Brings in 2651 upstream commits. Fork changes kept on top:
- Catppuccin themes now sit beside upstream's Color Scheme and Accent: a
flavour is a whole palette, so it keeps its Mauve accent under Modern and
is the same under Classic.
- Windows packaging: the standalone CLI zip now ships upstream's shared docs
folder (README, licences, NOTICE, font OFLs).
- craft-ui and craft-print stay on the masi/craft-libs fork; the craft-libs
crates upstream added (craft-pdf, craft-docpath, craft-window) use upstream.
- Debrand re-applied to the new upstream text and catalogs. The About-box
rule is now one pattern for every language, including the nine catalogs
upstream added.
- Translations for Theme, the Catppuccin names and the brightness error in
every catalog (hu, ko, pl and vi lacked them before this merge too).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
On Linux under X11, and under XWayland, winit 0.30 hands a drawing
tablet's pen to the window as a mouse without its pressure. Every pen
stroke reached the tools at full pressure: a Calligraphic brush with
Size on Pressure drew one width, and the Liquify tools' Use Pressure
Pen applied full intensity.
When the window is on X11, the desktop app now reads XInput2 raw
events on a second X connection (x11rb's RustConnection, without
unsafe). A device with an "Abs Pressure" valuator is a pen, unless
its XInput type is TOUCHPAD or TOUCHSCREEN. Its pressure, scaled from
the valuator's range to 0..1, goes into Services::stylus, and another
pointer moving clears it. The canvas uses that pressure when a frame
has no touch force. A press takes the highest pressure of the pen's
latest touch since the canvas last read the feed, and waits up to
5 ms for the touch of a hovering pen. The moves and the release of a
held press keep the pressure the pen last touched with when its lift
has already arrived. Native Wayland is unchanged.
The valuator mapping and the reader come from PhotoCraft's tablet
crate (storytold/photocraft#255), with the pressure axis only.
Docs: README.md, docs/development.md, docs/hardware-parity.md,
docs/target-app-parity.md.
Many tools note things on SVG objects in attributes of their own XML
namespace: a plotter's pen, a cutter's passes, a game engine's
collision flag. Import dropped them, so a file that went through
VectorCraft lost what other software had set on its objects. #522
asked for unknown and data-* attributes to survive a round trip; #580
kept the data-* ones, and this keeps the ones in other applications'
namespaces.
- Import keeps every attribute in a namespace that isn't SVG's,
XLink's, XML's, Inkscape's, Sodipodi's or VectorCraft's own, on the
object or layer it belongs to, in order, with its namespace URI and
the prefix the file gave it (ObjectAttributes::foreign, beside the
data-* attributes and the event handlers). The file is untrusted: at
most 64 per object and 64 KiB per value, and what is left out is
warned about. Files that declare no other namespace skip the scan.
- They are the object's own, as its data-* attributes are: a pasted
copy and a duplicate keep them, and deleting the object takes them
with it. The native file keeps them in the object's attributes, a
key written only when an object has some.
- Export writes them back on the same elements and declares each
namespace once, on the root, under the file's prefix. A prefix the
export uses itself, or that another namespace already has, becomes
prefix2, prefix3...; one XML keeps for itself (xml...) becomes ns. A
name or value XML can't hold is left out with a warning.
Nothing in VectorCraft reads them, and nothing in the UI lists them.
svg/tests/foreign_attributes.rs: a layer's and a shape's attributes
survive import, export and import again, Inkscape's and Sodipodi's
own aside and with no warnings, and the native form round-trips;
prefixes are made unique, and bad names and values are left out with
a warning; the caps hold and are warned about once.
engine tests_attributes.rs: a pasted copy and a duplicate keep them, a
deleted object leaves none behind, and the native file and SVG export
keep them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
Cause: since #3742 place_each measures a line's spacing from the file's
own widths, so tracking is only the file's Tc/Tw/TJ. Where the widths
are systematically off the installed font's advances (up to the 1% that
still counts as the same font), those differences add up along a line
and nothing made up for them. With no kerning and every tracking value
0, place_each returned the untracked layout early, without the 0.02 em
placement check (CodeRabbit's review of #3742): a line of embedded
Source Sans 3 with /Widths 0.8% wide opened 3.7 pt off. With the early
return removed the check rejects the line and the line-wide fit takes
over: one whole-thousandth tracking value with the font's kerning,
0.30 pt off (as before #3715). Before #3742 main placed it exactly but
with a run per character (49 and 62 runs).
Change: the early return is gone; every line goes through the check.
Before it, on_course() keeps the file's spacing where the glyphs stay
within 0.01 em of the file's; otherwise each stretch of the line takes
one share after every character (the longest stretch one share keeps
within 0.01 em), so ordinary text stays one run, and a line whose
differences change course (30 m then 30 i) takes a run per stretch (2).
Verification: new test
a_long_line_of_widths_a_little_off_the_fonts_advances_lands_in_one_run
(embedded Source Sans 3, widths x1.008 and x0.992, a kerned and an
unkerned line): one run each, glyphs under 0.24 pt (0.02 em) from where
the file draws them. Without on_course it fails after #3742, with and
without the early return ("glyphs 0.300 pt"); before #3742 it fails on
the run count. It replaces an Inter test drafted for the review: Inter
isn't embedded there, so the file's outlines are the interpreter's
stand-in stretched to the widths, not Inter, and the contours differ by
0.6 pt even with exact widths. tests_text_placement and
text_becomes_point_type pass; cargo xtask ci: all 10 steps passed.
Thanks to the CodeRabbit review on #3742 for the early-return finding.
Review follow-up (CodeRabbit): the clip group's mask copied the target with
only a new root id, so a compound path's subpaths had the same ids in the
mask and in the object. The mask is now Document::reid's copy. Paste on All
Artboards with only an artboard on the clipboard made an empty Draw Inside
clip group; it now needs objects to paste.
draw_inside_a_compound_path_gives_its_mask_ids_of_its_own: without the
change an id is used twice (7 ids for 6 nodes).
The drawing-modes help page
(https://helpx.adobe.com/illustrator/desktop/draw-shapes-and-paths/learn-drawing-basics/drawing-modes-overview.html)
has you draw or paste into the selected object in Draw Inside. It also says
the modes apply to Paste in Place and Paste on All Artboards but not to Paste
in Front or Paste in Back.
Cause: only new art (create::insert_look) read the drawing mode. The paste
commands (edit::paste_clip) always used the insertion parent, so a paste in
Draw Inside landed on the layer above the object, outside the clip.
Double-clicking the object first only isolated the bare path, which didn't
change where the paste went. Separately, view.drawMode {} went from Draw
Behind to Draw Inside whenever one object was selected, then refused it unless
the object was a path, compound path or type. So with one group selected
(such as the clip group Draw Inside makes), Shift+D and the toolbar button
failed every time and stayed in Draw Behind.
Change: the clip-group wrapping moves into create::draw_inside_group, which
new art and pastes now share. In Draw Inside, Paste, Paste in Place and Paste
on All Artboards insert the copies at the top of that group, in the paste's
one undo step, ignoring Paste Remembers Layers. In Draw Behind, Paste in Place
and Paste on All Artboards go just below the selection, as Paste in Back does.
Paste in Front, Paste in Back and pasted artboards keep their placement.
Shift+D goes on to Draw Inside only when it can draw into the selection, and
otherwise back to Draw Normal.
Verification: pasting_in_draw_inside_puts_the_copies_inside_the_object,
paste_in_place_in_draw_behind_goes_behind_the_selection and
shift_d_goes_past_draw_behind_whatever_is_selected all fail without the
change ("Layer" != "Clip Group"; index 3 != 0; the Draw Inside error on a
selected group). cargo xtask ci: all 10 steps passed.
The Artboard Options help pages describe two display options
(https://helpx.adobe.com/illustrator/desktop/create-manage-artboards/organize-manage-artboards/modify-display-settings-of-artboards.html,
.../set-video-display-options-for-artboards.html): a mark at the artboard's
center, and lines from the middle of each side through the center. The
document already had show_center_mark and show_cross_hairs on Artboard, but
nothing set or drew them.
artboard.setProps (each `artboards` entry too) and artboard.new take
showCenterMark and showCrossHairs as true/false, in the same single undo
step as the other fields; a locked artboard can still change them.
Artboard Options has both checkboxes, filled in from the artboard whether
it opens from the panel or a double-click with the Artboard tool, and its
New Artboard form passes them to artboard.new. The canvas draws them in the
new theme token artboard_mark, 1 point wide on screen at any zoom: a cross
12 points across at the center whose arms follow the artboard's sides, and
the two cross hairs. They are screen-only like the edges; exports and print
never read the fields. inspect_document reports them when on. Saved files
are unchanged: the two keys were already always written, so a document that
never shows them saves byte for byte as before, and a file without the keys
opens with both off. Video safe areas, video rulers and the pixel aspect
ratio are not part of this change.
Verification: artboard_display_marks_are_set_and_cleared_in_one_undo_step,
artboard_display_marks_round_trip_through_the_native_format,
artboard_display_marks_stay_out_of_exports (SVG and PDF identical with the
marks on and off), an_artboard_shows_its_center_mark_and_cross_hairs
(positions, screen-constant size under zoom, rotated view) and
artboard_options_show_center_mark_and_cross_hairs. cargo xtask ci: all 10
steps passed.
The Simplify help page says the slider starts at an auto-simplified value
(https://helpx.adobe.com/illustrator/desktop/draw-shapes-and-paths/modify-paths/manually-simplify-paths.html).
The slider opened at a fixed level 50 (1 pt), whatever the size of the
selection, so the first preview was the same tolerance for a 30 pt icon as
for a 1000 pt drawing.
The level Auto-Simplify picks for the selection is now one engine function,
vectorcraft_engine::auto_simplify_level (the existing 1/400-of-the-longer-
side rule in vectorcraft_pathops), which object.path.simplify {auto: true}
and the slider's opening fields both use. Object › Path › Simplify (and
ui.menuDialog, the Properties and contextual task bar buttons, which go
through the same menu dialog) opens the slider there, and the canvas
previews that result; Auto-Simplify still moves the slider back to it.
The retained Simplify dialog path is unchanged.
Verification: simplify_slider_opens_at_the_auto_simplify_level_of_the_selection
opens the slider on 1140, 285 and 28.5 pt waves (levels 35, 55, 89) and
checks the preview is exactly object.path.simplify {auto: true}'s result;
without the change it fails with level 50 != 35, and
simplify_opens_a_slider_whose_drag_previews_fewer_or_more_points fails with
{"level": 50} != {"level": 55}. cargo xtask ci: all 10 steps passed.
Export for Screens and the Asset Export panel's Export encoded and wrote
every file on the UI thread, so the window stopped responding until the
last file was written. For 50 artboards in PNG at 1x, 2x and 3x, PDF and
SVG (250 files, 47 MiB), the dialog's OK took a median of 43.8 s in a
release build on Windows.
With Enable Background Export on (Preferences › File Handling), OK now
checks the settings, remembers them and takes a snapshot of the
document, and the dialog closes. The thread that writes background
saves and exports then encodes the files and writes them into the
folder, or one ZIP in it, and the export progress dialog's Cancel stops
it before the next file. The same OK takes under 0.001 s, and the files
have the same names and bytes. With the preference off, without a
folder, on the web and over MCP and scripts (document.exportForScreens
and assets.export), the files are made at once with the same reply as
before.
Both commands report one progress step per file, so the progress dialog
shows "File 3 of 250" and MCP progress notifications count the files in
place of the encoders' artboards and pages.
Docs: docs/target-app-parity.md, docs/control-protocol.md, docs/mcp.md.
Cause: place_each (crates/pdf/src/import_text.rs, #3715) works out each
character's tracking as the file's distance between glyph origins minus
the installed font's advance. A PDF gives widths to the thousandth of an
em (the standard-14 AFM metrics or /Widths), so with a font of 2048 units
an em (Helvetica on macOS) every character is a hair (~0.0002 em) off.
When the line isn't evenly spaced as a whole (a TJ word gap, a space read
from a gap), `even` keeps every character's own value, rounding noise
included, and restyled() splits the line into a run per character.
text_becomes_point_type failed on macOS; Linux CI passed because Helvetica
isn't installed there, its stand-in's widths differ by more than 1% and
place_each falls back to the line-wide fit.
Change: measure the spacing from the file's own widths: each character's
pen is moved by how much wider the file says the characters before it are
than the font's advances, where the file gives the character's width and
the layout sets it as a glyph of its own. The tracking is then the file's
(Tc, Tw, TJ), whatever font is installed; the layout check that the glyphs
land within 0.02 em of the file's places is unchanged.
Verification: text_becomes_point_type and all of tests_text_placement pass
on macOS. New test widths_rounded_off_the_installed_fonts_advances_keep_one_tracking
uses built-in Inter (non-embedded, widths rounded to thousandths), so it
doesn't depend on system fonts; without the fix it fails on any platform
with runs N/e/x/t/ /li/n/e/ /h/e/re. cargo xtask ci: all 10 steps passed.
Twelve lines in docs/target-app-parity.md quoted text from the
reference app's public pages: a masks tutorial, a blog post on
artboards, the default keyboard shortcuts, the Contextual Task Bar
announcement and the Brushes page. Each line now links the same page
and describes what it says in the doc's own words. Option, button and
tool names stay as they are, and so do VectorCraft's own labels and
status messages.
A filter plug-in gets 50 M instructions and a minute for each run.
Filters that order a plotter's paths, pack shapes or run a simulation
need minutes, and the app shouldn't freeze while they compute.
A filter's manifest may now ask for "budget": "heavy" (Budget): each run
gets HEAVY_FUEL (1 G instructions) and HEAVY_WALL_TIME_MS (300 s). Only a
filter may ask. plugin.install refuses such a filter without allowHeavy:
true, and plugin.inspect returns the entry a module would have without
installing it. Install Plug-in… and File › Open ask the user and install
on OK; the plug-in store keeps the answer, and folder loads skip heavy
filters with a note, since they ask nobody.
The app runs a heavy filter on a thread of its own (plugin_runs), not in
Background Save's queue, with the status bar and a progress window
(Cancel, Continue in Background) that it shares with Background Export
(export_progress::window). FilterRun splits plugin.run: prepared on the
session, run on any thread, its output handed in, and the next
plugin.run with the same params applies that output instead of running
the plug-in again, so the edit stays one guarded, journaled command. A
result whose document or plug-in changed meanwhile is dropped, and the
status bar says to run it again. A cancelled plug-in run is now
EngineError::Cancelled.
What a filter keeps with the document (#3720) goes with the run: it is
given _context.documentData when the run is prepared, and the
documentData of its output is applied with its objects, in the same undo
step, when the run is handed in (FilterRun::finish).
Tests: plugins/tests/abi.rs (100 M loop steps out of a light budget,
within a heavy one; folders skip heavy filters), manifest.rs, engine
tests_plugins.rs (consent, inspect, the store, hand-in, a handed-in
run's document data, cancel) and
ui-egui tests_plugin_runs.rs (installing asks, no Preview, a background
run as one undo step, a stale result kept out, the progress window).
CRAFT_UI_HEAVY_FILTER_WASM=<folder> writes a test filter to try in the
app. Its strings and messages have rows in each complete catalog
(COMPLETE_MESSAGES).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
With Windows Ink on, winit reports a pen in contact as a touch and
drops its barrel button, and egui-winit presses the primary button for
that touch. A tap with the barrel button held selected art instead of
opening the canvas context menu, and a drag with it held moved art or
drew with the active tool.
A message hook (winit's with_msg_hook) now notes each WM_POINTERDOWN
and whether its wParam has POINTER_MESSAGE_FLAG_SECONDBUTTON, which
Windows sets for a pen in contact with its barrel button pressed.
Before egui reads a frame's input, the primary press and release that
egui-winit made for such a contact become the secondary button, as
#3659 maps the barrel button on Linux. A canceled contact, or one
whose end never arrives, gets a secondary release. A touch with
the tip alone and finger touches are unchanged. photocraft's 8fc62f55
by animo fixed the same fault there.
Docs: docs/target-app-parity.md.
The Shape Builder lines of docs/target-app-parity.md repeated after
recent merges: the Tool Options line three times, one copy still saying
that Gap Detection and the stroke options are not built, and the stroke
split and Pick Color From Artwork lines twice, one artwork copy quoting
the reference app's combine page. One copy of each is left, in the
order Tool Options, stroke split, Pick Color From Artwork, marquee,
without the quotation.
The Pick Color From Artwork line in docs/target-app-parity.md quoted a
sentence from the reference app's Shape Builder combine page. The line
now links the page and describes the rule without quoting it.
each_paragraph_run skipped the empty paragraph after a closing line break, so a
selected object whose last paragraph's Auto Leading differed showed one Leading
instead of a mixed (blank) field. With no range, that paragraph now counts with
the style of the run before it. Covered by
leading_field_counts_the_final_empty_paragraph.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
Hyphenation... and Justification... already shipped upstream (#2310,
#2755). This ports the part of the archived fork PR #10 that upstream
lacked: a paragraph's Justification > Auto Leading now also sets
- the Leading the Character (and Properties) panel shows for Auto type,
blank where the selected paragraphs differ;
- the leading Alt+Up/Down (type.step) steps from, per paragraph (a run
spanning paragraphs is split so each takes its own);
- the lines Fill with Placeholder Text counts in area type.
ParaStyle::effective_leading mirrors the layout (exactly
CharStyle::effective_leading at the default 120%). Tests in doc, engine
and ui-egui; parity docs no longer list Hyphenation/Justification as
missing.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
Pattern tiling and scatter cap each factor on its own: 20,000 tiles a
run, MAX_SUB subdivisions a segment, 20,000 copies a track. Those caps
are per track, and a path has as many tracks as it has subpaths, so
they multiply rather than bound.
The audit called the end-to-end impact unverified, so it was measured.
A pattern brush on parallel lines, each long enough to want more tiles
than a run allows:
1 subpath 20,000 nodes 320,000 anchors 36 ms
4 subpaths 80,000 nodes 1,280,000 anchors 142 ms
16 subpaths 320,000 nodes 5,120,000 anchors 571 ms
Exactly 20,000 nodes a subpath, linear with no ceiling. Scatter is the
same shape.
MAX_ANCHORS bounds the total for one brushed stroke, threaded through
both. It is 2,000,000, the figure the stacked-effects budget already
uses (effects::distort::MAX_COPY_ANCHORS, #3578), and bounded the same
way: per stroke rather than per document. One track at its own cap is
well inside it, so the budget bites only where the caps were
multiplying; sixteen subpaths now stop at the budget in 113 ms.
A piece is taken whole or not at all, so art is never half-drawn. The
walk that counts an art tile's anchors is iterative, and a tree it
cannot finish within MAX_WALK nodes is charged the whole budget rather
than undercounted, so nesting buys no room.
The per-factor caps are untouched: the issue asks for a total, and
changing both at once would hide which one did the bounding.
A Shape Builder drag merged only the regions the pointer passed over,
and the tool did not read Shift. The reference app's Shape Builder page
describes a Shift-drag that draws a rectangular marquee to merge many
paths at once.
With Shift held at the press, the drag now draws a rectangular marquee
from where it started to the pointer. The regions it reaches are shaded
while it is drawn and merge into one shape on release; with Alt also
held at the press, they are deleted. The marquee reaches each region
whose outline crosses it or has an anchor inside it, and the region that
holds the whole marquee. A Shift-click that does not move is a click,
and a drag without Shift works as before. With In Merge Mode, Clicking
Stroke Splits the Path on, a Shift-click on a stroke splits it as a
click does; a marquee splits no stroke, and while it is drawn the
pointer does not show scissors and no stroke is highlighted.
shapeBuilder.merge takes the marquee as rect: [x, y, width, height],
where x and y are where the drag started, and points may then be left
out. For Pick Color From Artwork, the corner where the drag started
counts as the drag's first point, and the opposite corner counts as its
last. With rect, splitStroke does not split a stroke.
Docs: docs/mcp.md, docs/target-app-parity.md.
Cause: with Snap to Point, the point of a moved selection that snaps to a
ruler guide is the grabbed point (#1534). Away from an anchor or center
that was the raw pressed spot (select.rs: `grab` fell back to `p`;
direct.rs: a straight segment's `grab: p`, MoveObject's `start`). A press
on a stroke or within the pick tolerance of an edge lies a few pixels
beside the path, so the pressed spot landed on the guide, "align" showed,
and the path stopped that far beside it: 0.096 pt at 3,891% and 0.0099 pt
at 28,757% in the #3701 screenshots, visible only when zoomed in.
Change: `guides::hold_on_path` finds the nearest point of the path (on a
straight segment exactly on its line). `select::hold_point` uses it for a
press on the stroke or outline, or within 6 px of it. The Selection tool
(`State::Moving::hold`), Direct and Group Selection moves
(`State::MoveObject::hold`) and Direct Selection's straight-segment drag
(`grab`) snap that point. The move delta still runs from the press, so
nothing jumps. A press in the middle of a fill still snaps the pressed
spot, as Snap to Point is documented to.
Verification: tests_prefs::a_move_held_by_a_paths_stroke_lands_the_path_on_a_ruler_guide
and tests_prefs::a_straight_segment_dragged_by_direct_selection_lands_on_a_ruler_guide
fail without the change (edge 0.0257 pt and anchors -0.0052 pt off the
guide) and pass with it (|gap| < 1e-9 pt). A headless egui/wgpu render at
3,891% and 28,757% puts the guide, the selection outline and the centre of
the 1 pt stroke band in the same pixel column. cargo xtask ci: all 10
steps passed; 9429 tests passed, 0 failed.
Review follow-up (CodeRabbit): a text node's characters carry their own fill
(CharStyle), saved apart from the node's appearance, so conform also checks
the runs of the label. dimension_colours_follow_the_document_colour_model
opens a CMYK document whose label characters alone are RGB; without the
change they stay RGB.
Review follow-up (CodeRabbit): leaving a dashed brush stroke out of the
paint count still let a fill plus that stroke count as one paint, so the
fill and each brush piece took the object opacity separately and the fill
showed through the brush art. A visible dashed brush stroke now forces the
layered path, like a non-solid paint does, and counts normally otherwise.
brush_fx::tests::object_opacity_fades_a_brushed_stroke_once compares a
brushed rectangle at object opacity 0.5 with the same rectangle in a group
at 0.5, with and without a dash and a fill; before the change the fill
plus dashed brush case had 1440 differing pixels.
A filter plug-in had nowhere to keep settings that belong to the whole
document rather than to one object, such as the pens a plotter holds or
a machine profile: it could only ask for them again on every run.
- A filter's output may hold documentData: any JSON of at most 1 MiB
(objects::MAX_DOCUMENT_DATA) that replaces what the plug-in keeps with
the document, null removing it, in the same undo step as its objects
(objects::decode_output). Too much refuses the output and the
document stays as it was.
- A filter gets it back in _context.documentData (null until it keeps
something). A filter reads and writes only its own.
- It is the document's foreign data, Document::unknown["pluginData"] by
plug-in id (vectorcraft_doc::plugin_data), where the perspective grid
and the brushes keep theirs. So the native file needs no section of
its own for it, and hosts from before keep it when they save. An
exporter is given the whole document, so it can read every
plug-in's. Nothing else lists it, as the reference app's Document
Info lists no plug-in data.
A live effect isn't given it: its geometry is worked out from the
object alone wherever it is drawn.
Tests: plugin_data.rs (each plug-in its own entry, forgetting what isn't
kept copies nothing, a damaged value holds nothing), objects/tests.rs
(kept, forgotten, refused over the limit), tests_plugins.rs (one undo
step with the objects, read back, not given to another filter, kept by
the native file among its foreign data, refused over the limit with the
document unchanged, null removes it) and tests/plugin_export.rs (an
exporter finds another plug-in's). The size error has its row in each complete
catalog (COMPLETE_MESSAGES).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
The planar map found each edge's source input by scanning every input
segment, and the face around each hole or merge point by scanning every
face, so it was quadratic in the segments; the Shape Builder therefore
gave up past 4096 segments (traced or type outlines) and offered whole
shapes. Index outline segments and faces by bounds on both axes
(RectIndex), walk an edge's segments lazily when finding its leaving
angle, and raise SHAPE_BUILDER_MAX_SEGMENTS to 65,536. Divide with open
paths shares the cap; its cap test now follows the constant.
Tests: a 20,000-segment blob cut by two lines, a 300-line hatch, the
index against a brute-force scan, and the existing cap test at the new
cap. Progress docs updated (G11, parity evidence, roadmap).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
Follow-up to #3702 (CodeRabbit): dimensions are only redrawn when their
recipe changes. Document Color Mode converted their art through the colour
profile, so black became a four-ink C67 M67 Y67 K100 again, and CMYK files
saved before #3702 kept RGB dimension art.
dimension::refresh now also redraws when the document's colour mode
changes. dimension::conform, run when a document is opened or reverted
(Session::add_document, replace_document), redraws a dimension whose art
has colours in the wrong model; one that can't be redrawn keeps its art.
dimension_colours_follow_the_document_colour_model covers RGB to CMYK and
back, and a CMYK document with RGB dimension art being opened. Without the
change it finds C0.67 M0.67 Y0.67 K1 after Document Color Mode.
With In Merge Mode, Clicking Stroke Splits the Path on, the run a click
split off could run against its path. A click on a rectangle's top side
gave a side from (100, 0) to (0, 0) on a rectangle that runs from
(0, 0) to (100, 0) there, so arrowheads and other settings that follow
a stroke's direction moved to the other end. The run now goes the way
the path goes.
The two paths of a split, and what an Alt-click or a merge leaves of a
path, had a gradient fitted to the path's bounds fitted again to their
own bounds. They now keep it where it was on the path.
A run that left 0.05 pt or less of a path still split it, into the
run and a speck. Such a path now does not split, and the tool shows
no scissors over it.
Docs: docs/mcp.md (Shape Builder Tool Options).
Follow-up to #3697 (CodeRabbit): a brush stroke is drawn as separate
pieces (draw_brush), so folding object opacity into its colour isn't exact.
A non-dashed brush stroke already counted as one paint before #3697; to
keep that change's scope, a dashed stroke counts as one paint only when it
has no brush. dashed_stroke_opacity_folds_into_its_colour checks that a
dashed brush stroke isn't folded; it fails without the change.
Review follow-up (CodeRabbit): the kept 2026-10-05 assessment still read
"raster effects (~20%)" with no pointer, unlike the other rows of that
table this PR annotated. It now notes the 57/57 filters and the Effect
Gallery (#2883) and points to the area table, leaving the historical
number as it was.
The Properties panel's flip buttons had been renamed Flip Horizontal and Flip Vertical, which are the Transform panel menu's names. The test lays out the Transform section for a selected rectangle and reads the screen-reader names of its buttons: Flip Along Horizontal Axis and Flip Along Vertical Axis must be there and the old names must not. With the old labels the first is missing.
ruzstd 0.9.0 let a block decompress to more than its frame's window allows (RUSTSEC-2026-0344). The test swaps a hand-built Zstandard frame with a 1 KiB window and one 100,000-byte RLE block into an Affinity container entry and checks that reading the entry fails. With ruzstd pinned back to 0.9.0 the block is decompressed and the read succeeds.
The Fill/Stroke chip's popover closed on the click that finished a drag between its proxies. The test opens a popover and checks the three outcomes: a click elsewhere closes it, a click on its own anchor that does not toggle it keeps it open, and a click elsewhere during a panel drag keeps it open. Without the fix both of the last two close it.
The rows of the panels' menus did not light up under the pointer as the menu bar's items do, because they were drawn with no frame at all. The test hovers a menu_item_name row and checks that a filled rectangle appears behind it, and that none is there at rest. With frame(false) the hovered row stays unfilled.
The theme's widget fill matched the dialog background, so a slider in a dialog showed only its handle. The test draws widgets::slider in all four brightnesses and checks that a rail in the buttons' border colour and an accent fill from the rail's start up to the handle are painted. With a plain egui slider neither is drawn, only two rectangles in the panel's button fill.
Selected text in a value field was drawn in the accent on a selection tinted with the same accent, hard to read in every brightness. The tests focus a panel number field and a dialog text field, select their text and read the colours of the glyphs drawn, in all four brightnesses: all must be the strong text colour. Without strong_selected_text the glyphs come out in the accent.
A number field with a spinner and preset chevron drew as three separate boxes, each joint with two borders. The test lays out a spin field and checks that its three boxes are the row's height and that neighbours overlap by one point so they share a border. Without the overlap (item spacing 0) the boxes touch edge to edge instead.
The toolbar's and the dock icon column's scroll bar widened to 10 points while the pointer was on it, covering the group labels and the tool icons' right edge. The test lays out a scrolling strip, rests the pointer on its bar and measures the widest filled rectangle drawn: at most 4 points. Without the slim scroll style it measures 10 points.
With the Artboard tool the active artboard's name was drawn twice: by the canvas, as for every artboard, and by the tool, a little higher. The test draws a frame with two artboards and checks that each name is painted once and that the active artboard's sits where the other's does. It fails without the canvas skipping the tool-labelled artboard (two labels for the active one) and without the tool's label position (8 points to the right and 11 higher than the other name).
The Add and Delete Anchor Point tools' icons were drawn apart from the Pen tool's, so the three didn't read as one family. The test checks that both tools' icons contain every shape of the Pen tool's icon plus a badge of their own, and that plus and minus differ. With the tool mapping pointing back at the old dc-pen-add and dc-pen-delete icons it fails: the Add tool's icon lacks the Pen's outline.
A chain of geometry effects makes at most 2 million anchors of a path (of a
type, symbol or image art's paths together) and about 8 million lines for the
renderer to draw at 1 px/pt, or what the path costs when that is more.
Roughen spaces its points further apart, Zig Zag makes fewer ridges a
segment, Free Distort, Twist and the warps split segments into longer pieces
(map_nonlinear_within) and Transform makes fewer copies where they would pass
it; a result drawn with too many lines is built again with fewer points, and
an effect that still doesn't fit is left out.
Three Roughens of a rectangle in a 25 KB file needed gigabytes of geometry,
and 2 million anchors of them flattened into 141 million lines (7 GB, past
vello's 2^27 lines a path); the file now opens in 0.4 s at about 450 MB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/lib.rs:379 (number_unit, reached from parse_measure at :374)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
## Summary
On Linux (Wayland and X11), tablet stylus side buttons arrive as winit
MouseButton::Other (BTN_STYLUS and neighbours). egui-winit ignores those
codes, so barrel presses never reached the canvas. Run the desktop app
through a thin winit ApplicationHandler wrapper on Linux that remaps
barrel buttons to right and middle mouse buttons before eframe handles
the event.
## Tests
cargo test -p vectorcraft linux_stylus
cargo clippy -p vectorcraft --all-targets -- -D warnings
Closesstorytold/vectorcraft#3632
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
A follow-up to #3677. A data URL in CSS, `style="fill:url(data:…)"` or a paint's
`url(…)`, stayed in the text the prepass searches, since only a value beginning with `data:`
was left out (CodeRabbit's review of #3677). Each `url(` in an element's quoted value whose URL
begins with `data:` is now left out up to the byte that closes it, its quote or `)`, so what
follows it, `display:none` say, stays. A `url(` that does not close inside its value is kept
whole: where the end is unclear, less is left out, never more.
The scan now jumps over a data URL with one search for the byte that ends it, instead of
stepping through it a byte at a time. The markers' capacity is a saturating sum, so no range can
panic it.
Co-Authored-By: Claude Opus 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.
Review follow-up (CodeRabbit): a linear gradient expands to a mesh with a
column at each stop, and the mesh mixes linearly between columns, so a
Perceptual blue -> yellow came out as the grey RGB mix in the middle.
`breaks` now also takes a column at each stop the Perceptual expansion adds
(Gradient::expanded), so the mesh follows the OKLab curve; Classic is
unchanged. the_mesh_option_makes_a_mesh_that_paints_the_gradient gains a
Perceptual case; without the change 1812 pixels differ from the gradient.
Review follow-up (CodeRabbit): the test's doc comment quoted a phrase from
the public help page. AGENTS.md allows feature names and a cited URL, not
copied wording; the comment now describes the behaviour itself and keeps
the URL.
Illustrator 30.0's Method choice in the Gradient panel
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-perceptual-interpolation-in-gradients.html).
- paint.editGradient takes `method: classic|perceptual` (one undo step);
paint.setFill/setStroke take it in `gradient`, and gradient params (swatches,
copied paints) carry it when Perceptual. Anything else is refused without
editing. One edit can set `method` and `dither` together.
- The Gradient panel shows a Method menu (Classic, Perceptual) for linear and
radial gradients, dimmed without a gradient; the Dither box stays under the
stops.
- i18n: "Perceptual" where a complete catalog lacked it, and the `method`
error in all 24 catalogs.
- Docs: G13 (estimate 14–24 h → 13–23 h, after Dither's 15–25 h → 14–24 h),
target-app-parity (row and evidence), ui-parity, mcp.md, plugins.md.
Illustrator 30.0's gradient Method, from the public documentation
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-perceptual-interpolation-in-gradients.html):
Classic or Perceptual; perceptual interpolation matches colour transitions to
how the eye perceives differences between colours, and perceptual gradients
are rasterised when saved as PDF or SVG.
- Gradient gains `method` (Classic | Perceptual; serde default Classic,
written only when Perceptual, so older files open as Classic and Classic
files are written as before). The colour crate's OKLab helpers open up for it.
- Perceptual mixes neighbouring stop colours in OKLab (sample, and
sample_keep_model for the stroke meshes, Expand and blends); opacity stays
linear. Renderers that mix linearly get stops on the perceptual curve,
placed by halving each half segment where a straight line strays more than
0.4 of a colour level (a nearly straight segment needs none). Classic
gradients expand exactly as before.
- draws_as_pixels includes Perceptual gradients, so SVG and PDF write a
Perceptual fill or stroke as an image at the document's raster effects
resolution, clipped to what it paints. A gradient along or across a stroke
stays slices (PDF no longer draws it as a within-stroke image).
- With Dither: a dithered Perceptual fill is the perceptual mix with dither's
noise (the canvas's dithered grids are keyed by method too); SVG and PDF
write it as an image with the noise, and a dithered Perceptual stroke as an
image without it, as the canvas draws it (GradientPaint::pixels, SVG's
raster_paint and PDF's area are told whether they paint a fill).
Review follow-up (CodeRabbit): the refusal skipped any request carrying a
`swatch` key, so `"swatch": null` with a dithered gradient got through.
Only a named swatch (a gradient swatch keeps its own dither) is exempt now.
The dither test sends `"swatch": null`; it fails without the change.
One import is checked first and its document kept through the memory reading after the row, so
a failure stops the run with its error rather than being timed as an import (CodeRabbit). The
row's comment now gives the picture's real size, about 2 MB as a PNG.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The prepass decided what to look for in the tree by a dozen substring searches over the whole
SVG text (`:not(`, the event attributes, `script`, `transform:` and nine more), and a separate
pass counted the elements' depth before roxmltree. With an embedded picture the text is mostly
its data URL: a 1.35 MB card SVG (a 968 KB PNG) paid about 7 ms of searches and 1 ms of depth
scan per import, on a 64 ms render, and a 54-page PDF export 54 times that.
`depth::prescan` is the one pass: it counts the depth as `xml_too_deep` did (the DOCTYPE entity
count included) and, in the same walk, notes every `data:` attribute value, answering the text
with those values left out, their quotes kept. The prepass and `fx::blends` search that text;
the edits are still made in the source. A data URL can hold no tag, attribute name, selector or
CSS declaration, and everything else, a `style="display:none"` included, is kept, so what is
found is what was found before.
`vectorcraft-cli perf --deep` gains a tracked row, "import SVG, one embedded PNG", beside the
export row it had.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
With Copy Links on and Copy Fonts off, File › Package still read every
placed PDF or .ai page to find the fonts of its type, and then dropped
them. With Copy Links on and Relink off, it still read the preview and
the PDF of each placed .vectorcraft document, which only the rewritten
copy uses.
Package now reads the placed pages for their fonts only with Copy Fonts
on, and it reads the preview and the PDF only with Relink on. With Copy
Fonts off, packaging a document that places the 60 pages of a PDF took
about 390 ms in a release build and now takes about 20 ms. The package
it writes is the same.
With the Artboard tool, File › Revert kept the active artboard, but a
command.batch with a file.revert step made artboard 1 the active one.
A batch that switched to another document and back, and the Actions
panel menu's Batch… over a folder whose files it closes or over data
sets with a Revert step, did the same. Each of them starts the tool
afresh and ends in the document it started in, and the app moved the
view to the fresh tool's artboard 1. Only a plain file.revert was
handled, by its command id.
The engine now counts the times switching or closing documents, or
replacing the active one, starts the tool afresh (Session::tool_resets),
and records whether the tool's options were set after that
(Session::tool_set_since_reset). When the count changes during a
command and nothing set the tool's options after it, the app starts
the tool on the active artboard, as it does when a command chooses
another document. When a later step chose the tool's artboards (a
Paste or Cut after the revert), the artboard the tool then has active
becomes the active one.
Docs: docs/mcp.md, docs/target-app-parity.md.
Review follow-up (CodeRabbit): a gradient drawn as pixels was sized from its
area in the space it is drawn in, so type scaled 4 times got a quarter of the
raster effects resolution; the image is now sized from the area on the page,
within the same pixel caps. And type whose fill is drawn as art (a dithered
or freeform gradient's image, a pattern) went out as outlines only; its
characters are now also written as invisible text (rendering mode 3), as
unpainted type already is, so they can be selected and searched.
Review follow-up (CodeRabbit): paint.setStroke kept `dither: true` from its
gradient, and a stroke can hold dither anyway (swapped from a fill). Outline
Stroke and appearance expansion copied the stroke's paint into the outline's
fill, which then drew dithered although the stroke never did. The outline's
fill now goes without dither (Paint::stroke_as_fill), and paint.setStroke
refuses a gradient with `dither: true`, as paint.editGradient does.
Review follow-up (CodeRabbit): a dithered fill skipped set_paint's guard for
a gradient without stops and sampled a transparent grid to draw nothing. It
now takes the same no-fill path.
Review follow-up (CodeRabbit): a large dithered gradient mostly off-screen
sampled its whole grid (up to 4096 x 4096 cells, 64 MiB) to draw a small
visible part, and did it again on each zoom step. The renderer now samples
only the cells the render target can show, a cell more each way for the
bilinear mix, snapped out to 256-cell tiles so a pan within them reuses the
grid. Cells keep their place in the whole grid, so the gradient and its
noise are the same pixels as before (GradientPaint::pixels_within).
With Pick Color From Artwork, a Shape Builder merge took the look of
the front-most object over the first covered region the drag touched,
and the current fill when the drag touched only areas no object
covers. The reference app's combine page gives the look of the object
where the drag starts, else of the object where it ends, else of the
topmost selected object.
shapeBuilder.merge now follows that rule: the merged shape takes the
appearance, opacity and blending mode of the front-most of the objects
it is given (the selection by default) under the first point, else of
the one under the last point, else of the front-most of those objects.
A drag from a hole across a gray bar into a red square now gives a red
shape, where it gave the bar's look. A click in an area no selected
object covers, such as a hole that gray bars enclose or a triangle
that lines enclose, takes the front-most selected object's look
instead of the current fill. Pick Color From Color Swatches works as
before. The tool already sends the press point first and the release
point last.
Docs: docs/mcp.md, docs/target-app-parity.md.
## 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>
## Summary
On Linux, asking winit to maximize before the window is mapped often does
nothing, and egui sometimes omits the maximized viewport flag while the
window manager still has the window maximized. Defer maximize until the
first frames after startup, and read maximized state from winit when
saving geometry for the next launch.
## Tests
cargo test -p vectorcraft window::
cargo clippy -p vectorcraft --all-targets -- -D warnings
Closesstorytold/vectorcraft#3635
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
When the Paragraph panel acts on more than one paragraph whose displayed
direction differs (explicit LTR/RTL or Auto resolved from content), neither
Left-to-Right nor Right-to-Left is highlighted, matching alignment and the
other mixed-value paragraph controls in Adobe Illustrator.
## Tests
- `paragraph_mixed_direction_buttons_show_neither` in `panels/paragraph.rs`
Part of gap G4
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
File › Package… put the file's path in front of every error its writer
returned. A refusal from the automation write root already names the
path, so the dialog's error and the status bar named the file twice,
for example on Windows for a document named aux:
`<path>: automation path rejected: reserved device names are not
allowed: <path>`.
The dialog now keeps a writer error that already contains the path as
it is, and puts the path in front of one that does not, such as the
desktop's "Access is denied. (os error 5)".
PDF import measured each gap between two glyphs against the larger of
the line's first glyph size and the next glyph's. A word set beside a
much larger one, apart by positioning and no space glyph (a browser's
margin between two sizes), stayed under a fifth of that em: "≤ 4" at
20 pt and "hours" at 8 pt, 3.4 pt apart, came in as "≤ 4hours".
A gap is now measured against the smaller of the two glyphs beside it.
Lines in one size read their gaps as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Enter and Escape went to the active tool whatever modifiers were held,
and the command bound to the chord then ran as well. With a command
bound to Cmd+Enter, Cmd+Enter ended the Pen tool's path, opened the
Move dialog with the Selection tool, or typed a line break while the
Type tool edited text, and then ran the command. With a command bound
to Cmd+Escape, Cmd+Escape ended the Pen path, the Type tool's text
editing or isolation mode before the command ran.
A press of Enter or Escape whose chord a command is bound to, matched as
the shortcut dispatcher matches it, now runs only that command, also
when the tool claims the key. While the Type tool edits text, only Cmd
chords count. While a tool is in the middle of an interaction (a drag,
or between the clicks of a tool such as Blend or Dimension), and for
plain Enter and Escape and chords that no command is bound to, the key
goes to the tool as before.
Illustrator 30.0's gradient Dither, from the public documentation
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-dither-in-gradients.html):
a Dither checkbox in the Gradient panel; dither converts the gradient into
pixels with subtle noise, works with gradient fills only, and follows the
Document Raster Effects resolution.
- Gradient gains `dither` (serde default false, written only when on, so
older files open unchanged and new files keep it).
- The renderer draws a dithered linear or radial fill as an image paint: the
gradient sampled a cell per device pixel or finer (quarter-octave steps,
cached per thread), each channel given seeded triangular noise of up to a
level before rounding. Same pixels every run; strokes and undithered fills
draw exactly as before. PNG and other raster exports go through it.
- SVG and PDF write a dithered fill as an image at the document's raster
effects resolution, clipped to the shape (the freeform-gradient path);
characters' fills stay vector gradients in SVG, with a warning.
- paint.editGradient and paint.setFill take `dither`; strokes refuse it.
The Gradient panel's Dither box is dimmed behind the Stroke proxy.
- i18n rows in all 24 catalogs; docs: G13, target-app-parity, ui-parity,
mcp.md, plugins.md.
Shared groundwork for gradient options SVG and PDF can't express (Illustrator
30's dither and perceptual gradients): GradientPaint::pixels samples a placed
linear or radial gradient on a grid (Ramp: its stops, midpoints as stops, mixed
as the renderer mixes them), and draws_as_pixels says which gradients are drawn
that way (freeform ones, so far). The SVG and PDF writers' freeform-gradient
image path takes any such gradient, a linear or radial one at the document's
raster effects resolution. No change in output yet.
A PDF or .ai page placed linked is a placed document, and File ›
Package listed only the fonts of the document's own type, so the fonts
of the page's type were left out of Fonts/ where an embedded page's
were copied. Package now reads each linked page a document places and
adds the fonts of its type, also when another document placing the same
file copied it first, and also with copyLinks off.
The Place dialog classed every .pdf, .ai and .ait path as a document
that Link places as one locked object. A .ai saved without PDF
compatibility is PostScript, and file.place embeds it as editable art
with Link on or off, so the tooltip was wrong for it. The dialog now
reads the file's header with the same PostScript check file.place uses,
and describes such a file as it does other files Link does not keep
linked.
Turkish is now a complete-message language, so the message file.place
gives for a file that is not a VectorCraft document, a PDF or a
PDF-compatible .ai file needs a tr row.
The File Handling preference Link Placed PDF and .ai Files
(linkPlacedPdf) is removed. File › Place with Link now places a page of
a PDF, .ai or .ait file read as PDF pages as a linked placed document,
as it links a raster image, and link: false embeds the page. Link is on
by default in the Place dialog and in file.place, so a PDF or .ai page
placed from a file, which used to be embedded, is now linked unless
Link is off. A password or textAs: "outlines" still embeds, and so do
EPS and PostScript .ai files.
The Place dialog's Link tooltip describes a PDF or .ai file as a
document.
A .ai file read from its editing data (its PDF part only a placeholder)
finds the files its art places by name, beside it. Package now copies
those files into the same folder as the .ai file, and warns when one has
to be copied under another name.
File › Place with Link kept a link only to raster images and VectorCraft
documents. A PDF, .ai or .ait page was always embedded as a group, so
Update Links never saw a newer version of the file.
A new preference, File Handling › Link Placed PDF and .ai Files
(linkPlacedPdf), is off by default. With it on, Link places the page as
a placed document, as it places a VectorCraft document: the object
keeps the file's bytes, a preview, the page number and the page's box
(crop, art, trim, bleed or media, stored as page_box). Links check,
update and relink it, Break Link and Object › Expand give the group
placing it without Link gives, every output draws the page's vectors,
and saving and reopening keep the link. With the preference off, or
with a password or textAs: "outlines", the page is embedded as before.
EPS and PostScript .ai files are still embedded.
Package copies a placed PDF or .ai file as it is. The Place dialog's
Link tooltip describes a PDF or .ai file as a document while the
preference is on. Relinking a placed document to a file that is not a
VectorCraft document, a PDF or a PDF-compatible .ai file says so.
Docs: docs/mcp.md, docs/target-app-parity.md.
Review follow-up (CodeRabbit): a line that wasn't valid JSON was reported
by its line only, while every other --commands error names the run's step.
It now says `step N (line L)`, N counted with the --cmd steps before it.
run_refuses_malformed_commands_naming_the_step expects `step 2 (line 3)`;
it fails without the change.
Review follow-up (CodeRabbit): the two older G2 bullets counting 46 and 49
filters were superseded by Conté Crayon (57/57) and are folded into one
current bullet; the G2 row in the ranked table and the entry's estimate now
both say 4–6 h, as ROADMAP.md and roadmap.md do. ROADMAP.md's revision
history gains its 2026-10-22 row.
Review follow-up (CodeRabbit): the blank-name check ran on the raw name, so
a name made only of characters XML can't hold (control characters) wrote an
empty <title>. The name is sanitised first, then the fallback applies. The
title test covers such a name; it fails without the change.
The SVG writer always wrote the document's title in <title>
(crates/svg/src/export.rs), so every file of Export As with Use
Artboards, Export for Screens or an `artboard`/`range` export was titled
after the document ("Icons"), whatever its artboard was called. The
writer's `artboard` option can't tell those apart from Save: Save writes
the first artboard too, standing for the whole document.
ExportOptions has a new `artboard_title` (set by the caller, as
`artboard` is, not deserialized): the file is that one artboard, exported
on its own, and its <title> is the artboard's name (XML-escaped as
before), or the document's title when the artboard has no name. The
engine's SVG encoder (fileio/svg.rs) sets it exactly when the export
names its artboards, which is also when a file holds only that
artboard's art (#550): Export As per artboard, document.export /
serialize with `artboard` or `range`, MCP export, and Export for Screens'
artboards, assets, layers and selections (each written as an artboard
named after it). Save and Save As keep the document's title. Export for
Screens' Full Document draws the art bounds as one artboard, which is now
named after the document, so its SVG keeps the document's title too.
docs/file-format-parity.md's SVG row says so.
Tests: title_control_chars::an_artboard_exported_alone_is_titled_after_it
(crates/svg: two named artboards, the second named with markup;
exporting either alone gives its escaped name, the default and an
artboard without artboard_title give the document's title, an unnamed
artboard falls back to it) and
tests_svgenc::an_svg_of_one_artboard_is_titled_after_it (the engine:
`artboard` 0 and 1, useArtboards range all, Save's SVG, Export for
Screens per artboard, an asset and Full Document). Both fail without the
change (the title was "Icons") and pass with it.
Review follow-up (CodeRabbit): step_value clamped once after all of a
frame's steps, so at the lower bound a step down then a step up in the
same frame left the field at the bound. Each step is now clamped as it is
applied. The Stroke panel test steps down and up in one frame at each
bound and expects one step above it; it fails without the change.
Wheel notches and the arrow keys over a focused number field step the
value its text shows (widgets::step_value), and nothing there knew the
field's bounds: the Stroke panel's Weight went on to -3 pt and its Limit
to 0 x in the field, while the panel only clamped what it applied (the
spinner's min, Limit's clamp to 1..500), so the next step went on from
the out-of-range text. A label scrub (scrub::field) had the same gap.
step_value and scrub::field now take the field's bounds and stop at
them, so the field shows where they stopped and the value applied is
the same. The fields that have bounds pass them:
- spin_field / spin_field_auto / spin_plain: their `min` (the spinner
and a typed value already stopped there);
- range_field: its range; it now also takes a value that may be blank
(None), as mixed_field does;
- opt_field (dash and gap lengths): 0;
- the Revolve dialog's values: their range.
Fields that clamped only what they applied now say their range with
range_field instead: the Stroke panel's Limit (1..500), the Transparency
and Properties opacity (0..100), the Transform panel's polygon sides,
and the dialogs' bounded counts, percentages and lengths (Blend Options,
Envelope, Flattener, Liquify, Freehand, Live Paint, Path ops, Perspective
Grid, PNG ppi, Print, Save for Web, Shape Builder, Slices, Swatch
Options, Symbol options, Justification, Dimension, PDF page, the effect
dialogs' number rows). docs/ui-parity.md's number-field row says so.
Test: panels::stroke::tests::the_wheel_stops_weight_at_zero_and_limit_at_one
(the Stroke panel in a headless frame; focus Weight at 1 pt and turn the
wheel down four notches: the field shows 0 pt and the stroke is 0 pt;
the same with Limit at 2 x: 1 x and a limit of 1). It fails without the
change (the field showed -3 pt) and passes with it; the other numeric
field, scrub and dialog tests still pass.
The MCP drawing tools ran the creating command (path.create, shape.*)
and only then paint.setFill, paint.setStroke, stroke.set,
object.setProps and effect.apply, each as a command of its own.
check_draw_options checked dash, cap, join, opacity, name and effects up
front, but not the paints: a fill or stroke the engine can't read
(stroke: "currentColor"), or a swatch the document lacks, failed after
the object was made, so the call returned an error and left the path,
its undo step and its SVG node behind. Each styling command was also an
undo step of its own.
The tools now send the creating command and the styling commands as one
command.batch (crates/mcp/src/tools.rs, draw): the engine rolls the
whole batch back when a step fails, so a refused paint leaves no object,
no undo step and nothing in the SVG, and a good call is one undo step
named as the creating command names its own (Pen, Rectangle, …). The
styling steps act on the new object, which the creating command selects,
with item: null (its whole appearance), as the ids did before. The
reply gives the failed step's own error, without the batch's prefix.
docs/mcp.md says so.
Test: tests_drawopts::a_bad_paint_draws_nothing (invalid fill, stroke,
a missing swatch and a non-numeric strokeWidth on draw_path and
draw_shape: error, node count, undo history and SVG export unchanged;
a good call adds one undo step named Pen / Rectangle). It fails without
the change (draw_path with stroke "currentColor" drew a path) and passes
with it; the other draw option and command_batch tests still pass.
A line style's `Patn` was copied twice (filtered, then scaled) whatever its
length, before any budget saw it. Patterns longer than 64 lengths now import
as solid lines, with a warning.
Addresses CodeRabbit's third review on #3548.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
- Overlays bake child-first: a group's overlay now lies over its children's
(they used to be applied after it and win). Each one pays out of the
import's overlay work budget.
- Master page instances inside embedded documents are left out with a warning:
their indices count the embedded document's masters, which aren't kept, and
would show the outer document's.
- A text outline's gradient stops and dashes are charged to the text attribute
budget, like the fill's.
Addresses CodeRabbit's second review on #3548.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
- One budget for the whole read (layers, pixels, characters, table
cells), shared with embedded documents and charged also when their
reading fails; the first reading is dropped before the second.
- Tables: at most 65 536 cells; lines and cell formats that don't
match the grid are left out instead of shifted.
- Paragraph formats matched to runs by binary search; font names
longer than 256 bytes are dropped.
- Overlays: one work budget per import; encoded originals decoded
within their layer's size; table cell outlines recoloured too.
- Engine: master page copies capped, each page's master found in
linear time, line gaps looked up once per font, the working CMYK
table built once, objects past MAX_COORD left out.
- Embedded content stays with its node; pixel masks under artistic
text are read whole and include stroke reach; gradient overlays on
hidden layers are kept.
- Render: contexts and raster effect images stay within
MAX_RASTER_SIDE per side (vello overflowed near u16::MAX; found by
the new fuzz target).
- Tests: affinity tests/import_limits.rs, feature samples in
import_fuzz.rs, shared builders in engine/tests/support/.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
- Strokes set to None no longer import as black 1px strokes.
- Underline and strikethrough are kept.
- Frame text starts at cap height; lines hanging out of a frame make it taller;
mixed-alignment artistic text lines up within its longest line; line breaks
inside a paragraph get no paragraph spacing.
- Table cell text taller than its cell is centred and stays visible.
- Outline effects on stroked shapes are drawn around the stroke.
- CMYK pixel layers go through the document's embedded CMYK profile; without
one, opaque layers stay CMYK.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
An export through the desktop save panel kept any typed extension
that names a known format, whatever format it wrote. Export As with
PNG chosen and card.svg typed wrote PNG data to card.svg, and Save as
PDF, Save for Office Documents, Text Export Options, Export Library
and the other writes that go through pick_path did the same.
document.exportSelection with a format suggested and added .png
whatever the format.
Such an extension is now replaced with the written format's, as Save
As has done since #3372: card.svg is written as card.png. An extension
of the written format stays as typed in any letter case (photo.JPEG
for JPEG), Export As SVG (and file.exportAs, file.export.svg) keeps
art.svgz and writes it compressed, and document.exportSelection
without a format still writes the format the typed extension names.
With a format, it suggests and adds that format's extension.
Docs: docs/target-app-parity.md.
File › Package… read every linked file and font and wrote the package
on the UI thread, so the window stopped responding until the package
was written. For a document that links 50 images of 21 MB each, OK
with Background Export off, which does the same work, takes a median
of 2.25 s in a release build on Windows.
With Enable Background Export on (Preferences › File Handling), OK now
takes the options, the report's Document Info text and a snapshot of
the document, and closes the dialog. The thread that writes background
saves and exports then collects the links and fonts and writes the
package. The same OK takes 0.001 s, and the package holds the same
bytes. A save of unsaved changes that Package starts is written first.
With the preference off, on the web and over MCP and scripts, the
package is made at once with the same reply as before.
Docs: docs/target-app-parity.md.
With the Artboard tool, Paste and Paste in Place select the pasted
artboards, Cut gives the tool the artboard before the first cut one
(the new first artboard when artboard 1 is cut), and tool.setOption
sets its selected or active artboard. The active artboard, the view's,
stayed where it was, so the navigator showed another artboard than the
tool and the Artboards panel. document.activate and File › Revert
started the tool on artboard 1, while choosing a document's tab starts
it on that document's active artboard.
After a command that changes the artboards the Artboard tool has
selected, the app now makes the tool's active artboard the active one,
as a click with the tool does. After a command that chooses another
document, and after Revert, the tool starts on the document's active
artboard.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Layers list scrolls in its own scroll area, which kept egui's floating
scroll bar when #3093 gave the panel bodies a bar in a column of their own.
Hovering the list showed the bar over the right edge of the rows, over the
target circles and the selection squares the user clicks to select a layer.
The list now uses the menus' slim solid bar (list_scroll_style) in its own
column, and the rows end beside it. The list knows its total height before
it lays the rows out, so the bar is shown exactly when the rows overflow
(decided up front): the rows never shift sideways a frame after the bar
appears.
Test: dock::tests::the_layers_scroll_bar_covers_no_row (40 layers in a
1440x600 window: no row's accessibility rect intersects the bar). It fails
without the change and passes with it. The Layers tests that pin row
positions across frames still pass. Checked live: the bar sits beside the
rows.
With the pointer resting over art while the view moves (trackpad or wheel
scrolling, pinch zoom, a Hand/space pan), the document point under the
pointer changes every frame, and the canvas hit-tested the art there on
each one, up to three times: Object Highlighting (canvas.rs
hover_highlight -> selection_hit_at) and the Selection tool's cursor
(select.rs cursor: hit_test, and with Snap to Point the nearest-anchor
search). Over a detailed engraving in a clip group (the reporter's
PhotoCraft icon: one path of tens of thousands of segments) each of those
costs roughly 3-6 ms, so every frame of the move took 12-15 ms of UI time;
off the art they return at once.
- canvas.rs: the canvas notes when its view (rect, zoom, centre,
rotation) last changed. Until it has been still for HOVER_STILL_SECS
(0.15 s) it draws no hover highlight and keeps the cursor the tool last
gave for the same tool and modifier keys instead of asking again; it
asks for a repaint then, so both come back without the pointer moving.
Pointer moves still reach the tool as before.
- test: a_moving_view_leaves_the_art_under_the_pointer_unhighlighted_until_it_stops
(wheel frames draw no hover outline and keep the cursor; once still,
the outline returns and the cursor follows the art). It fails on main
at the first wheel frame.
Measured on an Apple M4 (release build, 1440x900 window, the PhotoCraft
app icon SVG fitted at 138%, Selection tool, Smart Guides and Snap to
Point on), median UI frame time over 60 wheel-pan frames with the pointer
resting:
before: over the art 12.3-15.0 ms, off the art 1.0 ms
after: over the art 0.4-1.0 ms, off the art 0.6 ms
The render readout is the art's own raster time on the render worker,
which this change doesn't touch.
The panels' scroll areas used egui's default floating scroll bar, which
is drawn over the right edge of the content: in a window too short for
the Properties panel it covered the Image Trace button's dropdown arrow
and the W/H constrain link, and in a dock column too tall for the window
it covered the panels' menu buttons and right-hand controls. Menus
(#2086, list_scroll_style) and the toolbar and dock icon column (#808,
strip_scroll) had already been given bars that keep clear of their
items; the panel bodies hadn't.
- widgets: panel_scroll shows a panel's scroll area with the menus' slim
solid bar (list_scroll_style), in a column of its own at the right
edge; scroll areas inside the body keep their own style.
- dock.rs: the docked Properties panel and Properties in a flyout,
floating group or shared dock group use it.
- floating.rs: a dock column too tall for the window uses it.
- panel_docking.rs: a panel's body in the shared dock uses it, laid out
as wide as the scroll area leaves beside the bar; the shared dock's
icon column scrolls with strip_scroll, as the dock's icon column does.
- test: the_properties_scroll_bar_covers_no_control (a 1440x600 frame of
the dock with an image selected: no control's rect meets the
Properties scroll bar). It fails on main with "Tracing Presets" (the
Image Trace arrow) and "Constrain Width and Height Proportions" under
the bar.
Verified live at 1440x600 with an image selected: before, the hovered
bar sat over the Image Trace arrow and the right ends of the Quick
Action buttons, and a dock column's bar over the Swatches panel menu;
after, both bars sit in their own 8 pt column and nothing is covered.
With the Artboard tool the arrow keys did nothing to the artboards: the
tool claimed only Escape, Delete and Backspace (tools/src/xform/artboard.rs
claims_key), so the arrows fell through to object.nudge in
ui-egui/src/shortcuts.rs, which moved the selected art on its own (or
nothing, with no art selected) and left the artboard where it was.
- artboard.rs: the tool claims the arrow keys and turns each press into
one artboard.move of the selected artboards that aren't locked, by the
keyboard increment (Preferences > General > Keyboard Increment, read
from the tool context as Touch Type does), Shift ten times as far as
object.nudge does, with moveArt from the tool's Move/Copy Artwork with
Artboard option, as a drag sends it. One undo step per press; nothing
during a drag or with only locked artboards selected.
- tests: arrow_keys_nudge_the_selected_artboards (tools: claims, step,
Shift, moveArt, several boards, locked, mid-drag) and
artboard_tool_arrow_keys_move_the_selected_artboards_with_their_art
(engine: the artboards and the art on them move, one step per press).
Verified live over --control: a 400x300 artboard with a selected 40 pt
square, Artboard tool, ArrowRight: before, the artboard stayed at x 0 and
the square moved to x 51 ("Move"); after, the artboard goes to x 1 and the
square with it ("Move Artboard"); Shift+Down moves both 10 pt; with
Move Artwork off only the artboard moves; increment 5 moves 5 pt.
The drag case in the report: a drag already moves the art, but only the
art that lies wholly inside the artboard and is unlocked and visible
(doc/src/lib.rs art_on_artboard; locked and hidden art only with
Move Locked and Hidden Artwork with Artboard). Art overlapping the
artboard's edge stays behind by design, which may be what the reporter
saw when dragging.
## Summary
When the Paragraph and Properties panels act on multiple paragraphs with different hyphenation settings, the Hyphenate checkbox is off, matching Illustrator mixed-value behaviour alongside mixed indents, alignment and composer. Toggling still applies through `text.setFormat` to every paragraph in scope.
## Tests
- `paragraph_mixed_hyphenate_checks_off` in `vectorcraft-ui-egui` paragraph panel tests.
Part of gap G4
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
Adobe help documents Area Type and Type on a Path as starting from a click on the path or shape border, not inside a filled interior. Restore outline-only hit testing for those tools (no fill-interior hits that would steal point-type clicks). Strokeless filled paths still accept clicks on the outline.
## Tests
- area_and_path_tools_hit_path_outline_not_fill_interior
Part of storytold/vectorcraft#3505 (review feedback on PR #3534)
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
Area Type and Type on a Path locate the path under the click with the same hit rules as the other tools, so a filled shape with no stroke can be clicked in its interior. Illustrator accepts those clicks for area type and for type on a path (the start follows the click on the path). VectorCraft had forced outline-only hit testing here, so interior clicks missed and the tools fell back to ordinary point or area text with placeholder copy.
## Tests
- type_on_path_and_area_type_hit_filled_paths_without_a_stroke in vectorcraft-tools
Closesstorytold/vectorcraft#3505
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
The fill/stroke chip popover no longer closes while the pointer is down, a panel paint drag is active, or the opening click is still on the chip anchor, so dragging fill onto stroke (or the reverse) inside the popover can finish. Color Picker proxies are not added; the reference app edits only the colour the picker was opened for.
## Tests
- panels::tests::dropping_a_proxy_paint_on_the_other_proxy_applies_it (unchanged)
Closesstorytold/vectorcraft#3440
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
Illustrator lets you drag the fill colour onto the stroke (or the other way) in the Color Picker and in the fill/stroke chip popover. VectorCraft now shows the Fill/Stroke proxy pair in the Color Picker (except for artboard background edits) and applies paint.setFill or paint.setStroke when a proxy paint is dropped on either square; clicking a square switches which side the picker edits. The fill/stroke chip popover stays open while the pointer is down, while a panel paint drag is active, or when the opening click is on the chip anchor, so drags between the proxies can finish.
## Tests
- color_picker_proxy_drag_applies_fill_to_stroke (headless egui)
- existing dropping_a_proxy_paint_on_the_other_proxy_applies_it unchanged
Closesstorytold/vectorcraft#3440
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
Replace length/angle with Length X/Y, reference point, Type, Base Along, Slope and Fill Arc; extend geom and shape.arc params.
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
A click on the artboard with the Arc tool (no drag) opens an Arc options
dialog at the pointer, matching Illustrator. Length, angle, and Closed
follow the same form as Line Segment; OK runs shape.arc and remembers
Closed via tool.setOption.
## Tests
- dialogs::tests::arc_click_opens_options_and_ok_draws
- Existing draw2::family::tests::click_opens_dialog_and_arc_shift (tools)
Part of gap G11
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
Exporting a CMYK document to PDF/X-1a or PDF/X-3 flattens transparency
first. Where the flattener has no single colour (an image with see-through
pixels over a flat fill, gradients, masks, raster effects) it renders the
area into an image, and that image was always an RGB PNG. The PDF writer
then separated it back to CMYK, so CMYK art behind the image came back with
other inks: a C100 M6 Y41 K3 panel printed C75 M14 Y35 K5 under a
transparent logo, with a hard edge against the rest of the panel, and K
moved into C, M and Y.
For files without transparency the flattener's images are opaque and
clipped to their regions anyway, so in a CMYK document it now draws them
as ink amounts over the paper (Renderer::render_region_inks) and stores a
CMYK TIFF, which the PDF writer keeps as DeviceCMYK samples. An area too
large for a CMYK image falls back to the PNG it made before. In-app
Flatten Transparency and other flattening, whose images keep alpha, are
unchanged.
Test: tests_pdfx::pdfx_1a_flattening_keeps_the_inks_behind_an_image_in_a_cmyk_document
exports a CMYK panel under a half see-through PNG to PDF/X-1a, opens the
file again and checks the inks behind the see-through half.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
## Summary
When the Paragraph panel menu acts on multiple paragraphs with different composers (single-line vs every-line), neither composer item is checked, matching Illustrator mixed-value behaviour and the panel's other mixed fields (indents, alignment).
## Tests
- `paragraph_mixed_composer_checks_neither_menu_item` in `vectorcraft-ui-egui` paragraph panel tests.
Part of gap G4
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
ui.libraryPanel.locate decided whether a panel's library was missing
through missing_file, which answers only for a persistent panel. A
command that turns Persistent off leaves the panel open on its missing
library until the next drawn frame closes it, and while the window is
hidden the app draws no frame between control requests. Locate
Library… on that panel answered "isn't missing its library" and read
no file.
The check now asks whether the panel's library can be found, the
lookup the tab label and the per-frame tidy use. A panel whose library
is there is still refused, persistent or not.
window.swatchLibrary and window.graphicStyleLibrary had the same
check: given the library id of such a panel, they answered "no
library". They now bring the open panel forward and answer its file's
name with count 0; the panel still closes at the next tidy.
Docs: docs/mcp.md (ui.libraryPanel.locate, window.swatchLibrary).
## Summary
Package status notes are parenthetical fragments joined with spaces; templates without {note} are used when there are no missing links or skipped fonts, so folder paths are not followed by stray spaces or double gaps.
## Tests
- package_status_without_notes_has_no_extra_spaces
- package_status_message_templates_parse extended
Closesstorytold/vectorcraft#3494
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
Package completion status and the show-folder prompt use i18n templates with
literal text between {folder} and {note}, so @msg rows parse and translate in
every locale (Illustrator-style localized status feedback).
## Tests
package_status_message_templates_parse; dialogs::tests_package; complete_languages_translate_every_message.
Closesstorytold/vectorcraft#3494
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
Swatch library panels title imported and User Defined .acb color books from the file name (without the extension), matching Illustrator. Host temporary import paths still fall back to the book title when copying into the user library folder (#2996).
## Tests
- `color_book_tab_titles_use_the_file_name` covers user-folder scan, load by path, and copyToUser keeping the source file name.
- Existing `copying_a_color_book_from_a_temporary_path_uses_its_title` unchanged.
Closesstorytold/vectorcraft#3395
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
document.open with a path that is already open in another tab now activates
that document instead of reading the file again and opening a second window,
matching Illustrator Home › Recent Files when the file is already open.
The result includes activated: true; unsaved edits and the active tab are kept.
## Tests
open_same_path_activates_existing_document in cmd::fileio::tests.
Closesstorytold/vectorcraft#3455
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
The panels and dialogs draw in their own egui families (`ui`,
`ui-semibold`, `mono`), and egui panics drawing text in a family no
font is bound to. Only `theme::install_fonts` binds them, and only
`VectorcraftApp::logic` calls it, on its first frame. An embedder that
draws the panels or dialogs itself (`dialogs::show`, a panel's `ui`)
on its own context, without `logic`, panics on the first semibold
title it draws, an effect dialog's for one. Calling `install_fonts`
avoids that, but it embeds the interface's five faces (about 2 MB)
whatever the embedder wants: today such an embedder keeps them out of
its binary only by never calling it, so that the linker drops them.
vectorcraft-ui-egui gets an `interface-fonts` feature, on by default,
that embeds those faces. Without it `install_fonts` binds the same
three families to egui's built-in fonts, so an embedder can always
call it. Those lack some symbols the panels show (→ ▾ ● ✓), which the
docs say. With the feature, `install_fonts` installs exactly what it
did before: the same font data and the same family stacks.
