Spine::at_length walked the first subpath's segments from the start
until one ended at or past the arc length, so placing every blend step,
spread key, blend widget and Objects on Path attachment cost one
comparison per earlier segment. It now searches the anchors' arc
lengths, which never decrease, and picks the same segment: the first
whose end is at or past the length, so an exact anchor length and
repeated lengths from zero-length segments keep their segment. The
point and tangent evaluation is unchanged.
Tests compare the search with the old walk on open and closed spines,
one segment, curves, zero-length segments, every anchor, both ends,
out-of-range and non-finite lengths, and check that a 4,096-segment
spine needs at most 13 comparisons.
Extrude & Bevel, Extrude & Bevel (Classic) and Inflate sorted the fill
walls and the faces of a stroke that leaves gaps (dashed, profiled,
brushed) by one depth each, so a far stroke face could draw over a near
fill wall and the reverse. Two such strokes on one shape drew over each
other the same way, and Inflate drew a plain stroke as if it covered
the fill's edge, which an inflated fill can rise in front of.
- Each flat facet now carries its plane, so its depth can be measured
at any point under it, with orthographic and perspective views.
- Where faces of one shape's fill and strokes overlap in the wrong
order, the overlapping faces are ordered by their depths where they
overlap. A fill wall and its covering stroke keep their order.
- A face of a stroke that leaves gaps that passes through a fill wall,
a covering stroke's face or an earlier such stroke's face is cut
along the line where their depths meet, keeping its curved outline,
within the face limit and the paint allowance.
- Under Inflate, no stroke counts as covering the fill's edge.
- The faces go in one order when the fill and strokes are at full
opacity with Normal blending. A member of a 3D group with an opacity
mask or a blending mode of its own orders its faces inside it when
its own paints qualify. A gradient with transparent stops keeps the
one order with graphics on its cap, and so does Inflate in gradients
under a colored light. A solid color under a colored light, drawn as
one composite per surface, still draws each surface whole.
193 Hindi rows outside the plug-in messages said something other than
their English: "a number of points" read as "many digits", swatches as
clocks, crop as a harvest, resolution as a resolve, and saving used
words the glossary replaces. Others left English prose in place,
dropped a clause ("to keep them all", "what follows it") or ran the
sentence backwards.
- Rows use सेव, स्वॉच, क्रॉप, रिज़ॉल्यूशन, पाथ and टाइप (for a text
object) as docs/localization-hi.md sets them.
- Values a command reads (enum values, preset names, OpenType tags)
stay as the English writes them.
- A test checks those terms and the point unit in every Hindi row, and
another pins rows whose quantity or clause was lost.
- docs/localization-hi.md, docs/localization-parity.md and
docs/target-app-parity.md carry the new counts and a wording note.
A justified area type line counted a tab as a word space, so it gave
the tab a share of its room that no glyph drew, and the line ended
short of its measure. A word-tab-word line ended short too.
- The text up to a line's last tab keeps its spacing, each tab keeps
its stop and its leader stays in its gap. The text after the last
tab takes the line's room: word spacing, letter spacing and glyph
scaling within their ranges, then its word spaces, or the gaps
between its letters when it has none. Kashidas go in that text when
it is one run.
- A tab separates two words, so Single Word Justification does not
align a word-tab-word line.
- Right-to-left lines take the text drawn after the last tab drawn,
measured as the line is drawn, and vertical lines work down the
column. Point type keeps its natural width.
Docs: docs/target-app-parity.md, docs/type-parity.md.
Font Details, Linked Images and Embedded Images, and the Objects counts
Compound Paths, Text Objects, Placed Documents, Symbol Instances, Gradient
Meshes, Blends, Envelopes, Intertwine Groups, Opacity Masks and Objects
with Effects had no catalog rows, so the panel and its category menu
showed them in English in every other language. Each complete catalog
now has them, and the Document rows Pattern Swatches (de, it, ja, ko,
pl, uk, vi, zh-hant) and Path Length (bg, el) are added where missing.
