A style that paints with a pattern whose type is set in that style could be matched to the
document's style of the same name and attributes while the pattern came in under a free
name, so the loaded style painted with the document's other pattern. When the document does
not have such a loop under one set of names, each of its styles, symbols and patterns is now
added.
The names a loop of styles and patterns has in the document were searched by trying every
combination, up to 256, so a loop of nine with a numbered copy each was not matched and a
repeat load added it again. The names are now picked one definition at a time, comparing each
definition as soon as the names of those it uses are picked.
A loaded character style kept a size, scale, leading, shift or stroke width that
charStyle.new refuses. Such a style is now skipped and listed in the reply's skipped names.
Load Character Styles and Load Paragraph Styles left out every style of the other kind,
so a pattern that a loaded style paints with kept a reference to a paragraph or character
style the document did not get. The styles of the kind not loaded now come along when such a
pattern or symbol sets type in them, renamed like any other.
The order in which styles, symbols and patterns are placed is worked out from one graph of
their uses instead of scanning every definition left in each round.
Loading styles placed every definition in a loop of uses, and everything that used one, in one group and tried the product of all their candidate names under one cap of 256. Separate loops multiplied: nine self-referencing patterns, each in the document under its name and as a numbered copy from an earlier load, gave 512 combinations, none were tried, and a repeat load added more numbered copies. One loop with no candidate stopped every other loop from matching.
The loops are now the strongly connected components of the uses among those definitions. Each loop is matched with its own search and cap, and a definition that only uses a loop is placed after it, with the loop's names known.
The Character Styles and Paragraph Styles panel menus get Load Character
Styles... or Load Paragraph Styles..., and Load All Styles..., which add the
styles of a document picked in an open dialog in one undo step
(charStyle.load, paraStyle.load, textStyle.loadAll). The swatches,
patterns and symbols the styles use come along as Paste brings them, in
use order, so a style or pattern renamed on the way in keeps its links.
A style the document already has, under its name or a numbered copy of
it, is not added again; another style whose name is taken is added under
a free name. The file's Normal styles, and styles with a blank name or
attributes that do not read, are not loaded.
A non-null `colors` that is not an array now gives "`colors` must be an array of colors, not ..." instead of the generic "bad color ...", with a row in every catalog. The loadProfile and removeProfile refusal tests also check that no profile is loaded or removed and the settings are unchanged.
A colors value that is not an array, such as "#fff" or 5, was ignored and the command checked the selection or the whole document instead. It is now an error. A null colors still checks the selection or document, as an omitted one does.
The color management commands read their params with helpers that fell
back to the default for a value of the wrong type, so "bpc": "no" kept
the old setting, "on": "true" toggled the view and "convert": "no"
converted the colors. They now go through switch_or and text_param:
such a value is an error and nothing changes. Omitting a param or
giving null keeps its default.
- edit.colorSettings: rgb, cmyk, intent, bpc
- file.documentColorMode (and its alias): convert, intent, grays,
checked before the early return for the current mode; PDF import's
grays reads the same way
- color.convert: to, intent
- color.loadProfile: path; color.removeProfile: name
- view.proofSetup: target, intent, simulatePaper, proof
- view.proofColors and view.overprintPreview: on
- view.separationsPreview: on, only, toggle, and plates, which must be
an array of plate names
- swatch.setSpot: name, spot
With an unclipped raster/vector balance between 0 and 100, a group that
splits into more than 10^(balance/20) regions is rasterized whole and
none of its regions are used. The region build now stops at the first
region past that limit (pathops `regions_within`) instead of building
every region and then discarding them. Groups at or under the limit,
and every group with Clip Complex Regions on, still build every region.
Flatten Transparency, the flattened document and EPS export come out
the same as with every region built, for groups under the limit, at it,
just over it and far over it.
A corner tile was turned so that its x axis followed the mean of the
directions the path arrives and leaves in. A tile drawn as a right-angle
corner then came out turned 45° at every corner, so a rectangle drew its
corners as diagonal chevrons.
