The check that keeps a live envelope or warped type only where it draws
as the art saved with it renders each on its own, over nothing, and
compared the pixels as seen on white. White art over nothing looks like
nothing on white, so white contents that drew somewhere else passed and
opened live in the wrong place.
Pixels now also differ when they look different seen on black, so such
art keeps its saved art, as colored art does. Opaque colored art is
compared as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A text slot the text document gives nothing is left out, with a note of
its own, so the note for type in an envelope no longer says the type is
kept hidden.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An envelope of type keeps its drawn art with its type hidden, but nothing
in the import notes said so, while the other envelopes that keep their
drawn art do. Opening such a file now notes that the type in an envelope
comes in as the envelope's drawn art, not as editable type, and that the
type is kept hidden. The type is still not editable in the envelope.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An image whose color space XC sets to one ink (n [c m y k /DeviceCMYK
(name) /Separation] XC) opened as a gray RGB image: its samples, the ink's
tints (255 at 100 %), were read as gray levels, so the tints drew inverted
and the ink was lost.
It now opens as a grayscale image of the tints, black at 100 %, colorized
by the ink at 100 %: its spot swatch, a process plate's CMYK color, or
Registration. Its alpha channel becomes its opacity mask, a reduced large
image's too (a colorized image reduced to fit the limits no longer keeps
its alpha in its pixels). 8-bit and 1-bit samples, binary or in hex
comment lines. A device space and the ink None change nothing.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The warning #6326 added listed the families `set_text` met while the
page ran. An Illustrator EPS can be rebuilt from its editing copy,
whose type may be in other fonts than the page's, and `stringwidth` and
`charpath` reach `set_text` without adding any type. The families are
now taken from the text objects of the document the import gives (its
layers and its symbols), once each, in the order the type comes,
whichever path built it.
Type set in a family that isn't available keeps its name and shows in
the fallback font, as in PDF import, but EPS import said nothing. It
now notes each such family once, in the order its type comes (at most
64), and ends with PDF import's warning: "fonts that aren't available
show in the fallback font until they are: <families>".
Tests that set type in fonts the test machine may lack (Helvetica,
Ryumin, made-up names) check the program's warnings without that note,
since which fonts are installed depends on the machine.
When the page's type is matched with the text objects, page words are also
split at private-use characters (from uniXXXX ligature glyph names such as
/uniE028 for a "ti" ligature) and each piece is matched as its own word, so
"Quality" set with that ligature matches its text object and the layers are
read without a false note.
A CMap name of the public Unicode CMap form (UniJIS-UCS2-H, UniGB-UTF16-H
and similar) is understood without being defined in the file, so type in a
CIDFont the file only names decodes to its Unicode characters and is set as
live type.
bfchar and bfrange mappings are kept in the CMap and carried over by
usecmap. A code mapped to a character code draws that code in the base font
usefont named; a code mapped to a glyph name draws that glyph.
Each CID-keyed font in a FontSet's CFF data is defined as a CIDFont named by
the CFF Name INDEX, with its glyphs found by CID through the charset and
FDSelect, so a composefont over it draws its type.
Between each two characters the kshow procedure runs with the two codes and
the current point after the first, in any font, not only Type 3 fonts. Where
it moves the current point the next character follows, kept as tracking.
An embedded Type 1 font's eexec part is decrypted and its charstrings read,
so its glyphs and widths are used instead of the installed or fallback
font's. Codes are decoded through the font's Encoding, so fonts that place
glyphs at low codes no longer lose their type.
Adds composefont, the CIDInit and FontSetInit procedure sets and the CMap
operators, so EPS with CID-keyed fonts (as pdftops -level3 writes) opens.
Type 0 fonts with FMapType 9 decode their codes through the CMap's codespace
ranges and CID mappings, and the Identity CMaps are predefined.
A plain Type 42 font now maps each code to its character through its glyph
names, or through the glyph its CharStrings give it in the font's own
character map or post names, instead of reading the code as Latin-1. The
font's own widths move the current point, charpath outlines its glyphs, and
the show operators' spacing and the embedded widths are kept on live type as
tracking. Type shown under nulldevice no longer appears.
Only a Stroke Style filter's widths written as one centered array come in as the drawn look. A Stroke Offset stroke and widths written for each side stay live with their profile.
File › Print printed each artboard on a sheet of its own. A 2 × 3.5 in
card on Letter printed once in the middle of the page, and Print had no
option to fill the sheet with copies.
The Print dialog's General section has Copies per Sheet (off by
default) and a Gutter. With it on, a sheet holds as many copies of the
artboard as fit the imageable area, each with its bleed and marks,
across then down, gutter pt apart. The card prints 4 × 3 on Letter,
and 3 × 3 with an 18 pt gutter. The copies are not turned, and the
placement places the whole grid as it places one copy. An artboard
that does not fit prints one copy per sheet with a warning, and more
than 1,000 copies on a sheet is an error. Tiling leaves the option
out. The PDF and PostScript writers draw the art and the marks once
per copy, the PDF TrimBox holds every copy, the preview draws each
copy, and print.preview lists them as `copies`. With the option off,
the layout lists no copies and the writers draw the page as before.
Docs: docs/mcp.md (Print, Printing), docs/target-app-parity.md.
The canvas, the gradient chips and the SVG, PDF, EPS and EMF writers mixed
freeform points in display RGB, while Object > Expand and Create Gradient
Mesh mixed them in the model the points share. Points that are all CMYK,
Gray, Lab or RGB now mix in that model in those places too. Points in
different models mix as before: in display RGB, and on ink planes as the
inks of each point.
This changes how existing art looks:
- CMYK and Lab points. With the default Generic CMYK working space and no
ink planes, halfway between C100 and K100 the canvas drew (17, 106, 139)
and now draws (54, 118, 143).
- RGB points in a working RGB space other than sRGB mix in that space.
- On ink planes (a CMYK document that shows transparency), RGB and Lab
points mix first and then separate.
Gray mixes keep their values, and CMYK and Gray points on ink planes draw
as before. RGB points in an sRGB working space draw as before except on
ink planes.
- PDF and EPS write a gradient whose points are all CMYK, or all Gray in a
CMYK file, as a CMYK image. PDF's Output settings convert it as they
convert any CMYK image.
- Darkening applies to the points before they mix.
- With Appearance of Black set to Rich, the canvas mixes a gradient with a
pure CMYK black point in display RGB, and the point fades from RGB black.
jmverges