Document::symbol_art_bounds measured a symbol's art without the
document, so an instance of another symbol in that art counted as the
20 x 20 square. It now measures the art through SymbolBoxes, so a nested
instance takes its own symbol's art, and an inline graphic of the outer
symbol is sized by it and follows it when that symbol changes.
- The inline resolve order also follows the instances that size a
symbol's art, so a symbol is measured after the type in the art of
the symbols it holds is laid out again.
- A symbol whose art reaches itself through an instance and an inline
graphic is an empty slot. Only instances that the measurement uses
count, so one a clipping path hides adds no dependency.
- A missing symbol, a symbol without art, a symbol that holds an
instance of itself, and nesting 32 deep still measure as the square.
- SymbolBoxes finds symbols through a name index built once, and the
inline resolve pass and inline_art_bounds share one index, instead
of scanning the symbol list for each lookup.
A gradient stop linked to a spot ink that also carries process plates
(a DeviceN stop opened from a PDF) printed only its spot tint: print
separations and Separations Preview left its Cyan, Magenta, Yellow and
Black plates blank. They now print the stop's plates beside the tint.
With spots printed as process, each process plate prints the stop's
plate layered with the spot tint's process equivalent, as a separated
image's spot plates layer. Plates beside no spot link, or beside
Registration, still print nothing of their own.
The color visitor also skipped a freeform gradient's points, so print
plates kept their display colors and Document Color Mode left them
unconverted. The points are now visited as unlinked colors.
Document::guides_to_saved, remove_edit_layer, retain_guides and the
artboard guide moves now call the layer helpers in node/ops.rs
(held_guides, strip_held, map_held), which Node::strip_ruler_guides and
Node::map_ruler_guide_positions already use. The copies in
document_guides.rs (picked_in_layers, drop_picked, edit_picked) are
removed. Picked stays for the walks through objects and opacity-mask art.
Results, guide order, copies kept for undo and the number of nodes each
walk looks at are unchanged.
A blend between two gradients whose matching stops are tints of one spot
swatch kept the link and interpolated the tint, but every step's stop lost
the process inks (C, M, Y, K) printed with the spot ink, so PDF export wrote
the steps as the spot ink alone.
- Matching stops linked to one swatch interpolate each process ink with the
tint; a stop without process inks counts as none of each, and the ends
keep their own.
- Gradients with different stop counts keep the inks at every resampled
stop, interpolated with the midpoint-adjusted fraction between two stops
of one swatch.
- A solid blended with a gradient brings no process inks of its own: its
stand-in gradient no longer copies the other gradient's.
Stops of different swatches, or linked and unlinked stops, still blend into
unlinked process colors without plates.
A CMYK TIFF written again, a CMYK JPEG that the Compression settings
resample or compress again, and a CMYK image written with its mask as
its soft mask lost the CMYK profile the image embeds. Such an image is
now written in an ICCBased space holding that profile, byte for byte,
when output.profiles is all or taggedSource, and in PDF/A-2b, PDF/X-3
and PDF/X-4 unless profiles is destination. Pixels the Output settings
convert are never tagged with it.
A CMYK JPEG embedded as it is now follows the same rule instead of
always carrying its own ICC_PROFILE segments: with profiles none it is
DeviceCMYK, and PDF/X-1a export no longer refuses a CMYK JPEG that
carries a profile.
A profile tags an image only when it is at most 16 MiB and its declared
size, acsp signature, device class, CMYK color space and tag table are
well formed. Tagged CMYK documents blend transparency in the document's
CMYK profile space, not in an image's own; without that space they
blend in DeviceCMYK, or keep their RGB space in PDF/A.
Place, Open and relink read a CMYK or grayscale TIFF with an alpha
channel through extra_samples_tiff_rgba, which cut every 16-bit sample
to its high byte before converting it. A faint ink or a low alpha was
lost: cyan 129 at full alpha showed as white, and an alpha of 129
became fully transparent.
The samples are now normalized at the depth the file stores them, and
only the resulting color and alpha are rounded to 8 bits (a 16-bit
alpha to the nearest 8-bit value). Associated alpha is divided out at
16 bits. A pixel whose associated alpha is zero now has no color,
instead of keeping its stored color. TIFF 6.0's Associated Alpha
Handling section states this arithmetic and the zero-alpha rule for
RGB data; applying them to CMYK and gray samples is VectorCraft's own
rule.
