The editing data writes a gradient mesh as its patches, each with its
place in the grid (`/P`) and the grid's size (`/Size`); the importer
read each patch as a mesh of its own, in a group, so moving a mesh
point tore a patch away and left a hole, and a patch with anchors on
its edges was cut into cells on its own.
The patches are now placed by `/P` in the `/Size` grid and joined at
the corners they share into one GradientMesh. Which index of `/P` runs
along the columns is taken from the one under which the shared corners
meet. Where an edge bends through anchors, a mesh line runs through the
whole row or column of patches there, each patch cut at the same place,
so every cell keeps single-cubic edges. A mesh whose patches don't say
where they are reads as before; one whose patches fill the grid but
don't join up reads as before with a warning. Sizes and lines are
capped; non-finite values fall back.
Hand-written tests: a 2 x 2 grid as one mesh with the old patches'
colours, a moved inner point shared by its four cells, an anchor on a
shared edge adding a line through the mesh, a collapsed patch with
finite values, and unplaced or unjoined patches staying separate.
VectorCraft had no lists. A bullet could only be typed as a character,
and the tab after it did not stop at the left indent. The reference app
turns paragraphs into a bulleted list from the Paragraph panel, the
context menu and Type › Bullets and Numbering › Apply Bullets.
text.setFormat takes list ("none" or "bullet") and bullet ("none",
"dot", "dash", "circle" or "square"). The layout draws the bullet before
the first line of each list paragraph that has text, in the font, size
and color of its first character, and starts the text at the next tab
stop, with the left indent counted as a stop. Wrapped lines start at
the left indent, and type on a path draws the bullet too. In a
horizontal right-to-left list paragraph the indents are mirrored: the
bullet hangs at the right, and the wrapped lines start at the right
where the first line's text starts after the bullet. The bullet is not
a character of the text. A paragraph whose left and first-line indents
are both 0 gets 18 pt and -18 pt when it joins a list. Return continues
the list, paragraph styles carry it, Reset Panel turns it off, and the
native file saves it only when it is set.
The Paragraph panel has a Bullets button with a list of the five
presets, and Type › Bullets and Numbering › Apply Bullets and the
context menu run type.applyBullets. Live SVG text writes the bullet's
character, and SVG writes type on a path with bullets as outlines. DXF
writes the bullet as a TEXT entity of its own, and legacy .ai export
warns that bulleted lists are left out. The caret, selections, Touch
Type and Show Hidden Characters skip the bullet.
Live SVG text of horizontally scaled type now writes each tab in a
tspan of its own. Before, the characters before a tab shared its tspan,
and its textLength made a viewer stretch them across the tab's gap.
Docs: docs/mcp.md, docs/target-app-parity.md.
Found while testing crates/eps/src/ps.rs:190-197 (ascii85)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Round a closed path the editing data's text document writes the end of
the type's range unwrapped, past the last segment (the start plus the
run), or wrapped the other way. The importer clamped it to the path's
end, so the type kept only the stretch from its start bracket to the
path's end and overflowed. Both brackets are now wrapped onto the loop
(non-finite values fall back to the start); an open path is clamped as
before.
The object's own path that then replaces the frame is written open,
ending on its start: such a path is now closed where its ends meet, so
the span is measured round the loop.
Hand-written tests: an unwrapped, a reversed and a negative range on a
closed circle, a range inside it, an exact full turn that fits a short
line, an open path still clamped, and a path ending on its start closed.
## Summary
Illustrator `%AI9` art styles already stop reading filters after 4096 entries so
hostile styles cannot grow without bound. This adds a regression test that
importing a style with more than `MAX_FILTERS` basic filters finishes with a
bounded effect list, matching the existing hardening behaviour.
