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.
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.
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.
A .ai file that File > Export As, its dialog or a control request writes
to a path now names the view's active artboard, as document.export and
document.serialize do. The UI export records the view's artboard and
takes its document from fileio::export_doc, which applies
DocState::active_artboard to the export's copy; document.export and
document.serialize use the same function.
The app now records the view's active artboard before every command,
including the commands the UI handles itself, so a .ai copy from Save a
Timestamped Copy or Export All Open Documents names it too. Before,
these files named the artboard the document opened on, or the first.
The open document is unchanged.
The editing copy of a .ai or .ait file that VectorCraft saves or exports
now has `%_<n> /Int (CropAreaActive) ,` after the ArtboardArray in its
recorded part, and marks that artboard as the selected one. The app
records its view's active artboard before each command
(DocState::active_artboard; an index past the last artboard is the last,
as in the Artboards panel); without a view, the artboard the document
opened on (Document::opened_artboard) is written, else the first. A .ai
file read from its editing copy opens on that artboard. Before, the copy
named no active artboard and always marked the first as selected.
Docs: docs/mcp.md, docs/file-format-parity.md, the editingData option text.
A colorized image whose pixels are all black or white (or clear) is
written as a 1-bit image mask (ImageMask 1): its color as the fill, a 0
bit for each black pixel and a 1 bit for each white or clear one. The
legacy reader opens it colorized again with the same clear pixels, so
the engine no longer flattens or omits it. Other colorized images are
written with their color in their pixels, over white, with the note
for transparent images.
A .ai or EPS graphic style library holds graphic styles and their list
in its editing data but no layers, so it came in as its PDF part or
page with the default styles, and Other Library listed those. A file
read as its PDF part or page, because it has no layers or its layers
can't be used, now gets the styles of its list, in list order, as a
file read from its layers does: File > Open shows them in the Graphic
Styles panel and Other Library lists them in a library panel.
Style stroke weights and effects are scaled by the Large Canvas factor
of an EPS, and for a .ai whose editing data is in the units of its
pages by the pages' UserUnit or the declared Large Canvas scale.
Part of #3349
VectorCraft now reads `CropAreaActive`, an `/Int` in the dictionary of
the editing data that holds the `ArtboardArray`, as the index of the
active artboard in that array. The reader ignored it before, and every
file opened on its first artboard.
The opened document starts with that artboard active, so the view the
document opens at and the Artboards panel use it. The index counts
every entry of the array, so an artboard that is left out (one with no
area) does not shift it. When the entry is missing, is not an `/Int`,
or names an artboard that does not open, the first artboard is active,
as before. A file that comes in as its PDF part, with its pages placed
where its artboards are, opens on the page of the active artboard, also
when the reading stops before the artboards. The same reader serves the
editing data of EPS and PDF files.
The active artboard is kept on the opened document only; native files
do not save it.
The editing copy of a PDF-compatible .ai wrote every image as its outline
filled with its average color. Embedded images are now written with their
pixels, and linked images as placed files with a preview:
- Embedded images are rasters in the form of the version 7 specification
(section 8, https://13thmonkey.org/documentation/fonts/AI7FileFormat.pdf):
%AI5_BeginRaster, the color space, the image matrix and the XI operands
of current files, then the samples in binary in a %%BeginData section.
Gray, RGB and CMYK images keep their samples (CMYK images their ink
amounts), and see-through images their alpha channel after the color
samples. The matrix is written to ten decimals.
- Linked images are placed files (section 16): the matrix, the box of the
file's pixels and its path, %%IncludeFile, the folder relative to the
document's (when the relative path ends in the path's file name), and a
preview of at most 256 pixels a side.
- Images that can't be decoded or have more than 33,554,432 pixels (the
most the reader reads) are written as their outlines filled mid gray,
images of 16 bits a channel (CMYK TIFFs included) at 8 bits, and linked
images in opacity masks and pattern tiles as embedded images, each with
a warning.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
The reader now gives an image its name and opacity mask when the
operators that end its raster (XH, Xr and the N after %AI5_EndRaster) come
before its dictionary, reads an empty relative folder as the document's
own folder, and looks for the %%EndData that ends an image's samples
after the alpha channel its XI operands give it, preferring one whose next
line is XH, so samples that hold the marker's bytes are read whole.
Tests: the round trip of every kind of image and its state, a second write
of what is read back giving the same bytes, the raster and placed-file
forms, previews of large linked images, and the engine's editing copy with
every save option; a fuzz case for damaged images and placed files.
Docs: docs/file-format-parity.md.