The catalog test now checks every category title, every Objects count
label and Document's fixed row labels. document.info and the saved
report keep the English labels.
Distributing a story through threaded frames measured every frame but the
last with the whole rest of the story, and copied that rest several times
per frame, so a long story through many frames cost frames times story
length.
- The rest of the story is a borrowed view of the given runs (run index,
byte offset, length). Each frame's share is copied once; the slices,
styles of empty shares and the run left once the story is used up are
the same as before.
- Area type without Shrink Text to Fit whose lines align to the top is
first measured with the text through the end of the paragraph that
reaches about twice the previous frame's share (at least 512 bytes),
doubling while the story goes on. The share is taken when its text
stops fitting before the last paragraph break measured; layout places
lines in order, stops at the first that does not fit and shapes each
paragraph on its own text. Type on a path, Shrink Text to Fit, other
vertical alignments and a share ending in the story's last paragraph
are measured with the whole rest.
Tests compare every slice with the earlier algorithm, kept in the tests,
for many kinds of frames, styles and paragraphs and 12 seeded stories.
A story of 1,500 paragraphs (55,892 bytes) through 40 frames was laid
out over 2,126,762 bytes while measuring and is now laid out over
21,035.
The Live Paint Bucket drew the crosshair in place of its own cursor. It
now shows what a click paints: a filled paint bucket over a face it
fills (of a Live Paint group, or a region of the selected paths), a
brush over an edge it paints, and an empty bucket where it paints
nothing. The cursor follows Paint Fills, Paint Strokes and Shift, and
shows with Highlight off too. Alt still shows the Eyedropper, and Use
Precise Cursors shows the crosshair.
With a Live Paint group and ordinary paths selected, a region of the
paths outside the group is now highlighted, as a click there fills it.
The help page: https://helpx.adobe.com/illustrator/desktop/paint-and-fill/learn-painting-basics/paint-with-the-live-paint-bucket-tool.html
$.fileName gave the file being run, so a function defined in a file
that #include inserted, in a file $.evalFile ran, or in an earlier run
of a named engine reported the calling file instead of its own.
- vectorcraft_js: HostItem::SiteGetter gives a getter the CallSite
(source tag, line, column) of the code that reads it.
- $.fileName maps that place through the run's source maps, or the
maps a named engine kept, to the file the code is in. It is empty in
code from a script given as source and in kept code whose map was
dropped. Code that eval or Function compiled still gets the file
being run.
Docs: docs/mcp.md, docs/target-app-parity.md.
The sweep filtered by transparency kept every open box in one tree, so
a box without transparency met every open box without transparency it
overlapped, though such pairs never join. Both sweeps closed an open
box early only when a later box held it, so in a nest of boxes that
share their left and top edges and get smaller to the right and
bottom, each box met every earlier box around it. One see-through
object inside 512 nested opaque objects took 130,817 meets in the
unfiltered sweep and 131,328 in the filtered one.
The filtered sweep now keeps open see-through boxes and open opaque
boxes in separate trees. An opaque box looks only in the see-through
tree; a see-through box looks in both.
In both sweeps, a box inside an open box it met, ending no further
right, is not opened when that box joins everything it overlaps (any
box without the filter, a see-through box with it). Whatever later
overlaps the inner box overlaps the outer one.
The nest above now takes 512 meets in each sweep, and a nest of 512
boxes alone takes 511 in the unfiltered sweep where it took 130,816.
The groups are unchanged.
The Brush libraries row named four libraries. It now names the nine in
BUILTIN order (crates/engine/src/cmd/brushlib.rs), as the Window ›
Brush Libraries menu shows them, and says nine built-in libraries.
A double-click on a paragraph style's row and the panel menu both open
Paragraph Style Options (ui.paraStyleOptions, paraStyle.edit) with its
seven sections. The type-parity and ui-parity rows still called it the
rename dialog and named ui.paramDialog with paraStyle.rename; they now
name the dialog, its sections and its tests.
The target-app-parity entry said each section has a Reset Panel. Reset
Panel is unavailable in General, and the entry now states that.
