A Transform effect whose result would pass the geometry budget (2 million
anchors or 8 million lines drawn) is left out and the art stays where it
was, but the raster effects listed before it still scaled and moved with
it: before a Transform effect that scales the art 1000 times, a Drop
Shadow's offset grew 1000 times and its blur went to the 1000 pt limit
around art that had not moved, and Expand kept those values.
The geometry pass now notes each Transform effect that moves the art once
and that it leaves out, in the Carry it already returns, and
Carry::hide_skipped hides those effects in the list the raster effects
are read from. The canvas (a path's own effects and its fills' and
strokes'), its bounds, bake (SVG and PDF export), shape art, Expand,
Expand Appearance and Outline Stroke use it, and a fill's Transform
effect inside a piece no longer scales the effects before it when the
budget leaves it out. The budget itself is unchanged.
A path drawn as its own art inside a group whose geometry effects run
after its members' own read its object effects whole. The reshaping pass
now notes a Transform effect that no path in the art took past the
budget, and the member's art hides it before its raster effects are read.
The bounds skip the extra geometry pass when no raster effect could
follow a Transform effect, and painted_reach runs it once for both
measurements.
When the document does not hold a color mask's masked pixels, the image is
drawn from its own pixels. A live color adjustment now recolors those pixels
and drops the mask on the recolored copy, instead of pointing the image at
the missing masked pixels, which drew nothing and left Expand Appearance with
an image whose pixels were not in the document.
Extrude & Bevel, Extrude & Bevel (Classic), Inflate, Rotate and Revolve
now apply to a clipping group (or a layer with a clipping mask), a blend
or a symbol instance, alone or inside a group or layer. The solid is
built from the art the object shows: the art inside the clipping path
(fills cut to the clip, strokes as their outlines cut to the clip), the
blend's keys and steps, and the symbol's art where the instance places
it. Validation, the canvas, bounds, Expand Appearance, Rasterize and
assets.add3D read the same art from the document.
An image is refused, alone or in a group, with a message to trace it
first with Object > Image Trace > Make. A missing symbol, a symbol that
holds an instance of itself, art nested more than 64 levels deep and
more than 4,096 objects are refused. The refusal messages change, and
their rows change in every catalog.
Docs: docs/three-d.md, docs/revolve.md, docs/mcp.md,
docs/target-app-parity.md.
An object with an effect of its own (Drop Shadow, Roughen) and a 3D
effect on its fill or stroke that builds nothing (Revolve after
Roughen, a solid too complex) overflowed the stack when drawn, on the
canvas and in Object › Rasterize: the art made for the object kept the
item's 3D effect, so drawing it drew it as an object with effects again,
and that art again, without end.
That art now leaves out the 3D effects on its fills and strokes when
none built anything, as a group's or layer's own are left to the art of
each fill or stroke. The fill draws as without the effect; with a raster
effect the object draws from that art, so its edges differ a little
from the same object without the 3D effect, drawn as a path.
Review of #6290.
- An edit is measured as the renderer draws: an object it leaves out
(hidden, a template layer or guide the view hides, drawn hidden, the
instance a symbol is edited from) is measured as nothing, by one
predicate the renderer and the measure share (node_checks::left_out,
before culling).
- An Image Trace object's members are compared one by one again, its
hidden source image, which some views draw, counted as shown: moving
the source redraws where it was and is, and recoloring a traced shape
redraws only the shape.
- The renderer checks the brush library between frames only while it
keeps bounds measured with brushed strokes in 3D art.
- Tests: the sweep of 3D art's bounds counted while the art is held,
and Fit to Artwork Bounds' menu answer kept for a revision.
When an edit changes an object, the canvas draws again only the area
the object painted before and after it, measured by its cull bounds.
Type and groups with Extrude & Bevel, Inflate or Rotate were measured by
their letters or members, not by the solid the effect draws, which
reaches well past them. Making the solid shallower or turning it left
pieces of the old solid on the canvas outside that area until the view
was drawn again.
