Align to Path moved the whole line by the largest ascent and descent
among its characters. Each character now moves by its own font, size
and vertical scale. Ascender runs the top of the font's em box along
the path: the ideographic em box that the font's BASE table gives, or
in a Chinese, Japanese or Korean font the one that its typographic or
hhea box, a one-em box-drawing cross or its ideographs give; else an
em box centered on the cap height. Descender runs the bottom of the font's
bounding box along the path, and Center runs a line at half the height
of the top of the font's H along it. In vertical type, Ascender and
Descender move the characters half an em, and Center leaves them on
the path.
Existing documents with Align to Path set to Ascender, Descender or
Center lay their type out at a new distance from the path.
An importer plug-in (kind "importer", permission import.read) lists 1 to 8
file extensions and turns a file's bytes into objects, which open as a new
document whose artboard is their bounds. File › Open lists its extensions,
File › Open With (file.openWith) opens a file with a chosen importer, and
document.open takes importer and params. A built-in format that reads the
file by its content or extension always opens it; among importers listing
the same extension, the one whose id sorts first opens it. An importer reads
at most 128 MiB, and Place still reads only the built-in formats.
Docs: docs/plugins.md, docs/mcp.md, docs/gaps.md, docs/target-app-parity.md.
Extrude & Bevel (Classic) ships, so the remaining-work lists in
effects-parity.md, gaps.md (G3), target-app-parity.md and three-d.md
name Revolve (Classic), Rotate (Classic) and Map Art instead of all of
3D Classic.
With the Artboard tool, the canvas context menu lists the entries of the
public Use the artboard context menu page in its order, in place of the
entries for objects and the view. Lock Artboards and Unlock Artboards are
two submenus. An entry that cannot run is left out, and Undo and Redo stay
dimmed. A right-click on an artboard that is not selected selects it alone
first, and the menu measures the art for Delete Empty Artboards and Fit to
Artwork Bounds once, at the right-click.
Cut, Copy, Duplicate Artboards, Rename, Delete Artboards, Lock Selected,
Unlock Selected, Fit to Artwork Bounds, Switch Orientation and Export act on
the artboards the tool has selected, else the active one. docs/mcp.md lists
what the other entries act on.
- artboard.rename renames in one undo step and numbers several names. The
menu's Rename opens a dialog that runs it, and the Artboards panel's name
field runs it too.
- artboard.switchOrientation swaps width and height and keeps the top-left
corner, skipping square and locked artboards.
- artboard.selectAll chooses the tool and selects every artboard.
- edit.paste takes artboardsAt, and the menu's Paste centers copied
artboards on the right-click's point.
- The menu's Cut and Copy run artboard.cut and artboard.copy. In the desktop
app those commands publish to the system clipboard, and the menu shows the
Cut and Copy shortcuts for them.
- artboard.fitToArt and the panel's name field record no undo step when
nothing changes.
artboard.duplicate, copy, cut, rename and switchOrientation take their
artboards from the tool's selection when a call names none. Each now records
them in the journal as selectedArtboards, which a replay reads and a recorded
action leaves out. The copy commands also record art. switchOrientation
records scaleArt, and it takes patterns and lockedAndHidden and records what
its artboard.setProps step resolved for them.
While the Artboard tool is in use, a command chosen from any menu or the
command palette moves the tool's selection as the Artboards panel does:
artboard.new makes the new artboard active, artboard.duplicate selects the
copies, and artboard.delete and artboard.deleteEmpty make a remaining
artboard active.
The reader gives an Xy right after a compound path or a text object to
that object. The writer now writes XR before the Xy of type, images and
guides, so type next to type, a compound path before type, image or
guide, and type before an image or guide keep their own opacity, blend
mode and knockout shape flag.
- Type keeps its Isolate Blending and Knockout Group state in a state
block after its text object, as its outlines did on their group.
- The reader no longer gives a layer the Xy before its last text object.
- The ASCII85 end marker of the text document stays on one line.
- The warning and docs/file-format-parity.md also list area type in an
open frame, type on an open path whose ends meet, type of only white
space and threads of type on a path as written as outlines.