An image placed several times in an EPS file (the pieces of an envelope
or a Warp effect, copies of one image, a symbol's instances) wrote its
whole ASCII85 data at every placement: 200 copies for one envelope at
the default fidelity, enough for a large photo to pass the 256 MB page
limit and lose pieces.
The samples of such an image are now written once in the setup as
VCim<i>, and each placement reads them from there:
- Level 3: a ReusableStreamDecode stream, rewound with resetfile and
read through a new FlateDecode filter at each placement.
- Level 2: an array of strings of at most 49,152 compressed bytes, fed
to RunLengthDecode by a procedure.
An image placed once is written where it is drawn, byte for byte as
before. The page limit counts a repeated image's samples once, and a
colorized image is reused per ink.
A Fit to Artwork Bounds step of `command.batch` that names neither
`index` nor `indices` now fits the artboards the Artboard tool has
selected when the step runs (two or more), as the command does when the
app runs it on its own. Before, the step took the batch's `artboard` as
its `index`, so an action played from the Actions panel fitted only the
active artboard while several were selected.
- A step's own `index` or `indices` is kept, and the batch no longer adds
an unused `index` to a step that names `indices`.
- The batch's journal entry records the `indices` the step took, so a
replay fits the same artboards. An action leaves them out and fits the
artboards selected when it plays.
Docs: command.batch params text, docs/mcp.md, docs/target-app-parity.md.
- With art, the bar is 10 pt tall and the Edit tab leaves out the gaps
above the wheel and above the sliders. The dialog is as tall on the
Edit tab as on the Assign tab, and all of it but the color chips fits
a 1024 by 576 screen.
- recolor.weigh counts a use for the first row that is not excluded
when an excluded row lists the same color first.
A separator that ends a group of the Control bar's controls is now painted
only when a control follows it in the bar. When the groups after it are off
in the panel menu, do not apply to the selection or the tool, or have no
room in the window, the bar ends with its last control. Two separators with
nothing between them (the artboard Transform link and the artboard Align
group, or tool options and the envelope controls) show as one. Each
separator keeps its room, so the groups keep their places and widths.
- Fill and Stroke, Opacity and Graphic Style, Character, image and Image
Trace options, the Mirror & Cut, Crop Image, Puppet Warp and shape tool
options, the artboard Transform link and the envelope controls draw
their outer separator through group_separator. Paragraph and area type
vertical alignment end through group_end, which draws its separator
through boundary.
- Regression test: no_separator_is_left_at_the_end_of_the_control_bar
sweeps window widths from 300 to 1500 points for each case.
A paragraph format given to the empty paragraph after a frame's last
paragraph break was lost when the story flowed again: the paragraph is
shared with the next frame's first paragraph, and the next frame's old
style replaced it, in that frame and in the frames after it.
- The thread reflow also notes which frames' last paragraph changed
style, and story_paras_restyled keeps that style against the next
frame's unedited first paragraph, across unedited empty frames too.
When the same edit formats the next frame's first paragraph, that
format applies, as before.
- story_paras keeps its behavior for its other callers.
- Tests cover area type and type on a path on either side, a next frame
holding text, three frames, undo and redo, a format that changes
nothing, and numbered list counts.
plugin.install wrote the module and its grant to the Plug-ins folder,
attached the plug-in's settings and cache and turned a disabled plug-in
on before the registry's last approval check. When another session
revoked the grant, or recorded one for other bytes, after the command
recorded its own grant and before that check, the install was refused
but left the new module and grant in the folder for the next launch.
A plug-in another session installed under the same id between the
command's checks and the install took no part in the decision, so the
install replaced it without `replace: true`.
- registry::install_checked records the grant (or forgets it) and
installs the plug-in as one step, after a caller check that sees the
plug-in installed under the id and its grant; a refusal changes
nothing.
- plugin.install commits through it before any store write, refusing
with the existing messages when another plug-in now needs `replace`
or the grant its approval came from changed. The store writes, the
put-back on a failed write and the disabled-list update now run after
the commit; their logic is unchanged.
- The grant call-site audit also counts registry::install_checked.
