**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)
PDF import read every gap wider than a fifth of an em between two
glyphs as a space. Letter-spaced type (Tc, or glyphs placed one by one
with tracking) has such a gap between every pair of letters, so
"OPEN DAILY" came in as "O P E N D A I L Y".
A line now records every gap between its glyphs and decides which are
spaces when it finishes: the spacing its letters share (the gap a third
of the way up from the narrowest, when the line has three or more) is
taken off each gap first. That shared spacing is at most half an em, so
glyphs set wider apart, such as figures in columns, keep their spaces.
Right-to-left lines and glyphs along a curve read their gaps as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
When two or more frames stayed in the thread, the first got the whole story while the others kept their shares, so the re-flow joined those twice. The frames after the first now start empty, and the story flows through them once.
Illustrator links type in an area or along a path (https://helpx.adobe.com/illustrator/using/manage-text-area.html); until now only area type threaded here. Type on a path that overflows ends its line where its text stops fitting, so a story flows on from it, and its red out port, just past its end bracket, loads the Selection tool with the text as area type's does. A new frame threaded from it at a point is type on a path of its shape.
Scatter, Art and Pattern Brush Options had no Tips button. The
reference app's Brushes page has one for Colorization, with information
and samples about each method.
A Tips button beside Method now opens Colorization Tips. For each
method it shows the name, what the method does, and a sample of the
brush as OK would make it, painted with that method on a blue stroke.
Hue Shift's sample uses the dialog's Key Color. A second click on Tips,
Escape or a click outside the popover closes it, and the dialog field
tips opens it from a command. Screen readers name the button, the
popover and each sample.
In every dialog, Escape with a dropdown list open now closes the list
and leaves the dialog open. Before, it canceled the dialog and
discarded its edits.
The stroke preview and the samples no longer panic when ui.dialog.set
writes a brush definition (__def) that is not a JSON object.
Docs: docs/target-app-parity.md.
Optical Margin Alignment and Roman Hanging Punctuation left every
right-to-left paragraph of point and area type, and type on a path
whose first paragraph runs right to left, as it was: the quotation
marks, full stops and commas at the ends of its lines stayed inside
the margins.
A right-to-left line now hangs at the margins its alignment places it
against, as a left-to-right line does. Auto aligns a right-to-left
line at its right, so it hangs there. The line is read from right to
left: where it hangs at its left margin, a full stop and the quotation
mark after it that end the line hang together. In vertical type,
where the characters of a right-to-left paragraph run from the top
down, the pair is read from the top.
Type on a path whose first paragraph runs right to left hangs at its
brackets by the same rule. In horizontal type, Auto places it at the
end bracket, so it hangs there. On a closed path, its hang at the end
bracket gets the space between the end and start brackets before its
hang at the start bracket does, as in right-aligned type.
A justified right-to-left line of one word is spread between its
letters as they are drawn. The gap after each letter went to the
letter that follows it in the text, so the two leftmost letters
touched and the word ended one gap short of the right margin.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
The reference app creates a new symbol with F8 on Windows and macOS.
VectorCraft opened Symbol Options for a new symbol from the Symbols
panel's New Symbol button, from the panel menu's New Symbol… item and
from Help › Search Commands…, but no key ran it, and F8 did nothing.
ui.symbolOptions (Symbol Options…) now has the default F8 on every
platform. With a selection the key opens Symbol Options for a new
symbol, as the New Symbol button does: OK makes the symbol and puts an
instance of it in place of the art, and Cancel makes none. With nothing
selected the key opens no dialog, and the status bar says that nothing
is selected. Shift+F8, Cmd+F8 and Cmd+Shift+F8 keep their commands.
Keyboard Shortcuts now lists the command with its key.
Docs: docs/ui-parity.md, docs/target-app-parity.md,
docs/control-protocol.md.
A dialog's slider could take the keyboard focus from Tab, but it
responded only to the pointer, so an arrow key moved the focus to the
nearest widget in the arrow's direction and a keyboard user could not
move the slider. Screen readers could not step it either.
