Cancel on a pattern that Make created for the edit now removes every
swatch of it, a color group's included, and turns every paint of it
left in the document into no paint: art outside the editing layer,
opacity mask art, type runs, symbol definitions, graph designs, other
patterns' tiles (a copy Save a Copy made included), graphic and
character styles, brush art, and the fill, stroke and appearance new
art takes. Delete Pattern clears its paints in the same places, and a
Pattern Options rename renames them there; both reached only the
layers before. Delete's `unpainted` counts the document paints it
cleared.
Cancel after a Pattern Options rename during the edit gives the
pattern its old name back with its swatches and paints, unless another
pattern, swatch or color group has taken that name; before, the
definition went back to the old name while its swatches and paints
kept the new one.
Undo and Redo restore new art's paints with the document, including
the appearance inherited from the selection with New Art Has Basic
Appearance off. A rename preview that is replaced or canceled starts
again from the paints the interaction began with, and a canceled
preview takes the selection's appearance again.
The symbol instances the picker reads now share one limit of 16,000,000
placed objects, charged through charge_symbol_art and counted as the
renderer counts them, so deeply nested or heavily repeated instances
stop there. An instance whose art would pass the limit is left out with
its own paints, as the canvas draws none of it. Pattern tiles carry the
count in and out, and their art is read one level deeper than the
object the pattern fills, so a chain of patterns shares the depth limit
with the art around it; a pattern cut short there is read again where
it is used less deep.
The pixels read inside clip groups are now tested against at most
4,000,000 clipping-path elements in all. The clipped reads of one image
share the work, a read outside clip groups keeps its own pixel budget,
and when the work left can't test a pixel of every clipped read, the
reads that fit are kept in order and the rest are left out.
ImageBlob::sample_pixels takes a pixel budget for each pick.
A drag with the right or middle button on a Layers row could move or
copy the row, and the same drag on a guide row, the selected-art
square, the eye or lock column or a target circle moved the guide or
the art, swept visibility or locks, or transferred the appearance.
Each of these drags now starts only with the primary button, as the
Artboards panel's row drag does, and the grab cursor follows the
primary button too. A right-click still opens the row's menu.
The new test drags each of the six sources with the secondary and the
middle button, checks that no drag payload is held and that nothing in
the document or its undo steps changes, then drags the same path with
the primary button to show the drop target takes it.
docs/ui-parity.md and docs/target-app-parity.md listed the distance and
angle readouts while drawing as missing. With Smart Guides > Measurement
Labels on, the Line Segment tool labels the segment being drawn with its
distance, angle and X and Y offsets, and the Pen, Curvature and Smart Pen
tools label their rubber band the same way (#2983). The Measurement
labels row is marked done, the two dimension rows drop the gap, and the
Drawing aids entry describes the labels.
locate_within measured every boundary edge of the mesh at full accuracy
for each lookup, including points well inside the mesh. It now skips an
edge whose control points all lie farther than the distance it is
looking for: a millionth of a point for the outline, or the tolerance
for a point outside.
An Alt-click on an end of a selected open path makes that end the current
point without converting it, so the next click extends the path from it.
This applies to the other end too while one end is current; a plain click
there still closes the path. Alt-click on any other point still toggles it
between smooth and corner, and a double-click toggles any point, ends
included. An Alt-click that starts a new path places a corner point, as
later Alt-clicks do.
Changed behavior: an Alt-click on an end of a selected open path no longer
converts it; double-click converts it.
Help page: https://helpx.adobe.com/illustrator/desktop/draw-shapes-and-paths/draw-shapes/draw-shapes-with-the-curvature-tool.html
Follow-up to #6887.
- file.new installs the color profiles a New Document profile's file
carries when they are missing, as document.open does, so the new
document's assigned profile draws and a save embeds it. A color
profile that can't be used is listed in the result's `warnings` and
shown in the status bar.
- The new document's links find their files through relative paths
from the profile's file (`links_from`), as
edit.newDocumentFromState sets it.
- When the read roots leave out the profiles folder, profileError's
reason no longer names the folder's path.
A geometry effect on a symbol instance's topmost fill now reshapes the
filled shapes of the symbol's art, and one on its topmost stroke reshapes
the stroked shapes, keeping their colors, strokes and other detail. Only
a visible topmost fill or stroke with an opacity above 0 counts. Clipping
paths, guides and opacity-mask art keep their shapes; a group's own fills
and strokes in the art take the effects; a nested instance passes them on
to its own art, except one whose symbol holds the outer symbol.
The canvas, Use Preview Bounds and the drawn bounds, SVG and PDF export
and Object > Expand Appearance use the same art. Expand Appearance is
enabled for such an instance and turns it into an editable group in one
undo step. Bounds measure the art with a dynamic symbol's overrides, as
the canvas draws it.
Existing documents with a geometry effect on a symbol instance's fill or
stroke draw differently: before, the effect drew nothing.
The Colour, swatches, gradients, patterns, mesh, recolor row of
docs/target-app-parity.md now lists the outline fix and its two tests.