Type in the text document of a .ai or EPS file's editing data that names
no character or paragraph style, a story without style runs included, is
set in [Normal Character Style] and [Normal Paragraph Style]. The reader
took what such type leaves out from the text document's base attributes
instead, or built-in defaults for a story without paragraph runs, and it
did not read paragraph styles.
A Large Canvas file (1:10) holds the normal styles' lengths at the art's
scale (1.2 for 12 pt) and the base attributes' at the page's (12). The
reader scaled the base attributes' 12 by 10, so the type came in at
120 pt. In an EPS the page comparison then rejected the layers, and the
file opened as its printed page without its linked images.
In any file whose normal styles differ from the base attributes, such
type now takes what the normal styles set, such as font, size, colors,
stroke, alignment, indents, space before and after, and hyphenation.
The editing copy for other apps now writes linear and radial gradients and
grid patterns as themselves instead of as average colors and cut tiles.
- Gradients the art uses are defined in the setup (`n Bn`, then
`%AI5_BeginGradient` … `Bd`, the stops as `Bs` with their opacity and
midpoints, `BD`), and gradient swatches nothing uses in a non-printing
block. Stops keep gray, CMYK, RGB and spot colors at a tint. A
gradient that isn't a swatch gets a name that no swatch or pattern of
the document has.
- Each fill or stroke with a gradient is an instance around its painting
operator (`Bb`, `Bh`, `Bg`, `Xm`, `Bm`, `Bc`, `BB`), on a compound
path's last subpath and on clipping paths too. `Bg` places the gradient
relative to the path: a linear one by its angle and its start and length
as fractions of the path's extent along it, a radial one by the matrix
that takes the unit circle onto its extent ellipse, its center as
fractions of the path's bounds in that circle's space and its radius as
a multiple of the one the center's distances to the right side and to
the bottom give. In a pattern's tile the placement is mirrored top to
bottom.
- Patterns whose tiles make a grid and hold their art are defined with
`%AI3_BeginPattern` … `E`, the tile's box first, and fills and strokes
paint with `p` and `P`; gradient and pattern swatches are in the palette.
- Freeform gradients, gradients along or across a stroke and gradients
without stops, with more than 256 stops or without extent are written
as their average color, and other patterns as their tiles cut to the
shape, each with a warning. Gradients that dither or mix perceptually
are written as classic ones, stops linked to global process colors as
their colors, and pattern swatches without the placement that moves,
turns or scales their pattern, with warnings.
- Reading: an unpainted box that a pattern's definition marks as its
tile's box (`AIPattern_Editor_Backing_Tile_Rect`) is no longer read as
art, and a linear gradient whose stops all lie at one place keeps each
stop on its side.
The definitions, instances and patterns follow sections 3.4, 3.5 and 14
of the version 7 specification
(http://mercator.elte.hu/~saman/hu/okt/AI7FileFormat.pdf). The stop
opacity, `Bg`'s placement and the marked tile box follow the newer form
that current .ai files carry, which that specification predates.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
Docs: docs/file-format-parity.md.
A nonzero tile pointer below the end of the tile pointer table made the reader decode header or table bytes as pixels. The table end is now computed with checked arithmetic, and such a pointer is refused as damaged image data.
The editing copy of the art that a PDF-compatible .ai carries now holds:
- Transparency: `mode opacity isolate knockout shape Xy` (the blending
mode's number, Knockout Group 0 off, 1 on, 2 neutral), written when it
changes: in a path's paint after its colors, before a guide, and after
a group's end followed by `0 0 Xd` and `6 () XW`. A group without
transparency of its own ends `9 () XW`, and a group's name comes
before its state block. A layer's transparency follows its art: `Xy`,
`0 0 Xd`, `7 () XW`, `LB`.
- Clipping groups as `q`, the art, the clipping path or compound path last
with `h` (or `H`) and `W` before its painting operator, `Q`, as section
5.6.2 of the version 7 specification shows them
(http://mercator.elte.hu/~saman/hu/okt/AI7FileFormat.pdf). A clipping
layer whose clipping object is a path or compound path sets the last
`Lb` flag and writes its clipping path last.
- Opacity masks as an `AI9_Mask` entry in the object's dictionary: the
mask's art between `X=` and `X+`, and Clipping, Inverted, Disabled and
Linked.
Before, clipping groups were written as their art cut to the clipping
path, and transparency and opacity masks were left out. Still left out,
with a warning: the opacity and blending mode of single fills and
strokes, opacity masks on layers (disabled ones too), and opacity masks
nested more than 8 deep. A clipping group or layer whose clipping object
isn't a path or compound path is written as a group of the art cut to
that object, in a layer that doesn't clip, and so are the clipping
groups inside that art. A clipping path's paint that a plain fill and
line can't draw is written as paths inside the clipping, fills under the
art and strokes over it, each side in a group of its own when it has
several, with the clipping path's transparency, lock and hidden state;
the clipping path's opacity mask stays on the clipping path, with a
warning. A clipping group without members is an empty group, and an
empty clipping layer is an empty layer.
