A paragraph that ends in a soft return ends with the empty line after it,
so the line the soft return ends is justified like any other; it was taken
for the paragraph's last line and left aligned.
Key 30 of a paragraph's attributes holds its tab stops: each its position
(key 0) and alignment (key 1: 0 left, 1 center, 2 right, 3 decimal).
They were not read, so tabs fell on the default stops. At most 1,024 are
read a paragraph and 2^20 copied into a story's paragraphs, past which the
default stops apply with a warning. The fuzz test feeds hostile paragraph
attributes: alignments, auto leading, hyphenation options and tab stops.
In right-aligned area type, the text before a line's last tab sits at its
stops, measured from the left edge, and the text after it (none when the
tab ends the line) against the right edge. The line was laid out from the
left and aligned as a whole, which moved its start off the left edge and
its tabs' text off their stops. Illustrator's own layout in a user's .ai
sets its price lists so. Centred and justified lines are aligned as a
whole as before.
- 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.
In Justify Left, Center or Right, only the paragraph's last line keeps its
alignment; a line that a soft return (U+2028) ends is spread to the frame's
edges like any wrapped line. Illustrator's own layout in a user's .ai sets
such lines justified, and VectorCraft left them ragged.
request, execute, commands and screenshot move onto the shared crate (storytold/craft-libs#413): a timeout on every call, the screenshot's PNG also in data, and docInspect and uiInspect beside them. A call the page gave up on gives up its request if the app has not started it, so the app skips it. openFile, captureDownloads, files, readFile and inspect stay VectorCraft's own, on the same object.
The legacy reader skipped `TV`, `Tv`, `Ty` and `TY` of section 15.3.4 of
the version 7 file format specification, so type set with `1 TV` opened
horizontal.
- `TV` sets a text object's writing direction. VectorCraft keeps one
direction for each text object, the one in force at its first
character, with a warning when a later character has another.
- `Ty` marks a Kumi block as a Tate-chu-yoko run, which is VectorCraft's
own mapping, and `TY` does the same in horizontal type. A `TY` block in
vertical type opens unmarked. Two blocks with nothing between them open
as one block.
- `Tv` sets Standard Vertical Roman Alignment.
All four are modal, and an operand other than 0 or 1 leaves the value as
it was.
Docs: docs/file-format-parity.md.
After Select All in threaded text, the Tabs panel's indent markers read
the indents of the edited frame alone. When another frame's paragraphs
had a different left indent, a marker drag changed them by the edited
frame's values, or left them alone. The markers now take every
paragraph of every frame in the story, so each paragraph keeps its own
left indent or first-line position.
The Justification dialog kept the frames of the story from the moment
it opened. OK now acts on the frames in the edited frame's thread when
it is pressed, so a frame that left the thread while the dialog was
open is not changed, and a frame that joined it is.
After Select All in threaded text, the panels read the frames from the
list saved at Select All. A frame that had left the thread still took
Paragraph, Tabs, Justification and Text Styles changes, a frame added
later did not, and when the first saved frame had left, Character,
OpenType and font changes went to that frame alone.
text_story now reads the frames of the edited frame's thread from the
document. Locked and hidden frames stay in the story.
Q restores the painting state but not the transparency (Xy): the writer
sets Xy only when the next object's state differs from the last one it
wrote. Restored at Q, type after a clipping group following a Screen glow
drew in Screen and nearly vanished on a light background.
A blend whose spine was never edited has only its keys in the editing
data, no spine part. Its spine is the straight lines between the keys'
centres in the record's order; read as such, the blend comes in live
instead of as its drawn steps.
Illustrator 24 writes its symbol definitions ahead of %AI9_BeginArtStyles,
so a styled object inside a symbol found no style and came in as its drawn
look. The pre-pass that finds swatch names now also keeps the first
top-level art styles section, which the reader parses before the art.
prefs.set did not check the folder given as recoveryFolder or pluginsFolder,
beyond the automation roots check, so a control or MCP caller could save a
folder that does not exist, a file, or a folder the app cannot use. Only the
Preferences dialog checked the folder itself.