Outer and inner corner art are now both read as the corner that joins a
side tile on its right to one below it, as in the help's steps for
making corner tiles. Each corner tile is turned so that those two arms
meet the sides: on a rectangle the tile is square to the side tiles and
turns 90° from one corner to the next, and at other angles it is turned
halfway between the two sides. The arms follow Flip Along and Flip
Across, and a corner that takes the other kind's art turns it the same
way. Which art each corner takes is unchanged.
The PatternBrush field docs, the brush.options params text, docs/mcp.md
and the progress doc describe how corner art is drawn.
object.envelope.makeWithWarp, resetWithWarp and options read `style`
and `orientation`, and options read `preserveShape`, as text and
ignored any other value, so `{"style": 5}` kept the default style and
`{"orientation": "diagonal"}` kept the current orientation. They now
return "`style` must be a string" or "`preserveShape` must be a
string" for a value other than text or null, and "`orientation` must
be one of horizontal, vertical" for any other orientation, through
the shared `choice` helper. object.envelope.options checks the warp
keys whatever is selected, so a call with no envelope or only mesh
envelopes selected gets the same errors, an unknown style name
included. Omitted and null values keep today's defaults.
Docs: docs/mcp.md, docs/target-app-parity.md.
On open, a link found away from its path was passed to the same file's links in symbols, graph designs, patterns and opacity masks only when the nested link equaled the layers' link field for field. A nested link without a relative path, as documents saved before kept them, then kept the old path. The new path now goes to every nested object that shows the same file and content.
Update Links, and opening a document with Update Links: Automatically,
now read a modified file again for the images and placed documents in
symbols, graph designs, patterns and opacity masks that show the same
content as the objects read in the layers. By default Update Links also
reads the files that only that art shows. Each nested object takes the
file's place as its own Placement Options say, including the clip, and
its link takes the new path, size, modification time and hash.
Saving a document also refreshes the placed copies of it inside symbols,
graph designs, patterns and opacity masks of the other open documents,
not only those in the layers.
Relink, Embed and Unembed still change only the objects they are given.
A save wrote the path relative to the document only for linked images and
placed documents in the layers. Links inside symbols, graph designs,
patterns and opacity masks kept only their absolute path, so after the
document and its files moved to another folder together, those files were
not found.
- The save sets the relative path of every link the document holds.
- On open, a link inside that art whose file was found away from its path
takes the new path, as a link in the layers does, so the next save
writes the right relative path.
- Document::update_links_where changes only the links it picks and copies
only the nodes on the way to them.
Docs: docs/mcp.md (Linked images), docs/target-app-parity.md.
With Fade Region Outside Artboard on, the canvas now draws the fade over the
art as well as the pasteboard: one mesh of black at 40% opacity covers the
canvas outside the artboards, so the pasteboard and any art on it show each
channel at 60% of its value, and art inside an artboard is unchanged. It
replaces the darker pasteboard fill.
Artboard Options sets the Global checkboxes' preferences only after
artboard.setProps or artboard.new succeeds. When the artboard command
refuses a value, the preferences stay as they were and the dialog stays
open. A Global value that is not true or false is refused before anything
changes.
Docs: docs/mcp.md, docs/target-app-parity.md.
Artboard Options gets a Global group with Fade Region Outside Artboard and
Update While Dragging. Both are application preferences
(fadeRegionOutsideArtboard, artboardUpdateWhileDragging), on by default and
also listed under Preferences > General > Artboard Options.
While the Artboard tool is active, the canvas draws the pasteboard with each
color channel at 60% of its value. With Update While Dragging off, the
pasteboard draws as usual while the tool moves or resizes an artboard and
darker again when the drag ends. Exports and print do not change.
Docs: docs/mcp.md, docs/target-app-parity.md.
