The check after each edit that the selected objects stay within the
canvas measured the whole of every selected path. Moving one anchor of
a 10,000-anchor path measured all 9,999 segments. A path or compound
path whose anchors and handles are all finite and inside the canvas
range now passes without being measured, because its curves stay inside
their control points. A path with a point outside that range is still
measured, so the check accepts and refuses the same edits as before.
path.moveAnchor to the point the anchor is already at, and
path.setHandle to the point the handle is already at, now leave the
document as it is and record no undo step.
vectorcraft_geom::path::measured_segments counts the segments that
PathData::bounds measures, and the new engine tests use it.
Two contours of an area-type frame now count as meeting along a slanted
edge only when their edges lie exactly on one line, checked with an exact
cross product, and the intervals on either side of a seam join only
where both edges cross the middle of the band at the same x, found along
the same line. Before, both checks allowed a few units in the last place
of the coordinates, which near the edge of the canvas (x = 3,999,000)
is wider than a real gap of one to four units, so a line ran across the
gap outside the frame.
An edge divided by an anchor exactly on it still joins, including where
the divided edge's own crossing would round to another x.
A 3D effect on a fill or stroke worked on copies of the object's fills
and strokes, and the copies were looked up among the object's items by
identity, so a live-effect plug-in before that 3D effect was given
`_context.item` "object" and a deferred stage there was listed with no
item. The drawn art, the 3D meshes and Expand as Wireframes now pass the
original item, so the plug-in is given `{"fill": i}` or `{"stroke": i}`
as docs/plugins.md describes. The paints of a type's first run still have
no item.
Select > Start Global Edit was enabled for any plain group, so a group
holding type, an image or nothing was offered in the Select menu and the
Properties panel's Quick Actions, the Control bar showed its Global Edit
Options, and starting then refused it. The enabled check now applies the
same support check as starting to every selected object, a group's
contents included.
The answer is kept per document revision and selected object, so the
Control bar, which asks every frame, walks a group once per change.
Docs: docs/mcp.md, docs/target-app-parity.md (a new line; the existing
Global Edit line no longer says the menu item checks only for a group).
A document's composite fonts were lent by writing them into the font
database's shared map, and a second lend of another definition of the same
name was skipped while the first was held. A document drawn in a tiled or
floating window while the front document drew, a document placed in one
that defines the name differently, and an export made while another
document is in front could draw their type in the other document's
definition. Registering the front document's fonts during a render could
also change the definition mid-render.
Lending now applies on the lending thread only: each guard pushes the
document's definitions onto a per-thread stack that lookups read before the
database's own fonts, latest loan first, and removes them when it drops,
also when the thread unwinds. The guard is neither Send nor Sync. Lending no
longer changes the database or its generation; while a thread lends
definitions other than the database's, FontDb::generation gives a number of
its own for them, so kept layouts and render caches made in one document's
definitions are not used for another's.
Delete Artboards, Delete Empty Artboards and Cut Artboard removed the
chosen artboards one at a time, walking every ruler guide and the layer
tree once per artboard. They now share one helper that removes the
artboards in one walk and their guides in one more, leaving the same
artboards, guides and selected guides as before.
Empty Artboards in Artwork Cleanup had its own copy of the one-pass
removal. It now calls the same helper, and its test reads that helper's
walk counter.
264 Hindi rows kept English words in a Hindi sentence ("or", "give",
"see"), dropped the word that names what is wrong ("unknown align" read
as "unknown `left`"), reversed a condition ("not editing an opacity
mask" read as "do not edit an opacity mask"), translated enum values the
command reads in English, broke a list of accepted values
("(vertical|horizontal|free)" read as "(vertical Chhorizontal
Chlorfree)"), or repeated a parameter as a "size: आकार" prefix. Each row
now says what its English says, with parameter names, enum values,
placeholders and value lists unchanged, and "positive" reads धनात्मक.
Two tests check every row: no English connecting word outside
backticks, quotes, braces and brackets, and every `a|b|c` list of an
`@msg` row kept as written.
The help page says a wrap object's Offset may be positive or negative
(https://help.adobe.com/archive/en_US/illustrator/cs4/illustrator_cs4_help.pdf#page=307).
Text Wrap Options, the commands, the MCP tool and .ai import already
kept a negative value, but layout set it to 0.
