The status bar said "Opened with 1 note(s)", "Saved <path> with 1 note(s)",
"Discarded 1 recovered document(s)" and "Restored 1 recovered document(s)",
and the Global Edit options showed "Result(s): 1". They now use the singular
for 1 and the plural otherwise, in English through i18n::msg_n and in every
catalog through @msgplural rows (the Results line through an @plural row).
The engine's warnings for linked images and placed documents output as their
previews, and its errors for a page past a placed file's last page or
artboard, also name their counts in the singular or the plural.
The catalogs drop the rows no message reads any more: the plain "(s)" rows
of the changed messages and the @msg row for "Packaged {n} file(s){note}".
Follows #5002.
Reading a pattern library adds no pattern or swatch to the document. A
pattern added from it undoes and redoes with its swatch, and both are
kept after a save and reopen.
swatch.library.add looks for the library's pattern among the document's
patterns of that name or a numbered copy of it, instead of importing it
into a copy of the document. Only a swatch that paints with the pattern
unmoved counts as the pattern's swatch, so a swatch whose pattern was
moved in its space is not reused and applied in its place.
Window › Swatch Libraries and the Swatches panel's library menu get a
Patterns submenu with Geometric Patterns, a built-in library of eleven
black pattern swatches drawn in code (dots, stripes, a checkerboard, a
grid, diamonds, triangles, crosses and a zigzag).
- Clicking a pattern in its library panel adds the pattern and its
swatch to the document and applies it to the active fill or stroke
(Alt: the other one), as one undo step. A second click reuses the
swatch; a different pattern under the same name keeps its name and
the library's pattern comes in numbered.
- swatch.library.list lists the pattern libraries after the gradient
libraries (category "patterns"), and swatch.library.add brings a
pattern swatch's pattern as pasting art painted with it does.
- The library panel draws each pattern tile from the library's pattern.
- "Geometric Patterns" is translated in every catalog.
A bin table that lists more than 100,000 runs of character or of paragraph
properties is refused while its pages are read. Every paragraph now counts
against the 100,000-paragraph limit, hidden and deleted ones and those in
field instructions included, and so does every line break. The properties
of the styles and of the property runs are read from one budget of 16 MiB,
and a document with more is refused.
Text inside a field's instructions is found with a count of the fields
open in their instructions instead of a search of the open fields for each
character.
Stshif.cstd counts the LPStd records of the style sheet and must be less than
0x0FFE. A sheet that ended before cstd records was read as far as it went, and
paragraphs in the missing styles were placed with the document defaults; a
cstd of 0x0FFE or more was cut to 0x0FFE. Both are now refused as a damaged
style sheet.
A paragraph style can set a logical start or end indent and the paragraph
itself only a physical left or right one, or the other way round. The
indent applied last now holds, after the sides are mapped for the
paragraph's direction; before, the logical indent always held, so a
paragraph's own indent was lost under its style's.
Each style's formatting is now worked out once, on top of the style it
is based on, and each property run's formatting once, so a document with
many hidden paragraphs or long style chains no longer resolves the
chains again for every paragraph and run. Character styles are applied
as a change to the paragraph's formatting.
A bin table whose file positions do not rise, a property page listed
twice, pages whose runs overlap, and styles based on each other in a
loop are refused as damaged, as MS-DOC requires (PlcBteChpx, ChpxFkp,
StdfBase). Property runs refer to their page instead of copying it.
dataset.import and variable.loadLibrary added an undo step, cleared Redo
and marked a saved document modified even when the variables and data
sets came out as they were, such as the same CSV or library loaded
again. Both now build the new variables on a copy and record a step only
when it differs. variable.loadLibrary's params text and docs/mcp.md say
so.
dataset.import read two header cells that named one variable (City
and City, or Shown and #Shown) into the same column, so each row kept
only the last non-blank cell and the other value was dropped without a
word. The import is now refused with the two column numbers, and the
message has a row in every complete-message catalog.
dataset.import replaced the reason for a refused cell with "value for
`X` must match its variable kind", so a visibility value such as
maybe and a graph value over 262,144 bytes gave the same message. The
error now keeps the line and gives the reason, and both messages have
a row in every complete-message catalog.
dataset.export checked only the 1 MiB size, so a document with more than
1000 data sets or 256 variables exported a CSV that dataset.import then
refused. Export now refuses such a document with a message naming the
limit, and the messages have rows in every complete-message catalog.