Each of these is written in the form VectorCraft's .ai reader reads, and
the tests read the written data back through that reader.
Reading .ai editing data: an `Xy` after a layer's last group or compound
path, followed by the layer's `7 () XW`, is the layer's (a following
`6 () XW` keeps it the group's); groups, compound paths and layers keep
Opacity & Mask Define Knockout Shape.
The `.ai` option `editingData` and docs/file-format-parity.md describe
what the copy now holds.
Batch Trace Folder replaces a script, so it is now a Document Tools
add-on command, addon.document.batchTraceFolder, under Object ›
Plug-ins › Document Tools (as Export All Open Documents is), and no
longer in Object › Image Trace. Behaviour, caps and the refusal of a
folder too big to list in full are unchanged; the tests move with it.
The status messages have @msgplural rows in every catalog, as does the
menu label. When some images trace and some don't, the status is one
counted message ("Traced {n} images; not traced: {failed}") so it
translates as a whole.
list_dir cuts its listing before sorting, so a cut listing could skip any image. The batch now
stops with an error instead of tracing part of the folder.
imageTrace.batchFolder opens each image in a folder, traces it with a
preset (optionally expanded), saves it into a destination folder under
its own name (vectorcraft, svg, pdf, ai or eps; taken names numbered so
nothing is replaced) and closes it again whether it traced or not; the
active document stays active. Object > Image Trace > Batch Trace Folder
asks for both folders. Not on the web.
A PDF-compatible .ai (or a PDF saved with the editing data) now opens
from its layers without its PDF part being imported, and without being
compared with its page, when:
- its text document makes the type of every text object, hidden ones
included, at least one text object shows, and none is drawn by the
appearance of the layer or group it is in;
- its layers hold no unread object, no placed file with a second
placement and no live envelope with drawn art to fall back on, and
no image too large to read;
- it declares no large canvas, and its artboards are its pages' trim
boxes one for one, in points or in the first page's UserUnit.
A file whose layers draw differently from its page then opens from its
layers instead of its PDF part. The bleed comes from the pages' bleed
boxes. The check runs only when no pages are picked, layers and the
editing data are on, the crop box is asked for and type comes in as
text. Files saved without PDF compatibility, files whose PDF part
draws only type or nothing, and files whose PDF part's content can't
be read take the same path when they qualify: their bleed comes from
the pages' bleed boxes, pages in units larger than a point draw them
at their size in points, and the note that the PDF part couldn't be
read is not given, since its content is not read.
Files that don't qualify open as before, and the editing data decoded
and read for the check is reused after the PDF part is imported
(layered_ai_from).
When a file whose PDF part can't be read is scaled up to its size in
points, its text wraps are now laid out again at that size, and the
default graphic styles of a file without graphic styles of its own are
no longer scaled. The same applies on the new path.
Opening a .ai or a PDF read and checked the whole file up to five
times: for the document it carries, for whether it holds the editor's
private data, for the import, for the editor's copy and for its File
Info. Each pass parses the file and walks every object, about 190 ms on
a 15 MB .ai.
- vectorcraft_pdf::open_pdf reads and checks the file once, on the
import's deep-stack thread, and import_opened imports pages from that
reading. document.open takes the carried document, the page count,
the editor's copy and the File Info from it. The editor's copy is read
after the page import and only when the file is not restored from a
carried document; so is the File Info.
- A .ai saved without PDF compatibility opened with pages that name
every page reads its editor's copy from the same reading.
- document.pdfInfo reads the file once for its pages and the thumbnail.
- The Open and Place dialogs read the file once to decide whether to
ask for pages, instead of twice.
A file whose PDF part fails the check still reads its editing data
separately, as before.
A save as .ai or .ait (file.saveCopy, file.saveAs, document.save and
file.saveAsTemplate) set range to "all" before the file was written.
The one exception was a legacy .ai of version 7 given a range, which
its encoder checks. Every other save accepted an artboard, artboards or
range that names an artboard the document does not have (artboards: [5]
on a document of three artboards) and wrote every artboard.
document.export refuses the same value.
The save now refuses such a value with the export's error, under the
name of the command that was run, and writes no file. A range that is
not text, such as range: 42, was also replaced by "all". The save now
leaves it for the encoder, which refuses it as an export does. An
artboard the document has, or an empty artboards list, is still saved
with every artboard, and a legacy .ai still writes the artboards of its
range.
