The Assign rows of the Separations panel's Color Settings section (where
Edit > Assign Profile... goes) offer the three choices of the help's
"Assign or remove a color profile": Don't Color Manage This Document, the
working space of the document's color mode with its name, and Profile with
the other profiles of that kind.
The rows act on the profile of the document's color mode, so an RGB
document's RGB profile can be assigned here; before, the row always set
the CMYK profile. Picking the working space assigns its profile, which
stays when the working space changes later. A choice the document already
has runs nothing, and the other model's profile stays as it is.
Params text, docs/mcp.md and the evidence line in
docs/target-app-parity.md are updated, with catalog rows for the new
labels.
An sRGB destination converts tagged gray and RGB images to sRGB even when the
document's own RGB profile is sRGB, so the statement that the document's own
profile as destination keeps tagged images applies only to other RGB profiles.
Files saved for version 11 write the keys of their text document by name
(/DocumentResources, /FontSet, /StreamTag) and the kinds of its strikes
by their long names (/FrameStrike). The reader found no stories in them,
so their text objects were filled with the page's type in painting
order: type outside the artboards was lost, and type on them could land
in another text object.
The keys the reader uses now get their numbers from the dictionary they
sit in, from the root down, before the document is read. A run whose
style is written by name as a style's number takes that style. Files
saved for later versions that write a newer key by name among the
numbered ones (a font record's VersionString, a paragraph's
ParagraphDirection) have those keys read too.
With Convert to Destination and an RGB destination that is the document's
own RGB profile, RGB colors and RGB images keep their numbers, so an image
that carries an ICC profile keeps it. The export contract and progress line
now say so, and the test checks it.
Pattern Options gets the Move Tile with Art checkbox under Size Tile to
Art. With it on, a move of all of the tile art in pattern editing mode
moves the tile as far as the art moved, pixel-grid snapping included:
object.move, object.nudge, object.transform with a translation, and
drags with the Selection tool. A group counts as moved when each of its
members moved. A move of only
some of the art, a copy, a rotation, a scale and a move of
direct-selected anchors leave the tile where it is. The option is off
for a new pattern.
pattern.options takes moveTileWithArt and pattern.list reports it. A
pattern.options call that changes nothing no longer records an undo
step.
With Convert to Destination and an sRGB destination, a gray or RGB image
with an ICC profile whose pixels can't be decoded (a header past the
decoding allowance) was kept with its profile and no warning. It now
reports that the image is not converted. When the image is left out of
the file as well, only the warning that it is missing is given.
Linked pages on their trim boxes were spaced by the 36 pt gap alone, so
with a large bleed one page's bleed box reached into the next artboard
and a page export could show part of its neighbor. The artboards are
now laid out once the document's bleed is known, 36 pt apart plus the
bleed on both sides: the document's bleed, or a page's own bleed box
where it reaches farther.
The art's bounds no longer clip art that 9-slice guides place, or refuse
art that an instance shows through a nested instance:
- An instance whose art goes through 9-slice guides, at any depth, is
measured as its art placed through the guides, with the objects the
plot leaves out hidden after placing. Leaving them out first changed
the box the guides cut.
- Hidden art is not placed, so it does not use up the limit on placed
objects that the visible instances share.
- The copy of a dynamic symbol that an instance's changes are measured
on keeps the symbol's 9-slice guides and natural size.
- The changes of the instances in a dynamic symbol's art are collected
from all of the art, also from objects at 0% opacity or without paint,
which an instance of the symbol can change.
Merge current main and retain both the Pencil snapping documentation and Tech Circuit library evidence. Only docs/mcp.md required manual conflict resolution. Focused checks passed: no conflict markers or whitespace errors, all 28 catalogs retain four unique nonempty labels, and brush implementation/tests remain unchanged. No full local Cargo CI rerun.
With Output › Convert to Destination and a CMYK destination, or an RGB
destination other than sRGB that images are converted to, an RGB image
that carries an ICC profile had its numbers read as sRGB, so a Display
P3 image came out with the wrong colors. Such an image is now converted
from its profile to sRGB with the color settings' rendering intent, then
to the destination.
- An untagged image converts from sRGB as before.
- A gray image keeps its profile, as gray is not converted.
- A profile the color engine can't read leaves the numbers read as sRGB,
with a warning.
- Preserve Numbers is unchanged.
docs/mcp.md, the document.exportPdf params text and the progress doc
describe the behavior.
The panel's Lighting tab shows a sphere above the list of lights with
every light of the selected 3D effect at its Rotation and Height, filled
in front of the object and hollow behind it. Dragging a light moves it
on its side of the object, previewed while the pointer is down and one
undo step on release; a press selects it in the list. Move Light to Back
and Move Light to Front change the selected light's side. Each light
takes the keyboard focus, where the arrow keys move it (Shift steps
15 degrees), and screen readers name it with its settings. The widget
sends effect.setParams like the light settings below it.
BFlat