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
With a Shaper Group or one of its faces selected, a Shaper click within
3 screen pixels of one of the group's original shapes' outlines enters
Construction mode with that shape selected, also where the outline runs
through a merged face. shaper.select takes a tolerance in points
(default 3, at most 1000); hidden and locked shapes are skipped, and a
Shaper Group above the selected one still takes the click.
The new General preference Show Bounding Box While Moving and Drawing
(`boundingBoxWhileMovingAndDrawing`, off by default) keeps the bounding
box and its handles visible during two kinds of drag, with View › Show
Bounding Box on. While a drag moves the selection (a Selection tool
move, an Alt-drag copy, or a shape tool's move by the center point),
the box is drawn where the drag has moved the selection. The box is
measured once when the drag starts and offset by each step's move.
While the Rectangle, Rounded Rectangle, Ellipse, Polygon and Star tools
draw a shape, the box is drawn around the shape. A rotation and a
widget drag still hide the box until the release. The Line Segment
tool, the Pen, the Pencil and the Paintbrush draw no box.
With the preference off, the box hides during a move (#737, for #712)
and while a shape is drawn (#5839), as before. A Selection tool move
with Real-time Drawing off still moves the box with the pointer, and a
shape tool's move by the center point hides it in both modes.
With Real-time Drawing off, the box of a shape being drawn is measured
from the pending preview, in the color of the layer the shape goes on.
A shape being drawn shows no box until a preview step has succeeded,
so a failed preview does not show the box of the selection from before
the drag. The preference's label has a row in every catalog.
Session::deferred_move() is replaced by Session::move_drag_box(), which
returns the moved box, and Session::deferred_transform_box() now also
returns the layer color of the box.
Docs: docs/mcp.md, docs/target-app-parity.md.
A linear, radial, conic or diamond gradient has a spread: Pad (the
default, as before), Repeat or Reflect, with a count of 1 to 100
(VectorCraft's own limit). Repeat and Reflect run the stops that many
times along the vector (around the turn for a conic) and keep going past
both ends, Reflect running every other run backwards, as SVG's
spreadMethod does.
The Gradient panel has a Spread menu and a Repeats field, and the
Gradient tool marks where the runs meet. paint.setFill and
paint.editGradient take `spread` and `repeats`; bad values are errors.
Presets, swatches, blends, strokes along or across a path, Outline
Stroke and Object › Expand follow the spread; Expand gives each run the
same whole number of objects, and Outline Stroke's mesh keeps the color
on each side of a sharp step between two stops at one offset.
SVG writes and reads spreadMethod: SVG import now reads a repeating or
reflecting gradient as one that repeats or reflects once, instead of
expanding its stops over the shape. CSS writes repeating gradients.
PDF writes a conic's sweep shading over one run. PDF, EPS, legacy .ai
and the .ai editing data write the other kinds with their stops
repeated across the shape: at most 256 runs and 16,384 stops (256 stops
in .ai files), and for a radial or diamond no farther than 65,536 runs
from its center, with a warning past those. PDF import now finds sharp
steps in any axial or radial shading instead of blurring them.
Docs: docs/mcp.md (Spread), docs/target-app-parity.md, docs/gaps.md.
The drag chose its place from the point of the path nearest the pointer, but counted each point as
farther by half its distance along the path from the last one. On an open path that turns back on
itself, the object then stayed at its place while the pointer was over another object's ring 10 pt
away. The drag now uses the point nearest the pointer. Where the path passes as near the pointer
more than once, as where it runs back over itself, the drag follows the part nearest along the path
to where it was.
With one Objects on Path group selected, the Selection and Objects on Path
tools show a ring on each object's attachment point. A click chooses that
object while the group stays selected; dragging a ring along the path moves
its object to the nearest object's place, and the objects between move one
place toward where it was, in one undo step. Hidden and locked objects have
no ring and keep their places. On a closed path the drag goes on round
across the first anchor, and Escape cancels it.
- object.objectsOnPath.selectMember {member} chooses an object.
- object.objectsOnPath.moveMember {member, target, group?} moves an object
to another object's place; only the order along the path changes.
