- PDF 1.3 and 1.4 files, PDF/X-1a, PDF/X-3, PDF/X-4 and PDF/A-2b at
PDF 1.4 among them, write a page longer than 14,400 pt in points
again, now with a warning that apps that keep to the limit cut it to
200 in. Only a page that failed with
"PDF writer error: Limit(TooLargeFloat)" gets the new error: one
whose size or art needs a real number past 32,767, the most PDF 1.4
holds. Whole numbers are written as integers, so a page of whole
points past 32,767 is written as before.
- A page whose side is past 32,767 pt and not a whole number of points
is refused before the thumbnails are drawn and the transparency is
flattened.
- A PDF 1.5 file written as PDF 1.6 for a long page keeps PDF 1.5's
encryption (128-bit RC4), which the Save PDF dialog shows.
- A long page whose short side would be under 3 units at its UserUnit
(ISO 32000-1, Annex C.2), such as 50 m x 4 mm, gets a smaller
UserUnit that keeps the short side at 3 units, with a warning.
- The warnings give a page's size rounded up, as the error does.
A page of 14,400 pt or less is written as before. The new warning has
rows in every complete catalog. Docs: docs/mcp.md,
docs/target-app-parity.md and the document.exportPdf params.
A page with a side longer than 14,400 pt (200 in, ISO 32000-1 Annex C.2)
keeps its size only with a UserUnit, which PDF 1.6 added. Exports now
report such pages and handle the versions without a UserUnit:
- Each such page adds a warning with its size and its UserUnit. Apps
that ignore UserUnit show the page that many times smaller.
- A PDF 1.5 file with such a page is written as PDF 1.6, with a warning.
- PDF 1.3 and 1.4 files, PDF/X-1a and PDF/X-3 among them, are refused
with an error that names the page and the limit, instead of
"PDF writer error: Limit(TooLargeFloat)".
- PDF/X-4 files at PDF 1.5 or 1.6 keep the page in points, with a
warning that apps that keep to the limit cut it to 200 in.
The warnings and the error have rows in every complete catalog. Docs:
docs/mcp.md, docs/target-app-parity.md and the document.exportPdf
params.
An image in a DeviceN color space opened as an RGB image, losing its inks.
One of one colorant now opens as a Separation image does since #6347: a
grayscale image of its tints colorized by its ink. One of two to 32
colorants that are all process plates (the ink None may be among them)
opens as a CMYK image, each colorant's tint in its plate, its Decode array
applied (8 or 16 bits a sample). A DeviceN image that mixes a spot ink
with other colorants, such as a duotone, still opens as RGB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A group with a visible member that carries a geometry, Pathfinder or 3D effect, also in an opacity mask, keeps its previous copies. Copies stop at the budget with what each copy's own effects make, and a group's copies count the art of opacity masks.
The PDF and SVG tests for a group's image copies now expect the original on top.
Three geometry fixtures used unembedded Helvetica, so the reader fell
back to Source Sans 3 widths where Helvetica is not installed (CI) and
fitted the line length instead of placing glyphs exactly; the following
"C" then landed about 3 pt off its untagged comparison. Embed the
bundled Source Sans 3 with matching explicit widths. Every assertion and
the 0.05 pt tolerance are unchanged.
An image in a Separation color space opened as an RGB image: its spot ink
was lost (no plate in Separations Preview), and Fill and Recolor Artwork
didn't reach its color.
It now opens as a grayscale image of its tints (white where it lays no
ink, black at 100 %, its Decode array applied; 1 to 16 bits a sample, or
one gray channel from its JPEG, CCITT, JBIG2 or JPEG 2000 decoder),
colorized by its ink at 100 %: the spot swatch, a process plate's CMYK
color, or Registration. Its mask becomes its opacity mask, as a CMYK
image's does. The ink is found by the image's color space among those the
file defines, once per image. The ink None, an ink whose color can't be
told, images inside an alpha soft mask, inline images and DeviceN images
open as before; samples that can't be read open in RGB with a warning, and
the ink gets no swatch.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A mark glyph's vertical translation started a new draw_glyphs batch, so
krilla received the cluster's source range again and mapped its
characters twice. Copying or searching the exported PDF then found
doubled letters for Arabic harakat in any font, and for every dotted
letter in fonts that draw dots as zero-advance mark glyphs (Noto Sans,
Naskh and Kufi Arabic).
