diff --git a/crates/eps/src/ai_editing/tests.rs b/crates/eps/src/ai_editing/tests.rs
index 8043b499e..e4a1edff5 100644
--- a/crates/eps/src/ai_editing/tests.rs
+++ b/crates/eps/src/ai_editing/tests.rs
@@ -1396,8 +1396,8 @@ fn transparency_is_written_in_its_forms() {
     );
 }
 
-/// A clipping path filled and stroked keeps its stroke; the reader reads its fill as a path of
-/// its own under the clipped art, as the file's PDF page draws it.
+/// A clipping path filled and stroked is written with its fill and stroke, and reads back with
+/// both on the clipping path.
 #[test]
 fn a_painted_clipping_path_is_written_with_its_paint() {
     let mut doc = Document::new(200.0, 100.0);
@@ -1421,8 +1421,7 @@ fn a_painted_clipping_path_is_written_with_its_paint() {
     assert_eq!(
         painted,
         [
-            (true, None, Some(paint(&solid(Color::BLACK)))),
-            (false, Some(paint(&solid(Color::rgb(1.0, 1.0, 0.0)))), None),
+            (true, Some(paint(&solid(Color::rgb(1.0, 1.0, 0.0)))), Some(paint(&solid(Color::BLACK)))),
             (false, Some(paint(&solid(Color::rgb(0.0, 0.0, 1.0)))), None)
         ]
     );
@@ -2090,8 +2089,7 @@ fn gradients_and_patterns_are_written_in_their_forms() {
     assert!(art.contains(" p\n") && art.contains(" P\n"), "{art}");
 }
 
-/// A clipping path filled with a gradient keeps it: the reader reads it as the clipping path and
-/// its fill as a path of its own under the art.
+/// A clipping path filled with a gradient keeps it, and reads back with it.
 #[test]
 fn a_clipping_path_keeps_its_gradient() {
     let mut doc = Document::new(200.0, 100.0);
@@ -2107,7 +2105,9 @@ fn a_clipping_path_keeps_its_gradient() {
     assert!(text.contains("h\nW\nBb\n0 (Gradient) "), "{text}");
     let back = read_back(&doc);
     let NodeKind::Group { children, clip: true } = &back.layers[0].children().unwrap()[0].kind else { panic!("a clipping group") };
-    let fill = &children[1];
+    assert_eq!(children.len(), 2, "the clipping path and the art");
+    let fill = &children[0];
+    assert!(matches!(fill.kind, NodeKind::Path { clipping: true, .. }), "{:?}", fill.kind);
     let bounds = Rect::new(10.0, 10.0, 90.0, 60.0);
     let want = drawn(&doc, &gradient_paint(sunset(), None, None), bounds);
     assert_eq!(drawn(&back, fill.appearance.items[0].paint(), bounds), want);
diff --git a/crates/eps/src/import/ai/read.rs b/crates/eps/src/import/ai/read.rs
index e47a79460..4dbf31a24 100644
--- a/crates/eps/src/import/ai/read.rs
+++ b/crates/eps/src/import/ai/read.rs
@@ -515,7 +515,8 @@ struct Reader<'a> {
     /// The state a layer's last group or compound path had before an `Xy` right after its end,
     /// which is the layer's instead when the layer's own `7 () XW` follows.
     container_undo: Option<(f32, BlendMode, bool, Knockout, bool)>,
-    /// Painted copies of clipping paths that have a fill (drawn under what they clip).
+    /// The fills of compound clipping paths whose subpaths paint differently, as compound paths of their own (drawn
+    /// under what they clip).
     clip_fills: HashSet<NodeId>,
     /// Groups closed as an object's drawn look (`9 () XW`).
     looks: HashSet<NodeId>,
diff --git a/crates/eps/src/import/ai/read/art.rs b/crates/eps/src/import/ai/read/art.rs
index b1b860a25..bc7b88155 100644
--- a/crates/eps/src/import/ai/read/art.rs
+++ b/crates/eps/src/import/ai/read/art.rs
@@ -216,13 +216,11 @@ impl<'a> Reader<'a> {
         // A gradient instance's paint replaces the missing pattern.
         let unread = (fill && self.pending_unread_fill && fill_paint.is_none()) || (stroke && self.pending_unread_stroke && stroke_paint.is_none());
         let mut items = Vec::new();
-        if fill && !clip {
-            items.push(AppearanceItem::Fill(FillLayer {
-                overprint: gs.overprint_fill,
-                ..FillLayer::new(fill_paint.clone().unwrap_or(gs.fill.clone()))
-            }));
+        // A clipping path keeps its fill and its stroke: its fill paints under the art it clips and its stroke over it
+        // (`Node::clip_paint`), as the file's PDF part draws them.
+        if fill {
+            items.push(AppearanceItem::Fill(FillLayer { overprint: gs.overprint_fill, ..FillLayer::new(fill_paint.unwrap_or(gs.fill.clone())) }));
         }
-        // A clipping path keeps its stroke, which paints over the art it clips.
         if stroke {
             let mut st = StrokeLayer::new(stroke_paint.unwrap_or(gs.stroke.clone()), gs.line_width());
             st.cap = gs.cap;
@@ -254,23 +252,6 @@ impl<'a> Reader<'a> {
         if clip && let Some(f) = self.frames.last_mut() {
             f.clips.push(f.children.len());
         }
-        // A clipping path's fill is painted too, under the art it clips, as the file's PDF part draws it.
-        let painted = clip && fill && !matches!(gs.fill, Paint::None);
-        let copy = painted.then(|| {
-            let mut copy = node.clone();
-            copy.id = self.doc.alloc_id();
-            if let NodeKind::Path { clipping, .. } = &mut copy.kind {
-                *clipping = false;
-            }
-            let paint = fill_paint.clone().unwrap_or_else(|| gs.fill.clone());
-            copy.appearance = Appearance {
-                items: vec![AppearanceItem::Fill(FillLayer { overprint: gs.overprint_fill, ..FillLayer::new(paint) })],
-                ..Appearance::default()
-            }
-            .into();
-            copy
-        });
-        // The note and Show Center are the path's, not its painted copy's.
         node.edit_attrs(|a| {
             a.note = gs.note.clone().unwrap_or_default();
             a.show_center = gs.show_center;
@@ -297,10 +278,6 @@ impl<'a> Reader<'a> {
                 }
             }
         }
-        if let Some(copy) = copy {
-            self.clip_fills.insert(copy.id);
-            self.add(copy, hidden)?;
-        }
         Ok(())
     }
 
