The previous commit took the spans from how far each piece bends away
from the split whenever both handles there were within ONE_CURVE of the
anchor. A curve that barely moves at the split but doesn't bend there
(a straight one, say) has short handles and no bend, so that gave 0/0
and the side fell back to the polygon shares. Now the spans come from
whichever pair is the longer: the handles, or the bends (which go with
the squares of the spans). The check of every piece against the
rebuilt curve is unchanged.
Test: a_split_curve_keeps_the_top_object_patch_where_it_barely_moves_and_runs_straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The sweep filtered by transparency kept every open box in one tree, so
a box without transparency met every open box without transparency it
overlapped, though such pairs never join. Both sweeps closed an open
box early only when a later box held it, so in a nest of boxes that
share their left and top edges and get smaller to the right and
bottom, each box met every earlier box around it. One see-through
object inside 512 nested opaque objects took 130,817 meets in the
unfiltered sweep and 131,328 in the filtered one.
The filtered sweep now keeps open see-through boxes and open opaque
boxes in separate trees. An opaque box looks only in the see-through
tree; a see-through box looks in both.
In both sweeps, a box inside an open box it met, ending no further
right, is not opened when that box joins everything it overlaps (any
box without the filter, a see-through box with it). Whatever later
overlaps the inner box overlaps the outer one.
The nest above now takes 512 meets in each sweep, and a nest of 512
boxes alone takes 511 in the unfiltered sweep where it took 130,816.
The groups are unchanged.
An image placed several times in an EPS file (the pieces of an envelope
or a Warp effect, copies of one image, a symbol's instances) wrote its
whole ASCII85 data at every placement: 200 copies for one envelope at
the default fidelity, enough for a large photo to pass the 256 MB page
limit and lose pieces.
The samples of such an image are now written once in the setup as
VCim<i>, and each placement reads them from there:
- Level 3: a ReusableStreamDecode stream, rewound with resetfile and
read through a new FlateDecode filter at each placement.
- Level 2: an array of strings of at most 49,152 compressed bytes, fed
to RunLengthDecode by a procedure.
An image placed once is written where it is drawn, byte for byte as
before. The page limit counts a repeated image's samples once, and a
colorized image is reused per ink.
A paragraph format given to the empty paragraph after a frame's last
paragraph break was lost when the story flowed again: the paragraph is
shared with the next frame's first paragraph, and the next frame's old
style replaced it, in that frame and in the frames after it.
- The thread reflow also notes which frames' last paragraph changed
style, and story_paras_restyled keeps that style against the next
frame's unedited first paragraph, across unedited empty frames too.
When the same edit formats the next frame's first paragraph, that
format applies, as before.
- story_paras keeps its behavior for its other callers.
- Tests cover area type and type on a path on either side, a next frame
holding text, three frames, undo and redo, a format that changes
nothing, and numbered list counts.
Split where the curve stops (a cusp), both handles at the split lie on
the anchor, so their lengths say nothing of how the curve's parameter
divides between the two pieces, and the side fell back to the polygon
shares. When both handles lie within ONE_CURVE of the anchor, the
spans now come from how far each piece bends away from it (the second
derivatives, in proportion to the squares of the spans). The existing
check of every piece against the rebuilt curve is unchanged.
Test: a_split_curve_keeps_the_top_object_patch_when_split_at_a_cusp.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A text chunk placed by an absolute x was measured from the pen of its
first character to the farthest glyph end. The first character of a
right-to-left chunk is drawn at its right, so a chunk of several such
characters was measured as that one character: anchored by middle or
end, or starting a line beside absolutely placed characters, it opened
off its position by the width of its other characters.
- A chunk's left and right edges are the smallest glyph start and the
largest glyph end over all its characters, as SVG 2 anchors a chunk
(https://www.w3.org/TR/SVG2/text.html#TextLayoutAlgorithm). The first
character's pen is placed at its own distance from the left edge.
- The layout that measures the chunks has the direction the imported
text gets: left to right unless the text's direction is rtl. Text
starting with a digit and holding right-to-left letters was measured
right to left.
- The chunks are measured in the first of the layouts that kern the
characters onto their x, so anchored text is laid out once less.
A live-effect plug-in that paints its pieces draws each piece's brushed
stroke along the piece's path at the piece's stroke width. Culling left
room for brush art from the object's own stroke width around the
pieces, so brush art of a moved or wider piece was cut off at the edge
of the view. Culling now leaves 16 x the piece's stroke width + 8 pt
past each brushed piece, and does so for a symbol instance whose art
holds such a path (measured once per symbol) and for a blend, envelope
or repeat that holds one. Object > Rasterize measures the brush art
drawn along each piece and leaves out the object's own brush art, which
is not drawn.
