The editing-data reader set the paint of each gradient swatch in the
palette to link to the swatch's own name. The default gradient swatches
and a gradient swatch given a new gradient with swatch.edit hold their
gradient without a link, so a document saved as .ai and opened again
had swatches that differed from the ones it was saved with. The swatch
now holds the gradient alone. Art filled with the gradient is not
changed: it still links to a swatch by the gradient's name.
The fix also applies to a .ai whose layers are not read, such as a
gradient library, where only the palette comes in.
Three tests cover a hand-written palette with a gradient swatch named
by its gradient and one with a name of its own, a new document's four
gradient swatches written by the editing-data writer and read back, and
a gradient library without layers.
dialogs::tests::workspace_and_toolbar_dialogs_end_at_their_buttons now
requires the gap between OK and the bottom of the window to be 0 to 40 pt,
so an OK drawn past the window's bottom edge fails. It requires exactly one
OK inside the window, and in New Workspace and New Toolbar exactly one
Cancel on OK's row to its left; the two Manage dialogs have no Cancel. It
also requires the gap between OK and the nearest shape drawn above it to be
under 40 pt.
The modern type reader read key 35 of a character style only for
Tate-chu-yoko (3). A run whose key 35 is 1 (Standard), in the run, its
character style or the document's defaults, now opens with Standard
Vertical Roman Alignment on, so its half-width characters stand upright
in vertical type. Horizontal type keeps the mark with no change to its
layout. A value of 2 (rotated), 3, any other value and no key at all
leave it off, VectorCraft's default.
- ate.rs: Style reads the flag and passes it to CharStyle, with a unit
test over defaults, character styles, run overrides and bad values.
- tests_native.rs: a vertical and a horizontal story with Standard,
rotated and unset runs; the test of values the reader ignores also
checks the flag.
- import_fuzz.rs: the vertical fixture also checks the flag.
- docs/file-format-parity.md: one line on the mapping.
Three copies of the Symbols Reset Transformation entry were in
docs/target-app-parity.md. The complete one, which lists all five
tests, stays; the two older copies are removed.
Escape and Cmd+Enter (Ctrl+Enter on Windows and Linux) end text editing
and switch back to the tool that double-clicked into the type, or to the
Selection tool when there was none (`TypeTool::end_editing`). The
evidence lines in docs/type-parity.md, docs/ui-parity.md and
docs/target-app-parity.md, and the doc comments on `prev_tool` and
`claims_key`, said they always switch to the Selection tool.
The legacy .ai writer gives the type attributes warning when a text
object loses something it cannot hold. It did not give it for several
attributes that it does not write:
- Align to Path set to Ascender, Descender or Center.
- An end bracket before the end of an open path, or short of once
around a closed path. A legacy text path holds the path and the start
point only (AI7 File Format Specification, section 15).
- Manual kerning other than 0, which is written as kerning off, and
optical kerning.
- Optical Margin Alignment, System Layout and fractional widths off.
- A second subpath in an area type frame or a type path. The writer
writes the first subpath only.
The warning now names each of these.
SVG viewers center each <textPath> glyph on its midpoint on the path and
turn it to follow the path, which is how the Rainbow effect draws. Type on
a path with any other effect and no spacing was written as a plain
<textPath>, so a viewer drew it as Rainbow. It is now written as outlines
with a warning, as type with an end bracket, Align to Path or Spacing
already is.
Docs: docs/mcp.md, docs/target-app-parity.md.
The drawer opens and closes before the strip and the toolbar, so the
test fails when the palette windows were already hidden, and opens again
at the end. The test checks the floating strip is the Pen group's and
the custom toolbar is Mine, shown.
The hidden-toolbar test now expects exactly one show command when the
flyout stops drawing, and the comment at palette_window_levels names
the All Tools drawer.
docs/file-format-parity.md held 17 copies of the paragraph under
"Illustrator's private editing data", and they disagreed about what
import reads. The section now holds one copy with every clause from
the others: a filled clipping path keeps its fill, with the exceptions
for multi-layer masks and compound clipping paths whose subpaths paint
differently; paths with an Art brush; the spot colors in brush art and
their limits; symbols defined before the art styles section; and the
Type on a Path options of type on a path. Each clause was checked
against crates/eps/src/import.
The baked Transform and Free Distort tests now compare each placed
gradient's start, end, aspect and focal point with the expected values
within a tolerance, and the Transform test adds a turn with a scale.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
Moves the bulk memory case types, strategies and their test after arb_paint, so they no longer share the lines after output where other fuzz generators are added.
plugin_fuzz now builds plug-ins whose run executes memory.fill,
memory.copy (overlapping ranges included), memory.init followed by
data.drop, and data.drop followed by memory.init. Lengths and offsets
are sampled at zero, small, page and mebibyte sizes, at an exact end,
one before and one past it, with copy sources and destinations and init
memory and segment offsets chosen separately. Fill and copy can repeat
up to about one fuel slice of copying.
Each case runs directly under the default budget, a small fixed budget
or one near its estimated cost. A run must trap exactly when a range
leaves memory or the data segment (empty once dropped), and must finish
when it is in bounds and has ample fuel; otherwise it may hit the
instruction budget. The same plug-in then runs through plugin.run: a
failed run leaves the document unchanged and the document still renders
and exports.
bulk_memory_cases_reach_their_instruction checks that each operation's
module contains its instruction and traps on a small out-of-bounds case.
A top object's corner test treats a straight segment as having its
handles a third of the way along it, so an anchor between two straight
segments is a corner only when it turns out of the outline. docs/mcp.md
and the doc comment now say so, and a new test covers an inward anchor
between straight segments. The bulging-curve corner test checks against
a fixed point instead of the same nearest-point routine the code uses.
Saved corners from an .ai file stay on the same anchors when the
envelope is reflected, as they already did when it was moved or
rotated. A reflected outline runs counter-clockwise; the corners were
then mapped as if the outline had been drawn the other way round, no
longer fit it, and were found again from the outline.
On a tie between two corner anchors, or two nearest outline points,
the one met first along the outline in the order it was drawn wins,
for outlines drawn counter-clockwise too.
The docs state the corner rule in full: a handle 0.01 pt long or
shorter makes an anchor a corner whichever way it turns; otherwise its
tangent unit vectors must differ by 0.01 or more in x or y and turn
out of the outline. Content spreads evenly along a segment without
handles.
An anchor with a handle shorter than 0.01 pt counts as a corner of a top
object whichever way it turns; only an anchor whose tangents differ must
turn out of the outline. docs/mcp.md and the progress line in
docs/target-app-parity.md now say so.
BFlat