, pattern fills with their patterns as pattern swatches (#1025), gradient and pattern names in the file up to their first newline (a name that another swatch, or a gradient or pattern defined earlier, already has is numbered "Sky 2"; a name without a newline is kept, and when another swatch has it, the pattern's swatch, or a named color sharing a gradient or pattern swatch's name, is numbered the same way), opacity, blend modes, isolation and knockout, embedded images where their matrix puts them, rotated ones too (#2269), with their alpha channel (CMYK images keep their ink amounts, as they do when a `.ai` opens from its PDF part, and an alpha channel that hides part of a CMYK image becomes a grayscale opacity mask), placed (linked) files as linked images in their place, each showing the low-resolution preview the file keeps of it until its file is found or relinked in the Links panel (#1264), with the folder the file keeps relative to the document's, where the link is looked for when its path is gone, guides, and every artboard where it is, with its center mark, cross hairs, video safe areas and video ruler pixel aspect ratio. VectorCraft reads `CropAreaActive`, an `/Int` in the dictionary that holds the artboard array, as the index of the active artboard in that array, and the file opens with that artboard active; without it, or when it names no artboard that opens, the first artboard is active. It also reads the Document Raster Effects Settings (resolution, color model, background, anti-alias, clipping mask, Add Around Object and Preserve Spot Colors), the author from the header's `%%For` (an EPS's own header when the editing data's has none), swatches for the header's `%%CMYKCustomColor` and `%%RGBCustomColor` colors that the document has none of, and `%%TemplateBox` in older files; a setting with a value of another type or out of range keeps its default. Objects on Path groups open live, with their path, their objects in order along it, Pivot and Rotate; one with a dragged spacing or other options opens as a plain group. A gradient with stops in the middle runs its whole ramp across its shape, and a gradient object does not pass its fill to the next path (#1390). An object whose art style is one fill and one stroke at most (solid colours, its own gradient, a variable-width profile) with Drop Shadow, Inner Glow, Outer Glow, Feather, Round Corners, Scribble, Offset Path, Outline Object, Outline Stroke, Convert to Shape, Tweak (only when it moves nothing) or Pucker & Bloat at 0 comes in as itself with them and their saved settings. A path, compound path or group (not a clipping group) whose only effect is Transform (not with copies or Random) or a Free Distort whose corners make a parallelogram comes in as itself with it too, when neither it nor anything in it paints with a gradient or pattern and everything in it is a path, compound path or group with no opacity mask and no effects of its own; Transform that scales, rotates or reflects needs nothing in it to be stroked. Twist as the only effect is read the same way on an unstroked path or compound path whose segments are all straight. One with more, other effects (Zig Zag, a Pucker & Bloat of another amount, a Free Distort with other corners), an effect setting that is not read (an unknown key, a missing or out-of-range value, a Scribble with a color of its own), dashes aligned to corners, a brush other than a Calligraphic one, or a Calligraphic brush with settings of its own or an angle that follows the path comes in as its drawn look (a group named after it). A path with a Calligraphic brush otherwise comes in as the path, the brush on its stroke at the stroke's weight, which scales the brush (#372). A Calligraphic brush's Pressure, Tilt, Bearing and Rotation come in as those channels (a 6D Art Pen's brushes vary with the pressure, the bearing and the barrel's rotation); its Stylus Wheel varies at random. The file's Calligraphic, Scatter, Art and Bristle brushes (Art brushes in the older form of their objects too) replace the default ones in the Brushes panel, in the file's order, also when the file comes in as its PDF part (a brush library has no layers); pattern brushes and brushes it can't read are left out with a note. Type keeps its art style as a live appearance whatever its stack, so it can be retyped: each fill and stroke of the style's stack (solid colours, gradients and pattern fills, placed as the drawn look places them) with its own opacity, blend mode and effects, the effects on the whole object, and where the characters paint among them; the effects read are Warp, Offset Path, Outline Object, Outline Stroke, Transform (with copies, Transform Objects, Transform Patterns and Scale Strokes & Effects; not with Random), Free Distort, Pucker & Bloat, Twist, Zig Zag, Tweak (only when it moves nothing, the file holding none of its random outline), Drop Shadow, Inner Glow, Outer Glow, Feather, Round Corners, Scribble, Gaussian Blur, Bas Relief (its settings at their defaults) and Convert to Shape, and a style with others, or with an effect setting that isn't read, keeps the type's drawn look. Convert to Shape keeps its Rectangle, Rounded Rectangle or Ellipse, its Absolute or Relative size (a relative size in the file is added to each side) and its corner radius; a relative Ellipse, or a setting that isn't read, keeps the drawn look. The page's drawing of such a style isn't held to look like VectorCraft's where its drawn look lay. Gradients take their matrix (`Xm`, radials and skewed ones too), focal point and the order of stops sharing a ramp point; gradient meshes, a clipping path's own fill and its stroke, and the artboards' names are read too. `editingData: "always"` (`convert --editing-data`) opens a `.ai` or an Illustrator EPS from its editing data even where it draws differently from its page, which can be older, with a