A compound path was assembled from its members in every frame it was
drawn, and Node::stroke_path grew its buffer by doubling, copying the
path into ever larger buffers for a compound path of many anchors. The
renderer's geometry cache was swept only once it held more than 1,024
entries, so while an object was dragged (a new node, and layer, in
every frame) the old copies stayed alive with all their members.
Now:
- a compound path is drawn from the path the renderer keeps for it in
its geometry cache, as a plain path already was, and is assembled
only when the node changes;
- Node::stroke_path sizes a compound path's buffer up front from its
members' segment counts (the same elements, in the same order);
- unused geometry entries are dropped after a few frames however few
entries there are.
Tests:
- crates/render/src/tests/memory.rs: the second frame draws the kept
path and the same pixels as the first and as a new renderer; after a
five-frame move the renderer no longer holds the compound path drawn
before it. The test fails without the renderer change.
- crates/doc/src/node/tests.rs: a compound path's path is its members'
paths in order (open, closed, empty and single-anchor members).
Not timed; vectorcraft-cli perf was not rerun.
Every click and hover measured each path and compound path along its
curves to cull it (Node::reach_bounds_with), and a compound path was
then assembled whole to test its outline and fill. For a compound path
of thousands of members that took milliseconds per click.
Hit testing now culls paths and compound paths by the box of their
control points (which holds the curves), grown by their strokes' reach,
so the box is never smaller than the reach box it replaces. A compound
path's outline and fill are tested against only the members whose
control box, grown by the tolerance, holds the point: a member outside
that box is farther than the tolerance and winds zero times round the
point. Painted strokes still follow the whole compound path (alignment,
dashes, width profiles) and are measured along all of it, as before.
Tests (crates/doc/src/hit/tests.rs):
- a 2,000-member compound path hits exactly as the whole-path test did,
at random points, on and next to anchors and on the edges of the
members' boxes, for both fill rules, in Outline view and with Object
Selection by Path Only;
- wide strokes painting past the control points are still hit, for a
path and a compound path;
- the cull box holds the reach box for paths and compound paths.
Measured in a debug test build (one run, machine not idle): a click on
a 20,000-member compound path went from about 18 ms to about 1 ms.
vectorcraft-cli perf was not rerun.
Apply wheel steps over the closed family fields in Character, Properties and Control, preserving event order and one undo step per effective notch. Document the supported controls and the application choices. Fixes#5253.
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.
Preferences > User Interface > Open Documents As Tabs was stored but did
nothing. With the box cleared, each document opened or created afterwards
opens in a floating window of its own, at the next cascade place, as
Window > Arrange > Float in Window floats it. Documents already open, and
documents open when the app starts, keep their tabs; checking the box
again leaves floating documents in their windows.
The engine records the preference on each document as it opens
(DocState::opened_as_tab), and the UI finds new documents by uid, so a
command batch that closes and opens documents, or changes the preference
between opening them, places each one as the preference was when it
opened.
A document tab dragged more than 24 pt above or below the tab strip
floats its document in a window under the pointer and makes it the
current document (window.arrange.floatInWindow takes index and at for
this). A shorter drag, or one along the strip, leaves the tabs as they
are. A document window dragged by its title bar onto the tab strip goes
back under the tabs; the strip shows an outline while a window is over
it. A desktop document window is an OS window, so it has the document's
tab at its top: dragging that tab moves the window, and dropping it on
the main window's tab strip docks it (window.arrange.consolidateAllWindows
takes index for one document).
A document floated again opens where it is asked to, not where its last
window was.
Window > Arrange > Float in Window (window.arrange.floatInWindow) moves
the current document out of the tab strip into a floating window of its
own, and Float All in Windows (window.arrange.floatAllInWindows), a new
item, does so for every tabbed document. Cascade (window.arrange.cascade)
floats every document and stacks the windows from the upper left of the
document area to its lower right, 30 pt apart, in tab order. On the
desktop each window is an OS window; on the web and on Wayland it is a
window inside the app's window, as floating panels are. While the
control channel is attached, the windows also open inside the app's
window, so ui.click, ui.drag and ui.screenshot reach them.
The current document's window holds the canvas. The other windows, and
the main window while the current document floats, draw their documents
as Tile's panes do, and a press in one makes its document the current
one. A document's OS window that takes the keyboard focus makes its
document the current one, and keys typed there run the main window's
shortcuts. Closing a window closes its document, asking to save unsaved
changes. Consolidate All Windows brings floating documents back under
the tabs, and Tile brings them back into its grid.
Cascade is enabled with two or more documents, Float in Window while the
current document is tabbed, Float All in Windows while any document is
tabbed, and Consolidate All Windows while documents are tiled or
floating. ui.inspect reports the floating documents.
Character Style Options and New Character Style get a Character Color
section and an OpenType Features section.
Character Color sets the fill and stroke (None or a document swatch;
a global swatch or a tint of one stays linked, with a Tint from 0% to
100%), the stroke Weight, and Overprint Fill and Overprint Stroke. A
gradient or pattern paint the style already has stays until another
paint is chosen.
OpenType Features sets Figure, Position, Standard and Discretionary
Ligatures, Contextual, Stylistic and Titling Alternates, Swash,
Ordinals, Fractions and Stylistic Sets 1 to 20. A changed control
replaces only its own tags in the style's feature list, so other tags
stay, and Default Figure and Default Position are stored as their
features turned off, distinct from unset.
Empty controls stay unset, and each section's Reset Panel clears only
its own attributes.
charStyle.new, charStyle.edit and charStyle.setAttrs check a changed
fill, stroke, stroke weight or feature list: tints from 0 to 1, links
to global swatches of the document (the color follows the swatch),
weights from 0 to 4000000, and known feature tags, at most 256. Values
the style or the text it is made from already has are kept.
charStyle.duplicate keeps the copied style's values in the same way, so
a style with a language tag that is not in the list can be duplicated.
