With Fade Region Outside Artboard on, the canvas now draws the fade over the
art as well as the pasteboard: one mesh of black at 40% opacity covers the
canvas outside the artboards, so the pasteboard and any art on it show each
channel at 60% of its value, and art inside an artboard is unchanged. It
replaces the darker pasteboard fill.
Artboard Options sets the Global checkboxes' preferences only after
artboard.setProps or artboard.new succeeds. When the artboard command
refuses a value, the preferences stay as they were and the dialog stays
open. A Global value that is not true or false is refused before anything
changes.
Docs: docs/mcp.md, docs/target-app-parity.md.
Artboard Options gets a Global group with Fade Region Outside Artboard and
Update While Dragging. Both are application preferences
(fadeRegionOutsideArtboard, artboardUpdateWhileDragging), on by default and
also listed under Preferences > General > Artboard Options.
While the Artboard tool is active, the canvas draws the pasteboard with each
color channel at 60% of its value. With Update While Dragging off, the
pasteboard draws as usual while the tool moves or resizes an artboard and
darker again when the drag ends. Exports and print do not change.
Docs: docs/mcp.md, docs/target-app-parity.md.
Find and Replace, Find Next, Change Case, Smart Punctuation, Insert
Character and Type on a Path Options read their params with helpers that
fell back to the default for a value of the wrong type: Find and Replace
with `replace: 5` replaced every match with nothing, and `flip: "true"`
did not flip. They now return an error and leave the document, the
selection and the undo history unchanged:
- `find`, `replace`, `case`, `char`, `text`, `unicode`, `effect` and
`alignToPath` must be a string or null.
- `matchCase`, `wholeWord`, `dashes`, `ellipsis`, `quotes` and `flip`
must be true, false or null.
- Smart Punctuation's `scope` must be `selection` or `document`.
- Type on a Path Options' `spacing` must be a number or null.
- Insert Character's `code` must be a whole number or null.
- Find and Replace's `ids` must be a list of existing object ids.
Insert Character checks `char`, `text`, `code` and `unicode` before it
picks one, so `{"char":"bullet","unicode":176}` is refused too. The
order the sources are used in is unchanged. Null counts as left out, so
`type.insert {code: null, unicode}` inserts the Unicode character.
Omitted params keep their defaults.
Legacy type in a composite font such as HeiseiMin-W3-83pv-RKSJ-H was
decoded one byte to a character, so Japanese, Chinese and Korean type
opened as unrelated single-byte characters, and the font name kept the
CMap.
Tf now finds a predefined CMap at the end of the font name, unless a TZ
gives the font encoding pairs, and the font is the name without it.
Strings in that font are read by the CMap's code space, mapped to CIDs
with the predefined CMaps craft-pdf carries, then to Unicode by the
character collection's CID-to-Unicode CMap. Codes the CMap doesn't map
are dropped. A -V CMap is read with its -H form's codes. Codes in the
Unicode CMaps (UCS2, UTF8, UTF16, UTF32) are read as Unicode; those
helpers follow mockydevs' #6067. A 0x0D byte ends a paragraph and a 0x09
byte is a tab in these fonts too.
The predefined CMaps craft-pdf doesn't carry (RKSJ, 78-RKSJ, 78ms-RKSJ,
78-EUC, 78, Add, Ext, NWP, GB, CNS1, KSC, B5 and the Hong Kong B5 sets
other than HKscs-B5) are read with the nearest
carried CMap, which can give a different character for some codes.
GBT, GBT-EUC, GBTpc-EUC, CNS2 and KSC-Johab type still decodes byte by
byte, with the CMap removed from the font name.
Docs: docs/file-format-parity.md.
Recent Colors now keeps up to 30 solid colors instead of 10, newest
first and each once; applying a 31st drops the oldest. The Session
holds the list, so it stays the same when another document is opened
or made active, and it lasts for the session.
The Color and Swatches panels wrap the chips onto further rows when
the panel is too narrow for one row, so every color can be clicked.
A list that fits one row draws as before.
Docs: paint.recent params text, docs/mcp.md, docs/target-app-parity.md.
The overlap sweep moves a horizontal line down the page, and its time
per event grows with the number of segments on that line. A long, low
path, such as rows of a zigzag, puts a whole row on the line at once.
stroke_region, unite_all_with and try_unite_all_with now estimate how
many segments the sweep holds at once in each direction, from up to
4,096 segment boxes (one from each run of segments, at a position that
changes from run to run). When the estimate for the input turned a
quarter turn is under two thirds of the upright one (2,048 segments or
more), the operation runs on the turned input and the result is turned
back. A quarter turn swaps and negates coordinates, so no point moves
by rounding. Offset Path is not turned. Callers of unite_all,
try_unite_all and outline_stroke take the turned sweep through these
functions.