`tests/install_fonts.rs` draws an effect dialog on a context only
`install_fonts` prepared, and checks the face at the head of each
family in both configurations. `cargo xtask ci`'s `no-bundled-fonts`
step runs it without default features and lints the crate that way.
Without the `install_fonts` call, or without the semibold binding,
both tests fail with egui's "FontFamily::Name(\"ui-semibold\") is not
bound to any fonts". The two lib tests about the interface faces are
adjusted: the graphics-loss test checks a family install_fonts binds,
and the catalogs' glyph coverage test needs `interface-fonts`.
docs/development.md says when an embedder calls `install_fonts`, and
that it replaces the context's font definitions.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review feedback on #3498: dimmed neighbours share one opacity composite
before the centre tile and one after, preserving overlap paint order
without per-copy compositing.
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
In pattern editing mode, preview copies were drawn in row-major order and the
centre tile was always composited on top, so Pattern Options Overlap had no
visible effect when negative spacing made tiles overlap (as in Illustrator).
Preview copies now paint in the same order as tiled pattern fills.
## Tests
- vectorcraft-doc: preview_paint_order_respects_overlap
Closesstorytold/vectorcraft#3480
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
Add the 13 Japanese rows the Keyboard Shortcuts dialog (File > Keyboard
Shortcuts...) and the Print dialog's overprint note were missing, so they no
longer fall back to English. Wording follows the catalog's existing terms
(初期設定, 競合, ショートカット).
Drafted with AI assistance; native-speaker review welcome.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01K5NRZNWfaSLBWVzV8hivyS
Exercise Selection-tool busy state before takeover and verify it is idle after tab activation, drop, Escape and outside release. Session::set_active already reconstructs the tool via reset_tool_for_doc_switch, so the reported missing-Up busy state does not reproduce and no additional synthetic release is needed.
Narrow documentation to the internal clipboard asserted by the regressions and correct the stationary-pointer sentence. All 10 cargo xtask ci gates pass.
With the Artboard tool, a Ctrl/Cmd double-click on the name of an
artboard that was not selected added it with the first click and took
it out again with the second, so the name field renamed that artboard
alone. The panel menu's Rename opened the field on the active artboard
even when it was not selected. Paste with the Artboard tool leaves it
outside the selection: it selects the pasted artboards and keeps the
active one. Rename then renamed the active artboard alone.
The second click of a Ctrl/Cmd double-click now leaves the row's
artboard selected, and the field renames the selection with it. A
Ctrl/Cmd double-click on a selected row works as before. When the
active artboard is selected, Rename opens the field on its row;
otherwise Rename opens the field on the first selected row.
Docs: docs/target-app-parity.md.
path.create read closed only when it drew from anchors. Given path
data, {"d": "M0 0 L10 0 L10 10", "closed": "true"} drew the path and
recorded an undo step, while the same closed with anchors fails with
"`closed` must be true or false". shape.rectangularGrid and
shape.polarGrid read rows, columns, concentric and radial given as text
as the count left out, so {"rows": "3"} drew the default 5 horizontal
dividers instead of 3.
path.create now checks closed before it reads d or anchors, and the
grid commands refuse such a count with "`rows` must be a number, not
"3"". Neither command changes the document or its undo history then.
With d, a closed of true, false or null still leaves the path as its
path data draws it.
Docs: docs/mcp.md, docs/target-app-parity.md.
Add the three Turkish catalog entries requested by the maintainer on #3479. Preserve upstream catalog additions and place existing tab-drag entries beside stable menu labels to avoid append conflicts. Update feature progress notes for all 24 catalogs.
Simplify an equivalent Effect Gallery selection predicate required by the Rust 1.95 clippy gate. Full cargo xtask ci passed all 10 checks, including tab-drag regressions and wasm.
## Summary
Linux file portals grey out files that do not match the open dialog's default
filter. Other Library… and Locate Library… used File › Open filters, whose
first entry is All readable files and omits swatch-library extensions such as
.ase. Add library_open_filters with the library formats first (matching
Illustrator's Swatch Libraries › Other Library…) and use it from swatch and
graphic style library pickers.
## Tests
- engine: library_open_filters_list_library_formats_first
- ui-egui: other_swatch_library_asks_off_the_ui_thread asserts Swatch libraries
is the default filter and includes ase
Closesstorytold/vectorcraft#3465
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
Dragging the Fill or Stroke proxy onto the other square applies that paint
there, like dropping a swatch on art. Matches Illustrator's fill/stroke
chips accepting a dragged color from the other.
## Tests
- panels::tests::dropping_a_proxy_paint_on_the_other_proxy_applies_it
Closesstorytold/vectorcraft#3467
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
- Add crates/ui-egui/src/i18n/tr.tsv covering all menu strings, commands, UI labels, and status/error messages with standard Turkish vector software vocabulary.
- Register Turkish in LANGUAGES with plural_none and complete_menus: true.
- Support tr, tr-TR, tr_TR.UTF-8, tr-CY locale mapping in lang_from_tag.
- Add Turkish typographic quotation marks in crates/doc/src/setup.rs.
- Add turkish_reads_as_turkish unit test and register tr in KEEPS_MENU_NAMES and COMPLETE_MESSAGES.
- Include RTF diagnostic message with exact TSV escaping.
the_reply_names_each_expanded_copy_by_its_own_id checked that no id in
the effect.expandAppearance reply repeats and that each one names a
node in the document. Only for group copies did it check which ids the
reply holds. In the other four cases a reply that left out the
expanded object, or held no ids at all, passed.
The test now checks in every case that the reply starts with the id of
the selected object, and keeps the exact check of the group and the
two copies of the square for group copies.
ui.libraryPanel.locate checked only that the panel was open. Run on an
open panel whose library was there, such as the built-in Pastels, it
loaded the file given or picked and showed that library in the panel
in place of Pastels.
It now answers "library panel `{given}` isn't missing its library" for
such a panel, before it asks for a file or loads one, and the panel
keeps its library. A persistent panel whose library's file is gone
locates as before.
Docs: docs/mcp.md (ui.libraryPanel.locate).
Remove hash-coloured thumbnails; preview the selection with the applied
filter stack on the canvas (Cancel rolls back). OK commits via batch.
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
Limit gallery folders to the six Photoshop-style sets and edit stack params via the existing effect dialog body before apply.
Co-authored-by: Cursor <cursoragent@cursor.com>
Adds Effect → Effect Gallery with category browsing, procedural thumbnails, and a reorderable stack applied via command.batch as separate appearance effects.
Co-authored-by: Cursor <cursoragent@cursor.com>
Follow-ups to the review of the exporter plug-ins PR (#3171):
- Export As opens its format's options once the save panel has picked
the file. The Enter that closed the panel, still held, confirmed
them at once: Save As marks such a dialog (dialogs::AFTER_PANEL) so
it waits for Enter to be let go, Export As didn't. Every options
dialog it opens after the panel is marked now, an exporter plug-in's
included, through one helper (dialogs::opened_by_panel) that Save As
uses too.
- io::export with options that aren't a JSON object dropped the path
and format it adds for the encoder: an exporter plug-in was told the
document's name and its first extension instead of the file it
writes. Such options now count as none.
- The exporter UI tests remove the plug-ins they install, so no other
test's Export As lists them.
tests_export.rs reproduces the held Enter for every options dialog
(PNG, SVG, Save PDF, Text, DXF, EPS and an exporter's), and
tests_plugin_export.rs the options that aren't an object; both failed
before the fix.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
object.transformEach refused reflectX, reflectY, random and copy given
as text, but read strokes, corners, objects and patterns given as text
as the key left out. With Scale Strokes & Effects on,
{"scaleH": 200, "scaleV": 200, "strokes": "false"} scaled the stroke,
recorded an undo step and kept the params for Transform Again, which
repeated the call. artboard.rearrange, artboard.move and
artboard.duplicate read their patterns option the same way, and
artboard.setProps reads its patterns, strokes and corners options the
same way.
These commands now refuse such a value with "`<key>` must be true or
false" before they change anything. So do the other options and
numbers of artboard.setProps and artboard.move, the art of Duplicate,
Copy and Cut Artboard, the shape commands and path.create, path.close,
path.setHandle, path.moveAnchors, the Pencil, Curvature, Reshape
Segment and Blob Brush options, text.create, text.createInPath,
text.setRangeStyle, text.editRange, text.getRange, text.touchType,
text.areaOptions, type.step, the font size steps,
type.opticalMarginAlignment, type.systemLayout, type.fractionalWidths,
type.ruby, the symbol and swatch commands, the Appearance panel's
commands, the gradient and freeform gradient commands, Shape Builder,
Live Paint, Image Trace, the opacity of object.setProps, the radius,
sides and relativeRadii of object.setLiveShape, the reference point of
object.setBounds and the artboard of Align, Distribute and Distribute
Spacing. They refuse a number given as text with "`<key>` must be a
number, not <value>", and a gradient stop's tint with "stop <n>:
`tint` must be a number". A null still reads as the key left out.
Docs: docs/mcp.md, docs/target-app-parity.md.
* Use chrono for UTC/calendar conversion instead of hand-rolled copies
Replaces the hand-rolled Howard Hinnant civil/days-from-civil copies and the
leap-year/days-in-month tables with chrono as a workspace dependency:
- apps/vectorcraft/src/logging.rs: timestamp (log line time)
- crates/doc/src/metadata.rs: civil (Unix seconds -> [y,m,d,h,mi,s]) and iso8601
- crates/pdf/src/file_info.rs: unix (date -> seconds) and in_month, used by the
PDF/XMP date parsers (pdf_date, xmp_date)
Output formats and parsing semantics are unchanged and pinned by the existing
tests (PDF D:... and XMP dates, offsets, leap-year rejection, year clamp 0-9999,
pre-epoch clamp). chrono uses only std, so wasm stays safe. AGENTS.md/CLAUDE.md
now say time goes through chrono.
Follow-up to storytold/cadcraft#1785
* Never panic on a clock outside chrono's range; keep 5-digit years unprefixed
chrono's From<SystemTime> unwraps, so a clock past year 262143 panicked
inside the logger. timestamp now uses the fallible DateTime::from_timestamp
and reads such a clock (or a pre-epoch one) as the epoch instead. Years past
9999 are written with {:04} like before, because %Y would add a '+'. Tests
cover the out-of-range and 5-digit-year cases.
* Don't build an unrepresentable SystemTime in the far-future test
UNIX_EPOCH + Duration::from_secs(u64::MAX / 2) overflows Windows'
SystemTime and panicked before timestamp() ran, failing the Windows
test job. Build it with checked_add and only assert where it exists.
* time: preserve old out-of-range date conversion (no epoch fallback)
`DateTime::from_timestamp(...).unwrap_or_default()` silently reset any instant
past chrono's year range to 1970-01-01. Restore the old conversion domain with
a cycle-based helper that routes the calendar through chrono (the calendar
repeats every 400 years = 146_097 days, so month/day/time come from chrono and
only the year is carried in i128, keeping every i64 exact).
- apps/vectorcraft/src/logging.rs: `timestamp` via `utc_parts`; keep the
pre-1970 epoch clamp; u64 secs past i64::MAX saturate, not epoch.
- crates/doc/src/metadata.rs: `civil` cycle-based, keeping its clamp EXACTLY
as the old code had it: the input is clamped to 0000-01-01..9999-12-31 first
and the year is clamped to 0..=9999 afterwards. (With the input clamp the old
`unwrap_or_default()` was already unreachable; this drops it and makes the
conversion explicit, with identical output.)
Pinned old outputs in tests:
logging u64::MAX/2 s -> 292277026596-12-04T15:30:07.000Z (was epoch),
10_000_000_000_000 s -> 318857-05-20T17:46:40.000Z
metadata civil(i64::MIN)[0]=0, civil(i64::MAX)[0]=9999;
iso8601(i64::MIN)=0000-01-01T00:00:00Z,
iso8601(i64::MAX)=9999-12-31T23:59:59Z (year clamp, as before)
* Don't build a year-318857 SystemTime unchecked in the logging test
Windows' SystemTime only reaches about year 30828, so
UNIX_EPOCH + Duration::from_secs(10_000_000_000_000) panicked before
timestamp() ran and failed the Windows test job. Build it with
checked_add and assert where the platform can hold it. The year-10000
case fits everywhere and stays unconditional.
* Name the 400-year range extension as the one exception to the time rule
The rule said never to hand-roll calendar math, but the range fix
(shifting by whole 400-year Gregorian cycles so dates past chrono's year
range keep their old output) is cycle arithmetic, so the rule and the code
disagreed. The rule now names that exception: the library still computes
month, day and time, and only whole cycles are carried in the year.
* Say the library computes month and day; time-of-day is plain arithmetic
Narrows the range-extension wording: the date library computes the
calendar fields, and splitting seconds into hours, minutes and seconds
is ordinary arithmetic, which is what the code does.
## Summary
Live ellipses already support pie start/end angles, canvas widgets and Invert Pie
like Illustrator. Label the Properties panel Transform section with Ellipse
Properties so the pie fields match the Transform panel and are easier to find.
## Tests
- `an_ellipse_shows_its_pie_properties` in `panels/transform` tests.
Closesstorytold/vectorcraft#3451
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").
variables_panel_data_sets_ask_off_the_ui_thread empties its folder
before Export Data Sets… writes out.csv, then checks that the file is
exactly the header and the row for data set B. It ignored the result
of remove_dir_all, and create_dir_all succeeds on a folder that is
still there. When the folder could not be emptied, an out.csv left by
an earlier run passed the check even when the export wrote nothing.
The test now fails when emptying the folder fails with an error other
than NotFound.
When the Compression settings keep a PNG as it is, the PNG goes to
the PDF writer unchanged, and the writer refuses images of 16 bits a
sample below PDF 1.5. Saving a document with a placed 16-bit PNG as
PDF 1.4, or as a .ai file at 1.4, failed with "PDF writer error:
SixteenBitImage(...)" and wrote nothing. PDF 1.3 and PDF/X-3 failed
the same way for an opaque 16-bit PNG, and PDF/X-1a failed for a
16-bit gray PNG.
In PDF 1.3 and 1.4 files, such a PNG is now decoded and encoded again
at 8 bits a sample, with the same color type and ICC profile, before
the writer reads it. From PDF 1.5 on, it keeps its 16 bits. A 16-bit
PNG whose pixel data can't be decoded is left out with the note "an
image couldn't be decoded and is missing from the picture".
Docs: docs/mcp.md (PDF options).
## Summary
object.align now moves selected ruler guides when aligning to the artboard,
matching Illustrator and the existing Distribute behaviour. Guide-only
selection can run align; the Align panel enables its buttons when only
guides are selected. Guides still stay put when objects are in the selection
and Align To is Selection; key-guide behaviour is unchanged.
## Tests
- engine tests_keyguide: guides_selected_alone_align_to_artboard; updated
selected_guides_align_to_a_clicked_key_object for artboard align
- ui-egui align panel: the_align_buttons_align_guides_selected_alone_to_artboard
Closesstorytold/vectorcraft#3463
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
On Linux and the BSDs, where the save dialog reports the file type
picked in it, a name that still ends in the suggested name's extension
gets the picked type's extension. The comparison was case-sensitive,
so Untitled-1.VECTORCRAFT with "PDF-compatible .ai" picked was saved
as a native file named Untitled-1.VECTORCRAFT instead of Untitled-1.ai.
with_picked_type now compares the lower-case extensions that
fileio::extension gives. A name typed with the picked type's own
extension in another case (a.AI with .ai picked) stays as typed.
This follows up #3372.
Docs: docs/target-app-parity.md.
Activate visible tabs after a delayed Selection drag and copy artwork through a document-scoped command without changing the clipboard or source. Cancel stale transfers, preserve pattern alignment and transparency, and insert into the editable destination context. Cover pointer gestures, resource rendering, input bounds and locked layers; translate the new labels and messages.
tests_ruby::vertical_ruby_is_upright_to_the_right_of_the_column
checked that no reading glyph is more than 1 pt wider than tall. With
craft-fonts in the build, the kana come from Shippori Mincho, whose か
is 8.24 pt wide and 7.22 pt tall at 10 pt. The test failed on that
glyph although it stands upright. FreeBSD CI, which builds with
craft-fonts at a71c20e3, fails it on every branch since 14f804cd. It
also fails on Windows with that ref or an older craft-fonts checkout.
The test now compares each reading glyph's ink with its own outline at
10 pt. The same width and height mean the glyph is upright; a swapped
width and height mean it lies on its side. It also requires one
reading glyph whose outline is not square.
find_saved matched names case-insensitively but save_as, remember and
switch compared them exactly: "Mine" saved over "mine" made a second
workspace, and changes kept as "Mine" didn't come back when switching
to "mine". save_as now replaces a user workspace of the name in any
case, remembered layouts are kept under the saved spelling and looked
up whatever the case, and sanitized maps remembered layouts to the
saved spelling and keeps one per workspace.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01KcHisW1vt6pkVPYbzL6Cpg
remember() pushed the layout being left and then truncated the list to
64, so with 64 workspaces already remembered it dropped the entry it
had just pushed and the changes were lost. Drop the oldest entries
instead; a test fills the list and checks the last one left survives.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01KcHisW1vt6pkVPYbzL6Cpg
A workspace remembers the changes made in it: switching away keeps them
(UiState::workspace_changes, kept with the preferences), switching back
restores them, and Reset <name> returns to the saved layout. Saving a
workspace starts it with no changes; renaming keeps them, deleting drops
them, and deleting the current workspace shows Essentials as it was
left. Saved preferences recover a damaged remembered layout instead of
losing the whole file.
Split from #2965 as a reviewer asked.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01KcHisW1vt6pkVPYbzL6Cpg
Calls storytold/craft-common-actions/.github/workflows/sonarcloud.yml@main
with secrets: inherit. Adds SonarCloud badge to README where missing and
removes the redundant sonar-project.properties (config now passed by the
reusable workflow).
A face hidden on its own (for example with Object > Hide after Live
Paint Selection picks it) while its Live Paint group stays visible was
still highlighted, selected by Live Paint Selection and filled by the
Live Paint Bucket, and it kept the face of a group behind it from being
picked.
live_paint_at and lp_part_at now take the front-most face that is not
hidden (visible_face_at). A point on a hidden face falls through to the
visible face of a group behind it; where there is none, an edge pick
takes the nearest visible edge as it does outside the faces.
livePaint.fill also skips hidden faces. With group, a point on a hidden
face is an error. With ids, it fills the face there of another Live
Paint group among the objects, or else fails and does not merge the
group.
Docs: docs/mcp.md.
## Summary
Aligns parity checklists with shipped View › Snap to Glyph behaviour (#3124):
when Smart Guides are on, drawing tools snap to live-text baselines and glyph
bounds via `view.snapToGlyph`. Adds a headless test that `view.snapToGlyph`
toggles the UI view flag like Illustrator’s menu item.
## Tests
- `vectorcraft-ui-egui`: `snap_to_glyph_menu_command_toggles_the_view_flag`
- Existing `tools::text_tests::snap_to_glyph_lines_up_new_point_type_with_a_baseline`
Part of gap G4
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
The docstring check of the review counts the functions a pull request
touches: effect.apply, effect.setParams, plugin.run, the line cap
name, the reader of an output object and seven of the object tests had
no doc comment. Each now says what it does or checks; the join and cap
names get one each.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
A filter could reshape and repaint objects, but not set the stroke's
join, cap or miter limit, nor the effects an object's appearance holds.
A tool that prepares objects for a live effect (a sheet of samples,
each with the effect at its own settings) had to leave the user to
apply the effect to each object by hand.
- Each input stroke has its join, cap and miterLimit beside its paint
and width (live effects get the same, through the shared encoder),
and each object its own effect records, {id, params, visible}.
- An output stroke may set them (miter limit clamped to 1-500), and an
output object's "effects" replaces its own effects.
- The host admits each record as effect.apply does: an effect that
effect.list lists or an installed live-effect plug-in, parameters it
takes (filled in to their defaults; a plug-in's checked against its
manifest), one 3D effect that fits the object (its fills' and
strokes' own effects counted), and the texture of an effect with
Load Texture (Glass, Texturizer) as the effect stores it, never a
file to read. A record the object already had stays as
it is, so a filter that hands its input back changes nothing. One
refused record refuses the whole output and the document stays as
it was.
The plug-ins crate checks the records' form; which effects exist is the
engine's to say (objects::AdmitEffects, engine plugin::admit_effects).
effects::validate_three_d is the one check of whether a 3D effect fits
an object, for effect.apply, effect.setParams and the filters.
A path handed back as it was now stays the live shape it was: write()
dropped a live rectangle's or ellipse's parameters whenever the output
held a path, changed or not, so a filter that returned its input
turned a live rectangle into a plain path.
objects/tests.rs checks the round trip, stroke styles on existing and
new strokes, the host's refusal, the bad forms refused, and a live
rectangle handed back unchanged (a plain path before the fix);
tests_plugins.rs runs filters that set a built-in and a plug-in effect,
an echo that changes nothing, and six refused outputs.
CRAFT_PLUGIN_FRAME_WASM=<folder> saves a test filter to try in the app.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
The renderer's pixels and egui's are both premultiplied RGBA8, so color_image copies the bytes in one go. At 3456×2234 that takes 0.9 ms instead of 3.4 ms per update, at 5120×2880 1.6 ms instead of 6.8 ms. Every rendered image the UI shows (canvas, thumbnails, previews) goes through it.
## Summary
Opening or placing a .pmd file now fails with a dedicated unsupported-format
hint (like DWG and PICT), telling users to export PDF or EPS from PageMaker
instead of a generic unknown-format error. document.formats lists PageMaker
in its unsupported table.
## Tests
- formats_list_dxf_and_what_can_not_be_written
- dwg_and_pict_say_what_to_use_instead (includes brochure.PMD open)
Part of storytold/vectorcraft#3343
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
complete_languages_translate_every_message read a message literal only
right after a marker such as Err( or Other(. It did not read the
message given to the engine's bad(cmd, ...), so this test did not
require a row for a parameter error. It also did not read the messages
given to the engine's err() and error(), to the PDF writer's bad() and
failed(), or to an error enum's variant such as PsError::Limit(...).
1,122 of these messages have no row in any complete catalog.
The scan now reads those messages, a literal or a format! string, in
the same template form as the catalogs' rows. It skips PsError::Ps and
EngineError::UnknownCommand, whose first argument is a PostScript error
name or a command id. The 1,122 messages are listed in
untranslated_messages.txt next to the tests, together with the 71 that
pull requests open at 009384b add without rows, and the test lets a
listed message through whether or not it has rows. Every other message
needs a row in each complete catalog, so a new message made this way
fails the test until it has its rows.
VECTORCRAFT_I18N_DUMP_UNTRANSLATED=<file> writes the messages in the
sources that lack a row. No catalog rows change.
Docs: docs/development.md, docs/localization-parity.md.
Its glyphs were put in visual order and then cut where the path ran out, which kept the text's end. Now the longest start of the text, in reading order, whose glyphs fit in visual order is laid out, as area type does with each line it breaks, by the same rules that place the line: steps where the glyphs sit, hanging punctuation and the path beyond the brackets.
Glyphs placed one by one with even gaps could be letters set apart or
words of one letter each, and a file's positions can't tell them apart.
The spacing a line's letters share is now taken off its gaps only when
the line also shows where its words break: with spaces it draws (as
with Tc), or with gaps wider than the rest (tracked words placed glyph
by glyph). Otherwise every gap past a fifth of an em is a space, as
before, so A, B, C and D placed with ordinary word spaces between them
still come in as "A B C D".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A line whose shared gap is over half an em is no longer read as letter
spaced: capping that gap at half an em left glyphs set 0.55 em apart
with no spaces. The regression now covers 0.55, 0.75 and 1 em.
Whether a line is right to left is now known before its gaps are read,
from its logical order: the paragraph direction is only set afterwards,
so right-to-left lines were read for letter spacing too.
The revision-history row moves out of the Headline table, where it had
been put by mistake.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
# Conflicts:
# docs/target-app-parity.md
Document Info had no Repeat Objects category, and document.info
refused category "repeats". The reference app's Document Info panel
menu lists Repeat Objects after Font Details.
Document Info now has a Repeat Objects category after Embedded Images.
It lists each radial, grid and mirror Repeat object by name with its
kind and the number of instances it makes. For a grid it gives the
rows and columns instead, followed by the number of instances it
draws when that is fewer. The count comes from the new
RepeatSpec::instances, which gives the number of instances a repeat
draws. That number is smaller than its options give when repeats
nested in its source would pass the instance budget. With Selection
Only the category lists the Repeat objects in the selection.
document.info gives them as repeatObjects, the panel's flyout offers
the category, and the text report that Document Info › Save… and
File › Package write has a REPEAT OBJECTS section. The title has a row
in every catalog.
Docs: docs/mcp.md, docs/target-app-parity.md.
Illustrator documents Unite as a single compound path; use shape_node_styled and compoundPath.release in tests instead of wrapping islands in groups.
Co-authored-by: Cursor <cursoragent@cursor.com>
With one clip group selected, the Properties panel has Edit Clipping
Path and Edit Contents at its top, under the Clip Group heading, as the
reference app does: "With the clip group selected, click the Edit
Clipping Path button at the top of the Properties panel to select and
edit the mask, or click the Edit Contents button to select and edit the
masked content"
(https://www.adobe.com/learn/illustrator/web/crop-using-masks). They
run the existing object.clippingMask.editMask and editContents, which
select the clipping path or the clipped art for the selection tools, as
Object > Clipping Mask does. Edit Contents shows only when the group
clips something. With several objects selected they don't show (the
tutorial describes one selected clip group); the Contextual Task Bar
does the same. Both labels are already in every catalog.
Test: panels::properties::tests::one_clip_group_has_edit_clipping_path_and_edit_contents_at_the_top
(first under the heading, each selecting its part; Edit Clipping Path
alone once the clipped art is deleted; neither for a clip group
selected with another object in either order, or for a plain group).
Documented in docs/target-app-parity.md, docs/ui-parity.md and
docs/gaps.md.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
After Unite, split the result with draw2::components so each island (outer
contour plus its holes) becomes one group child instead of one compound path.
Co-authored-by: Cursor <cursoragent@cursor.com>
Switch to the Touch built-in workspace when the preference is on and a touch
screen is present; restore the prior workspace when it is turned off.
Co-authored-by: Cursor <cursoragent@cursor.com>
After scaling groups, type.scaleTextAttributes matches panel sizes to what draws on canvas without leaving scale in the affine.
Co-authored-by: Cursor <cursoragent@cursor.com>
Mixed left/right/first-line indents and space before/after now follow the same shared-value rules as alignment buttons.
Co-authored-by: Cursor <cursoragent@cursor.com>
Star corners with a large uniform radius kept None in the panel because fitted draw radii differ per tip; tests and UI expect the value the user set.
Co-authored-by: Cursor <cursoragent@cursor.com>
Store corner radii as fractions of each corner's max so rounding scales with the shape; expose via Corners dialog and object.setLiveShape relativeRadii.
Co-authored-by: Cursor <cursoragent@cursor.com>
Hue Shift colorization can sample key color from canvas art via the
eyedropper next to the swatches, matching Illustrator's brush workflow.
Co-authored-by: Cursor <cursoragent@cursor.com>
Pen Cmd-borrow keeps Direct Selection when Alt is held so guide copy and other Alt modifiers on the lent tool still work.
Co-authored-by: Cursor <cursoragent@cursor.com>
Route dock and floating strip reorders through shared logic, sync layout.floating order, and assert reorder via window.panel.move in the harness test.
Co-authored-by: Cursor <cursoragent@cursor.com>
Users can pick an image in the Texturizer dialog; it is stored as relief heights and survives save/open like Glass textures.
Co-authored-by: Cursor <cursoragent@cursor.com>
Overlapping faces take the highest of each CMYK channel from every covering shape and drop strokes, matching Illustrator's Hard Mix effect.
Co-authored-by: Cursor <cursoragent@cursor.com>
When Direct Selection was last used or is active, Cmd+Alt borrows Group Selection for pointer presses, matching the documented modifier chord.
Co-authored-by: Cursor <cursoragent@cursor.com>
Route floating strip drags through the same command path as the dock strip and centralize group tab index moves in one helper.
Co-authored-by: Cursor <cursoragent@cursor.com>
Reuse catalogued window.panel.move errors, keep legacy dock drags from clearing docking on Escape, reorder floating tabs locally without reconcile re-entry, and fix dock_tab_order test setup.
Co-authored-by: Cursor <cursoragent@cursor.com>
Legacy and floating strip drags update order via the panel.move command; partial saved orders append missing tabs, with command-level tests and Illustrator workspace doc link.
Co-authored-by: Cursor <cursoragent@cursor.com>
Rows two PRs of the batch both changed came out twice in localization-parity, target-app-parity and type-parity; the newest of each is kept. prefs_dialog.rs is formatted.
A click on the Tabs panel's ruler added a stop, and a drag moved one,
at the fraction of a point under the pointer. The reference app's Tabs
page says that the tab ruler does not set stops in increments smaller
than 1, and that the X or Y field sets them as finely as 0.01 point.
The page does not name the unit of 1. The ruler here uses 1 point, the
unit the page gives for the X or Y field, in every General unit.
With Snap to Unit off and Shift not held, a stop placed or dragged on
the ruler now lands on the nearest whole point. With Snap to Unit on,
or Shift held, it still lands on the ruler's nearest tick, which on a
millimeter ruler is a fraction of a point. A position typed in the X
or Y field keeps its hundredths of a point.
Docs: docs/target-app-parity.md.
The PDF writer's metadata has no copyright fields, so the XMP packet of
PDF exports and PDF-compatible .ai and .ait saves left out File Info's
copyright status, notice and URL. A PDF exported without its editing
data opened with the status Unknown and an empty notice and URL,
although the reader takes them from dc:rights, xmpRights:WebStatement
and xmpRights:Marked.
The export now adds those three properties to the XMP packet after
the writer has written it, as it does for the modification date.
Marked is True for Copyrighted and False for Public Domain, and is left
out for Unknown. The notice and URL are escaped for XML, and characters
XML 1.0 does not allow are left out. A document without a copyright
gets none of the properties.
Docs: docs/mcp.md (File Info), docs/target-app-parity.md.
The Print dialog's Media list only had Letter/Legal/Tabloid and the ISO A
and B papers, so Japanese papers had to be entered as a custom size, and
"B4"/"B5" were ISO 216 (250 × 353 and 176 × 250 mm) although Japanese
printing uses the JIS sizes (257 × 364 and 182 × 257 mm, JIS X 6310).
Media gains JIS B4, B5 and B6 next to the ISO ones, and はがき
(japanese postcard, 100 × 148 mm), 往復はがき (japanese double postcard,
148 × 200 mm), 封筒 長形3号/長形4号 (japanese envelope #3/#4, 120 × 235
and 90 × 225 mm), 角形2号/角形3号 (kaku #2/#3, 240 × 332 and 216 × 277 mm),
四六判 (yonroku-ban, 127 × 188 mm) and A6, all in millimetres at 72/25.4.
b4 and b5 keep their ISO 216 dimensions so print settings and presets
saved before the Japanese papers existed keep their paper; the dialog
labels say "B4 (ISO)"/"B5 (ISO)" beside "B4 (JIS)"/"B5 (JIS)".
A paper is named by its JSON id or by its dialog label, any case and
spacing ("b5 (jis)", "B5 (JIS)" and "b5jis" all mean the JIS B5), so
agents and the control channel need not know the id spelling; an unknown
name is still refused. Media is written out instead of through the
choice! macro to carry that lookup.
The print.setup/file.print parameter docs and docs/mcp.md list the new
papers; the Print dialog picks them up from Choice::ALL with no UI code
change, and the Japanese labels are translated in ja.tsv (はがき,
往復はがき, 長形3号, 長形4号, 角形2号, 角形3号, 四六判).
Tests: japanese_paper_sizes checks every added size in points, that the
ISO B4/B5 values did not change, name resolution and id/label round
trips, and that each paper prints a PDF page with its own MediaBox size.
Validation: cargo fmt --all -- --check clean; cargo clippy
-p vectorcraft-pdf --all-targets -- -D warnings clean; cargo test
-p vectorcraft-pdf -> 330 passed, 0 failed (328 lib + 2 integration).
A Word paragraph justified with w:jc lowKashida, mediumKashida or
highKashida placed as plain justified type, and its kashida length was
dropped. ECMA-376 Part 1, 17.18.44 (ST_Jc) gives these values a
slightly longer, a medium and the widest kashida length.
Such a paragraph now places justified with Insert Kashidas set to
Short, Medium or Long. A paragraph justified with both, and every other
alignment, still places with Insert Kashidas set to None. VectorCraft
writes no Word or RTF files, so this change does not affect export.
Docs: docs/mcp.md, docs/target-app-parity.md.
#2027 gave vectorcraft-text and vectorcraft-engine a `bundled-fonts`
feature for an embedder that supplies every document font at run
time, but vectorcraft-ui-egui (and vectorcraft-mcp) named the engine
with its default features, so an embedder that hosts the panels got
the fonts whatever it asked for. Each now has a `bundled-fonts`
feature of its own, on by default, that turns the engine's on, so a
downstream user keeps the fonts unless it asks otherwise. For a
member to leave the engine's default features out, the workspace has
to declare the engine without them, as it already declares
vectorcraft-text; the crates that used the engine's default now ask
for the fonts: the three apps and vectorcraft-testkit. Off,
vectorcraft-text's copy of the fonts (3.4 MB) is left out; theme.rs's
own copies of five of them, the panels' interface faces, stay either
way.
Nothing the workspace builds changes: for every workspace member and
for the whole workspace, with and without dev-dependencies, for all
targets, wasm32-unknown-unknown, aarch64-apple-darwin and
x86_64-pc-windows-msvc, `cargo tree -e normal[,dev] -f '{p} [{f}]'`
resolves the same features for every package as on main, apart from
the new feature names (the engine's `default` no longer listed;
ui-egui's and mcp's `bundled-fonts` and `default`).
A test of the panels can't see their configuration without the fonts
(their dev-dependencies turn them on), so `cargo xtask ci`'s
`no-bundled-fonts` step now also reads that tree for
vectorcraft-ui-egui and vectorcraft-mcp: with their default features
it must show the fonts, and without them, for any target (a wasm-only
dependency too), it must not. Documented in docs/development.md
(Fonts › Leaving out the bundled fonts).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
**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.
main registers nl, da and id catalogs with complete_menus, but
docs/localization-parity.md gave Indonesian 0 rows and the status
"none", had no Dutch or Danish row, and said "Nineteen non-English
catalogs".
The Indonesian row and new Dutch and Danish rows give the counts on
main at cb0a7d9: 5,279 rows, 750 of them @msg, for id and da, and 5,317
and 777 for nl. None of the three is in COMPLETE_MESSAGES, so the rows
say that the tests hold their menus and tl! literals complete but not
their messages. The page now counts 23 non-English catalogs. By the
page's rule (rows over 4,020, capped at 100% per part), Indonesian's
term in the 12-language score goes from 0 to 100, and the score goes
from ~74% to ~82%.
Docs: docs/localization-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>
The rows with a count date were counted on main at cb0a7d9; the method
sentence now names that commit. The sentence on the tests now says that
complete_menus covers menu strings and tl! literals, COMPLETE_MESSAGES
covers status and error messages, and Bulgarian is in the first only.
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.
docs/localization-parity.md gave the zh-hant catalog 4,741 rows, 742
of them @msg, while the catalog in #2784 had 4,784 and 756. On main it
has 4,892 and 790. Other rows that give a row count were also behind
main. For example, the Korean row gave 4,151 rows (4,870 on main), and
the Swedish row gave 668 @msg rows (795 on main).
Thirteen rows now give the counts on main, with "(counted 2026-10-21)".
A row is a non-blank line of the catalog that does not start with "#",
the rule that gives the page's French reference of 4,020 rows at
01e165af. The method sentence now says that a row with a count date was
counted on main on that date. The "N / 4,020" rows and every percentage
stay as they were.
The Bulgarian row said the tests hold its messages complete, but bg is
not in COMPLETE_MESSAGES. It now says the tests hold its menus and tl!
literals complete. The Portuguese row's "one|other plurals" gave the
row nine cells in an eight-column table. It now reads "one/other
plurals".
Docs: docs/localization-parity.md.
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.
docs/mcp.md said that `pages` that name every page "of such a file"
open it from its editing data. The sentence before it is about a file
without editing data, so "such a file" could be read as that file.
The sentence now says "a file saved without PDF compatibility".
Docs: docs/mcp.md.
- 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
* feat(window): adopt shared craft-window for Linux decorations
Decide the window frame on Linux/BSD via the shared craft-window crate
(storytold/craft-libs) instead of VectorCraft's unconditional
`CUSTOM_TITLEBAR = !macos`, so the app matches the rest of the Craft
suite per desktop.
- Probe `craft_window::Choice::probe(Prefix::new("VECTORCRAFT"))` once at
startup; custom titlebar is on when the frame is `Frame::App(_)` and the
user has not opted into the system title bar.
- Preserve the `systemTitleBar` preference: opting in forces the native
(desktop) frame back on, as before.
- Keep macOS and Windows behavior exactly as today (decided by
`CUSTOM_TITLEBAR`, not the probe): macOS integrated title strip,
Windows app-drawn caption. craft-window returns `Frame::Desktop` for
both; VectorCraft's overdraw is its own choice.
- The only behavioral change: KDE/Wayland now keeps KWin's native
decorations (Frame::Desktop) instead of always drawing a custom
titlebar; GNOME still draws its own (Frame::App).
- `VECTORCRAFT_TITLEBAR` override and the `systemTitleBar` pref both still
work (the env var is craft-window's override for the `VECTORCRAFT` prefix).
NOT MERGEABLE YET: craft-window is open PR storytold/craft-libs#217; the
dep points at the PR branch and must be repointed to a merged `rev`
before this can merge.
* fix(window): native frame when X11 is forced; pin craft-window to merged rev
- When Preferences > Linux Display Server > X11 forces the window onto
XWayland, treat the frame as the desktop's (native X11 decorations)
rather than letting a GNOME/Wayland probe pick Frame::App and draw our
own title bar on what is really an X11 window. An explicit
VECTORCRAFT_TITLEBAR override still wins (checked via Choice::overridden).
- Repoint craft-window from the (now-merged) feature branch to the squash
commit on storytold/craft-libs (craft-libs#217); regenerate Cargo.lock.
- The WAYLAND_SOCKET concern raised in review is handled in the merged
craft-window crate itself (the probe skips when WAYLAND_SOCKET is set).
Verified: cargo build + test -p vectorcraft (131 tests) pass against the
merged dep; windows7 (--no-default-features) still compiles; rustfmt clean.
* fix(window): only force native frame when X11 libs are actually present
Follow-up to review: the XWayland title-bar override now also checks
xwayland::x11_libraries_found(), matching the launch path's own condition.
If X11 is requested but the libraries are missing, startup stays on
Wayland, so the frame decision must keep the probe's app-drawn result
rather than flipping to native. Verified: tests pass, rustfmt clean.
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 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.
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.
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.
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).
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.
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.
A click with the Selection tool does not select a hidden or locked
object, an object in a hidden or locked group or layer, or a guide path
while Lock Guides is on, but object.isolate isolated each of them. Once
a locked or hidden group, or a group on a locked or hidden layer, was
isolated, a Selection tool drag moved the member under the pointer. The
Layers panel's Enter Isolation Mode sent the same command for a locked
or hidden layer or group.
object.isolate now refuses a hidden or locked object, or one in a
hidden or locked group or layer, with "the object is hidden or locked"
(the text of layer.target), and a guide path while Lock Guides is on
with "guides are locked". Isolation mode stays off, and the selection
stays as it is.
Docs: docs/mcp.md.
Nine catalogs named a blend's spine with two or more terms across the
rows for the spine commands and the Replace Spine message. Bulgarian
used four (оста, гръбна линия, скелет, гръбнак), and Ukrainian, Greek,
Finnish, Japanese, Korean, Brazilian Portuguese and both Chinese
catalogs used two each.
Each of those catalogs now uses the term its rows used most often:
оста in Bulgarian, вісь in Ukrainian, κεντρική καμπύλη in Greek,
selkäranka in Finnish, スパイン in Japanese, 스파인 in Korean, coluna in
Brazilian Portuguese, 脊线 in Simplified Chinese and 脊線 in Traditional
Chinese. 19 rows change, and no English string changes. A new i18n test
checks that every row naming the spine in the 19 catalogs uses its
catalog's term.
- ui-egui: the font-install poll (#2576) only runs on native builds, but its
timestamp field, its initializer and FONT_INSTALL_POLL were compiled for
wasm too, where nothing read them. They're gated like the code that reads
them.
- engine: `Session::store_profile` is only called by the native Load
Profile (cmd/colormgmt.rs); gated the same way.
- app (macOS): `App::logic_frame` checked `!file_dialog_open()` twice, one
`if` nested in an identical one, with the comment repeated. One check.
`cargo xtask wasm` runs `cargo check` without `-D warnings`, so these
warnings didn't fail CI; after this change it prints none.
The reference app adds a layer while opening the New Layer dialog with
Ctrl+Alt+L on Windows and Option+Command+L on macOS. VectorCraft opened
that dialog from an Alt-click on the Layers panel's New Layer button,
from Help › Search Commands… and from the panel menu's New Layer…
item. It had no key for it, and a Cmd+Alt+L press ran New Layer as
Cmd+L does.
ui.newLayer (New Layer Options…) now has the default Cmd+Alt+L, which
is Ctrl+Alt+L on Windows and Linux. The key opens Layer Options for a
new layer, as the Alt-click does: OK adds the layer above the current
layer, and Cancel adds none. Cmd+L still adds a layer without the
dialog. Keyboard Shortcuts now lists the command with its key.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
A Blob Brush stroke followed the pointer whatever modifier keys were
held. The reference app's shortcut list has Shift constrain the Blob
Brush path horizontally or vertically.
With Shift held during a drag, each point of a Blob Brush stroke now
goes on the horizontal or vertical line through the press point that
is nearer in angle to the pointer, at 90-degree steps from the
Constrain Angle preference, and keeps its distance from the press
point. When the pointer crosses to the other line, the points dragged
since Shift went down move to it, each on its own side of the press
point. Each point reads the Shift state of its own event, so the
points dragged while Shift is up follow the pointer. The stroke still
runs path.blob once on release.
Docs: docs/target-app-parity.md.
Optical Margin Alignment and Roman Hanging Punctuation hung punctuation
in point and area type only. Type on a path kept its first and last
glyphs inside its brackets with either option on.
When Optical Margin Alignment is on, or the first paragraph has Roman
Hanging Punctuation on, the glyphs at the ends of left-to-right type on
a path now hang outside its brackets by the same amounts, measured
along the path. The type hangs at the start bracket when its line is
placed there, hangs at the end bracket when the line is placed there,
and hangs at both when it is centered. Glyphs that hang past the end
bracket do not make the type overflow. On an open path a hang stops at
the path's end, and on a closed path the two hangs together take at
most the stretch between the end and start brackets. SVG export writes
type on a path that hangs as outlines, with a warning.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
The reference app justifies Arabic text with kashidas, set per paragraph
with the Paragraph panel's Insert Kashidas list (None, Short, Medium,
Long, Stylistic). VectorCraft had no kashidas, so a justified Arabic
line was spaced out at its word spaces like a Latin one.
The Paragraph panel, with the Indic options shown, now has Insert
Kashidas. On a justified horizontal area type line that is shorter
than its measure, each Arabic word with joined letters gets one kashida
between its last pair of them, drawn as tatweels (U+0640) in the font
of the letter after it. The kashidas share the line's room equally,
each at most a quarter of an em (Short), half an em (Medium) or an em
(Long); a Stylistic kashida is a row of the font's own tatweels, up to
an em. The word spaces take the room the kashidas leave, so the line
keeps its width, and line breaks do not change. The letter after a
kashida advances over it, so the caret before that letter, a selection
of it and a click on it take the kashida in. None, the default, leaves
lines as they were.
In horizontal type that is not on a path, the caret in a letter drawn
with several glyphs (a letter with a vowel mark) is now placed by the
whole letter, as hit testing already measured it, instead of by its
first glyph.
text.setFormat takes kashida. The setting is saved with the paragraph
only when it is not None, paragraph styles carry it, and Reset Panel
sets it back to None.
Docs: docs/mcp.md, docs/target-app-parity.md.
The composer offered a break after a dash, a Thai word or a space even when
a space came next, so it could start the next line with that space. A
leading space makes the next line wider, and the composer could score that
break better. With mixed type sizes now composed in rectangular area type,
Thai text whose words come from a Thai font broke as "สวัสดีครับ" and
" ภาษาไทยง่าย". The composer now offers only the break after the spaces,
as the single-line composer ends its lines.
Using a library's character or paragraph style, and scrubbing a
numeric field, closed their undo step with Session::end_undo_group,
which closes the open undo group of every document. An undo group open
in another document, such as one begun with edit.undoGroup.begin for
an MCP command_batch with atomic, was closed too, and that document's
next edits became undo steps of their own. When the style failed to
apply, or Escape ended the scrub, the other document's group was
canceled as well and the edits made in it were undone. Inside an undo
group already open in the same document, a scrub closed that group,
Escape undid the edits made in it before the drag, and a style that
failed to apply left the style it had added.
Session::begin_undo_scope and end_undo_scope make the edits in between
one undo step of the active document: the scope opens an undo group
there, or joins the one already open. Ending a scope closes only the
group it opened, in its own document, even when another document
became active in the meantime, and a canceled scope undoes only its
own edits, also inside a group that was already open. library.use and
the scrub use the scope, so Escape inside an open group also takes
back a scrub of the Transform panel's Shear field. edit.undoGroup.end
still closes the open group of every document.
A paragraph with one character in a different type size was broken
with the Single-line Composer, even when Every-line was chosen: the
composer gave up whenever the paragraph's glyphs did not all have the
same line metrics (ascent, descent, leading, cap height, x height and
em box top).
In rectangular area type without text wrap, rows and columns included,
the width of a line does not depend on how far down the frame it is.
There the Every-line Composer now composes a paragraph whose
characters differ in line metrics (type size, font, leading or
vertical scale, or an inline graphic taller than the text), and each
line takes its height from its own text, as with the Single-line
Composer. Area type of another shape, or with text wrap, still breaks
such a paragraph with the Single-line Composer.
Docs: docs/mcp.md, docs/target-app-parity.md.
When a cancel removes journal entries numbered below a recording's
start, the entries after them are numbered down. The recording's start
and the journal's hold kept the old number, so Stop Recording left out
as many of the recorded steps as there were entries removed, and the
hold no longer covered them. `Journal::remove` now moves the hold down
with the entries, and Stop Recording reads the start from the hold.
`Journal::replace` puts an entry in place of another and counts it at
its new size. A cancel uses it for the `document.activate` that takes
the place of a canceled group's entry that switched documents, so the
journal's size estimate does not keep the old entry's size.
A cancel cut the journal back to where the first canceled group began.
That also removed the commands run in other documents after it began,
which the cancel does not undo, so a replay of the journal lost them.
Each undo group now keeps the numbers of its own journal entries: the
commands that start and end in its document and the commands that edit
it. A cancel removes only those entries, and the later entries are
numbered down to close the gaps (`Journal::remove`). An entry of a
canceled group that also switched to another document, such as a batch
that draws and then activates another document, is replaced by a
`document.activate` of that document, so the commands after it replay
in the same document.
Session::end_undo_group with cancel cancels the open undo group of
every document. edit.undoGroup.end with cancel calls it, and so do a
field scrub ended with Escape and a library style that fails to apply.
The journal was then cut back to where the group of the last document
in the document list began, not to where the first of the canceled
groups began. When the group that began first belonged to an earlier
document, the journal kept the commands of that group's edits, which
the cancel had undone. After a scrub ended with Escape, which journals
no end command, replaying the journal drew those edits again.
Session::end_undo_group now cuts the journal back to the earliest start
of the groups it cancels.
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 reference app's graphs help describes adding totals to a column
design: type in the design holds a percent sign followed by two digits.
VectorCraft drew that type as typed, stretched with the design.
Type in a column design that holds a % followed by two digits now shows
the value of each column or stacked segment in place of the % and the
two digits. The first digit is the least number of places before the
decimal point, with zeros added in front (0 for as many as the value
needs), and the second is the number of places after it. Values are
rounded half away from zero. The type keeps its own size and moves to
where the design's copy puts the point it is set from. A repeating
design shows it once per column, where a whole copy ending at the value
end puts it, and Chop Design does not cut it. A sliding design moves it
with the part of the design on its side of the guide. Type inside a
group that clips or has its own opacity, blend mode, appearance or
opacity mask, or inside a blend, compound shape, envelope, repeat or
intertwine, stays in the design and shows the value in each copy. Type
inside a symbol stays as typed. The legend swatch leaves the totals
out.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Tabs panel named its alignment buttons Left-, Center-, Right- and
Decimal-Justified Tab and labeled the position field X for every text.
The reference app's alignments for vertical text include Top-Justified
Tab and Bottom-Justified Tab, and its position field is Y for vertical
text.
In vertical type the Left-Justified button is now named Top-Justified
Tab and the Right-Justified button is named Bottom-Justified Tab, in
their tool tips and for screen readers, and the position field is
labeled Y. The reference page does not say which buttons these are;
VectorCraft's own mapping follows the line direction: a line of
vertical type runs from top to bottom, so a Left stop aligns the text
to the top and a Right stop aligns it to the bottom. Screen readers now
call every alignment button by its name; before, they read its glyph.
In horizontal type the tool tips and the X label do not change.
Docs: docs/target-app-parity.md.
object.objectsOnPath.attach took a path inside a compound path, blend,
envelope, repeat or Intertwine group, or a clipping path, as the path
and put it into the new Objects on Path group, so it was no longer a
part of its container. As objects, a blend's key path, a repeat's
source art, an envelope's content and a clipping path were put into
the new group the same way.
The Objects on Path tool highlighted a blend's key path or a clipping
path and attached the selection to it.
objects_on_path::held now finds the container that holds an object.
The command refuses such a path or object with a reason, and the tool
does not highlight it or attach to it. A member of a compound path
given as an object still attaches as its whole compound path. The four
new messages have rows in every complete-message catalog.
Docs: docs/mcp.md (Objects on Path).
Since #2664, swatch.new separates an RGB color into CMYK through the
color settings in a CMYK document unless keepModel is given. The Color
Guide, Color Themes and Recolor Artwork send keepModel when they save
colors they show, but the Color panel menu's Create New Swatch, the
Swatches panel and the Gradient panel did not. An RGB object's color
saved from them became a CMYK swatch, and a gradient's RGB stops
became CMYK stops.
These now send keepModel: Create New Swatch, an Alt-click on New
Swatch, the New Swatch dialog for a gradient, a Fill or Stroke proxy
or the Gradient panel's thumbnail dropped on the Swatches panel or
Alt-dropped on a swatch of its kind, and the Gradient panel's Add to
Swatches and Save to Swatches. A new swatch_paint_params returns
paint_params with keepModel: true added for an unlinked color or a
gradient. swatch.new without keepModel still converts RGB input.
Docs: docs/target-app-parity.md.
Object › Live Paint › Merge built the merged group anew and copied
only the bottom Live Paint group's name, opacity and blend mode, so
its lock, visibility, appearance, opacity mask, graphic style link and
other properties were lost. Make with a Live Paint group selected, and
a Live Paint Bucket click on a selected path beside a selected Live
Paint group, made a new group with a new id instead, and every face
took the fill of its paths again.
Merge now starts from the bottom Live Paint group, as Gap Options
does, and replaces only its faces, edges and paths and its Gap
Options. Make, and livePaint.fill with ids when the point is outside
that group's faces, add the other objects to the bottom Live Paint
group among them as Merge does.
Docs: docs/mcp.md, docs/target-app-parity.md.
An edge hidden on its own (for example with Object > Hide) while its
Live Paint group stays visible could still be highlighted, selected or
stroked, and a hidden edge nearer the pointer kept a visible one from
being picked.
lp_part_at now takes the nearest visible edge (visible_edge_near), inside
and outside the faces, for the hover, the Live Paint Selection click and
the Bucket's Shift-click. The Bucket's Shift-click sends nothing where no
edge is highlighted, and livePaint.strokeEdge also skips hidden edges, so
the Bucket strokes the edge it highlights.
With Select Fills off, or with Alt held, the Live Paint Selection tool
highlighted an edge near the pointer even when the pointer was outside
every face, but a click there looked only for a face under the pointer
and cleared the selection. Outside the faces, the highlight came from
the front-most Live Paint group with an edge in reach, not from the
nearest edge, and it included hidden groups. The Live Paint Bucket's
Shift highlight and Shift-click used the same search.
The hover, the Live Paint Selection click and the Bucket's Shift-click
now call one function. Outside every face it picks the edge nearest
the pointer, within 4 screen pixels, among the visible Live Paint
groups. A click selects or strokes the edge that the highlight shows.
This change follows up #3052.
Distribute Objects and Distribute Spacing space the selected ruler
guides across the axis (vertical ones for the horizontal options,
horizontal ones for the vertical options) together with the selected
objects, as items with no size. Guides along the axis stay where they
are. Two or more guides selected without objects are enough, and the
Align panel's Distribute buttons are enabled for them. With Align to
Artboard, the outermost items go to the artboard's edges.
A key guide (select.key {guide}) is one of those items. With a spacing,
it stays put and the other items are spaced from it, as from a key
object with no size; a key guide along the axis leaves everything where
it is. The Align panel sends the Distribute Spacing value with both
rows of Distribute buttons while a guide is the key, and enables the
value for it.
The selection tools' clipping-path outline hit was also used where the
Selection and Direct Selection tools act on what is drawn rather than
select. Near a layer's clipping mask edge, with art drawn over it:
loaded text threaded into the unpainted mask instead of the art, a
double-click on type entered isolation on the mask instead of editing
the type (Selection) or did nothing (Direct Selection), and Cmd/Ctrl+
Shift double-click could not release a guide path there. These now
take the ordinary hit (ToolContext::hit_options); a press or hover
that selects keeps the outline hit.
Tests (each fails with the selection hit options):
select::tests::loaded_text_threads_into_the_art_on_a_layer_masks_edge,
a_double_click_on_type_at_a_layer_masks_edge_edits_it (Selection and
Direct Selection) and a_guide_on_a_layer_masks_edge_is_released, over
the new testutil helpers add_masked_layer and
doc_with_type_on_a_layer_masks_edge. Recorded in
docs/target-app-parity.md.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
A second finger, a long touch or a cancelled contact replaced Drag::Art
with Drag::Gesture without ending the live Move interaction, which then
outlived the pointer: later edits began on top of an open interaction.
drop_press now cancels the move for Drag::Art too and clears the panel
payload, as it already did for Drag::Tool.
Test: a_second_finger_drops_a_move_waiting_over_a_panel.
When text.tabs.set refused a new X (past 100,000 pt), the panel kept
the stops it had changed and sorted, so later in the same frame the
ruler painted the refused position and highlighted another stop.
apply_moved now moves and sorts a copy of the stops and keeps it only
when the stops are set.
After "nothing in data set A was applied: no object is bound to a
variable it has a value for" showed in the status bar, choosing a data
set that did apply, or stepping to one, left that message in place.
`run_now` set the status from a command's `warning` and cleared it only
for `file.new`, and the Variables panel test cleared the status by hand
before its last check.
`dataset.select`, `dataset.next` and `dataset.prev` now clear the status
bar when they succeed, and the warning shows when no object is bound to
a variable the new data set has a value for. The test no longer clears
the status by hand and checks all three commands.
Pattern Brush Options' Scale and Art Brush Options' Width were number
fields only. The reference app's Brushes page documents a Scale slider
for pattern brushes and a Width slider for art brushes.
Each row now has a slider beside its field, as the Bristle Brush
Options sliders do. The slider covers the value's whole range, 1% to
10000% for Scale and 1% to 1000% for Width, in whole percents. Screen
readers name the slider as its row and read the field's number and
text.
Docs: docs/target-app-parity.md.
docs/control-protocol.md and the tool.options params text say that 0
turns the Pencil and Paintbrush options Edit selected paths within and
Close paths when ends are within off. A stroke that
started exactly on an end of a selected open path still continued that
path at 0, and a stroke that ended exactly where it started was still
closed at 0, because both checks compared the distance with <= 0.
At 0, a stroke that starts on an end of a selected open path now draws
a new path, as one that starts on the path away from its ends already
did, and a stroke that ends where it started stays open.
Docs: docs/target-app-parity.md.
The Selection tool ended its Move interaction as soon as the pointer left
the canvas, so the art jumped back to where it started while the pointer
was over a toolbar or panel. As #2826 describes, the art should wait where
it last moved and the move should continue when the pointer returns.
Keep the interaction live while the pointer is off the canvas: Drag::Art
holds the art where it last moved, and coming back clears the panel-drop
payload and sends a Drag so the move goes on with the pointer. A release
over a panel ends the move before the panels draw (release_over_panel,
called from ui_frame), so a drop that takes art still gets it as it was
and no interaction is left open.
Tests: art_moved_off_the_canvas_waits_and_drops_on_the_panel,
art_moved_off_the_canvas_resumes_when_the_pointer_returns and
a_move_released_over_a_panel_ends_before_the_panels_draw cover the canvas
states; a_move_dragged_onto_a_panel_reads_the_menus checks the full app
waits over a panel and ends on release. cargo xtask ci: all 10 steps pass.
A tab stop moved past another stop in the Tabs panel, by a drag on the
ruler or by a value typed in X, lost the selection. The panel sorts the
stops by position after the move but kept the selected index, so the
ruler highlighted another stop and the X, Leader and Align On fields
showed and changed that stop. With stops at 30 and 50 pt and the 50 pt
stop dragged to 10 pt, the panel selected the stop at 30 pt.
After a drag or an X value re-sorts the stops, the panel now selects
the moved stop at its new place, found by its position as a click that
adds a stop does. When text.tabs.set refuses the new position (an X
past 100,000 pt), the stops and the selection stay as they were.
Docs: docs/target-app-parity.md.
A clip group answered a press only strictly inside its clipping path,
and there the art above the path came first in the hit test, so where
the clipped art extends past the mask's edge the clipping path's
segments could not be reached on the canvas.
With the new HitOptions::clip_outlines, which the Selection, Direct
Selection and Group Selection tools set
(ToolContext::selection_hit_options), a press within the selection
tolerance of a clipping path's outline, inside or just outside it,
hits the clipping path (HitKind::Outline) before the art it clips:
Direct Selection takes its segments and the Selection tool the clip
group. It applies to a clip group's clipping path and to a layer's
clipping mask, and only to one a click may hit (may_hit: visible,
editable, within reach). Inside the mask the art is hit as before.
The other tools, which act on what is drawn (the eyedropper, type,
gradients...), leave the option off, and hit_test_visible never
applies it, so they still take the art at the mask's edge rather
than the mask's empty appearance. Select Behind's one-pass walk takes
a layer mask's outline first too, so it lists what the repeated hit
test finds. Object Highlighting and a right-click's selection in the
canvas (selection_hit_at) take what those tools take; dropping a
swatch on art still hits what is drawn.
The reference app reshapes a clipping path with Direct Selection:
https://helpx.adobe.com/illustrator/desktop/manage-objects/edit-objects/edit-clipping-masks.html
Tests in doc: a_clipping_path_is_hit_on_its_outline_before_its_art,
only_the_selection_tools_hit_a_clipping_path_on_its_outline and
select_behind_takes_a_layer_masks_outline_first; the random Select
Behind test now clips layers and sublayers and sets clip_outlines,
and fails without the Select Behind change. In tools,
a_press_on_a_clipping_path_takes_its_segment_over_the_art fails
without the change; select::a_press_on_a_masks_edge_selects_its_clip_group
fails when the Selection tool uses the plain options; the eyedropper
copies the art on the edge. Recorded in docs/ui-parity.md,
docs/gaps.md and docs/target-app-parity.md.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
brush.new and brush.options refused a Hue Shift colorization given
without a key color ("invalid brush: missing field `key`"), and only
Brush Options picked a default. The reference app's Brushes page says
that by default the key color is the most prominent color in the art.
A Hue Shift colorization without a key now takes the solid color that
the art's fills and strokes use most, the first one found on a tie, or
black when the art has no solid color, as Brush Options already does.
Brush definitions read from a document get the same default.
brush.options replaced each field its params named, so an edit that
gave only the colorization method or only an art brush's start guide
was refused because the key or the end guide was missing. It now
merges colorization and an art brush's scale field by field.
Docs: docs/mcp.md, docs/target-app-parity.md.
Document Info had no Brushes category, and document.info refused
category "brushes". The reference app's Document Info panel menu lists
Brushes after Graphic Styles.
Document Info now has a Brushes category after Graphic Styles. For the
whole document it lists the Brushes panel's brushes. With Selection
Only it lists the brushes that the selected objects' strokes use, each
once. document.info gives the names as brushNames, the panel's flyout
offers the category, and the text report that Document Info › Save…
and File › Package write has a BRUSHES section.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app's View menu has Show Live Paint Gaps, which
highlights the gaps in the selected Live Paint group based on the gap
options set for that group. VectorCraft had no such item.
View > Show Live Paint Gaps (view.livePaintGaps) turns the highlight
on or off, and the item reads Hide Live Paint Gaps while it is on.
While it is on and edges show, the canvas draws the gaps of each
selected Live Paint group up to its Paint Stops At size, the gaps that
livePaint.info lists. It draws them as the Gap Options preview does,
as lines in the group's Gap Preview Color. The setting works as View >
Hide Text Threads does: one setting covers every document, it is saved
with the interface state, and Hide Edges hides the gaps. It is off by
default.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app's Brushes panel menu has Select All Unused, which
selects the brushes that are not used in the document. VectorCraft's
Brushes panel menu had no such item, and no command listed the unused
brushes.
brush.unused (Select All Unused) is a query that lists, in library
order, the brushes no stroke paints with. Strokes in the art and its
opacity masks, in symbols, graph designs, pattern tiles and graphic
styles count, and so do strokes in the art of a brush that is used.
The art of a brush that is not used does not count, so a brush whose
own art is the only art that paints with it is listed, and so is a
brush used only in the art of an unused brush. The Brushes panel
menu's Select All Unused selects these brushes, and Delete Brush and
Duplicate Brush then act on them.
Docs: docs/mcp.md, docs/target-app-parity.md.
Select > Object > Bristle Brush Strokes selected the objects whose
brush name contains "bristle". It missed objects with a bristle brush
of any other name, and it selected objects whose brush is of another
type with "Bristle" in its name.
select.object.bristleBrushStrokes now looks up the brush of each
object's topmost stroke in the document's brush library and selects the
object when the brush is a bristle brush, whatever its name.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Artboards panel menu showed Convert to Artboards disabled whatever
was selected, and choosing it did nothing, although Object › Artboards
› Convert to Artboards runs artboard.convertToArtboards on the
selection.
The panel menu's item now uses the same check as Object › Artboards ›
Convert to Artboards, so it is enabled when something is selected, and
it runs the same command. Each selected object that has an area becomes
a new artboard of its geometric bounds and is removed, in one undo step.
Docs: docs/target-app-parity.md.
The reference app makes a document without opening the New Document
dialog with Ctrl+Alt+N on Windows and Option+Command+N on macOS.
VectorCraft had no default key for it.
file.newWithoutDialog (New Without Dialog, default Cmd+Alt+N) makes a
document with the settings New Document opens on: the first Recent
entry, or the Print category's Letter while Recent is empty, named
after the next untitled document. It fills the fields with the
dialog's own open, runs file.new with the params Create sends, and
does not show the dialog. A dialog that is already open stays open.
Keyboard Shortcuts lists it under File.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
The reference app adds a new fill with Ctrl+/ on Windows and Command+/
on macOS, and it adds a new stroke with Ctrl+Alt+/ on Windows and
Option+Command+/ on macOS. VectorCraft had Add New Fill and Add New
Stroke on the Appearance panel, with no default key for either.
appearance.addFill now has the default Cmd+/ and appearance.addStroke
has Cmd+Alt+/, which are Ctrl+/ and Ctrl+Alt+/ on Windows and Linux.
Like the panel's buttons and menu items, each key runs its command with
no params and adds the item to every selected object. Keyboard Shortcuts
lists both under Window › Appearance with their keys, and press_key
runs them for agents.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
testutil: :cx defaults measurement_labels on, so the aspect-ratio drag assertion must not expect a lone Marquee overlay.
Co-authored-by: Cursor <cursoragent@cursor.com>
Honor Show Measurement Labels on the file Place cursor so sizing drags get W/H readouts like other draw tools.
Co-authored-by: Cursor <cursoragent@cursor.com>
With image mips on (the canvas always sets them), drawing an image
fetched its full decoded pixels first, decoding them again when the
shared image store no longer held them, and only then looked up the mip
it draws. The full pixels are only peeked, so they are the least
recently used entries and the first the store drops over its budget
(1 GiB on macOS and Windows). Once a document's full-size images exceed
it (20 photos of 6000 x 4000 px are 1.9 GB as RGBA), every frame decoded
every image again, though only their small mips were drawn: moving one
image redrew seconds later.
The store now remembers the size each blob's pixels decode to, so the
mip level is found without the pixels, and a mip the store holds is
drawn (and marked used) without fetching or decoding them. Without the
mip, at full size, or with mips off (exports) drawing is unchanged.
Measured on an Apple M4 (load average 15-24 from other work), 20 noise
PNGs of 6000 x 4000 px fitted in a 2880 x 1800 view, one moved 5 pt per
frame: before, 20 decodes and 1.1-3.0 s every frame; after, the first
frame decodes 20 and the later ones none, in 3-5 ms.
The readout was a moving average of 1/dt over any two consecutive frames.
An idle window wakes now and then (a timer, a control request, a repaint
after input) and each wake-up draws two frames about 4 ms apart, the second
one not waiting for vsync because the swapchain has a free image. Every
wake-up pushed the average up by 0.1 x 240 and the idle gap pulled it down
by only 0.1 x 2, so at rest it climbed past the display's refresh rate
(105 fps on a 30 Hz monitor that was drawing 4 frames a second). As soon as
the pointer moved and frames became vsync-paced, it fell back to the real
rate, which looked like a slowdown.
- frame_rate: frames counted over the last second of continuous drawing.
A gap more than 100 ms longer than the previous frame's own work means
the window was idle and starts a new count. The readout changes only
after half a second of drawing, so a wake-up's frames keep the last
rate. Slow frames still read slow, because their gap is their own work.
- chrome: "– fps" until the window has drawn continuously, instead of 0.
Measured on an Apple M4 driving a 30 Hz 4K display: drawing continuously
reads 30; at rest with a wake-up every 0.5 s it stays 30 (before: 45 -> 105).
In a clip group or a clipping layer the bottom child is the clipping path.
Object › Arrange moved the selected children with no regard for that slot:
Send to Back (and Send Backward from just above it) put the art under the
clipping path, so the art became the clipping path, lost its role as art,
and the group drew nothing. Bring Forward / to Front on the clipping path
itself would likewise have made art the clip. Layers-panel moves already
keep the clipping path at the bottom (layer.rs, `index.max(1)`); arrange
didn't.
- object.rs `arrange`: in a parent that clips, the clipping path is left
where it is and the art is arranged within the slots above it (Back goes
to just above the clipping path, Backward stops there).
- tests: Back, Backward, several objects, and Forward/Front on the
clipping path in a clip group (with a render check); Send to Back in a
clipping layer.