note. Type is made from the file's text document, whole and editable, shown or not: point type (its frame's matrix, which newer files leave out when it is neither turned nor scaled, read as none), area type (a story in several frames as threaded type) and type on a path, with its characters, fonts, size, leading, tracking, scaling, baseline shift, fill and stroke (grey, RGB or CMYK), alignment, indents and paragraph spacing (a character attribute a run doesn't set comes from its character style, then the style that one is based on, then the document's defaults); area type keeps its frame's Area Type Options rows and columns, the gutter between rows and the gutter between columns, and its first baseline (Fixed, Cap Height, Leading or x Height) with its minimum; the page's drawing of it (often in pieces) is left out. Vertical type keeps its orientation, its columns from right to left, and a run set to Tate-chu-yoko keeps that setting. When it makes the type of every text object that shows, the page's type is only compared with it, each text object keeps its own group, frame and layer, and a line break inside a paragraph stays one. Where it can't make a text object's type (a frame of another kind), that text object takes the page's type where the text document puts its lines, or else what is left of the page's type in painting order (no group around it); the page's type where made type draws stays that type's, and hidden type is left out with a note. Text wrap is read too: an object whose dictionary has the wrap options (offset and Invert Wrap), or any graphic of a legacy wraparound group (`*w` … `*W`, before or after its type, with no offset), is a wrap object, and area type below it in its layer flows around it when the file opens, threaded type included (#2763). Kerning, underline and the other character and paragraph options aren't read yet. A `.ai` saved without PDF compatibility (a placeholder page) opens from its editing data alone, its point type, area type and type on a path made from the text document. A `.ai` whose PDF part shows only text isn't taken for that placeholder when its page states an art, trim or bleed box: it opens from its editing data alone where that reads, else from its PDF part (#1387). A `.ai` whose PDF part draws nothing at all (an empty page, with or without those boxes) opens from its editing data alone where that reads too: there is no page art to check its layers against, and the empty page would lose all of it. Text objects with an appearance keep their own text and frame, type of hidden layers stays hidden, and type on later artboards lands on its text objects (#1391); area type whose frame is too short for a line of the fallback font shows its first line (the frame is made taller, with a warning in the open result) (#1392). Symbols are read into the Symbols panel, in the file's symbol list order, with their art, their registration point and the instances in their art, and their instances come in live with their matrix, name, hide, lock, opacity, blending mode, isolation, knockout and opacity mask; a symbol whose art isn't read whole (type, placed files, an image it leaves out or anything else it doesn't read) isn't kept. Symbols are read only with the layers: a file that comes in as its page or PDF part (editing data with no layers, layers that can't be read, or any of the cases below) opens with an empty Symbols panel. Instances of symbols it can't read, instances with appearance changes of their own (a dynamic symbol's), pattern fills whose pattern it can't read, placed files the data keeps no preview of and anything else it doesn't read make the file come in as its page (on a layer that doesn't show, they are left out of that layer), with a warning saying what. An unread object on a shown layer whose box can be found instead comes in as a group of the page's objects inside that box, named after it, with the rest of the layers and groups kept and a warning listing what came in as the page's art; the file still comes in as its page when live art or another unread object shares that page art, when the object spans two artboards or lies on an artboard that has no page, when no page art lies inside its box, when that page art is inside a page group with a clip, mask, transparency or appearance, when the object holds a frame of threaded type, when the page art uses a pattern, image or swatch that the page lacks or that differs from the editing data's, or when the page art doesn't carry its transparency (#4806). The layers' art is also compared with the page (by lightness, so colours written as their CMYK equivalents compare alike, and by whether a pixel is inked at all); the page is used when they differ by more than 5% (away from type, when all the type is made from the text document), where one draws an object the other doesn't (away from type, whose lines may be laid out afresh), and when an EPS whose page is its art's box has art printed outside it (#735). A `.ai` is not compared with its page, and its PDF part is not imported, when its text document makes the type of every text object (at least one shows, and none is drawn by the appearance of the layer or group it is in), no object is unread, no placed file has a second placement, no live envelope keeps its drawn art, it declares no large canvas, and its artboards are its pages' trim boxes one for one, in points or in the first page's `UserUnit`: it opens from its layers, with the bleed of its pages' bleed boxes. When they differ because some objects draw differently (an object in another color, or one that only one of them draws), each top-level object of the layers that holds such a difference comes in as a group of the page's objects inside its box and the layers stay, with a warning that names the layer or sublayer of each such object as the Layers panel shows it (`` for one without a name) and how many