Keep compatible glyphs on the same layout line in one batch and carry
their relative vertical placement as per-glyph y_offset; horizontal
placement is unchanged (next_x - x advances). Font, size, linear
transform, line/column, paint run, list marker and hyphen boundaries
still split batches. Krilla keeps owning cluster mappings and
ActualText. No importer change.
Regressions decode the content stream and ToUnicode maps: one batch per
layout line, no duplicated cluster assignment, one ActualText per
multi-glyph cluster, contours within 0.05 pt of outline export; mixed
scripts, vertical columns, path rotations and PDF/X variants covered.
The reader round-trip stays an ignored test until the importer consumes
ActualText (#6165).
Addresses #6309.
Editable PDF import derived characters from glyph Unicode/CID mappings
even when the enclosing marked-content sequence supplied /ActualText.
A span that paints "xy" but says "AB", followed by "C", imported "xyC".
Track the outermost replacement owner per span (absent, explicitly
empty, consumed), decode it with the existing PDF text-string decoder,
emit it once at the first placeable glyph, and let the remaining glyphs
of the span advance the pen without phantom character slots or
inferred spaces. Authored stretches keep their logical order while
adjacent ordinary text still goes through visual-to-logical
reconstruction. Glyph identity still drives font matching. Depth and
size are bounded; oversized or unbalanced spans fall back to glyph
mappings with a warning.
Outlines mode and PDF export are unchanged. Parity docs updated,
scores unchanged.
Fixes#6165.
A PDF image mask (`/ImageMask true`) painted in a solid color opened as an
RGB image with the color in its pixels: Fill and Recolor Artwork didn't
reach the color, a spot color lost its ink, and the same mask painted again
in another color took the first one, because the painted image was cached
by the mask alone, and so did an uncolored pattern whose cell draws a mask.
It now opens as a grayscale image of what it paints, colorized by that
color, as the .ai reader opens a 1-bit image mask (#5790). A spot color
keeps its swatch and tint. The page's walk counts paths, not images, so the
ink is found from the color space. Readings of a pattern cell are told
apart by colorized images' colors too. Inside an alpha soft mask, or
painted with a pattern, a mask opens as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A dithered fill or a Perceptual linear or radial gradient whose stops
are all CMYK was written as an RGB image. It is now a CMYK image.
The stops keep their inks, an off-center midpoint is halfway between
its two stops' inks, and a Perceptual curve uses the ink mixes a
DeviceN shading uses. Dither's noise is added per ink and adds no ink
where the gradient has none.
The Output settings convert the inks as they do for any CMYK image.
A gradient with an RGB, gray or Lab stop, a stop linked to a spot
swatch, or a Perceptual curve of more than 4,096 stops is still written
as an RGB image.
Move form transforms into page space so Quartz keeps gradients aligned with their artwork. Add macOS rendering regressions and round-trip coverage for transparency, masks, layers and overprint.
Update the fix for the shared craft-pdf writer and the split exporter modules. Preserve upstream mask, coordinate-limit and layer-box fixes, moving the layer's paper bounds into the form's new space too.
Verified all three Quartz regressions fail on upstream 65adb7b21 and all five gradient-form tests pass with the fix. The new translated-layer regression also fails without moving the layer's paper bounds.
Before the final rebase onto 782f213e4: 463 PDF tests passed (one existing ignored test), workspace fmt, PDF Clippy, wasm, pdf-deps, layers, assets and brands passed. The final rebase reconciles documentation only; the PDF crate is unchanged from that tested revision.
After the final rebase, workspace fmt and Clippy pass. Full cargo xtask ci timed out while compiling workspace tests, so the full test suite and remaining CI stages did not complete. The earlier macOS Clippy blocker has been fixed upstream.
When the placement moved some copies off the paper, each of those copies counted as the whole page, so the TrimBox and BleedBox became the paper. They now hold the copies that print, and the whole page only when no copy is on it.
Each copy on a sheet draws within an equal share of the symbol objects the
export has left (MAX_SYMBOL_NODES), so a document near the limit leaves out
the same instances in every copy instead of dropping them from the later
copies. The limit stays export-wide; one copy per page draws as before.