Docs: docs/mcp.md, docs/target-app-parity.md. Not yet: Detach.
- After a drag past either end of the range, the first arrow key now
steps back from the value shown instead of doing nothing.
- With the Selection tool, a plain double-click on a blend widget no
longer edits or isolates the artwork under it, or leaves isolation.
Ctrl/Cmd+Shift double-click still releases a guide there.
- docs/mcp.md says the lower widget shows only when the steps follow
the spine, and the G13 blend easing entry in docs/gaps.md no longer
lists on-canvas easing handles as missing.
With one whole blend selected, the Selection and Blend tools show two
widgets at the halfway point of its spine. Dragging the upper widget
along the spine sets the color shift (-100 to 100), and dragging the
lower one sets the easing strength (0 to 100). The lower widget shows
only when the steps follow a spine (a replaced spine or Align to Path),
the rule the step placement uses; a blend made without a spine shows
neither. When the boxes of three or more other visible objects hold a
widget's spot, the widget moves out in 16 px steps, up to 144 px, and
its line to the halfway point grows with it. While a widget is held,
the arrow keys step its value by 1 (Shift: by 10), and Escape or a
switch to another tool cancels the drag. A drag is one undo step; a
click or a drag that ends where it started records none.
- object.blend.setEasing sets easingType, ramp and colorShift on one
blend, refuses a hidden or locked blend and easing on a blend without
a spine, and records no undo step when nothing changes.
- BlendSpec::eases_along_spine holds the rule the step placement and
the widget share.
- While a tool is busy, an arrow it claims arrives with the press's
Shift and Alt; before, it always arrived plain.
Docs: docs/mcp.md, docs/target-app-parity.md.
The zero point dragged out of the box where the rulers meet snaps as a
Pen or shape tool's point does: with Smart Guides onto the anchors,
centres, edges and paths of the art and the artboards or into line with
them, with Snap to Point onto the anchors and along the ruler guides,
else onto whole pixels or the grid. The guides showing what it snapped
to show during the drag and go when it is released or cancelled
(Escape, focus loss, another document). The origin is still set once,
on release (document.setRulerOrigin, one undo step).
The engine snaps it (Session::ruler_origin_drag, with the tools crate's
rulerguide::OriginDrag over PointSnap::drawn), as it does a guide
dragged out of a ruler.
ui.pointer and the headless pointer call read a pointer event's pressure,
holdMs, tiltX, tiltY and rotation with a default for any value that was not a
number, and treated any space other than screen as document space. Each event
is now checked before the packet runs: those values must be numbers and space
must be doc or screen, with null keeping the default. docs/mcp.md says so.
A new gradient kind, `diamond`, runs its stops from the center (the
start) out to a square with a corner at the end of the vector; the
aspect stretches the square across the vector into a rhombus. The
Gradient panel's Type row has a Diamond button, the Gradient tool draws
the square with the aspect handle and center ring, and a gradient
fitted to an object covers its box.
- Model and canvas: the level is |x| + |y| in the square's frame; a
square with no area (no vector, an aspect of 0, numbers out of range)
paints the last stop. The canvas draws it as pixels, out to a
stroke's miters, caps and arrowheads. Transforms keep the vector and
take the mapped size across it as the aspect.
- Commands: `paint.setFill`, `paint.editGradient` and
`paint.setGradientGeom` take `kind: "diamond"`; a negative aspect or
a focal point is an error. A conic or diamond gradient that a plug-in
returns with a focal point loses the focal point.
- Gradient tool: dragging the aspect handle of a radial or diamond
gradient whose file gave it a negative aspect now sets a positive
aspect; only a conic's negative aspect mirrors it.
- Export: PDF, SVG, EPS and legacy .ai write four linear gradients, one
for each quarter of the square, clipped to the shape (PDF as axial
shadings). PDF and SVG write an image for translucent stops, a
dithered fill or a flat square, and for the Perceptual method unless
PDF writes the stops as spot color shadings. SVG writes a diamond on
type characters as a radial gradient through the corners, and so
does CSS. A swatch library saved as CSS gets four corner layers, a
value for the `background` property (a circle when the swatch is
turned by an angle that is not a multiple of 90 degrees). The .ai
editing data holds a radial gradient through the corners. The
document exports give a warning.