Tidy's lookups of the input curves around a piece and of the kept
anchors can search along y: once lookups with more than 64 candidates
along x have scanned 16 per item, a lookup sorts the list along y once
and uses that window when it holds fewer candidates (under a quarter as
many for curves). Where the y window rarely helps, only one lookup in
32 measures it. is_kept counts the few points within its tolerance
directly instead of searching for the window's end.
In the sweep_axis tests, a turned result has as many subpaths as the
result without the turn, and the area where the two differ is no
larger than the refit precision times the outline's length.
On one open path of 200,000 anchors in rows of 1,000, Outline Stroke
takes 17.3 s of processor time instead of 31.3 s and Unite 2.9 s
instead of 6.5 s in a release build. Unite of 2,000 circles takes the
same time as before.
Reset Bounding Box set the angle to 0 on the selected objects only. A
rotation changes the box angle of the selected objects and of every
object inside them, so the members of a rotated group kept their angle:
after rotating two rectangles 20 degrees, grouping them, rotating the
group 10 degrees and resetting, Ungroup brought back a box at 30
degrees, and a second reset reported 2 objects to change.
The command now also squares every object inside the selected ones: the
children of groups, compound paths, clip groups, blends, envelopes,
repeats and intertwines, and the art of linked opacity masks. The art of
an unlinked mask does not turn with the object, so it keeps its angle.
Ungroup, Release Clipping Mask, Release Compound Path, Blend Expand,
Release Envelope, Release Repeat, Release Intertwine and Release Opacity
Mask then bring back boxes square to the page. The whole reset stays one
undo step.
Two results change. `changed` counts every object reset, the objects
inside included, so the steps above return 3 where they returned 1. A
group whose own box is square but whose members are turned used to
return 0 with no undo step; it now squares the members in one step.
Docs: params text, docs/mcp.md, docs/target-app-parity.md.
When only anchors of a path or compound path move, the area an edit
changed is now the box of the segments that start or end at a moved
anchor (and the line that closes an open subpath's fill at a moved
end), before and after, grown by the farthest the strokes reach. The
canvas then draws that part of the frame again instead of the whole
object. Objects with a non-solid paint, dashes, a width profile,
arrowheads, a brush, effects or an opacity mask still count whole.
At 1600 x 1200, single-threaded, the frame after one anchor of a filled
closed path moves takes 16.6 million CPU cycles instead of 56.4 million
with 50,000 anchors, and 65.6 million instead of 180.0 million with
200,000 anchors.
A PDF saved with some of its artboards has a page for each of them, while
the editing data keeps them all. The importer took the pages after the
first to show the artboards right after the first page's artboard. In a
PDF of artboards 2 and 4 of 4, the second page's type went to artboard 3.
In a PDF of artboards 1 and 3 of 4, the second page's type went to the
left edge of artboard 2.
Each page after the first now goes to an artboard of its size that comes
after the previous page's artboard and leaves an artboard for each later
page. The artboard chosen for the first page also leaves one for each
later page. When several artboards fit a later page, the importer
compares their art with the page and takes the closest one, or the first
of them on a tie. It compares at most 16 artboards for all the later
pages together, the same limit it uses for the first page. A later page
with no comparisons left takes the first artboard that fits it.
When the PDF has fewer pages than artboards and its first page shows the
first artboard, the first page's type and page art still go to the art's
box or to the editing data's artboard.
The Preferences dialog has a Search Preferences field above the category
list. It has the keyboard focus when the dialog opens, and Cmd/Ctrl+F
focuses it again. While it has text, the list shows every setting whose
label, section or category contains it (ignoring case, in the interface
language or in English), or "No settings found". Choosing a setting shows
its category, scrolls to its row and highlights it. Escape in the field
with text clears it; Escape in the empty field closes the dialog.
The dialog's `__search` field holds the text, so `ui.dialog.set` drives
the search too.
A short move with View > Snap to Pixel on returned to where it began and
showed a "last location" label, skipping the pixel step. Snap to Last
Location is now off while Snap to Pixel is on, for the Selection tool and
for paths Direct Selection moves by an anchor, so the move lands on whole
pixels as it does with the option off.
Preferences > Smart Guides gets Snap to Last Location (`snapToLastLocation`,
off by default). With it and Smart Guides on, a selection moved by dragging
with the Selection, Group Selection or Direct Selection tool, Shift too, goes
back to where the move began while the move is within Snapping Tolerance,
labeled "last location". An Alt copy is not pulled back onto its original.
