With automation read roots in force, document.json returned each entry of
svg_scripts unchanged, so a JavaScript file linked from outside the read
roots kept its full path in the reply. The reply copy now names such a
file by its file name alone. An entry given as a URL is kept, and the
stored document is not changed.
- object.expand.info reports no gradient or fill to expand for a
gradient that repeats in more runs across its box than are written,
matching object.expand, which leaves it a gradient. For a path that a
painting live effect draws, it measures each piece the effect returns.
- CSS writes a repeating gradient's stop positions, and a repeating
radial gradient's radius, with enough decimals that their rounding
adds up to at most a hundredth of a period across the box (at least
four for positions and three for the radius).
- docs/mcp.md says that sharp steps and swatch-linked stops are the last
to be left out rather than always kept, and that the CSS conic limit
counts stops before midpoints and Perceptual curves add more.
A stroke at an opacity of 0 draws nothing, so its brush is no longer
listed in the Brushes category, brushNames or brushes. Pattern Objects,
Gradient Objects and Spot Color Objects likewise leave out fills and
strokes at an opacity of 0, and Objects no longer counts objects whose
only such paint is at opacity 0.
Document Info's Brushes category now lists the brushes the artwork's
strokes draw with, each once with its type (Calligraphic, Scatter, Art,
Pattern or Bristle), as the Document Info panel help page describes:
https://helpx.adobe.com/illustrator/desktop/get-started/learn-the-basics/document-info-panel.html
Without Selection Only the category used to list every brush in the
Brushes panel, used or not; it now lists only the brushes art uses.
document.info adds `brushes` ([{name, type}]) and `panelBrushNames`
(the Brushes panel's brushes), and `brushNames` holds the used brushes.
Hidden strokes, strokes with no paint or width, guides, paths with no
segment, type that draws no characters, groups' and layers' own strokes,
compound path members' own strokes and image strokes without a shape
are left out. A brush the panel does not hold is listed as missing,
with a null type, and a name two panel brushes share takes the type of
the brush the renderer draws with.
A miter join on a stroke whose dashes have round or projecting caps
still paints the miter spikes the limit keeps, and the visual box
includes them. object.setBounds with Use Preview Bounds did not count
such a stroke as one whose margins follow its segments' directions, so a
closed path at a slant missed the size typed when the width and height
were out of proportion.
A path inside a compound path given in ids was replaced by a group inside the
compound path, which reads its members as paths, so the edges did not draw. The
compound path is now expanded in its place. The panel's Quick Actions show on
the Object tab of Revolve (Classic), not on its Rotation tab, as for the other
effects with an Object tab.
When a repeated or reflected gradient needs more stops than a limit
allows, each run now leaves out the stops that change its colors
least, so every run is still written, instead of writing fewer runs
and padding the rest with the last color. Each run keeps its ends,
sharp steps, swatch-linked stops, tint and CMYK ink changes and spans
shaped by an off-center midpoint, and the colors are compared as the
gradient's method mixes them. This applies to gradients along or across
a stroke, CSS conic gradients, and PDF, EPS and .ai export.
- Outline Stroke's mesh fits the gradient to at most 1,024 stops, and
splits a stroke into several meshes when one would hold more than
2^20 points.
- Object > Expand leaves a gradient as it is when the box needs more
than 256 runs, instead of expanding only the first runs.
- CSS writes the stop positions of repeating gradients with four
decimals, so the period stays in place across the box.
- A swatch chip of a gradient that repeats gets at least four grid
cells a run along each side (at most one a point, and 128), so it
does not show one color when the count matches the chip's cells.
- docs/mcp.md states the stop limits and the PDF import sample budget.
a_shadow_on_each_fill_a_painted_effect_returns_follows_the_transform_after_it
installed test.engine.twofills, which
a_second_painted_effect_on_a_fill_keeps_the_piece_s_other_fills also
installs with a different module. Installed plug-ins are kept for the
whole test process, so running the two tests in parallel could run one
test's effect with the other's module. The test now installs
test.engine.shadowedfills.
A bevel join, and a miter join whose miter limit bevels a corner, end the
stroke at the outer corners of the two segments they join. The visual box
measured such a corner as if the stroke reached half its weight round it:
a 40 x 100 pt triangle with a 20 pt stroke and a miter limit of 2 measured
10 pt above its tip, where the stroke paints about 1.96 pt above it. Use
Preview Bounds, and the alignment and sizing that use it, took that box.
- With bevel and miter joins, closed paths and open paths with round or
projecting caps are now measured along their segments, as butt-capped
open paths already were, with the miter tips the limit keeps and the
caps added. Round joins still reach half the weight round each corner,
the round caps of dashes, which can end at a corner, reach half the
weight all round, and the projecting caps of dashes reach the diagonal
of their square. The visual box of
such a stroke can be smaller than before and is never larger. A path
with no width, such as a rectangle sized to 0 pt wide, turns back at
its ends, where the join bevels, so its box no longer reaches past them.
- object.setBounds with Use Preview Bounds measures an object as drawn
when a beveled or mitered corner, or a butt cap, is on a segment at a
slant. Before, a closed path with miter spikes the limit keeps missed
the size typed when the width and height were out of proportion.
- A click past a bevel or a butt cap, by more than the click tolerance,
no longer selects the stroke. Strokes with a width profile or with
dashes that have round or projecting caps, and the ends of curves that
bend more tightly than half the weight, keep the round reach.
- Paths measured along their segments skip the segments that cannot
reach past the box measured so far, which starts with the path's own
bounds.
