A knockout group was written as a chain of soft masks, one inside the
next for each element, so a group of about 200 elements made a PDF that
VectorCraft's own PDF import refused (form nesting past 50) and an SVG
that the web build refused as too deep.
- PDF writes a knockout group as one transparency group with /K true,
with /I true when the group isolates, and PDF import reads it back as
a knockout group. An element with several paints is drawn as one
group inside it, so its own fills and strokes do not knock each other
out.
- Where an element knocks out less than the area it paints (its opacity
or mask defines its knockout shape, or it paints translucently), each
element is drawn through one soft mask of the overlapping elements
above it. Past 65,536 objects in a group's masks, or 2,048 elements,
the group is a PDF knockout group, with a warning.
- SVG draws each element through one mask of the overlapping elements
above it, built from one shared copy of each element's shape, so the
elements stay siblings. Past 65,536 shapes in a group's masks, or
2,048 elements, the group is written as a plain group, with a warning.
Docs: docs/mcp.md, docs/target-app-parity.md.
With Invert Wrap, each piece of a line's band intersected the line's
spans so far with the spans the wrap shape holds over that piece by
comparing every pair of them. A wrap shape of many parts (a comb or a
zigzag) gives a line many spans, and with an offset the band is cut
into up to 128 pieces, so a dense shape made layout quadratic in the
number of parts for every line.
intersect_intervals now walks the two sorted lists once, stepping past
whichever interval ends first, and gives the same spans in the same
order. Tests compare it with the pairwise intersection on every list of
non-overlapping intervals with ends among seven points, check that two
interleaved lists of 3,000 and 2,000 intervals take at most 5,000
steps, and lay out a line inside a 500-tooth Invert Wrap comb with an
offset.
Spot Color Objects listed every spot color linked from a gradient's stops
once any stop was above opacity 0. A spot stop at opacity 0 between other
clear stops, at the end of the ramp after a clear stop, or meeting an
opaque stop only at one offset was listed though it prints no ink, and so
was an opaque stop out of order whose pairs have no width.
A stop now counts when it bounds a stretch of some width that the
gradient sampler mixes and either stop of that stretch is above opacity
0, or when it is the first or last stop and above opacity 0, since those
color the offsets before and after the others. Stops in any order are
judged by the stretches the sampler uses. A freeform gradient keeps the
old rule, since it draws from its points. Type runs follow the same rule.
The document.info params text, docs/mcp.md and the progress line
describe it.
The pieces of a Warp effect, an envelope or their expanded art each
held a copy of the whole image in the .ai editing data and in legacy
.ai files: 200 copies for a Warp's 10 x 10 mesh.
- An embedded image cut to a clipping path (in the editing data, also
an image under an opacity mask that clips) is written whole the
first time; later copies of the same pixels are written as the
rectangle the path or mask shows, 2 pixels more on each side, with
the matrix moved to keep their place. A copy that the path shows
none of is written as one pixel.
- An opacity mask's window covers everything the mask's art paints,
its effects and symbol art included.
- An image's editable original and an image in an opacity mask's art
are written whole. A live Warp's drawn look is not cut to the
clipping groups around the object, so a clipped image with a live
Warp reads back with its Warp live.
- When art that held an image's whole copy is left out (an opacity
mask's art, a live envelope or a definition past the object limit),
the next copy is written whole again. A whole copy written on hidden
lines after an earlier one leaves the earlier one as the copy that
counts.
- The writers read an image's pixels once for the pieces that follow
one another.
Docs: docs/target-app-parity.md.
Live Paint Bucket Options gets a Cursor Swatch Preview checkbox (on at
first, saved with the other options). With the Bucket selected, Left and
Right set the active fill, or the stroke when the Stroke proxy is in
front, to the color swatch before or after it in the Swatches panel,
wrapping around at the ends, with the preview on or off. The selected art
keeps its paint. The preview shows the active paint above the pointer
between the swatches before and after it; a color that is no swatch shows
alone until Right picks the first swatch or Left the last, and a paint
that is not a solid color shows no chip. The chips hide during a fill
drag and while Alt samples with the eyedropper. The fill and the stroke
each remember the swatch picked for them, so swatches of the same color
are each reached in turn.
The Bucket and the Shape Builder now take the arrows for swatches only
without Shift, Alt or Cmd/Ctrl, judged by the modifiers held when the key
went down, so modified arrows keep their shortcuts
(Tool::claims_key_with, Session::tool_claims_key_with).
Docs: docs/mcp.md, docs/target-app-parity.md, tool.options params text.
