Type that the editing copy writes as its outlines (mirrored type, type in
a clip or symbol, type the text document can't hold) put its Text Wrap
Options on the group of glyph outlines. The reader then wrapped area type
around the glyph shapes instead of the type's bounds, so the wrap region
changed when the file was opened.
The group now ends with an unpainted closed rectangle at the type's
geometric bounds, with the type's lock and hidden state, that carries the
wrap options; the group keeps the type's name and has no options of its
own. The `.ai` reader already reads an unpainted path with its own
options (`text_wrap` in crates/eps/src/import/ai/read/document.rs), and
wrap resolution descends into a group without options. The rectangle
counts toward the object limit; without room for it the options are left
out with the limit's warning. Type without finite bounds gets no
rectangle, as it had no wrap region before saving.
The text document of the editing data does not hold an area text object's wrap shapes. On reopening, the reader works them out again from the art above the type, which can wrap it differently (a live object written as its drawn pieces) or not at all. The comments on the check in holds and in a thread's frame check now say so, and the outlines test's comment no longer says the wrap object's settings are not written.
A gradient's Separation or DeviceN space, and EPS's %%DocumentCustomColors,
named the spot ink of every linked stop. A stop out of order whose
neighboring stretches have no width, a stop at a tint of 0 without process
plates, and in PDF a stop whose stretches are fully transparent print no
ink, but their spot inks were still declared, so separations got an empty
plate.
- vectorcraft-color: Gradient::drawn_stops (the rule Document Info uses,
moved here) and Gradient::reached_stops (every stop taken as opaque).
- PDF: Separation and DeviceN shadings, the Perceptual spot shadings and
the spot-image warning name only inks of drawn stops at a tint above 0
or with process plates; other stops are written with no ink, so their
process inks and RGB or Lab colors no longer shape the space either.
- EPS: the same with reached stops, since EPS writes stops opaque; a
transparent spot stop keeps its ink.
Output is unchanged when every stop colors part of the gradient and every
spot stop has a tint above 0 or process plates.
In a composite font the file carries (FMapType 2, or a CMap), kshow ran
its procedure zero times. It now runs between each two characters with
the values of their codes (font number times 256 plus code, or the CMap
code), and the next character follows where the procedure moves the
current point (PLRM 3rd ed., kshow). What the procedure draws goes after
the type, outside the glyphs' group, as for live type.
Hidden instances, instances in hidden groups, on template layers, and
on hidden layers or layers that do not print when the exporter leaves
those out are no longer placed for PDF, print, EPS and DXF. Their art
was baked and counted toward the 16,000,000-object limit for placed
symbol art, so it could leave a visible instance written without its
effects.
bake_document_placing_symbols takes a WrittenLayers value: PDF passes
the layers its settings write, EPS writes layers that do not print but
not hidden ones, and DXF writes both. Print removes the layers that do
not print before baking.
VectorCraft reads the symbol definitions of a large canvas .ai or EPS,
and of a .ai whose page is in larger units, in the same units as its
layers. Opening such a file scaled the layers and graphic styles up to
full size but left the symbols' art as it was. Instances on the layers
drew at the right size, but each one's transform carried the factor N,
and a newly placed instance came in at 1/N of the size, where N is the
file's large canvas scale or its page's unit.
- Opening the file now scales each symbol's art, strokes and effects with
the layers. Instances on the layers, in symbol art, in pattern tiles
and in opacity masks keep their own scale and rotation and draw where
they did.
- A symbol library without layers from such a file gets the same scale
as its graphic styles.
- Opacity masks on the layers that do not move with their object are
scaled with the layers too, as are those in symbol art.
- Editing data that VectorCraft wrote (its %%Creator line) keeps its
symbols and those masks at their own size, as the .ai save writes
them, so files saved by earlier versions open as before.
A graphic style from a .ai or EPS library whose fill, or the fill or
stroke of a style of one paint, paints with one of the file's gradients
by name was left out of the library. Such styles now load with that
gradient at the style's angle. The style stores only the gradient's name
and angle, so the gradient is fitted to the bounds of each object the
style is applied to; this placement is VectorCraft's own rule.