## Tests
- `art_styles_ignore_filters_beyond_the_cap` in `crates/eps/src/import/ai/style.rs`
Part of gap G8
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
An image whose data is empty failed to decode before the size check, so a
version 7 .ai said it couldn't be decoded. The writer now checks for empty
data first and gives "an image that is empty or too large for legacy .ai
was left out". docs/mcp.md now says the DXF decode note applies to R13 and
later; R12 leaves out every image with its own note.
EPS, EMF, WMF and DXF exports gave each image they left out because it
couldn't be decoded its own warning, "image '<key>' could not be
decoded and was left out", which names the internal key the document
stores the image under. A version 7 .ai said "an image that can't be
decoded or is too large was left out".
The four writers now give the note raster exports, PDF and the legacy
.ai flattening give, "an image couldn't be decoded and is missing from
the picture", once per export. In a version 7 .ai it is one line with
the note for flattened art. The other image notes in the same
functions no longer name the key: EPS's note for an image too large to
write, and DXF's notes for an image with no pixels (its rows in 23
catalogs are reworded) and one that could not be written. Legacy .ai
gives a separate note for an image that is empty or too large.
Docs: docs/mcp.md (EPS, DXF export, EMF and WMF, aiVersion "7").
**What:** Illustrator type styled through the Appearance panel came in as its drawn look (outlined compound paths). Comic and "text effect" templates are the common case, and the type couldn't be retyped. This keeps it as editable type with the style as a live VectorCraft appearance.
**Changes**
- **Art styles parsed as a tree.** Compound filters close at their `;`, basic ones at `/Part`. Each fill and stroke in a stack keeps its own effects, opacity and blend mode, and object-level effects stay on the object.
- **Type keeps any plain stack.** That covers several fills and strokes, pattern and gradient fills, Warp, Offset Path, Transform with copies, Drop Shadow, Outer Glow, Feather, Gaussian Blur and Bas Relief. Bas Relief settings are left at their defaults, because Illustrator stores them in a Photoshop plug-in's binary block. Gradients and patterns are placed as the drawn look places them. Other objects keep the existing plain-style rule, since their drawn look is the more faithful option.
- **Point type without a frame matrix.** Illustrator 24 omits the matrix when point type is neither rotated nor scaled. Such stories were left out entirely; they're now read with an identity matrix.
- **Page comparison.** The page's rendering of a style isn't held to match VectorCraft's live rendering where the replaced drawn look lay, and styled made type isn't pruned as unseen.
- **EPS override.** `editingData: "always"` / `convert --editing-data` now applies to Illustrator EPS as well as `.ai`.
**Tests:** 6 new tests, written from scratch; `vectorcraft-eps` passes all 298 on current main. clippy `-D warnings` and rustfmt are clean for eps, engine and cli. `docs/file-format-parity.md` has been updated, including its revision history.
**Clean-room note:** I found the bugs with a user's licensed stock EPS, used locally only; nothing from it is committed. Filter and key meanings come from the public Illustrator Effect docs and public LiveEffect scripting examples (`jntp`, the Warp style order).
**Not included:** VectorCraft's pixel effects treat transparent content as empty instead of using Document Raster Effects Settings › Background (white by default). Because of that, Bas Relief on a transparent pattern gives flat grey. That needs a separate renderer change.
🤖 Generated with [Claude Code](https://claude.com/claude-code)
A colour named by a gradient stop (`Bs`) was collected with the colours the
colour operators define, in file order, and the first definition of a name
made its swatch. A stop can't say whether its colour is an ink, so it reads
as a spot colour; and since the file defines its gradients before the art,
a global process colour set with `Xk` that a gradient also names came in as
a spot swatch, which PDF export then writes as a Separation. The stops'
named colours are now kept apart and make swatches only after the colour
operators' colours, so `Xk`'s definition wins and a name only a stop uses
still gets its swatch. The stop's values were already read right since the
lexer reads a `%_BS` line's own operands.