These dialog sliders, each beside a number field, now respond to the
keyboard. A click or Tab gives a slider the focus, which an outline
shows. Then the Right and Up arrows step the field's number up to the
next whole number and the Left and Down arrows step it down to the
next whole number. Shift with an arrow, Page Up and Page Down step it
by ten, and Home and End set the slider's first and last value. No
step goes past either end, and a number past the slider's range steps
from its nearer end. Screen readers' increment and decrement actions
step the slider as the arrows do. A step sets the field's number in
the field's own unit, so a Move slider in a millimeter document steps
one millimeter. When the field holds a number past the slider's range,
Home, End or a drag to that end of a form slider now sets the end's
number; before, such a drag left the field's number as it was.
The form sliders get this through the new color_slider_stepped, next
to color_slider_valued, and so do the Pencil, Paintbrush and Smooth
Fidelity, the Perspective Grid's Opacity, the 3D dialogs' sliders and
the flattener's balance, which the Flattener Preview panel also shows.
The Color panel, Swatch Options, the Color Picker's channel slider,
the Navigator and the Character panel keep their sliders as they were.
Docs: docs/target-app-parity.md.
Delete Brush and a rename in Brush Options changed only the strokes in
the layers. Strokes in symbol definitions, graph designs, pattern
tiles, opacity masks, graphic styles and the art of other brushes kept
the old brush name. After a rename they drew as plain strokes, and
after a delete a brush made later with the same name painted them.
brush.delete and brush.options with newName now rename the brush, or
clear it, in every stroke in those places, and in the tile that
pattern editing's Cancel puts back. Only the objects that change, and
the groups that hold them, are copied. It is still one undo step.
Docs: docs/target-app-parity.md.
Art evaluated from an object can hold one id more than once until the
pieces get ids of their own. The reply then named a repeated id by the
new id of its first node: for a square with a random Transform on its
stroke, in a group whose Transform effect copies it, the reply listed
the copies' group instead of the two copies. An object with a color
adjustment and crop marks was listed twice.
The expansion now records each object it lists with its place in the
art, and the new ids are taken from those places. An object is listed
once.
Random in a Transform effect takes its seed from the object's id. When
art evaluated from an object repeats ids (the copies a Transform effect
makes, a copied group's members included, and the object under Crop
Marks), Expand Appearance and the baking in bake_document gave the
pieces new ids before expanding or baking their effects. The result
then drew with other random values than the canvas did: on main, 2,382
to 5,205 pixels of a 200 x 200 render changed after Expand Appearance,
and 7% to 14% after Flatten Transparency, for 50 pt squares with a
random Transform on their stroke, on their group or under Crop Marks.
bake_pieces now bakes each piece with the ids it has and gives new ids
after. expand_pieces expands the object's own pieces, and the other
members that repeat an id and hold a random Transform, before their
ids change. Expand Appearance now expands a node value
(expanded_node). The Crop Marks branch expands the object before the
object and the marks get new ids. The reply still lists the expanded
object first, then what was expanded inside it.
The reference app reorders a brush that is dragged to a new place in
its Brushes panel, among the brushes of its type only. VectorCraft's
Brushes panel could not reorder brushes, and no command moved one.
brush.move {name | names, to?, type?} moves brushes to index to among
the brushes of their type, in brush.list order, as one undo step. A
move that keeps the order records no step. Brushes of different types,
or a type other than theirs, are refused with "brushes move only within
their type". In the Brushes panel, a brush dragged onto another brush
of its type goes before or after it by the half of the tile or row
under the pointer, and a bar marks the slot while it is held there. A
brush dropped on a brush of another type stays where it is, and the
status bar shows the refusal.
Docs: docs/mcp.md, docs/target-app-parity.md.
At startup, a persistent swatch or graphic style library panel whose
file could not be read was closed and left out of the preferences,
with only a status-bar note. The next preferences save dropped it, so
moving or renaming the file once lost the panel and its settings.
Such a panel now reopens where the saved layout had it and stays in
the preferences. Its tab shows the file's name without the extension,
and its body shows "Missing:" with the file's path and a Locate
Library… button. The new command ui.libraryPanel.locate {panel,
path?} loads the library from the file given, or from one picked in
an open dialog, and shows it in the same panel, which keeps its view,
Show Find Field and Persistent. When the file's library is open in
another panel, the missing panel closes and that panel is brought
forward and made persistent.
