A gradient of one spot ink's tints and paper white is written as a
Separation shading in that ink, with each white stop at 0% of it. A
white stop linked to a swatch that is not a spot color (a global White
swatch, for example) did not count as paper white. In an RGB document
the spot ink was then dropped: a Classic gradient was written in the
stops' own colors, and a Perceptual one was exported as an image in
process colors.
Such a stop now counts as paper white in the Separation and DeviceN
paths and in the checks that pick them, as an unlinked white stop does.
A stop linked to a white spot color is still a stop of that ink.
An override on a dynamic symbol instance names an object of its symbol's
art by path. Replace Symbol kept every override whose path the new
symbol's art also had, so a change made to one object of the old symbol
was applied to an unrelated object of the new one. An instance given a
different symbol now drops its overrides; an instance replaced with its
own symbol keeps them. Undo brings them back.
- Each segment of a pressure curve is also sampled where its width stops
rising or falling, so a dip between the regular samples of a long
curve is kept. The segment's values are scaled into -1..1 before that
is solved, so huge values in a file can't overflow it.
- A curve counts as full width only within 1e-9 of it, so a curve just
under full width keeps its profile.
- The pressure points of all strokes in one read are limited to about a
million, as for characters and table cells. Curves at full width count
too, and once the limit is reached no more curves are read; the
strokes past it are imported as plain strokes with a warning.
A clipping path hides the art outside it. Empty Text removed empty type
that clips a clipping group, and Off-Artboard Art removed type that clips
a layer from off every artboard, so the art they hid showed. Both now
leave type that is a clipping path, as the other kinds already did, also
when the clipping path itself is selected.
Docs: docs/mcp.md (Artwork Cleanup kinds table).
An Affinity stroke shaped with the Width tool stores its pressure curve
(LDeP: position along the path against width). The importer warned and
drew the stroke at full width all along.
- The pressure curve is read and sampled into the stroke's width
profile (2 to 8 points per segment, 256 segments at most, widths up
to the full weight). A curve at full width all along stays a plain
stroke; one that can't be read is warned about.
- Brush strokes keep their own warning.
- The pinned Affinity 3 signatures for the five corpus files with such
strokes are updated.
A legacy .ai stores layer, object, color, gradient, pattern, style and
swatch names as bytes, without saying which code page they are in.
Names that aren't UTF-8 are still read as Windows-1252 by default, and
now each gives a warning naming it and the encoding it was read in (the
first three, then a count).
document.open takes legacyNameEncoding (windows-1252, macintosh,
windows-949 or euc-kr, shift_jis, gbk, big5) and vectorcraft-cli
convert takes --legacy-name-encoding, to read those names in another
code page. Definitions and the fills that name them are read alike, so
they still match. Type, comments, dictionary keys and PDF layer names
are read as before.
encoding_rs becomes a direct dependency of vectorcraft-eps.
Part of #2831
Dropping rows with neither a label nor a value read the data padded to
the widest row, so a dropped row wider than the rest (`,,`) left every
kept row one blank cell wider. The graph then had an extra blank series,
and a right-axis assignment to that index was kept. Each kept row now
keeps its own width. This applies to graph.setData and to a graph
variable's data set.
With the clipping path of a clip group or a clipping layer selected, or a
member of a compound path that is the clipping path, Paste in Back put the
clipboard's objects below it. The bottom pasted object then became the
clipping path. With nothing selected in a clipping layer, Paste in Back did
the same at the bottom of the layer.
Paste in Back now puts the objects right above the clipping path, as Send to
Back keeps art above it.
Applying a data set wrote a text value into the bound frame only, and the
thread's reflow then joined it with the other frames' old text. The art no
longer matched the row it had just applied, a captured row applied back lost
text, and a value bound to a later frame deleted the rest of the story.
- A text value bound to any frame of threaded text replaces the whole story,
which then flows through the frames again. `overflow` names the story's
last frame.
- Capture Data Set, Update Data Set and the Variables panel's match check
read such a frame as the whole story, frames joined in thread order.
- When any frame of the story is locked, the text value is skipped and
counted in `skipped`, and the story is not read.
- Two text variables bound in one story apply in definition order, as for
two on one object: the one defined last wins.
Docs: docs/mcp.md.
variable.lock's params text and the doc comment on Variables::locked said every
dataset command still runs while the variables are locked. dataset.import is
refused when its header would define a variable; both texts now say so, as
docs/mcp.md and dataset.import's params already do.
Choosing a data set gave a graph variable's CSV to the graph without the
two steps graph.setData takes after new data: rows with neither a label
nor a value were kept and drawn as empty slots, and a right-axis series
the new data no longer had stayed assigned, so a series added by a later
row started on the right axis. The data set now goes through the same
steps.
variable.rename and dataset.rename checked whether newName was taken before
checking that name exists, so renaming a missing name onto a taken one said
the new name already exists. Both now report the missing name first.
