The three envelope ink tests set "Type" in the default family and
unwrapped ink_bounds(). Without bundled fonts, craft-fonts or system
fonts (vectorcraft-effects' tests on a bare Linux host), no face draws
and the effects test panicked at the unwrap.
Each test now adds the Heighttest Sans face built from the bundled
Source Sans 3 (test-fonts feature, now also on vectorcraft-effects'
dev-dependency), sets the text in it, and computes the expected box
from the layout's glyph outlines. It checks that envelope_ink gives
that box as well as the before and after registration boxes, so a
change to the registered measure fails the test.
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.
Twist was read as a live effect only on an unstroked path or compound
path whose segments were all straight, and on those at any angle.
- A curved path or compound path, or a group, with nothing stroked and
no guide in it now opens with its Twist live when the twist is at
most 90° either way. Larger twists on these keep the file's drawn
look. The 90° limit is VectorCraft's own.
- Paths and compound paths with straight segments and nothing stroked
keep their Twist live at any angle, as before, guides included.
- Stroked objects keep the drawn look, as before.
- .ai save keeps a link to a Twist graphic style on the objects the
reader reads it on, and leaves it out, with the style-link warning,
on the others.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
Plain RGB fills and strokes and RGB gradient stops were written with
their display RGB values. The reader reads those values as working RGB,
so with a working RGB space other than sRGB a reopened file was saved
with different RGB values and CMYK equivalents. They are now written
with the color's own RGB values, as global process and spot colors
already were.
A spot color in a gradient stop now writes its RGB values from its full
color as the palette writes it (Lab to four decimals and clamped), the
same values its CMYK equivalent comes from.
many_tiling_patterns_and_spot_inks_read_in_linear_time checked that a
program setting 200,000 different tiling patterns and 200,001 spot inks
reads within 20 s of wall-clock time. It reads in about 4 s alone; while
the crate's full test suite ran in parallel it took more than 20 s and
failed.
In test builds, the tiling pattern lookup now counts on its thread how
many patterns it compared with the one it looked for (tilings_compared,
gated with cfg(test) like SELECTOR_TESTS in the SVG reader's CSS). The
test, renamed many_tiling_patterns_are_found_again_through_a_hash, reads
through import on a thread of its own and asserts that its 200,000
lookups compared at most 200,000 patterns in all. When every pattern
hashes alike, as when each lookup went through every pattern made so
far, the lookups compare 19,999,900,000 and the test fails. The test
still reads the 200,001 spot inks and checks their swatches, but it does
not count or time their lookups.
The other tests that read through read_soon wait 300 s instead of 20 s,
as a guard against a read that never ends; their budgets and limits
decide what they check. work_on_the_longest_dash_pattern_ends_soon (4.5 s
alone) now also checks that the states gsave, grestore, gstate,
currentgstate and setgstate save, make or set hold the one 65,535-entry
dash pattern, so a copy of the pattern in any of them fails it.
In a CID-keyed font whose CIDFont the file only names, a cshow procedure
now runs with the CIDFont as the current font, rootfont gives the
composite font, and the procedure gets each code's last byte. A show in
the CIDFont shows the character of that code, and any other string is a
rangecheck error. The current font is restored after each procedure.
A kshow procedure no longer leaves a font it sets current: the current
font is restored when the procedure completes, for every font, and a
kshow the procedure runs sees the font the procedure set.
In GBT-H and CNS2-H, whose mappings are not read, a byte that starts no
row-and-cell code is a code of its own.
docs/gaps.md dates this G9 work in a bullet of its own.
With Size 0, Roughen moved no point but still replaced each segment
with its Detail's points joined by straight lines (Corner) or by a
smoothed curve through them (Smooth), so a curved path lost its shape.
At Size 0 each segment is now split at the Detail spacing into pieces
of equal length on the segment itself, with `pathtools::insert_at`: a
straight segment gets corner points without handles, and a curve gets
smooth points whose handles follow it. The path keeps its outline with
Smooth or Corner points alike. The params text of `distort.roughen`
describes size 0.