came in from it; an export or Save As to the file's own path then needs `acknowledgeLoss: true`, and a wrap object replaced this way keeps its wrap options. The file still comes in as its page when only edges or type differ, when a difference lies outside every top-level object, when more than half of the top-level objects or more than 64 hold one, when such an object is or holds type or holds a wrap object inside a group, when the page's type of a text object that stays lies inside such an object's box, when the page's art can't replace such an object for one of the reasons above for an unread object, when matching the differences to the objects would take too much work, or when the result still differs from the page. `editingData: "always"` keeps the objects as read, and placed files at the other point their data gives are tried as well. An EPS whose page is its art's box keeps that page when it comes in through its layers, not the editing data's artboard, and a text object counts as drawn by the page by its colours, not only its lightness, so a red stroke stacked over a dark red one stays (#1102). `textAs: "outlines"` opens a `.ai` whose type shows from its PDF part, which has the outlines; `editingData: false` opens any of them as its page or PDF part only, for print pipelines (#735). A file whose import left something out (hidden text, art or layers) is never written over by an export or Save As to its own path unless `acknowledgeLoss: true` (`convert --replace-lossy`), so the original keeps what the document lacks. Where a `.ai` can't be read that way (or its layers are turned off in the import options), we read its PDF-compatible part, so Illustrator-only live objects arrive as appearance, and plain groups arrive ungrouped: that part draws each object on its own and marks only layers, clipping groups and groups with opacity, blending or a mask (those come back). Art outside the artboards isn't in that part at all (Illustrator's PDF part leaves it out), so it doesn't open; the import says so in a note (#472). Its pages still go where the editing data puts the artboards (a grid stays a grid), with the art on each, when it has as many artboards as pages, of the same sizes (#1068); the page of the artboard `CropAreaActive` names is then the active artboard. A `.ai` whose editing data has artboards but no layers also opens on that page under the same check, and its pages stay where they are. A `.ai` whose PDF part's pages are cropped to its art (each page the box of all the art, which is the editing data's bounding box) instead of its artboards opens from its layers, with its own artboards, where they draw as that page does. Its pages are laid out so that art one of them draws past its artboard (notes beside a design, which the part doesn't clip) doesn't lie over the page before it in the row, where it was taken for that page's art: the check against the editing data then found art its layers don't have there and opened the file as its PDF part, without the art outside the artboards. That part also has no paragraphs: area type is written line by line, and comes back as area type only where its font is installed and lays the lines out with the same breaks, else as a point type object per line (#508). Art off the page that a PDF does draw opens on the pasteboard. ## Format by format @@ -191,6 +191,7 @@ the app's own editing copy of a file (an EPS after its `%%EOF`, a `.ai`'s `AIPri | Date | Change | Summary | |---|---|---| +| 2026-11-06 | minor | `.ai` and EPS import: Art brushes whose objects are in the older form (first number 1, one field fewer and 8 numbers at the end) come into the Brushes panel with their art instead of being left out with a note. In a survey of 302 users' EPS files (used locally, not committed), 652 Art brushes in 188 of the 197 files with the note were left out this way; afterwards 55 files have the note, all for Pattern brushes. Test `an_older_art_brush_comes_in_with_its_art` (crate `vectorcraft-eps`); scores unchanged | | 2026-11-06 | minor | SVG import: filter and mask regions clip (SVG 1.1 §15.5, §14.4). An object whose imported blur, shadow or glow reaches past its filter's region comes in inside a clip group cut to the region (#5876), and a mask's art is cut to the mask's region, in user space or the object's bounding box (#5875). Objects that fit their regions, and our own exports, are unchanged; primitive subregions are still ignored. Tests `import_live::a_blur_is_cut_at_its_filter_region`, `import_live::a_mask_counts_only_inside_its_region` (crate `vectorcraft-svg`); scores unchanged | | 2026-11-06 | minor | SVG import: a Gaussian blur keeps the colour space its filter asks for with `color-interpolation-filters` (initially `linearRGB`, SVG 1.1 §15.7.6): a linear-light blur becomes Gaussian Blur with the new `linear` parameter, which blurs the colours in linear light (black beside white meets at about 188/255 instead of 128), and SVG export writes it back on the `feGaussianBlur` (#5877). Blurs that ask for sRGB, and the blurs our own export writes, are as before. CSS export still writes `blur()`. Tests `pixel::tests::linear_light_blur_mixes_light_not_values` (crate `vectorcraft-effects`), `import_live::a_gaussian_blur_keeps_its_colour_space` (crate `vectorcraft-svg`); scores unchanged | | 2026-11-06 | minor | PDF export and PDF-compatible `.ai` saves write each object's URL (Attributes panel) as a link annotation with a URI action (web and mail URLs only) over the bounds of the object that shows, trimmed by its clipping groups (ISO 32000-1, 12.5.6.5 and 12.6.4.7); hidden objects, layers that don't print and prints have none, and PDF/X files leave them out with a warning (#5785). Own-fixture tests in `tests::links`; PDF import doesn't read links back as URLs yet; scores unchanged | diff --git a/docs/target-app-parity.md b/docs/target-app-parity.md index