New crate vectorcraft-js reads ECMAScript 5.1 source into a syntax tree
with source positions: a UTF-16 lexer (line and column tracking, automatic
semicolon insertion, the regexp and division goals), preprocessor lines
read as directive tokens, a recursive-descent parser to an arena tree, and
the ES5 early errors, strict mode included. Nesting deeper than
Options::max_depth (200 by default) gives a SyntaxError with its line and
column rather than overflowing the stack. Nothing runs scripts yet.
cargo xtask test262 downloads test262 at a pinned commit, checks its
SHA-256, unpacks it into the gitignored corpus/ folder and runs the ES5
syntax tests. A differential test in the engine compares the lexer with
scriptcheck on line counts, directives and unterminated literals.
The contour passes of the two-path boolean operations, Offset Path and
the many-shape boolean (`boolean_n`, used by compound shapes and
Intertwine) built a flag for every input shape for each winding they
tested. They now test the list of inputs that cover the face, ascending,
refilled in one buffer per pass, so a test costs the size of the cover
rather than the number of shapes. `boolean_n` and `try_boolean_n` take
that list; the compound shape and Intertwine tests read it directly.
The contours, their order and the output are the same: a new test
compares every pass's test with the flag form on overlapping, nested,
touching and apart squares and on 72 overlapping squares, and another
checks that a pass over 100 squares apart hands its test one input at
most.
The editing copy of a PDF-compatible .ai wrote an object's live effects
as their result (geometry effects) or left them out (the others).
Objects with effects the .ai reader reads are now written as art styles:
- An object is written as its drawn look (a group of its vector art as
its geometry effects leave it, without shadows, glows or feathers,
with the object's transparency after it), then the object itself on
%_ lines (its points painted with nothing, or with its gradient fill
placed on the outline it draws; a group with its members), its name
and opacity mask, and
1 (style) XW naming its style.
- Styles are written in a non-printing block after the symbols, in
%AI9_BeginArtStyles: a chain of the stack of fills and strokes (with
the contents where the appearance puts them), the effects and the
object's transparency. Objects of the same appearance share a style.
- The effects written are the ones the reader reads on objects, with
their settings in the units it reads them in: Drop Shadow, Inner Glow,
Outer Glow, Feather, Round Corners, Scribble, Convert to Shape, Offset
Path, Outline Object, Outline Stroke and Pathfinder > Add.
- Each style is read back before it is written, by a new reader
function, read_art_style, which runs the reader's style parser and its
reading of a graphic style with the object's own gradient. An object
whose style reads back differently (several fills or strokes, fills
or strokes with transparency or effects of their own, pattern fills,
other effects), a filled object that fills by the even-odd rule (a
style's fill fills by the non-zero rule), a group whose effects change
its members' outlines while a member is written on another outline
(strokes as filled outlines, pattern fills as tiles, gradients that
fit their object), or one in a container whose own
effects change its members, is written as its drawn look with the
warning, and a style that is not written leaves no gradient
definition behind. Graphic styles and links to them are left out with
a warning. No art style is written on a large canvas.
Appearance attributes:
https://helpx.adobe.com/illustrator/using/appearance-attributes.html
Tests: the round trip of objects with each effect, a gradient fill, a
group with transparency and a mask, Pathfinder > Add and a hidden
effect; the same bytes on a second write; the forms written; the
objects the reader would not read; a large canvas; the warning for
graphic styles; filled even-odd objects; a gradient placed on the
outline Offset Path draws; a style that is not written; effects in a
pattern a drawn look uses; the reader's check of a style; fuzz cases
for damaged written styles.
Docs: docs/file-format-parity.md.
A paragraph that ends in a soft return ends with the empty line after it,
so the line the soft return ends is justified like any other; it was taken
for the paragraph's last line and left aligned.
Key 30 of a paragraph's attributes holds its tab stops: each its position
(key 0) and alignment (key 1: 0 left, 1 center, 2 right, 3 decimal).
They were not read, so tabs fell on the default stops. At most 1,024 are
read a paragraph and 2^20 copied into a story's paragraphs, past which the
default stops apply with a warning. The fuzz test feeds hostile paragraph
attributes: alignments, auto leading, hyphenation options and tab stops.
In right-aligned area type, the text before a line's last tab sits at its
stops, measured from the left edge, and the text after it (none when the
tab ends the line) against the right edge. The line was laid out from the
left and aligned as a whole, which moved its start off the left edge and
its tabs' text off their stops. Illustrator's own layout in a user's .ai
sets its price lists so. Centred and justified lines are aligned as a
whole as before.
The line names trapping, Intertwine and the Pathfinder effects next to
Divide, Hard Mix, Soft Mix, Shape Builder and Flatten Transparency, and
gives six alternating runs of each build of Divide on 3,000 overlapping
rectangles, timed on this branch's final code.