- A style of one paint reads a gradient instance's fill or stroke as
that gradient; a gradient outside an instance is still not read.
- A fill filter paints with its last paint: a color, a gradient or a
pattern replaces whichever of the others came before it.
- A style naming a gradient the file doesn't define, or painting with a
pattern, is still left out.
Docs: docs/mcp.md, graphicStyle.loadLibrary params, progress doc.
A freeform gradient's image was sampled, encoded and written inline at
every fill, outside the reuse placed images have. Fields now go through
the same codes and placements: a fill whose encoded image (color setup,
image dictionary, filter, operator and samples) matches one already
kept draws from it, so its samples are written once in the setup as
VCim<i>. A field drawn once is still written where it is drawn.
A fill whose placement can't be drawn, or that arrives when the page is
already at the 256 MB limit, is no longer sampled first, and a field
image taken back with art that passed the limit is forgotten.
PDF, print, EPS and DXF wrote a symbol instance by placing its symbol's
art as stored, so live effects inside that art were missing: a square
moved 100 pt by a Transform effect stayed in place in the file while the
canvas drew it moved.
bake_document_placing_symbols replaces each instance of a symbol whose
art (or the art of a symbol nested in it) needs baking by that art
placed as the instance places it, then baked. The art is placed before
its effects apply, as on the canvas, so an instance that scales its art
does not scale what its effects do. A dynamic instance's own paint
changes apply before baking. Nesting stops at 32 levels and the placed
art at 16,000,000 objects per export; past them an instance stays an
instance. DXF places 9-slice cells unclipped, as its scene does. The
symbols' own art, SVG and the .ai editing data are unchanged, and HPGL
already baked each placed instance.
Type whose color bitmap glyphs fit under the page limit, but whose run
fill passes it, is left out together with the image placements of its
glyphs. The new test builds the color font in memory and checks that
the page then equals the page without that type: no reference or shared
resource is left for the glyph image, a glyph drawn once elsewhere is
written inline again, and an image drawn twice keeps its shared samples.
A clipping path inside art cut to another clipping object is written as
its fills and its strokes. Its text wrap options went with the fills, so
when the outer region left nothing of the fills, the strokes were written
without them. The strokes now keep them unless a fill object was written.
A symbol definition that had no room left for its group under the object
limit returned without restoring the writer's drawn-art depth. Asked for
from art drawn for an object (a stained instance's art), the depth then
dropped below zero on the way out, which panics in debug builds. That
path now restores it as the others do.
A name ending in the row-and-cell CMap H or V split only when the file
defined the CIDFont or a face of that name was installed, so
/Ryumin-Light-H findfont in a file that only names it read its strings
byte by byte as a plain font: <467c> came in as "F|" instead of 日.
Ryumin-Light and GothicBBB-Medium, the Japanese CIDFonts a printer
carries (Adobe Technical Note #5014, appendix A.2), now split at H or V
as well. Latin names such as Foo-Bold-H still stay whole.
The KSC-Johab CMaps had no code space listed, so type in a font over
KSC-Johab-H or KSC-Johab-V read every code as two bytes, so two ASCII
characters moved the point one em instead of two. The code
space now follows Adobe's KSC-Johab-H CMap: <00>-<80>, <8441>-<D3FE>,
<D831>-<DEFE> and <E031>-<F9FE>
(https://github.com/adobe-type-tools/cmap-resources/blob/master/Adobe-Korea1-2/CMap/KSC-Johab-H).
Paragraphs in a modern .ai text document now keep their East Asian line
breaking settings: the Kinsoku set (None, Hard or Soft), Kinsoku Shori
Type, Burasagari and Bunri-Kinshi. Each comes from the paragraph, else
its paragraph style or a style that one is based on, else the document's
defaults, as the other paragraph settings do. A value that cannot be read
takes the paragraph style's value.
A paragraph whose Kinsoku set is a custom set takes its paragraph
style's set, and the import warns that custom Kinsoku sets were left out.
.ai export does not write these settings.
A path's guide lengths matched the brush's within 0.001, so on very short art guides at 30% and 35% of the art matched. The guides now also match as fractions of the art's length.
BFlat