A centred or right-aligned line of tracked type was measured with the
tracking after its last character, so it sat half that tracking
(centred) or the whole tracking (right-aligned) left of where the page
of users' .ai files draws it. That page aligns a line as wide as its
characters without that tracking.
Shaping now records the tracking each glyph's advance holds
(SGlyph::tracking), and a line that isn't justified leaves its last
character's out of the width it is aligned by. The last character is
the last one the line draws before a paragraph's end, a forced line
break or the spaces a wrap leaves; spaces or a tab typed before a
paragraph's end or a forced line break keep the letter's tracking, as
the page does. Forced line breaks and wraps aren't in the files: they
follow the rule so that turning a wrap into a paragraph or a forced line
break keeps the line in place. Hyphenated lines, lines whose last
character hangs, vertical and right-to-left lines and type on a path
keep it. The tracking stays in the glyph's advance, so the caret,
selections, line breaking and Fit Headline are unchanged.
LineInfo::trailing gives the amount. Right-aligned area type sets the
text after its last tab the same way.
What aligns by line widths follows. Convert To Area Type makes its
frame end where the lines are aligned, with room for the tracking, so
tracked type converted either way stays in place. Affinity import lines
up differently aligned paragraphs of artistic text by the aligned
widths. SVG import moves a centred or right-aligned letter-spaced line
back by its share of the last letter spacing, so it stays where a reader
draws it and SVG export, which anchors lines at the end of their
advances, reads back unchanged.
Centred and right-aligned tracked type lays out differently than before
in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The text document writer wrote a type stroke's paint and weight but not
its cap, join or miter limit, which .ai import reads since #6500 (keys
61, 62 and 64). A file saved here and opened again came back with butt
caps, miter joins and a miter limit of 10, and the save reported those
attributes as left out. A stroked run now writes the three keys,
numbered as PostScript numbers caps and joins, with the miter limit as
import takes it back (1 to 500, else 10), and they no longer count as
lost. A run without a stroke no longer counts them as lost either: they
draw nothing.
Follow-up to #6472.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A layer's Lb colour index was its position in LAYER_COLORS, but the file
numbers Magenta, Cyan and Yellow 4, 5 and 6 where LAYER_COLORS has Yellow,
Magenta and Cyan. Save (editing copy and legacy) and open now map the index
both ways; LAYER_COLORS keeps its order and the other 24 presets are unchanged.
While an envelope's contents are edited, the editing data keeps its mesh
in the envelope's dictionary. In some users' files that mesh lies away
from the drawn art by a plain move, the contents sitting with the drawn
art, as if the mesh hadn't followed the envelope when it moved. The
envelope then drew its contents elsewhere, failed the drawn-art check
and kept its drawn art. Nothing in the dictionary records the move, and
no envelope saved outside Edit Contents was found displaced.
A mesh or top object saved in Edit Contents (and a warp of type tried
on its saved grid) whose mesh draws the contents as large as the drawn
art, within half a point over width and height together, but further
from it than that, is now tried again after every other way, with one
more of the import's checks, its mesh moved by as far as the drawn
art's box lies from the box of what it draws. The drawn-art check, the
budget and the page comparison decide as before, so an envelope that
opened live before opens the same way.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In horizontal type, tracking and manual kerning are now thousandths of
the em as the Horizontal Scale draws it: at 50%, a tracking of 100 adds
0.05 em after each character. They were added at the full em while the
glyph advances took the scale, so narrow tracked type drifted from the
page of users' .ai files letter by letter. That page writes such type's
character spacing as the tracking itself in a text space as wide as the
scale, which PDF scales by it (ISO 32000-1 9.4.4). Vertical type keeps
the full em: its advances down the column don't all take the scale.
vectorcraft_text::spacing_scale gives the factor. Shaping, inline
graphics and the Optical pairs use it, and so do the conversions from
points back to thousandths of an em: the automatic kerning the Character
panel reads and Touch Type's limits (glyph_em), Combine Point Text, and
PDF import, whose tracking is now the file's Tc. Scale Text Attributes
now keeps tracked type where a horizontal stretch drew it.
SVG export writes letter-spacing in thousandths of the font size it
writes (the vertical scale), so uniformly scaled type keeps its spacing
in a viewer.
