When links.update or links.relink re-read a DCS file and Placement
Options also clipped the image (Fill with Clip, or an aspect change
that overflows), the placement rectangle replaced the file's clipping
path, so plate art outside that path showed and printed.
The file's clip group now stays around the image and the placement's
clip goes in a clip group around it. The clip group holding just the
file's group takes that clip, as one holding just an image does today,
else a new one does, so later updates reuse the same two groups. A
file that loses its clipping path leaves its group as a plain group
inside the placement's clip. The same applies in symbols, graph
designs, patterns and opacity masks.
Opening an .ai file compares at most 256 envelopes and embedded images
with a Warp with their drawn art, from one budget. Saving the editing
data counted only envelopes, so a file with more than 256 of them in all
was saved with images past the budget written live and no warning, and
it opened with those images as their drawn look.
- The writer's budget now counts every image written with its Warp as
well as every envelope, in the order they are written. An image past
it is saved as its drawn look with a warning, and an envelope past it
as its distorted art, as before.
- An image whose pixels can't be read is written as its gray outline,
which the reader does not check, so it takes no part of the budget
and keeps the warning about its pixels.
- The envelope warning names the shared budget.
Merge copied a face's or edge's appearance to the part it rebuilds in its
place, but not its visibility, opacity or blending mode. A half-transparent
face drawn by its stroke became opaque, and a hidden edge was shown again.
The DXF SPLINE line in docs/target-app-parity.md said a non-circular
ellipse keeps the existing fallback. crates/cad/src/scene.rs writes a
closed four-cubic ellipse, or a circle scaled out of proportion, as a
native ELLIPSE in R13 and later, unless its minor-to-major ratio is
below 1e-6, and only R12 keeps the fallback. The line now says so.
PDF export writes a translucent knockout group as a form with its opacity around the /K group. PDF import now reads that pair back as one knockout group with the opacity, blend mode and isolation, instead of a translucent group holding a knockout group.
Since #7294, object.setLiveShape refuses a negative `radius` and a
`sides` that is not a whole number from 3 to 1000. Session::replay
applied the same checks, so a journal entry or action step recorded
before that change with such a value stopped with a parameter error.
On replay, a negative radius now counts as 0, which is how it drew
before. A whole side count below 3 or above 1000 is brought into that
range, and a fractional or negative one is ignored. Direct calls still
refuse these values.
The untranslated report lists 167 status and error messages that none
of the 23 complete-message catalogs translates. Spanish now has an @msg
row for 114 of them: the errors of the image encoders, color profiles,
swatch exchange files and color books, 3D and Revolve, path operations,
DXF import, the script engine and the parameter checks. Open #7211 and
#7378 add Spanish rows for 51 of the others, and 2 stay in English.
The rows keep their placeholders, backticked names, accepted values
(smallThumb, RGB, CMYK, Lab, Gray) and limits as the English writes
them. A test checks the Spanish shown for messages of each group.
A paint write that leaves a series mark's gradient as the graph drew it
now keeps the series' stored gradient and its unit-box flag in two more
cases:
- a mark with no width or no height, such as a column for a value of 0,
where the stored gradient was replaced by the mark's gradient in
document coordinates and no mark took it on the next redraw;
- a gradient kept in document coordinates (a file saved before the unit
box), which a stroke weight written as it was moved to the unit box,
so the next redraw placed it on each mark's own box.
The color cover of a composed face grew past the underlay's seam, and a
source gradient without a placement fitted itself to that larger
rectangle. The face now pins such a gradient to its bounds grown by
1 pt, as before the cover grew. docs/three-d.md states the measured
limits of the 1:1 comparison.
A path's Art brush settings matched the brush's within a small tolerance, and only the brush's were checked. A path with a Spacing of 0.0005, or guides that leave no art between them, opened live with the brush's settings. The path's settings now pass the same checks as the brush's, and such a path keeps its drawn look.
An Art brush set to Scale Proportionately drew its art at the same size
on every stroke weight: the art was scaled across only by how much the
path stretched it along and by the brush's Width. Stretch to Fit Stroke
Length and Stretch Between Guides already multiply by the stroke weight.