An object with a 3D effect is now measured by the effect's art, as the
renderer draws it: with its geometry effects, each object in it with
the raster effects of its own fills and strokes and the art its brushed
strokes draw, grown by the reach of the object's own raster effects.
One function measures that art for every bounds the renderer and
exports take, where three copies of it disagreed.
- The renderer measures the art it draws. What it makes to measure an
object it holds until the frame ends, with what the art read from
outside the object (fonts, symbols, color settings), and keeps it
with the art it draws if it draws the object while that is
unchanged. Art measured but not drawn (culled, off the view) isn't
kept. It holds at most as much as it keeps for the art it draws
(64 MB); past that, an object is made again to draw it. An object
whose 3D effect builds nothing (Revolve on a group, a solid too
complex) is measured as it is drawn otherwise, as without a renderer.
FrameStats::three_d_built counts the 3D art the renderer makes.
- The canvas measures what an edit changed through the renderer that
drew the frame shown (Renderer::changed). When it draws the part on
its own thread, it draws it with the art it made to measure it; when
the render worker draws the frame, or nothing in view changed, that
art is let go. Under Overprint Preview or Separations Preview, which
draw copies of the objects, the edit is measured afresh. An object
the frame doesn't draw (hidden, in a hidden group or layer, or
hidden by the view) is measured as nothing, before and after, so an
edit to it builds no solid: changed() without a renderer counts it as
nothing too, where it measured it. The canvas measures the edit
before it knows where the frame is drawn: when the worker draws it,
the solids it built to measure it are built again there.
- Fit to Artwork Bounds, the Artboards panel's check for it and
per-artboard SVG export measure every artboard through one renderer
(Renderer::art_bounds_on, Renderer::effect_bounds), which keeps each
object's bounds for the pass, a group holding 3D art or a hidden
member included, so each solid is built once: 30 extruded type
objects over 30 artboards take about 2 ms, where measuring their
letters took under 1 ms and building each solid for each artboard
would take 70 ms. Objects with brushed strokes, which culling leaves
room for and exports don't, are measured on each artboard. The
Artboard tool's canvas menu keeps whether Fit to Artwork Bounds has
art to fit for the document's revision, where it measured it on
every frame it was open.
- Other exports, Object › Rasterize and changed() without a renderer
build the art on each call, as 3D paths and groups already did.
Exports and Rasterize now take the solid of 3D type, where they
cropped it to the letters, and the art its brushed strokes draw, not
the room culling leaves for it. Rasterize on drawn 3D art measures it
once while the art is kept.
- A shadow after a 3D effect, on the object or on a fill after the
fill's own 3D effect, reaches past the solid once; it was counted
twice.
- With Crop Marks or Vector Halftone, which draw other art, the object
is measured by that art, as before.
- Culling leaves room for a 3D object's brushed strokes as for any
object's, and the renderer measures a 3D object again when the brush
library changes: a brush widened past that room would leave the
object culled.
A document's first frame builds the solid of every 3D object, those off
the view too, to know whether it reaches into the view: 200 extruded
words with 150 off the view take about 12 ms, where measuring their
letters took 6 ms.
Type whose object effects leave it as it is (Revolve builds no art from
type) is measured by its own box grown to hold its glyphs, as plain
type is; it was measured by its box alone, which needn't hold them.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
The reference check now applies wherever a painted effect's geometry is
used: a result whose swatch or pattern is refused keeps its input instead
of giving its geometry. Pathfinder art of type, reshaped groups, compound
shapes, image fills, the renderer's bounds and Object > Expand look the
references up in the document, and the renderer drops its kept bounds and
geometry when the names of the swatches or patterns change.
Three tests failed on a loaded machine because they asserted elapsed
time. Each now counts the work that the slow behavior it guards
against would repeat, with a counter compiled only into tests:
- The CSS cascade test counts selector tests, at most two per element
(testing every rule against every element tests N x N). It styles
5,000 elements, so the slow behavior fails on the count rather than
on the hang guard, which now waits 300 s.