Finding the distinct regions of an arrangement built a flag for every
input shape at each edge and kept them in a sorted set, so it cost edges
times shapes in time and memory. Each coverage is now the sorted list of
the shapes that cover it, deduplicated in a hash set and sorted into the
order the flag masks had, so regions, their order and the output of
Divide, Hard Mix, Soft Mix, Shape Builder and the flattener are the same.
The face lookup and Pathfinder merging take the same lists.
Tests compare the lists and the regions with the flag masks for
overlapping, nested, touching and disjoint shapes and for 72 shapes.
The editing copy of a PDF-compatible .ai wrote every symbol instance as
its art. Symbols are now written as symbols, in the form the .ai reader
reads them:
- Every symbol is defined in the setup, in a non-printing block after the
patterns: %AI14_BeginSymbol, its name, its art in the symbol's own
space, its registration point as AI13PatternRegistrationType and
%AI10_EndSymbol, each after the symbols its art uses. The nine points
are numbered 1 to 9 row by row from the top left, in the order the
scripting reference lists them. A definition is written the same
wherever its first instance lies. The symbol list after the palette
keeps the Symbols panel's order. A hidden root of a symbol's art is
written shown, as the canvas draws it.
- Each instance is a /SymbolInstance with its symbol's name and the matrix
that places the art (to ten decimals), followed by its name, opacity
mask, opacity and blending mode as a group's. In a symbol's art, the
matrices of instances, gradients and images are written in the
canvas's space about the canvas point of the ruler origin.
- Pattern fills in a symbol's art are written as their tiles cut to the
shape. A symbol whose definition holds such tiles, from its own
objects, a brushed stroke's brush art, a live object, an opacity mask,
a nested symbol or an inline graphic, has its instances written as
their art.
- Instances with a fill, appearance changes, isolation, knockout or
knockout shape of their own, instances of symbols with 9-slice guides
or pattern paint, instances in pattern tiles or in art cut to a
clipping object, instances scaled almost flat, instances that turn,
mirror or scale symbols holding type, live objects, instances written
as their art, shapes with rounded live corners or strokes written as
outlines or brush art (the canvas works these out again where the
instance puts them), instances that scale their symbol more than 100
times, nested instances included (numbers are written to four
decimals), and instances on the layers of a large canvas are written
as their art (the symbols are still defined). Symbols past the 4,096
the reader keeps are left out and their instances written as art; an
instance of a symbol the document doesn't have is an empty group.
9-slice guides, export types and the dynamic type are left out, and
linked images and type in a symbol's art are embedded and written as
outlines. Each comes with a warning.
The writer takes the reader's limit of 4,096 definitions (MAX_SYMBOLS)
and its symbol_art_member check, which now are pub(crate).
The editingData option's description lists what the copy now holds,
type written as text included.
Symbols and their instances:
https://helpx.adobe.com/illustrator/desktop/manage-objects/traces-mockups-symbols/edit-symbols.htmlhttps://helpx.adobe.com/illustrator/desktop/manage-objects/traces-mockups-symbols/create-and-place-symbols.html
The nine registration points, in the order the scripting reference lists
them:
https://web.archive.org/web/20180219005134/https://wwwimages.adobe.com/content/dam/acom/en/devnet/illustrator/pdf/Illustrator-Scripting-Reference-JavaScript-cs6.pdf#page=252
Tests: the round trip of symbols, nested symbols and instances in every
state, symbols whose art is a group with a state of its own, images and
gradients in a symbol's art, every registration point, symbol names with
special characters, duplicate and missing symbols, a symbol first used
deep in opacity masks, symbols past the reader's count (one found only
while its holder's art is written included), a large canvas, symbols
with pattern fills (directly, nested, in an opacity mask, through an
inline graphic and through a brushed stroke), scaled instances of
symbols with an outside stroke, rounded live corners, type, a blend, a
tiny or thin object, an ellipse or an instance of a symbol with 9-slice
guides, a symbol whose root is hidden, instance matrices from a fixed
seed, a second write of what is read back giving the same bytes, the
forms written, the instances written as art and the options reported.
Docs: docs/file-format-parity.md, README.md, ROADMAP.md, docs/gaps.md,
docs/roadmap.md and docs/target-app-parity.md describe the editing copy
a saved .ai holds.
- Auto leading stays auto: each line takes the paragraph's share (key 7)
of the largest type on it. The leading was the first two lines'
distance for every line, so 10 pt lines under a 15 pt heading came in
18 pt apart.
- The paragraph's hyphenation options (keys 10 to 15) are read.