In a PDF without a standard, the warning for a page longer than 14,400 pt
written with a UserUnit above 1 now ends with "turn on Write pages longer
than 200 in at full size in points". The warning already said that apps
ignoring UserUnit show such a page smaller; it now names the Save PDF
option that writes the page at its size in points instead. PDF/A files,
which keep the UserUnit with the option on, and .ai saves, whose options
do not have it, keep the warning as it was.
The longer message has a row in every complete-message catalog. The
params text of document.exportPdf, docs/mcp.md and the evidence line in
docs/target-app-parity.md describe it.
object.distort warped the anchors of paths, groups, compound paths and
clip groups but left their bounding-box angle as it was, so a rotated
path kept its old box after a warp and an upright one stayed square to
the page however far the warp tilted it. Text, images and symbol
instances already took the angle of the warp's affine approximation.
- Each path, group, compound path and clip group now takes the angle
the warp turns its x axis to at its own center before the warp, the
members of a warped group and the art of a linked opacity mask each
at their own. An unlinked mask's art keeps its angle. Mirroring keeps
the nearer angle and a collapsing warp keeps the old one. Reset
Bounding Box squares the boxes again.
- Each subtree's bounds are measured once while it is warped.
- Corners that equal the corners of the box being warped change
nothing and add no undo step.
Docs: object.distort params text, docs/mcp.md, docs/target-app-parity.md.
When a Smooth tool drag refits the stretch at the first or last anchor
of an open path, the curve there now leaves or arrives along the
smoothed path within the tool's reach instead of along the first or
last segment, so a jagged end no longer keeps its jag. The end point
stays where it is. An end where the smoothed path turns back by 90
degrees or more keeps its segment's direction, and a stretch that ends
inside the path keeps the direction of the part outside the drag.
- pathops: SimplifyOptions gains free_start and free_end, off by
default; closed subpaths and simplify_part ignore them, so Simplify
and Object > Path > Smooth give the same output as before.
- engine: path.smoothRegion sets them for the ends of an open path
that a run's refit reaches.
Docs: docs/mcp.md, docs/target-app-parity.md.
When a drag reached the first anchor of a closed path, the smoothed path
started at the first anchor past the drag, and a drag over the whole
path could start it at a corner the refit kept. Dashes and type on the
path then started somewhere else.
The smoothed path now starts at its point nearest where the first anchor
was: at an anchor there, or at a new anchor split into the segment
there, which leaves the outline as it is. Of points equally near, the
one earliest along the path before smoothing, from its first anchor,
is used. A drag that does not reach the first anchor leaves it first,
as before.
Part of #2224.
An SVG or SVGZ writes each linked JavaScript file of SVG Interactivity
into a <script xlink:href> element as stored, so a caller with
automation read roots could read a path outside them from the exported
text. With read roots in force, an SVG or SVGZ of a document that links
such a file is now refused with "a linked JavaScript file is outside the
read roots", an error that names no file or folder. No file or folder is
written, and the document keeps the link.
- The check uses the rule document.json already applies to
svg_scripts: a relative path is taken from the document's folder, a
file: URL is a file, and another URL is not checked.
- It covers document.serialize, document.export, document.exportSelection,
document.exportForScreens and assets.export (before the folder is made
or any row is written), the SVG and SVGZ saves (also a save without a
path of a document saved as SVG), file.exportAs and the SVG Options
dialog's Show Code.
- Callers without roots, and the person at the keyboard, export the
links as stored.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Smooth tool showed its own cursor with nothing selected, though a
drag then changes nothing. It now shows Not Allowed until a path it can
act on is selected (an editable path, not a guide, with three or more
anchors on one of its subpaths); a selected path anywhere on the canvas
gives the Smooth cursor wherever the pointer is.
- The Pencil with Alt key toggles to Smooth Tool on and the Blob Brush
show Not Allowed the same way when Alt gives them the Smooth tool. The
Paintbrush keeps its closing cursor, since its release with Alt closes
the stroke.
- A Smooth release, from the Smooth tool or from the Pencil, Paintbrush
or Blob Brush with Alt, sends path.smoothRegion only while such a path
is selected. With only type or other objects selected it sends no
command.
- Use Precise Cursors leaves Not Allowed as it is.
- The cursor catalog and docs/target-app-parity.md describe the rule.
The panel showed the values Document Info makes in English in every
language. It now shows the Units, the Raster Effects resolution, each
font's file, substitution and embedding permission, each image's size
and linked file, each Repeat object's kind and counts (in the
language's plural forms) and gradients named by their kind in the
interface language. Font, face, file and swatch names stay as they
are, a gradient swatch named like a kind included.
document.info keeps its English rows and adds the values the panel
builds them from: document.unitId, fontDetails, imageObjects and a
kinds list on each gradientObjects entry. Save… and Package's report
stay in English.
