Right-to-left type on a path that overflows searched for the start of its
text that fits with a binary search, which assumed that a longer start
never fits once a shorter one does not. A letter tracked to a negative
advance breaks that: with steps of 6, 6, -3 and 6 points in a 10 point
span, the first three letters fit while the first two do not, and the
search showed only the first letter.
- Without hanging punctuation, and with no spacing or on a path of one
straight segment, every start is measured in O(n log n): each glyph
keeps its place in the whole text's visual order, except the trailing
whitespace and controls that UAX #9 rule L1 sets to the paragraph's
level.
- With hanging punctuation, or spacing on a curve, when a letter has a
negative advance, a start is a candidate only when its glyphs, in its
own visual order and each at the least step it can take, reach no
farther than the path's length. This lower bound holds with negative
advances.
- At most 32 candidates are arranged from the longest. When none of
them fits, a binary search over the rest shows a start that fits,
which is not always the longest.
- With hanging punctuation, or spacing on a curve, text with no negative
advance keeps the binary search.
Right-aligned and centered type on a curve with Spacing was placed using
the width its glyphs have at the start bracket, while the steps were
measured where the line was placed, so a line that fits could end past
the end bracket and lose glyphs. It is now placed using the width of the
steps it has where it is placed.
Two contours of an area-type frame now count as meeting along a slanted
edge only when their edges lie exactly on one line, checked with an exact
cross product, and the intervals on either side of a seam join only
where both edges cross the middle of the band at the same x, found along
the same line. Before, both checks allowed a few units in the last place
of the coordinates, which near the edge of the canvas (x = 3,999,000)
is wider than a real gap of one to four units, so a line ran across the
gap outside the frame.
An edge divided by an anchor exactly on it still joins, including where
the divided edge's own crossing would round to another x.
The help page says a wrap object's Offset may be positive or negative
(https://help.adobe.com/archive/en_US/illustrator/cs4/illustrator_cs4_help.pdf#page=307).
Text Wrap Options, the commands, the MCP tool and .ai import already
kept a negative value, but layout set it to 0.
- Layout keeps the signed offset, within -1000 to 1000 pt like the
commands and .ai import (a value that is not a number counts as 0).
- Around a wrap object, a negative offset shrinks the object by that
distance from each edge, holes included, so lines beside, above and
below it run that far into it. A shape narrower than twice the
distance no longer moves text aside. A line may get less room than
the exact shrunk shape leaves, for example where several edges come
close to one piece of the band, or where a band holds more than 64
anchor heights. It never gets less room than an offset of 0 leaves.
- With Invert Wrap, a negative offset keeps the text that far inside
the object.
- Zero and positive offsets up to 1000 pt lay out as before. A larger
positive offset lays out as 1000 pt.
- The params text of object.textWrap.make and object.textWrap.options
and the MCP text_wrap offset description give the range and what a
negative value does.
Docs: docs/target-app-parity.md.
A right-to-left line draws the text before a tab after it, but its width
was measured in the order of its text. A right-aligned line such as
"אב גד<tab>הו זח" with a stop at 150 pt in a 300 pt frame ended 5.59 pt
past the frame's right edge, and right, center and decimal stops aligned
the text before the tab instead of the text drawn after it.
- The line's width is measured in drawing order, each tab up to its stop
from where the glyphs drawn before it end. Right, Auto and centered
lines are aligned by that width. Stops are still measured from the
left edge.
- Right, center and decimal stops align the text drawn after the tab.
- Area type breaks a line with a tab where it fits as drawn, and wraps a
line that fits only in the order of its text. Once the line holds a
tab, it reads on while the least it can be drawn at fits, then ends at
the latest break that fits as drawn: up to 256 breaks are measured
from the latest back, and earlier breaks without a hyphen are
bisected. Hyphenation points are measured as drawn the same way, so
the line hyphenates at a point that fits.
- Only lines of horizontal paragraphs with right-to-left text keep a
list of their break candidates.
- A tab that ends a wrapped right-to-left line is drawn before the line
at its own width instead of pushing the line to the right.
Docs: docs/target-app-parity.md.
