Pasted art whose svg.filter effect named one of the document's SVG filters
but drew another definition kept that name, so editing or deleting the
document's filter rewrote the pasted art's filter. Paste now renames such
a filter to a free name ("Soft 2") when the art comes from another
document or from SVG, and takes the document's filter when the art is
pasted back into the document it was copied from. Symbols, patterns,
brushes and graphic styles on the clipboard follow the same rule.
#6090 moved the pinned window width in
the_control_bar_shows_the_paragraph_alignment_of_the_selected_type from
1440 to 1536 pt, since the bar's right end now keeps room for the panel
menu button. The progress line still named 1440 pt.
A dimension selected with the art it measures became a plain group of
paths and text when Object › Expand, Object › Expand Appearance or
Object › Path › Outline Stroke ran, so it no longer redrew when moved
or restyled.
These commands now leave such a dimension's lines and label as they
are, also inside selected groups without fills, strokes or effects of
their own, and change only the other art. The dimension keeps its
export assets and variable bindings. When the new art no longer fits
the dimension's link, for example because the outlined stroke has
other anchors, the dimension stays where it was, no longer linked, as
it does when its art is deleted. Undo links it again.
When the dimension is all the command would change, the command
changes nothing and reports the error it gives for a selection with
nothing to change. Object › Expand… is no longer dimmed for the label
of such a dimension. A dimension selected without the art it measures,
a part of one, and one inside a selected group with an appearance of
its own still become plain groups, and Type › Create Outlines still
outlines the label.
Docs: docs/dimensions.md, docs/mcp.md, docs/target-app-parity.md.
The Dynamic symbols entry still said Edit Symbol expands the symbol's
own art. Since #5064, Edit Symbol opens symbol editing mode: every
instance stays linked and a dynamic symbol's instances keep their
changes for the objects the edited art still has.
Paragraph settings given to all of a graph label's text with
text.setFormat (indents, spacing, hyphenation, Justification options,
composer, direction, kashida, kinsoku, mojikumi, burasagari and the
rest) and the label's anti-aliasing method were lost when the graph
drew its labels again, because the graph kept only a character style
for each kind of label. Each kind now also keeps its paragraph settings
and anti-aliasing method, saved with the graph in its label styles, and
the graph still sets each label's alignment for its place.
The legend spaces its entries by the kept legend settings: Legend
Across Top measures each label with its indents and spacing, both
legend layouts make room for extra leading or paragraph spacing, and a
label with a negative indent or negative space before moves right or
down so it stays clear of its swatch and of the entry above it.
In horizontal type, tracking and manual kerning are now thousandths of
the em as the Horizontal Scale draws it: at 50%, a tracking of 100 adds
0.05 em after each character. They were added at the full em while the
glyph advances took the scale, so narrow tracked type drifted from the
page of users' .ai files letter by letter. That page writes such type's
character spacing as the tracking itself in a text space as wide as the
scale, which PDF scales by it (ISO 32000-1 9.4.4). Vertical type keeps
the full em: its advances down the column don't all take the scale.
vectorcraft_text::spacing_scale gives the factor. Shaping, inline
graphics and the Optical pairs use it, and so do the conversions from
points back to thousandths of an em: the automatic kerning the Character
panel reads and Touch Type's limits (glyph_em), Combine Point Text, and
PDF import, whose tracking is now the file's Tc. Scale Text Attributes
now keeps tracked type where a horizontal stretch drew it.
SVG export writes letter-spacing in thousandths of the font size it
writes (the vertical scale), so uniformly scaled type keeps its spacing
in a viewer.
Type with both a Horizontal Scale other than 100% and tracking or manual
kerning lays out differently than before, in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- PDF/X-1a, PDF/X-3 and PDF 1.3 files leave the layers they don't print
out of the flattening. A flattened group no longer takes the place of
art in a layer that doesn't print, so the art of a clipping layer over
such a layer prints, and art of a layer that doesn't print stays out
of the file.
- A flattened group goes into a lower layer only when that layer prints,
shows and is a template as the clipping layer does, the clipping layer
and the groups it leaves have no opacity, blend mode or isolation, and
the clipping path has no fill. Otherwise the group holds only the art
inside the clipping layer, drawn over the clipping path's fill and the
art below, and the art below is flattened on its own. Before, the fill
covered the group, the group lost the layer's opacity, or the clipping
path cut the art below.
- Transparent art that a clipping path hides entirely, such as one of
area type holding only a space, is removed. Before, the export failed
because the art kept its transparency.
Object › Flatten Transparency follows the same rules. Documents without
clipping layers or layers that don't print export the same bytes as
before.
A selected segment that path.insertAnchor splits stays selected as its
two halves. The new anchor is the end both halves share, so it moves
with them, and Delete cuts both halves. docs/mcp.md and the comment on
renumber_after_insert called it a direct-selected anchor; they now
describe it as an end of the halves that moves with them.
With Distort Appearance, the stroked candidate for type in an envelope
mapped from the type's bounds with strokes, which for a stroke on the
type's appearance (or on a group round it) reach as far as a miter join
may at a corner, the miter limit times half the weight. In users' files
the drawn art maps from the glyphs grown by what the strokes paint along
a side: half the weight of a centred stroke. The candidate now uses that
box. Character strokes keep the measure the type's bounds with strokes
already give them (they have no miter allowance), and other objects in
the contents keep their bounds with strokes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merges of main kept both sides of conflicting edits to the milestone
table, so M3, M7, M10, M11 and M13 appeared two to four times, each
copy with a different subset of later edits. Keep one row per
milestone. For M3, M10, M11 and M13 the kept row already contains every
statement in the removed copies. For M7 no copy held them all: the kept
row gains the Hyphenation and Justification clause that only the
second copy carried.
Before the Reshape tool had focal points it sent path.reshape without
focal or radius, and the command stretched an open path from the grabbed
point to its ends whatever the selection, and moved the anchors of a
closed path within half the diagonal of its bounding box with a
falloff. Such a step, in a saved action or a script, now moved a closed
path whole. A step without focal (or with focal null) and without
radius now plays by that earlier rule. The Reshape tool always sends
focal, an empty list included, so its drags keep the focal-point rule.
On a vertical path, an upright glyph is now placed in its column as
vertical point type places it, then the column is centered on the path.
- Its cell starts at its place on the path; it started 0.12 em earlier
with fonts whose cell top is less than a full cell above the baseline.
- A baseline shift moves it across the column instead of along the path.
- A horizontal scale widens it evenly about the column's center.
- A combining mark stays on its upright letter.
- The caret and the selection highlight span the column, half its em on
each side of the path, instead of the font's ascent and descent.
With Skew, 3D Ribbon and Stair Step on a path that runs to the left,
letters are a quarter turn counterclockwise from upright glyphs: Skew and
3D Ribbon mirror both kinds there, and Stair Step keeps letters level. The
test, the progress doc and the params text of Tate-chu-yoko Settings now
state these conditions and the block's directions on a path.
Taha-Mahmoodi