Source: https://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/smart-guides-options.html
The distance, the label and the copy rule are VectorCraft's own.
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).
While the Type tool edits text, Cmd+Enter on macOS and Ctrl+Enter on
Windows and Linux typed a line break. It now ends editing as Escape
does: the typed text stays, the type stays selected, and the tool used
before editing is selected again. A held chord ends editing once; its
repeats type nothing and do not open the Move dialog.
Enter, Shift+Enter and Ctrl+Enter on macOS still type line breaks, and
so does the chord with Alt or Shift. Cmd+Ctrl+Enter on macOS ends
editing too. A command bound to the chord still runs instead, and
editing continues. While an IME composes, the chord stays the IME's.
The bundled craft-fonts Japanese, Georgian and Devanagari faces now get
the same baseline shift as installed fallback faces, so every glyph in
an interface label sits on the baseline of its family's first face.
Each fallback face's shift is measured against the first face of the
family it is added to (Inter for the proportional families, JetBrains
Mono for `mono`, egui's face for `Monospace`). Families whose first
faces need the same shift share one copy of the face; the others get a
copy named after their first face.
Tests: craft_fonts_sit_on_the_baseline_of_each_family checks each
bundled face in every family against its own baseline, and
fallback_faces_sit_on_the_ui_baseline now checks every family,
monospace ones included.
An installed face added for characters the interface fonts lack (Microsoft
YaHei for Simplified Chinese on Windows, for example) now gets a FontTweak
y_offset_factor computed from its ascent, descent and line gap against the
first face of the Proportional family, so its glyphs share that face's
baseline instead of centering the difference in row height. The bundled
faces and Latin text do not move.
This follows designcraft#394 (baseline_tweak from line metrics) and
effectcraft#1395. vectorcraft-text gains line_metrics, and a test face with
a CJK system face's vertical proportions checks the baseline at 13, 24 and
40 pt in the interface families.
The Symbols panel menu's Reset Transformation and the Control bar's Reset
(shown while symbol instances are selected) give the selected instances
their symbol's own scale again, without rotation, shear or reflection, as
one undo step (symbol.instance.resetTransform). Each instance keeps the
center of its art's bounding box in place. Instances in perspective and
instances already at their symbol's scale are left as they are, no undo
step is added when nothing changes, and both controls are enabled only
while a selected instance would change.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel gets a New Document from State button at its bottom,
which runs the new edit.newDocumentFromState command. The command makes
a new document holding the art of a History panel row ({index?}, the
current state when omitted) and makes it the active document. An index
that names no state is an error and changes nothing.
The new document takes the next Untitled-N name, is marked unsaved, has
nothing selected, no steps to undo or redo and no modified date, and
leaves symbol, opacity-mask and pattern editing; the art drawn in a
pattern's tile is stored in the pattern, as Done stores it. Its links point at the files the
source finds, including files found in the source's folder away from the
links' paths. Those files are looked for only within the folders the
asking caller may read; for a caller without limits, within the folders
the caller that opened the source may read. The source
document, its steps and its saved state stay as they are; typing or a
drag in progress is first kept as a step, as Undo keeps it. While an IME
composes, the command waits, as Undo does.
Docs: docs/mcp.md, docs/target-app-parity.md.
The mesh tests now count each feedback path's subpaths, so a mesh that
drew its boundary instead of its mesh lines fails them. The progress-doc
lines name the Pathfinder, mesh and symbol instance outlines and the
limit's count of evaluated objects.
With Real-time Drawing and Editing off, each pointer move of a drag ran one
boolean union of a group's members to draw its outline. A group of 256
overlapping ellipses took seconds per move, and at 1,024 overlapping ellipses
the union went over its budget and no outline showed.
A move or handle drag now draws the outline of each visible member of a group
or intertwine, and of each object a blend, envelope, repeat, Pathfinder effect
or object effect evaluates to, without uniting them. A gradient mesh draws its
mesh lines and a symbol instance its bounds, as their selection highlights do.
The limit of 100,000 counts outline points and evaluated objects, so a
selection past it shows its moved bounds.
A compound shape or Pathfinder effect still evaluates its boolean on each move,
and so does a clip group whose clipping path is a group.