c7f408423..c2e3431fd 100644 --- a/docs/target-app-parity.md +++ b/docs/target-app-parity.md @@ -1,6 +1,6 @@ # Parity with Adobe Illustrator -> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-06 · **Change:** minor (Drop Shadow and glow dialogs: spinner arrows, #5367, #5368; Stroke Weight Up and Down shortcuts, #5797; Hindi catalog and contributor loanword preferences; full wording review in progress; Properties in Edit Artboards: a Transform section with the reference point above the Artboards section, #5219; the Control bar's Stroke: and Opacity: links scrub their fields, #4088; an image zoomed in on is separated, colorized or proofed only where it shows (#4155); a document's first frame renders on the render worker, so opening a heavy file no longer freezes the window, #4155; Control bar Paragraph section with type selected, #5372; translating unchanged type reuses its glyph and character-stroke outlines; scores and estimates unchanged) · **Target:** Adobe Illustrator 2026 (30.x; public release notes through 30.7, August 2026) +> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-06 · **Change:** minor (`.ai` and EPS import: older Art brush objects read; Drop Shadow and glow dialogs: spinner arrows, #5367, #5368; Stroke Weight Up and Down shortcuts, #5797; Hindi catalog and contributor loanword preferences; full wording review in progress; Properties in Edit Artboards: a Transform section with the reference point above the Artboards section, #5219; the Control bar's Stroke: and Opacity: links scrub their fields, #4088; an image zoomed in on is separated, colorized or proofed only where it shows (#4155); a document's first frame renders on the render worker, so opening a heavy file no longer freezes the window, #4155; Control bar Paragraph section with type selected, #5372; translating unchanged type reuses its glyph and character-stroke outlines; scores and estimates unchanged) · **Target:** Adobe Illustrator 2026 (30.x; public release notes through 30.7, August 2026) ## Feature submission evidence @@ -1219,7 +1219,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur A `.ai` opened from its editing data opens its Objects on Path groups live, with their path, their objects in order along it, Pivot and Rotate, and their art where the file draws it; a group whose spacing has been dragged, or with options an Objects on Path group doesn't hold, opens as a plain group (`crates/eps/src/import/ai/tests.rs`). `.ai` symbol definitions and placed instances open as live symbols, in the Symbols panel's order; an instance of a symbol that isn't read, or whose appearance differs from its symbol's, comes in as the page draws it (`crates/eps/src/import/ai/tests.rs`). Blends and envelopes in the definitions of a `.ai`'s symbols, patterns and brushes' art count against the same per-file limits on blend layout and envelope checks as the layers' art, so a file with many definitions does not get those limits again for each one (`crates/eps/src/import/ai/read/directives.rs`). - A `.ai` or EPS whose editing data has brushes opens with the file's Calligraphic, Scatter, Art and Bristle brushes in the Brushes panel in place of the default ones, in the file's order: the Calligraphic size, roundness and angle with their variation, the Scatter size, spacing, scatter and rotation, the Bristle settings, and the Scatter and Art brushes' art. A brush library `.ai` (brushes and no layers) opens from its PDF part with its brushes, so Other Library lists them. Pattern brushes and brushes that can't be read are left out with a note; brushed paths still come in as their drawn look (part of #372 and #637; `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). + A `.ai` or EPS whose editing data has brushes opens with the file's Calligraphic, Scatter, Art and Bristle brushes in the Brushes panel in place of the default ones, in the file's order: the Calligraphic size, roundness and angle with their variation, the Scatter size, spacing, scatter and rotation, the Bristle settings, and the Scatter and Art brushes' art (Art brushes in the older and newer forms of their objects). A brush library `.ai` (brushes and no layers) opens from its PDF part with its brushes, so Other Library lists them. Pattern brushes and brushes that can't be read are left out with a note; brushed paths still come in as their drawn look (part of #372 and #637; `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). In a `.ai` opened from its editing data, a path or type object with Offset Path, Outline Object or Outline Stroke on the whole object opens as itself with those effects live, in their order and shown or hidden; on a fill or stroke of type they stay on that fill or stroke. Offset Path keeps its Offset, Joins and Miter Limit, and Outline Stroke takes its width from the stroke. An Offset Path with a setting missing, out of range or not read keeps the drawn art, as does a path with a Path effect on one fill or stroke (`crates/eps/src/import/ai/style/tests.rs`, `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). In a `.ai` opened from its editing data, an object with a Tweak that moves nothing or Pucker & Bloat at 0 opens as itself with the effect live. A path, compound path or group whose only effect is Transform without copies, or a Free Distort whose corners make a parallelogram, opens as itself with it live, and so does an unstroked path or compound path with straight segments whose only effect is Twist. A gradient or pattern, an image, type, a clipping group, an opacity mask or effects inside the object, or a stroke with a Transform that scales, rotates or reflects, keep the drawn art (`crates/eps/src/import/ai/style/tests.rs`, `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/ai/read/ops.rs`). A PDF page whose `UserUnit` (PDF 1.6) is above 1 opens at its size in points, its numbers times the `UserUnit` (one above 75,000 counts as 