A linear, radial, conic or diamond gradient has a spread: Pad (the
default, as before), Repeat or Reflect, with a count of 1 to 100
(VectorCraft's own limit). Repeat and Reflect run the stops that many
times along the vector (around the turn for a conic) and keep going past
both ends, Reflect running every other run backwards, as SVG's
spreadMethod does.
The Gradient panel has a Spread menu and a Repeats field, and the
Gradient tool marks where the runs meet. paint.setFill and
paint.editGradient take `spread` and `repeats`; bad values are errors.
Presets, swatches, blends, strokes along or across a path, Outline
Stroke and Object › Expand follow the spread; Expand gives each run the
same whole number of objects, and Outline Stroke's mesh keeps the color
on each side of a sharp step between two stops at one offset.
SVG writes and reads spreadMethod: SVG import now reads a repeating or
reflecting gradient as one that repeats or reflects once, instead of
expanding its stops over the shape. CSS writes repeating gradients.
PDF writes a conic's sweep shading over one run. PDF, EPS, legacy .ai
and the .ai editing data write the other kinds with their stops
repeated across the shape: at most 256 runs and 16,384 stops (256 stops
in .ai files), and for a radial or diamond no farther than 65,536 runs
from its center, with a warning past those. PDF import now finds sharp
steps in any axial or radial shading instead of blurring them.
Docs: docs/mcp.md (Spread), docs/target-app-parity.md, docs/gaps.md.
A four-component JPEG whose EXIF orientation turns or flips it went
through the image decoder, which reads CMYK JPEGs as RGB, and was
stored as an RGB PNG without its inks. It is now stored the way a
turned CMYK TIFF is: its inks, 8 bits each, turned and written as a
CMYK TIFF with the turned resolution.
- vectorcraft_doc::cmyk::turned_cmyk turns the inks of a CMYK JPEG or
TIFF, next to stored_cmyk_tiff; tiff_inks is private again.
- raster_image swaps the resolution axes inline, as its HEIF branch
does.
- The links comment and the docs/target-app-parity.md line on EXIF
orientation now describe the turned CMYK TIFF.
Opening or placing an image whose orientation turns it a quarter
(EXIF or TIFF Orientation 5 to 8) stored the pixels turned but kept
the resolution as stored, so a photo at 300 x 150 ppi came in at the
wrong width and height. XResolution counts pixels in the ImageWidth
direction of the stored image (TIFF 6.0,
https://www.itu.int/itudoc/itu-t/com16/tiff-fx/docs/tiff6.pdf; EXIF
uses the same tag, CIPA DC-008-2012,
https://www.cipa.jp/std/documents/e/DC-008-2012_E.pdf), so a quarter
turn now swaps the axes, in the size Open and Place use and in the
stored image, with jxlread::oriented_resolution as JPEG XL does.
Three kinds of TIFF did not follow their Orientation tag:
- grayscale TIFFs with extra samples and 1-bit CCITT Group 3 TIFFs
were not turned;
- a CMYK TIFF with its inks together was turned but stored as RGB,
losing its inks, and one with a plane per ink did not open
("Planar TIFF with CMYK color type is not supported").
They now turn as the other images do, and a CMYK TIFF keeps its inks,
8 bits each, written again with the turned resolution.
With one Objects on Path group selected, the Selection and Objects on Path
tools show a ring on each object's attachment point. A click chooses that
object while the group stays selected; dragging a ring along the path moves
its object to the nearest object's place, and the objects between move one
place toward where it was, in one undo step. Hidden and locked objects have
no ring and keep their places. On a closed path the drag goes on round
across the first anchor, and Escape cancels it.
- object.objectsOnPath.selectMember {member} chooses an object.
- object.objectsOnPath.moveMember {member, target, group?} moves an object
to another object's place; only the order along the path changes.
Docs: docs/mcp.md, docs/target-app-parity.md. Not yet: Detach.
A Warp effect on an image, or on a group that holds one, bent the image's
frame but drew the pixels unbent, cut by the bent frame. The image now
bends with the frame as a raster mesh warp, as an envelope bends it: after
the last effect in the list, the image is cut into 10 x 10 cells of two
triangles, each a clipped piece of the image under its own affine map,
through every Warp it took and the Transform moves between them. Effects
after a Warp reshape only the frame, and a placed gradient on a group
that holds the image follows the group's bounds as the pieces draw them.
The image itself is unchanged, so editing or removing the warp redraws
it. The images stay unbent when their pieces would make the art pass 2
million objects, and an image stays unbent when its clipping frame keeps
its shape because the warp would pass the effects' anchor budget.