Character panel > Tsume, shown with Show East Asian Options, takes away a
percentage of the blank space on each side of a character's ink, inside
its own width, in horizontal type. The value is from 0 to 100, 0 by
default. 50 halves that space and 100 sets the ink against the
characters before and after it; the glyph keeps its shape. A character
without ink, such as a space, keeps its width, and a ligature or a
letter with its marks takes the value of its first character. The
font's pair kerning, tracking, manual kerning and Insert Aki are added
after it, and justification keeps it. Vertical type keeps its spacing.
- text.setFormat and text.setRangeStyle take `tsume`; a value that is
not a number or is outside 0 to 100 is refused, naming the key.
Character styles carry it, and a file holding a value outside the
range opens with the nearer end.
- The Character panel's Tsume field has 0, 25, 50, 75 and 100 in its
menu, and Reset Panel sets it to 0. Character Style Options shows it
in Advanced Character Formats.
- Live SVG text places each character Tsume moves, and type on a path
with Tsume is written as outlines.
Docs: docs/mcp.md (Tsume, Character Style Options fields),
docs/target-app-parity.md.
Linked images and placed documents in the art of the stored brushes (a
scatter or art brush's art, a pattern brush's tiles) are listed in the
Links panel after the other stored art, one row per linked or placed
object in each brush tile, with the brush as owner
(`{kind: brush, name, index, tile?}`). Check Links, the missing and
modified files reported on open, the link watch, Find in Folder, Relink
(including Relink All Instances), Update, Embed, Placement Options, Link
Info and Go To act on them, and their tooltip names the brush.
- vectorcraft-doc: `Document::mounted_art` holds art kept outside the
document's trees while a command looks it up by id; the stored-art
lookups, link visitors and `art_roots` include it, and
`number_mounted_art` gives its objects ids of their own.
- vectorcraft-brush: `stored_art::StoredArt` mounts the art of the
brushes that hold images or placed documents and writes back only the
entries whose art changed. Entries that do not read as a brush are left
as stored. `brush::store` keeps ids of their own in that art, so a row
keeps its id between commands.
- vectorcraft-engine: the links commands, opening a document, saving a
placed document's source, output of linked files and placed documents,
color masks after Update or Relink, and Package relinking go through
the mounted art.
Brush art rows follow the general Links rule as VectorCraft's own
application of it.
An unlinked aligned dimension that was reflected on its own kept its
offset, which is measured along the left normal of a to b. A reflection
turns that normal to the other side, so a line 30 pt above two level
points stayed 30 pt above them after a flip top to bottom instead of
going below them. The offset now changes sign when the transform
reverses orientation, as a reflection or a scale by a negative factor
does. Other transforms leave it as before, and linked, horizontal and
vertical dimensions keep their own rules.
Docs: docs/dimensions.md.
Expand kept a face only when its topmost fill had paint, and an edge only
when its topmost stroke had paint and a weight. A face or edge drawn by a
lower row under an unpainted top row was removed, and one whose only
painted row was hidden was kept as a visible path.
Expand now keeps a face or edge when it is shown, its opacity is above 0,
and any fill or stroke row is shown, has paint and an opacity above 0 (a
stroke also a weight above 0), with all of its rows. The rows are checked
with the new Appearance::has_drawn_fill and has_drawn_stroke.
Merge carried a face's topmost fill paint by the same topmost-row test.
It now carries every row of each face that draws by this rule, and of
each edge, pins their unplaced gradients to the old outline as
repaint_from does, and leaves the strokes' pen pressure, tilt, bearing
and rotation behind, since the rebuilt parts are other paths.
Docs: livePaint.expand params text, docs/mcp.md, and a line in
docs/target-app-parity.md, which also drops a repeated Live Paint
Selection marquee line.
After Reset Bounding Box on a turned symbol instance, Break Link to
Symbol and Object > Expand gave the art a box turned with the instance's
transform again. The art's boxes now turn with the instance's own box,
so they stand square when the instance's box did, and the angles the
art has inside the symbol are kept relative to it. The group that an
instance's opacity, blending mode or opacity mask adds around the art
takes the instance's box angle instead of standing square to the page.
A reflected instance can hold a box 180 degrees from the box its
transform gives in one step; the art now takes the instance's box
there too, the same rectangle with its handles where the instance had
them.
Compound shapes and Pathfinder receive an instance's art through the
same rule.
