A glyph that justification widens to fill the line keeps its Insert Aki
before it at its width, and its own width, which ligature carets stand
in, now starts where the glyph is drawn. Optical kerning measures a pair
from the letter of a cluster rather than from a combining mark whose
advance holds the cluster's Aki.
The SVG test also checks centered and right-aligned lines with Insert Aki.
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.
Characters take two new attributes, `akiLeft` and `akiRight`: space
before and after each character in reading order, in thousandths of an
em from 0 to 1000, measured as tracking is. `text.setFormat`,
`text.setRangeStyle` and character styles set them; values that are not
numbers or are outside the range are refused, and a file holding one
outside the range opens with the nearer end. Both are saved only when
not 0.
- Layout: Left is the space above a character in vertical type and on
its right in right-to-left type. Wrapping counts the space, a line's
end keeps it when aligned, and justification and Optical kerning
leave it at its set width. A ligature, a letter with its marks and a
tate-chu-yoko block take the values of their first character.
- With Fractional Widths off or System Layout on, the space before and
the space after a character are each set in whole points and added
to its rounded width, so justification keeps them at that width. A
tate-chu-yoko block rounds the space above and below it the same way.
- Character panel: with Show East Asian Options on, Insert Aki Left and
Insert Aki Right fields with 0, 250, 500 and 1000 in their menus;
Reset Panel sets both to 0.
- Character Style Options › Advanced Character Formats shows Insert
Aki Left and Insert Aki Right, with the Character panel's 0, 250, 500
and 1000 in their menus; a typed value below 0 or past 1000 sets 0 or
1000, and Reset Panel unsets both.
- SVG export: live text places each character the space moves, and
type on a path with Insert Aki is written as outlines.
Docs: docs/mcp.md, docs/target-app-parity.md.
Korean text broke after every Hangul syllable. A paragraph now has
Korean Line Break Anywhere, set from the Paragraph panel menu (with the
East Asian options), from the East Asian Composition Settings section of
Paragraph Style Options, and with `text.setFormat {koreanLineBreakAnywhere}`.
- Off, a word that contains Hangul (the characters between spaces) breaks
only at its spaces and after East Asian punctuation, or where the word
is wider than the line. Both composers follow it, and the word takes no
hyphen. On, a line may break between any two syllables, as before.
- New type has it off. Paragraphs and text objects saved before the
option read as on, so their lines do not move; the value is saved only
when it is off.
- Paragraph styles carry it, Reset Panel turns it off, and the .ai writer
reports it as lost for Korean paragraphs.
The help page: https://helpx.adobe.com/illustrator/desktop/design-with-text/fonts-and-scripts/set-line-breaks-korean-text.html
The command is described in docs/mcp.md, and docs/target-app-parity.md
lists the option.
- drawn_alike ignores kerning_before, so a space before the "f" of "fi"
no longer splits the ligature.
- SVG export takes a line's starting space from kerningBefore and the em
shaping sets the character in (vectorcraft_text::line_start_space),
not from where the glyph is drawn, which can include a shaping offset;
the reader layout for justified lines leaves the space out, so those
lines start there too.
- Type on a path writes the space as the first character's dx; a space
after a line break, which <textPath> can't write, is outlined.
At the Type tool's caret, kerning goes on the character before the caret.
At the start of the text there is none, so Alt+arrows, the Kerning field
and Reset Tracking and Kerning did nothing; at a later paragraph's start
the kerning landed on the invisible line break.
CharStyle::kerning_before (kerningBefore) is the space before a character
that starts a line by itself: the first character of the text, of a
paragraph, or after a forced line break. Shaping gives its cluster the
space and draws it that much later along the line (right to left the
space is at its right; in vertical type it moves down the column). The
caret at such a line's start sets it (edit::caret_kerning_target), in
type.step, type.resetTracking and the Character panel; text.setRangeStyle
takes it. SVG export starts the line where the character is drawn. The
Eyedropper and character styles leave it alone.
