Merge pull request #1120 from storytold/fix/1102-eps-layers-page

#1102: an EPS keeps its page and stacked text strokes through its layers

ROADMAP.md

@@ -127,7 +127,7 @@ Ranked; detail in [docs/roadmap.md](docs/roadmap.md) and [docs/gaps.md](docs/gap
 
 | Date | What landed |
 |---|---|
-| 2026-10-11 | Effect › Brush Strokes: Accented Edges, Angled Strokes, Crosshatch, Dark Strokes, Ink Outlines, Spatter, Sprayed Strokes, Sumi-e (G2). Command parameters from agents and files checked before anything changes (paint, place, cuts, dashes, crop, asset ids, anchors, paths, distort; #984–#999); command dialogs keep whole numbers whole, so Create Object Mosaic takes the tiles typed (#1000); stepper arrows take Shift (×10) and Ctrl/Cmd (÷10) like the arrow keys (#991). Exports and Rasterize supersample Art Optimized edges, so shapes meeting edge to edge leave no seam (#983). Character and paragraph styles take leading, kerning, mojikumi and the other attributes left out at their defaults (#1001). Drawing, typing and pasting with no layer shown and unlocked is refused instead of adding art to a hidden or locked layer (#1002). MCP `add_text` gives type on or in a path the colour asked for (#1003). MCP `screenshot` of a connected app renders the artboard asked for (#1004). `vectorcraft-cli run` ends quietly when its reader closes early (#1005). Select › All on Active Artboard selects on the artboard made active, not always the first (#1006). Reverse Gradient keeps off-centre midpoints, mirrored (#1007). A polar grid with no radial dividers draws none (#1008). Use Precise Cursors also covers the Pen's join pointer (#1009). SVGs with one absolute and one unitless root side import at their size, unstretched (#1010). DXF US survey inches, yards and miles open at their size and name (#1011). A file placed into a document with no other links follows its first change even while the app sits idle (#1031). PDF import keeps the style a font name says when the file doesn't embed the font (#1023). Shift selects ruler guides and art together, and Delete removes both (#1022). Open filled paths are hit by their fill on every side, the rotate cursor bows around the corner it is at, the flip icons match their flips, the Color Picker previews on the selection, and Properties › Transform reaches Scale Corners and Scale Strokes & Effects (#1036). Offset Path and the other booleans finish on outlines where the sweep used to loop until memory ran out (linesweeper 0.5, #1028). Floating panel groups stack into sets that move together, collapse to their tabs and dock as extra dock columns that scroll (#1020). Ruler guides live on layers: listed in the Layers panel, shown, hidden, locked, duplicated, merged and deleted with their layer, and moved between layers (#1021). A `.ai` whose editing data uses global process colours (`Xk`/`XK`) or pattern fills keeps its sublayers: the colours come in as global swatches at their tint, the patterns as pattern swatches (#1025). A `.ai` in PostScript form opens through its layers, read from the program itself, also when it names the prolog defining its operators without including it, as Rhino and other CAD apps write it (#1027). A fill or stroke chosen while the Type tool has characters selected colours just those characters (#1063). Scaled type shows its scaled font size, leading, baseline shift and horizontal scale in the Character panel, and a size typed there is the size you get (#1034). Character panel menu › Proportional Metrics sets Japanese and Chinese full-width glyphs on the font's proportional widths in horizontal type (#966). Align, Distribute, Move, Arrange, Lock, Hide, Ungroup and other Object commands that would change nothing no longer record an undo step or mark the document changed (#1060). Spot colours defined in Lab open with their Lab values from `.ai` and PDF files, instead of as wrong RGB colours or their CMYK equivalents (#1032). Build scripts leave a generated source they wouldn't change untouched, so the next build doesn't compile most of the workspace again where file times lose their sub-second part (#1051). A fill colour recolours the gradient mesh point last clicked with the Mesh tool or Direct Selection, and a Mesh tool click on a mesh's point selects that mesh (#1052). The All Tools drawer stays two tools wide instead of filling a wide window (#1054). Text Wrap's Make, Release and Options refuse a list of object ids with a malformed or unknown id instead of skipping it (#1055). A freeform gradient line with a malformed point index is refused instead of being shortened to the indices that are valid (#1056). The Corners dialog (`ui.corners`) refuses a malformed object id or a listed anchor that isn't a corner instead of editing the selection or the other corners (#1057). New View refuses a centre that isn't exactly [x, y] and a rotation that isn't a number, instead of trimming the one and saving the other as 0° (#1058). The command sweeps try junk scale, spacing and artboard values too, which they had skipped since before those bugs were fixed (#1059). EPS and PostScript `arc` and `arcn` with huge angles no longer hang the import, and an arc whose angles are whole turns apart is empty, as the PostScript reference defines it (#1062). Align and DisLine truncated