The clip groups and clip paths that 9-slice guides make for gradient
and pattern art take the angle of the cell that places them, and the
outer group keeps the object's angle turned by the instance, instead
of standing square to the page. This also changes the result for an
instance that was never reset: a 20 degree sliced instance gave clip
groups at 0 degrees and now gives them at 20.
Docs: params text, docs/mcp.md, docs/target-app-parity.md.
A symbol instance colored with the Symbol Stainer lost its stain in
export whenever the canvas's stained art was not used:
- An instance with geometry effects was reshaped for export from the
symbol's art with only its dynamic changes, so SVG, PDF, EPS, .ai,
DXF, EMF/WMF and HPGL wrote the unstained colors. A color adjustment
on an instance recolored the unstained art the same way.
- PDF, EPS, legacy .ai, DXF and EMF/WMF wrote an instance without
effects from the unstained art.
tint_node, stain and instance_art now live in
vectorcraft_doc::symbol_overrides, which both the effects and the
exporters can use; vectorcraft_brush re-exports them. Baking, color
adjustments and the writers above now use instance_art: dynamic changes
first, then the stain.
Node::strip_ruler_guides and Node::map_ruler_guide_positions asked a
layer whether its whole subtree held a ruler guide, then asked each
sublayer the same question again when filtering the children and again
when the recursive call started. A layer nested d deep was tested
2d + 1 times, so a chain of N layers cost about N^2 layer tests.
strip_ruler_guides runs when a document's objects are placed or pasted
(Clipboard::from_document), when a copy of the document is saved
(Document::guides_to_saved) and when a temporary editing layer is
removed (Document::remove_edit_layer). map_ruler_guide_positions runs
when an imported EPS is scaled.
A new held_guides reads the layer once and records which children are
ruler guides and which sublayers hold one; strip_held and map_held then
visit and copy only those sublayers. The guides removed, the order f is
called in, the art and its order, and the sharing of layers without a
guide are the same as before. Neither method records an undo step.
Deleting ruler guides and moving or scaling an artboard's guides asked
each layer whether its whole subtree held a matching guide, then asked
every sublayer the same question again on the way down. A layer nested
N deep was scanned N times, so a chain of N layers cost N(N+1)/2 layer
scans.
One read walk now records which children match and which sublayers hold
a match, and the edit visits and copies only those layers. The guides
removed, the count returned, the selection, the order the guides are
changed in and the sharing of untouched layers are the same as before.
The same walk replaces the repeated subtree scans in the other guide
edits in this file:
- tidying the ruler guides of an opened file (guides below art, in
objects, in opacity-mask art, in symbols and patterns)
- saving the guides as a list
- removing an editing layer while keeping its guides
A graph series kept a gradient with the document coordinates it had on
the one mark it was stored from, and gave that paint unchanged to every
mark when the graph was drawn again. The other marks showed the gradient
placed over the edited mark, and the placement stayed behind when the
data or the graph moved the marks.
The graph now stores a gradient relative to the unit box of the mark it
comes from (its geometric bounds, or its stroke's box for a stroke).
Each path of the series, the legend swatch and a Filled Lines band
included, takes it on its own box. Every store route does this:
paint.setFill and paint.setStroke, the Eyedropper, graphic styles,
Appearance commands, paint.setGradientGeom and the freeform point
edits. A command that writes a mark's paint as the graph drew it leaves
the stored gradient as it is and records no undo step.
The series paints save this as fillUnitBox and strokeUnitBox. A
gradient in a file saved without these flags is drawn where it was
stored. So is a gradient stored from a path with no width or height.
Docs: docs/mcp.md, the paint.setGradientGeom params text and the Graphs
line in docs/target-app-parity.md.
When a read document is brought within the canvas, each saved guide was
checked against the removed artboard ids and the removed layer ids with
linear scans, and each guide node against the removed artboard ids, so
the work grew with the number of guides times the number of removed ids.
The ids are now collected into ordered sets, and each guide is checked
in logarithmic time.
Removing what lies beyond the canvas scanned each container's whole
subtree to see whether anything reached beyond, then scanned each child
again while removing, one level down at a time, so a deeply nested
object was measured once for every group around it. Removing guide nodes
probed each layer's subtree the same way before descending into its
sublayers. Both now make one read-only walk that records, by index,
which objects reach beyond (or which guides are removed), and the
removal follows that record. The objects clipped by a clipping path
beyond the canvas are still not measured.
Containers with nothing to remove are still not copied. The objects and
guides that remain, their order, the counts, the retired artboard ids
and the saved selections are unchanged.
BFlat