75,000), and `document.pdfInfo` gives its size and boxes in points too. A `.ai` whose editing data has its artboards in the units of such a page opens from that data at the page's size, with its layers, and when the layers can't be read its pages still take the artboard layout of the data, scaled the same way (part of #1482). @@ -1703,6 +1703,7 @@ Edit › Copy and Cut put the selected ruler guides on the clipboard, with the s | Date | Change | Summary | |---|---|---| +| 2026-11-06 | minor | `.ai` and EPS import: Art brushes in the older form of their objects come into the Brushes panel; evidence updated; scores unchanged. | | 2026-11-06 | minor | Drop Shadow, Outer Glow and Inner Glow: their number fields have spinner arrows (#5367, #5368); evidence added; scores unchanged. | | 2026-11-06 | minor | Stroke Weight Up and Down (Cmd/Ctrl+Alt+. and ,) step each selected stroke's weight (#5797); evidence added; scores unchanged. | | 2026-11-06 | minor | Hindi (`hi`): 7,877-row machine-assisted catalog, zero/one singular plurals, desktop font fallback and optional Devanagari craft-fonts fallback; all 55 translation tests pass; native review and a web font remain; scores and estimates unchanged | From e6e8dde8744516035cae1de1faf6e4a5ea0ac778 Mon Sep 17 00:00:00 2001 From: Don Omondi <282319807+mockydevs@users.noreply.github.com> Date: Sat, 7 Nov 2026 00:12:00 -0500 Subject: [PATCH 2/5] Docs: keep this branch's entries that the merge with main dropped --- docs/target-app-parity.md | 5 +++-- 1 file changed, 3 insertions(+), 2 deletions(-) diff --git a/docs/target-app-parity.md b/docs/target-app-parity.md index 0af2f0670..8463add56 100644 --- a/docs/target-app-parity.md +++ b/docs/target-app-parity.md @@ -1,6 +1,6 @@ # Parity with Adobe Illustrator -> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-07 · **Change:** minor (the canvas keeps selection outlines and anchors between frames; Indian-language hyphenation review and license allowlist, #4947; Stroke gradients: an arrowhead aligned to the tip is painted to the corners of its base, #5964; Drop Shadow and glow dialogs: spinner arrows, #5367, #5368; Stroke Weight Up and Down shortcuts, #5797; Hindi catalog and contributor loanword preferences; full wording review in progress; Properties in Edit Artboards: a Transform section with the reference point above the Artboards section, #5219; the Control bar's Stroke: and Opacity: links scrub their fields, #4088; an image zoomed in on is separated, colorized or proofed only where it shows (#4155); a document's first frame renders on the render worker, so opening a heavy file no longer freezes the window, #4155; Control bar Paragraph section with type selected, #5372; translating unchanged type reuses its glyph and character-stroke outlines; scores and estimates unchanged) · **Target:** Adobe Illustrator 2026 (30.x; public release notes through 30.7, August 2026) +> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-11-07 · **Change:** minor (`.ai` and EPS import: older Art brush objects read; the canvas keeps selection outlines and anchors between frames; Indian-language hyphenation review and license allowlist, #4947; Stroke gradients: an arrowhead aligned to the tip is painted to the corners of its base, #5964; Drop Shadow and glow dialogs: spinner arrows, #5367, #5368; Stroke Weight Up and Down shortcuts, #5797; Hindi catalog and contributor loanword preferences; full wording review in progress; Properties in Edit Artboards: a Transform section with the reference point above the Artboards section, #5219; the Control bar's Stroke: and Opacity: links scrub their fields, #4088; an image zoomed in on is separated, colorized or proofed only where it shows (#4155); a document's first frame renders on the render worker, so opening a heavy file no longer freezes the window, #4155; Control bar Paragraph section with type selected, #5372; translating unchanged type reuses its glyph and character-stroke outlines; scores and estimates unchanged) · **Target:** Adobe Illustrator 2026 (30.x; public release notes through 30.7, August 2026) ## Feature submission evidence @@ -1237,7 +1237,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur A `.ai` opened from its editing data opens its Objects on Path groups live, with their path, their objects in order along it, Pivot and Rotate, and their art where the file draws it; a group whose spacing has been dragged, or with options an Objects on Path group doesn't hold, opens as a plain group (`crates/eps/src/import/ai/tests.rs`). `.ai` symbol definitions and placed instances open as live symbols, in the Symbols panel's order; an instance of a symbol that isn't read, or whose appearance differs from its symbol's, comes in as the page draws it (`crates/eps/src/import/ai/tests.rs`). Blends and envelopes in the definitions of a `.ai`'s symbols, patterns and brushes' art count against the same per-file limits on blend layout and envelope checks as the layers' art, so a file with many definitions does not get those limits again for each one (`crates/eps/src/import/ai/read/directives.rs`). - A `.ai` or EPS whose editing data has brushes opens with the file's Calligraphic, Scatter, Art and Bristle brushes in the Brushes panel in place of the default ones, in the file's order: the Calligraphic size, roundness and angle with their variation, the Scatter size, spacing, scatter and rotation, the Bristle settings, and the Scatter and Art brushes' art. A brush library `.ai` (brushes and no layers) opens from its PDF part with its brushes, so Other Library lists them. An Art brush in Tints keeps that colorization. Pattern brushes and brushes that can't be read are left out with a note. Paths with a Calligraphic brush, and paths with an Art brush at 100% in Tints that stretches art of solid-filled paths unflipped, open as the path with the brush on its stroke, and other brushed paths still