The Paragraph panel's Mojikumi Set lists None, YakumonoHankaku,
GyomatsuYakumonoHankaku, GyomatsuYakumonoZenkaku and YakumonoZenkaku,
then Line-end Punctuation Half Width, and text.setFormat {mojikumi}
takes yakumonoHankaku, gyomatsuYakumonoHankaku, gyomatsuYakumonoZenkaku
and yakumonoZenkaku besides none and lineEndHalf.
The spacing of each set is VectorCraft's own rule, built on the help
page's one-line description of each set:
- YakumonoHankaku sets every bracket, comma and full stop half width,
takes a quarter em off each side of a middle dot, and puts a quarter
em between Japanese and Latin letters or digits.
- GyomatsuYakumonoHankaku keeps punctuation full width inside a line,
sets an opening bracket starting a line flush and a closing mark
ending it half width, and takes the quarter em after a middle dot
ending a line off.
- GyomatsuYakumonoZenkaku keeps punctuation full width and adds the
quarter em between Japanese and Latin text.
- YakumonoZenkaku sets characters as None does.
Both composers and vertical type measure each line as it is set. A
right-to-left paragraph, whose line ends are measured untrimmed, also
draws them untrimmed, and a right-to-left line that ends between a
Japanese and a Latin character is measured without the quarter em the
set adds there. With a Desired glyph scaling other than 100%, the
space a set takes off before an opening bracket or middle dot, and the
Japanese-Latin space recorded at a line's end, scale with the glyph.
The sets save with the document and paragraph styles; new type and
Reset Panel keep Line-end Punctuation Half Width. SVG export lays type
with middle dots out again for its positioned spans. A .ai save
reports a paragraph with one of the new sets as left out.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md,
docs/gaps.md.
- The link watch and links.updateChanged look at a DCS file's plate files
of their own, so a changed plate file is read again.
- links.update and links.relink apply the file's clipping path to the
images in symbols, graph designs, patterns and masks too. When the new
file has no clipping path, a clip group holding the old file's clipping
path loses that path and stays as a plain group of the image, keeping
its id, name, visibility and transparency. The image keeps that path with its plates to tell it from a
clipping mask made in the document; a clipping path given another fill
rule in the document stays. An even-odd clipping path in the file is
kept as the same area under the nonzero rule.
- links.update and links.relink return the swatch warnings file.place
gives, including two files that add one ink in two colors.
- links.relink with copy fails for a DCS file with plate files of its own.
- file.place answers the image id of a clipped DCS placement as image,
and checks page and crop for a DCS file as it does for an EPS file.
- Print separations and Separations Preview take a spot plate's color
from the document's swatch of its ink, and a reduced image's plates
keep their coverage.
- Show DCS Transparency Interactions counts a transparent DCS image and
characters filled or stroked with a transparent gradient.
- %%PlateFile names keep their spaces, and header bytes that are not
UTF-8 are read as Latin-1.
- A plate program that draws more than one image, art besides its image,
or its image through a clipping path is an error naming the plate
instead of printing the wrong ink.
- Nested clipping paths around the composite clip the image together.
- A kept image with more plates than are read, or more TIFF directories
than its composite and plates, is the CMYK image of its composite
only, not a set of plates cut short.
- swatch.unused counts a spot or process swatch as used only while an
image the art shows has a spot plate of its name.
Type read from a text document's font record was set in whichever installed
face first answered to the record's PostScript name (ignoring case and
punctuation), and its family was then swapped for any available family
spelled alike but for case and punctuation (`FontDb::find_family`): a record
naming `SampleInk`, the PostScript name of `Sample/Ink`, set its type in
`SAMPLE INK`. Copies of one family and style under other PostScript names or
versions were not told apart either, so the type could set at other widths
than the file's own page.
- `named_font` / `document_font` (crates/eps/src/import/text.rs) give the
family and style of the installed face of exactly that PostScript name,
else one that differs only in case or punctuation, and name its version
when the family and style alone resolve to another installed copy.
- The font record's key 5, its version string (name ID 5), is read and picks
that version among the faces of the name. Each record is resolved once.
- `FontDb::postscript_faces` lists every installed face a PostScript name
answers to, loading their families; the import prefers among them one of
exactly that name.
- Type a PostScript program sets (EPS import) and legacy .ai type take the
face of their font's name the same way.
- The .ai save writes a static font's version (`/5`) when its PostScript name
alone would give the reader another installed copy (another version, or the
same name in another family), keeps the version in the style it compares,
and checks that the type comes back in the same family, style and face,
taking the record's version as the reader does (up to 256 bytes), so such
type round-trips without a note.
Measured on 224 users' files (used locally, never committed): 16 files set
some type in another face; 12 render differently against their own page,
10 closer and 2 further by 0.03% of the page; envelopes of type that open
live go from 154 to 159, none fewer in any file; no file opens another way.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The three envelope ink tests set "Type" in the default family and
unwrapped ink_bounds(). Without bundled fonts, craft-fonts or system
fonts (vectorcraft-effects' tests on a bare Linux host), no face draws
and the effects test panicked at the unwrap.
Each test now adds the Heighttest Sans face built from the bundled
Source Sans 3 (test-fonts feature, now also on vectorcraft-effects'
dev-dependency), sets the text in it, and computes the expected box
from the layout's glyph outlines. It checks that envelope_ink gives
that box as well as the before and after registration boxes, so a
change to the registered measure fails the test.
Paragraph panel menu > Bunri-Kinshi (with the East Asian options) and
text.setFormat {bunriKinshi} turn it on per paragraph. A line then
never breaks inside two em dashes, two horizontal ellipses, two two-dot
leaders or the two halves of a vertical kana repeat mark, the pairs W3C
JLREQ lists for class cl-08 (https://www.w3.org/TR/jlreq/#cl-08), nor
inside a chain of em dashes. Both composers, vertical type, Kinsoku
Shori Type, hyphenation and No Break follow it, and a pair wider than
the line stays whole on it. Justification and letter spacing add no
space inside a pair.
