Saving a legacy .ai of version 7 flattens each transparent image at its own
resolution, limited only by total pixels. The renderer draws at most 32,768
pixels a side, so an image that came out longer than that at its resolution
was cut off and placed as if whole: the part past that length showed the art
under it without the image. The resolution is now lowered until the longest
side fits.
The bar's text buttons (Edit Path, Duplicate, Type on a Path Options and
the others) were painted labels on a click area with no accessible name,
so a screen reader announced them without one. Each button now reports
its label as a button, as the Home screen's file rows do.
path.reshape refused focal with radius only when focal named an anchor.
Since an empty focal list chooses the focal-point rule, a call with
"focal": [] and a radius was accepted and used the radius falloff,
although the params text and docs/mcp.md say the two cannot be used
together. Any focal other than null now goes with radius as an error.
File › Scripts ran an installed script as source text, so the run had no
file: an #include line ended it with "script file read refused", and
$.evalFile was refused too. The menu now checks the script as before and
runs it with script.run {path}, as docs/mcp.md describes, so its
included files and the files $.evalFile runs are read beside it.
After an aligned Remove Item or Duplicate Item, the active row was
re-pointed by the indices of the first object in paint order. When the
first selected object paints above the others, its own rows that changed
are different ones, so the active row could be dropped or land on the
wrong row, and a later paint edit changed that row instead.
The active row now follows the rows removed or copied in the first
selected object's own stack.
Follows #5591.
An out-of-range or non-numeric tint in Character Style Options and New
Character Style gave "Tint must be a number from 0 to 100" for both
fields, so the message did not say which of the two to correct. It now
names "Fill Tint" or "Stroke Tint", the names the two fields carry.
A placed document drawn without a bitmap (renders without progressive
placed art, exports) drew type in the placed document's own composite
font in the fallback font: only the outer document's composite fonts were
lent to the font database. The placed document's composite fonts are now
lent while its art is drawn.
In horizontal type, tracking and manual kerning are now thousandths of
the em as the Horizontal Scale draws it: at 50%, a tracking of 100 adds
0.05 em after each character. They were added at the full em while the
glyph advances took the scale, so narrow tracked type drifted from the
page of users' .ai files letter by letter. That page writes such type's
character spacing as the tracking itself in a text space as wide as the
scale, which PDF scales by it (ISO 32000-1 9.4.4). Vertical type keeps
the full em: its advances down the column don't all take the scale.
vectorcraft_text::spacing_scale gives the factor. Shaping, inline
graphics and the Optical pairs use it, and so do the conversions from
points back to thousandths of an em: the automatic kerning the Character
panel reads and Touch Type's limits (glyph_em), Combine Point Text, and
PDF import, whose tracking is now the file's Tc. Scale Text Attributes
now keeps tracked type where a horizontal stretch drew it.
SVG export writes letter-spacing in thousandths of the font size it
writes (the vertical scale), so uniformly scaled type keeps its spacing
in a viewer.
Type with both a Horizontal Scale other than 100% and tracking or manual
kerning lays out differently than before, in every document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- PDF/X-1a, PDF/X-3 and PDF 1.3 files leave the layers they don't print
out of the flattening. A flattened group no longer takes the place of
art in a layer that doesn't print, so the art of a clipping layer over
such a layer prints, and art of a layer that doesn't print stays out
of the file.
- A flattened group goes into a lower layer only when that layer prints,
shows and is a template as the clipping layer does, the clipping layer
and the groups it leaves have no opacity, blend mode or isolation, and
the clipping path has no fill. Otherwise the group holds only the art
inside the clipping layer, drawn over the clipping path's fill and the
art below, and the art below is flattened on its own. Before, the fill
covered the group, the group lost the layer's opacity, or the clipping
path cut the art below.
- Transparent art that a clipping path hides entirely, such as one of
area type holding only a space, is removed. Before, the export failed
because the art kept its transparency.
