When a frame threaded in before the edited frame takes all of the story's
text, the edited frame is left with no text while the story stays
selected. The other frames' text is now highlighted, Delete and Backspace
replace the story, an Alt+arrow step changes the tracking of every frame,
and Copy and Cut take the story. A story whose frames hold no text has
nothing to copy, and Delete in it records no undo step.
With a whole story selected, the highlight and typing read the frames saved
at Select All, while a pick, a fill and the other story-wide edits read the
document's thread. A frame added by text.thread.add took a pick without being
highlighted, and typing left its text in place.
Both now read the thread through Document::story_of. A frame threaded in
during the selection is highlighted and takes the edit, and a frame that
leaves the thread is not highlighted and keeps its text.
appearance.copyFrom and a fill or stroke change on a story selected by
Select All no longer skip locked frames, hidden frames and frames on a
locked artboard. They apply to every frame of the story, as the Character
panel's story edits do. appearance.copyFrom still leaves out a frame that
is its source.
With a threaded story selected by Select All, switching to the Eyedropper kept
only the edited frame's selection, so a pick styled one frame. The selection now
carries the story's frames, a pick or Shift-click applies to the text of every
frame as one undo step, and switching back to a Type tool restores the story
selection. A selection inside one frame and unthreaded type behave as before.
A pick and a fill or stroke change on a selected story leave locked and hidden
frames and frames on a locked artboard as they are. appearance.copyFrom leaves
out a frame that is its source.
Typing over a selected story no longer removes the text of a frame whose thread
was removed after Select All.
The width between two width points was a straight line, so a variable-width
stroke turned a corner at every width point.
- Each side of a width profile now follows a monotone cubic (Fritsch-Carlson)
through its points: no kink at a point, flat at a point wider or narrower
than both neighbours, never past either point of a span. Points on one line
stay on it and two-point tapers are unchanged; stacked points still step.
- widest() counts each span's wider left and wider right, since the two sides
needn't peak together.
- The outliner samples straight runs between width points closely enough to
follow the curve to the drawing tolerance (at most 64 samples per span and
4,096 per piece); straight spans get none.
- Tests that expected straight-line widths now expect the curve. The stroke
gradient coverage test uses Teardrop instead of Wave until #5964 is fixed.
A path with an Art brush comes in as the path, with the brush on its
stroke at its weight, instead of as its drawn look, when the brush
stretches art of solid-filled paths along the path, unflipped, at 100% in
Tints. The art runs on the side of the path the file draws it.
The drawn look stays for other colorizations and widths; Proportional,
between-guides and flipped brushes; type; a path with settings of its own,
a variable width, effects, a swatch stroke or an entry that isn't read;
and art with strokes, gradients, patterns, masks or effects, or no length.
A brushed stroke, Calligraphic ones too, takes the brush the Brushes panel
keeps under its name, and an image with a brush keeps its drawn look.
In every document, Tints and Tints and Shades take art in black ink alone
by its ink amount, and a process or gray stroke color's tints and shades
stay in that color's model.
Place and Expand bring the brushes the art uses, renaming on conflict.
Part of #637.
When Distort Appearance is on and the size a `.ai` saves for an
envelope's contents (`AIDeformArtWidthKey`, `AIDeformArtHeightKey`)
matches the contents' bounds with strokes, the reader now maps the
contents from that stroked box. It used to map them from the geometric
bounds, half a stroke inside that box, so an envelope of stroked art
could differ from its drawn art and keep the drawn art with a note.
Envelope Options hold the box's margins as `boundsMargin`, shares of the
geometric bounds at the top, bottom, left and right. Native files write
them only when they are not zero, and `object.envelope.info` reports
them then. Leaving Edit Contents measures them again when the strokes
reach differently than when Edit Contents began, and the node holds
what they measured then until it leaves. New envelopes have no
margins, so their results do not change. Contents with no width or no
height, such as one straight line, get no margins.
Docs: docs/mcp.md, docs/target-app-parity.md.
- The 45° move assertion compares dx and dy with a small tolerance instead of
exact equality (the matrix's floats are rounded), keeping the non-zero check
and the message.
- The engine test helpers say what they do, so the docstring coverage of the
functions this pull request touches is complete.
The Selection tool's cursor now checks the ruler guides before a selected
object's centre point, as a press does. Tests: a ruler guide under the centre
point keeps the pointer and drags; on a box too thin for its centre to clear the
handles the handles take both; a shape-tool move from the centre snaps and shows
the hollow arrow; and Alt pressed mid-drag copies the shape through the engine.
The Selection tool's cursor now checks the bounding-box handles before a
selected object's centre point, as a press does (on a thin box the centre lies
within a handle's reach). The shape tools' tests cover a Live Corners widget
that lands on another selected shape's centre (the widget rounds), Alt pressed
mid-drag (the preview copies and the copy cursor shows), and the engine tests
check the copy's place and both gestures' Undo and Redo. The cursor catalog says
which arrow a drag of the selection shows.