Include guide visibility in effect raster cache inputs, skip hidden guide paths in outline members, and clear selected guide paths when hiding guides. Add regression coverage for cached effects and selection overlays.\n\nThe cached-effect regression test is adapted from the overlapping #3264 implementation.\n\nCo-authored-by: Mahtab <smmalam9@gmail.com>
Address CodeRabbit review on #3307: the new `Seq::Erase` arm discarded
the `tool_key` Result, dropping an erase error silently, whereas the
old `route_type_input`/`text_key` path reported it via `app.status`.
Mirror that behaviour so a failed Backspace/Delete still surfaces in
the status bar. Behaviour otherwise unchanged; fmt/clippy clean and the
three IME tests pass.
Co-Authored-By: Claude Opus 4.8 <noreply@anthropic.com>
craft-docpath follows a stored path only on this computer or on the
share the document is on, but its check is lexical and cannot see
mapped drives. fileio::document_path therefore followed a link stored
as Y:\img\logo.png, where Y: is mapped to \\server\other, from any
document: opening the document, links.check, Link Info and the
linked-file watch read or stamped the file on that server.
On Windows, document_path now reads the final path of the root folder
of a link's drive (std::fs::canonicalize). Windows opens that root
folder on the drive's server to answer, so the check still contacts
the server once per lookup; no file on it is read, stamped or watched.
When the final path names a share, the link is checked against the
document's path on its share, and a link on another share is refused
as on another computer, as a link stored with that share's own path
is. Links on this computer's drives and on the document's share are
followed as before, and a link on the document's own drive is not
looked up. A document opened as \\?\Z:\... is looked up on its share
as Z:\... is. Other systems are unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
Preview in Browser wrote each preview into `VectorCraft Save for Web`,
and before each preview it removed every file and folder there that
was an hour old or older. Where the temporary folder is the shared
/tmp, another user could make that folder first, writable by everyone,
and the app wrote its previews inside it, in folders that user could
read and replace. Where the system follows other users' links in /tmp,
the folder could also be a link, and the app removed the old entries
of the folder it named.
A preview now uses that folder only when it is a folder and not a
link, and on Linux, macOS and FreeBSD only when the current user owns
it and no other user can write to it. On those systems the folder and
each preview's folder are made with mode 0700. The cleanup removes
only preview folders, on those systems only those the current user
owns. When the shared folder can't be used, the preview goes to a new
folder in the temporary folder. A later preview removes such folders
once they are an hour old.
Docs: docs/target-app-parity.md.
Hook IMEs recompose by injecting Backspace key events and VK_PACKET
characters, which egui surfaces as interleaved Event::Text and
Event::Key(Backspace) in one frame. type_text handled text/IME in one
pass and left Backspace to a later pass, so within a frame all text was
inserted before any delete and the diacritics were eaten (tiếng -> tieng).
Take Text, IME and plain Backspace/Delete in a single event-ordered pass,
removing handled keys so route_type_input does not repeat them. Modified
keys and composing frames are unchanged. Adds two canvas IME tests.
Co-Authored-By: Claude Opus 4.8 <noreply@anthropic.com>
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.
The Offset Path dialog remembers the values it was last confirmed
with (#1152), but the Preview checkbox was not among the kept
fields, so every open started unchecked and Preview had to be
ticked manually each time. Preview now rides along with offset,
joins and miterLimit in the fields kept on OK, as Simplify's
retained fields already keep theirs.
Unchanged: a very first open (nothing kept yet) still starts
unchecked, and Cancel keeps nothing.
Adds a regression test beside offset_path_remembers_its_last_values:
open, tick Preview, confirm, reopen - the checkbox is still on.
Verified by reading the flow on current main (menus.rs opens on
app.ui.offset_path when it is an object, d.bool("preview") defaults
to false when the field is absent, form::preview_result ticks the
checkbox into d.fields) and by tracing the existing #1152 test;
no Rust toolchain on this machine, so the test was not executed
here - saying so plainly for the reviewer.
Co-authored-by: rahul05ranjan <11793455+rahul05ranjan@users.noreply.github.com>
The desktop app reads the User Defined swatch and graphic style
libraries while it creates its window: set_user_dir runs
Libraries::rescan, which read and parsed every file in the folder
outside the panic guard that commands have. A parser bug that panicked
on one file stopped the app before its window appeared, at every
launch while the file stayed in the folder.
rescan now reads and parses each file inside guard::catch_panic and
skips a file whose reading panics, as it skips one that can't be read.
The other libraries are listed.
Found while testing crates/color/src/palette_io.rs:373
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/tools/src/xform/measure.rs:20 (shown at :66, reported at :80)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/xml_id.rs:80 (strip_unique), triggered by from_object_name at :32
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Adds .coderabbit.yaml so CodeRabbit no longer reviews or comments on PRs opened by dependabot[bot].
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
One pattern fill tiles at most 250,000 times (PatternDef::offsets_covering),
but Scene::fill writes each tile's own pattern fills again, down to the
nesting limit of 8, with nothing bounding the total. A pattern whose tile
art is filled with another pattern (or with itself) multiplies the tile
count at every level: a small document makes EMF export (the engine's
"emf" format, also reachable over MCP and the control channel) run out
of memory or never finish, and the unsaved document is lost with it.
The scene now keeps one tile budget for the whole walk. A fill whose
tiles don't fit in what is left, and every pattern fill after it, is
written as one colour like WMF writes patterns, with a warning.
The test tiles squares filled with dots (over half a million fills before)
and a pattern filled with itself, and checks both stay under the budget.
Reported-by: BS.ehlas.cz
One Repeat makes at most 250,000 instances (a 500 x 500 grid; radial
counts stop at 1,000), but its source may hold another Repeat and every
instance draws that one again: expand() clones the inner Repeat once per
instance, and the renderer, the exporters (expand_deep) and hit testing
evaluate each copy. Nothing bounds the product, so a document under 1 KB
with a 500 x 500 grid of a 500 x 500 grid asks for 62.5 billion
instances: opening it freezes the app or runs it out of memory, and the
unsaved work in other documents is lost with it.
A Repeat now counts the instances the Repeats nested in its source make
in all and keeps only as many of its own as fit in 250,000, the budget
pattern fills already keep (at least one, so the source still shows).
A Repeat with nothing nested keeps all its instances, as before.
The test nests a 500 x 500 grid in a 500 x 500 grid and in a mirror,
counts the instances from the transforms (62.5 billion before) and
checks they stay within the budget, while one grid and a small nest keep
all of theirs.
Reported-by: BS.ehlas.cz
GradientMesh::remove_point_lines (the Mesh tool's Alt-click,
object.mesh.deletePoint) only checked that the clicked point exists,
then indexed the points above and below or left and right of it by the
mesh's rows and columns. A gradient mesh read from a document is not
checked against its rows and columns, so one with fewer points than
they need (rows 2, columns 1 and 3 points instead of 6) indexes past
the end and panics: the engine guard rolls the command back with an
internal error, and the web app, which has no guard, aborts.
It now returns false for a mesh that isn't valid, as locate (and with
it adding mesh lines), the outline and the mesh lines already do, and
the command reports that nothing could be deleted.
The test Alt-clicks an interior row's point and an interior column's
point of two such meshes and checks nothing is deleted and the mesh is
unchanged.
Reported-by: BS.ehlas.cz
GradientMesh::is_valid and the two mesh envelope checks (envelope_grid
and the envelope's surface) compare the number of points with
(rows + 1) × (cols + 1), multiplying the document's u32 rows and
columns unchecked. With u32::MAX rows and columns the product is 2^64:
debug builds panic on the overflow and release builds wrap it to 0, so
a mesh or a mesh envelope without points passes as valid. Selecting
it, Outline view, hit testing and export then index points that aren't
there (the mesh lines, outline and edges), tessellating it asks for an
impossible capacity, and a mesh envelope with handles to fill in loops
2^64 times making them until memory runs out. On wasm32, where usize
has 32 bits, 65,535 rows and columns are enough, and a panic there
aborts the web app.
The three checks now share grid_len, which counts the points with
checked arithmetic and gives None when the count doesn't fit in a
usize: a grid that can't be counted matches no point list, so it is
malformed like any other wrong count.
The test checks that a u32::MAX × u32::MAX mesh without points isn't
valid and has no lines, outline or quads, that envelope_grid refuses
those counts, and that a mesh envelope with them leaves art in place.
Reported-by: BS.ehlas.cz
A live-effect plug-in was given only its object's geometry. An effect
that draws as wide as the stroke it sits on, or tells its fills apart,
had to ask for them again as parameters, which then went stale when
the paint changed.
A live effect's input object now holds the object's fills and strokes
too, read only and in the form a filter gets them (one encoder,
objects::paint_lists, for both), and _context.item says where the
effect sits: "object", or {"fill": i} / {"stroke": i} for an effect in
a fill's or a stroke's own effects. effects::GeomContext carries the
object's appearance and the item, and the plug-in cache keys on the
paints, so a change of paint runs the plug-in again. Hosts from before
this give geometry only; nothing in the output changes.
Expand worked a fill's geometry effects out in the object's context, so
a plug-in effect there would be told "object" and a gradient fill was
expanded into a shape the canvas doesn't draw: fill_shape now gives them
the fill's context, as drawing does (expand.rs).
Siblings named with a declared prefix, the other half of such context,
are left out: the effected geometry is worked out from the object alone
wherever it is drawn, measured, hit-tested or expanded.
wat::when_given is a plug-in whose output depends on whether its input
or parameters hold a text. tests_plugins.rs uses it to check that an
effect sees the stroke's width and the fill, runs again for a thinner
stroke, and on a second stroke is told so; effect.rs checks the item
counting; a gradient fill under such an effect is drawn and expanded
into the same triangle. CRAFT_PLUGIN_PAINTS_WASM=<folder> saves a test
effect to try in the app.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
A plug-in's dialog labelled each field with its parameter's name spaced
out ("Line_spacing_mm:"), showed numbers without their unit and listed
at most 64 parameters in one column. A plug-in with many settings, such
as a generator's or an exporter's, could neither explain nor sort them,
and its dialog showed settings that don't apply to the choices made.
Each parameter may now say how dialogs show it, in keys that hosts
from before them ignore (plugins::dialog):
- label; unit, after the value ("0.25 mm"); help, on the label; and
helpUrl, an https:// page opened from a button after the field.
- group: the parameters outside any group come first, then each group
as a section that folds, in the order the groups first appear, the
fields lined up down the dialog.
- visibleWhen: {"pattern": ["lines"]} shows a parameter only
while each checkbox or choice it names, declared before it, has one
of the values listed and is shown itself. Manifest::visible decides
every parameter in one pass, in declaration order. A hidden parameter
still goes to the plug-in with its value, so a run never depends on
what the dialog showed.
Two types join number, int, bool and choice: string, a text field cut
to maxLength, and numberList, numbers typed separated by commas or
spaces, each clamped, minItems to maxItems of them. A plug-in declares
up to 256 parameters, at most 64 outside groups. The filter, live-effect
and exporter dialogs use every key. The Appearance panel's editor of a
plug-in effect uses the labels, units, help and conditions, and reads a
typed number list as the dialog does.
dialog.rs tests parsing, the round trip of a manifest written out,
sections, visibility (also of 256 overlapping conditions, which a
recursive check would take forever on) and the keys refused;
manifest.rs the new types and limits. tests_plugin_fields.rs draws a
dialog with kittest: labels and units, sections in order with their
fields lined up, visibleWhen hiding and showing rows, and the help
button opening its page.
appearance.rs checks the editor's labels, units, conditions and a
typed number list, and form.rs units after numbers (a unit starting
with a digit is spaced from it) and typed lists.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
# Conflicts:
# docs/gaps.md
# docs/target-app-parity.md
A plug-in could filter objects or reshape them as a live effect, but
nothing it made could leave the app: pen plotters, cutting machines and
laser cutters read formats VectorCraft doesn't write. An exporter is a
third kind of plug-in ("kind": "exporter", with the file "extensions"
it writes), in the same sandbox and with the same ABI v1 exports.
- It adds a write-only format, plugin.<id>. document.formats lists it
with its plug-in id, and document.export writes it by that id, or by
a path ending in one of its extensions that no built-in format has;
"params" carries its parameters, checked against its manifest as a
filter's are.
- File › Export › Export As lists it after the built-in formats, with
Use Artboards greyed out, since the plug-in writes the whole
document. One with parameters asks for them in a dialog generated
from its schema (pluginExport) once the file is picked.
- The plug-in is given the native file's JSON (format::json_part:
images of 8 KiB or more without their data) and _context {mode:
"export", extension, name}. It returns {"dataBase64", "warnings"?}
or {"error"}. The host writes the file, and nothing when the plug-in
declines or returns bad data.
- An export gets 10 G instructions plus 4,000 per byte and 300 s.
Background Export's Cancel stops it between two slices of that
budget (Error::Cancelled), and a cancelled live-effect run is not
cached as a failure.
- plugin.run and Object › Plug-ins say where an exporter is instead of
calling it a live effect.
engine/tests/plugin_export.rs reads back what an exporter is handed
with wat::echo_exporter, an exporter whose file is its input or its
parameters (its base64 encoder is written in WAT). The document it is
given is document.save's JSON, without the large image's data, and its
parameters arrive defaulted, clamped and with the file's name and
extension. It also covers listing and removal, built-in extensions
winning, selectedOnly, declines, bad base64, missing data, warnings,
and Cancel stopping a plug-in that never returns. It is a test binary
of its own: installed plug-ins are process-wide, and the format-list
unit tests check exact lists. dialogs/tests_plugin_export.rs drives
Export As headlessly; plugins/tests/abi.rs covers the budget, the
parameters and the echo exporter; format/tests/native_v4.rs covers
json_part.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
With Include SVG Code on, Copy offered the SVG markup as plain text with every placed image
embedded as base64: a 13 MB photo made 17 MB of text. A paste reads the text first (eframe on
every paste key; on Linux and macOS it is the one format written, and holds_ours reads it again),
so each paste moved it through the system clipboard on the UI thread, and on GNOME the app
stopped responding.
The SVG markup now goes out as text only while the images it embeds total at most 1 MiB; above
that it is offered as image/svg+xml and PNG. Type keeps its text, and vector art keeps its SVG
text at any size (only embedded image bytes count).
Windows 11, Ryzen 5 2600X, 13 MB PNG, real Ctrl+C: the longest UI stall fell from 823-1021 ms
to 133 ms. Not run on Linux.
Match the Selection tool: Shift on an already selected hit removes it on
release without a drag, including one path of a compound path.
Co-authored-by: Cursor <cursoragent@cursor.com>
Export Selection… and the Asset Export panel open Export for Screens on the
Assets tab with the new assets checked, but new assets land at the end of
the list, so in a document with many assets the checked one sat below the
list's visible part and had to be scrolled to by hand. The list now scrolls
to the first checked asset when the dialog opens on them. It keeps asking
until the row is in view (the dialog's first frame only measures it), then
stops, so the list scrolls freely afterwards.
Squashed from #2533 onto #2525 (Smudge Stick, Sponge, Watercolor): both sets in PIXEL_EFFECTS (45), the catalogs and the docs, whose counts now read 45/57.
File › Export Selection… collected the selected objects one asset per
object, so a few ungrouped shapes picked to export together came out as
separate images unless they were grouped first. It now collects them as one
asset of them all (`assets.add {multiple: false}`), the selection exported
as one image; `file.exportSelection {multiple: true}` still makes one per
object, and Object › Collect for Export › As Multiple Assets and the Asset
Export panel's Multiple Assets item are unchanged.
Store the click as __anchorX/__anchorY and recompute x/y when the locator opens or changes so the chosen point stays on the click like Illustrator.
Co-authored-by: Cursor <cursoragent@cursor.com>
Rectangular and Polar Grid click dialogs show the nine-point locator and resize width/height about it using the same artboard_rect logic as Artboard Options.
Co-authored-by: Cursor <cursoragent@cursor.com>
A lone object selected with ruler guides can be the key (the Selection
tool's click on it), and Align to the key moves the other selected
guides to its edge or centre: vertical guides to left, centre or right,
horizontal ones to top, centre or bottom. Parallel guides line up on a
key guide. Aligning to the selection or the artboard leaves guides alone.
A click with the Selection tool on a guide selected with objects makes
it the key (select.key {guide}), drawn thicker; a click on it again
cancels it. Align to Key Object is on with one object and a selected
guide and makes the guide the key. object.align lines the objects (or
selected anchors) up on the guide's line and leaves the guide where it
is: a vertical guide sets x only, a horizontal one y. The selection
keeps key_guide beside key, never both; it goes with the guide or the
objects, and follows the guide when earlier guides are deleted.
Distribute Spacing doesn't space from a key guide.
Every command keeps a live polygon's side count in 3..=1000
(shape.polygon, object.setLiveShape, the Polygon tool), but reading a
document took `sides` as any u32. Selecting such a polygon builds its
Live Corners: LiveShape::polygon_outline makes one point per side and
set_corners resizes the corner radii and kinds to the side count. A
document a few bytes long ("sides": 4000000000) makes the app allocate
tens of gigabytes and abort or stall, and the unsaved work in other
documents is lost with it. Transforming such a polygon with cut
corners regenerates the same outline.
`sides` is now clamped to 3..=1000 when it is deserialized, so a
polygon from any document that is read (opened, placed, packaged or
taken from a library) keeps the limit the commands keep, and the code
that uses the count needs no check of its own.
The test reads polygons with 0, 5, 1000 and 4,000,000,000 sides,
checks they come out with 3, 5, 1000 and 1000, and that the clamped
one's outline has 1000 anchors.
Reported-by: BS.ehlas.cz
The list fills the panel down to its bottom bar and scrolls, also while a drag nears its top or
bottom edge (in the dock and in a flyout, as the Layers panel does).
Dragging in the list:
- an item (colour, text style or graphic) dropped on another of its kind lands just before or
after it, by the pointer's half, an accent line showing where, and joins that item's group;
- dropped elsewhere on a group (its header too, even collapsed) it goes into that group, and on
the ungrouped items out of its group, the section outlined; with every item grouped, a
"Drop here to take it out of its group" strip shows while one is dragged;
- a group dragged by its header goes before or after another group.
Colours and graphics still drag onto art and the canvas as before.
Engine: library.moveItem takes `before` / `after` (an item of the same kind) to place the item
in its kind's order, which the panel shows; the new library.moveGroup {group, to} moves a group.
Text styles drag as PanelDrag::LibraryItem, groups as PanelDrag::LibraryGroup, and a library
colour's Paint drag names its library item, so the panel tells it from a swatch dragged in.
Tests: reordering and moving in the engine, the commands in the library fuzz test, and panel
tests that drop styles and group headers and check the list scrolls and scrolls while dragging.
Strings translated in the 23 catalogs; docs/mcp.md and the parity row updated.
Text drawn in rendering mode 3 (3 Tr), which is how a scanned page carries
its recognized OCR text, was left out on open (since #2988, with a warning),
so a scanned PDF opened and saved again lost its searchable text.
Import: an invisible glyph now comes in as type with neither fill nor
stroke. It skips the glyph-outline checks that guard how visible type looks,
and it joins only other invisible text on a line (Look::takes no longer
lets it into a stroke-only run). INVISIBLE_TEXT_NOTE now only reports text
that can't be type (text opened as outlines, Type 3 fonts), and
tests_reader_compat::invisible_text_is_reported_when_left_out expects the
invisible line as unpainted type when text opens as type.
Export and print: characters with no fill and no stroke are written as real
text inside a form marked Mark::Invisible; forms::finish sets that form's
text rendering mode to 3, so it draws nothing but stays selectable and
searchable (PDF/X-1a and PDF/A-2b too). The writer has no invisible mode of
its own, so this reuses the marked-form mechanism used for layers and
overprint.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Drop the undocumented orientation-swap on moved guides; Alt again previews guide.move with copy, matching new-guide Alt orientation only.
Co-authored-by: Cursor <cursoragent@cursor.com>
Found while testing crates/svg/src/export.rs:138 and :143
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Adds sketch.chalkCharcoal to the pixel-effect pipeline so Effect › Sketch exposes chalk highlights and charcoal strokes with public-doc-style parameters and tests.
Co-authored-by: Cursor <cursoragent@cursor.com>
Honor Measurement Labels while moving gradient-mesh and mesh-envelope
points with the Mesh tool or Direct Selection.
Co-authored-by: Cursor <cursoragent@cursor.com>
ROADMAP: a progress row and status line for the community PRs of 2026-10-19; the reproducible-bytes and inch-ruler rows appeared twice. gaps.md: G6 held four interleaved versions of its Missing line; it now says what is left (a scripting surface). target-app-parity.md: three copies of the Type evidence bullet, merged into one with every sentence. type-parity.md and ui-parity.md: a row and a shorter copy of it.
Each Recent Files row (history icon, name, folder) is now a single
button that paints the hover token behind it, shows a pointing hand and
keeps the full path as its tooltip; a click anywhere on it opens the
file. Before, only the frameless file name reacted, with no hover
feedback.
The Home screen's column now sits in a vertical scroll area, so a small
window or a long Recent Files list no longer hides the presets and
Community links below the fold. Widgets scrolled out of view are
clipped and take no pointer.
Honor Measurement Labels during envelope-style corner drags on the Free Transform tool, matching the Move handle readout.
Co-authored-by: Cursor <cursoragent@cursor.com>
Reuse the Character panel's Variable Font popover in Properties so axis
sliders are available without opening Character.
Co-authored-by: Cursor <cursoragent@cursor.com>
New warp effect dialogs seed bend, distortion and orientation from the
previous OK instead of catalog defaults; editing an applied warp is unchanged.
Co-authored-by: Cursor <cursoragent@cursor.com>
Wire the View menu toggle and add glyph baselines and bounds to drawing snap targets so point type placement lines up with existing text when Smart Guides are on.
Co-authored-by: Cursor <cursoragent@cursor.com>
Tools that showed distance or angle overlays during drags now respect the
Units preference, consistent with shape and selection tools.
Co-authored-by: Cursor <cursoragent@cursor.com>
Match corner-radius and pie-widget drags: the Selection tool reports a transforming drag so the canvas drops the sharp selection box during bracket moves.
Co-authored-by: Cursor <cursoragent@cursor.com>
Hide the preview line and readout when Smart Guides › Measurement Labels is off; options still report the last drag.
Co-authored-by: Cursor <cursoragent@cursor.com>
Tool canvas drags no longer require a non-zero pointer delta, so smooth-point previews update as the pointer moves when the compositor coalesces motion events.
Co-authored-by: Cursor <cursoragent@cursor.com>
Keyboard increment (Shift ×10) moves the active glyph through text.touchType, with vertical type remapping like the Type tool.
Co-authored-by: Cursor <cursoragent@cursor.com>
A CMYK JPEG came out with JFIF's APP0 segment at its head and four components
in the frame:
APP0/JFIF APP14/Adobe APP2[ICC_PROFILE 1/4 … 4/4] SOF0: 4 components
JFIF describes one- and three-component images, greyscale and YCbCr, so an APP0
segment in front of a four-component frame says two different things about the
file's colours: a reader that trusts JFIF decodes nonsense, and one that checks
refuses the file. Adobe's own CMYK JPEGs carry the APP14 marker the encoder
already writes, and no JFIF. `jpeg-encoder` writes JFIF unconditionally, so the
segment is replaced here.
The resolution JFIF carried moves to an EXIF APP1 segment -- `XResolution`,
`YResolution` and `ResolutionUnit` -- which is where `cmd::fileio::ppi` already
looks when a file has no JFIF, so nothing is lost; with no resolution asked for
the segment is simply dropped. RGB and greyscale files keep JFIF, which is what
it is for.
Found while looking at #3084, whose default RGB exports are valid here; this is
the file that is not.
Move the Preserve Editing check out of save.rs into svg.rs, where it
reads the options through `plan` as the encoder does; SaveJob::encode
still puts the warning first. Review follow-up on #2994.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A document with more than one artboard saved as SVG/SVGZ without
Preserve Editing Capabilities is written as one artboard and reopens
with one, so the others were lost without a word. The save now says so
(first, since the status bar shows only the first warning) and names the
two ways to keep them all.
Refs storytold/vectorcraft#2091
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
a_full_size_sheet_draws_only_what_is_in_view timed three frames of a
10,001 × 257 sheet and failed when they took 20 s or more, as they did
on a FreeBSD CI runner. The test now counts the buttons in the
screen-reader tree of the window. A graph of 40 categories and 40
series, whose 42 × 42 sheet is larger than the view both ways, draws
fewer buttons than its 41 × 41 filled cells, and a full-size sheet
draws the same number.
Smart Guides spacing now applies when scaling with the Selection and Free Transform tools, not only on moves.
Co-authored-by: Cursor <cursoragent@cursor.com>
Mark object.isolate id as optional so runs_without_params includes it in the shortcut editor; engine already isolates the first selected object when id is omitted.
Co-authored-by: Cursor <cursoragent@cursor.com>
Use a font-script i18n context so Simplified and Traditional Chinese label the Japanese-trait filter as Han characters without changing other locales.
Co-authored-by: Cursor <cursoragent@cursor.com>
Join can set the surviving junction point to a corner or smooth anchor via `to`, matching Illustrator's join choice without a combined Average+Join command.
Co-authored-by: Cursor <cursoragent@cursor.com>
Measurement labels while drawing now match the Measure tool (D, angle, dX/dY) when the preference is on.
Co-authored-by: Cursor <cursoragent@cursor.com>
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>
The icon column used overlapping squares for both panels; Appearance now
reads as a stacked list so it is not confused with Pathfinder (storytold/vectorcraft#2681).
Co-authored-by: Cursor <cursoragent@cursor.com>
When copying a loaded .acb into the user library, use the parsed book
title instead of a macOS sandbox temporary name (storytold/vectorcraft#2996).
Co-authored-by: Cursor <cursoragent@cursor.com>
Add a centered draggable header, stacked actions and aligned input groups.
Compact the color controls and use vertical scrolling in narrow windows.
Keep the screen sampler above the field and Tab through each color model
before the next. Confirmation, cancellation and live preview stay shared.
Preserve screen-reader button names and channel values, units and ranges.
Add pointer/key, layout, warning and AccessKit regressions, and update the
required progress notes without changing parity scores or estimates. Correct
the stale #1692 gap status while retaining the open Direct Selection gap.
Document dialog rendering, button sizing and the regression helpers.
Validation: cargo xtask ci passed all 10 steps with official Rust 1.99,
including strict Clippy, 8437 workspace tests and all WASM checks. All 17
targeted color picker tests passed. German, enlarged English, narrow-window
and color-warning UI renders were reviewed locally.
Fixes#2008
`shift_drag_snaps_a_stop_to_the_nearest_tick` landed while this branch was out
and asserts the tick an inch ruler used to carry: "the ticks are a tenth of an
inch (7.2 pt) apart", snapping 100 pt to 100.8. That tenth is what this change
removes -- an inch ruler divides the inch in half, not in ten.
The nearest tick to 100 pt is now 99 pt: 1 3/8 in, an eighth of an inch from
1 1/4. The test says so, and also asserts the result is a binary fraction of an
inch rather than a particular number, so it holds if the ladder is retuned.
A label on the left ruler is spelled one character per line, so a long one is
tall: "-0.0625" is seven characters and reaches 60.5 pt down the ruler, while a
sixteenth-inch step leaves 54 pt at zoom 12. Binary steps made such labels
reachable -- the decimal ladder's "-0.1" was four characters in an 86 pt gap --
so the ruler could draw one label over another.
A label that would start inside the one above it is left out. Every tick still
draws, as do the labels that fit, and `vertical_label_height` gives the reach
of a label so the decision is one comparison.
Labelling to a hundred and twenty-eighth left the left ruler unreadable: it
spells a label one character per line, 8.5 pt apart, and at zoom 50 the step is
1/64 with labels 56.25 pt apart while "0.015625" needs 61.5 pt. At zoom 100 it
is "0.0078125" in the same space.
The label ladder stops at a sixteenth, as the report says Illustrator's does,
so zooming in past that leaves the labels where they are and only the ticks
between them grow denser -- down to a hundred and twenty-eighth, which is the
32nds, 64ths and 128ths the report expects to appear unlabelled. Every label is
at most the six characters of "0.0625", which fits the 50 pt the ladder leaves.
Zooming in on an inch ruler stepped through 0.2, 0.1 and 0.05 of an inch:
`Unit::ruler_step` picked from one decimal ladder for every unit, and the
rulers divided whatever it returned by ten. A tenth of an inch is not a mark an
inch ruler carries (#2827).
Below an inch the steps are binary fractions now, 1/2 down to 1/128, and
`Unit::ruler_minor` gives the unlabelled ticks between two labels: an eighth of
the step on an inch ruler, so every tick is a binary fraction of an inch and
they stay about as dense as the tenths elsewhere. An inch and wider keeps the
shared ladder, and the metric units, points, pixels and picas keep their
tenths. Ruler-tick snapping follows the ticks that are drawn, which moves an
inch document's Shift-drag of a guide onto the same grid.
`ruler_label` took its decimals from `(-step.log10()).ceil()`, which writes
1/16 as "0.06" and 1/8 as "0.13" -- wrong values, not just rounded ones. It
uses the fewest decimals that write the step exactly, and drops trailing zeros
as `Unit::number` does, so a sixteenth-inch ruler labels the inch `1` rather
than spelling `1.0000` down six lines of the vertical ruler.
Honor the requested text mode in the single-page importer, as Open does, instead of forcing outlines for Place and PDF clipboard import.
Add synthetic regressions for bytes, unlinked paths, selected pages and explicit outlines. Update format parity and milestone evidence without changing scores.
For review: after pans of (0.5, 0) and (37.3, -21.6), the Outer Glow
made coarser over its whole reach (scale 2 and 3) is still drawn from
the kept raster, placed at the nearest whole pixel as a full-size
raster kept whole is, and each frame equals a fresh renderer's.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A test for review: an Outer Glow made coarser over its whole reach is
kept for any pan, since its grid starts at the reach's first whole
device pixel, which a whole-pixel pan moves with the art. After pans
that aren't multiples of its scale (2 and 3), the kept raster draws
exactly what a fresh renderer draws.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An effect raster too large to keep whole (a wide blur, a shadow or glow,
or any blur zoomed in) is cropped to what can show in the view, or made
at a lower resolution and resampled to the view's pixels, and kept while
the view stays the same. Dragging other art over the object then draws
its effects from the still frame instead of previewing them at the
drag's lower resolution on every frame. An interaction's frames stay on
the render worker once it drew the frame shown, since only its renderer
holds those rasters.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The renderer kept the art it made for an object's effects while the
object stayed the same. In the web build, type that a geometry effect
outlines, on its own, in a group or in a symbol's art, kept the
substitute font's outlines after its own font loaded. On the desktop,
Refresh Font List left them on a symbol instance whose art holds the
type. Objects with Revolve, Extrude & Bevel, Inflate or Rotate, and
objects and groups with a color adjustment, kept the colors they were
shaded or recolored with after the color settings changed. Live objects
already followed both.
The renderer now keeps that art with the inputs it keeps for the art
of live objects: the font generation when the art holds type, the art
of the symbols it shows, and the color settings. A temporary release
test timed the added key at 11 microseconds a frame for 400 type
objects with a drop shadow and 0.77 ms for 400 symbol instances of 100
paths each with a drop shadow, against warm frames of 5.3 and 72 ms.
Docs: docs/target-app-parity.md, docs/gaps.md.
With the Anchor Point tool, a drag from an anchor pulls out smooth handles.
Shift held at the press now moves the anchor instead, its handles keeping
their offsets; Shift kept down during the drag keeps the move at 45° steps
(the constrain angle), released it frees it. A Shift-click that doesn't
move leaves the anchor as it was. A selected blend's spine points follow
the same rule (object.blend.spine.moveAnchor).
The move goes through a new engine command, path.moveAnchor
{id, subpath?, anchor, x, y}, since path.moveAnchors only acts on the
direct-selected anchors and the Anchor Point tool keeps no anchor selection.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Finnish rows for the labels the other catalogs gained since the Finnish
review merge: dimension tool modes and prompts, image trace blur modes,
the swatch library colour names (swatch context), batch action options
and two status messages. Workspace and perspective preset names stay in
English (MENU_KEEP_AS_IS), as in the other complete catalogs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Two review points on #2880.
The reproducibility claim needed qualifying. PDF encryption draws its AES
initialisation vectors and the file `/ID` from a random seed, which
`SOURCE_DATE_EPOCH` deliberately does not reach, so a PDF exported with a
password never repeats however the variable is set. The docs and the ROADMAP
line say so now.
The byte-identity test passes an explicit `created`, so it never exercised the
clock-or-variable fallback. `pinned_or` takes the environment and the clock as
arguments, and the new test shows the variable is preferred, that a blank,
negative or non-numeric value leaves it to the clock, and that a host with
neither has no date to record. The environment is injected rather than set: a
test that changes this process's environment is `unsafe` under edition 2024 and
would reach every other test running beside it, which is why `cursor_theme`
takes a lookup closure too.
The visible line's text comes in as type and the invisible line's doesn't; as type or outlines,
all the art kept lies on the visible line's baseline, none on the invisible one's.
Text in rendering mode 3 (invisible: a scanned page's searchable OCR layer) was dropped with no
warning, so a scanned PDF opened and saved again lost its searchable text without a hint. The
import now reports INVISIBLE_TEXT_NOTE when it leaves such text out, for type and outlines alike.
Keeping the text needs a kind of type that is kept but not drawn, and the PDF writer (krilla, in
craft-libs) to write it with `3 Tr`; its text API has fill, stroke and fill-and-stroke only.
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.
The Variables panel menu called import_datasets and export_datasets
directly, so their file dialogs were asked for outside an entry and
shown in line. macOS shows no dialog in line, so the two items did
nothing there. On Linux the dialog held the window until it closed.
Both items now go through picks::button, as the Libraries panel
menu's Import Library… and Export Library… do. When the dialog
answers, the item runs again with the picked path. Errors still go
to the status bar.
variables_panel_data_sets_ask_off_the_ui_thread clicks both items
with dialogs shown as sheets, as on macOS, imports a CSV and exports the
data sets to the path the dialog answers.
document.pdfInfo read thumbnail with as_u64, so a value such as -1,
1.5, "1" or true gave a reply without a thumbnail and no error. This
happened for a PDF and for a PostScript file.
A thumbnail that is present and not null must now be a whole number
from 1 to the page count. Any other value is the existing "thumbnail:
no page {n} (the PDF has {count})" error, or "(the file has 1)" for
PostScript, with the value as given. An absent or null thumbnail still
gives no thumbnail.
Found while testing crates/engine/src/cmd/path.rs:632 (without_anchors, closed-path branch uses keep instead of open_run)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
VectorCraft had no Objects on Path. A click with the Objects on Path
tool attaches the selected objects to the path clicked. The tool is in
Edit Toolbar's Modify section and the Blend tool's flyout, and Object ›
Objects on Path › Attach and the context menu with two or more objects
selected choose it. The objects and the path go into an Objects on
Path group with the path at its bottom.
- object.objectsOnPath.attach orders the objects column by column from
left to right and top to bottom in each column. The first one sits
on the path's first anchor, the last one sits on the end of an open
path, and the rest are spread evenly by length; a closed path takes
them all the way round. Each object's attachment point (Pivot, one
of nine, default the center of its bounds without strokes) sits on
the path, and the object is turned to the path there. An object that
was rotated by an angle other than a multiple of 90° is first turned
to the nearest multiple of 90°. Rotate tilts every object by that
many degrees counter-clockwise. Symbol instances are measured by
their art. Guides, compound paths, type, paths without length and
graphs are refused with a reason.
- After every edit the objects go back on the path: editing the path
moves them, an object moved on its own goes back, and objects moved
into or out of the group in the Layers panel join the end of the
path or leave it. Scaling, shearing or reflecting the whole group
keeps each object's scale, shear or reflection, and the objects are
spread evenly along the transformed path again. Undo takes the path
and the objects back in one step, and a copied group stays live on
its own path.
- object.objectsOnPath.options changes Pivot and Rotate, and
object.objectsOnPath.expand leaves a plain group. Both act on the
groups that `ids` names, or on the groups of the selection when
`ids` is not given.
- The native file keeps the group live; SVG, PDF and the other exports
write plain art. The tool highlights the path under the pointer, has
a cursor entry, and Escape during a press cancels the click.
Part of #2545
Docs: docs/mcp.md, docs/target-app-parity.md.
Double-clicking the Live Paint Selection tool did nothing, and the tool
always selected faces and edges and highlighted them in red at 4 px.
It now opens Live Paint Selection Tool Options with Select Fills,
Select Strokes, Color and Width, the options the reference app's help
page on selecting objects lists.
- With Select Fills off, a click selects the edge nearest the pointer,
as Alt-click does. With Select Strokes off, Alt-click selects the
face under the pointer, as a click does. With both off, a click
selects no face or edge.
- Color (a layer color or a custom color) and Width (1 to 20 px) set
the highlight on the face or edge under the pointer.
- The defaults are the earlier behavior: both selections on, red
(#ff2a2a) and 4 px. The options are tool options (tool.setOption
{tool: "livePaintSelection"}): they last across tool switches and
are saved with the preferences.
Docs: docs/mcp.md, docs/target-app-parity.md.
The params text of ui.layersPanelOptions and the doc comment on
PanelOptions::locate_selected said that, with the option on, the panel
opens the rows around any object selected outside it and scrolls to its
row. When Show Layers Only, a search or the filter leaves the object
without a row, the panel opens no rows for it and scrolls as with the
option off. Both texts now describe that case, as docs/mcp.md does.
With Locate Selected Objects on, choosing a saved selection in the panel
menu's Save Selection submenu opened the rows around the recalled object
and scrolled to it. A selection changed with the panel's own menu is not
located, and the submenu's recall now follows that rule as the other
panel menu items do.
With Locate Selected Objects on, an object selected on the canvas had the
layers and groups around it opened even when Show Layers Only, a search or
the filter left it without a row. The panel did not scroll to it, but the
rows stayed open, so they showed once the panel listed every row again.
The panel now opens the rows around the object only when the object has a
row once they are open. Otherwise it opens nothing and scrolls as with the
option off. The Layers panel entries in docs/mcp.md and
docs/target-app-parity.md describe this.
By default the Layers panel opens the layers around a row and scrolls
the row into view when its highlighted rows change, for example after
a click in the panel, a new layer or Locate Object. When no row is
highlighted and a selection makes another layer or sublayer the
active one, the panel does the same for that layer's row. Selecting
art on the canvas or by a command highlights no row, so by default
the panel does not open the layer or sublayer that holds the art or
the groups around it, and does not scroll to the art's row.
Panel Options gets Locate Selected Objects, off by default and kept
with the UI state. With it on, when the last selected object changes
on the canvas or by a command, the panel opens the layers and groups
around it and scrolls to its row, as after Locate Object, but does not
highlight the row. When the selection also changes the active layer,
the panel scrolls to the object's row instead of the layer's row.
When Show Layers Only, a search or the filter leaves the object
without a row, the panel scrolls as it does with the option off. A change made with the panel's own
rows, buttons or menu is not located, and a change made during a drag
is located when the drag ends. Locate Object is unchanged.
On a layer of 5,000 groups of 10 paths with every row open, the first
panel frame after a selection change took a median of 1.6 ms with the
option on and took a median of 1.4 ms with it off, in a release build.
Docs: docs/mcp.md (locateSelected), docs/target-app-parity.md.
A tab stop placed or dragged on the Tabs panel's ruler always landed
at a fractional position, and the ruler was numbered in inches with a
tick every 18 pt whatever the document's units. The reference app
snaps stops to the ruler units with Snap To Unit in the panel menu or
with Shift held during a drag, and numbers its tab ruler in the
document's units.
The ruler is now numbered in the General unit with the canvas rulers'
label step at the ruler's scale, and has a tick every tenth of a step.
The panel menu has Snap to Unit, checked while it is on. With it on,
or with Shift held, a stop placed by a click or dragged on the ruler
lands on the nearest tick, through Unit::snap_to_ruler_tick as a
Shift-dragged ruler guide does. A snapped click that lands on an
existing stop's tick selects that stop and records no undo step. The
stops still change through text.tabs.set. The reference app's page
names Shift for a drag only; Shift also snapping a click, and a
snapped click onto a stop's tick selecting that stop, are VectorCraft's
own rules.
Docs: docs/target-app-parity.md.
Extrude & Bevel and Inflate built one solid from the path, painted with
the object's top fill or, without a fill, its top stroke. A filled and
stroked object lost its stroke, and a stroked open path was extruded as
the area it would enclose if it were closed.
Each visible stroke now builds a solid from its outline in its own
paint, beside the solid the top fill builds from the path, as Rotate
already turns each stroke's outline. When the fill and the strokes are
opaque with normal blending, the faces of all the solids are drawn in
one back-to-front order; otherwise each solid is drawn on its own, in
the order of the appearance. Under a light that is not white, a surface
drawn as one composite or with an opacity mask is also drawn on its
own. In that one order a flat cap turned toward the viewer is drawn
after every other face, untwisted solids included, so the stroke's
front cap covers the fill's walls inside it. The solids share one set
of bounds, and with Perspective one eye sees every inflated solid. A
stroke whose outline is past the 2,048-point limit is left out.
Inflate's cells cut by a hole now pass only the nearby contours to the
boolean. An inflated, outlined 72 pt "VectorCraft" takes about 8 ms
instead of 34 ms, and 66 ms with a 3 pt stroke.
Docs: docs/three-d.md (Fills and strokes), docs/target-app-parity.md.
Choosing a data set in the Variables panel, stepping through data sets
with the panel's arrows, and running `dataset.select`, `dataset.next`
and `dataset.prev` applied nothing and showed no message when no object
was bound to a variable that the data set has a value for. This
happens, for example, after Import Data Sets… defines new variables
without binding them.
The app now shows "nothing in data set A was applied: no object is
bound to a variable it has a value for" in the status bar, and the three
commands add it to the reply as `warning`. A data set with a value for
a bound variable gives no warning even when every object bound to it is
locked; `skipped` counts those objects. What applying a data set does
is unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app's help says Smart Guides cannot be used while Snap to
Grid or Pixel Preview is on, even with the menu command selected. The
Selection tool's move already leaves Smart Guides out under Snap to
Grid, but the canvas still drew the Object Highlighting outline under
the pointer with either view on.
The hover outline now draws only with Smart Guides and Object
Highlighting on and with Snap to Grid and Pixel Preview off.
Match the public shortcut reference: Alt while dragging converts horizontal and vertical, with snapping on the new axis; guide.move accepts vertical on the index form.
Co-authored-by: Cursor <cursoragent@cursor.com>
PNG, PDF, EPS, legacy `.ai`, packaged zips and saved `.vectorcraft` files
record the wall-clock time they were made in, so the same commands run twice
gave different bytes although the pixels matched (#2880):
PDF /CreationDate and /ModDate D:20261018155816 vs D:20261018155817
PNG the `Creation Time` tEXt entry
.vectorcraft one byte of the stored date
SVG carries no time, and already repeated
`metadata::output_time` is the time a file records: `SOURCE_DATE_EPOCH` when it
holds a non-negative whole number of seconds, else the clock, as the
reproducible-builds specification defines it. A date a command is given
(`file.new {created}`, a save's `modified`) still wins over the variable, and a
blank, negative or non-numeric value is ignored so that an export is never
refused over the environment.
`metadata::now_unix` keeps the real clock and now has exactly two callers, both
of which must not be pinnable from the environment: the recovery heartbeat, and
the seed PDF encryption draws on.
A .ai saved without PDF compatibility has only a placeholder page in
its PDF part. document.open reads such a file from its editing data,
but with `pages` given it failed with "the file holds only a
placeholder page", even for "1" on a file of one page.
When `pages` names every page of the file, document.open now reads
the editing data as it does without `pages`.
Docs: docs/mcp.md.
#2784 made zh-hant a language that translates every status and error message while #2930 added the shared parameter-check errors to the others; main's shared_param_check_errors_are_translated failed on zh-hant.
Preview in Browser wrote every page to one folder,
VectorCraft Save for Web in the system's temporary folder. A second
preview of a document with the same title, from the same app or from
another one running, overwrote the first preview's page, and any image
file of the same name (PNG-8 and PNG-24 both write .png), before the
browser read them. The same overwrite made
dialogs::tests_save_for_web::preview_in_browser_opens_the_page fail now
and then, when another Save for Web test in the same binary, or a test
run in another checkout on the machine, previewed Untitled-1 at the
same time.
Each preview now goes to a new folder inside that one, named after the
process id and a count of the process's previews. A name that an
earlier process with the same id left there is skipped for the next
count. The page keeps its name and its images folder. A preview first
removes the entries of VectorCraft Save for Web that were last changed
an hour ago or earlier, which also clears the files the single folder
held before.
Docs: docs/target-app-parity.md.
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.
A PDF or PDF-compatible .ai saved with Preserve Editing carries the
native document as an embedded file, with a hash of its pages at the
end of the file's /Desc. The import read /Desc with from_utf8_lossy and
looked for "hash ". /Desc is a PDF text string, which may be written as
UTF-16BE with a byte order mark (ISO 32000-1 7.9.2.2). Written that
way it holds no UTF-8 "hash ", so the import found no hash, took the
editing data as intact and reopened the native document with no
warning, even after another app had changed the pages.
/Desc is now read with text_string, the importer's decoder for text
strings, so the hash is found in UTF-16BE, UTF-8 and PDFDocEncoding.
Changed pages open as artwork with the "changed in another app"
warning. The embedded file's /UF and /F names are decoded the same
way, so editing data named only in UTF-16BE is found.
A /Desc without a hash is still trusted, as before.
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.
The errors of the parameter checks that many commands share had no
@msg row in any catalog: "`{key}` must be a number, not {v}" from
check_numbers (object.move, object.rotate, object.setBounds and the
other callers), "missing integer `{key}`" from index_param in
cmd/appearance.rs (appearance, effect and freeform gradient commands),
the three object id errors of checked_ids_param and checked_id, and
the Unix seconds error of date_param. A template
matches only the whole text, so the row for "`{key}` must be a
number" did not match the longer check_numbers message. These errors
showed in English in the status bar, and "no such object id {value}"
matched the general "no such object {0}" row and showed half in
English. The scan in complete_languages_translate_every_message does
not read messages built with bad(), so that test did not report them.
Each of the 6 messages now has a row in the 18 catalogs that translate
every status and error message and in Bulgarian, Danish, Indonesian and
Dutch, and "missing number `{key}`" has a row in Danish and Indonesian.
No English string changes.
Docs: docs/target-app-parity.md.
path.curvatureEdit, path.removeAnchor, path.convertAnchor,
path.reshapeSegment, path.split, path.setHandle and path.insertAnchor
read subpath as an unsigned integer and fell back to 0 for any other
value. A subpath of 1.5, -1 or "1" edited subpath 0 and the command
reported success. path.split read anchor and segment with as_u64 too
and treated any other value as absent, so a bad anchor beside a good
segment split at the segment.
These commands now refuse a subpath that is not a whole number of 0 or
more with "missing integer `subpath`", the error path.curvatureEdit,
path.removeAnchor, path.convertAnchor and path.reshapeSegment already
give for a bad anchor or segment, and path.split refuses such an anchor
or segment too. Without a subpath, or with null, they edit subpath 0 as
before. The document and the undo history stay as they were after each
error. The params text of the six commands that listed subpath as
required now marks it optional.
Docs: docs/mcp.md, docs/target-app-parity.md.
craft-docpath follows a network path only on the share the document is
on, and its caller contract asks for a document opened from a mapped
drive to be passed by its UNC path. fileio::document_path passed the
drive path as given, so a document opened as Z:\jobs\doc.vectorcraft
treated a link stored as \\server\share\img\logo.png, on the share
behind Z:, as on another computer: the image was missing, and
document.open, links.check and links.info gave refused: "the path is on
another computer".
On Windows, when a stored path is refused as on another computer and
the document is on a drive, document_path now reads the final path of
the document's folder (std::fs::canonicalize). When that names a share
(\\?\UNC\server\share\...), the path is checked again against the
document's path on that share. Links on other computers stay refused,
and paths that were followed resolve as before. Opening a document,
Link Info, links.check and the linked-file watch all use it. Other
systems are unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
Transform Each, Rasterize, Create Object Mosaic, Create Trim Marks and
Rearrange All Artboards read their optional numbers with f64_or, which
falls back to a default for a value that is not a JSON number.
object.transformEach {"scaleH": "50"} left the selected objects at
their size and reported success. Rasterize did the same with ppi,
Create Object Mosaic did the same with width, height, spacingX and
spacingY, Create Trim Marks did the same with offset, length, bleed and
weight, and Rearrange All Artboards did the same with spacing. Crop
Image cropped to the artboard when rect was a string or another value
that is not an array.
These commands now fail with "`<key>` must be a number, not <value>"
for a value that is not a number or null, as the transform commands
do, and change nothing. Transform Each checks scaleH, scaleV, moveH,
moveV and rotate. Crop Image refuses a rect that is not an array of
four numbers with "rect must be [x, y, width, height]", the message it
already gave for an array of the wrong length; a null rect crops to the
artboard, as a missing one does.
Docs: docs/mcp.md, docs/target-app-parity.md.
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 compound path holds its members, so select.color passed over it and
looked at the members instead, whose paint inspect doesn't report: a
black compound path (art with holes, as PDFs bring in) never matched
"#000000". It now matches by its own fill and stroke, and its members
never do. Type without characters reads as the default character fill,
as inspect reports it (CodeRabbit on #2939).
The same JSON methods as the desktop control server (engine.execute, ui.inspect, ui.screenshot, …),
as promises on window.vectorcraft, like FilmCraft's window.filmcraft: an agent driving the editor in a
browser tab or an <iframe> uses the same commands as the CLI and the MCP server. openFile opens
bytes the way a dropped file opens; captureDownloads keeps saves in the page for readFile.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
While a Type tool edited text, a click on blank canvas ended the
editing and also placed new point type at the click. Area Type and
Type on a Path did the same with a click on a path.
Such a click now only ends the editing. The typing session is
committed, empty point type that a click placed is discarded as before,
and the Type tool in use stays active; the next click makes new type.
The same applies when the editing began with a double-click from a
selection tool. A click on other type still edits it at once, and a
drag that draws an area-type frame still makes the frame.
In number fields, Up/Down and a wheel notch added a whole step and kept
the fraction, so 5.1 mm stepped up to 6.1 mm. A plain step now goes to
the next whole unit in its direction (5.1 goes up to 6 and down to 5; 5
goes up to 6 and down to 4), and a Ctrl/Cmd step goes to the next tenth,
in the field's own unit. Repeated presses or notches of one size add or
take one step each, and presses and notches are applied in the order
they came. A Shift step still adds or takes ten and keeps the fraction.
The number fields that widgets.rs draws for the panels, the Control bar
and the dialogs (unit, percent, degree and count fields) all use this
step (widgets::step_value).
`vectorcraft-cli run/convert --scale` and the MCP export tool's `scale`
are raster pixels per point, but they were passed to every export, and
DXF reads `scale` as drawing units per unit: a 2x PNG next to a DXF
doubled the drawing and left it unitless ($INSUNITS 0). They now go
only to raster formats. DXF's own scale stays reachable through the
format options.
Scripts had to know an object id before they could select art by colour
(select.same.* and select.magicWand start from one). select.color
{fill?, stroke?} takes colours as paint.setFill does and selects the
objects whose fill and stroke read as them in #rrggbb, as
document.inspect reports colours, with Select > Same's selection rules.
The label is translated in each of the 23 catalogs, which
complete_languages_translate_every_menu_string requires.
Floating groups on the canvas now always get a panel-colour backdrop from layout geometry when egui has not registered the area yet, and panel bodies paint their own fill so empty regions do not show through.
Co-authored-by: Cursor <cursoragent@cursor.com>
The built-in CMYK profiles embedded in CMYK exports had only the
perceptual and colorimetric tables. ICC.1 requires an output profile to
also have the saturation tables (A2B2, B2A2) and the gamut tag (gamt).
Windows colour management rejects the profile without them ("Bitmap color
context is not valid"), so Microsoft Photos couldn't show a CMYK TIFF
that embedded it, while the RGB export opened fine.
Write the saturation tables (same as colorimetric) and a 9x9x9 gamut
table (in gamut where a Lab colour separates and returns within dE 3).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Without it the shared release workflow builds the web release without CRAFT_FONTS_DIR, so
web-fonts.txt's startup faces (Arabic, Thai, Georgian) are not served (CodeRabbit review).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01YMTAbGNRxnMEzRvYnQGphF
anchor_arc_distance measured every segment again for each anchor, so a reshape cost the square of the anchor count; path.reshape now measures the positions once, and the two helpers only it used are gone. The default radius stays half the subpath's bounding-box diagonal, now measured along the path: half its length reached the far corners of a square, moving art the grab is nowhere near (reshape_moves_the_grabbed_point_and_its_neighbourhood).
Found while testing crates/doc/src/lib.rs:274 (Unit::named)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
path.freehand takes redraw: {id, within}: the stroke's ends are placed on the path, anchors added there, and the section between them replaced by the fitted stroke, the shorter way round a closed subpath; a stroke that doesn't end on the path still draws a new one. The Pencil and Paintbrush send it for a stroke that starts on a selected path's outline away from its ends, within Edit Selected Paths' distance.
The cards turned to the chosen orientation in every category, so a portrait and a landscape A3 in Recent looked the same and both read as chosen. Only the built-in presets' cards turn now.
The marker ran from the anchor to the right edge of the bounds, so centred type showed half a line and right-aligned type none, and rotated type a level line. It now draws each line's baseline in text space (TextObject::baselines, the lines a click selects the type on), turned with the type.
style_weight reads W0–W9 style names (Hiragino, Morisawa…) as their weight classes before the English words, so SVG and CSS export write font-weight 600 for W6, and nearest-style matching weighs them too.
Font services (NexusFont, Adobe Fonts) register faces with the OS without
touching font-folder mtimes; only re-asking the platform lister sees them.
Check every two seconds as well as on window focus, and test that path churn
is detected on the system font scan.
Co-authored-by: Cursor <cursoragent@cursor.com>
Highlight Alternate Glyphs (8689863f) flagged any glyph that isn't its
character's cmap glyph, so the joining forms Arabic and other complex
scripts always take (init, medi, fina, isol, rlig, ccmp and the Indic
required set) covered ordinary text in pink. A glyph is now an
alternate only when required shaping alone doesn't give it: the text is
laid out again with every optional feature off (liga, clig, calt and
the features its characters turn on) and each candidate glyph compared
by cluster. The pink boxes are measured once per text geometry, only
when the preference shows them.
A group of four clip groups, each a placed image larger than its
rounded-square mask: one Selection click selects the group, which
shows the four masks' outlines and no image rectangle, with a bounding
box and bounds equal to the union of the masks. The behaviour landed
in #2650 (part of #2422); this covers the grouped case.
Three new Polish rows broke the catalog's own vocabulary:
- "By Artboard or Item" and "Artboard or Item Name" (Export for Screens)
read "obszar roboczy", which this catalog uses for Workspace; Artboard is
"obszar kompozycji" everywhere else (72 rows).
- "Enable Guides for 9-Slice Scaling" read "prowadnice"; Guides are
"linie pomocnicze" in the other 29 rows.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01DukHNvUY45rjRnvtz91x33
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 plug-in's dialog (Effect › Plug-ins, Object › Plug-ins) lays out each
parameter of its manifest as a row, and a manifest may declare up to 64.
With many of them the dialog ran off the top and the bottom of the
window, its heading and its OK and Cancel buttons off screen. A plug-in
of 64 number parameters got a dialog 2,329 px tall, its top at y = -755
in a 900 px window.
modal::scrolled_rows() puts rows in a vertical scroll area as tall as
the screen less the rest of the modal window and its edge gaps.
modal::show_at() measures that rest once it has drawn the window, for
the next frame, and asks for that frame at once if the rest changed.
The dialog then fits without waiting for input. schema_fields() puts the
parameter grid in it, for filters and effects alike. A dialog of a few
parameters is as tall as before.
a_plug_in_dialog_of_many_settings_fits_the_window opens an effect's and
a filter's dialog of 64 parameters in a 1280 × 900 window, and one of 4.
Before the change it failed with "effect: the dialog is at
[[457.0 -755.0] - [823.0 1574.0]] in the [1280.0 900.0] window".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
menu_strings() lists the strings a complete language catalog has to
cover, and it leaves out names that are user data: fonts, recent files,
saved views and libraries. An installed plug-in's name stayed in.
Plug-ins are installed for the whole process, and a test that installs
one before complete_languages_translate_every_menu_string runs made that
test fail with the plug-in's name as an untranslated menu string.
lists_plugin() tells an Object › Plug-ins filter or an Effect ›
Plug-ins effect by its command and params. Those are part of the menu
item itself and stay right while another test installs or removes
plug-ins. menu_strings() uses it, and so does
menu_catalogs_translate_every_menu_label in place of its own copy of the
rule.
plugins_are_listed_in_the_object_and_effect_menus checks it. Before the
change it failed with "Desaturate… is a menu string to translate".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
The image a mesh's quads are filled into is clipped to the frame; at 16 MP a
mesh filling a large canvas allocated up to 64 MB per frame. A larger mesh is
drawn quad by quad, backed by its patches' outlines.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01Dt49z1ubK9x1bPq51APgz3
Drawing each mesh as one image through its antialiased outline (dadfa06b)
left a thin line of the background wherever two meshes met: the two
partly covered edge pixels don't add up to full coverage. A page made of
thousands of small meshes (a PDF from a gradient-mesh illustration) showed
a grid of lines on screen and in raster exports.
- The outline is flattened and moved out by half a device pixel
(grown_outline), as the quads drawn one by one are, and filled once: no
doubled edge, so translucent meshes are grown too.
- The edge colours spread two pixels out of the quads (the grown edge
samples up to about a pixel and a half out), and the buffer has two
pixels of margin.
Tests: an_outline_grows_by_half_a_pixel_both_ways_round; the edge-spread
test checks the second pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A PDF of thousands of gradient meshes in a CMYK document with transparency
took minutes to export (186 s at 72 ppi for an 18,577-mesh page). Each mesh
was cut into quads coloured in RGB, and drawing a CMYK document by ink planes
separated every quad's colour back to CMYK through the profile, twice: the
4,096-colour separation cache, flooded by the meshes' interpolated colours,
cleared over and over.
- doc: GradientMesh::color_at mixes corners that are all CMYK (or all grey)
in that space, as a PDF shading mixes in its own: exact inks, nothing to
separate.
- render: the separation cache holds 65,536 colours.
- render: a mesh's quads are filled into one image by scanline (every pixel
to the quad its centre is in: no seams) and drawn through the mesh's
outline, instead of one path per quad; meshes over 16 MP on screen are
drawn quad by quad as before, backed by each opaque patch's outline (#2456).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
While an export runs in the background (Background Export), a dialog shows
what is being exported and how far it has got: artboard by artboard for a
raster export of several artboards, busy otherwise. Cancel (also Esc) stops
it and writes no file; Continue in Background leaves it to the status bar.
It opens after 0.4 s and never over another dialog.
Built on the shared vectorcraft_doc::cancel (#2546): fileio::progress::Progress
wraps its CancelToken and a progress sink, so a cancelled export stops
drawing and keeps no half-drawn pattern tile or effect raster.
- ui: background jobs carry their Progress; export_progress draws the
dialog; UI commands file.cancelExport and file.exportInBackground.
- i18n: the strings in every language with complete menus, Danish, Dutch
and Indonesian included; "{n} more exports waiting" is a plural (trn).
- docs: ui-parity, gaps (G12) and ROADMAP rows.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01Dt49z1ubK9x1bPq51APgz3
The Paragraph panel menu's Justification… was a disabled stub, and justified
lines stretched word spaces between fixed limits (80% to 150%).
Each paragraph now has Justification options: Word Spacing, Letter Spacing
and Glyph Scaling (Minimum, Desired, Maximum, in percent), Auto Leading and
Single Word Justification. Desired applies to every line; a justified line
fills its measure with word spacing first, then letter spacing, then glyph
scaling, each within its range, and past them its word spaces take the
rest. The Every-line Composer scores lines by that flexibility. Auto
Leading sets the leading of characters whose leading is Auto. A justified
line holding one word is spread between its letters (Full Justify) or
aligned left, centre or right.
The defaults are the documented ones (80/100/133, 0/0/0, 100/100/100, 120,
Full Justify), saved only when they differ. Because the default maximum
word spacing is 133%, justified paragraphs break differently than before;
the Every-line Composer's second pass is now unbounded for justified text
(it used to give up past four times the stretch and fall back to the
Single-line Composer, which the narrower default range would make common),
and lines that can't stretch at all are still refused.
text.setFormat takes wordSpacing, letterSpacing, glyphScaling ([min,
desired, max] or {min?, desired?, max?}), autoLeading and
singleWordJustification; Minimum ≤ Desired ≤ Maximum must hold or nothing
changes. Paragraph styles carry the options (New and Redefine capture
them), and Reset Panel resets them. Justification… opens a dialog
(ui.justification) with Preview; OK is disabled while a row is out of
order. Live SVG text places characters the options move, and a glyph that
Glyph Scaling scales is stretched to its width; PDF uses the glyphs'
transforms. Vertical type isn't glyph scaled; type on a path doesn't use
the options.
Docs: docs/mcp.md, docs/type-parity.md, docs/gaps.md.
Closes#2755.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Evidence list in docs/target-app-parity.md had two or three
versions of several items.
Seven items now have one line each: the Actions panel, Editing type,
Releasing ruler guides, the Layers panel, choosing the Artboard tool,
Image Trace Flat Logo mode and Create Strokes. Each kept line holds
every number, path and pull request reference of the lines it
replaces. The Layers panel line gains the #2260 note on layers dropped
under the last row. The Create Strokes line keeps the newer of its two
statements, which no longer lists the skeleton graph among the
remaining work.
Open pull requests edit the lines of seven other items, or the lines
beside them (Preferences that act, Initial live Revolve, Live effects
with previewing dialogs, Type, Masks and clipping, SVG/SVGZ, and EPS
and DXF), and those items are unchanged.
The blend, envelope and gradient mesh commands read their optional
numbers with f64_or or as_f64, which fall back to a default for a value
that is not a JSON number. object.blend.make {"steps": "8"} made a
Smooth Color blend and reported success. Blend Options did the same
with steps, distance and value. Make with Warp, Reset with Warp and
Envelope Options did the same with bend, h and v (and their long
names). Make with Mesh, Reset with Mesh and Create Gradient Mesh did
the same with rows, cols and columns. Envelope Options did the same
with fidelity, Create Gradient Mesh did the same with highlight, and
Set Mesh Point Color did the same with opacity.
These commands now fail with "`<key>` must be a number, not <value>"
for a value that is not a number or null, as the transform commands
do, and change nothing. Envelope Options refuses the warp keys whether
or not a warp envelope is selected. Create Gradient Mesh refuses an
`at` that is not exactly two numbers with "`at` must be [x, y]".
Before, it took the first two entries of a longer array, and for any
other value it made a mesh with no lines through the point.
Docs: docs/mcp.md, docs/target-app-parity.md.
Dragging a user slice's edge or corner handle with the Slice Selection
tool never snapped, while drawing a slice with the Slice tool snaps to
the grid, to whole pixels, to the art and to the ruler guides.
The handle drag now gathers its targets when the handle is pressed and
snaps what the handle moves through PointSnap::snap_scale, as the
Selection tool's bounding-box handles do: to the nearest gridline with
Snap to Grid, to whole pixels with Snap to Pixel, to the art and the
artboards with Smart Guides, and with Smart Guides off to the art's
anchors and the ruler guides with Snap to Point. Then a shown, unlocked
ruler guide within 5 px moves the side or corner onto it, as the Slice
tool moves a drawn slice's corner onto a guide. Shift still keeps the
proportions, and Alt still resizes about the center.
Docs: docs/target-app-parity.md.
A move that Shift kept level, upright or on a diagonal left that line
when it snapped. With View › Snap to Grid on, a level Shift-drag also
moved the selection up or down onto a gridline, and Snap to Pixel,
Smart Guides and Snap to Point moved it off the line in the same way.
Each axis snapped on its own after Shift had constrained the move.
With the Selection tool, and with Group Selection and Direct Selection
moving whole objects, a Shift-constrained move now slides along its
line until it snaps. With Snap to Grid or Snap to Pixel, the move
slides along the line by the shorter of the two distances that put it
on a gridline or a whole pixel on either axis. The bounds line up with
the other objects, or space evenly with them, only on the axes the line
runs along, and the grabbed point stops where the line passes an anchor
or crosses a ruler guide. A level or upright move snaps along its own
axis only. Moves without Shift snap as before.
Docs: docs/target-app-parity.md.
PathData::bounds measured each segment by its start, end and extrema,
as kurbo's bounding_box does. For a curve with a handle at about 1e308
in size, or an infinite one, kurbo's extrema computation overflows and
drops the extreme. The box then held only the anchors. The canvas check
after an edit reads that box for the selected objects, so path.create
kept a curve with handles at 1e308.
The new segment_bounds measures a segment by its control points when
one of them has an x or y that is infinite or larger in size than
f64::MAX / 16, and by its extrema otherwise, bit for bit as before.
curve_bounds joins those boxes as kurbo does, and PathData::bounds uses
it, so such a curve's box holds the whole curve and the canvas check
refuses an edit that leaves one selected.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel menu had no Clear History, and VectorCraft had no
command that removes the undo and redo steps. In the reference app,
Clear History in the History panel menu removes the states after the
selected state, and it removes the states before it while their
changes remain in the document.
edit.clearHistory (Clear History) removes every step to undo and to
redo in the active document and returns how many it removed. The
document and the selection stay as they are, and clearing is not an
undo step. Typing or a drag still in progress becomes a step first, as
Undo makes it one, so its change stays in the document. The command is
disabled when there is no step to clear, and it waits while an input
method composes, as Undo does.
The History panel menu has Clear History after Step Forward. It runs
the command and is disabled when there is no step to clear.
Docs: docs/mcp.md, docs/target-app-parity.md.
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.
The Export for Screens dialog built its Example line from its fields as
typed, so it often showed a name the export does not write. It used the
artboard's name with its spaces (Artboard 1.png where the export writes
Artboard-1.png) and the first artboard whatever the range, kept a
prefix, a suffix or a device name such as CON as typed, used the scale
text as the row folder instead of the row's own folder or its size,
kept a vector row's @2x suffix, left out the folder that Create
Sub-folders adds, and read a counter set as text as 1.
The line now comes from the export's own naming. The naming part of
document.exportForScreens moves into a Naming type that the export
uses for every file, and fileio::screen_first_file returns the path of
the first file the export writes for the given params, without encoding
or writing anything. The dialog passes it the params it exports with,
without the destination, so the line shows before a folder is chosen
and is left out while the settings choose nothing to export. The Start
at field shows the counter the export uses when it was set as text.
Docs: docs/target-app-parity.md.
The engine built the PDF options without a creation date, so the
writer dated every PDF and PDF-compatible .ai file with the time it
was written. A document created on 2020-01-01 (File › File Info
shows the date) exported as a PDF with today's date in /CreationDate
and xmp:CreateDate. SVG export with the metadata option already
writes the document's own date.
The options now carry the document's File Info created date and the
time of writing as the modification date. A document without a
creation date is dated with the time of writing, as before, so PDF/X
files still get their required date. The PDF writer writes one date
for both, so the export then sets /ModDate, xmp:ModifyDate and the
PDF/A history dates to the time of writing; /CreationDate and
xmp:CreateDate keep the document's date. The page information mark
and the embedded editing data's modification date keep the time of
writing.
Docs: docs/mcp.md (File Info), docs/target-app-parity.md.
Object > Expand and Object > Create Gradient Mesh mixed a freeform
gradient's points in display RGB and turned the result back into the
points' model with the profile-free formula. CMYK inks changed: points
of C50 M20 Y0 K10 gave mesh points of C45 M24 Y0 K22. RGB points were
stored as display sRGB, so with a working RGB space other than sRGB
the mesh showed other colors. Points colored along CMYK stops, a point
paint.freeform.splitLine added between CMYK points and a point
paint.freeform.addPoint added without a color came out as RGB.
Points that share a color model now mix in it: the C, M, Y and K
values mix as inks, and Gray, RGB and Lab components mix as they are.
