Ruler guides were a list kept beside the layers. Each guide is now an
object of its layer or sublayer, always directly in it and above the
layer's art. These behave as on main:
- Guides draw on screen only. Exports (SVG, PDF, PNG, PSD), Fit All,
Select All, the art bounds, clicks and marquees, and a layer's
Pathfinder and Transform effects leave them out. The Layers panel
lists them as guide rows of their layer, the highest guide.list
index first.
- Deleting a layer deletes its guides, and merging layers keeps their
guides in the merged layer.
- The guide commands number guides as guide.list does, in the order
they were made.
New: each guide takes an id from the document's object ids. An object
command given a guide's id fails with an error, and node.move cannot
put a guide into a group or out of its layers. A guide made while an
opacity mask, a symbol or a pattern is edited moves to the top
visible, unlocked layer when editing ends.
File format: native files still save the guides in the document's
guides list, in every file version, so older builds read them. Each
entry may now also carry the guide's id, name, locked and hidden
flags; older builds ignore those fields. Opening a file puts each
saved guide on its layer (on the top visible, unlocked layer when the
file names none or a layer it does not have), and each saved guide
counts against the object limit for opening a file. A ruler guide node
that a file holds below a layer's art moves up to the layer's guides,
and one anywhere else (in a group or another object, beside the
layers, or in a symbol) is removed. Ruler guides read from an .ai file
become guide objects on the layer they were on, numbered in the order
the file lists them.
While the app draws a document on screen, the live-effect plug-in runs of
its first view share a 2,000 ms budget (VectorCraft's own value); each run
takes the lesser of its 5,000 ms limit and what is left. A stage left out
for time, or one that times out, fails, has no plug-in or meets Safe Mode,
draws its input art unchanged and is deferred, and the status bar says how
many. Later drawings leave a deferred stage as it is until its input or
parameters change.
- effect.deferredStatus lists the deferred stages with object, effect
index, fill or stroke, plug-in and reason, objects in symbol, pattern,
brush and opacity-mask art included.
- Effect › Refresh Deferred Effects (effect.refreshDeferred {ids?}) runs
them again with a fresh budget and returns {refreshed, stillDeferred,
failed}.
- Each document has its own budget and deferred stages; exports, Expand
Appearance and commands run every stage under the per-call limit.
- The web build has no clock for the budget: its first view runs no
plug-in effect, and a refresh runs them.
Docs: docs/mcp.md, docs/plugins.md, docs/target-app-parity.md.
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.
A Transform effect with copies on a group copied each member on its own,
so one member's copies lay over the fills of the next member. Each copy
is now a whole group, the original on top and each copy below the one
before. A path's copies follow the same order. Guides are not copied,
and the copies stop at the node limit. A group with its own fill or
stroke, a clipping group and live type keep their previous copies.
With Scale Strokes & Effects or Transform Patterns on, the path and each copy are moved by Node::transform, which fixed a fitted gradient to its fit before a scale of 0 flattened it to one color. Scaling::keep_fit_when_flat keeps the gradient fitted under a map that flattens the object (node::flattens, the gate fixes_fit already used), and the Transform effect's path transforms set it.
docs/target-app-parity.md also says that the Gradient tool still shows a fitted gradient's vector at its unturned fit.
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.
A Transform or Free Distort before a painted effect on a fill or stroke moved the shape but left the placed gradient at its old position, both on pieces that keep the fill or stroke and on the geometry drawn after a refused result. The inherited fill or stroke now takes the same gradient move as the Transform branch.
Object > Expand of gradient and pattern fills now expands the pieces a
painted live effect draws one by one, so a piece keeps its own paints.
A later painted effect on a fill replaces only the first fill of a piece
and leaves the piece's other fills in place.
