The Materials tab and threeD.mapGraphic now map graphics onto
Revolve's swept side, unrolled flat: x runs around the axis (the
angle times the profile's distance from the axis at that point) and
y along the profile. A graphic keeps its size at every distance from
the axis, so it reaches farther around where the profile comes nearer
the axis. Each face of the side draws the part that falls on it: a
graphic narrows toward the silhouette, follows the profile along its
length, is shaded with the surface (several lights included) and is
hidden where the side faces away. A part that runs past the end of
the profile reaches the curved rim and stops there. The middle of the
side faces the viewer with the axis on either edge. On a compound
profile or a group the graphics go on the longest contour.
- three-d: with Revolve::map_surface set, side faces carry a
SurfaceCell (corners on the page and on the unrolled side, whether
the outside faces the viewer) and a closed profile off the axis
takes an anchor where its side is cut; without it the faces are as
before. revolve_surface_size gives the side's size for a new
graphic's fit.
- effects: Revolve takes `graphics` (front only); surface_parts cuts
and maps them per face; curves are cut into straight pieces one at
a time, and commands refuse graphics past the point limits;
switching between Extrude, Plane and Revolve keeps the front's
graphics.
- The Materials tab hides Face for Revolve; params text, docs/mcp.md,
docs/three-d.md and the progress docs describe the change.
- i18n: the complete-message catalogs translate the three new
refusals in place of the planar-faces refusal they replace, and ja,
es, zh-hans and zh-hant translate the Materials tab's label.
Dutch was not in COMPLETE_MESSAGES, so with the interface in Dutch
script errors, plug-in manifest and permission errors, parameter
schema errors, 3D effect refusals, file-reader errors and data-set
messages showed in English.
- nl.tsv gains 557 `@msg` rows and one `@msgplural` row: the messages
the German catalog translates and Dutch lacked. Most are one block
with a header comment on their conventions, in the order de.tsv
holds them; the rest sit next to the related existing rows.
Backticked names, command ids, double-quoted values and bare true,
false and null stay as the English writes them.
- nl joins COMPLETE_MESSAGES, so the message tests that iterate the
list check Dutch too, and the untranslated report lists Dutch's
missing messages. It lists the same set for Dutch as for German.
- The registry comment, docs/development.md, the Dutch row and
introduction of docs/localization-parity.md, and the interface
languages line of docs/target-app-parity.md list Dutch among the
languages that translate messages.
A right or middle drag on a swatch or color group, a brush, a symbol, a
graphic style, a library item or group, a character or paragraph style,
an Appearance row or thumbnail, the Fill and Stroke squares, a Recent
Colors chip or the Gradient panel's thumbnail started the same drag as
the primary button, so it could reorder, copy, delete or apply the item.
These drags now start only with the primary button, as Layers rows
(#7016) and Artboards rows (#7005) do: `widgets::drag_source`, the
Swatches tiles, library panel items, text style rows and Appearance rows
check `drag_started_by(Primary)`, and the Appearance thumbnail shows the
grabbing hand only for a primary drag. Right-click menus and the Graphic
Styles panel's held right-button preview are unchanged.
A right-click on a character style in the Libraries panel now opens Apply
Character Style, Add to Character Styles, Move to Group, Rename… and
Delete. Apply is enabled only with type selected. Opening the menu applies
nothing, and the paragraph style menu is unchanged.
- library.addToCharacterStyles adds the style to the document's character
styles without applying it, so no type needs to be selected. A document
style with the same name and attributes is reused with no undo step, and
a name taken by other attributes gets a number.
- library.renameItem renames a library item in place and keeps its group.
The name is trimmed and has 1 to 256 characters. Another item of the same
kind with that name is an error, the item's own name writes nothing, and
a rename is not a document undo step.
- library.use and library.addToCharacterStyles compare a library style
with the document's in the form the document stores it in. A whole
number size from a library file no longer adds a numbered copy.
- A character style color linked to a swatch that is not a global or spot
swatch of the document keeps the color it shows without the link.
Before, adding or applying such a style failed with "no swatch".