@@ -342,19 +319,13 @@ impl<'a> Reader<'a> {
         Ok(())
     }
 
-    /// Stroke the path just painted (a gradient-filled one, `1 BB` or `2 BB`) with the stroke's state. A clipping path
-    /// takes the stroke itself, not the painted copy of its fill.
+    /// Stroke the path just painted (a gradient-filled one, `1 BB` or `2 BB`) with the stroke's state.
     pub(super) fn stroke_last(&mut self) {
         let gs = self.gs.clone();
         if !self.after_object {
             return;
         }
-        let Some(kids) = self.frames.last_mut().map(|f| &mut f.children) else { return };
-        let Some(mut at) = kids.len().checked_sub(1) else { return };
-        if kids.get(at).is_some_and(|n| self.clip_fills.contains(&n.id)) && at > 0 {
-            at -= 1;
-        }
-        let Some(n) = kids.get_mut(at) else { return };
+        let Some(n) = self.frames.last_mut().and_then(|f| f.children.last_mut()) else { return };
         if !matches!(n.kind, NodeKind::Path { .. }) || n.appearance.items.iter().any(|i| matches!(i, AppearanceItem::Stroke(_))) {
             return;
         }
diff --git a/crates/eps/src/import/ai/read/containers.rs b/crates/eps/src/import/ai/read/containers.rs
index 7d7c9ed9b..a08f2ea1c 100644
--- a/crates/eps/src/import/ai/read/containers.rs
+++ b/crates/eps/src/import/ai/read/containers.rs
@@ -147,10 +147,19 @@ impl<'a> Reader<'a> {
                 self.new_node(NodeKind::Group { children, clip }, &gs)
             }
             Kind::Compound => {
-                // A group in a compound path (`*u u … U *U`) only holds its paths. Clipping subpaths'
-                // painted copies make a compound of their own, under what it clips.
-                let (fills, kids): (Vec<Node>, Vec<Node>) = ungrouped(kids).into_iter().partition(|n| self.clip_fills.contains(&n.id));
-                painted = self.compound(fills, &gs);
+                // A group in a compound path (`*u u … U *U`) only holds its paths.
+                let mut kids = ungrouped(kids);
+                // A compound clipping path keeps its subpaths' fill when they all paint alike. When they paint
+                // differently, the fills of the filled clipping ones are a compound path of their own, under what it clips.
+                let look = |n: &Node| (n.appearance.clone(), n.opacity, n.blend);
+                if clipping && kids.windows(2).any(|w| look(&w[0]) != look(&w[1])) {
+                    let fills: Vec<Node> = kids
+                        .iter_mut()
+                        .filter(|k| matches!(k.kind, NodeKind::Path { clipping: true, .. }))
+                        .filter_map(|k| self.fill_apart(k))
+                        .collect();
+                    painted = self.compound(fills, &gs);
+                }
                 let Some(n) = self.compound(kids, &gs) else {
                     if gs.hidden || !self.shown() {
                         self.hidden_unread.extend(unread);
@@ -228,9 +237,9 @@ impl<'a> Reader<'a> {
     /// Several clipping paths in a clipping group or a layer clip to their intersection, as each `W` reduces the clip
     /// set by the ones before it: each clipping path after the first clips a clipping group nested in the one before
     /// it, and the innermost one holds the art. As with one clipping path, every object in the group is clipped by all
-    /// of them, wherever it is written. A clipping path's painted fill stays at its path's level. In a compound path
-    /// (`union`), several clipping paths are one compound path. `at`: how deep the group or layer made of them is in the
-    /// document.
+    /// of them, wherever it is written. The fill of a compound clipping path read apart from it (`clip_fills`) stays at
+    /// its path's level. In a compound path (`union`), several clipping paths are one compound path. `at`: how deep the
+    /// group or layer made of them is in the document.
     fn clip_first(&mut self, kids: Vec<Node>, clips: &[usize], union: bool, at: usize) -> Result<(Vec<Arc<Node>>, bool), String> {
         if union || clips.len() < 2 {
             return Ok(self.clip_union(kids, clips));
@@ -238,7 +247,7 @@ impl<'a> Reader<'a> {
         let clips: std::collections::HashSet<usize> = clips.iter().copied().collect();
         let (clip, rest): (Vec<Indexed>, Vec<Indexed>) = kids.into_iter().enumerate().partition(|(i, _)| clips.contains(i));
         let innermost = clip.len() - 1;
-        // A painted fill follows its clipping path; the art goes in the innermost level.
+        // A fill read apart follows its clipping path; the art goes in the innermost level.
         let level = |i: usize, n: &Node| {
             if self.clip_fills.contains(&n.id) { clip.iter().rposition(|(c, _)| *c < i).unwrap_or(0) } else { innermost }
         };
@@ -251,8 +260,7 @@ impl<'a> Reader<'a> {
         if at + deepest > MAX_DEPTH || (at + deepest > vectorcraft_doc::MAX_DEPTH && at + flat <= vectorcraft_doc::MAX_DEPTH) {
             return Err("its clipping masks are nested too deeply".into());
         }
-        // Each level: its clipping path, the clipping paths' own fills, which paint under the art they clip, then the
-        // art.
+        // Each level: its clipping path, the fills read apart from it, which paint under the art they clip, then the art.
         let mut fills_at: Vec<Vec<Node>> = clip.iter().map(|_| Vec::new()).collect();
         let mut art_at: Vec<Vec<Node>> = clip.iter().map(|_| Vec::new()).collect();
         for (i, n) in rest {
@@ -282,13 +290,18 @@ impl<'a> Reader<'a> {
     fn clip_union(&mut self, kids: Vec<Node>, clips: &[usize]) -> (Vec<Arc<Node>>, bool) {
         let clips: std::collections::HashSet<usize> = clips.iter().copied().collect();
         let (mut clip, rest): (Vec<Indexed>, Vec<Indexed>) = kids.into_iter().enumerate().partition(|(i, _)| clips.contains(i));
+        let mut fills = Vec::new();
         let clip_node = match clip.len() {
             0 => None,
             1 => clip.pop().map(|(_, n)| n),
             _ => {
                 let rule = clip.first().map_or(FillRule::NonZero, |(_, n)| path_rule(n));
-                // The compound path keeps the clipping paths' stroke, opacity and blend mode when they all have the same
-                // ones, and the knockout shape flag when they all have it: it has one appearance for all its paths.
+                // Each clipping path's fill is a path of its own, under the art it clips, as each one paints it. The
+                // compound path keeps the clipping paths' stroke, opacity and blend mode when they all have the same ones,
+                // and the knockout shape flag when they all have it: it has one appearance for all its paths.
+                for (_, n) in &mut clip {
+                    fills.extend(self.fill_apart(n));
+                }
                 let shape = clip.iter().all(|(_, n)| n.knockout_shape);
                 let look = |n: &Node| (n.appearance.clone(), n.opacity, n.blend);
                 let shared =
@@ -305,12 +318,66 @@ impl<'a> Reader<'a> {
             }
         };
         let clips = clip_node.is_some();
-        // A clipping path's own fill paints under the art it clips.
-        let (fills, rest): (Vec<Indexed>, Vec<Indexed>) = rest.into_iter().partition(|(_, n)| self.clip_fills.contains(&n.id));
-        let children = clip_node.into_iter().chain(fills.into_iter().chain(rest).map(|(_, n)| n)).map(Arc::new).collect();
+        // A fill read apart paints under the art it clips.
+        let (apart, rest): (Vec<Indexed>, Vec<Indexed>) = rest.into_iter().partition(|(_, n)| self.clip_fills.contains(&n.id));
+        let children = clip_node.into_iter().chain(fills).chain(apart.into_iter().chain(rest).map(|(_, n)| n)).map(Arc::new).collect();
         (children, clips)
     }
 