Find and Replace, Find Next, Change Case, Smart Punctuation, Insert
Character and Type on a Path Options read their params with helpers that
fell back to the default for a value of the wrong type: Find and Replace
with `replace: 5` replaced every match with nothing, and `flip: "true"`
did not flip. They now return an error and leave the document, the
selection and the undo history unchanged:
- `find`, `replace`, `case`, `char`, `text`, `unicode`, `effect` and
`alignToPath` must be a string or null.
- `matchCase`, `wholeWord`, `dashes`, `ellipsis`, `quotes` and `flip`
must be true, false or null.
- Smart Punctuation's `scope` must be `selection` or `document`.
- Type on a Path Options' `spacing` must be a number or null.
- Insert Character's `code` must be a whole number or null.
- Find and Replace's `ids` must be a list of existing object ids.
Insert Character checks `char`, `text`, `code` and `unicode` before it
picks one, so `{"char":"bullet","unicode":176}` is refused too. The
order the sources are used in is unchanged. Null counts as left out, so
`type.insert {code: null, unicode}` inserts the Unicode character.
Omitted params keep their defaults.
Recent Colors now keeps up to 30 solid colors instead of 10, newest
first and each once; applying a 31st drops the oldest. The Session
holds the list, so it stays the same when another document is opened
or made active, and it lasts for the session.
The Color and Swatches panels wrap the chips onto further rows when
the panel is too narrow for one row, so every color can be clicked.
A list that fits one row draws as before.
Docs: paint.recent params text, docs/mcp.md, docs/target-app-parity.md.
Reset Bounding Box set the angle to 0 on the selected objects only. A
rotation changes the box angle of the selected objects and of every
object inside them, so the members of a rotated group kept their angle:
after rotating two rectangles 20 degrees, grouping them, rotating the
group 10 degrees and resetting, Ungroup brought back a box at 30
degrees, and a second reset reported 2 objects to change.
The command now also squares every object inside the selected ones: the
children of groups, compound paths, clip groups, blends, envelopes,
repeats and intertwines, and the art of linked opacity masks. The art of
an unlinked mask does not turn with the object, so it keeps its angle.
Ungroup, Release Clipping Mask, Release Compound Path, Blend Expand,
Release Envelope, Release Repeat, Release Intertwine and Release Opacity
Mask then bring back boxes square to the page. The whole reset stays one
undo step.
Two results change. `changed` counts every object reset, the objects
inside included, so the steps above return 3 where they returned 1. A
group whose own box is square but whose members are turned used to
return 0 with no undo step; it now squares the members in one step.
Docs: params text, docs/mcp.md, docs/target-app-parity.md.
Preferences > Smart Guides gets Snap to Last Location (`snapToLastLocation`,
off by default). With it and Smart Guides on, a selection moved by dragging
with the Selection, Group Selection or Direct Selection tool, Shift too, goes
back to where the move began while the move is within Snapping Tolerance,
labeled "last location". An Alt copy is not pulled back onto its original.
Source: https://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/smart-guides-options.html
The distance, the label and the copy rule are VectorCraft's own.
The Symbols panel menu's Reset Transformation and the Control bar's Reset
(shown while symbol instances are selected) give the selected instances
their symbol's own scale again, without rotation, shear or reflection, as
one undo step (symbol.instance.resetTransform). Each instance keeps the
center of its art's bounding box in place. Instances in perspective and
instances already at their symbol's scale are left as they are, no undo
step is added when nothing changes, and both controls are enabled only
while a selected instance would change.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel gets a New Document from State button at its bottom,
which runs the new edit.newDocumentFromState command. The command makes
a new document holding the art of a History panel row ({index?}, the
current state when omitted) and makes it the active document. An index
that names no state is an error and changes nothing.