- Area type of one frame whose last lines the file sets, but which don't
fit here (the fallback font, or a descent past the frame's bottom),
gets a frame taller from its bottom (vectorcraft_text::fit_source_lines),
with a warning.
A user's .ai whose type differed from its page by 6.6%, so that it opened
from its PDF part with each line its own text object, now opens from its
layers.
In Justify Left, Center or Right, only the paragraph's last line keeps its
alignment; a line that a soft return (U+2028) ends is spread to the frame's
edges like any wrapped line. Illustrator's own layout in a user's .ai sets
such lines justified, and VectorCraft left them ragged.
A .ai or EPS whose editing data defines symbols but has no layers came
in as its PDF part or page without symbols, and Other Library in the
Symbols panel listed none. Such a file, and a file read as its PDF part
or page because its layers can't be used, now gets the symbols its
editing data defines before its first layer, as a file read from its
layers does: File > Open shows them in the Symbols panel in the order
of the symbol list, and Other Library lists them in a library panel.
- Each symbol keeps its registration point. A symbol that holds an
instance of a symbol the file doesn't define is left out, and an
object linked to a listed graphic style keeps the link.
- The symbols' art takes ids of the document, the art of opacity masks
in it included, and the images it shows come with it. Instances
drawn too deep are removed with the usual note.
- The global and spot colors the art is linked to come in as swatches.
A color whose name another swatch has takes that swatch's place when
it is a default swatch of a file without a palette; otherwise it
comes in under a free variant of the name ("Ink 2"), which the art
then names.
- Symbol art keeps the editing data's units, as in a file read from its
layers, so in a file in larger units its linked graphic styles are
drawn at the scaled size and the symbol art is not.
- The art of the patterns a palette or brush brings into a file read as
its PDF part or page now also takes new ids for its opacity masks.
Part of #3349
An object opacity or blend mode set on a path directly in a graph series, and
the blend mode of its topmost visible fill or stroke, were lost when the graph
was drawn again. The graph now stores them per series next to the row opacity
it already stores, and puts them on every path directly in the series when it
draws the series again.
- transparency.set and object.setProps store the object's opacity and blend
mode. A value the mark already has still replaces the value another mark of
the series stored.
- appearance.clear, appearance.transfer, appearance.copyFrom with Transparency
picked up, graphicStyle.apply without add and graphicStyle.redefine store
the object's opacity and blend mode they leave on the mark.
- The other Appearance and style commands store them when they change them
on a mark.
- Every command that stores the opacity of the topmost visible fill or stroke
also stores its blend mode. A Filled Lines band's outline takes the stored
stroke opacity and blend mode and keeps its black 0.25 pt stroke.
- An opacity and blend mode are stored as a pair from the edited mark:
setting only the opacity of one mark also stores that mark's blend mode.
- A graph design's copy in a series keeps its own values.
Docs: docs/mcp.md, docs/target-app-parity.md.
What a data source procedure allocates stays counted: only the sample planes,
the decoder's copies of the strings a procedure returns, and the split buffers
of an interleaved masked image stop counting once the image is decoded.
Applying a graphic style, Redefine Graphic Style, Default Fill and Stroke
and Swap Fill and Stroke on a path in a graph series changed the path
but not the paint the graph stores for the series. When the graph was
drawn again, the series went back to its earlier paint.
These commands now store the mark's topmost visible fill and stroke on
the graph, in the same undo step as the command:
- graphicStyle.apply stores the paint, weight and opacity of both kinds
of row. With `add` it stores only the kinds of row that are visible
in the style.
- graphicStyle.redefine stores the paint, weight and opacity of the
marks still linked to the style.
- paint.default stores the white fill and the 1 pt black stroke, both
opaque.
- paint.swap stores the swapped paints and the stroke weight and keeps
the stored opacity. It swaps the topmost rows even when they are
hidden, and a hidden row it swaps is not stored.
The rule for each kind of mark is the one docs/mcp.md gives for the
Appearance commands. docs/mcp.md also says what the graph does not
store from a graphic style and that a series group given to a graphic
style command is not stored. The params text, docs/mcp.md and the
Graphs line in docs/target-app-parity.md list the commands.
A preferences file from before the Help Bar setting gets `help_bar` from
`status_bar` when it is read. A save that changed only the status bar
left `help_bar` out of the file, so the next start hid the Help Bar with
the status bar. A save now writes `help_bar` whenever the file lacks it,
and keeps a value another window saved.
Docs: the UI evidence list, the UI checklist and the M14 row record
Window > Help Bar.
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.