- The stacked-glow test counts the silhouettes drawn, 30 for 30 glows
with and without the shadow cache.
- The Zstandard frames test counts the bytes looked at to find the
zero padding.
The hang guards for invalid dash patterns, text layout and script
checks of a pipe wait 300 s instead of 20 s.
Inner Glow clipped to the art's outline and bled in from outside it; for a
placed image that outline is the frame, so a PNG with transparent areas
glowed along the frame's edge, over pixels that don't show. For an image the
glow is now cast by its pixels' alpha (everything around them, blurred, or
the pixels themselves with Center) and kept to where the image shows, as
much as it shows.
With undecoded-image marks off, an image in an opacity mask's art that
failed to draw left a hole in the mask. Without Clip, the area outside
the mask art counts as white, so the masked object showed in full.
The renderer now notes an image that fails to draw while mask art is
drawn and leaves the masked object out, as PDF export does since #4765.
This covers images in pattern tiles and in cached effect and shadow
rasters, which remember the failure and report it again when they are
reused. Nested masks pass the failure outward, and View Opacity Mask
shows no coverage for such a mask. An image still waiting to be decoded,
or drawn with the undecoded-image mark, keeps today's behavior.
Effect › Color Effects › Duotone… (addon.color.duotone, also in Object ›
Plug-ins › Color Effects) prints the grey-equivalent tone of each colour
with one to four inks, each with its own tone curve. It is a colour
adjustment like the add-on's others, so it stacks with them and works as
a filter through addon.color.filter.
- One tone of a swatch the document has gives a tint of that swatch,
linked, so a spot tone separates onto its plate; several tones give
the CMYK mix of their tints (the inks overprint, so they multiply).
- Colour adjustments now map paints with their swatch links
(ColorMap::apply_link); the existing adjustments behave as before.
- Skip Objects with Spot Colors leaves spot-linked colours as they are.
- The dialog has a row per tone and the picked tone's curve (the Curves
graph, reused), its points and Reset to Linear / Inverse.
Print Ink Fixes (addon.color.printFixes, Object › Plug-ins › Color
Effects › Print Ink Fixes…) scales CMYK colours over a total ink limit
down to it, removes white overprint and sets black overprint (Overprint
Black's logic) in a CMYK document, as one undo step, and reports what
changed. RGB documents are refused.
The panel opens both under Inks.
Deferred: an opaque undercoat, tones for type only, extra gradient stops
for smoother tints, curve flip and all-100 % buttons.
Effect › Color Effects › Vector Halftone… (addon.color.halftone, also in
Object › Plug-ins › Color Effects) draws its object as the halftone dots
Object › Vector Halftone makes, live: mono (one dot colour, or each dot in
the art's colour under it) or CMYK screens, the five dot shapes,
frequency, angle, invert and clip to the art's outline.
- The screens, dots and caps move to vectorcraft_effects::addons::halftone,
shared by the command (its behaviour and tests unchanged) and the effect.
- The renderer samples the art (vectorcraft_render::addons::halftone) and
keeps the dots by the object's content and what it reads from the
document, so unchanged art isn't sampled again; past 100000 cells per
screen the object draws as it is.
- Expand Appearance turns the object into its dots, and the SVG, PDF, EPS
and AI exporters write them as paths.
- Its dialog reuses the command's fields, without Keep Original.
Deferred: stochastic and radial patterns, a dot-gain curve, per-screen
separation settings, type or symbols as dots.
Frame literals take both the type output transform and main's Separations Preview plate table. The Catalan catalog, now a complete one, gets the Anti-aliasing Method rows.
Main added uncached_darkness_shadow_subtracts_before_separate_opacity, which builds a Frame
without the output field this branch adds, so the merged tree did not compile.
dotCooCoo