A path that keeps its shape because the effect would pass the geometry
budget holds a group's own placed gradients in place. A hidden path in a
layer, which the layer's bounds leave out, no longer holds them, so the
layer's gradient moves with its visible art. The art's own gradients
follow the same rule.
A freeform gradient whose points were edited keeps its vector fitted to
the bounds, so it did not count as placed and its points stayed behind
under a Transform effect and Free Distort unless another placed gradient
was in the same appearance. Its points now move like a placed gradient.
Align to Path moved the whole line by the largest ascent and descent
among its characters. Each character now moves by its own font, size
and vertical scale. Ascender runs the top of the font's em box along
the path: the ideographic em box that the font's BASE table gives, or
in a Chinese, Japanese or Korean font the one that its typographic or
hhea box, a one-em box-drawing cross or its ideographs give; else an
em box centered on the cap height. Descender runs the bottom of the font's
bounding box along the path, and Center runs a line at half the height
of the top of the font's H along it. In vertical type, Ascender and
Descender move the characters half an em, and Center leaves them on
the path.
Existing documents with Align to Path set to Ascender, Descender or
Center lay their type out at a new distance from the path.
Generic CMYK's tone curves now pass through the CGATS TR 001 tone value
increase of each ink at 40% and 50% (C 20.0, M 17.6, Y 16.8, K 21.6 at
50%), and its 16 Neugebauer primaries mix linearly, so a single ink's
tints gain as TR 001 gives. The 300% ink limit stays. The primaries, the
black-generation curve and the black point are VectorCraft's own values.
- The black point is 90% black under neutral CMY that fills the ink
limit: sRGB black separates to C75 M68 Y67 K90 instead of C67 M67 Y67
K100.
- Black follows a curve over the gray component of the black-free
solve, raised by how far that solve stays lighter than the target.
Grays from sRGB 177 up carry no black, and sRGB 128 gray separates to
C50.5 M42.2 Y42.0 K7.5 instead of C38.8 M26.3 Y29.9 K24.4.
- Display of CMYK fills, swatches and imported CMYK values and the
separation of RGB and Lab colors use the same model.
Paper white still separates to C0 M0 Y0 K0, but other separations
change, and so does the display of CMYK colors with ink. Tests that held
numbers of the old model are updated.
Two problems in the Character Styles panel and its options dialog.
Opening the options took the panel menu's item, which is easy to miss; a double-click on a style's
row did nothing beyond applying the style a second time. A double-click on a user character style's
row now opens its Character Style Options (`ui.charStyleOptions`), as the menu item does. A single
click still applies the style, the second click of the double-click does not apply it again (the
Normal style's included), and with Shift, Cmd/Ctrl or Alt held the double-click only follows the
click rules. The built-in Normal style opens no dialog. Double-clicking a paragraph style's row similarly opens
its options, which are the rename dialog the Paragraph Styles panel menu opens (`ui.paramDialog`
running `paraStyle.rename`): paragraph styles have no full options window yet.
The dialog then grew with its content: the General section lists every attribute of the style, so
the window covered the screen and its buttons could sit below it. The content now scrolls both ways
inside a window at most 420 points tall (less on a short screen) and never wider than the points
left beside the section list, with one scroll offset per section. The dialog keeps a fixed width of
720 points, enough for the widest section's controls, in every section. The content's height is the
space the footer leaves, measured from the footer drawn last frame, so a large interface scale's
taller footer is reserved too and OK and Cancel stay visible. The section list stays outside the
scroll area, so scrolling a long section never moves the navigation; the section is read after the
list handles a click, so a newly picked section gets its own scroll offset in the same frame.
Tests:
`panels::text_styles::tests::double_clicking_a_character_style_row_opens_its_options` selects text,
double-clicks a character style's row and checks the dialog opens with the style's name, one apply
ran from the first click and the second click applied nothing; a paragraph style's row opens none.
`double_clicking_the_normal_style_opens_no_options` checks the Normal style opens none and is
applied once.
`dialogs::char_style_options::tests::the_sections_scroll_in_a_window_shorter_than_the_general_list`
draws the dialog on a 900 by 560 point screen and checks OK and Cancel stay on it, the dialog keeps
its 720-point width in two sections, and the General list is taller than its scroll area.
`every_section_and_the_buttons_fit_the_smallest_window` checks the app's minimum 800 by 500 point
window in all five sections: every section label, OK and Cancel are on the screen.
`a_scrolled_section_keeps_its_offset_after_switching_away_and_back` scrolls General, clicks Basic
Character Formats and then General again, and checks General''s content returns to the same place:
the section is read after the list handles the click, so no other section stores its offset.