The Appearance commands do not store a stroke paint or weight for a series
that draws a Filled Lines band, but they do store a stroke opacity set on the
band, and the band's 0.25 pt black outline takes it when the graph is drawn
again. docs/mcp.md now says so, and a test covers it.
paint.setFill, paint.setStroke, paint.none, Apply Fill to Stroke and Apply
Stroke to Fill stored a series' paint on the graph. appearance.setItem, the
Eyedropper, appearance.transfer, Clear Appearance, Reduce to Basic Appearance
and the add, remove, move and duplicate row commands stored no paint or weight.
An Eyedropper pick of a blue fill at 40% onto a red column drew red at 40%
after the next redraw.
These commands and Show All Hidden Attributes now store the paint and weight
of the topmost visible fill and stroke of a path directly in a series group,
in the same undo step. A color, weight or opacity that a command writes to that
row replaces the stored value even when the mark's own value does not change. A
row that has no paint before and after the command does not change the stored
paint. These commands store no stroke for a series that draws Filled Lines
bands, and a band no longer takes its color from an empty stored stroke.
The stored opacity also comes from the topmost visible row: hiding a top row
stores the row under it, and an opacity set on a hidden top row is not stored.
Follows #5501.
Edit > Keyboard Shortcuts gains Export Text..., which saves the set shown
in the dialog, as edited so far, as a UTF-8 text file the user names in a
save dialog with a .txt filter. shortcuts.exportText {path?} does the same
for the current set over MCP and the control channel.
The file holds a "Keyboard Shortcuts" line and the set's name, then a
Tools and a Menu Commands section with the rows the dialog lists, in its
order and named as it shows them: the name, a tab and the shortcuts as the
dialog shows them on the current platform. A row with no shortcut ends
after the tab. A path that is not a string, or a file that cannot be
written, returns an error and nothing is written.
Docs: docs/mcp.md, docs/target-app-parity.md.
Choosing a PDF/X standard without a PDF/X preset writes a file with no bleed
(BleedBox = TrimBox) even when Document Setup sets one, and the export gave no
warning about it. The export now warns when a PDF/X file has no bleed on a side
where the document's bleed has one. The warning comes ahead of the flattening
note, because the status bar shows only the first warning. The code adds a
warning and does not change what is written.
These cases do not warn: the PDF/X presets, Use document bleed settings, a
nonzero bleed on every side the document sets, a document with no bleed, files
that aren't PDF/X files, and Export for Screens rows whose artboards Include
Bleed grows.
The warning has a row in every catalog. The Summary's warning and error rows in
the Save PDF and Print dialogs now go through the catalog, so they show its
translations.
Opening a document laid out every type object for its bounds and
baselines and threw the layouts away, and the first frame laid the same
objects out again. The open now keeps them, up to 128 MiB, and a frame
takes each one once.
A frame takes a layout only for a text object equal to the one laid out,
and only while the fonts, the system fallback setting and the hyphenation
exceptions are unchanged. When the last frame being drawn ends, the rest
are dropped if a frame took one, and all of them are dropped after eight
frames that take none. A layout with bitmap or color glyphs and a text
object with a gradient are not kept.
The progress doc listed the moved-path stroke outline reuse twice, once
with the timings first measured and once with the timings measured
against current main. The line with the earlier timings is removed.
The gradient swatches menu, the Image Trace button's list of presets, the
Appearance panel's swatch picker and the top level of the Add New Effect
popup (Appearance panel, Properties) had no length limit, so rows past the
bottom of a short window could not be reached. Each now uses menu_scroll.
Items, order and commands do not change, and a list that fits does not
scroll.
A tool group's flyout and the All Tools drawer draw in the main window,
so a floating panel's OS window covered them. On the desktop, except on
Wayland, floating panels now hide while either one is open, as they do
for a menu or a dialog, and show again when it closes. A flyout or
drawer left set under a hidden toolbar does not draw and does not hide
them.
A paste relinked every copy to the document's resources even when no
resource had another name or color and the objects linked no graphic
style. It now leaves those copies as they are.
Finding the pasted type looked each id up and compared every text object
with the ones already found. Text commands and the bounds refresh after
a paste now look all ids up in one walk and keep the found ids in a set.
Giving a pasted group new ids builds its map of old to new ids only for
an Objects on Path group, which is the only kind that reads it.
A pasted solid paint with no swatch link and a tint other than 1 now
keeps that tint when no relinking runs. Saved art carries a tint of 1 on
such a paint.
The Artboards panel menu asks whether Delete Empty Artboards can run on
every frame while it is open, and each ask measured the document. With
an open path of 200,000 anchors across two artboards, that took 70.4 ms
a frame in a release build.
The answer is now kept per open document with the version of the
document it was measured on, and is measured again when the document
changes. A later frame takes under 0.001 ms. The first frame after an
edit measures once. A change of the selection or the view keeps the
answer.
