An HP-GL wedge of almost no radius drawn with an adaptive line type
(LT-1;EW0.000001,0,0;) leaves a lone moveto. Fitting the dashes to its
corners indexed the empty segment list and panicked while rendering. Such
a subpath now uses the exact plan, which has no runs to fit.
Found by import_fuzz::random_hpgl_instructions_never_panic.
With Size 0, Roughen moved no point but still replaced each segment
with its Detail's points joined by straight lines (Corner) or by a
smoothed curve through them (Smooth), so a curved path lost its shape.
At Size 0 each segment is now split at the Detail spacing into pieces
of equal length on the segment itself, with `pathtools::insert_at`: a
straight segment gets corner points without handles, and a curve gets
smooth points whose handles follow it. The path keeps its outline with
Smooth or Corner points alike. The params text of `distort.roughen`
describes size 0.
`insert_at` now counts the anchors added before each returned mark in
one pass. It counted them again for every split segment, which took
quadratic time on a path with many split segments. Its results are
unchanged.
Existing documents with a Roughen of Size 0 on a curved path, or with
Smooth points, draw differently.
This is VectorCraft's own rule. What Roughen does is described in
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
With Transform Objects off, a group's Transform effect scales the
strokes and moves the patterns of a member's linked mask as it does
the member's, instead of leaving the mask as it was.
A linear, radial, conic or diamond gradient has a spread: Pad (the
default, as before), Repeat or Reflect, with a count of 1 to 100
(VectorCraft's own limit). Repeat and Reflect run the stops that many
times along the vector (around the turn for a conic) and keep going past
both ends, Reflect running every other run backwards, as SVG's
spreadMethod does.
The Gradient panel has a Spread menu and a Repeats field, and the
Gradient tool marks where the runs meet. paint.setFill and
paint.editGradient take `spread` and `repeats`; bad values are errors.
Presets, swatches, blends, strokes along or across a path, Outline
Stroke and Object › Expand follow the spread; Expand gives each run the
same whole number of objects, and Outline Stroke's mesh keeps the color
on each side of a sharp step between two stops at one offset.
SVG writes and reads spreadMethod: SVG import now reads a repeating or
reflecting gradient as one that repeats or reflects once, instead of
expanding its stops over the shape. CSS writes repeating gradients.
PDF writes a conic's sweep shading over one run. PDF, EPS, legacy .ai
and the .ai editing data write the other kinds with their stops
repeated across the shape: at most 256 runs and 16,384 stops (256 stops
in .ai files), and for a radial or diamond no farther than 65,536 runs
from its center, with a warning past those. PDF import now finds sharp
steps in any axial or radial shading instead of blurring them.
Docs: docs/mcp.md (Spread), docs/target-app-parity.md, docs/gaps.md.
Type and live objects in the art of a linked opacity mask are outlined
and evaluated before a group's or layer's geometry effects run over it,
so the mask moves and bends with the art it masks. Before, the effects
reached only the paths in a mask's art.
- With Scale Strokes & Effects on, a Transform effect scales the strokes
of an image's or symbol instance's linked mask as it scales those of a
path's mask.
- A mask's art takes Transform copies in the form it had before the
first effect, as the art it masks does.
- A linked mask whose art is one image or symbol instance takes a
Transform effect's move and copies with the art it masks. Under any
other geometry effect, which images and symbol instances do not take,
art whose masks hold one keeps its shape.
- A symbol instance in perspective projects the linked masks in its art
with that art.
- A live-effect plug-in that paints its pieces leaves art with linked
masks as it is, since a mask can't take the pieces.
Docs: the docs/target-app-parity.md line moves next to the Transparency
entry and lists the cases where existing documents draw differently.
A linked opacity mask moves with the art it masks, and an unlinked one
stays in place. Geometry effects on a group or layer reshaped its
members but left their linked masks where they were, Free Distort left
a linked mask behind, and an envelope bent unlinked masks too.
- Geometry effects on a group or layer run over the art of the linked
masks of the paths, compound paths and groups inside it, nested and
inverted masks included. Each Transform copy of a masked path carries
its own mask, and an image or symbol instance moved by a Transform
effect carries its linked mask. The effects on an object do not move
that object's own mask.