- Layout keeps the signed offset, within -1000 to 1000 pt like the
commands and .ai import (a value that is not a number counts as 0).
- Around a wrap object, a negative offset shrinks the object by that
distance from each edge, holes included, so lines beside, above and
below it run that far into it. A shape narrower than twice the
distance no longer moves text aside. A line may get less room than
the exact shrunk shape leaves, for example where several edges come
close to one piece of the band, or where a band holds more than 64
anchor heights. It never gets less room than an offset of 0 leaves.
- With Invert Wrap, a negative offset keeps the text that far inside
the object.
- Zero and positive offsets up to 1000 pt lay out as before. A larger
positive offset lays out as 1000 pt.
- The params text of object.textWrap.make and object.textWrap.options
and the MCP text_wrap offset description give the range and what a
negative value does.
Docs: docs/target-app-parity.md.
An object in an opacity mask's art is written with its art style, as on
the layers, so a mask whose art has Offset Path opens from the editing
data with the effect live and draws the masked object as it did. This
covers a hidden art root and masks inside another mask's art.
Geometry effects on mask art that no art style holds, such as Roughen,
are applied to the art written, in the masks of layers, symbols and
pattern tiles. Before, the mask's art was written without them.
On a canvas narrower than one row of the bar, the action buttons ran
past its right edge: only the font controls moved to a second row, and
keep_in moved the bar without shrinking it.
- The actions now wrap, in order, onto rows under the row with the
handle, the chips and More Options. Their widths are measured with
the button's font, and the bar's place on the canvas uses the same
layout from the first frame and after a resize.
- An action wider than a row, or one that would need a row past the
canvas's height, is listed in More Options.
- When the handle, the chips and More Options don't fit one row, the
chips take rows after the actions. Without a row to spare, the font
controls are left out. A canvas too small for the handle and More
Options shows no bar.
Docs: docs/target-app-parity.md.
With downsampling on, each piece of an image bent by a Warp effect was
resampled for its own placed size, so a warp wrote one image XObject for
each size a piece was placed at (four for a 4 x 4 warp that stretches
across, eight for a colorized one with its soft masks). The pieces are
now resampled for the widest and the highest size any piece places the
image at, and all paint that one image. Pieces off the page count too,
and another placement of the same image keeps its own size.
Without downsampling, a colorized image and a CMYK image with a grid
mask no longer key their cache by placed size, so each is decoded and
encoded once for all the sizes it is placed at, as plain images are.
When a recovery copy could not be written, the status bar said only
"Couldn't save recovery data: <error>", and a copy that failed on the
background worker showed as "Saving recovery data for <title> failed:
<error>". Neither said which folder was in use or how to pick another.
The message keeps the error text (and the document's title when one
copy fails), then names the folder copies go to, says whether it is
the default recovery folder or the folder set in Preferences, and
names the setting that picks another folder: Preferences → File
Handling → Data Recovery → Folder (recoveryFolder). The recovery code
writes the same line to the log. The folder is the one in use when the
round started, so a preference changed while a copy runs does not
change the folder the message names.
A copy that fails now reports its own message, so the job's result is
Ok rather than an error, and the job no longer adds "<label> failed:
<error>" over it. A store the host installed (browser storage) has no
folder to name: its failed copy shows "Saving recovery data for
<title> failed: <error>", as a copy on the worker did before, also
when the copy was written without the worker.
- engine: recovery::folder returns the folder in use and whether the
recoveryFolder preference names it; recovery::store uses it.
- Four @msg rows in each complete-message catalog, and in the bg, bs,
da and id catalogs, which translate the old message.
- Control replies to a client confined to read roots show a recovery
folder outside them, and the paths under it, by the folder's name, as
they already show other paths outside the roots. That covers the
folder in use and the last eight folders a failure message named.
- docs/target-app-parity.md: a line next to the Data Recovery Folder
preference.
Object › Plug-ins › Cutting Tools › Banner Hems and Grommets…
(`addon.cutting.banner`) marks where a printed banner is hemmed and where
its grommets go. The banner is the bounds of the selected art, or each
artboard when nothing is selected. On each chosen side the command adds a
hem line a set depth inside the edge (1 in by default) and grommet marks a
set inset inside it (0.5 in): one at each end of the side and the rest
spread evenly, as few as keep them at most a set spacing apart (24 in). A
corner that two chosen sides share gets one grommet. Each grommet mark is a
circle (27 pt by default) with a cross through its center. The marks are
stroked in a chosen swatch ([Registration] by default) with no fill, in one
group named Banner Marks per banner on top of the current layer, selected,
as one undo step. While a clip group is edited in isolation, the group goes
outside the outermost clip group, as Weed Box and Lines does.