The main window's menu floor was stored once for the whole egui context,
so a menu in a panel's OS window stopped at the main window's bottom bars
instead of its own edge. The floor is now kept per window, and a window
with no recorded floor uses its bottom edge. A menu list is also never
taller than the window, so the last items of a menu stay reachable in a
100 pt window, below the 120 pt minimum.
The Digits, Stylistic Sets, Save Selection and Move to Group submenus,
the libraries menu, the Color Guide's Limit to Library menu and the Layers
panel's Filter popup now scroll the same way.
Object > Expand left a dimension's recipe on its group, so the next move
redrew the live dimension and discarded the expanded art. Expand now ends
the live link of a dimension whose art it changes, in the same undo step.
Moving or scaling the group leaves its art as it is, the art no longer
follows what it measured, and undo gives the live dimension back.
Expand Appearance, Create Outlines and Outline Stroke had the same fault
and now do the same, also when they reach only a part of a dimension. A
dimension whose art a command leaves as it was stays live. A dimension
selected with the art it measures becomes a plain group when Expand,
Expand Appearance or Outline Stroke replaces only that art.
The fill read apart from a clipping path that was read on %_ lines, and
the copies of its subpaths, are recorded as read on those lines too, so
the copy of a look's art that is removed takes them along. The file
format notes list a compound clipping path whose subpaths paint
differently among the exceptions to a clipping path keeping its fill.
Each layer a multi-layer mask covers gets a copy of the mask's path, so
a fill kept on that path painted in every layer, over the art the mask
covers in the layers before. The mask's fill is read as a path of its
own again, where the mask's path is, and the copies have no fill. A
fill read apart from a compound clipping path is a compound path whose
subpaths do not clip and have ids of their own. A fill read apart, its
subpaths and their points count toward the importer's object limit.
Docs: docs/file-format-parity.md.
The reader took the fill off a clipping path in a file's editing data and
added a copy of the path, holding only that fill, under the art it clips.
A clipping path paints its own fill under the clipped art and its stroke
over it, so the reader now keeps the fill on the clipping path. A filled
clipping path opens as one path instead of two, in a clipping group, a
clipping layer and each level of nested clipping paths. Its note, tags and
gradient stroke (`1 BB`) are on that path as before.
A compound clipping path whose subpaths all paint alike keeps their fill.
When its subpaths paint differently, the fills of the filled subpaths are
still a compound path of their own under the clipped art, so a subpath
the file does not fill stays unfilled. Clipping paths in a compound path
that holds its drawn look still have their fills read as paths of their
own under the art, each with its clipping path's opacity mask.
Docs: docs/file-format-parity.md.
A click put the caret among the six digits and the text box holds seven
characters, so only the first character of a pasted code went in. The
field then held no new color, and Enter closed the dialog with the old
color. A press on a field drawn before the hex field also dropped what
was typed, while Tab and Enter applied it.
The hex fields of the Color Picker, Swatch Options, Recolor Artwork, the
Color panel, Document Setup, Duotone, Color Themes and Perspective Grid
now share one set of rules:
- A click or keyboard focus selects the digits.
- A code of six digits, with or without #, replaces the digits wherever
the caret is.
- A code of three digits also replaces them, unless the paste holds only
those digits and exactly three digits stay. Those digits then edit the
text in place.
- A paste of only one, two, four or five digits edits the text in place
when it does not cover all of the text and the result has at most six
digits.
- Any other paste leaves the field as it was.
- A press elsewhere commits the text in the frame of the press.
- A commit returns the digits without # and writes a three-digit code out
as six, so Duotone reads a typed # and Perspective Grid, whose parser
reads six digits only, takes a three-digit code.
Part of #5013
The file-format entry states the 20,000-name limit across brush art and per section, the first-definition rule, and that colors past the limit still count toward the color mode.
The reader kept a brush's art but dropped the colors it read from it, so
a spot color that only a Scatter or Art brush's art used made no swatch,
and the art's process colors did not count toward the document's color
mode.
The reader now keeps each brush art section's colors with its art. When
the document is finished, the colors of the art that a kept brush uses
are added after the rest of the file's, in the order the art was read:
its spot colors make swatches and its colors count toward the color
mode. Art that no kept brush uses (a pattern brush's tiles, a section
that a later one of the same name replaced, a section inside a symbol's
definition) brings none of its colors, and a spot color that the page's
art, a pattern or a symbol also defines keeps the value defined there.
Part of #637.
dotCooCoo