With Invert Wrap, each piece of a line's band intersected the line's
spans so far with the spans the wrap shape holds over that piece by
comparing every pair of them. A wrap shape of many parts (a comb or a
zigzag) gives a line many spans, and with an offset the band is cut
into up to 128 pieces, so a dense shape made layout quadratic in the
number of parts for every line.
intersect_intervals now walks the two sorted lists once, stepping past
whichever interval ends first, and gives the same spans in the same
order. Tests compare it with the pairwise intersection on every list of
non-overlapping intervals with ends among seven points, check that two
interleaved lists of 3,000 and 2,000 intervals take at most 5,000
steps, and lay out a line inside a 500-tooth Invert Wrap comb with an
offset.
A threaded story measured each type-on-a-path frame, and each area frame
whose lines align to the center, the bottom or justify vertically, with
the whole rest of the story. A story of 1,500 one-line paragraphs through
40 such frames was laid out over about 2.1 million bytes while the frames
were measured.
- Area type without Shrink Text to Fit now takes the paragraph probe for
every vertical alignment. A reflow pass that places less text is
undone, so when the final layout stops before the last paragraph break
measured, every pass placed the same lines as with the whole rest.
- Type on a path takes it when its line starts at the start bracket: no
Dynamic Text, Optical Margin Alignment or Roman Hanging Punctuation,
the first paragraph aligned Left, Justify Left or Auto, and vertical
type or no right-to-left text in the rest of the story. The story is
scanned for right-to-left text once per distribution.
- Shrink Text to Fit, the other path settings and a share that ends in
the story's last paragraph are still measured with the whole rest.
The same 40 frames are now measured over 21,035 bytes (aligned to the
center) and 20,583 bytes (paths aligned Left). Each frame's share is
unchanged: the tests compare every slice with the whole-rest result for
both distribution entry points, across alignments, frame shapes, wraps,
path settings, right-to-left text, styles, lists and seeded stories.
A band whose top and bottom are equal lost its only piece when the repeated cut was removed, so the line kept the frame's whole width. Anchor cuts now apply only to a band with height.
Crossings of the middle of a line's band that lay within a few units of rounding of each other were joined as a seam, so two contours of an area type frame 1e-7 pt apart at x = 1e8 held one line across the gap between them. A vertical edge crosses the middle at its own x with no rounding, so a gap at one is no longer joined.
With Invert Wrap and an offset, each piece of a line's band kept only the x that one part of the shape held within the offset of every height of the piece. Where the offsets of two parts met across a gap (one above and one below), the heights between them held neither part, and the line lost that x although the grown shape covered the whole band.
The band is now also cut at every height an offset above or below an anchor of the shape (when there are at most 64 of them), and the horizontal edges at the ends of a piece's window count, so the window of the piece between the meeting offsets reaches both parts.
A line in area type of a shape other than a rectangle was measured at five heights of its band, so an edge that pinched in between two of them (a notch tip at y = 47.5 in a 40..60 band) left the line running outside the frame. The frame's intervals over a band are now the intervals at its middle minus the x range of every edge within the band, which is exact for any number of vertices, holes and crossing contours.
Edges that contours meet along do not shorten a line: horizontal ones count by coverage, and collinear ones by overlap, and an edge that only touches the top or bottom of the band is left out. Rectangles keep their fast path.
Text wrap shapes were sampled at the same five heights, so a wrap object whose tip reached into a band between two of them let the line run across it. A line now keeps clear of every x at which a wrap shape, grown by its offset, lies anywhere in the band: the shape's intervals at the middle of the band plus every edge within it. With Invert Wrap, the band is cut into pieces a quarter of the offset tall (64 at most), and a line keeps to the x within the offset of the shape at the heights each piece's offset window holds, so it stays inside the grown shape over the whole band; an offset of 0 takes the shape's intervals over the whole band.
A frame less than 0.0002 pt tall no longer panics when a line is measured in it.
On a shaped frame, Inset Spacing keeps text that far from the frame's
edge, measured from the edge itself rather than along the line. Before,
the inset was trimmed from each end of a line after the frame's edge was
found, so on a sloped edge the text came closer than the inset: a
triangle (0,0), (100,0), (0,100) with a 10 pt inset gave the band
40..60 the span 10..30, where a 10 pt clearance gives 10..25.86. Holes
keep the same clearance.
A rectangular frame keeps its inset from each side as before, a
column's inner edges keep it once, and the gap kept beside a wrap
object along the line is unchanged.
A justified area type line counted a tab as a word space, so it gave
the tab a share of its room that no glyph drew, and the line ended
short of its measure. A word-tab-word line ended short too.