- When a mask can't take an effect as the art it masks does (a path in
either would pass the geometry budget, or the mask would get fewer
Transform copies), the art and its masks keep their shape under that
effect. Mask art counts toward the budget.
- Free Distort (`object.distort`) warps a linked mask with its object;
the params text says so.
- An envelope bends only a linked mask.
Docs: a line in docs/target-app-parity.md.
A Warp effect on an image, or on a group that holds one, bent the image's
frame but drew the pixels unbent, cut by the bent frame. The image now
bends with the frame as a raster mesh warp, as an envelope bends it: after
the last effect in the list, the image is cut into 10 x 10 cells of two
triangles, each a clipped piece of the image under its own affine map,
through every Warp it took and the Transform moves between them. Effects
after a Warp reshape only the frame, and a placed gradient on a group
that holds the image follows the group's bounds as the pieces draw them.
The image itself is unchanged, so editing or removing the warp redraws
it. The images stay unbent when their pieces would make the art pass 2
million objects, and an image stays unbent when its clipping frame keeps
its shape because the warp would pass the effects' anchor budget.
- SVG export writes the image once and draws the pieces with <use> when a
group holds pieces of one image clipped by triangles. PDF, EPS, .ai and
PNG exports write the bent pieces.
- Envelopes: a grayscale image's fill color now colorizes the pieces an
envelope cuts. Before, the pieces drew the gray image.
- Geometry effects: an image under any geometry effect keeps its fill
color and its smoothing setting. Before, it drew the gray image,
smoothed.
Docs: Warp params text, docs/mcp.md, docs/target-app-parity.md.
With colored lights a surface can be one clipped composite of its facets. The comment above the plain check now states that every surface of such a solid, masked ones included, draws whole in member order.
The 3D and Materials row of docs/target-app-parity.md names Revolve
(Classic) with its options and surfaces among what ships, and its
evidence names the tests that cover it.
With Extrude & Bevel, Extrude & Bevel (Classic) or Inflate on a group
or an object with fills and strokes, a solid whose gradient has
transparent stops carries an opacity mask, and it was drawn as one
whole surface in the order of the members. It could cover a solid in
front of it or hide behind one it is in front of. Its faces now take
their places in the one back-to-front order of every solid's faces, in
runs that each carry the solid's opacity mask. A run splits only where
a face drawn after it overlaps the next face.
With Revolve (Classic) on a group, a member whose gradient has
transparent stops drew its whole surface in the members' order, so it
could cover a member in front of it or hide behind one it is in front
of. Its faces now take their places in the one back-to-front order of
every member's faces, in runs as a member with transparency of its own
does, and each run carries the member's opacity mask.
Effect › 3D and Materials › 3D (Classic) › Rotate (Classic)… turns every
fill and stroke as one flat plane, as Rotate does, and shades it with the
classic No Shading or Diffuse surface.
- `effect.apply` with `threeD.classicRotate`: the Position rotation and
Perspective, `surface` (`none` or `diffuse`), the classic lights,
Ambient Light, Blend Steps and Shading Color. It has no highlight, no
Draw Hidden Faces and no shadow.
- The dialog shows Position on the Rotation tab and the surface and
lights on the Lighting tab, with no Object tab.
- Groups and layers turn about one shared center, and the effect also
goes on a fill or stroke, as Rotate's does.
- `effect.lightingPreset` refuses it, as it refuses the other classic
3D effects.
- Unknown parameters, numbers out of range, bad flags, a surface other
than No Shading or Diffuse and bad shading colors are refused with an
error.
Effect › 3D and Materials › 3D (Classic) › Revolve (Classic)… sweeps the
profile round a vertical axis, as Revolve does, and draws every face with
the Wireframe, No Shading, Diffuse and Plastic surfaces of Extrude & Bevel
(Classic).
- `effect.apply` with `threeD.classicRevolve`: Angle (0 to 360), Cap,
Offset (0 to 1000 pt) from the left or right edge of the profile's
bounds, the Position rotation and Perspective, and the classic lights,
Ambient Light, highlight, Blend Steps and Shading Color.