+    /// Clipping path `n`'s fills as a path of their own, taken off `n`; `None` when it has no fill. The path keeps `n`'s
+    /// transparency, visibility, lock and opacity mask, and none of its other attributes.
+    pub(super) fn fill_apart(&mut self, n: &mut Node) -> Option<Node> {
+        let is_fill = |i: &AppearanceItem| matches!(i, AppearanceItem::Fill(_));
+        if !n.appearance.items.iter().any(is_fill) {
+            return None;
+        }
+        let mut kind = n.kind.clone();
+        if let NodeKind::Path { clipping, .. } = &mut kind {
+            *clipping = false;
+        }
+        let mut fill = Node::new(self.doc.alloc_id(), kind);
+        // The copies of a path read on `%_` lines are on those lines too, as `add` records them.
+        let hidden = self.hidden_ids.contains(&n.id);
+        if hidden {
+            self.hidden_ids.insert(fill.id);
+        }
+        // A compound clipping path's subpaths: copies with ids of their own, linked to the same swatches, that don't clip.
+        for c in fill.children_mut().into_iter().flatten() {
+            let mut copy = self.doc.reid(c);
+            self.reid_masks(&mut copy, 0);
+            if let NodeKind::Path { clipping, .. } = &mut copy.kind {
+                *clipping = false;
+            }
+            if hidden {
+                self.hidden_ids.insert(copy.id);
+            }
+            *c = Arc::new(copy);
+        }
+        (fill.opacity, fill.blend, fill.isolate, fill.knockout, fill.knockout_shape, fill.visible, fill.locked) =
+            (n.opacity, n.blend, n.isolate, n.knockout, n.knockout_shape, n.visible, n.locked);
+        // The opacity mask's art is a copy with ids of its own, linked to the same swatches.
+        if let Some(mut mask) = n.extras().mask.clone() {
+            let mut art = self.doc.reid(&mask.art);
+            self.reid_masks(&mut art, 0);
+            mask.art = Arc::new(art);
+            fill.extras_mut().mask = Some(mask);
+        }
+        let (mut fills, mut rest) = ((*n.appearance).clone(), (*n.appearance).clone());
+        fills.items.retain(is_fill);
+        rest.items.retain(|i| !is_fill(i));
+        fill.appearance = fills.into();
+        n.appearance = rest.into();
+        // The new path, its subpaths and their points count toward the objects read, as a multi-layer mask's copies do.
+        let mut weight = fill.count_with_masks();
+        fill.walk(&mut |p| {
+            if let NodeKind::Path { path, .. } = &p.kind {
+                weight = weight.saturating_add(path.anchor_count());
+            }
+        });
+        self.nodes = self.nodes.saturating_add(weight);
+        Some(fill)
+    }
+
     pub(super) fn end_layer(&mut self) -> Result<(), String> {
         self.pending_unread_fill = false;
         self.pending_unread_stroke = false;
diff --git a/crates/eps/src/import/ai/read/directives.rs b/crates/eps/src/import/ai/read/directives.rs
index aedb753d6..307105f95 100644
--- a/crates/eps/src/import/ai/read/directives.rs
+++ b/crates/eps/src/import/ai/read/directives.rs
@@ -648,10 +648,10 @@ impl<'a> Reader<'a> {
         named
     }
 
-    /// Give the art of the opacity masks in `n` (a copy of a symbol's art with ids of this
+    /// Give the art of the opacity masks in `n` (a copy of a symbol's art or of a clipping path with ids of this
     /// document, [`vectorcraft_doc::Document::reid`], which leaves masks as they are) ids of this
     /// document too.
-    fn reid_masks(&mut self, n: &mut Node, depth: usize) {
+    pub(super) fn reid_masks(&mut self, n: &mut Node, depth: usize) {
         if depth > MAX_DEPTH {
             return;
         }
diff --git a/crates/eps/src/import/ai/read/masks.rs b/crates/eps/src/import/ai/read/masks.rs
index c07ab5868..a7e8356bd 100644
--- a/crates/eps/src/import/ai/read/masks.rs
+++ b/crates/eps/src/import/ai/read/masks.rs
@@ -57,32 +57,49 @@ impl Reader<'_> {
     /// `Md`: the clipping path painted last since `Mb`, in the same group or layer, is the mask.
     fn define_multi_mask(&mut self) -> Result<(), String> {
         let depth = self.frames.len();
-        let Some(m) = self.multi_mask.as_mut() else { return Err("a multi-layer mask's operators are out of order".into()) };
+        let Some(m) = self.multi_mask.as_ref() else { return Err("a multi-layer mask's operators are out of order".into()) };
         if m.mask.is_some() || depth == 0 {
             return Err("a multi-layer mask's operators are out of order".into());
         }
         if m.depth != depth {
             return Err("a group crosses a multi-layer mask".into());
         }
+        let start = m.start;
         let Some(f) = self.frames.last_mut() else { return Err("a multi-layer mask's operators are out of order".into()) };
-        let Some(at) = f.clips.iter().copied().filter(|i| *i >= m.start && *i < f.children.len()).max() else {
+        let Some(at) = f.clips.iter().copied().filter(|i| *i >= start && *i < f.children.len()).max() else {
             return Err("a multi-layer mask needs one clipping path".into());
         };
-        let mask = f.children.remove(at);
+        let mut mask = f.children.remove(at);
         f.clips.retain(|i| *i != at);
         for i in &mut f.clips {
             if *i > at {
                 *i -= 1;
             }
         }
+        // The mask's fill paints once, where its path is, under the objects masked after it: it stays a path of its own
+        // among them, and the copies of the mask in each layer it covers have no fill.
+        if let Some(fill) = self.fill_apart(&mut mask) {
+            if self.nodes > MAX_NODES {
+                return Err(format!("it has more than {MAX_NODES} objects"));
+            }
+            let Some(f) = self.frames.last_mut() else { return Err("a multi-layer mask's operators are out of order".into()) };
+            f.children.insert(at, fill);
+            for i in &mut f.clips {
+                if *i >= at {
+                    *i += 1;
+                }
+            }
+        }
         let mut weight = mask.count_with_masks();
         mask.walk(&mut |n| {
             if let NodeKind::Path { path, .. } = &n.kind {
                 weight = weight.saturating_add(path.anchor_count());
             }
         });
-        m.weight = weight;
-        m.mask = Some(mask);
+        if let Some(m) = self.multi_mask.as_mut() {
+            m.weight = weight;
+            m.mask = Some(mask);
+        }
         self.after_object = false;
         Ok(())
     }
diff --git a/crates/eps/src/import/ai/read/ops.rs b/crates/eps/src/import/ai/read/ops.rs
index 9535aa062..b8c6daf6c 100644
--- a/crates/eps/src/import/ai/read/ops.rs
+++ b/crates/eps/src/import/ai/read/ops.rs
@@ -81,8 +81,8 @@ impl<'a> Reader<'a> {
     /// `AdobeURL` tag sets the object's URL, and every other tag is added to the object's data in
     /// order, up to [`MAX_TAGS`]. A tag with no object before it, with an empty identifier, or with
     /// an identifier or string longer than [`MAX_TAG_TEXT`] bytes is ignored, and so are tags in a
-    /// pattern's or brush's art, which is not an object of the document. A clipping path's tags are
-    /// its own, not those of the copy that paints its fill.
+    /// pattern's or brush's art, which is not an object of the document. A compound clipping path's tags are its own,
+    /// not those of the compound path that paints its fill apart from it.
     fn object_tag(&mut self, vals: &[V], hidden: bool) {
         let [.., V::Name(id), V::Str(value)] = vals else {
             self.note_unknown("XT", hidden);
diff --git a/crates/eps/src/import/ai/tests.rs b/crates/eps/src/import/ai/tests.rs
index b4e99d402..fd1e2ece3 100644
--- a/crates/eps/src/import/ai/tests.rs
+++ b/crates/eps/src/import/ai/tests.rs
@@ -187,9 +187,9 @@ fn a_note_before_a_group_or_compound_path_is_not_theirs() {
     }
 }
 
-/// A clipping path's note is its own, not that of the copy that paints its fill.
+/// A filled clipping path keeps its note, and no other object takes it.
 #[test]
-fn a_clipping_paths_note_is_not_copied_to_its_painted_fill() {
+fn a_filled_clipping_paths_note_is_its_own() {
     let body =
         format!("0 Ae\nq\n{RED}%AI3_Note:clip\n{}W\nf\n%AI3_Note:\n{}f\nQ\n", rect_path(5.0, 5.0, 25.0, 25.0), rect_path(0.0, 0.0, 30.0, 30.0));
     let doc = read_ok(&layer(&body)).doc;
@@ -203,7 +203,7 @@ fn a_clipping_paths_note_is_not_copied_to_its_painted_fill() {
     walk(&art(&doc), &mut all);
     let noted: Vec<_> = all.iter().filter(|(_, n)| n == "clip").collect();
     assert_eq!(noted, [&(true, "clip".to_string())], "{all:?}");
-    assert!(all.len() >= 3, "the painted copy is there: {all:?}");
+    assert_eq!(all.len(), 3, "the group, its clipping path and the art: {all:?}");
 }
 
 /// `1 Ap` shows the center point of the paths after it until `0 Ap` (§12, showCenter), which leaves
@@ -294,8 +294,8 @@ fn object_tags_without_an_object_before_them_tag_nothing() {
     assert!(err.contains("operators VectorCraft doesn't know"), "{err}");
 }
 