Docs: docs/plugins.md, docs/target-app-parity.md.
Insert Menu Item… now lists the Object › Align items and the View menu
commands the app runs itself (Outline, Pixel Preview, Trim View,
Presentation Mode, Screen Mode, zoom, fit, Rotate View, and the show,
hide and snap items).
- An Align step holds the params its click sends at insertion, so a
later Align To choice does not change it. A step that aligns to the
key object stops the playback when the selection has no key.
- A View menu step plays in its place at every speed and adds no undo
step. At Accelerated the steps on each side of it are one undo step
each. Playing it while recording records it.
- Batch… refuses an action with an included View menu step.
- An action set file with a View menu step is version 6.
- The steps before a stop now play as saved steps, as other playback
does, so a key that an older version recorded no longer fails there.
Docs: docs/mcp.md, docs/target-app-parity.md.
- recolor.weigh drops another row's entry for a color that moved, so
recolor.apply recolors it with the row it moved to and the shares
describe the recolor. A color that the first color of another row
with a new color also lists stays where it is.
- Linked swatch colors are grouped through a map, so a row with many
unlinked colors no longer compares each one with every group.
- The Prominent Colors bar reads the shares again when a row gains or
loses a new color, since that changes which row takes a shared color.
A whole pick from a source with no fill row, or no stroke row, removes
that row from the target. When the target is a graph series mark whose
row had paint, the pick now replaces the row opacity and blend mode the
graph keeps for that kind of row in the series. A row that had no paint
before the pick still leaves the kept values as they are, and a pick of
some attributes from such a source is unchanged.
Part of #2224.
A Smooth tool drag only refitted the anchors in its reach within
Fidelity, so a wobble wider than Fidelity stayed, and a second drag over
the same place changed nothing. Repeated refits also drifted away from
the path, and a drag over a whole closed path left a corner at its first
anchor.
- path.smoothRegion now smooths the stretch in reach along its length
with a Gaussian whose spread is a third of the reach, then refits it
within Fidelity. The run's outer end points and handles stay fixed.
- Each refit stays within twice the distance the smoothing moved the
path (at least a tenth of Fidelity), so repeated drags do not drift
(SimplifyOptions::smooth_moved_only).
- A whole closed path is smoothed across its start as a loop, so a
bump at the first anchor is smoothed like any other and no corner is
left. Object > Path > Smooth smooths a closed path across its start
the same way.
A group's or layer's geometry effects now run after its members' own:
the geometry effects of each visible path and compound path in it and
of their fills and strokes, and a nested group's geometry and
Pathfinder effects, are applied first, at any depth, and the group's
effects reshape the result. A symbol instance's geometry effects run
after those of its symbol's members in the same way. Before, the group
reshaped the members' outlines and their own effects ran afterwards:
a 100 pt square with its own 10 pt Offset Path in a group with a 50%
Transform drew 70 pt wide, and it now draws 60 pt wide. Existing
documents with such groups draw differently.
The canvas, export (including groups that keep their type), Expand
Appearance and the art that Pathfinder operations and compound shapes
take from such a group use the same order. The reply of
effect.expandAppearance names such a group and no longer names the
members whose effects the group's art already holds.
The renderer now drops the art it keeps for a group when a plug-in is
installed or removed and a member of the group has a plug-in effect.
Docs: docs/target-app-parity.md. Not yet: the own geometry effects of
images, symbol instances, paths with a linked opacity mask or a 3D
effect, and nested groups with a 3D effect in a group still run after
the group's.
With Real-time Drawing off, a command that ends a drag first (Undo, Redo,
Clear History, a plug-in command and the others) applies the drag's
deferred preview, but dropped the warning that preview gave, which
releasing the drag shows in the status bar.
- The applied preview's warning is now kept while a top-level command or
the tool's actions run. A command's result carries it as
`previewWarning`, and as `warning` when the command has no warning of
its own, so the status bar shows it.
- Typing kept as its own step when a tool's drag begins, or when Cmd
lends the Selection tool, shows the warning in the status bar.