`every_section_and_the_buttons_fit_the_smallest_window_at_twice_the_scale` checks the same in the
400 by 250 points the minimum window holds at 2x UI scale, before and after a wheel scrolls the
content.
Docs: type-parity (a panel row and the revision history), ui-parity (a panel row and the revision
history), target-app-parity (two evidence bullets and the revision history) and roadmap (the
revision history), with the status lines updated.
The remembered selection is now tied to the document it was made in, by its
uid, instead of being cleared on every tool reset: another view of the same
document, or closing an inactive tab, kept the anchors picked but made Copy
take the whole path.
A lent gesture that leaves the selection as it found it (a Cmd+Shift marquee
over nothing) is no longer recorded as a pick, so the Pen's last anchor stays
its own and Copy takes the whole path.
Also records #6123 in target-app-parity.md.
With Direct Selection, a Shift-click on a corner widget toggled its
corner. With the path selected whole every corner already is, so the
first Shift-click deselected the corner clicked and hid its widget,
leaving the others. While every corner is selected, a Shift-click now
picks that corner alone, as the first click of "click one widget, then
Shift-click the others" does; with some corners picked it still toggles.
Each rib of a dashed stroke with a width profile looked up to 256 points
either way along the path, asking the profile at every step, and reached
as wide as the stroke gets anywhere past that. A sliding maximum over the
points' precomputed cover now gives every rib's reach in time in
proportion to the points, with no bound and no fallback to the widest
width (review on #6093).
With a width profile, every slice of a stroke gradient (along or across)
reached as far as the stroke is wide anywhere. Where the stroke crosses
or runs close by itself, the later, narrower part painted a square of
its colour over the wider part beside it, clipped only to the whole
outline. Each rib now reaches as far as the stroke is wide there and on
its way to the next points (each side of a profile stays between its
widths at a span's points); for a dashed stroke, as wide as it gets
within a cap's reach, since caps and dots reach along the path.
A pattern's definition (in either form) and a brush's art were read
without the file's art styles, so an object there with a style came in
as the look it draws, with a "drawn look" note, while the same object on
a layer or in a symbol came in as itself with its effects live. The
three definition readers now take the art styles as the symbol reader
does, and an object in a pattern's art with a style in the file's style
list keeps that graphic style's id.
An art styles section inside a symbol's, a pattern's or a brush's art
is now skipped, so it no longer replaces the file's own art styles.
Three copies of the Symbols Reset Transformation entry were in
docs/target-app-parity.md. The complete one, which lists all five
tests, stays; the two older copies are removed.
Escape and Cmd+Enter (Ctrl+Enter on Windows and Linux) end text editing
and switch back to the tool that double-clicked into the type, or to the
Selection tool when there was none (`TypeTool::end_editing`). The
evidence lines in docs/type-parity.md, docs/ui-parity.md and
docs/target-app-parity.md, and the doc comments on `prev_tool` and
`claims_key`, said they always switch to the Selection tool.
SVG viewers center each <textPath> glyph on its midpoint on the path and
turn it to follow the path, which is how the Rainbow effect draws. Type on
a path with any other effect and no spacing was written as a plain
<textPath>, so a viewer drew it as Rainbow. It is now written as outlines
with a warning, as type with an end bracket, Align to Path or Spacing
already is.
Docs: docs/mcp.md, docs/target-app-parity.md.
A gradient placed with the Gradient tool stayed where it was when the
object's Transform or Free Distort effect moved, turned or scaled the
outline, so the shape slid across its own gradient.
The Transform effect now maps placed gradients by its own transform,
and each of its copies takes them as many times as it takes the
transform. Under Free Distort, each path's placed gradients move and
scale from the path's bounds before the effect to its bounds after it.
This change does not alter gradients fitted to the object.
The canvas, Expand Appearance and export, Pathfinder and compound
shapes, groups, a fill's or stroke's own effects, and Object › Expand
of a gradient fill apply the same rule. In a group, the own fills and
strokes of the group, of the groups inside it and of a symbol's art
follow it too, and images and symbol instances that a group's
Transform effect moves take the placed gradients of their own fills
and strokes along. A group whose path keeps its shape because the
effect would pass the geometry budget keeps its own gradients in
place.
This changes how existing documents draw: a gradient placed on a path,
or on an image's or symbol instance's own fill, inside a group with a
Transform effect now moves with it. Before, only the gradients of type
moved (#2214).
How gradients follow each effect is VectorCraft's own rule. The
Distort & Transform help page describes what the effects do to the
object:
https://helpx.adobe.com/illustrator/desktop/manage-objects/reshape-transform-objects/distort-and-transform-effects-in-illustrator.html
Saved corners from an .ai file stay on the same anchors when the
envelope is reflected, as they already did when it was moved or
rotated. A reflected outline runs counter-clockwise; the corners were
then mapped as if the outline had been drawn the other way round, no
longer fit it, and were found again from the outline.