Type with both a Horizontal Scale other than 100% and tracking or manual
kerning lays out differently than before, in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Distort Appearance, the stroked candidate for type in an envelope
mapped from the type's bounds with strokes, which for a stroke on the
type's appearance (or on a group round it) reach as far as a miter join
may at a corner, the miter limit times half the weight. In users' files
the drawn art maps from the glyphs grown by what the strokes paint along
a side: half the weight of a centred stroke. The candidate now uses that
box. Character strokes keep the measure the type's bounds with strokes
already give them (they have no miter allowance), and other objects in
the contents keep their bounds with strokes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The text document reader set a type stroke's paint and weight but never
its cap, join or miter limit, so every stroked text object imported from
a .ai or EPS editing copy drew with a miter join at a limit of 10. Type
the file strokes with round joins, or with a miter limit of 4 or less,
drew long spikes at its sharp corners.
Keys 61, 62 and 64 of a run's character attributes (the run, its
character style, then the document defaults) are now read as the
stroke's cap (0 butt, 1 round, 2 projecting), join (0 miter, 1 round,
2 bevel) and miter limit, as PostScript numbers caps and joins. In the
users' files the page strokes type with exactly these settings. Other
values keep the defaults, a miter limit is capped at 500, and type
without a stroke keeps the defaults.
- ate.rs: Style reads the three keys and char_style passes them on,
with a unit test over defaults, character styles, run overrides,
hostile values and unstroked type.
- tests_native.rs: an imported story with round, bevel, default and
unstroked runs.
- docs/file-format-parity.md: revision row, status line, one line on
the mapping.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A variable font's CoolTypeFont record in the text document now carries
/4 (its design vector, one 16.16 value per fvar axis) and /5 (its
version string), and the font set keys on name plus design vector, so a
named instance or a run's own axis setting no longer opens at the
font's default instance. Static fonts are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The put-back after a failed page check replaces each live envelope with
its drawn art in one go, which fails as a whole when one envelope lies in
another's art: only the outermost are put back now. A live envelope of
type removes its hidden type only once it has found the drawn art it
replaces. The file format docs lose a revision row left twice by a rebase.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The file-format revision row for #3179 says that the page check weighs
a live envelope of type as the art it draws, that layers used though
they don't draw as the page leave envelopes of type their drawn art,
and that a slot bound to a visibility variable keeps it too, and lists
the new tests. The parity assessment's evidence says the same, and
the change gets its row and status entry there.
Part of #3179.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An envelope whose contents hold type kept its drawn art, with the type
hidden, because the type is laid out from the text document only after
the layers are read. It now waits for that, as warped type does: once
its text slots hold their type, the envelope is made of that type and
drawn by VectorCraft's own rule, and where it draws as the drawn art the
file saves (the same check and budget as other envelopes) it takes the
drawn art's place, with the type visible and editable in Edit Contents.
The hidden copy of the type goes.
As other live envelopes are, it is held to the page: when the layers
with it don't draw as the page, its drawn art and hidden type are put
back. A .ai whose layers would open alone, without its PDF part, now
waits on the PDF part when an envelope of type is in them; where none
opens live, the layers open alone as before. Layers built without a page
leave envelopes of type their drawn art.
Elsewhere it keeps its drawn art and hidden type, with the note: type in
a font that isn't available, a slot without made type (threaded, bound
to a text variable, a wrap object, type a look draws), an envelope that
doesn't read, no check left, or one that draws differently. Envelopes in
a symbol's or a pattern's art keep their drawn art.
Part of #3179.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The check that keeps a live envelope or warped type only where it draws
as the art saved with it renders each on its own, over nothing, and
compared the pixels as seen on white. White art over nothing looks like
nothing on white, so white contents that drew somewhere else passed and
opened live in the wrong place.
Pixels now also differ when they look different seen on black, so such
art keeps its saved art, as colored art does. Opaque colored art is
compared as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A mask, inverted mask or knockout group over type now keeps the region
that covers any artwork. Type is measured by its layout or, on a path,
by the path, and a reader that sets live type in its own font can draw
it wider, so a region sized from that box could cut glyphs off.