Shrink Text to Fit scales area type down at layout time, and the canvas,
PDF export and the exports that write type as outlines draw it at that
size. SVG export wrote the live text at its stored font size, letter
spacing and baseline shift, so a viewer drew it larger than the canvas
does. Legacy .ai saves wrote the stored size, leading and baseline shift
into the text objects, DXF export took the TEXT heights from the stored
size, and the CSS Properties panel gave the stored font size, letter
spacing and line height.
The text crate's scaled, which the layout scales shrunk text with, is
now public. SVG export, legacy .ai saves and the CSS Properties panel
take the type's styles from it at the layout's fit scale, and DXF
export multiplies the TEXT heights by that scale. Positions and
textLength in SVG still come from the layout.
Docs: docs/target-app-parity.md.
An EPS or PostScript file that stops on a PostScript error named the
error, such as typecheck or rangecheck, with the operator and the
procedure, but did not say what the name means in any language.
The warning or error now gives the name as PostScript spells it,
followed by VectorCraft's own wording of what it means in the reader:
"a PostScript error (typecheck in `add`; a value has the wrong type for
the operator)". vectorcraft_eps::POSTSCRIPT_ERRORS lists the 14 names
the reader raises other than undefined, with their meanings, and a
test checks that each of those names has one. Each meaning and the
new message shapes have a row in every catalog. i18n::message now
translates placeholder values five levels deep instead of three, which
the status bar's line for an EPS file that can't be opened needs.
Docs: docs/mcp.md, docs/target-app-parity.md.
The version 7 .ai writer wrote the %_Bs color stops of every gradient
from ramp point 100 down to 0. The Adobe Illustrator File Format
Specification version 7.0 lists a linear gradient's stops in that order
(section 1.4.3). Its radial definition, "White & Purple Radial", lists
them from 10 to 100 (section 3.5.2). As reported on #2807, the
reference app reads both stops of #2687's radial gradient, written from
100 down to 0, at ramp point 100 and draws the circle in #1b2a6b. It
reads a radial gradient with three stops written that way in reverse
order.
The writer now lists a radial gradient's stops from the first to the
last. Each stop is written with its own midpoint to the next stop, and
section 3.5.2 says the last stop's midpoint is ignored. Linear
gradients are unchanged.
Illustrator stores General ruler units in %AI5_RulerUnits; apply them on EPS/.ai import so rulers and length fields match the saved file.
Co-authored-by: Cursor <cursoragent@cursor.com>
Illustrator 6/8 EPS files whose PostScript can't be run (the Adobe_level2_AI5
procset is provided by the RIP, not embedded) are read through their private
layer data instead. That reader aborted the whole file when a text object
carried the hyphenation/tab-ruler operators `Th` (hyphen control), `XL`
(hyphenation language) and `Xb`/`XB` (a tab definition, with `Xe` descriptions
between them), reporting them as operators it doesn't know.
These carry no geometry, so drop them like the sibling type attributes the
reader already discards (§22 of the Illustrator File Format Specification)
rather than failing the import.
Saving a version 7 .ai wrote the title, spot color names and gradient
names as the UTF-8 bytes of their characters: a spot color named Café
was written (Caf\303\251) in the header's custom colors and in each x.
Type and, since #2722, layer names are written in Windows-1252, the
encoding the file installs with TE.
These names now go through #2722's Windows-1252 path, so Café is
written (Caf\351). A character outside Windows-1252 is written as ?,
with one warning for all of these names. A spot color keeps one name
in the header, in each x and X and in gradient stops, and a gradient
keeps one name in its definition and in each Bg. Two spot colors or
two gradients whose names become the same that way are numbered (? 2).
Docs: docs/file-format-parity.md.
An image in a .ai's editing data whose operands had no matrix, fewer
than 11 numbers, or a matrix of other than six numbers was left out
with no warning. So was one whose matrix maps it onto a line or a
point. The reader's warnings did not mention such an image, while the
reader warned "an image VectorCraft can't read was left out" for an
image whose size or bit depth it can't use.