Score and hours are unchanged.
A 3D effect left an image in a clipping group out only when the image's
box missed the clipping path's box. An image in the corner of a round
clip's box, a turned image whose box reaches a clip but whose frame does
not, an image in an even-odd hole, or one inside each of two nested clips
but outside the area they show together was refused with the Image Trace
message, although it draws nothing.
The image's frame, the pixel rectangle as its transform places it, is now
cut to every clipping path around it in turn, each with its own fill rule,
and the image is left out when nothing is left. An image the clips show
any part of, a strip narrower than a hundredth of a point included, is
still refused. One effect's art cuts image frames at most 1,024 times;
past that, or when a cut fails, the art is refused.
The release frame's shortcuts run before the bar is drawn, with the
button already up, so they missed the drag and the Escape also reached
the active tool. The drag now counts as going on in that frame too.
A point exactly on a gradient mesh's outline located on the top and left
edges but not on the bottom and right ones, where the nonzero winding
number is 0. object.mesh.addLine and Create Gradient Mesh at a point there
reported the point outside the mesh, and the Eyedropper did not sample it,
while the hit test selects the mesh there.
locate_within now takes the nearest point of the edge for a point within
a millionth of a point of the outline, with any tolerance, and returns
nothing for a point that is not finite. A point just outside still needs
a tolerance.
A right-click on a row of the Artboards panel opens a menu with Rename,
which opens the Rename dialog (artboard.rename) for the selected
artboards: OK names them in one undo step, numbered in panel order when
there are several, and Cancel renames nothing. A right-click on a row
that is not selected first makes its artboard the active one and the
only selected one; on a selected row the selection stays.
A drag with the right button no longer moves a row: only the primary
button starts a row drag.
A value that nests past a command schema's 16-level limit was reported
as an internal error ("please report this bug"). It is now a parameter
error that names the value's path, like the schema's other refusals; a
schema that is wrong in itself is still an internal error.
The schema check now also refuses a list of ids or a point inside 16
lists, since every value of those types is a list and the value check
refuses a list at that depth. A color there still takes a string.
Docs: docs/mcp.md, docs/target-app-parity.md.
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>
With a 3D effect on one fill or stroke, the object's other fills and
strokes were drawn as nonzero paths, so an even-odd compound path or
path filled its holes in them. Extrude & Bevel, Inflate, Rotate,
Revolve and their Classic kinds now draw those items with the source's
fill rule, through the group code's shape_node helper.
`cargo clippy --target wasm32-unknown-unknown -p vectorcraft-ui-egui
-- -D warnings` stopped twice. In vectorcraft-text, MAX_FILE_SEARCHES
is used only by the system font search, which is not compiled for
wasm32, so it was dead code there. In vectorcraft-ui-egui, Runtime
holds only manual_window_open and status_message on wasm32, and the
hand-written Default set them to false and None, so clippy's
derivable_impls stopped the run.
- MAX_FILE_SEARCHES is compiled only for targets other than wasm32,
like the SysFallback struct next to it.
- Runtime derives Default on wasm32, and the hand-written Default,
which creates the updater, is compiled only for other targets.
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.
The status bar shows a failed script run as one line: the script's
name, the line and column (and the included file), the error and the
kind of failure, with any files the run left written. No catalog had a
row for that line, so the whole line stayed in English. The errors of
File, Folder, vc.run, $.evalFile, a script's $ object, its alert,
confirm and prompt dialogs, vc.document, vc.log, the limits a run can
pass and Drop Script Engine had no row in any complete catalog either,
and several were not listed by the untranslated-strings report.
- Every complete-message catalog has rows for these errors and for the
failed-run line at each place and for each kind (syntax, thrown,
limit, stopped, internal). The script's name, paths, numbers, code
names ($.flags, File, answers, true, null, UTF-8), command ids and
the text a script throws itself are kept.
- A failure with no line and column, such as an error in code eval
compiled, is shown with one colon after the script's name
("t.js: TypeError: no (thrown)" instead of "t.js:: TypeError: no
(thrown)").
- A placeholder that occurs twice in a message template matches only
the same text both times. Before, "{name}: the next answer in
`answers` is for {_1}, not {name}" matched a whole failed-run line
and dropped its line, column and kind.
- The message scan reads the script host's fail(, value( and .over(
helpers and the script interpreter's errors (the js crate), skips
*_tests.rs files and cfg(all(test, ...)) modules, and reads a
constant's text from the file or crate that declares it, so the
Scripts menu's headers are no longer listed as messages.
Tests: i18n::tests::script_errors_are_translated,
script_host_errors_are_translated,
a_repeated_placeholder_matches_the_same_text,
message_scan_reads_constants_of_the_file_and_its_crate,
message_scan_reads_script_interpreter_errors,
message_scan_skips_test_modules_with_any_test_cfg,
tests::script_run::an_error_without_a_place_names_the_script_and_kind.
Don Omondi