- Groups and layers revolve about one shared axis, and the effect also
goes on a fill or stroke, as Revolve's does.
- `effect.lightingPreset` refuses it, as it refuses Extrude & Bevel
(Classic).
- Revolve faces carry their view-space normal, and
`three_d::revolve_facets` hands them to the classic surface code.
- Unknown parameters, numbers out of range and bad flags, edges,
surfaces and colors are refused with an error.
Each of the fifteen Warp styles now bends the bounds as one Bézier patch.
The style sets the patch's control points from the bend and the size of
the bounds, the horizontal distortion scales each column of control
points about its middle, and the vertical distortion scales each row.
The Warp effects and warp envelopes share the map (`WarpNet`). Content
with no width or no height takes the middle of the patch along that
side.
A warp carries the map it draws with as `version`. New warps, the
built-in graphic styles' Warps and warps opened from .ai files get 1.
Warps in .vectorcraft documents saved before the version existed read
as 0 and keep the earlier map, so those documents keep their look.
Edits keep a warp's version, and Warp Options editing several objects
keeps each one's own. effect.apply, effect.setParams and the warp
envelope commands take `version` 0 or 1 (`1.0` counts as 1) and refuse
any other value. An .ai file holds a warp's settings and not its
version, so a version 0 warp saved to .ai opens again with version 1.
The .ai writer compares a style's settings without the version, so
saved warps still export as editable effects.
Docs: docs/mcp.md (Envelopes), docs/effects-parity.md (Warp),
docs/target-app-parity.md.
#6716 added the member index to each solid part after #6754's shadow
code was written against the five-field tuple, so main stopped compiling
once both landed. The Inflate, Extrude and shadow-drawing loops now
destructure all six fields.
Revolve, Extrude & Bevel, Inflate and Rotate take a Shadows switch on the
Lighting tab, with Position (Behind Object or Below Object), Distance from
Object (0 to 100%) and Shadow Bounds (10 to 400%), saved in the effect as
shadow, shadowPosition, shadowDistance and shadowBounds.
With shadows on, the first light casts a hard-edged vector shadow of the
solid: every face of every solid of the object projected along the light
onto a plane behind the object (square to the view) or below it (square to
its own vertical axis and turned with it), filled black with the nonzero
rule at 50% times the opacity of the art that casts it, in that art's
blending mode, and drawn behind the solids. Distance moves the plane away
by a share of the object's largest size; Bounds ends the plane at a square
about the foot of the object's center, four times that size across at
100%. No shadow is drawn while Shading is off, when the first light's
intensity is 0, or when it does not reach the plane. A member's opacity
mask and blending mode apply to the part of the shadow it casts. A shadow
is cast from at most 327,680 faces; past that, commands are refused and a
loaded file draws the source path. The canvas, SVG and PDF exports draw the
shadow, and Expand Appearance keeps it as a path. Values out of range are
refused before the document changes.
Docs: docs/three-d.md, docs/mcp.md, docs/effects-parity.md and the
docs/target-app-parity.md evidence list.
Extrude & Bevel (both kinds) and Inflate drew the faces of the fill's
solid and the stroke's solid in one order by each face's center depth.
At a concave corner a long fill wall could sort after a stroke wall in
front of it, so stripes of the fill showed through the stroke.
- Facets now record whether they are side faces (walls, bevels,
Inflate's sides) and whether they are turned away from the viewer.
- With caps on, each fill side face turned toward the viewer is drawn
before every face of the same shape's stroke whose bounds overlap
it, for strokes whose solid hides the fill's whole edge: a closed
shape, a width, no dashes, width profile or brush, and a solid color
or a gradient without transparent stops. Caps, other shapes in a
group, hollow effects and translucent or blended surfaces keep their
order.
Docs: docs/three-d.md (Fills and strokes), docs/target-app-parity.md.
When a layer effect moves a sublayer's ruler guides onto the layer, a
guide inside a hidden or locked group now stays hidden or locked, as it
does for a hidden or locked sublayer.