Help page: https://helpx.adobe.com/illustrator/desktop/design-with-text/fonts-and-scripts/add-and-use-text-and-character-styles-in-libraries.html
path.smoothRegion replaced the anchors of each path it smoothed but left
the selection alone, so anchor and segment refs selected with Direct
Selection still named the old indices: after a smooth that removed
anchors, a ref could point past the end of the path or at another
anchor. The edit now drops those refs for each path it changes, so the
path stays selected whole. Selected paths the drag does not change keep
their anchors, and undo restores the earlier selection.
Stroke is the widest feature that can be stroked, and it was applied to
each connected shape as a whole: a thick body with thin arms stayed one
filled area. Now a shape wider than Stroke somewhere keeps as its area
every disc wider than Stroke that fits in it, and each piece outside
those discs that reaches out of them at least one and a half times its
own width (and 3 px) is traced as a stroked center line. A line's end at
the area goes to the cut, so the line's cap closes the join. Corners and
edge slivers stay in the area, and a piece that cannot be traced stays
in it too. Shapes no wider than Stroke trace as before.
Each line keeps one width; without Fills, the area is still a 1 px
outline.
Docs: docs/target-app-parity.md.
The i18n test that main added for 3D refusals calls validate_three_d_at with this branch's (Option<usize>, usize) position: effect 0 of appearance item 0 is (Some(0), 0).
With both guides of an axis past the same edge, the art keeps its size
from the other edge of the instance, or shrinks to the instance's width
or height when the instance is smaller than the art. The module doc,
AxisMap::new and the docs/target-app-parity.md entry now say so.
A selected warp envelope now shows the points of its surface on a 4x4
grid (8x8 or 16x16 where 4x4 strays more than 0.1% of the warp's
diagonal from it). object.mesh.movePoint, movePoints, addLine,
deletePoint and object.envelope.setMeshPoint accept a warp: the first
edit turns it into a mesh envelope on that grid and applies the edit as
one undo step, so Undo or Escape gives the warp back with its style and
bend. An edit that moves no point leaves the warp and adds no undo
step. A warp that no such grid follows (some version 0 maps) shows no
points and its edits fail without changing anything.
movePoints and setPointColor on a gradient mesh record no undo step
when they change no point.
#5748 moved the Pencil's and the Paintbrush's Fidelity to screen pixels, but
docs/ui-parity.md still gave it in points. The Pencil row now gives the
slider's rail, the field and the key steps in px, and says the tool sends
path.freehand the value in points at the current zoom.
The Pencil row also appeared twice, the second copy without the Fidelity
text. The two rows are merged into one.
The comments on FIDELITY_MAX, fidelity_step, fidelity_at and fidelity_from
in the Tool Options dialog name the tool's unit, since the slider is shared
with Smooth and Blob Brush, which stay in points.
In the Touch workspace, a two-finger tap on the canvas now switches
between the Selection tool and the drawing tool chosen last, as the
help page describes. It no longer undoes there; outside Touch a
two-finger tap still undoes, and a three-finger tap still redoes in
every workspace.
- New UI command tool.toggleTouchMode (Switch Selection and Drawing
Modes, {} -> {tool}). From the Selection, Direct Selection, Group
Selection, Magic Wand, Lasso or Perspective Selection tool it chooses
the drawing tool chosen last in the window, or the Pencil tool when
none has been chosen; from any other tool it chooses the Selection
tool. The Hand, Rotate View, Zoom and Print Tiling tools never become
the drawing tool. It adds no undo step.
- These tool lists and Pencil as the first drawing tool are
VectorCraft's own rules.
- The label is in every catalog. Docs: docs/mcp.md, the touch row of
docs/hardware-parity.md and docs/target-app-parity.md.
After a rotation the Selection tool already shows and drags a bounding
box turned with the objects, but the Free Transform tool still used the
page-aligned box. Its handles sat on the wrong corners, a side handle
scaled along the page axes, and Perspective Distort and Free Distort
started from a box that did not match the art.
- The Free Transform tool keeps the selection's turned box for the
drag. Handles, the rotate zone and the move zone are read in its
frame; a handle scales along the selection's own sides from the
opposite handle (or the center with Alt) and snaps as the Selection
tool's does; Cmd/Ctrl on a side handle shears along that side; the
outline, handles and cursors are drawn on the turned box.