+| 2026-10-11 | Effect › Brush Strokes: Accented Edges, Angled Strokes, Crosshatch, Dark Strokes, Ink Outlines, Spatter, Sprayed Strokes, Sumi-e (G2). Command parameters from agents and files checked before anything changes (paint, place, cuts, dashes, crop, asset ids, anchors, paths, distort; #984–#999); command dialogs keep whole numbers whole, so Create Object Mosaic takes the tiles typed (#1000); stepper arrows take Shift (×10) and Ctrl/Cmd (÷10) like the arrow keys (#991). Exports and Rasterize supersample Art Optimized edges, so shapes meeting edge to edge leave no seam (#983). Character and paragraph styles take leading, kerning, mojikumi and the other attributes left out at their defaults (#1001). Drawing, typing and pasting with no layer shown and unlocked is refused instead of adding art to a hidden or locked layer (#1002). MCP `add_text` gives type on or in a path the colour asked for (#1003). MCP `screenshot` of a connected app renders the artboard asked for (#1004). `vectorcraft-cli run` ends quietly when its reader closes early (#1005). Select › All on Active Artboard selects on the artboard made active, not always the first (#1006). Reverse Gradient keeps off-centre midpoints, mirrored (#1007). A polar grid with no radial dividers draws none (#1008). Use Precise Cursors also covers the Pen's join pointer (#1009). SVGs with one absolute and one unitless root side import at their size, unstretched (#1010). DXF US survey inches, yards and miles open at their size and name (#1011). A file placed into a document with no other links follows its first change even while the app sits idle (#1031). PDF import keeps the style a font name says when the file doesn't embed the font (#1023). Shift selects ruler guides and art together, and Delete removes both (#1022). Open filled paths are hit by their fill on every side, the rotate cursor bows around the corner it is at, the flip icons match their flips, the Color Picker previews on the selection, and Properties › Transform reaches Scale Corners and Scale Strokes & Effects (#1036). Offset Path and the other booleans finish on outlines where the sweep used to loop until memory ran out (linesweeper 0.5, #1028). Floating panel groups stack into sets that move together, collapse to their tabs and dock as extra dock columns that scroll (#1020). Ruler guides live on layers: listed in the Layers panel, shown, hidden, locked, duplicated, merged and deleted with their layer, and moved between layers (#1021). A `.ai` whose editing data uses global process colours (`Xk`/`XK`) or pattern fills keeps its sublayers: the colours come in as global swatches at their tint, the patterns as pattern swatches (#1025). A `.ai` in PostScript form opens through its layers, read from the program itself, also when it names the prolog defining its operators without including it, as Rhino and other CAD apps write it (#1027). A fill or stroke chosen while the Type tool has characters selected colours just those characters (#1063). Scaled type shows its scaled font size, leading, baseline shift and horizontal scale in the Character panel, and a size typed there is the size you get (#1034). Character panel menu › Proportional Metrics sets Japanese and Chinese full-width glyphs on the font's proportional widths in horizontal type (#966). Align, Distribute, Move, Arrange, Lock, Hide, Ungroup and other Object commands that would change nothing no longer record an undo step or mark the document changed (#1060). Spot colours defined in Lab open with their Lab values from `.ai` and PDF files, instead of as wrong RGB colours or their CMYK equivalents (#1032). Build scripts leave a generated source they wouldn't change untouched, so the next build doesn't compile most of the workspace again where file times lose their sub-second part (#1051). A fill colour recolours the gradient mesh point last clicked with the Mesh tool or Direct Selection, and a Mesh tool click on a mesh's point selects that mesh (#1052). The All Tools drawer stays two tools wide instead of filling a wide window (#1054). Text Wrap's Make, Release and Options refuse a list of object ids with a malformed or unknown id instead of skipping it (#1055). A freeform gradient line with a malformed point index is refused instead of being shortened to the indices that are valid (#1056). The Corners dialog (`ui.corners`) refuses a malformed object id or a listed anchor that isn't a corner instead of editing the selection or the other corners (#1057). New View refuses a centre that isn't exactly [x, y] and a rotation that isn't a number, instead of trimming the one and saving the other as 0° (#1058). The command sweeps try junk scale, spacing and artboard values too, which they had skipped since before those bugs were fixed (#1059). EPS and PostScript `arc` and `arcn` with huge angles no longer hang the import, and an arc whose angles are whole turns apart is empty, as the PostScript reference defines it (#1062). Align and DisLine truncated
 | 2026-10-10 | Initial live Revolve (Effect › 3D and Materials, #846, #605), in its own `three-d` crate. Progress docs re-measured and restructured to the craftrules standard (this page, `docs/target-app-parity.md`, `gaps.md`, `ui-parity.md`, the format, hardware, localization, effects and type checklists). Same day: v0.8.0; Effect › Distort, Pixelate and Texture filters (13); German interface; Variables (data merge); Graph Type value axes and tick marks; restart when the first frame never reaches the screen (#964) |
 | 2026-10-09 | Radial Blur, Smart Blur, Unsharp Mask (gap 2 begins); 340 commits, the busiest day |
 | 2026-10-08 | v0.5.0–v0.7.0; community contributions: Pen and shape-tool modifiers, Layers, Artboards, Japanese composition, Hebrew/Arabic type, interface languages, saved selections |

