Switching documents, or windows of a document, deactivates the Type tool, which clears the tool its double-click came from, so Escape after a later edit goes to the Selection tool. The field's comment and the two checklist rows now say so.
Crisp and Strong reshape each edge pixel by the type's coverage, drawn
in black. Type in the art of a scatter brush on an undashed path drew
that coverage with the path's opacity folded in, so Strong made fully
covered pixels opaque at 50% path opacity. The coverage is now drawn
at full opacity; the pixels keep the folded opacity.
The evidence entry for the Anti-aliasing Method notes that scores and
hours are unchanged.
SVG export wrote an SVG filter as a live <filter> when its SVG 1.1 form
was at most 64 KB, without counting the region and id it writes into
it. A filter close to the limit came back over it, SVG import dropped
it, and the reopened object had no filter.
Export now leaves room for the id and the measured region, checks the
SVG 1.1 form the way import does, and counts each character past U+00FF
as the character reference Latin-1 output writes. A filter that does not
fit is exported as the other pixel effects are. The SVG 1.1 form and its
check are kept for the filters seen last, as checked filters already
are, so export does not check one filter again for each object.
Only a double-click on type from another tool records the tool Escape and
Cmd+Enter return to, and the Type tool keeps it until another tool is
chosen. Choosing the Type tool from the toolbar records none, so Escape
goes to the Selection tool. The type and UI checklists and the doc
comments on prev_tool, end_editing and claims_key now say so.
docs/type-parity.md held four copies of the point, area and path type
row, three of them with older Escape wording. They are one row again,
with the Type Orientation sentence that only one copy had.
`plugin.clearCache` without an id empties the cache of every plug-in
installed in the process. In the engine's library tests it could empty
the cache of another storage test running at the same time, and its
`bytesFreed` could count that test's cache. It now runs in
`crates/engine/tests/plugin_clear_cache.rs`, and the library test checks
that clearing one plug-in's cache leaves the other plug-in's cache.
The storage fuzz test starts each case with an empty plug-in store,
deletes the store when the case ends, and installs `fuzz.storage` with
`replace: true`, so the cases that shrink a failure install their
module.
docs/mcp.md says that files `plugin.remove` can't delete stay in the
folder renamed with `.removed` until the plug-in is removed again.
app.open with params and no importer ran file.open with the path alone, so the desktop app ran the importer on its defaults while headless app.open passed the params to document.open. file.open now carries params to the importer that opens the file.
The importer parameters test installs its module with replace from the second pass on, as plugin.install requires. The permission table in docs/plugins.md lists doc.read for filter, effect and exporter.
A path that keeps its shape because the effect would pass the geometry
budget holds a group's own placed gradients in place. A hidden path in a
layer, which the layer's bounds leave out, no longer holds them, so the
layer's gradient moves with its visible art. The art's own gradients
follow the same rule.
A freeform gradient whose points were edited keeps its vector fitted to
the bounds, so it did not count as placed and its points stayed behind
under a Transform effect and Free Distort unless another placed gradient
was in the same appearance. Its points now move like a placed gradient.
docs/file-format-parity.md held 35 copies of the paragraph under
"Illustrator's private editing data" after #6202 left one, each copy
carrying a different set of the changes merged since. The section now
holds one copy with every clause from the others: placed PDF and .ai
pages as placed documents, Bas Relief among the single-effect art
styles, Bas Relief's settings block in type's art style, the fill a
clipping path keeps with its exceptions, paths with an Art brush, the
spot colors in brush art, symbols defined before the art styles
section, the Type on a Path options, and the artboards the type of a
PDF's later pages goes to.
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.
dotCooCoo