Groups and layers now leave room for their members' brush art. The
cull bounds of a group or layer united its members' bounds without the
room each brushed member leaves, so the painted bounds of a group, and
the area redrawn when it changes, left out brush art past its members'
strokes. That applied to plain brushed paths as well as painted pieces.
Each member is now measured as the renderer measures it when it draws
the group, in the members of a group with a fill, stroke or adjustment
of its own and in a group with crop marks or Vector Halftone too.
measured_arclen returned kurbo's arc length unchecked. For a quadratic
segment whose three points coincide, kurbo 0.13.1's QuadBez::arclen
multiplies 0 by infinity and returns NaN. measured_arclen now returns 0
when the measurement is not finite, the same value it gives a segment it
does not measure. Finite results are unchanged.
Offset Path now turns the overlap sweep the way Outline Stroke and
Unite do. When the estimate for its fill, the ring stroked around it
and the outline of its open subpaths is under two thirds as large for
the parts turned a quarter turn, the faces are found on the turned
parts, the faces within the offset distance of the path are dropped by
testing their points turned back, and the result is turned back.
On an open path of 10,000 anchors in rows of 1,000, offsetting by 2 pt
takes 1.0 s of processor time instead of 1.8 s in a release build.
The offset of a long, low path has as many subpaths as the offset of
the same path stood on end, and the area where the two differ is no
larger than the refit precision times the outline's length.
A top-object envelope gives each piece of a side a share of the content
in proportion to its control polygon's length. When anchors split a
curve without changing its shape, the pieces' polygons don't divide the
side where the curve's own parameter does, so the envelope bent its
contents differently although its outline was the same: Add Anchor
Points on a top object moved the art, and a top object whose .ai mesh
saves each side's curve split into thirds drew its type up to about
half a point off its drawn art, which follows the whole curve's
parameter.
Coons::from_top_object now checks whether a side's pieces, from corner
to corner, are all pieces of one cubic. The pieces' spans of that
curve's parameter come from the handle lengths either side of each
split, the curve from the outer ends and handles, and every piece must
lie within 0.02 pt of the curve's piece over its span (each control
point). Such a side runs along that curve, by its parameter. Any other
side keeps the polygon shares, including a side only partly made of one
curve and a smooth side drawn in many pieces that isn't one curve as a
whole. Corners found from the outline can still move when anchors are
added, as before. Gradient meshes made from a path are unchanged.
Existing top-object envelopes with such sides redraw.
a_split_curve_moves_the_top_object_share_to_its_new_anchor, which
pinned the earlier behaviour, becomes a_split_curve_keeps_the_top_object_patch.
Tests: a_split_curve_keeps_the_top_object_patch,
a_top_object_joins_a_split_curve_saved_with_rounded_coordinates,
a_top_object_keeps_smoothly_joined_curves_apart,
a_top_object_side_partly_of_one_curve_keeps_the_polygon_shares and
a_top_object_side_of_many_arcs_stays_on_them (vectorcraft-doc),
envelope_top_object_keeps_its_look_when_anchors_are_added
(vectorcraft-engine) and
a_top_object_whose_top_is_one_curve_split_in_thirds_opens_live
(vectorcraft-eps).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A Linear pick that the Smart Guides left where the pointer already was,
for example straight below the first point on the vertical construction
guide through it, or exactly in line with an object's center, was taken
as not snapped. The pick then moved to the closest point of a segment
within 8 pixels while the guide still showed it on the guide. The same
happened to a point already on a grid crossing with Snap to Grid on, or
on a whole pixel with Snap to Pixel on.
The pick now keeps the snapped point whenever the snap shows guides or
grid or pixel snapping is on. With Snap to Grid or Snap to Pixel on, a
pick off an anchor is no longer moved from the grid or the whole pixel
onto a segment. A point that no
anchor, guide, grid or pixel snapping places still lands on the closest
point of a segment. An anchor within 8 pixels, a segment within the
Smart Guides snapping tolerance and a nearby guide crossing still take
the point as before.
Docs: docs/dimensions.md, docs/target-app-parity.md.
Dutch was not in COMPLETE_MESSAGES, so with the interface in Dutch
script errors, plug-in manifest and permission errors, parameter
schema errors, 3D effect refusals, file-reader errors and data-set
messages showed in English.