Document Info passes the document when it reads an image's painted fills.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
The reference check now applies wherever a painted effect's geometry is
used: a result whose swatch or pattern is refused keeps its input instead
of giving its geometry. Pathfinder art of type, reshaped groups, compound
shapes, image fills, the renderer's bounds and Object > Expand look the
references up in the document, and the renderer drops its kept bounds and
geometry when the names of the swatches or patterns change.
A gradient placed with the Gradient tool stayed where it was when the
object's Warp effect changed the outline, so the warped shape no longer
matched its gradient.
Under each Warp style the placed gradients of a path now move and scale
from the path's bounds before the warp to its bounds after it, as they
do under Free Distort. This applies to an object's own Warp and to a
fill's or stroke's own (a stroke uses its stroke-inflated bounds), on
the canvas and in Object > Expand of the fill. In a group with a Warp
effect, each path's and compound path's gradient follows its own
bounds, and the own fills of the group and of the groups inside it
follow those groups' bounds. A warp with no bend and no distortion
leaves gradients exactly where they are, and gradients fitted to the
object are unchanged.
This changes how existing documents draw: a placed gradient on art with
a Warp effect now follows the warped outline instead of staying in
place.
How gradients follow the warp is VectorCraft's own rule. What the Warp
effects do to the object is described in
https://helpx.adobe.com/illustrator/using/reshaping-objects-effects.html
A gradient fitted to the object refit to the outline after the object's
Transform effect rotated, reflected or scaled it unevenly, so the
gradient kept running left to right while the shape turned under it.
Object › Transform already turns such a gradient.
A Transform effect that a refit would not reproduce now fixes the
gradient to its fit on the geometry the effect takes, and then maps it
with that effect and the effects after it, as a placed gradient. Under
moves and even scales it draws as a refit does, and an effect that
scales the object to nothing across leaves it fitted. This applies to
an object's own effects, a fill's or stroke's own effects, and a
group's: in a group, the gradients fitted to its paths, to its own
fill, to the groups inside it and to its images' and symbol instances'
own fills each fix to the fit on their own object. Object › Expand of
the fill draws the same.
This changes how existing documents draw: art with a fitted gradient
and a Transform effect that rotates, reflects or scales it unevenly
now shows the gradient turned with the art. How gradients follow the
effect is VectorCraft's own rule.
Pathfinder effects, compound shapes, Expand Appearance and pattern
expansion now pass the document to the effects they evaluate, so a
painted piece that names a swatch or pattern takes part as drawn instead
of being refused. A path with a painted effect takes part in Pathfinder
and compound shapes as its pieces, each with its own paint, inside the
path's opacity and blend mode.
The renderer's kept effect art and live evaluations now count the
document's swatch and pattern names for objects with a plug-in effect,
so deleting or restoring a swatch a piece names redraws the object.
A live effect whose manifest has "api": 2 and "paintOutput": true returns
{"objects": [...]} as pieces, each drawn by itself in order with fills and
strokes of its own in the forms a filter returns. A piece without fills or
strokes keeps the ones the effect was given, and an empty list paints none.
An effect on a fill returns only fills, one on a stroke only strokes.
The whole result is checked before any of it is drawn: the output limits,
finite numbers in range with nothing clamped, known keys only, and every
swatch and pattern it names in the document. One fault draws that step of
the stack unchanged, keeps the effect record and puts the plug-in's name
and the field in plugin.info's lastError. Each piece counts against the
geometry-effect budget, so the painted effects of one stack make at most
100,000 pieces.
The pieces are drawn, measured and exported to PDF and SVG from the
appearance stack without changing the document, and Expand Appearance
writes them as ordinary paths in one undo step. The plug-in API level
rises to 2; plugin.list and plugin.info give api and paintOutput. Effects
without the key behave as before.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
A path whose fills and strokes stack (a fill and a stroke, several of
either, an even-odd fill, or a partly transparent or blended one) drew
its Transform effect's copies as one path, so every copy's stroke lay on
top of every copy's fill. It now draws each copy as an object of its own
above the one before, as Expand Appearance makes them.