crates/eps/src/import/native.rs

@@ -624,6 +624,17 @@ fn differ(p: &[u8; 4], q: &[u8; 4]) -> bool {
     lightness(p).abs_diff(lightness(q)) > SAME_PIXEL || (a.min(b) <= WHITE && a.abs_diff(b) > SAME_PIXEL)
 }
 
+/// How far apart two pixels' red, green or blue may be for them to be the same colour (a colour
+/// and its CMYK equivalent stay within it; a red and a dark red don't).
+const SAME_COLOUR: u32 = 64;
+
+/// Are two pixels different colours ([`differ`] also takes a red and a dark red of about the same
+/// lightness to be alike)?
+fn differ_in_colour(p: &[u8; 4], q: &[u8; 4]) -> bool {
+    let (p, q) = (on_white(p), on_white(q));
+    p.iter().zip(q).any(|(a, b)| a.abs_diff(b) > SAME_COLOUR)
+}
+
 /// How much two documents draw differently: the share (0 to 1) of the pixels that differ, and of
 /// those whose neighbours all differ too, away from type (where one draws an object that the other
 /// doesn't, not the edges of one drawn a little differently, or type laid out a little
@@ -672,6 +683,20 @@ impl PageView {
         type_areas(&b.layers, rb, self.scale, &mut areas);
         compared(&self.page, &y, &areas)
     }
+
+    /// The share (0 to 1) of the pixels where `b` on `rb` draws another colour than the page
+    /// ([`differ_in_colour`]), type included: what taking an object out of the layers changes
+    /// there, when it is covered by one of about the same lightness (#1102).
+    fn colour_difference(&mut self, b: &Document, rb: Rect) -> f64 {
+        let printed = as_printed(b);
+        let b = printed.as_ref().unwrap_or(b);
+        let y = self.layers.render_region(b, rb, self.scale, false);
+        if (y.width, y.height) != (self.page.width, self.page.height) {
+            return 1.0;
+        }
+        let differing = self.page.pixels.as_chunks::<4>().0.iter().zip(y.pixels.as_chunks::<4>().0).filter(|(p, q)| differ_in_colour(p, q)).count();
+        differing as f64 / (f64::from(y.width) * f64::from(y.height)).max(1.0)
+    }
 }
 