come in as their drawn look (part of #372 and #637; `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). + A `.ai` or EPS whose editing data has brushes opens with the file's Calligraphic, Scatter, Art and Bristle brushes in the Brushes panel in place of the default ones, in the file's order: the Calligraphic size, roundness and angle with their variation, the Scatter size, spacing, scatter and rotation, the Bristle settings, and the Scatter and Art brushes' art (Art brushes in the older and newer forms of their objects). A brush library `.ai` (brushes and no layers) opens from its PDF part with its brushes, so Other Library lists them. An Art brush in Tints keeps that colorization. Pattern brushes and brushes that can't be read are left out with a note. Paths with a Calligraphic brush, and paths with an Art brush at 100% in Tints that stretches art of solid-filled paths unflipped, open as the path with the brush on its stroke, and other brushed paths still come in as their drawn look (part of #372 and #637; `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). In a `.ai` opened from its editing data, a path or type object with Offset Path, Outline Object or Outline Stroke on the whole object opens as itself with those effects live, in their order and shown or hidden; on a fill or stroke of type they stay on that fill or stroke. Offset Path keeps its Offset, Joins and Miter Limit, and Outline Stroke takes its width from the stroke. An Offset Path with a setting missing, out of range or not read keeps the drawn art, as does a path with a Path effect on one fill or stroke (`crates/eps/src/import/ai/style/tests.rs`, `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). In a `.ai` opened from its editing data, an object with a Tweak that moves nothing or Pucker & Bloat at 0 opens as itself with the effect live. A path, compound path or group whose only effect is Transform without copies, or a Free Distort whose corners make a parallelogram, opens as itself with it live, and so does an unstroked path or compound path with straight segments whose only effect is Twist. A gradient or pattern, an image, type, a clipping group, an opacity mask or effects inside the object, or a stroke with a Transform that scales, rotates or reflects, keep the drawn art (`crates/eps/src/import/ai/style/tests.rs`, `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/ai/read/ops.rs`). A PDF page whose `UserUnit` (PDF 1.6) is above 1 opens at its size in points, its numbers times the `UserUnit` (one above 75,000 counts as 75,000), and `document.pdfInfo` gives its size and boxes in points too. A `.ai` whose editing data has its artboards in the units of such a page opens from that data at the page's size, with its layers, and when the layers can't be read its pages still take the artboard layout of the data, scaled the same way (part of #1482). @@ -1725,6 +1725,7 @@ Edit › Copy and Cut put the selected ruler guides on the clipboard, with the s | Date | Change | Summary | |---|---|---| +| 2026-11-06 | minor | `.ai` and EPS import: Art brushes in the older form of their objects come into the Brushes panel; evidence updated; scores unchanged. | | 2026-11-06 | minor | Direct Selection: with Snap to Grid, a dragged straight segment lands its anchors on the grid (#3835); evidence added; scores unchanged. | | 2026-11-06 | minor | Snap to Glyph › Glyph Bounds: the corners of each glyph's box are points a drawn point lands on, also on a curved side (`B`), and the box turns with rotated type, its edges then Angular Guides (#5112; [Snap to Glyph options](https://helpx.adobe.com/illustrator/desktop/design-with-text/special-characters-glyphs/snap-to-glyph-options.html)); scores and estimates unchanged. | | 2026-11-06 | minor | Drop Shadow: a swatch beside Color opens the Color Picker over the dialog, as the other effect colour fields do (#5364); correction: the #5365 entry listed Drop Shadow, whose Color is drawn outside the shared grid and had no swatch; scores unchanged. | From 120bcf102ea22e243dd91d488e4a5893cbe3476c Mon Sep 17 00:00:00 2001 From: Don Omondi <282319807+mockydevs@users.noreply.github.com> Date: Sat, 7 Nov 2026 05:07:25 -0500 Subject: [PATCH 3/5] .ai import: an Art brush with neither form's count of numbers isn't read An Art brush object whose last field had neither 15 numbers nor the older form's 8 came in with default settings. It is now left out like other brushes whose values can't be read. An older-form Art brush keeps the Art brush's default colorization, as the note says. --- crates/eps/src/import/ai/brush.rs | 11 +++++++---- crates/eps/src/import/ai/tests.rs | 6 ++++++ 2 files changed, 13 insertions(+), 4 deletions(-) diff --git a/crates/eps/src/import/ai/brush.rs b/crates/eps/src/import/ai/brush.rs index 69e88528c..4dd1de52c 100644 --- a/crates/eps/src/import/ai/brush.rs +++ b/crates/eps/src/import/ai/brush.rs @@ -334,10 +334,13 @@ pub(super) fn parse_tool_object(kind: Tool, name: &str, params: &str) -> Result< } Tool::Art => { // The older form's 8 numbers aren't known: its brush keeps the defaults and its - // paths their drawn look. - let (colorization, plain) = match <&[f64; 15]>::try_from(n.as_slice()) { - Ok(n15) => (if n15[1] == 1.0 { Colorization::Tints } else { Colorization::None }, art_is_plain(n15)), - Err(_) => (Colorization::None, false), + // paths their drawn look. Any other count isn't a form this reads. + let (colorization, plain) = if let Ok(n15) = <&[f64; 15]>::try_from(n.as_slice()) { + (if n15[1] == 1.0 { Colorization::Tints } else { Colorization::None }, art_is_plain(n15)) + } else if n.len() == 8 { + (ArtBrush::default().colorization, false) + } else { + return Err(BrushError::Values); }; DraftKind::Art { brush: ArtBrush { colorization, ..ArtBrush::default() }, art: art()?, plain } } diff --git a/crates/eps/src/import/ai/tests.rs b/crates/eps/src/import/ai/tests.rs index f3c8be340..78e46d0cc 100644 --- a/crates/eps/src/import/ai/tests.rs +++ b/crates/eps/src/import/ai/tests.rs @@ -7791,6 +7791,12 @@ fn an_older_art_brush_comes_in_with_its_art() { const OLD_RIBBON: &str = "1 / Ribbon art/ / / / / 0 1 / 1 0 1 0 1 0 0 0"; let d = brush::parse_tool_object(brush::Tool::Art, "Ribbon", OLD_RIBBON).unwrap(); assert!