The Assign rows of the Separations panel's Color Settings section (where
Edit > Assign Profile... goes) offer the three choices of the help's
"Assign or remove a color profile": Don't Color Manage This Document, the
working space of the document's color mode with its name, and Profile with
the other profiles of that kind.
The rows act on the profile of the document's color mode, so an RGB
document's RGB profile can be assigned here; before, the row always set
the CMYK profile. Picking the working space assigns its profile, which
stays when the working space changes later. A choice the document already
has runs nothing, and the other model's profile stays as it is.
Params text, docs/mcp.md and the evidence line in
docs/target-app-parity.md are updated, with catalog rows for the new
labels.
Pattern Options gets the Move Tile with Art checkbox under Size Tile to
Art. With it on, a move of all of the tile art in pattern editing mode
moves the tile as far as the art moved, pixel-grid snapping included:
object.move, object.nudge, object.transform with a translation, and
drags with the Selection tool. A group counts as moved when each of its
members moved. A move of only
some of the art, a copy, a rotation, a scale and a move of
direct-selected anchors leave the tile where it is. The option is off
for a new pattern.
pattern.options takes moveTileWithArt and pattern.list reports it. A
pattern.options call that changes nothing no longer records an undo
step.
Linked pages on their trim boxes were spaced by the 36 pt gap alone, so
with a large bleed one page's bleed box reached into the next artboard
and a page export could show part of its neighbor. The artboards are
now laid out once the document's bleed is known, 36 pt apart plus the
bleed on both sides: the document's bleed, or a page's own bleed box
where it reaches farther.
The art's bounds no longer clip art that 9-slice guides place, or refuse
art that an instance shows through a nested instance:
- An instance whose art goes through 9-slice guides, at any depth, is
measured as its art placed through the guides, with the objects the
plot leaves out hidden after placing. Leaving them out first changed
the box the guides cut.
- Hidden art is not placed, so it does not use up the limit on placed
objects that the visible instances share.
- The copy of a dynamic symbol that an instance's changes are measured
on keeps the symbol's 9-slice guides and natural size.
- The changes of the instances in a dynamic symbol's art are collected
from all of the art, also from objects at 0% opacity or without paint,
which an instance of the symbol can change.
Merge current main and retain both the Pencil snapping documentation and Tech Circuit library evidence. Only docs/mcp.md required manual conflict resolution. Focused checks passed: no conflict markers or whitespace errors, all 28 catalogs retain four unique nonempty labels, and brush implementation/tests remain unchanged. No full local Cargo CI rerun.
With Output › Convert to Destination and a CMYK destination, or an RGB
destination other than sRGB that images are converted to, an RGB image
that carries an ICC profile had its numbers read as sRGB, so a Display
P3 image came out with the wrong colors. Such an image is now converted
from its profile to sRGB with the color settings' rendering intent, then
to the destination.
- An untagged image converts from sRGB as before.
- A gray image keeps its profile, as gray is not converted.
- A profile the color engine can't read leaves the numbers read as sRGB,
with a warning.
- Preserve Numbers is unchanged.
docs/mcp.md, the document.exportPdf params text and the progress doc
describe the behavior.
With Output > Convert to Destination and an sRGB destination, a gray or
RGB image that carries an ICC profile (a Display P3 TIFF, a PNG or JPEG
with an embedded profile) is converted from that profile to sRGB with
the color settings' rendering intent and written without the profile.
Before, it kept its own numbers and profile.
- A 16-bit image that is not resampled or recompressed stays at 16 bits
a sample from PDF 1.5 on.
- A JPEG kept as JPEG whose samples the conversion leaves unchanged (an
sRGB profile) keeps its JPEG data; other JPEGs are encoded again.
- A black-and-white image whose converted levels are gray is compressed
as grayscale.
- A profile the color engine can't read is kept, with a warning.
- Without conversion, and with Preserve Numbers, images keep their
profile as before.
IccProfile::to_srgb_pixels converts a run of pixels in one pass.
Docs: docs/mcp.md, document.exportPdf params, target-app-parity.
With linkPages and cropTo: crop, a PDF-compatible .ai opened on its crop
boxes, while opening it as art uses its trim boxes. It now uses the trim
boxes too. A page on its trim box shows its bleed box round the
artboard, and the pages' bleed (the widest on each side) becomes the
document's bleed, as the importer sets it.
linkPages read and checked the whole PDF again for every page it
linked. The pages are now read from the file opened once. With
cropTo: bounding, a blank page stopped the open with "has no art to
place"; it now gets its crop box, as opening the page as art does.
linkPages refused other files but let a .ai whose page is only a
placeholder through, and each such page then showed the file's editing
data. A page read from editing data is now refused with the existing
error. The file is also hashed once for all its linked pages instead
of once per page.
- A form other than the default, set with text.setRangeStyle or
text.setFormat, takes away the characters' glyph choice, which would
otherwise keep drawing its own glyph. "default" keeps it.