- SVG export writes the image once and draws the pieces with <use> when a
group holds pieces of one image clipped by triangles. PDF, EPS, .ai and
PNG exports write the bent pieces.
- Envelopes: a grayscale image's fill color now colorizes the pieces an
envelope cuts. Before, the pieces drew the gray image.
- Geometry effects: an image under any geometry effect keeps its fill
color and its smoothing setting. Before, it drew the gray image,
smoothed.
Docs: Warp params text, docs/mcp.md, docs/target-app-parity.md.
Pinning a closed spine from Replace Spine (a spine edit, Reverse Spine)
stored it closed with both end keys on its first point, so moving the
first key afterwards landed it on the last. Pinning now opens the spine
there as the layout of a moved key does.
On a closed spine from Replace Spine both end keys sit on its first
point, so moving one moved that point onto it and then back onto the
other. Once a key is moved off, the spine is now opened at its first
point, with a copy of it at the end taking the closing segment and the
last key.
After Replace Spine the keys are not pinned to spine anchors, so the
steps spread them evenly along the spine by arc length and put a moved
key straight back where it was. Once a key is moved off its place, the
spine is laid out pinned at the anchors where the keys were spread, and
the moved key takes its point of the spine along, as on a pinned spine.
Korean text broke after every Hangul syllable. A paragraph now has
Korean Line Break Anywhere, set from the Paragraph panel menu (with the
East Asian options), from the East Asian Composition Settings section of
Paragraph Style Options, and with `text.setFormat {koreanLineBreakAnywhere}`.
- Off, a word that contains Hangul (the characters between spaces) breaks
only at its spaces and after East Asian punctuation, or where the word
is wider than the line. Both composers follow it, and the word takes no
hyphen. On, a line may break between any two syllables, as before.
- New type has it off. Paragraphs and text objects saved before the
option read as on, so their lines do not move; the value is saved only
when it is off.
- Paragraph styles carry it, Reset Panel turns it off, and the .ai writer
reports it as lost for Korean paragraphs.
The help page: https://helpx.adobe.com/illustrator/desktop/design-with-text/fonts-and-scripts/set-line-breaks-korean-text.html
The command is described in docs/mcp.md, and docs/target-app-parity.md
lists the option.
Paragraph Style Options and New Paragraph Style gain a Tabs section. It
lists the style's stops and edits the selected stop's Alignment, position
(X:, or Y: for vertical type), Leader and Align On character. Add puts a
left stop 36 pt past the furthest one, Delete Tab removes the selected
stop, and Clear All Tabs leaves the style with no stops. OK sorts the
stops by position and keeps the stop edited last when two share one
position. Reset Panel removes the style's tabs.
paraStyle.new, paraStyle.setAttrs and paraStyle.edit check changed tabs
stop by stop: at most 256 stops, and each changed stop's position from 0
to 100000 pt and leader of at most 8 characters. Stops the style already
has are kept as they are. Changed tabs are sorted by position, keeping
the first of stops at one position. text.tabs.set rejects a leader longer
than 8 characters, an Align On value of more than one character and more
than 256 stops. Loading paragraph styles skips a style whose indents,
spacing, hyphenation, justification or tabs are out of range.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Blend panel gets a Create Spine menu (Auto, Always, Never) under Make,
and object.blend.createSpine {mode?} sets or reads it. It is kept with the
preferences, is not an undo step and leaves blends already made as they are.
object.blend.make takes createSpine to choose for one new blend.
Auto and Always give every new blend a straight spine, as before. Never
makes a blend without one: its steps sit where a straight spine puts them,
object.blend.info reports hasSpine: false, easing is refused and dimmed,
Reverse Spine and the spine point commands refuse it, Release gives back
no spine path, and Replace Spine gives it a spine. A blend taking more keys
keeps whether it has a spine. Native files save noSpine; older files open
with their spines.
Builds on #5177 by adambelis.
The Graphic Styles library menu lists nine libraries. Painted and
Sketched follows Hand-Drawn and holds Washed Blue, Bristle Ochre,
Pastel Heather, Charcoal Shade, Ink Contour, Wet Ink and Fine Pen. Each
style is a solid fill, two with a 1 pt stroke, under one watercolor,
dry brush, rough pastels, charcoal, ink outlines, sumi-e or graphic pen
effect with every setting given. The library and style names have rows
in all 27 catalogs, and docs/mcp.md describes the library.
Convert to Artboards found the highest artboard id twice for each object it
converted: once for the new artboard's name and once in
Document::next_artboard_id. Converting N objects read about N^2 artboards.