The dialog's folder checks move to the engine, and prefs.set runs them after the
automation roots check. A folder that fails returns the same error the dialog
shows, and no preference changes. An empty value, an omitted value and a folder
the preference already holds are not checked. The Wasm build skips the check, as
the dialog did. The dialog's OK now gets the check from prefs.set, and Choose…
calls the moved check directly.
The check tested one box per source segment for every candidate hole or
island. It now searches a tree of the segments' bounding boxes, built once
when the first contour is checked. The answer for each contour is the same,
so the output paths do not change. MAX_OFFSET_SEGMENT_PAIRS does not change.
With the Artboard tool, the canvas context menu lists the entries of the
public Use the artboard context menu page in its order, in place of the
entries for objects and the view. Lock Artboards and Unlock Artboards are
two submenus. An entry that cannot run is left out, and Undo and Redo stay
dimmed. A right-click on an artboard that is not selected selects it alone
first, and the menu measures the art for Delete Empty Artboards and Fit to
Artwork Bounds once, at the right-click.
Cut, Copy, Duplicate Artboards, Rename, Delete Artboards, Lock Selected,
Unlock Selected, Fit to Artwork Bounds, Switch Orientation and Export act on
the artboards the tool has selected, else the active one. docs/mcp.md lists
what the other entries act on.
- artboard.rename renames in one undo step and numbers several names. The
menu's Rename opens a dialog that runs it, and the Artboards panel's name
field runs it too.
- artboard.switchOrientation swaps width and height and keeps the top-left
corner, skipping square and locked artboards.
- artboard.selectAll chooses the tool and selects every artboard.
- edit.paste takes artboardsAt, and the menu's Paste centers copied
artboards on the right-click's point.
- The menu's Cut and Copy run artboard.cut and artboard.copy. In the desktop
app those commands publish to the system clipboard, and the menu shows the
Cut and Copy shortcuts for them.
- artboard.fitToArt and the panel's name field record no undo step when
nothing changes.
artboard.duplicate, copy, cut, rename and switchOrientation take their
artboards from the tool's selection when a call names none. Each now records
them in the journal as selectedArtboards, which a replay reads and a recorded
action leaves out. The copy commands also record art. switchOrientation
records scaleArt, and it takes patterns and lockedAndHidden and records what
its artboard.setProps step resolved for them.
While the Artboard tool is in use, a command chosen from any menu or the
command palette moves the tool's selection as the Artboards panel does:
artboard.new makes the new artboard active, artboard.duplicate selects the
copies, and artboard.delete and artboard.deleteEmpty make a remaining
artboard active.
The fitter accepted a piece at depth 14, or with fewer than six points,
whatever its error, so a traced outline could stay farther than the
tolerance from its points. Synthetic 2 px block noise at Paths 100 and
Corners 0 kept a piece 2.7 px off at a tolerance of 0.1.
Such a piece is now accepted only when each point is within the tolerance
of the curve. Otherwise a short run is cut at its worst point, down to
two points, and a run at the depth limit is cut in the middle, which keeps
the recursion shallow. Every other piece is unchanged. Noisy art can get
more anchors.
a_traced_pixel_that_straightens_to_no_area_... now traces at Paths 80. At
Paths 90 that pixel's no-area result came from pieces over the tolerance.
save_file's note for a key in `options` that the written format doesn't
read named every .ai file a PDF-compatible .ai, also when the save wrote
a version 7 file (`aiVersion: "7"`) or one without PDF content
(`pdfCompatible: false`).
The save itself now writes that note, beside its note on a top-level
`compress`, `version`, `preview` or `precision`, and names the file it
writes, including when it reuses the options the document was last saved
with. save_file returns the save's reply unchanged, and
`run_command document.save` and the other save commands give the same
notes.
The reader put an opacity mask's art in a group every time, so a mask
made from one path came back from a saved .ai as a group holding the
path, while Make Opacity Mask keeps one object as the art. This also
changes how existing files with single-object masks open, because
the editing data of a .ai, an EPS and a PDF goes through this reader:
the art is the object.