Proportional art now does too, so a 3 pt stroke draws it three times as
wide as a 1 pt stroke, still as long as the path. The same applies to
each run with Overlap on and to a Width that follows the pen.
Existing Scale Proportionately art brush strokes at weights other than
1 pt draw scaled by the stroke weight. Strokes at 1 pt draw as before.
A justified line opened no gap before a right-to-left warichu block: the
glyph drawn first after the text before it is not the block's first
glyph, and it was taken as continuing the block. The block now starts at
the first of its glyphs the line draws, and blocks the bidi order
interleaves keep their starts.
The caret next to a character of a block spanned the whole line. It now
spans the band of the character's block line, as the selection does.
The ranges in the addon.shapes params text are in parentheses, so each
description reads as a params object. The configure description and
docs/mcp.md say that an omitted or null value keeps each shape's setting;
the defaults apply to the drawing commands only.
A filter or importer that changes a gradient paint unlinks each stop from
its swatch and resets its tint, but left the stop's process plates. The
PDF and EPS writers read plates only with a spot swatch, so the stop kept
a plates array with no ink, saved with the document and compared in later
edits. Unlinking now clears the plates too, in fills and strokes; a paint
returned unchanged keeps its link, tint and plates.
The plate clamping test now checks the decoded output, before admission.
With nothing selected, the Preferences button was drawn only after
Document Setup, so a bar with 90 to 111 points left showed neither,
although Preferences is 90 points wide and fits. The two buttons now
check the room left for each of them on their own.
A glyph with a negative advance can draw a later break narrower than an
earlier one, so bisecting the breaks past the 256 measured one by one
could end a tabbed right-to-left line at an earlier break than the
latest that fits. Such a line now measures up to 1,024 breaks, or
hyphenation points, one by one before bisecting the rest.
An unlinked aligned dimension that was reflected on its own kept its
offset, which is measured along the left normal of a to b. A reflection
turns that normal to the other side, so a line 30 pt above two level
points stayed 30 pt above them after a flip top to bottom instead of
going below them. The offset now changes sign when the transform
reverses orientation, as a reflection or a scale by a negative factor
does. Other transforms leave it as before, and linked, horizontal and
vertical dimensions keep their own rules.
Docs: docs/dimensions.md.
A right-to-left line draws its last character before its tabs. When that
character loses its Japanese-Latin space at the line's end, the layout drew
it narrower before placing the tabs, but measured the line with the full
advance and took the trim off afterwards. The measured line was narrower
than the drawn one by the trim: a right-aligned line ended past the
frame's right edge (305 pt in a 300 pt frame), and a line that did not fit
as drawn was kept whole.
drawn_width now takes the end trim off the glyph it belongs to, so the tabs
drawn after it take their stops from where it ends, both where lines break
and where a line is measured for alignment.
With the Selection tool, the Justification dialog, the OpenType panel, a
Character or Paragraph Styles row (Alt-click and Clear Overrides
included) and Type > Bullets and Numbering > Convert to Text now change
every frame of each selected threaded story, locked and hidden frames
included, in one undo step. Before, they changed only the selected
frames.
- The Justification dialog keeps the frames of the stories selected when
it opened for its preview and OK.
- The OpenType panel's Figure menu shows Mixed and its checkboxes show a
dash when the characters differ; a click on a dash turns the feature
on everywhere.
- The style panels highlight a style only when all of the text has it,
and show "+" when any of it overrides the style.
- Convert to Text takes the same stories as Apply Bullets and Apply
Numbers.
Open pull requests #7211 and #7378 add French rows for these 51 messages.
Keeping them here too would make bundled_catalogs_are_consistent fail on a
duplicate row once both merge.
The untranslated report listed 167 status and error messages with no
row in any complete-message catalog, and 11 more that other catalogs
translate but German did not, so with the interface in German these
messages showed in English.
- de.tsv gains 116 `@msg` rows for the listed messages: image export
and encoding errors, color profiles, color books and swatch exchange
files, binary DXF and DWG import, 3D and Revolve limits, and script,
zip and file errors. They sit in one commented block after the
existing message rows.
- de.tsv gains 10 `@msg` rows for the Banner Hems and Grommets errors
and the failed recovery save.