Fixes#5920
A path or compound path whose Transform effect made copies expanded to
one compound path of every copy. It now expands to a group of one object
per copy, each painted as the path, as gradient copies already did; a
second Transform effect's copies nest in a group per copy of the first.
Drawing is unchanged.
# Conflicts:
# docs/effects-parity.md
The geometry effects after a fill's or stroke's own Transform effect with
Scale Strokes & Effects or Transform Patterns now take the bounds of the
transformed path and all its copies as their reference box, as an
object's own effects do. A later Rotate turns the copies about their
combined center instead of turning each copy about its own, and a later
Offset Path or plain Transform applies to the paths themselves. Each copy
keeps its own scaled distances.
Part of #885
transform_item_leaf now holds back the leaf's geometry for each plain or transformed piece that follows a transformed fill or stroke, so the copies of an earlier item no longer use up the budget that a later fill or stroke still needs. The nested pass over a transformed piece keeps to the same reduced limit.
Each fill or stroke without such a Transform effect is drawn on the object's geometry again, so its cost now counts toward the budget that limits the Transform effect's copies. The object's own geometry is no longer counted a second time next to the pieces that replace it. The Transform effect options entry in docs/target-app-parity.md links the current help pages.
Part of #885
A Transform effect in a fill's or stroke's own effect list now applies its
Scale Strokes & Effects and Transform Patterns options as the same effect on
the object does: the stroke's weight and dashes, the distances of the fill's
or stroke's later effects and its pattern follow the transformation, each
copy once more than the last, and with Transform Objects off the geometry
stays and the options apply once. The fill or stroke becomes an object of
its own in the art the canvas, export and Expand Appearance draw, and Use
Preview Bounds measures that art too (also for the object-level options).
Part of #885
Follow-up to #4345 / #4145 per maintainer guidance from @bflatastic.
- In `crates/effects/src/geometry.rs` & `crates/effects/src/reshape.rs`:
- Implements `optimize_geometry_effects`: reorders pure-translation Transform effects
with copies after a terminal round-join Offset Path effect when the effective style is safe
(NonZero fill and no stroke).
- Offsetting a union equals the union of offsets for round (Minkowski) offsets; moving
pure-translation copies after the terminal offset evaluates Offset Path once on the base
geometry rather than over dozens of multiplied copies, turning O(copies * segments) planar
sweep explosion into a single fast offset plus lightweight affine copies.
- Safely commutes across multiple consecutive pure-translation Transform effects.
- Preserves exact visual geometry by leaving miter, bevel, EvenOdd, stroked, or non-terminal
effect stacks in their original order.
- Added comprehensive unit and regression tests in `crates/effects/src/tests.rs`.
- Added contributor entry in `contributors/people.toml`.
COLR and SVG glyphs, which have no outlines, were left out wherever type was taken as its outlines: geometry effects, Expand Appearance, EMF/WMF export.
A chain of geometry effects makes at most 2 million anchors of a path (of a
type, symbol or image art's paths together) and about 8 million lines for the
renderer to draw at 1 px/pt, or what the path costs when that is more.
Roughen spaces its points further apart, Zig Zag makes fewer ridges a
segment, Free Distort, Twist and the warps split segments into longer pieces
(map_nonlinear_within) and Transform makes fewer copies where they would pass
it; a result drawn with too many lines is built again with fewer points, and
an effect that still doesn't fit is left out.
Three Roughens of a rectangle in a 25 KB file needed gigabytes of geometry,
and 2 million anchors of them flattened into 141 million lines (7 GB, past
vello's 2^27 lines a path); the file now opens in 0.4 s at about 450 MB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A path with a Transform effect that makes copies and a gradient was still merged into one path by bake_leaf and expand_leaf, so the gradient spanned every copy. Route it through reshape / expand_outlined like the renderer does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A geometry effect applied to one of a type object's own fills or
strokes (effect.apply with item) was kept but not drawn or exported
unless the type also had a geometry effect or perspective of its own.