- The text up to a line's last tab keeps its spacing, each tab keeps
its stop and its leader stays in its gap. The text after the last
tab takes the line's room: word spacing, letter spacing and glyph
scaling within their ranges, then its word spaces, or the gaps
between its letters when it has none. Kashidas go in that text when
it is one run.
- A tab separates two words, so Single Word Justification does not
align a word-tab-word line.
- Right-to-left lines take the text drawn after the last tab drawn,
measured as the line is drawn, and vertical lines work down the
column. Point type keeps its natural width.
Docs: docs/target-app-parity.md, docs/type-parity.md.
Text wrap can split a line into spans that share a baseline. The spans
after the first were measured across the height of the line set in the
first one, so a taller line set in a later span could run into a wrap
object the shorter line stayed clear of. Each further span is now
measured again across the height of the line that goes in it. The line
gets the part that is free, and a span with no free part, or with a part
narrowed to less than the line's first word, is left empty. The
Every-line Composer and the line loop both place lines through
`Pen::place`, so they agree.
The Every-line Composer also keeps a line start whose line found no room
while a longer line from it would be taller. A taller line steps down
the frame by its own leading and can find room the shorter line's steps
missed.
Tests: a_further_span_is_measured_across_the_height_of_its_line,
composition_tries_a_longer_line_after_one_that_cannot_be_set.
A paragraph whose characters differ in line metrics (type size, font,
leading, vertical scale, or an inline graphic taller than the text) was
broken with the Single-line Composer in area type of a shape other than
a rectangle, or with text wrap. The every-line composer now composes it
there too.
- The composer takes each line's width from a measure that follows
where the lines above it went (`composer::Measure`,
`compose_with`). The fixed widths by line number are one such measure.
- In a frame whose lines are not all as wide, each line the composer
tries is placed from the pen the lines above it left, at its own
tallest metrics, as the line loop places it (`layout/shaped.rs`).
Starts with the same placement are shared, and each start keeps the
placements it was tried with.
- A line too long for its room does not end the search from its start
while a glyph after it could make the line taller and set it lower,
where the frame may be wider.
- The line loop places a composed line in such a frame at the line's
tallest metrics, so it gets the room the composer measured for it.
- The search for one paragraph stops after 1,000,000 lines tried or
2,000,000 baseline steps. The searches of all the paragraphs of one
frame share a budget of 2,000,000 lines and 4,000,000 steps, kept
apart from the line loop's own steps. A paragraph whose search stops
is broken line by line. A paragraph the frame has no room for is
broken line by line too, and overflows as before.
Tests: crates/text/src/tests/combos.rs (a stepped frame, a frame that
widens, text wrap with two spans on a baseline, overflow, a long
paragraph) and crates/text/src/layout/wrapping_tests.rs (the composer
with a measure, and the shared search budget).
A selection inside a warichu block was highlighted across the whole
line of text, so selecting a character of the upper block line
highlighted the lower one too, and a selection from one block line to
the next spanned the wrong characters. Each block line now gets its own
band, out to halfway to the block lines next to it, with one highlight
over each run of selected characters drawn side by side on it. A
selection that runs past the line still covers the line break.
Glyphs now carry their block line, so the characters of one block line
stay together for the highlight and for a click whatever their own
Character Alignment.
Justification gaps follow the drawn order, and right to left the bidi
order draws a block's first glyph after the others. The glyph drawn
second then did not continue the block, so Full Justify and CJK
justification opened a gap inside it. Both gap rules now also skip a
pair whose glyphs belong to the same block.
- Insert Kashidas skips the characters of a warichu block.
- Blocks whose characters the bidi order draws in turn keep where each
block starts.
- A click on a block line goes to that line's characters.
- Digits marked Warichu in vertical type on a path stay across the column.
- A block of several fonts gives its line the tallest ascent and the
deepest descent among them.
- Warichu Settings on characters not marked Warichu do not split shaping.
- Warichu Settings leaves a value outside its range as it is unless it is
edited.
The Character panel menu has Warichu and Warichu Settings… with Show East
Asian Options. Warichu characters are set at a percentage of their size
and stacked on 1 to 6 lines inside their line: one above the other in
horizontal type and side by side in vertical type. Warichu Settings sets
Lines, Line Gap, Scale and Alignment.
- text.setFormat and text.setRangeStyle take warichu, warichuLines,
warichuGap, warichuScale and warichuAlign; ui.warichuSettings opens
the dialog.
