An image or a gradient mesh with a visible Crop Marks effect, or with a
Vector Halftone effect that makes dots, is measured in a plot of the art's
bounds. A halftone that makes no dots, such as one past the effect's cell
limit, leaves the image out as before.
The bounds of a plot of the art's bounds no longer count the objects a
plot leaves out (placed images, objects at 0% opacity, unpainted paths)
when they sit in the art of a symbol. An instance whose symbol holds
nothing else is left out, so a document with only such instances is
refused with "nothing to export". The art of a dynamic symbol, and of a
group with effects, fills or strokes of its own, is measured whole.
With useArtboards off, PDF, .ai and HP-GL exports sized their one page
by every visible object, including art they then leave out. A PDF
without includeNonPrinting or createLayers drops non-printing layers, so
art on such a layer made the page larger than what was drawn, and a
document whose only visible art did not print came out as a blank page.
An HP-GL plot draws nothing of non-printing layers, objects at 0%
opacity, placed images, gradient meshes whose every point is at 0%
opacity and paths that paint nothing, and such art moved the plot's
origin.
The page is now measured with that art hidden, and a document with no
other visible art is refused. A .ai file is measured with the PDF
options it is written with, so it keeps non-printing layers unless both
createLayers and includeNonPrinting are off. The PDF writer's own
non-printing filter uses the same helper, and the HP-GL writer's
plots_nothing says which objects a plot draws nothing of. Export As
measures an HP-GL plot of the art's bounds the same way, so a document
with nothing the plot draws stays in the dialog before the save panel.
A trace handed in for imageTrace.make or imageTrace.makeAndExpand was
matched by its object, image, pixels and settings alone, so a trace made
in one document could stand in for the command in another open document
with the same image and settings. The trace's inputs now carry the
document's uid: TraceRun::current is false in any other document, and the
commands there drop the trace handed in and trace their own image, as one
undo step.
Test: a_trace_run_applies_only_in_its_own_document.
swatch.edit stored a replacement gradient without its placement, so a
radial gradient with an aspect, Alt-dropped on a gradient swatch or
given as `paint`, lost that aspect, while swatch.new keeps it and
applies the swatch with it. A gradient given an aspect without `start`
and `end` lost the aspect in both commands. A replacement pattern kept
the tile transform of the swatch it came from, while swatch.new stores
a pattern untransformed, and `paint: {pattern: name}`, which an Alt-drop
of a pattern fill sends, was refused.
swatch.edit and swatch.new now store a gradient or pattern through one
helper: a gradient keeps its aspect, with or without a vector, and holds
no swatch link, and a pattern is untransformed. swatch.edit takes a
pattern by name, as swatch.new does.
brush.freehand drew the plain path when `brush` named no brush in the
document or was not a string, and drew a pencil stroke for any `style`
other than "brush". It now refuses an unknown name with "no brush named
`<name>`", as brush.apply and brush.setCurrent do, a `brush` that is not
a string, and a `style` other than "pencil" or "brush". The document does
not change and no undo step is recorded. A `brush` left out or null still
draws the plain path.
The Paintbrush skips a tool brush or current brush that has been deleted
and paints with the other, or draws the plain path when neither is in the
document, so a stroke after a brush is deleted is not refused.
When a document opens or is reverted with dimensions whose art is not in
its color mode, the dimensions are drawn again before the document's
composite fonts are registered. A label whose font names a composite font
that another open document defines differently was measured in that other
definition, so it was centered off its anchor. The redraw now measures the
labels in the document's own composite fonts, in front and in the back.
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.
A CMYK TIFF written again, a CMYK JPEG that the Compression settings
resample or compress again, and a CMYK image written with its mask as
its soft mask lost the CMYK profile the image embeds. Such an image is
now written in an ICCBased space holding that profile, byte for byte,
when output.profiles is all or taggedSource, and in PDF/A-2b, PDF/X-3
and PDF/X-4 unless profiles is destination. Pixels the Output settings
convert are never tagged with it.
A CMYK JPEG embedded as it is now follows the same rule instead of
always carrying its own ICC_PROFILE segments: with profiles none it is
DeviceCMYK, and PDF/X-1a export no longer refuses a CMYK JPEG that
carries a profile.
A profile tags an image only when it is at most 16 MiB and its declared
size, acsp signature, device class, CMYK color space and tag table are
well formed. Tagged CMYK documents blend transparency in the document's
CMYK profile space, not in an image's own; without that space they
blend in DeviceCMYK, or keep their RGB space in PDF/A.
Place, Open and relink read a CMYK or grayscale TIFF with an alpha
channel through extra_samples_tiff_rgba, which cut every 16-bit sample
to its high byte before converting it. A faint ink or a low alpha was
lost: cyan 129 at full alpha showed as white, and an alpha of 129
became fully transparent.
The samples are now normalized at the depth the file stores them, and
only the resulting color and alpha are rounded to 8 bits (a 16-bit
alpha to the nearest 8-bit value). Associated alpha is divided out at
16 bits. A pixel whose associated alpha is zero now has no color,
instead of keeping its stored color. TIFF 6.0's Associated Alpha
Handling section states this arithmetic and the zero-alpha rule for
RGB data; applying them to CMYK and gray samples is VectorCraft's own
rule.
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