-/// A clipping path's tags are its own, not those of the copy that paints its fill, and a clip
-/// group's tags after `Q` are the group's. One object keeps at most 64 tags in its data.
+/// A filled clipping path's tags are its own, and a clip group's tags after `Q` are the group's.
+/// One object keeps at most 64 tags in its data.
 #[test]
 fn object_tags_on_clipping_paths_and_the_tag_limit() {
     let body = format!(
@@ -307,6 +307,7 @@ fn object_tags_on_clipping_paths_and_the_tag_limit() {
     let top = &art(&doc);
     assert_eq!(top.len(), 1);
     assert_eq!(tags(&top[0]).1, [tag("group", "clipped")]);
+    assert_eq!(top[0].children().unwrap().len(), 2, "the clipping path and the art");
     let tagged: Vec<_> = top[0].children().unwrap().iter().filter(|k| !tags(k).1.is_empty()).map(|k| k.kind.clone()).collect();
     assert_eq!(tagged.len(), 1, "{tagged:?}");
     assert!(matches!(tagged[0], NodeKind::Path { clipping: true, .. }), "{tagged:?}");
@@ -374,6 +375,28 @@ fn a_drawn_look_keeps_its_objects_tags() {
     assert_eq!(tags(&a[0]), ("https://example.com/n".to_string(), vec![tag("own", "L"), tag("sku", "N-1")]));
 }
 
+/// A clipping subpath on `%_` lines in a drawn look leaves with the fill read apart from it.
+#[test]
+fn a_hidden_clipping_paths_fill_leaves_the_look_with_it() {
+    let (a, b, c) = (rect_path(0.0, 0.0, 30.0, 30.0), rect_path(5.0, 5.0, 25.0, 25.0), rect_path(0.0, 0.0, 10.0, 10.0));
+    let two = rect_path(8.0, 8.0, 20.0, 20.0);
+    let second: String = format!("0 0 1 0 0 0 1 Xa\n{two}h\nW\nf\n").lines().map(|l| format!("%_{l}\n")).collect();
+    let hidden_clip = format!("*u\n{RED}{a}h\nW\nf\n{second}*U\n");
+    let body = format!("0 Ae\nu\nu\n{hidden_clip}{b}f\nU\nU\n0 0 Xd\n6 () XW\n%_{}n\n1 (Gone style) XW\n", c.replace('\n', "\n%_"));
+    let doc = read_ok(&layer(&body)).doc;
+    let mut leaves = vec![];
+    doc.layers.iter().for_each(|l| {
+        l.walk(&mut |n| {
+            if let NodeKind::Path { clipping, .. } = &n.kind {
+                leaves.push((*clipping, fill(n).color()));
+            }
+        })
+    });
+    // The first subpath, its fill and the look's plain path stay; the second subpath and its fill leave.
+    let (red, blue) = (Some(Color::rgb(1.0, 0.0, 0.0)), Some(Color::rgb(0.0, 0.0, 1.0)));
+    assert_eq!(leaves, [(true, None), (false, red), (false, blue)]);
+}
+
 /// Tags in a brush's art don't keep it from being read, and stay out of the art: it isn't an object
 /// of the document.
 #[test]
@@ -1245,20 +1268,76 @@ fn compound_paths_and_clipping() {
     // The clipping path goes first.
     assert!(matches!(children[0].kind, NodeKind::Path { clipping: true, .. }));
     assert!(matches!(children[1].kind, NodeKind::Path { clipping: false, .. }));
-    // A clipping path with a fill paints it too, under the art it clips; without one, nothing.
+    // A clipping path with a fill keeps it, and paints it under the art it clips (`Node::clip_paint`); without one,
+    // nothing.
+    let blue = Some(Color::rgb(0.0, 0.0, 1.0));
     let filled = format!("0 Ae\nq\n{RED}{}f\n0 0 1 0 0 0 1 Xa\n{}W\nf\nQ\n", rect_path(0.0, 0.0, 30.0, 30.0), rect_path(5.0, 5.0, 25.0, 25.0));
     let doc = read_ok(&layer(&filled)).doc;
     let NodeKind::Group { children, clip: true } = &art(&doc)[0].kind else { panic!("a clipping group") };
     let kinds: Vec<_> = children.iter().map(|c| (matches!(c.kind, NodeKind::Path { clipping: true, .. }), fill(c).color())).collect();
-    assert_eq!(kinds, [(true, None), (false, Some(Color::rgb(0.0, 0.0, 1.0))), (false, Some(Color::rgb(1.0, 0.0, 0.0)))]);
+    assert_eq!(kinds, [(true, blue), (false, Some(Color::rgb(1.0, 0.0, 0.0)))]);
+    assert_eq!(children[0].clip_paint().fill.map(|f| fill(&f).color()), Some(blue));
     // A clipping path in a layer clips the layer.
     let doc = read_ok(&layer(&format!("{}f\n{}W\nn\n", rect_path(0.0, 0.0, 9.0, 9.0), rect_path(0.0, 0.0, 5.0, 5.0)))).doc;
     let NodeKind::Layer { clip, children, .. } = &doc.layers[0].kind else { panic!() };
     assert!(*clip && matches!(children[0].kind, NodeKind::Path { clipping: true, .. }));
+    // A filled clipping path in a layer keeps its fill too.
+    let doc = read_ok(&layer(&format!("{RED}{}f\n0 0 1 0 0 0 1 Xa\n{}W\nf\n", rect_path(0.0, 0.0, 9.0, 9.0), rect_path(0.0, 0.0, 5.0, 5.0)))).doc;
+    let NodeKind::Layer { clip: true, children, .. } = &doc.layers[0].kind else { panic!("{:?}", doc.layers[0].kind) };
+    let kinds: Vec<_> = children.iter().map(|c| (matches!(c.kind, NodeKind::Path { clipping: true, .. }), fill(c).color())).collect();
+    assert_eq!(kinds, [(true, blue), (false, Some(Color::rgb(1.0, 0.0, 0.0)))]);
+    // A compound clipping path keeps its subpaths' fill.
+    let compound = format!(
+        "0 Ae\nq\n{RED}{}f\n0 0 1 0 0 0 1 Xa\n*u\n{}h\nW\nf\n{}h\nW\nf\n*U\nQ\n",
+        rect_path(0.0, 0.0, 30.0, 30.0),
+        rect_path(5.0, 5.0, 25.0, 25.0),
+        rect_path(10.0, 10.0, 20.0, 20.0)
+    );
+    let doc = read_ok(&layer(&compound)).doc;
+    let NodeKind::Group { children, clip: true } = &art(&doc)[0].kind else { panic!("a clipping group") };
+    assert!(matches!(children[0].kind, NodeKind::Compound { .. }) && children.len() == 2, "{children:?}");
+    assert_eq!((fill(&children[0]).color(), fill(&children[1]).color()), (blue, Some(Color::rgb(1.0, 0.0, 0.0))));
+    // One subpath filled and a later one stroked: the compound clipping path keeps the stroke, and the filled subpath's
+    // fill is a compound path of its own under the art, so the stroked subpath stays unfilled.
+    let mixed = format!(
+        "0 Ae\nq\n{RED}{}f\n0 0 1 0 0 0 1 Xa\n0 1 0 0 0 1 0 XA\n3 w\n*u\n{}h\nW\nf\n{}h\nW\nS\n*U\nQ\n",
+        rect_path(0.0, 0.0, 30.0, 30.0),
+        rect_path(5.0, 5.0, 25.0, 25.0),
+        rect_path(10.0, 10.0, 20.0, 20.0)
+    );
+    let doc = read_ok(&layer(&mixed)).doc;
+    let NodeKind::Group { children, clip: true } = &art(&doc)[0].kind else { panic!("a clipping group") };
+    assert!(matches!(children[0].kind, NodeKind::Compound { .. }) && children.len() == 3, "{children:?}");
+    let stroke = children[0].appearance.stroke().map(|s| (s.paint.color(), s.width));
+    assert_eq!((fill(&children[0]).color(), stroke), (None, Some((Some(Color::rgb(0.0, 1.0, 0.0)), 3.0))));
+    let NodeKind::Compound { children: filled, .. } = &children[1].kind else { panic!("{:?}", children[1].kind) };
+    assert_eq!(filled.len(), 1, "only the filled subpath: {filled:?}");
+    assert!(filled.iter().all(|p| matches!(p.kind, NodeKind::Path { clipping: false, .. })), "{filled:?}");
+    assert_eq!((fill(&children[1]).color(), children[1].appearance.stroke().is_none()), (blue, true));
+    assert_eq!(fill(&children[2]).color(), Some(Color::rgb(1.0, 0.0, 0.0)));
+    // A subpath that doesn't clip keeps its fill; only the clipping subpath's fill is read apart.
+    let green = Some(Color::rgb(0.0, 1.0, 0.0));
+    let plain = format!(
+        "0 Ae\nq\n{RED}{}f\n*u\n0 0 1 0 0 0 1 Xa\n{}f\n0 1 0 0 0 1 0 Xa\n{}h\nW\nf\n*U\nQ\n",
+        rect_path(0.0, 0.0, 30.0, 30.0),
+        rect_path(5.0, 5.0, 25.0, 25.0),
+        rect_path(10.0, 10.0, 20.0, 20.0)
+    );
+    let doc = read_ok(&layer(&plain)).doc;
+    let NodeKind::Group { children, clip: true } = &art(&doc)[0].kind else { panic!("a clipping group") };
+    let NodeKind::Compound { children: subpaths, .. } = &children[0].kind else { panic!("{:?}", children[0].kind) };
+    let kinds: Vec<_> = subpaths.iter().map(|c| (matches!(c.kind, NodeKind::Path { clipping: true, .. }), fill(c).color())).collect();
+    assert_eq!(kinds, [(false, blue), (true, None)]);
+    let NodeKind::Compound { children: apart, .. } = &children[1].kind else { panic!("{:?}", children[1].kind) };
+    assert_eq!((apart.len(), fill(&children[1]).color()), (1, green), "only the clipping subpath's fill: {apart:?}");
+    // A tag after the compound clipping path is its own.
+    let doc = read_ok(&layer(&mixed.replace("*U\n", "*U\n/edge (clip) XT\n"))).doc;
+    let NodeKind::Group { children, .. } = &art(&doc)[0].kind else { panic!("a clipping group") };
+    assert_eq!((tags(&children[0]).1, tags(&children[1]).1), (vec![tag("edge", "clip")], vec![]));
 }
 