- The Cmd-lend path no longer ignores an error from keeping the typing.
Docs: docs/mcp.md (undo/redo row), docs/target-app-parity.md.
learn.skills {} shows the Learn panel on its Skills tab with the list of
skills, with no skill and no tutorial open, and returns what learn.list
returns. Back to skills after a skill's last tutorial and the Quick skill
guide card on the For you tab now run it, so the control channel and MCP
can reach the same view.
- The command is listed in both UI command catalogs, and its label has a
row in every catalog.
- Docs: docs/mcp.md, docs/target-app-parity.md, docs/ui-parity.md.
A text chunk placed by an absolute x was measured from the pen of its
first character to the farthest glyph end. The first character of a
right-to-left chunk is drawn at its right, so a chunk of several such
characters was measured as that one character: anchored by middle or
end, or starting a line beside absolutely placed characters, it opened
off its position by the width of its other characters.
- A chunk's left and right edges are the smallest glyph start and the
largest glyph end over all its characters, as SVG 2 anchors a chunk
(https://www.w3.org/TR/SVG2/text.html#TextLayoutAlgorithm). The first
character's pen is placed at its own distance from the left edge.
- The layout that measures the chunks has the direction the imported
text gets: left to right unless the text's direction is rtl. Text
starting with a digit and holding right-to-left letters was measured
right to left.
- The chunks are measured in the first of the layouts that kern the
characters onto their x, so anchored text is laid out once less.
A live-effect plug-in that paints its pieces draws each piece's brushed
stroke along the piece's path at the piece's stroke width. Culling left
room for brush art from the object's own stroke width around the
pieces, so brush art of a moved or wider piece was cut off at the edge
of the view. Culling now leaves 16 x the piece's stroke width + 8 pt
past each brushed piece, and does so for a symbol instance whose art
holds such a path (measured once per symbol) and for a blend, envelope
or repeat that holds one. Object > Rasterize measures the brush art
drawn along each piece and leaves out the object's own brush art, which
is not drawn.
Groups and layers now leave room for their members' brush art. The
cull bounds of a group or layer united its members' bounds without the
room each brushed member leaves, so the painted bounds of a group, and
the area redrawn when it changes, left out brush art past its members'
strokes. That applied to plain brushed paths as well as painted pieces.
Each member is now measured as the renderer measures it when it draws
the group, in the members of a group with a fill, stroke or adjustment
of its own and in a group with crop marks or Vector Halftone too.
A toolbar made with New Toolbar now docks in a lane along the window's
left or right edge (on the left, right of the Tools panel docked there).
Dropping its title bar on an edge docks it, with the target lit while
the title bar is dragged over it; dragging it out of its lane floats it
under the pointer, and Escape or losing the window's focus during the
drag puts it back. The title bar's context menu has Dock to Left, Dock
to Right and Float Toolbar.
- Toolbars docked at one edge stack from the top, each with an equal
share of the lane's height, and the lane is as wide as its widest
toolbar. A lane too short for its stack wraps it into more columns,
up to half the width beside it; past that the toolbars show only
their title bars, a lone toolbar included, and a column too short
for those scrolls with the mouse wheel.
- With Keep Tools Beside the Canvas on and Tools docked on the left,
the left lane is laid out inside the canvas panel right of Tools, and
the canvas keeps room for one column of it and its 200 points.
- A release in the frame the pointer leaves the lane floats the toolbar
with its corner where the drag put it.
- window.toolbar.dock {name, side?, order?} and window.toolbar.float
{name, x?, y?} do the same from the control protocol; bad params are
errors and change nothing. window.toolbar.list reports floating, side
and order.
- CustomToolbar keeps dock (place in the edge's stack) and dock_right;
both default, so toolbars saved before load floating. Workspaces and
preferences keep the placement; New Toolbar still starts floating, a
copy floats, and deleting a docked toolbar closes up its stack.
- Dock to Left, Dock to Right, Dock Toolbar and Float Toolbar have rows
in every catalog.