Each of those exits now adds the same warning, as does the one where
the decoded pixels don't make an image.
alongtheblue-sketch took 0.12.0's version 7 output of the SVGs in #2692
and #2830, edited it by hand and opened it in the reference app
(https://github.com/storytold/vectorcraft/pull/2801#issuecomment-6244853548).
Writing the image lines as #2801 does, with the bracketed matrix and
the 60-digit data lines, did not change the result there. With one
line, F, added after %AI5_EndRaster, the reference app opened the image
in its clipping group and the art after it in both files.
The writer now writes F after every %AI5_EndRaster: clipped, grouped
and loose images, flattened images and images in pattern tiles. No path
is open at that point, so the line paints nothing. VectorCraft's reader
opens the files with the same objects as before, and the file's
PostScript prolog draws the same page.
document.pdfInfo refused PostScript (an EPS, a .ps file, or a .ai in
PostScript form), mostly with "this is a PostScript file ..., not a
PDF", although document.open and file.place read the same file
through the EPS reader as one page.
It now answers {pages: 1, needsPassword: false, pageInfo: [{width,
height, rotation: 0, boxes: {}}]}. The page is the file's bounding box
(%%HiResBoundingBox when it has one, a US Letter page without one),
read from its comments without running its program. thumbnail: 1 is a
PNG of what that page prints, read by the EPS reader without any
editing data the file carries. A program whose header is only %! is
read as PostScript, as clipboard.importEps reads it.
Docs: docs/mcp.md, docs/target-app-parity.md.
The PostScript interpreter that reads EPS and PostScript .ai files
accepts a FlateDecode or LZWDecode filter with Predictor 2 at
BitsPerComponent 1, 2, 4, 8 and 16, but undid the horizontal
differencing only at 8 bits. At the other depths the filter gave back
the stored differences, and the image drew them instead of its
samples.
The predictor is now undone at every depth it accepts, as ISO 32000-1
§7.4.4.4 describes: each component adds the same component of the
pixel to its left, within its bit width, and each row starts again.
16-bit components add as big-endian 16-bit numbers. The padding bits
at the end of a row stay as they are, and 8-bit data takes the same
path as before. The PNG predictors are unchanged.
Docs: docs/target-app-parity.md.
A right-to-left paragraph in an Illustrator editing copy (key 33 of its
paragraph attributes) stores its alignment relative to its direction:
"left" lays the line out ending at the anchor and "right" starting there.
The importer read the alignment alone, so RTL point type opened shifted by
its own width (Arabic headings past the artboard edge, subtitles starting
where their title ends, a label over a QR code).
Checked locally against ~1,440 single-line point-type stories in a user's
own files (never committed): RTL + left ended at the anchor in 332 of 336,
RTL + right started there in 51 of 51; LTR and centred type unchanged.
Justified alignments keep their current mapping (too few samples).
A .ai can keep its variables and data sets in a variable library in
its editing data. VectorCraft doesn't read that library, and such a
file opened with an empty Variables panel and no warning about it.
The reader now counts the library's variables and data sets in the
editing data's /Document dictionary, and opening the file adds a
warning: "the file's variables and data sets weren't read (2
variables, 3 data sets): the Variables panel doesn't list them". The
same warning appears when the layers can't be read and the file opens
from its PDF part. A PDF that opens from the editing data it carries
gets the warning too. A library with no variables and no data sets
gives no warning.
Docs: docs/target-app-parity.md.
A version 7 .ai wrote each image's matrix as [a b c d tx ty] and its
samples on comment lines of 64 hex digits. The Adobe Illustrator File
Format Specification version 7.0, which the writer follows, writes the
matrix with a space inside each bracket in the XI syntax (section 8.1)
and in all five examples (section 8.4), and every example data line
holds 60 hex digits. #2692 reports that the reference app leaves out an
image inside a clipping group, and all the art after it, in the files
written from the reporter's two SVGs.