The new document takes the next Untitled-N name, is marked unsaved, has
nothing selected, no steps to undo or redo and no modified date, and
leaves symbol, opacity-mask and pattern editing; the art drawn in a
pattern's tile is stored in the pattern, as Done stores it. Its links point at the files the
source finds, including files found in the source's folder away from the
links' paths. Those files are looked for only within the folders the
asking caller may read; for a caller without limits, within the folders
the caller that opened the source may read. The source
document, its steps and its saved state stay as they are; typing or a
drag in progress is first kept as a step, as Undo keeps it. While an IME
composes, the command waits, as Undo does.
Docs: docs/mcp.md, docs/target-app-parity.md.
appearance.addFill, appearance.addStroke and appearance.duplicateItem can
put a new topmost row on a series mark with the paint the mark already
shows. When another mark of the series had set a different stored paint,
the mark's top paint did not change, so the graph kept the other mark's
paint and drew it again. A new topmost visible row now stores its paint,
as an Eyedropper append already does.
The Appearance commands do not store a stroke paint or weight for a series
that draws a Filled Lines band, but they do store a stroke opacity set on the
band, and the band's 0.25 pt black outline takes it when the graph is drawn
again. docs/mcp.md now says so, and a test covers it.
The params text of the Appearance commands that update a series' stored
paint said the graph stores the paint and weight of the topmost visible
fill and stroke. Each of them also stores that row's opacity, as
docs/mcp.md says. The text now names the opacity too.
paint.setFill, paint.setStroke, paint.none, Apply Fill to Stroke and Apply
Stroke to Fill stored a series' paint on the graph. appearance.setItem, the
Eyedropper, appearance.transfer, Clear Appearance, Reduce to Basic Appearance
and the add, remove, move and duplicate row commands stored no paint or weight.
An Eyedropper pick of a blue fill at 40% onto a red column drew red at 40%
after the next redraw.
These commands and Show All Hidden Attributes now store the paint and weight
of the topmost visible fill and stroke of a path directly in a series group,
in the same undo step. A color, weight or opacity that a command writes to that
row replaces the stored value even when the mark's own value does not change. A
row that has no paint before and after the command does not change the stored
paint. These commands store no stroke for a series that draws Filled Lines
bands, and a band no longer takes its color from an empty stored stroke.
The stored opacity also comes from the topmost visible row: hiding a top row
stores the row under it, and an opacity set on a hidden top row is not stored.
Follows #5501.
Choosing a PDF/X standard without a PDF/X preset writes a file with no bleed
(BleedBox = TrimBox) even when Document Setup sets one, and the export gave no
warning about it. The export now warns when a PDF/X file has no bleed on a side
where the document's bleed has one. The warning comes ahead of the flattening
note, because the status bar shows only the first warning. The code adds a
warning and does not change what is written.
These cases do not warn: the PDF/X presets, Use document bleed settings, a
nonzero bleed on every side the document sets, a document with no bleed, files
that aren't PDF/X files, and Export for Screens rows whose artboards Include
Bleed grows.
The warning has a row in every catalog. The Summary's warning and error rows in
the Save PDF and Print dialogs now go through the catalog, so they show its
translations.
Opening a document laid out every type object for its bounds and
baselines and threw the layouts away, and the first frame laid the same
objects out again. The open now keeps them, up to 128 MiB, and a frame
takes each one once.
A frame takes a layout only for a text object equal to the one laid out,
and only while the fonts, the system fallback setting and the hyphenation
exceptions are unchanged. When the last frame being drawn ends, the rest
are dropped if a frame took one, and all of them are dropped after eight
frames that take none. A layout with bitmap or color glyphs and a text
object with a gradient are not kept.
A paste relinked every copy to the document's resources even when no
resource had another name or color and the objects linked no graphic
style. It now leaves those copies as they are.
Finding the pasted type looked each id up and compared every text object
with the ones already found. Text commands and the bounds refresh after
a paste now look all ids up in one walk and keep the found ids in a set.
Giving a pasted group new ids builds its map of old to new ids only for
an Objects on Path group, which is the only kind that reads it.
A pasted solid paint with no swatch link and a tint other than 1 now
keeps that tint when no relinking runs. Saved art carries a tint of 1 on
such a paint.
