A character style whose Up/Down or Left/Right offset lies past MAX_COORD
either way now opens with the nearer end, as text runs already do, so
text that takes the style no longer gets the out-of-range offset. An
offset within range is not rewritten.
An object with a gradient or a pattern on both its fill and its stroke
counted twice in Objects. It now counts once for each paint kind it uses.
With Selection Only, a selection that holds a group and an object inside
it walked that object twice, so the object counts, the paths' total
length and Repeat Objects counted it twice. The walk now visits each
object once.
In a Separation color space, the colorant name All marks every plate and
None marks no plate (ISO 32000-1:2008, 8.6.6.4). A spot swatch with one of
those names was written under its own name, so its paint printed on every
plate or on none.
PDF export now writes such an ink as All Spot or None Spot, numbered
All Spot 2, All Spot 3 and on when a spot swatch already has that name,
the same rule EPS export uses. The new name is used for fills and strokes,
tint shadings, DeviceN gradients, colorized images and the Lab alternates.
Registration still writes All.
Buttons beside the Edit tab's wheel switch between the smooth color wheel,
a segmented wheel of solid patches (24 hues by 5 saturations, its markers
moving as freely as on the smooth wheel) and color bars: one solid bar per
recolored color in row order, where a click selects a bar's row for the
color sliders and a drag moves the row without changing a color. The
dialog opens on the smooth wheel and keeps the choice while it is open;
the dialog field is `display` (`smooth`, `segmented`, `bars`).
A manual kerning value on an inline graphic's character was stored and
shown but did not move the text after it. The graphic's advance now
includes the value, as a letter's does, and in right-to-left horizontal
type its art moves right by the value, so the space goes between it and
the next character in reading order. Auto and Optical kerning still apply
no font pairs to an inline graphic.
Select › Same › Text Fill & Stroke Color (select.same.textFillAndStrokeColor) selects the type
objects with a run of characters whose fill and stroke both match the first character of the
first selected type. Type that matches only the fill or only the stroke, or has the fill in one
run and the stroke in another, is left out. The entry follows Text Stroke Color in the menu and
has a row in every catalog.
The Swedish catalog lacked 22 interface strings: the workspace names
(Essentials, Painting, Typography, Web, Touch), the 1P/2P/3P view
preset names and the Hindi digit-script name.
Adds them with the vocabulary the catalog already uses (Utskrift,
Teckenstorlek). After this the report lists nothing missing for sv.
Co-authored-by: rahul05ranjan <11793455+rahul05ranjan@users.noreply.github.com>
An id the importer writes into an element no longer matches a style sheet's
#id selector or a <use> link that no element matched before. The ids are
read from the decoded attribute values and text of the file, once.
The Russian catalog covered 6,126 of the 6,256 interface strings: the
workspace names (Essentials, Painting, Typography…), their Reset
entries, the artboard and dimension annotations, the PDF and export
preset names, the library panel sentences and several control-channel
messages still fell back to English.
Adds the 130 missing entries in the catalog's TSV format with the
Illustrator-style vocabulary the catalog already uses (монтажная
область, выносные линии, плашечные цвета, трассировка). After this the
report lists nothing missing for ru.
Co-authored-by: rahul05ranjan <11793455+rahul05ranjan@users.noreply.github.com>
An ellipse whose radius is smaller than the point tolerance at its coordinates, but at least two
f32 steps, now imports as the four-anchor ellipse instead of usvg's curves with rounded handles.
Each id made up on import starts where the last one stopped instead of at
the number of ids made so far, so a file that already holds many of the
made-up ids does not make every new id try them all again. The ids made
up are the same.
The import gives an element an id when it needs to find it again in
usvg's tree (links, symbol uses, events, data attributes, and now
circles and ellipses). A made-up id could repeat one the file already
had, such as vectorcraft-id-0, so a <use> or paint reference to that
element showed the other one. Made-up ids now skip every id in the file.
Circles and ellipses in a file whose style sheet has an [id selector get
no made-up id and keep usvg's curves, so the selector matches the same
elements as before.
The tolerance that compares the points usvg makes of a <circle> or
<ellipse> grew with the center's distance from the origin, so a circle
of radius 400 at x 40,000,000 fell back to eight anchors. The tolerance
is now a few f32 steps at the size of the coordinates, and the on-ellipse
check allows the same steps relative to the smaller radius.
usvg turns each <circle> and <ellipse> into arcs and then into a number
of cubics that depends on f32 rounding: an ellipse that export wrote as
<ellipse> could come back with eight anchors instead of the four it was
written from. The renderer flattens the two outlines differently, so a
round trip of a flat filled ellipse redrew 158 edge pixels by up to 43
levels, and prop_svg::plain_art_survives_visually failed on main.
Import now records the ids of <circle> and <ellipse> elements in the
prepass and rebuilds each as the ellipse VectorCraft draws: four smooth
anchors on the axes, starting at the right as SVG defines, with handles
KAPPA of the radii long, then transformed as before.