-/// A stroked clipping path (`W S`, `W B`, or a gradient fill with `1 BB`) keeps its stroke on the clipping path, and a
-/// fill goes on the painted copy under the clipped art.
+/// A stroked clipping path (`W S`, `W B`, or a gradient fill with `1 BB`) keeps its stroke and its fill on the clipping
+/// path.
 #[test]
 fn a_clipping_paths_stroke_stays_on_the_clipping_path() {
     let blue = Some(Color::rgb(0.0, 0.0, 1.0));
@@ -1279,17 +1358,11 @@ fn a_clipping_paths_stroke_stays_on_the_clipping_path() {
     let stroked = format!("0 Ae\nq\n{RED}{under}f\n0 0 1 0 0 0 1 XA\n3 w\n{clip}W\nS\nQ\n");
     assert_eq!(children(&read_ok(&layer(&stroked)).doc), [(true, None, false, Some((blue, 3.0))), (false, red, false, None)]);
     let both = format!("0 Ae\nq\n{RED}{under}f\n0 1 0 0 0 1 0 Xa\n0 0 1 0 0 0 1 XA\n3 w\n{clip}W\nB\nQ\n");
-    assert_eq!(
-        children(&read_ok(&layer(&both)).doc),
-        [(true, None, false, Some((blue, 3.0))), (false, Some(Color::rgb(0.0, 1.0, 0.0)), false, None), (false, red, false, None)]
-    );
+    assert_eq!(children(&read_ok(&layer(&both)).doc), [(true, Some(Color::rgb(0.0, 1.0, 0.0)), false, Some((blue, 3.0))), (false, red, false, None)]);
     let defs = "%AI5_BeginGradient: (G)\n(G) 0 2 Bd\n[\n0 0 0 0 1 0 0 2 0 6 %_BS\n%_0 0 0 0 1 0 0 2 0 6 0 0 Bs\n\
                 %_0 0 0 0 0 0 1 2 1 6 100 50 Bs\nBD\n%AI5_EndGradient\n";
     let gradient = format!("0 Ae\nq\n{RED}{under}f\n0 0 1 0 0 0 1 XA\n3 w\n{clip}W\nBb\n0 0 0 0 Bh\n1 (G) 5 5 0 20 1 0 0 1 0 0 1 Bg\nf\n1 BB\nQ\n");
-    assert_eq!(
-        children(&read_ok(&format!("{defs}{}", layer(&gradient))).doc),
-        [(true, None, false, Some((blue, 3.0))), (false, None, true, None), (false, red, false, None)]
-    );
+    assert_eq!(children(&read_ok(&format!("{defs}{}", layer(&gradient))).doc), [(true, None, true, Some((blue, 3.0))), (false, red, false, None)]);
     // Several clipping paths each keep their own stroke, opacity and blend mode: the second one clips a clipping group
     // inside the first one's.
     let inner = rect_path(10.0, 10.0, 20.0, 20.0);
@@ -1331,8 +1404,7 @@ fn the_compound_of_clipping_paths_keeps_their_knockout_shape() {
 
 /// Several clipping paths in a clipping group, a layer or an opacity mask's art clip to their intersection: each `W`
 /// reduces the clip set by the ones before it (AI7 spec §5.6.2). Each clipping path after the first clips a clipping
-/// group inside the one before it, and the innermost one holds the art; a clipping path's painted fill stays at its own
-/// level.
+/// group inside the one before it, and the innermost one holds the art; a filled clipping path keeps its fill.
 #[test]
 fn several_clipping_paths_clip_to_their_intersection() {
     let square = rect_path(0.0, 0.0, 80.0, 80.0);
@@ -1364,11 +1436,12 @@ fn several_clipping_paths_clip_to_their_intersection() {
     assert_eq!((two.len(), two[0].len()), (2, 2), "{two:?}");
     assert_eq!(two[0][0], (true, None, ra));
     assert_eq!(two[1], [(true, None, rb), (false, red, r(0.0, 0.0, 80.0, 80.0))]);
-    // Three clipping paths nest twice; a filled clipping path's painted copy is clipped by the paths before it only.
+    // Three clipping paths nest twice; a filled clipping path keeps its fill at its own level, so the fill is clipped
+    // by that path and the paths before it only.
     let three =
         group(&format!("0 Ae\nq\n{a}h\nW\nn\n0 0 1 0 0 0 1 Xa\n{b}h\nW\nf\n{}h\nW\nn\n{RED}{square}f\nQ\n", rect_path(30.0, 10.0, 50.0, 90.0)));
     assert_eq!(three.len(), 3, "{three:?}");
-    assert_eq!(three[1][..2], [(true, None, rb), (false, blue, rb)]);
+    assert_eq!((three[1].len(), three[1][0]), (2, (true, blue, rb)), "{three:?}");
     assert_eq!(three[2], [(true, None, r(30.0, 10.0, 50.0, 90.0)), (false, red, r(0.0, 0.0, 80.0, 80.0))]);
     // As with one clipping path, every object in the group is clipped by all of them, in the order written, wherever
     // it is written.
@@ -1766,6 +1839,61 @@ fn a_compound_path_holding_its_drawn_look_paints_its_paths_apart() {
     assert_eq!(fills, [Some(Color::rgb(1.0, 0.0, 0.0)), Some(Color::rgb(0.0, 0.0, 1.0))], "{a:#?}");
 }
 