Points in different models still mix in display RGB. Object > Expand
and Object > Create Gradient Mesh store the result in the working RGB
space, and in a CMYK document they store it as CMYK through the color
settings, as paint.setFill stores an RGB color. Freeform::recolor and
split_line mix with the new Color::lerp_keep_model, which
vectorcraft_doc::blend::lerp_color now calls.
Docs: docs/mcp.md, docs/target-app-parity.md.
The FreeBSD job fails
fx::tests::a_drag_renders_raster_effects_within_the_drag_budget at
fx.rs:2822 with 1 previewed instead of 2.
pixels_do_not_depend_on_the_thread_count called set_default_threads
with 0, 1, 4 and 8. The override is process-wide, so a Renderer::new()
in a test running at the same time took that count. With 0 threads a
drag renders the drop shadow at full resolution, as
RenderOptions::dragging documents, so stats.previewed counts only the
filtered content (1 instead of 2).
The thread-count test now sets each renderer's threads. The drag test
gives its renderers 3 threads, so it also passes where default_threads()
is 0 (one CPU, or VECTORCRAFT_RENDER_THREADS=0).
On Linux the save dialog is the XDG desktop portal's, shown through
rfd. rfd sends no `current_filter` and reads only the file name from
the portal's answer, and the GTK file chooser keeps the typed name
when another file type is picked. With "PDF-compatible .ai" picked,
`poster` typed for a new document was saved as a native
`poster.vectorcraft`, and so was the suggested
`Untitled-1.vectorcraft` left as it was.
When a save offers two or more file types (Save As, Save a Copy, Save
as Template and the first Save of a new document), the app now calls
the portal's SaveFile itself over D-Bus. The dialog starts on the
suggested file's type, and its answer names the type picked. A name
typed without an extension, or the suggested name left as it was,
gets that type's extension. A name typed with another save format's
extension, other than the suggested file's (for Save as Template, a
template format's), is saved in that format, and any other extension
gets the picked type's added. The dialog keeps the window as its
parent on X11 and Wayland, and rfd shows the dialog when the portal
can't. The same code runs on the BSDs; Windows, macOS and the web
build keep their dialogs.
Docs: docs/target-app-parity.md.
pattern.options refused a new name that another pattern had, but not
one that a color swatch, a gradient swatch, a second swatch of the
pattern or a color group had. The rename then gave the pattern's swatch
that name, so two swatches, or a swatch and a color group, had one
name. The rename also gave the new name to every swatch that had the
old one, a color swatch included, and art linked to that color swatch
kept a link to a name no swatch had. Make and Save a Copy numbered a
pattern's or a swatch's name, but not a color group's.
pattern.options now refuses a name that a swatch or a color group has,
with "a swatch or color group named `<name>` exists". It takes a name
that only the pattern's own swatches have, such as a name Swatch
Options gave the pattern's swatch, when none of them still has the old
name. A rename gives the new name only to the pattern's swatches that
had the old one. Make and Save a Copy number a color group's name as
they number a swatch's. The new message has a row in the 17 catalogs
that translate every message (COMPLETE_MESSAGES) and in bg, da, id and
nl.
Docs: docs/mcp.md, docs/target-app-parity.md.
file.saveAsTemplate with format ait and aiVersion: "7" wrote the
legacy PostScript .ai of version 7 under the .ait name: for a
one-artboard test document, a 7,556-byte file starting %!PS-Adobe-3.0.
The web's Save as Template dialog showed the .ai Version menu for
.ait, whose Legacy (version 7) choice set aiVersion 7.
aiVersion 7 for a .ait is now an error, "aiVersion 7 writes legacy .ai
files; a .ait template is always PDF-compatible", and nothing is
written. The 17 catalogs that translate every message have a row for
it. The dialog shows no Version row for .ait, and aiVersion "pdf"
still writes the PDF-compatible template.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/file-format-parity.md
(two stale rows for .ai and .ait removed).
document.export, document.serialize, document.exportSelection and
Export for Screens rows answered "PDF-compatible .ait template files
can be opened but not written" for a .ait, although
file.saveAsTemplate writes them. The CLI's convert and run --export
call document.export, so vectorcraft-cli convert in.pdf out.ait
failed with that error.
The error now reads "PDF-compatible .ait template files are written
by file.saveAsTemplate", with a row in the 17 catalogs that translate
status messages and in bg, da, id and nl. convert and run --export
write a .ait with file.saveAsTemplate, which writes every artboard
with the .ai options. convert passes --replace-lossy and its .ai flags
on, and refuses --artboard and --range for a .ait.
Docs: docs/mcp.md, docs/target-app-parity.md.
In a CMYK document, paint.setFill stores an RGB color as CMYK through
the color settings, but the other commands that take a color stored it
as RGB: text.create, text.createInPath, text.setStyle and
text.setRangeStyle colors, a shapeBuilder.merge hex fill,
paint.editGradient stops, freeform gradient points, gradient mesh
points, the Symbol Stainer's color, and swatch.new {colors},
swatch.newGroup, swatch.editGroup and swatch.edit. The Mesh tool sent
the fill as a hex value, so a CMYK fill came in as RGB.
These commands now store such a color through paint::new_color, as
paint.setFill does, and take keepModel to keep RGB (shapeBuilder.merge
inside its fill object). A color the swatch
or gradient already has keeps its model, so stops sent back with a
moved offset keep their colors (the Gradient panel's ramp and the
Gradient tool send keepModel), and a stop that names a process
swatch takes the swatch's color as it is, in paint.setFill gradients
too. Where the app copies an existing color, it keeps the color's
model: the Color panel's sliders for gradient stops and freeform
points, a swatch put on a stop or a point (the stop popover, Alt-click
in the Swatches panel, a drop on the Gradient panel's ramp), the fill
the Mesh tool gives a new point or the Symbol Stainer applies, and the
colors the Color Guide, Color Themes and Recolor Artwork save as
swatches.
swatch.new {color, mode} converted RGB into CMYK before converting it
into mode, so the New Swatch dialog in RGB mode stored #00ff00 as
R101 G176 B62 in a CMYK document. With mode, the color is now
converted once.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel and Edit › Undo and Redo did not translate the steps
that apply or redefine a character or paragraph style, or redefine a
graphic style. The engine built their names with format! ("Apply Body",
"Redefine Body", "Redefine Graphic Style “S”"), and the panel looks a
name up as a whole, so no catalog row matched a name with a style's
name in it. A name cannot be matched against template rows instead: a
character style named Brush gives "Apply Brush", which is also the name
of the brush step.
The engine now names these steps with Session::edit_named, and each
such step keeps its template and the style's name
(HistoryEntry::named) through undo and redo. The History panel and
Edit › Undo and Redo show the template's row with the name in it
(panels::history::entry_name). The name stays as the document holds
it, and the Normal styles' names are shown in the interface language.
Every complete catalog has rows for Apply {name} and Redefine {name},
and Redefine Graphic Style “{name}” had one.
every_undo_label_is_translated also requires a row for each template,
and the only step name it allows to be built with format! is the
Liquify tools' "{} Tool".
Docs: docs/target-app-parity.md.
A marquee measured an Intertwine group and a repeat by their bounding
box. A marquee in the gap between two members of an Intertwine group,
or between two copies of a repeat, selected the object, although a
click there misses and a plain group needs a marquee to meet one of its
members. Direct and Group Selection's marquees also selected the
Intertwine group whole beside the anchor points of its members.
The marquee now touches an Intertwine group by its members, as it
touches a plain group, and it touches a repeat by the copies the repeat
draws, as clicks hit them. Direct and Group Selection's marquees select
the anchor points of an Intertwine group's members, and Group
Selection's E marquee selects the members inside it. Blends, and
envelopes outside Edit Contents, keep their box, as clicks on them do.
Docs: docs/target-app-parity.md.
A Shaper Group keeps its original shapes as its first child, at no
opacity, and clicks do not pick them outside Construction mode. The
Lasso, the Add Anchor Point, Delete Anchor Point, Anchor Point and
Scissors tools still picked their anchor points and segments, also
where the group erased the face, and Smart Guides, Snap to Point and
the transform tools' reference point snapped to them. The Lasso and
the anchor tools also picked art outside the isolated group or object
in isolation mode.
The Lasso and the anchor tools now visit only the art a click can pick:
the isolated object in isolation mode, and a Shaper Group without its
original shapes unless they are isolated (Construction mode). Smart
Guides and Snap to Point leave the original shapes out of their
targets, and Spacing Guides leave out their bounds when a face moves.
The transform tools' reference point snaps to an original shape only
when that shape is selected, or under the pointer in Construction
mode. The Shaper Group test document moves into the shared test
helpers.
Docs: docs/shaper.md, docs/target-app-parity.md.
The Appearance panel's inline effect editor still showed eight choice
parameters as text fields holding the stored value: Revolve's edge,
Extrude & Bevel's bevel, every Warp style's orientation, Rasterize's
Color Model, Background and Anti-aliasing, and the channel of Levels
and Curves. Their dialogs built these lists in their own bodies, so
effect::choices did not hold them. Nothing checked a channel's value:
a typo was stored, and Levels or Curves drew it as RGB.
effect::own_choices now holds these lists, each label as its dialog
passes it to its dropdown or radio buttons. The dialogs read the lists
from it (Rasterize's Anti-aliasing from the AntiAlias list it is built
from), and the inline editor shows each one as a dropdown with the
dialog's translated labels; Rasterize's Color Model reads CMYK or RGB
by the document's mode. effect.apply and effect.setParams refuse a
Levels or Curves channel other than rgb, red, green or blue (r, g, b
and any letter case are read too) with "`channel` must be one of rgb,
red, green, blue", and the document and its undo history stay as they
were.
Docs: docs/mcp.md (effect params), docs/target-app-parity.md.
The color and channel sliders gave screen readers a name but no value.
Each caller maps its own range onto the thumb's position, so a screen
reader announced the Color panel's G slider, Transform Each's Scale or
the Navigator's Zoom without the setting the field beside it shows.
color_slider_valued and channel_slider_valued take an optional
SliderValue: the number and text of the field beside the slider and
the slider's range. The accessibility node gets the number, the text
and the range, which extends to a number past the slider's end.
color_slider_named and channel_slider_named keep their arguments and
report no value. Every caller outside the tests uses the new variants:
the Color panel, Swatch Options, the Color Picker, the Navigator, the
Character panel's variable font axes and the dialog sliders.
form::slider_rail_named reports the number it edits, and the harmony
wheel's Brightness slider, which has no field, reports its brightness
in percent.
Docs: docs/target-app-parity.md.
Shift+Enter (Shift+Return) in the Pattern Options panel's Name field and
in the name fields that a double-click opens in the Layers, Artboards
and Asset Export panels ended the editing, as Enter does. These fields
draw their own text box and do not use the shared field widgets that
#2431 changed.
- Each of them now calls widgets::own_field_shift_enter, built on
#2431's shift_enter_keeps_focus and after_shift_enter. Shift+Enter
applies the name as Enter does and the field keeps the focus. In the
next frame the field shows the name as applied, all selected, so
typing replaces it.
- Enter, Escape and a click elsewhere work as before.
Docs: docs/target-app-parity.md.
With Direct Selection, the Pen or the anchor tools, a group, compound
path or clip group selected whole drew the anchors of its paths hollow,
the look of unselected anchors, while a path selected whole drew its
anchors filled. After two Group Selection clicks selected a path and
then its group, the group's hollow anchors covered the path's filled
ones.
With these tools, the selection overlay now draws the anchors of the
paths inside a group, compound path or clip group selected whole
filled, as it draws the anchors of a path selected whole. Direction
handles still show only on a path that is selected itself, and Direct
Selection drags only those.
Docs: docs/target-app-parity.md.
In type that holds right-to-left characters, Left and Right move the
caret through the visual caret stops (`caret_horizontal`). A cluster
drawn with no advance, such as a zero width non-joiner that the font
shapes as a glyph of its own, puts two stops at one x. A step kept the
stop with the lower byte, and the next step passed over the other one,
so the arrow keys never reached it. In Persian میخواهم laid out on
macOS, the caret could not be put between the non-joiner and خ with
the arrow keys.
Stops at one x are now visited one at a time in byte order. Going
right, the caret takes them in increasing order on left-to-right
glyphs and in decreasing order on right-to-left glyphs; going left,
it takes them in the reverse order. The end of a soft-wrapped line,
which the caret shows on the next line, is not one of those stops.
Where no two stops share an x, a step goes where it went before.
Repeat Tab on a paragraph's first tab stop spaced the copies by the
stop's distance from the ruler's 0. The reference app measures that
distance from the paragraph's left indent. With a left indent of 20 pt
and one stop at 50 pt, the copies were 50 pt apart instead of 30.
Repeat Tab now spaces the copies of the first stop by its distance
from the left indent of the paragraph whose stops the Tabs panel
shows: the paragraph the caret is in while the Type tool edits text,
otherwise the first paragraph of the first selected type object. A
stop left of the indent repeats at its distance from the indent: a
stop at 5 pt in a paragraph indented 20 pt repeats every 15 pt. The
reference app's help page does not cover this case, so this follows
VectorCraft's own rule. The copies of a later stop are still spaced by
its distance from the stop before it, and the limits of 20 copies and
2,000 pt stay.
Docs: docs/target-app-parity.md.
File › Place set every justified paragraph (`\qj`) of an RTF file as
Justify with last line aligned left, so a right-to-left paragraph
(`\rtlpar`) ended its last line on the left. Such a paragraph now
places as Justify with last line aligned right, in either order of the
two control words. `\qj` in a left-to-right paragraph still places as
Justify with last line aligned left, and `\ql`, `\qr`, `\qc` and `\qd`
keep their alignments in both directions.
With crop "bounding", file.place measured the placed art by each
object's visual bounds, which include the hidden members of a group.
A group holding a 40 pt square and a hidden 170 x 42 pt rectangle was
measured as 251 x 123 pt: at, rect, the place cursor and
file.place.info all used that box. A group whose only part on the page
or artboard was a hidden member was also placed, and symbol instances
were measured as a 20 pt square.
The art's box now follows the rule exports use
(vectorcraft_render::encode::drawn_bounds, made public): hidden
objects, guides and template layers do not count; the reach of effects
such as a drop shadow now counts; symbol instances are measured by
their art. The same rule picks the objects on the page or artboard.
Hidden objects on the page or artboard are still placed, and stay
hidden. Replace and the width and height that file.place answers also
measure symbol instances by their art.
Docs: docs/mcp.md (Place), docs/target-app-parity.md.
When a drop shadow or an outer glow follows Effect › Rasterize, the
renderer makes the Rasterize image on the first draw and keeps it for
the shadow and the content, which draw it again. The kept image held no
count of the images that failed to decode while it was made. With a
blur or a filter after the shadow, the content's raster was made from
the kept image and recorded no failure, so a renderer that drew the
object again took the shadow and the content from its caches and
counted nothing. Pattern tiles are drawn by a renderer that keeps these
rasters across exports: a tile drawn again with the same art, for
example after Pattern Options changes the overlap, gave an export
without the "couldn't be decoded" warning although the picture lacked
the image.
The kept Rasterize image now stores how many decodes failed while it
was made, and each draw from it adds that number to the count again, as
kept effect rasters and pattern tiles do.
When the PDF writer keeps a PNG, GIF or WebP image as it is, it accepts
the image once its header reads, and it reports pixel data that it
can't decode only when it finishes the file. An image whose pixel data
was cut short or damaged therefore failed the whole export with "PDF
writer error: Image(...)", and nothing was written. This happened in
Save as PDF, .ai saves, Save a Copy, Print, Export for Screens and
native files with PDF compatibility, and with On Copy: PDF turned on,
Copy left the PDF off the clipboard.
When the writer fails on an image's pixel data, the export now runs
again with that image left out. Its warnings hold the note that raster
exports give, once: "an image couldn't be decoded and is missing from
the picture". This note replaces the writer's "image '<key>' could not
be decoded and was skipped", which named the image by an internal key.
An export without such an image runs once, as before. A .ai file keeps
the image in its editing data and reopens with it.
Docs: docs/mcp.md (PDF options).
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.
Saving a version 7 .ai expands raster effects into images and flattens
images with see-through pixels, opacity or a blending mode, and both
draw the art with the renderer. An image the renderer couldn't decode
drew nothing, so it was missing from the result, and the reply carried
no note. A semi-transparent image cut short was removed without one.
The save now compares decode_failures() before and after it writes the
artboards, as Expand Appearance and the raster exports do, and adds
"an image couldn't be decoded and is missing from the picture" to its
warnings once.
Docs: docs/mcp.md (aiVersion "7").
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.
The layers of PDF and PDF-compatible .ai files come from their
optional content groups, whose /Name is a PDF text string. The import
read a name without a byte order mark as Latin-1. Such a string is
PDFDocEncoding (ISO 32000-1 Annex D, Table D.2), which differs from
Latin-1 at 0x18 to 0x1F and 0x80 to 0xA0. A group named
(Art\205final) opened as a layer named "Art", U+0085, "final" instead
of "Art–final", and curly double quotes (0x8D, 0x8E) and the euro sign
(0xA0) became control characters and a no-break space.
text_string now reads such a string with the PDFDocEncoding table that
File Info already used for the document information dictionary. The
table moves from file_info.rs to import_scan.rs, and File Info reads
the information dictionary's strings with text_string.
When a PDF, PDF-compatible .ai or .ait opens, crates/pdf/src/file_info.rs
reads its File Info from the XMP packet with roxmltree, which parses
nested elements recursively and has no limit on their depth. A packet
with elements nested 10,000 deep (70 KB) overflowed a 1 MB stack, and
one nested 100,000 deep (700 KB) overflowed an 8 MB stack. A stack
overflow aborts the app.
File Info now counts how deep the packet's elements nest before roxmltree
parses it, and leaves out a packet nested more than 256 deep, as it
leaves out a packet that is not XML. The document information
dictionary then gives the File Info.
The MCP server's reader queues at most 64 lines for the engine and
stops reading past that until the engine catches up. The reply to a
line that is not JSON, or that is longer than the line limit, skipped
that check: while a call had run for less than the busy limit (two
seconds by default), or while the engine was behind, every such line
added a reply to the queue. In the new test, 192 lines that are not
JSON leave 192 replies queued on main.
These replies now wait for room as requests do, and still go out at
once when the running call has passed the busy limit.
SVG import checks each linked image's path with craft-docpath, and two
of its results were wrong, most visibly on Windows. A missing image's
link kept the path that craft-docpath returned, with its separators
rewritten: an href of /abs/photo.png became \abs\photo.png on Windows,
and SVG export with linked images writes that back as the href. A
folder that is not absolute, such as /tmp on Windows or a relative
folder on any system, made each relative href, and on Windows each
href rooted without a drive, resolve to a path that is not absolute,
so those images were not read. Two vectorcraft-svg tests failed on
Windows because of this.
A link now keeps the href as written (decoded) when the href resolves
to the same path without the SVG's folder, and keeps the path found
when it needs the folder: a relative path, or on Windows a path rooted
without a drive. A file: URL keeps the path it names. The folder is
made absolute against the working directory when it is not, as the
engine's reader does with the document's path. Hrefs that were refused
are still refused: paths on other computers, devices and URLs are not
read.
0.13.0's macOS release job failed twice at `stapler validate` right after a successful notarization
and staple: the CloudKit ticket lookup lost its connection (NSURLErrorDomain -1005, Error 68). Retry
the validate up to four times with a growing pause; a missing or bad ticket still fails.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The FreeBSD job failed complete_languages_translate_every_message: zh-hans was
missing the four Links and Attributes messages this branch adds.
The merge created a state neither side had. This branch predates main adding
zh-hans to COMPLETE_MESSAGES, so its new messages had no Simplified Chinese; the
other 17 languages conflicted and were resolved as a union, while zh-hans merged
cleanly and silently without them. da, id, nl and zh-hant are also missing them
but are not on the completeness list, so they are left as they are.
Terminology follows the file's own: 编辑原稿 for Edit Original, 浏览器 for
browser, 不是文件 after {path} 不是文件夹. These want a native speaker's eye
before release; the test only proves the strings exist.
document.exportForWeb renders the artboard or the art and writes GIF,
JPEG, PNG-8 or PNG-24 files. When the art held an image that the
renderer could not decode, the renderer drew nothing for it, and the
files lacked the image with no message: the reply had no warnings at
all. A raster export of the same art warns that "an image couldn't be
decoded and is missing from the picture".
document.exportForWeb and document.exportForWeb.preview now compare
decode_failures before and after they render, as raster exports do,
and their replies carry that text in `warnings`. The files are still
written. Save, Download and Preview in Browser in the Save for Web
dialog show the first warning in the status bar as Save As shows a
save's notes.
Docs: docs/mcp.md (Save for Web), docs/control-protocol.md.
charStyle.new and paraStyle.new kept the name they were given as it
was, while charStyle.rename and paraStyle.rename trim the white space
around the new name. So a script could make a style " Body" beside
"Body", and a blank name was refused with the message for a name that
is taken.
New Character Style and New Paragraph Style now trim the name as rename
does, compare the trimmed name with the styles there are, and refuse a
name that is then empty with rename's message. Duplicate names the copy
from the trimmed name. symbol.new and symbol.duplicate trim the name as
symbol.options trims newName, and a blank newName gives "<name> copy"
instead of a symbol named with the blank. library.use adds a library's
text style under its trimmed name, so a library file whose style is
named with spaces around it still applies.
Docs: docs/mcp.md, docs/target-app-parity.md.
brush.new, brush.duplicate, object.pattern.make,
object.pattern.saveCopy, artboard.new and artboard.setProps kept the
name they were given as it was, and brush.options and pattern.options
kept the white space around a new name. So a script could make a brush
" Nib" beside "Nib", and a blank name made a brush, a pattern or an
artboard named with the blank. Artboard Options sends its Name field
as typed, so clearing it named the artboard "". The Brush Options
dialog, the Pattern Options panel and the Artboards panel trim the
names they send.
The eight commands now trim the name, and the brush and pattern
commands compare the trimmed name with the names there are. In
brush.new, brush.duplicate, object.pattern.make,
object.pattern.saveCopy and artboard.new, a blank name gives the name
the command gives when there is none: "New Calligraphic Brush" and the
other default brush names, "<name> copy", "New Pattern N",
"<pattern> copy" and "Artboard N". brush.options and pattern.options
keep the name when the new one is blank, and artboard.setProps gives a
blank one the artboard's default name, Artboard N for the Nth
artboard. Duplicate Brush and Save a Copy name the copy of a brush or
pattern whose saved name has white space around it from the trimmed
name (" Old " gives "Old copy").
Docs: docs/mcp.md, docs/target-app-parity.md.
A bounding-box handle dragged with the Selection or Free Transform tool
snapped only with Smart Guides on, and then only to the other objects
and the artboards. View > Snap to Grid, Snap to Pixel, Snap to Point
with Smart Guides off and the ruler guides did not move it, while a
move snaps to all of them.
The corner or side a handle moves now snaps as a dragged point does.
With Snap to Grid on it lines up with the nearest gridline, and with
Snap to Pixel on it lines up with whole pixels. With Smart Guides off,
Snap to Point lands it on the other objects' anchors and on ruler
guides within its distance. With Smart Guides and Snap to Point both
on, it lines up with the ruler guides as well as with the other
objects. Shift still keeps the proportions. Without Alt the opposite
side stays put, and with Alt the box still scales about its center.
Docs: docs/target-app-parity.md.
On a Wayland session a drawing tablet's pen could not draw or click:
winit 0.30 does not bind the Wayland tablet protocol, and neither KWin
(since Plasma 6.3) nor GNOME's Mutter turns tablet input into pointer
input. Linux Display Server's X11 (XWayland) choice let the pen work as
a mouse, but it opened the window through XWayland on every start, also
without a tablet.
Linux Display Server has a third choice, X11 (XWayland) When a Pen Is
Attached (x11WithPen). It opens the window through XWayland on a
Wayland session only when /proc/bus/input/devices lists a pen as the
app starts: a device with the BTN_TOOL_PEN key and the ABS_X and ABS_Y
axes, the check PhotoCraft's tablet.rs makes. Automatic stays the
default. On Linux the Performance page shows a note for tablet pens
that don't draw.
README.md named KDE alone; the KWin commit's message says Mutter does
not emulate tablet events either, so README.md and docs/development.md
now name GNOME. The Pen pressure row of docs/hardware-parity.md said
Linux has pressure through XWayland; winit 0.30 reports none on X11
either.
Docs: README.md, docs/development.md, docs/hardware-parity.md,
docs/target-app-parity.md.
On a machine busy with other builds, five tests on main failed now and
then and passed when run alone. The canvas test for dragging an object
with raster effects gave the render worker 10 s for its frame, which
took 0.10 s alone and 5.8 to 9.4 s with four ui-egui test runs at
once. The three tests_sysclip_probe tests gave the clipboard probe's
thread 2 or 3 s. The control server's persistent-requests test sent
each request with writeln!, which sends the JSON to the socket in many
small writes, and a pause of more than the test's 120 ms line deadline
between two of them closed the connection.
The canvas test now waits up to 60 s for the worker, as another test in
canvas.rs does. The probe tests wait up to 60 s too. The control server
test sends each request line in one write and keeps its 120 ms line
deadline. Only test code changes.
The Tabs panel menu passed false as each item's enabled argument and
its condition as the checked argument, so Clear All Tabs, Delete Tab
and Repeat Tab were always dimmed and, with a stop selected, showed a
check mark.
The three items are now enabled while the ruler shows tab stops and
show no check mark. Delete Tab and Repeat Tab act on the stop the ruler
shows selected. After Delete Tab removes the last stop, the ruler shows
the stop before it selected, and the next Delete Tab removes that one.
Clear All Tabs runs text.tabs.clear on the paragraphs the panel acts
on, so its undo step is named Clear All Tabs.
Docs: docs/target-app-parity.md.
Edit › Undo and Edit › Redo translated the step's name with its plain
catalog row only. Nine of the 22 catalogs have no plain row for
Feather, only the effect's menu row with an ellipsis, so in Japanese
Edit › Undo read "Featherを取り消す" after Feather while the History
panel listed the step as ぼかし.
The menu now names the step with panels::history::step_name, as the
History panel does, and keeps the name as recorded when the catalog
has no row for it. The in-window and native menus both show the new
label.
Docs: docs/target-app-parity.md.
dataset.import refused every header cell that wasn't the name of a
variable the document defines. A data source file could only fill
variables made beforehand, and `#` and `@` in a header were read as part
of a variable's name.
A header cell that names no variable now defines a new, unbound
variable in the import's undo step. `#Shown` defines a visibility
variable `Shown`, `@Photo` defines an image variable `Photo`, and a
cell without a prefix defines a text variable. A prefixed cell whose
name is already a variable of the prefix's kind names it. A cell that
is a variable's exact name keeps naming it, even when the name starts
with `#`, `@` or `%`, so files that dataset.export writes import back
as before. The import fails, naming the column, on a prefixed cell
whose name is a variable of another kind and on a `%` cell that names
no variable (graph data files). While the variables are locked, a
header that would define a variable fails the import with "variables
are locked", as New Variable does. The reply's `defined` lists the new
variables.
Docs: docs/mcp.md, docs/target-app-parity.md.
Save for Office Documents, the pictures that css.export rasterizes and
the PNG and PDF that Copy offers other apps were encoded with
fileio::encode, which drops the encoder's warnings. When the art held
an image that the renderer could not decode, the PNGs lacked it; type
in a font that is not installed came out in the fallback font in the
Office PNG and Copy's PNG and PDF. No reply or status message said so.
The app also dropped the warnings that document.exportSelection
returns.
document.exportForOffice, clipboard.exportPng and clipboard.exportPdf
now return `warnings`, and css.export adds the notes of its pictures to
its `warnings`, each once. Save for Office Documents and
document.exportSelection show the first note in the status bar in Save
As's message, and the CSS Properties panel's Export Selected CSS… and
Export All… show it in Export As's message. After Copy or Cut, once
the PNG and PDF are on the system clipboard, the status bar shows their
first note. The files are written as before.
Docs: docs/mcp.md (Clipboard, CSS Properties), docs/control-protocol.md.
Export for Screens, Batch over data sets, Save for Web and the
Libraries panel name files after text the person typed: a prefix, a
suffix, a name pattern, the name of an artboard, asset, layer, slice,
data set or library, or the document's title. The prefix, the suffix,
name patterns and Batch's data set names had only /, \ and : replaced,
so on Windows a name holding <, >, ", |, ?, * or a control character
failed to save, and Save for Web without a path named its files after
the document's title as it was. A row folder name could end in a
period, which Windows does not allow, and names such as CON, NUL, COM1
or LPT1, which Windows reserves for devices, were written as they
were.
file_part, which Export for Screens' prefix and suffix and Batch's
data set names use, now writes all of those characters as -, and name
patterns use it in place of their own copy. A new safe_file_name runs
a whole file or folder name through file_part, removes trailing
periods and spaces, and adds - after a device name that is the whole
name or comes before its first period (CON.png becomes CON-.png).
Export for Screens uses it for each file, folder and zip it names, and
keeps item names distinct after it. Save for Web uses it for slice
images and, without a path, for files named after the title. Library
files use it too. This happens on every platform. Other names are
written as before, except where a changed name now equals another
item's name, which then gets a number added.
Docs: docs/mcp.md, docs/target-app-parity.md.
With Rust 1.95, the workspace's rust-version, cargo clippy --workspace
--all-targets -- -D warnings stopped at vectorcraft-effects: clippy 1.95
reports nonminimal_bool on the parameter and pixel-size guards of
Cutout, Poster Edges and Neon Glow, and on the size check in
Rasterize::compose (Effect › Rasterize). Clippy 1.99 does not report
them.
Each check now has the form clippy suggests, one !(a && b && ...) in
place of !a || !(b && c) (!a || !b || !(c && d) in compose). The
operands and their order are unchanged, so the filters and compose
return early in the same cases as before.
New tests check that the three filters leave the art unchanged for a
pixel size of 0, -1, NaN or infinity and for non-finite parameters,
and that compose leaves the raster unchanged when a buffer's length
does not match its size or the image's area has no positive width or
height.
Export for Screens wrote each file with fileio::encode, which drops the
encoder's warnings, and its replies had no `warnings` key. When the art
held an image that the renderer could not decode, or type in a font
that is not installed, the files lacked the image or used the fallback
font, and neither the reply nor the status bar said so. document.export
returns the same notes in `warnings`, and Export As shows the first in
the status bar.
document.exportForScreens and assets.export now collect the warnings of
every file they export, each once, and every reply carries them in
`warnings`. The export still writes or returns every file. When there
are warnings, the Export for Screens dialog and the Asset Export panel
show the first in the status bar as Save As shows a save's notes.
Docs: docs/mcp.md (Export for Screens), docs/control-protocol.md.
With Override Save or Override Export on, action.batch named each
step's file in the destination folder with the step's format exactly as
written. The save and export commands read the format in any case and
with a leading dot, so a step with "format": ".svg" wrote
"Untitled_a..svg", "SVG" wrote ".SVG", "png8" wrote ".png8" and
"template" wrote ".template".
The file now ends in the format's extension: the extension as written,
in lower case and without the dot, when it is one of the format's
(".JPEG" gives ".jpeg"), and otherwise the format's first extension, the
one Export and Save use for a file name ("png8" gives ".png", "template"
gives ".vctemplate"). An unknown format ("xyz") keeps its spelling, and
the step fails with the command's error as before.
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.
With the Artboard tool in use, Ctrl/Cmd+A after a click on a row of the
Artboards panel selected all the art. The panel now takes the keyboard
when one of its rows is clicked, as the Layers panel does for Delete,
and gives it up when the pointer is pressed outside its list or the
panel is not drawn.
While it has the keyboard and the Artboard tool is in use, Select All's
keys, and Select All in the macOS menu bar, select every artboard: the
active artboard stays active and the art's selection does not change.
Otherwise Select All still selects the art.
Docs: docs/target-app-parity.md.
When zoomed in, an object with a texture, a blur or a shadow was slow
to drag. Filtered content whose on-screen area passes the 8.4 million
pixel raster budget keeps no raster, and a shadow or glow larger than
4 million pixels keeps none either, so every frame of the drag ran the
effects again over up to 8.4 million pixels. A drag that scales or
rotates an object runs them again at any zoom.
The canvas now renders a tool's drag with RenderOptions::dragging. In
such a frame the renderer draws filtered content within 1,000,000
pixels, at a lower resolution where it would need more, unless it can
draw the content from an earlier frame's raster. On the multithreaded
pipeline it does the same for drop shadows, outer glows and inner
glows. No raster made that way is kept. They count as moved rasters,
so a raster made over them is made again after the drag, and the
desktop canvas renders the frame after the drag on the render worker.
That frame renders them as a still frame does. A dialog's preview,
exports and printing render as before.
zoomed_drag_perf times a drag's frames at 100% to 6400% with and
without dragging.
Docs: docs/target-app-parity.md.
The History panel menu held only a disabled History Options… item. The
reference app's History panel menu has Step Backward and Step Forward,
which undo and redo a change, and Set History Limit, which sets the
number of History States.
The panel menu now has Step Backward and Step Forward. They run
edit.undo and edit.redo, and each is disabled when there is no step to
undo or redo, as Edit › Undo and Edit › Redo are. Set History Limit…
opens Preferences at Performance, where History States is set.
Docs: docs/target-app-parity.md.
Renaming a saved PDF preset (pdf.preset.save with newName) removed
the old file from the PDF Presets folder before it wrote the new one.
When that write failed, for example on a full disk, the folder held no
file for the preset, and the preset was gone at the next start.
The store now writes the new file first and removes the old one only
when that write succeeded. A failed write leaves the preset in the
folder under its old name. A rename that changes only the case of the
name writes the old file and then renames it, and the old file gets
its content back when the rename fails. The command still succeeds
when the folder can't be written, and the failure is logged, as
before.
File > Place could not place a Word document: a .docx file was "not a
format VectorCraft reads". The reference app's File > Place reads
Microsoft Word files as text.
File > Place now reads .docx files, written from ECMA-376 Part 1
(WordprocessingML, Transitional and Strict), and sets their text as
area type the way a text or RTF file is placed. The package is read
through its relationships. The formatting comes from the document
defaults, the paragraph style (else the default paragraph style), the
character style (else the default character style), the styles each
is based on, and direct formatting. Bold, italic, caps, small caps,
strikethrough and hidden text are toggle properties: a style that
turns one on reverses the state the styles before it give.
Each run keeps its font (theme fonts from the theme part), size, bold
and italic, underline, strikethrough, all caps, small caps,
superscript or subscript (in Document Setup's proportions), raised or
lowered text and color. Each paragraph keeps its alignment, start,
end, first-line and hanging indents, space before and after, and
direction; the start indent of a right-to-left paragraph is its right
indent. Table cells are separated by tabs and each table row is a
paragraph. Text in insertions, hyperlinks, content controls and
fields' results is read. Hidden and deleted text, field instructions,
pictures, text boxes, headers, footers, notes and list numbers are
left out.
A ZIP archive named .docx, or one that holds word/document.xml, is
read as a Word document. fileio/zip.rs gains a reader for stored and
deflated files that checks each file's CRC. A package with more than
10,000 files, a part that unpacks to more than 16 MiB or nests
elements more than 256 deep, and a document with more than 4 MiB of
text or 100,000 paragraphs or runs are refused with an error. The
Place dialog lists Word files, and file.place, file.place.info and
file.place.queue report the format `docx`. .doc files are still not
read.
The Word document tests in tests_textimport.rs fail without the
change, and text_import_fuzz.rs places random and damaged packages.
Docs: docs/file-format-parity.md, docs/mcp.md,
docs/target-app-parity.md.
1-bit TIFFs compressed with CCITT Group 3 did not open, place or
relink: the image decoder reads Group 4 only and refuses Compression 2
(modified Huffman) and Compression 3 (ITU-T T.4).
They are now decoded with hayro-ccitt, the CCITT decoder that EPS
import uses. Compression 2 rows start at a byte and have no EOL codes.
Compression 3 rows follow an EOL code and are one-dimensional, or, with
T4Options bit 0, one- or two-dimensional as each row's tag bit says.
Fill bits, FillOrder 2, either PhotometricInterpretation, strips and
tiles are read.
A file whose pixels would take more than the decoding allowance as
RGBA is refused as too large to draw. A strip or tile whose data ends
before its last row is refused as damaged, and so is a tile larger
than the allowance. The strips and tiles together are read from at
most as many bytes as the file holds.
Part of #1466.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
A Shaper Group keeps its original shapes as a transparent first child.
Clicks skip them outside Construction mode, but a marquee did not: one
drawn over the outline of an original shape whose face the group had
erased selected the group, where nothing is shown. Group Selection's E
marquee selected an original shape that lay inside it, and Direct
Selection's marquee and clicks selected the anchor points of the
original shapes.
The marquee now skips a Shaper Group's original shapes with the same
check clicks use, which moves into shaper_hides, and Direct Selection's
walk over the art it can pick skips them too. In Construction mode, with
the original shapes isolated, the marquee still selects them and Direct
Selection still selects their anchor points.
Docs: docs/shaper.md, docs/target-app-parity.md.
Optical Margin Alignment was stored and set per text object, so the
frames of one thread could differ. Turning it on in the first frame of
a thread left the lines in the other frames flush with their margins.
Type › Optical Margin Alignment and type.opticalMarginAlignment now set
every frame of a selected frame's thread, in one undo step, and the
reply's ids list them all. After any edit to a thread, its frames take
the setting of the frame that the edit turned on or off, else the
first frame's. Threading frames gives the thread its first frame's
setting, and frames taken out of a thread keep it. A file whose frames
of one thread differ opens with the first frame's setting in all of
them. This holds for native files and for documents restored from the
editing copy that an EPS, SVG, PDF or .ai file carries.
Threading text from an out port into existing area type
(text.thread.add with to) now flows the story into that frame at once.
Before, the story reached it only at the next edit of one of the
thread's frames.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md.
A .vectorcraft file's type opened with the character and paragraph
values it held. With a size of 0, the characters were not drawn. With
a size, leading, horizontal scale, left indent or space before of
1.797e308, point type's bounds were infinite or over 1e308 wide or
high, and moving or scaling it failed with "result would exceed the
canvas".
These values are now read into range when a file opens, in the type of
the layers, symbols, graph designs, patterns and the pattern definition
that Cancel puts back in pattern editing mode, and in character and
paragraph styles. A size, horizontal scale or vertical scale of 0 or
less becomes 12 pt or 100%, and a negative leading becomes Auto. A
size, leading or scale past 4,000,000 (MAX_COORD) becomes 4,000,000,
and a baseline shift, indent or space before or after past 4,000,000
either way becomes 4,000,000 or -4,000,000. A tab stop is kept to the
0 to 100,000 pt that text.tabs.set takes. A leading of 0, which legacy
.ai import stores, and the sizes, scales and indents within these
limits that SVG, PDF and .ai import keep outside the panels' ranges
open as saved.
Docs: docs/mcp.md (Paragraph attributes per paragraph).
document.setup accepts a superscript and subscript size of 1 to 500%
and a position of -500 to 500%, and a small caps size of 1 to 200%.
text.setFormat copies these proportions into the characters it
formats. A .vectorcraft file's characters, character styles and graph
label styles opened with the proportions they held. With a superscript
size of 0, the superscript characters were not drawn, and with a
superscript or small caps size of 1.797e308, moving the type failed
with "result would exceed the canvas".
These proportions are now read as the nearer end of each range when a
file opens: in the type of the layers, symbols, graph designs, patterns
and the pattern definition that Cancel puts back in pattern editing
mode, in graph label styles and in character styles. Proportions in
range and the other character attributes open as saved.
Docs: docs/mcp.md (Small Caps, Superscript and Subscript).
The task bar offers more next steps for each kind of selection:
- an open path: Join (closes it) and Edit Path (the Direct Selection
tool); a closed path: Edit Path;
- a compound path: Edit Path and Release Compound Path;
- a clipping group: Edit Clipping Path and Release Clipping Mask
instead of Ungroup and Isolate;
- an image selected with vector art: Make Clipping Mask instead of Unite;
- point or area type: Convert To Area Type / Convert To Point Type
beside Create Outlines.
Buttons may now carry command parameters. "Edit Path" is translated in
every catalog; the other labels reuse the menu's. cargo xtask ci passes
all 9 steps.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Add opaque RGB light color and up to ten independently adjustable lights to
Revolve, Extrude & Bevel, Inflate and Rotate. Keep light selection, Add/Delete,
selected-light gizmos and preview transactions on the existing command path.
Preserve legacy white-light Inflate polygons, paint composition and seam joins,
including the 0.05 seam minimum. Use shared smooth normals for colored Inflate,
and batch solid-fill RGB channel paths behind one surface clip. Keep source
paths editable and SVG/PDF output vector artwork.
Rebase onto main f7de3d6a, retaining both sides of progress docs and all 22
catalogs. Shade freeform points once through the shared paint mapper. Document
release measurements and a reproducible CLI fixture, including the remaining
source-gradient cost and the one-light timing tradeoff.
Validation: full cargo xtask ci passed all 10 steps; 7,978 tests passed, zero
failed and 11 ignored. Four legacy white-light PNGs match unchanged main byte
for byte. Three paired release bench/perf repetitions completed without busy
warnings; all six standard perf runs passed every budget. Two-light solid
Inflate improved from 136.2 to 96.8 ms/frame at 1200x1200, default eight threads.
- Prefer the anchor over a short handle within tolerance, like hit_handle.
- Pick the nearest eligible spine point and handle.
- Constrain Shift handle drags to 45-degree steps round the anchor.
- Hide spine handles with handles_multiple off, in overlays and picking.
Artboard Options showed Name, Width and Height only: the generic form
hides x and y, which in the shape dialogs are the click position. The
artboard's position could be dragged but not typed.
The dialog now draws its own rows after the form's, in the same grid:
the reference point locator the Transform panel, the Control bar and
Properties share, then X and Y. They show where the reference point
lies, counted from the ruler origin (#1212), as the Transform panel and
the Control bar show an artboard's position. A typed X or Y moves the
artboard so that its reference point lands there, and a new Width or
Height keeps the reference point in place. The fields still hold the
top-left corner in document points, so OK runs artboard.setProps as
before, in one undo step. The shape dialogs keep their x and y hidden.
form::grid_then lets a dialog add rows to the generic grid.
The Paragraph panel menu's Roman Hanging Punctuation was a disabled stub.
It is now a per-paragraph attribute: in a left-to-right paragraph of point
or area type with it on, the punctuation Optical Margin Alignment hangs
(quotation marks, hyphens, full stops and commas wholly; asterisks,
tildes, ellipses, en and em dashes, colons and semicolons by half) hangs
outside the margin when it starts or ends a line, on the same sides
(left-aligned lines at their left, right-aligned at their right, centered
and justified at both); letters don't hang. With Optical Margin Alignment
on as well, letters hang too. East Asian punctuation keeps hanging only
through burasagari. The layout shares Optical Margin Alignment's hanging
code, given the share of each glyph that hangs.
text.setFormat takes romanHangingPunctuation; it is off by default, saved
only when on, carried by paragraph styles (New and Redefine capture it)
and turned off by Reset Panel. The panel menu item is a checkbox enabled
with type selected.
Docs: docs/mcp.md, docs/type-parity.md, docs/gaps.md.
Closes#2756.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
craft-libs#169 is merged, so the fork pin is no longer needed. Pinned to
storytold/craft-libs 82a24b006eefa036b43c09a67fb9a3fbd17ffe63 (main after the merge) rather than the older 12281d07,
which predates resolve_absolute and the Windows colon refusal.
With anchor points selected with Direct Selection, the Contextual Task
Bar's anchor items were Remove Anchor Points and Cut Path. The
reference app's bar also offers to connect the selected end points and
to convert the selected anchors to corner or smooth.
The bar now offers Remove Anchor Points, Connect, Cut Path, Corner and
Smooth. Connect runs Join (path.join), and Corner and Smooth run
path.convertAnchors with `to` set to corner or smooth. These are the
commands of the Control bar's anchor buttons. "Connect" has a row in
every catalog; "Corner" and "Smooth" use the existing rows.
The reference app's Smooth item, which adjusts a path's curvature, is not
offered, because VectorCraft has no Object > Path > Smooth. Simplify,
which the reference app's bar also offers here, is still offered only
while no anchors are selected.
Docs: docs/target-app-parity.md.
path.reshapeSegment refused only a delta that was not finite. It moves
a segment's two handles by the delta divided by 3t(1-t), which is
0.1425 at t 0.05 or 0.95, so a finite delta above about 2.5e307 wrote
infinite handles into the path. object.blend.spine.reshapeSegment
refuses a delta of 1e9 pt or longer.
path.reshapeSegment now refuses a delta of 1e9 pt or longer, with its
"invalid delta" error. Two other path commands took a point with no
bound. path.convertAnchor with x, y at 1e308 put the two handles 2e308
apart, so the path's control box was infinitely wide, and path.freehand
through such points with keepSelected off fitted a path whose bounds
reached infinity. Both now refuse a point whose x or y is 1e9 pt or
more in size, with "x and y must be finite", the error
object.blend.spine.moveAnchor gives for the same bound.
Docs: docs/mcp.md, docs/target-app-parity.md.
VectorCraft listed a variable font's named instances as styles, but
type could not be set between or past them. The reference app's
Character panel has a Variable Font control that adjusts a variable
font's axes, such as Weight, Width and Slant.
Type now keeps Variable Font settings by axis tag
(CharStyle::font_axes, saved as fontAxes only when set). text.setFormat
and text.setRangeStyle take fontAxes: each value is clamped to its
axis's range, a tag the font has no axis for is left out, and null
goes back to the style's own setting. Another font or style clears
them, including one from a character style that does not set them. A
character style captured from type sets them, with {} for none.
text.fontList {family, style} lists a font's axes.
Layout, outlines, the substituted-glyph highlight and PDF export use
the font instanced at the settings, and neighboring runs at different
settings are shaped apart, as runs in different fonts are. SVG export
writes them as font-variation-settings, the wght setting as the weight
and the wdth setting as font-stretch, and embeds the font instanced
there; SVG import reads font-variation-settings back. Legacy .ai export
warns that the settings are left out.
The Character panel shows a Variable Font button for a variable font.
It opens a slider and a field for each axis the font does not hide,
labeled with the font's name for the axis, and screen readers get each
slider under that name. A drag is one undo step. Reset Panel leaves
the settings, as it leaves the font and style.
Missing Glyph Protection now keeps the settings and the font version
on the characters that keep their font; before, it kept only the
family and style. A character style applied or redefined with another
font now clears the old font's version, as text.setStyle does, unless
the style sets one. SVG export with embedded fonts warns when faces of
one weight, style and width share characters, which browsers then draw
in one of the faces.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md.
The Automatic palette counts flat art's colours by area (a colour needs
about 1% of the picture, 0.5% at Colors 100) and fits that count with
median cut and area-weighted k-means. A stem, a highlight, or a near
white beside a pale background (within 24 levels, so in one box) was
averaged into a large neighbour; mixed-colour merging and Noise could
then remove what was left.
On the flat route only, after the count is fitted, rare_colours finds
the colours too rare or too close for it and keeps those that are
distinct (at least 2.5 in Oklab x 100 from every palette colour and from
the main colour each stands for), flat (mostly one histogram bin) and
drawn (a 4-connected region of their own unblended pixels of at least 8
pixels, or three of at least 4); a colour lying between two others, as
anti-aliasing mixes them, must also have an inside. At most six, largest
region first. They stay fixed while the other colours are refitted
around them; merge_mixed leaves them alone; denoise_keeping keeps their
regions of 4 pixels or more whatever Noise is (smaller specks still go).
Full Tone, Limited and Automatic's continuous-tone route are unchanged,
and denoise without kept labels is as before.
Methods cited in the code: median cut (Heckbert 1982), k-means (Lloyd
1982), Oklab (Ottosson 2020), salient-colour preservation (Fukuda et al.
2019, doi:10.1117/12.2521607). The rule and its numbers are VectorCraft's
own; Adobe does not document how its palettes are chosen.
Tests (code-drawn): a rare stem or patch over 2-8 flat colours, hard
and anti-aliased at 1x and 2x; near-white highlights on #FFF4E0 kept and
still paths at Noise 16; a 3 px #909090 stem on #808080; scattered
single pixels of the same areas add no colour; denoise_keeping at Noise
0-32.
Measured on 66 synthetic flat logos (22 designs x hard 1x, anti-aliased
1x and 2x; local inputs): every key colour and no spurious one in 66
(was 39); missing key colours 0 (was 43), spurious 0 (was 2), merged
pairs 0 (was 46); rendered dE00 0.348 -> 0.138. Four public-domain scan
crops take the continuous-tone route and are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The public documentation says Image Trace warns about images larger
than 1500 pixels on a side but traces them, only more slowly. VectorCraft
traced them silently, and refused any trace of more than 2,000,000
anchors, which a 4000 x 3000 photo at High Fidelity Photo nearly reaches
(1.9 million on a code-drawn photo) and a noisier one passes.
- imageTrace.make and makeAndExpand return `warnings`: one for an image
over 1500 px on a side (traced, but more slowly; a lower-fidelity
preset or a smaller copy is quicker), one for an image over 64 MP
that was traced from a scaled-down copy. The app shows the first in
the status bar.
- MAX_TRACE_ANCHORS is 8,000,000 natively (2,000,000 on wasm, where a
page has at most 4 GB). Measured through imageTrace.make on
code-drawn photos: about 90 bytes an anchor kept in the document;
7.9 million anchors kept 685 MB with an 876 MB peak (4000 x 3000,
Full Tone at Colors 100, Paths 100, Noise 1, 37 s).
- The refusal keeps its translated advice: raise Noise, lower Paths or
Colors, or pick a lower-fidelity preset.
Tests: a_large_image_traces_with_a_warning (1600 x 40 and 1500 x 8
code-drawn images, make and make-and-expand),
trace_warnings_name_a_large_or_scaled_down_image, a compile-time check
of the limit's range, and a UI test that the status bar shows the note.
Source:
https://helpx.adobe.com/illustrator/using/image-trace-results-optimization.html
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Raster::new checked its RGBA length with assert_eq!, so bytes of the
wrong length (from a file, a plug-in or a control message) would abort
instead of reporting an error. It now returns Result<Raster, TraceError>
and gives TraceError::Decode naming the byte count and the size (the
existing variant, whose text is already translated, instead of a new
message every language would need). The size product is checked for
overflow.
Raster::pixel indexed the bytes directly; it now gives transparent
black outside the raster, or past the end of a raster whose public
fields were set to a size its bytes don't have (which mosaic reads).
The public signature changes: every caller in the workspace was a test
(trace unit tests, Flat Logo tests and the quality harness), updated to
unwrap. No shipped code built a Raster with new; decode, decode_to_fit
and from_fn always make the right length, and trace_within already
refuses a raster whose fields disagree.
Test (code-drawn): a_raster_of_the_wrong_length_is_an_error_not_a_crash
(short, long, empty, zero-width and overflowing sizes; pixel, trace and
mosaic on a raster whose fields disagree).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Place junction clusters at their deepest pixel and prune terminal branches
by significance beyond their maximal discs. Merge overlapping junctions
and split crossings with continuing outer arms, then join degree-two runs.
Bound nodes, branches and simplification work, using checked data access.
Keep whole-blob selection, ink refinement, cap detection and fitting rules.
Test junction degrees, crossings, 24-angle lines, pruning, graph caps and
random-blob determinism. Record improved junction degrees and remaining
spur and extra-junction limitations in the centre-lines measurements.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Co-Authored-By: OpenAI <noreply@openai.com>
Compute exact squared Euclidean distances per blob with separable parabola
lower envelopes. Thin with bounded Guo–Hall active sets and retain diagonal
ends during staircase cleanup. Keep the whole-blob width rule and existing
graph, ink, cap and fitting rules, with checked access in the moved module.
Verify EDT against brute force, active sets against plain rounds, and both
diagonal slopes for length and connectivity. Record the centre-lines rerun
and its remaining limitations without changing feature scores.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Co-Authored-By: OpenAI <noreply@openai.com>
Measure Create Strokes on exact code-drawn scenes in aa and hard variants,
including centre/width error, topology, ends, spurs and painted coverage.
Keep the existing allocator report in one ignored test and document the
current baseline without changing tracing behaviour or dependencies.
Co-Authored-By: Codex <noreply@openai.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Each swatch or graphic style library now opens in a panel of its own,
`library:<kind>:<library id>`, in the shared docking system: several can be open
at once, and they float, group as tabs, dock and close like any panel.
Opening a library that is open brings its panel forward; Previous / Next
Library show the neighbouring library in the same panel.
The library panel menu gains Persistent. The panels' view, Show Find Field
and Persistent are kept in the UI preferences (`library_panels`); at startup
the persistent panels reopen where the saved layout had them, a library
loaded from a file read again from its path (a missing file is skipped with
a status-bar note). `ui.libraryPanel {panel, library?, view?, showFind?,
persistent?}` reaches all of it; docs/mcp.md documents the panels.
Install Plug-in (plugin.install) now keeps the plug-in's module in a
Plug-ins folder next to the preferences, as Illustrator keeps plug-ins in
its Plug-ins folder, and the desktop app and vectorcraft-cli install the
ones there at startup (a module that doesn't load is skipped with a log
record, at most 512 MB are read). Remove Plug-in deletes it from the
folder. The Additional Plug-ins Folder preference is still loaded from
where it is. Confined MCP servers and VECTORCRAFT_NO_PREFS keep nothing,
as with the PDF preset and colour profile stores.
Docs: docs/mcp.md, docs/plugins.md, docs/target-app-parity.md.
The History panel looked up each step's name with tl!, which reads only
a plain catalog row. 95 of the 427 names that the engine, the tools and
the shell give their undo steps had no such row in at least one complete
catalog, and 83 had no row at all (Make Blend, New Guide, Pen, Reshape
Spine and others). A step named after an effect has the effect's menu
name without its ellipsis. For many effects, and for steps such as New
Layer, the catalogs hold that name only with the ellipsis. The panel
listed those steps in English.
Each complete catalog now has a row for every step name, written in the
catalog's own terms: 1,437 rows in the 19 catalogs. The History panel
reads a step's row, or else the row of the same name with an ellipsis,
without the ellipsis, and shows the name as recorded when the catalog
has neither. A new test reads the step names from the sources, as the
tl! and message tests read theirs, and requires a row for each in every
complete catalog.
Docs: docs/target-app-parity.md.
Selecting other art drops Puppet Warp pins, ending Edit Text clears the
flat view, and a font scan lays type out again. None of these makes an
undo step or counts as an edit to save, but each one replaced the
document. A background save that finished afterwards compared the
document with the one it wrote by pointer, so the document stayed
marked modified. Data Recovery also wrote a new copy of a document whose
pins had been dropped.
DocState now records the documents that these changes replaced, and
DocState::same_content counts them as having the same content. The
modified flag, the end of a background save and Data Recovery use it.
After Edit Text ends, an undo state that was the saved one stays the
saved one.
With the Artboard tool in use, a Shift-click on a row of the Artboards
panel selects the artboards from the last row clicked without Shift to
the clicked row, and the clicked row's artboard becomes the active one.
When the artboard of the last row clicked without Shift is no longer
selected, the range starts from the active artboard, and later
Shift-clicks start from there too. Ctrl/Cmd-click still adds or removes
one artboard, and a plain click selects one. The public Select
artboards page lists Shift-click in the Artboards panel for selecting
several artboards.
A Shift-click used to add or remove one artboard, as Ctrl/Cmd-click
does (#1139).
Docs: docs/target-app-parity.md.
Print and Print Preview name the area type and type on a path that
prints without the text past the end of its frame (#2308). The exports
that draw type gave no such warning: a PDF, EPS, SVG, EMF, WMF or
raster export of a frame too small for its text answered with no
warning about it.
These exports now add the same warning, with "isn't drawn in the
export" in place of "doesn't print". Each export counts the visible
objects that it draws. Those are the objects on the pages or artboards
it writes, or all of them in an EPS of the visible art and in an SVG
without chosen artboards. A PDF leaves out layers that don't print
unless includeNonPrinting or createLayers is set. The objects are found
with the walk that fonts::printed_type runs for Print, and typecmd.rs
builds the message with the code that builds Print's. A .ai file keeps
the whole text in its editing data and gives no warning.
Docs: docs/mcp.md (Fitting area type), docs/target-app-parity.md.
With View > Guides > Lock Guides on, Session::select drops the paths
made into guides from the selection (#1534), but commands that set the
selection another way skipped that filter and left a locked guide
selected, so the next move moved it. object.exitIsolation selected an
isolated guide path. Undo, Redo, a canceled undo group, a canceled
drag or dialog preview and a failed command.batch brought back locked
guide paths and ruler guides in the selection. Unlock All, Show All
and Paste selected the guide paths they unlocked, showed or pasted.
Locking the guides deselected them in the active document only.
The filter is now deselect_guides, which also clears the selected
ruler guides. Session::select and Session::edit run it while Lock
Guides is on, and so do object.exitIsolation, Undo, Redo,
Session::cancel_interaction, a canceled undo group and a failed batch.
Locking the guides deselects them in every open document. With Lock
Guides off, the selection is set as before.
Docs: docs/mcp.md.
A marquee measured a clip group, and the objects on a layer with a
clipping mask, by all of their art, including the art the mask hides.
A marquee around a rectangle drawn next to a clip group also selected
the group when it crossed the group's hidden art. A click already
counts only the art inside the clipping path.
The marquee now takes a clip group, or an object on a clipping layer
or sublayer, only when it meets the area inside the clipping path, and
it measures the art there within that area's bounds. The same rule
applies to the objects that Direct and Group Selection select whole,
to Group Selection's E marquee, and in isolation mode when the clip
group or clipping layer itself, or one object directly inside it, is
isolated. The anchor points that Direct Selection's marquee picks are
unchanged.
Docs: docs/target-app-parity.md.
Nothing locked the variables: any command or panel button could delete
or rename a variable that scripts and data sets name.
variable.lock {locked?} (Lock Variables: a lock button in the Variables
panel's bottom bar and an item in its menu) sets a flag that is saved
with the document. Without `locked` it toggles, and a change is one
undo step. While the flag is set, variable.define, variable.delete,
variable.rename and the four variable.make…Dynamic commands are refused
with "variables are locked", and the panel disables New Variable…,
Variable Options…, Delete Variable and Make … Dynamic. Binding,
unbinding and the dataset commands still run. variable.list
reports `locked`. A file without the flag opens unlocked.
Docs: docs/mcp.md, docs/target-app-parity.md.
Document Info's Save, Save Swatch Library and Save Graphic Style
Library to a file, the Libraries panel's Export Library…, the presets
dialogs' Export…, the CSS Properties export, Print to a PostScript
file and Keyboard Shortcuts › Export… passed no file type to the save
panel. On Windows the panel listed "All Files", and neither the Windows
nor the macOS panel added the extension to a name typed without one.
Each of these saves now passes the one file type it writes, as Save and
Export do for document formats. The Windows panel then lists it, and
the Windows and macOS panels add its extension. The labels are the ones
the open dialogs use for these files (Swatch libraries, Libraries, the
presets, Shortcut sets), the Window menu's Graphic Style Libraries, Text
for Document Info, CSS and PostScript.
A selection with more than 100,000 anchors shows its bounds instead of
every outline and anchor (#525). The count took in path anchors only.
Type, images, symbol instances, placed documents, gradient meshes and
envelopes counted nothing, although the selection overlay outlines each
of them: a box, an area type frame or a type path, a baseline marker
for point type, and the points and mesh lines of meshes and envelopes.
The PDF importer makes type objects from a page's text lines, one image
object per image and one gradient mesh per patch or triangle of a mesh
shading, so selecting all of a large PDF outlined each of them: 131,072
selected mesh pieces need 16.8 million vertices, a 336 MB vertex
buffer, past wgpu's 256 MiB buffer limit.
The count now takes in what the overlay draws for each kind. Paths
count their anchors. Area type and type on a path count the anchors of
their frame or path, and point type counts six: its box's corners and
the ends of its baseline marker. Images, symbol instances, placed
documents, and area type or type on a path in perspective count the
four corners of their box, and gradient meshes and envelopes count
their points and the ends of their mesh lines. The selection's outline,
the key object's outline and the hover highlight all use the count.
Docs: docs/target-app-parity.md.
A click with the Group Selection tool on a compound path selects the path
under the pointer (its outline within the pick tolerance, else the innermost
path whose area holds the click), so the outer shape and each hole can be
selected on their own; Shift-click adds another, and a click on a selected
path adds the compound path, as a click on a group member climbs to its group.
A path selected this way is an object of its own for Move, Transform, Rotate
and the other transforms, as it already was inside an isolated compound path:
the hole of a ring moves without the ring. Paint and the other commands still
go to the compound path, which holds the paint.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
# Conflicts:
# docs/target-app-parity.md
On an edge two artboards share, the artboard to the right of it or below
it holds a point, except at the end of the edge that lies on that
artboard's bottom or right edge, such as where both artboards' bottom
edges meet. There the first artboard holds it, or the last when
topmost. The doc comment and the test comments now say so, and the test
asserts that corner.
The Print Tiling tool's press and print.tiling.set without `artboard`
decided which artboard a point is on with Rect::contains, which leaves
out the right and bottom edges. A press exactly on an artboard's right
or bottom edge picked no artboard when no other artboard holds that
point, so the drag did not snap to that artboard's edges. An origin
there was measured from the first printed artboard: with artboards at
0 to 300 pt and 300 to 600 pt, an origin on the second one's right edge
was saved as x 600 instead of 300.
Both now count the edges as Document::art_on_artboard does, within a
millionth of a point.
Rearrange All Artboards, Select › All on Active Artboard (for objects
with no area), Copy's source artboard for Paste in Place, Align to
Artboard without an index, Crop Image, the Crop Image tool, Place with
`at`, CSS positions and a filter plug-in's artboard decided whether a
point or an object's center is on an artboard with Rect::contains,
which leaves out the right and bottom edges. A line along an artboard's right or
bottom edge was on no artboard: Rearrange left it behind, and All on
Active Artboard did not select it. Document::art_on_artboard counts
art flush with those edges (#890).
They now count the edges as art_on_artboard does, within a millionth
of a point. On an edge two artboards share, the artboard to the right
of it or below it still holds the point. All on Active Artboard
selects a line on a shared edge from either artboard. A press exactly
on a right or bottom edge now picks that artboard, and the Artboard
tool's cursor shows Move there.
Rearrange and Select › All on Active Artboard measured a symbol
instance as its transform applied to the 20 × 20 square around the
symbol's origin, not by the symbol's art. An instance whose art lies
away from that square moved with, or was selected on, the artboard
the square was on. Convert to Artboards, Transform Each, Lock and
Hide › All Artwork Above, Paste and Place from Library at a point,
and the clipboard imports measured the instance the same way, as did
Copy and Cut when they recorded the source artboard and library.add
when it sized a graphic.
These commands now measure an instance by its art through
Document::symbol_boxes, as Document::art_on_artboard, Fit to Artwork
Bounds and the Align commands do. Clipboard::bounds measures with the
symbols the clipboard holds. clipboard.exportPng, clipboard.exportPdf
and the PNG and PDF that Copy offers other apps are now cropped to
the instance's art.
Docs: docs/mcp.md.
The blend spine commands and the gradient mesh point commands read
their anchor, segment or index as a number and dropped its fraction,
so object.blend.spine.moveAnchor with anchor 1.5 moved point 1 and
reported success. object.envelope.setMeshPoint did the same and also
read a negative index as 0. Specified Steps in object.blend.make and
object.blend.options, and the rows and columns of object.mesh.create,
object.envelope.makeWithMesh and resetWithMesh, dropped their fraction
in the same way.
These commands now fail with "`<key>` must be a whole number" for a
fraction, and object.envelope.setMeshPoint fails with "index must be
≥ 0" for a negative index, as the other point commands do. Whole
numbers written as 4.0, as the Blend Options and Make with Mesh
dialogs send them, still work.
Docs: docs/target-app-parity.md.
dataset.select skipped every bound object inside a hidden layer or
group. Type on a hidden layer kept the previous row's text, which
showed when the layer was shown again, and dataset.list and the
Variables panel reported every row as matching that type while the
layer stayed hidden.
dataset.select, dataset.next and dataset.prev now rewrite type and
apply the other values on hidden objects and inside hidden layers and
groups. Those objects stay hidden unless a visibility value shows
them. Objects that are locked or inside a locked layer or group are
still skipped and counted in `skipped`. dataset.list, dataset.capture
and dataset.update read hidden objects as well. Binding still refuses
art inside a hidden layer or group.
The values now go in the order the variables are defined. The passes
that applied visibility values before and after the other values are
removed.
Docs: docs/mcp.md, docs/target-app-parity.md.
A two-finger rotation on a Mac trackpad did not turn the view. With
the new General preference Trackpad Gesture to Rotate View
(`trackpadRotateView`, on by default) and the pointer over the canvas,
the rotation turns the view about the pointer, keeping the document
point under it in place. The view does not turn until the rotation
reaches 5°; it then turns by the whole rotation and follows each later
rotation event. A rotation ends 0.25 s after its last event. A rotation
in the same frame as a pinch zooms and turns about the same point.
egui reports the gesture as `Event::Rotate`: egui-winit makes it from
winit's macOS rotation gesture, and eframe makes it from Safari's
gesture events in the web build. Rotation events that arrive while
fingers are on a touch screen do not turn the view. With the
preference off, the gesture does not turn the view.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/hardware-parity.md.
The Selection and Direct Selection tools drew the start, center and end
brackets of every selected type on a path, and hit-tested each of
them, however large the selection was: 32,768 selected type on a path
objects added 1,310,720 vertices to the frame's mesh, 40 for each
object. The PDF importer makes type on a path for curved text lines,
so selecting all of a large PDF can reach that size.
With more than 10,000 type on a path objects selected, the tools now
neither draw nor hit-test any bracket: a press where a bracket would
be does not start a bracket drag, and the pointer does not change to
the bracket cursor there. The tools draw 10 points for each object's
brackets, so 10,000 objects take 100,000, the same number as the
canvas's limit on the anchor points it outlines. The tools crate has
its own constant with the same value.
Docs: docs/target-app-parity.md.
File › Open, File › Place and the Links panel note an image that needs
more than the decode allowance (2 GiB, 512 MiB in the web build). The
note counted the bytes the decoder gives, one a pixel for an 8-bit or
1-bit gray image, so a 1-bit gray PNG of 23,171 × 23,170 pixels (537 MB
as gray, 2,147,488,280 bytes as RGBA) got no note, although sampling,
recoloring and Load Texture refuse it for its RGBA size.
The note now counts width × height × 4, or the decoder's bytes when
they are more, against the allowance, with the size computed in 64
bits. Such an image gets the note an oversized RGBA image gets. Images
within the allowance get no note, as before.
Object > Rasterize, Crop Image, Flatten Transparency, Expand
Appearance of raster effects and Vector Halftone draw the art with the
renderer and replace it with the result. When the art held an image
that could not be decoded, the renderer drew nothing for it, and the
result lacked the image with no message. A raster export of the same
art warns that "an image couldn't be decoded and is missing from the
picture".
These five commands now compare decode_failures before and after they
draw, as raster exports do, and their replies carry that text as
`warning`. They still make their result in one undo step. The app
shows a command's `warning` in the status bar: after a menu command,
after OK in a dialog with a preview, and after a tool runs a command
(Crop Image's Apply).
Docs: docs/mcp.md (Flatten Transparency, Expand Appearance, Document
Raster Effects Settings, Vector halftone).
A selected clip group drew the outline of everything inside it: the
clipping path, the whole rectangle of a clipped image, and the whole
outline and anchors of each clipped path. The Selection tool's
bounding box, which fits the clipping path, showed on top of them.
The hover highlight and the key object outline drew the same hidden
art.
The selection overlay, the hover highlight and the key object outline
now show only the clipping path of a clip group or clipping layer,
its first child. The overlay's limit on anchors counts only that path
too, so a clip group that hides a large trace still shows its
clipping path's anchors and hover highlight. The art inside still
shows its whole outline when it is selected on its own: with Edit
Contents, a Direct or Group Selection click, or in isolation mode.