A centred or right-aligned line of tracked type was measured with the
tracking after its last character, so it sat half that tracking
(centred) or the whole tracking (right-aligned) left of where the page
of users' .ai files draws it. That page aligns a line as wide as its
characters without that tracking.
Shaping now records the tracking each glyph's advance holds
(SGlyph::tracking), and a line that isn't justified leaves its last
character's out of the width it is aligned by. The last character is
the last one the line draws before a paragraph's end, a forced line
break or the spaces a wrap leaves; spaces or a tab typed before a
paragraph's end or a forced line break keep the letter's tracking, as
the page does. Forced line breaks and wraps aren't in the files: they
follow the rule so that turning a wrap into a paragraph or a forced line
break keeps the line in place. Hyphenated lines, lines whose last
character hangs, vertical and right-to-left lines and type on a path
keep it. The tracking stays in the glyph's advance, so the caret,
selections, line breaking and Fit Headline are unchanged.
LineInfo::trailing gives the amount. Right-aligned area type sets the
text after its last tab the same way.
What aligns by line widths follows. Convert To Area Type makes its
frame end where the lines are aligned, with room for the tracking, so
tracked type converted either way stays in place. Affinity import lines
up differently aligned paragraphs of artistic text by the aligned
widths. SVG import moves a centred or right-aligned letter-spaced line
back by its share of the last letter spacing, so it stays where a reader
draws it and SVG export, which anchors lines at the end of their
advances, reads back unchanged.
Centred and right-aligned tracked type lays out differently than before
in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In horizontal type, tracking and manual kerning are now thousandths of
the em as the Horizontal Scale draws it: at 50%, a tracking of 100 adds
0.05 em after each character. They were added at the full em while the
glyph advances took the scale, so narrow tracked type drifted from the
page of users' .ai files letter by letter. That page writes such type's
character spacing as the tracking itself in a text space as wide as the
scale, which PDF scales by it (ISO 32000-1 9.4.4). Vertical type keeps
the full em: its advances down the column don't all take the scale.
vectorcraft_text::spacing_scale gives the factor. Shaping, inline
graphics and the Optical pairs use it, and so do the conversions from
points back to thousandths of an em: the automatic kerning the Character
panel reads and Touch Type's limits (glyph_em), Combine Point Text, and
PDF import, whose tracking is now the file's Tc. Scale Text Attributes
now keeps tracked type where a horizontal stretch drew it.
SVG export writes letter-spacing in thousandths of the font size it
writes (the vertical scale), so uniformly scaled type keeps its spacing
in a viewer.
Type with both a Horizontal Scale other than 100% and tracking or manual
kerning lays out differently than before, in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shaping split a cluster wherever two characters' styles differed, so
setting Standard Vertical Roman Alignment or a tate-chu-yoko offset on the
f of "fi" in horizontal type broke the ligature. Horizontal type does not
read those settings, so they no longer split a cluster there. Vertical
type still shapes such characters apart.
Layout kept no record of a run's face, so each paragraph looked up the face
of its first character three times for its line metrics and once more to
shape it. The layout now keeps each run's face the first time it is looked
up and uses it for shaping, for paragraph metrics, for on-path type's empty
line and for the column offset of vertical point type. Glyphs, positions,
bounds and baselines do not change.
A test-only helper lays text out looking every face up at each use, and a
new test requires point, vertical point, area and path type laid out both
ways to match exactly.
The layouts of 5,000 short point type objects take a median of 215 million
CPU cycles of the laying-out thread instead of 236 million in a release
build (11 alternating runs of each build on Windows 11, measured while
other builds were running).
Reuse resolved features and borrowed GDEF classes for mark ownership,
skip the character-level pass without eligible mark glyphs, and reuse
paint-only boundary classification. Compare non-paint style attributes
without cloning while preserving the previous PartialEq behavior.
Add deterministic font variants and a field-by-field style oracle
to preserve glyph geometry, conservative ownership and NaN handling.