Part of #1759
Offset Path now turns the overlap sweep the way Outline Stroke and
Unite do. When the estimate for its fill, the ring stroked around it
and the outline of its open subpaths is under two thirds as large for
the parts turned a quarter turn, the faces are found on the turned
parts, the faces within the offset distance of the path are dropped by
testing their points turned back, and the result is turned back.
On an open path of 10,000 anchors in rows of 1,000, offsetting by 2 pt
takes 1.0 s of processor time instead of 1.8 s in a release build.
The offset of a long, low path has as many subpaths as the offset of
the same path stood on end, and the area where the two differ is no
larger than the refit precision times the outline's length.
An Eyedropper pick that includes transparency now counts a fill or stroke
row that had paint before the pick and has none after it when it stores
the series' row opacity and blend mode on the graph, as graphic styles
already do. Before, such a pick left the opacity and blend mode another
mark of the series had stored, and the series was drawn with them again
after its data changed. A row that had no paint before the pick still
leaves the stored values as they are.
A top-object envelope gives each piece of a side a share of the content
in proportion to its control polygon's length. When anchors split a
curve without changing its shape, the pieces' polygons don't divide the
side where the curve's own parameter does, so the envelope bent its
contents differently although its outline was the same: Add Anchor
Points on a top object moved the art, and a top object whose .ai mesh
saves each side's curve split into thirds drew its type up to about
half a point off its drawn art, which follows the whole curve's
parameter.
Coons::from_top_object now checks whether a side's pieces, from corner
to corner, are all pieces of one cubic. The pieces' spans of that
curve's parameter come from the handle lengths either side of each
split, the curve from the outer ends and handles, and every piece must
lie within 0.02 pt of the curve's piece over its span (each control
point). Such a side runs along that curve, by its parameter. Any other
side keeps the polygon shares, including a side only partly made of one
curve and a smooth side drawn in many pieces that isn't one curve as a
whole. Corners found from the outline can still move when anchors are
added, as before. Gradient meshes made from a path are unchanged.
Existing top-object envelopes with such sides redraw.
a_split_curve_moves_the_top_object_share_to_its_new_anchor, which
pinned the earlier behaviour, becomes a_split_curve_keeps_the_top_object_patch.
Tests: a_split_curve_keeps_the_top_object_patch,
a_top_object_joins_a_split_curve_saved_with_rounded_coordinates,
a_top_object_keeps_smoothly_joined_curves_apart,
a_top_object_side_partly_of_one_curve_keeps_the_polygon_shares and
a_top_object_side_of_many_arcs_stays_on_them (vectorcraft-doc),
envelope_top_object_keeps_its_look_when_anchors_are_added
(vectorcraft-engine) and
a_top_object_whose_top_is_one_curve_split_in_thirds_opens_live
(vectorcraft-eps).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A PDF-compatible .ai saved with Include Editing Data for Other Apps now
writes warp, mesh and top-object envelopes as live envelope records in
its editing copy: the grid or contents, Envelope Options, Fidelity,
Edit Contents, a warp's settings and the contents' box, beside the
distorted art, in the form the .ai envelope reader reads. The file
opens with the same live envelopes.
Envelopes the reader would open in another shape or with other
settings are written as their distorted art with a warning: type in
the contents, a turned frame, an old warp map, a mesh laid out another
way round, a top object whose sides do not pair up, a Fidelity that is
not a whole number, bounds margins kept with Distort Appearance off,
envelopes in opacity masks, pattern tiles, clipped art or another
envelope's contents, on a large canvas, and after the first 256.
A Linear pick that the Smart Guides left where the pointer already was,
for example straight below the first point on the vertical construction
guide through it, or exactly in line with an object's center, was taken
as not snapped. The pick then moved to the closest point of a segment
within 8 pixels while the guide still showed it on the guide. The same
happened to a point already on a grid crossing with Snap to Grid on, or
on a whole pixel with Snap to Pixel on.