- nl.tsv gains 557 `@msg` rows and one `@msgplural` row: the messages
the German catalog translates and Dutch lacked. Most are one block
with a header comment on their conventions, in the order de.tsv
holds them; the rest sit next to the related existing rows.
Backticked names, command ids, double-quoted values and bare true,
false and null stay as the English writes them.
- nl joins COMPLETE_MESSAGES, so the message tests that iterate the
list check Dutch too, and the untranslated report lists Dutch's
missing messages. It lists the same set for Dutch as for German.
- The registry comment, docs/development.md, the Dutch row and
introduction of docs/localization-parity.md, and the interface
languages line of docs/target-app-parity.md list Dutch among the
languages that translate messages.
A right or middle drag on a swatch or color group, a brush, a symbol, a
graphic style, a library item or group, a character or paragraph style,
an Appearance row or thumbnail, the Fill and Stroke squares, a Recent
Colors chip or the Gradient panel's thumbnail started the same drag as
the primary button, so it could reorder, copy, delete or apply the item.
These drags now start only with the primary button, as Layers rows
(#7016) and Artboards rows (#7005) do: `widgets::drag_source`, the
Swatches tiles, library panel items, text style rows and Appearance rows
check `drag_started_by(Primary)`, and the Appearance thumbnail shows the
grabbing hand only for a primary drag. Right-click menus and the Graphic
Styles panel's held right-button preview are unchanged.
A right-click on a character style in the Libraries panel now opens Apply
Character Style, Add to Character Styles, Move to Group, Rename… and
Delete. Apply is enabled only with type selected. Opening the menu applies
nothing, and the paragraph style menu is unchanged.
- library.addToCharacterStyles adds the style to the document's character
styles without applying it, so no type needs to be selected. A document
style with the same name and attributes is reused with no undo step, and
a name taken by other attributes gets a number.
- library.renameItem renames a library item in place and keeps its group.
The name is trimmed and has 1 to 256 characters. Another item of the same
kind with that name is an error, the item's own name writes nothing, and
a rename is not a document undo step.
- library.use and library.addToCharacterStyles compare a library style
with the document's in the form the document stores it in. A whole
number size from a library file no longer adds a numbered copy.
- A character style color linked to a swatch that is not a global or spot
swatch of the document keeps the color it shows without the link.
Before, adding or applying such a style failed with "no swatch".
Help page: https://helpx.adobe.com/illustrator/desktop/design-with-text/fonts-and-scripts/add-and-use-text-and-character-styles-in-libraries.html
path.smoothRegion replaced the anchors of each path it smoothed but left
the selection alone, so anchor and segment refs selected with Direct
Selection still named the old indices: after a smooth that removed
anchors, a ref could point past the end of the path or at another
anchor. The edit now drops those refs for each path it changes, so the
path stays selected whole. Selected paths the drag does not change keep
their anchors, and undo restores the earlier selection.
SVG 2 defines text-anchor start for right-to-left text as placing the
right side of the text at its position, and end as placing the left
side there (https://www.w3.org/TR/SVG2/text.html#TextAnchoringProperties).
Import placed start at the left edge and end at the right edge whatever
the direction.
- Point type and type on a path swap start and end when the effective
direction is rtl. On a path, right-to-left text anchored by start now
ends at startOffset and text anchored by end begins there. Vertical
type keeps its anchoring.
- Each line and each absolutely placed chunk is anchored by the
text-anchor and direction of the element holding its first
character, a tspan's own included. A later chunk no longer takes the
first chunk's anchor.
- Each line of point type starts at its own x, also when it has the
same anchor as the line before it or another line holds absolutely
placed characters. Such lines were drawn at the first line's x.
- A test covers letter-spaced right-to-left lines: the layout keeps the
tracking of every letter in such a line, so the whole advance sits
on its anchor.
Stroke is the widest feature that can be stroked, and it was applied to
each connected shape as a whole: a thick body with thin arms stayed one
filled area. Now a shape wider than Stroke somewhere keeps as its area
every disc wider than Stroke that fits in it, and each piece outside
those discs that reaches out of them at least one and a half times its
own width (and 3 px) is traced as a stroked center line. A line's end at
the area goes to the cut, so the line's cap closes the join. Corners and
edge slivers stay in the area, and a piece that cannot be traced stays
in it too. Shapes no wider than Stroke trace as before.
Each line keeps one width; without Fills, the area is still a 1 px
outline.
Docs: docs/target-app-parity.md.
BFlat