- Perspective Distort and Free Distort move the corners of the turned
box. `object.distort` takes `angle?` (degrees): `from`, or the
selection's bounds without it, is then a box in the frame turned by
that angle. Upright boxes send the same params as before.
- The Scale and Reflect tools, their dialogs and commands, and the
Transform panel's flips keep the page's axes.
Docs: docs/mcp.md, docs/target-app-parity.md.
A new Type preference, Show samples on white (`fontSamplesOnWhite`, off
by default), draws each family's sample in every font menu, and in
Type → Font in the in-window menu bar, in the Light brightness's text
color on a white area, in every interface brightness. A row's white
area is drawn while its sample is still rendering, and leaves 2 pt above
and below it where a highlighted row's color shows. The family names and
the rest of the menu keep the interface's colors. Preferences dims the
checkbox while Enable in-menu font previews is off.
Docs: docs/mcp.md (prefs), docs/target-app-parity.md evidence line.
The Drawing tools row in docs/target-app-parity.md now names the
measurement readout that the Pen, Smart Pen and Curvature tool show
with the rubber band off. The score, gaps and hours are unchanged.
The Paragraph panel's Mojikumi Set lists None, YakumonoHankaku,
GyomatsuYakumonoHankaku, GyomatsuYakumonoZenkaku and YakumonoZenkaku,
then Line-end Punctuation Half Width, and text.setFormat {mojikumi}
takes yakumonoHankaku, gyomatsuYakumonoHankaku, gyomatsuYakumonoZenkaku
and yakumonoZenkaku besides none and lineEndHalf.
The spacing of each set is VectorCraft's own rule, built on the help
page's one-line description of each set:
- YakumonoHankaku sets every bracket, comma and full stop half width,
takes a quarter em off each side of a middle dot, and puts a quarter
em between Japanese and Latin letters or digits.
- GyomatsuYakumonoHankaku keeps punctuation full width inside a line,
sets an opening bracket starting a line flush and a closing mark
ending it half width, and takes the quarter em after a middle dot
ending a line off.
- GyomatsuYakumonoZenkaku keeps punctuation full width and adds the
quarter em between Japanese and Latin text.
- YakumonoZenkaku sets characters as None does.
Both composers and vertical type measure each line as it is set. A
right-to-left paragraph, whose line ends are measured untrimmed, also
draws them untrimmed, and a right-to-left line that ends between a
Japanese and a Latin character is measured without the quarter em the
set adds there. With a Desired glyph scaling other than 100%, the
space a set takes off before an opening bracket or middle dot, and the
Japanese-Latin space recorded at a line's end, scale with the glyph.
The sets save with the document and paragraph styles; new type and
Reset Panel keep Line-end Punctuation Half Width. SVG export lays type
with middle dots out again for its positioned spans. A .ai save
reports a paragraph with one of the new sets as left out.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md,
docs/gaps.md.
Copy now remembers the whole chain of layers around each object, not only
the name of the nearest one. With Paste Remembers Layers on:
- In the same document, art goes back into the sublayer it came from while
that sublayer exists, even after it was moved, so two sublayers of the
same name in different layers stay apart. A deleted sublayer is made
again inside the layer that held it.
- In another document, the sublayer and the layers around it are matched
by name from the top level down; of repeated names, the topmost chain
that matches the most names wins, a shown and unlocked one first. A
missing sublayer is made inside its layer, and a missing layer on top
with the sublayer inside it, in the paste's undo step.
- When the matched layer, or a layer around it, is hidden or locked, the
paste fails with "the target layer is locked or hidden" and nothing is
pasted, instead of putting art in a hidden layer or making a second
layer of the same name.
Each font menu kept its own script, kind, Variable and favorites
filters, so a filter chosen in the Character panel's menu was off in
the Control bar's, the Properties panel's, the Glyphs panel's and the
dialogs' menus. The filters now live in one place that every font menu
reads when it is drawn and writes back afterward. A filter chosen in one
menu is on in the others, and their rows are listed by it. The mouse
wheel over a closed family field steps through the families those
shared filters list. The search, highlight and expanded families stay
with each menu. The filters last for the session, as before.
Docs: docs/type-parity.md, docs/target-app-parity.md.
dotCooCoo