Paint-only harakat runs stay inside one shaping cluster so letters keep
their joining forms and marks their attachment. When a character-level
shaping pass matches the monotone glyphs, a glyph may take a later
in-cluster character's run only if GDEF classifies it as a mark (class 3)
and that character is a harakat; otherwise ownership stays at the cluster
start. Conservative: a mark may miss its colour; a base letter must never
take a mark's. Fonts without GDEF and AAT faces fall back the same way.
Insert Kashidas tatweels take the base letter's paint, not a trailing
mark's. Private harakat module; type-parity, target-app-parity and roadmap
M7 evidence updated (scores unchanged). Tests cover paint_only / ranges /
own_chars (wide mark, equal advance, multi-component, single-glyph
ligature, review counterexample), colour, hide, repeated glyph ids,
kashida, forced mark-last emit_kashida, and installed fonts.
Features take a value (tag=N) in style commands, SVG and native files. Runs that
differ only in their feature lists are shaped in one buffer with ranged features, so
an alternate on one letter of an Arabic word keeps the word joined. FontFace reads
GSUB once (alternate sets, singles, the feature reaching a glyph), names unencoded
glyphs, and alternates_in_context finds a character's alternates in its word.
text.setRangeStyle takes glyphAlternate: null.
Every shaped segment built its own harfrust shaping plan, although a
plan depends only on the face, direction, script, language and features.
Opening a document lays out each type object once, so a document of many
short objects built thousands of identical plans.
A font face now keeps up to 32 plans, oldest dropped first, and shapes
with the one that matches. Feature ranges still come from the shape
call, so text with the same features over other ranges shares a plan.
The glyphs, bounds and baselines do not change.
Docs: docs/target-app-parity.md.
Optical moved every pair all the way to a fixed 0.08 em ink gap, tighter
than most text faces' own stem spacing, so ordinary text was squeezed
(at 100 pt, Source Sans 3 `nn` closed from 54.7 to 46.9 pt).
Each pair now moves 0.6 of the way toward the face's reference gap (the
median ink gap of `nn`, else `HH` or `oo`; 0.08 em when it has none),
keeps at least 0.3 of it at its narrowest, and changes by at most
0.12 em tighter or 0.06 em looser. Ideographs, kana, hangul, fullwidth
and CJK punctuation forms and dashes keep the font's spacing.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With System Layout on or Fractional Widths off, each advance is rounded
to whole points, but a right-to-left character with manual kerning
still moved by the unrounded kerning value. The difference between the
two changed the space after the character before it in reading order.
The character now moves by the change the kerning makes to its rounded
advance, so only the space before the next character changes.
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.
Right-to-left manual kerning was added to the glyph's offset, which
Character Rotation turns, so a rotated character with kerning moved
across the line (up at 90 degrees) instead of away from the next
character in reading order. The shift is now applied to the pen
position along the baseline, outside the rotation, and the rotation
turns the glyph about that moved pen position.
A manual kerning value on a character in right-to-left text changed the
space between it and the character before it in reading order, under
both Auto and Optical kerning. The shaped glyphs of a right-to-left
cluster now also move right by the value, so the space its advance
gains is at its left, between it and the next character in reading
order. Left-to-right text and tracking are unchanged.
Optical kerning no longer takes the left glyph's manual value off the
advance it measures, since right to left the value is in that glyph's
offset as well.
Character panel menu > Standard Vertical Roman Alignment, with Show East
Asian Options, is now a check item. It sets a new character attribute,
`standardVerticalRoman` (text.setFormat, text.setRangeStyle), off by
default and saved only when on. In vertical type the marked Latin
letters, digits and other characters that would lie on their side stand
upright one below the other, each in its upright cell. Spaces keep their
width and tate-chu-yoko blocks stay across the column. Horizontal type
keeps the mark and does not change. A combining mark shaped as its own
glyph turns with its letter, in Latin and CJK upright type alike.
Character Style Options labels the Character Alignment row "Character
Alignment" and gives Standard Vertical Roman Alignment its own checkbox.
Reset Panel turns the attribute off. PDF and SVG export place the glyphs
from the layout and need no change.
