A guide whose saved position leaves a center band narrower than the minimum no
longer jumps to the art's edge when a drag does not move it closer to the
opposite guide. The 9-slice scaling line in docs/target-app-parity.md no longer
says guides are not drawn in symbol editing mode.
While a symbol with Enable Guides for 9-Slice Scaling on is edited in
symbol editing mode, the canvas draws its two horizontal and two vertical
guides as dotted lines across its art, with any tool and with ruler guides
hidden. With the Selection tool the pointer near a guide shows the Move
cursor, and dragging the guide sets it through `symbol.options`'s
`nineSliceGuides` as one undo step; Escape during the drag puts it back.
A guide within 4 screen pixels takes the press before the art and the
bounding box. A dragged guide stays within the art's box and stops short
of the opposite guide; positions outside the art are not supported yet.
The horizon test compares a point's signed w with the largest absolute
value in the bottom row, and the invertibility test compares the
absolute value of the determinant with the largest absolute value among
its six products, so a negative determinant counts as invertible. A
stored projection that overflows is divided by the largest absolute
value in its bottom row.
A homography means the same map at any nonzero uniform scale of its
entries, but `apply`, `is_invertible` and `inverse` compared w and the
determinant with absolute thresholds. A map stored with small entries
refused every point and could not be inverted, and a map with large
entries drew points past its horizon.
- `apply` refuses a point when w is at most 1e-9 times the largest
magnitude in the w row.
- A map counts as invertible when its determinant is more than 1e-15
times the largest of the six products the determinant sums, taken on
a copy rescaled by a power of two. An inverse whose determinant
overflows or underflows is taken on that copy.
A character style whose Up/Down or Left/Right offset lies past MAX_COORD
either way now opens with the nearer end, as text runs already do, so
text that takes the style no longer gets the out-of-range offset. An
offset within range is not rewritten.
In a Separation color space, the colorant name All marks every plate and
None marks no plate (ISO 32000-1:2008, 8.6.6.4). A spot swatch with one of
those names was written under its own name, so its paint printed on every
plate or on none.
PDF export now writes such an ink as All Spot or None Spot, numbered
All Spot 2, All Spot 3 and on when a spot swatch already has that name,
the same rule EPS export uses. The new name is used for fills and strokes,
tint shadings, DeviceN gradients, colorized images and the Lab alternates.
Registration still writes All.
Buttons beside the Edit tab's wheel switch between the smooth color wheel,
a segmented wheel of solid patches (24 hues by 5 saturations, its markers
moving as freely as on the smooth wheel) and color bars: one solid bar per
recolored color in row order, where a click selects a bar's row for the
color sliders and a drag moves the row without changing a color. The
dialog opens on the smooth wheel and keeps the choice while it is open;
the dialog field is `display` (`smooth`, `segmented`, `bars`).
A manual kerning value on an inline graphic's character was stored and
shown but did not move the text after it. The graphic's advance now
includes the value, as a letter's does, and in right-to-left horizontal
type its art moves right by the value, so the space goes between it and
the next character in reading order. Auto and Optical kerning still apply
no font pairs to an inline graphic.
Select › Same › Text Fill & Stroke Color (select.same.textFillAndStrokeColor) selects the type
objects with a run of characters whose fill and stroke both match the first character of the
first selected type. Type that matches only the fill or only the stroke, or has the fill in one
run and the stroke in another, is left out. The entry follows Text Stroke Color in the menu and
has a row in every catalog.
usvg turns each <circle> and <ellipse> into arcs and then into a number
of cubics that depends on f32 rounding: an ellipse that export wrote as
<ellipse> could come back with eight anchors instead of the four it was
written from. The renderer flattens the two outlines differently, so a
round trip of a flat filled ellipse redrew 158 edge pixels by up to 43
levels, and prop_svg::plain_art_survives_visually failed on main.
Import now records the ids of <circle> and <ellipse> elements in the
prepass and rebuilds each as the ellipse VectorCraft draws: four smooth
anchors on the axes, starting at the right as SVG defines, with handles
KAPPA of the radii long, then transformed as before.
Tests: prop_svg::filled_ellipse_on_the_artboard_edge_survives_visually
(the failing case) and basic_shapes::circles_and_ellipses_import_as_the_ellipse_drawn
fail without the change.