The command refuses every side off, no hem and no grommets, and bad params
with a message. It also refuses a hem or inset that reaches the far edge of
the banner when one of two opposite sides is chosen, or that meets the marks
of the opposite side when both are chosen, an inset of more than half a
chosen side's length, and more than 100000 grommets. The dialog has Preview.
The grommets' distance from the edge is `grommetInset`, so the dialog shows
it as Grommet Inset with its own catalog rows. The new Diameter catalog
rows also translate the Diameter field of the `shape.flare` command dialog,
which had no rows.
Docs: docs/mcp.md (Cutting Tools add-on), docs/target-app-parity.md and
ROADMAP.
object.setLiveShape was in params::UNCHECKED, so a key it does not read,
such as `path`, ran the command with the key ignored. Its description
names every key it reads, so it now goes through check_keys like other
commands, for MCP, scripts and command.batch steps. Each of `items` takes
`id` and `corners` alone; another key is refused as
`items[0].corner`, with the nearest accepted key. Saved steps still
replay leniently.
A `sides` that is not a whole number from 3 to 1000 (2.5, -1, 2, 1001)
and a negative `radius` are now errors naming the key, and leave the
document and its undo history as they were; a radius of 0 still
removes rounding. The Transform panel's Sides field takes 3 to 1000,
the Corners dialog's radius field stops at 0, and the panels' corner
radius fields send 0 for a negative value typed in.
Offset Path took each selected path in turn, so offsetting many paths, or a
group of many paths, used one CPU. It now reads the selected paths first,
works out their offsets on as many threads as the computer has logical CPUs
(one thread on the web and for a single path), and then makes the new
objects one after another in the selection's order on the editing thread.
The new objects, their ids, their stacking, the selection, the messages and
the undo step are the same as before. When several paths fail, the error is
the one for the first of them in the selection's order, and the paths after
a failure that have not started yet are skipped.
A right-to-left line draws the text before a tab after it, but its width
was measured in the order of its text. A right-aligned line such as
"אב גד<tab>הו זח" with a stop at 150 pt in a 300 pt frame ended 5.59 pt
past the frame's right edge, and right, center and decimal stops aligned
the text before the tab instead of the text drawn after it.
- The line's width is measured in drawing order, each tab up to its stop
from where the glyphs drawn before it end. Right, Auto and centered
lines are aligned by that width. Stops are still measured from the
left edge.
- Right, center and decimal stops align the text drawn after the tab.
- Area type breaks a line with a tab where it fits as drawn, and wraps a
line that fits only in the order of its text. Once the line holds a
tab, it reads on while the least it can be drawn at fits, then ends at
the latest break that fits as drawn: up to 256 breaks are measured
from the latest back, and earlier breaks without a hyphen are
bisected. Hyphenation points are measured as drawn the same way, so
the line hyphenates at a point that fits.
- Only lines of horizontal paragraphs with right-to-left text keep a
list of their break candidates.
- A tab that ends a wrapped right-to-left line is drawn before the line
at its own width instead of pushing the line to the right.
Docs: docs/target-app-parity.md.
Type on a path whose first paragraph is aligned Justify All places its line
from the start bracket, the same as Left, so a threaded story is now measured
with the paragraphs it needs rather than the whole rest. A 1,500-paragraph
story through 40 paths aligned Justify All was laid out over 2,135,202 bytes
while measuring and is now laid out over 20,583. The frames take the same
text as before.
Center, Right, Auto right to left, hanging punctuation, Dynamic Text and
horizontal right-to-left text are still measured with the whole rest: a
centered or right-aligned line starts where the width of all its glyphs puts
it, and negative tracking can make an advance negative.
Tests compare every frame's share with the whole-rest share for Justify All
with spacing, on closed paths, with negative tracking and with punctuation
ending paragraphs.