Object › Flatten Transparency follows the same rules. Documents without
clipping layers or layers that don't print export the same bytes as
before.
A symbol whose natural size is not 20 x 20 is drawn through its 9-slice
guides by an instance that only moves, so art the guides move can draw
outside the art box moved by the instance. The visual box took that
moved art box alone, and the renderer culled the instance when only the
moved art was in view. The visual box now measures such an instance as
it does a scaled one.
Expand Appearance on a symbol instance with a fill tint and a color
adjustment applied the adjustment to the untinted art, so the expanded
colors differed from the canvas. The expand path now passes the tinted
instance art to adjust_in_document.
A selected segment that path.insertAnchor splits stays selected as its
two halves. The new anchor is the end both halves share, so it moves
with them, and Delete cuts both halves. docs/mcp.md and the comment on
renumber_after_insert called it a direct-selected anchor; they now
describe it as an end of the halves that moves with them.
Break Link to Symbol on an instance just placed on a locked artboard
selected nothing: the art that replaced the instance has a new id, so the
locked-artboard check did not see it as new art. The art of an instance
that was new art is now checked without the locked artboards, and the
session keeps it selected as new art. The art of an older instance on a
locked artboard, named by id, is still left out of the selection.
With Distort Appearance, the stroked candidate for type in an envelope
mapped from the type's bounds with strokes, which for a stroke on the
type's appearance (or on a group round it) reach as far as a miter join
may at a corner, the miter limit times half the weight. In users' files
the drawn art maps from the glyphs grown by what the strokes paint along
a side: half the weight of a centred stroke. The candidate now uses that
box. Character strokes keep the measure the type's bounds with strokes
already give them (they have no miter allowance), and other objects in
the contents keep their bounds with strokes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merges of main kept both sides of conflicting edits to the milestone
table, so M3, M7, M10, M11 and M13 appeared two to four times, each
copy with a different subset of later edits. Keep one row per
milestone. For M3, M10, M11 and M13 the kept row already contains every
statement in the removed copies. For M7 no copy held them all: the kept
row gains the Hyphenation and Justification clause that only the
second copy carried.
Before the Reshape tool had focal points it sent path.reshape without
focal or radius, and the command stretched an open path from the grabbed
point to its ends whatever the selection, and moved the anchors of a
closed path within half the diagonal of its bounding box with a
falloff. Such a step, in a saved action or a script, now moved a closed
path whole. A step without focal (or with focal null) and without
radius now plays by that earlier rule. The Reshape tool always sends
focal, an empty list included, so its drags keep the focal-point rule.
The two Tint fields in the Character Color section were both named
"Tint", so a screen reader gave no way to tell the Fill field from the
Stroke one. They are now named "Fill Tint" and "Stroke Tint"; the
visible caption stays "Tint". The names have rows in every catalog, and
a test checks both names in Character Style Options and New Character
Style.
On a vertical path, an upright glyph is now placed in its column as
vertical point type places it, then the column is centered on the path.
- Its cell starts at its place on the path; it started 0.12 em earlier
with fonts whose cell top is less than a full cell above the baseline.
- A baseline shift moves it across the column instead of along the path.
- A horizontal scale widens it evenly about the column's center.
- A combining mark stays on its upright letter.
- The caret and the selection highlight span the column, half its em on
each side of the path, instead of the font's ascent and descent.
With Skew, 3D Ribbon and Stair Step on a path that runs to the left,
letters are a quarter turn counterclockwise from upright glyphs: Skew and
3D Ribbon mirror both kinds there, and Stair Step keeps letters level. The
test, the progress doc and the params text of Tate-chu-yoko Settings now
state these conditions and the block's directions on a path.
Before writing a PDF preset, ICC profile, plug-in, Color Settings,
disabled list or grants file, the store compared the new bytes with the
file already there by reading the whole file into memory, so a large file
left in the folder was read in full. The comparison now reads at most one
byte more than the new content.
dotCooCoo