File › Print printed each artboard on a sheet of its own. A 2 × 3.5 in
card on Letter printed once in the middle of the page, and Print had no
option to fill the sheet with copies.
The Print dialog's General section has Copies per Sheet (off by
default) and a Gutter. With it on, a sheet holds as many copies of the
artboard as fit the imageable area, each with its bleed and marks,
across then down, gutter pt apart. The card prints 4 × 3 on Letter,
and 3 × 3 with an 18 pt gutter. The copies are not turned, and the
placement places the whole grid as it places one copy. An artboard
that does not fit prints one copy per sheet with a warning, and more
than 1,000 copies on a sheet is an error. Tiling leaves the option
out. The PDF and PostScript writers draw the art and the marks once
per copy, the PDF TrimBox holds every copy, the preview draws each
copy, and print.preview lists them as `copies`. With the option off,
the layout lists no copies and the writers draw the page as before.
Docs: docs/mcp.md (Print, Printing), docs/target-app-parity.md.
The canvas, the gradient chips and the SVG, PDF, EPS and EMF writers mixed
freeform points in display RGB, while Object > Expand and Create Gradient
Mesh mixed them in the model the points share. Points that are all CMYK,
Gray, Lab or RGB now mix in that model in those places too. Points in
different models mix as before: in display RGB, and on ink planes as the
inks of each point.
This changes how existing art looks:
- CMYK and Lab points. With the default Generic CMYK working space and no
ink planes, halfway between C100 and K100 the canvas drew (17, 106, 139)
and now draws (54, 118, 143).
- RGB points in a working RGB space other than sRGB mix in that space.
- On ink planes (a CMYK document that shows transparency), RGB and Lab
points mix first and then separate.
Gray mixes keep their values, and CMYK and Gray points on ink planes draw
as before. RGB points in an sRGB working space draw as before except on
ink planes.
- PDF and EPS write a gradient whose points are all CMYK, or all Gray in a
CMYK file, as a CMYK image. PDF's Output settings convert it as they
convert any CMYK image.
- Darkening applies to the points before they mix.
- With Appearance of Black set to Rich, the canvas mixes a gradient with a
pure CMYK black point in display RGB, and the point fades from RGB black.
With Scale Strokes & Effects or Transform Patterns on, the path and each copy are moved by Node::transform, which fixed a fitted gradient to its fit before a scale of 0 flattened it to one color. Scaling::keep_fit_when_flat keeps the gradient fitted under a map that flattens the object (node::flattens, the gate fixes_fit already used), and the Transform effect's path transforms set it.
docs/target-app-parity.md also says that the Gradient tool still shows a fitted gradient's vector at its unturned fit.
The symbol test now requires a warning and at most the given number of
objects at every limit below what the reader reads. The mask test takes
its limits from the objects the reader reads and finds where the mask
first fits.
A pattern's or a brush's art was copied into the document with new ids,
but the art of an opacity mask inside it kept the ids of the reader that
read the definition. Those ids could repeat ids of objects in the
layers. The mask art now takes document ids, as a symbol's art already
does.
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.
Joining a Type 42 font's strings is charged per byte (as other bulk
copies are) before it runs, so data that turns out unreadable, read
again after leaving the cache, no longer copies for free.
widthshow matches a composite character by font number times 256 plus
its code; measuring Type 42 glyphs counts against the operation budget;
the Type 42 data cache keeps the least recently used order, remembers
fonts whose data can't be read and counts each font's data against the
memory budget once; composite font arrays are borrowed, not copied.
A composite (Type 0) font with the 8/8 mapping picks a descendant font
and a code in it with each pair of bytes (PLRM 3rd ed., 5.10). The reader
set its strings as type in a font of the composite font's name, the
bytes read as Latin-1 and at a thousand times the size, so EPS from
pdftops of a PDF with embedded TrueType fonts showed nothing, or one
black shape, where its type was.
Characters now go to their descendants: a Type 42 font's glyphs are drawn
from the TrueType outlines its sfnts strings carry (Adobe Technical Note
5012), by the glyph index CharStrings gives their names, spaced by their
own widths or the show operator's numbers; charpath and stringwidth read
them too. A Type 3 descendant runs its procedures, and a descendant found
by name sets its character as type at the composite font's size.