Editing a global swatch now also updates the fill and stroke stored in
character styles, so their text no longer shows as overriding the style
and text styled later takes the new color. swatch.unused counts a swatch
a character style links to as used.
The progress line said a dropped press keeps nothing it began. A Curvature
press that adds a point and a press on another text object keep what they
did on press, as with Escape during the drag, so the line now says the drag
is canceled as Escape cancels it.
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.
A long touch, a canceled touch or a second finger drops the tool press in
progress. The tool used to get a plain mouse-up, which it cannot tell from a
release: the options the drag changed (the Polygon tool's sides set with the
arrow keys) were stored, and a shape tool pressed and held still opened its
size dialog.
Session::drop_tool_press undoes the press's interaction, sends the tool
Escape as during a drag, and then a release that returns it to rest without
storing the tool's options. What the tool asks of the UI along the way is
dropped.
A stroke color given without strokeWidth left characters at weight 0, so
nothing was drawn. As paint.setStroke does, a painted stroke now gives a
run with no weight 1 pt, for the characters and for the label styles a
graph keeps; an explicit strokeWidth still sets the weight.
text.setStyle takes stroke (a color or "none") and strokeWidth (the character
stroke's weight in document points, as stroke.set gives it), with keepModel
for both colors. They apply to all the text or to the start..end range, and
to graph label styles, in the same undo step as the command's other keys.
A stroke key was ignored before.
A guide whose saved position leaves a center band narrower than the minimum no
longer jumps to the art's edge when a drag does not move it closer to the
opposite guide. The 9-slice scaling line in docs/target-app-parity.md no longer
says guides are not drawn in symbol editing mode.
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 horizon test compares a point's signed w with the largest absolute
value in the bottom row, and the invertibility test compares the
absolute value of the determinant with the largest absolute value among
its six products, so a negative determinant counts as invertible. A
stored projection that overflows is divided by the largest absolute
value in its bottom row.
A homography means the same map at any nonzero uniform scale of its
entries, but `apply`, `is_invertible` and `inverse` compared w and the
determinant with absolute thresholds. A map stored with small entries
refused every point and could not be inverted, and a map with large
entries drew points past its horizon.
- `apply` refuses a point when w is at most 1e-9 times the largest
magnitude in the w row.
- A map counts as invertible when its determinant is more than 1e-15
times the largest of the six products the determinant sums, taken on
a copy rescaled by a power of two. An inverse whose determinant
overflows or underflows is taken on that copy.
A character style whose Up/Down or Left/Right offset lies past MAX_COORD
either way now opens with the nearer end, as text runs already do, so
text that takes the style no longer gets the out-of-range offset. An
offset within range is not rewritten.
In a Separation color space, the colorant name All marks every plate and
None marks no plate (ISO 32000-1:2008, 8.6.6.4). A spot swatch with one of
those names was written under its own name, so its paint printed on every
plate or on none.
PDF export now writes such an ink as All Spot or None Spot, numbered
All Spot 2, All Spot 3 and on when a spot swatch already has that name,
the same rule EPS export uses. The new name is used for fills and strokes,
tint shadings, DeviceN gradients, colorized images and the Lab alternates.
Registration still writes All.
Buttons beside the Edit tab's wheel switch between the smooth color wheel,
a segmented wheel of solid patches (24 hues by 5 saturations, its markers
moving as freely as on the smooth wheel) and color bars: one solid bar per
recolored color in row order, where a click selects a bar's row for the
color sliders and a drag moves the row without changing a color. The
dialog opens on the smooth wheel and keeps the choice while it is open;
the dialog field is `display` (`smooth`, `segmented`, `bars`).
A manual kerning value on an inline graphic's character was stored and
shown but did not move the text after it. The graphic's advance now
includes the value, as a letter's does, and in right-to-left horizontal
type its art moves right by the value, so the space goes between it and
the next character in reading order. Auto and Optical kerning still apply
no font pairs to an inline graphic.
Select › Same › Text Fill & Stroke Color (select.same.textFillAndStrokeColor) selects the type
objects with a run of characters whose fill and stroke both match the first character of the
first selected type. Type that matches only the fill or only the stroke, or has the fill in one
run and the stroke in another, is left out. The entry follows Text Stroke Color in the menu and
has a row in every catalog.
usvg turns each <circle> and <ellipse> into arcs and then into a number
of cubics that depends on f32 rounding: an ellipse that export wrote as
<ellipse> could come back with eight anchors instead of the four it was
written from. The renderer flattens the two outlines differently, so a
round trip of a flat filled ellipse redrew 158 edge pixels by up to 43
levels, and prop_svg::plain_art_survives_visually failed on main.
Import now records the ids of <circle> and <ellipse> elements in the
prepass and rebuilds each as the ellipse VectorCraft draws: four smooth
anchors on the axes, starting at the right as SVG defines, with handles
KAPPA of the radii long, then transformed as before.
Tests: prop_svg::filled_ellipse_on_the_artboard_edge_survives_visually
(the failing case) and basic_shapes::circles_and_ellipses_import_as_the_ellipse_drawn
fail without the change.
With Envelope Options > Distort Appearance on, a path whose Transform
effect has Scale Strokes & Effects or Transform Patterns on, or copies it
with a gradient, was baked with the effect as geometry only: every copy
kept the original's stroke weight, dashes and pattern placement before
the envelope bent it. bake_appearance now makes such a path into the
per-copy art that drawing, export and Expand Appearance already use, and
bakes each copy's strokes into filled outlines from there.
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
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