An SVG shown as an image that could not be read (text that isn't XML,
an SVG without a size) still took one of the 256 nested SVG images an
SVG may show, so an image after 256 broken ones was left out. Only
images that decode now count toward that limit; a failed image gives
its place back.
Every nested SVG image read, decoded or not, counts toward new limits
of 1,024 reads and 512 MB of text per import, so a broken image shown
many times through <use> is still read a limited number of times. Past
them, nested SVG images are left out with a warning.
A nested SVG image with text that usvg then refuses no longer warns
that its text isn't imported.
Under a light that is not white, an opaque Inflate fill or stroke in a
solid color was drawn as one composite of all its facets, so the
object's solids were drawn whole, one after another: the stroke's faces
covered every face of the fill, nearer or not.
When an object's solids share one order (all opaque with Normal
blending, or one member's under its opacity mask), each facet of such a
solid is now drawn on its own, with the composite's paint, channel
light ramps and seam width, and takes its place in that order as the
faces of a gradient already do. A lone solid, and the solids of an
object with a translucent or blended fill or stroke, keep the one
composite.
A face drawn on its own is about 16 nodes, against about 6 per facet
in the composite of a whole surface. These faces go in one order while
they number at most 30,720 together, counted again after the cuts.
Past that, each such solid is drawn as one composite.
Docs: docs/three-d.md, docs/target-app-parity.md.
With Invert Wrap, each piece of a line's band intersected the line's
spans so far with the spans the wrap shape holds over that piece by
comparing every pair of them. A wrap shape of many parts (a comb or a
zigzag) gives a line many spans, and with an offset the band is cut
into up to 128 pieces, so a dense shape made layout quadratic in the
number of parts for every line.
intersect_intervals now walks the two sorted lists once, stepping past
whichever interval ends first, and gives the same spans in the same
order. Tests compare it with the pairwise intersection on every list of
non-overlapping intervals with ends among seven points, check that two
interleaved lists of 3,000 and 2,000 intervals take at most 5,000
steps, and lay out a line inside a 500-tooth Invert Wrap comb with an
offset.
Spot Color Objects listed every spot color linked from a gradient's stops
once any stop was above opacity 0. A spot stop at opacity 0 between other
clear stops, at the end of the ramp after a clear stop, or meeting an
opaque stop only at one offset was listed though it prints no ink, and so
was an opaque stop out of order whose pairs have no width.
A stop now counts when it bounds a stretch of some width that the
gradient sampler mixes and either stop of that stretch is above opacity
0, or when it is the first or last stop and above opacity 0, since those
color the offsets before and after the others. Stops in any order are
judged by the stretches the sampler uses. A freeform gradient keeps the
old rule, since it draws from its points. Type runs follow the same rule.
The document.info params text, docs/mcp.md and the progress line
describe it.
Live Paint Bucket Options gets a Cursor Swatch Preview checkbox (on at
first, saved with the other options). With the Bucket selected, Left and
Right set the active fill, or the stroke when the Stroke proxy is in
front, to the color swatch before or after it in the Swatches panel,
wrapping around at the ends, with the preview on or off. The selected art
keeps its paint. The preview shows the active paint above the pointer
between the swatches before and after it; a color that is no swatch shows
alone until Right picks the first swatch or Left the last, and a paint
that is not a solid color shows no chip. The chips hide during a fill
drag and while Alt samples with the eyedropper. The fill and the stroke
each remember the swatch picked for them, so swatches of the same color
are each reached in turn.
The Bucket and the Shape Builder now take the arrows for swatches only
without Shift, Alt or Cmd/Ctrl, judged by the modifiers held when the key
went down, so modified arrows keep their shortcuts
(Tool::claims_key_with, Session::tool_claims_key_with).
Docs: docs/mcp.md, docs/target-app-parity.md, tool.options params text.
In a PDF without a standard, the warning for a page longer than 14,400 pt
written with a UserUnit above 1 now ends with "turn on Write pages longer
than 200 in at full size in points". The warning already said that apps
ignoring UserUnit show such a page smaller; it now names the Save PDF
option that writes the page at its size in points instead. PDF/A files,
which keep the UserUnit with the option on, and .ai saves, whose options
do not have it, keep the warning as it was.
The longer message has a row in every complete-message catalog. The
params text of document.exportPdf, docs/mcp.md and the evidence line in
docs/target-app-parity.md describe it.
ncic