- A layer with a Pathfinder effect, or a Transform effect that copies its
art, keeps the ruler guides of its sublayers on the layer, hidden and
locked as their sublayers were, instead of losing them with the art.
- Opening a file counts the ruler guides of sublayers removed beyond the
canvas.
- Opening a file moves misplaced ruler guides above the art before the
canvas check, so a guide saved before a clipping path beyond the canvas
no longer makes other art the clipping path.
Follows #6632.
With Envelope Options > Distort Appearance on, VectorCraft turned the strokes
of type in an envelope into filled outlines and bent them with the art, so a
stroke got thinner where the grid squeezes the type and thicker where it
stretches it. The drawn art of users' .ai files keeps those strokes as stroked
paths at the type's own weights, and the ring they paint is as wide wherever
the grid squeezes or stretches the type. An envelope of stroked type in such a
grid therefore didn't draw as its drawn art and kept it instead of opening live.
Type's strokes (its characters' and those on its own appearance) now paint
along the bent glyph outlines at their own weight, with Distort Appearance on
or off, also in an envelope inside an envelope:
- doc: `map_node` maps the groups that hold type's glyph outlines with
`Hooks::type_appearance` in place of `Hooks::appearance`, for type in the
envelope's contents and for type that a live object in them (an inner
envelope) outlined (`Warper::type_outlines`). Such a group's opacity mask
is mapped with the ordinary hooks, so it bends as other art does. Groups
marked as type's outlines in the contents themselves (art an earlier Expand
made) stay plain art.
- effects: `bake_type_appearance`, `bake_appearance` with strokes kept as
strokes: geometry effects on type's fills and strokes still bake in and bend.
- doc: `max_outset` counts type's character strokes as type's own visual
bounds do (`char_stroke_outset`). It left them out, though they already
painted past an envelope's grid where the glyphs reach its edge; this also
grows the visual bounds of blends and repeats of stroked type and the reach
of symbol art holding it.
Paths' strokes, geometry effects, opacity masks, linear gradients and pattern
fills bend as before. The canvas, hit testing, effect bounds, Expand, every
export and the .ai save take the evaluation from the same hooks. Expand of an
envelope of stroked type gives the bent outlines with the strokes on them.
This changes how VectorCraft's own envelopes of stroked type draw.
Tests: envelope_distort::type_strokes_paint_at_their_own_weight_in_a_squeezed_envelope,
a_stroke_on_types_appearance_paints_at_its_own_weight_in_a_squeezed_envelope,
type_strokes_paint_at_their_own_weight_in_an_envelope_inside_an_envelope,
a_paths_stroke_still_bends_in_a_squeezed_envelope,
an_opacity_mask_on_type_bends_as_other_art,
the_visual_bounds_of_an_envelope_hold_its_types_strokes,
the_visual_bounds_of_a_repeat_of_stroked_type_grow_by_half_the_stroke,
expanding_an_envelope_of_stroked_type_keeps_the_stroke_at_its_weight,
bake::tests::type_pieces_bake_their_geometry_effects_and_keep_their_strokes and
tests_native::an_envelope_of_stroked_type_whose_drawn_art_strokes_the_bent_outlines_at_the_weight_opens_live.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Ruler guides were a list kept beside the layers. Each guide is now an
object of its layer or sublayer, always directly in it and above the
layer's art. These behave as on main:
- Guides draw on screen only. Exports (SVG, PDF, PNG, PSD), Fit All,
Select All, the art bounds, clicks and marquees, and a layer's
Pathfinder and Transform effects leave them out. The Layers panel
lists them as guide rows of their layer, the highest guide.list
index first.
- Deleting a layer deletes its guides, and merging layers keeps their
guides in the merged layer.
- The guide commands number guides as guide.list does, in the order
they were made.
New: each guide takes an id from the document's object ids. An object
command given a guide's id fails with an error, and node.move cannot
put a guide into a group or out of its layers. A guide made while an
opacity mask, a symbol or a pattern is edited moves to the top
visible, unlocked layer when editing ends.
