When the third click of a triple-click landed on a face or edge that
the double-click before it had painted (a neighbor the flood or the edge
walk reached), the triple-click sent that part's new paint as match,
since only the clicked part's paint was recorded. The bucket now records
the fill or drawn stroke paint of every other part a double-click
reaches, and a triple-click on one of them matches the paint it had
before the double-click. docs/mcp.md says so.
livePaint.strokeEdge wrote the paint and weight into an edge's topmost
stroke even when that stroke was hidden. An edge whose hidden top stroke
sat over a drawn one kept drawing its old paint, and since the edge
scopes now match the paint an edge draws, a samePaint or connected
stroke reached such edges and changed nothing on screen. The command now
paints the topmost stroke that is shown, and adds a stroke above the
others when every stroke is hidden or there is none. The "nothing
changes" check reads the same stroke.
The doc comments of the scopes and of the press record describe the
drawn stroke paint, and the engine names Paint through its parent module
instead of in the import list. Live Paint Selection's comment on a
triple-click states that the tool takes no action on it.
New tests cover the edge the tool matches on a multi-click over a hidden
or fully transparent edge, the connected edge scope through transparent
and hidden edges, and painting the shown stroke.
The Live Paint Bucket's connected and samePaint scopes kept their own
copies of the face flood and the edge walk. They read an edge's stored
stroke paint, so an edge that is fully transparent or whose stroke is
hidden stopped a face flood and matched as stroked. The face flood also
required outlines within 0.0001 pt of an edge, which a curved face that
the planar map refits can miss.
The engine now calls the shared flood_faces and connected_edges that
Live Paint Selection uses (#7342), and compares edges by lp_stroke_paint,
the paint of the topmost stroke that draws. The tool records that same
paint as the match for a double-click or triple-click on an edge. The
params text and docs/mcp.md describe the drawn stroke paint.
With a Type tool and exactly one character selected, the canvas shows up
to five of that character's alternate glyphs in a row beside it. A click
runs the command the Glyphs panel's double-click runs, as one undo step;
an arrow at the end opens the Glyphs panel on Alternates for Current
Selection when the character has more. Preferences > Type > Show
Character Alternates (showCharacterAlternates, on by default) turns the
row off.
An image or a gradient mesh with a visible Crop Marks effect, or with a
Vector Halftone effect that makes dots, is measured in a plot of the art's
bounds. A halftone that makes no dots, such as one past the effect's cell
limit, leaves the image out as before.
Select > Start Global Edit now also takes rotated copies of the selected
object or group, in the highlights before the start, in the Global Edit
Options' Results count and in the started edit. An edit reaches each copy
turned by that copy's angle, so an anchor moved to the right on the
selected object moves downward on a copy turned a quarter turn clockwise.
The copy's angle is the one that lays the selected object's anchors and
handles on the copy's in order (a least-squares fit in the unit box),
and the copy is the same shape when each point then lies within a
millionth of the larger side of the copy's box. Reflected copies and
copies stretched along one direction stay unmatched. With Size, a rotated
copy matches when it is the object rotated without scaling. The no-match
message now names only reflected copies, in every catalog that has it.
Docs: docs/mcp.md, docs/gaps.md, docs/ui-parity.md and the evidence list
in docs/target-app-parity.md.
dotCooCoo