A persistent panel whose User Defined library file is deleted while
the app runs shows the library as missing the same way; other panels
still close. window.swatchLibrary and window.graphicStyleLibrary take
a missing library's id, so a closed missing panel opens again.
Previous Library and Next Library are dimmed in a missing panel's
menu.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
The #1584 regression covered the four built-in RGB spaces. It now also
checks gray and both CMYK profiles: header size equal to the length, a
length that is a multiple of 4, tag offsets on 4-byte boundaries, tag
data within the profile, and that the profile still parses.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Recovery copies are unsaved documents. FolderStore made its folders with
create_dir_all, so on Unix they got the default mode and other accounts on
the machine could read the copies. Folders the store creates are now 0o700.
A store folder that already exists (it can be one picked in Preferences)
keeps its mode; the area made inside it is owner-only.
The same change as storytold/pdfcraft#3320.
variables_panel_data_sets_ask_off_the_ui_thread checked only that the
exported file started with the header, so an export of the header
alone passed. Its folder was named after the process ID and was used
as it was found, so an out.csv left by an earlier run with the same ID
passed the check even when the export wrote nothing.
The test now empties its folder from vectorcraft_testkit::temp_dir
before use, and checks that the file holds the header and the row for
data set B and nothing else.
Since #3355, Ctrl+Alt+L is New Layer Options… and opens Layer Options
for a new layer instead of adding a layer. On main merged with this
branch, ctrl_alt_chords_without_typed_text_still_run failed: its
Ctrl+Alt+L steps expected a new layer. They now expect Layer Options
in mode new with no layer added, while the Type tool edits and with
the Selection tool, and the test cancels the dialog between the two.
The doc comment of altgr_characters_typed_in_text_run_no_command names
New Layer Options… (Cmd+Alt+L) instead of New Layer, and the
docs/target-app-parity.md line says AltGr+L does not also open Layer
Options for a new layer.
Firefox on Windows reports AltGr as Ctrl and Alt held. In the web
build, while the Type tool edited text, a character typed with AltGr
was typed and also ran the command chord of its key: AltGr+L (ł on a
Polish layout) added a layer through Cmd+L, AltGr+Q (@ on a German
layout) ran Reset Tracking and Kerning, AltGr+E (€) opened Export for
Screens, AltGr+A (ą) ran Select All on Active Artboard, and AltGr+Z
(ż) undid the typing through Cmd+Z.
While the Type tool edits text, a key press with Ctrl and Alt held
that is followed by the text it typed is now dropped before the
command chords are matched. A Ctrl or Ctrl+Alt chord that types no
character runs its command as before, and key presses outside text
editing are handled as before. The desktop app receives AltGr
without Ctrl and Alt, and a press with Ctrl held types no text
there, so it behaves as before.
Docs: docs/target-app-parity.md.
a_zero_width_joiner_in_devanagari_asks_for_a_half_form took any
fallback face whose GSUB script list holds dev2 or deva, and then
asserted that Ka takes its half form. A face with the script tag and
no half form for Ka failed the test, although the text was shaped in
the fallback face as the test checks.
The test now takes a fallback face only when the face lists dev2 or
deva and Ka + halant + ZWJ + Ssa set in that face alone starts with
Ka's half form and ends with Ssa. It prints SKIPPED when no installed
face does. A new test runs the filter on two faces built in code that
both list dev2. It takes the face with a half feature and passes
over the face without one.
- English (and Auto where offered) stays first as the source language and fallback; the rest sort by native name with accents folded, so Čeština is under C and Magyar under M; Cyrillic and CJK names follow the Latin ones
- The list used the registry order, which is the order the languages were added
With Use Preview Bounds on, a bounding-box handle drag scaled the art by
the ratio of the visual box, so margins that stay (a stroke with Scale
Strokes & Effects off, an Offset Path reach) or scale by another factor
moved the opposite visible edge: dragging the right edge of a square with
Offset Path 10 from 210 to 310 left its left edge at 98.33 instead of 90.