Resolve missing Registration (Xs, XS, Xz, XZ) and named color (Xx, XX)
operators in AI ArtStyle filter definitions so objects styled with
Registration swatches correctly resolve their paint instead of falling
back to the previously set graphics state color.
Also exclude Registration paints from color-model inference when read via
Xx/XX, and correctly extract tint (penultimate operand) for name-free Xz.
The mask test now checks the whole fill and stroke (colour, overprint,
width, cap, join, miter, dash) and the fill rule against the owner's,
and that an object after the mask's dictionary paints with the owner's
paint, not the paint the mask's art set. open_mask_object gets a doc
comment.
A dictionary's state starts afresh, with a black fill. Mask art is written
going on from the paint before the mask's dictionary, which the writer leaves
out when it doesn't change, so a mask rectangle with no colour of its own
came in black and hid the white letters it masks. Mask art now starts from
the paint (fill, stroke, line style, fill rule, overprint) before the
dictionaries it is in; lock, visibility and transparency still start afresh.
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.
The editing-data writer wrote a run's key 35 only for Tate-chu-yoko (3).
Type with Standard Vertical Roman Alignment, on or off, was saved with no
key, so the setting was lost from the editing data. Every run now carries
key 35 in the form the reader reads it (crates/eps/src/import/ate.rs,
Texts::style, lines 669-670): 1 when the setting is on, 2 when it is off
and 3 for Tate-chu-yoko. The document's defaults and the normal character
style carry 1.
Key 35 holds one value, so a run with both Tate-chu-yoko and the setting
is written as Tate-chu-yoko, and the save reports the type attributes
warning for it.
- writer/texts.rs: baseline_direction() gives each run's value;
normal_char() writes 1; loses() and TYPE_ATTRIBUTES name the setting.
- tests.rs: a vertical and a horizontal object with the setting on, off
and Tate-chu-yoko come back the same through the reader, lay out as
before, and carry the expected keys; a run with both is reported.
- docs/file-format-parity.md: the .ai save section lists the written
values.
The editing-data reader set the paint of each gradient swatch in the
palette to link to the swatch's own name. The default gradient swatches
and a gradient swatch given a new gradient with swatch.edit hold their
gradient without a link, so a document saved as .ai and opened again
had swatches that differed from the ones it was saved with. The swatch
now holds the gradient alone. Art filled with the gradient is not
changed: it still links to a swatch by the gradient's name.
The fix also applies to a .ai whose layers are not read, such as a
gradient library, where only the palette comes in.
Three tests cover a hand-written palette with a gradient swatch named
by its gradient and one with a name of its own, a new document's four
gradient swatches written by the editing-data writer and read back, and
a gradient library without layers.
The modern type reader read key 35 of a character style only for
Tate-chu-yoko (3). A run whose key 35 is 1 (Standard), in the run, its
character style or the document's defaults, now opens with Standard
Vertical Roman Alignment on, so its half-width characters stand upright
in vertical type. Horizontal type keeps the mark with no change to its
layout. A value of 2 (rotated), 3, any other value and no key at all
leave it off, VectorCraft's default.
- ate.rs: Style reads the flag and passes it to CharStyle, with a unit
test over defaults, character styles, run overrides and bad values.
- tests_native.rs: a vertical and a horizontal story with Standard,
rotated and unset runs; the test of values the reader ignores also
checks the flag.
- import_fuzz.rs: the vertical fixture also checks the flag.
- docs/file-format-parity.md: one line on the mapping.
The legacy .ai writer gives the type attributes warning when a text
object loses something it cannot hold. It did not give it for several
attributes that it does not write:
- Align to Path set to Ascender, Descender or Center.
- An end bracket before the end of an open path, or short of once
around a closed path. A legacy text path holds the path and the start
point only (AI7 File Format Specification, section 15).
- Manual kerning other than 0, which is written as kerning off, and
optical kerning.
- Optical Margin Alignment, System Layout and fractional widths off.
- A second subpath in an area type frame or a type path. The writer
writes the first subpath only.
The warning now names each of these.
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.
BFlat