- The 51 listed messages that open #7211 and #7378 translate (composite
fonts and SVG filters), and the justification order error that open
#7116 translates, are left out, so no row is added twice.
- Placeholders, parameter names, command ids and literal values stay as
the English writes them. The translations use the catalog's existing
terms and typography.
- docs/localization-parity.md and docs/target-app-parity.md give the
German counts: 3,563 `@msg` and 48 `@msgplural` rows, 52 messages
still listed.
The PDF exporter no longer warns about a plain knockout group, so the test's second note now comes from a knockout group whose soft masks would draw a brushed stroke, and the test checks for that note.
With Cmd (Ctrl) held, the Bucket's presses go to the selection tool Cmd
lends, but the double-click and triple-click that follow reached the
Bucket and painted. They now paint nothing, as with Alt.
A COLRv1 linear or radial gradient whose color line repeats or reflects
made the whole glyph an image. Such a gradient now reads into a vector
gradient with the same spread. The COLR specification repeats the
interval from the first color stop to the last, so one run of the stops
spans the gradient's vector:
https://learn.microsoft.com/en-us/typography/opentype/spec/colr
A repeating or reflecting radial gradient that starts at a circle stays
an image, and so does a repeating or reflecting gradient with a stop
whose palette index is outside the palette. A color line with an extend
value the specification does not define now pads, as the specification
says, instead of making the glyph an image.
With a selection tool in use and no artwork in the document (layers and
guides only), the bar shows Draw (Pencil), which switches to the Pencil
tool, and Place Image, which picks files for the Place dialog, as the
help page lists for a new document:
https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/contextual-task-bar-overview.html
VectorCraft's own rules: the bar sits under the active artboard, or
under the canvas's center when the artboard is out of view, and leaves
out the Fill, Stroke, Recolor Artwork and Lock controls. Other tools, a
selection and a document with artwork keep their bars as before.
When the Opacity link and its field had no room, the Control bar also
skipped the Graphic Style check, so the narrower Style link and its chip
were left out even when they fit. The bar now leaves out only the
Opacity part and checks the room for Style on its own.
On the web, a document that opened with linked files it can't read and
linked files that changed on disk showed only the line about the changed
files when Update Links doesn't ask. The status bar now shows the line
about the unreadable files and lists the line about the changed files as
the first note in its hover, ahead of the open's notes. With Ask When
Modified the update question opens and the line about the unreadable
files stays, as before.
A copy of an image written whole already was cut to the painted bounds of
its opacity mask even when the mask was then left out, nested too deep or
past the object limit, so the file read back with a cropped image and no
mask. The copy is now cut to its mask only when the mask is written, and
otherwise written whole.
The progress-doc line now gives the measured total for the warped test
image's pieces: about 7 times the image's samples, not twice.
The untranslated report listed 165 status and error messages that no
complete-message catalog translated: messages of the SVG filter and 3D
effects, the image encoders, color profiles, composite fonts, swatch
exchange files and color books. fr.tsv now has an @msg row for each, with
placeholders, parameter names and literal values as the English writes
them, and a no-break space before : ; ? ! as the catalog's header asks.
Expand kept a face only when its topmost fill had paint, and an edge only
when its topmost stroke had paint and a weight. A face or edge drawn by a
lower row under an unpainted top row was removed, and one whose only
painted row was hidden was kept as a visible path.
Expand now keeps a face or edge when it is shown, its opacity is above 0,
and any fill or stroke row is shown, has paint and an opacity above 0 (a
stroke also a weight above 0), with all of its rows. The rows are checked
with the new Appearance::has_drawn_fill and has_drawn_stroke.
Merge carried a face's topmost fill paint by the same topmost-row test.
It now carries every row of each face that draws by this rule, and of
each edge, pins their unplaced gradients to the old outline as
repaint_from does, and leaves the strokes' pen pressure, tilt, bearing
and rotation behind, since the rebuilt parts are other paths.
Docs: livePaint.expand params text, docs/mcp.md, and a line in
docs/target-app-parity.md, which also drops a repeated Live Paint
Selection marquee line.
dotCooCoo