Character Style Options and New Character Style get a Character Color
section and an OpenType Features section.
Character Color sets the fill and stroke (None or a document swatch;
a global swatch or a tint of one stays linked, with a Tint from 0% to
100%), the stroke Weight, and Overprint Fill and Overprint Stroke. A
gradient or pattern paint the style already has stays until another
paint is chosen.
OpenType Features sets Figure, Position, Standard and Discretionary
Ligatures, Contextual, Stylistic and Titling Alternates, Swash,
Ordinals, Fractions and Stylistic Sets 1 to 20. A changed control
replaces only its own tags in the style's feature list, so other tags
stay, and Default Figure and Default Position are stored as their
features turned off, distinct from unset.
Empty controls stay unset, and each section's Reset Panel clears only
its own attributes.
charStyle.new, charStyle.edit and charStyle.setAttrs check a changed
fill, stroke, stroke weight or feature list: tints from 0 to 1, links
to global swatches of the document (the color follows the swatch),
weights from 0 to 4000000, and known feature tags, at most 256. Values
the style or the text it is made from already has are kept.
charStyle.duplicate keeps the copied style's values in the same way, so
a style with a language tag that is not in the list can be duplicated.
Editing a global swatch now also updates the fill and stroke stored in
character styles, so their text no longer shows as overriding the style
and text styled later takes the new color. swatch.unused counts a swatch
a character style links to as used.
A drag that takes a selected freeform gradient point out of the object previews its removal,
which deselects it. A dropped press now selects again the point that was selected once the
tool took the press, and Escape reselects a point dragged out and back inside the object.
A dropped press (a long touch, a canceled touch, a second finger) now
goes to the tool through Tool::drop_press, which takes Escape as during
a drag by default. The Pen, Smart Pen and Curvature tools override it
so the path being drawn goes on: they forget the press, and a Curvature
point the press dragged goes back where it was.
The release that follows runs only the tool's Cancel and Notify actions,
so a Selection marquee selects nothing and a Shift-drag Artboard marquee
toggles nothing. The engine puts back the persistent options the tool
had at the press (the Polygon tool's sides changed with the arrow keys),
and stores none of them.
A long touch, a canceled touch or a second finger drops the tool press in
progress. The tool used to get a plain mouse-up, which it cannot tell from a
release: the options the drag changed (the Polygon tool's sides set with the
arrow keys) were stored, and a shape tool pressed and held still opened its
size dialog.
Session::drop_tool_press undoes the press's interaction, sends the tool
Escape as during a drag, and then a release that returns it to rest without
storing the tool's options. What the tool asks of the UI along the way is
dropped.
A stroke color given without strokeWidth left characters at weight 0, so
nothing was drawn. As paint.setStroke does, a painted stroke now gives a
run with no weight 1 pt, for the characters and for the label styles a
graph keeps; an explicit strokeWidth still sets the weight.
text.setStyle takes stroke (a color or "none") and strokeWidth (the character
stroke's weight in document points, as stroke.set gives it), with keepModel
for both colors. They apply to all the text or to the start..end range, and
to graph label styles, in the same undo step as the command's other keys.
A stroke key was ignored before.
A successful Export for Screens stored its params in the document's
export settings, which native saves write, PDF security passwords
included, although the PDF settings themselves are saved without them.
Saved export presets kept them in the preferences the same way. Both now
drop openPassword and permissionsPassword wherever they appear in the
settings, keeping the other security choices.
The overlap grouping swept left to right comparing each object's bounds
with every box still open at its left edge, so many objects sharing a
horizontal extent (stacked in a column) cost a comparison per pair
before any of the flattener's geometry limits applied, and the grouping
could not be cancelled.
Open boxes are now kept in a tree by their tops that knows the lowest
bottom below each branch, so each box meets only the open boxes it
overlaps; an open box inside a later box of its group, ending no further
right, is closed early. The grouping checks for cancellation as it goes.
Groups are unchanged: a test compares them with every-pair grouping.