Docs: docs/target-app-parity.md.
file.new takes a width and height up to 163,830 pt, 1 to 1,000
artboards, a spacing of 0 to 100,000 pt and a bleed of 0 to 72 pt a
side, but a saved or Recent New Document preset in the preferences
was read as it was stored. With a width of -5, file.new failed with
"width/height must be positive and within the canvas"; a spacing of
-50 overlapped the artboards, a preset with 5,000 artboards made 5,000
artboards, and a bleed of 100 reached the document. A .vectorcraft
file's Document Setup bleed, superscript and subscript proportions and
small caps size also opened as stored, and document.setup then failed
when its own report was passed back to it.
These values are now read as the nearer end of the range their
setter takes, and an artboard width or height of 0 or less is read as
1 pt. Presets and files with values in range read as before.
Docs: docs/mcp.md (Document Setup, New Document).
Found while testing crates/svg/src/css.rs:84 (font_props)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
object.createObjectMosaic read columns and rows with as_u64 and fell
back to 10 for anything else, so 2.5, -3 or "4" made a 10 x 10 mosaic
and reported success. Transform Each read reference and seed the same
way (a reference of 2.5 used the center point, and a seed of 7.5 used
the default seed), and Rearrange All Artboards cut 1.5 columns to 1
and read "1" as the default 2.
These five parameters now take a whole number, written 4 or 4.0 as the
Rearrange All Artboards dialog sends it. A fraction or a negative
number is refused with "`columns` must be a whole number", the message
object.slice.divide gives. A string or another value that is not a
number is refused with the check_numbers error. The command then
changes nothing. The existing ranges stay: 1 to 1000 mosaic tiles
across and down, a reference of at most 8, and 1 to the artboard
count of columns.
Docs: docs/mcp.md, docs/target-app-parity.md.
In a CMYK document, an RGB color from the Eyedropper, a hex value or
paint.setFill was stored as CMYK by the profile-free formula
(k = 1 - max(r, g, b)), not through the color settings. RGB 83/170/223
came in as C63 M24 Y0 K13. A CMYK image was sampled through the RGB its
decoder shows, so its inks came back only when the formula happened to
round-trip them.
paint_from now converts an RGB color into a CMYK document with
Cms::convert and the settings' intent, as Document Color Mode and Swatch
Options already do. This covers paint.setFill and paint.setStroke,
gradient stops, swatch.new {color} and the Eyedropper. With Generic CMYK,
83/170/223 now separates to C59 M12 Y3 K0, and #ff0000 now separates to
C0 M97 Y100 K0 instead of C0 M100 Y100 K0. keepModel: true still keeps
RGB. paint.sampleColor with a stop stores the color the same way.
The Eyedropper samples a CMYK image's ink amounts (a four-component
JPEG, or an 8- or 16-bit chunky CMYK TIFF) and returns them unchanged
(ImageBlob::sample_cmyk_object), also in an RGB document. It takes an
RGB image's sRGB pixel into the working RGB space, as the screen color
sampler does, so the picked color shows as the pixel when the working
space is not sRGB.
Docs: docs/mcp.md, docs/target-app-parity.md.
A PDF-compatible .ai read through its editing data kept the PDF part's
warnings that text was kept as outlines ("text was converted to
outlines", the U+FFFD warning and the warning on glyphs that differ
from the installed font). The layers take from the page only text
nodes and the stroked paths around them, so filled outlined glyphs
don't reach the document, and type made from the text document holds
every character.
- The warnings are dropped when the document holds no glyphs kept as
outlines. Stroked glyphs that come in with stroked type keep them.
- A text object that takes the page's type, next to glyphs the page has
only as outlines, lacks those characters: a new warning counts such
objects.
- vectorcraft_pdf exports the three warnings, is_outlines_note,
is_glyph_outlines and holds_outlines.
Docs: docs/target-app-parity.md.
The mesh covers the image's rectangle with its transform kept; each point takes the average colour and opacity of the picture around it. A linked image is refused.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
View › Rulers › Change to Global Rulers (Cmd+Alt+R) was a disabled
stub: the rulers always counted from one document zero point. The
reference app's public help describes two modes: artboard rulers, the
default, count from the active artboard's top-left corner, and each
artboard can have its own zero point; global rulers keep one zero point
for the whole document whichever artboard is active.
https://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/about-rulers.htmlhttps://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/use-rulers.html
`view.globalRulers {global?}` switches the mode (toggle by default),
undoable and saved with the document (`rulers`). The menu item reads
Change to Artboard Rulers while global rulers are on. A new document has
artboard rulers; a file saved before the mode existed has no `rulers`
key and opens with global rulers, so it measures as it did.
With artboard rulers, dragging the ruler corner sets the active
artboard's zero point, kept as an offset from its corner
(`artboard_ruler_origins`, by artboard id) so it moves with the
artboard, and double-clicking the corner resets it. The global zero
point (`ruler_origin`) stays separate. `document.rulerOrigin`,
`document.setRulerOrigin` and `document.resetRulerOrigin` take
`artboard`; `Document::ruler_origin_for` is the zero point with an
artboard active, falling back to the corner or the global one when a
stored value is out of range.
The rulers, the Transform, Properties and Control bar X/Y, the Info
panel's X/Y (which ignored the zero point before), ruler-guide
readouts and Shift ruler-tick snapping all count from that zero point:
the view's active artboard reaches the tools through `ViewInfo` and
`ToolContext::ruler_origin`. Command coordinates stay absolute.
Tests: engine/tests/ruler_origin.rs (default mode, per-artboard origin
following its artboard, global origin apart, toggle and undo, save and
legacy files, out-of-range values), ui-egui/src/tests_ruler_origin.rs
(position fields and corner drag on the active artboard, menu label and
shortcut), tools/src/rulerguide.rs (guide readouts and tick snapping).
Tests written for the single global zero point now turn global rulers
on first. "Change to Artboard Rulers" is translated in every catalog.
Docs: docs/ui-parity.md, docs/gaps.md (G7), docs/target-app-parity.md,
docs/mcp.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01U2JbUtM4MkzWLm9FgYiEsq
The Appearance panel's inline effect editor showed a parameter that
picks one of some values (Roughen's Points, Offset Path's Joins, the
menus of Smart Blur, Glass, Texturizer and De-Interlace) as a text
field holding the stored value, where the effect's dialog has a
dropdown. Its labels did not have the dialog's mappings ("Channel1"
and "Max Radius" for "Channel 1:" and "Max. Radius:"), and a plug-in
choice named mode whose value is a blend mode name showed the blend
mode list.
The editor now shows the other parameters that effect::choices lists
as dropdowns with the dialog's labels (Drop Shadow's Shade keeps its
radio buttons), translated in the "effect" context, and a pick sends
the dialog's value with effect.setParams. Glass's Texture menu ends
with Loaded Texture once a texture is loaded. A plug-in's choice lists
the plug-in's values, and the blend mode dropdown is only for our own
effects. The labels are form::humanize's without the colon. The dialog
and the panel both call form::choice_label and effect::glass_textures.
Docs: docs/target-app-parity.md.
In a rotated view the resize and rotate cursors were the ones for an
unturned view. With the view turned 90°, the right-middle handle of a
selection's bounding box shows at the middle of the box's bottom edge
and drags up and down, but its cursor was the left-right arrow. This
affected the Selection, Free Transform, Artboard, Slice Selection, Crop
Image, Perspective Grid and Perspective Selection tools, ruler guides,
and the spread handle of a freeform gradient.
Now each of these cursors turns with the view to the nearest 45°. The
Selection tool and the Perspective Selection tool turn the handle's
direction by the view's angle before they round it to a cursor.
ToolContext::view_angle reads the view's angle from the screen frame,
and Cursor::turned turns a resize or rotate cursor by it. The new
Cursor::rotate_about_in_view turns the pointer's direction from the
center by the view before it picks one of the rotate cursor's eight
directions. Cursor::rotate_about keeps its signature and behavior. At
0° every cursor is as it was.
Docs: docs/target-app-parity.md.
Three original Artistic filters on the pixel pipeline, each with a
catalogue row, the generic live dialog, translations and tests.
- Cutout: colours softened by Edge Simplicity (less with Edge Fidelity),
split into Number of Levels steps per channel and painted as flat
pieces in their average colour; slivers along softened edges take the
nearest large piece's colour.
- Poster Edges: channels posterized to Posterization + 2 levels, black
lines on the edges of any channel and of the outline, widened by Edge
Thickness and darkened by Edge Intensity.
- Neon Glow: dimmed greys screened with a glow colour from the light
areas (positive Glow Size) or the dark ones (negative), as strong as
Glow Brightness.
All keep coverage and work in document units at any Document Raster
Effects resolution. Photoshop filters 33/57; cargo xtask ci passes all
9 steps.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Native review of the rows added in the Finnish merge: "artboard" is
piirtoalusta everywhere else in the catalog, so the two export rows that
said piirtoalue now match; "Color Scheme" becomes Väriteema so it no
longer reads the same as Swatches (Värimallit). The other added rows
read correctly and are kept.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Object › Graph › Column… was a menu stub, so a graph's columns and bars
were always plain rectangles. The reference app fills them with a graph
design, vertically scaled, uniformly scaled, repeated with a value for
each copy, or stretched at a guide line.
graph.column (Column…) draws the columns, bars or stacked segments and
the legend swatch of the series picked with Group Selection with a
design saved by Object › Graph › Design. Vertically Scaled stretches the
design to each column's length at the column's width. Uniformly Scaled
scales it both ways to that length and centers it on the column.
Repeating stacks a copy for each Each Design Represents value out from
the zero line, and For Fractions chops the last copy at the value or
scales it down. Sliding keeps the part above the design's horizontal
guide line in proportion and stretches the part below. The design and
its options are saved with the graph, and the graph follows the design
when it is renamed or deleted. Columns drawn with a design cast no drop
shadow.
A marker or legend design made of one path is now drawn in a group of
its own. Painting a series with Group Selection then leaves the design's
paint alone, as it already did for designs of several objects.
Docs: docs/mcp.md, docs/target-app-parity.md.
Object > Live Paint > Gap Options was a stub, and paint leaked through
any gap between the paths of a Live Paint group. The reference app's
Gap Options stop paint at small gaps, close them with unpainted paths
and preview them on the canvas.
livePaint.gapOptions (Gap Options) sets a group's options: detect (Gap
Detection), size (small 3 pt, medium 6 pt, large 12 pt, or a custom
size over 0 up to 72 pt), color (the Gap Preview Color, #rrggbb or a
layer color's name) and closeGaps, which adds an unpainted path across
each gap to the group's paths. A gap runs from a loose end of a path
to the nearest point of any path within the size, unless the paths
already join the two close by. With detection on, the faces are made
again as if a line closed each gap, and each face or edge keeps the
look of the old one it lies in or on. The options are stored on the
group, so they are saved, copied and undone with it, and Expand drops
them. Merge keeps the bottom group's options when its Gap Detection is
on, or else turns Gap Detection on with Small when another merged
group has it on. When Gap Detection is off in every merged group,
Merge keeps it off. livePaint.info lists the options and the gaps up
to the size wide that no path closes.
The menu item opens a Gap Options dialog. With Preview on, the options
apply live and the gaps show on the canvas in the preview color, and
OK keeps them as one undo step. vectorcraft-pathops gains find_gaps
and live_paint_with_gaps.
Docs: docs/mcp.md, docs/target-app-parity.md.
i18n: the 19 complete catalogs have rows for the dialog's labels, and
bg's Gap Options menu label now names gaps instead of line spacing.
Window › SVG Interactivity was a disabled menu item. VectorCraft could
not attach JavaScript to an object's events or link JavaScript files
for SVG export.
The SVG Interactivity panel lists 19 events, from onfocusin to
onscroll. Pick one, type its JavaScript and press Enter to add it to
the selected objects; the list shows their events. Remove Selected
Entry removes the picked event, and the panel menu's Clear Events
removes all of them. Link JavaScript Files… opens the JavaScript
Files dialog, which adds a path or URL to the document's list and
removes the selected one. Its Choose… button puts a picked file in
as a file:/// URL. The commands are svgInteractivity.info,
setEvent, removeEvent, clearEvents, addFile and removeFile, and
ui.javascriptFilesDialog. Each edit is one undo step. A document
links at most 64 files.
SVG export writes each event as an event attribute on the object's
element and each file as a <script xlink:href> element. With the SVG
Tiny 1.2 profile, export leaves the events out with a warning. SVG
import reads the listed event attributes and the script links back
as text. It never reads a linked file or runs a script, and it leaves
inline scripts and the links after the first 64 out with a warning.
The native format keeps both.
An unnamed <g> with data-* attributes of its own around a single
object now imports as a group. Before, import folded it into the
object, which then took the group's data-* or, when it had its own,
dropped the group's. An unnamed <g> with event attributes stays a
group in the same way. The SVG import fuzz tests now include event
attributes and <script> elements.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md,
docs/ui-parity.md.
When pressing Ctrl+P to open the Print dialog and clicking Setup (or Settings), print.printerSetup previously discarded the selected printer name and unconditionally launched explorer ms-settings:printers. On Windows 10, this opened the Windows Settings Printers and scanners page, displaying the list of installed printers instead of the printer driver printing preferences.
Launch Windows native Printing Preferences dialog for the target printer using rundll32.exe printui.dll,PrintUIEntry /e /n printer, falling back to the system default printer or Settings if no printer is available or detected. Add unit tests covering command construction and fallback behavior.
Fixes#2569.
An Alt-click (Option-click on macOS) on the Artboards panel's New
Artboard used to add an artboard at once, as a plain click does. It now
opens Artboard Options for the new artboard, filled in with the name and
size that artboard.new {} would give it, and adds nothing yet. OK adds
the artboard with the fields where artboard.new {} would place it (20 pt
to the right of the last artboard) in one undo step, and makes it the
active artboard; Cancel adds no artboard. A plain click and a row
dropped on the button work as before.
The new UI command ui.newArtboard ("New Artboard Options…") opens the
dialog. It is listed after ui.newLayer, and its label has a row in each
catalog.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Contextual Task Bar showed only with the selection tools and
selected objects. With the Artboard tool it never showed.
With the Artboard tool, the bar now sits under the selected artboards
and offers Resize, which opens Artboard Options for the active
artboard; Duplicate, which copies each selected artboard in one undo
step and selects the copies; Rearrange All, with two or more
artboards, which opens Rearrange All Artboards; and Export, which
opens Export for Screens with the selected artboards checked. The
objects' Fill, Recolor Artwork and Lock buttons are not shown with
the Artboard tool. "Resize" has a row in every catalog.
Docs: docs/target-app-parity.md.
With the Artboard tool in use, the Control bar showed Move and Scale
Artwork with Artboard and then the object controls (Fill, Stroke,
Opacity and the rest). The reference app's help lists the Control
panel, with the Artboard tool, among the places to add, delete,
rename, resize and position artboards, set their orientation and
reference point, and open Artboard Options.
While the tool is in use, the Control bar now shows the active
artboard's controls in place of the object controls: Preset, Portrait
and Landscape, New Artboard, Delete Artboard, the Name field, Artboard
Options, Rearrange All Artboards, the Transform link, Move and Scale
Artwork with Artboard, and the reference point with X, Y, W and H and
the Constrain Width and Height Proportions link. Each control runs the
command its Properties or Transform panel counterpart runs, and the
reference point is the one the Transform panel uses. In an 800-point
window the controls up to the Transform link fit, the two artwork
options show as their boxes with their names in tooltips, and the link
opens the position and size in a popover, as it does for objects.
Docs: docs/target-app-parity.md.
Type › Optical Margin Alignment was a disabled menu item. The reference
app's Optical Margin Alignment hangs Roman punctuation and the edges of
letters such as W and A outside the margins of every paragraph of a
type object.
type.opticalMarginAlignment (Type › Optical Margin Alignment) turns it
on or off for the selected type in one undo step, and the menu item is
checked while the type has it on. In every left-to-right paragraph of
point and area type, quotation marks, hyphens, full stops and commas at
a line's start or end hang wholly outside the margin there. Asterisks,
tildes, ellipses, en and em dashes, colons and semicolons hang by half
their width, and A, V, W, Y, v, w and y hang by a tenth of theirs. A
punctuation mark followed by a quotation mark hangs with it.
Left-aligned lines hang at their left margin, right-aligned lines hang
at their right margin, and centered and justified lines hang at both.
Lines break where they did before, and the space that justification
adds between glyphs leaves out the gaps next to a hanging punctuation
mark.
The setting is off for new type and for documents from before it, and
the type object saves it only when it is on.
The Type menu's checks for Optical Margin Alignment, Type Orientation
and the Type on a Path effects now read the type inside a selected
group, as the commands do.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md.
Object > Expand with Fill expanded gradient fills only. A pattern fill
stayed a live pattern, and object.expand.info did not report it, so the
dialog's Fill option was disabled for it. In the reference app, Expand
with Fill turns a pattern fill into the pattern's tiles, and the shape
becomes their clipping mask.
The Fill step now turns each visible pattern fill of a path or compound
path into a clip group shaped like the object, holding the tiles the
pattern lays over the object's box with fresh ids. The group isolates
the tiles' blending and takes the fill's opacity, blend mode and other
effects. Geometry effects of the fill or the object, such as Offset
Path, shape the group's outline and the box the tiles cover. A path in
the tile art with a random Transform effect is baked with its own id
first, and a path with a brush that varies at random (calligraphic or
scatter with Random variation, or bristle) is baked where the pattern
defines it first, so every tile matches the canvas. The object's other
fills and strokes stay on copies of it in paint order, and Expand stays
one undo step. Type with a pattern fill expands the same way once
Object outlines it, and object.expand.info reports pattern fills under
fill. It also reports gradient fills under a new gradient key, and the
dialog enables Expand Gradient To only when the selection has one. A
pattern fill stays as it is when it lays no tiles over the box, when a
group or type in its art has a random Transform effect, when the
pattern is scaled, rotated, reflected, stretched or sheared and its art
holds a symbol instance, and when the pattern is rotated, reflected,
stretched or sheared, or scaled while its art has geometry effects, and
its art has raster or 3D effects, or a geometry effect on a group or
type.
PatternDef gains instances_in_with, which places the tiles with a given
Scaling. Expand has stroke weights, effect distances and the tiles' own
pattern paints scale with the pattern's transform. When the pattern is
rotated, reflected, stretched or sheared, or scaled while its art has
geometry effects such as Roughen, the strokes and geometry effects of
the tiles' paths become filled art first (bake_appearance, and Outline
Stroke's conversion for brushed strokes), and their live shapes become
plain paths, in their opacity masks too. Tiles place their opacity
masks with them, unlinked ones included (place_art), which also fixes
unlinked masks in pattern tiles in PDF, EPS, EMF and WMF export and in
Distort Pattern Fills.
Faults in the shared code are fixed for every caller. assemble
dropped the effects of a sole part, so Expand lost a lone gradient
fill's own effects and Outline Stroke lost those of a stroke with a
gradient along or across it. Outline Stroke also dropped a brushed
stroke's raster effects from its brush art. Expand replaced an object
whose gradient fill could not be expanded with a plain copy; it now
leaves it as it was. Expand left the geometry effects of a gradient
fill, and with Object off those of the object, on the expanded art,
where they reshaped every strip; they now shape the clip group's
outline, and the gradient fits it, as for pattern fills.
bake_appearance dropped a stroke's raster effects from its filled
outline and filled the outline of a stroke with a gradient along or
across it with a gradient across the outline's box; it now keeps the
effects and makes the gradient meshes clipped to the outline, as
Outline Stroke does. Envelope Options > Distort Appearance uses it too.
PatternDef::offsets_covering overflowed on a region too large to count
in integers, as for a pattern scaled by 1e-20; it now gives no offsets.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md.
After the desktop save panel closes, the app adds the file type's
extension to a name typed without it (or with one the save does not
write). The panel asked only about the name as typed, so on Linux
typing `card` with `card.vectorcraft` in the folder wrote over
`card.vectorcraft` without a question. On Linux the save panel is the
XDG desktop portal, and its GTK and GNOME file choosers return the
name as typed. Windows and macOS add the extension themselves only
when the panel lists file types, and the panels of Document Info's
Save, the presets dialogs' Export…, the CSS Properties export, the
swatch and graphic style library saves and the Libraries panel's
export list none.
When the added extension names a file that exists, Save, Save As, Save
a Copy, Save as Template, the exports and the other writes through a
save panel now ask "“card.vectorcraft” already exists. Replace it?"
first (dialog `replaceFile`). OK runs the write again with the same
answer and replaces the file. Cancel writes nothing and shows the
dialog it was asked over again. The host reports whether a file exists
through a new `Services::exists`.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
A document assigned a CMYK profile (Edit > Assign Profile) keeps it when
it is saved, but the working spaces are the app's, and a new session
starts with the defaults. Opened again, such a document exported its CMYK
colours tagged with the working CMYK space (VectorCraft Generic CMYK
(SWOP-like)) instead of its own profile, made that profile the PDF/X
output intent, and separated its RGB colours through it; print
separations did the same. edit.assignProfile still reported the assigned
profile, and document.exportPdf's documentation says CMYK colours are
tagged with "the document's CMYK profile".
Found on a book cover assigned FOGRA39L Coated: built in several
vectorcraft-cli runs, each reopening the saved document, its PDF/X-4
came out tagged with the SWOP-like profile unless every run set FOGRA39
as the working CMYK space again.
Export and print now work in the document's colour spaces: the active
settings with the assigned profiles in their place (document_cms). An
assigned profile that isn't available leaves the working space, with a
warning.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The toolbar listed the Touch Type tool (Shift+T), but choosing it did
nothing. The reference app's Touch Type tool moves, scales and rotates
one character of live type by dragging the handles of a box around it.
A click with the tool now selects one character and shows a box around
it. Dragging the box or its lower-left handle moves the character along
its line and up or down. The upper-left handle scales it vertically,
the lower-right handle scales it horizontally, the upper-right handle
scales it proportionally, and the upper-middle handle rotates it. A
character rotated by up to about 84 degrees follows the pointer too.
Near a quarter turn, a drag moves it only along its line. Escape
cancels a drag, and otherwise lets go of the character.
Each drag is one text.touchType command and one undo step. It sets the
character's baseline shift, scales and rotation, and moves it along its
line by changing its own kerning and the kerning of the character
before it, within the kerning range. The characters after it stay
where they are. Where the font kerned the character with its
neighbors, the two kerning values also keep the character in place
when it is only raised, scaled or rotated. The characters after it
stay where they were, or move by the change in its width when it is
scaled. The first character of a line and a right-to-left character
move only up and down. The type stays editable.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md.
File > Place read text files only as plain `.txt`, and an RTF file
could not be placed. The reference app lists RTF among the formats it
places as text, keeping the file's font and style settings.
File > Place now reads RTF files, written from the Rich Text Format
Specification 1.9.1, and sets their text as area type the way a text
file is placed. Each run keeps its font from the font table, its size,
bold and italic, underline, strikethrough, all caps, small caps,
superscript or subscript (in Document Setup's proportions), baseline
shift and its color from the color table. Each paragraph keeps its
alignment, left, right and first-line indents, space before and after,
and direction. Table cells are separated by tabs and each table row is
a paragraph. Unicode characters, Windows-1252 and Mac Roman bytes and
the special-character control words are read, and of a \upr group's
ANSI and Unicode text, the Unicode text is read. Hidden text, pictures,
objects, headers, footers, notes, field instructions and other
destinations are left out, and unknown control words are skipped.
A file is read as RTF when it starts with {\rtf, whatever its name,
except a .txt file, which stays plain text. RTF files share the 4 MiB
limit of text files. Groups nested more than 512 deep share the
formatting of the deepest one read, the font and color tables keep at
most 4,096 entries, and a file with more than 100,000 paragraphs or
runs is refused. The Place dialog lists RTF files, and file.place,
file.place.info and file.place.queue report the format `rtf`.
The tests in tests_textimport.rs fail without the change, and
text_import_fuzz.rs places random RTF token streams.
Docs: docs/file-format-parity.md, docs/mcp.md,
docs/target-app-parity.md.
A Shift-click or Ctrl/Cmd-click on a brush in the Brushes panel used to
apply the brush, as a plain click does. It now selects brushes without
applying one. Shift-click adds the brushes from the last brush clicked
without Shift (else the highlighted brush) to the clicked one, in the
order the panel shows them. Ctrl/Cmd-click adds the clicked brush to the
highlighted brushes or removes it. The panel highlights the selected
brushes, and the bottom bar's Delete Brush and the panel menu's
Duplicate Brush and Delete Brush act on all of them. A plain click
works as before and ends the multi-selection, and so does selecting
other art, another document or another current brush.
brush.delete and brush.duplicate also take {names: [name...]}. Each
call is one undo step, and an unknown name fails before anything
changes. brush.duplicate answers {names} for a names list.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app has a Blend panel, opened with Window > Blend, that
makes and edits blends in one place. VectorCraft had the Blend tool,
Object › Blend and the Blend Options dialog, but no Blend panel.
Window › Blend opens a panel with Make, the selected blend's Spacing and
Orientation, Reverse Front to Back, Reverse Spine, Replace Spine, Expand
and Release. Each control runs its Object › Blend command, so a change
of the selected blend's spacing or orientation shows on the canvas at
once and is one undo step. With two or more objects selected and no
blend, Spacing and Orientation set the options new blends start with,
as Blend Options does. Make is dimmed until two or more objects are
selected. Spacing and Orientation are dimmed until a blend or two or
more objects are selected, and the other buttons are dimmed until a
blend is selected. The Blend Options dialog's orientation toggles now
have names for screen readers.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
The errors of the four blend spine commands (Move Spine Point, Reshape
Spine Segment, Add Spine Point and Delete Spine Point), which Direct
Selection, the Pen and the Anchor Point tool send, had no @msg row in
any catalog, so an error that reached the status bar, for example from
a Pen click, showed in English. The scan in
complete_languages_translate_every_message does not read messages
built with bad(), so that test did not report them.
Each of the 13 messages now has a row in the 16 catalogs that translate
every status and error message, in Bulgarian and in Simplified Chinese.
The rows that name the spine use each catalog's term for it. No English
string changes.
Docs: docs/target-app-parity.md.
A small closed loop whose fit collapsed to a single cubic (fit_closed),
or a piece returning to its own junction with fewer than two fitted
cubics (fit_piece), kept every positioned point as a straight segment.
A looser Paths collapses more loops, so it could give more segments
than a tighter one.
Such a loop now tries the fewest segments that still hold it, each only
if the result keeps an area (more than 0.25 px^2) and stays within
1.5 * max(tolerance, 0.5 px) of the points both ways: the fit at up to
three somewhat tighter tolerances (what a slightly higher Paths gives);
for a closed loop then two cubics split at its start and its farthest
point, then the outline simplified at the tolerance and finer. The
positioned points stay the last resort, as before.
Test (code-drawn): a_higher_paths_never_gives_fewer_segments sweeps
Paths 0/25/50/75/100 over 32 seeded 48 px images of soft blobs plus
pixel noise in Color and Black and White at Noise 1 and 3. Before, six
runs had fewer segments at a higher Paths (e.g. 125 -> 79 from Paths 0
to 25); after, none. One image (seed 16, Black and White: 140 -> 136
from Paths 0 to 25, with or without this change) has another cause and
is left out of the sweep.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Where the pixel at a sharp corner falls to the other colour, the outline
cuts the corner in two one-pixel steps, and between two straight edges
of three cracks or more subpixel::outline makes those steps one point
(a notch). Whether the edges were long enough was measured on the whole
loop. An edge can run on past a junction in one region's loop while
the region across it, whose loop turns at that junction, sees a shorter
edge: one side made the notch and the other did not, so the shared
piece got different points on each side and the abutting curves left a
gap.
The notch now also requires the three cracks of each edge next to it to
lie in the piece (no junction among them), as the corner-pixel shift
correction above it already does.
Test (code-drawn): noisy_colour_images_leave_no_sample_uncovered traces
20 seeded 36 px images of soft overlapping blobs in four colours plus
pixel noise (Color, 5 colours, Noise 1 and 2, Paths 0/50/100) and needs
every one of five sample points per pixel to lie in some path: 93
uncovered before (seeds 9, 11, 13), 0 after.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Layers::shift read a crack's sub-pixel shift from its inside pixel,
looking for a thin run on the inside before one on the outside. Where
both sides are thin (a one- or two-pixel sliver beside another, as in
soft gradients and noisy scans) the two regions of the crack got
different shifts, so their shared piece got different points and the
abutting curves left slivers that no path covers.
The shift is now the mean of the readings from both sides,
(s(c) - s(c flipped)) / 2, which is exactly antisymmetric in floating
point (Crack::flipped gives the crack seen from its other side).
Tests (code-drawn images):
- a_crack_between_thin_slivers_has_the_same_shift_from_either_side:
every crack's shift is the exact negative of its flipped crack's, on
a noisy ripple of 1-2 px columns at three thresholds.
- shared_boundaries::thin_slivers_on_both_sides_of_an_edge_leave_nothing_uncovered:
a 48 px noisy ripple in Black and White at thresholds 140/157/170 and
Paths 0/50/100, sampled on the shared-boundary check's 4x4 grid per
pixel: 482-1,228 uncovered points per trace before, 0 after.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
With Method Abutting and Shapes on, a region recognised as a shape had its
outline replaced by the exact shape, but the region across that edge kept
its fitted curve unless it was a hole filled by one colour, and even then
the hole was recognised on its own, with its region's combined hardness.
A shape touching a junction (a third colour, or its own colour at a
corner) or the image's border was replaced on one side only, so abutting
colours parted or overlapped along the shared edge, and a square on the
image's corner could reach past the frame.
Cause: Layers::layer recognised an island with no holes
(`[only] => shapes::recognise`) regardless of what lay around it, and a
hole only by `one_colour_within`, each from its own outline and hardness.
Fix: under Abutting a shape is applied only where both faces take it
(`Layers::shared_shape`): the loop has no junction on it and does not
touch the border, the island has no holes and the hole holds one colour,
and the shape stays inside the image. The shape is recognised from the
outline turned one way and started at its leftmost anchor, with that
loop's own hardness, so the island and the hole it fills get the very same
shape. Overlapping is unchanged.
Test: shapes_keep_abutting_neighbours_watertight traces three code-drawn
anti-aliased colour images (a disc in a square plus a disc across its
edge, shapes on the border, tilted tiles) and checks every outline lies
within 0.001 px of a neighbour and a 4 x 4 per-pixel grid is covered
exactly once. Before: gaps of 0.50, 15.1 and 0.73 px, 183 and 276 points
uncovered or doubled; after: 0 px, 0 points. Isolated shapes are still
recognised.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Flat Logo found its colours only from solid pixels (a uniform 3 x 3
neighbourhood). Line art on paper has no solid area but the paper's: a
stroke one or two pixels wide never fills one, so its colour was a handful
of pixels among tens of thousands of white and was cut as noise (under
0.1% of the solid pixels). The palette came back empty and trace_logo
returned an empty TraceResult, which imageTrace.make reported as a success
with paths 0, anchors 0, colors 0.
Cause: logo::palette::auto_palette had no way to find a colour that has no
solid area, and logo::pipeline::trace_logo treats an empty palette as
nothing to trace.
Fix: when the solid pixels give no colour but white, auto_palette reads
the colours from the strokes' cores instead (line_art_palette): the opaque
ink pixels at least as far from white as each of their four neighbours,
the middle of each stroke where it is least blended with the paper.
Two guards keep that fallback to line art:
- Ink is a colour at least 48 below white in one channel, and the page
must have ink on at least 1% of its opaque pixels. Light grain and a few
sparse marks on otherwise blank paper stay blank, as plain white does.
- The lighter shades along a stroke's anti-aliased edge are local maxima
of their own; a colour that lies on the line from white to a darker
colour of the palette (within 20) is a blend of that ink with the paper
and is folded into it (fold_fringes), the ink keeping its colour.
The rest of the pipeline (unmixing, the flat-colour check and its NotFlat
refusal) is unchanged, and images with a solid colour other than white
never reach the fallback.
Tests (code-drawn inputs):
- thin_line_art_on_paper_is_traced_not_blank: four 2.4 px dark strokes
and two red marks on white. Before: palette [], no paths. After: dark
and red paths along the middle of every stroke and mark.
- anti_aliased_coloured_lettering_has_only_its_inks: rings, slants and
bars 1.6 px wide in red, blue and green. Without the fold: six colours
besides white; after: exactly the three inks.
- sparse_marks_on_paper_are_not_promoted_to_colours: 24 grey 12 x 2 px
marks of 239, 223 or 191 on a 256 x 256 page (under 1% ink). Without
the guard: palette [white, #efefef]; after: empty palette, no paths.
- grainy_blank_paper_has_no_ink: paper grain 243-255 traces to nothing.
- edge_shades_fold_into_their_ink_and_other_colours_stay (unit).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
contour::trace_mask built a table of outgoing directions for every
pixel corner in a raster pass and then followed it. It now works out
each turn during the walk from the two pixels ahead of the current
corner: right if the one ahead on the right is outside, straight if the
one ahead on the left is, else left (so at a saddle it still turns
right and diagonal pixels stay apart). Loop starts are found by
scanning the pixels for a top edge on the outline, with one flag per
pixel for a top edge already walked. The walk is bounded by the grid
size, and a mask of the wrong length now gives no loops instead of
failing an assert_eq!.
The output is identical: the_walk_equals_the_stored_direction_walk
compares it with a test-only copy of the previous walk on all 65,536
4x4 masks and 400 seeded 23x17 masks.
Time (best of 7, release, 4 cores): the walk alone on 2000x2000 masks
19.1 vs 26.6 ms (smooth pattern), 81.3 vs 93.2 ms (12% random pixels),
223.1 vs 238.1 ms (50% random); whole 1000x1000 traces 73.1 vs 77.1 ms
(Black and White), 249.6 vs 251.7 ms (Color, 6 colours), 214.1 vs
218.6 ms (Color, 6 colours, Noise 1), same segment counts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
An envelope is written on `%_` lines as a group holding the mesh that shapes
it, with the distortion (`AIDeformStyle`, `DeformValue`) in the group's
dictionary; the distorted art the PDF part draws follows on plain lines. The
reader kept that group, so the mesh drew as a grey gradient mesh behind the
art. A group on `%_` lines that holds only meshes and carries a distortion is
now dropped; a mesh with no distortion is still art.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01P6znVFRqGqvB9f7njwZ46r
A .ai or EPS opened from its editing data lost the opacity and blend
mode of its text objects. text_slot made the slot without the graphics
state's opacity and blend mode, which paths, meshes and images take, so
an Xy before a text object was lost. An Xy after it reached the slot,
but fill_slots then put type made from the text document in the slot's
place with only its visibility and name, and style_marker dropped the
transparency that a text object with an appearance carries on its look.
text_slot now takes the state's opacity and blend mode. fill_slots
gives made type the slot's opacity, blend mode, isolation and knockout.
The page's type gets them too, in place of its own transparency when
that is none, the slot's, or the slot's combined with that of the
objects around it; otherwise the page's type and the strokes around it
keep their own (a fill's, for example). When the type has transparency
and comes with other art (the strokes the page draws around it, or page
type that goes with it), a group of them takes the transparency. A text
object with an appearance takes the transparency from its look; where
the look draws more than the type and has transparency, the look and
the type go into a group that has it, and that group is not taken as
the look of a later object. The import fuzz's .ai tokens now include a
commented text object, 1 /FreeUndo , and a group's state marker
(6 () XW).
Docs: docs/mcp.md, docs/target-app-parity.md.
Shift pressed while dragging a segment had no effect on the curve:
Direct Selection's curved-segment and spine-segment drags, the Anchor
Point tool and the Pen with Alt sent the pointer offset alone, and the
segment bent freely. The reference app keeps the handles in the
perpendicular direction and of equal length while Shift is held.
path.reshapeSegment and object.blend.spine.reshapeSegment take
perpendicular (default false, which keeps today's behavior). With it,
both of the segment's handles stand at right angles to the line between
its anchors, on the same side and at the same length, and the point at
t lies as far from that line as the moved point does. A smooth anchor
at either end stays smooth, as it does in a drag without perpendicular,
and a segment whose anchors coincide bends as it does without
perpendicular. With Direct Selection, Shift pressed once a curved
segment's drag has started sends perpendicular; Shift held at the press
still toggles the path's selection, as before. Direct Selection's
spine-segment drag and the Anchor Point tool's segment drag send Shift
as perpendicular too, so the Pen with Alt does as well. A straight
segment dragged with Direct Selection already moves at 45° steps with
Shift.
Docs: docs/mcp.md, docs/target-app-parity.md.
Shift+Enter in a panel or Control bar field ended its editing, as Enter
does. The reference app's default keyboard shortcuts list "Apply value
and keep text box active" under Use panels and "Apply a value and keep
focus in edit field" under Transform panel, both Shift+Enter on Windows
and Shift+Return on macOS.
- A focused single-line field of the shared widgets (num_field,
mixed_field, plain_field, range_field, spin_field, spin_field_auto,
spin_plain, text_field, exact_text_field, opt_field and hex_field)
takes Shift+Enter before its text box reads it, applies the text as
Enter does and keeps the focus. In the next frame it shows the value
as it now is, all selected, so typing replaces it.
- A text box of several lines keeps Shift+Enter as a line break.
- While a dialog is open, Shift+Enter applies the field's value and
confirms the dialog, as before. The app sets widgets::set_dialog_open
at the start of each frame.
Docs: docs/target-app-parity.md.
The Paragraph panel menu's Reset Panel turned Hyphenate off but left
the Hyphenation options: Words Longer Than, After First, Before Last,
Hyphen Limit, Hyphenation Zone and Hyphenate Capitalized Words. A
paragraph kept its custom hyphenation limits after a reset.
Reset Panel now also sets those six options to the values of
HyphenationOptions::default(), in the same text.setFormat call. The
reset paragraphs then save no hyphenation options.
Smart Blur's Edge Only and Overlay Edge modes marked a pixel when one
of its four nearest pixels differed from it by more than Threshold,
and Radius changed only the blur. The reference app's documentation
says that Radius sets the size of the area searched for dissimilar
pixels.
A pixel is now on an edge when one of the pixels the search reads
within Radius differs from it by more than Threshold and its
channels, alpha included, add up to at least that pixel's. The search
picks its neighbors as the Normal blur does, over the whole pixels of
Radius and within it, and always reads the four nearest pixels.
A color step gives a line about as wide as Radius on the side with
the larger sum, and a Radius of one pixel or less gives the same
edges as before. The edge modes' reach() includes the blurred copy
that a wide Radius reads.
On a 2,000 by 2,000 px image, Edge Only takes 0.49 s at Radius 10 and
0.34 s at Radius 100, and Normal takes 0.73 s and 0.39 s. Normal
draws the same pixels as before.
Docs: docs/target-app-parity.md.
The EPS reader read PostScript by any name, but the Open and Place
dialogs hid .ps and .epsf files, and a .ps or .epsf file whose header
is only %! could not be opened or placed ("not a format VectorCraft
reads"). The reference app lists .eps, .epsf and .ps under Open and
Place.
- A read-only PostScript format (ps) joins the format table. A .ps
file opens and places through the EPS reader and reports the
ps format. document.export does not write .ps; file.print does.
- .epsf is an EPS extension.
- OPEN_EXTS and PLACE_EXTS list epsf and ps, so the dialogs, the CLI
help and the MCP open_file description list them.
UNASSOCIATED_EXTS lists them too: the macOS bundle declares neither.
- A .ps or .epsf file whose header is only %! now pastes as EPS when
copied in a file manager, as one with a %!PS header already did, and
clipboard.importEps reads PostScript whose header is only %!, which
it rejected before.
Docs: docs/mcp.md, docs/file-format-parity.md (.ps row),
docs/target-app-parity.md.
The PostScript interpreter that reads EPS and PostScript files had no
CCITTFaxDecode filter. Reading a file whose image data went through it
stopped at an error naming the filter, and the file opened from a
fallback, such as its preview or the art drawn before the image, or
did not open.
CCITTFaxDecode now decodes CCITT Group 4 (ITU-T T.6) and Group 3
one-dimensional and mixed (ITU-T T.4) data to rows of 1-bit samples.
It reads K, Columns, Rows, EndOfBlock, EndOfLine, EncodedByteAlign and
BlackIs1 (PLRM 3rd ed., §3.13; ISO 32000-2, §7.4.6). With EndOfBlock
the data ends at its EOFB or RTC regardless of Rows, and the RTC of
mixed Group 3 data, six EOLs each with a tag bit, is found by the
filter. Damaged data keeps the rows decoded before it, and damage in
the first row is an ioerror. Columns outside 1 to 65,535 and Rows
below 0 are a rangecheck, and data that would decode to more than
256 MiB is refused. hayro-ccitt 0.3.0, already in Cargo.lock through
hayro-syntax, becomes a dependency of vectorcraft-eps.
The tests encode their images in the test, with the fax crate's
Group 4 encoder and T.4 run codes (a dev-dependency, already in
Cargo.lock through tiff), and fail without the change. The import fuzz
tests read a Group 4 and a Group 3 image coded by hand from the T.4
and T.6 tables, read the same file with random damage, and add the
filter and its parameters to the hostile programs.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
A double-click on a ruler guide with the Selection, Direct Selection or
Group Selection tool did nothing, whatever keys were held. A guide could
be released only with View › Guides › Release Guides.
With the Selection, Direct Selection or Group Selection tool, a
double-click with Cmd/Ctrl and Shift held now runs view.guides.release
on the ruler guide under the pointer (index) or, when no ruler guide
is there, on the guide path under it (ids). Nothing is released while
guides are hidden or locked, and a double-click without both keys does
what it did before.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Character panel menu's Reset Panel reset tracking, leading,
kerning, baseline shift, the scales, rotation, underline,
strikethrough and All Caps, but left Small Caps, superscript or
subscript, Character Alignment, Proportional Metrics and Digits at
their custom values.
Reset Panel now also sets those five to their defaults in the same
text.setFormat call, with the values taken from CharStyle::default().
It resets them in the same characters as the other attributes: those
of the selected type, or, while the Type tool edits text, its
selection (all of that text at a caret). It resets them whether or
not Show East Asian Options and Show Indic Options (Preferences ›
Type) are on.
The Layers panel menu had no saved-selection items, and the Select
menu was the only menu that listed saved selections. The reference
app's help also names a Save Selection menu in the Layers panel that
lists the saved selections and holds Save Selection, Update Selection
and Edit Selection.
The Layers panel menu now has a Save Selection submenu after Locate
Object. It holds Save Selection…, Update Selection and Edit Selection…,
which are enabled and run as in the Select menu, and below them the
active document's saved selections. Choosing a name runs select.recall
with that name, as the Select menu's list does.
Docs: docs/mcp.md, docs/target-app-parity.md.
Native files remember the grid like the saved view, so reopening restores it.
Toggling it is still view state: no undo step, document not marked modified.
Fixes#1968
rgba_within checked an image's size as RGBA against the allowance it
was given (2 GB on the desktop), then decoded the image within the
image crate's default limit of 512 MB. An image whose decoded pixels
take more than 512 MB, such as an RGBA image of 11,586 × 11,586 pixels,
was refused although the canvas draws it: the Eyedropper picked up
nothing from it, and Edit Colors, Recolor Artwork, print separations
and the color adjustment effects in export and Expand Appearance left
its pixels as they were.
The decoder's limit is now the allowance that rgba_within is given.
An image decoded as RGBA is no longer copied before it is used.
With several artboards selected, the Artboards panel menu's Duplicate
Artboards copied only the active one, and Copy and Cut with the
Artboard tool took only the tool's active artboard.
artboard.duplicate, artboard.copy and artboard.cut now take `indices`,
and without `index` or `indices` they act on the artboards the
Artboard tool has selected. Duplicate Artboards passes the selected
artboards and selects the copies. Duplicate and Cut are one undo step
each, and Paste adds every copied artboard back, with its art, in one
undo step. The copies keep their places relative to each other,
together right of the last artboard. A cut fails when it names every
artboard.
Docs: docs/mcp.md, docs/target-app-parity.md.
file.saveAsTemplate kept a name whose extension named another format
and wrote the template into it: {path: "card.png"} wrote .vctemplate
JSON to card.png, and card.pdf typed in the desktop save panel got it
too. file.saveAs {format: "ait"} answered that document.export writes
other formats, but document.export does not write .ait either.
file.saveAsTemplate now replaces another format's extension (card.png
is saved as card.vctemplate, or card.ait for format: "ait") and adds
the extension to a name whose extension names no format. The desktop
panel adds the template's extension to any name that does not end in
a template extension (card.pdf.vctemplate), as Save As adds its own.
Save and Save As still refuse ait, and the error now names
file.saveAsTemplate.
Docs: docs/mcp.md, docs/target-app-parity.md.
effect.apply and effect.setParams stored any string as the color of
Drop Shadow, Inner Glow, Outer Glow and Shift to Color. When the
effect could not read it, it drew its default color with no message,
so a typo such as #ff00 in the Drop Shadow dialog turned the shadow
black.
The commands now refuse such a color before they edit, with
"`color` must be a #rrggbb color", and the document and its undo
history stay as they were. Hex colors, the five named colors,
[r, g, b] and color objects still pass. The check runs in the
commands, so the app, command.batch steps and replayed journals get
it too. The effect dialog's OK shows the error and keeps the dialog
open, with Preview on or off. Saved documents open as before.
Docs: docs/mcp.md (effect params).
A raster export warns that "an image couldn't be decoded and is
missing from the picture" when the count of failed decodes rose while
it drew. A pattern fill draws from a tile kept for each thread, and a
tile taken from that cache draws none of its art. Only the export that
made the tile counted the image, and later exports of the document gave
no warning although their pictures lacked the image too. The raster
kept for a blurred or filtered object had the same fault: the renderer
that draws pattern tiles keeps those rasters from one tile to the next,
so a tile drawn again took such an object from its raster and counted
nothing.
A kept tile and a kept effect raster now store how many decodes failed
on their thread while they were made, and each draw from them adds that
number to the count again.
Labels that the UI looks up through a variable or a context (#1259) had
rows only in the Bulgarian, Czech, Greek, Spanish, Finnish, French,
Polish, Brazilian Portuguese and Swedish catalogs. In German, Hungarian,
Italian, Japanese, Korean, Russian, Ukrainian, Vietnamese and both
Chinese, the UI showed most of them in English: the file dialogs' filter
names, the status bar's render and UI timings, New Document's preset
name, and the contributor tooltips with their plurals. The Printer mark
type list showed English "Roman" in each of those languages except
Hungarian, and in Japanese, Korean, Vietnamese and both Chinese it
showed the language's name for Japanese.
Those catalogs get the rows, each next to its related entry. German also
gets rows for the 3D gizmo's light, which the UI showed as "Hell"
(bright), and for Grain's Regular type, which the UI showed in English.
complete_catalogs_translate_render_site_labels requires the rows those
catalogs get and the light's row in every complete catalog, and checks
German's Regular row.
Docs: docs/localization-parity.md, docs/target-app-parity.md.
A style captured from text left out the attributes that the text's
JSON skips at their defaults, such as the Hyphenation options, the
Composer, tab stops, Auto kerning and the character alignment.
Redefining a paragraph or character style from text set
back to the defaults therefore did not reach the text using the
style: a paragraph that had the old Hyphen Limit or Single-line
Composer from the style kept it. setAttrs dropped a default value it
was given in the same way.
New and Redefine now capture every attribute of the selected text,
and charStyle.setAttrs and paraStyle.setAttrs keep a default value.
When a style changes, text whose value equals the old definition's
takes the new value, a default included. Local overrides on text that
uses a style other than the Normal styles stay, and an attribute that
setAttrs leaves out still leaves the text's value alone. The Character
Styles and Paragraph Styles panels compare the attributes a style holds
with the same attributes of the selection. A paragraph style made from
type with Auto alignment no longer shows "+" on that type.
Two existing behaviors change. Applying a style made with New or
Redefine from text, without Clear Overrides, now also sets the
attributes that text had at their defaults, such as Auto kerning, no
OpenType features, the Every-line Composer, no tab stops and the
default Hyphenation options. Redefining [Normal Paragraph Style] or
[Normal Character Style] from text gives every paragraph or run that
uses it those attributes too, so local values of them on that text are
reset.
Docs: docs/target-app-parity.md.
Batch over data sets names each output file after the document and the
data set, as the reference app's File + Data Set Name option does. It
joined that name onto the destination folder as it was, and a data set
name can hold any character. A data set named a/b failed to save, and
one named a/../../x wrote its file outside the destination folder. On
Windows, one named c\d also failed to save, and one named e:f left an
empty file.
The data set's name now goes through file_part, which Export for
Screens uses for its file name prefix and a format row's suffix, so
output file names have - in place of /, \ and : from a data set's name.
When two data sets then give the same name, compared without case, the
later ones get -2, -3 and so on, as artboard file names do, through a
distinct_names helper split out of unique_file_names. This covers the
folder destination and Override Save/Export.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Character panel's Small Caps, Superscript and Subscript buttons
were disabled, with "(on the roadmap)" tips, and always drawn off, and
the panel menu's items of the same names were disabled, although
text.setFormat and text.setRangeStyle already set smallCaps and
position. The reference app applies all three from the Character
panel menu.
The three buttons and menu items now turn small caps and the
superscript or subscript position on and off for the selected type, or
for the text the Type tool has selected, in Document Setup's
proportions. Turning Superscript on turns Subscript off, and turning
Subscript on turns Superscript off. They show as on when the first
selected character has the attribute, as the All Caps, Underline and
Strikethrough toggles do.
docs/mcp.md did not mention smallCaps and position; it now describes
them for text.setFormat and text.setRangeStyle.
Docs: docs/mcp.md, docs/target-app-parity.md.
An object whose art style had a Drop Shadow with Darkness (a csrc
other than 0 in the shadow filter's dictionary) came in as its drawn
look, with a warning that its appearance isn't editable yet. With a
Color shadow instead, the same object comes in as itself with its
fill, stroke and shadow.
The reader now reads such a shadow as Drop Shadow with shade
"darkness" and darkness set to the filter's dark value, a percentage
kept within 0 to 100, or 100 when the value is missing or not a
finite number. The shadow's other keys are read as for a shadow with Color,
and the object comes in as itself wherever it would with a shadow with
Color. A shadow with Color comes in with the same params as before.
The import fuzz's .ai tokens now include csrc and dark.
Docs: docs/target-app-parity.md.
Each style run was shaped on its own, so restyling one character, even
only its fill, dropped the font's kerning pairs at the new run
boundaries. A fill change on the V of 40 pt "AVAV" moved it 0.56 pt and
moved the characters after it 1.12 pt. Manual kerning on a character
also dropped the font's kerning with the character before it.
Adjacent runs that differ only in fill, stroke, underline,
strikethrough, overprint, character style name, leading, baseline
shift, rotation, Character Alignment, kerning, or tracking (as long as
both values leave standard ligatures on or both turn them off) are now
shaped together, and each glyph takes those attributes from its own
run. The font's kerning pairs apply after characters with automatic
kerning: a manual value replaces the pair after its character, and the
pair before it stays, except before a character that All Caps or Small
Caps sets as two letters (ß as SS). A change of font, size, scale or
OpenType features still shapes the characters apart, and a ligature or
a mark still does not join characters in different styles.
Docs: docs/target-app-parity.md.
SVG export wrote each style run of a line of live text as one <tspan>
and positioned the text again only after tabs and, on justified lines,
after word spaces. A viewer then spaced the characters inside the
<tspan> with the font's own advances, so it lost the letter gaps of a
Justify All line without word spaces, the gaps between the characters
of a justified Japanese line and the spacing that a Mojikumi Set
changes. On justified lines, the textLength of horizontally scaled type
also took in the justification space after it, so a viewer stretched
the glyphs into that space.
On a line that is justified or set with a Mojikumi Set, text_lines now
lays the text out again as point type without the Mojikumi Set to get
the advance a viewer gives each character. Each character that the
layout draws away from where a viewer would draw it starts a new
positioned <tspan>, and textLength and line anchors use the viewer's
widths. The last character of a horizontally scaled <tspan> takes its
width without the font's kerning against the next character. Other
lines, and lines written with Fewer <tspan> Elements, are written as
before.
Docs: docs/target-app-parity.md.
The Simplified Chinese catalog had 20 `@msg` rows, against 714 to 718
in each catalog listed in COMPLETE_MESSAGES, so with the interface in
Simplified Chinese most status-bar and error messages showed in
English.
- zh-hans.tsv gains the 694 missing `@msg` rows in one block with a
header comment on its conventions: no final 。 unless the English
ends with a period, a space between Chinese and adjacent Latin
text, numbers or placeholders, and 、 between list items. The rows
use the catalog's existing terms (画板, 图稿, 编组, 描边, 色板, 实时上色,
图像描摹, 增效工具 ...).
- zh-hans joins COMPLETE_MESSAGES, so
complete_languages_translate_every_message and the narrower message
tests fail when a zh-hans message row is missing, and a new message
needs a zh-hans row.
- The registry comment, docs/development.md (which also gains Greek,
already in COMPLETE_MESSAGES), the zh-hans row of
docs/localization-parity.md, and the interface-languages line of
docs/target-app-parity.md (which also gains Czech, Greek, Hungarian,
Swedish and Finnish) list Simplified Chinese among the languages
that translate messages.
docs/type-parity.md and the Set type row of docs/roadmap.md still
listed the Hyphenation… options as missing, although the Hyphenation
dialog (#2310) sets them for each paragraph.
The type-parity row is now partial and names Words Longer Than, After
First, Before Last, Hyphen Limit, Hyphenation Zone and Hyphenate
Capitalized Words. Justification… stays missing. The Set type row of
roadmap.md lists only the justification options as missing. Its score
is unchanged. docs/target-app-parity.md and docs/gaps.md are left as
they are.
A syllable drawn with several glyphs that share one cluster, such as a
pre-base i matra and its consonant (कि), had a caret stop at the edge
of each glyph. A click just right of the matra, in the left half of
the syllable, put the caret after the syllable. byte_in_line now takes
one extent for each cluster, and type on a path compares the click
with the middle of the cluster, from the start of its first glyph to
the end of its last.
New tests with an installed OpenType Devanagari font check that क्ष
forms one conjunct glyph, that र्क draws the reph after its base, that
कि draws the matra before its consonant, that Ka with a nukta matches
the precomposed क़, and that each syllable is one cluster with the
arrow keys stopping at its ends. They print SKIPPED when no such font
is installed.
Docs: docs/localization-parity.md (Hindi row), docs/target-app-parity.md.
dataset.import read only commas between cells and refused a file whose
first header cell wasn't `name`. A value that didn't match its
variable's kind, and a repeated data set name, were reported with the
row's record number, which is not the file line after a blank line or a
quoted line break. A data set name over 255 characters gave no line.
- When the header row, read with tabs between cells, has a tab and no
comma outside quotes, tabs separate the cells. A quoted cell may then
hold tabs and commas.
- Without a `name` column every header cell is a variable, and the rows
take the first free names Data Set 1, Data Set 2 and so on, as Capture
Data Set and blank name cells do. A first header cell `name`, in any
case, still holds the data set names.
- Value errors, a repeated data set name and a name over 255 characters
give the file line the row starts on.
- The Variables panel's Import Data Sets… dialog also lists .tsv files.
- import_fuzz.rs imports random text, random bytes and mutated exports,
comma- and tab-separated, into a document with bound text, visibility
and graph variables, selects up to three of the imported data sets in
turn, and exports every data set.
Docs: docs/mcp.md, docs/target-app-parity.md.
file.print, print.preview and print.setup took print settings only as
settings, so an agent had to read a preset with print.presets.list and
copy its settings into the call. They now take preset, the name of
[Default] or of a saved print preset in any case. The preset's settings
are used instead of the document's, settings applies over them, and
print.setup saves them with the document as one undo step. An unknown
name is a parameter error that lists the presets. The app's file.print
with params passes preset on to the engine.
Docs: docs/mcp.md, docs/target-app-parity.md.
With a gradient stop selected, an Alt-click on a color swatch painted
the inactive Fill or Stroke, as it does with no stop selected. The
reference app's Default keyboard shortcuts page lists "Apply swatch
color to active (or selected) color stop: Alt-click swatch in the
Swatches panel" for the Gradient panel.
Now, when the active Fill or Stroke is a linear or radial gradient with
a selected stop, an Alt-click on a color swatch or a tint swatch
recolors that stop in one undo step, and the stop stays selected. The
stop changes as a drop of the same swatch on the Gradient panel's ramp
changes it (drop_color and dropped_link in panels/gradient.rs): it
becomes fully opaque, and a global or spot color or a tint stays
linked, so editing the swatch recolors the stop.
With a freeform gradient, the selected point takes the color through
paint.freeform.setPoint. With no stop or point selected, Alt-click
paints the inactive Fill or Stroke as before. The Fill and Stroke chip
popovers show the same swatches and behave the same.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
TIFFs that store each channel as its own plane (PlanarConfiguration 2)
did not open, place or relink when they were CMYK or grayscale with
extra channels: the image decoder refuses planar CMYK, and the readers
for CMYK inks and for extra samples returned nothing for planar files.
The two readers now read every plane through the tiff crate and put
each pixel's samples together. A planar CMYK TIFF keeps its ink
amounts and is stored as a CMYK TIFF with each pixel's inks together,
at the file's resolution. Grayscale TIFFs with an alpha channel or
other extra channels, and CMYK TIFFs with alpha, read as their chunky
versions do.
A TIFF whose header claims more strips or tiles than the tiff decoder
can count is refused as too large to draw. The decoder multiplies
those counts without a check, which panics in builds with overflow
checks.
Part of #1466.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
The controls that the shared widgets draw had no name in the
accessibility tree: icon, flat, primary, secondary and split buttons,
chips, toggles, checkboxes, radio buttons, tabs, sliders, the angle
dial, the Reference Point's squares, the spinner and preset arrows and
the searchable combo boxes. Screen readers announced each clickable one
as an unnamed element of unknown role, and a disabled icon button was
not in the tree. The Color Guide's library button, the Color Themes
Save button and the status bar's artboard buttons also had no name.
Each helper in widgets.rs except color_field now gives its response a
role, a name and its state. The name is the text, label or translated
tool tip the helper shows. The spinner, the preset arrow, the angle
dial, the harmony wheel and the Reference Point's squares, which show
none, are named "Step up or down", "Presets", "Angle", "Color wheel"
and Top Left to Bottom Right. A toggle, checkbox, radio button, tab or
Reference Point square reports whether it is on, an icon button reports
that it is pressed while it is lit, the angle dial reports its angle,
and a searchable combo box reports the text it shows. A checkbox or
radio button drawn without text is named by the label beside it. The
Tools panel's tool buttons, flyout rows and floating strips are named
by their tools' tool tips, with the active tool pressed. The title
bar's column toggle, the tear-off bars, a floating strip's close box
and the Color, Gradient and None buttons are named by their tool tips.
The status bar's First, Previous, Next and Last Artboard buttons now
have tool tips, and the Fill and Stroke chips' tool tips are
translated. The six new strings (the four artboard tips, "Color wheel"
and "Step up or down") have rows in every catalog.
split_button, chip_button, color_slider, channel_slider and the dialog
form's slider_field and slider_rail keep their arguments. New _named
variants beside them take the arrow's tool tip, the chip's tool tip or
the slider's name, and every caller in the tree uses them.
Docs: docs/target-app-parity.md.
A CMYK document holding RGB colours or images separates them into CMYK on export, and dark ones come out as rich blacks. The export report now says how many there are.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
PDF presets are kept one file each in a PDF Presets folder, ICC profiles as copies in a Color Profiles folder, next to the preferences; the desktop app and vectorcraft-cli use them. Adds color.removeProfile.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The MCP server read one line, ran it and answered it before reading the next,
so notifications/cancelled was never seen during a call and every request
(even ping) waited behind a running export.
- vectorcraft_doc::cancel: a thread-local cancel token and progress sink that
long work polls. Checkpoints: PDF pages, PDF flattening, geometry bake,
raster-effect flattening, drawing objects, raster artboards, and before any
file is written. A cancelled command returns EngineError::Cancelled and
changes nothing.
- Server::serve reads on its own thread: notifications/cancelled drops a
queued request or stops the running one (no reply, as the MCP spec says),
engine-free requests (ping, the list methods, prompts/get) are answered at
once, a request that would wait behind a call running for 2 s is refused
with -32003 naming that call, and _meta.progressToken gets
notifications/progress (page n of m). Queue and output are bounded.
- The remote backend stops waiting for the app when the call is cancelled.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The snap ring on an anchor (or a dot on a line) and the rubber band now follow the snapped point, so both measured points visibly land on anchors.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A tab's width depends on where it falls from the tab origin. Line breaking and the line width measure it from the left edge, but a centred or right aligned line is placed from its own start, so its tabs stopped elsewhere. The line is now laid out with its tabs measured from the left and then aligned as a whole.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Smooth Zig Zag ran the ridge points through a Catmull-Rom spline. Its end tangents slant across the path, and where the ridges are taller than about twice their spacing the sharp-turn floor of turn_tangent lengthens the handles, so the result read as straight diagonals with rounded tips. Each peak and valley is now a smooth point whose handles run along the path, a third of the way to the neighbouring ridge, so every span follows a half cosine through the path.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A path with a Transform effect that makes copies and a gradient was still merged into one path by bake_leaf and expand_leaf, so the gradient spanned every copy. Route it through reshape / expand_outlined like the renderer does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A corner's radius was capped at half its shorter side whatever its neighbours did, so one corner of a 100 pt square rounded alone stopped at 50 pt. Each corner now rounds until its cut reaches the cuts its neighbours ask for: the whole side when the neighbour is square, halfway when both ask for more. The corner widget drag, the red limit outline and CSS border-radius export follow the same limit.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Line breaking, the line's natural width (and so justification) and the composer counted a tab as its glyph's width, a space, while it is set up to its next tab stop. A paragraph starting with a tab, as in the report, filled a justified line as if the tab were one space, and the line ran past the frame. break_line and the line width now measure tabs with tab_advance, and a paragraph with a tab is broken line by line, since the composer works with fixed glyph widths.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Shift click already snapped the second point to 45-degree steps, but the dashed line from the first point followed the raw pointer, so the constraint looked absent until the click.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The UI parity row (and G12 in gaps.md, M12 in roadmap.md) said quick Image
Trace presets reveal the editable controls. Since baadbe2c6 a quick trace
leaves the panel as it was (test a_quick_trace_leaves_the_panel_as_it_was)
and the Image Trace button in the Control bar or Properties opens the
controls. That matches the public documentation: choosing a preset traces
the image with it straight away, and the panel is opened with the Image
Trace button in the Control panel or the Properties panel's Image Trace
section
(https://helpx.adobe.com/illustrator/using/image-trace-results-optimization.html).
Reworded the three rows, cited the URL, added revision-history entries and
status-line notes. Wording only; scores, statuses and hours unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
artboard.setProps and artboard.fitToSelection read an `index` that is
negative, fractional, a string or null as 0 and edited the first
artboard, and artboard.setProps edited the first artboard when the
call named no `index`. artboard.duplicate, artboard.copy and
artboard.cut took the Artboard tool's artboard for such an `index`.
artboard.reorder failed for it with "missing index".
These commands now read `index` as artboard.delete, artboard.move and
artboard.fitToArt do, and fail with "no such artboard" when it names
no artboard; the document and the clipboard stay as they were.
artboard.setProps without `index` fails with "missing index". Without
`index`, artboard.fitToSelection still fits the first artboard and the
copy commands still take the Artboard tool's artboard.
Docs: docs/mcp.md.
Found while testing crates/doc/src/graph.rs:429 (GraphSpec::to_csv) and crates/engine/src/cmd/graph.rs:85 (parse_csv)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
document.rasterEffectsSettings accepts a resolution from 1 to 2,400
ppi, but a file's raster_effects_ppi opened as it was saved. With 0,
-5 or 5000 in the file, object.rasterize without a ppi param failed
with "ppi must be between 1 and 2400", and document.rasterEffectsSettings
and document.info reported the stored value. With 0 or -5, EPS and
PDF export wrote a freeform gradient as a 1 x 1 px image, and EMF
export wrote every gradient as one. A saved New Document preset in the
preferences kept such a value too.
A file's or a saved preset's resolution outside 1 to 2,400 ppi is now
read as the nearer end of that range. Documents with a resolution in
range open as before.
Docs: docs/mcp.md (resolution, rasterEffectsPpi).
The Appearance panel's inline effect editor drew each text parameter
(such as Drop Shadow's color and Revolve's edge) as a text field over
a copy of the stored value made again in every frame. A character
typed in one frame was gone in the next, so the field changed a value
only when its new text and the Enter press arrived in the same frame,
as with a paste.
The field is now the panels' shared exact_text_field, which keeps the
text typed while it has the focus, as the number fields beside it do.
Enter or a click elsewhere sends the value with effect.setParams as
one undo step, and Escape drops it.
A drag with Space and Shift held panned the view, as a Space drag does.
With Space and Shift held and Cmd up, a drag on the canvas now turns
the view about the canvas center, as a Rotate View tool drag does,
whatever the tool. Shift does not round the angle to 15° as it does
with the Rotate View tool, and the drag keeps turning the view when
Shift is let go. Space alone still pans, and Cmd+Space still zooms
with or without Shift. The pointer shows the rotate cursor while Space
and Shift are held without Cmd, and during the drag. The Rotate View
tool also shows it now, where it showed the arrow.
Docs: docs/target-app-parity.md.
In Presentation Mode the canvas showed the active tool's cursor, a
right click selected the object under the pointer and opened the
context menu, and every key other than the arrows and Escape worked as
in Normal Screen Mode: tool keys, Delete, Enter, Tab, F and the
command shortcuts. A two-finger tap undid. With a tool that claims
Escape, such as the Intertwine tool, Escape did not leave the mode.
In the mode only the Escape, Left Arrow and Right Arrow keys now act,
and Escape leaves the mode whatever the tool. Every other key press,
the text it types and the clipboard keys are dropped before any
shortcut reads them, the macOS menu bar's key equivalents included. A
right click or a long touch opens no context menu, a two- or
three-finger tap undoes or redoes nothing, and the pointer over the
canvas is the default one. F and Shift+F no longer leave the mode;
Escape does.
Docs: docs/target-app-parity.md.
In the Links panel, Shift-click and Cmd/Ctrl-click both added or
removed the image of the one row clicked. Shift-click now selects the
images of every row from the last row clicked without Shift to the
clicked one, in the order the panel shows them (its Show filter and
Sort order), and Cmd/Ctrl-Shift-click adds them to the selection.
Cmd/Ctrl-click still adds or removes one image, a plain click selects
one, and a double-click still goes to the link. When the last row
clicked is not shown, or the last click was in another document,
Shift-click acts as a click without Shift.
A click on a row runs select.set, select.add or select.toggle, and the
range is worked out as in the Layers panel's Shift-click.
Docs: docs/target-app-parity.md.
In the Graphic Styles panel, Shift-click and Cmd/Ctrl-click both added
or removed the one style clicked. Shift-click now adds to the selection
every style from the last one clicked without Shift through the
clicked one, in the order the panel lists them, and Cmd/Ctrl-click
still adds or removes one. A plain click applies the style and selects
it alone, Alt-click still adds it on top, and the Control bar's Style
picker still applies on every click.
The panel uses swatches::click_selection, as the Swatches panel and
the library panel do.
Docs: docs/target-app-parity.md.
A plain click on an item in the library panel selected the item but did
not record it as the anchor that a Shift-click ranges from. A later
Shift-click then selected only the clicked item, or ranged from an
older anchor set by an earlier Cmd/Ctrl-click or folder click. This
applied to swatch libraries and graphic style libraries.
Every click on an item or folder now goes through click_selection, as
in the Swatches panel. A plain click still selects the item alone and
adds and applies it.
