The check that decides whether a linked EPS file is DCS now gets the
file's size. When the bytes read hold the whole file, it reads them as a
full read does. A binary EPS header whose PostScript or TIFF preview ends
past the end of the file names no plates, so such a file keeps its
preview with lowResProxyEps on instead of going missing.
With the lowResProxyEps preference on, opening a document kept the saved
preview of a linked DCS file, so the link showed as EPS without its
plates. Opening now reads the first 1 MiB of each such EPS file and reads
a DCS file in full. The whole file is read only when a binary EPS header
puts the PostScript past those bytes or the header comments run past
them. Other EPS files keep their preview.
After a rotation the Selection tool already shows and drags a bounding
box turned with the objects, but the Free Transform tool still used the
page-aligned box. Its handles sat on the wrong corners, a side handle
scaled along the page axes, and Perspective Distort and Free Distort
started from a box that did not match the art.
- The Free Transform tool keeps the selection's turned box for the
drag. Handles, the rotate zone and the move zone are read in its
frame; a handle scales along the selection's own sides from the
opposite handle (or the center with Alt) and snaps as the Selection
tool's does; Cmd/Ctrl on a side handle shears along that side; the
outline, handles and cursors are drawn on the turned box.
- Perspective Distort and Free Distort move the corners of the turned
box. `object.distort` takes `angle?` (degrees): `from`, or the
selection's bounds without it, is then a box in the frame turned by
that angle. Upright boxes send the same params as before.
- The Scale and Reflect tools, their dialogs and commands, and the
Transform panel's flips keep the page's axes.
Docs: docs/mcp.md, docs/target-app-parity.md.
A new Type preference, Show samples on white (`fontSamplesOnWhite`, off
by default), draws each family's sample in every font menu, and in
Type → Font in the in-window menu bar, in the Light brightness's text
color on a white area, in every interface brightness. A row's white
area is drawn while its sample is still rendering, and leaves 2 pt above
and below it where a highlighted row's color shows. The family names and
the rest of the menu keep the interface's colors. Preferences dims the
checkbox while Enable in-menu font previews is off.
Docs: docs/mcp.md (prefs), docs/target-app-parity.md evidence line.
The Paragraph panel's Mojikumi Set lists None, YakumonoHankaku,
GyomatsuYakumonoHankaku, GyomatsuYakumonoZenkaku and YakumonoZenkaku,
then Line-end Punctuation Half Width, and text.setFormat {mojikumi}
takes yakumonoHankaku, gyomatsuYakumonoHankaku, gyomatsuYakumonoZenkaku
and yakumonoZenkaku besides none and lineEndHalf.
The spacing of each set is VectorCraft's own rule, built on the help
page's one-line description of each set:
- YakumonoHankaku sets every bracket, comma and full stop half width,
takes a quarter em off each side of a middle dot, and puts a quarter
em between Japanese and Latin letters or digits.
- GyomatsuYakumonoHankaku keeps punctuation full width inside a line,
sets an opening bracket starting a line flush and a closing mark
ending it half width, and takes the quarter em after a middle dot
ending a line off.
- GyomatsuYakumonoZenkaku keeps punctuation full width and adds the
quarter em between Japanese and Latin text.
- YakumonoZenkaku sets characters as None does.
Both composers and vertical type measure each line as it is set. A
right-to-left paragraph, whose line ends are measured untrimmed, also
draws them untrimmed, and a right-to-left line that ends between a
Japanese and a Latin character is measured without the quarter em the
set adds there. With a Desired glyph scaling other than 100%, the
space a set takes off before an opening bracket or middle dot, and the
Japanese-Latin space recorded at a line's end, scale with the glyph.
The sets save with the document and paragraph styles; new type and
Reset Panel keep Line-end Punctuation Half Width. SVG export lays type
with middle dots out again for its positioned spans. A .ai save
reports a paragraph with one of the new sets as left out.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md,
docs/gaps.md.
The series fill and stroke and the label fill and stroke a graph keeps
for its next redraw are now in the paint traversal, so Delete Pattern
and canceling a new pattern make them no paint and a Pattern Options
rename renames them. Before, a later graph.setData drew the paint of a
missing pattern again. Global swatch edits reach the same paints.
