An upright glyph in vertical type has its frame's up axis along its column, parallel to the
line, so Touch Type split no drag or arrow-key nudge into kerning and baseline shift and sent
no movement. Such a glyph now takes the line's cross axis, right of its column, as the way
baseline shift moves it.
The marquee's segment test built a two-anchor path for every segment and ran
hit::intersects_rect on it. It now skips a segment whose anchors and handles
all lie past one side of the marquee, and tests the rest directly with the same
bounds and edge checks, so it selects the same segments.
A marquee over 10,000 anchors, press to release (anchor_bench, median of 7):
one open path of 200,000 anchors 84.9 ms -> 24.1 ms, 2,000 closed paths of 50
anchors 27.5 ms -> 13.5 ms, one closed path of 50,000 anchors 14.6 ms -> 8.5 ms.
While the Type tool edits a frame of threaded text, Select All selects
the text of every frame of the story, highlighted in each frame. The
tool edits the first frame that holds text.
- Typing, Delete and Cut replace the whole story as one undo step
(`text.editRange` takes `clear`, the other frames whose text goes).
- Copy and Cut take the whole story (`text.getRange {id, story: true}`).
- Fills and strokes, `type.step`, `appearance.copyFrom`, the Character,
Paragraph, OpenType and text style panels, the Tabs panel's tab
stops, the font menus and the Justification dialog act on every
frame's text (`text.setRangeStyle {id, story: true}` styles them in
one edit).
- A caret move, a click or a word or paragraph selection ends it.
Select All in unthreaded type is unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
Add Anchor Points builds the new anchor list in one pass, Swatch Library add looks names up in sets, full_documents dedups placed keys with a set, width profile lookups and mark insertion use binary search, and the symbolism tools cap and thin the previews of a long drag as Liquify does.
With Snap to Point alone, an anchor behind the start could pull the
projected end behind it, and the measurement read 180 degrees from the
pointer's step. Such an end is now turned back onto the pointer's step,
keeping its length, as an end rounded nearer another step is.
With a Constrain Angle other than 0, the grid point a Shift-drag's end
rounds to can lie nearer another 45-degree step, and the measurement then
reported that step. A Shift-drag from (0, 0) to (5, -3) with a 30-degree
Constrain Angle and a 9 pt grid measured -15 degrees instead of 30. The
end is now turned back onto the step nearest the pointer's direction,
keeping its length.
With one Objects on Path group of two or more objects selected, the
Selection and Objects on Path tools show a square Space widget beyond the
last object, ahead along the path. Dragging it moves the last object
along the path, around its bends, as far as the pointer moves along it,
and the objects between follow evenly while the first one stays. With
Alt (Option on macOS) the objects spread from both ends toward or away
from the center of an open path, or of the first anchor of a closed one.
The distance between the objects shows next to the pointer in the
document's units; the drag is one undo step, and Escape cancels it.
- object.objectsOnPath.options takes spacing (points, or "auto", the
default even spread) and start (points from the first anchor). A
spacing the path has no room for is drawn smaller and kept, so a
longer path brings it back. Older files read as Auto.
- Moving the group, Pivot, Rotate, path edits, copies and saving keep
the Space. Scaling, rotating or shearing the group keeps the first
and last objects where the transform takes them on the new path, live
shapes included; a value that cannot be kept that way scales with the
path's length.
- The Rotate All widget follows the first object when Space moves it.
Behavior: https://helpx.adobe.com/illustrator/desktop/manage-objects/arrange-objects/rearrange-and-edit-objects-on-a-path.html
and https://helpx.adobe.com/illustrator/using/objects-on-path.html.
The press picks the first object and selects it on the button-down. A dropped press now keeps
that pick with the selection, and still puts back the picks of earlier clicks.
A drag that takes a selected freeform gradient point out of the object previews its removal,
which deselects it. A dropped press now selects again the point that was selected once the
tool took the press, and Escape reselects a point dragged out and back inside the object.
Escape also clears state that earlier clicks set up, so taking Escape for a
dropped press lost it in five tools. Each now drops only the press:
- Blend: the object picked first and the blend being added to are put
back as they were at the press.
- Dimension: a dropped click picks nothing, and the points or lines picked
before stay; a dropped drag is canceled as before.
- Width: the drag ends and the width points selected at the press are
selected again.
- Gradient: a dropped click on a freeform gradient leaves the line being
drawn open.
- Selection: with the pointer loaded with text, a dropped press threads
nothing and the text stays loaded; a dropped press on a port loads none.
A dropped press on the Type tool no longer ends editing and switches tools:
the type being edited stays in editing, with the caret and selection it had
before the press, and the press does not count toward a double or triple
click. A dropped handle or move press with Crop Image puts the box back as it
was at the press and keeps earlier adjustments.
A dropped press (a long touch, a canceled touch, a second finger) now
goes to the tool through Tool::drop_press, which takes Escape as during
a drag by default. The Pen, Smart Pen and Curvature tools override it
so the path being drawn goes on: they forget the press, and a Curvature
point the press dragged goes back where it was.
The release that follows runs only the tool's Cancel and Notify actions,
so a Selection marquee selects nothing and a Shift-drag Artboard marquee
toggles nothing. The engine puts back the persistent options the tool
had at the press (the Polygon tool's sides changed with the arrow keys),
and stores none of them.