Characters get a language (CharStyle::language, a BCP 47 tag of one of
Document Setup's languages; none for the default, English: USA, saved
only when set). The shaper sets it on the HarfRust buffer, so fonts use
their language forms (OpenType locl): Turkish keeps fi apart and the dot
on its i. Runs in different languages are shaped apart. New type takes
the document's language.
In typography and Illustrator, Shift+Enter inserts a soft return (forced
line break) rather than ending the paragraph. Text wraps to the next line
without applying paragraph-level spacing (space before/after, first-line
indents), list continuation lines keep their parent item without repeating
markers, and justified text does not stretch lines ending with a soft return.
- Forward active modifier keys for Enter in ui-egui shortcuts so the tool
detects Shift+Enter.
- Type tool inserts U+2028 (LINE SEPARATOR) on Shift+Enter.
- Text shaping and layout treat U+2028 as an invisible zero-advance control
character, breaking the line in point and area type.
- Paragraph spacing and list markers apply once per paragraph as intended.
On a curved path each glyph was placed rigidly (turned to the tangent at
its middle), so its baseline ends stood off the curve and neighbours
turned by different angles: in scripts whose letters join, every join
opened into a notch. Measured with Arial on circles: at 29 pt on a
radius of 110 pt, 0.64 pt at the baseline and 1.24 pt at the height of
the joining stroke (a quarter of the size); 14.7 pt at 72 pt on a radius
of 60. Placing glyphs on the chord alone closes the baseline but leaves
about h (a_i + a_{i+1}) / 2R above it (0.71 pt here), so joined glyphs
are bent instead.
- Shaping marks each glyph of a segment whose script joins (Arabic,
Syriac, N'Ko, Mongolian, Adlam and the other cursive scripts), by the
segment's script, so a word bends as a whole.
- With the Rainbow effect such a glyph's outline is mapped point by
point: pen space (x, y) -> P(s + x step/advance) + (y + rise) N there,
each segment cut into pieces short enough for 0.01 pt (capped). A
glyph the path doesn't turn under stays exactly as it was; Skew, 3D
Ribbon, Stair Step and Gravity, vertical type, inline art and colour
glyphs are unchanged. `PositionedGlyph::bend` records it; `xf` stays
the straight glyph for the caret, hit testing and tools.
- PDF export draws bent glyphs as outlines and writes them again as
invisible text where they stand, so they can be selected, searched
and copied. SVG export outlines them (right-to-left type already was),
never as a <textPath>, and labels the group with its text
(role="img", aria-label) for screen readers and search.
Tests (crates/text/src/tests_path_joins.rs; installed Arabic font, skip
without one): the gap at the baseline and at join height is <= 0.01 pt
at 12, 29 and 72 pt on radii 60, 110 and 300, on both sides of the
path, with finite outlines; Latin on a curve and joined type on a
straight path are byte-for-byte what they were; the chord-only
prediction is checked.
vectorcraft-cli perf (load average 43 before, 34 after: not trustworthy;
the synthetic document has no type on a path, so bending doesn't run):
render fit 113.8 -> 132.7 ms, pan 115.5 -> 140.0 ms, 400% 32.9 -> 43.3
ms, hit test 1.36 -> 1.59 ms, save 81.5 -> 88.2 ms, open 306 -> 401 ms,
SVG 426 -> 439 ms, Pathfinder 93.7 -> 85.5 ms, handle drag 5.5 -> 6.7
ms, segment drag 5.1 -> 6.7 ms.
* Audit: text layout, shaping, fonts and embedding bounds
* Audit: text bitmap chunk walk without overflow
* Test: PNG metadata chunk walk
* Security: keep the word minimum in wrap regions; allow uncompressed iTXt text
A wrap shape can narrow the first baseline of a rectangular region:
place_at_least then relaxed the minimum to 0 (the region still counted as
"all lines equally wide") and picked the narrow span, breaking a word on
that baseline even though a lower one had room for it whole. Treat the
width as constant only when the region has no wrap shapes.
Also, PNG iTXt chunks may be stored uncompressed: only genuinely
compressed text (flag 1, conservatively anything that does not parse)
counts as compressed metadata now.
dotCooCoo