Undo, Redo and a canceled undo group put back an earlier document but
left the Variables panel highlight as it was. After renaming the
highlighted variable and undoing, the highlight still named the new
name: a variable defined later under that name showed highlighted
without a click, and Delete removed it.
Each of these paths now clears a highlight whose variable the restored
document does not define, as Delete Variables and Load Variable Library
already did.
A curve rejected for having more than 256 segments now counts the most points a curve may have against the document's pressure points, so linking it from many strokes reads it a bounded number of times. Once the points are used up, later strokes import as plain strokes with a warning.
A version 7 text object has no arbitrary-angle character rotation: its
character attributes include baseline shift (Ts), scaling (Tz) and
tracking (Tt), Tv only turns Roman characters 90 degrees in vertical
text, and the positioning operators such as Tm are ignored on reading.
Type with Character Rotation was written as editable text with the
rotation left out, so rotated characters opened upright.
Such type is now written as its glyphs' outlines, the way type 8-bit text
can't hold already is, with the warning "type with rotated characters is
written as outlines, which keep the rotation, and is no longer editable
text". The outlines keep each character's rotation, baseline shift and
scale. Type without rotated characters, and type turned a whole number of
times, is still written as text.
Docs: docs/file-format-parity.md, docs/mcp.md, docs/target-app-parity.md.
A gradient of one spot ink's tints and paper white is written as a
Separation shading in that ink, with each white stop at 0% of it. A
white stop linked to a swatch that is not a spot color (a global White
swatch, for example) did not count as paper white. In an RGB document
the spot ink was then dropped: a Classic gradient was written in the
stops' own colors, and a Perceptual one was exported as an image in
process colors.
Such a stop now counts as paper white in the Separation and DeviceN
paths and in the checks that pick them, as an unlinked white stop does.
A stop linked to a white spot color is still a stop of that ink.
An override on a dynamic symbol instance names an object of its symbol's
art by path. Replace Symbol kept every override whose path the new
symbol's art also had, so a change made to one object of the old symbol
was applied to an unrelated object of the new one. An instance given a
different symbol now drops its overrides; an instance replaced with its
own symbol keeps them. Undo brings them back.
- Each segment of a pressure curve is also sampled where its width stops
rising or falling, so a dip between the regular samples of a long
curve is kept. The segment's values are scaled into -1..1 before that
is solved, so huge values in a file can't overflow it.
- A curve counts as full width only within 1e-9 of it, so a curve just
under full width keeps its profile.
- The pressure points of all strokes in one read are limited to about a
million, as for characters and table cells. Curves at full width count
too, and once the limit is reached no more curves are read; the
strokes past it are imported as plain strokes with a warning.
An Affinity stroke shaped with the Width tool stores its pressure curve
(LDeP: position along the path against width). The importer warned and
drew the stroke at full width all along.
- The pressure curve is read and sampled into the stroke's width
profile (2 to 8 points per segment, 256 segments at most, widths up
to the full weight). A curve at full width all along stays a plain
stroke; one that can't be read is warned about.
- Brush strokes keep their own warning.
- The pinned Affinity 3 signatures for the five corpus files with such
strokes are updated.
Dropping rows with neither a label nor a value read the data padded to
the widest row, so a dropped row wider than the rest (`,,`) left every
kept row one blank cell wider. The graph then had an extra blank series,
and a right-axis assignment to that index was kept. Each kept row now
keeps its own width. This applies to graph.setData and to a graph
variable's data set.
With the clipping path of a clip group or a clipping layer selected, or a
member of a compound path that is the clipping path, Paste in Back put the
clipboard's objects below it. The bottom pasted object then became the
clipping path. With nothing selected in a clipping layer, Paste in Back did
the same at the bottom of the layer.
Paste in Back now puts the objects right above the clipping path, as Send to
Back keeps art above it.
Applying a data set wrote a text value into the bound frame only, and the
thread's reflow then joined it with the other frames' old text. The art no
longer matched the row it had just applied, a captured row applied back lost
text, and a value bound to a later frame deleted the rest of the story.
- A text value bound to any frame of threaded text replaces the whole story,
which then flows through the frames again. `overflow` names the story's
last frame.
- Capture Data Set, Update Data Set and the Variables panel's match check
read such a frame as the whole story, frames joined in thread order.
- When any frame of the story is locked, the text value is skipped and
counted in `skipped`, and the story is not read.
