Changing Preferences › Hyphenation › Exceptions bumped each open
document's revision, but the caches of laid-out type outside the text
crate were keyed on the font generation alone. The renderer kept the
glyph geometry, raster-effect pixels, live-effect and envelope art,
pattern tiles and placed symbol art of unchanged type objects, so
hyphenated area type kept its old line breaks on the canvas. The
hit-test art of blends and envelopes, the Fit to Artwork Bounds answer,
the layout caches of the Type and Touch Type tools and the out port's
overflow mark were keyed the same way.
vectorcraft_text::layout_inputs() returns a number that changes with
the fonts and with the hyphenation exceptions. Every one of those
caches now keys on it instead of FontDb::generation(), and envelope ink
uses it in place of the private envelope_ink_inputs(). The hit-test key
hashes it together with the plug-in revision.
Tests: a renderer that drew hyphenated area type, alone, with a drop
shadow, in a group with a Transform effect, in a symbol instance and in
an envelope, draws it as a new renderer does after the exceptions
change; the out port of selected area type shows the overflow that the
new exceptions cause. The render test helpers that run a step again
when the fonts change during it now also run it again when the
exceptions change.
A selection inside a warichu block was highlighted across the whole
line of text, so selecting a character of the upper block line
highlighted the lower one too, and a selection from one block line to
the next spanned the wrong characters. Each block line now gets its own
band, out to halfway to the block lines next to it, with one highlight
over each run of selected characters drawn side by side on it. A
selection that runs past the line still covers the line break.
Glyphs now carry their block line, so the characters of one block line
stay together for the highlight and for a click whatever their own
Character Alignment.
- Insert Kashidas skips the characters of a warichu block.
- Blocks whose characters the bidi order draws in turn keep where each
block starts.
- A click on a block line goes to that line's characters.
- Digits marked Warichu in vertical type on a path stay across the column.
- A block of several fonts gives its line the tallest ascent and the
deepest descent among them.
- Warichu Settings on characters not marked Warichu do not split shaping.
- Warichu Settings leaves a value outside its range as it is unless it is
edited.
Paragraph panel menu > Bunri-Kinshi (with the East Asian options) and
text.setFormat {bunriKinshi} turn it on per paragraph. A line then
never breaks inside two em dashes, two horizontal ellipses, two two-dot
leaders or the two halves of a vertical kana repeat mark, the pairs W3C
JLREQ lists for class cl-08 (https://www.w3.org/TR/jlreq/#cl-08), nor
inside a chain of em dashes. Both composers, vertical type, Kinsoku
Shori Type, hyphenation and No Break follow it, and a pair wider than
the line stays whole on it. Justification and letter spacing add no
space inside a pair.
The setting works only with a Kinsoku Set: with Kinsoku Set None the
paragraph keeps the value without effect and the menu item is
unavailable. It is off by default, saved with the paragraph only when
on, carried by paragraph styles (Paragraph Style Options > East Asian
Composition Settings), and turned off by Reset Panel. A value that is
not true or false is refused. The .ai editing data has no field for it,
so saving reports a paragraph with it on and a pair in it as left out.
Docs: docs/mcp.md, docs/target-app-parity.md.
Characters take two new attributes, `akiLeft` and `akiRight`: space
before and after each character in reading order, in thousandths of an
em from 0 to 1000, measured as tracking is. `text.setFormat`,
`text.setRangeStyle` and character styles set them; values that are not
numbers or are outside the range are refused, and a file holding one
outside the range opens with the nearer end. Both are saved only when
not 0.
- Layout: Left is the space above a character in vertical type and on
its right in right-to-left type. Wrapping counts the space, a line's
end keeps it when aligned, and justification and Optical kerning
leave it at its set width. A ligature, a letter with its marks and a
tate-chu-yoko block take the values of their first character.
- With Fractional Widths off or System Layout on, the space before and
the space after a character are each set in whole points and added
to its rounded width, so justification keeps them at that width. A
tate-chu-yoko block rounds the space above and below it the same way.
- Character panel: with Show East Asian Options on, Insert Aki Left and
Insert Aki Right fields with 0, 250, 500 and 1000 in their menus;
Reset Panel sets both to 0.
