With Noto Sans Arabic the fatha's ink reaches past the first letter's
left edge, so that letter's Tsume only narrows its advance and moves no
glyph. The test compared glyph positions alone and found no change.
It now compares each glyph's position and advance.
A block's line took the tallest ascent and deepest descent of its
characters, or the height of the stack's em boxes, whichever was larger.
The top block line's characters reach above the stack by their ascent
past the em box, and the bottom line's below it by their descent, so with
a wide Line Gap the line was too short for them. The line's ascent and
descent now also take in each character's reach from its own block line's
baseline.
A fill in a glyph's clip marked the clip as filled before the fill was
added. When the fill painted nothing (a palette index past the palette,
or a radial gradient that draws no circle), the next glyph painted in
the same clip became the clip's only child, and closing the clip kept
that glyph on its own, so it drew outside the clip.
The clip is now marked filled only when the fill adds the clip's first
child, and a fill that adds nothing leaves the mark as it was.
Tsume narrows a cluster before Optical kerning measures its pairs, so
Optical measured the narrowed gap and gave part of the space back.
Optical now measures each pair as it would be without the Tsume, as it
already does for Insert Aki, and the Tsume stays on top. Tsume records
what it took on the glyph for this.
With Show East Asian Options on, the Glyphs panel menu lists Traditional
Forms, Expert Forms, JIS 04, JIS 90, JIS 78 and JIS 83 Forms, Monospaced
Full-Width, Half-Width, Third-Width and Quarter-Width Forms, and Revert
To Default Forms. Each form draws the selected characters with the
font's OpenType feature for it (trad, expt, jp04, jp90, jp78, jp83,
fwid, hwid, twid or qwid). A form is checked when every selected
character has it and disabled when none of the faces that draw the
selected text, fallback faces included, has the feature.
The form is a new character attribute, glyphForm, one form at a time
(text.setFormat, text.setRangeStyle). It is saved only when set,
character styles carry it, and runs that differ only in their form
shape as one piece of text. SVG writes it in font-feature-settings;
PDF draws the glyphs from the layout.
When the last of the bounded breaks such a line reads came right before
U+2028, the line ended at that break and the next line held only the
forced break, drawing an empty line. The line now reads on to the
forced break and ends there when it fits as drawn.
tab_advance read the text after a tab up to the next tab for every
stop, though only right, center and decimal stops align it. The first
tab of a long paragraph read the paragraph to its end, even on a line
that stops reading a bounded number of breaks past its overflow. It
now reads that text only when it reaches a stop that aligns it.
Where a tabbed line with glyphs stepping back stops reading at its break limit on a soft
hyphen that ends the text, it now ends there without a hyphen, as a line that reads to the
end of the text does.
While a document's composite fonts are lent, type naming a composite font
the document does not define is set as in a missing font, even when the
front document or the document a placed document sits in defines one of
that name. A document that defines no composite font gets an empty scope
too, so a document in the back, a tiled window, a thumbnail or an export
made while another document is in front no longer borrows the front
document's definitions. A temporary document drawn while a document draws
keeps that document's fonts, and type laid out with nothing lent still uses
the registered ones.
- FontDb::composite_font looks only in the latest loan of the database.
- lend_composite_fonts lends an empty set at the top level when the
database holds composite fonts; lend_document_composite_fonts also lends
one inside another loan, for placed documents, back-document measuring
and threaded reflow on open.
- A loan that leaves out a registered font gets its own generation, so
layouts made with that font are not reused under it.
A radial gradient whose circles both have the same negative radius (as a
variable font's instance can give) draws no circle. A glyph painted with
only that gradient was read as no colour glyph, so layout drew its
outline instead. It is now colour art that draws nothing.
With Invert Wrap and a positive offset, a line's band was cut into at
most 64 pieces, and anchor cuts were dropped when a shape had more than
64 of them. Beside a notch the offset fills, a line could stop at the
notch instead of at the grown edge: 20 pt short beside a 0.5625 pt notch
with an offset of 1, and short beside sloped notch sides and tall bands.
The grown shape is now measured exactly: the shape near the band is cut
into trapezoids, each grown by the offset into a convex polygon, and the
line keeps the x at which those polygons hold every height of its band.
The work is capped; a shape that needs more steps than the cap, for
example one whose edges cross one another tens of thousands of times,
keeps the 64-piece measure, which keeps the line inside the grown shape.
A band of no height exactly the offset past a shape's tip now holds a
line too.
Once a right-to-left line holds a tab and a glyph with a negative
advance, the least it can be drawn at no longer grows with its tab
stops, so a line that overflowed in the order of its text read on to
the end of the paragraph before settling its break. Setting every line
of a long paragraph that way took time quadratic in its length.
Such a line now reads at most 256 legal breaks past where it first
overflows in the order of its text, and ends at the latest break read
that fits as drawn, the same limit the breaker uses for breaks it
measures one by one. Lines without negative advances, and lines that
fit, keep their breaks.
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