 /// How `a` on `ra` and `b` on `rb` (rectangles of the same size) draw differently ([`compared`]),
@@ -823,6 +848,14 @@ fn build(data: &[u8], visible: Option<&Document>, page: Page, outlined: bool) ->
         let artboard_page =
             artboard.is_some_and(|a| [a.x0 - art_box.x0, a.y0 - art_box.y0, a.x1 - art_box.x1, a.y1 - art_box.y1].iter().all(|d| d.abs() <= 1.0));
         let whole = matches!(page, Page::Art) && !artboard_page;
+        if whole {
+            // Its page is the file's own (its bounding box), as when it comes in as its page: art
+            // reaching past the editing data's artboard stays on it (#1102).
+            doc.artboards.truncate(1);
+            if let Some(a) = doc.artboards.first_mut() {
+                a.rect = rect;
+            }
+        }
         frame = Some(Frame { page: visible, page_rect, rect, whole });
     }
     let mut infos = vec![];
@@ -940,7 +973,7 @@ fn prune_unseen(frame: &Frame<'_>, view: &mut PageView, doc: &mut Document) -> u
     if found.is_empty() || found.len() > MAX_WEIGHED {
         return 0;
     }
-    let mut with = view.difference(doc, rect).any;
+    let with = view.difference(doc, rect).any;
     // Taking a text object out changes only what is drawn in its box. When the art would still
     // differ from the page by more than `compare` allows with every candidate gone, the layers
     // aren't used whatever is pruned: don't draw them again for each one (#758).
@@ -949,6 +982,9 @@ fn prune_unseen(frame: &Frame<'_>, view: &mut PageView, doc: &mut Document) -> u
     if with - boxes / rect.area().max(1e-9) > MAX_DIFFERENCE {
         return 0;
     }
+    // Weighed by colour, not only lightness: a text object's red stroke over a dark red one is no
+    // less there for being about as light (#1102).
+    let mut with = view.colour_difference(doc, rect);
     let mut removed = 0;
     for (id, bounds) in found {
         if bounds.is_none_or(|b| b.intersect(rect).is_zero_area()) {
@@ -958,7 +994,7 @@ fn prune_unseen(frame: &Frame<'_>, view: &mut PageView, doc: &mut Document) -> u
         if !take_out(&mut without.layers, id, true) {
             continue;
         }
-        let d = view.difference(&without, rect).any;
+        let d = view.colour_difference(&without, rect);
         if d - with <= UNSEEN_MARGIN {
             take_out(&mut doc.layers, id, false);
             with = d;
@@ -1121,6 +1157,47 @@ mod tests {
     use super::*;
     use vectorcraft_doc::{CharStyle, TextObject};
 