- Character Style Options › Advanced Character Formats shows Insert
Aki Left and Insert Aki Right, with the Character panel's 0, 250, 500
and 1000 in their menus; a typed value below 0 or past 1000 sets 0 or
1000, and Reset Panel unsets both.
- SVG export: live text places each character the space moves, and
type on a path with Insert Aki is written as outlines.
Docs: docs/mcp.md, docs/target-app-parity.md.
- drawn_alike ignores kerning_before, so a space before the "f" of "fi"
no longer splits the ligature.
- SVG export takes a line's starting space from kerningBefore and the em
shaping sets the character in (vectorcraft_text::line_start_space),
not from where the glyph is drawn, which can include a shaping offset;
the reader layout for justified lines leaves the space out, so those
lines start there too.
- Type on a path writes the space as the first character's dx; a space
after a line break, which <textPath> can't write, is outlined.
Type › Dynamic Text (`type.dynamicText`, also on the Contextual Task Bar
for type on a path) scales the text by one factor so it fills the span
between its start and end brackets, and the layout fits it again after
each edit to the text, the path or a bracket. The first character's
size moves in 0.1 pt steps within 0.1 to 1,296 pt. Turning it off, or
threading the type, keeps the sizes it was drawn at.
- The model saves `dynamicText` only when on.
- SVG, the legacy .ai writer and the .ai editing data write the drawn
sizes through `vectorcraft_text::drawn`; the editing data warns that
the setting is not written.
- Shrink Text to Fit and Dynamic Text step the size the Character panel
shows when a size measures the cap height, x-height or ICF box.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
Part of #4134.
A centred or right-aligned line of tracked type was measured with the
tracking after its last character, so it sat half that tracking
(centred) or the whole tracking (right-aligned) left of where the page
of users' .ai files draws it. That page aligns a line as wide as its
characters without that tracking.
Shaping now records the tracking each glyph's advance holds
(SGlyph::tracking), and a line that isn't justified leaves its last
character's out of the width it is aligned by. The last character is
the last one the line draws before a paragraph's end, a forced line
break or the spaces a wrap leaves; spaces or a tab typed before a
paragraph's end or a forced line break keep the letter's tracking, as
the page does. Forced line breaks and wraps aren't in the files: they
follow the rule so that turning a wrap into a paragraph or a forced line
break keeps the line in place. Hyphenated lines, lines whose last
character hangs, vertical and right-to-left lines and type on a path
keep it. The tracking stays in the glyph's advance, so the caret,
selections, line breaking and Fit Headline are unchanged.
LineInfo::trailing gives the amount. Right-aligned area type sets the
text after its last tab the same way.
What aligns by line widths follows. Convert To Area Type makes its
frame end where the lines are aligned, with room for the tracking, so
tracked type converted either way stays in place. Affinity import lines
up differently aligned paragraphs of artistic text by the aligned
widths. SVG import moves a centred or right-aligned letter-spaced line
back by its share of the last letter spacing, so it stays where a reader
draws it and SVG export, which anchors lines at the end of their
advances, reads back unchanged.
Centred and right-aligned tracked type lays out differently than before
in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In horizontal type, tracking and manual kerning are now thousandths of
the em as the Horizontal Scale draws it: at 50%, a tracking of 100 adds
0.05 em after each character. They were added at the full em while the
glyph advances took the scale, so narrow tracked type drifted from the
page of users' .ai files letter by letter. That page writes such type's
character spacing as the tracking itself in a text space as wide as the
scale, which PDF scales by it (ISO 32000-1 9.4.4). Vertical type keeps
the full em: its advances down the column don't all take the scale.
vectorcraft_text::spacing_scale gives the factor. Shaping, inline
graphics and the Optical pairs use it, and so do the conversions from
points back to thousandths of an em: the automatic kerning the Character
panel reads and Touch Type's limits (glyph_em), Combine Point Text, and
PDF import, whose tracking is now the file's Tc. Scale Text Attributes
now keeps tracked type where a horizontal stretch drew it.
SVG export writes letter-spacing in thousandths of the font size it
writes (the vertical scale), so uniformly scaled type keeps its spacing
in a viewer.
Type with both a Horizontal Scale other than 100% and tracking or manual
kerning lays out differently than before, in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In vertical type on a path, every glyph was turned a quarter turn with
its top toward the path's end. An upright glyph's characters then read
backwards along the path, so a ligature's font caret other than its
middle did not line up with the glyph as drawn.