With a geometry effect, the renderer measured the type for culling
without the fill's or stroke's effects, so an outline that reached past
the glyphs was not drawn once the glyphs left the view.
Type whose own fills or strokes have a visible geometry effect is now
drawn, culled and exported through its outlines, the same way as type
with an object-level geometry effect. Each effect reshapes the whole
outline that its fill or stroke paints. SVG, PDF, EPS and the other
vector exports write such type as paths. Type that holds inline
graphics stays type, as before.
Symbol instances are placed through a transform as images are, so the
Transform effect now moves and copies both (transform_placed), sharing one
copy budget (MAX_COPY_OBJECTS). Copies of either stop before one reaches
past MAX_REACH, as a path's do (distort::within_reach).
Adds end-to-end export tests for a group's image copies in svg and pdf.
Exports bake live effects into plain art, and a Transform effect on
type or on its group or layer turned the type into glyph outlines, even
when the effect only moved it or made moved copies. A PDF reader could
not select or search that text.
The export bake now keeps such type as type, moved into each place the
effect puts its outlines. It does this for Transform effects without
scale, rotation, reflection or Random, for type whose characters are in
solid colors without underline or strikethrough, and that has no fills
or strokes of its own, inline graphics or perspective, and when the
copies do not overlap. Type under such an effect on its group or layer
also needs no transparency or effects of its own, and the group or
layer needs no fill, stroke or Pathfinder effect of its own. The export
still outlines other type under geometry effects, and the canvas and
Expand Appearance still draw outlines.
Docs: docs/mcp.md, docs/target-app-parity.md.
Type is drawn as its glyph outlines under a geometry effect, in EMF and
WMF export, in DXF export when it is written as outlines, through
Flatten Transparency with Convert All Text to Outlines, and inside an
envelope. Those outlines differed from the type the canvas draws in
four ways. They had no underline or strikethrough bars. A character
stroke on scaled type kept its unscaled weight. An unplaced gradient was
fitted to the glyphs it painted instead of the layout box. A run's
pattern tiles stayed in document space instead of scaling and turning
with the type. A group's or layer's own fills and strokes also painted
the glyphs of the type in it without the bars.
The outlines now include each run's underline and strikethrough bars,
as the canvas has drawn them since #850. Each run's path is made in
text space with its unplaced gradients fixed to the layout box, then
placed by the type's transform, which also scales its stroke weight
and dashes and transforms its pattern tiles. The type's own fills and
strokes have their unplaced gradients fixed to the bounding box of the
layout box in the document, where the canvas fits them.
Geometry effects that move or scale the outlines move and scale the
type's gradients with them: the type's own effects, also inside an
envelope and after Flatten Transparency has converted the type to
outlines, and the effects of a group, symbol instance or envelope that
holds the type. outline_text marks its group with a new node field,
type_outlines, which is saved with the document. reshape_leaves maps
the placed gradients in each marked group through the map that takes
the group's bounds before the effects onto its bounds after them. A
scale out of proportion stretches a radial gradient into an ellipse
and turns the isolines of a diagonal linear gradient, as it does on
type scaled by its own transform. Placed gradients outside those
groups stay where they are.
Geometry effects on a group or layer, and effects on a symbol instance,
blend or repeat, outline the type inside it. outline_nested_text
replaced each type object with a plain group of its outlines, so the
type lost its opacity, blend mode, opacity mask, knockout shape
option, own effects and perspective, and hidden type was drawn,
exported and made visible by Expand Appearance.
outline_nested_text now replaces type with the art that as_art makes
for it, which is also what reshape makes for type with geometry
effects of its own. That art has the type's own geometry effects and
perspective applied and keeps its name, transparency, opacity mask
and other effects. as_art also keeps the object's visibility and
knockout shape option, so hidden type with a geometry effect of its
own is left out of exports. Type in a clip group's clipping path still
becomes its plain outlines and now keeps its visibility.
dotCooCoo