PDF import reads a gap wider than a fifth of an em between two glyphs
as a space, and a space that the line's tracking cannot place gets
tracking of its own. That tracking was clamped to 1000 thousandths of
an em, while type takes tracking from -1000 to 10000. A gap wider than
an em plus the width of a space came in short by the excess, so the
words after it sat to the left of where the file put them, and each
further wide gap added to the shift.
The tracking that import sets for such a space, and for the line around
it, now has the same range as type's.
Expand had nothing for Intertwine groups. It reported success but left
the group live (it only dropped the members' live shapes), and its
Stroke and Fill options could not reach the members, so a second Expand
found nothing to do. Ungroup takes apart plain groups only, so it did
nothing either.
Expand's Object option now turns every Intertwine group in the selection
(inside groups too, inner ones first) into a plain group of what it
draws: its objects, keeping their ids and order, then each part drawn
over the others as a clip group. The group keeps its id, place,
transparency and appearance, everything happens in one undo step, and
the dialog enables Object for an Intertwine group. Ungroup then takes
the result apart, as with an expanded blend or repeat.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
gradient_chip now takes the GradientPaint and lays the gradient out as it would be on an object of the chip's shape: linear along its angle, radial from the centre, freeform from its colour points. Gradient panel swatch menu and the Swatch Options dialog carry the full paint.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Reverts the fallback that merged the layers of art selected on the canvas when no
layer row is highlighted: Illustrator's Merge Selected merges the highlighted rows
into the last one highlighted.
The shared dock left its pane and tab strip backgrounds transparent because the docked card behind them is filled. Floating groups lie on the canvas, so the canvas showed through. They now paint the panel colour, which is what the card shows when docked.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
sRGB to Generic CMYK applies black-point compensation (black separates to the
darkest rich black) but CMYK to display did not undo it, so hex 000000 became
C67 M67 Y67 K100 and then showed as #1b1818. The display XYZ now maps the press
black to black when the colour settings use black-point compensation, in the
sRGB conversion, the ink lookup table the canvas uses, Lab of a CMYK colour and
the gamut warning.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The overflow marker was drawn by the Type tools only, so with the Selection tool a text box smaller than its text showed no sign that text was hidden. Session::overlays now adds the marker of every selected area type and type on a path that overflows, unless a Type tool is active (it draws its own). The verdict is cached per object and font generation.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With no highlighted rows and art selected in two or more layers (Select All), layer.merge merges those layers; the panel menu enables it then.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Multiply squared a colour overprinting itself (stroke over same-colour fill showed a darker band). Darken keeps the stronger ink per plate/channel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The language the UI is drawn in was one process-wide value in unit
tests too, and the tests run on parallel threads.
current_language_is_a_frame_setting sets Traditional Chinese for a
moment, and a test that drew text in that moment read it in Chinese.
chrome::tests::the_zoom_hint_follows_animated_zoom failed that way in
29 of 500 runs together with the i18n tests.
The drawing language is now one per process in the app and one per
thread in unit tests, as ui_mirror! keeps the shortcut and workspace
mirrors. The app keeps the same static. A new test sets the language
on another thread and checks that its own thread still draws in
English.
The tmp() helpers in apps/vectorcraft-cli/tests/cli.rs and fileio.rs
name their folder after the process id (vectorcraft-cli-test-<pid>,
vectorcraft-cli-fileio-<pid> in the temp folder) and never empty or
remove it. When a later run gets the same process id, it finds the
earlier run's files there. mcp_automation_roots then fails on Unix with
EEXIST (Os { code: 17, kind: AlreadyExists, message: "File exists" }):
its first symlink() call finds the link in/escape.svg that the earlier
run made. A stale output file can also let a fileio test read an
earlier run's export.
The first tmp() call in each test process now removes the folder and
creates it again empty. The roots test's body moves into
automation_roots(), and mcp_automation_roots_in_a_folder_an_earlier_run_left
runs it twice in one folder, emptying the folder in between as tmp()
does. Without the removal the second run fails with the same error.
On main, cargo xtask wasm printed an unused-import warning for json in
crates/engine/src/cmd/fileio/action_batch.rs, and this check reported
it as an error:
RUSTFLAGS=-Dwarnings cargo check -p vectorcraft-engine --target wasm32-unknown-unknown
Every use of json! in action_batch.rs is in code compiled only for
native targets. The wasm32 version of action_batch uses Value only.
The json import now has the same #[cfg(not(target_arch = "wasm32"))]
attribute as the code that uses it. Native builds import the same
names as before.
Found while testing crates/doc/src/xml_id.rs:31 (from_object_name) / :10 (to_object_name)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/engine/src/cmd/graph.rs:193 (fmt_value)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
document.rasterEffectsSettings accepts addAround from 0 to 1,000 pt,
but a file's raster_effects.addAround opened as it was saved. With
addAround 1e300, the area of a raster effect image overflowed f64,
the image scale became 0 and the image got the transform
[inf, NaN, NaN, inf, x, y]. PDF export left that image out, so the
drop shadow was missing.
A file's addAround now opens clamped to 0 to 1,000 pt. An effect
image whose area or scale is not finite is not made. Export then
keeps the object with its effects, and Expand Appearance expands it
without an image, as when its PNG can't be encoded.
Docs: docs/mcp.md (addAround).
Before the Eyedropper samples an image, or Edit Colors, Recolor Artwork
or a color adjustment effect recolors an embedded one, `rgba_within` reads
the image's size from its header and checks its size as RGBA against the
allowance. The check multiplied width × height × 4 in 64 bits. A TIFF's
sides go up to 2^32 - 1 pixels, so a header of 2^31 × 2^31 pixels
overflowed that product: debug and test builds panicked with "attempt to
multiply with overflow", and release builds wrapped it to 0 before the
decoder's own 512 MB limit refused the image.
The check now compares width × height with the allowance divided by 4.
Every size whose RGBA bytes fit in 64 bits gets the same answer as
before, and a larger one is refused.
A raster export compared the process-wide count of images that could
not be decoded before and after it drew, and warned that "an image
couldn't be decoded and is missing from the picture" when the count
rose. Any other thread that failed to decode an image in that time
raised the count too: a second export, the UI thread drawing the
canvas, or the canvas, thumbnail and placed-document workers drawing a
document with such an image. The export then warned about an image it
does not contain. In the engine's tests,
options_not_applied_yet_and_document_features_warn failed in 5 of 60
runs of the tests_raster and tests_pdf* tests.
The count is now kept per thread. An export reads it on the thread it
draws on. That thread decodes every image the export draws that is not
already in the shared image store, and an image that failed to decode
is never stored.
The renderer decoded each image within its 2 GB allowance (512 MB in
the web build) and then converted it to RGBA. The decoder holds the
decoded image, before conversion, to that allowance, so an image stored
with fewer than four bytes a pixel (gray, 1-bit, gray with alpha, or
RGB without alpha) could take up to four times as much (4/3 times for
RGB) once converted, and as much again as the pixmap drawn from it.
The renderer now reads the image's size from its header first. When
width × height × 4 is over the allowance it does not decode the image
and handles it as one it can't decode: the renderer draws nothing for
it, and a raster export warns that an image is missing. Images within
the allowance are decoded and drawn as before.
Crop Image's trim (object.cropImage {trim: true}) decoded the image
within MAX_RASTER_ALLOC (2 GB) and then converted it to RGBA. The
decoder holds the decoded image, before conversion, to that allowance,
so a gray or 1-bit image within it could take up to four times as much
once converted.
Trim now reads the image's size from its header first and, when
width × height × 4 is over the allowance, fails before anything is
decoded, with the check and message Load Texture uses: "an image of
W × H pixels is too large to draw". Images within the allowance are
trimmed as before.
Node editing as the public manual describes it: Direct Selection's anchor squares (hollow
or filled), Reshape Segment over a curved segment, Group Selection's plus (also Direct
Selection with Alt), the arrow hollow while a drag snaps, and Alt-copy arrowheads. The
Anchor Point caret, the Curvature pen and Free Transform's side-shear arrows (ShearH,
ShearV) are drawn in code. Lasso, the freehand, symbolism and other tools return cursors
of their own that borrow their old look until drawn (Cursor::stand_in).
crates/tools/src/cursors.toml lists every Cursor value, when it shows and its hotspot,
for whoever draws them; `cargo xtask cursors` (in ci) warns about a missing, unknown,
repeated or incomplete entry and never fails. The busy cursor is listed as missing (G1).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Complete catalogs for nl, da and id, registered with their locales. Hindi from the same PR waits for a Devanagari UI font decision (with Lao and Georgian), and the strings main gained since the catalogs were written are added.
On macOS, the save sheets of Save As, Save a Copy and the first Save of
a new document have a Format menu again, and the Save as Template sheet
now has one too. The panel is an NSSavePanel built in
apps/vectorcraft/src/mac_save_format.rs, and the menu is its accessory
view, set before beginSheetModalForWindow:completionHandler: shows the
sheet. The menu from #1235 was added after rfd had begun the sheet, and
recent macOS versions dismissed the sheet at once (#1800, #1831,
#1518); #1855 removed it.
Choosing a format changes the extension in the name field and puts
that format's extension first in the allowed file types, which AppKit
adds to a name typed without one. A name typed with another listed
extension is saved in that format. Save panels with one file type and
the open and folder panels are still shown by rfd.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
Paths stored with linked images and placed documents, and the hrefs of
SVG images, go through fileio::document_path (craft-docpath): a relative
path is taken from the document's folder, and only local files or files
on the document's own network share are looked at. Opening a document,
Link Info, Package, the linked-file watch and SVG import all use it; the
watch stats files through fileio, so automation roots apply to it too.
A path that is not followed counts as missing; document.open,
links.check and links.info say why in `refused`.
attributes.openUrl refuses other URL schemes with a message. It and
links.editOriginal hand a URL or file to another app, so they answer a
control or MCP request (and synthetic input) with an error; a placed
document still opens in a tab.
A folder or app bundle, a link to another kind of file, or a file with
any other extension is refused with a message instead of being handed to
the system's default app. On Windows, a path containing a quotation mark
is refused before it reaches Explorer.
The Effect menu had no Rasterize. Object › Rasterize replaces the
object with an image, so its paths can no longer be edited.
Effect › Rasterize… (`rasterize`) is a live effect with Object ›
Rasterize's options: color model, resolution (the document's raster
effects resolution by default), white or transparent background,
anti-aliasing, Create Clipping Mask and Add Around Object. The canvas
draws the object as square pixels over its bounds, and its paths, type
and other art stay as they are. The effects above it in the stack,
shadows included, are part of its image, and shadows below it are cast
by the image. When Rasterize is an object's only raster effect, Expand
Appearance and PDF and SVG export give the image Object › Rasterize
gives with the same options.
Object › Rasterize now measures the art as drawn, with its geometry
effects, brush art and raster effects, so a Transform effect that moves
the art no longer leaves the image empty. Its Create Clipping Mask
clips the image to the art as drawn. The canvas no longer panics
drawing a pixel effect such as Gaussian Blur on an object about 65,500
screen pixels wide: the raster of such an object is at most 32,768
pixels a side, and the object is drawn into it at a lower resolution.
Docs: docs/mcp.md, docs/effects-parity.md, docs/target-app-parity.md,
ROADMAP.
What's new for users since v0.11.0:
- A restyled interface: Medium Dark with a coral accent by default, a choice
of accent colours, and a Classic colour scheme (User Interface › Color
Scheme) with the neutral greys of earlier versions.
- New tools and commands: Object › Intertwine and the Intertwine tool, the
Dimension tool, Export for Screens name patterns, folders and presets,
File › Automate › Batch, Sample Color from Screen, Release Guides into
paths, Update Selection, Rotate View to Selection and Rotate View presets,
Outline Object, the Halftone Pattern effect, canvas scroll bars, the
Hyphenation dialog, Legacy .ai export and portable mode on Windows.
- Canvas editing: the ellipse pie widget, the Shaper Group arrow, E for an
enclosed marquee, Unlock from a right-click on locked objects, Blob Brush
Keep Selected and Merge Only with Selection, Simplify's angle threshold and
straight lines, Distribute with a spacing from a key object, and Ctrl/Cmd+
Enter for proportional W and H.
- Type: font size steps of five, reset horizontal scale, reset tracking and
kerning, Align Stroke on live type, and Find and Replace that keeps
paragraph styles.
- Variables: image and graph variables, data set CSV import and export.
- Import: many .ai, EPS and PDF fidelity fixes (images, gradients, meshes,
patterns, layers, File Info), damaged PDFs no longer crash the importer,
and .ai, .ait and .svgz files copied in a file manager paste as art.
- Image Trace keeps tiny parts, thin outlines, shared corners and junctions,
and Noise no longer splits merged regions.
- MCP: draw_path and draw_shape as batch steps with dashes, caps and effects,
and command listings filtered by query and menu.
- Languages: Swedish, Finnish, Greek and Bulgarian, and Brazilian Portuguese
completed.
- Windows: a graphics driver crash leaves that adapter out at the next start,
and a maximized window stays clear of the taskbar.
With View › Hide Edges on, the canvas does not draw the bounding box,
the type widget beside it or the Live Corners widgets, but the
selection tools still answered the pointer on them. A press on a hidden
corner widget rounded the corners, a drag from a hidden handle scaled
the selection, a double-click on the hidden type widget converted the
type, and the cursor changed over each of them.
While edges are hidden, the app now tells the tools that the bounding
box and the corner widgets are off. A press at their places reaches the
art or the canvas under them.
Docs: docs/target-app-parity.md.
View › Guides › Release Guides only cleared the guide flag on paths
made with Make Guides. Ruler guides could not become paths by any
route, and with only ruler guides selected the command released every
guide path in the document instead.
Release Guides now also releases the selected ruler guides. Each one
becomes an open straight path with no fill or stroke at the top of the
guide's layer: an artboard guide runs across its artboard, and a
canvas guide runs across the bounds of all the artboards. The ruler
guide is deleted, the released paths are selected, and the release is
one undo step. With no guide selected, every guide path is released,
as before.
view.guides.release takes index (a ruler guide) and ids (guide paths,
and the guide paths inside them). Both are refused while guides are
locked, and index takes only a guide on a shown, unlocked layer.
Docs: docs/mcp.md, docs/target-app-parity.md.
#1320 (write) and #1318 (read) landed on main; this keeps only the missing
regression: explicitly closed control-point splines export with the closed
bit and re-import closed, while open paths (even with coincident endpoints)
stay open, across every SPLINE-capable DXF version.
Issue #1935 asks for batch exports of many logo variations in many
formats, each format in its own folder. This builds on Export for
Screens, which already writes every chosen artboard in every format row.
Names: a file name pattern (`name`) names every file alike. Tokens:
<filename> (the document), <name> (the artboard, asset, layer or
object), <index>, a run of # (a counter, zero-padded to the run's
length, from counterStart; counterPer item or file), YYYYMMDD,
YYYY-MM-DD, <date>, <time>, <YYYY>, <MM>, <DD>, <format>, <scale> and
<suffix>. A trailing .ext is dropped. Words are not changed: only the
date patterns and the bracketed tokens are. `date` sets the day (the
default is today, UTC). Different files that a pattern names alike get
-2, -3... Without a pattern, two rows with one name still write the
first row only, as before.
Folders: `folders` puts all files in one folder, a folder per row (as
Create Sub-folders did), per extension, per item, or per item and then
extension.
What is exported: besides artboards, assets and the full document,
`layers` (each layer's art alone, sublayers included) and `selection`
(one file of the selection, or a file per object).
Formats: rows can also be EPS, AI and VectorCraft (a document of the
item alone, its one artboard). A PDF row with printer's marks (PDF
Print in the dialog: trim, registration, colour bars, page information,
suffix -print) sits next to a plain PDF row.
Presets: document.exportPresets.list, .save and .delete keep batch
export presets with the preferences, and `exportPreset` uses one under
the call's own params. Built-in: Logo Package (SVG, PNG 1x and 2x, PDF
and print PDF, a folder per format) and Print-Ready PDF.
Dialog: Layers and Selection tabs with thumbnails; an Export Preset
menu with Save and Delete; Folders; File Name with Insert for the
tokens, Start at, Prefix, and an example of the first file's name. The
OK button says Export Layer or Export Selection on those tabs.
Tests: the pattern tokens, the request's example (SVG, PNG, PDF and
print PDF for artboards 1-3, a folder per extension, the print PDF a
bigger page), folders by item and both, the counter by item and by
file, numbered duplicates, layers and the selection, EPS, AI and
VectorCraft per artboard, presets (built-in, saved, used, replaced,
deleted, kept with the preferences), bad params, and the dialog (every
tab, the example name, a pattern export into folders, the Layers and
Selection tabs, presets applied and saved). The three tests that
refused EPS and VectorCraft rows now check those files. New labels
are translated in all 19 catalogs.
The Paragraph panel menu's Hyphenation… was always disabled, and
automatic hyphenation used fixed limits: words of 6 letters or more,
3 letters on each side of the hyphen, any number of hyphenated lines
in a row, and capitalized words hyphenated.
Each paragraph now has hyphenation options: Words Longer Than, After
First, Before Last, Hyphen Limit, Hyphenation Zone and Hyphenate
Capitalized Words. The defaults are the fixed limits, and documents
keep their line breaks. The options are saved only when they differ
from the defaults. text.setFormat takes wordsLongerThan, afterFirst,
beforeLast, hyphenLimit, hyphenationZone and hyphenateCapitalized, and
paragraph styles carry the options. Hyphen Limit applies with both
composers. Hyphenation Zone applies with the Single-line Composer: a
line whose text before the next word already ends within the zone
breaks before that word instead of hyphenating it.
Hyphenation… is enabled with type selected and opens a Hyphenation
dialog (ui.hyphenation) on the values the Paragraph panel shows. OK
runs text.setFormat with the values that changed, as one undo step.
Docs: docs/mcp.md, docs/target-app-parity.md.
The install folder is where the user sees the app: next to VectorCraft.app on
macOS (nothing is written inside the signed bundle) and next to the .AppImage
file on Linux ($APPIMAGE; the mounted executable's folder is read-only).
The first time VectorCraftData is created, the settings in the user's profile
are copied into it, so a portable zip that gains portable.txt keeps its users'
settings; the originals stay, a second start copies nothing, a copy that fails
halfway is logged and left as it is.
VECTORCRAFT_NO_PREFS never looks for the marker or creates the folder; a
portable copy skips the one-time read of DrawCraft's old settings; the
unwritable-folder warning goes to the log only (eprintln! panics on a closed
standard error).
A double-click on an object or group fits one artboard to the visible bounds and does not open Artboard Options. The second click does not fit another artboard. Other artboards stay. Double-clicking empty artboard space still opens Artboard Options. Double-clicking the name drawn above an artboard renames it.
The Stroke panel enables Align Stroke while the Type tool edits text, and
styles the selected characters. docs: mcp.md (stroke.set and strokeOptions
align on type), type-parity and target-app-parity rows.
Area type and type on a path whose text doesn't fit print without the
text past the end of the frame. text.create, text.createInPath,
text.setText and text.setStyle report it in their replies, but
file.print and print.preview gave no warning, and the Print dialog's
Summary showed none.
Both commands now add a warning that counts the area type and type on
a path that prints and doesn't fit, and gives their ids (the first 20,
then how many more). It counts the objects that the fallback font
warning counts: visible objects on the layers that Print Layers picks,
on the paper of the artboards or tiles that print. The walk that finds
the fonts of the printed type also collects these ids. Type in the art
of symbols, patterns, brushes, opacity masks and placed documents is
not named.
Docs: docs/mcp.md (Print, Fitting area type), docs/target-app-parity.md
(Type).
Effect › Path had Offset Path and Outline Stroke but not Outline Object.
The new effect (path.outlineObject) has no options: the Effect menu
applies it at once, and effect.apply refuses any parameter. It is a
geometry effect that returns its input. Type already reaches geometry
effects as its glyph outlines, so type that carries it is drawn,
exported (PDF and SVG as paths, with no font) and expanded as those
outlines, stays editable type, and the effects after it reshape the
outlines. Paths, compound paths and images draw as before, and no
bounds change: with Use Preview Bounds on, type is still measured by
its layout box.
Every complete catalog gets a row for the label.
Docs: docs/effects-parity.md, docs/target-app-parity.md (an evidence
line), docs/mcp.md (the effect, and what Expand Appearance does to
type).
The bounds of the visible art (`vectorcraft_render::encode::art_bounds`)
are the crop of Export with Use Artboards off, EPS without artboards,
Export for Screens' Full Document and Save for Web (Legacy) with Clip to
Artboard off, and the size Fit to Artwork Bounds gives an artboard. They
measured a group or layer by its members and left out its own effects,
and measured type and images without their effects. A group's drop
shadow, or the shadow of a line of type, was cut off at the image's edge
and left outside the fitted artboard. They also counted a Shaper group's
transparent source art.
Each visible object is now measured by `vectorcraft_render::effect_bounds`,
the measure of Export Selection's crop. A group or layer without effects
of its own is still measured by its visible members, skipping a Shaper
group's source art. A group or layer with a drop shadow, a glow or another
raster effect is measured without its hidden members, guides and template
layers, unless it is a Shaper group or also has a geometry, Pathfinder,
Crop Marks or 3D effect or a visible effect on its own fill or stroke.
The SVG of a chosen artboard also keeps an object whose effects alone
reach the artboard.
Docs: docs/mcp.md, docs/target-app-parity.md.
A geometry effect applied to one of a type object's own fills or
strokes (effect.apply with item) was kept but not drawn or exported
unless the type also had a geometry effect or perspective of its own.
With a geometry effect, the renderer measured the type for culling
without the fill's or stroke's effects, so an outline that reached past
the glyphs was not drawn once the glyphs left the view.
Type whose own fills or strokes have a visible geometry effect is now
drawn, culled and exported through its outlines, the same way as type
with an object-level geometry effect. Each effect reshapes the whole
outline that its fill or stroke paints. SVG, PDF, EPS and the other
vector exports write such type as paths. Type that holds inline
graphics stays type, as before.
The Select menu had no Update Selection: to add objects to a saved
selection or take objects out of it, the selection had to be saved
again under the same name. Select › Update Selection (`select.update`)
now gives the saved selection last recalled the objects that are
selected, in one undo step. It is enabled while objects are selected
and the document still holds that saved selection.
Each open document keeps session ids for its saved selections, so the
recalled one is found under a new name after Edit Selection…, and after
Undo and Redo. Deleting it disables Update Selection until another
saved selection is recalled or the delete is undone.
Docs: docs/mcp.md, docs/target-app-parity.md.
The characters' stroke takes Align Stroke like an object stroke: CharStyle
keeps stroke_align (written only when not centred), stroke.set and
text.setRangeStyle strokeOptions apply align to type, and the Stroke panel
enables the buttons for type. Canvas, PDF and EPS draw it around the glyphs
through stroke_layer(); SVG keeps the text live and writes the aligned
stroke on the glyph outlines, clipped or masked. Type's visual bounds grow
with its character strokes.
The Simplify dialog had Tolerance, Preview and the anchor point counts.
It now also has three of the options of the reference app's advanced
Simplify dialog:
- Corner Point Angle Threshold is a slider from 0° to 180° that opens
at 150°, with its label above it so the dialog stays under the
420-point width that menu_parameter_dialogs_are_compact allows. An
anchor whose corner is sharper than the threshold stays a corner, so
moving the slider right keeps more corners. The dialog sends
object.path.simplify's cornerAngle as 180° less the threshold, so the
opening value gives the same result as before.
- Convert to Straight Lines sends straightLines.
- While Preview is on, Show Original Path draws the paths as they were
before the preview, in a faint band of their layer's color under the
selection outlines.
The three labels have rows in the 19 catalogs that translate every
label.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
In a rotated view, seven parts of the canvas and the Navigator worked as
if the view were not turned. Fit Artboard in Window and Fit All in
Window sized the zoom from the unturned width and height, so at 45° a
612 x 792 pt artboard ran off a 1000 x 800 canvas. The Zoom tool's
marquee (Animated Zoom or GPU Performance off) set the zoom to 3.13% at
90° and 180°. Ruler guides on no artboard were drawn square to the
screen while the tools pick them, snap to them and move them by their
position in the document. The rectangle a tool drags out (the selection
marquee, and the drags of the Type tool, the Artboard tool, the Place
cursor and Rectangle Cut) was drawn as a box square to the screen while
the tools work in the document rectangle. Show Hidden Characters skipped
type whose turned outline reached into the canvas when the box between
two of its corners did not. At 180° the Contextual Task Bar covered the
selection, and the Navigator's red box outlined an area that the window
did not show.
Now fitting uses the size of the artboard or art turned with the view,
and the Zoom tool's marquee zooms by its size on screen and centers on
its middle. A canvas guide is drawn along its document line, cut to the
canvas. Rectangles that tools drag out are drawn through the screen
corners of the document rectangle the tools use. Show Hidden Characters
uses the type's turned outline on screen, and the task bar uses the
selection's. The Navigator draws the canvas's corners mapped into the
document. At 0° each of these does what it did before.
Docs: docs/target-app-parity.md.
A Blob Brush stroke merged with every touching closed path of its
color that had no stroke, and the blob it drew or merged into was
always left selected. The Blob Brush Tool Options had Size only.
The Blob Brush Tool Options now have Keep selected and Merge only
with selection, both off by default. A blob that a stroke draws or
merges into is no longer left selected unless Keep selected is on,
and the rest of the selection stays as it was. While Merge only with
selection is on, a stroke merges only with selected blobs, and with
nothing selected it draws a new blob. The options persist like the
tool's Size, and path.blob takes keepSelected and mergeOnlySelection,
both false by default. Keep selected stays on by default for the
Pencil and Paintbrush.
Docs: docs/target-app-parity.md, docs/control-protocol.md.
A right-click on the canvas now records the locked objects under the
pointer with vectorcraft_doc::hit::locked_objects_at, topmost first and
at most 20. A locked group is listed instead of the objects it holds.
Hidden objects and objects on hidden, locked or template layers are not
listed, and in isolation mode only the isolated group's contents are
listed. While the menu is open, it has an Unlock submenu after Undo
and Redo that lists each of them by the name the Layers panel shows.
Choosing a name runs layer.setProps {ids: [id], locked: false}, as the
Layers panel's lock column does, in one undo step. ui.contextMenu.list
shows the same items.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
The Selection tool shows two pie widgets just outside a selected live
ellipse while the bounding box shows: one at the Pie Start Angle and
one at the Pie End Angle. Dragging one sets its angle to the angle of
the outline's point that lies in the direction of the pointer from the
ellipse's center, in one undo step, through `object.setLiveShape`'s
`pieStart` or `pieEnd`. Double-clicking one makes the ellipse whole
again (0° to 360°). Where the two widgets coincide, as on a whole
ellipse, a press takes the End widget.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
A Selection tool marquee selected every object it touched, a Group
Selection marquee selected the anchors inside it, and E pressed during
the drag did nothing. Now E switches either marquee to selecting only
the objects that lie entirely inside it, measured by their geometric
bounds, and E pressed again switches it back. Each marquee starts in
the default mode.
- The Selection tool selects a group only when the whole group lies
inside. Group Selection selects the objects inside groups, each as a
whole object. Shift still toggles. Direct Selection does not take E.
- The ruler guides the marquee selects with the art are limited the same
way: an artboard guide is selected when its whole length lies inside,
and a canvas guide is not selected.
- Tools receive letter keys as ToolKey::Letter. While a tool is busy, the
desktop app sends it each press of a letter it claims, without Cmd,
Ctrl or Alt and without key repeats, and headless press_key sends a
claimed letter the same way. With nothing dragged, press_key {key: "e"}
still chooses the tool bound to E.
Docs: docs/mcp.md, docs/target-app-parity.md.
A Shaper Group had no arrow widget for switching between Face Selection
and Construction mode.
With the Shaper or Selection tool active, a selected Shaper Group, or a
group with one of its faces selected, now shows an arrow beside the
middle of the right side of its source shapes' bounds. A click on it
isolates the source shapes (object.isolate). A second click leaves
isolation with the group selected (object.exitIsolation). The arrow
points right in Face Selection mode and left in Construction mode.
In Construction mode a Shaper click selects an original shape of the
isolated group. Before, it selected the whole group outside the
isolation, and shaper.select with source could pick an original of
another Shaper Group lying above it.
Docs: docs/shaper.md, docs/target-app-parity.md.
The reference app resets the horizontal scale of type to 100% with
Cmd/Ctrl+Shift+X. VectorCraft had no command for it, and the chord
cut the selection: egui reports it as a Cut with Shift held.
type.resetHorizontalScale (Reset Horizontal Scale, default
Cmd+Shift+X) sets the horizontal scale to 100% in the text the Type
tool has selected, or else in all the text of every selected type
object, in one undo step. The value is the one the Character panel
shows, so a type object stretched to twice its width keeps 50% stored.
The vertical scale does not change. At a caret the command leaves the
text as it is. Type objects given in ids are reset in full, as
type.resetTracking does.
Docs: docs/mcp.md, docs/target-app-parity.md.
No command held Cmd/Ctrl+Alt+Shift+. and Cmd/Ctrl+Alt+Shift+,, so the
chords reached Increase and Decrease Font Size (Cmd/Ctrl+Shift+. and ,)
and changed the size by one Size/Leading increment.
Two commands, type.size.increaseByFive and type.size.decreaseByFive,
now hold the chords. They step the font size of the selected type, or
of the text the Type tool has selected, by five times the Size/Leading
increment (Preferences › Type). Agents reach them with press_key too.
Their labels have rows in every complete catalog.
Docs: docs/mcp.md, docs/target-app-parity.md.
PDF export and .ai saves wrote every page in points. ISO 32000-1
(Annex C.2) gives 14,400 units as the longest page side, and a page
with a longer side got a media box past that limit. A PDF/A-2b file
with such a page failed veraPDF's page size rule (6.1.13).
Such a page now gets a UserUnit (PDF 1.6): its longer side divided by
14,400 and rounded up to the next thousandth, with the page's sizes
and coordinates in those units. A 20,000 × 10,000 pt artboard is
written as a 14,398.85 × 7,199.42 page with /UserUnit 1.389, and
VectorCraft's PDF import reads it back at 20,000 × 10,000 pt. Pages
up to 14,400 pt, PDF 1.3 to 1.5 files, PDF/X files and printing are
written as before.
Docs: docs/mcp.md, docs/target-app-parity.md.
Fit to Artwork Bounds resized the active artboard to the bounds of all
the art in the document, wherever that art was. With art on two
artboards, fitting one of them stretched it over both.
artboard.fitToArt now takes `indices` and fits each artboard to the
art on it, in one undo step. An object counts for every artboard its
drawn bounds overlap, and the artboard is fitted to all of its bounds,
also where it reaches past the artboard's edge. Art flush with an edge
from outside does not count. An artboard with no art on it keeps its
size and place, and the command fails with "no artwork" when none of
its artboards has art. Object › Artboards and the Artboards panel menu
pass the selected artboards (the Artboard tool's, else the active one),
and a recorded action leaves them out. Fit to Selected Art still
resizes the active artboard.
Docs: docs/mcp.md, docs/target-app-parity.md.
In the Transform panel, the Properties panel's Transform section and
the Control bar, Ctrl+Enter (Cmd+Return on a Mac) in W or H left the
field active and applied nothing. Now it applies the value as Enter
does and sends `proportional: true` to `object.setBounds`, so the other
side scales by the same factor with the Constrain Width and Height
Proportions link off. With the Artboard tool, the Transform panel's W
and H keep the active artboard's proportions the same way. X, Y,
Rotate, Shear and the number fields of dialogs keep Ctrl/Cmd+Enter as
it was.
- widgets::size_field is a num_field that Ctrl/Cmd+Enter also commits.
- transform::proportional gives the `proportional` param of the W and
H fields: the link, or true after Ctrl/Cmd+Enter.
Docs: docs/target-app-parity.md.
A rotated object's bounding box stands at the object's angle. No
command turned the view to the angle of the selection: `view.rotate`
turns the view only to an angle passed to it.
View › Rotate View to Selection, between the Rotate View submenu and
Reset Rotate View, runs a new UI command, `view.rotateToSelection`. It
turns the view about the center of the canvas to the angle the
selected objects share, the angle `document.inspect` reports as
`selectionRotation`, so their bounding box is square to the window.
Objects turned to different angles share no angle, and the view turns
back to 0. The zoom and the view's center stay as they were. The
command returns `{angle}`. With nothing selected it returns "nothing
selected" and the menu item is disabled; without a document it
returns "no document".
Every catalog that translates the menus has a new "Rotate View to
Selection" row.
Docs: docs/mcp.md, docs/target-app-parity.md.
With a key object, the Align panel's six Distribute Objects buttons
ignored the Distribute Spacing value. They kept the outermost objects
in place, spaced the others evenly between them and could move the
key object.
object.distribute now takes spacing. While the selection has a key
object, the key object stays in place, with the compound path or
selected group that contains it, and the objects' left edges, centers
or right edges (top edges, centers or bottom edges) end up spacing
points apart, outward from the key object's, in their order on that
line. With 0, the field's default, every object ends on the key
object's line. Two objects are enough, and to and artboard are not
used. The panel sends the value with the Distribute Objects buttons
while there is a key object, as it does with the Distribute Spacing
buttons. Without a key object, or with anchor points selected,
object.distribute does not use spacing and works as before. A spacing
that is not a number is an error.
Docs: docs/mcp.md, docs/target-app-parity.md.
Escape never changed the view's rotation.
Now a second Escape less than a second after the first runs Reset
Rotate View (`view.rotateReset`) when the view is rotated and the
second press has nothing else to end: no Presentation Mode, pattern
editing, isolation mode or open tool flyout, no tool that is busy or
takes the key, no open menu, dialog, command palette or Edit Toolbar
drawer, no text field or input method that takes the key, no number
field being dragged and no drag of the ruler origin. The first Escape
may end something, such as isolation mode, but it does not count as the
first when a menu, a dialog, the command palette, the drawer, a field
or an input method takes it. After a click, a press of another key that
is not a modifier (Shift, Control, Alt/Option or Command) or a held
Escape's repeats, the next Escape counts as the first. With the Rotate
View tool chosen, one Escape resets the view.
Docs: docs/target-app-parity.md.
After Object › Path › Remove Anchor Points the anchor that follows each
removed one is selected: round the end of a closed subpath, or the one
before it at an open subpath's end. Running the command again goes on
along the path, without picking each anchor first. Several anchors,
subpaths and paths each get their own next anchor; a path that goes
leaves nothing selected; one undo step restores the anchors and the
selection.
The Delete key still selects the remainder whole so a second Delete
removes it, and the Delete Anchor Point tool still leaves the path
selected whole.
Fixes#2241
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Tab set the panels, the toolbar and the Control bar to one value on
each press. Two presses turned on a Control bar that had been off.
When the toolbar was hidden with Window › Tools, Tab showed the toolbar
and the Control bar instead of hiding the panels.
Tab now records which of the three showed when it hides them, and the
next Tab shows those again. Panels shown with Shift+Tab in between
stay shown. While the panels are hidden and the toolbar or the
Control bar shows, as after Shift+Tab, Tab hides those bars instead of
showing all three. When the toolbar or the Control bar was shown another way
after Tab hid them, the next Tab hides what shows and records that
instead. A switch of workspace clears the record. When none of the
three shows and Tab hid none, Tab shows all three, as before. The
record is saved with the other UI settings, so the first Tab after a
restart shows the same bars.
Docs: docs/target-app-parity.md.
On macOS the canvas paints the tool cursor into the window and hides
the system pointer. winit hides the pointer with a cursor rect that
holds a transparent cursor, and AppKit applies cursor rects only in the
key window. Over a VectorCraft window behind another app, or under its
own File › Open… sheet, macOS showed its arrow next to the painted tool
cursor.
On macOS the canvas now paints the tool cursor only while the window
has the focus. Without the focus it sets the tool's system cursor icon,
and the system pointer shows alone. Windows, X11, Wayland and the web
are unchanged.
Part of #2020.
Docs: docs/target-app-parity.md.
In the Swatches panel, a swatch dragged onto another swatch moved next
to it whether or not Alt was held. With Alt held at the release, a
swatch dropped on a swatch of its kind now gives that swatch its color,
gradient or pattern in one undo step, and the swatch keeps its name and
place. Art linked to a global swatch takes the new color. Drags of
None, Registration or color groups, and drops on a tint swatch or on a
swatch of another kind, work as before.
A color dragged in from outside the panel, such as from a Fill/Stroke
proxy, and Alt-dropped on a tint swatch failed with an error that the
swatch is a tint. It now becomes a new swatch, as a drop on a swatch of
another kind does.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
The raster matrix [a b c d tx ty] is an art-space matrix (y up) applied to
the pixels with their rows running downwards, (u, -v). The reader flipped
the matrix's result instead, which only agrees when b = c = 0, so a rotated
image came in turned 180 degrees around its corner. The legacy version 7
writer and its prolog used the same convention; they now write and draw
the matrix the reader takes.
dataset.select, dataset.next and dataset.prev rewrite bound type with
the data set's text but replied only {name, applied, skipped}. A long
value could push lines out of a fixed frame and the reply had no
overflow key, while text.setText answers overflow: [id] for the same
text.
The three commands now add overflow: [id...] with the area type and
type on a path whose text they rewrote and that doesn't fit, through
typecmd::with_overflow, as text.setText does. An object that two text
variables rewrite is named once. Type that the data set left alone is
not named, and the key is left out when all of the rewritten text
fits.
Docs: docs/mcp.md, docs/target-app-parity.md.
As in the reference app's Contextual Task Bar, which offers "options like
Image Trace, Retype, and Crop Image" for images and lets you "quickly
expand traced artwork from the bar" (public announcement:
https://community.adobe.com/announcements-651/contextual-task-bar-in-illustrator-2025-quick-actions-when-you-need-them-1546580):
- One image selected: Image Trace traces it at once with the Default
preset, leaving the Image Trace panel as it was (like the quick trace
from Properties and the Control bar); Crop Image shows the crop box.
Offset Path and Simplify, which don't apply to an image, are gone.
- One Image Trace object selected: Expand keeps only the traced paths,
in place of Ungroup and Isolate.
Retype isn't offered: the app doesn't have it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
dataset.import trimmed every cell, quoted or not. dataset.export quotes
a text value with leading or trailing spaces, so a value such as
" padded " came back from its own export as "padded".
The CSV reader now trims an unquoted cell as before and keeps a quoted
cell as written between its quotes, spaces included. White space
between the closing quote and the next comma or line end is still
dropped. Image, graph and visibility cells, data set names and header
cells are trimmed as before.
A `.ai` opened from its editing data lost a text object on a layer that
shows and has Print off when its page drew no type for it. prune_unseen
weighs each text object made from the text document that the page's
type doesn't match against the page, and the layers are drawn for that
comparison as they print (as_printed), with such layers hidden. Taking
one of these objects out never changed the comparison, so each was
removed with the note "text objects that the file keeps but its page
doesn't draw ... are left out".
unmark now carries a print flag next to the shown flag, and a layer
with printable off clears it for everything it holds. Only made text
objects that show and print are weighed against the page; the others
stay on their layer.
Docs: docs/mcp.md, docs/target-app-parity.md.
The command catalogue is about 340,000 characters, more than many MCP
clients show, and `query` (the name agents reach for first) was refused as
an unknown argument. command_list and list_commands now take `query` as
another name for `filter`, `menu` to keep the commands under a menu path
("Object > Path"), and `brief` to leave out each command's params text,
which is most of the catalogue; the params of one command are a filtered
listing away.
Found while testing crates/engine/src/cmd/typemenu.rs:668 (find_replace / edit_runs)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The family list scrolled with egui's floating scroll bar, which is drawn
over the rows' right ends, where each family's star is: with the pointer
there the bar widened over the star and a click went to the bar. The list
now takes the scroll bar the menus got for the same reason (#2086), slim
and in a column of its own; `widgets::list_scroll_style` holds it for both.
- "Font Style:" in Dimension Tool Options is Teckensnittsstil: Teckenstil
is already Character Style.
- The drawing-scale help reads "1:10 visar 1 enhet på sidan som 10".
- The layered-file fallback message and "Check an artboard to save" read
more naturally.
- "File › Place…" names the menu as the menus do (Fil, not Arkiv).
- The rows are reviewed, so the "machine-drafted; review welcome" note
above them goes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A second colour scheme next to Modern: the neutral greys and blue accent of
earlier versions, on the same cards, corners and layout. Picked in
Preferences › User Interface › Color Scheme (pref uiColorScheme:
modern|classic); Accent Color is dimmed while Classic is chosen, which has
its own blue.
Seven app screenshots retaken at 2240x1400 (UI at 1.6x), two of them new: a 3D still life with the Revolve dialog (examples/still-life.vectorcraft) and a bracket drawing with linked dimensions (examples/bracket-drawing.vectorcraft). The still life also joins Made in VectorCraft. The older examples are saved again in the current native format; they render the same.
Layers ≡ and row menus collect art via assets.add; a layer id expands to the art under it (including sublayers) so MCP and the panel match Object › Collect for Export.
The list showed [None], [Registration] and the default swatches' names in
English. Names the app gives (the default swatches and colour groups) now
show in the UI's language where it has a `swatch` row for them; documents
keep the names as they are, and a name the user gave shows as written.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An ideographic space in a face without U+3000 was shaped with that face
and could set at zero width, removing an indent. Only what the layout
handles itself (tab, line and paragraph breaks) stays with the primary.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A corner whose anchor carries a handle (where a curve meets a line, or two
curves meet) was left sharp. It now gets Live Corners' round cut
(geom::corners, #1144), reaching `radius` along each side and trimming a
curved side. Corners between handle-less anchors are rounded exactly as
before, and a closed path still starts where its first corner's rounding
starts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Symbol instances are placed through a transform as images are, so the
Transform effect now moves and copies both (transform_placed), sharing one
copy budget (MAX_COPY_OBJECTS). Copies of either stop before one reaches
past MAX_REACH, as a path's do (distort::within_reach).
Adds end-to-end export tests for a group's image copies in svg and pdf.
While the renderer drew a brushed path on its fast path, it drew the
pieces of brush art with that path still set as the object being
drawn. cached_stroke and fill_path_gradient then kept the outlines and
gradient slices of the pieces' strokes under the brushed path and the
address of each piece's stroke. The entries held the brushed path and
not the pieces, so a piece made later could take the address of an
earlier piece's stroke and be drawn with that piece's outline. The
instances of a symbol and the copies of a live repeat replace each
other's brush art, so it is made again for each of them in every
frame, and every brushed path gets new brush art when the document's
brushes change. In a test, a renderer drawing three instances of a
symbol whose art holds a path brushed with a scatter brush of a
stroked square drew frames that differed from a new renderer's in 316
to 1,140 pixels.
The two caches now keep only the strokes of the object being drawn. With
vectorcraft-cli bench at 2880x1800 on 8 threads, 2,000 instances of a
symbol of eight brushed paths took 203.4 ms a frame on main and 155.9 ms
with this change. 2,000 groups of the same paths, for which main keeps
the brush art and the outlines of its strokes between frames, took 133.7
ms on main and 156.9 ms with this change. The peak working set of a
bench run at 2880x1800 went from 609 MiB to 127 MiB on the instances and
from 331 MiB to 210 MiB on the groups.
Commands that read the selection through edit::selected_roots leave
out an object whose group is also selected (edit::roots_of). Fourteen
places that read `ids` kept an object listed together with its group.
Given ids that list an object and a group that holds it, Make Repeat
failed with "no such object", New Symbol failed or stored the object
twice in the symbol, and object.transform moved it twice (20 pt for a
10 pt move).
These places now pass explicit ids through edit::outermost, which
drops an id whose ancestor is also listed, with the filter that
roots_of runs on the selection (now edit::without_inner). Nothing else
is dropped or replaced: unlike roots_of, it keeps layers and
compound-path members. A list without nesting gives the same result as
before. Commands that take both ids and the selection as listed, such
as paint.setFill without item, are unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
Unit fields and length strings read a percentage operand as a share of
a value. After * or /, the percentage scales the term before it:
3cm*50% is 1.5 cm and 3cm/50% is 6 cm. After + or -, it adds or takes
away that share of everything before it: 50pt+25% is 62.5 pt and
100pt+20pt-50% is 60 pt. Before this change these expressions read as
nothing, and the field kept its old value.
The parser now splits a sum at its last + or -, so a percentage applies
to the whole sum before it. Text without % gives the same values as
before, apart from float rounding. A percentage on its own (50%) still
reads as nothing, and percent and degree fields still read % as their
suffix.
Command length strings use the same parser: file.new's width and
height, the distance params and the length preferences.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
Exports bake live effects into plain art, and a Transform effect on
type or on its group or layer turned the type into glyph outlines, even
when the effect only moved it or made moved copies. A PDF reader could
not select or search that text.
The export bake now keeps such type as type, moved into each place the
effect puts its outlines. It does this for Transform effects without
scale, rotation, reflection or Random, for type whose characters are in
solid colors without underline or strikethrough, and that has no fills
or strokes of its own, inline graphics or perspective, and when the
copies do not overlap. Type under such an effect on its group or layer
also needs no transparency or effects of its own, and the group or
layer needs no fill, stroke or Pathfinder effect of its own. The export
still outlines other type under geometry effects, and the canvas and
Expand Appearance still draw outlines.
Docs: docs/mcp.md, docs/target-app-parity.md.
A new import fuzz test, pdf_resources_the_reader_cannot_parse_never_panic,
imports a page whose resources hold:
- a value the reader can't parse (/#zz, 12-.5) or one it reads (/Fine)
in the color space dictionary, before a Separation space the page
paints in, and in the font dictionary, before the font of its text;
- a calculator function written as the shading's function, or inside an
array or a dictionary in the page's /Properties: a plain one, one with
Columns 0, one with a huge Columns, or one of 257 MiB of deflated
spaces.
The import must not panic. The file opens with its art, or it is refused
with "would decode to more than 256 MB" when the function is not plain.
With the nesting check, the font scan or the ink scan reading
Dict::entries again, the test fails on a value the reader can't parse.
With the stream check made on the file's objects alone, the test fails
on every function that is not plain: the file opens instead of being
refused.
The calculator helper of pdf_streams_the_reader_would_fail_on_are_refused
is now a function of the file, and the function of spaces is made once.
The PostScript interpreter that reads EPS and PostScript files turned
the samples of a CMYK image into display RGB and stored an RGBA PNG,
so the image lost its ink amounts. The DCTDecode filter decoded a CMYK
JPEG to RGB, so it lost its ink amounts too. The PDF importer keeps
the ink amounts of 8- and 16-bit CMYK images (in a CMYK TIFF, or the
CMYK JPEG itself).
A CMYK image (image or colorimage in DeviceCMYK, CIEBasedDEFG or a
four-component ICCBased space) now keeps its samples in a CMYK TIFF
(ImageBlob::cmyk_tiff), read through its Decode array, at every bit
depth the interpreter reads. A CMYK JPEG gives its samples as stored,
and the image's Decode array reads them: [1 0 1 0 1 0 1 0] undoes the
inverted samples of Adobe's CMYK JPEGs. The pixels that a MaskColor
or an ImageType 3 mask hides become a grayscale opacity mask over the
image, as in PDF import. A mask that hides nothing adds no mask. Gray,
RGB, indexed and spot color images and image masks stay RGBA PNGs.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
The editing data reader sized each row of a 1-bit image as width ×
channels bits, padded to a whole byte, but read one bit per pixel and
made the pixel gray from it. A 1-bit RGB or CMYK image came out as a
black and white image of the wrong bits. When that made the layers
differ from the page by more than 5%, the file opened from its PDF
part instead, with a warning.
The reader now takes channel c of pixel x from bit x × channels + c of
the row, a set bit being the channel at full strength, and converts
the samples as it converts 8-bit ones. 1-bit gray images read as
before.
Effect › Distort › Glass… offered only its four built-in textures. The
reference app's Texture menu also has Load Texture, which takes an
image file as the glass surface.
The Glass dialog now has a Load Texture… button. It reads a PNG, JPEG,
GIF, WebP, TIFF, BMP, PSD or PSB file within the pixel allowance the
renderer draws images in, and the Texture menu gains Loaded Texture.
The effect stores the image's gray levels in `textureImage` as a
grayscale PNG in base64, so the document saves the texture with the
effect, and copies of the effect carry it. effect.apply and
effect.setParams take `textureImage` as {path}, {name, dataBase64} or
the stored string; any other value is an error.
The texture lies one image pixel per point at Scaling 100%, centered on
the object and repeated. Each pixel's luma is the surface's height,
from 0 for black to 1 pt for white, and a transparent pixel counts as
middle gray. A Glass without `textureImage` draws and saves as before.
Docs: docs/mcp.md (Glass textures), docs/effects-parity.md,
docs/gaps.md, docs/target-app-parity.md.
A PDF, PDF-compatible .ai or .ait opened from its pages had an empty
File Info. Nothing read the file's document information
dictionary or its XMP packet, so file.info reported no author,
description or keywords, even for a PDF that VectorCraft exported.
vectorcraft_pdf::file_info reads both. The author, description,
keywords, copyright status, notice and URL and the created and modified
dates come from the XMP packet (dc:creator, dc:description, dc:subject
or pdf:Keywords, xmpRights:Marked, dc:rights, xmpRights:WebStatement,
xmp:CreateDate, xmp:ModifyDate), else from the dictionary's Author,
Subject, Keywords, CreationDate and ModDate. document.open,
file.newFromTemplate and file.revert put each value through file.info's
checks and leave out a value that file.info refuses. A packet that is
not well-formed XML leaves the dictionary's values. File Info does not
set the title, and a file restored from the document it carries keeps
that document's File Info. vectorcraft-pdf depends on roxmltree 0.21,
which usvg already brings into Cargo.lock.
Docs: docs/mcp.md (File Info), docs/file-format-parity.md,
docs/target-app-parity.md.
When type had used a font, removing the font while the app ran left
it in the font menus, and the type kept drawing in it until the app
restarted. The font list is the loaded faces plus the scanned catalog,
and a scan replaced the catalog but kept every loaded face.
A scan now drops each loaded face whose file it did not catalog, with
the face's cached outlines. A family with no face left leaves the font
lists, and type set in it lays out in the fallback font and is
reported missing, as when a document opens without the font. When the
font is installed again, the next scan lists it and the type draws in
it again. Bundled fonts and fonts added as bytes have no file and
stay.
Docs: docs/mcp.md, docs/target-app-parity.md.
When a graphics driver crashed the process while the window started,
as Intel's Direct3D 12 driver (igd12umd64.dll) did on an Intel UHD
Graphics 605 (#2243), the next start picked the same adapter again. The
restart without a failing adapter and the first-frame watch run inside
the process, so the crash ended them along with it.
Each start now writes graphics-start.json in the log folder before the
graphics start, adds the adapter once one is picked, and clears both
when the first frame reaches the screen or the app ends without
crashing. A start that finds an earlier start still recorded there
leaves that adapter out, as a restart does, logs it and shows a note in
the status bar. When the crash came while the adapters were being
listed (wgpu's Direct3D 12 backend creates a device on each GPU to list
it), the next starts list OpenGL's adapters alone, except on macOS. The
adapters stay left out until the app version or the Graphics Processor
preference changes, a start shows its first frame on one, or no adapter
is left. WGPU_BACKEND and WGPU_ADAPTER_NAME choose regardless of the
record.
Docs: docs/development.md, docs/target-app-parity.md.
Adds a Finnish (Suomi, `fi`) catalog with 4,770 entries, written in
sentence case from the English labels with ordinary Finnish
vector-illustration vocabulary. It covers menus, `tl!` literals and the
668 `@msg` status and error messages: `fi` is in KEEPS_MENU_NAMES and
COMPLETE_MESSAGES. Like the other complete catalogs, it leaves the
product, workspace and perspective preset names in English.
Plurals are one/other with the partitive singular after any number but
1 (1 taso, 2 tasoa). Any fi-* locale selects Finnish; sv-FI does not.
Tests: `cargo test -p vectorcraft-ui-egui --lib i18n` passes (47),
including the new finnish_reads_as_finnish and the bundled-font glyph
check.
Clean-room, AI-assisted (Claude Code) translation; a native speaker
checked it in the running app, but it has not been proofread line by
line.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Adds Swedish (Svenska) as an interface language: 4770 strings, written from the English source.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Flatpak opens only /usr/share/fonts and ~/.local/share/fonts to a sandbox, so the
fonts a font manager such as FontBase activates into ~/.fonts were missing from the
font list while native apps showed them. Granted read-only: VectorCraft only reads
fonts.
Verified on the 0.11.0 release bundle by applying the same grant as a user override
(`flatpak override --user --filesystem=~/.fonts:ro`): in a fresh sandbox the FontBase
families went from none to all 167, `fc-match` resolved a family that had been missing
from the app, and the font then appeared in the font list.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
#1290 (from #1275) declared the glibc floor as `libc.so.6(GLIBC_2.35)(64bit)`. That doesn't stop
RHEL 9: its current glibc, `2.34-283.el9_8`, provides `libc.so.6(GLIBC_2.35)` through backports. On
Rocky Linux 9, dnf upgrades glibc to that build, installs VectorCraft 0.10.0, and `vectorcraft-cli`
then fails with ``/lib64/libm.so.6: version `GLIBC_2.35' not found``. The binaries' only GLIBC_2.35
symbols are `hypot` and `hypotf`, from libm, and RHEL 9 doesn't provide `libm.so.6(GLIBC_2.35)`.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Spell out dataset.list/capture/update/delete/rename and distinguish the MCP
command_batch tool from the engine command.batch Actions play.
Co-authored-by: Cursor <cursoragent@cursor.com>
Play an action on every file in a folder or every data set, with destination
and Override Open/Save/Export. Actions panel and File › Automate › Batch…
open the dialog; new strings in pt-br.
Co-authored-by: Cursor <cursoragent@cursor.com>
VariableKind::Graph binds a graph root; dataset rows supply CSV as graph.setData.
Make Graph Dynamic, Variables dialog, capture/apply, and pt-br for the new strings.
Co-authored-by: Cursor <cursoragent@cursor.com>
Load and save variable datasets as CSV for data-merge pipelines, and
translate the new Variables panel commands in Brazilian Portuguese.
Co-authored-by: Cursor <cursoragent@cursor.com>
# Conflicts:
# docs/target-app-parity.md
Expose existing Warp styles, orientation and percentage controls through the shared live effect dialog while preserving preview history and effect targets. Keep ordinary Enter owned by focused non-searchable combo controls.
Co-authored-by: Codex <noreply@openai.com>
Store the registration point with the symbol and place instances so that point lands on (x, y). Symbol Options exposes the same 9-point control as Transform.
Co-authored-by: Cursor <cursoragent@cursor.com>
assets.export of abutting fills must leave no ghost edge (#983 / #1037); panel thumbnails use the same Art Optimized supersample. Progress docs mark the gap closed.
Keep surviving drawable runs separate when Delete or Backspace removes an open-path anchor. Preserve appearance, selection and one-step Undo.
Co-authored-by: Codex <noreply@openai.com>
Make and Edit choose the Intertwine tool: hovering highlights the overlap
area under the pointer, a click swaps which object is on top there, and a
path drawn around overlaps (Shift: a rectangle) arranges every overlap
inside it; Esc or Enter goes back to the tool chosen before. The overlap
faces move to vectorcraft-tools, shared by the tool and the command.
Clicks inside a raised area pick the member drawn on top there, the
Object menu gets the Intertwine submenu, and the new labels and the
predicate message are translated in the complete catalogs. docs/gaps.md
records what landed under G13.
A step whose id is draw_path or draw_shape runs that tool with its params,
checked as tools/call checks arguments; its result is the tool's, so later
steps can use "$N.id". The reply lists the ids the drawing steps made
under created. The unknown-argument check is shared with tools/call.
The drawing tools style the object they draw in the same call: dash, cap
and join go to the stroke.set that strokeWidth already sends, opacity and
name to object.setProps, and effects are applied in order as apply_effect
does. The options are checked (effect ids against effect.list) before
anything is drawn, so a bad one leaves no half-styled object behind.
An Intertwine group keeps its objects as they are, in their own stacking
order; each member can be drawn over the others in an area of its own.
The group draws, hits, saves and exports through its live expansion, so the
members stay editable and Release gives them back unchanged.
object.intertwine.arrange picks an overlap area by a click point or by a
closed path drawn around overlaps and toggles which member is on top
there, or brings a member to the front or sends it to the back where three
or more objects overlap.
object.group, ungroup, the clipping mask and compound path Make/Release,
the Arrange commands, lock, hide, edit.duplicate, object.move, rotate,
scale, reflect, shear and the Pathfinder commands acted only on the
selection, so a script had to send select.set first. Given ids, they now
select those objects (select.set, with its checks) and run as on the
selection, in the same undo step; without ids nothing changes.
A gradient given to several objects fits each one's own bounds. With
span: "selection", a linear or radial gradient without its own vector is
placed once on the union of the targets' bounds, at its angle and aspect,
and every target gets that vector in document coordinates, so the ramp
runs on across them. A solid colour, a swatch, a freeform gradient or an
explicit start/end with it is refused before anything changes; the next
object drawn still fits the gradient to itself.
--help and -h used to be taken for a file to open: from a terminal, SSH or an
agent's shell the window opened, or the start hung or failed without a display.
They now print the desktop app's options and point to vectorcraft-cli for
headless work, exiting before logging, preferences or the window, as
--version does.
`cargo test --workspace` builds vectorcraft-text with `bundled-fonts`
(the engine turns it on), so the configuration embedders use without it
was tested only by hand. A `no-bundled-fonts` step after `test` runs its
integration test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The default `text` features of vello_cpu (glyph runs, through glifo) and
usvg (fontdb, harfrust 0.12, skrifa 0.44 and its read-fonts 0.41) build
another copy of the font stack into the engine, next to the workspace's
skrifa 0.47 and harfrust 0.13. Neither is used: the renderer draws the
glyph outlines vectorcraft-text gives it, and SVG import reads <text>
from the XML itself and never gives usvg a font (usvg leaves out text it
has no font for).
- vello_cpu: its default features but `text` (std, png, u8_pipeline),
plus f32_pipeline as before.
- usvg: `svgz` only, for gzipped SVG images inside an SVG; `text`,
`system-fonts`, `memmap-fonts` and `writer` are off. text_layout.rs uses
usvg as a reference viewer with a font, so crates/svg turns `text` on as
a dev-dependency feature, as crates/pdf does for krilla's `simple-text`.
- A test pins `svgz`: SVGZ images, linked or as a data URL, import as
vector art.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Curvature tool built its curve as a uniform Catmull-Rom: both handles of a
smooth point a sixth of the chord between its neighbours, the ends of an open
path without handles. Uneven spacing overshot or looped, a J or U from three
points bent sharply at the middle with straight legs, and the end segments
looked flat.
- `curvature_spline` (draw2.rs) makes each stretch of three points follow the
circle through them: a smooth point's tangent is that circle's
(`smooth_handles`), each handle `chord / (3 cos²(α/2))` long, α between
handle and chord capped at 90° (`arc_handle`). The ends of an open path
mirror their neighbour's tangent in their chord (`end_handle`). A turn
tighter than 30° (`TIGHT_TURN`) shortens its handles, so a narrow V comes to
a point. Degenerate points become corners. `path.curvature` and the rubber
band use it.
- `catmull_rom` is unchanged for the Pencil and Paintbrush fitting.
- `bend_last` (from: smooth), `curvature_move` on a smooth point, the point
`curvature_insert` adds on a straight segment, and `path.convertAnchor` to
smooth without x/y (`curvature_smooth`) use the same rule.
- `curvature_extend` gives the new end its end handle unless Alt-clicked
(`corner` param on `path.curvatureEdit`).
- Neighbours of a point dragged on an existing path keep their tangents (a
Pen-drawn shape isn't reshaped); the path being drawn re-curves throughout.
When entering text edit mode via double-click from a selection tool
(Selection or Direct Selection), pressing Escape now returns to the specific
tool used before double-clicking (rather than always falling back to
Selection).
Additionally, when editing text while in isolation mode (such as when drilling
into nested groups with the Selection tool), pressing Escape exits text editing
while keeping isolation mode active; a second Escape press is required to exit
isolation mode.
- Record the previous tool in TypeTool on double-click from canvas.
- Return to prev_tool on ToolKey::Escape, consuming the key in shortcuts when claimed.
- Add unit test in vectorcraft-tools verifying Escape returns to prev_tool.
- Add integration tests in vectorcraft-ui-egui verifying Escape returns to Direct
Selection and that isolation mode persists until a second Escape.
- Update docs/target-app-parity.md and ROADMAP.md.
The nine OFL faces in `assets/fonts` are compiled into every build of
vectorcraft-text: 3.4 MB of the binary, about 1.6 MB of a gzipped wasm.
An embedder that loads every font at run time with `FontDb::add_font`
(a web app serving its own font catalogue, say) ships them twice and
can't turn them off.
- vectorcraft-text: `bundled-fonts`, a default feature, holds the
`include_bytes!` list. Off, a database starts without them (craft-fonts
and system fonts are unaffected) and text has no glyphs until a font
is added, as when the bundled fonts fail to parse.
- vectorcraft-engine: a `bundled-fonts` default feature forwards to it,
so the apps and any embedder using the engine keep the fonts unless
they build it with `default-features = false`.
- The workspace declares vectorcraft-text without default features, so
no library crate turns the fonts back on. The tests of cad, metafile
and tools, which lay type out, ask for the feature in their
dev-dependencies; the other crates' tests get it through testkit.
`cargo test --workspace` builds with the fonts, as before. A new
integration test, `without_bundled_fonts`, covers the configuration
without them (`cargo test -p vectorcraft-text --no-default-features
--test without_bundled_fonts`): the database starts without them, text
in no font lays out with no glyphs, and a font added later is used and
is the fallback for families the database lacks.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With the Direct Selection tool ("white arrow", shortcut 'a'), double-clicking
a text element (either standalone or nested inside a group) now switches to
the Type tool and immediately positions the caret at the clicked character,
matching the behavior previously introduced for the Selection tool in #284.
- In DirectSelectionTool::pointer, detect double-click hits on NodeKind::Text
when !self.group and emit Action::SwitchTool("type").
- Group Selection (group: true) retains its existing group cycling behavior.
- Add unit test in vectorcraft-tools verifying tool switch on both standalone
and grouped text.
- Add headless egui integration test in vectorcraft-ui-egui verifying tool switch,
caret positioning, and inline editing without triggering shortcuts.
- Update docs/target-app-parity.md and ROADMAP.md.
Illustrator's View menu has Hide/Show Template (Shift+Ctrl+W) to leave
template layers off the screen while tracing. VectorCraft drew them (dimmed)
whatever the view, with no way to hide them short of disabling the template
option on each layer and losing the dimming.
- `view.template` toggles `ViewFlags::templates` (default on, kept across
settings files); the View menu lists Hide Template after Lock Slices, and
the label flips to Show Template.
- The canvas renders with the new `RenderOptions::hide_templates`, which
leaves template layers out and nothing else; `skip_templates` (exports and
thumbnails) also drops guide paths, so it is not reused.
- The fifteen menu catalogs translate both labels; `DYNAMIC_LABELS` lists them.
Tests: render `hide_template_leaves_only_the_template_layers_out` (the
template layer's square and image go, a guide path on another layer stays);
canvas `hide_template_leaves_template_layers_off_the_canvas` (real egui
frames: painted pixels, none after Hide Template, the same after Show
Template, each re-rendering once); the dynamic-label and catalog tests cover
the new pair.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_011K1peyrh5MdZ6ttHkVq8Gh
Document Info › Objects counts the paths but didn't say how long they are,
which sign and print work reads there (an LED strip along the letters, a
cut line). `document.info` now adds up the length of every path it counts,
the pieces of compound paths included and guides left out, and returns it
as `pathLength` (pt); the Objects section shows it as Path Length in the
document's units, right after the Paths count, so Selection Only gives the
selected paths' length. The label is translated in the catalogs that
cover the menus; pt-br only takes strings the UI itself shows.
Panel (≡) menu rows, and the Control bar's image menu, had no frame at all,
so nothing showed which row the pointer was on. They now draw the hover
frame the menu bar's items draw.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Selecting art scrolls the tiles to its swatch once (centred) and clears the
panel's own selection, so the art's swatch is the one highlighted; so does a
change of the selection's paint (after Recolor Artwork). An unlinked process
colour highlights the swatch of that very colour. A selected image, or text
in a colour no swatch has, highlights nothing (not None).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Control bar's file name is a menu: Replace…, Go To Link, Edit Original,
Update Link and Placement Options…. Replace… (also in the Properties panel,
in place of Relink…) puts the picked file in the image's place fitted inside
the old bounds and centred, keeping the new file's aspect ratio instead of
stretching it into the old one. links.relink takes `preserve` (transforms,
bounds, fileDimensions, fit or fill) to override the Placement Options for
that read.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Limit to Library, a row's new colour is the library swatch itself: art
links to a global or spot colour (a Pantone-style spot colour stays a spot
colour in its own model, tints keep their tint) and a process swatch gives
its colour in its own model, instead of being converted to the model of the
colour it replaces. The swatches used join the document's swatches (one the
document already has, same name and colour, is reused); recolor.apply
reports them as `swatches`. A folder button next to Limit to Library loads a
library file (.ase, .acb, .gpl, .vcswatches or a document's swatches) and
limits to it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A palette button opens Recolor Artwork when the selection has colours to
recolour (solid colours, gradient stops or mesh points, inside groups too):
in the Contextual Task Bar, before Lock, and in the Control bar, after the
Graphic Style picker. Art painted with None shows no button.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Zoom Out and Zoom In sit to the right of the font family and style menus. They step the preview cells through 16, 22, 30, 42, 56, 72 and 96 pt; the grid still opens at 30 pt, and the buttons stop at the ends. The step is stored on the UI state and written with the other panel choices in ui.json when the app quits. Zero is the default and is left out of the file, so older preferences stay as they are.
Abutting traces must draw each edge between two neighbouring regions once:
the filled paths on either side follow one curve, one of them reversed, and
together cover the image without gaps or overlaps. These tests check that
from the trace output alone, with no renderer: points along each path's
outline must lie within 0.001 px of another path's outline, the paths' areas
must sum to the image's, and every point of a 4 x 4 per-pixel grid must lie
in exactly one path.
The images are drawn in code, hard-edged and anti-aliased, and traced in
Color (Abutting) and Black and White, each at the default settings, Paths and
Corners 0 and 100, Snap Curves To Lines, and Shapes. They cover a closed island
in a background, a ring with and without a core of a third colour, a wavy
two-colour seam, a three-region junction, outlines that leave a junction and
return to it (the 111 / 101 / 110 pattern at 1, 2, 3 and 6 px, and framed),
squares touching at a corner, a one-pixel hole and a one-pixel island (kept at
Noise 1, dropped together with what they leave at Noise 25), separate areas of
one colour, and slanted hatches with one-pixel paper channels. A further test
shows the check finds a 0.01 px shift and stacked (Overlapping) layers.
Two tests are ignored as documented current gaps:
- At Paths 0 and Corners 0, a piece returning to its own junction collapses:
its region is dropped and its area left uncovered (draft #2205 fixes it).
- With Shapes, a region whose outline runs through a junction becomes an exact
shape its neighbour does not share (up to 0.0039 px in Black and White).
No tracer code changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
In Grayscale mode with Gradients on, the trace could fill paths with
coloured linear gradients (for example a blue-to-orange ramp) beside
grey flat fills. Gradient detection ran on the RGB image, so the stops
and the gradient's palette colour (its middle) were the source colours,
while Grayscale's flat fills come from each pixel's luma.
Grayscale now finds gradients, and settles their edges, in a copy of the
image reduced to the same Rec. 601 luma the flat grays are quantised
from. Every channel of that copy is equal, so the fitted stops, the ends
carried to the area's edges and the palette entry are all grey. Color
mode is unchanged: it still detects on the RGB image (trace output for
gradient fixtures is byte-identical before and after).
Adds grayscale_gradients_are_grey: a code-drawn sky ramp over flat
shapes with a ramp rectangle, traced in Grayscale with 4 grays and
Gradients on, must still produce a gradient, and every path colour,
gradient stop and palette entry must be grey.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
When a long horizontal or vertical run crosses a three-colour junction one
or two pixels before a corner, the corner correction for that run borrowed
a neighbouring crack's shift that the region on the other side of the
junction never applied, leaving hairline gaps between abutting colours.