Copy scaled its PNG down to fit 4096 pixels a side but never below 0.01
pixels a point, so art over 409,600 pt across produced a PNG far past
that side, up to the general raster export limit of a gigabyte of
pixels, on an ordinary copy. Such art now gets no PNG flavour.
An agent confined to automation roots could load the place cursor, with
file.place.queue or tool.setOption, and the files were placed later, by
a click of the person at the keyboard, outside any roots. tool.setOption
checked a queued path but not files given inline, whose linked files (an
SVG's referenced images) were then read with the keyboard user's
unrestricted access.
The session now keeps the automation roots in force when the cursor's
queue is loaded, and both the engine's own placement and the desktop
app's background placement read the queued file within them. A queue
loaded outside any roots places as before.
Reflow copied each listed frame's text into its thread's story, so a
document that listed one frame several times in a thread, or in several
threads, repeated that text in the story and wrote the grown story back
for the next thread to copy again, growing the text with every
repetition while the document opened. Reflow now keeps each frame at its
first place in the thread list only.
Making a brush or symbol library, and gathering the resources copied
art uses, found each referenced swatch, symbol, pattern, graphic style,
text style and brush by scanning all the definitions of its kind, and
checked library membership and panel order by scanning the lists again,
so a library or document of N definitions cost N squared comparisons.
Each kind is now indexed by name the first time a reference to it is
followed, and the library code looks names up in sets and maps built
once.
The file name pattern searched the rest of the pattern for a closing
bracket at every opening bracket, so a pattern of many unmatched brackets
took quadratic time to render, in the export and its live preview. A
token's name never holds a bracket, so the search now stops at the next
opening one.
Output naming tried -2, -3 and so on from the start for every file given
a taken name, so one name pattern over many artboards rebuilt and looked
up every number used before for each file. It now goes on from the last
number given for that name, and remembers which file got a name from it.
Master page copies were charged one unit per shape whatever its number
of segments, and nothing for attached vector or pixel masks, so a master
holding one huge curve or mask could be rebuilt on thousands of pages
within the copy allowance. Copy costs now count every subpath and
segment of a shape's path and its vector mask, and a pixel mask's
pixels.
A node's vector mask also skipped the document range check the node's
own art passes; its control points are now checked as mapped into the
document (non-finite ones included) and an object whose mask reaches
beyond the range is left out, as one whose art does.
The walk that skips objects it has already visited keys them by address
instead of id, so two objects that share an id in a damaged file are
both counted. An object reached through a selected group and again on
its own still counts once.
A 200 x 150 instance of a 9-slice symbol draws its 10 pt corner square about 17.14 pt wide once the left guide is dragged from 25% to 5% in symbol editing mode, as the square then reaches into the stretched center band.
With Performance > Real-time Drawing and Editing off, tool previews are
applied only on release. A ruler guide being dragged was already exempt;
a symbol's 9-slice guide, a symbol.options preview that sets only
nineSliceGuides, now is too, so the dotted guide follows the pointer
while it is dragged. The release still leaves one Symbol Options step.
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.
An object with a gradient or a pattern on both its fill and its stroke
counted twice in Objects. It now counts once for each paint kind it uses.
With Selection Only, a selection that holds a group and an object inside
it walked that object twice, so the object counts, the paths' total
length and Repeat Objects counted it twice. The walk now visits each
object once.
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.
A Shift-press on a highlighted object of the Global Edit waits for the release
to leave it out of the edit. A drag from it now selects it when the drag starts
and moves it with the selection, as a Shift-drag from an unselected object did.
The snap targets are gathered after the object joins the selection.
A match that sits inside a selected object is no longer highlighted, and a
Shift-click on it with the Selection tool deselects that object as before
instead of leaving the match out of the Global Edit.
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
The type objects in the selection are deduplicated with a set, each frame's
thread is looked up in a map built once, the locked artboards are measured
once per call, and the menu check stops at the first selected type object.
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.
dotCooCoo