A color JPEG XL image whose embedded ICC profile the decoder cannot convert to sRGB kept its samples as stored and lost the profile when that profile was not an RGB one, so the image drew those samples as sRGB. It is now refused as unreadable, as a gray image in such a profile already is.
The editing data keeps each styled object's drawn look, the outline as
the file draws it, next to the editable path. An object whose art style
was one stroke with a width profile came in as a live stroke instead, and
VectorCraft's width profile does not draw these strokes at the widths the
file draws them, so outlines no longer met the fills built against them.
Such an object now comes in as its drawn look, as other styles that
VectorCraft cannot draw the same way already do. Type keeps the stroke
and its profile live, since its drawn look cannot be retyped. The import
warning for drawn looks now names variable-width strokes.
An edit merged into the newest undo step (an undo group) left
History::step unchanged, so a first pick made while the group was open
survived the edit. The newest step now takes a new number whenever it is
extended.
Version 7 files write each palette swatch as its paint and `Pc`, with no
name. The reader only kept a swatch with a name before `Pc`, so such a
palette gave no swatches and the document got the default set.
A swatch without a name is now named by its spot color, gradient or
pattern, or by its values in the format the swatch import already uses
for unnamed colors ("Gray K=25", "C=25 M=0 Y=0 K=0"). `Pn` and a `Pc`
with no paint before it add nothing. Named swatches keep their names.
An operator the reader does not know, or a `Pg`, now ends the paint
before it, so a later `(name) Pc` no longer takes that paint. The
swatch limit is kept with a running count instead of summing every
group at each `Pc`.
A Redo made outside the Blend tool drops its first pick, as an edit or an
Undo does, and two picks with no edit between them blend. History::step
changes with each new step, Undo and Redo, also when an Undo and a new
edit leave as many steps as before, and stays the same for a selection
change and for an edit merged into an undo group.
history_budget_for takes the memory reading itself, so the 1 GiB fallback for no reading
or 0 is tested with the quarter, the 64 MiB floor and a reading of 2 GiB, as a cgroup limit
lower than the installed memory gives. The budget is unchanged.
With a member of a compound path selected, Paste in Front and Paste in Back
put the clipboard's objects next to that member, inside the compound path,
whatever they were. A pasted group, compound path or type object then sat
inside a compound path, which holds only paths. The model-based test
`random_command_sequences` stops on this with "compound #N has a non-path
child".
When the clipboard holds anything other than paths, the objects now go
right above or below the compound path. Paths still go next to the member,
inside the compound path.
Output stems for a folder batch went through safe_file_name, which turns
`\` and `:` into `-`, so `a\b.svg` on Linux was written as `a-b.svg`.
The stem now only loses trailing periods and spaces and gets `-` after a
Windows device name, and keeps every other character.
A .ai whose editing copy for other apps holds no transparency, while the VectorCraft document it carries holds 50% opacity, opens in VectorCraft with the opacity of the VectorCraft document. Read with native: false, the same file gives the editing copy.
The color sliders now mark the row they edit with `model: "new"`
instead of a dialog-wide flag, and `recolor.apply` reads a row's own
`model` before the command's. Rows the sliders did not edit keep each
color's model, so with RGB art and a CMYK color group, a slider edit of
one row no longer turns the other rows' art CMYK. Another edit of the
row's new color, Reset and rows reduced again remove the mark, and
`recolor.randomize` moves it with its new color.
A wheel drag or a harmony rule on the Edit tab now removes a row's tint
when it gives the row another new color, as the color sliders, the hex
field and the Color Picker already do. With Limit to Library, an edit
that snaps back to the row's own color keeps the tint.
recolor.randomize moves each row's tint with its new color when it
shuffles the order, and removes the tint from a color that saturation
and brightness changes.
The Assign tab gets a Color Mode menu (HSB, RGB, CMYK, Lab, and Tint when
the row's new color is a spot color of the Limit to Library library) and
its sliders under the rows. They edit the first selected row's new color
and are disabled with no row selected. Once they have edited a color in a
mode, the preview and OK send recolor.apply with model "new", so the art
takes the color in that mode.
recolor.apply rows take an optional tint (percent, default 100): art linked
to the row's global or spot library swatch takes that share of its tint.
recolor.randomize keeps a row's tint.