(matches!(d.kind, brush::DraftKind::Art { ref art, plain: false, .. } if art == "Ribbon art"), "{d:?}"); + let brush::DraftKind::Art { ref brush, .. } = d.kind else { panic!("art") }; + assert_eq!(brush.colorization, vectorcraft_brush::ArtBrush::default().colorization, "the default colorization"); + // A count of numbers neither form has isn't read. + for bad in ["1 / Ribbon art/ / / / / 0 1 / 1 0 1 0 1 0 0", "1 / Ribbon art/ / / / / 0 1 / 1 0 1 0 1 0 0 0 0 0 0 0 0 0 0 0"] { + assert_eq!(brush::parse_tool_object(brush::Tool::Art, "Ribbon", bad), Err(brush::BrushError::Values), "{bad}"); + } assert_eq!(brush::parse_tool_object(brush::Tool::Scatter, "Spray", "1 /Dot art/ 0 1 / 1 0 1 0 1 0 0 0"), Err(brush::BrushError::Values)); let objects = [plugin_object(ART_BRUSH, "Ribbon", OLD_RIBBON), plugin_object(ART_BRUSH, "Bare", "1 / / / / / / 0 1 / 1 0 1 0 1 0 0 0")].concat(); let r = read_ok(&format!("{}{objects}{}", brush_art("Ribbon art", 4.0), layer(""))); From ba1abb73b0091186cce446ae2ed0dd18a9d82a82 Mon Sep 17 00:00:00 2001 From: Don Omondi <282319807+mockydevs@users.noreply.github.com> Date: Sun, 8 Nov 2026 03:51:30 -0500 Subject: [PATCH 4/5] .ai import: tests for Pattern brushes' number counts and an older Art brush's first number A Pattern brush reads its scale from 3 or more numbers (the older form's 8 too) and isn't read with fewer; an 8-number Art brush is the older form whatever its first number. The module notes say the count tells the form. --- crates/eps/src/import/ai/brush.rs | 12 +++++++----- crates/eps/src/import/ai/tests.rs | 24 ++++++++++++++++++++++++ 2 files changed, 31 insertions(+), 5 deletions(-) diff --git a/crates/eps/src/import/ai/brush.rs b/crates/eps/src/import/ai/brush.rs index bd5a1628a..8e1f27bad 100644 --- a/crates/eps/src/import/ai/brush.rs +++ b/crates/eps/src/import/ai/brush.rs @@ -28,10 +28,11 @@ //! [`vectorcraft_brush::ArtBrush`]'s `overlap: false`). //! - A Scatter, Art or Pattern brush's parameters are fields split by `/`: a number, the art's //! section names (one for Scatter, five for Art and Pattern, empty where there is none, each -//! after a space for Art and Pattern), more fields, and last 15 numbers. Brushes whose first -//! number is 1, as older files write them, have one field fewer before the numbers and 8 numbers; -//! an Art brush in that form is read from its art's name alone (its numbers aren't known, so it -//! keeps the defaults and its paths their drawn look). +//! after a space for Art and Pattern), more fields, and last 15 numbers. Older files write +//! brushes with first number 1, one field fewer before the numbers and 8 numbers; an Art brush +//! with 8 numbers, whatever its first number, is read from its art's name alone (its numbers +//! aren't known, so it keeps the defaults and its paths their drawn look). A Pattern brush needs +//! only its first 3 numbers (its scale is the third). //! - Scatter: the size (2, 3), spacing (5, 6) and scatter (8, 9) as (low, high) factors of the //! art, the rotation in degrees (11, 12), how each varies (4, 7, 10, 13) and whether the //! rotation follows the path (14), and 1 Tints (1). @@ -339,7 +340,8 @@ pub(super) fn parse_tool_object(kind: Tool, name: &str, params: &str) -> Result< } Tool::Art => { // The older form's 8 numbers aren't known: its brush keeps the defaults and its - // paths their drawn look. Any other count isn't a form this reads. + // paths their drawn look. The count tells the form, not the first number. + // Any other count isn't a form this reads. let (colorization, plain) = if let Ok(n15) = <&[f64; 15]>::try_from(n.as_slice()) { (if n15[1] == 1.0 { Colorization::Tints } else { Colorization::None }, art_is_plain(n15)) } else if n.len() == 8 { diff --git a/crates/eps/src/import/ai/tests.rs b/crates/eps/src/import/ai/tests.rs index c69728434..9a3227113 100644 --- a/crates/eps/src/import/ai/tests.rs +++ b/crates/eps/src/import/ai/tests.rs @@ -8225,6 +8225,10 @@ fn an_older_art_brush_comes_in_with_its_art() { assert_eq!(brush::parse_tool_object(brush::Tool::Art, "Ribbon", bad), Err(brush::BrushError::Values), "{bad}"); } assert_eq!(brush::parse_tool_object(brush::Tool::Scatter, "Spray", "1 /Dot art/ 0 1 / 1 0 1 0 1 0 0 0"), Err(brush::BrushError::Values)); + // 8 numbers are the older form whatever the first number says: read with the defaults. + let d = brush::parse_tool_object(brush::Tool::Art, "Ribbon", "0 / Ribbon art/ / / / / 0 1 / 1 0 1 0 1 0 0 0").unwrap(); + let brush::DraftKind::Art { ref brush, ref art, plain } = d.kind else { panic!("art") }; + assert_eq!((art.as_str(), plain, brush.colorization), ("Ribbon art", false, vectorcraft_brush::ArtBrush::default().colorization)); let objects = [plugin_object(ART_BRUSH, "Ribbon", OLD_RIBBON), plugin_object(ART_BRUSH, "Bare", "1 / / / / / / 0 1 / 1 0 1 0 1 0 0 0")].concat(); let r = read_ok(&format!("{}{objects}{}", brush_art("Ribbon art", 4.0), layer(""))); let lib = vectorcraft_brush::library(&r.doc); @@ -8234,6 +8238,26 @@ fn an_older_art_brush_comes_in_with_its_art() { assert!(r.warnings.iter().any(|w| w.ends_with("Brushes panel (1)")), "{:?}", r.warnings); } +/// A Pattern brush needs only its first 3 numbers, its scale the third (as a percentage), so the +/// older form's 8 numbers read too; fewer than 3 aren't read. +#[test] +fn a_pattern_brush_reads_its_scale_from_three_or_more_numbers() { + const SLOTS: &str = "1 / Tile one/ Tile two/ / / Tile five/ 0 1 / "; + for numbers in ["1 0 0.5", "1 0 0.5 0 1 0 0 0"] { + let d = brush::parse_tool_object(brush::Tool::Pattern, "Fence", &format!