The Save PDF dialog's General section gets "Write pages longer than 200 in
at full size in points" (longPagesInPoints in document.exportPdf,
document.export, presets and document.pdfSettings), off by default. When it
is on, a page with a side longer than 14,400 pt is written with its media
box in points and no /UserUnit at every PDF version, and a PDF 1.5 file
stays PDF 1.5. The export's warning for such a page then says it is written
in points. With the option off, and for pages of 14,400 pt or less, the
file is the same as before.
Docs: docs/mcp.md, docs/target-app-parity.md. The new label has a row in
every catalog that lists the dialog's other options.
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.
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>
Saving a legacy .ai of version 7 flattens each transparent image at its own
resolution, limited only by total pixels. The renderer draws at most 32,768
pixels a side, so an image that came out longer than that at its resolution
was cut off and placed as if whole: the part past that length showed the art
under it without the image. The resolution is now lowered until the longest
side fits.
Threaded type read from a file was flowed through its frames before
the document's composite fonts were registered, so a story set in one
was measured in the fallback font. Frames then held the wrong share of
the story after opening, until a frame was edited. load_with now lends
the document's composite fonts while it lays out its threads.
- PDF/X-1a, PDF/X-3 and PDF 1.3 files leave the layers they don't print
out of the flattening. A flattened group no longer takes the place of
art in a layer that doesn't print, so the art of a clipping layer over
such a layer prints, and art of a layer that doesn't print stays out
of the file.
- A flattened group goes into a lower layer only when that layer prints,
shows and is a template as the clipping layer does, the clipping layer
and the groups it leaves have no opacity, blend mode or isolation, and
the clipping path has no fill. Otherwise the group holds only the art
inside the clipping layer, drawn over the clipping path's fill and the
art below, and the art below is flattened on its own. Before, the fill
covered the group, the group lost the layer's opacity, or the clipping
path cut the art below.
- Transparent art that a clipping path hides entirely, such as one of
area type holding only a space, is removed. Before, the export failed
because the art kept its transparency.
Object › Flatten Transparency follows the same rules. Documents without
clipping layers or layers that don't print export the same bytes as
before.
A PDF, an EPS or .ai without ruler units, a raster image, a metafile, an
Affinity file or an importer plug-in's document opened (and reverted) in
points whatever the General unit was. They now open in the General unit,
as the reference app opens files that record no unit. Native, SVG and DXF
files and a .ai or EPS with %AI5_RulerUnits keep their own units. Only the
displayed units change, not the art.
Each artboard can carry a guide label: one of the layer colors or a
custom RGB. Guides that belong to an artboard draw in its label color,
and guides without an artboard, or on an artboard without a label, keep
the guide color from the preferences. Selected guides still draw in the
selection color.
- Artboard Options has a Guide Label row (None, the layer colors with
swatches, or Custom with a color swatch).
- artboard.new and artboard.setProps take guideLabel: null, a layer
color's name, or #rrggbb. Any other value is an error. The inspect
summary lists guideLabel when one is set.
- The native format saves the label and skips it when unset; a preset
index outside the layer colors reads as no label.
- artboard.setProps no longer adds an undo step when nothing changes.
Docs: docs/mcp.md, docs/target-app-parity.md.
Part of #6435. An optional VectorCraft feature: the Preferences dialog's
Export Preferences... saves the applied preferences to a JSON file (the
web build downloads it), and Import Preferences... applies such a file and
shows the imported values. They run the new commands prefs.export {path?}
and prefs.import {path | data}.
The file holds every preference prefs.list lists and the eyedropper,
perspectiveWidget, pathfinder and glyphSnap groups, without the four
folder preferences and saved presets. prefs.import reads at most 1 MB and
checks every value first: another format, a newer version, an unknown
preference, a bad value or a folder preference is an error, and nothing
changes. It keeps the open document's units, records no undo step, and is
refused as a command.batch step. prefs.set now rejects a group value that
is not an object.
Flattening for PDF/X-1a, PDF/X-3, PDF 1.3 and EPS rasterized a picture,
gradient, pattern, mesh or raster effect over its whole frame when a
clipping mask cropped it. The hidden part came out as opaque white and
covered the art under it, on the same page and on the next one.