+/// Clipping paths in a compound path that holds its drawn look clip as one compound path. Each one's fill is a path of
+/// its own under the art they clip, with the clipping path's opacity mask, so overlapping fills and fills that differ
+/// paint as each clipping path paints them.
+#[test]
+fn clipping_paths_beside_a_compound_paths_look_keep_their_fills() {
+    let (a, b) = (rect_path(0.0, 0.0, 20.0, 20.0), rect_path(5.0, 5.0, 25.0, 25.0));
+    let look = format!("0 Ae\nu\n{RED}{}f\n0 0 0 0 0 0 1 Xa\n{}f\nU\n9 () XW\n", rect_path(0.0, 0.0, 30.0, 30.0), rect_path(10.0, 10.0, 15.0, 15.0));
+    let mask_art: String =
+        format!("0 0 0 0 (Global white) 1 0 Xk\n{}f\n", rect_path(0.0, 0.0, 10.0, 10.0)).lines().map(|l| format!("%_{l}\n")).collect();
+    let mask = format!("%_/ArtDictionary :\n%_/Mask :\n%_X=\n{mask_art}%_X+\n%_(Art) ,\n%_; (AI9_Mask) ,\n%_;\n");
+    let children = |second: &str, after_first: &str| {
+        let body = format!("0 Ae\n*u\n{RED}{a}h\nW\nf\n{after_first}{second}{b}h\nW\nf\n{look}*U\n");
+        let doc = read_ok(&layer(&body)).doc;
+        // Every object, opacity masks' art included, has an id of its own.
+        fn ids(n: &Node, seen: &mut std::collections::HashSet<vectorcraft_doc::NodeId>) {
+            assert!(seen.insert(n.id), "{:?} appears twice", n.id);
+            if let Some(m) = &n.extras().mask {
+                ids(&m.art, seen);
+            }
+            for c in n.children().into_iter().flatten() {
+                ids(c, seen);
+            }
+        }
+        let mut seen = std::collections::HashSet::new();
+        doc.layers.iter().for_each(|l| ids(l, &mut seen));
+        let a = art(&doc);
+        let NodeKind::Group { children, clip: true } = &a[0].kind else { panic!("{a:#?}") };
+        // An opacity mask: the swatch its art's fill is linked to.
+        let mask = |c: &Node| {
+            c.extras().mask.as_ref().map(|m| {
+                let mut swatch = None;
+                m.art.walk(&mut |p| {
+                    if let Paint::Solid { swatch: Some(s), .. } = fill(p) {
+                        swatch = Some(s);
+                    }
+                });
+                swatch
+            })
+        };
+        children.iter().map(|c| (c.kind.clone(), fill(c).color(), mask(c))).collect::<Vec<_>>()
+    };
+    let (red, blue) = (Some(Color::rgb(1.0, 0.0, 0.0)), Some(Color::rgb(0.0, 0.0, 1.0)));
+    // A child's kind, fill color and, with an opacity mask, the swatch its art is linked to.
+    type Child = (NodeKind, Option<Color>, Option<Option<String>>);
+    let paths = |c: &[Child]| {
+        assert!(matches!(c[0].0, NodeKind::Compound { .. }) && c.len() == 4, "{c:?}");
+        c[..3].iter().map(|(k, c, m)| (matches!(k, NodeKind::Path { clipping: false, .. }), *c, m.clone())).collect::<Vec<_>>()
+    };
+    assert_eq!(paths(&children("", "")), [(false, None, None), (true, red, None), (true, red, None)]);
+    assert_eq!(paths(&children("0 0 0 0 0 0 1 Xa\n", "")), [(false, None, None), (true, red, None), (true, blue, None)]);
+    // The fill's copy of the mask stays linked to the mask art's global swatch.
+    let linked = Some(Some("Global white".to_string()));
+    assert_eq!(paths(&children("0 0 0 0 0 0 1 Xa\n", &mask)), [(false, None, None), (true, red, linked), (true, blue, None)]);
+}
+
 #[test]
 fn a_compound_path_of_a_plain_group_stays_one_compound_path() {
     // GUARDS: #980. Files write `9 () XW` after every group, the one a compound path keeps its
@@ -3700,7 +3828,7 @@ fn legacy_type_in_a_mask_rendering_mode_clips_its_clipping_group() {
     assert!(matches!(inner[0].kind, NodeKind::Path { clipping: true, .. }) && matches!(inner[1].kind, NodeKind::Path { clipping: false, .. }));
 }
 
-/// A filled clipping path (`W` then `f`) beside type used as a mask: its painted fill stays at its own path's level,
+/// A filled clipping path (`W` then `f`) beside type used as a mask keeps its fill, which paints at its own path's level,
 /// as beside another clipping path (the reader's rule for `W` paths). Written after the type, it is painted within the
 /// type's mask, since a later mask narrows the clip set by the earlier ones (§5.6.2); written before it, the type doesn't
 /// clip it.
@@ -3709,23 +3837,21 @@ fn a_filled_clipping_path_beside_legacy_type_used_as_a_mask() {
     let square = format!("1 0 0 Xa\n{}f\n", rect_path(0.0, 0.0, 100.0, 100.0));
     let filled = format!("0 0 1 Xa\n{}h\nW\nf\n", rect_path(0.0, 0.0, 30.0, 30.0));
     let text = point_type("7 Tr", "Hi");
-    let is_fill = |n: &Node| matches!(n.kind, NodeKind::Path { clipping: false, .. }) && fill(n).color() == Some(Color::rgb(0.0, 0.0, 1.0));
+    let is_clip = |n: &Node| matches!(n.kind, NodeKind::Path { clipping: true, .. }) && fill(n).color() == Some(Color::rgb(0.0, 0.0, 1.0));
     let is_art = |n: &Node| matches!(n.kind, NodeKind::Path { clipping: false, .. }) && fill(n).color() == Some(Color::rgb(1.0, 0.0, 0.0));
-    // The type first: the path's fill is in the clipping group the path clips, inside the type's.
+    // The type first: the filled path clips a clipping group inside the type's.
     let doc = legacy_read(&format!("q\n{text}{filled}{square}Q\n")).doc;
     let a = art(&doc);
     let NodeKind::Group { children, clip: true } = &a[0].kind else { panic!("{:?}", a[0].kind) };
     assert!(matches!(children[0].kind, NodeKind::Text(_)) && children.len() == 2, "{children:?}");
     let NodeKind::Group { children: inner, clip: true } = &children[1].kind else { panic!("{:?}", children[1].kind) };
-    assert!(matches!(inner[0].kind, NodeKind::Path { clipping: true, .. }), "{inner:?}");
-    assert!(is_fill(&inner[1]) && is_art(&inner[2]) && inner.len() == 3, "{inner:?}");
-    // The path first: its fill is in the outer clipping group, which only the path clips; the type clips the art.
+    assert!(is_clip(&inner[0]) && is_art(&inner[1]) && inner.len() == 2, "{inner:?}");
+    // The path first: it clips the outer clipping group, so only the path clips its fill; the type clips the art.
     let doc = legacy_read(&format!("q\n{filled}{text}{square}Q\n")).doc;
     let a = art(&doc);
     let NodeKind::Group { children, clip: true } = &a[0].kind else { panic!("{:?}", a[0].kind) };
-    assert!(matches!(children[0].kind, NodeKind::Path { clipping: true, .. }), "{children:?}");
-    assert!(is_fill(&children[1]) && children.len() == 3, "{children:?}");
-    let NodeKind::Group { children: inner, clip: true } = &children[2].kind else { panic!("{:?}", children[2].kind) };
+    assert!(is_clip(&children[0]) && children.len() == 2, "{children:?}");
+    let NodeKind::Group { children: inner, clip: true } = &children[1].kind else { panic!("{:?}", children[1].kind) };
     assert!(matches!(inner[0].kind, NodeKind::Text(_)) && is_art(&inner[1]) && inner.len() == 2, "{inner:?}");
 }
 
