The Limited palette's median cut ranks cuts by pixel-weighted gain. A
large near-black ground with faint noise therefore took two colors less
than 0.02 apart in Oklab, and the trace drew blotches of one over the
other.
With 9 to 16 colors, a cut whose two sides both have a dark gray mean
(Oklab lightness under 0.30, chroma under 0.03) and lie less than 0.03
apart now has its gain scaled by (distance / 0.03)^2 while the cut is
chosen. The ground keeps one color, and the color it would have taken
goes to another cut. Document Library without swatches follows Limited.
Other color counts, Full Tone and Automatic choose the same cuts as
before.
Art and pattern brushes bent their art along the chords of the flattened
path, with the tangent blended linearly between vertices, and scatter
brushes placed and turned their copies on the same chords. On a smooth
curve the bent art's edges followed the chords, and the curve fitted to
the result turned by up to a few degrees at its smooth anchors.
- On a chord that comes from flattening a curve, the frame now follows
the cubic through both vertices with their tangents, so position and
tangent meet at every vertex. A vertex tangent between two such chords
is the tangent of the circle through the vertex and its neighbors, and
it stays within a few times the flattening tolerance of each chord, so
the frame stays near the curve next to a long chord. A curved chord
whose end tangents turn further than that keeps to the chord.
- Art on a line of the path stays on the line, and a line keeps its own
direction where it meets a curve.
- A calligraphic nib that follows the pen samples between vertices on
the same frame, so its outline keeps its distance from the curve.
A graph draws the art of a column or marker design inside a series again
from the stored design. Rows, effects and graphic styles that a command
gave that art were lost the next time the graph's data, type or size
changed. The paint commands already left the art out.
- The appearance.* row and whole-appearance commands, effect.apply,
appearance.addEffect and the effect.* commands that edit, move or
remove an effect, threeD.mapGraphic, graphicStyle.apply,
graphicStyle.addFromLibrary with apply, transparency.set with a fill
or stroke item, and appearance.copyFrom (as the target) leave out any
object inside a series group other than a path directly in it, given
by id, selected or reached through target: "contents". They edit the
other objects given, and a command whose objects are all design art
is an error.
- appearance.transfer with design art as its target, or as its source
without copy, is an error.
- A Pathfinder effect no longer groups selected design art.
- The paint commands given a design's copy with a fill or stroke item
leave it out as well.
docs/mcp.md states the rule, and the Graphs line in
docs/target-app-parity.md names it.
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 PDF-compatible .ai saved with Include Editing Data for Other Apps
wrote no text wrap options, so a wrap object opened from the file no
longer wrapped type. An object with only wrap options got no
dictionary at all.
The writer now writes each wrap object's options in its dictionary as
`AI11TextWrapOffset` (`/Real`) and `AI11TextWrapInvert` (`/Bool`, 1 or
0), the entries `text_wrap` in crates/eps/src/import/ai/read/document.rs
reads, beside the object's name, variables and opacity mask.
- The offset is the one in the art's space, so on a large canvas it is
written at 1/10 and read back at its size. An offset that is not
finite is written as the default 6 pt, and one past the -1000 to
1000 pt the reader keeps as the nearer end of that range.
- Art the writer draws for an object (a blend's steps, a symbol
instance written as its art, a brushed stroke's pieces, pattern
tiles, an object's drawn look) is written without the options of the
objects it is made from. The object itself and a symbol's own art
keep theirs.
- A clipping path written as its fills and its strokes has its options
once.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
Session::replace_document on a tab other than the current one cleared
the bounds of type set in a font named like a composite font and left
that type with estimated bounds until the document came to the front.
- The replacement's type without bounds is measured at once, in the
document's own composite fonts, lent for the measuring. The front
document stays the one whose composite fonts are registered.
- When the document then comes to the front unchanged, its type in its
own composite fonts is not measured again. Type set in a composite
font only another document defines is still measured again, as
missing, and so is type set in a composite font name that another
thread's loan held with a different definition.
BFlat