The Artboards panel menu asks whether Delete Empty Artboards can run on
every frame while it is open, and each ask measured the document. With
an open path of 200,000 anchors across two artboards, that took 70.4 ms
a frame in a release build.
The answer is now kept per open document with the version of the
document it was measured on, and is measured again when the document
changes. A later frame takes under 0.001 ms. The first frame after an
edit measures once. A change of the selection or the view keeps the
answer.
The sentence inside the braces made every_description_parses fail. The object.expand and effect.expandAppearance texts now also limit the replaced-art case to a dimension selected with that art.
Object > Expand left a dimension's recipe on its group, so the next move
redrew the live dimension and discarded the expanded art. Expand now ends
the live link of a dimension whose art it changes, in the same undo step.
Moving or scaling the group leaves its art as it is, the art no longer
follows what it measured, and undo gives the live dimension back.
Expand Appearance, Create Outlines and Outline Stroke had the same fault
and now do the same, also when they reach only a part of a dimension. A
dimension whose art a command leaves as it was stays live. A dimension
selected with the art it measures becomes a plain group when Expand,
Expand Appearance or Outline Stroke replaces only that art.
Session::execute ran check_params only in the engine's own tests, so a
direct execute in a release build ran a misspelled key with the
command's default. It now checks every call, the commands a command runs
included, as MCP and the control port already did. A command.batch or
an action.batch is checked before its first step runs, and each step is
checked again as it runs, so an effect.setParams step is checked
against the effects the steps before it added.
Saved steps play through Session::replay, which takes keys a command no
longer reads, so an action recorded by an older version still plays and
Session::replay still plays an older journal. The Actions panel's Play
(Accelerated, Step by Step and Pause For, its function keys and
ui.action.play) and the Batch dialog use it.
Docs: the cmd/params.rs module doc, the Parameter keys section of
docs/mcp.md and a line in docs/target-app-parity.md describe both
paths.
prefs.set did not check the folder given as recoveryFolder or pluginsFolder,
beyond the automation roots check, so a control or MCP caller could save a
folder that does not exist, a file, or a folder the app cannot use. Only the
Preferences dialog checked the folder itself.
The dialog's folder checks move to the engine, and prefs.set runs them after the
automation roots check. A folder that fails returns the same error the dialog
shows, and no preference changes. An empty value, an omitted value and a folder
the preference already holds are not checked. The Wasm build skips the check, as
the dialog did. The dialog's OK now gets the check from prefs.set, and Choose…
calls the moved check directly.
With the Artboard tool, the canvas context menu lists the entries of the
public Use the artboard context menu page in its order, in place of the
entries for objects and the view. Lock Artboards and Unlock Artboards are
two submenus. An entry that cannot run is left out, and Undo and Redo stay
dimmed. A right-click on an artboard that is not selected selects it alone
first, and the menu measures the art for Delete Empty Artboards and Fit to
Artwork Bounds once, at the right-click.
Cut, Copy, Duplicate Artboards, Rename, Delete Artboards, Lock Selected,
Unlock Selected, Fit to Artwork Bounds, Switch Orientation and Export act on
the artboards the tool has selected, else the active one. docs/mcp.md lists
what the other entries act on.
- artboard.rename renames in one undo step and numbers several names. The
menu's Rename opens a dialog that runs it, and the Artboards panel's name
field runs it too.
- artboard.switchOrientation swaps width and height and keeps the top-left
corner, skipping square and locked artboards.
- artboard.selectAll chooses the tool and selects every artboard.
- edit.paste takes artboardsAt, and the menu's Paste centers copied
artboards on the right-click's point.
- The menu's Cut and Copy run artboard.cut and artboard.copy. In the desktop
app those commands publish to the system clipboard, and the menu shows the
Cut and Copy shortcuts for them.