The command now keeps the highest id as it adds artboards, and
Document::next_artboard_id_above gives the next id from it. When an artboard
has id u32::MAX, it falls back to next_artboard_id, which takes the smallest
free id. The ids and names it gives are unchanged.
A new gradient kind, `diamond`, runs its stops from the center (the
start) out to a square with a corner at the end of the vector; the
aspect stretches the square across the vector into a rhombus. The
Gradient panel's Type row has a Diamond button, the Gradient tool draws
the square with the aspect handle and center ring, and a gradient
fitted to an object covers its box.
- Model and canvas: the level is |x| + |y| in the square's frame; a
square with no area (no vector, an aspect of 0, numbers out of range)
paints the last stop. The canvas draws it as pixels, out to a
stroke's miters, caps and arrowheads. Transforms keep the vector and
take the mapped size across it as the aspect.
- Commands: `paint.setFill`, `paint.editGradient` and
`paint.setGradientGeom` take `kind: "diamond"`; a negative aspect or
a focal point is an error. A conic or diamond gradient that a plug-in
returns with a focal point loses the focal point.
- Gradient tool: dragging the aspect handle of a radial or diamond
gradient whose file gave it a negative aspect now sets a positive
aspect; only a conic's negative aspect mirrors it.
- Export: PDF, SVG, EPS and legacy .ai write four linear gradients, one
for each quarter of the square, clipped to the shape (PDF as axial
shadings). PDF and SVG write an image for translucent stops, a
dithered fill or a flat square, and for the Perceptual method unless
PDF writes the stops as spot color shadings. SVG writes a diamond on
type characters as a radial gradient through the corners, and so
does CSS. A swatch library saved as CSS gets four corner layers, a
value for the `background` property (a circle when the swatch is
turned by an angle that is not a multiple of 90 degrees). The .ai
editing data holds a radial gradient through the corners. The
document exports give a warning.
- SVG export: a stroke drawn as an image, as conic wedges or as diamond
quarters now covers the miters, caps and arrowheads that reach past
its paint box.
- PDF import reads a function-based shading whose color is the same
along each square about the origin of its space as a diamond.
- Object > Expand gives nested squares or a mesh of rings.
Docs: docs/mcp.md, docs/target-app-parity.md.
Each of the fifteen Warp styles now bends the bounds as one Bézier patch.
The style sets the patch's control points from the bend and the size of
the bounds, the horizontal distortion scales each column of control
points about its middle, and the vertical distortion scales each row.
The Warp effects and warp envelopes share the map (`WarpNet`). Content
with no width or no height takes the middle of the patch along that
side.
A warp carries the map it draws with as `version`. New warps, the
built-in graphic styles' Warps and warps opened from .ai files get 1.
Warps in .vectorcraft documents saved before the version existed read
as 0 and keep the earlier map, so those documents keep their look.
Edits keep a warp's version, and Warp Options editing several objects
keeps each one's own. effect.apply, effect.setParams and the warp
envelope commands take `version` 0 or 1 (`1.0` counts as 1) and refuse
any other value. An .ai file holds a warp's settings and not its
version, so a version 0 warp saved to .ai opens again with version 1.
The .ai writer compares a style's settings without the version, so
saved warps still export as editable effects.
Docs: docs/mcp.md (Envelopes), docs/effects-parity.md (Warp),
docs/target-app-parity.md.
Clicks, the hover pointer and marquees with the selection tools already
leave out the area that raster effects paint beyond an object. New tests
in crates/engine/src/tests/select_effects.rs hold that in place for drop
shadows, Outer Glow and Gaussian Blur on paths, groups, point type,
symbol art and images, for Shift-click, Direct Selection, the hover
pointer, a drag from a selected object's shadow and a marquee. hit_leaf
gets a doc comment, and docs/target-app-parity.md gets a line citing
https://helpx.adobe.com/illustrator/using/selecting-objects.html.
Window › Graphic Style Libraries › Textures, after Hand-Drawn, holds eight
styles that paint their fills and strokes with the texture effects: Fine
Grain (Grain), Canvas Weave and Burlap Sack (Texturizer), Cracked Glaze
(Craquelure), Mosaic Floor (Mosaic Tiles), Quilted Squares (Patchwork),
Leaded Glass (Stained Glass) and Damp Paper (Water Paper). The styles,
their names and their settings are VectorCraft's own.
Each catalog has rows for the library and style names. Docs: docs/mcp.md,
docs/gaps.md, docs/target-app-parity.md.
BFlat