File › Print printed each artboard on a sheet of its own. A 2 × 3.5 in
card on Letter printed once in the middle of the page, and Print had no
option to fill the sheet with copies.
The Print dialog's General section has Copies per Sheet (off by
default) and a Gutter. With it on, a sheet holds as many copies of the
artboard as fit the imageable area, each with its bleed and marks,
across then down, gutter pt apart. The card prints 4 × 3 on Letter,
and 3 × 3 with an 18 pt gutter. The copies are not turned, and the
placement places the whole grid as it places one copy. An artboard
that does not fit prints one copy per sheet with a warning, and more
than 1,000 copies on a sheet is an error. Tiling leaves the option
out. The PDF and PostScript writers draw the art and the marks once
per copy, the PDF TrimBox holds every copy, the preview draws each
copy, and print.preview lists them as `copies`. With the option off,
the layout lists no copies and the writers draw the page as before.
Docs: docs/mcp.md (Print, Printing), docs/target-app-parity.md.
The canvas, the gradient chips and the SVG, PDF, EPS and EMF writers mixed
freeform points in display RGB, while Object > Expand and Create Gradient
Mesh mixed them in the model the points share. Points that are all CMYK,
Gray, Lab or RGB now mix in that model in those places too. Points in
different models mix as before: in display RGB, and on ink planes as the
inks of each point.
This changes how existing art looks:
- CMYK and Lab points. With the default Generic CMYK working space and no
ink planes, halfway between C100 and K100 the canvas drew (17, 106, 139)
and now draws (54, 118, 143).
- RGB points in a working RGB space other than sRGB mix in that space.
- On ink planes (a CMYK document that shows transparency), RGB and Lab
points mix first and then separate.
Gray mixes keep their values, and CMYK and Gray points on ink planes draw
as before. RGB points in an sRGB working space draw as before except on
ink planes.
- PDF and EPS write a gradient whose points are all CMYK, or all Gray in a
CMYK file, as a CMYK image. PDF's Output settings convert it as they
convert any CMYK image.
- Darkening applies to the points before they mix.
- With Appearance of Black set to Rich, the canvas mixes a gradient with a
pure CMYK black point in display RGB, and the point fades from RGB black.
A PDF names a ligature's characters in logical order (lam then alef for
the lam-alef glyph), while a horizontal line of type is gathered glyph by
glyph in visual order and then put back in logical order character by
character. The ligature's characters were turned round with the line:
لا came in as ال, بلال as بالل and الله as هللا. Each glyph's
characters now go into the line in visual order, so putting the line back
restores them.
Choosing a PDF/X standard without a PDF/X preset writes a file with no bleed
(BleedBox = TrimBox) even when Document Setup sets one, and the export gave no
warning about it. The export now warns when a PDF/X file has no bleed on a side
where the document's bleed has one. The warning comes ahead of the flattening
note, because the status bar shows only the first warning. The code adds a
warning and does not change what is written.
These cases do not warn: the PDF/X presets, Use document bleed settings, a
nonzero bleed on every side the document sets, a document with no bleed, files
that aren't PDF/X files, and Export for Screens rows whose artboards Include
Bleed grows.
The warning has a row in every catalog. The Summary's warning and error rows in
the Save PDF and Print dialogs now go through the catalog, so they show its
translations.
The walk that writes link annotations measured every object at every
level, on every export that can have links, and read the box only for
an object with a URL that opens and for a clipping group. It now
measures only those, so a document with no URLs or clipping groups is
not measured a second time. The link annotations are unchanged.
The output is byte for byte the same on a document of linked objects in
plain and clipping groups on and off the page, with default settings,
with uncompressed text and with PDF layers.
The walk measured every object's visual box to leave out what is off
the page. A plain group or layer is measured as the union of its
members, and each member then measured itself again when it was
written, so an object in plain groups was measured once for each level
it sits at.
Measuring a plain group or layer now keeps its members' boxes in a
tree, and each member uses its box when it is written. A container
written whatever its box is (a PDF layer's group, placed symbol art) is
not measured. A knockout group's elements are measured for the group's
box and again for the list of elements on the page, and that second box
is used for the element and for its mask. Objects in a live container
(Blend, Envelope, Repeat, Intertwine) are still measured with the
container and again after it is expanded. Node::visual_of_members holds
the formula that Node::visual also uses, so the boxes and every decision
are unchanged.