- Two text variables bound in one story apply in definition order, as for
two on one object: the one defined last wins.
Docs: docs/mcp.md.
variable.lock's params text and the doc comment on Variables::locked said every
dataset command still runs while the variables are locked. dataset.import is
refused when its header would define a variable; both texts now say so, as
docs/mcp.md and dataset.import's params already do.
Choosing a data set gave a graph variable's CSV to the graph without the
two steps graph.setData takes after new data: rows with neither a label
nor a value were kept and drawn as empty slots, and a right-axis series
the new data no longer had stayed assigned, so a series added by a later
row started on the right axis. The data set now goes through the same
steps.
variable.rename and dataset.rename checked whether newName was taken before
checking that name exists, so renaming a missing name onto a taken one said
the new name already exists. Both now report the missing name first.
With a member of a compound path selected, Paste in Front and Paste in Back
put the clipboard's objects next to that member, inside the compound path,
whatever they were. A pasted group, compound path or type object then sat
inside a compound path, which holds only paths. The model-based test
`random_command_sequences` stops on this with "compound #N has a non-path
child".
When the clipboard holds anything other than paths, the objects now go
right above or below the compound path. Paths still go next to the member,
inside the compound path.
The color sliders now mark the row they edit with `model: "new"`
instead of a dialog-wide flag, and `recolor.apply` reads a row's own
`model` before the command's. Rows the sliders did not edit keep each
color's model, so with RGB art and a CMYK color group, a slider edit of
one row no longer turns the other rows' art CMYK. Another edit of the
row's new color, Reset and rows reduced again remove the mark, and
`recolor.randomize` moves it with its new color.
A wheel drag or a harmony rule on the Edit tab now removes a row's tint
when it gives the row another new color, as the color sliders, the hex
field and the Color Picker already do. With Limit to Library, an edit
that snaps back to the row's own color keeps the tint.
recolor.randomize moves each row's tint with its new color when it
shuffles the order, and removes the tint from a color that saturation
and brightness changes.
The Assign tab gets a Color Mode menu (HSB, RGB, CMYK, Lab, and Tint when
the row's new color is a spot color of the Limit to Library library) and
its sliders under the rows. They edit the first selected row's new color
and are disabled with no row selected. Once they have edited a color in a
mode, the preview and OK send recolor.apply with model "new", so the art
takes the color in that mode.
recolor.apply rows take an optional tint (percent, default 100): art linked
to the row's global or spot library swatch takes that share of its tint.
recolor.randomize keeps a row's tint.
Object > Plug-ins > Color Effects > Find Nearest Swatch... picks a
library (the document's swatches, a built-in library, or a library or
colour book the user saved or loaded) and Fill and Stroke, and lists
each colour of the selection with its three closest swatches and their
CIEDE2000 difference. Apply gives each colour its nearest swatch as one
undo step.
- addon.color.nearestSwatch (a query): the closest swatches of a
library to each colour of the selection's fills and strokes (solid
colours and gradient stops, inside groups and type), or to a colour
given, with deltaE; count 1..50.
- addon.color.applyNearestSwatch: recolours those paints (and gradient
meshes) to their nearest swatch; global and spot swatches link, and a
library's swatches the colours take are added to the document first
(as swatch.library.add adds them), so a spot colour stays spot.
- The library picker Image Trace's Document Library uses moves to the
Swatches panel module and is shared.
- No colour book data ships: only libraries VectorCraft computes or the
user loads are searched.
Each format's copy options are given in full, so no remembered option
applies: PDF and .ai copies write every page (range all), SVG copies
the art of every artboard in one file (useArtboards false), native,
.ai and EPS copies include linked files' data.
Each copy is saved with images embedded and artboards together, so a
document last saved with linked SVG images writes no image files beside
its copy; any other file a save reports is reserved for the copies still
to come.
A Perceptual linear or radial gradient that mixes spot colors with each
other or with CMYK or gray stops was written as an image in process
colors. It is now written as a DeviceN shading of its inks, with the
stops on its Perceptual curve: at each one, the inks of the two stops on
either side are mixed at the weight where the two colors mixed in
display RGB have the OKLab lightness of the color on the curve.
- Gradient::ink_mixes gives the curve's stops as weights between stops,
under the same 4,096-stop limit as ink_tints.
- Perceptual gradients that mix a spot color with RGB or Lab stops,
dithered fills and freeform gradients stay images, and the warning
now names those cases.
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