- The Selection tool takes a Shift-press on a selected object's centre point
too: a Shift-drag moves the selection held to 45° steps, and a Shift-click
there takes the object out of the selection, as a Shift-press on the object
does.
- One rotate zone for the Selection tool and the shape tools
(`select::rotate_zone`): a press on a bounding-box handle is not a turn, so
the shape tools' zone matches the Selection tool's classification exactly.
- The shape tools' hover cursor follows the press order (corner and pie widgets,
then the centre point, then the rotate zone), and a move of the selection
shows the Selection tool's feedback: SelectionCopy with Alt, ArrowHollow while
it snaps.
- Engine-level tests for the whole gesture (`crates/engine/src/tests/shapetools.rs`):
repeated previews and one undo step, Alt copy, Escape then release, a turn
about the centre, the corner widget still rounding, and an unfilled shape
moved by the Selection tool.
- docs: evidence in target-app-parity.md's Shapes bullet and the M2 milestone,
and the Move cursor's entry names the copy and snap cursors.
A press on the centre point of the selected shape now moves the selection, as
asked (#5477), so the Constrain Angle test's repeated draws from the same point
moved the polygon drawn before them. It deselects first: nothing selected, the
press draws.
A new test binary opens a document of 13 type objects with the plans a
font face keeps and again while every shaped segment makes its own plan.
The document, its cached bounds and baselines included, and the first
frame's pixels must be the same. `test_fonts::keep_shape_plans` switches
the plans off; it exists only in tests and with the `test-fonts` feature.
The engine's open test now builds objects of one script and direction
that differ in kerning and language, and lays each one out in a font
database of its own, so a plan used for the wrong features fails its
comparison. It no longer sets Arabic, which could fall back to a system
font in one database and not the other.
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.
The clipping path around a transparent image flattened for a version 7
.ai followed 2 pt cells, a visible staircase. It now follows the rendered
pixels (in blocks only past 4 million), grown by one pixel so the whole
anti-aliased edge is inside, through the middle of each pixel edge and
simplified with Douglas-Peucker, so slopes and curves are sloped lines.
A .ai file that File > Export As, its dialog or a control request writes
to a path now names the view's active artboard, as document.export and
document.serialize do. The UI export records the view's artboard and
takes its document from fileio::export_doc, which applies
DocState::active_artboard to the export's copy; document.export and
document.serialize use the same function.
The app now records the view's active artboard before every command,
including the commands the UI handles itself, so a .ai copy from Save a
Timestamped Copy or Export All Open Documents names it too. Before,
these files named the artboard the document opened on, or the first.
The open document is unchanged.
The editing copy of a .ai or .ait file that VectorCraft saves or exports
now has `%_<n> /Int (CropAreaActive) ,` after the ArtboardArray in its
recorded part, and marks that artboard as the selected one. The app
records its view's active artboard before each command
(DocState::active_artboard; an index past the last artboard is the last,
as in the Artboards panel); without a view, the artboard the document
opened on (Document::opened_artboard) is written, else the first. A .ai
file read from its editing copy opens on that artboard. Before, the copy
named no active artboard and always marked the first as selected.
Docs: docs/mcp.md, docs/file-format-parity.md, the editingData option text.
Bulgarian was not among the text languages, so Bulgarian text could not
be tagged and fonts drew their Russian-style Cyrillic. Bulgarian (bg)
is now in the language list (Character panel, character styles,
text.setFormat by name or tag, the Hyphenation preference's default
language), with CLDR's quotes, „…“ at either level. Shaped as bg, the
fonts' locl forms for BGR apply: in the bundled Source Sans 3 Italic,
в, д, ж, з, к, л and ю take their Bulgarian forms.
Fixes#5945
Tab-separated rows with the same number of cells (quoted cells too)
become a group of point type, one per cell, in columns and rows over
0.5 pt gridlines; other text pastes as before. Fixes#5296.
The Eyedropper, the Live Paint check for paint to sample, the Appearance
panel's Characters chips and the colors the Libraries panel adds from
the selection found the paint behind the Fill or Stroke proxy through
Node::proxy_paint, which measures the object's geometric bounds. They
now read it with Node::proxy_paint_only.
- Eyedropper: the test for an empty fill reads the paint without
measuring. A sample measures the object only for a gradient or a
pattern, whose color depends on the point; a solid color gives its
color at once.
- Live Paint: the check for paint to sample reads the paint without
measuring.
- Appearance panel: the Characters row's two chips read the paint
without measuring.
- Libraries: adding a color or a pattern from the selection reads the
paint without measuring; a gradient is still measured for its
placement.