An upright glyph whose top faces the path's end now turns half a turn
about the centre of its cell, so its top faces the path's start. It
keeps the same stretch of the path. Glyphs lying on their side, and
upright glyphs that the Skew, 3D Ribbon and Stair Step effects already
turn this way on a path running to the left, are unchanged. The ligature
stops follow the top of the cell, so the caret, a click and the
selection meet the drawn caret line.
An envelope mapped type from its laid-out box: ascent to descent for
point type, the frame for area type. The distorted glyphs then filled
less of the envelope than other art does, with room above the capitals
and below the baseline.
The envelope now maps type from the bounds of its glyph outlines,
underlines and strikethroughs when the type is on its own, in groups
and layers, or used as a clipping path. Inline graphics count by their
boxes. Rotated type and type in perspective map from their outlines as
they are drawn. Make with Mesh,
Make with Top Object and Reset with Mesh without Maintain Shape use
those bounds. Type that draws nothing keeps its laid-out box, and so
does type inside any other object, such as a blend, a repeat or a
symbol instance. Shrink Text to Fit type is measured as it is laid out
on the page.
vectorcraft-text's envelope_ink measures the type, and
register_envelope_ink registers it with the document crate. The engine
session, Renderer::new, live evaluation in vectorcraft-effects and the
.ai reader register it. The document crate keeps the measured boxes per
thread, by object and by a hash of the content, and measures again when
the type, the fonts, the hyphenation exceptions or the transform's
scale or rotation change.
This is VectorCraft's own rule. Envelopes of type made in VectorCraft
and in saved files map from the glyph outline bounds instead of the
type's laid-out box, so they redraw differently.
An installed face added for characters the interface fonts lack (Microsoft
YaHei for Simplified Chinese on Windows, for example) now gets a FontTweak
y_offset_factor computed from its ascent, descent and line gap against the
first face of the Proportional family, so its glyphs share that face's
baseline instead of centering the difference in row height. The bundled
faces and Latin text do not move.
This follows designcraft#394 (baseline_tweak from line metrics) and
effectcraft#1395. vectorcraft-text gains line_metrics, and a test face with
a CJK system face's vertical proportions checks the baseline at 13, 24 and
40 pt in the interface families.
Opening a document laid out every type object for its bounds and
baselines and threw the layouts away, and the first frame laid the same
objects out again. The open now keeps them, up to 128 MiB, and a frame
takes each one once.
A frame takes a layout only for a text object equal to the one laid out,
and only while the fonts, the system fallback setting and the hyphenation
exceptions are unchanged. When the last frame being drawn ends, the rest
are dropped if a frame took one, and all of them are dropped after eight
frames that take none. A layout with bitmap or color glyphs and a text
object with a gradient are not kept.
Paint-only harakat runs stay inside one shaping cluster so letters keep
their joining forms and marks their attachment. When a character-level
shaping pass matches the monotone glyphs, a glyph may take a later
in-cluster character's run only if GDEF classifies it as a mark (class 3)
and that character is a harakat; otherwise ownership stays at the cluster
start. Conservative: a mark may miss its colour; a base letter must never
take a mark's. Fonts without GDEF and AAT faces fall back the same way.
Insert Kashidas tatweels take the base letter's paint, not a trailing
mark's. Private harakat module; type-parity, target-app-parity and roadmap
M7 evidence updated (scores unchanged). Tests cover paint_only / ranges /
own_chars (wide mark, equal advance, multi-component, single-glyph
ligature, review counterexample), colour, hide, repeated glyph ids,
kashida, forced mark-last emit_kashida, and installed fonts.
- Auto leading stays auto: each line takes the paragraph's share (key 7)
of the largest type on it. The leading was the first two lines'
distance for every line, so 10 pt lines under a 15 pt heading came in
18 pt apart.
- The paragraph's hyphenation options (keys 10 to 15) are read.
- Area type of one frame whose last lines the file sets, but which don't
fit here (the fallback font, or a descent past the frame's bottom),
gets a frame taller from its bottom (vectorcraft_text::fit_source_lines),
with a warning.
A user's .ai whose type differed from its page by 6.6%, so that it opened
from its PDF part with each line its own text object, now opens from its
layers.