The outline of the area a Blob Brush or Eraser drag covers was outlined
again for the whole stroke on every frame, so a long stroke slowed the
canvas as it grew.
- The drag is outlined in pieces of up to 32 segments (one segment each
with Size set to Pressure), and a frame outlines again only the pieces
it added segments to. A grid of squares lists the segments near each
square, and each piece's outline drops the parts inside the rest of
the area, so the pieces show as one edge.
- One frame takes at most 256 new points and a fixed amount of work;
Tool::overlays_pending makes the canvas draw again until the rest is
done with the pointer still. Points not outlined yet show as a thin
line, and the tip shows at the pointer.
- The settled outline is kept in joined paths of 64 pieces, and a frame
joins again only the paths that changed. The grid's size is capped.
- The Blob Brush's length label and the Size-by-pressure check keep
running values instead of rescanning the stroke each frame. With Size
set to Pressure the outline shows only the edge of the whole area.
The release sends the same path.blob and path.eraseRegion parameters.
A prefs.set step, recorded inside a command.batch or loaded from a
.vcactions file, can hold a folder preference such as scratchPrimary.
- ui.inspect under automation read roots now checks such a step's
value for {key, value} and each entry of values, also in a batch
step's commands at any depth, as written and trimmed, including bare
names, subfolders and file: URLs. An empty value and the scratch disk
choices Startup and None stay.
- Any other step text written as an absolute path or a file: URL
outside the read root is left out also when whitespace surrounds it.
- Save Actions refuses a set with a prefs.set step that holds a folder
value and names the action and the preference instead of writing the
file. An empty folder and the scratch disk choices save.
- prefs.export leaves out scratchPrimary and scratchSecondary, like the
other folder preferences. prefs.import refuses a scratch disk set to a
folder and still reads Startup, None and an empty value.
The folder list, the scratch disk choices and the folder check now live
in one place in the engine. Docs: docs/mcp.md, params text and a
progress line in docs/target-app-parity.md.
A fill or stroke row that the Appearance commands gave a graph label, its
object opacity, and the characters the Eyedropper gave it lasted only
until the graph was drawn again: the graph stored nothing for a label's
rows, and the Eyedropper's character attributes were not stored.
- The graph keeps, for value axis numbers, category labels and legend
labels, the paint, weight, opacity and blend mode of a label's topmost
visible fill and stroke row, their order and place relative to the
Characters row, and the label's object opacity and blend mode
(labelStyles valuesRows, categoriesRows, legendRows). Every label of
the kind gets those rows when the graph is drawn again, with a placed
gradient fitted to each label.
- Every appearance.* command stores them, and so do graphicStyle.apply
and redefine and the paint, stroke, gradient and transparency edits
aimed at a row, even when the label already showed them.
transparency.set without a row and object.setProps store only the
object opacity and blend mode. With several labels of a kind, the last
one edited wins.
- appearance.copyFrom onto all of a label's text stores the character
attributes it applied and, from type, the paragraph attributes; a
transparency pick stores the object opacity and blend mode, and
append stores the rows.
- paint.setFill and paint.setStroke store a character fill or stroke
only when the characters take the paint (the whole label, or all of
its text highlighted with the Type tool); aimed at a row, they store
the row.
- Document Color Mode and swatch edits reach the kept rows.
Docs: docs/mcp.md, the commands' params text, docs/target-app-parity.md.
tool.setOption for the Live Paint Bucket, the Live Paint Selection tool
and the Shape Builder used to keep the old value when a switch was not
true or false, a color could not be read or a width or gap length was
not a number, and it set the other values sent with it. It also took
the RGB of a color with an alpha part, and the Shape Builder took any
`pickColorFrom` other than `swatches` as `artwork` and any `selection`
other than `straightLine` as `freeform`.
The command now checks every value before it sets any, whether the tool
is chosen or not: a switch must be true or false, a highlight color
must be an RGB color or a layer color's name without an alpha part, a
width or gap length must be a number, `pickColorFrom` and `selection`
must be one of their names, and an option the tool does not have is an
error. The error names the option, and nothing is set or saved. A width
outside 1 to 20 and a gap length outside 0 to 72 are still clamped, and
saved settings with an invalid value still load.
Docs: docs/mcp.md, docs/target-app-parity.md.
With anchors selected and Transform Objects off (objects: false, or the
backquote key during a Scale or Reflect drag), the transform moves the
whole objects' pattern tiles, so it now acts along the turned bounding
box instead of the page axes that apply to the anchors alone.
BFlat