The setting works only with a Kinsoku Set: with Kinsoku Set None the
paragraph keeps the value without effect and the menu item is
unavailable. It is off by default, saved with the paragraph only when
on, carried by paragraph styles (Paragraph Style Options > East Asian
Composition Settings), and turned off by Reset Panel. A value that is
not true or false is refused. The .ai editing data has no field for it,
so saving reports a paragraph with it on and a pair in it as left out.
Docs: docs/mcp.md, docs/target-app-parity.md.
Twist was read as a live effect only on an unstroked path or compound
path whose segments were all straight, and on those at any angle.
- A curved path or compound path, or a group, with nothing stroked and
no guide in it now opens with its Twist live when the twist is at
most 90° either way. Larger twists on these keep the file's drawn
look. The 90° limit is VectorCraft's own.
- Paths and compound paths with straight segments and nothing stroked
keep their Twist live at any angle, as before, guides included.
- Stroked objects keep the drawn look, as before.
- .ai save keeps a link to a Twist graphic style on the objects the
reader reads it on, and leaves it out, with the style-link warning,
on the others.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
Plain RGB fills and strokes and RGB gradient stops were written with
their display RGB values. The reader reads those values as working RGB,
so with a working RGB space other than sRGB a reopened file was saved
with different RGB values and CMYK equivalents. They are now written
with the color's own RGB values, as global process and spot colors
already were.
A spot color in a gradient stop now writes its RGB values from its full
color as the palette writes it (Lab to four decimals and clamped), the
same values its CMYK equivalent comes from.
many_tiling_patterns_and_spot_inks_read_in_linear_time checked that a
program setting 200,000 different tiling patterns and 200,001 spot inks
reads within 20 s of wall-clock time. It reads in about 4 s alone; while
the crate's full test suite ran in parallel it took more than 20 s and
failed.
In test builds, the tiling pattern lookup now counts on its thread how
many patterns it compared with the one it looked for (tilings_compared,
gated with cfg(test) like SELECTOR_TESTS in the SVG reader's CSS). The
test, renamed many_tiling_patterns_are_found_again_through_a_hash, reads
through import on a thread of its own and asserts that its 200,000
lookups compared at most 200,000 patterns in all. When every pattern
hashes alike, as when each lookup went through every pattern made so
far, the lookups compare 19,999,900,000 and the test fails. The test
still reads the 200,001 spot inks and checks their swatches, but it does
not count or time their lookups.
The other tests that read through read_soon wait 300 s instead of 20 s,
as a guard against a read that never ends; their budgets and limits
decide what they check. work_on_the_longest_dash_pattern_ends_soon (4.5 s
alone) now also checks that the states gsave, grestore, gstate,
currentgstate and setgstate save, make or set hold the one 65,535-entry
dash pattern, so a copy of the pattern in any of them fails it.
File › Place with Link reads a DCS 1.0 or 2.0 file (an EPS file whose
header names one EPS program per printing plate) as one linked image of
its plates. Each spot plate adds a spot swatch in the CMYK values the
file gives, and the clipping path the file's composite is drawn through
clips the image. document.open, file.place without link or from bytes,
and links.embed refuse a DCS file and change nothing.
- The screen, composite print and exports show the plates mixed into
CMYK. Separations Preview and print separations show each plate on
its own ink; a spot plate prints as its CMYK values when spots print
as process.
- links.list answers the format DCS, and with dcsTransparency marks the
DCS images that are transparent or overlap transparent objects (the
Links panel menu's Show DCS Transparency Interactions).
- swatch.unused leaves out a spot swatch while a DCS image has a plate
of its ink.
- links.update and links.relink read the plates and the clipping path
again, and the link shows as modified when one of its plate files
changes or is gone.
- The plates go on the first plate's pixel grid, grown to hold every
plate where it prints; a plate of another size or position is
resampled onto it.
- A file may name 64 plates, a plate file may be 1 GB, and the plates
together may hold 512 MB of ink amounts. A file naming more plates is
an error.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/file-format-parity.md.
In a CID-keyed font whose CIDFont the file only names, a cshow procedure
now runs with the CIDFont as the current font, rootfont gives the
composite font, and the procedure gets each code's last byte. A show in
the CIDFont shows the character of that code, and any other string is a
rangecheck error. The current font is restored after each procedure.
A kshow procedure no longer leaves a font it sets current: the current
font is restored when the procedure completes, for every font, and a
kshow the procedure runs sees the font the procedure set.
In GBT-H and CNS2-H, whose mappings are not read, a byte that starts no
row-and-cell code is a code of its own.
docs/gaps.md dates this G9 work in a bullet of its own.
With Size 0, Roughen moved no point but still replaced each segment
with its Detail's points joined by straight lines (Corner) or by a
smoothed curve through them (Smooth), so a curved path lost its shape.
At Size 0 each segment is now split at the Detail spacing into pieces
of equal length on the segment itself, with `pathtools::insert_at`: a
straight segment gets corner points without handles, and a curve gets
smooth points whose handles follow it. The path keeps its outline with
Smooth or Corner points alike. The params text of `distort.roughen`
describes size 0.
`insert_at` now counts the anchors added before each returned mark in
one pass. It counted them again for every split segment, which took
quadratic time on a path with many split segments. Its results are
unchanged.
Existing documents with a Roughen of Size 0 on a curved path, or with
Smooth points, draw differently.
This is VectorCraft's own rule. What Roughen does is described in
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
BFlat