The Selection tool now previews object.setBounds with the dragged visual
size and the opposite handle (with Alt, the center) as the reference
point, so the scale is solved from the geometric box and the margins the
visual box adds, for strokes with Scale Strokes & Effects on or off and
for geometry effects. Shift and Alt drags follow the same rule; a drag
that flips the box, and one with anchors selected, still scale by the
matrix. A previewed object.setBounds runs as object.transform with the
transform it finds, so Transform Again repeats the drag and the journal
holds that transform. The drag transforms a path of a compound path
selected on its own, as object.transform does, and leaves the art at
least 1e-4 of its width and height.
The renderer clips a clip group by its clipping path's geometry before
the path's geometry effects, and paints the path's strokes over the
clipped art without clipping them, with those effects. With Offset Path
on a stroked clipping path, the stroke paints along the offset shape
while the group was measured by the path's own stroke.
With Use Preview Bounds on, a clip group or layer whose clipping path
has strokes with geometry effects is now measured as the clipping
path's geometry and those strokes as drawn, in the Transform panel, the
bounding box, Align and Distribute. This holds inside groups and for a
clip group with a fill or stroke of its own. A clipping path
without a stroke still measures as the region it clips to, and a hidden
one adds no stroke.
With Use Preview Bounds on, every hover frame's cursor and every
pointer move measured the selection again, and with Smart Guides on
each selected object too, evaluating their geometry effects each time.
The session now keeps a PreviewMemo, which ToolContext::preview_memo
passes to the tools. selection_bounds, selection_box and the object
bounds that Smart Guides find centers in while hovering read it. The
memo holds the measurements for one key: the document's uid and
revision, the selected objects and Use Preview Bounds. A new key
replaces them. VectorcraftApp::selection_box in the UI keys on the
uid, the revision and Use Preview Bounds. A ToolContext without a
memo measures on every call.
With Use Preview Bounds on, the bounding box, the Transform panel,
Align, Distribute, Distribute Spacing and object.setBounds measured
each object without its geometry effects. A square with Offset Path
10 measured as the square, and type with Outline Object measured by
its layout box instead of its glyphs.
The new vectorcraft_effects::preview module measures objects as they
are drawn. A path is measured by its effected shape, with the
geometry effects of each fill and stroke that paints. Type, images,
live objects and symbol instances are measured by their reshaped art.
A group or layer with geometry or Pathfinder effects, or with a fill
or stroke of its own that has geometry effects or paints members with
geometry effects, is measured by its evaluated art. A blend, envelope
or repeat whose objects have geometry effects is measured by its
evaluated art, with those objects measured after their effects. Raster
effects are not measured. In one object, the art of at most 4,096 symbol
instances is measured with its geometry effects, and the other
instances are measured without them. With Use Preview Bounds off, the
measures are unchanged.
object.setBounds sizes objects with geometry effects by measuring
them after each scale it tries, so type with Outline Object set to
100 pt wide gets a glyph box 100 pt wide.
Selection::anchors_box is split out of Selection::anchor_bounds. The
doc comment of VectorcraftApp::selection_bounds said that it includes
effects; it now says that it leaves them out.
The web build has no render worker, so every frame of a pan, zoom or
rotation of the view rendered the whole canvas on the browser's main
thread before it was shown. In Chrome, each of the 20 steps of a
Space-drag over a document of 50,000 paths took a frame of 533 to
900 ms.
In the web build the canvas now waits while only the view changes on
a document whose last render took more than 8 ms. It draws the last
frame moved, scaled or turned with the view, as the desktop app does
while its worker renders, and it renders once the view has been still
for 0.2 s. The same Space-drag now keeps every frame within 17 ms and
renders once, in 667 to 767 ms, after the view stops. After an edit, a
preview or an option change the canvas renders at once. The desktop
app renders as before, with or without its worker.
Docs: docs/target-app-parity.md.
PDF import gives a space read from a gap between two glyphs tracking of
its own when the line's tracking cannot place the glyphs after it. A
space glyph that the file draws was not measured this way: the gap
before or after it was spread over the whole line as one tracking
value, so the words after it moved. VectorCraft's own PDF export draws
a tracked space and leaves its tracking after it.