Effects apply in the order they are listed, so an effect listed after a
Transform effect applies to the art the Transform effect made, at its
own values, as an object's later effects do after the object's
Transform effect. With Scale Strokes & Effects on, a fill's or stroke's
own Transform effect scaled the effects listed after it in that fill's
or stroke's list by the mean scale: a 300% Transform turned a 5 pt
Offset Path after it into a 15 pt one, and a Drop Shadow after it took
three times its offset. With Transform Patterns or Scale Strokes &
Effects on, an SVG filter after it also had the origin of its user space
moved.
- The effects after such a Transform effect now keep their values, on
the transformed art and on each copy, on every fill and stroke a
live-effect plug-in paints the piece with, and when the copies are
counted against the effect budget.
- With Transform Objects off, the effects before it keep their values
too.
- The Transform params text, docs/target-app-parity.md and docs/gaps.md
describe the rule, and drop the note that listed an object's later
effects keeping their distances as a shortfall.
With logoColors named, Flat Logo measured how flat the image is against
the named colors. A solid pixel counts as flat only within 22 (RGB
distance) of one of those colors or white. Flat art whose named colors
were 20 levels off in every channel was refused as not flat, and the
refusal score of a gradient changed with the names.
The check now uses the image's own colors, found the same way as when
no colors are named. It looks for as many colors as are named, with
white, or as the Colors setting gives, whichever is more. How far the named colors are
from the image's colors no longer changes whether the image is refused.
This changes one existing behavior: an image with large areas of a
color that was not named used to be refused, and it is now traced in
the named colors.
Docs: docs/image-trace-adjustments.md, docs/target-app-parity.md, the
imageTrace.make params text.
A process color can't colorize a grayscale image that has an alpha channel,
and paint.setFill refuses that combination. Remove Background gave such an
image an alpha channel and kept its process colorize color. It now refuses
the run, changing nothing, when an image it is given is gray and colorized
with a process color. It checks this before any image is decoded. Another
image in the document that already has that combination does not affect a
run on other images. Black, white and spot colors still colorize the result.
The rule check_colorized applies to each image is now one function,
paint::gray_colorized_with_process, which both checks call.
Docs: docs/mcp.md (Remove Background), docs/target-app-parity.md.
When a Tabs panel indent marker gave the paragraphs of a threaded story
values of their own, the panel sent one text.setFormat for each
paragraph, and the story flowed through its frames again after every
one of them. text.setFormat now takes paragraphIndents, a list of
{id, start, leftIndent?, firstLineIndent?} entries, one per paragraph.
It checks every entry before it changes anything, rebuilds each type
object's paragraph styles once and makes the whole change one edit, so
the story flows again once. The markers send one such command inside
the same labeled command.batch, and a drag that changes no paragraph
runs nothing.
- With the Selection tool, a marker drag on any frame of a threaded
story now sets every paragraph of the story, in its locked and hidden
frames too.
- The single-value form of text.setFormat fails, naming the key, when a
number such as leftIndent is given as a string, a switch or a list.
- A null value of any text.setFormat attribute leaves it as it is, as an
omitted one does. A call whose attributes are all null fails with
"nothing to change" and records no edit and no undo step.
- A text.setFormat call whose values are the ones the text already has
returns its ids and records no edit, no undo step and no new revision.
Docs: docs/mcp.md, docs/target-app-parity.md.
tree() in crates/engine/src/cmd/findfiles/tests.rs returns a Tree guard
that holds the canonical path and removes the folder with everything in
it when it is dropped, also when the test panics. When the removal
fails, the guard gives the owner read, write and search permission on
every folder in the tree (Unix; links are not followed) and removes it
again, so a test that panics while a folder is locked leaves nothing
behind. A removal that still fails is ignored.
tree() empties the folder temp_dir returns in place instead of removing
and remaking it, so on Unix the folder keeps the owner-only mode that
temp_dir sets.
view.proofSetup, view.proofColors, view.overprintPreview and
view.separationsPreview stored the proof view and raised every open
document's revision on each run. They did this also when the request
asked for the view that was already showing, for example Proof Colors on
while it is on, or Proof Setup with no params. Each such run redrew every
canvas. When the active document's revision changes, the canvas also
sends a tool that asks for it a new hover event, although the pointer has
not moved.
- The four commands compare the new proof view with the current one. When
the two are equal, the commands leave the view and the revisions as
they are. Separations Preview's visible plates are compared as a set,
so the same plates in another order do not redraw.
- view.separationsPreview with `plates` naming a plate twice shows it
once, so one `toggle` of that plate hides it.
- color.loadProfile with a new file of the CMYK profile that Proof Setup
targets gives the documents new revisions, as it does for a working
space. Before, running Proof Setup again redrew the documents through
the new file; it now leaves an unchanged view alone.
- color.removeProfile gives the documents new revisions only when Proof
Setup targets the removed profile.
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.
SVG Options gets an Include Variable Data checkbox (the `variableData`
option, off by default). With it on, the saved SVG carries the document's
text variables, its data sets' text values and each text variable's bound
type object as a `variableSets` element, in the layout Load Variable
Library already reads. A bound object is named by its element id in a
`docRef="id('...')"` attribute; an object without an id gets one.
Opening such an SVG reads the variable data back: the text variables, the
data sets (none active) and the bindings, so choosing a data set changes
the type again. Variable data that Load Variable Library would refuse is
left out with a warning, and the art opens. Markup that only looks like
the element (in comments, CDATA sections, processing instructions or the
document type declaration) is skipped.
Variables of other kinds, names XML can't hold, more than 256 text
variables or 1,000 data sets, and variable data over 8 MiB or 2,000,000
XML nodes are left out of the file, each with a warning. Type written as
outlines opens as art, so its variables are written unbound, with a
warning.
Sven Lafebre