A hidden object or a guide stays in a group, because the canvas draws
the art's root whether it is shown or not and whether guides show. A
clipping path alone stays a clipping group.
The editing copy writes a plain group of one object as a group (u, the
object, U), so it reads back as a group. Its other plain groups are
still written as their members. Hidden mask art is written shown,
because the canvas draws it and a group read back would not.
Encryption keeps the /ID already in the trailer and draws one from the
seed only when there is none. A PDF 1.3 export draws no random bytes, so
it repeats with SOURCE_DATE_EPOCH set, while PDF 1.4 and later differ
between runs. Their random bytes are in the encryption dictionary and,
at PDF 1.6 and later, in the AES initialization vectors.
The panel menu's item added the artboard and left the active artboard
where it was, while the panel's button, the Control bar and Properties
made the new one active. All four now call one helper. With the Artboard
tool, the new artboard is then the only one selected.
When the link-watch worker unwound before storing its stamps,
poll_link_scan returned None on every frame and left link_scan set. The
app then asked for a repaint every 100 ms and start_link_scan returned
early, so the app did not look for changed linked files in the
background again for the rest of the session.
poll_link_scan now clears a look that has ended without stamps. The new
ended_without_stamps helper holds the slot's lock across its read of the
stamps and its read of the ended flag, so a look whose worker stores its
stamps during the check is applied. The app goes back to its two-second
wake, and the next look starts on schedule. A look still running and a
look that stored its stamps behave as before.
The reader gives an Xy right after a compound path or a text object to
that object. The writer now writes XR before the Xy of type, images and
guides, so type next to type, a compound path before type, image or
guide, and type before an image or guide keep their own opacity, blend
mode and knockout shape flag.
- Type keeps its Isolate Blending and Knockout Group state in a state
block after its text object, as its outlines did on their group.
- The reader no longer gives a layer the Xy before its last text object.
- The ASCII85 end marker of the text document stays on one line.
- The warning and docs/file-format-parity.md also list area type in an
open frame, type on an open path whose ends meet, type of only white
space and threads of type on a path as written as outlines.
- README.md, ROADMAP.md, docs/gaps.md, docs/roadmap.md and
docs/target-app-parity.md describe the editing copy a saved .ai holds.
- clip_path's doc comment is back on clip_path.
- import_fuzz reaches threaded area type and vertical type.
The editing copy of a PDF-compatible .ai wrote every text object as its
outlines. Point type, area type and type on a path are now written as
text: a text object in the layers that names its story, and the text
document after the document data (%AI11_BeginTextDocument) holding the
stories.
- Each story holds its characters (a paragraph ends in \r, a forced line
break is \x03), its character runs (font, size, leading, tracking,
baseline shift, horizontal and vertical scale, solid fill and stroke
with its weight, capitals, Tate-chu-yoko) and its paragraph runs
(alignment, indents, space before and after, hyphenation, right-to-left
direction).
- Point type keeps its point and, when it is turned, its matrix. Type
scaled by one factor, such as all type on a large canvas, has its scale
in its sizes, frame and path. Area type keeps its frame, rows,
columns, gutters and first baseline, type on a path its path and where
it starts and ends, and vertical type its orientation. A threaded story
is one story through its frames in order. Area type and type on a path
carry their frame's path in the layers as well.
- Type the text document can't hold is written as its outlines, with a
warning: type in opacity masks, pattern tiles and art cut to a clipping
object, mirrored type, turned or unevenly scaled area type and type on
a path, frames of several parts, area type that flows around a text wrap,
threads whose frames differ in orientation or include a frame written
as outlines, type and stories past the sizes the reader reads, and type
with inline graphics, ruby, gradient or pattern paint or an appearance
or opacity mask of its own. Other character and paragraph attributes are left out, with
a warning.
Tracking is written as a whole number of thousandths of an em, and
solid paints as simple paints; tracking that isn't a whole number is
rounded, with the warning.