The paints and colors are the same as before. On an open path of
200,000 anchors, the Live Paint check and the Eyedropper's sample for a
point inside it take 0.004 ms together instead of 26.0 ms in a release
build.
Docs: docs/target-app-parity.md.
A 3D effect on a group or layer builds a solid from every path,
compound path and type in it, all turned about one shared axis, as the
public docs describe for groups. Fixes#4506.
perspective.grid.get reports define.name only while the grid still has
the preset's fields, as Define Grid's Preset menu shows [Custom]. Part of #5248.
The name remembered for a user library file stays only while the file still
holds the bytes that were written. A file a device name could make, which can
no longer be read, is kept too, and the save goes to a new file.
Co-authored-by: Adithya Shankaran <adikshan11@users.noreply.github.com>
After a restart an .ase file called COM¹- could have been saved as COM¹ or as
COM¹-, and the same goes for its numbered files. Such a file is kept until it is
saved here, so a library named like that gets a new file, once per run. Other
names go on replacing their own file.
An .ase file can't say whose it is, so without this COM¹ saved after COM¹- wrote
over it. The app now remembers while it runs. After a restart COM¹ gets a new
file, which costs a copy and loses nothing.
Find and Replace matched each style run on its own, and the whole-word
test looked only at the characters inside the run, so a run's end read
as a word boundary: with cat coloured red in catfish, a Whole Word
search for cat replaced it. The test now looks past the run's ends at
the characters next to it in the neighbouring runs. Matches still stay
inside one run, as the command documents.
Fixes#5901
all_texts walked every node of a visible, unlocked layer and checked
only each text object's own lock and visibility, so a text object that
was itself shown and unlocked inside a locked or hidden group was found
and replaced. It now stops at a hidden or locked group, as it stops at
a hidden or locked layer: Find and Replace and Find Next with no ids
leave that type alone, however deep the group is.
Fixes#5900
A library called COM¹ is saved as COM¹-, which can be the file of a library
really called COM¹-, and the numbered file one of them then gets can be asked
for by a third name. Saving one replaced the other. Each now gets a free file
name, and saving it again goes back to that file.
Each visible object with a URL (Attributes panel) is written as a Link
annotation with a URI action over its bounds on the page, trimmed to its
clipping groups. Hidden objects, non-printing layers and printed sheets get
none; PDF/X files leave them out with a warning. URIs are percent-encoded
to 7-bit ASCII.
A colorized image whose pixels are all black or white (or clear) is
written as a 1-bit image mask (ImageMask 1): its color as the fill, a 0
bit for each black pixel and a 1 bit for each white or clear one. The
legacy reader opens it colorized again with the same clear pixels, so
the engine no longer flattens or omits it. Other colorized images are
written with their color in their pixels, over white, with the note
for transparent images.
object.blend.spine.moveAnchor now refuses any supplied `with` (even an
empty list) together with `handle`. Direct Selection builds the blend
spine once when drawing the picked points and once per drag preview,
instead of once per picked point. Part of #5285.
When a frame's text ends with a paragraph break and the next frame is empty, restyling that empty frame was undone on reflow: an unedited empty frame after it gave the story's last paragraph its own style again. A restyled empty frame now keeps its style against unedited empty frames that follow it. Unedited empty frames before it, later frames with text and later restyled frames still give the paragraph their style, as before.
The remaining flags under crates/engine/src/cmd that read a boolean with
get(..).and_then(Value::as_bool).unwrap_or(..) now go through switch_or,
so a value such as "false" or 1 is an error instead of the default.
Omitting a flag or giving null keeps the old behavior.
- effect.move: copy
- aligned on the appearance.*, stroke.set, transparency.set and effect.*
commands, checked before any early return
- transparency.viewOpacityMask: on
- view.printTiling: on
- plugin.install: replace and allowHeavy, checked for every plug-in
- edit.clear: guides, and path.deleteAnchors' read of it
- text.create and text.createInPath: vertical (already refused by
check_switches, so their behavior is unchanged)
Loading a variable library deleted every variable of the document with its
bindings, including a text variable of the same name that the library
declares. Text made dynamic and then given a library's variable name lost its
binding, so selecting the library's data sets changed nothing. Such a
variable now stays bound, and the library's data sets change its text; other
variables are deleted as before.
The area an Intertwine member is drawn over another in was exactly the
overlap face, so its edge lay on the edge of the member below. Both edges
were anti-aliased, and the member below showed through as a thin line along
them. The area now reaches 2 pt past the face into the parts where only the
raised member paints (where drawing it again changes nothing), so its edge
lies inside that member.
Direct Selection kept only one picked point of a blend's spine. Shift-click
now adds a point of the same spine or takes it away, and dragging any picked
point moves them all. object.blend.spine.moveAnchor takes `with`, the other
points to move by as much, with the key objects on them, in one undo step.
dotCooCoo