A space the file draws between two glyphs on a line is now measured
from the end of the glyph before it to the start of the glyph after it,
and takes tracking of its own on the same terms as a space read from a
gap. Two or more spaces in a row, and a space at the start or end of a
line, keep the line's tracking. The tracking calculation builds a map
of the line's laid-out advances by byte offset once.
A wrapped line whose spaces each have tracking of their own, within a
fiftieth of an em of the first space's tracking, can still come back as
part of justified area type. Wrapped lines whose spaces' trackings
differ by more than that stay point type with their words in place.
Double-clicking the Shape Builder tool reported that the tool has no
options. The reference app opens Shape Builder Tool Options there.
The dialog sets Consider Open Filled Paths as Closed, Pick Color From
(Artwork or Color Swatches), Cursor Swatch Preview, Selection (Freeform
or Straight Line) and Highlight Fill. The defaults keep today's
behavior. With Consider Open Filled Paths as Closed off, a filled open
path cuts regions as an unfilled one does. With Color Swatches, a merge
fills the new shape with the current fill, and the Left and Right arrow
keys step the current fill through the document's color swatches.
Cursor Swatch Preview shows the current fill and the swatches before
and after it above the pointer. With Straight Line, a drag merges what
the line from its first point to its last crosses. With Highlight Fill
off, merge mode shades no regions.
The options persist like other tools' options. shapeBuilder.merge
takes openFilledAsClosed and pickColorFrom, and shapeBuilder.regions
takes openFilledAsClosed. Gap Detection, "In Merge Mode, Clicking
Stroke Splits the Path" and Highlight Stroke When Editable are not part
of this change.
Docs: docs/mcp.md, docs/target-app-parity.md.
main now lists nl, da and id as complete-menu catalogs, so the two hint
fragments this branch adds need rows there too. Each row replaces the
old " on the canvas to create one" row, as in the other catalogs.
With the Artboard tool, a Shift-press on an artboard toggled it in the
selection and started a move, which Shift kept at 45° steps. A
Shift-drag on the pasteboard drew a square artboard. The reference
app's documentation gives Shift-drag inside an artboard as the way to
draw an artboard there, and Shift-drag on the canvas as a marquee that
selects artboards.
A Shift-click now toggles its artboard when the button comes up. A
Shift-drag inside an artboard draws a new artboard (artboard.new), and
a Shift-drag on the pasteboard toggles every artboard it touches, the
last one added becoming active. Shift no longer constrains an artboard
move or keeps a new artboard square, and no other modifier does. Shift
on the active artboard's handles still resizes it proportionally. The
hint bar names the Shift gestures in every complete catalog, and the
cursor is a crosshair over an artboard while Shift is held.
Escape while a new artboard was being drawn left the tool. Escape
during any drag, the new marquee included, now cancels the drag and
keeps the Artboard tool, as it already did during a move or a resize.
Docs: docs/target-app-parity.md.
A blank destination is the document's own profile, so in an RGB document Press Quality (Preserve
Numbers, blank) converted CMYK colours and images to RGB. Output › Destination can now be
DOCUMENT_CMYK, the CMYK profile of the colour settings in effect whatever the document's colour
mode (Illustrator's "Document CMYK"); Press Quality uses it, and the Save PDF dialog lists it after
Document profile. Test: in an RGB document a CMYK image keeps its inks and an RGB image comes out
CMYK.
Press Quality left Output at No conversion, so in a CMYK document RGB images went to the press as
DeviceRGB. It now converts to the destination with the numbers kept, the destination blank (the
document's profile): RGB comes out CMYK in a CMYK document, CMYK values stay exactly, RGB
documents are unchanged, and no profiles are included, as a printer's published [Press Quality]
settings list.
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.
handle_input set hover_doc, the document point under the pointer,
from the view as handle_input found it. The wheel's zoom, scroll and
trackpad turn, a held pan, a Rotate View drag, the Zoom tool and a
Presentation Mode click moved the view later in the same call, and
show drew with the moved view. In a frame where a wheel scroll moved
the view, the rulers' pointer marks were drawn off the pointer by that
frame's scroll, the Info panel showed the earlier point, and the hover
highlight and the tool cursor were looked up there. A pan, a Rotate
View drag, a Zoom tool marquee and an Animated Zoom scrub left
hover_doc behind the view in the same way. A tool drag held still
while the wheel scrolled was sent the old view's point.