`insert_at` now counts the anchors added before each returned mark in
one pass. It counted them again for every split segment, which took
quadratic time on a path with many split segments. Its results are
unchanged.
Existing documents with a Roughen of Size 0 on a curved path, or with
Smooth points, draw differently.
This is VectorCraft's own rule. What Roughen does is described in
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
The doc comments of the Transform, Free Distort, Tweak and Zig Zag
readers, and the Pucker & Bloat and Twist arms, now name the public
pages that list each effect's dictionary keys. No code changes.
The .ai writers write RGB and Lab values to four decimals next to a CMYK
equivalent, but converted that equivalent from the color at full precision.
When a file was read back and saved again, its CMYK equivalents differed in
the fourth decimal (for example 0.6831 and 0.6832). In the editing data this
affected plain RGB colors, RGB gradient stops, global process and spot colors
and the header's custom colors; in the legacy .ai writer it affected RGB
gradient stops.
The CMYK equivalent of an RGB color, and of a global process or spot color,
is now converted from the values as they are written, so both saves convert
the same values. Lab values of global process and spot colors are now written
clamped to the range the reader reads (L 0 to 100, a and b -128 to 127).
A plain Lab fill or stroke and a Lab gradient stop are still written as RGB
with a CMYK equivalent converted from the Lab values. The reopened file holds
them as RGB, so their CMYK equivalents change once on its next save.
The art style round-trip test now compares the program exactly; its blanked
CMYK values and the four-decimal tolerance are no longer needed.
Each writer marks its notes as a loss (something of the document that the
file leaves out or that reaches it changed) or as a note on the options
(an option it didn't apply or applied another way while the art reaches
the file as it looks, or something an option turns off). The PDF, SVG,
EPS, legacy .ai, DXF and HP-GL writers return their notes on the options
in a list of their own (`setting_notes`) beside `warnings`, and the
engine's `Encoded` does the same.
The replies of the save and export commands, and of
`clipboard.exportPdf` and `clipboard.exportPng`, list the losses first,
each kind in the order the writers gave them, across every file that
Export for Screens writes. The status bar names the first note, so an
export to lossy WebP of type in a font that isn't installed now names the
fallback-font note instead of the lossy WebP note. A print to a file
keeps the order its notes are given in.
A path with an effect, or a path linked to a graphic style, can have a
solid stroke a plain line can't draw, such as one with a width profile.
When the reader reads the path back from an art style, the path is
written with that style, and the style holds the stroke. The path's
drawn look still writes the stroke as a filled outline, and the save
warned that such strokes are written as filled outlines.
The warning is now left out while a drawn look is written, as the
effects warning already is. A styled group's style holds no fills or
strokes, and its members are written again after the look, so a
member's stroke still warns. Strokes that no art style holds (gradient
or pattern strokes, for example) still warn.
- `charpath` in a CIDFont only named, over a predefined CMap, adds the
outlines of the characters its codes stand for, placed as `show` sets
them, and moves the point as `show` does. It added no outlines.
- `cshow` gives its procedure each code of such type, two bytes for a
two-byte code, with the code's width. It split two-byte codes into
single bytes.
- `glyphshow` sets the named character itself. It set the character's
UTF-8 bytes as Latin-1 letters.
- `kshow` runs its procedure between each two codes of such type, with
the two codes' values. It didn't run it. The procedure sees the font
the file set as current, and a font it sets stays current.
- A name that ends in the row-and-cell CMap `H` or `V` splits off the
CMap only when the file defines the CIDFont of that name (as a
resource or with `definefont`), or the name has a hyphen and an
installed face that covers Japanese has it. `Foo-Bold-H` stays a font
of the whole name.
- In a CMap that can't be read (`GBT-H`), each code moves the point one
em, along the line or down the column; a tab or carriage return byte
is a code of its own.
- One parser reads the names of the predefined Unicode CMaps, for EPS
and legacy `.ai` type.
- Outlines added to a path by `charpath` stop at the path's point limit.
- docs/file-format-parity.md, docs/gaps.md and docs/mcp.md describe type
in named CIDFonts over the predefined CMaps.