Features take a value (tag=N) in style commands, SVG and native files. Runs that
differ only in their feature lists are shaped in one buffer with ranged features, so
an alternate on one letter of an Arabic word keeps the word joined. FontFace reads
GSUB once (alternate sets, singles, the feature reaching a glyph), names unencoded
glyphs, and alternates_in_context finds a character's alternates in its word.
text.setRangeStyle takes glyphAlternate: null.
text.glyphAlternates reported the default glyph as `chosen` for any
character that overflows its area. A character whose style substitutes
another glyph (`salt`, or `vert` in vertical type) was reported with a
glyph it is not drawn with. The query now shapes such a character alone,
with the rest of its grapheme in their own styles and in the text's
writing direction, by the same helper text.setGlyphAlternate uses.
The helper also shapes the character in the direction its paragraph
sets it in, from its bidi level, so a parenthesis set right to left is
reported with its mirrored glyph in both commands.
On a path, vertical type turns an upright glyph about its pen, so its cell
runs from 0.12 em before the pen to 0.88 em after it without the font's
vertical metrics. The ligature caret, a click and the selection measured
the cell from the pen instead. They now take the cell where the glyph's
transform draws it, with its placement, baseline shift, Horizontal Scale
and Skew.
The OpenType panel gets a Position menu after Figure, with Default
Position, Superscript, Subscript, Numerator and Denominator. `numr` and
`dnom` join the extra features (the existing bits keep their indices),
so they round-trip through the stored tags and reach the shaper.
text.setStyle and text.setRangeStyle take `featureChanges`, which turns
features on or off on top of each character's own features in one
command and keeps every tag the list does not name. The Figure menu,
the Position menu and the checkboxes send it, so on a selection whose
characters have different features each character keeps its other
features. Reset OpenType Features still sends `features`.
Catalog rows for Position:, Default Position, Numerator and
Denominator; one line each in docs/type-parity.md and
docs/target-app-parity.md.
Area type made from the editing data's text document came in with one
row, one column, the 18 pt gutter and the Ascent first baseline,
whatever its frame kept. Each area frame now keeps its 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,
scaled with the art's units. Each frame of a thread keeps its own, and a
key that is missing or can't be read leaves that option as it was. A
first baseline the frame keeps is no longer replaced by the fixed one
that matches the file's first line.
AreaOptions gets row_gutter (rowGutter, left out while unset), which
layout spaces rows by; text.areaOptions takes and reports rowGutter, a
gutter given alone sets both, and the Area Type Options dialog shows
Row Gutter.
Baseline shift now moves a character in the line's frame, outside
Character Rotation, so a positive shift moves a character up from its
line at any rotation, and the character turns about its shifted pen
position. The Touch Type tool splits a drag into its part along the line
(kerning) and its part up from the line (baseline shift) at every
rotation; before, within about 6 degrees of a quarter turn it dropped
the cross-line part.
Characters that already combine a rotation with a baseline shift are
drawn in a new position. Their stored values do not change.
- text: glyph transform order, PositionedGlyph::pivot (the turning
point), tab leaders in the same order
- tools: Touch Type splits drags against the line's up axis and measures
rotate-handle turns about the shifted pen position
- engine: text.touchType description; dy is up from the line
- docs: mcp.md Touch Type paragraph, target-app-parity.md progress line
Character Rotation turned a glyph's baseline shift and scaling with the glyph, and the Skew path effect slants a glyph's height away from the path's normal, so the x-height guide moved off the glyphs. Each positioned glyph now carries the transform that removes its Character Rotation (PositionedGlyph::unturned), and the guide goes through the glyph's x-height point placed without it, measured across the baseline. Snap to Glyph also takes Smart Guides being on in the tools, as View › Snap to Glyph already does in the engine.
On a curved path each glyph was placed rigidly (turned to the tangent at
its middle), so its baseline ends stood off the curve and neighbours
turned by different angles: in scripts whose letters join, every join
opened into a notch. Measured with Arial on circles: at 29 pt on a
radius of 110 pt, 0.64 pt at the baseline and 1.24 pt at the height of
the joining stroke (a quarter of the size); 14.7 pt at 72 pt on a radius
of 60. Placing glyphs on the chord alone closes the baseline but leaves
about h (a_i + a_{i+1}) / 2R above it (0.71 pt here), so joined glyphs
are bent instead.