Each construct is written in the form VectorCraft's .ai reader reads
(crates/eps/src/import/ate.rs at 36ef34dfdd: Texts::read :407, story
:501, frame :456, para :562, style :588, paint :622, AreaFrame::read
:284; the text object in import/ai/read/art.rs:15 and its path in
import/ai/frames.rs:26), and the tests read the written data back
through that reader. The scripting
reference documents the same attributes on the reading side (text frame
kinds, columnCount, columnGutter, rowCount, startTValue, endTValue,
orientation, and the character attributes):
https://web.archive.org/web/20160410101607/https://wwwimages.adobe.com/content/dam/Adobe/en/devnet/illustrator/sdk/CC2014/Illustrator%20Scripting%20Reference%20-%20JavaScript.pdf
The reader now closes a text object's frame path painted with a closing
operator (n, f, s, b, h), so area type's frame comes back closed; places
point type whose story keeps no composed lines at its frame's point;
keeps a story's last empty paragraph (only the \r that ends the story is
dropped); gives type made from the text document its text object's lock,
as it gives it its visibility; and gives type its text object's knockout
shape flag, as it gives it its opacity and blend mode.
Tests: the round trip of every kind of type and its state, a second
write of what is read back giving the same bytes, the text document and
stubs, scaled point type, a story split between threaded frames, the
fallbacks and the warnings, and the engine's editing copy with every save
option; a fuzz case for damaged text documents and stubs.
Docs: docs/file-format-parity.md.
a_pan_moves_the_marks_without_building_them covered Direct Selection
only. It now runs with both tools.
The module comment and MAX_PAN's comment now say what is kept as
triangles and as document points, and when a pan builds the marks again.
A test label now says points rather than px.
The timings in docs/target-app-parity.md are measured again with 10 fill
colors on the 2,000 circles. The pixel sentence there also names the
rounding errors of kept vertices.
The progress line gives the release-build timings of the head that tests each subpath and handle against the view, and says which corner can differ after a pan.
The canvas flattened every selected object's outline and tessellated its
anchors and handles again in each frame. It now keeps them per object as
one mesh, valid for the object's node, layer color and selected anchors.
An idle frame draws the mesh again. A pan moves kept outlines and handles
and places the anchor squares again.
A frame with a new zoom, rotation or display scale draws plain shapes and
keeps nothing, and the next frame at that view builds the marks. Entries
of objects that leave the selection or the document are dropped.
With ribs only at the path's corners (an Along gradient), the ribs that reach
across an arrowhead stopped at the last corner inside its reach, so the slice
narrowed from the head's tip towards the next corner and left the corners of
a Triangle head's base outside every slice. Where each arrowhead's reach ends
now gets a rib of its own.
When a frame threaded in before the edited frame takes all of the story's
text, the edited frame is left with no text while the story stays
selected. The other frames' text is now highlighted, Delete and Backspace
replace the story, an Alt+arrow step changes the tracking of every frame,
and Copy and Cut take the story. A story whose frames hold no text has
nothing to copy, and Delete in it records no undo step.
With a whole story selected, the highlight and typing read the frames saved
at Select All, while a pick, a fill and the other story-wide edits read the
document's thread. A frame added by text.thread.add took a pick without being
highlighted, and typing left its text in place.
Both now read the thread through Document::story_of. A frame threaded in
during the selection is highlighted and takes the edit, and a frame that
leaves the thread is not highlighted and keeps its text.
appearance.copyFrom and a fill or stroke change on a story selected by
Select All no longer skip locked frames, hidden frames and frames on a
locked artboard. They apply to every frame of the story, as the Character
panel's story edits do. appearance.copyFrom still leaves out a frame that
is its source.
With a threaded story selected by Select All, switching to the Eyedropper kept
only the edited frame's selection, so a pick styled one frame. The selection now
carries the story's frames, a pick or Shift-click applies to the text of every
frame as one undo step, and switching back to a Type tool restores the story
selection. A selection inside one frame and unthreaded type behave as before.
A pick and a fill or stroke change on a selected story leave locked and hidden
frames and frames on a locked artboard as they are. appearance.copyFrom leaves
out a frame that is its source.