The writer now writes [ a b c d tx ty ] and data lines of 60 hex digits
(the last holds the rest), for every image it writes. VectorCraft's
reader and the file's PostScript prolog read both forms. The result was
not checked in the reference app.
The version 7 .ai writer wrote a radial gradient's highlight (Bh) only
when the gradient had a focal point off its center. A centered radial
gradient, such as an SVG radialGradient without fx and fy, was written
Bb, Bg, f, BB with no Bh. Every radial instance in the Adobe Illustrator File
Format Specification version 7.0, which the writer follows, has one,
0 0 0 0 Bh for a centered highlight (sections 3.5.5, 3.5.6 and 9.3).
#2687 reports that the reference app draws such a circle in its outer
color.
The writer now writes Bh in every radial instance, 0 0 0 0 Bh at the
center. A focal point past the radius, which an elliptical gradient
written circular can have, is written on the circle, so its x and y
offsets agree with the fraction 1 written after them (section 3.5.5).
Linear instances are unchanged. The result was not checked in the
reference app.
When a .ai or EPS file opens from its editing data, the import left
out the page's type that no text object owns whenever the regions of
the text objects made from the text document covered at least half of
it, without comparing letters. The region of point type reaches its
longest line's length in characters times its size, plus its size, to
the left and right, and one and a half times its size above and below.
A 21-character line at 10 pt reaches 220 pt to each side. The page's
other type inside that box was lost.
Now the region of a made text object counts toward that half only
when its story has the Latin letters and digits of one of the type's
pieces, compared without case, and only when such stories between
them have the letters of every piece. Only those text objects count
as drawn by the page. The check that decides whether the text
document is trusted still counts every region.
Docs: docs/target-app-parity.md.
When the editing data of an EPS or .ai file was for a page of another
size than the file's own page, the file opened as its page or its PDF
part with the reason "its editing data is for a different page". The
reason did not say which page the editing data was for, or that it was
the same page at another scale.
The reason now gives both sizes in points: "its editing data is for a
600 × 400 pt page, not the file's 612 × 792 pt page". When the two
pages are in proportion (within the 0.5 pt per side of the check), it
gives the scale of the editing data's page to the file's instead:
"its editing data is for a 100 × 100 pt page, the file's
1000 × 1000 pt page at 1:10". Every catalog that had the old reason
has rows for both new ones.
Docs: docs/mcp.md, docs/target-app-parity.md.
A PDF-compatible .ai, or a PDF saved with the editing data, whose
editing data can't be decompressed (damaged zlib or Zstandard data, or
data that decompresses to more than 256 MB) opened from its PDF part
with no note about its layers. layered_ai returned on the
decompression error without a note. Data that decompresses to layers
that can't be read gets one, and so does an EPS.
layered_ai now gives the same note with the decompression error as
its reason: "the file's layers weren't read from its editing data (its
zlib compression is damaged): they come from its PDF part". The note
counts as a loss, so document.export or Save As over a PDF saved with
the editing data asks first (acknowledgeLoss), as it already did for
a .ai. The three reasons have rows in the 17 catalogs that translate
every message.
Docs: docs/mcp.md, docs/target-app-parity.md.
When a .ai or EPS opens from its editing data and its layers draw a
little differently from the file's own page, the warning gave the share
of all the pixels that differ, type included, and blamed brush strokes
and live effects. Type that the import lays out again from the file's
text, or draws in another font, raised it on its own: a line that the
page sets in pieces gave "about 1.5% of it (brush strokes, live effects
and the like ...)" with no art differing.
The comparison now also counts the pixels that differ away from type.
The warning gives that share, and when the art away from type does not
differ by more than the warning's limit, the warning names the type
instead. The warning appears in the same cases as before, and the
limits that make the file come in as its page are unchanged.
Docs: docs/target-app-parity.md.
bflatastic