The wheel block now runs before handle_input takes its view, so the
tool's events in that frame use the view the wheel moved to. show sets
hover_doc right after handle_input returns, from the view it left.
Holding Alt while drawing with the Paintbrush, or with the Pencil while
Alt key toggles to Smooth Tool is off, closes the path at the release,
but the cursor did not change. The reference app's Paintbrush shows a
small loop while Alt is held, and its Pencil shows a small circle.
Cursor::PaintbrushClose and Cursor::PencilClose show while Alt is held
with the Paintbrush, and with the Pencil while that option is off,
before the press and while drawing. Both tools still borrow the
crosshair, so the closing cursors are drawn as that crosshair with the
PenClose ring. Use Precise Cursors turns them into the plain crosshair,
as it does PenClose.
With Alt key toggles to Smooth Tool on, the Pencil shows the Smooth
cursor while Alt would smooth: with Alt held before a stroke begins to
draw, and through a smoothing drag even after Alt is let go. Before, it
showed the Smooth cursor whenever Alt was held, also during a stroke
that kept drawing, and not during a smoothing drag once Alt was let go.
Docs: docs/target-app-parity.md, crates/tools/src/cursors.toml.
With several artboards selected with the Artboard tool, the Artboards
panel menu's Rename opened the name field on the active artboard's row
and renamed that artboard only.
Rename now opens an empty name field on the active artboard's row, and
so does a double-click on a name with Shift or Ctrl/Cmd held that
leaves several artboards selected. The name typed there goes to every
selected artboard, numbered in panel order (abc-1, abc-2, abc-3), in
one undo step through the artboards list of artboard.setProps. With
one artboard selected, Rename and a double-click on a name rename that
artboard as before.
Docs: docs/target-app-parity.md.
A scatter brush whose art held type drew the type in its own colors
whatever the brush's colorization: Tints, Tints and Shades and Hue
Shift recolored the art's paths but not its characters. The Key Color
list in Brush Options left the type's colors out as well.
Colorization now maps the solid fills and strokes of each run of type
in the art as it maps the fills and strokes of paths. The Key Color
list, whose first color is Hue Shift's default key, counts each run's
fill, and its stroke when the stroke is wider than 0. The Symbol
Stainer now mixes the characters' strokes of type toward the stain,
as it already mixed their fills.
Docs: docs/target-app-parity.md.
With View › Snap to Grid on, a whole object moved with the Selection,
Group Selection or Direct Selection tool landed on the grid by
whichever of its two edges or its center was nearest a gridline on
each axis. An object on the grid whose width is an odd number of grid
steps has its center half a step between gridlines, so a short drag
could pull it half a step off the grid: on a 20 pt grid, a 100 pt
square at (100, 100) dragged by (8, 8) moved by (10, 10).
A move now lands the nearer of the two edges on a gridline on each
axis, as the reference app's help describes, and the center no longer
snaps. The square above stays at (100, 100). This changes the rule #769
chose for #740. The plain move and the Shift-constrained one both use
grid_pull, so both change.
Docs: docs/target-app-parity.md (Drawing aids).
the_engine_follows_the_interface_language drew only English frames
after 6efe9df3e, because a Japanese frame set the drawing language for
every test running beside it. It set the engine's language by hand and
never checked that a Japanese frame hands the engine ja. Since #2570
each unit-test thread has its own drawing language.
The test again runs a frame with the interface preference set to
Japanese and checks that the engine gets ja, then runs a frame with
the preference back on auto and checks that it gets en. It also checks
that a thread started after the Japanese frame still draws in English.
With the drawing language process-wide, as before #2570, the test
fails, and the zoom hint test beside it showed its hint in Japanese in
12 of 200 runs.
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.
object.isolate on a Shaper Group isolates the group's source group, but
the hidden and locked check ran on the Shaper Group itself, so a source
group hidden or locked with object.setProps was still isolated. The
check now runs on the object that isolation mode enters.
Grant Colloty