+    /// `doc` with a square ring round (20, 20)–(80, 80) (or at `at`), stroked `color` `width` wide,
+    /// named `name`.
+    fn ring(doc: &mut Document, name: Option<&str>, color: vectorcraft_color::Color, width: f64, at: Rect) {
+        let stroke = vectorcraft_color::Paint::solid(color);
+        let mut n = Node::path(
+            doc.alloc_id(),
+            vectorcraft_geom::shapes::rectangle(at),
+            vectorcraft_doc::Appearance::basic(vectorcraft_color::Paint::None, stroke, width),
+        );
+        n.name = name.map(str::to_string);
+        let layer = doc.layers[0].id;
+        doc.insert(Some(layer), usize::MAX, n).unwrap();
+    }
+
+    /// A text object's red stroke drawn over a dark red one of about the same lightness is drawn
+    /// by the page: it isn't taken out as unseen (#1102). An object the page doesn't draw still is.
+    #[test]
+    fn a_stroke_over_one_as_light_is_not_taken_for_unseen() {
+        let (dark, red) = (vectorcraft_color::Color::rgb(0.55, 0.0, 0.0), vectorcraft_color::Color::rgb(1.0, 0.0, 0.0));
+        let square = Rect::new(20.0, 20.0, 80.0, 80.0);
+        let mut page = Document::new(100.0, 100.0);
+        ring(&mut page, None, dark, 12.0, square);
+        ring(&mut page, None, red, 6.0, square);
+        let mut layers = Document::new(100.0, 100.0);
+        ring(&mut layers, Some(MADE), dark, 12.0, square);
+        ring(&mut layers, Some(MADE), red, 6.0, square);
+        ring(&mut layers, Some(MADE), red, 2.0, Rect::new(40.0, 40.0, 60.0, 60.0));
+        let rect = page.artboards[0].rect;
+        let frame = Frame { page: &page, page_rect: rect, rect, whole: false };
+        let mut view = PageView::new(&frame);
+        assert_eq!(prune_unseen(&frame, &mut view, &mut layers), 1, "only the ring the page doesn't draw");
+        let widths: Vec<f64> = layers.layers[0].children().unwrap().iter().filter_map(|n| n.appearance.stroke().map(|s| s.width)).collect();
+        assert_eq!(widths, [12.0, 6.0]);
+        // Taken by lightness alone, the red and the dark red are alike.
+        let px = |c: vectorcraft_color::Color| {
+            let [r, g, b] = c.to_rgb().map(|v| (v * 255.0).round() as u8);
+            [r, g, b, 255]
+        };
+        assert!(!differ(&px(dark), &px(red)) && differ_in_colour(&px(dark), &px(red)));
+    }
+
     fn piece(text: &str, x: f64, y: f64) -> Arc<Node> {
         Arc::new(Node::new(NodeId(0), NodeKind::Text(Box::new(TextObject::point(Point::new(x, y), text, CharStyle::default())))))
     }

crates/eps/src/import/tests_native.rs

@@ -654,6 +654,20 @@ fn art_the_layers_print_outside_an_eps_page_of_its_art_makes_it_come_in_as_its_p
     assert!(r.warnings.is_empty(), "{:?}", r.warnings);
 }
 
+/// An EPS whose page is its art's box keeps that page when it comes in through its layers, as it
+/// does as its page: not the editing data's artboard (#1102).
+#[test]
+fn an_eps_page_of_its_art_stays_its_page_through_the_layers() {
+    let file = eps_of_art([10, 10, 14, 14], &page_square(10, 10), &(layer("Art", true, &square(10, 10)) + &layer("Far", false, &square(80, 80))));
+    let r = import(&file).unwrap();
+    assert_eq!(names(&r.document), ["Art", "Far"], "{:?}", r.warnings);
+    let boards: Vec<_> = r.document.artboards.iter().map(|a| a.rect).collect();
+    let art = r.document.layers[0].children().unwrap()[0].visual_bounds().unwrap();
+    assert_eq!(boards.len(), 1);
+    assert!((boards[0].width() - 4.0).abs() < 1e-6 && (boards[0].height() - 4.0).abs() < 1e-6, "{boards:?}");
+    assert!(boards[0].inflate(1e-6, 1e-6).contains_rect(art), "{boards:?} round {art:?}");
+}
+
 #[test]
 fn an_eps_saved_as_its_artboard_keeps_the_art_outside_it() {
     // The page is the artboard (0 0 100 100): the art beyond it is the pasteboard's.