A linear, radial, conic or diamond gradient has a spread: Pad (the
default, as before), Repeat or Reflect, with a count of 1 to 100
(VectorCraft's own limit). Repeat and Reflect run the stops that many
times along the vector (around the turn for a conic) and keep going past
both ends, Reflect running every other run backwards, as SVG's
spreadMethod does.
The Gradient panel has a Spread menu and a Repeats field, and the
Gradient tool marks where the runs meet. paint.setFill and
paint.editGradient take `spread` and `repeats`; bad values are errors.
Presets, swatches, blends, strokes along or across a path, Outline
Stroke and Object › Expand follow the spread; Expand gives each run the
same whole number of objects, and Outline Stroke's mesh keeps the color
on each side of a sharp step between two stops at one offset.
SVG writes and reads spreadMethod: SVG import now reads a repeating or
reflecting gradient as one that repeats or reflects once, instead of
expanding its stops over the shape. CSS writes repeating gradients.
PDF writes a conic's sweep shading over one run. PDF, EPS, legacy .ai
and the .ai editing data write the other kinds with their stops
repeated across the shape: at most 256 runs and 16,384 stops (256 stops
in .ai files), and for a radial or diamond no farther than 65,536 runs
from its center, with a warning past those. PDF import now finds sharp
steps in any axial or radial shading instead of blurring them.
Docs: docs/mcp.md (Spread), docs/target-app-parity.md, docs/gaps.md.
The editing copy of a PDF-compatible .ai now holds the Brushes panel's
Calligraphic, Scatter and Art brushes in the panel's order, with the art
of Scatter and Art brushes. A path or compound path with a Calligraphic
brush, or with an Art brush in Tints whose art bends along the path,
keeps the brush on its stroke. Other brushed strokes are still written
as their brush's art.
The writer reads each brush back with the reader's code before writing
it. Brushes that would not come back with their settings, brushes past
the reader's limits and every brush on a large canvas are left out with
a warning. A brush that has the name of an earlier brush that was left
out is written, and no path is written with it on its stroke.
An object linked to a graphic style that is left out at the object
limit now also raises the warning about links left out.
Brushes and their options:
https://web.archive.org/web/20241230205225/https://helpx.adobe.com/illustrator/using/brushes.html
Docs: docs/file-format-parity.md.
Type in a font found by name with a predefined non-Unicode CMap, such as
`/Ryumin-Light-83pv-RKSJ-H findfont` or a `composefont` with `GBK-EUC-H`,
opened as Latin-1 letters (`ú{A` for 日本A) in a font whose style carried
the CMap name (`Light-83pv-RKSJ-H`). Only Unicode CMaps were split off the
font name, and `composefont` failed with `undefinedresource` for the others.
- The predefined CMap decoder used by legacy `.ai` type moves to
`import/predefined_cmap.rs`, and EPS import decodes these CMaps' codes
with it (Shift-JIS, EUC, GBK, Big Five, UHC and the other public CMaps).
- A font name splits at a predefined CMap unless an installed face has
the whole name. A CMap that can't be read gives a warning.
- Type over a vertical CMap (`-V`) is set as vertical type, and each code
moves the point one em down the column, the default `DW2`
displacement.
- Every show operator sets decoded type with the same spacing and shaping
as other fonts found by name.
- Decoding a string counts against the import's memory budget.
In the text document of a .ai's editing copy, a character's fill (key
53) or stroke (key 54) is a paint with a colour under key 0 and, under
key 5, the name of an art style of the editing data. For a pattern
swatch, key 0 is black and the pattern is only in that style: a style
of one paint (/SimpleStyle) that paints with `(name) ... [matrix] p`.
The reader took key 0 alone, so type painted with a pattern came in
black.
The art style reader now keeps the pattern of a style that is one
paint, and the import places it as a path's pattern fill would be (its
matrix in art space; the files' own pages tile such type with it), by
the style's name. A run whose fill or stroke is on and names such a
style takes the pattern, in the type's text space, so its tiles stay
where the document has them. A pattern the file doesn't define or can't
place, a key 5 that isn't a string, and a style of any other paint keep
the colour as before.