The pick now keeps the snapped point whenever the snap shows guides or
grid or pixel snapping is on. With Snap to Grid or Snap to Pixel on, a
pick off an anchor is no longer moved from the grid or the whole pixel
onto a segment. A point that no
anchor, guide, grid or pixel snapping places still lands on the closest
point of a segment. An anchor within 8 pixels, a segment within the
Smart Guides snapping tolerance and a nearby guide crossing still take
the point as before.
Docs: docs/dimensions.md, docs/target-app-parity.md.
A paragraph whose characters differ in line metrics (type size, font,
leading, vertical scale, or an inline graphic taller than the text) was
broken with the Single-line Composer in area type of a shape other than
a rectangle, or with text wrap. The every-line composer now composes it
there too.
- The composer takes each line's width from a measure that follows
where the lines above it went (`composer::Measure`,
`compose_with`). The fixed widths by line number are one such measure.
- In a frame whose lines are not all as wide, each line the composer
tries is placed from the pen the lines above it left, at its own
tallest metrics, as the line loop places it (`layout/shaped.rs`).
Starts with the same placement are shared, and each start keeps the
placements it was tried with.
- A line too long for its room does not end the search from its start
while a glyph after it could make the line taller and set it lower,
where the frame may be wider.
- The line loop places a composed line in such a frame at the line's
tallest metrics, so it gets the room the composer measured for it.
- The search for one paragraph stops after 1,000,000 lines tried or
2,000,000 baseline steps. The searches of all the paragraphs of one
frame share a budget of 2,000,000 lines and 4,000,000 steps, kept
apart from the line loop's own steps. A paragraph whose search stops
is broken line by line. A paragraph the frame has no room for is
broken line by line too, and overflows as before.
Tests: crates/text/src/tests/combos.rs (a stepped frame, a frame that
widens, text wrap with two spans on a baseline, overflow, a long
paragraph) and crates/text/src/layout/wrapping_tests.rs (the composer
with a measure, and the shared search budget).
Dutch was not in COMPLETE_MESSAGES, so with the interface in Dutch
script errors, plug-in manifest and permission errors, parameter
schema errors, 3D effect refusals, file-reader errors and data-set
messages showed in English.
- nl.tsv gains 557 `@msg` rows and one `@msgplural` row: the messages
the German catalog translates and Dutch lacked. Most are one block
with a header comment on their conventions, in the order de.tsv
holds them; the rest sit next to the related existing rows.
Backticked names, command ids, double-quoted values and bare true,
false and null stay as the English writes them.
- nl joins COMPLETE_MESSAGES, so the message tests that iterate the
list check Dutch too, and the untranslated report lists Dutch's
missing messages. It lists the same set for Dutch as for German.
- The registry comment, docs/development.md, the Dutch row and
introduction of docs/localization-parity.md, and the interface
languages line of docs/target-app-parity.md list Dutch among the
languages that translate messages.
A right or middle drag on a swatch or color group, a brush, a symbol, a
graphic style, a library item or group, a character or paragraph style,
an Appearance row or thumbnail, the Fill and Stroke squares, a Recent
Colors chip or the Gradient panel's thumbnail started the same drag as
the primary button, so it could reorder, copy, delete or apply the item.
These drags now start only with the primary button, as Layers rows
(#7016) and Artboards rows (#7005) do: `widgets::drag_source`, the
Swatches tiles, library panel items, text style rows and Appearance rows
check `drag_started_by(Primary)`, and the Appearance thumbnail shows the
grabbing hand only for a primary drag. Right-click menus and the Graphic
Styles panel's held right-button preview are unchanged.
A right-click on a character style in the Libraries panel now opens Apply
Character Style, Add to Character Styles, Move to Group, Rename… and
Delete. Apply is enabled only with type selected. Opening the menu applies
nothing, and the paragraph style menu is unchanged.
- library.addToCharacterStyles adds the style to the document's character
styles without applying it, so no type needs to be selected. A document
style with the same name and attributes is reused with no undo step, and
a name taken by other attributes gets a number.
- library.renameItem renames a library item in place and keeps its group.
The name is trimmed and has 1 to 256 characters. Another item of the same
kind with that name is an error, the item's own name writes nothing, and
a rename is not a document undo step.