Tests: prop_svg::filled_ellipse_on_the_artboard_edge_survives_visually
(the failing case) and basic_shapes::circles_and_ellipses_import_as_the_ellipse_drawn
fail without the change.
The snap targets of a Shift-drag that starts on a highlighted Global Edit
match are gathered when the drag begins, for the selection with the match
added, before the first preview moves it. The first preview is now snapped
to the grid or to points, and later previews snap from the original
position.
A Shift-press on a highlighted object of the Global Edit waits for the release
to leave it out of the edit. A drag from it now selects it when the drag starts
and moves it with the selection, as a Shift-drag from an unselected object did.
The snap targets are gathered after the object joins the selection.
A match that sits inside a selected object is no longer highlighted, and a
Shift-click on it with the Selection tool deselects that object as before
instead of leaving the match out of the Global Edit.
With Envelope Options > Distort Appearance on, a path whose Transform
effect has Scale Strokes & Effects or Transform Patterns on, or copies it
with a gradient, was baked with the effect as geometry only: every copy
kept the original's stroke weight, dashes and pattern placement before
the envelope bent it. bake_appearance now makes such a path into the
per-copy art that drawing, export and Expand Appearance already use, and
bakes each copy's strokes into filled outlines from there.
The menu bar takes ⌘V's key-down as Edit › Paste's key equivalent, and
`native_menu::key_events` turns it back into egui input. With text on the
clipboard that was a Paste event; with only a picture (a screenshot) it
was nothing, leaving the paste to the window's own key-up. egui's window
integration only releases a key whose press it saw, so that release never
came and ⌘V pasted nothing, while Edit › Paste and ⌘V with the menu open
worked.
`key_events` now ends ⌘V with the key's release, as it already did for
⌘X and ⌘C: without a Paste event that release is the picture paste
`PasteChord` looks for, and after one it ends that paste so the next
picture paste still fires.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
While Global Edit is on, a Shift-click (not a Shift-drag) with the
Selection tool on a highlighted match, or on an object inside a matched
group, leaves that match out: it is no longer highlighted and later
edits leave it as it is. The object the edit started from stays in, and
Global Edit ends when fewer than two matches are left. Leaving a match
out is not an undo step.
- New command `select.globalEditExclude {id}` returns `{active, count,
ids}`; the Selection tool calls it on the release of a Shift-click.
- `ToolContext::global_edit` gives the tools the Global Edit's objects.
- Label and messages in the i18n catalogs; docs/mcp.md,
docs/ui-parity.md and docs/target-app-parity.md updated.
Source: https://helpx.adobe.com/ph_fil/illustrator/how-to/global-editing-sensei.html
The geometry effects after a fill's or stroke's own Transform effect with
Scale Strokes & Effects or Transform Patterns now take the bounds of the
transformed path and all its copies as their reference box, as an
object's own effects do. A later Rotate turns the copies about their
combined center instead of turning each copy about its own, and a later
Offset Path or plain Transform applies to the paths themselves. Each copy
keeps its own scaled distances.
Part of #885
transform_item_leaf now holds back the leaf's geometry for each plain or transformed piece that follows a transformed fill or stroke, so the copies of an earlier item no longer use up the budget that a later fill or stroke still needs. The nested pass over a transformed piece keeps to the same reduced limit.
Each fill or stroke without such a Transform effect is drawn on the object's geometry again, so its cost now counts toward the budget that limits the Transform effect's copies. The object's own geometry is no longer counted a second time next to the pieces that replace it. The Transform effect options entry in docs/target-app-parity.md links the current help pages.
Part of #885
A Transform effect in a fill's or stroke's own effect list now applies its
Scale Strokes & Effects and Transform Patterns options as the same effect on
the object does: the stroke's weight and dashes, the distances of the fill's
or stroke's later effects and its pattern follow the transformation, each
copy once more than the last, and with Transform Objects off the geometry
stays and the options apply once. The fill or stroke becomes an object of
its own in the art the canvas, export and Expand Appearance draw, and Use
Preview Bounds measures that art too (also for the object-level options).
Part of #885
The type objects in the selection are deduplicated with a set, each frame's
thread is looked up in a map built once, the locked artboards are measured
once per call, and the menu check stops at the first selected type object.
Type selected by id on a hidden, locked or template layer, or outside
the isolated group, no longer counts as selected type: the command stays
off and does not select that frame's thread. The check reads the
object's ancestry, so the Select menu does not walk the whole document.
Select › Same › Link Block Series no longer counts hidden or locked type
inside a selected group, or type inside a hidden or locked object there,
as selected. A group that holds only such type leaves the command off, and
the command does not select the other frames of that type's thread.
Select › Same › Link Block Series (select.same.linkBlockSeries) selects every
frame of the threads that the selected type objects, and the type inside
selected groups, are in, in thread order. Type in no thread selects itself,
other selected objects are left out, and with frames of several threads
selected it selects all of them. Hidden, locked and out-of-isolation frames
are left out, Reselect repeats it, and it records no undo step. The item is
off while no type is selected.
Menu row in every catalog, docs/mcp.md and a docs/target-app-parity.md line.
dotCooCoo