- A stretch of warichu characters is one block that stays whole on one
line. The canvas and every export draw the stacked lines; SVG, PDF and
the .ai writers write such type as outlines, as they do ruby. Type on a
path sets the characters at their own size.
- The attributes are saved natively, carried by character styles and
translated in every complete catalog.
Docs: docs/mcp.md, docs/type-parity.md.
The Paragraph panel's Mojikumi Set lists None, YakumonoHankaku,
GyomatsuYakumonoHankaku, GyomatsuYakumonoZenkaku and YakumonoZenkaku,
then Line-end Punctuation Half Width, and text.setFormat {mojikumi}
takes yakumonoHankaku, gyomatsuYakumonoHankaku, gyomatsuYakumonoZenkaku
and yakumonoZenkaku besides none and lineEndHalf.
The spacing of each set is VectorCraft's own rule, built on the help
page's one-line description of each set:
- YakumonoHankaku sets every bracket, comma and full stop half width,
takes a quarter em off each side of a middle dot, and puts a quarter
em between Japanese and Latin letters or digits.
- GyomatsuYakumonoHankaku keeps punctuation full width inside a line,
sets an opening bracket starting a line flush and a closing mark
ending it half width, and takes the quarter em after a middle dot
ending a line off.
- GyomatsuYakumonoZenkaku keeps punctuation full width and adds the
quarter em between Japanese and Latin text.
- YakumonoZenkaku sets characters as None does.
Both composers and vertical type measure each line as it is set. A
right-to-left paragraph, whose line ends are measured untrimmed, also
draws them untrimmed, and a right-to-left line that ends between a
Japanese and a Latin character is measured without the quarter em the
set adds there. With a Desired glyph scaling other than 100%, the
space a set takes off before an opening bracket or middle dot, and the
Japanese-Latin space recorded at a line's end, scale with the glyph.
The sets save with the document and paragraph styles; new type and
Reset Panel keep Line-end Punctuation Half Width. SVG export lays type
with middle dots out again for its positioned spans. A .ai save
reports a paragraph with one of the new sets as left out.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md,
docs/gaps.md.
A glyph that justification widens to fill the line keeps its Insert Aki
before it at its width, and its own width, which ligature carets stand
in, now starts where the glyph is drawn. Optical kerning measures a pair
from the letter of a cluster rather than from a combining mark whose
advance holds the cluster's Aki.
The SVG test also checks centered and right-aligned lines with Insert Aki.
Single Word Justification adds no space inside an inseparable pair. A
right-to-left line draws the second half's cluster before the first half,
with the cluster's glyphs in logical order, so a dash followed by a
combining mark puts the mark next to the first dash. The pair is now found
from the two neighboring clusters instead of neighboring glyph indices.
Paragraph panel menu > Bunri-Kinshi (with the East Asian options) and
text.setFormat {bunriKinshi} turn it on per paragraph. A line then
never breaks inside two em dashes, two horizontal ellipses, two two-dot
leaders or the two halves of a vertical kana repeat mark, the pairs W3C
JLREQ lists for class cl-08 (https://www.w3.org/TR/jlreq/#cl-08), nor
inside a chain of em dashes. Both composers, vertical type, Kinsoku
Shori Type, hyphenation and No Break follow it, and a pair wider than
the line stays whole on it. Justification and letter spacing add no
space inside a pair.
The setting works only with a Kinsoku Set: with Kinsoku Set None the
paragraph keeps the value without effect and the menu item is
unavailable. It is off by default, saved with the paragraph only when
on, carried by paragraph styles (Paragraph Style Options > East Asian
Composition Settings), and turned off by Reset Panel. A value that is
not true or false is refused. The .ai editing data has no field for it,
so saving reports a paragraph with it on and a pair in it as left out.
Docs: docs/mcp.md, docs/target-app-parity.md.
Characters take two new attributes, `akiLeft` and `akiRight`: space
before and after each character in reading order, in thousandths of an
em from 0 to 1000, measured as tracking is. `text.setFormat`,
`text.setRangeStyle` and character styles set them; values that are not
numbers or are outside the range are refused, and a file holding one
outside the range opens with the nearer end. Both are saved only when
not 0.
- Layout: Left is the space above a character in vertical type and on
its right in right-to-left type. Wrapping counts the space, a line's
end keeps it when aligned, and justification and Optical kerning
leave it at its set width. A ligature, a letter with its marks and a
tate-chu-yoko block take the values of their first character.