- library.use and library.addToCharacterStyles compare a library style
with the document's in the form the document stores it in. A whole
number size from a library file no longer adds a numbered copy.
- A character style color linked to a swatch that is not a global or spot
swatch of the document keeps the color it shows without the link.
Before, adding or applying such a style failed with "no swatch".
Help page: https://helpx.adobe.com/illustrator/desktop/design-with-text/fonts-and-scripts/add-and-use-text-and-character-styles-in-libraries.html
path.smoothRegion replaced the anchors of each path it smoothed but left
the selection alone, so anchor and segment refs selected with Direct
Selection still named the old indices: after a smooth that removed
anchors, a ref could point past the end of the path or at another
anchor. The edit now drops those refs for each path it changes, so the
path stays selected whole. Selected paths the drag does not change keep
their anchors, and undo restores the earlier selection.
Simplify, Object > Path > Smooth, the Smooth tool and freehand strokes
turned every refitted curve whose handles lay near its chord into a
straight line. A short curve whose end directions were off the chord
passed that test, and the anchor between it and the next curve became a
corner the path did not have: a Smooth tool drag along a line jagged by
up to 6 pt left corners of 7.7 to 40.6 degrees.
A curve now becomes a line only when the line runs within 0.5 degrees
of the directions the path arrives and leaves along. A nearly straight
piece that would turn more stays a flat curve. Convert to Straight Lines
is unchanged.
SVG 2 defines text-anchor start for right-to-left text as placing the
right side of the text at its position, and end as placing the left
side there (https://www.w3.org/TR/SVG2/text.html#TextAnchoringProperties).
Import placed start at the left edge and end at the right edge whatever
the direction.
- Point type and type on a path swap start and end when the effective
direction is rtl. On a path, right-to-left text anchored by start now
ends at startOffset and text anchored by end begins there. Vertical
type keeps its anchoring.
- Each line and each absolutely placed chunk is anchored by the
text-anchor and direction of the element holding its first
character, a tspan's own included. A later chunk no longer takes the
first chunk's anchor.
- Each line of point type starts at its own x, also when it has the
same anchor as the line before it or another line holds absolutely
placed characters. Such lines were drawn at the first line's x.
- A test covers letter-spaced right-to-left lines: the layout keeps the
tracking of every letter in such a line, so the whole advance sits
on its anchor.
Stroke is the widest feature that can be stroked, and it was applied to
each connected shape as a whole: a thick body with thin arms stayed one
filled area. Now a shape wider than Stroke somewhere keeps as its area
every disc wider than Stroke that fits in it, and each piece outside
those discs that reaches out of them at least one and a half times its
own width (and 3 px) is traced as a stroked center line. A line's end at
the area goes to the cut, so the line's cap closes the join. Corners and
edge slivers stay in the area, and a piece that cannot be traced stays
in it too. Shapes no wider than Stroke trace as before.
Each line keeps one width; without Fills, the area is still a 1 px
outline.
Docs: docs/target-app-parity.md.
Under a tutorial's steps, View more opens the tutorial's practice sample
as a new untitled document, which becomes the active one; open documents
stay as they are, and Save asks where to save the copy. Each of the 12
tutorials has its own small SVG drawing in panels/learn/samples.rs, read
only when View more is pressed.
Once the sample is open, Finish tutorial marks the tutorial finished.
A finished tutorial shows Next Up with the next tutorial's title in the
same skill, and Next Up shows that tutorial without opening its sample.
After a skill's last tutorial the panel says so and shows Back to
skills; Next Up never moves to another skill. Finished tutorials are
kept while the app runs; the skill rings and counts do not show them
yet. The help page's short video is not part of this change.
- learn.openSample, learn.finish and learn.next run the three controls
and are listed in the UI command catalogs; a missing, non-string or
unknown tutorial id, or a step out of order, is an error and changes
nothing.
- New labels and messages have rows in every catalog.
- Docs: docs/mcp.md, docs/target-app-parity.md, docs/ui-parity.md and
the ASSETS.md line for art generated in code.
dotCooCoo