Align to Path moved the whole line by the largest ascent and descent
among its characters. Each character now moves by its own font, size
and vertical scale. Ascender runs the top of the font's em box along
the path: the ideographic em box that the font's BASE table gives, or
in a Chinese, Japanese or Korean font the one that its typographic or
hhea box, a one-em box-drawing cross or its ideographs give; else an
em box centered on the cap height. Descender runs the bottom of the font's
bounding box along the path, and Center runs a line at half the height
of the top of the font's H along it. In vertical type, Ascender and
Descender move the characters half an em, and Center leaves them on
the path.
Existing documents with Align to Path set to Ascender, Descender or
Center lay their type out at a new distance from the path.
Generic CMYK's tone curves now pass through the CGATS TR 001 tone value
increase of each ink at 40% and 50% (C 20.0, M 17.6, Y 16.8, K 21.6 at
50%), and its 16 Neugebauer primaries mix linearly, so a single ink's
tints gain as TR 001 gives. The 300% ink limit stays. The primaries, the
black-generation curve and the black point are VectorCraft's own values.
- The black point is 90% black under neutral CMY that fills the ink
limit: sRGB black separates to C75 M68 Y67 K90 instead of C67 M67 Y67
K100.
- Black follows a curve over the gray component of the black-free
solve, raised by how far that solve stays lighter than the target.
Grays from sRGB 177 up carry no black, and sRGB 128 gray separates to
C50.5 M42.2 Y42.0 K7.5 instead of C38.8 M26.3 Y29.9 K24.4.
- Display of CMYK fills, swatches and imported CMYK values and the
separation of RGB and Lab colors use the same model.
Paper white still separates to C0 M0 Y0 K0, but other separations
change, and so does the display of CMYK colors with ink. Tests that held
numbers of the old model are updated.
The 2,000,000-triangle limit on a 3D object's meshes is now checked as
each mesh is built, so an object past it is refused before the rest of
its meshes are built:
- Revolve counts each fill's and stroke's mesh as it builds it, instead
of building every one first.
- Inflate still solves every shape's membrane at once (the eye depends
on the highest puff), but builds each solid only when its mesh is
reached (inflate_meshes), so a refused object leaves the later
solids unbuilt.
- All the objects of one 3D asset share one budget
(three_d_meshes_of), so assets.export3D refuses an asset whose
objects pass the limit together.
Found while testing crates/engine/src/cmd/typemenu.rs:614 (unicode_char)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/engine/src/cmd/patternlib.rs:99 (existing_pattern)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The artboard and asset file stems came from unique_file_names, which turned
every character except letters, digits, - and _ into a dash, so the dot of
example.artboard became a dash. Export for Screens now uses a variant that keeps
dots (a name of only dots takes the Artboard-N fallback); safe_file_name still
drops trailing periods and guards device names.
Test: an_artboard_name_keeps_its_dots.
The remembered selection is now tied to the document it was made in, by its
uid, instead of being cleared on every tool reset: another view of the same
document, or closing an inactive tab, kept the anchors picked but made Copy
take the whole path.
A lent gesture that leaves the selection as it found it (a Cmd+Shift marquee
over nothing) is no longer recorded as a pick, so the Pen's last anchor stays
its own and Copy takes the whole path.
Also records #6123 in target-app-parity.md.
With the Pen or Curvature tool, Copy and Cut ignore the anchor selection,
so that the last anchor the Pen leaves selected doesn't make Copy take just
that anchor (#2122). Anchors picked with the Direct Selection that Cmd/Ctrl
lends those tools were ignored too, and the whole path was copied.
The session now remembers the selection the lent tool leaves when it gives
the tool back. While that is still the selection, Copy and Cut take the
picked anchors and segments, as with Direct Selection chosen.
swatch.new stored a gradient or pattern as it was given. A gradient
swatch made from a gradient swatch by name, from a fill linked to one,
or from a gradient that names one (the Gradient panel's add to
swatches) kept the link to that swatch, so copying art that uses the
new swatch brought the other swatch along too. A pattern swatch made
from a current fill picked up from art with transformed tiles kept
that transform, and art the swatch was applied to took it in place of
its own.
The new swatch now drops the gradient's link and stores the pattern
untransformed. A gradient swatch keeps its aspect as before.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
A top-object envelope splits its outline into four sides at four corners
and maps the content onto the Coons patch of those sides. The sides
shared out the content by length, and the corners were the anchors or
curve points nearest the bounding box corners.
Each piece of a side between anchors and corners now takes a share of the
content's width or height in proportion to the length of its control
polygon, spread along the piece by its curve parameter. A straight
segment spreads it evenly by length. A rounded rectangle stays close to
the identity, and the content follows the curves of a side whose segments
differ in size.
Each corner is now the nearest anchor to its bounding box corner among
the sharp anchors that point out of the outline and lie within 47.5% of
the box's width and height from that corner. A handle shorter than
0.01 pt, or tangent unit vectors that differ by 0.01 or more in x or y,
makes an anchor sharp, and the first one along the outline wins a tie.
Without such an anchor, the corner is the outline's nearest point to the
box corner, moved onto the end anchor of its segment within 0.5% of the
segment's parameter. Envelopes opened from .ai files keep the corners the
file saves.
These are VectorCraft's own rules. Existing top-object envelopes redraw by
them. Gradient meshes made from a path keep their sides measured by length.
- crates/doc/src/live/mesh.rs: Coons::from_top_object and the corner
search, used for top-object envelopes.
- EnvelopeKind::TopObject gains an optional `corners` field (anchor
indices); the .ai importer fills it from the mesh's corners.
- Params text of object.envelope.makeWithTopObject, docs/mcp.md
(Envelopes) and a progress line in docs/target-app-parity.md.
BFlat