docs/file-format-parity.md

@@ -1,6 +1,6 @@
 # File format parity
 
-> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-10-11 · **Change:** minor (`.ai` artboard layout when read as its PDF part, #1068) · **Target:** Adobe Illustrator 2026 (30.x)
+> **Last reviewed:** 2026-10-10 · **Last updated:** 2026-10-11 · **Change:** minor (EPS page and stacked text strokes through the layers, #1102) · **Target:** Adobe Illustrator 2026 (30.x)
 
 Every format Illustrator opens, places, saves or exports, against VectorCraft's format table (`FORMATS`,
 `OPEN_EXTS`, `PLACE_EXTS` in `crates/engine/src/cmd/fileio/mod.rs`). Illustrator's list comes from its public
@@ -44,7 +44,7 @@ private editing data. VectorCraft:
 
 ### Illustrator's private editing data
 
-the app's own editing copy of a file (an EPS after its `%%EOF`, a `.ai`'s `AIPrivateData` streams, Zstandard or zlib, the EPS's in ASCII85) is not documented as a whole. VectorCraft reads its structure: layers and sublayers (names, order, visibility, lock, printing, preview, dimming, colour), groups as they were nested, compound paths, clipping groups and layer clipping, object names, hidden and locked objects, fills and strokes (grey, CMYK, RGB, named and spot colours, spot colours defined in Lab with their Lab values (#1032), global process colours as global swatches at their tint), linear and radial gradients, pattern fills with their patterns as pattern swatches (#1025), opacity, blend modes, isolation and knockout, embedded images with their alpha channel, guides, and every artboard where it is. An object with several fills or strokes, effects or a brush comes in as its drawn look (a group named after it). Type is made from the file's text document, whole and editable, shown or not: point type, area type (a story in several frames as threaded type) and type on a path, with its characters, fonts, size, leading, tracking, scaling, baseline shift, fill and stroke (grey, RGB or CMYK), alignment, indents and paragraph spacing; the page's drawing of it (often in pieces) is left out. Where the text document can't say (a frame of another kind, or a document that doesn't agree with the page), type that shows comes from the page into its text object's place (no group around it), and hidden type is left out with a note. Kerning, underline and the other character and paragraph options aren't read yet. A `.ai` saved without PDF compatibility (a placeholder page) opens from its editing data alone, its point type, area type and type on a path made from the text document. Symbols, pattern fills whose pattern it can't read, placed files and anything else it doesn't read make the file come in as its page (on a layer that doesn't show, they are left out of that layer), with a warning saying what. The layers' art is also compared with the page (by lightness, so colours written as their CMYK equivalents compare alike, and by whether a pixel is inked at all); the page is used when they differ by more than 5%, where one draws an object the other doesn't (away from type, whose lines may be laid out afresh), and when an EPS whose page is its art's box has art printed outside it (#735). `textAs: "outlines"` opens a `.ai` whose type shows from its PDF part, which has the outlines; `editingData: false` opens any of them as its page or PDF part only, for print pipelines (#735). A file whose import left something out (hidden text, art or layers) is never written over by an export or Save As to its own path unless `acknowledgeLoss: true` (`convert --replace-lossy`), so the original keeps what the document lacks. Where a `.ai` can't be read that way (or its layers are turned off in the import options), we read its PDF-compatible part, so Illustrator-only live objects arrive as appearance, and plain groups arrive ungrouped: that part draws each object on its own and marks only layers, clipping groups and groups with opacity, blending or a mask (those come back). Art outside the artboards isn't in that part at all (Illustrator's PDF part leaves it out), so it doesn't open; the import says so in a note (#472). Its pages still go where the editing data puts the artboards (a grid stays a grid), with the art on each, when it has as many artboards as pages, of the same sizes (#1068). That part also has no paragraphs: area type is written line by line, and comes back as area type only where its font is installed and lays the lines out with the same breaks, else as a point type object per line (#508). Art off the page that a PDF does draw opens on the pasteboard.