The Measure tool and the Measure & Inspect tool snapped the end point of
a drag without Shift, but with Shift held they only turned the pointer
onto its 45° step and kept its distance: with Snap to Grid on the
measurement ended off the grid, with Smart Guides on it did not land in
line with an anchor, and with no snapping a drag of (37.3, 12.1) measured
39.2 pt at 0°.
Both now project the pointer onto the 45° step nearest its direction and
snap it there as the Line Segment tool snaps a Shift-drawn end, so it
stays on the step: (37.3, 12.1) measures 36 pt at 0° on a 9 pt grid, and
37.3 pt with no snapping. With Snap to Point alone, the anchor the pointer
snaps to is projected onto the step instead, so the end lands on an
anchor on the step and in line with one beside it.
While a symbol with Enable Guides for 9-Slice Scaling on is edited in
symbol editing mode, the canvas draws its two horizontal and two vertical
guides as dotted lines across its art, with any tool and with ruler guides
hidden. With the Selection tool the pointer near a guide shows the Move
cursor, and dragging the guide sets it through `symbol.options`'s
`nineSliceGuides` as one undo step; Escape during the drag puts it back.
A guide within 4 screen pixels takes the press before the art and the
bounding box. A dragged guide stays within the art's box and stops short
of the opposite guide; positions outside the art are not supported yet.
The snap targets of a Shift-drag that starts on a highlighted Global Edit
match are gathered when the drag begins, for the selection with the match
added, before the first preview moves it. The first preview is now snapped
to the grid or to points, and later previews snap from the original
position.
A Shift-press on a highlighted object of the Global Edit waits for the release
to leave it out of the edit. A drag from it now selects it when the drag starts
and moves it with the selection, as a Shift-drag from an unselected object did.
The snap targets are gathered after the object joins the selection.
A match that sits inside a selected object is no longer highlighted, and a
Shift-click on it with the Selection tool deselects that object as before
instead of leaving the match out of the Global Edit.
While Global Edit is on, a Shift-click (not a Shift-drag) with the
Selection tool on a highlighted match, or on an object inside a matched
group, leaves that match out: it is no longer highlighted and later
edits leave it as it is. The object the edit started from stays in, and
Global Edit ends when fewer than two matches are left. Leaving a match
out is not an undo step.
- New command `select.globalEditExclude {id}` returns `{active, count,
ids}`; the Selection tool calls it on the release of a Shift-click.
- `ToolContext::global_edit` gives the tools the Global Edit's objects.
- Label and messages in the i18n catalogs; docs/mcp.md,
docs/ui-parity.md and docs/target-app-parity.md updated.
Source: https://helpx.adobe.com/ph_fil/illustrator/how-to/global-editing-sensei.html
A double-click on a Radial, Grid or Mirror Repeat with the Selection
tool enters isolation mode on it. There its source art is selected and
edited as usual (a double-click on type in it switches to the Type tool
on that text) and every copy follows, the repeat keeping its settings.
Where a line lies under the outline of a closed path in front of it (such as
a shape an earlier merge made, which takes the place of the art in front of
the lines), the planar map gave that stretch only to the closed path, so the
line had no piece there. A merge or an erase across it left the line whole,
and the next map split the new shape along it into two regions.
- pathops: each planar edge records every input it lies on, and
BuilderArrangement::lines_under holds the lines' pieces under a closed
outline in front of them. lines, edges and Live Paint are unchanged.
- tools: BuilderMap adds those pieces to its lines, so a merge or an erase
removes the stretch between the regions it takes, as it does elsewhere.
An Alt-click where a line lies under an edge hits the one in front.
With one Objects on Path group selected, the Selection and Objects on
Path tools show a round handle beyond the top of the group's first
object, joined by a line to its attachment point. Dragging it adds the
angle the pointer turns about that point to the group's Rotate, previewed
while dragging and kept as one undo step on release
(object.objectsOnPath.options). Shift turns in 15 degree steps, Escape
cancels the drag, and the pointer shows the rotate cursor over the
handle.
Docs: docs/target-app-parity.md, docs/mcp.md.
The bucket outlines the face under the pointer at its Width setting and an
edge at half of it (4 px and 2 px by default), as the help page says faces
are highlighted with a thick line and edges with a thin line. The Live
Paint Selection tool keeps one width for faces and edges.
Baseline shift now moves a character in the line's frame, outside
Character Rotation, so a positive shift moves a character up from its
line at any rotation, and the character turns about its shifted pen
position. The Touch Type tool splits a drag into its part along the line
(kerning) and its part up from the line (baseline shift) at every
rotation; before, within about 6 degrees of a quarter turn it dropped
the cross-line part.
Characters that already combine a rotation with a baseline shift are
drawn in a new position. Their stored values do not change.
- text: glyph transform order, PositionedGlyph::pivot (the turning
point), tab leaders in the same order
- tools: Touch Type splits drags against the line's up axis and measures
rotate-handle turns about the shifted pen position
- engine: text.touchType description; dy is up from the line
- docs: mcp.md Touch Type paragraph, target-app-parity.md progress line
dotCooCoo