Typing over a selected story no longer removes the text of a frame whose thread
was removed after Select All.
The width between two width points was a straight line, so a variable-width
stroke turned a corner at every width point.
- Each side of a width profile now follows a monotone cubic (Fritsch-Carlson)
through its points: no kink at a point, flat at a point wider or narrower
than both neighbours, never past either point of a span. Points on one line
stay on it and two-point tapers are unchanged; stacked points still step.
- widest() counts each span's wider left and wider right, since the two sides
needn't peak together.
- The outliner samples straight runs between width points closely enough to
follow the curve to the drawing tolerance (at most 64 samples per span and
4,096 per piece); straight spans get none.
- Tests that expected straight-line widths now expect the curve. The stroke
gradient coverage test uses Teardrop instead of Wave until #5964 is fixed.
A path with an Art brush comes in as the path, with the brush on its
stroke at its weight, instead of as its drawn look, when the brush
stretches art of solid-filled paths along the path, unflipped, at 100% in
Tints. The art runs on the side of the path the file draws it.
The drawn look stays for other colorizations and widths; Proportional,
between-guides and flipped brushes; type; a path with settings of its own,
a variable width, effects, a swatch stroke or an entry that isn't read;
and art with strokes, gradients, patterns, masks or effects, or no length.
A brushed stroke, Calligraphic ones too, takes the brush the Brushes panel
keeps under its name, and an image with a brush keeps its drawn look.
In every document, Tints and Tints and Shades take art in black ink alone
by its ink amount, and a process or gray stroke color's tints and shades
stay in that color's model.
Place and Expand bring the brushes the art uses, renaming on conflict.
Part of #637.
When Distort Appearance is on and the size a `.ai` saves for an
envelope's contents (`AIDeformArtWidthKey`, `AIDeformArtHeightKey`)
matches the contents' bounds with strokes, the reader now maps the
contents from that stroked box. It used to map them from the geometric
bounds, half a stroke inside that box, so an envelope of stroked art
could differ from its drawn art and keep the drawn art with a note.
Envelope Options hold the box's margins as `boundsMargin`, shares of the
geometric bounds at the top, bottom, left and right. Native files write
them only when they are not zero, and `object.envelope.info` reports
them then. Leaving Edit Contents measures them again when the strokes
reach differently than when Edit Contents began, and the node holds
what they measured then until it leaves. New envelopes have no
margins, so their results do not change. Contents with no width or no
height, such as one straight line, get no margins.
Docs: docs/mcp.md, docs/target-app-parity.md.
The walk that writes link annotations measured every object at every
level, on every export that can have links, and read the box only for
an object with a URL that opens and for a clipping group. It now
measures only those, so a document with no URLs or clipping groups is
not measured a second time. The link annotations are unchanged.
The output is byte for byte the same on a document of linked objects in
plain and clipping groups on and off the page, with default settings,
with uncompressed text and with PDF layers.
The walk measured every object's visual box to leave out what is off
the page. A plain group or layer is measured as the union of its
members, and each member then measured itself again when it was
written, so an object in plain groups was measured once for each level
it sits at.
Measuring a plain group or layer now keeps its members' boxes in a
tree, and each member uses its box when it is written. A container
written whatever its box is (a PDF layer's group, placed symbol art) is
not measured. A knockout group's elements are measured for the group's
box and again for the list of elements on the page, and that second box
is used for the element and for its mask. Objects in a live container
(Blend, Envelope, Repeat, Intertwine) are still measured with the
container and again after it is expanded. Node::visual_of_members holds
the formula that Node::visual also uses, so the boxes and every decision
are unchanged.
The output is byte for byte the same on one open path of 200,000
anchors, 20,000 rectangles in 200 groups of 100, and 5,000 point type
objects, and on a document of plain, see-through, clipping and knockout
groups on and off the page, each exported with default settings, with
uncompressed text and with PDF layers.
The roadmap's status line and revision history now record the shape tools'
centre-point move and corner rotate (#5477), and the parity status line no
longer names the Transform tab-order fix, which is its own pull request.
M Balazs PC