A style that also has filters gives no pattern for type, and a pattern that
can't be placed in the type's text space keeps the colour. A .ai saved
again writes such type as outlines with a warning, as it already does for
any type with pattern paint (#5965).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Horizontal type keeps both marks, and the legacy .ai writer writes such
type as text, but the marks were dropped without a warning. Version 7
text has operators for both (section 15.3.4 of the published format
specification): Tv for Roman characters upright in vertical writing,
and TY for a Kumi block in horizontal text recorded for later vertical
use. The writer now writes 1 Tv and 0 Tv, and 1 TY and 0 TY, where a
run's mark changes, closes an open Kumi block before the text object
ends, and writes neither operator for type without the marks. The
legacy .ai reader reads both back onto the same characters. The prolog
defines Tv and TY so the file still runs as PostScript.
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 new gradient kind, `diamond`, runs its stops from the center (the
start) out to a square with a corner at the end of the vector; the
aspect stretches the square across the vector into a rhombus. The
Gradient panel's Type row has a Diamond button, the Gradient tool draws
the square with the aspect handle and center ring, and a gradient
fitted to an object covers its box.
- Model and canvas: the level is |x| + |y| in the square's frame; a
square with no area (no vector, an aspect of 0, numbers out of range)
paints the last stop. The canvas draws it as pixels, out to a
stroke's miters, caps and arrowheads. Transforms keep the vector and
take the mapped size across it as the aspect.
- Commands: `paint.setFill`, `paint.editGradient` and
`paint.setGradientGeom` take `kind: "diamond"`; a negative aspect or
a focal point is an error. A conic or diamond gradient that a plug-in
returns with a focal point loses the focal point.
- Gradient tool: dragging the aspect handle of a radial or diamond
gradient whose file gave it a negative aspect now sets a positive
aspect; only a conic's negative aspect mirrors it.
- Export: PDF, SVG, EPS and legacy .ai write four linear gradients, one
for each quarter of the square, clipped to the shape (PDF as axial
shadings). PDF and SVG write an image for translucent stops, a
dithered fill or a flat square, and for the Perceptual method unless
PDF writes the stops as spot color shadings. SVG writes a diamond on
type characters as a radial gradient through the corners, and so
does CSS. A swatch library saved as CSS gets four corner layers, a
value for the `background` property (a circle when the swatch is
turned by an angle that is not a multiple of 90 degrees). The .ai
editing data holds a radial gradient through the corners. The
document exports give a warning.
- SVG export: a stroke drawn as an image, as conic wedges or as diamond
quarters now covers the miters, caps and arrowheads that reach past
its paint box.
- PDF import reads a function-based shading whose color is the same
along each square about the origin of its space as a diamond.
- Object > Expand gives nested squares or a mesh of rings.
Docs: docs/mcp.md, docs/target-app-parity.md.
Each of the fifteen Warp styles now bends the bounds as one Bézier patch.
The style sets the patch's control points from the bend and the size of
the bounds, the horizontal distortion scales each column of control
points about its middle, and the vertical distortion scales each row.
The Warp effects and warp envelopes share the map (`WarpNet`). Content
with no width or no height takes the middle of the patch along that
side.
A warp carries the map it draws with as `version`. New warps, the
built-in graphic styles' Warps and warps opened from .ai files get 1.
Warps in .vectorcraft documents saved before the version existed read
as 0 and keep the earlier map, so those documents keep their look.
Edits keep a warp's version, and Warp Options editing several objects
keeps each one's own. effect.apply, effect.setParams and the warp
envelope commands take `version` 0 or 1 (`1.0` counts as 1) and refuse
any other value. An .ai file holds a warp's settings and not its
version, so a version 0 warp saved to .ai opens again with version 1.
The .ai writer compares a style's settings without the version, so
saved warps still export as editable effects.
Docs: docs/mcp.md (Envelopes), docs/effects-parity.md (Warp),
docs/target-app-parity.md.
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