The progress-doc line now says that only canceling a new pattern clears
its paints; canceling the edit of an existing pattern puts the
definition, and after a rename the old name, back.
effect.apply, appearance.addEffect and effect.setParams checked an effect
parameter's type only when the effect has a dialog default for the key. Keys
that only the params text names were stored as given: an Outline Stroke with
`width: "10 pt"` drew at the stroke's own weight, and a Gaussian Blur with
`linear: 1` blurred in linear light.
- The earlier 3D `perspective`, `lightAzimuth` and `lightElevation`,
Scribble's `variation` and Outline Stroke's `width` must be numbers, and
Gaussian Blur's `linear` must be true or false. A test walks every effect
so a new key without a default needs a listed type or a check of its own.
- The `style` of Crop Marks must be `roman` or `japanese`, and `null` is
refused. Any other value drew as Roman.
- An installed plug-in effect's parameters are checked against its manifest
when the command runs, as plugin.run already checks the effect records a
filter returns.
- effect.setParams with `warpStyle` checks the parameters against the new
Warp style's effect, as it already did for a 3D effect's new
`threeDType`. It checked them against the old style.
- effect.setParams refuses a `visible` that is not true or false, such as
`1` or `"false"`, when called and when a step plays, and nothing changes.
Before, the value was ignored and the rest of the call applied. `null`
still leaves the visibility as it is.
A step of command.batch is refused the same way. A replayed journal or
action still plays a wrongly typed effect parameter, as it plays a key the
effect no longer takes.
Docs: docs/mcp.md, docs/target-app-parity.md.
File > Open and File > Place read QuickDraw pictures, versions 1 and 2,
from .pct, .pic and .pict files, with or without the file's 512 bytes
of application data; a version 2 picture also opens by its content.
The reader plays the opcodes of Apple's Opcodes in Pictures table on
the metafile player: lines, rectangles, rounded rectangles, ovals,
arcs, polygons and regions become paths, text becomes point type in
the font the picture names, bitmaps, pixel maps and QuickTime JPEG
images become images, and the clip region clips what follows it.
Place puts the picture in one group clipped to its frame. What isn't
read comes back as warnings, and a picture cut short keeps what came
before it. PICT is not written.
Images whose transform flattens them no longer leave their pixel data
in the document. Formats whose signature starts the file are detected
before PICT, which is known by bytes 522 or 10.
Docs: docs/mcp.md, docs/file-format-parity.md, docs/target-app-parity.md.
The characters of an inline graphic draw no glyph, so their fill and
stroke paint only their underline and strikethrough (not on a path or in
vertical type) and the ruby readings that layout draws with them (a
reading takes the paint of the first base character on its line, and
type on a path has no ruby). Without one, their pattern no longer counts
as painted for Find, selection-only Change and Print.
A colorized image whose linked file is missing shows the placeholder
preview, whose pixels are not grayscale. paint.setFill skipped such an
image and added a fill item instead, while the Fill proxy showed the
image's colorize color. A solid color now replaces the colorize color.
While that color is a spot color, black or white, a process color is
refused, since the relinked pixels may have an alpha channel.
A print to a file and the print preview list their notes as saves and
exports do since #6920: what the job leaves out of the document or prints
differently first (art outside the imageable area, type in a fallback
font, transparency flattened for PostScript), then the notes on the
options (halftone screens and a fixed flatness that aren't written, copies
per sheet that don't fit, a printer profile left out, ink options that
name no ink). Each kind keeps the order it is given in.
The print layout, the PDF print and the PDF print plan return the notes
on the options in `setting_notes` beside `warnings`, as `ExportReport`
does. The status message after a print to a file names the first note,
so a fixed flatness no longer hides type printed in a fallback font.
Space held while dragging out a new anchor already moved it, handles and
all, but the closing drag skipped it, so the closing anchor could not be
repositioned. The closing drag now moves the first anchor by as far as the
pointer moves while Space is held, its handles with it, and the drag
shapes the handles round the new place once Space is released.
path.close takes `at: [x, y]`, which moves the first anchor, its handles
with it, before `in` and `out` are placed. docs/mcp.md and the Pen line
in docs/target-app-parity.md describe it.
- The link watch and links.updateChanged look at a DCS file's plate files
of their own, so a changed plate file is read again.
- links.update and links.relink apply the file's clipping path to the
images in symbols, graph designs, patterns and masks too. When the new
file has no clipping path, a clip group holding the old file's clipping
path loses that path and stays as a plain group of the image, keeping
its id, name, visibility and transparency. The image keeps that path with its plates to tell it from a
clipping mask made in the document; a clipping path given another fill
rule in the document stays. An even-odd clipping path in the file is
kept as the same area under the nonzero rule.