- README.md, ROADMAP.md, docs/gaps.md, docs/roadmap.md and
docs/target-app-parity.md describe the editing copy a saved .ai holds.
- clip_path's doc comment is back on clip_path.
- import_fuzz reaches threaded area type and vertical type.
A path with an Art brush comes in as the path, with the brush on its
stroke at its weight, instead of as its drawn look, when the brush
stretches art of solid-filled paths along the path, unflipped, at 100% in
Tints. The art runs on the side of the path the file draws it.
The drawn look stays for other colorizations and widths; Proportional,
between-guides and flipped brushes; type; a path with settings of its own,
a variable width, effects, a swatch stroke or an entry that isn't read;
and art with strokes, gradients, patterns, masks or effects, or no length.
A brushed stroke, Calligraphic ones too, takes the brush the Brushes panel
keeps under its name, and an image with a brush keeps its drawn look.
In every document, Tints and Tints and Shades take art in black ink alone
by its ink amount, and a process or gray stroke color's tints and shades
stay in that color's model.
Place and Expand bring the brushes the art uses, renaming on conflict.
Part of #637.
A file that takes longer than 0.4 s to open shows a modal progress window
with its name, a moving bar (reading reports no steps), how many more
files wait, Cancel (file.cancelOpen: the file doesn't open) and Continue
in Background (file.openInBackground). It never opens over another dialog
or progress window.
The area an Intertwine member is drawn over another in was exactly the
overlap face, so its edge lay on the edge of the member below. Both edges
were anti-aliased, and the member below showed through as a thin line along
them. The area now reaches 2 pt past the face into the parts where only the
raised member paints (where drawing it again changes nothing), so its edge
lies inside that member.
From about 50% zoom on the file of #4155, the pixels drawn are the full 141-megapixel photo,
and in a CMYK document they were separated into ink planes (or colorized, or proofed) whole
for every view: 8 to 9 s of white canvas a zoom step.
When the pixels drawn are larger than a 1,024-pixel tile, their colours are made again for the
frame and part of them is out of view, only the tiles in view are made, each kept under its own
key (`ImageKey::tile`), and drawn together as one pixmap so their edges don't show. The colours
are made pixel by pixel, so the result is the same as for the whole image. CMYK images painting
their own inks are still made whole.
Zooming in to 50%, 100% and 200% on that file went from 9.0, 8.6 and 8.7 s to 0.78, 0.05 and
0.05 s (M3 Pro, one run each), with the same pixels on screen.
A document's first frame (opened, or its tab chosen) rendered on the UI thread: only a
document with a frame already shown sent its frames to the worker. A heavy file froze the
window until it was drawn, 8.7 s for the file of #4155 and 1.4 s for a 50,000-path SVG.
The first frame now goes to the worker too, and the window shows the document's paper and
artboards until it lands. The UI thread waits for it up to FIRST_FRAME_GRACE (16 ms) when it
is queued (`Worker::wait`; `submit` says whether it queued), so a light document's art still
shows in the same frame. The longest UI-thread stall opening those files is now 64 ms and
62 ms (M3 Pro, one run each). The web build, which has no worker, is unchanged.
With image mips on (the canvas, navigator and layer thumbnails), an image was colorized,
separated into the frame's ink plane and shown through Separations Preview's plates at its
full size, and only then shrunk to the mip drawn. The 141-megapixel image of #4155 made
1.6 GB of planes a frame, more than the image store holds, so every frame made them again.
The mip is now picked first and everything else is made from it, under the keys `kept_mip`
and `nearest_kept` already look up. A CMYK image's own inks are halved with its pixels
(`ink::key_inks`, `images::half_inks`), so it still paints them rather than inks separated
from its displayed colours. Colour bitmap glyphs follow the same order.
On that file the app's first frame went from 9.2 s to 1.6 s and the sharp frame after a pan
from 3.9 s to 8 ms (M3 Pro, one run each). Fine detail now shows its true average: 1-pixel
black and white lines show mid grey, where separating first showed them 44 levels darker.
ruchirguitar