- With a width form (fwid, hwid, twid, qwid), shaping leaves out palt and
turns kern and apkn off, and SVG output writes font-kerning: none and no
palt, as the OpenType feature list asks. proportionalMetrics and kerning
keep their values.
- The Glyphs panel menu counts a width form as available when a face has
the feature in GSUB or GPOS.
- At a caret, the menu's check marks and its no-op check read all the
text of the object, which is what the command formats. Choosing the
current form again is not skipped when a character has a glyph choice.
An action or journal entry recorded before Scale and Reflect followed the
turned bounding box has no basis value. Replayed, such a step now acts along
the page's axes, as it did when it was recorded; steps recorded now carry
basis "box" and replay along the box. The built-in Reflect Horizontal action
names basis "box", so it keeps reflecting across the box's own axis.
The symbol test that reflects a turned instance names basis "page", which
is the reflection it was written for.
The measurement that runs before the style cascade and usvg now covers
the inputs that still got past it:
- usvg matches a selector without keeping what it found, so one whose
leftmost part matches nothing tests every set of ancestors in turn.
The measurement counts those tests for each copy and stops at
50,000,000; past that the SVG is refused with "the SVG's style sheets
take too long to match". An SVG image's matching stops at what the
SVG showing it left.
- A test counts one more for every 16 attributes a lookup scans and
every 16 bytes of the value it compares, so many classes against a
long class list count the work they do, in usvg's matching and in
the import's own cascade.
- The declarations the import's own cascade keeps, once per element,
count toward the 64 MB, including those of `:not()` rules, which usvg
drops. Each `:not()` alternative counts as a test.
- A linked SVG file is measured before its cascade runs. The linked SVG
files share one measurement: once they pass the limits together, the
files after that are shown without their links. The tests a file past
the limits made still count.
- SVG images share the element limit and the selector tests with the
SVG showing them, as they already shared the 64 MB.
The svg_filters reader measures its SVG before the cascade too.
A PSD or PSB file can name one of its saved paths (image resources 2000
to 2997) as its clipping path in resource 2999. psdread::clipping_path
reads that path in the image's pixel space, under the even-odd rule the
file format specification gives, with a subpath around the whole image
first when the initial fill record says the fill starts with all
pixels.
File > Place of such a file, and File > Open of its merged image, put
the image in a clip group of that path with no paint. file.place answers
the image's id as `image`, as for a DCS file. Replacing an image alone
in a clip group with such a file keeps the image's scale and rotation.
links.update and links.relink leave the clip group as it is. Files that
name no clipping path come in as before.
The Rough Pastels dialog has a Load Texture… button, as Glass and
Texturizer have. The image's gray levels become the paper surface,
stored with the effect as `textureImage` and listed as Loaded Texture
in the Texture menu; Scaling, Relief, Light Direction and Invert act on
it as on the built-in surfaces. The dialog's Texture and Light
Direction controls are now menus instead of text fields.
effect.apply and effect.setParams read `textureImage` from a file or
take the stored string and refuse anything else, and a plug-in filter
cannot have the host read a file for it.
In the Effect Gallery's Settings, a file dialog that answers later
(the macOS sheet, the Linux dialog) now gives the texture to the values
that asked: the filter being browsed, or the stack row that asked,
found by a number each row now carries. An answer for a removed row, a
filter no longer browsed or a gallery that closed is dropped.
Params text, docs/mcp.md, docs/control-protocol.md, docs/gaps.md and
the evidence line are updated.
Type on an open path can now start before the path's start: its start
is stored below 0, the span runs from there, and the characters whose
middle falls before the path's start are not drawn, as SVG 2 lays out
text on a path (https://www.w3.org/TR/SVG2/text.html#TextLayoutPath).
The text keeps every character, and the start bracket stays at the
path's start. Past the path's end, text that does not fit is overflow,
as for other type on a path. Type that starts on the path draws every
glyph as before.
- SVG import keeps a <textPath> start before an open path's start
(text-anchor end or middle, or a negative startOffset) instead of
starting the text at the path's start, which drew every character.
- SVG export writes it as a negative startOffset.
- PDF export writes only the characters drawn on the path.
- The legacy .ai and .ai editing data writers write the type from the
path's start with the type attributes warning.
- type.pathOptions takes a start below 0 for type on an open path; on a
closed path it is the path's start, as before. A flip starts the type
at its start bracket. Dragging the center bracket slides it from where
it starts, and no further before the path.
- A click at the path's start places the caret by the first drawn
character, and the caret in the hidden characters stands at the
path's start. The highlight of substituted fonts and glyphs leaves
them out.
- Release Type on a Path keeps the first drawn glyph where it was
drawn, with the hidden characters before it.
- The Touch Type tool shows no box for a hidden character, and
text.touchType returns an error for one. A character with a drawn
glyph is changed by that glyph.
Docs: docs/mcp.md, docs/target-app-parity.md.
BFlat