- links.update and links.relink return the swatch warnings file.place
gives, including two files that add one ink in two colors.
- links.relink with copy fails for a DCS file with plate files of its own.
- file.place answers the image id of a clipped DCS placement as image,
and checks page and crop for a DCS file as it does for an EPS file.
- Print separations and Separations Preview take a spot plate's color
from the document's swatch of its ink, and a reduced image's plates
keep their coverage.
- Show DCS Transparency Interactions counts a transparent DCS image and
characters filled or stroked with a transparent gradient.
- %%PlateFile names keep their spaces, and header bytes that are not
UTF-8 are read as Latin-1.
- A plate program that draws more than one image, art besides its image,
or its image through a clipping path is an error naming the plate
instead of printing the wrong ink.
- Nested clipping paths around the composite clip the image together.
- A kept image with more plates than are read, or more TIFF directories
than its composite and plates, is the CMYK image of its composite
only, not a set of plates cut short.
- swatch.unused counts a spot or process swatch as used only while an
image the art shows has a spot plate of its name.
An inline graphic in overset characters, or one named on a run that holds
other characters, draws no symbol, so Find, selection-only Change and Print
no longer reach its symbol's type through it.
Characters of area type or type on a path that don't fit draw nothing, so
their character fill or stroke no longer counts as painting its pattern for
Find and selection-only Change, as Print already leaves them out.
- A fill or stroke at an opacity of 0 no longer counts as painting its
pattern, so Find, selection-only Change and Print leave that pattern's
type out.
- Text whose inline graphics draw a symbol shows that symbol's type: Find
selects it, and selection-only Change and the font list reach the type
through it, also through a pattern whose art holds such text.
- Refresh Font List lays out again the type in opacity masks and in the
art of symbols and patterns, and inline graphics, on the layers and in
that art, take the new size of their symbols' art.
Saving with transparentImages "omit" now reports its note in the notes on
the options rather than in the warnings, so the test compares every note
the export gives.
A mesh envelope's points carry no color, so object.mesh.addLine with
a color at a point the envelope already has changes nothing. It now
compares only the envelope's points and handles and records no undo
step. The command text and docs/mcp.md say so.
object.mesh.addLine at a point that is already a mesh point (a corner,
a point on an edge or inside) adds neither a row nor a column, yet it
recorded an undo step. The lines are now added to a copy of the object
first: when the grid stays the same, including a mesh envelope stored
without handles, the command returns the point's index and records
nothing. A new color at the point is still one undo step.
Cancel on a pattern that Make created for the edit now removes every
swatch of it, a color group's included, and turns every paint of it
left in the document into no paint: art outside the editing layer,
opacity mask art, type runs, symbol definitions, graph designs, other
patterns' tiles (a copy Save a Copy made included), graphic and
character styles, brush art, and the fill, stroke and appearance new
art takes. Delete Pattern clears its paints in the same places, and a
Pattern Options rename renames them there; both reached only the
layers before. Delete's `unpainted` counts the document paints it
cleared.
Cancel after a Pattern Options rename during the edit gives the
pattern its old name back with its swatches and paints, unless another
pattern, swatch or color group has taken that name; before, the
definition went back to the old name while its swatches and paints
kept the new one.
Undo and Redo restore new art's paints with the document, including
the appearance inherited from the selection with New Art Has Basic
Appearance off. A rename preview that is replaced or canceled starts
again from the paints the interaction began with, and a canceled
preview takes the selection's appearance again.
The symbol instances the picker reads now share one limit of 16,000,000
placed objects, charged through charge_symbol_art and counted as the
renderer counts them, so deeply nested or heavily repeated instances
stop there. An instance whose art would pass the limit is left out with
its own paints, as the canvas draws none of it. Pattern tiles carry the
count in and out, and their art is read one level deeper than the
object the pattern fills, so a chain of patterns shares the depth limit
with the art around it; a pattern cut short there is read again where
it is used less deep.
The pixels read inside clip groups are now tested against at most
4,000,000 clipping-path elements in all. The clipped reads of one image
share the work, a read outside clip groups keeps its own pixel budget,
and when the work left can't test a pixel of every clipped read, the
reads that fit are kept in order and the rest are left out.
ImageBlob::sample_pixels takes a pixel budget for each pick.
BFlat