- With Fractional Widths off or System Layout on, the space before and
the space after a character are each set in whole points and added
to its rounded width, so justification keeps them at that width. A
tate-chu-yoko block rounds the space above and below it the same way.
- Character panel: with Show East Asian Options on, Insert Aki Left and
Insert Aki Right fields with 0, 250, 500 and 1000 in their menus;
Reset Panel sets both to 0.
- Character Style Options › Advanced Character Formats shows Insert
Aki Left and Insert Aki Right, with the Character panel's 0, 250, 500
and 1000 in their menus; a typed value below 0 or past 1000 sets 0 or
1000, and Reset Panel unsets both.
- SVG export: live text places each character the space moves, and
type on a path with Insert Aki is written as outlines.
Docs: docs/mcp.md, docs/target-app-parity.md.
Single Word Justification's Full Justify counted and placed a gap after
every drawn glyph, so a combining mark or the vowel sign of a Devanagari
syllable moved away from its letter. Desired Letter Spacing and the
letter spacing range of a justified line did the same between two glyphs
of one cluster.
- The Full Justify gap count and placement share one check that skips
glyphs with the same cluster byte as the glyph drawn after them.
- Letter spacing goes after the last glyph of a cluster only.
- Letter spacing, Full Justify and CJK inter-character gaps pass over
every default-ignorable character drawn with no width (soft hyphens,
bidi marks, embeddings, overrides and isolates, joiners, word joiners,
variation selectors, tags, the byte order mark) and put the space
between the visible characters on either side. The Hangul fillers stay
letters.
- A zero-width space takes no word-space room on a justified line and
stays a line break opportunity. Letter spacing before it is set after
it, so a line broken there ends at its last letter.
- A single word that Full Justify spreads and that breaks at a hyphen
has the same gap before the drawn hyphen as between its letters.
- Kinsoku push-in counts the gaps it can close past format controls, as
the layout closes them.
Tests cover horizontal, right-to-left and vertical type, Desired and
fitted letter spacing, format controls, zero-width spaces, the drawn
hyphen, push-in, and a Devanagari syllable when a Devanagari face is
installed.
Korean text broke after every Hangul syllable. A paragraph now has
Korean Line Break Anywhere, set from the Paragraph panel menu (with the
East Asian options), from the East Asian Composition Settings section of
Paragraph Style Options, and with `text.setFormat {koreanLineBreakAnywhere}`.
- Off, a word that contains Hangul (the characters between spaces) breaks
only at its spaces and after East Asian punctuation, or where the word
is wider than the line. Both composers follow it, and the word takes no
hyphen. On, a line may break between any two syllables, as before.
- New type has it off. Paragraphs and text objects saved before the
option read as on, so their lines do not move; the value is saved only
when it is off.
- Paragraph styles carry it, Reset Panel turns it off, and the .ai writer
reports it as lost for Korean paragraphs.
The help page: https://helpx.adobe.com/illustrator/desktop/design-with-text/fonts-and-scripts/set-line-breaks-korean-text.html
The command is described in docs/mcp.md, and docs/target-app-parity.md
lists the option.
A forced line break ends the first word when looking for room, inside a
No Break run too, as the line is set. A soft hyphen just before a forced
line break adds no hyphen to the measured width.
When layout looked for room for a line's first word in a frame that is
not a rectangle, a soft hyphen ended the word even inside a No Break
run, although the line does not break there. The word is now measured
across a soft hyphen where kinsoku or a No Break run keeps the line from
breaking after it.
The word gap is now the Desired word spacing the layout uses for area type
with Block on (TextObject::layout_justification), with Minimum and Maximum
moved out to it when it lies outside them. The paragraphs keep their own
Justification values, so a wide gap no longer leaves a 1,000 % Maximum
behind, and turning Block off brings back the paragraph's own Desired
value. The SVG writer reads the same values.
- The Contextual Task Bar offers Dynamic Text for area type outside a
thread, beside Convert To Point Type.
- type.dynamicText with wordGap or lineGap and no area type in the
selection is an error instead of being ignored.
- Docs: docs/mcp.md, params text, docs/target-app-parity.md.
In a frame that is not a rectangle, or with text wrap, layout moves a
line down to the first span wide enough for its first word. The word
was measured at full width before Mojikumi set an opening bracket at
the line's start flush, and with its last character at full width, so
a word that fit as set moved down to a wider line. It also ended at any
break opportunity, so an opening bracket counted without the character
kinsoku keeps with it and could be placed alone on a line too narrow
for that character.
