The first line of a text frame sat too high. Where a frame is set to start its text at the
ascent — the default, and what nearly every document uses — the line was placed against the wrong
measure, so the text crept up towards the top of the frame. How far off it was depended on the
font, which is why it looked right in some documents and clearly wrong in others. It now sits
where InDesign puts it.
Text already in a document moves down when it is opened, by the amount it was wrong by. A frame
that was nudged by hand to compensate — vertical alignment set to bottom, or the frame dragged
upward — will need that nudge taken back out.
Documents converted from InDesign now keep their first baseline setting. Cap height, leading and
x height were read as ascent before, so a frame set to any of them was placed as if it were not.
The toolbar's line join did nothing to stroked text. A letter with an outline always drew its
corners mitred, whatever the join was set to, so a pointed corner spiked out past where round or
bevel should have ended it — plain at a heavy stroke, an A or a W at 90pt with a 14pt outline.
A text stroke now takes its corners from the frame's join, the same setting that shapes the
frame's own border, and text in table cells strokes to match the frame around them.
Typograph developers notes
A stored document keeps the baseline it was saved with until it is opened and saved again; PDFs
are generated from the stored layout, so a template re-renders unchanged until then.
The join is the frame's, not the run's: one setting shapes both the border's corners and the
glyphs', which is what InDesign does as well — its stroke panel greys cap and join out for text.
It is applied when the text is drawn rather than composed into the font, so changing it costs a
redraw and not a recomposition.
A document with heavy stroked text and a frame join other than mitre renders differently than it
did: those corners were mitred before regardless of the setting, and now follow it.