- Flattening rasterizes clipped art only where its clipping path shows
it, nested clip groups included.
- Art in a clipping layer is flattened as the layer's clipping path
shows it. A flattened group that also holds art from outside the
layer takes the place of that art, so the layer's clipping path no
longer cuts it.
Documents in which no clip group hides flattened art, and no clipping
layer holds it, export the same bytes as before.
Batch with Override Export compares output names without case, so
`a.svg` and `sub/A.svg` get the Export for Screens folders `a` and
`A-2`. A source whose name without its extension is empty (` .svg`)
gets the folder `file`, and a later `file.svg` gets `file-2`. Two tests
cover these cases.
- PDF 1.3 and 1.4 files, PDF/X-1a, PDF/X-3, PDF/X-4 and PDF/A-2b at
PDF 1.4 among them, write a page longer than 14,400 pt in points
again, now with a warning that apps that keep to the limit cut it to
200 in. Only a page that failed with
"PDF writer error: Limit(TooLargeFloat)" gets the new error: one
whose size or art needs a real number past 32,767, the most PDF 1.4
holds. Whole numbers are written as integers, so a page of whole
points past 32,767 is written as before.
- A page whose side is past 32,767 pt and not a whole number of points
is refused before the thumbnails are drawn and the transparency is
flattened.
- A PDF 1.5 file written as PDF 1.6 for a long page keeps PDF 1.5's
encryption (128-bit RC4), which the Save PDF dialog shows.
- A long page whose short side would be under 3 units at its UserUnit
(ISO 32000-1, Annex C.2), such as 50 m x 4 mm, gets a smaller
UserUnit that keeps the short side at 3 units, with a warning.
- The warnings give a page's size rounded up, as the error does.
A page of 14,400 pt or less is written as before. The new warning has
rows in every complete catalog. Docs: docs/mcp.md,
docs/target-app-parity.md and the document.exportPdf params.
Exports RGB, CMYK and grey JPGs at qualities 100, 80 and 50, at 1x and 2x,
and decodes each one. It also checks that only the CMYK files leave out the
JFIF segment (#3140). Covers #2096 too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A page with a side longer than 14,400 pt (200 in, ISO 32000-1 Annex C.2)
keeps its size only with a UserUnit, which PDF 1.6 added. Exports now
report such pages and handle the versions without a UserUnit:
- Each such page adds a warning with its size and its UserUnit. Apps
that ignore UserUnit show the page that many times smaller.
- A PDF 1.5 file with such a page is written as PDF 1.6, with a warning.
- PDF 1.3 and 1.4 files, PDF/X-1a and PDF/X-3 among them, are refused
with an error that names the page and the limit, instead of
"PDF writer error: Limit(TooLargeFloat)".
- PDF/X-4 files at PDF 1.5 or 1.6 keep the page in points, with a
warning that apps that keep to the limit cut it to 200 in.
The warnings and the error have rows in every complete catalog. Docs:
docs/mcp.md, docs/target-app-parity.md and the document.exportPdf
params.
Export Selection, Export for Screens by selection or by layer, Asset
Export and CSS Properties' rasterized pictures put the objects on a new
plain layer. An object inside a clip group, or on a clipping layer, was
written without its clip, in SVG, PNG and the other formats, and the
opacity masks, effects, opacity and blend modes of the groups and
layers that held it were dropped too.
These exports now keep each object in the layers and groups that hold
it, and crop the file to the bounds the renderer measures for that art
(a clip group by its clip). Those layers are drawn even when they are
hidden, template or non-printing layers, as the objects were before. A
PSD of the export names its layers after the document's layers instead
of one layer named Selection or after the asset.
document.export with selectedOnly uses the same code: an object of a
blend, envelope, repeat or intertwine is now written on its own instead
of inside a blend of one object, and a Shaper group keeps its source
art. A text export of the selection still holds only the selected type,
not that of a type clipping path around it.
A raster export filled its background into the page before the art, so
blend modes read it as art underneath: an Outer Glow in Screen mode, the
default, turned white on a white background and was missing from PNG and
JPEG files while the canvas showed it. Blending against nothing also
differed from the canvas for Difference and the other modes.