+the app's own editing copy of a file (an EPS after its `%%EOF`, a `.ai`'s `AIPrivateData` streams, Zstandard or zlib, the EPS's in ASCII85) is not documented as a whole. VectorCraft reads its structure: layers and sublayers (names, order, visibility, lock, printing, preview, dimming, colour), groups as they were nested, compound paths, clipping groups and layer clipping, object names, hidden and locked objects, fills and strokes (grey, CMYK, RGB, named and spot colours, spot colours defined in Lab with their Lab values (#1032), global process colours as global swatches at their tint), linear and radial gradients, pattern fills with their patterns as pattern swatches (#1025), opacity, blend modes, isolation and knockout, embedded images with their alpha channel, guides, and every artboard where it is. An object with several fills or strokes, effects or a brush comes in as its drawn look (a group named after it). Type is made from the file's text document, whole and editable, shown or not: point type, area type (a story in several frames as threaded type) and type on a path, with its characters, fonts, size, leading, tracking, scaling, baseline shift, fill and stroke (grey, RGB or CMYK), alignment, indents and paragraph spacing; the page's drawing of it (often in pieces) is left out. Where the text document can't say (a frame of another kind, or a document that doesn't agree with the page), type that shows comes from the page into its text object's place (no group around it), and hidden type is left out with a note. Kerning, underline and the other character and paragraph options aren't read yet. A `.ai` saved without PDF compatibility (a placeholder page) opens from its editing data alone, its point type, area type and type on a path made from the text document. Symbols, pattern fills whose pattern it can't read, placed files and anything else it doesn't read make the file come in as its page (on a layer that doesn't show, they are left out of that layer), with a warning saying what. The layers' art is also compared with the page (by lightness, so colours written as their CMYK equivalents compare alike, and by whether a pixel is inked at all); the page is used when they differ by more than 5%, where one draws an object the other doesn't (away from type, whose lines may be laid out afresh), and when an EPS whose page is its art's box has art printed outside it (#735). An EPS whose page is its art's box keeps that page when it comes in through its layers, not the editing data's artboard, and a text object counts as drawn by the page by its colours, not only its lightness, so a red stroke stacked over a dark red one stays (#1102). `textAs: "outlines"` opens a `.ai` whose type shows from its PDF part, which has the outlines; `editingData: false` opens any of them as its page or PDF part only, for print pipelines (#735). A file whose import left something out (hidden text, art or layers) is never written over by an export or Save As to its own path unless `acknowledgeLoss: true` (`convert --replace-lossy`), so the original keeps what the document lacks. Where a `.ai` can't be read that way (or its layers are turned off in the import options), we read its PDF-compatible part, so Illustrator-only live objects arrive as appearance, and plain groups arrive ungrouped: that part draws each object on its own and marks only layers, clipping groups and groups with opacity, blending or a mask (those come back). Art outside the artboards isn't in that part at all (Illustrator's PDF part leaves it out), so it doesn't open; the import says so in a note (#472). Its pages still go where the editing data puts the artboards (a grid stays a grid), with the art on each, when it has as many artboards as pages, of the same sizes (#1068). That part also has no paragraphs: area type is written line by line, and comes back as area type only where its font is installed and lays the lines out with the same breaks, else as a point type object per line (#508). Art off the page that a PDF does draw opens on the pasteboard.
 
 ## Format by format
 
@@ -80,6 +80,7 @@ the app's own editing copy of a file (an EPS after its `%%EOF`, a `.ai`'s `AIPri
 
 | Date | Change | Summary |
 |---|---|---|
+| 2026-10-11 | minor | An EPS keeps its own page and its stacked text strokes through its layers (#1102) |
 | 2026-10-11 | minor | A `.ai` read as its PDF part keeps its artboard layout from the editing data (#1068) |
 | 2026-10-11 | minor | Spot colours defined in Lab keep their Lab values, from the editing data and from a PDF part whose ink alternate is an ICC Lab profile (#1032) |
 | 2026-10-11 | minor | `.ai` in PostScript form opens through its layers, also without its prolog (#1027) |