A live object (blend, envelope, repeat, mesh, placed document,
intertwine) under a mask is measured as the art the writer writes for
it, expanded on its own with the same limits.
The writer keeps its symbol boxes and symbols' art reach in plain
fields instead of cells.
Opacity masks, inverted and unclipped masks, and knockout groups were
written with mask and filter regions of 200,000 x 200,000 units around
the origin. CairoSVG draws each mask into an image of its region's size
and stops with "out of memory", so a file with any of them did not
open; Firefox drew inverted masks wrong and WebKit drew knockout groups
and inverted masks wrong.
Each region now covers what the masked or knocked-out art paints: its
visual box grown by its raster effects, brush art and members' reach,
the mask art's box, and in a scaled symbol instance its strokes and
effects at their own size. A mask whose art reaches past its object
still comes back whole on import.
An image in a DeviceN color space opened as an RGB image, losing its inks.
One of one colorant now opens as a Separation image does since #6347: a
grayscale image of its tints colorized by its ink. One of two to 32
colorants that are all process plates (the ink None may be among them)
opens as a CMYK image, each colorant's tint in its plate, its Decode array
applied (8 or 16 bits a sample). A DeviceN image that mixes a spot ink
with other colorants, such as a duotone, still opens as RGB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An envelope of type keeps its drawn art with its type hidden, but nothing
in the import notes said so, while the other envelopes that keep their
drawn art do. Opening such a file now notes that the type in an envelope
comes in as the envelope's drawn art, not as editable type, and that the
type is kept hidden. The type is still not editable in the envelope.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An image whose color space XC sets to one ink (n [c m y k /DeviceCMYK
(name) /Separation] XC) opened as a gray RGB image: its samples, the ink's
tints (255 at 100 %), were read as gray levels, so the tints drew inverted
and the ink was lost.
It now opens as a grayscale image of the tints, black at 100 %, colorized
by the ink at 100 %: its spot swatch, a process plate's CMYK color, or
Registration. Its alpha channel becomes its opacity mask, a reduced large
image's too (a colorized image reduced to fit the limits no longer keeps
its alpha in its pixels). 8-bit and 1-bit samples, binary or in hex
comment lines. A device space and the ink None change nothing.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An image in a Separation color space opened as an RGB image: its spot ink
was lost (no plate in Separations Preview), and Fill and Recolor Artwork
didn't reach its color.
It now opens as a grayscale image of its tints (white where it lays no
ink, black at 100 %, its Decode array applied; 1 to 16 bits a sample, or
one gray channel from its JPEG, CCITT, JBIG2 or JPEG 2000 decoder),
colorized by its ink at 100 %: the spot swatch, a process plate's CMYK
color, or Registration. Its mask becomes its opacity mask, as a CMYK
image's does. The ink is found by the image's color space among those the
file defines, once per image. The ink None, an ink whose color can't be
told, images inside an alpha soft mask, inline images and DeviceN images
open as before; samples that can't be read open in RGB with a warning, and
the ink gets no swatch.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A mark glyph's vertical translation started a new draw_glyphs batch, so
krilla received the cluster's source range again and mapped its
characters twice. Copying or searching the exported PDF then found
doubled letters for Arabic harakat in any font, and for every dotted
letter in fonts that draw dots as zero-advance mark glyphs (Noto Sans,
Naskh and Kufi Arabic).
Keep compatible glyphs on the same layout line in one batch and carry
their relative vertical placement as per-glyph y_offset; horizontal
placement is unchanged (next_x - x advances). Font, size, linear
transform, line/column, paint run, list marker and hyphen boundaries
still split batches. Krilla keeps owning cluster mappings and
ActualText. No importer change.
Regressions decode the content stream and ToUnicode maps: one batch per
layout line, no duplicated cluster assignment, one ActualText per
multi-glyph cluster, contours within 0.05 pt of outline export; mixed
scripts, vertical columns, path rotations and PDF/X variants covered.
The reader round-trip stays an ignored test until the importer consumes
ActualText (#6165).
Addresses #6309.
Editable PDF import derived characters from glyph Unicode/CID mappings
even when the enclosing marked-content sequence supplied /ActualText.
A span that paints "xy" but says "AB", followed by "C", imported "xyC".