The background now goes under the finished art, in frames and in object
thumbnails. A blend mode reads only the art below it. A white object
under a Difference object still inverts.
Page Isolated Blending no longer changes a raster export on a bare page.
Docs: docs/mcp.md, docs/target-app-parity.md.
When an edit changes an object, the canvas draws again only the area
the object painted before and after it, measured by its cull bounds.
Type and groups with Extrude & Bevel, Inflate or Rotate were measured by
their letters or members, not by the solid the effect draws, which
reaches well past them. Making the solid shallower or turning it left
pieces of the old solid on the canvas outside that area until the view
was drawn again.
An object with a 3D effect is now measured by the effect's art, as the
renderer draws it: with its geometry effects, each object in it with
the raster effects of its own fills and strokes and the art its brushed
strokes draw, grown by the reach of the object's own raster effects.
One function measures that art for every bounds the renderer and
exports take, where three copies of it disagreed.
- The renderer measures the art it draws. What it makes to measure an
object it holds until the frame ends, with what the art read from
outside the object (fonts, symbols, color settings), and keeps it
with the art it draws if it draws the object while that is
unchanged. Art measured but not drawn (culled, off the view) isn't
kept. It holds at most as much as it keeps for the art it draws
(64 MB); past that, an object is made again to draw it. An object
whose 3D effect builds nothing (Revolve on a group, a solid too
complex) is measured as it is drawn otherwise, as without a renderer.
FrameStats::three_d_built counts the 3D art the renderer makes.
- The canvas measures what an edit changed through the renderer that
drew the frame shown (Renderer::changed). When it draws the part on
its own thread, it draws it with the art it made to measure it; when
the render worker draws the frame, or nothing in view changed, that
art is let go. Under Overprint Preview or Separations Preview, which
draw copies of the objects, the edit is measured afresh. An object
the frame doesn't draw (hidden, in a hidden group or layer, or
hidden by the view) is measured as nothing, before and after, so an
edit to it builds no solid: changed() without a renderer counts it as
nothing too, where it measured it. The canvas measures the edit
before it knows where the frame is drawn: when the worker draws it,
the solids it built to measure it are built again there.
- Fit to Artwork Bounds, the Artboards panel's check for it and
per-artboard SVG export measure every artboard through one renderer
(Renderer::art_bounds_on, Renderer::effect_bounds), which keeps each
object's bounds for the pass, a group holding 3D art or a hidden
member included, so each solid is built once: 30 extruded type
objects over 30 artboards take about 2 ms, where measuring their
letters took under 1 ms and building each solid for each artboard
would take 70 ms. Objects with brushed strokes, which culling leaves
room for and exports don't, are measured on each artboard. The
Artboard tool's canvas menu keeps whether Fit to Artwork Bounds has
art to fit for the document's revision, where it measured it on
every frame it was open.
- Other exports, Object › Rasterize and changed() without a renderer
build the art on each call, as 3D paths and groups already did.
Exports and Rasterize now take the solid of 3D type, where they
cropped it to the letters, and the art its brushed strokes draw, not
the room culling leaves for it. Rasterize on drawn 3D art measures it
once while the art is kept.
- A shadow after a 3D effect, on the object or on a fill after the
fill's own 3D effect, reaches past the solid once; it was counted
twice.
- With Crop Marks or Vector Halftone, which draw other art, the object
is measured by that art, as before.
- Culling leaves room for a 3D object's brushed strokes as for any
object's, and the renderer measures a 3D object again when the brush
library changes: a brush widened past that room would leave the
object culled.
A document's first frame builds the solid of every 3D object, those off
the view too, to know whether it reaches into the view: 200 extruded
words with 150 off the view take about 12 ms, where measuring their
letters took 6 ms.
Type whose object effects leave it as it is (Revolve builds no art from
type) is measured by its own box grown to hold its glyphs, as plain
type is; it was measured by its box alone, which needn't hold them.
File › Open imports .vccomposite files as composite fonts, so an importer
listing that extension no longer shows it under its own filter or in
document.formats. File › Open gets a Composite fonts filter.
document.open refuses dataBase64 that decodes past the importer input
limit before decoding it. A file whose start shows a built-in format
still opens as that format, as it does by path.
BFlat