When the layers fail the comparison with the file's own page because some objects draw
differently (an object in another color, or one that only one side draws), the import finds
each top-level object whose bounds hold a patch of such pixels (the smallest one that holds it)
and replaces it with the page's art in its bounds, in the same way as an unread object. It then
compares the layers with the page again. When that comparison passes, the layers stay, and a
warning names the layer or sublayer of each replaced object (`<Layer>` for one without a name)
and how many were replaced on it. Like the warning for unread objects, this warning counts as
a loss, so an export or Save As to the file's own path needs `acknowledgeLoss: true`. A
replaced wrap object keeps its wrap options, and area type is wrapped again around the page's
art. Placed files at their other placement are tried too when the first placement can't be
kept.
The file still comes in as its PDF part, with the same reason, when only edges or type differ,
when a difference lies outside every top-level object, when more than half of the top-level
objects (or more than 64) hold one, when such an object is or holds type or holds a wrap object
inside a group, when the page's type of a text object that stays would be copied into a
replacement, when the page's art can't replace an object for the reasons it can't replace an
unread one, when matching the differences to the objects would take too much work, or when the
second comparison still fails. Trusting the editing data keeps the objects as read.
Option errors and notes for a .ai save called the file a
"PDF-compatible .ai" even when the save wrote a version 7 file
(aiVersion: "7") or a file without PDF content (pdfCompatible: false).
- Option errors: a version 7 .ai is now called a "legacy .ai
(version 7)" in the errors for its artboard, artboards and range
options. A .ai saved without PDF content is called a
"non-PDF-compatible .ai" in every .ai option error (includeLinked and
embedProfiles included), and a "non-PDF-compatible .ait template"
when Save as Template writes it. aiVersion: "7" takes precedence over
pdfCompatible: false, as it does when the file is written.
- The error for encoding a version 7 .ai of several artboards as one
file names the legacy .ai.
- The note for a native option the file does not read (version,
preview, precision) names the same kind of file.
- The error for aiVersion: "7" on a .ait template no longer says that a
.ait template is always PDF-compatible, since Save as Template writes
one without PDF content. It now reads "aiVersion 7 writes legacy .ai
files, not .ait templates", with its rows in the message catalogs
updated.
A PDF-compatible file keeps its name.
Follow-up to #5305. Stripping passwords from remembered settings made the next export of a password-protected PDF row write an unencrypted file without a word. The stripped settings now keep a non-secret passwordRequired flag, and an export refuses them until a password is given again (or security without the flag is given).
A successful Export for Screens stored its params in the document's
export settings, which native saves write, PDF security passwords
included, although the PDF settings themselves are saved without them.
Saved export presets kept them in the preferences the same way. Both now
drop openPassword and permissionsPassword wherever they appear in the
settings, keeping the other security choices.
The file name pattern searched the rest of the pattern for a closing
bracket at every opening bracket, so a pattern of many unmatched brackets
took quadratic time to render, in the export and its live preview. A
token's name never holds a bracket, so the search now stops at the next
opening one.
Output naming tried -2, -3 and so on from the start for every file given
a taken name, so one name pattern over many artboards rebuilt and looked
up every number used before for each file. It now goes on from the last
number given for that name, and remembers which file got a name from it.
Master page copies were charged one unit per shape whatever its number
of segments, and nothing for attached vector or pixel masks, so a master
holding one huge curve or mask could be rebuilt on thousands of pages
within the copy allowance. Copy costs now count every subpath and
segment of a shape's path and its vector mask, and a pixel mask's
pixels.
A node's vector mask also skipped the document range check the node's
own art passes; its control points are now checked as mapped into the
document (non-finite ones included) and an object whose mask reaches
beyond the range is left out, as one whose art does.
File > Open and File > Place read BMP files named .dib or .rle (run-length
encoded bitmaps included), Photoshop files named .pdd and PNG files named
.pns, in any letter case. The Open and Place dialogs list them in "All
readable files", "All placeable files" and their format's own filter, and
Glass's Load Texture lists them too. Linked files with these names update
and relink, the Links panel shows their format, and Edit Original opens
them.
The extensions are read-only: exports still write .bmp, .psd and .png, and
an export to a path with one of the new extensions is refused as before.
The desktop packaging does not associate them with the app.
Found while testing crates/engine/src/cmd/fileio/zip.rs:26 (store, deflate) vs :178 (Archive::open)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/engine/src/cmd/fileio/naming.rs:103
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
dotCooCoo