The earlier paragraph said document.export takes any key when its description names none. The export commands refuse an unknown option key, so the paragraph now lists them as an exception and keeps document.save as the example that takes any key.
document.export, document.exportSelection, document.serialize, app.export
and file.export took {noSuchOption: true} and wrote the file with no
warning. They now refuse a key that no format lists in document.formats,
and name the nearest key when one is close. document.exportPdf,
document.pdfSettings and pdf.preset.save refuse a key PDF doesn't take,
document.exportEps one EPS doesn't take and document.exportDxf one DXF
doesn't take. Each refuses an unknown key inside an option object it takes,
such as marks.useDocumentBleed, and names its path.
A key that only another format reads, such as {format: pdf, quality: 80},
is still ignored: docs/mcp.md says one object can carry several formats'
options. The check runs for callers (the control channel, MCP, the CLI).
A journal or a recorded action isn't checked, and a saved PDF preset with
a key that is no longer read still loads.
document.formats now also lists PDF's thumbnails, fastWebView and
viewAfterSaving.
edit.copy and edit.cut chose the artboard route by the tool chosen, which
the journal does not record. A replay in a new session acted on the objects
selected there, or stopped with "nothing selected" when there were none.
With the Artboard tool chosen, both now record selectedArtboards and art in
the journal entry. A given selectedArtboards runs the artboard route with
any tool and needs only a document. A recorded action leaves both values
out, so it follows the tool chosen when it plays. Cut and Copy of objects
record nothing new.
request, execute, commands and screenshot move onto the shared crate (storytold/craft-libs#413): a timeout on every call, the screenshot's PNG also in data, and docInspect and uiInspect beside them. A call the page gave up on gives up its request if the app has not started it, so the app skips it. openFile, captureDownloads, files, readFile and inspect stay VectorCraft's own, on the same object.
The legacy reader skipped `TV`, `Tv`, `Ty` and `TY` of section 15.3.4 of
the version 7 file format specification, so type set with `1 TV` opened
horizontal.
- `TV` sets a text object's writing direction. VectorCraft keeps one
direction for each text object, the one in force at its first
character, with a warning when a later character has another.
- `Ty` marks a Kumi block as a Tate-chu-yoko run, which is VectorCraft's
own mapping, and `TY` does the same in horizontal type. A `TY` block in
vertical type opens unmarked. Two blocks with nothing between them open
as one block.
- `Tv` sets Standard Vertical Roman Alignment.
All four are modal, and an operand other than 0 or 1 leaves the value as
it was.
Docs: docs/file-format-parity.md.
After Select All in threaded text, the Tabs panel's indent markers read
the indents of the edited frame alone. When another frame's paragraphs
had a different left indent, a marker drag changed them by the edited
frame's values, or left them alone. The markers now take every
paragraph of every frame in the story, so each paragraph keeps its own
left indent or first-line position.
The Justification dialog kept the frames of the story from the moment
it opened. OK now acts on the frames in the edited frame's thread when
it is pressed, so a frame that left the thread while the dialog was
open is not changed, and a frame that joined it is.
After Select All in threaded text, the panels read the frames from the
list saved at Select All. A frame that had left the thread still took
Paragraph, Tabs, Justification and Text Styles changes, a frame added
later did not, and when the first saved frame had left, Character,
OpenType and font changes went to that frame alone.
text_story now reads the frames of the edited frame's thread from the
document. Locked and hidden frames stay in the story.
Q restores the painting state but not the transparency (Xy): the writer
sets Xy only when the next object's state differs from the last one it
wrote. Restored at Q, type after a clipping group following a Screen glow
drew in Screen and nearly vanished on a light background.
A blend whose spine was never edited has only its keys in the editing
data, no spine part. Its spine is the straight lines between the keys'
centres in the record's order; read as such, the blend comes in live
instead of as its drawn steps.
Illustrator 24 writes its symbol definitions ahead of %AI9_BeginArtStyles,
so a styled object inside a symbol found no style and came in as its drawn
look. The pre-pass that finds swatch names now also keeps the first
top-level art styles section, which the reader parses before the art.
prefs.set did not check the folder given as recoveryFolder or pluginsFolder,
beyond the automation roots check, so a control or MCP caller could save a
folder that does not exist, a file, or a folder the app cannot use. Only the
Preferences dialog checked the folder itself.
The dialog's folder checks move to the engine, and prefs.set runs them after the
automation roots check. A folder that fails returns the same error the dialog
shows, and no preference changes. An empty value, an omitted value and a folder
the preference already holds are not checked. The Wasm build skips the check, as
the dialog did. The dialog's OK now gets the check from prefs.set, and Choose…
calls the moved check directly.
The check tested one box per source segment for every candidate hole or
island. It now searches a tree of the segments' bounding boxes, built once
when the first contour is checked. The answer for each contour is the same,
so the output paths do not change. MAX_OFFSET_SEGMENT_PAIRS does not change.
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