- SVG export: a stroke drawn as an image, as conic wedges or as diamond
quarters now covers the miters, caps and arrowheads that reach past
its paint box.
- PDF import reads a function-based shading whose color is the same
along each square about the origin of its space as a diamond.
- Object > Expand gives nested squares or a mesh of rings.
Docs: docs/mcp.md, docs/target-app-parity.md.
Each of the fifteen Warp styles now bends the bounds as one Bézier patch.
The style sets the patch's control points from the bend and the size of
the bounds, the horizontal distortion scales each column of control
points about its middle, and the vertical distortion scales each row.
The Warp effects and warp envelopes share the map (`WarpNet`). Content
with no width or no height takes the middle of the patch along that
side.
A warp carries the map it draws with as `version`. New warps, the
built-in graphic styles' Warps and warps opened from .ai files get 1.
Warps in .vectorcraft documents saved before the version existed read
as 0 and keep the earlier map, so those documents keep their look.
Edits keep a warp's version, and Warp Options editing several objects
keeps each one's own. effect.apply, effect.setParams and the warp
envelope commands take `version` 0 or 1 (`1.0` counts as 1) and refuse
any other value. An .ai file holds a warp's settings and not its
version, so a version 0 warp saved to .ai opens again with version 1.
The .ai writer compares a style's settings without the version, so
saved warps still export as editable effects.
Docs: docs/mcp.md (Envelopes), docs/effects-parity.md (Warp),
docs/target-app-parity.md.
A shape tool now takes a press as a bounding-box handle's only on the
drawn handle square, kept square to the screen: 3 screen points from the
handle's centre along each axis at the default Anchor Size, a half point
more or less per step. A press just beside a handle draws a new shape.
drawing_gestures_snap_to_smart_guides started its second rectangle on the
first rectangle's corner handle, which stays selected; it now deselects
first.
A fourth gradient kind, conic (also accepted as `angle` or `conical`),
sweeps the stops once around the center (the gradient's start),
clockwise on the page from the vector, with a seam where the last stop
meets the first. A negative aspect mirrors the sweep, and reflecting an
object turns its sweep the other way, also for a conic without a
vector or with a flat extent.
- Gradient panel: a Conic button in the Type row; the Aspect Ratio
field works for conic gradients and keeps a mirrored sweep mirrored.
- Gradient tool: the extent ellipse, aspect handle and center ring of a
radial gradient, without a focal point.
- Rendering, swatch chips, transforms, warps, plug-in round trips, and
Object > Expand into wedges or a mesh of columns around the center.
- Commands: a negative `aspect` is an error for linear and radial
gradients, and so is a `focal` point for a conic gradient.
- PDF export writes a function-based shading whose calculator function
turns the angle into the ramp, and PDF import reads a function-based
shading that turns around the origin of its space back as a conic
gradient, also when that origin lies outside the painted area. A
PDF/A file, or a conic with more than 97 stops, gets an image
instead.
- SVG export writes 360 solid wedges clipped to the shape for opaque
stops and an image otherwise, and a linear gradient on characters.
- CSS export writes `conic-gradient(from ...)`, with the stops mirrored
for a mirrored sweep.
- EPS and legacy .ai export write 360 solid wedges; the .ai editing data
holds a linear gradient along the vector with the same stops.
- .af files: conical gradients open as conic gradients.
- An export that writes the gradient in another form gives a warning.
Supersedes #2326 and includes switch87's code from it.
Co-authored-by: Gert Pellin <gert@pellin.be>
Closing a path by dragging on its first anchor made that anchor smooth
with symmetric handles, so the first segment bent along with the closing
one. The drag now sets the first anchor's incoming handle to the mirror
of the pointer. Its outgoing handle stays where it is on a corner, so
the first segment keeps its shape, and on a smooth anchor it turns to
stay in line at its own length. Alt makes the anchor a corner and leaves
the outgoing handle where it was when Alt went down. A click on the
first anchor closes the path with the incoming handle retracted and the
anchor a corner, so the closing segment comes in straight.