- artboard.fitToArt and the panel's name field record no undo step when
nothing changes.
artboard.duplicate, copy, cut, rename and switchOrientation take their
artboards from the tool's selection when a call names none. Each now records
them in the journal as selectedArtboards, which a replay reads and a recorded
action leaves out. The copy commands also record art. switchOrientation
records scaleArt, and it takes patterns and lockedAndHidden and records what
its artboard.setProps step resolved for them.
While the Artboard tool is in use, a command chosen from any menu or the
command palette moves the tool's selection as the Artboards panel does:
artboard.new makes the new artboard active, artboard.duplicate selects the
copies, and artboard.delete and artboard.deleteEmpty make a remaining
artboard active.
document.save's params text, which file.saveAs, file.saveCopy and
file.saveAsTemplate share, now says that the warnings also name each key
given in `options` that the format doesn't read.
save_file's note for a key in `options` that the written format doesn't
read named every .ai file a PDF-compatible .ai, also when the save wrote
a version 7 file (`aiVersion: "7"`) or one without PDF content
(`pdfCompatible: false`).
The save itself now writes that note, beside its note on a top-level
`compress`, `version`, `preview` or `precision`, and names the file it
writes, including when it reuses the options the document was last saved
with. save_file returns the save's reply unchanged, and
`run_command document.save` and the other save commands give the same
notes.
The reader put an opacity mask's art in a group every time, so a mask
made from one path came back from a saved .ai as a group holding the
path, while Make Opacity Mask keeps one object as the art. This also
changes how existing files with single-object masks open, because
the editing data of a .ai, an EPS and a PDF goes through this reader:
the art is the object.
A hidden object or a guide stays in a group, because the canvas draws
the art's root whether it is shown or not and whether guides show. A
clipping path alone stays a clipping group.
The editing copy writes a plain group of one object as a group (u, the
object, U), so it reads back as a group. Its other plain groups are
still written as their members. Hidden mask art is written shown,
because the canvas draws it and a group read back would not.
The editing copy of a PDF-compatible .ai wrote every text object as its
outlines. Point type, area type and type on a path are now written as
text: a text object in the layers that names its story, and the text
document after the document data (%AI11_BeginTextDocument) holding the
stories.
- Each story holds its characters (a paragraph ends in \r, a forced line
break is \x03), its character runs (font, size, leading, tracking,
baseline shift, horizontal and vertical scale, solid fill and stroke
with its weight, capitals, Tate-chu-yoko) and its paragraph runs
(alignment, indents, space before and after, hyphenation, right-to-left
direction).
- Point type keeps its point and, when it is turned, its matrix. Type
scaled by one factor, such as all type on a large canvas, has its scale
in its sizes, frame and path. Area type keeps its frame, rows,
columns, gutters and first baseline, type on a path its path and where
it starts and ends, and vertical type its orientation. A threaded story
is one story through its frames in order. Area type and type on a path
carry their frame's path in the layers as well.
- Type the text document can't hold is written as its outlines, with a
warning: type in opacity masks, pattern tiles and art cut to a clipping
object, mirrored type, turned or unevenly scaled area type and type on
a path, frames of several parts, area type that flows around a text wrap,
threads whose frames differ in orientation or include a frame written
as outlines, type and stories past the sizes the reader reads, and type
with inline graphics, ruby, gradient or pattern paint or an appearance
or opacity mask of its own. Other character and paragraph attributes are left out, with
a warning.
Tracking is written as a whole number of thousandths of an em, and
solid paints as simple paints; tracking that isn't a whole number is
rounded, with the warning.