The correction now applies only when all three cracks it uses lie in the
same shared piece.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The 'Last updated · Change' status lines in docs/roadmap.md, docs/target-app-parity.md and docs/image-trace-quality.md change with almost every merge to main, so this PR's edits to them conflicted each time main moved. They are reverted to main's text; this PR's evidence bullets, history rows and table entries stay.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The 'Last updated · Change' status lines in docs/roadmap.md, docs/target-app-parity.md and docs/image-trace-quality.md change with almost every merge to main, so this PR's edits to them conflicted each time main moved. They are reverted to main's text; this PR's evidence bullets, history rows and table entries stay.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The reference app's Scribble Options have a Variation for each of Path
Overlap, Curviness and Spacing. Scribble had one `variation`, which
moved each line's ends both along the line and across it, and every
turn of a scribble took the same curviness. An angle such as 270 was
stored as given.
Scribble now takes `overlapVariation` (pt, default 0.5), which moves
the ends along the line, `spacingVariation` (pt, 0.5), which moves
them across it, and `curvinessVariation` (%, 0), which varies the
curviness from one turn to the next. The dialog shows each Variation
after the option it varies, and the Appearance panel lists all three.
A Scribble saved or scripted with the earlier `variation` reads it as
the Path Overlap and Spacing variations. With the defaults, and with
the earlier `variation`, Scribble draws the same outline as before.
`effect.apply` and `effect.setParams` store an angle above -180 and up
to 180, so 270 is stored as -90, and the dialog shows the stored value.
The Appearance panel's inline editor lists an effect's values in
their current form, as the dialog does. It listed an earlier key next
to the defaults of the keys that replace it.
Docs: docs/effects-parity.md (Stylize row), docs/target-app-parity.md.
Effect › Blur › Smart Blur had only its Normal mode: the dialog and
blur.smart took Radius, Threshold and Quality and drew the blur.
Smart Blur now takes a `blurMode` param ("normal", "edgeOnly" or
"overlayEdge"; "normal" by default), which its dialog shows as a Mode
menu. Edge Only draws the edges in white on black, and Overlay Edge
draws them in white over the Normal blur. A pixel is on an edge when
one of its four nearest pixels differs from it by more than the
threshold in a channel and its channels, alpha included, add up to at
least that pixel's. The white and the black keep each pixel's
coverage. Normal draws the same pixels as before, and an effect saved
without `blurMode` draws as Normal.
Docs: docs/effects-parity.md, docs/gaps.md, docs/target-app-parity.md.
Copy and Cut made the system clipboard's formats in the frame that ran
them. The formats include the SVG markup and a PNG of the selection at
1 px per pt, up to 4,096 px a side. In a release build on Windows, Copy
of 50,002 rectangles on a 1600 x 1200 pt page took 1.00 s in its frame.
The thread that writes background saves and exports now makes the
formats from a copy of the clipboard, and the app writes them in a
later frame. The same Copy takes 0.18 s in its frame, and the SVG and
PNG are the same bytes. While that thread has a save, an export, a print or
a recovery copy to finish, Copy and Cut make and write the formats at
once. A later Copy or Cut, or text copied in a field or with the Type
tool, drops formats that are not written yet. Until they are written,
Paste on the canvas takes the internal clipboard, and while a text
field or the Type tool has the keyboard the app waits for them.
Docs: docs/mcp.md, docs/target-app-parity.md.
In the Artboards panel, a click or a double-click on a row's options
icon (the page at the right end of the row) chose the Artboard tool on
that row's artboard and opened no dialog. The panel menu's Artboard
Options… also only chose the Artboard tool.
A click on the active artboard's icon, or a double-click on another
row's icon, now opens Artboard Options for that row's artboard. The
first click on another row's icon makes its artboard active, as a
click on the row does. The panel menu's Artboard Options… opens the
dialog for the active artboard. Both run tool.options with tool
"artboard", as a double-click on the Artboard tool's button does, and
they no longer choose the Artboard tool. The icon's tooltip is now
Artboard Options, and the old tooltip's row is removed from the 15
catalogs.
Opened with another tool, Artboard Options did not move the art with a
new X or Y. It now moves the art when the Artboard tool's Move Artwork
with Artboard option is on, as it does while that tool is in use.
Docs: docs/target-app-parity.md.
At 180° and 360° of twist, Extrude & Bevel and Inflate drew some wall
strips in the wrong order, and a far strip showed through a near one.
Each strip ran the whole length of an outline edge and was sorted by
the depth of its center, while a twisted wall can cross it far from
that center. The caps were sorted the same way.
Twisted walls and bevels are now drawn in pieces about as long as a
wall slice is wide (fewer near the 32,768-facet limit), and twisted
bevel steps turn at most 6° each, as wall slices do. A cap, or
Inflate's flat back, that faces the viewer is drawn after the walls,
and edge-on pieces of a twisted wall keep their own depth. Pieces that
face the viewer are drawn where their strip as a whole faces away, so
a twisted solid seen from behind shows its walls' corners around the
back cap. Untwisted solids give the same facets as on main.
Over 80 twisted squares, the facet seen over a point lay up to 79.7 pt
behind a nearer facet on main and now lies at most 5.0 pt behind.
"Twisted" in 72 pt type, extruded with a 360° twist, takes 12,311
facets instead of 7,622 and 3.1 ms instead of 1.9 ms.
Docs: docs/three-d.md.
Effect › Pathfinder left type in the group out of all ten operations,
on the canvas, in Expand Appearance and in exports. The text outliner
returns type as a group with one path per run. `leaves` in
crates/effects/src/group.rs took that group as one leaf, and
`geometry` gives no path for a group. A 100 x 100 pt square grouped
with a 100 pt "H" inside it kept all of its 10,000 pt² after Subtract
and Expand Appearance. In the shape modes a member group with type in
front also lost its paint, because it took the style of the outline
group, which has none.
`leaves` now takes the paths and compound paths of the outline art at
every depth, as it does for a member group, and gives each one the
type's opacity and blend mode. The same square keeps 8,684.88 pt² after
Subtract and Expand Appearance, its 10,000 pt² less the glyph's
1,315.12 pt².
Docs: docs/target-app-parity.md.
perf --deep printed the memory at eight points of its run, and no row
showed memory that the run took and freed between two readings. With
--paths 2000, a release build on Windows printed 430 MB as its largest
row, and the process's peak working set was 612 MB. On Windows the
memory row after rendering the photos also printed its value 3 columns
right of the others: its name is 55 characters, and the name column is
52 characters wide. The tracked row for the photos printed its value 2
columns right of the other tracked rows: its name is 54 characters, and
their name column is 52 characters wide. In the budget table the handle
and segment drag rows printed their values 1 and 2 columns right of the
other rows: their names are 41 and 42 characters, and the name column
is 40 characters wide.
Each memory row now also gives the peak so far: the peak working set
(PeakWorkingSetSize, from the same GetProcessMemoryInfo call) on
Windows, and VmHWM from /proc/self/status on Linux. On macOS the rows
give no peak. A new last row gives the memory after the SVG export and
the save → open → save at the end of the run. The name columns of the
memory rows, the tracked rows and the budget table are 56, 54 and 42
characters wide. The help says on which systems the rows give the peak.
Docs: docs/target-app-parity.md.
The renderer kept the shapes it drew for plug-in effects while the
object stayed the same. When a plug-in was installed for the first
time, installed again or removed, a renderer that had drawn the object
went on drawing the shapes from before the change.
When the plug-in registry's revision changes, the renderer now drops
the effect geometry and the effect art of objects with a plug-in
effect, and the cull bounds of every object that is or holds a symbol
instance or an object with a plug-in effect. Each thread then drops the
pattern tiles whose art has a plug-in effect or shows symbols or
patterns. The renderer adds the revision to the inputs of a raster
when its content has a plug-in effect, or shows symbols or patterns
while the document's symbol or pattern art has one, and to the key of
a live object's evaluation when the object, or an object it shows, has
a plug-in effect.
With other builds running, a temporary release test timed that key for
the 400 live objects in each of three documents at 11 to 609
microseconds a frame, against 9 to 433 before.
Docs: docs/target-app-parity.md, docs/gaps.md.
Object › Artboards › Fit to Artwork Bounds and Fit to Selected Art ran
artboard.fitToArt and artboard.fitToSelection without an index, so
they resized artboard 1 whichever artboard was active. The Artboards
panel menu's Fit to Artwork Bounds already passed the active artboard.
The app now passes its active artboard as the index of the two
commands when a call names none, as it passes the artboard to Align to
Artboard, All on Active Artboard and Paste in Place, in Front and in
Back. That covers the menu items, keyboard shortcuts, the command
palette and MCP's run_command in remote mode. A batch passes its
artboard as the index to their steps that name none, and a recorded
action leaves the index out, so an action resizes the artboard that is
active when it plays. The params texts of the two commands and of
command.batch describe where the index comes from.
Docs: docs/mcp.md, docs/target-app-parity.md.
For Auto Size area type in columns, every text edit, each keystroke of
the Type tool included, laid the text out in one column and then laid
the columns out at that height and at each step of a bisection for the
least height that holds the text. In the release-build timing test
auto_height_in_columns_typing_timing (stories of 5,000 to 50,000
characters at 9 pt in a frame 500 pt wide), a keystroke laid the
columns out 18 to 22 times, and typing at the start of the story of
50,000 characters in 2 columns took 1,670 ms a keystroke.
The bisection now runs on the lines of the one-column layout.
columns_hold computes where those lines would sit in the columns, with
each column's first line at its first baseline below the column's top
(LineInfo::first_baseline, new in vectorcraft-text). The columns are
then laid out at the upper height the bisection ends on and, when they
hold the text there, at the lower one, unless that is the 1 pt it starts
from. When they hold the text at the upper height and not at the lower
one, Auto Size takes the upper height. When taller columns always hold
the text, the old search ends between the same two heights. When the
text wraps around other objects or does not fit the one-column layout,
or when that check fails, the columns are laid out at every step as
before. The same keystroke now takes 292 ms.
Docs: docs/target-app-parity.md.
On each pointer move of an Alt-drag with the Perspective Selection
tool, Session::preview put the drag's snapshot back and ran
perspective.move with copy again, and persp_edit copied every selected
object again. An Alt-drag of a plane widget with the Perspective Grid
or Perspective Selection tool ran perspective.plane.move with objects
"copy" again, and plane_move copied every object on the plane again.
Both commands now take their copies from preview_copies, as
apply_transform does for the Selection and transform tools: the first
preview copies the objects into a clone of the snapshot, and each later
preview of the same objects on the same snapshot maps only those
copies. The copies keep their ids, and the document, the selection,
the undo step and the journal are the same as before. When the stored
grid still lists attachments of its own, as grids saved before
attachments were kept on the objects do, both commands copy on every
preview as before. With 25,000 rectangles attached to the left plane,
a release build of vectorcraft-cli took a median of 424.8 ms for each
Alt-drag move of the objects after the first preview and takes
328.9 ms with this change. An Alt-drag of the plane's widget took
340.3 ms a move and takes 256.9 ms.
Docs: docs/target-app-parity.md.
The canvas drew artboard 1's edge in black, 1 px wide, whichever
artboard was active, and drew every other artboard's edge in gray,
0.6 px wide.
It now draws the active artboard's edge in black and draws the other
artboards' edges in gray, at the same widths. The active artboard is
the artboard that the status bar's navigator shows and that Align to
Artboard and Paste in Place use. With several artboards selected by
the Artboard tool, it is the one the tool draws with handles and its
name.
Docs: docs/target-app-parity.md.
The Layers panel narrowed its rows by name (Search All) or to layers
alone (Show Layers Only).
The panel now has a Filter button at the right of Search All. Its
popup holds Clear All and a check box for each object kind under By
Object (Paths, Shapes, Text, Images, Effects, Groups, Linked Files,
Guides) and for each row state under By Layer (Locked, Hidden). A row
stays when it is of a ticked kind, is in a ticked state and has the
search text in its name, and a section with nothing ticked keeps every
row. The rows that hold a kept row stay too, as they do for the
search. The button is lit while a filter is on. The filter lasts the
session and does not change the document, its open rows or the
selection. ui.layersFilter {objects?, layers?} sets it. The button
shows a new icon, assets/icons/dc-filter.svg, with its row in
ASSETS.md.
The panel lists its rows again when the filter changes, as it does
when the search changes. On a layer of 5,000 groups of 10 paths, a
release build lists the rows for a filter in 2.9 to 3.6 ms.
Docs: docs/mcp.md (Layers panel), docs/target-app-parity.md.
In Presentation Mode the arrow keys moved the selection, and the
active tool received a click and selected or drew as it does in
Normal Screen Mode. No key or click moved the view to another
artboard.
Left Arrow and Right Arrow now go to the previous and the next
artboard, and a click anywhere goes to the next one, through
view.goToArtboard, as the status bar navigator's Previous and Next
buttons do. On the first artboard Left Arrow leaves the view as it
is, and on the last artboard Right Arrow and a click leave it as it
is. No arrow key moves the selection in the mode, and the tool gets
no press, drag or hover, so a click selects and draws nothing. A drag
with the middle button or with Space held no longer pans the view
there; the mouse wheel still zooms and scrolls it.
Docs: docs/target-app-parity.md.
The status bar's artboard navigator showed only the active artboard's
number between its first, previous, next and last buttons, and it had
no list of the artboards.
The number is now a drop-down field that shows the active artboard's
number and name. Its list shows every artboard by number and name, as
the Artboards panel lists them. Choosing one runs view.goToArtboard,
the command the buttons run, which makes that artboard the active one
(and the Artboard tool's, while that tool is in use) and fits it in
the window. The list lays out only the rows in view and at most one
more, and opens with the active artboard's row in view. In a test
build with 1,000 artboards, the two frames that open the list take
0.12 ms and 0.04 ms, and a frame with the list open takes 0.03 ms. The
timed frames are headless and draw only the status bar.
Docs: docs/target-app-parity.md.
With the Artboard tool, the Properties panel showed the active
artboard's name as a label, and no control in the panel opened
Artboard Options.
The name is now a text field. Typing a new name and pressing Enter or
clicking elsewhere renames the active artboard in one undo step
through artboard.setProps, as the Artboards panel's rename does;
pressing Escape or leaving the field empty keeps the old name. A click
on the Artboard Options icon beside the field runs tool.options with
tool "artboard", which opens Artboard Options for the active artboard,
as a double-click on the Artboard tool's button does.
Docs: docs/target-app-parity.md.
In the View menu, Reset Rotate View was the only rotation item. The
status bar's angle menu set its twelve preset angles by writing the
view's rotation itself, and no command took an angle to turn the view
to.
View › Rotate View now lists the status bar's angles (0°, 15°, 30°,
45°, 60°, 90°, 180°, -15°, -30°, -45°, -60° and -90°) and checks the
one the view is turned to. The new UI command `view.rotate {angle}`
turns the view to any angle about the center of the canvas and
returns the angle it set, normalized to (-180, 180] as a Rotate View
drag normalizes it. The menu's items and the status bar's angle menu
run it from one list of angles; the status bar sets the same angles as
before. Without a document the command returns "no document" and the
items are disabled. Run from the command palette, which passes no
angle, Rotate View opens a dialog that asks for the angle, with the
view's current angle filled in.
The de, it, ja, ko, pl, pt-br, ru, uk, vi and zh-hant catalogs have a
new "Rotate View" row. The strings the catalogs cover leave out the
angle labels, as they leave out Type › Size's point sizes.
Docs: docs/mcp.md, docs/target-app-parity.md.
Export for Screens opened on the artboard choice the document last
exported with (all artboards by default), whichever artboards were
selected with the Artboard tool or in the Artboards panel.
While the Artboard tool is in use, File › Export › Export for Screens…
now opens with the artboards the tool has selected checked, and Export
Artboard writes only those. They are the artboards the Artboards panel
highlights, and they are checked even after a Full Document export.
With another tool in use, the dialog still opens on the saved artboard
choice. The other fields show the saved settings in both cases, and the
params text of file.exportForScreens describes the rule.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
Free Distort's dialog showed the four corners as read-only text, and
so did the Appearance panel's inline editor. Only effect.apply and
effect.setParams could set them.
The dialog now shows a box in the proportions of the first selected
object's bounds with a handle on each corner. Dragging a handle moves
that corner, and the preview follows. A handle focused by a click or
Tab moves 1% of the box with each arrow key, and 10% with Shift. Reset
puts the four corners back on the box. Each handle has a
screen-reader name. On the corners row of the Appearance panel's
inline editor, Edit… opens the dialog.
Docs: docs/effects-parity.md, docs/target-app-parity.md.
Show Options and Hide Options were kept in egui's temporary memory, so
the Color panel showed its options again after every restart. No
command set them or the panel's mode.
- `UiState::color_hide_options` holds Hide Options and is saved with the
preferences. Its reader reads `true` as hidden and any other value as
shown, so a bad value leaves the other preferences as they are.
- `ui.colorPanel {mode?, options?}` picks a mode as the panel menu does
(the active color converts to the mode's model as one undo step) and
shows or hides the options. It answers `{mode, options, shown}`. A mode
the menu does not list, `lab` included, answers an error. The panel
menu's Show Options and Hide Options call the command's function.
- `ui.inspect` reports the setting as `ui.color_hide_options`.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
On main, Glowing Edges… is listed in the Effect menu's vector Stylize
submenu, after Drop Shadow, Inner Glow, Outer Glow and Feather. The
reference app lists it in the Stylize submenu of its Photoshop effects,
below the vector effects.
The Effect menu now has a Stylize submenu under Raster Effects, between
Sharpen and Texture, and Glowing Edges is listed there. The menu sends
the effects at the Stylize path that PIXEL_EFFECTS names to that
submenu, and the vector Stylize submenu keeps its six effects. The
effect's id, its catalog entry, its effect.list entry and Apply Last
Effect do not change.
File › Save as Template always wrote a .vctemplate. The save panel
offered only that type, file.saveAsTemplate ignored its format param,
and a name typed with .ait got .vctemplate added. New from Template
already opened a .ait as an untitled document.
Save as Template now also writes a .ait: the PDF-compatible file Save
As writes for .ai, carrying the document. The desktop save panel lists
VectorCraft Template first and the .ait type beside it, and the web
build's Save as Template dialog gets a Format menu with the same two
types. file.saveAsTemplate writes .ait for format: "ait", or for a path
ending in .ait when no format is given, and takes the .ai options;
file.formatOptions answers for ait. .vctemplate stays the default.
Exports and Export As still do not write .ait.
Docs: docs/mcp.md, docs/file-format-parity.md (.ait row),
docs/target-app-parity.md.
Paste takes a file copied in a file manager by its flavor, which
file_flavour tells from the file's first 4,096 bytes through
fileio::detect. detect names gzip data SVGZ unless it is a compressed
native file, and file_flavour gave no flavor for the format id svgz.
So a copied .svgz file did not paste as its art, although
clipboard.importSvg, the SVG flavor's command, reads SVGZ data.
A copied file whose gzip data unpacks to SVG markup now pastes through
the SVG flavor. file_flavour unpacks the head it is given with the
gzip decoder the SVGZ reader uses, up to where the head ends, and
checks the first 4,096 unpacked bytes with looks_like_svg, as detect
checks an uncompressed file, reading them as UTF-16 after a UTF-16
byte order mark. Other gzip files get no flavor, as before.
Docs: docs/target-app-parity.md.
Paste takes a file copied in a file manager by its flavor, which
file_flavour tells from the file's first 4,096 bytes through
fileio::detect. detect names PDF or PostScript bytes in a file called
.ai or .ait by that extension, and file_flavour gave no flavor for
the format ids ai and ait. So a copied .ai or .ait file did not paste
as its art, while the same bytes in a .pdf or .eps file did.
A copied .ai or .ait file whose bytes are a PDF now pastes through the
PDF flavor (clipboard.importPdf), and one whose bytes are PostScript
pastes through the EPS flavor (clipboard.importEps). Other files
with those extensions paste as before. A .ai saved without its PDF
part also gets the PDF flavor, and Paste answers it with
clipboard.importPdf's error, as it does for the same file named .pdf.
Docs: docs/control-protocol.md, docs/development.md,
docs/target-app-parity.md.
When a .ai file, or an EPS with editing data, opened from its editing
data, the reader converted each embedded 8-bit CMYK image to RGB and
stored it as a PNG, so the document lost the image's ink amounts. When
the same .ai opens from its PDF part, the PDF importer keeps them in a
CMYK TIFF.
The reader now stores those samples with ImageBlob::cmyk_tiff, as the
PDF importer does (crates/pdf/src/import_image.rs). An alpha channel
that hides part of the image becomes the image's opacity mask, a
grayscale image over it, as in PDF import. Grayscale, RGB and 1-bit
images still open as RGBA PNGs.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
document.pdfInfo and clipboard.importPdf, given a PostScript file (an
EPS, or an .ai in an older PostScript format), failed with "this is a
PostScript file (...), which can't be opened yet: save it as PDF,
PDF-compatible .ai or SVG". document.open and file.place read the same
file through the EPS reader. The error told users to convert a file that
VectorCraft opens.
The error now says the file is not a PDF and that File › Open and
File › Place read it as EPS. The 13 catalogs that carry the message get
the new text.
A PDF can define spot inks that have different names and the same
alternate space and tint transform, such as Blue1 and Blue2, both RGB
0 0 255. The interpreter drops the ink name, so the importer matches an
interpreted color to the file's Separation and DeviceN spaces by the
tint transform. The spaces of two such inks matched the same color, so
their paths imported as plain RGB and neither ink became a spot swatch.
This happened with both inks on one page, with each on its own page,
and in the PDF part of a .ai file.
The page walk in import_scan.rs, which follows the interpreter's order
for layers and overprint, now also records the ink of each path, from
the color space set by cs and CS or from the shading of the pattern set
by scn and SCN or drawn by sh, and the ink of the color space of the
text between two paths. When the spaces of several inks match a color,
the importer takes the space with the walk's ink names. It applies
these names to a page only when the page uses such an ink and a
counting pass of the interpreter draws as many paths there as the walk
counted. Otherwise the import works as before.
The file now opens with a spot swatch for each ink. Solid fills and
strokes of paths and type, and the stops of gradients on paths, link
to the swatch of their ink, the points of a gradient mesh keep the
ink's color, and PDF export writes each ink as its own separation.
Paint in these inks inside pattern cells, soft masks and type 3 glyphs,
and gradients on type in these inks, still import as RGB. Type in one
of these inks can also import as RGB when type in another Separation or
DeviceN ink is shown with no path drawn between them.
A PDF page's UserUnit (PDF 1.6) sets the size of its user space unit
in multiples of 1/72 inch. The PDF reader has applied it since #1894, so
a page with /UserUnit 10 and a 36 × 50.4 media box opens at 360 × 504
pt. A .ai whose editing data has its artboards in the page's own units
then no longer matched its PDF part. It opened from the PDF part,
without its layers, its hidden objects and the art outside its
artboards, and with its artboards in a row instead of where the
editing data puts them. document.pdfInfo gave such a page's size in
points and its boxes in the file's numbers.
Editing data whose first artboard has the page's size in the page's
units, and not in points, is now compared with the PDF part scaled
down by the UserUnit. The document read from it is then scaled up by
the UserUnit, with its stroke weights, dashes, effects and pattern
tiles. When the layers can't be read, the artboard layout taken from
the editing data is scaled the same way. document.pdfInfo gives the
boxes in points, as it gives the size.
Docs: docs/mcp.md, docs/target-app-parity.md.
#2227 renamed them Flip Horizontal and Flip Vertical; what they do is unchanged. The reference app's Properties panel calls them Flip Along Horizontal Axis and Flip Along Vertical Axis (the Transform panel's menu keeps Flip Horizontal and Flip Vertical), so the labels and their catalog rows come back.
A Ctrl/Cmd+Alt-click on a row's eye in the Layers panel ran Hide Others
or Show All Layers, as an Alt-click does. It now runs Outline Others for
the row's layer (layer.outlineOthers), or Preview All Layers
(layer.previewAll) when every other top-level layer is in Outline
already. Each is one undo step. Alt-click and Ctrl/Cmd-click on an eye
keep their actions.
Docs: docs/mcp.md, docs/target-app-parity.md.
In the Color Picker, Tab out of an edited field gives the next field the
focus in the same frame, and the picker applies the edit once it has
drawn its fields. The # field after Y took the focus showing the color
from before the edit and kept that text while it had the focus, so the
next Tab committed it and reset every other field. Shift+Tab into the #
field from K had the same effect. Swatch Options and New Swatch draw a
copy of the field, and Tab from the last component field into it had the
same effect there.
widgets::hex_field and the Swatch Options copy now show the current
color until something is typed into them, also while they have the
focus, and commit only what was typed. The change covers the # fields of
the Color Picker, Swatch Options, New Swatch, the Color panel, Color
Themes, Recolor Artwork, Document Setup and Define Perspective Grid.
widgets::opt_field, which draws the Stroke panel's dash and gap fields,
kept its text the same way: passing through a blank gap after typing a
dash committed the blank, and the panel applied the same dash pattern
again. It gets the same change. When its value changes while it has the
focus and nothing has been typed into it, all of the new value is
selected, as on keyboard focus.
The Color Picker drew its value fields as one grid, row by row. Tab
moves through the fields in the order they are drawn, so it went H, L,
S, a, B, b, R, C, G, M, B, Y, # and K, from one color model to the
other on every row.
HSB, RGB and the hex field are now in one grid, and Lab and CMYK are in
a second grid beside it. Tab goes through H, S, B, R, G, B and #, then
L, a, b, C, M, Y and K. The dialog looks as before: K's row is as tall
as the hex field's row beside it.
The Color panel and the Color Picker preview a colour in an interaction.
While typing, that interaction joined the open typing session and
previewed from the document before the typing, so new type came back as
its placeholder text. Typing in progress is now kept as its own step
before another interaction begins, as Undo already does.
object.setBounds read x, y, width and height with f64_or, which falls back
to the current value for anything that isn't a JSON number, so
{"width": "60 mm"} returned ok and changed nothing. object.move,
object.nudge, object.rotate, object.scale (sy) and object.shear did the
same with their optional numbers. A value that is neither a number nor
null is now a BadParams error naming the key, as a missing required
number already is.
The importer wraps its reason in "the file's layers weren't read ({why}):
it comes in as its page, in one layer" (and, for an .ai, "... from its
editing data ({why}): they come from its PDF part"). The reasons had @msg
rows, the wrappers none, so after "Opened with 1 note(s):" the whole note
stayed English. The two templates are now in every language that
translates messages (and pt-br, which has the reasons), and the reason
inside is translated through them. These notes are pushed as warnings, so
the message scan doesn't see them: a test checks them in each language.
"<Clip Group>" already has a French entry on main; layer names such as
"Layer 1" are stored names and stay as they are.
The profile is registered in the process's colour registry only, so the
next `vectorcraft-cli run` (or the next launch of the app) doesn't know it
and edit.colorSettings falls back to the built-in profile. The command's
description now says so, and that the profile has to be loaded again in
each run that names it. Keeping profiles across runs would need a place in
the preferences to remember them, which is left for the maintainers.
The tool's default key is "+", and `shortcuts::parse` split a bare "+" as a
separator with nothing on either side: the key part came out empty, so the
shortcut didn't parse, `tool_for_key` found no tool for a typed "+" and the
key did nothing. "-" (Delete Anchor Point) has no separator to trip on, which
is why it worked. A bare "+" is now the key itself, the "=" key, as "Cmd++"
already was, so "+" typed with Shift on a US layout, by a layout's own "+"
key or on the numpad selects the tool.
The reference app resets tracking and kerning to 0 with Cmd/Ctrl+Alt+Q.
VectorCraft had no command for it.
type.resetTracking (Reset Tracking and Kerning, default Cmd+Alt+Q) sets
tracking to 0 and kerning to Auto, which the Character panel shows as 0,
in the text the Type tool has selected, or else in all the text of
every selected type object. At a caret it resets only the kerning of
the character before it, where Alt+Left/Right kerns. It is one undo
step. The range logic of type.step moves into a shared type_ranges.
When a call gives ids, type.step and type.resetTracking change all the
text of those type objects even while the Type tool edits text, as
paint.setFill does. Before, type.step changed the Type tool's selected
text instead.
Docs: docs/mcp.md, docs/target-app-parity.md.
inflate built an edge index (Edges) of the shape's rings, and
Membrane::solve, which inflate calls first, built a second index of the
same rings. Membrane::solve now takes the index that inflate builds.
In a release build, one Edges::new takes 0.08 ms of the 27 ms that
inflate takes on a ring of 2,000 points, and 2.0 ms of 219 ms on a ring
of 1,000 spikes whose 2,000 edges fill 693,816 bucket entries. The
facets do not change: for nine shapes, three views and 96 combinations
of the Inflate settings, the Debug text of all 2,592 results is byte
for byte the same on main and with the change.
document.export, document.serialize and document.exportSelection write
a PDF-compatible .ai (format: "ai"), and document.formats lists ai as
writable, but none of their params texts named it. The params text of
document.exportSelection named only png, jpg, webp, svg, svgz and pdf,
although the command writes all 20 writable formats. The description
of the MCP export tool and its row in docs/mcp.md named every format
of the tool's format enum except ai, and the range text and the row
said that only PDF writes several artboards.
The three params texts now list every format their command writes,
and document.export's range and useArtboards texts name .ai beside
PDF. The MCP export tool's description names ai, and its artboard and
range texts say that .ai, like PDF, writes one page per artboard. The
range text and the row also say that SVG, SVGZ and EPS write one file
per chosen artboard, and that rasters, DXF, EMF and WMF do so with
options.useArtboards: true.
Docs: docs/mcp.md (the export tool).
The document.exportForScreens params text listed png, png8, jpg, webp,
gif, svg, svgz and pdf for a row's format, and its settings keys left
out svgz. A row of another format VectorCraft writes, such as eps, was
refused with "Export for Screens writes png, png8, jpg, webp, gif, svg,
svgz or pdf". Rows of tiff, bmp, tga and psd are written too, and the
Export for Screens dialog offers TIFF rows.
The params text, its settings keys and the error now list the 12
formats a row writes: png, png8, jpg, webp, gif, tiff, bmp, tga, psd,
svg, svgz and pdf. Which formats a row accepts does not change.
The Print section of docs/mcp.md said that File → Print writes the job
as a print-ready PDF and that there is no printer driver. The desktop
app sends the PDF to the system's print service, the web build opens
the browser's print dialog on it, and the PDF File entry in the
Printer list saves it. The section now says so, points to Printing,
and marks the `file.print` reply that follows as the headless one.
The Russian catalog's Isolate row began with a Latin "A" (U+0041),
"Aизолировать", and the Create New Sublayer and New Sublayer… rows
spelled "подслой" with a Latin "c" (U+0063). The rows now read
"Изолировать", "Создать новый подслой" and "Новый подслой…".
A new test fails when a word in any catalog's translation holds letters
from more than one of the Latin, Cyrillic and Greek scripts.
hayro-syntax's Dict::entries still unwraps each value it reads, so a
dictionary cut short (or with a stray token) aborts the import. The
craft-libs ArrayIter now stops at the first unreadable item instead of
panicking, which also means a hostile item after a self-referencing
function or colour space is silently dropped from nests_without_end.
- import_color: `readable(array)` checks every item parses; `items()`
yields nothing for an unreadable array; `entries()` reads a dictionary
key by key through get_raw, skipping values that don't parse.
- pages/editing/import_scan: use the helpers instead of raw_iter() and
Dict::entries().
- nests_without_end refuses a file with an unreadable array.
- Tests: two refusal cases in pdf tests and an .ai cut inside an array
or dictionary in engine/tests/import_fuzz.rs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01KcHisW1vt6pkVPYbzL6Cpg
Type is drawn as its glyph outlines under a geometry effect, in EMF and
WMF export, in DXF export when it is written as outlines, through
Flatten Transparency with Convert All Text to Outlines, and inside an
envelope. Those outlines differed from the type the canvas draws in
four ways. They had no underline or strikethrough bars. A character
stroke on scaled type kept its unscaled weight. An unplaced gradient was
fitted to the glyphs it painted instead of the layout box. A run's
pattern tiles stayed in document space instead of scaling and turning
with the type. A group's or layer's own fills and strokes also painted
the glyphs of the type in it without the bars.
The outlines now include each run's underline and strikethrough bars,
as the canvas has drawn them since #850. Each run's path is made in
text space with its unplaced gradients fixed to the layout box, then
placed by the type's transform, which also scales its stroke weight
and dashes and transforms its pattern tiles. The type's own fills and
strokes have their unplaced gradients fixed to the bounding box of the
layout box in the document, where the canvas fits them.
Geometry effects that move or scale the outlines move and scale the
type's gradients with them: the type's own effects, also inside an
envelope and after Flatten Transparency has converted the type to
outlines, and the effects of a group, symbol instance or envelope that
holds the type. outline_text marks its group with a new node field,
type_outlines, which is saved with the document. reshape_leaves maps
the placed gradients in each marked group through the map that takes
the group's bounds before the effects onto its bounds after them. A
scale out of proportion stretches a radial gradient into an ellipse
and turns the isolines of a diagonal linear gradient, as it does on
type scaled by its own transform. Placed gradients outside those
groups stay where they are.
Export Selection, Asset Export, the Assets tab of Export for Screens
and the rasterized art of CSS Properties cropped each object to its
visual bounds, which leave out live effects. A path with an 8 pt drop
shadow was exported with the shadow cut off at the path's edge, and
a group's own shadow was cut off the same way.
The crop is now the bounds the renderer measures for what it draws
(`vectorcraft_render::effect_bounds`): `painted_bounds` without its
room for brush art. A brushed path is cropped to its visual bounds as
before, and a Shaper group leaves out its transparent source art as
its visual bounds do. `assets.list` reports the same crop. The
renderer measures a shadow's or glow's reach on every side of the
object, so the image also has transparent room on the side away from
an offset shadow.
Docs: docs/mcp.md, docs/target-app-parity.md.
PDF, EPS, EMF/WMF and raster exports, and SVG exports that outline or
embed fonts, warn when type is set in a font family that isn't
available, but file.print and print.preview gave no such warning. A job
in a missing family printed in Source Sans 3 with no warning, and the
Print dialog's Summary showed none.
Both commands now add the exports' warning for the type that prints:
visible type that fits its frame or path, on the layers that Print
Layers picks, where what it paints (its effects applied) lands on the
paper of an artboard or tile that prints, inside its clipping paths.
The type in the symbols, inline graphics, patterns, scatter brushes,
opacity masks and placed documents of the art that prints counts too.
file.print reads the fonts before raster effects and Print as Bitmap
turn type into images, for PDF and PostScript output.
Docs: docs/mcp.md (Print), docs/target-app-parity.md (Fonts).
dataset.select applied a row's values in the order the variables were
defined, and it skips an object inside a hidden group. When a row
showed a group and set an object inside it, and the object's variable
was defined first, the object was skipped while the group was still
hidden: one selection applied the row in part, and selecting the row
again applied the rest. A text variable on type inside the group was
skipped the same way, and a row that hid a group skipped the objects
inside it whose variables were defined after the group's.
dataset.select, dataset.next and dataset.prev now apply the visibility
values that show objects first, outermost object first, then the other
values in definition order, then the visibility values that hide
objects, innermost object first. Of two variables of the same kind on
one object, the one defined last still wins.
Docs: docs/mcp.md.
Binding art in a hidden group or layer failed with "node N is locked",
even when nothing was locked. The error now says whether the object is
locked, is in a locked group or layer, or is in a hidden group or layer.
Make Text Dynamic and Make Visibility Dynamic reported their errors under
`variable.makeDynamic`, which is not a command id. They now name
`variable.makeTextDynamic` or `variable.makeVisibilityDynamic`.
A data set can hold values for only some variables: `dataset.new` and
`dataset.set` store only the values they are given, and selecting the
data set leaves the other variables alone. Update Data Set replaced the
active data set's values with the values the art reports for every
variable. After one Update, a data set that set only a visibility
variable also held the current text of the bound type, and selecting it
again wrote that text back. Update also dropped a variable's value when
its objects were locked or inside a hidden or locked layer or group,
because such objects report no value.
`dataset.update` now writes the art's current value for each variable
the active data set holds, and keeps the data set's value when the art
reports none. A variable that the data set does not hold stays out of
it, including one defined after the data set was captured;
`dataset.update {all: true}` also adds the other variables that the art
reports a value for. The reply adds `left`, the variables it did not
write. The Variables panel's Update Data Set button and menu item run
it without `all`.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Pen's pointer showed the new-path asterisk before the first anchor
and also while a path was being drawn, where a click adds the path's
next anchor. A new Cursor::PenDrawing, the pen nib without a badge, now
shows there. The close, convert and join badges still show over the
first anchor, the last anchor and another open path's end. The asterisk
shows only where a click starts a new path.
The Continue, Add and Delete badges now also show after another path
was selected while the Pen was still drawing (for example with a
Cmd-click). A click there already continued the path or added or
deleted an anchor, but the pointer showed the asterisk.
View › Proof Setup had two color blindness items, protanopia and
deuteranopia. A third item, Color blindness – Tritanopia-type, proofs
the canvas with a tritanopia simulation, and the Separations Preview
panel's Proof Setup list offers it too. `view.proofSetup` takes
`target: "tritanopia"`.
The simulation follows Brettel, Viénot and Mollon (1997): a color
keeps its L and M cone responses, and its S response is replaced so
that it lies on one of two half-planes. Both contain the neutral
axis; one passes through the 485 nm color and the other through the
660 nm color. The neutral axis runs to the display's white, so grays
keep their value. The matrices are computed at
compile time from the published inputs cited in the code. The
protanopia and deuteranopia matrices are unchanged.
In the Transform panel, the Properties panel's Transform section and
the Control bar, Alt+Enter (Option+Return) in X, Y, W, H, Rotate or
Shear ended editing as Enter does, and the selection itself moved,
resized, turned or sheared. Now the field's command gets `copy: true`
when the Enter that committed it was pressed with Alt. The copy takes
the value, the original stays where it was, and the copy is selected,
in one undo step. A press elsewhere with Alt held applies the value
without a copy. With anchor points selected with Direct Selection,
Alt+Enter applies the value to them, as Enter does.
- widgets::enter_modifiers returns the modifiers of the frame's Enter
press.
- transform::alt_enter_copies gives the `copy` param of the three
surfaces' commands.
Docs: docs/target-app-parity.md.
A Pencil or Paintbrush stroke always left the path it drew or continued
selected. The reference app's Pencil and Paintbrush options have Keep
selected for this, and VectorCraft's Tool Options had no such row.
The Pencil and Paintbrush Tool Options now have a Keep selected
checkbox, on by default, which keeps today's behavior. When it is off,
a new path is not selected and the selection stays as it was, and a
continued path is removed from the selection while the rest stays. The
stroke is still one undo step. The option persists like the tools'
other options, and path.freehand and brush.freehand take keepSelected.
Docs: docs/target-app-parity.md, docs/ui-parity.md, docs/control-protocol.md.
Ctrl/Cmd+Shift-clicking New Swatch in the Swatches panel opened New
Swatch for a spot color, as a Ctrl/Cmd-click does. It now opens the
dialog for a global process color, and with Alt also held it saves one
at once. `ui.newSwatch` takes `global`.
An Alt+Ctrl/Cmd-click with a gradient or pattern as the active paint
failed with "spot, mode and group apply to solid colours only". It now
saves a gradient or pattern swatch, as a Ctrl/Cmd-click does through
the dialog.
The reference app's Drop Shadow has a Color and a Darkness, the
percentage of black added to the object's own colors. Drop Shadow had
only a Color, so every shadow was one color. Choosing one or the other,
and the defaults, are VectorCraft's own.
Drop Shadow now takes `shade` ("color" or "darkness", default "color")
and `darkness` (%, default 100). Its dialog and the Appearance panel's
inline editor show Color and Darkness as radio buttons. With Darkness
d, a CMYK document keeps the object's cyan, magenta and yellow and
raises its black from K to K + d × (1 − K), and an RGB document
multiplies each channel by 1 − d, so in RGB 0% gives the object's
color and 100% gives black. A shadow saved without these keys draws as
before. SVG export writes a Darkness shadow with feComponentTransfer
and SVG import reads it back; CSS export leaves it out.
Docs: docs/target-app-parity.md.
Shift+Tab ran Tab's command and hid the toolbar and the Control bar
along with the panels. egui matches a chord without Shift when Shift
is also held.
A new UI command, window.panels (default Shift+Tab), shows and hides
the dock and the floating panels and leaves the toolbar and the
Control bar as they are. The shortcut table tries chords with more
modifiers first, so Tab's chord no longer takes Shift+Tab. Hiding the
panels with Tab or Shift+Tab also closes a panel popped out of the
icon column, which stayed on screen at the window's right edge.
Docs: docs/target-app-parity.md.
In Draw Inside, a double-click with the Selection, Direct Selection or
Group Selection tool outside the object being drawn into now sets the
drawing mode to Draw Normal (view.drawMode {mode: "normal"}), as
Shift+D does. The object's geometric bounds, grown by the selection
tolerance, count as inside, and a double-click after the object was
deleted also returns to Draw Normal. The tool then takes the
double-click as before: with the Selection tool, a double-click on the
empty canvas still exits isolation mode, and one on another object
still isolates that object. Other tools leave Draw Inside on.
Docs: docs/target-app-parity.md.
The Color Picker gets an eyedropper button beside the New and Original
chips, and `ui.sampleScreenColor {stroke?, picker?}` shows the system's
color sampler. The command answers at once. When the person clicks a
color anywhere on the screen, the color becomes the fill or the stroke
through paint.setFill / paint.setStroke as one undo step, or with
`picker` it becomes the open Color Picker's color, which previews on the
selection as any pick does. Escape cancels the sampler. The sampled sRGB
color goes through Cms::srgb_to_rgb, so in a Display P3 working space a
color inside sRGB shows as it did on the screen. `ui.inspect` reports
`screenSampler` while the sampler is open.
- macOS uses NSColorSampler (apps/vectorcraft/src/mac_screen_color.rs).
- The web app uses the browser's EyeDropper API where the browser has
one.
- Without a sampler (Windows, Linux, other browsers) the button is gray
and the command returns an error. Keyboard Shortcuts lists the
command, so it can be given a key.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
The Control bar had no isolation controls. In isolation mode it now
shows an Exit Isolation Mode button (`object.exitIsolation`), except
while a pattern is edited: the isolation bar's Done and Cancel end
that edit. Outside isolation mode, with one group, compound path,
path, image, mesh or placed file selected, it shows an Isolate
Selected Object button (`object.isolate`). After a Direct Selection
click on a path inside a group, the button isolates that path. An
envelope's contents get no button: for them the Control bar shows the
envelope's Edit Envelope and Edit Contents buttons.
The button offers the kinds of object that the Selection tool's
double-click isolates. The double-click's check moves unchanged into
`vectorcraft_tools::select::isolates`, and both use it.
Docs: docs/target-app-parity.md.
A knockout group that is not isolated, and whose elements blend, is
drawn over a copy of the art below it when the renderer has no layer
open around it. Each element was drawn over the whole copy in a layer,
and the layer was cut to the element's knockout shape with DestIn.
Where the shape covers part of a pixel, the cut counted the element's
coverage a second time. With Page Knockout Group on and Page Isolated
Blending off, the page is drawn this way as soon as an object on it
outside an isolated group has a blend mode other than Normal, on itself
or on a fill or stroke. On a test page, adding a Multiply square
changed the half-covered edge of a blue square over orange from
[115, 115, 141] to [172, 159, 147] on white.
Each element is now drawn over the copy offscreen, over its own
bounds. With the DestOut pass before it, each pixel gets (1 - shape)
times what was below plus shape times the element composited with the
copy at a shape of 1, as ISO 32000-1 section 11.4.6 describes. Pixels
that the shape covers fully or not at all are drawn as before.
Geometry effects on a group or layer, and effects on a symbol instance,
blend or repeat, outline the type inside it. outline_nested_text
replaced each type object with a plain group of its outlines, so the
type lost its opacity, blend mode, opacity mask, knockout shape
option, own effects and perspective, and hidden type was drawn,
exported and made visible by Expand Appearance.
outline_nested_text now replaces type with the art that as_art makes
for it, which is also what reshape makes for type with geometry
effects of its own. That art has the type's own geometry effects and
perspective applied and keeps its name, transparency, opacity mask
and other effects. as_art also keeps the object's visibility and
knockout shape option, so hidden type with a geometry effect of its
own is left out of exports. Type in a clip group's clipping path still
becomes its plain outlines and now keeps its visibility.
In a dev build, opening a native file whose area type has 2^60 rows
or 2^60 columns failed with an internal error ("capacity overflow"),
and opening one with 2^32 rows and 2^32 columns failed with "attempt
to multiply with overflow". Text layout reserved room for rows times
columns frame cells. `text.areaOptions` keeps both counts within 1 to
100, but reading a document kept the counts the file gave.
Reading a document now clamps each count to 1 to 100
(`AreaOptions::MAX_ROWS_COLUMNS`): a larger count reads as 100, and 0
reads as 1, as layout already treated it. Text layout clamps both
counts the same way. Area type with 1 to 100 rows and columns lays out
as before.
The cells of a frame now share one copy of the frame's flattened
polygons and one copy of the flattened text wrap shapes. Each cell held
its own copy: in a dev build, a test process that laid out text in 100
rows and 100 columns of a circle frame of radius 1,000,000 pt peaked at
1.33 GB of memory, and now peaks at 100 MB.
The Shape Builder merges faces by uniting their contours, and the edges
two faces share cancel out. The sweep can give two faces copies of a
shared edge whose ends lie a few times its tolerance apart, with the
difference left as pieces shorter than the tolerance. The union could
then keep the space between the copies: a hairline that joined a hole
as a spur, or a seam that cut a petal tip off the ring's outer outline
as an outline of its own. On Apple Silicon, turning one petal of the
rosette test by -180 degrees instead of 180 leaves a spur.
A Shape Builder action unites the picked faces first, and then what is
left of each shape. When two copies of a shared edge differ in the
first of these unions that unites the faces' contours, each point of
the faces' contours that lies within 16 times the sweep's tolerance of
a point kept before it now moves onto that point before that union and
each later one, with the handles next to it. A piece left within that
distance of one point is dropped. The planar map joins the ends of
copies of an edge within the same distance. Copies that share their
ends leave at most a hairline contour, which the merge drops as a
sliver. When the copies in that union all match exactly, the unions
take the contours unchanged. Only the Shape Builder's merges and
deletions unite faces this way, so Pathfinder output does not change.
Duplicate Artboards, the Artboard tool's Alt-drag (artboard.move with
copy) and Paste of a copied artboard gave the new artboard the largest
artboard id plus one, saturating. In a document with an artboard id
of 4,294,967,295 (u32::MAX), which only a hand-made file has, the copy
got that same id. Artboard guides record the id of their artboard.
Deleting either of the two artboards with that id then deleted the
guides of both, and guide.list reported the copy's guides on the
other one.
push_artboard_copy now takes the id from Document::next_artboard_id,
as artboard.new and Convert to Artboards do. Since the #1718 fix, that
function returns the smallest free id when the largest is u32::MAX.
In a document whose artboard ids are all below u32::MAX, a copy gets
the same id as before.
Docs: docs/target-app-parity.md.
The key of a raster made for content that shows a symbol includes the
font generation, and since c348b384 (#1723) the key for content
painted with a pattern includes it too. FontDb::add_font increases
that generation, and the six tests in tests_fontchange.rs call it. Two
tests in fx.rs draw such content and count the rasters moved between
frames: moved_rasters_need_the_same_content_and_effects and
a_moved_group_draws_the_shadow_of_the_instance_art_in_it_while_interacting.
Neither held fonts_steady(). When a font test added a font between
their frames, the renderer made the raster again and the test counted
0 rasters moved instead of 1. Under CPU load on Windows, with the font
tests in the same process, the first test failed in 12 of 100 runs and
the second failed in 36 of 70.
Both tests now hold fonts_steady().
translucent_blended_and_shadowed_type_redraws_when_its_font_becomes_available
added its font without the font lock that fonts_steady() holds shared,
and it now takes adding_fonts(), as the other five font tests do. With
the change, the first test passed in all 200 runs and the second
passed in all 120 runs under the same load.
file.new stamps metadata.created from the clock in whole seconds. Four
Alt-drag tests in tests_xform.rs compare the document under test with
one that a second session builds, and both sessions start from
session()'s file.new. When the clock reached a new second between the
two calls, the documents differed in created, and the test failed.
With a temporary change that made each clock read on a thread at least
one second later than the one before, all four failed.
session() in tests_xform.rs and persp_session() in
tests_persp_select.rs now pass "created": null to file.new, as #1894
did for doc_with_rect() in tests_ids_without_selection.rs. Two new
tests in #2067 compare two documents built on persp_session().
Keep Type tool from inserting Text when Cmd/Ctrl/Alt is held so the
chord outlines instead of typing, and cover Selection and Type-tool
paths so File › Open and the Artboard tool cannot steal it.
Co-authored-by: Cursor <cursoragent@cursor.com>
Found while testing crates/doc/src/lib.rs:~298 (parse_measure, picas+points branch)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/lib.rs:269-297 (parse_measure, used by Unit::parse and parse_number)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Transform Each had Reflect X and Reflect Y swapped relative to Effect › Distort ›
Transform and the Transform panel. Properties flip buttons also used inverted
tooltips. Align them so Horizontal is left-right and Vertical is top-bottom.
Co-authored-by: Cursor <cursoragent@cursor.com>
The Cmd-drag part of #1881 landed in #1897. This covers the two other
paths: an edit from outside the typing session (the Transform panel) and
a new interaction such as a dialog's preview now end the typing first.
With Align to Artboard chosen, the Align panel's six Distribute Objects
buttons and its two Distribute Spacing buttons acted on the selection.
object.distribute and object.distributeSpacing took no to or artboard
param. Distribute Objects kept the outermost objects where they were
and did nothing with two objects, and Distribute Spacing kept the first
object's left or top edge and the last object's right or bottom edge
where they were.
Both commands now take to ("selection", "artboard" or "key") and
artboard, and the panel sends its Align To choice as to. When to is
"artboard", the first object's left or top edge goes to the artboard's
left or top edge, and the last object's right or bottom edge goes to
the artboard's right or bottom edge. Distribute Objects spaces the
other objects evenly by its button's line, and two objects are enough.
Distribute Spacing without a spacing value makes the gaps between the
objects equal. Both commands use the same artboard as object.align.
The app passes the active artboard to both commands, and recorded
actions leave it out, so an action plays on the artboard that is
active when it plays. With "selection" or "key", or without to, both
commands work as before. Distribute Spacing with a spacing value still
keeps the key object in place with each of the three to values. With
anchor points selected, both commands still space the points among
themselves and do not use to.
Docs: docs/mcp.md, docs/target-app-parity.md.
The catalog holds the 4,789 rows the other complete catalogs hold: the whole
interface (every menu string and `tl!` literal) and the status and error
messages, in the Bulgarian vocabulary of vector illustration, following
Adobe Illustrator's Bulgarian conventions; one/other plural forms.
Clean-room from VectorCraft's English meaning, drafted with AI assistance
(Gemini); a native speaker has not reviewed it yet. `bg-BG` and every other
`bg-*` locale resolve here.
`cargo test -p vectorcraft-ui-egui i18n::tests` passes (46 tests, including
complete menu, literal, message and font coverage).
Place flattened every top-level layer into its objects, so an SVG's clipped top-level group lost
its clip and its clipping path came in as a loose, invisible path; sublayers lost their clips the
same way. A clipping layer is now placed as one clip group, for SVG/DXF and for the art placed from
an artboard (PDF, EPS, placed documents) alike.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
every_pathfinder_operation_is_pinned built its stars with shapes::star,
which calls the platform's cos and sin. At the star angle
2.204350845268838, cos on macOS x86_64 (measured under Rosetta on
macOS 27.0.1) returns 0xbfe2f1c59f37cbf4, where the correctly rounded
value, which macOS aarch64 returns, is 0xbfe2f1c59f37cbf5. In the set
of five shapes with seed 7, this moves one star vertex by one ulp, and
the set's Unite hashes to 60181664961792917, where PINNED has
9388160212451732406. Under Rosetta, 21 of the 40 hashes differ.
The test now builds each star from a table of the correctly rounded
cosine and sine of the star's ten angles, written as f64 bit patterns,
with the arithmetic of shapes::star. PINNED is unchanged. With these
inputs, all 40 hashes equal PINNED on aarch64 and under Rosetta.
Rust 1.95 clippy -D warnings rejects the nested if under TypedInstruction::Shading
(collapsible_match). Fold the shading lookup into the match arm guard so the Ubuntu
xtask ci gate can pass on the same toolchain Actions pins.
Co-authored-by: Cursor <cursoragent@cursor.com>
Documents are now at most vectorcraft_doc::MAX_DEPTH (32) deep, so the writer's MAX_DEPTH of 256
and its warning for art nested deeper can go; symbols and live objects nested in one another keep
their limit.
The file had an empty prolog, so a PostScript interpreter stopped at its first operator: it
couldn't be printed, placed or previewed by anything that runs PostScript. The prolog's
procedure set (VectorCraft_Legacy, written from the PostScript Language Reference and the
version 7 specification) now gives every operator the writer emits its meaning: paths and their
painting with separate fill and stroke colours and overprints, the fill rule, compound paths
painted as one path, clipping groups and masks, guides that don't print, layers that are hidden
or don't print marking nothing, and images drawn from the hex samples on the comment lines after
XI. Gradients fill with the colour set before them (the first stop's), and the type and encoding
operators take their operands and mark nothing.
VectorCraft opens a file with that prolog from its program, as before: its page has flat
gradients and no type.
Every file the writer's tests write is now run through import_with(bytes, false) and must draw
what the document it was written from draws: its paths, fills, strokes and images in the same
places and colours, with type left out (type the writer outlines is compared as its glyphs'
outlines), gradients as their first stop, layers that don't print left out and hidden objects
shown when the options write them visible. A new test prints the sample with every layer shown.
The engine's flattened-image test also opens the file as PostScript.
The page trailer the version 7 specification gives (section 3, Script Setup) is
`gsave annotatepage grestore showpage`, and annotatepage is a procedure of the app's own
prolog, which the file didn't have. The file now carries a procedure set of the writer's own
(VectorCraft_Legacy 1 0, listed in %%DocumentSuppliedResources) in a dictionary the setup begins
and the trailer ends, which defines annotatepage as marking nothing.
The Legacy .ai Options dialog gains Hidden Objects (Hidden Layer, Omit, Make Visible) and Text
(Editable, Outlines), translated in every catalog. Docs: type and hidden objects in the legacy
.ai paragraphs, the restored revision rows and roadmap row.
Drag out from a segment, corner, circle or arc to place a dimension; plain clicks pick two points or two lines. Radial dimensions on perfect arcs, picas, Away/Between and Left/Center/Right text placement. The Properties panel edits a selected dimension, with Apply to All (dimension.applyToAll) and Set as Default. Dimension Selected Paths, the Arc/R/Ø prefixes and the custom defaults are left out. The refresh returns at once in documents without dimensions (Document::dimensions); a linked dimension moved on its own keeps its place; modes, units, line types, arrows and text placement are enums; the tool has its own icon.
Type is written as version 7 text objects (§15): point type, area type and type on a path, with
fonts by PostScript name re-encoded to Windows-1252, and each run's paint, size, scaling,
tracking, leading, alignment and indents; type 8-bit text can't hold (or all, with outlineText)
is outlines. The format hides only layers, so hidden objects go to a hidden layer above their
own (hiddenObjects "layer", the default), are left out ("omit") or show ("visible"). The .ai
reader reads legacy type (To … TO, TE, %AI3_BeginEncoding) and ignores Ar; the import fuzzer
gets legacy type tokens.
A pen reports far more often than frames come (an Apple Pencil up to 240 times
a second): the canvas now hands the tool each move of the frame with its
pressure instead of the last one only, and the web shell feeds Safari's
coalesced pen events. Mouse input is unchanged.
The .ai options dialog offers Legacy (version 7). In that mode it shows Transparent Images
(Flatten, Omit) and, with more than one artboard, thumbnails to check with the file each is
saved to (long names keep their end). OK is greyed out until an artboard is checked. A save
panel's Enter no longer confirms the options dialog it opens.
aiVersion 7 saves through the legacy writer, one file per artboard; range picks the artboards
and document.save writes them again. Appearances are expanded first. Transparent images
(see-through pixels, opacity or a blending mode) are flattened with the art under them into
opaque images clipped to where they change it (transparentImages "flatten", the default), or
left out ("omit"); both warn.
export_legacy_ai writes a document as a PostScript-form .ai of version 7 (one artboard per
file), keeping every layer (name, order, Hidden, Locked) and its groups, compound paths and
clip groups. Closed paths end on their start point, so they keep their corner. The .ai reader
learns what the writer emits, and the tests read every file back.
A PDF is refused when a stream in it would decode to more than 256 MB
or has decode parameters the reader can't apply, but the check looked
only at the file's objects. A stream written directly inside an array
or a dictionary, such as the /Function of a shading, was not checked.
On main at b12a52f7, a calculator function holding 257 MiB of deflated
spaces opened after 3.0 to 4.3 s with a peak of 550 to 818 MB when it
was written in an array, in a dictionary or as a shading's function.
The same stream as an object of its own was refused in 81 ms.
hostile in pages.rs now runs unsafe_stream on every stream that the
walk of the file's objects meets, at any depth in arrays and
dictionaries, before it decodes the stream as a calculator function.
It refuses such a file with the same message. The walk is the one the
nesting check made before (64 deep at most).
Read pen and finger Pointer Events in the web shell (capture phase) instead of
eframe's touch handlers, which can't tell a pen from a finger and see every
touch twice. The pen drives the pointer with its pressure and hovers; fingers
are touch contacts for pinch, two-finger pan and undo/redo taps. Once a pen
has been seen (remembered in localStorage), a finger or a resting palm never
presses a tool on the canvas, and a pen landing cancels fingers already down.
A long press drops the tool press and opens the context menu.
The page no longer scrolls, zooms or selects under touch, and the canvas
stays inside the safe areas of a full-screen app.
Use automatic vector smooth shading without a separate control.
Enable Cap by default and keep continuous rim curves and bounded seam joins.
Integrate the shared dialog with the other three 3D effects.
The late-focus case in the original change has no reproducible path
(#1339 already covers focus on the press frame), so the button-down
defer is dropped. The real issue is the clicked_focus branch: a very
short drag inside one character produces no text selection, egui still
reports a click, and select-all on release replaced the drag. The press
position is now remembered and a release more than three points away
keeps the caret; a plain tap still selects all.
Also fixes the test placement bug: the new test sat between the #[test]
attribute and keyboard_focus_keeps_selecting_the_entire_numeric_field,
so that test no longer ran. The regression test fails on the fork-point
widgets.rs and passes with this change.
The reader's Dict::entries unwraps every value it reads, so it panics on
a value it cannot parse, such as the name /#zz or the number 12-.5
(vendor/hayro-syntax/src/object/dict.rs:104 at craft-libs ca50d63b).
Besides the nesting check in pages.rs, two loops of the import call it:
- Colors::visit (import_color.rs) looks for the file's Separation and
DeviceN spaces when a page paints in one. craft_pdf's interpret_page
catches the panic, and the import fails with "PDF page interpretation
failed internally".
- Walker::note_fonts (import_scan.rs) notes the fonts of each page. The
import does not catch that panic.
On main the nesting check in pages.rs panics on such a value first
(#2133 fixes it); with it fixed, the import reaches these two loops.
Colors::visit now reads the values with Dict::keys and get_raw, sorted
by key as before, and leaves out a value the reader cannot parse.
note_fonts reads the keys and looks each font up by its key, as before.
The shared PDF reader (craft_pdf::syntax, craft-libs ca50d63b) indexes
a dictionary by skipping its values. Its skip accepts some values that
its parse refuses, such as a name with a broken # escape (/#zz) and a
number such as 12-.5. Dict::entries unwraps the parse of each value
(vendor/hayro-syntax/src/object/dict.rs:104). The check in pages.rs
that refuses functions and color spaces built on one another without
end (nests_without_end) calls entries on every dictionary of a file
when the file opens. So document.pdfInfo, PDF import,
clipboard.importPdf and loading a .ai panicked on such a file, and
three import fuzz tests fail on main with PROPTEST_RNG_SEED=1182 and
PROPTEST_CASES=20000.
The check now reads a dictionary's values with keys and get_raw and
leaves out a value that doesn't parse.
A test in crates/pdf puts each of those values in a file with a plain
function, which opens, and in a file with a function that stitches
itself, which is still refused.
In Grayscale mode with Gradients on, the trace could fill paths with
coloured linear gradients (for example a blue-to-orange ramp) beside
grey flat fills. Gradient detection ran on the RGB image, so the stops
and the gradient's palette colour (its middle) were the source colours,
while Grayscale's flat fills come from each pixel's luma.
Grayscale now finds gradients, and settles their edges, in a copy of the
image reduced to the same Rec. 601 luma the flat grays are quantised
from. Every channel of that copy is equal, so the fitted stops, the ends
carried to the area's edges and the palette entry are all grey. Color
mode is unchanged: it still detects on the RGB image (trace output for
gradient fixtures is byte-identical before and after).
Adds grayscale_gradients_are_grey: a code-drawn sky ramp over flat
shapes with a ramp rectangle, traced in Grayscale with 4 grays and
Gradients on, must still produce a gradient, and every path colour,
gradient stop and palette entry must be grey.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Abutting traces must draw each edge between two neighbouring regions once:
the filled paths on either side follow one curve, one of them reversed, and
together cover the image without gaps or overlaps. These tests check that
from the trace output alone, with no renderer: points along each path's
outline must lie within 0.001 px of another path's outline, the paths' areas
must sum to the image's, and every point of a 4 x 4 per-pixel grid must lie
in exactly one path.
The images are drawn in code, hard-edged and anti-aliased, and traced in
Color (Abutting) and Black and White, each at the default settings, Paths and
Corners 0 and 100, Snap Curves To Lines, and Shapes. They cover a closed island
in a background, a ring with and without a core of a third colour, a wavy
two-colour seam, a three-region junction, outlines that leave a junction and
return to it (the 111 / 101 / 110 pattern at 1, 2, 3 and 6 px, and framed),
squares touching at a corner, a one-pixel hole and a one-pixel island (kept at
Noise 1, dropped together with what they leave at Noise 25), separate areas of
one colour, and slanted hatches with one-pixel paper channels. A further test
shows the check finds a 0.01 px shift and stacked (Overlapping) layers.
Two tests are ignored as documented current gaps:
- At Paths 0 and Corners 0, a piece returning to its own junction collapses:
its region is dropped and its area left uncovered (draft #2205 fixes it).
- With Shapes, a region whose outline runs through a junction becomes an exact
shape its neighbour does not share (up to 0.0039 px in Black and White).
No tracer code changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
When a long horizontal or vertical run crosses a three-colour junction one
or two pixels before a corner, the corner correction for that run borrowed
a neighbouring crack's shift that the region on the other side of the
junction never applied, leaving hairline gaps between abutting colours.
The correction now applies only when all three cracks it uses lie in the
same shared piece.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Integrate the shared PDF writer and reader as one qualified final tree. Preserve the separate writer and reader commits and review records.
All eight local CI gates and all eight hosted jobs passed; the checked source tree matches the final integration.
Preserve the writer and reader changes while integrating the current main.
The combined candidate passes all eight local CI gates and the 2,048-case
reader panic verification. Hosted checks remain required before landing.
Refs #1893, #1894.
A set whose entries sit in long, deeply nested sections kept every section's names again for each entry (up to hundreds of megabytes from a 4 MiB file); the names kept over all entries now stop at 8 MiB. Name matching compares character pairs in linear time, so a 20,000-entry set of long names is matched in about 2 s instead of 17 s.
Since #1442 (3acc29f8), a caller outside the app gets an error for a
parameter key that the command's params description doesn't name, and
every_description_parses requires each top-level entry of the params
object to start with a key. The note on query in importMatches.list had
a comma at the top level ("text in the name, target or label"), so the
description didn't parse: the test failed, and the command took any key.
The note is now in parentheses, and the command takes kind and query.
A test checks that shortcutSet.read and the three importMatches
commands take every key they read and refuse a misspelled one.
Since #1352, #1498 and #1507, Korean, Polish and Vietnamese are complete
catalogs: every menu string, tl! literal and status or error message has
a row, and the i18n tests check it. ko.tsv, pl.tsv and vi.tsv get the
rows that the other complete catalogs have for Import Shortcut Set and
its commands: the dialog's strings, the labels Import Shortcut Set…,
Read Shortcut Set File, Import Matches, Remember Import Matches and
Forget Import Matches, the two plurals and the two error messages. Copy
Report and Not read are already in all three, and Shortcut and the
Imported message in pl, so they are not repeated. The dialog's rows go
after Import Print Presets in ko and vi and after the Keyboard Shortcuts
dialog's rows in pl, and the two messages after "not a VectorCraft
shortcut set".
Check Script (3374d077) added Copy Report and Not read to every catalog,
and es and fr gained Shortcut and the Imported message in a747daa3 and
9e39a6d1. The rows that Import Shortcut Set added for the same strings
became second entries, which bundled_catalogs_are_consistent rejects.
They are removed, 26 rows in cs, de, es, fr, hu, it, ja, ru, uk, zh-hans
and zh-hant, and the existing rows stay as they are.
Since b9716366 (#1302), Hungarian is a complete catalog: every menu
string, tl! literal and status or error message has a hu row, and the
i18n tests check it. hu.tsv gets the rows that the other complete
catalogs have for Import Shortcut Set and its commands: 35 strings, the
two plurals in the single form hu.tsv uses (a count takes the
singular), and the two error messages. Shortcut and the Imported
message already have hu rows on main, so they are not repeated. The
rows are placed after the Keyboard Shortcuts… row.
Since #1189, Czech is a complete catalog: every menu string, tl! literal
and status or error message has a cs row, and the i18n tests check it.
cs.tsv gets the rows that the other complete catalogs have for Import
Shortcut Set and its commands: 35 strings, the two plurals with one, few
and other forms, and the two error messages. Shortcut and the Imported
message already have cs rows on main, so they are not repeated. The rows
are placed after the Keyboard Shortcuts… row.
A shortcut set another app saved as slash-name text (a .kys file whose
text starts with a slash name and "{", such as "/Menus {") opens in
Import Shortcut Set from File › Open, from Edit › Keyboard Shortcuts ›
Import… in the desktop app, or from a drop on the window, whether or
not a document is open. The dialog proposes a target for an entry when
an earlier import kept one for that name, or else when one tool,
command or panel matches the name clearly by its id or by one of its
labels. It decodes the file's key and modifier codes from the codes
earlier imports kept, from the example in the AiCommandPalette README
(/Key 48 for the 0 key, with /Modifiers 0 taken as no modifiers), and
from VectorCraft's default shortcuts where at least two entries vote and
four votes in five agree. The user picks the remaining targets, presses
the key for each unknown key code or marks it No equivalent, and chooses
the modifiers for each unknown modifier code. Apply assigns the ready
rows with the Keyboard Shortcuts rules: a tool takes a single key,
optionally with Shift. It goes through the rows from the last one back
and leaves a row out when a later row it applies has the same shortcut
or the same tool, command or panel. Keyboard Shortcuts then shows the
result as unsaved changes until the user clicks OK. Copy Report copies
the set's name, the rows Apply leaves out and the parts of the file that
weren't read.
- shortcutSet.read is a query command: it reads a set and does not
modify the document or the preferences. It returns each entry with
its section, codes and line, and up to 1,000 skipped tokens, each cut
to 80 characters. It reads at most 4 MiB of text and 20,000 entries,
skips blocks nested more than 16 deep and cuts names at 1,024 bytes.
With a path it reads at most 4 MiB and 4 bytes of the file, and with
--automation-read-root (#832) the path must lie inside the read root.