File format: native files still save the guides in the document's
guides list, in every file version, so older builds read them. Each
entry may now also carry the guide's id, name, locked and hidden
flags; older builds ignore those fields. Opening a file puts each
saved guide on its layer (on the top visible, unlocked layer when the
file names none or a layer it does not have), and each saved guide
counts against the object limit for opening a file. A ruler guide node
that a file holds below a layer's art moves up to the layer's guides,
and one anywhere else (in a group or another object, beside the
layers, or in a symbol) is removed. Ruler guides read from an .ai file
become guide objects on the layer they were on, numbered in the order
the file lists them.
The blending-mode test for a member of a 3D group now checks that every face of the multiplied member, and no face of the other member, is drawn inside the Multiply group, telling the members apart by height. Before, it only checked that some faces were multiplied and some were not, so it also passed when the mode went to the wrong member.
On a group, these effects drew every member's solids in Normal mode: only
an opacity mask on a member or on a group inside the 3D group was applied
to the solids it holds. A member's blending mode, and that of a group
inside the 3D group, now apply the same way, to the solids of the members
it holds together. Group Revolve already did this.
Paste renamed a pasted SVG filter to a name no filter of the document
held, but an effect could still use that name, for example after its
filter was deleted. Defining a filter of that name later changed both
effects. Paste now also skips the names the document's effects use,
read only when a pasted filter needs a new name.
A new name with a tab, line feed or carriage return was written into
the filter's id as is, which XML reads as a space, so the id no longer
matched the effect's name. svg_filter::with_id now writes those
characters as character references, and paste takes a name only when
the filter's id reads back as that name.
Expand Appearance on a symbol instance with a fill tint and a color
adjustment applied the adjustment to the untinted art, so the expanded
colors differed from the canvas. The expand path now passes the tinted
instance art to adjust_in_document.
While the app draws a document on screen, the live-effect plug-in runs of
its first view share a 2,000 ms budget (VectorCraft's own value); each run
takes the lesser of its 5,000 ms limit and what is left. A stage left out
for time, or one that times out, fails, has no plug-in or meets Safe Mode,
draws its input art unchanged and is deferred, and the status bar says how
many. Later drawings leave a deferred stage as it is until its input or
parameters change.
- effect.deferredStatus lists the deferred stages with object, effect
index, fill or stroke, plug-in and reason, objects in symbol, pattern,
brush and opacity-mask art included.
- Effect › Refresh Deferred Effects (effect.refreshDeferred {ids?}) runs
them again with a fresh budget and returns {refreshed, stillDeferred,
failed}.
- Each document has its own budget and deferred stages; exports, Expand
Appearance and commands run every stage under the per-call limit.
- The web build has no clock for the budget: its first view runs no
plug-in effect, and a refresh runs them.
Docs: docs/mcp.md, docs/plugins.md, docs/target-app-parity.md.
A 3D effect on a group built its solids from the members' paths and
paint and left out each member's opacity mask, and the mask of a group
inside the 3D group. Clipping groups, blends and symbol instances
resolved for the effect lost their masks the same way.
A member, or a group inside the 3D group, with an opacity mask now
gets a scope like one with its own opacity or blending mode, and the
mask goes on the group that holds that member's surfaces. Revolve
applies it with the member's opacity and blending mode; Extrude &
Bevel, Extrude & Bevel (Classic), Inflate and Rotate draw each solid
on its own when a mask is present and put the masked members' solids
in a group with the mask. A resolved clipping group, blend or symbol
instance keeps its mask. A disabled mask is ignored.
The check that refuses a symbol instance before its art is placed
counted only the symbol's own objects. Placing art through 9-slice
guides can make up to 28 objects of each one, and an instance's
dynamic-symbol overrides can turn a path that would be cut at the
guides into clip groups in every cell it reaches. Such an instance
passed the check, and its art was placed in full before the work
limit refused it.
The check now counts the symbol's own objects first, then the most
objects placing makes (NineSliceMap::most_placed) of the art with the
instance's overrides applied, and refuses the instance with the same
message before anything is placed.
BFlat