- word_width ends the word only where break_line may end a line: at a
cluster end that kinsoku allows, not inside a No Break run, whose
spaces count. It leaves out the spaces at the word's end and narrows
its last glyph by the Mojikumi line-end credit.
- place_flow_line measures the word after the opening-bracket trim, and
the Every-line Composer's first-line placement takes off the same
start credit, so the composed widths match the placed lines.
With Line-end Punctuation Half Width, a closing bracket, comma or full
stop ending a line is set half width, but both composers measured it at
full width. A closing bracket that fit only at half width went to the
next line with the character before it, and so did a comma or full stop
with Burasagari None.
The single-line and every-line composers now measure each candidate
line with its last character set as narrow as Mojikumi sets it, using
the same rule the line is drawn with. A mark that already lost its half
to the punctuation after it and a line ending in a hyphen take nothing
more off, and the quarter em between Japanese and Latin text counts only
where the line ends. Kinsoku Shori Type measures the pushed-in and
pushed-out lines the same way. Right-to-left lines and Mojikumi None
break as before.
A test font sets ideographs and Japanese punctuation one em wide, so
the layout tests run without system fonts.
Type › Dynamic Text (`type.dynamicText`, also on the Contextual Task Bar
for type on a path) scales the text by one factor so it fills the span
between its start and end brackets, and the layout fits it again after
each edit to the text, the path or a bracket. The first character's
size moves in 0.1 pt steps within 0.1 to 1,296 pt. Turning it off, or
threading the type, keeps the sizes it was drawn at.
- The model saves `dynamicText` only when on.
- SVG, the legacy .ai writer and the .ai editing data write the drawn
sizes through `vectorcraft_text::drawn`; the editing data warns that
the setting is not written.
- Shrink Text to Fit and Dynamic Text step the size the Character panel
shows when a size measures the cap height, x-height or ICF box.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
Part of #4134.
A centred or right-aligned line of tracked type was measured with the
tracking after its last character, so it sat half that tracking
(centred) or the whole tracking (right-aligned) left of where the page
of users' .ai files draws it. That page aligns a line as wide as its
characters without that tracking.
Shaping now records the tracking each glyph's advance holds
(SGlyph::tracking), and a line that isn't justified leaves its last
character's out of the width it is aligned by. The last character is
the last one the line draws before a paragraph's end, a forced line
break or the spaces a wrap leaves; spaces or a tab typed before a
paragraph's end or a forced line break keep the letter's tracking, as
the page does. Forced line breaks and wraps aren't in the files: they
follow the rule so that turning a wrap into a paragraph or a forced line
break keeps the line in place. Hyphenated lines, lines whose last
character hangs, vertical and right-to-left lines and type on a path
keep it. The tracking stays in the glyph's advance, so the caret,
selections, line breaking and Fit Headline are unchanged.
LineInfo::trailing gives the amount. Right-aligned area type sets the
text after its last tab the same way.
What aligns by line widths follows. Convert To Area Type makes its
frame end where the lines are aligned, with room for the tracking, so
tracked type converted either way stays in place. Affinity import lines
up differently aligned paragraphs of artistic text by the aligned
widths. SVG import moves a centred or right-aligned letter-spaced line
back by its share of the last letter spacing, so it stays where a reader
draws it and SVG export, which anchors lines at the end of their
advances, reads back unchanged.
Centred and right-aligned tracked type lays out differently than before
in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
On a vertical path, an upright glyph is now placed in its column as
vertical point type places it, then the column is centered on the path.
- Its cell starts at its place on the path; it started 0.12 em earlier
with fonts whose cell top is less than a full cell above the baseline.
- A baseline shift moves it across the column instead of along the path.
- A horizontal scale widens it evenly about the column's center.
- A combining mark stays on its upright letter.
- The caret and the selection highlight span the column, half its em on
each side of the path, instead of the font's ascent and descent.
With Skew, 3D Ribbon and Stair Step on a path that runs to the left,
letters are a quarter turn counterclockwise from upright glyphs: Skew and
3D Ribbon mirror both kinds there, and Stair Step keeps letters level. The
test, the progress doc and the params text of Tate-chu-yoko Settings now
state these conditions and the block's directions on a path.
BFlat