The Smart Pen's closing drag follows the same rule.
path.close's `in` now places the handle as path.setHandle does, and a
new `out` param places the outgoing handle and makes the anchor a
corner.
Since #5839 the Rectangle, Rounded Rectangle, Ellipse, Polygon and Star
tools draw the selection's bounding box with its eight handles, but a
press on a handle drew a new shape from it. A shape just drawn could not
be resized without switching to the Selection tool.
A press on a handle now scales the selection as the Selection tool's
handles do: the same cursors, snapping, Shift and Alt, Use Preview
Bounds, area type frames and Backtick for patterns. The box stays on
show at the changing bounds during the drag. With the bounding box
hidden, a press there still draws.
Docs: docs/target-app-parity.md.
With one Objects on Path group selected whose objects have room to move,
the Selection and Objects on Path tools show a diamond below the first
object. Dragging it moves every object along the path together, keeping
the distances between them (object.objectsOnPath.options with start),
in one undo step; Escape cancels it, and the first object's distance
along the path shows next to the pointer.
On an open path the widget shows only when the distance from the first
object to the last is shorter than the path, and the objects stop at its
ends; on a closed path they go on round across the first anchor. Where
Auto or a Space value the open path is too short for sets the distance,
the drag also sets spacing to the distance as drawn.
Ruler guides were a list kept beside the layers. Each guide is now an
object of its layer or sublayer, always directly in it and above the
layer's art. These behave as on main:
- Guides draw on screen only. Exports (SVG, PDF, PNG, PSD), Fit All,
Select All, the art bounds, clicks and marquees, and a layer's
Pathfinder and Transform effects leave them out. The Layers panel
lists them as guide rows of their layer, the highest guide.list
index first.
- Deleting a layer deletes its guides, and merging layers keeps their
guides in the merged layer.
- The guide commands number guides as guide.list does, in the order
they were made.
New: each guide takes an id from the document's object ids. An object
command given a guide's id fails with an error, and node.move cannot
put a guide into a group or out of its layers. A guide made while an
opacity mask, a symbol or a pattern is edited moves to the top
visible, unlocked layer when editing ends.
File format: native files still save the guides in the document's
guides list, in every file version, so older builds read them. Each
entry may now also carry the guide's id, name, locked and hidden
flags; older builds ignore those fields. Opening a file puts each
saved guide on its layer (on the top visible, unlocked layer when the
file names none or a layer it does not have), and each saved guide
counts against the object limit for opening a file. A ruler guide node
that a file holds below a layer's art moves up to the layer's guides,
and one anywhere else (in a group or another object, beside the
layers, or in a symbol) is removed. Ruler guides read from an .ai file
become guide objects on the layer they were on, numbered in the order
the file lists them.
main lines a moved selection's edges and centre up with ruler guides
(snap_moved_to_rulers, #5746) but not when Shift keeps the move to its line. The
bounds now slide along that line onto a ruler guide the same way
(snap_moved_along_to_rulers), when nothing else lined up and the grabbed point is
not on a guide, within twice the Snap to Point distance along the line.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
While painting, a round Blob Brush showed a line as wide as the brush, which ends
square, though the stroke it adds is round at both ends. Only an angled or flattened
tip showed the outline of the area. The Blob Brush now shows that outline whatever
its roundness (blob_area, which path.blob's stroke matches).
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The Pen and the Smart Pen reported a path being drawn to Escape for as
long as they remembered the path, even after Deselect or Undo left it
unselected. That Escape then ended nothing, and isolation mode or a
rotated view needed a second press. Both tools now report the path only
while they would go on drawing it, as the Curvature tool does.
Follows #6405
In Outline view an image was still hit anywhere inside its box and a
gradient mesh inside its fill, though Outline draws only the image's
frame and the mesh lines. A path behind them could not be picked there.
Now an image is hit on its frame (unless Show Images in Outline Mode
draws its pixels) and a mesh on its edge and mesh lines. Preview is
unchanged.
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.
dotCooCoo