@@ -5206,8 +5332,9 @@ fn artboards_after_what_stops_the_reading() {
 
 #[test]
 fn a_compound_clipping_path_with_a_fill_paints_once_under_its_clip() {
-    // GUARDS: the painted copies of a compound's clipping subpaths went into the compound itself,
-    // doubling each subpath, so under even-odd the clip cancelled to nothing.
+    // GUARDS: copies that painted a compound's clipping subpaths went into the compound itself,
+    // doubling each subpath, so under even-odd the clip cancelled to nothing. The compound
+    // clipping path keeps the fill itself.
     let art_ = format!(
         "0 Ae\nq\n{RED}{}f\n1 XR\n*u\n0 0 0 0 0 0 1 Xa\n{}W\nf\n{}W\nf\n*U\nQ\n",
         rect_path(0.0, 0.0, 100.0, 100.0),
@@ -5216,14 +5343,13 @@ fn a_compound_clipping_path_with_a_fill_paints_once_under_its_clip() {
     );
     let doc = read_ok(&layer(&art_)).doc;
     let NodeKind::Group { children, clip: true } = &art(&doc)[0].kind else { panic!("a clipping group") };
-    assert_eq!(children.len(), 3, "{children:#?}");
+    assert_eq!(children.len(), 2, "{children:#?}");
     let NodeKind::Compound { children: clip, rule } = &children[0].kind else { panic!("{:?}", children[0].kind) };
     assert_eq!(*rule, vectorcraft_geom::FillRule::EvenOdd);
     assert_eq!(clip.len(), 2);
     assert!(clip.iter().all(|c| matches!(c.kind, NodeKind::Path { clipping: true, .. })));
-    let NodeKind::Compound { children: painted, .. } = &children[1].kind else { panic!("{:?}", children[1].kind) };
-    assert_eq!((painted.len(), fill(&children[1]).color()), (2, Some(Color::rgb(0.0, 0.0, 1.0))));
-    assert_eq!(fill(&children[2]).color(), Some(Color::rgb(1.0, 0.0, 0.0)));
+    assert_eq!(fill(&children[0]).color(), Some(Color::rgb(0.0, 0.0, 1.0)));
+    assert_eq!(fill(&children[1]).color(), Some(Color::rgb(1.0, 0.0, 0.0)));
 }
 
 #[test]
@@ -8664,13 +8790,31 @@ fn a_multi_layer_mask_in_a_group_or_sublayer() {
 
 #[test]
 fn a_multi_layer_masks_path_can_be_painted_or_compound() {
-    // `W f`: the path also paints, under what the mask covers.
+    // `W f`: the path also paints, once, under what the mask covers after it: its fill is a path of its own in the first
+    // layer, and the copies of the mask in each layer have no fill.
+    let black = Some(Color::cmyk(0.0, 0.0, 0.0, 1.0));
     let painted = format!("{}Mb\n0 0 0 1 k\n{}h\nW\nf\nMd\n{}MB\n{END7}", begin7("A", 1), rect_path(40.0, 40.0, 120.0, 120.0), masked(15.0));
     let doc = read7(&painted).doc;
     assert_eq!(layer_trees(&doc)[0].1, "k[c p p]");
     let group = doc.layers[0].children().unwrap()[0].clone();
     let kids = group.children().unwrap();
-    assert_eq!(fill(&kids[1]).color(), Some(Color::cmyk(0.0, 0.0, 0.0, 1.0)), "the painted path first");
+    assert_eq!(fill(&kids[0]), Paint::None, "the clipping path has no fill");
+    assert_eq!(fill(&kids[1]).color(), black, "the painted path first");
+    let two = format!(
+        "{}Mb\n0 0 0 1 k\n{}h\nW\nf\nMd\n{}{END7}{}{}MB\n{END7}",
+        begin7("A", 1),
+        rect_path(40.0, 40.0, 120.0, 120.0),
+        masked(15.0),
+        begin7("B", 1),
+        masked(30.0)
+    );
+    let doc = read7(&two).doc;
+    assert_eq!(layer_trees(&doc), [("A".to_string(), "k[c p p]".to_string(), false), ("B".to_string(), "k[c p]".to_string(), false)]);
+    let kids = |l: usize| doc.layers[l].children().unwrap()[0].children().unwrap().to_vec();
+    let (a, b) = (kids(0), kids(1));
+    assert_eq!((fill(&a[0]), fill(&b[0])), (Paint::None, Paint::None), "no copy of the mask paints");
+    assert_eq!(fill(&a[1]).color(), black);
+    assert_eq!(fill(&b[1]).color(), Some(Color::cmyk(0.5, 0.0, 0.0, 0.0)), "layer B's square, unpainted over");
     // A compound path of clipping paths.
     let compound = format!(
         "{}Mb\n*u\n{}h\nW\nn\n{}h\nW\nn\n*U\nMd\n{}MB\n{END7}",
@@ -8680,6 +8824,28 @@ fn a_multi_layer_masks_path_can_be_painted_or_compound() {
         masked(15.0)
     );
     assert_eq!(layer_trees(&read7(&compound).doc)[0].1, "k[o p]");
+    // A filled one over two layers: its fill is a compound path of its own in the first, whose paths don't clip.
+    let filled = format!(
+        "{}Mb\n0 0 0 1 k\n*u\n{}h\nW\nf\n{}h\nW\nf\n*U\nMd\n{}{END7}{}{}MB\n{END7}",
+        begin7("A", 1),
+        rect_path(40.0, 40.0, 80.0, 80.0),
+        rect_path(90.0, 90.0, 120.0, 120.0),
+        masked(15.0),
+        begin7("B", 1),
+        masked(30.0)
+    );
+    let doc = read7(&filled).doc;
+    assert_eq!(layer_trees(&doc), [("A".to_string(), "k[o o p]".to_string(), false), ("B".to_string(), "k[o p]".to_string(), false)]);
+    let kids = |l: usize| doc.layers[l].children().unwrap()[0].children().unwrap().to_vec();
+    let (a, b) = (kids(0), kids(1));
+    assert_eq!((fill(&a[0]), fill(&b[0])), (Paint::None, Paint::None), "no copy of the mask paints");
+    assert_eq!(fill(&a[1]).color(), black);
+    let NodeKind::Compound { children: subpaths, .. } = &a[1].kind else { panic!("{:?}", a[1].kind) };
+    assert!(subpaths.iter().all(|p| matches!(p.kind, NodeKind::Path { clipping: false, .. })), "{subpaths:#?}");
+    let mut ids = std::collections::HashSet::new();
+    for l in &doc.layers {
+        l.walk(&mut |n| assert!(ids.insert(n.id), "{:?} appears twice", n.id));
+    }
 }
 