Track the outermost replacement owner per span (absent, explicitly
empty, consumed), decode it with the existing PDF text-string decoder,
emit it once at the first placeable glyph, and let the remaining glyphs
of the span advance the pen without phantom character slots or
inferred spaces. Authored stretches keep their logical order while
adjacent ordinary text still goes through visual-to-logical
reconstruction. Glyph identity still drives font matching. Depth and
size are bounded; oversized or unbalanced spans fall back to glyph
mappings with a warning.
Outlines mode and PDF export are unchanged. Parity docs updated,
scores unchanged.
Fixes#6165.
A PDF image mask (`/ImageMask true`) painted in a solid color opened as an
RGB image with the color in its pixels: Fill and Recolor Artwork didn't
reach the color, a spot color lost its ink, and the same mask painted again
in another color took the first one, because the painted image was cached
by the mask alone, and so did an uncolored pattern whose cell draws a mask.
It now opens as a grayscale image of what it paints, colorized by that
color, as the .ai reader opens a 1-bit image mask (#5790). A spot color
keeps its swatch and tint. The page's walk counts paths, not images, so the
ink is found from the color space. Readings of a pattern cell are told
apart by colorized images' colors too. Inside an alpha soft mask, or
painted with a pattern, a mask opens as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Move form transforms into page space so Quartz keeps gradients aligned with their artwork. Add macOS rendering regressions and round-trip coverage for transparency, masks, layers and overprint.
Update the fix for the shared craft-pdf writer and the split exporter modules. Preserve upstream mask, coordinate-limit and layer-box fixes, moving the layer's paper bounds into the form's new space too.
Verified all three Quartz regressions fail on upstream 65adb7b21 and all five gradient-form tests pass with the fix. The new translated-layer regression also fails without moving the layer's paper bounds.
Before the final rebase onto 782f213e4: 463 PDF tests passed (one existing ignored test), workspace fmt, PDF Clippy, wasm, pdf-deps, layers, assets and brands passed. The final rebase reconciles documentation only; the PDF crate is unchanged from that tested revision.
After the final rebase, workspace fmt and Clippy pass. Full cargo xtask ci timed out while compiling workspace tests, so the full test suite and remaining CI stages did not complete. The earlier macOS Clippy blocker has been fixed upstream.
When the page's type is matched with the text objects, page words are also
split at private-use characters (from uniXXXX ligature glyph names such as
/uniE028 for a "ti" ligature) and each piece is matched as its own word, so
"Quality" set with that ligature matches its text object and the layers are
read without a false note.
A CMap name of the public Unicode CMap form (UniJIS-UCS2-H, UniGB-UTF16-H
and similar) is understood without being defined in the file, so type in a
CIDFont the file only names decodes to its Unicode characters and is set as
live type.
bfchar and bfrange mappings are kept in the CMap and carried over by
usecmap. A code mapped to a character code draws that code in the base font
usefont named; a code mapped to a glyph name draws that glyph.
Each CID-keyed font in a FontSet's CFF data is defined as a CIDFont named by
the CFF Name INDEX, with its glyphs found by CID through the charset and
FDSelect, so a composefont over it draws its type.
Between each two characters the kshow procedure runs with the two codes and
the current point after the first, in any font, not only Type 3 fonts. Where
it moves the current point the next character follows, kept as tracking.
An embedded Type 1 font's eexec part is decrypted and its charstrings read,
so its glyphs and widths are used instead of the installed or fallback
font's. Codes are decoded through the font's Encoding, so fonts that place
glyphs at low codes no longer lose their type.
Adds composefont, the CIDInit and FontSetInit procedure sets and the CMap
operators, so EPS with CID-keyed fonts (as pdftops -level3 writes) opens.
Type 0 fonts with FMapType 9 decode their codes through the CMap's codespace
ranges and CID mappings, and the Identity CMaps are predefined.
A plain Type 42 font now maps each code to its character through its glyph
names, or through the glyph its CharStrings give it in the font's own
character map or post names, instead of reading the code as Latin-1. The
font's own widths move the current point, charpath outlines its glyphs, and
the show operators' spacing and the embedded widths are kept on live type as
tracking. Type shown under nulldevice no longer appears.
jmverges