Each construct is written in the form VectorCraft's .ai reader reads
(crates/eps/src/import/ate.rs at 36ef34dfdd: Texts::read :407, story
:501, frame :456, para :562, style :588, paint :622, AreaFrame::read
:284; the text object in import/ai/read/art.rs:15 and its path in
import/ai/frames.rs:26), and the tests read the written data back
through that reader. The scripting
reference documents the same attributes on the reading side (text frame
kinds, columnCount, columnGutter, rowCount, startTValue, endTValue,
orientation, and the character attributes):
https://web.archive.org/web/20160410101607/https://wwwimages.adobe.com/content/dam/Adobe/en/devnet/illustrator/sdk/CC2014/Illustrator%20Scripting%20Reference%20-%20JavaScript.pdf
The reader now closes a text object's frame path painted with a closing
operator (n, f, s, b, h), so area type's frame comes back closed; places
point type whose story keeps no composed lines at its frame's point;
keeps a story's last empty paragraph (only the \r that ends the story is
dropped); gives type made from the text document its text object's lock,
as it gives it its visibility; and gives type its text object's knockout
shape flag, as it gives it its opacity and blend mode.
Tests: the round trip of every kind of type and its state, a second
write of what is read back giving the same bytes, the text document and
stubs, scaled point type, a story split between threaded frames, the
fallbacks and the warnings, and the engine's editing copy with every save
option; a fuzz case for damaged text documents and stubs.
Docs: docs/file-format-parity.md.
appearance.copyFrom and a fill or stroke change on a story selected by
Select All no longer skip locked frames, hidden frames and frames on a
locked artboard. They apply to every frame of the story, as the Character
panel's story edits do. appearance.copyFrom still leaves out a frame that
is its source.
With a threaded story selected by Select All, switching to the Eyedropper kept
only the edited frame's selection, so a pick styled one frame. The selection now
carries the story's frames, a pick or Shift-click applies to the text of every
frame as one undo step, and switching back to a Type tool restores the story
selection. A selection inside one frame and unthreaded type behave as before.
A pick and a fill or stroke change on a selected story leave locked and hidden
frames and frames on a locked artboard as they are. appearance.copyFrom leaves
out a frame that is its source.
Typing over a selected story no longer removes the text of a frame whose thread
was removed after Select All.
A path with an Art brush comes in as the path, with the brush on its
stroke at its weight, instead of as its drawn look, when the brush
stretches art of solid-filled paths along the path, unflipped, at 100% in
Tints. The art runs on the side of the path the file draws it.
The drawn look stays for other colorizations and widths; Proportional,
between-guides and flipped brushes; type; a path with settings of its own,
a variable width, effects, a swatch stroke or an entry that isn't read;
and art with strokes, gradients, patterns, masks or effects, or no length.
A brushed stroke, Calligraphic ones too, takes the brush the Brushes panel
keeps under its name, and an image with a brush keeps its drawn look.
In every document, Tints and Tints and Shades take art in black ink alone
by its ink amount, and a process or gray stroke color's tints and shades
stay in that color's model.
Place and Expand bring the brushes the art uses, renaming on conflict.
Part of #637.
When Distort Appearance is on and the size a `.ai` saves for an
envelope's contents (`AIDeformArtWidthKey`, `AIDeformArtHeightKey`)
matches the contents' bounds with strokes, the reader now maps the
contents from that stroked box. It used to map them from the geometric
bounds, half a stroke inside that box, so an envelope of stroked art
could differ from its drawn art and keep the drawn art with a note.
Envelope Options hold the box's margins as `boundsMargin`, shares of the
geometric bounds at the top, bottom, left and right. Native files write
them only when they are not zero, and `object.envelope.info` reports
them then. Leaving Edit Contents measures them again when the strokes
reach differently than when Edit Contents began, and the node holds
what they measured then until it leaves. New envelopes have no
margins, so their results do not change. Contents with no width or no
height, such as one straight line, get no margins.
Docs: docs/mcp.md, docs/target-app-parity.md.
The clipping path around a transparent image flattened for a version 7
.ai followed 2 pt cells, a visible staircase. It now follows the rendered
pixels (in blocks only past 4 million), grown by one pixel so the whole
anti-aliased edge is inside, through the middle of each pixel edge and
simplified with Douglas-Peucker, so slopes and curves are sloped lines.
dotCooCoo