With Envelope Options > Distort Appearance on, a path whose Transform
effect has Scale Strokes & Effects or Transform Patterns on, or copies it
with a gradient, was baked with the effect as geometry only: every copy
kept the original's stroke weight, dashes and pattern placement before
the envelope bent it. bake_appearance now makes such a path into the
per-copy art that drawing, export and Expand Appearance already use, and
bakes each copy's strokes into filled outlines from there.
While Global Edit is on, a Shift-click (not a Shift-drag) with the
Selection tool on a highlighted match, or on an object inside a matched
group, leaves that match out: it is no longer highlighted and later
edits leave it as it is. The object the edit started from stays in, and
Global Edit ends when fewer than two matches are left. Leaving a match
out is not an undo step.
- New command `select.globalEditExclude {id}` returns `{active, count,
ids}`; the Selection tool calls it on the release of a Shift-click.
- `ToolContext::global_edit` gives the tools the Global Edit's objects.
- Label and messages in the i18n catalogs; docs/mcp.md,
docs/ui-parity.md and docs/target-app-parity.md updated.
Source: https://helpx.adobe.com/ph_fil/illustrator/how-to/global-editing-sensei.html
Each fill or stroke without such a Transform effect is drawn on the object's geometry again, so its cost now counts toward the budget that limits the Transform effect's copies. The object's own geometry is no longer counted a second time next to the pieces that replace it. The Transform effect options entry in docs/target-app-parity.md links the current help pages.
Part of #885
A Transform effect in a fill's or stroke's own effect list now applies its
Scale Strokes & Effects and Transform Patterns options as the same effect on
the object does: the stroke's weight and dashes, the distances of the fill's
or stroke's later effects and its pattern follow the transformation, each
copy once more than the last, and with Transform Objects off the geometry
stays and the options apply once. The fill or stroke becomes an object of
its own in the art the canvas, export and Expand Appearance draw, and Use
Preview Bounds measures that art too (also for the object-level options).
Part of #885
Type selected by id on a hidden, locked or template layer, or outside
the isolated group, no longer counts as selected type: the command stays
off and does not select that frame's thread. The check reads the
object's ancestry, so the Select menu does not walk the whole document.
Select › Same › Link Block Series no longer counts hidden or locked type
inside a selected group, or type inside a hidden or locked object there,
as selected. A group that holds only such type leaves the command off, and
the command does not select the other frames of that type's thread.
Select › Same › Link Block Series (select.same.linkBlockSeries) selects every
frame of the threads that the selected type objects, and the type inside
selected groups, are in, in thread order. Type in no thread selects itself,
other selected objects are left out, and with frames of several threads
selected it selects all of them. Hidden, locked and out-of-isolation frames
are left out, Reselect repeats it, and it records no undo step. The item is
off while no type is selected.
Menu row in every catalog, docs/mcp.md and a docs/target-app-parity.md line.
File > Open and File > Place read BMP files named .dib or .rle (run-length
encoded bitmaps included), Photoshop files named .pdd and PNG files named
.pns, in any letter case. The Open and Place dialogs list them in "All
readable files", "All placeable files" and their format's own filter, and
Glass's Load Texture lists them too. Linked files with these names update
and relink, the Links panel shows their format, and Edit Original opens
them.
The extensions are read-only: exports still write .bmp, .psd and .png, and
an export to a path with one of the new extensions is refused as before.
The desktop packaging does not associate them with the app.
A double-click on a Radial, Grid or Mirror Repeat with the Selection
tool enters isolation mode on it. There its source art is selected and
edited as usual (a double-click on type in it switches to the Type tool
on that text) and every copy follows, the repeat keeping its settings.
Edit > Keyboard Shortcuts lists every Effect menu item under its menu
path and gives each one a shortcut (stored as effect:<id>, mapped to
effect.dialog {effect}, or effect.apply for an effect without options).
The menu shows it, and pressing it opens that effect's dialog for the
selection.
addon.color.swatchLegend replaces swatch.legend. The dialog sets columns, chip size, gap, the values shown
and whether to use only the swatches selected in the Swatches panel, with a preview; duplicate value
kinds are refused. The Swatches panel menu item is removed. Catalog rows in all 26 languages.
swatch.legend draws a grid of chips, one per colour swatch (the given
ones, else every one), each filled with and linked to its swatch and
labelled with its name and colour values (HEX, RGB, CMYK, Lab or
Grayscale; by default its own model; spot swatches marked), black on
light chips and white on dark ones, as one selected group in one undo
step. The Swatches panel menu's Create Swatch Legend draws the selected
colour swatches, else every one.
Brandon Thomas