The output is byte for byte the same on one open path of 200,000
anchors, 20,000 rectangles in 200 groups of 100, and 5,000 point type
objects, and on a document of plain, see-through, clipping and knockout
groups on and off the page, each exported with default settings, with
uncompressed text and with PDF layers.
Each visible object with a URL (Attributes panel) is written as a Link
annotation with a URI action over its bounds on the page, trimmed to its
clipping groups. Hidden objects, non-printing layers and printed sheets get
none; PDF/X files leave them out with a warning. URIs are percent-encoded
to 7-bit ASCII.
A linked 1-bit image mask from a .ai file keeps its fill color as a
colorize paint, so the image takes the color once its file is relinked.
Until then the image shows the missing-link placeholder, and the canvas
and PDF export colorized that placeholder too: its light tile turned
nearly transparent and its red cross took the fill color.
ImageBlob::takes_colorize is false for a preview whose pixels are not
grayscale. While it is false, the canvas draws the image and PDF export
writes it as it is, printed separations separate it as an uncolorized
image, and transparency flattening (EPS, PDF 1.3 and PDF/X-1a export,
Flatten Transparency) does not count its paint as transparency. The
paint stays on the image, and a grayscale preview is still colorized.
SVG and EPS export already write only grayscale images colorized.
A freeform gradient whose field has no points of its own takes its
colors from the stops, so spot-linked stops in it are written in
process colors too. The export now warns in that case, as it does for
the other gradients drawn as images.
A PDF-compatible .ai (or a PDF saved with the editing data) now opens
from its layers without its PDF part being imported, and without being
compared with its page, when:
- its text document makes the type of every text object, hidden ones
included, at least one text object shows, and none is drawn by the
appearance of the layer or group it is in;
- its layers hold no unread object, no placed file with a second
placement and no live envelope with drawn art to fall back on, and
no image too large to read;
- it declares no large canvas, and its artboards are its pages' trim
boxes one for one, in points or in the first page's UserUnit.
A file whose layers draw differently from its page then opens from its
layers instead of its PDF part. The bleed comes from the pages' bleed
boxes. The check runs only when no pages are picked, layers and the
editing data are on, the crop box is asked for and type comes in as
text. Files saved without PDF compatibility, files whose PDF part
draws only type or nothing, and files whose PDF part's content can't
be read take the same path when they qualify: their bleed comes from
the pages' bleed boxes, pages in units larger than a point draw them
at their size in points, and the note that the PDF part couldn't be
read is not given, since its content is not read.
Files that don't qualify open as before, and the editing data decoded
and read for the check is reused after the PDF part is imported
(layered_ai_from).
When a file whose PDF part can't be read is scaled up to its size in
points, its text wraps are now laid out again at that size, and the
default graphic styles of a file without graphic styles of its own are
no longer scaled. The same applies on the new path.
Opening a .ai or a PDF read and checked the whole file up to five
times: for the document it carries, for whether it holds the editor's
private data, for the import, for the editor's copy and for its File
Info. Each pass parses the file and walks every object, about 190 ms on
a 15 MB .ai.
- vectorcraft_pdf::open_pdf reads and checks the file once, on the
import's deep-stack thread, and import_opened imports pages from that
reading. document.open takes the carried document, the page count,
the editor's copy and the File Info from it. The editor's copy is read
after the page import and only when the file is not restored from a
carried document; so is the File Info.
- A .ai saved without PDF compatibility opened with pages that name
every page reads its editor's copy from the same reading.
- document.pdfInfo reads the file once for its pages and the thumbnail.
- The Open and Place dialogs read the file once to decide whether to
ask for pages, instead of twice.
A file whose PDF part fails the check still reads its editing data
separately, as before.
In a Separation color space, the colorant name All marks every plate and
None marks no plate (ISO 32000-1:2008, 8.6.6.4). A spot swatch with one of
those names was written under its own name, so its paint printed on every
plate or on none.
PDF export now writes such an ink as All Spot or None Spot, numbered
All Spot 2, All Spot 3 and on when a spot swatch already has that name,
the same rule EPS export uses. The new name is used for fills and strokes,
tint shadings, DeviceN gradients, colorized images and the Lab alternates.
Registration still writes All.
BFlat