 /// `Mv` starts a mask as `Mb` does, `ME` defines one as `Md` does, and `Mi` changes nothing.
@@ -8762,4 +8928,8 @@ fn copies_of_a_multi_layer_mask_count_toward_the_limit() {
     let two = format!("{}{mask}{}{END7}{}{}MB\n{END7}", begin7("A", 1), masked(15.0), begin7("B", 1), masked(30.0));
     let e = read(mask_stream7(&two).as_bytes()).unwrap_err();
     assert!(e.contains("objects"), "{e}");
+    // A filled mask's fill, a path of its own, counts too.
+    let filled = format!("{}{}{}MB\n{END7}", begin7("A", 1), mask.replace("W\nn\n", "W\nf\n"), masked(15.0));
+    let e = read(mask_stream7(&filled).as_bytes()).unwrap_err();
+    assert!(e.contains("objects"), "{e}");
 }
diff --git a/crates/eps/src/import/tests_native.rs b/crates/eps/src/import/tests_native.rs
index f52a8baa0..6f21d060b 100644
--- a/crates/eps/src/import/tests_native.rs
+++ b/crates/eps/src/import/tests_native.rs
@@ -177,11 +177,12 @@ fn sublayers_groups_compounds_clip_groups_and_hidden_objects_come_in() {
     let page = [10, 20, 30, 80].map(|x| page_square(x, 10)).join("\n") + "\n" + clip_fill;
     let r = import(&eps(&page, &art)).unwrap();
     let outer = &r.document.layers[0];
-    assert_eq!(kinds(outer), ["group[1]", "compound[2]", "clip[3]", "group[1]", "other"]);
+    assert_eq!(kinds(outer), ["group[1]", "compound[2]", "clip[2]", "group[1]", "other"]);
     let children = outer.children().unwrap();
     assert!(children[0].visible && !children[3].visible, "the hidden object is hidden, not left out");
-    // The clip path comes first in its group.
-    assert!(matches!(children[2].children().unwrap()[0].kind, NodeKind::Path { clipping: true, .. }));
+    // The clip path comes first in its group, with its fill.
+    let clip = &children[2].children().unwrap()[0];
+    assert!(matches!(clip.kind, NodeKind::Path { clipping: true, .. }) && clip.clip_paint().fill.is_some(), "{clip:?}");
     // The sublayer is a layer of the layer.
     assert!(matches!(&children[4].kind, NodeKind::Layer { .. }));
     assert_eq!(children[4].name.as_deref(), Some("Inner"));
diff --git a/docs/file-format-parity.md b/docs/file-format-parity.md
index fc17be4a0..14a233f4b 100644
--- a/docs/file-format-parity.md
+++ b/docs/file-format-parity.md
@@ -175,6 +175,12 @@ 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; a filled clipping path keeps its fill, which paints under the art it clips, except the path of a mask that covers several layers, whose fill is read as a path of its own in the layer that holds the mask's path, and a compound clipping path whose subpaths paint differently, whose filled subpaths are read as a compound path of their own under the art it clips; 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). Objects in a symbol defined before the file's art styles section, as newer files write it, take the same styles as the layers' objects. 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 (`<Layer>` 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; a filled clipping path keeps its fill, which paints under the art it clips, except the path of a mask that covers several layers, whose fill is read as a path of its own in the layer that holds the mask's path, and a compound clipping path whose subpaths paint differently, whose filled subpaths are read as a compound path of their own under the art it clips; 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 or Art one, a Calligraphic brush with settings of its own or an angle that follows the path, or an Art brush other than the ones described next 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), and so does a path with an Art brush, whose weight scales the art across the path, when all of these hold: the brush stretches its art along the path, unflipped, at 100% in Tints; the path's settings are the brush's own, with no entry that isn't read, no variable width and no effects; its stroke isn't a swatch; and the art is paths, compound paths and groups in solid fills, with no strokes, masks or effects, and has some length along the path. A stroke takes the brush the Brushes panel keeps under its name, and one whose name the panel doesn't keep comes in as its drawn look. Type with an Art brush keeps its drawn look under the type. 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 (an Art brush aside), 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 (`<Layer>` 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; a filled clipping path keeps its fill, which paints under the art it clips, except the path of a mask that covers several layers, whose fill is read as a path of its own in the layer that holds the mask's path; 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). Objects in a symbol defined before the file's art styles section, as newer files write it, take the same styles as the layers' objects. 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 (`<Layer>` 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; a filled clipping path keeps its fill, which paints under the art it clips, except the path of a mask that covers several layers, whose fill is read as a path of its own in the layer that holds the mask's path; 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 or Art one, a Calligraphic brush with settings of its own or an angle that follows the path, or an Art brush other than the ones described next 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), and so does a path with an Art brush, whose weight scales the art across the path, when all of these hold: the brush stretches its art along the path, unflipped, at 100% in Tints; the path's settings are the brush's own, with no entry that isn't read, no variable width and no effects; its stroke isn't a swatch; and the art is paths, compound paths and groups in solid fills, with no strokes, masks or effects, and has some length along the path. A stroke takes the brush the Brushes panel keeps under its name, and one whose name the panel doesn't keep comes in as its drawn look. Type with an Art brush keeps its drawn look under the type. 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 (an Art brush aside), 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 (`<Layer>` 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; a filled clipping path keeps its fill, which paints under the art it clips; 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). Objects in a symbol defined before the file's art styles section, as newer files write it, take the same styles as the layers' objects. 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 (`<Layer>` 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; a filled clipping path keeps its fill, which paints under the art it clips; 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 or Art one, a Calligraphic brush with settings of its own or an angle that follows the path, or an Art brush other than the ones described next 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), and so does a path with an Art brush, whose weight scales the art across the path, when all of these hold: the brush stretches its art along the path, unflipped, at 100% in Tints; the path's settings are the brush's own, with no entry that isn't read, no variable width and no effects; its stroke isn't a swatch; and the art is paths, compound paths and groups in solid fills, with no strokes, masks or effects, and has some length along the path. A stroke takes the brush the Brushes panel keeps under its name, and one whose name the panel doesn't keep comes in as its drawn look. Type with an Art brush keeps its drawn look under the type. 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 (an Art brush aside), 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 (`<Layer>` 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 or Art one, a Calligraphic brush with settings of its own or an angle that follows the path, or an Art brush other than the ones described next comes in as its drawn look (a group named after it). Objects in a symbol defined before the file's art styles section, as newer files write it, take the same styles as the layers' objects. 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), and so does a path with an Art brush, whose weight scales the art across the path, when all of these hold: the brush stretches its art along the path, unflipped, at 100% in Tints; the path's settings are the brush's own, with no entry that isn't read, no variable width and no effects; its stroke isn't a swatch; and the art is paths, compound paths and groups in solid fills, with no strokes, masks or effects, and has some length along the path. A stroke takes the brush the Brushes panel keeps under its name, and one whose name the panel doesn't keep comes in as its drawn look. Type with an Art brush keeps its drawn look under the type. 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. When the file opens from its layers, the spot colors in the art of each brush that comes in become swatches, and that art's colors count toward the document's color mode, as a pattern's do. The swatches take at most 20,000 color names in all across the brush art, and each brush-art section keeps at most 20,000 names. Each name keeps its first definition, with the color operators' names before the gradient stops' names. A spot color past those limits makes no swatch, and its color still counts toward the color mode. A spot color that the page's art, a pattern or a symbol also defines keeps the value defined there. Type keeps its art style as a live appearance whatever its stack (an Art brush aside), 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 (`<Layer>` 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 or Art one, a Calligraphic brush with settings of its own or an angle that follows the path, or an Art brush other than the ones described next comes in as its drawn look (a group named after it). Objects in a symbol defined before the file's art styles section, as newer files write it, take the same styles as the layers' objects. 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), and so does a path with an Art brush, whose weight scales the art across the path, when all of these hold: the brush stretches its art along the path, unflipped, at 100% in Tints; the path's settings are the brush's own, with no entry that isn't read, no variable width and no effects; its stroke isn't a swatch; and the art is paths, compound paths and groups in solid fills, with no strokes, masks or effects, and has some length along the path. A stroke takes the brush the Brushes panel keeps under its name, and one whose name the panel doesn't keep comes in as its drawn look. Type with an Art brush keeps its drawn look under the type. 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. When the file opens from its layers, the spot colors in the art of each brush that comes in become swatches, and that art's colors count toward the document's color mode, as a pattern's do; a spot color that the page's art, a pattern or a symbol also defines keeps the value defined there. Type keeps its art style as a live appearance whatever its stack (an Art brush aside), 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 (`<Layer>` 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 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. When the file opens from its layers, the spot colors in the art of each brush that comes in become swatches, and that art's colors count toward the document's color mode, as a pattern's do; a spot color that the page's art, a pattern or a symbol also defines keeps the value defined there. 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 (`<Layer>` 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.