The Paragraph panel menu (with the East Asian options) gains Kinsoku Shori
Type, and text.setFormat takes kinsokuType. Where the Kinsoku Set keeps a
character off the start of the next line or the end of this one, Push In
First sets it on the line and closes the line's gaps next to CJK
characters to fit, each by at most a tenth of an em of the character
before it; a line that cannot close up that much, or that holds a tab,
pushes out. With Optical Margin Alignment or Roman Hanging Punctuation
on, the gaps that hanging punctuation keeps open are not counted. Push
Out First pushes in only when pushing out would leave the line more than
an em short. Push Out Only, the default, is the line breaking area type
had before, so existing documents lay out unchanged. The setting does
nothing with Kinsoku Set None, is saved only when it is not Push Out
Only, and paragraph styles carry it. Reset Panel sets it back to Push
Out Only.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
The PDF pages of a .ai draw each artboard's background color (Include
Artboard Fill, on by default), but the editing copy of the art left it
out, so the two differed and the file reopened from its PDF part. The
editing copy now takes the same option.
Object > Plug-ins > Color Effects > Find Nearest Swatch... picks a
library (the document's swatches, a built-in library, or a library or
colour book the user saved or loaded) and Fill and Stroke, and lists
each colour of the selection with its three closest swatches and their
CIEDE2000 difference. Apply gives each colour its nearest swatch as one
undo step.
- addon.color.nearestSwatch (a query): the closest swatches of a
library to each colour of the selection's fills and strokes (solid
colours and gradient stops, inside groups and type), or to a colour
given, with deltaE; count 1..50.
- addon.color.applyNearestSwatch: recolours those paints (and gradient
meshes) to their nearest swatch; global and spot swatches link, and a
library's swatches the colours take are added to the document first
(as swatch.library.add adds them), so a spot colour stays spot.
- The library picker Image Trace's Document Library uses moves to the
Swatches panel module and is shared.
- No colour book data ships: only libraries VectorCraft computes or the
user loads are searched.
Each format's copy options are given in full, so no remembered option
applies: PDF and .ai copies write every page (range all), SVG copies
the art of every artboard in one file (useArtboards false), native,
.ai and EPS copies include linked files' data.
Each copy is saved with images embedded and artboards together, so a
document last saved with linked SVG images writes no image files beside
its copy; any other file a save reports is reserved for the copies still
to come.
A Perceptual linear or radial gradient that mixes spot colors with each
other or with CMYK or gray stops was written as an image in process
colors. It is now written as a DeviceN shading of its inks, with the
stops on its Perceptual curve: at each one, the inks of the two stops on
either side are mixed at the weight where the two colors mixed in
display RGB have the OKLab lightness of the color on the curve.
- Gradient::ink_mixes gives the curve's stops as weights between stops,
under the same 4,096-stop limit as ink_tints.
- Perceptual gradients that mix a spot color with RGB or Lab stops,
dithered fills and freeform gradients stay images, and the warning
now names those cases.
Baseline shift now moves a character in the line's frame, outside
Character Rotation, so a positive shift moves a character up from its
line at any rotation, and the character turns about its shifted pen
position. The Touch Type tool splits a drag into its part along the line
(kerning) and its part up from the line (baseline shift) at every
rotation; before, within about 6 degrees of a quarter turn it dropped
the cross-line part.
Characters that already combine a rotation with a baseline shift are
drawn in a new position. Their stored values do not change.
- text: glyph transform order, PositionedGlyph::pivot (the turning
point), tab leaders in the same order
- tools: Touch Type splits drags against the line's up axis and measures
rotate-handle turns about the shifted pen position
- engine: text.touchType description; dy is up from the line
- docs: mcp.md Touch Type paragraph, target-app-parity.md progress line
The Character panel's All Caps, Underline and Strikethrough buttons, and
its menu's All Caps, Underline, Strikethrough, Proportional Metrics,
Tate-chu-yoko and No Break, read the first selected character's style.
With only some characters marked they could show on, and choosing one
turned the attribute off for every character. They now show on only
when every selected character has the attribute, and a click on a mixed
selection turns it on for all, as Small Caps and Standard Vertical Roman
Alignment do. type.underline (Cmd+Shift+U) underlines a mixed selection
the same way. The Character Alignment and Digits submenus check no item
while the selected characters differ.
text.setFormat ignored a value that was not true or false for underline,
strikethrough, allCaps, proportionalMetrics, tateChuYoko,
standardVerticalRoman, noBreak, hyphenate, hyphenateCapitalized and
romanHangingPunctuation. It now refuses it with "`<key>` must be true or
false" and changes nothing, as text.setRangeStyle does.
An envelope in a .ai's editing data opened as its distorted art, with
its mesh and contents dropped. It now opens as a live envelope of its
contents: a warp with its style, bend, distortions and orientation, a
mesh with its points and handles, or a top object with its outline,
with Envelope Options, Fidelity and Edit Contents.
The envelope replaces its drawn art only when VectorCraft draws it like
that art, with a budget so that live envelopes don't make the file open
from its PDF part. When the layers still differ too much from the page,
the drawn art is put back. An envelope that can't be read, or that
draws differently, keeps its drawn art with a note. Envelopes of type
keep their drawn art and hidden type as before.
dotCooCoo