On a tie between two corner anchors, or two nearest outline points,
the one met first along the outline in the order it was drawn wins,
for outlines drawn counter-clockwise too.
The docs state the corner rule in full: a handle 0.01 pt long or
shorter makes an anchor a corner whichever way it turns; otherwise its
tangent unit vectors must differ by 0.01 or more in x or y and turn
out of the outline. Content spreads evenly along a segment without
handles.
An anchor with a handle shorter than 0.01 pt counts as a corner of a top
object whichever way it turns; only an anchor whose tangents differ must
turn out of the outline. docs/mcp.md and the progress line in
docs/target-app-parity.md now say so.
A top-object envelope splits its outline into four sides at four corners
and maps the content onto the Coons patch of those sides. The sides
shared out the content by length, and the corners were the anchors or
curve points nearest the bounding box corners.
Each piece of a side between anchors and corners now takes a share of the
content's width or height in proportion to the length of its control
polygon, spread along the piece by its curve parameter. A straight
segment spreads it evenly by length. A rounded rectangle stays close to
the identity, and the content follows the curves of a side whose segments
differ in size.
Each corner is now the nearest anchor to its bounding box corner among
the sharp anchors that point out of the outline and lie within 47.5% of
the box's width and height from that corner. A handle shorter than
0.01 pt, or tangent unit vectors that differ by 0.01 or more in x or y,
makes an anchor sharp, and the first one along the outline wins a tie.
Without such an anchor, the corner is the outline's nearest point to the
box corner, moved onto the end anchor of its segment within 0.5% of the
segment's parameter. Envelopes opened from .ai files keep the corners the
file saves.
These are VectorCraft's own rules. Existing top-object envelopes redraw by
them. Gradient meshes made from a path keep their sides measured by length.
- crates/doc/src/live/mesh.rs: Coons::from_top_object and the corner
search, used for top-object envelopes.
- EnvelopeKind::TopObject gains an optional `corners` field (anchor
indices); the .ai importer fills it from the mesh's corners.
- Params text of object.envelope.makeWithTopObject, docs/mcp.md
(Envelopes) and a progress line in docs/target-app-parity.md.
File › Open and File › Place read HEIC and HEIF still images (.heic,
.heif) through heic-rs 0.1.4, the pure-Rust decoder photocraft-heif
uses, and store the pixels as PNG. Single pictures and grids of tiles,
8 to 10 bits, with or without an alpha image, are read with the
container's rotation, mirror and crop applied. A grid without a color
box of its own takes its tiles'. When neither the image nor its tiles
have an nclx box, the HEVC stream's video signal type gives the
samples' matrix and range. An RGB ICC profile, or Display P3 with the
sRGB curve named by an nclx box or, without a color box, by the
stream, is converted to sRGB. The EXIF resolution tags size the image;
without them it is 72 ppi. When the container's rotations turn the
image an odd number of quarter turns, the resolution's axes swap with
the pixels'.
Image sequences, images that aren't HEVC-coded, grids of cropped tiles
and images past the pixel allowance are refused with a message before
the pixels are decoded. The allowance counts each coded picture at the
size its sequence parameter sets give it.
The decoder is in the engine's `heif` feature, which is on by default
and listed by the desktop, CLI and web apps. A build without it still
recognizes the files and refuses them with a message.
Docked Tools stays at the window's left edge again, outside any panels
docked on the left. Window › Toolbars › Keep Tools Beside the Canvas
(`window.toolsBesideCanvas {on?}`) docks it between those panels and the
canvas instead.
- The setting is its own field in the UI state and in workspaces, and a
missing field reads as off, so saved state and workspaces keep Tools at
the window's edge. Built-in workspaces have it off.
- Off, app.rs draws docked Tools before the docking layout, the canvas
reserves no width for it, and only the full-height window-edge strip
docks a floating Tools panel. On, the canvas panel draws it, the canvas
keeps room for it, and both the window edge and the canvas edge dock it
beside the canvas.
- Turning the setting off forgets the canvas-edge strip, so a strip laid
out while it was on does not dock Tools. A floating Tools panel stays
floating when the setting changes.
- `window.panel.dock {panel: "tools"}` docks Tools where the setting says.
- The menu label has a row in every catalog.
Docs: docs/mcp.md, docs/control-protocol.md, the ROADMAP progress log and
docs/target-app-parity.md. The headline-numbers row and the paragraphs
under the status lines are gone, and scores are unchanged.
dotCooCoo