- Shaping marks each glyph of a segment whose script joins (Arabic,
Syriac, N'Ko, Mongolian, Adlam and the other cursive scripts), by the
segment's script, so a word bends as a whole.
- With the Rainbow effect such a glyph's outline is mapped point by
point: pen space (x, y) -> P(s + x step/advance) + (y + rise) N there,
each segment cut into pieces short enough for 0.01 pt (capped). A
glyph the path doesn't turn under stays exactly as it was; Skew, 3D
Ribbon, Stair Step and Gravity, vertical type, inline art and colour
glyphs are unchanged. `PositionedGlyph::bend` records it; `xf` stays
the straight glyph for the caret, hit testing and tools.
- PDF export draws bent glyphs as outlines and writes them again as
invisible text where they stand, so they can be selected, searched
and copied. SVG export outlines them (right-to-left type already was),
never as a <textPath>, and labels the group with its text
(role="img", aria-label) for screen readers and search.
Tests (crates/text/src/tests_path_joins.rs; installed Arabic font, skip
without one): the gap at the baseline and at join height is <= 0.01 pt
at 12, 29 and 72 pt on radii 60, 110 and 300, on both sides of the
path, with finite outlines; Latin on a curve and joined type on a
straight path are byte-for-byte what they were; the chord-only
prediction is checked.
vectorcraft-cli perf (load average 43 before, 34 after: not trustworthy;
the synthetic document has no type on a path, so bending doesn't run):
render fit 113.8 -> 132.7 ms, pan 115.5 -> 140.0 ms, 400% 32.9 -> 43.3
ms, hit test 1.36 -> 1.59 ms, save 81.5 -> 88.2 ms, open 306 -> 401 ms,
SVG 426 -> 439 ms, Pathfinder 93.7 -> 85.5 ms, handle drag 5.5 -> 6.7
ms, segment drag 5.1 -> 6.7 ms.
CodeRabbit findings #7, #72, #92, #94, #95, #99, #100, #140, #158, #174:
- Link search hashes at most the size it looked at (a growing file no longer matches).
- Resolving links reads, decodes and previews each linked file once, shared by every key.
- Placed documents read inside one another resolve links at most 8 deep, never one already
being read.
- A data set's image path and the placed-document rereader follow stored paths through
`document_path` (no other computer's share).
- The Links panel looks at a linked file within the roots of the automation caller that
opened the document.
- A fonts folder set by a confined caller is scanned without following links out of it.
- Recovery refuses an area folder that is a link or another account's.
- Atomic saves keep the replaced file's group and Linux access ACL, or make the replacement
owner-only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
VectorCraft had no lists. A bullet could only be typed as a character,
and the tab after it did not stop at the left indent. The reference app
turns paragraphs into a bulleted list from the Paragraph panel, the
context menu and Type › Bullets and Numbering › Apply Bullets.
text.setFormat takes list ("none" or "bullet") and bullet ("none",
"dot", "dash", "circle" or "square"). The layout draws the bullet before
the first line of each list paragraph that has text, in the font, size
and color of its first character, and starts the text at the next tab
stop, with the left indent counted as a stop. Wrapped lines start at
the left indent, and type on a path draws the bullet too. In a
horizontal right-to-left list paragraph the indents are mirrored: the
bullet hangs at the right, and the wrapped lines start at the right
where the first line's text starts after the bullet. The bullet is not
a character of the text. A paragraph whose left and first-line indents
are both 0 gets 18 pt and -18 pt when it joins a list. Return continues
the list, paragraph styles carry it, Reset Panel turns it off, and the
native file saves it only when it is set.
The Paragraph panel has a Bullets button with a list of the five
presets, and Type › Bullets and Numbering › Apply Bullets and the
context menu run type.applyBullets. Live SVG text writes the bullet's
character, and SVG writes type on a path with bullets as outlines. DXF
writes the bullet as a TEXT entity of its own, and legacy .ai export
warns that bulleted lists are left out. The caret, selections, Touch
Type and Show Hidden Characters skip the bullet.
Live SVG text of horizontally scaled type now writes each tab in a
tspan of its own. Before, the characters before a tab shared its tspan,
and its textLength made a viewer stretch them across the tab's gap.
Docs: docs/mcp.md, docs/target-app-parity.md.
dotCooCoo