("{SLOTS}{numbers}")).unwrap(); + let brush::DraftKind::Pattern { tiles, scale } = d.kind else { panic!("{d:?}") }; + assert_eq!(tiles[1].as_deref(), Some("Tile two"), "{numbers}"); + assert!((scale - 50.0).abs() < 1e-9, "{numbers}: {scale}"); + } + for numbers in ["", "1", "1 0"] { + assert_eq!( + brush::parse_tool_object(brush::Tool::Pattern, "Fence", &format!("{SLOTS}{numbers}")), + Err(brush::BrushError::Values), + "{numbers:?}" + ); + } +} + /// A brush's art filled with a pattern the file defines before it is read, with that pattern. #[test] fn a_brushs_art_takes_the_patterns_defined_before_it() { From 9d706a9a6d6f04f78d5117c38f205d8011ec8013 Mon Sep 17 00:00:00 2001 From: Don Omondi <282319807+mockydevs@users.noreply.github.com> Date: Sun, 8 Nov 2026 06:41:09 -0500 Subject: [PATCH 5/5] Parity doc: paths with an older Art brush keep their drawn look --- docs/target-app-parity.md | 2 +- 1 file changed, 1 insertion(+), 1 deletion(-) diff --git a/docs/target-app-parity.md b/docs/target-app-parity.md index 6ed26d5bf..c06d85d53 100644 --- a/docs/target-app-parity.md +++ b/docs/target-app-parity.md @@ -1279,7 +1279,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur A `.ai` opened from its editing data opens its Objects on Path groups live, with their path, their objects in order along it, Pivot and Rotate, and their art where the file draws it; a group whose spacing has been dragged, or with options an Objects on Path group doesn't hold, opens as a plain group (`crates/eps/src/import/ai/tests.rs`). `.ai` symbol definitions and placed instances open as live symbols, in the Symbols panel's order; an instance of a symbol that isn't read, or whose appearance differs from its symbol's, comes in as the page draws it (`crates/eps/src/import/ai/tests.rs`). Blends and envelopes in the definitions of a `.ai`'s symbols, patterns and brushes' art count against the same per-file limits on blend layout and envelope checks as the layers' art, so a file with many definitions does not get those limits again for each one (`crates/eps/src/import/ai/read/directives.rs`). - A `.ai` or EPS whose editing data has brushes opens with the file's Calligraphic, Scatter, Art and Bristle brushes in the Brushes panel in place of the default ones, in the file's order: the Calligraphic size, roundness and angle with their variation, the Scatter size, spacing, scatter and rotation, the Bristle settings, and the Scatter and Art brushes' art (Art brushes in the older and newer forms of their objects). A brush library `.ai` (brushes and no layers) opens from its PDF part with its brushes, so Other Library lists them. An Art brush in Tints keeps that colorization. Pattern brushes and brushes that can't be read are left out with a note. Paths with a Calligraphic brush, and paths with an Art brush at 100% in Tints that stretches art of solid-filled paths unflipped, open as the path with the brush on its stroke, and other brushed paths still come in as their drawn look (part of #372 and #637; `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). + A `.ai` or EPS whose editing data has brushes opens with the file's Calligraphic, Scatter, Art and Bristle brushes in the Brushes panel in place of the default ones, in the file's order: the Calligraphic size, roundness and angle with their variation, the Scatter size, spacing, scatter and rotation, the Bristle settings, and the Scatter and Art brushes' art (Art brushes in the older and newer forms of their objects). A brush library `.ai` (brushes and no layers) opens from its PDF part with its brushes, so Other Library lists them. An Art brush in Tints keeps that colorization. Pattern brushes and brushes that can't be read are left out with a note. Paths with a Calligraphic brush, and paths with an Art brush in the newer form at 100% in Tints that stretches art of solid-filled paths unflipped, open as the path with the brush on its stroke. Paths with an Art brush in the older form, and other brushed paths, still come in as their drawn look (part of #372 and #637; `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). In a `.ai` opened from its editing data, a path or type object with Offset Path, Outline Object or Outline Stroke on the whole object opens as itself with those effects live, in their order and shown or hidden; on a fill or stroke of type they stay on that fill or stroke. Offset Path keeps its Offset, Joins and Miter Limit, and Outline Stroke takes its width from the stroke. An Offset Path with a setting missing, out of range or not read keeps the drawn art, as does a path with a Path effect on one fill or stroke (`crates/eps/src/import/ai/style/tests.rs`, `crates/eps/src/import/ai/tests.rs`, `crates/eps/src/import/tests_native.rs`). In a `.ai` or EPS opened from its editing data, a Scatter brush whose last 15 numbers start with 1 comes into the Brushes panel in Tints, and each brush art section is read without its frame, an unnamed, unpainted rectangle with no settings of its own at the art's bounds (within 1/1000 pt). A wider frame stays in the art, and an art group with a state or look of its own (hidden, locked, isolated, knockout, an opacity, a blend mode, a name, a mask, a note or an appearance) stays a group (`crates/eps/src/import/ai/tests.rs`). In a `.ai` opened from its editing data, type with Warp on the object or on one of its fills or strokes opens as type with the effect live when the live warp draws as the art saved with it. When it draws differently, or when the file's limit of checks has no check left for it, it opens as that art, and one note says how many did. Type stays live without a comparison when the saved art paints nothing or draws type of its own, in frames of threaded type, when a text variable binds it, and when its text object doesn't come in as one text object (`crates/eps/src/import/ai/envelope.rs`, `crates/eps/src/import/tests_native.rs`).