A file whose text starts with "<", such as an XML shortcut file saved
as UTF-8, fails with "This shortcut file is in a form VectorCraft
can't read."
- importMatches.list, importMatches.set and importMatches.reset read
and change the matches kept with the preferences; resetting the
preferences keeps them. With Remember My Choices on (the default),
Apply keeps the targets and codes the user chose, and for the rows it
assigns, it also keeps the matched targets and the codes decoded by
agreement. A later import proposes them.
- The name matcher compares a name with ids by exact match and shared
words. It compares the name with labels, in English and in the
interface language, by exact match, shared words and character
pairs. It proposes a match only when one tool, command or panel
scores at least 0.6 and at least 0.1 more than the next one.
- When Import Shortcut Set is opened from Keyboard Shortcuts, Cancel,
Escape and ui.dialog.cancel close it and return to Keyboard Shortcuts
as it was (dialogs::PARENT). A document's queued Missing Fonts dialog
(#792) opens after Keyboard Shortcuts closes.
- File › Open has a "Shortcut sets" filter, and in the desktop app
Keyboard Shortcuts' Import… shows .json and .kys files.
Docs: docs/mcp.md, docs/control-protocol.md, docs/development.md,
docs/target-app-parity.md, docs/roadmap.md.
With the Type tool editing, a press with Ctrl (Cmd on the Mac) lends the
Selection tool for the drag. Its drag joined the open typing session, so its
preview started from the document before the typing: the type moved or
scaled and lost what had just been typed. The typing is now kept as its own
undo step before the lent tool takes the press, as Undo already does, and
typing goes on after the drag.
The section lists asked for a selectable button and then turned its frame
off while the pointer was elsewhere, which also dropped the selected row's
fill: the section shown looked like every other row. The selected row now
keeps its fill.
A tile was kept while the pattern's art and what it shows were unchanged,
but a brush the art is stroked with lives in the document's other data, and
every tile is drawn through the color settings. A tile whose art reads more
than itself now also remembers the document's other data, and every tile
remembers the color settings it was drawn through (both weakly).
With Separations Preview on, the renderer copied every node of the
document in every frame and separated each of its colors again. With
Overprint Preview on, it copied each object with an overprinting fill
or stroke in every frame, with the groups and layers that hold it. The
copies were new Arcs, so the geometry, stroke outline and raster
caches missed for each of them in every frame. In a release build,
drawing a 2880x1800 frame of a 50,000-path document again with the
same view and Separations Preview took 795 to 908 ms.
The renderer now keeps the art it prepared and what it was made from,
and in the next frame it uses that art again for each layer, symbol
art and member that has not changed. Only the objects that changed are
prepared again, with the layers and groups that hold them. All of the
art is prepared again when Discard White Overprint changes and, with
Separations Preview, when the plates shown, the proof setup, the
swatches, the Spot Colors option or the color settings change or a
profile is registered (cms::profiles_generation). The renderer now
draws that frame again in 98 to 107 ms, with the same pixels.
Docs: docs/target-app-parity.md.
In the web build, now_ms() in crates/ui-egui/src/lib.rs returned 0.0.
The status bar read "render 0.0 ms · ui 0.0 ms" however long a frame
took, and the Layers panel's budget of 8 ms for the row thumbnails it
renders in a frame never ran out, so only its limit of 16 thumbnails
applied.
now_ms() now returns the milliseconds since its first call, read from
the browser's performance.now() through web-time, which the build
already has through eframe. The desktop clock is unchanged. In Chrome,
after a pan frame of 750 ms over a document of 50,000 paths, the status
bar now reads "render 750.7 ms". The Layers panel now renders the
thumbnails of 24 groups of 2,000 paths one per frame, where main
rendered nine of them in one frame of 217 ms. The canvas has no render
worker in the web build, so it still renders on the UI thread and draws
the same pixels.
Docs: docs/target-app-parity.md.
Show Hidden Characters keeps each text object's marks together with
the node it laid them out from. Only a frame that drew the overlay
changed what it kept. After the option was turned off, or the
document was closed, those nodes stayed alive until the overlay was
next drawn.
The canvas now takes the kept marks at the start of each frame and
puts them back only when it draws the overlay. A frame that does not
draw it, for example with the option off or with no document open,
drops the marks and their nodes. A frame that draws the overlay still
keeps the marks of the frame before.
`cargo xtask wasm` (part of `cargo xtask ci`) checked the wasm-safe crates but not
apps/vectorcraft-web, so web-only code was never compiled before a merge. It now runs
`cargo check --target wasm32-unknown-unknown -p vectorcraft-web` too (no Trunk, no network).
The SVG importer's cap on the web was 48, sized from native measurements. rustc links the web
build with a 1 MiB stack (`-z stack-size=1048576`; the app passes no linker arguments of its
own) and usvg uses about 15 kB a level: half the stack at that cost gives 34, set in one place
with the arithmetic.
krilla's default `simple-text` feature is the only thing that brings in rustybuzz and
ttf-parser, which RustSec lists as unmaintained. The PDF writer places glyphs itself, so the
workspace takes krilla with `raster-images` only; the one test that writes files with
`draw_text` turns `simple-text` on as a dev-dependency feature.
hayro (0.7.2 and 0.8.0 alike) inflates Flate and LZW data with no ceiling, so a few megabytes
of zeros ask for gigabytes, and applies a predictor before checking its parameters: Columns 0
divides by zero (a panic, an abort on the web), a huge Columns allocates a row that large (an
abort everywhere). Both happen inside the reader, before any of our limits.
A file is refused ("a stream in it would decode to more than 256 MB, or its decode parameters
can't be applied") when a stream's decode parameters ask for a predictor the reader can't apply,
or when it decodes past 256 MB through Flate, LZW, run-length and the ASCII encodings before
them, decoded here with a ceiling (only streams large enough to get there are decoded). Every
object's stream is looked at once the file is open (decrypted, references followed), with the
inline images of anything that can be content; object and cross-reference streams, which the
reader decodes while it opens the file, are looked at first in the file's text.
A scatter brush whose art is an instance of a symbol stroked with that brush, or any brush whose
art is painted with a pattern whose tile is stroked with it, drew itself without end: a stack
overflow in a hand-written native file. Brush pieces already strip the brushes of their own
strokes; now what they draw by name that would draw a brushed stroke (a symbol instance, or a
pattern paint, also through the symbols and patterns those use) is left out too, in one place
(`stroke_pieces`, which every renderer and exporter calls with the document).
Probed the rest of item 2 of the depth follow-up with hand-written hostile inputs, kept as tests:
graph designs of deep art and of a symbol holding itself, Affinity groups nested to and past
both of its reader's caps, DXF blocks inserting themselves, EMF/WMF saving states without end,
and plug-in manifests and output nested 30,000 to 100,000 deep. None of them overflowed.
hayro-syntax 0.8.0 reads arrays and dictionaries 64 deep and no deeper wherever they are (the
file's text, object streams, the content of pages, forms, patterns, glyphs and masks), walks the
page tree without recursion and follows a chain of object streams once: what 0.7.2 overflowed
the stack on. hayro-interpret 0.8.0 comes with it (a new device interface: the importer's device
takes it as before). Our raw pre-scan of the file's text and page content goes: the reader's own
cap covers more, and the scan miscounted the bytes of unfiltered binary streams.
What 0.8.0 still builds by recursion with no cap is refused when the file opens: functions and
colour spaces built on themselves or on one another more than 16 deep, and calculator functions
whose procedures nest more than 64 deep. The import runs on a 16 MB thread, as the SVG importer
does.
hayro-syntax 0.8 turns on flate2's zlib-rs backend, which the whole app then deflates with: a
compressed native file is the same gzip stream as before (header and data), but its deflate
blocks now depend on how the data is fed, so the streaming test checks the header and the
unpacked data instead of the bytes.
The SVG importer runs on a thread of its own since #1852 (for its stack), and the automation
roots in force on the thread that opened the file didn't hold there: an agent confined to a
read root could have the app read any file an SVG links to. The reads now run in the scope of
the thread that asked.
A save that couldn't write its file (a read-only folder, a file another
program holds open, a full disk) was only reported in the status bar, a line
the next message replaces; a background save's failure arrived there some
time after the user had moved on. Save, Save As, Save a Copy, Save as
Template, Export As and the commands that write one file now also say it in a
dialog naming the file and the reason, which stays until it is closed. The
document stays modified and keeps the file it had. A message that arrives
while another dialog is open waits for it to close instead of replacing it.
An agent's request gets the error as its reply, without a dialog; a failed
recovery write stays in the status bar.
A document opened off the UI thread became the active one as soon as it was
ready, also under an open dialog, whose OK acts on the active document: Save
As options confirmed after another file had finished opening wrote that
file's art under the first document's name. Files that are ready now wait
until the dialog is closed.
The web app's download callback returned nothing, so a save whose Blob, URL or
anchor couldn't be made was reported as written: the document counted as
saved, its recovery copy was dropped, and Save Changes closed it. The callback
now returns the error, which fails the save, export or file command like a
refused write on the desktop. A timer that can't be set after the download
started is not a failure.
The canvas faded a template layer as a whole by a fixed half and ignored its
Dim Images option, so unchecking it or setting another percentage changed
nothing, and the layer's paths were faded with its images. A template layer's
images are now dimmed to its Dim Images percentage (50 % when Layer Options
makes it a template), shown at full strength with the option off, and its
vector art is drawn as it is.
A tile was kept while the pattern's own art, tile and tiling were the ones it
was drawn from. Art that shows a symbol, is painted with another pattern or
holds an image or type doesn't change when those do, so the pattern kept
drawing the old symbol (in every renderer on the thread: the tiles are
shared). Such a tile now also remembers the document's pattern and symbol
art, image pixels and fonts, and is drawn again when they differ. A raster
effect on an object painted with a pattern reads all of that too, as one on
a symbol instance does.
Extrude & Bevel, Inflate and Rotate built their solid from the outline by
nesting alone: a contour inside an odd number of others was a hole. Under the
nonzero rule a contour inside another that runs the same way encloses filled
art, so the effect cut a hole the object doesn't have. The fill rule now
reaches the outline builder, which leaves out contours with filled art on
both sides before pairing outlines and holes.
Each Transform effect clamps its own copies to 1000, but each copies all of
what the effect before it made: three of them on one square ask for a
thousand million squares, from a small file. Copies now stop where the result
would pass two million anchors (1000 copies of a 2000-anchor path).
Where a folder refuses the temporary file or the rename, the new content
(whole and flushed elsewhere) is copied into the file itself: the file was
truncated first, so a copy cut short by a lost connection or a crash left
neither version in place, and only the new one on disk under a hidden name.
The file as it was is now copied and flushed beside the temporary file before
it is truncated; if it can't be, the file is left alone and the save fails,
naming the temporary file. A failed copy names both.
The fallback for a drop shadow, outer glow or inner glow whose raster the
shadow cache refuses rendered the view plus the blur's spread at full
resolution, capped only at 65535 pixels a side: a 1000 pt blur at 3200 %
spreads 48000 pixels, so the surface was up to 16 GB whatever the window's
size. The region is now planned by filter_region, which renders it at a lower
resolution (as filtered content already is) to stay within PIXEL_BUDGET.
The limits on a compressed file's entries were on their lengths. An entry of
one byte at a far offset unpacked everything before it, and each entry behind
the previous one started the stream over and unpacked the JSON and the gap
again: a small hand-made file could ask for hours of decompression. All of it
is now counted against one budget (the entries a writer can make, and the
JSON once more), past which the file is refused as too big.
Each pixel layer was held to 64 megapixels, and the archive's limits count
the bytes extracted from it; a layer whose tiles are flat colour needs none,
so a small file with many of them allocated 256 MB each without end. The
layers of one document now decode 512 megapixels (2 GB) at most together;
those past it are left out with a note, as an oversized one is.
Composite objects are reference-counted, so `/a 1 array def a 0 a put` (or two
dictionaries naming each other) outlived the import: emptying the standard
dictionaries and the stacks doesn't break a cycle, least of all one the
program no longer reaches. Up to the interpreter's whole memory budget could
stay allocated per imported file. The interpreter now lists the arrays and
dictionaries it makes (weakly, swept as they are dropped) and empties the
ones still alive when it is done.
The decoder's 512 MB limit is on the file's samples; a grey image within it
is four times that once converted to RGBA for the Eyedropper or a recolour,
which the web build can't allocate. The size is now read from the header and
held to the allowance the importers and the renderer use.
A `z` is four bytes for one character, so the text's length didn't bound
the result, and the filter's and the interpreter's budgets only saw it once
it was whole. The decoder now stops at 256 MB, the most one filter or data
section may hold.
The worker answered "timeout" after 60 s and left the request on the queue, so
the app ran it whenever it next drained the queue: an edit nobody was waiting
for, and a second one if the caller had retried. A request now leaves the
queue once: taken by the app, or given up by its caller, whichever comes
first. The timeout reply says which ("will not run" / "still running").
The rollback undid the batch's interaction, which holds the art, the selection
and panel state only: a Save As step's new file, format and saved state stayed,
and an Undo step (which ends the interaction) left the art and the history
undone. The batch now keeps the documents as they were and puts them back,
and settles a drag or typing in progress first, as Undo does, instead of
running inside it and keeping its baseline as the batch's step. Files the
steps wrote stay written.
A native file (or a pasted document) whose node, slice or asset ids or whose
next-id counter sit at u64::MAX made the next allocation overflow: a panic
with overflow checks, a wrapped counter handing out ids already in use
without. fix_next_id now leaves ids and counters from 2^62 up out of the
count, so new ids start under them; alloc_id saturates. Artboard and graphic
style ids take the smallest free id when the largest is u32::MAX instead of
wrapping to the reserved 0.
The "Performance unverified" bullet in docs/target-app-parity.md said
that the budgets had not been run on an idle machine since 2026-10-01,
that the last loaded run missed the 16 ms frame budget at 50k paths,
and that no user had reported slowness in mainstream work beyond #575
and #758. On 2026-10-11 #1155 recorded idle-machine runs, made before
#1173 merged, and runs of #1173's change met every budget at 50k paths
(load average 4 to 7) and at 25k paths. #1097 (zoom and pan in 0.9.0)
and #1731 (a drag that stutters as it starts) are open. G15 in
docs/gaps.md called the 25k-path run the last one, but on 2026-10-13 a
comment on #1172 reported runs of 0.10.0 on Linux with 4 logical CPUs
that missed all three render budgets at 20k paths.
The bullet now gives the 25k-path run and the runs in #1172, and lists
#1097 and #1731 with #575 and #758 as open user reports of slowness.
G15 no longer calls the 25k-path run the last one and adds the runs in
#1172.
The preferences file was written only when the app quit normally, so settings
confirmed with OK were lost when the session ended any other way (the system
shutting down, the process being ended, a crash). OK now asks the host to
write the file at once.
Redo swapped the document and the history under a live interaction, whose
snapshot was still the document from before: the next preview or a cancel
brought that one back while the history recorded the redo, so the redone edit
was lost. Redo now settles the interaction first, the way Undo already did: a
drag that changed something is kept as the newest step (which ends the steps
to redo), one that changed nothing is dropped.
The Format menu added to the save sheet after rfd began it (#866) made recent
macOS versions (26.6.2 and 27.0.1 reported) dismiss the sheet at once: Save As,
Save a Copy and Save of an untitled document flashed and answered as cancelled,
while panels without it (Open, Export As) worked. The accessory is withdrawn
until it can be set before the sheet is presented; the format still follows
the extension typed in the name field, as before #866.
Type's layout bounds are a cache that isn't saved. On open they were
computed again only for type in the layers, so type in a symbol definition
(or a pattern tile, graph design or opacity mask) kept the rough estimate,
and an envelope warping it was fitted to a different box: warped type in a
symbol changed shape after a save and reopen. The refresh now goes through
every art tree, masks included.
A mask's art lives outside the layer tree (in the masked object's extras),
and the walks over linked colours skipped it: editing a global swatch
recoloured everything but the mask, which kept showing (or hiding) as
before, and a swatch used only in a mask counted as unused. The colour
walks now go into opacity masks: map_solid_paints (swatch edits, renames,
deletes, Merge and the like) and visit_paints (unused swatches).
Without group labels, the single column no longer draws a dash between
the groups: its tools are evenly spaced from top to bottom, as two
columns already run on from group to group. With the labels, each group
still starts under its name.
- Without group labels, the double-column toolbar fills every row: a
group no longer starts a half-empty row, as the reference's Basic
toolbar runs on in two columns. One column keeps its faint dashes, and
with the labels each group still starts its own row under its name.
- The All Tools drawer, now a tall single column, never goes above the
toolbar's top: on macOS it ran under the window's buttons. Its scroll
height is what is left from there to the window's bottom.
- Preferences › User Interface › Show Tool Group Labels is off as it
ships: the toolbar sets its groups apart with a faint dash, as the
Basic and Advanced toolbars of the public toolbar reference do (the
categories there are the Getting Started toolbar's). It no longer cuts
"Navigate" to "Navi...". The labels are a preference away.
- The All Tools drawer lists the tools one per row (icon, full name,
shortcut on the right), each flyout group framed together under the
heading most of its tools have (the Pencil's group, led by the Shaper,
under Draw). Tools already in the toolbar stay dimmed; dragging and
picking are as before.
- Its ☰ menu has Reset and the Basic and Advanced toolbars, the drawer's
flyout menu of the reference.
- Its Show section shows or hides the controls under the toolbar's tools
(Fill and Stroke, Coloring, Draw Mode, Screen Mode), as the reference
describes; `toolbar.show {control?, on?}`, saved with the preferences
(`ui.toolbar_show`, all on for older ones). Edit Toolbar's ••• stays.
- New strings in every catalog.
Reference: https://helpx.adobe.com/illustrator/using/tools.html (the look
is VectorCraft's own, with its own icons).
Gradients (off unless asked for) found a blurred or noisy linear gradient in
part or in pieces, with bands around it.
The areas that may be a gradient are tried largest first, and one that is a
gradient is grown over every pixel next to it whose colour is within 10 levels
of the gradient's there: the pixels noise put a little off, a soft rim, the
pieces noise cut off it.
Linear-gradient inputs with Gradients on, paths beside the gradient, before ->
after: blurred 3.0 -> 0.5 (6 Colors) and 55.5 -> 0.5 (High Fidelity Photo);
noisy 11.0 -> 0.5 and 23.5 -> 1.5; scanned 5.5 -> 3.0 and 46.5 -> 37.0; clean
and aliased as before; dE within 0.02. No gradient on any input that is flat
colour, with any preset (the harness fails if there is one).
Each documented preset has an enhanced version (`enhanced: true` in
`imageTrace.make`, an Enhanced checkbox under the panel's preset): the preset
with Auto Grouping, and with Shapes in all but High Fidelity Photo. Gradients
stay an option. Flat Logo, a preset of our own, has none. The legacy presets,
and documents traced with them, are as they were.
So that an enhanced preset is no worse than its preset on that preset's inputs:
- A hole that one colour fills is the same shape as the path that fills it, so
the two still share one outline (a shape beside a fitted hole left slivers).
- A rectangle is as large as where its sides lie on average, not their farthest
points.
- Auto Grouping keeps the paths of a group in the order they were traced in. It
put a path first and what is inside it on top: a white counter traced under
its black letter was then painted over the letter's edge, a light seam
(Default with Auto Grouping, edge dE 10.24 -> 9.88; legacy 10.05).
The harness measures every enhanced preset beside its preset.
Create: Strokes drew every line with round caps: a square-ended line 10 px wide
had its corners 2.94 px outside the stroke.
- A line's ends are square when its ink reaches as far a third of the width to
either side of its middle as along it (a round end stops short there by a
seventh of the width); told from lines 3 px wide and more, all the ends of a
line together. The stroke then has square caps (`TracedPath::square_caps`).
- The last points of a wide line's skeleton can turn towards a corner of its
end. An end that has left the line the skeleton followed a width back (by a
quarter of the width, 1 px at least) is put back on it; and an end may be
pulled back as well as pushed out to where the ink ends.
Outline on the thin-line inputs: largest distance from the art 2.94 -> 0.88 px
(clean 2.94 -> 0.41; aliased 0.88 -> 0.81), mean 0.055 -> 0.050 px, anchors
14 -> 10.
- A sharp corner may fall up to 0.75 px short within 3 px of where it should be:
anti-aliasing and blur take that much off a corner (not on a thin bar, which
is all corners).
- A rounded rectangle gets the radius that fits its outline best, searched
around the one its area says, instead of that one alone.
- A rectangle's direction is tried along its longest straight side, the longer
axis of its area and the pixel grid: a blurred one may have no straight side.
- A regular polygon's sides, corners and size are read from the outline's shape
(how its distance from the middle goes round, and its area), not from how many
anchors the fitter gave it.
- An outline without anti-aliasing is known to half a pixel: it gets half as
much room again.
Plain shapes found with Shapes on, all sizes and variants: Default 57% -> 98%,
6 Colors 62% -> 100%. The harness counts false shapes: none on any input but one
thin line (a rectangle 2 px wide) whose trace is 0.70 px off with or without
Shapes.
With Type › Show Hidden Characters on, the canvas laid out every
visible text object in view in every frame to place the dots on
spaces and the ¶ and # marks. With 1,000 two-line labels in view,
drawing the marks took a median of 19.7 ms per frame in a release
build.
The overlay now keeps each text object's marks in document space,
together with the node it laid them out from. In a frame it lays out
a text object only when its node is a new `Arc` (an edit makes one)
or the frame before did not draw it, and it lays out all type in view
again when the fonts or the hyphenation exceptions change. The marks
are still placed for the current view in every frame. With the same
labels, drawing the marks takes 0.8 ms per frame, and the shapes drawn
are the same as before.
Docs: docs/target-app-parity.md.
Only type at full opacity, in Normal blending and without object
effects took its glyph outlines from the geometry the renderer keeps
for each type object. Type at less than 100% opacity or in a blend
mode, and the art drawn for type with a drop shadow, glow, blur or
other raster effect, were laid out again in every frame.
draw_text now takes the geometry from text_geom_of when the type it
draws is fx_owner, the node draw_arc is drawing, and the frame does
not snap type to pixels. While the effect-art cache keeps type art,
that art is drawn as fx_owner. The geometry is laid out again when the
type is edited or the fonts change, and frames with Type Optimized
anti-aliasing lay type out as before. On 8 threads at 2880 x 1800, a
page of 1,000 type objects at 80% opacity takes 13 ms a frame instead
of 23 ms, with the same pixels.
Opaque type kept the layout of earlier frames when a symbol it shows
as an inline graphic changed size and the document's inline graphics
had not been resolved again. text_geom_of now lays type out without
the cache when the text it is given is not the node's own, such as the
copy that Document::inline_resolved makes with the new size.
Docs: docs/target-app-parity.md.
For a name that is neither a loaded nor an installed family,
FontDb::canonical built the list of names of every loaded face on
every call. Layout asks for a style's face for each span it shapes
and three more times per paragraph, so the time to lay out type set
in a font that is not installed grew with the number of fonts loaded:
a story of 1,000 paragraphs took a median of 409 to 507 ms in a
release build with 400 fonts added.
The database now keeps canonical's answer for each such name and style
until fonts are added or rescanned, and it keeps at most 4,096
answers. The same story takes a median of 56 to 71 ms, and canonical
gives the same answers as before.
Docs: docs/target-app-parity.md.
When the last frame took more than 8 ms to render, the desktop app's
canvas sends the next frame to the render worker and draws the last
one until the new one arrives. After a pan or a zoom it draws the last
frame moved and scaled. After the view angle changed, it drew no art
until a frame at the new angle arrived. The angle changes during a
Rotate View drag and when the status bar's angle menu, Reset Rotate
View or a saved view sets it. In a headless run of the canvas on a
document of 50,000 paths, none of the 60 frames of a turn from 0° to
90° drew any art.
The canvas now draws the last frame as a mesh turned into the new
view. Each corner goes where the new view puts the document point that
the corner showed. The frame at the new angle replaces it when it
arrives, as before. Pixel Preview's frames already turned with the
view and are drawn as before.
Docs: docs/target-app-parity.md.
The VPORT view direction fix and its test stay. The Export Strokes as
Centerlines option and the preset button are not in the documented DXF/DWG
export options, so they wait for the owner's decision.
usvg's style sheets (simplecss) drop rules whose selector has a :not(), so
rect:not(.keep) { fill: green } left the rect as it was. The text pass's own
cascade now reads :not() of a list of compound selectors (counted as its most
specific argument), and the import pre-pass writes what such rules set on an
element into its style attribute, with the value that wins the cascade there,
so usvg reads what CSS would: against other rules, the style attribute and
!important, inherited from groups, display: none and CSS transforms included.
Selector lists are split at top-level commas only.
The Corner Radius field in the Properties and Transform panels has a
link toggle behind it (the "singleCornerRadius" preference, on by
default). When the link is on, one field sets every corner, as before.
When it is off, the panels show one field for each corner of a live
rectangle: Top Left, Top Right, Bottom Right and Bottom Left. Each field
sets its own corner through object.setLiveShape {corners, radius}.
This is the part of #1594 that does not change the corner widget drag
or its modifier keys, split out for review.
Tests: a Properties panel test (the link on shows one field; off shows
the four labelled fields with each corner's radius, in line and in
order). The new labels are translated in all 15 catalogs.
The public 3D and Materials panel options give the Light Settings as
Intensity (0–100 %), Rotation (-180° to 180°), Height (0° to 90°),
Softness (0–100 %) and Ambient Light (0–200 %), with the light moved to
the back or the front of the object. The 3D effects (Revolve included)
had Direction and Elevation (an azimuth and elevation), Intensity and
Ambient (0–100 %).
- Rotation turns the light round the object on the page (our reading:
0° on its right, counterclockwise); Height raises it from beside the
object (0°) to straight in front (90°); Light behind the object puts
it at the back. The light gizmo's ring and line are Rotation and
Height.
- Softness wraps the light round the object: at 0 % it falls off with
the angle as before, at 100 % it reaches nothing only straight away.
- Ambient Light runs to 200 %; faces stay no brighter than the art.
- lightRotation, lightHeight, lightBehind and lightSoftness replace
lightAzimuth and lightElevation. An earlier light is read as the same
direction, so it shades exactly as before (old and new code give the
same colours for the four effects and five lights); effect.setParams
turns a stored one into the new form before applying new values, and
the parameter description names lightAzimuth and lightElevation as the
earlier form, so effect.apply and effect.setParams still take them. The
default light is the earlier default's: Rotation 125.26°, Height 30°.
- The dialog's Lighting tab shows the settings in the documented order;
Softness, Ambient Light and Light behind the object are in every
catalog, and the unused Direction, Elevation and Ambient are gone.
Light colour, presets, several lights and shadows are not built.
The public 3D and Materials panel options give Perspective as 0° to 160°
("how close or far the object appears"); it was a 0–100 % strength, for
Revolve, Extrude & Bevel, Inflate and Rotate alike.
- The eye stands where a sphere about the object's centre, √3 times its
half size (the box around it fits inside), fills that angle of the
view: 0° is none, wider brings the eye nearer, and at 160° it is just
outside the sphere, never inside the object. The documentation doesn't
say how the angle places the eye; docs/three-d.md says this is our
reading.
- `perspectiveAngle` (degrees) replaces `perspective` (%). A strength from
an earlier file or script is read as the angle that shows exactly the
same view: sin(angle / 2) = √3 × strength / 4, 100 % about 51.3°. An
angle given too wins. effect.setParams turns a stored strength into the
angle before applying new values. The parameter description names
`perspective` as the earlier form, so effect.apply and effect.setParams
still take it under the key check of #1592. Old and new code draw the four effects identically at 0, 25,
60 and 100 % (bounds equal to 1e-9).
- The dialogs' Perspective fields run 0–160°.
# Conflicts:
# docs/target-app-parity.md
After every edit of a document with threaded text, each frame of a
drag included, threads::reflow copied the runs and the text object of
every frame of every thread, and then dropped the copies for each
thread whose frames the edit had not changed. With a story of 50,000
characters threaded through 8 frames with a style change at every word
(9,618 runs), moving another object took 7.8 ms in a release build,
and a frame of a drag took 7.2 ms.
reflow now copies a thread's story only when one of its frames
changed. The same move takes 0.013 ms, and the drag frame takes
0.012 ms. Threads with a changed frame re-flow as before, and the
documents and undo steps after edits are the same as before.
Docs: docs/target-app-parity.md.
When the desktop app opened a document on a thread of its own, that
thread parsed it, but open_read, which the app ran on the UI thread,
read the document's linked files, decoding BMP, PSD and RGB TIFF files
and storing them again as PNG, and laid out the type. In release builds,
a document with 12 linked 3000 x 2000 TIFFs kept the UI thread busy for
1.04 s, and one with 300 Auto Size area type objects, every second one
in three columns, kept it busy for 0.85 s.
read_for_open now reads the linked files and lays out the type on the
opening thread, with the path and the Update Links preference that
opening::start passes it, and open_read only adds the finished document.
open_read now takes 0.02 ms and 0.1 ms on those documents. For the
measured documents, the opened documents, results and undo states are
the same as on main.
Docs: docs/target-app-parity.md.
The SVG import's style cascade tested every <style> rule against each
element it was asked about. The import asks about the objects outside
<defs> and the like when the file contains `display`, about each shape
when the file contains `non-scaling-stroke`, and about each <text>, its
spans and its ancestors. On a file with 2,000 class rules and 100,000
rectangles, `vectorcraft-cli info` took 3.54 s with one `display`
attribute in the file and 2.03 s without it.
The rules are now filed under the id of their selector's rightmost
compound, else under its first class, else under its type. An element
is tested against the rules filed under its id, its classes and its
type, and the rules filed under none of these, in source order. It
matches the same rules in the same order and gets the same
properties. The file with the `display` attribute now takes 2.10 s.
Docs: docs/target-app-parity.md.
A CMYK document that shows transparency is drawn as two ink planes,
and ink::compose turned them into screen colors one pixel at a time on
one thread. At 2880 x 1800 that took about as long as drawing one
plane of 50,000 paths. The renderer also searched a CMYK document for
transparency in every frame.
compose now splits the frame into bands, as many as the renderer has
threads and no more than one per 65,536 pixels. The calling thread
composes the first band and a scoped thread composes each other band,
with the same per-pixel code. The renderer keeps the answer of the
transparency test with the layers, symbol art and pattern art it was
found for, held weakly, and tests again only when the document holds
other art. With Overprint Preview on, a document whose layers or
symbols hold an overprinting fill or stroke is still tested in every
frame. FrameStats::ink_threads reports how many threads composed a
frame. On 8 threads at 2880 x 1800, a page of 300 shapes at 20% to 90%
opacity takes 30 ms a frame instead of 55 ms, and 50,000 paths with
one at 99% opacity take 258 ms instead of 361 ms, with the same
pixels.
Docs: docs/target-app-parity.md.
In Outline view the renderer made a new path from the path data of
each path and compound path it drew, in every frame. In Preview the
renderer draws plain paths from the path it keeps for each object
between frames. In Outline view the members of a clip group were
culled by bounds measured again in every frame, and the bounds of a
group inside a clip group were measured from every path in it. The
outlined shapes of an Image Trace object were culled and drawn the
same way.
In Outline view the renderer now draws paths and compound paths from
the paths it keeps for them, and culls the members of clip groups and
the outlined shapes of Image Trace objects by the bounds it keeps for
them. The live-effect geometry of those members is kept between frames
too. The frames have the same pixels as before.
With 50,000 paths at 2880x1800 on 8 threads, an Outline frame at 400%
took 47.1 ms on main and takes 16.7 ms when the paths are the members
of one clip group. It took 36.6 ms and takes 26.3 ms when the paths
are paired into compound paths.
Docs: docs/target-app-parity.md.
Every symbol instance was measured as its transform applied to the
20 × 20 square around the origin, which symbols made in the app keep
their art in. The SVG and DXF importers keep symbol art as drawn, so
the box of an instance of an imported symbol did not match its art.
The SVG Star instance at x 20, y 30 draws from (20, 30) to (40, 50)
and was measured from (10, 20) to (30, 40). Align moved such an
instance by the wrong amount, clicks and marquees beside its art
selected it, and the canvas, exports and prints left it out when its
art reached the view or the page and the square did not.
An instance is now measured by its symbol's art, which
Document::symbol_boxes looks up in the document each time
(Node::geometric_bounds_with, visual_bounds_with and
reach_bounds_with). With Use Preview Bounds on, the strokes in the art
count at their own weight, as the canvas draws them, and
object.setBounds counts them at that weight when it sizes an instance
or an object that holds one. When strokes do not scale and a width or
height of 0 or more is smaller than what a path's stroke adds,
object.setBounds now gives the path no width or height, as it does
for an instance whose art has strokes; before, it mirrored the path.
With Use Preview Bounds on, object.setBounds now measures the margins
that strokes add object by object, the members of groups and the
objects in symbol instances' art included, and solves for the width,
height and reference point asked for when the width and height are 0
or more. Before, it measured the margins of the whole selection and
could miss the size or the reference point asked for when strokes did
not scale and the objects' strokes added different margins, and when
strokes scaled and the width and height were out of proportion, even
for one path. A clip group, a Shaper Group, a compound path, type, and
a group or instance with effects or an opacity mask of its own are each
measured as one object, and so is an instance in perspective or one
turned or slanted relative to the bounding box, other than by quarter
turns. When the selection holds more than 4,096 objects to measure this
way, each selected object is measured as one. Instances inside symbol
art are measured by their own symbol's art. An instance is measured as
the square when its symbol is missing, when its symbol or a symbol
nested in its art holds an instance of itself, and when symbols nest 32
deep in its art.
Align and Distribute, the Transform panel, the bounding box and the
selection outline, clicks, the marquee, document.inspect and
document.node, Fit to Artwork Bounds and Fit to Selected Art, canvas
culling, thumbnails, the SVG filter region of an instance with a
raster effect, raster effect images, Export Selection, the SVG of an
artboard, printing, and the PDF, EPS, EMF/WMF and DXF writers use the
new box. The renderer also culls an instance by the effects and
brushed strokes in its art, and it culls a blend, envelope or repeat
by the brush art of what it holds and the effects in the art of the
instances in it. It culls an instance with geometry effects of its own
by the effects in its art after those geometry effects reshape the art.
It measures the effects in a symbol's art once for each symbol and
linear part of the transform that places it. For symbols whose art
holds instances, it measures at most 4,096 placements a frame, and at
most 4,096 more for each pattern tile it rasterizes and each placed
document it draws. Past that, it estimates the reach from the symbol's
reach with no transform, which it measures once. When the drawn
document's symbols change, the renderer drops the cached bounds of the
instances and of the objects that hold them.
The PDF and EPS writers, the SVG of an artboard and Skip Blank
Artboards grow the box of an instance whose art holds brushed strokes
by 16 times the widest stroke (at least 1 pt) of the objects in that
art that have a brushed stroke, plus 8 pt, as the renderer grows the
cull bounds of a brushed path. They keep an instance whose brush art
reaches the page. The SVG of an artboard also keeps an object that
holds an instance when what the canvas paints for it, the effects in
the symbol's art and the instance's own included, reaches the artboard.
Not yet: other commands that measure objects, such as Select › All on
Active Artboard, Transform Each and Convert to Artboards, still measure
an instance by the square.
Docs: docs/mcp.md, docs/target-app-parity.md.
A transparency group whose members blend with the art below it, and a
masked object with a blend mode, are drawn over a copy of that art. For
each such group in each frame, the renderer rendered everything drawn
so far into a new pixmap the size of its context (on the canvas, the
whole view), started that context again and drew that pixmap back into
it as an image, which the next copy and the frame rendered again. At
2880x1800, a document with 50 translucent groups, each holding a
Multiply rectangle, took 299 ms a frame on 8 threads.
Every render that composites in 8 bits, the canvas included, now keeps
that picture and renders what the context draws next over it. The
backdrop is still cut from the picture. The 50 groups take 65 ms a
frame, and the frames have the same pixels. Renders that composite in
floating point (raster exports, Save for Web, Object › Rasterize and
Crop Image) still draw the picture back.
Docs: docs/target-app-parity.md.
The renderer kept the evaluation of each blend, envelope and repeat
while the object and a hash stayed the same: the addresses of the art of
the symbols the object showed and of the patterns it painted with, and
the patterns' tile bounds. When anything else the evaluation reads
changed, such as a pattern's tile type, symbols in symbol art, the
fonts or the color settings, a renderer that had drawn the object went
on drawing the old evaluation. The quads of a gradient mesh were kept
the same way after a change to the color settings, and the art drawn
for a live object with an effect of its own was kept by the object's
address alone.
resources_key now also walks the opacity-mask, symbol and pattern art
it finds. It hashes what it finds, the font generation when it finds
type or a placed document, and the color settings. Mesh quads are made
again when the color settings change. The art drawn for an object's
effects is made again when the hash changes, if it was made from
evaluated live objects.
With other builds running, a temporary release test timed the hash for
400 live objects at 17 to 506 microseconds a frame, against 10 to 16
before.
Docs: docs/target-app-parity.md, docs/gaps.md.
The renderer kept the outline of a stroke under the address of the
stroke in the object's appearance, the bits of the width and the
tolerance level, and used an entry only when the entry held the object
being drawn. The slices of a gradient along or across a stroke were
kept the same way. Objects can share one appearance until one of them
changes it. Copies made by Duplicate Selection share the original's
appearance, gradients included. For objects without a gradient fill or
stroke, so do the art the renderer places for unstained symbol
instances, the copies a live repeat draws and copies made by
edit.duplicate. In each frame, the objects that share an appearance
replaced each other's entries. The renderer therefore outlined their
strokes again in every frame.
The two caches now key each entry by the address of the object as
well, and each object keeps its own outlines from frame to frame. Art
that the renderer makes again in every frame keeps the old key: symbol
art that placed_art does not keep, and the evaluations of live objects
and the art of objects with effects that their caches do not keep. The
copies in such art replace each other's entries as before.
vectorcraft-cli bench of 2,000 unstained instances of a symbol of
eight paths took 45.7 ms a frame on main and 31.1 ms with this change,
at 2880x1800 on 8 threads, and a grid repeat of the same paths, which
draws 2,000 groups, took 45.0 ms on main and 27.2 ms with this change.
The peak working set of a bench run on the instances went from 88 MiB
to 122 MiB. In the tests, each frame draws what a new renderer draws.
After the app restarted, the remote backend wrote the next request to
the old, closed connection and reported that the operation may have
completed, although the restarted app received nothing. Reused
connections are now checked without blocking before writing, and a
closed one is replaced first. If the app can't be reached, the error
says so and that nothing was sent. Failures after the request was
written still report uncertainty and are never replayed.
Loopback tests cover a restart between calls (the edit is applied
exactly once) and a refused reconnect. The lost-reply test from #1246
still passes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01BSB7fMQUccqFQekksDGWpo
The server dispatched requests and notifications without ever checking jsonrpc, so a missing or wrong version could invoke tools or flip notification state; Remote accepted any reply with ok/result/error without comparing ids, so a faulty endpoint could attribute a stray result to the current call. handle() now requires jsonrpc 2.0 before dispatch (other envelopes get -32600, or are ignored for notifications, which have no id for a reply) and Remote::call rejects a reply whose id doesn't echo the request's, dropping the connection so the next call starts fresh, with the usual uncertainty error. Three new tests cover wrong/missing versions (incl. batch entries and a state-changing notification) and the mismatch-reconnect; docs/mcp.md documents both. cargo test -p vectorcraft-mcp passes.
The server read stdio lines and remote replies without any byte bound, answered batches of any size, and command_batch kept every step result: one faulty peer or batch could allocate and work without bound. Request lines are now read in bounded chunks (16 MiB; longer lines get a -32600 reply, are skipped, and framing continues), protocol batches hold at most 64 messages, control-channel replies past 256 MiB drop the connection with the usual uncertainty error, command_batch takes at most 256 steps and keeps at most 8 MiB of step results (past that the batch stops with the reason, still closing its atomic undo group). Eight new tests cover the line/batch/step/result caps and the atomic-group close; docs/mcp.md and the command_batch tool text document them. cargo test -p vectorcraft-mcp passes.
Fix#1726 with idle, absolute line and reply-write deadlines and connection-slot guards. Add real-loopback regressions and document reconnect behavior.
Validated with cargo xtask ci: all seven gates passed; 6156 tests passed, zero failed, seven existing ignored.
The drag threshold kept `last` at the press position until it was crossed, so
Space held when the move that crossed it came moved the anchor by the whole
distance since the press. `last` now follows the pointer while the threshold
swallows the moves, and the threshold is measured from a separate `pressed`.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
tests_fontchange adds fonts to the shared font database, which makes every renderer lay type
out again; a tests_memory test counting the type it kept between frames then failed when one ran
alongside it (about half of the runs of the render tests). The font tests now hold a lock alone,
and the frame cache tests hold it shared.
text.create, text.createInPath and the MCP add_text tool now take a
`justify` (auto|left|center|right|justifyAll, as text.setStyle). Point
type already laid out centred or right-aligned text around its origin;
it just could not be made that way, so scripts measured the bounds and
moved the text. Changing it afterwards stays text.setStyle {justify}.
Expand had nothing for live repeats, so a radial, grid or mirror repeat stayed
live. Its Object option now turns every repeat in the selection (inside groups
too, inner ones first) into a group of its instances, keeping the repeat's id
and place, in the same undo step; the dialog enables Object for a repeat.
Expand Repeat shares the code.
The rail used the fields' border, which on Medium Dark (the default) is all but
the panel's colour; it now uses the buttons' border, which stands out on every
brightness.
The typed [ and ] now reach the Blob Brush, the Eraser and the Symbolism
tools, whose bracket keys are in the public shortcut lists. A size of the
Paintbrush's own (and path.freehand's scale) is left out until its
behaviour is decided: #1661 stays open for that.
General > Use Precise Cursors already worked and is saved with the other
preferences. This adds a `view.preciseCursors` command that toggles that same
preference, so it can be given a shortcut in Edit > Keyboard Shortcuts. It has
no default shortcut and no View menu item.
The comment in canvas.rs claimed Caps Lock gave precise cursors; nothing reads
Caps Lock (egui has no state for it), so it now describes what the code does.
Tests: for the tools whose own pointer the preference replaces (Pen, the anchor
tools, Curvature, Mesh, Eyedropper, Slice, Blend, Shape Builder) the pointer is
their own when off and a crosshair when on; every state of the Pen's pointer
turns into a crosshair; the preference round-trips through
to_json/apply_prefs; the command toggles it, updates the saved UI state, is
listed in the shortcut editor without a key and can be assigned one; switching
it creates no undo step and leaves the document saved; with system cursors the
glyph fallback is the system crosshair either way. The new label is translated
in the languages that claim complete menus.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Up and Down move the highlighted result (wrapping at the ends), the pointer
moving over a result highlights it, Enter runs the highlighted one, and a new
query starts from the first again.
The tools took `[` and `]` (the Blob Brush's and the Eraser's size, the
Symbolism tools' diameter and, with Shift, intensity), but the app never
passed the keys on: only `ui.key` over MCP reached them.
- The keyboard handler gives a typed `[`, `]`, `{` or `}` (Shift) to the
active tool when it claims the key. It reads the typed character, so
layouts where a bracket takes Option or AltGr (Option-8 on a Turkish
Mac) work too. A field with the keyboard, the Type tool and Cmd/Ctrl
shortcuts are left as they were.
- The Paintbrush has a size of its own, 10 to start as the Blob Brush's:
`[` and `]` take a point off or add one, and the next stroke is drawn
at size / 10 of the stroke weight (path.freehand `scale`). Public
references describe the keys as changing the size the Paintbrush draws
with, before drawing, the brush definition left as it is; so the
stroke weight new art takes stays, and the selected path keeps its
stroke. Every brush type, as the report and the Tuts+ guide describe;
the step is our own.
Covers the Illustrator behaviour that a corner placed after a smooth anchor
has no handles, so the segment is shaped by the previous outgoing handle alone.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
A press released within a few screen pixels is a click: the anchor stays a
corner with no handles, as in Illustrator, instead of getting near-zero
handles from a trembling hand. The threshold is in screen pixels, so it
does not change with zoom. It applies to new anchors, closing a path and
pulling a handle out of the last anchor.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The Pencil gave every path a black stroke when the stroke was None. With Fill
new pencil strokes on and a fill set, the path now keeps no stroke; only a path
that would show nothing (no fill, no stroke) still gets black.
Escape still ends editing (an empty new point type is discarded) and the type
stays selected; the Type tool now claims Escape while editing and asks for the
Selection tool, so tool shortcuts work again without the mouse.
Escape while dragging anchors, handles, segments, objects, a type area, a blend
spine or a marquee with the Direct (or Group) Selection tool cancels the drag:
what it moved goes back and the release after it does nothing.
Marquee, anchor clicks, blend spines, and Group Selection only pick the
isolated object and what is inside it. A regression test covers a path
outside an isolated group.
A fully selected object is deleted along with partial anchors on other
paths. Several anchors on one closed path are removed by their original
indexes. What remains of a path stays selected, so a second Delete
removes it.
winit 0.30 gives an undecorated window WS_CAPTION | WS_BORDER; on some Windows
systems the compositor still reserves that frame, so the content is drawn
offset while the pointer isn't, and the cursor no longer points at what is under
its tip. Strip the two styles once and again each frame (winit restores them on
maximize/restore), as PhotoCraft does (storytold/photocraft#2401).
The control server wrote each reply with writeln!(out, "{r}") on the
bare TcpStream. serde_json formats a Value one piece at a time, and
each piece (a brace, a quotation mark, a key, a colon, a number) was
sent as a write of its own: the 17 MB document.inspect reply of a
document with 50,000 objects on one layer was sent in 7,857,200 writes.
On Windows 11, sending that reply to a client over loopback took 34 s,
and sending the 28 MB document.json reply took 57 s.
vectorcraft-cli mcp reads every reply from a running app over this
connection.
write_line now writes each reply, each refusal and the "too many
control connections" line through a 64 KiB BufWriter, then flushes
it. The 17 MB reply takes 262 writes. Sending it now takes 0.09 s,
and sending the 28 MB reply takes 0.2 s. The bytes are the same.
Docs: docs/target-app-parity.md.
A stitching function's bound became one stop, evaluated at the bound:
the right piece's colour. Where the pieces don't meet, the left piece's
end colour was lost. The colour just before the bound is now a stop at
the same offset too, ahead of the one after it, when the two differ;
continuous stitches keep one stop per bound as before.
Fixes#1653
The rows' spans were all chained into one polyline, so where a row had
more than one span the line ran across the hole between them, outside
the shape. A span now continues the previous row's chain whose
connecting line stays inside the shape (the nearest one); otherwise it
starts a chain of its own. In a convex shape the connector always stays
inside, so the result there is unchanged (render goldens pass).
Fixes#1648
Roughen's jitter can put a point behind its predecessor, so the path
turns back. The Catmull-Rom tangent next - prev then shrinks to almost
nothing and the anchor becomes a cusp, which PDF viewers (MuPDF,
poppler, Ghostscript) draw with a miter spike; the preview doesn't.
catmull_rom now keeps the tangent at least half as long as the longer
chord, and where it is shorter (turns of more than about 150 degrees)
points it along the bisector of the two chords: the turn becomes a round
hairpin. Gentler turns keep the plain Catmull-Rom tangent, so Zig Zag,
Scribble and the render goldens are unchanged.
Fixes#1643
0.9.1 enforces the decompressed size of each block, which 0.9.0 didn't
(memory exhaustion on crafted .ai / Affinity zstd data). The manifests now ask
for at least 0.9.1.
With only ruler guides selected, X is the position of the vertical ones and Y
that of the horizontal ones; typing a value moves them (guide.move), together
when several are selected.
A point placed by the Pen, the shape tools and the other drawing tools, and a
dragged anchor, lands where two paths cross, where a path crosses a ruler guide
and where two ruler guides cross, with the Smart Guides label "intersect".
VectorCraft does not run scripts written for the reference app, and
File › Scripts held only the disabled Other Script…. File › Scripts ›
Check Script… picks a .jsx, .jsxinc or .jsxbin file, reads it without
running any of it, and shows a report: what the script needs (the
script language's own objects, the document model, files, menu
commands, dialogs, or features only the reference app has), what it
would do outside the document, the menu-command strings it passes, the
document-model member chains and type names it uses, its directives,
the files it includes, and the problems that would stop it loading.
Copy Report copies the report as JSON. File › Open and drag-and-drop
show the report for those files too.
- vectorcraft-scriptcheck, a new Standalone crate with no
dependencies, holds the checker: a lexer for ECMAScript 3 with E4X
literals and the #name and //@name directive lines, and an analysis
of the tokens that follows variables, function scopes and the files
a script includes. It never recurses: open brackets, the levels of
an XML literal and the function bodies being read are kept on stacks
capped at 4,096. It reads at most 8 MiB of a file and 32 MiB with the
included files, follows 64 included files 16 deep, looks up at most
1,024 paths for them, keeps 1,000 entries in a list, tracks 1,000
variables holding member chains and 1,000 holding File objects, and
cuts echoed text to 120 characters. A compiled script is reported as
compiled and isn't read.
- script.check (engine, a query) takes path, data or dataBase64. With a
path and includes: true, it reads the files the #include lines name
from inside the script's folder, through the automation read root,
and when the script or one of those files assigns a member chain or a
File object to a variable, the check treats the variable as holding
it in every file. It doesn't follow absolute names, names, folders or
links that lead out of the folder, names or folders longer than 4,096
bytes, or JSINCLUDE, and it reads only regular files.
- ui.checkScript shows the report (dialog scriptCheck). File › Open
lists Scripts (.jsx, .jsxinc, .jsxbin) and sends a script's path to
script.check, which reads at most 8 MiB of it.
The language rules come from ECMA-262 3rd edition and ECMA-357 2nd
edition. The directive, platform and document-model root names come
from the public JavaScript Tools Guide and scripting guide pages that
catalog.rs cites by URL, and executeMenuCommand, doScript, loadAction,
unloadAction and selectTool come from the public forum posts cited
there; only names are used. Every script in the tests is written from
scratch with invented names.
Docs: docs/mcp.md, docs/target-app-parity.md.
Inkscape 1.2+ saves a multi-page document as <inkscape:page> elements
in its <sodipodi:namedview>; VectorCraft opened it with one artboard
the size of the root, leaving the other pages' art outside any. Each
page with a size now becomes an artboard at its place (through the
viewBox, as the art is), named by its inkscape:label or "Artboard N".
Files without pages keep their one artboard.
Fixes#1601
A filter that can't become a live effect warned "filter on a group
ignored", even on a plain <rect>: usvg wraps every filtered element in
a group of its own, which the message named. The warning now names the
filter and its primitives and the element (by id, or "an object"), and
says it is drawn without it: "filter 'f' (feColorMatrix) on an object
isn't supported; drawn without it".
Fixes#1598
document.open (and file.newFromTemplate) with a path relative to the
working directory took the SVG's folder from Path::parent(), which is
"" for a bare file name and was then dropped, so relatively linked
images were "not found" (and, linked by their bare name, not listed in
missingLinks either). A relative path is now made absolute first: its
folder is the working directory, as for the absolute path.
vectorcraft-cli convert printed only the export's warnings; what reading
the input left out now comes as importWarnings.
Fixes#1604
A character style's OpenType features took nine tags. OtFeatures now
also keeps ss01-ss20, salt, titl, pnum, lnum, sups and subs (off by
default, one bit each in `extra`): they are accepted by the type
commands, stored with the style and passed to the shaper, so a font
that has them uses them.
The Affinity import test used ss01 as its example of a feature kept but
not rendered; it now uses cv01 for that (character variants still
aren't rendered) and keeps ss01 as one that is.
Fixes#1607
A scan's paper is a tenth darker in one corner than in another. Flat Logo found
each tone of it as a colour of its own and traced the bands and the specks
between them: on the scanned inputs 470 paths, 21 px from the art on average.
Two palette colours are now one when the pixels between them are no fewer than
a third of those at the lesser of the two: flat colours leave only their shared
edge between them, tones of one colour fill the gap. Whether the image is flat
art at all is still asked of the tones as found.
Flat Logo on its inputs, all sizes and variants: 3.106 -> 0.090 px off on
average, 88.5 -> 0.82 px at most, 69.9 -> 3.9 paths; clean, aliased, blurred
and noisy art as before.
A flyout's rows were 250 pt wide whatever they held, so in Spanish (and
other languages with long tool names) a name ran into its shortcut. The
rows are now as wide as the longest name and shortcut need, and never
narrower than before.
A save writes a temporary file beside the document and renames it over
it. Some network shares refuse one of those steps although the document
itself can be written. The save now falls back, without giving up what
the rename is for:
- the temporary file can't be created beside the document: it is made
in the system's temporary folder (for its owner only);
- the rename is refused: the content, whole and flushed in the
temporary file, is copied into the document itself;
- when that copy fails, the temporary file stays and the error names
it; when the document can't be opened for writing, it is untouched
and the first error is returned;
- permissions that can't be copied to the temporary file (SMB, FAT) no
longer fail the save.
A folder that isn't there and a full volume fail as before.
Lock › All Artwork Above and Hide › All Artwork Above went through the
objects above each selected object in its top-level layer, one selected
object at a time. For each object they looked up in a list whether it
was selected or already found, and they computed its bounds again for
each selected object below it until one overlapped it. With 100 tiles
selected under 25,000 rectangles, a release build of vectorcraft-cli
took 6.4 s for Lock, and with all of 5,001 objects selected it took
8.8 s and locked nothing.
The commands now go through each top-level layer that holds a selected
object once, and check each object that is not selected against the
bounds of the selected objects below it. The selected objects and the
objects found are kept in sets, and each object's bounds are computed
once. The objects they lock or hide, the count, the selection and the
undo step are the same as before. On the same documents Lock now takes
under 0.1 s.
Docs: docs/target-app-parity.md.
The renderer kept one tile per pattern name and ink plane, and used it
only at the raster scale it was made at: the device scale rounded up to
a power of two and capped. Two objects that paint one pattern at scales
for which the raster scale differs, such as a pattern scaled to 25%
with Transform Pattern Tiles next to the same pattern at 100%, replaced
each other's tile, and every frame rasterized both tiles again.
Tiles are now kept per pattern name and raster scale, within the tile
cache's budget of 128 MiB per thread and ink plane. When the budget
fills, the cache drops the least recently used tiles first. A tile is
still used only while the pattern's art, tile, tile type and overlap
are the ones it was made from. At 760%, with a pattern of 576 stars in
a 288 pt tile on a rectangle that fills the view, and the same pattern
at 25% on a square, release builds of vectorcraft-cli bench at
2880x1800 took a median of 26.0 ms a frame on main and 8.8 ms with this
change, with 8 threads.
Docs: docs/target-app-parity.md.
Reviewed the rows added after the Polish catalog was written (graph
legend and position options, Transform Objects, Load EPS into
Clipboard, the unknown-parameter and image-size messages, …): the
translations are correct and read naturally, so no wording changes;
drop the "not reviewed by a native speaker" marker above them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01DukHNvUY45rjRnvtz91x33
Snap Curves To Lines made every straight piece within 2.5 degrees of level or
upright exactly so, whatever its length: a 200 px line 2 degrees off had each end
moved 3.5 px. Now a piece is levelled only when neither end moves more than
1.6 px; a longer line that far off is left as the image has it.
Technical Drawing (the preset with the option on) on its inputs: largest
distance from the art 4.21 -> 1.46 px (1.43 before levelling existed), mean
0.178 -> 0.126 px; on the askew inputs 98% -> 70% of the outline comes out level
or upright.
Gradients (params `gradients`, a checkbox in the panel for Grayscale and Color;
off unless asked for): an area whose colour changes evenly along one direction
is traced as one path filled with a linear gradient, not as bands of flat colour.
Gradients are found before the palette is made, so no colour is spent on their
bands: a connected run of smoothly changing pixels is a gradient when a plane
fits each colour channel with all three sloping the same way, the colours along
that way are at most six stops with ramps between them, and painting them back
gives the area's own pixels. Flat colour, soft edges between flat colours and
shading that goes two ways are left as they were.
The harness gains two linear-gradient inputs with known lines and stops, and
measures whether each is found, the angle of its line and the colours of its ramp.
Straight type takes the tracking that keeps its length as the file set
it; type on a path took none, so letter-spaced type on a curve came back
closed up to the font's advances (an "OFFICIAL ISSUED" badge sat to one
side of its band, a condensed title ran off the end of its path). Type on
a path now takes the same tracking, its length measured along the path
from the first glyph to the end of the last.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Type on a path is written glyph by glyph, and a stroke added to it as each
glyph's outline stroked right after the glyph. The path in between ended the
line, so each glyph came in as its own text object. Such a stroke, in the
glyph's own paint, is now held with the line and written after it, where it
becomes the type's stroke as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
# Conflicts:
# crates/pdf/src/tests_import_lines.rs
Auto Grouping (params `autoGrouping`, a checkbox in the panel; off unless asked
for): each traced path that has others inside its outer contour comes out in a
group with them, the path first, nested as deep as the picture is. The path that
covers the whole image is nobody's group.
The grouped result paints the same picture: where paths can overlap (stacked
layers, Flat Logo, strokes) a path only joins a path below it, and only if that
moves it under nothing that shares any of its box.
The harness measures three presets with the option on ("grouped %"), painting
them in the grouped order.
moxcms's encode packs tagged elements back to back, so the built-in
sRGB profile embedded in JPEG, TIFF and PSD exports was 634 bytes with
`cprt` at offset 558, where ICC.1 §7.1.2 requires every tagged element
on a 4-byte boundary (stricter readers reject the files). encode now
lays the tag data out again with each element padded, updating the tag
offsets, the size and the profile ID (zeroed, "not computed"); tags
that share data keep sharing it. Reported to moxcms as
awxkee/moxcms#198.
Fixes#1584
With paths selected but every offset empty (an inset larger than the
shape), Offset Path failed with "select paths", sending the user to
look for a selection problem. It now says the offset leaves nothing of
the selected paths; "select paths" stays for selections without paths.
Fixes#1590
Indexed export (GIF, PNG-8, BMP, TIFF) finds each pixel's nearest
palette entry with a linear scan, and the k-means refinement in median
cut does the same once per cell per pass. With the 256-entry palettes
this code produces, that is 256 distance evaluations per query.
PaletteIndex is an exact nearest-neighbour kd-tree over the palette,
balanced at the widest weighted axis, with tight channel bounds in every
subtree so branch-and-bound can skip whole boxes. Small palettes (12 or
fewer entries) keep the scan, which is cheaper than tree traversal.
Results match the linear scan exactly, including ties: an equal-distance
entry with a smaller index still wins. The bound uses the same weighted
squared f32 form as dist() rather than a transformed space, so rounding
cannot change which entry is chosen.
Three tests: randomized parity against the original scan across palette
sizes spanning the cutoff, three weight vectors, duplicate colours and
fractional query points; explicit tie-breaking cases; and an opt-in
benchmark comparing 100k queries at both, behind -- --ignored.
objects_at() found Select Behind targets by running hit_test_skipping()
in a loop, skipping everything found so far. Each round is a full tree
traversal, so a stack of n overlapping paths costs O(n^2) hit tests
before the loop finds no further object.
The fast path walks each editable top-level layer once. Every selectable
object's subtree is visited only until its first hit, and a HashSet
records found ids so subtrees already covered by an earlier hit are not
searched again. Sublayers recurse the same way, so a stack of n paths
costs one traversal total.
The original traversal stays in charge where Select Behind semantics
differ from the plain front-to-back order: isolation (scope), and Edit
Contents, which exposes objects nested inside a top-level group. Non-
layer roots in malformed files also fall back. objects_at_repeated()
keeps the old loop for those cases.
Three tests: a 256-path stack asserts front-to-back order and
completeness; a mixed document (sublayer, groups, clipping group,
outline and path-only options) asserts the one-pass result equals the
repeated-traversal result; an envelope in Edit Contents asserts the
fallback preserves the original order.
Commands whose description takes `ids` (operate on these objects;
default: the selection) failed with "nothing selected" when objects
were given but none was selected: execute checked their `enabled`
predicate against the selection, with an exception for edit.clear only.
Of the 220 commands mentioning ids, 48 were refused so; their run
already used the ids. execute now evaluates `enabled` with the given
ids selected and puts the selection back, so each predicate keeps its
meaning (Make with Top Object still needs two objects).
Fixes#1575
warp_point worked on box coordinates normalised to -1..1 on both axes:
Arc's radius was in x units but its edges were offset in y units, so a
box that isn't square bent into no circular arc (skewed sides from
Bend 10 %), and at 100 % the radius (2/π) was smaller than the
half-height, folding the inner edge over. warp_point now takes the
box's aspect along the warp; Arc keeps the centre line's length on a
circular arc in real proportions, with concentric edges, and an inner
edge that would pass the centre stops there. Other styles are as they
were; a square is bent as before.
Fixes#1578
The public Pathfinder documentation says Trim and Crop remove any
strokes, and Merge removes them and merges same-coloured fills. The
pieces kept every stroke, and Merge, grouping by the whole style, left
same-filled objects with different strokes apart. The three now drop
stroke layers before styles are compared.
Fixes#1570
<flowRoot> (SVG 1.2 flowed text, which Inkscape writes for text typed
into a frame) was dropped without a word: usvg doesn't draw it. The
text pass now reads it as area type: the first <rect> of its
<flowRegion> is the frame (with the rect's transform), each <flowPara>
a paragraph (white space collapsed), styled through the same cascade
as <text>. Another kind of region leaves the text out with a warning.
Fixes#1568
Shapes (params `shapes`, a checkbox in the panel; off unless asked for): a filled
outline that is a circle, an ellipse, a rectangle or a regular polygon comes out
as that live shape. A shape is only made when every point of the traced outline
lies within 0.5 px (0.2% of the shape's size, if more) of it; an ellipse whose
radii differ by less than twice that is a circle of its area.
The outline before fitting: a corner's own pixel no longer pulls the two edges
that meet there, and a one-pixel step between two long edges is the corner where
they meet. Sharp corners kept: Default 69% -> 76%, the colour presets 86% -> 91%.
The harness gains plain-shape inputs and "shapes %".
Create: Strokes (the Outline preset, or the option) traced lines along the pixel skeleton: right to a pixel,
with a width counted in pixels, and fitted by a separate, older fitter.
- Each skeleton point is moved to the middle of the line's ink, read from the image across the line: every
pixel counts as much ink as its colour is the line's rather than the paper's, the ink's centroid is the
middle and its sum the width (an anti-aliased or blurred line says both to a fraction of a pixel).
- The stroke width is the median of those widths, no longer a whole number of pixels.
- Each end goes where the ink ends, less the half width a round cap adds.
- Centre lines are fitted as outlines are: a straight line is two anchors, corners stay corners, Snap Curves To
Lines levels them. The old Douglas-Peucker and simplify fitter, and the crate's pathops dependency, go.
Outline on the thin-line inputs, all sizes and variants (docs/image-trace-quality.md), before -> after:
- painted outline 0.310 -> 0.055 px off on average; 81 -> 14 anchors for five lines
- centre line 0.295 -> 0.052 px from the true centre line; stroke width 0.13 -> 0.02 px off; 18.4 -> 2.7
anchors a stroke (blurred, noisy and scanned lines: 2.0 each; aliased: 4.6)
- largest distance 1.84 -> 2.94 px: the square ends of a 10 px line under a round cap
Presets without Create: Strokes are unchanged.
The documented option "replaces slightly curved lines with straight lines and snaps lines near 0 or 90 degrees
to absolute 0 or 90 degrees" (helpx, Image Trace panel options); ours did the first half only.
- With Snap Curves To Lines, a straight piece at least 2 px long and within 2.5 degrees of level or upright is
made exactly so, by moving its ends across it to their mean (the page gives no angle: 2.5 degrees is our
choice). The pieces next to a moved end follow it.
- A junction other regions share stays where it is, so abutting regions still have one curve along their edge;
a line between a junction and a free end is levelled to the junction.
- The harness gains askew inputs (a rectangle, a plus sign and two lines, 1 to 2 degrees off level and upright)
and an "upright %" column: the share of the outline length that is exactly level or upright.
On the clean askew inputs (docs/image-trace-quality.md): Black and White Logo and Technical Drawing, the presets
with the option on, go from 0% to 91% and 95% of their outline exactly level or upright. Their outlines are then
0.49 and 0.59 px from the art as drawn where they were 0.05 (4.2 px at the far end of a 300 px side turned 1.5
degrees): that distance is what the option is for. Presets without the option are unchanged.
Export::class() deduplicated declaration blocks with
classes.iter().position(), an O(n) scan per style, making exports with
many distinct styles (e.g. large palettes) quadratic overall. Track the
1-based class number per declaration in a HashMap alongside the
first-use-ordered Vec, so each lookup is O(1) while output stays
byte-identical.
Also adds a regression test covering 256 distinct declarations with
recurrence of early styles, for both InternalCss and StyleEntities
styling.
usvg takes a `transform` CSS property as a presentation attribute that
overrides the element's own, but reads its value as SVG: CSS units
(`translate(100px, 0)`, `rotate(45deg)`) don't parse, and the object
was left with no transform at all. Before usvg runs, transform
declarations in `style` attributes and `<style>` rules are now written
in SVG syntax (lengths in px, angles in deg/rad/grad/turn, translateX/Y,
scaleX/Y and skew as SVG's functions); values that can't be are left.
The text pass's own cascade now expands the `font` shorthand into its
longhands, as usvg does for the rest of the drawing, so text styled
with `font: italic bold 30px …` keeps its size, weight and style.
Refs #1557
Both readers skipped a clip of at most six straight segments whose
bounding box contained the page. A diamond touching the page edges has
the page as its bounding box, so its clip was dropped and everything it
cuts away showed. geom::hit::polygon_covers_rect answers it properly
(one convex polygon containing the page's corners); any other path is
kept as a clip.
Fixes#1542
fx.rs draws blur, shadow and glow rasters as image paints that map 1:1
onto their rect, but only set the geometry transform: the paint
transform a pattern fill (or a radial or freeform gradient) left on the
context still applied, so in supersampled renders (raster exports) the
effect came out tiny and displaced. Both draws now reset the paint
transform first.
Fixes#1536
Interp::font took a font's FontMatrix times 1000 as the matrix of one
em, the Type 1 convention (glyphs in 1000-unit space). A Type 42 font's
glyph space is one unit an em, its FontMatrix usually the identity, so
type in Type 42 fonts (cairo, Inkscape, LibreOffice) came in 1000 times
too large and off the page. FontType 42 now takes the matrix as it is.
Fixes#1552
An alpha soft mask's vector art is whitened so its luminance is its
alpha, but images kept their colour: cairo (and so Inkscape) draws a
mask as an image whose alpha is in its own SMask, often black pixels,
so the mask came in empty. While reading an alpha mask's art the
importer now reads images white with their own alpha (under their own
cache key, without the JPEG and CMYK shortcuts), and stencil masks
white; a luminosity mask nested inside reads them as they are.
Fixes#1550
Against the documented panel (https://helpx.adobe.com/illustrator/desktop/manage-objects/traces-mockups-symbols/image-trace-panel-options.html):
- Ignore Color: "Ignores a specific color while tracing. Use the color picker to selectively ignore a color."
The panel's Ignore White is now Ignore Color with a colour button beside it (white until another colour is
picked); `imageTrace.make` takes `ignoreColor: "#rrggbb"` beside `ignoreWhite`, and leaves out the palette
colours within about 30 levels of it. Documents saved before have no such setting and ignore white as they
did. Flat Logo mode leaves out white only.
- Auto Color ("Creates a posterized image from a photo or artwork"): Color mode with the Automatic palette.
- Outline ("Simplifies the image to black outlines"): Black and White with Create: Strokes and no fills.
- The Outline preset's name is translated as a preset's name, not as the Outline view's.
Measured (docs/image-trace-quality.md): Auto Color on flat art is 0.140 px off on average with 4.0 paths (16
Colors: 0.141, 4.2). Outline on the line inputs, the first measure of Create: Strokes: 0.310 px off on average,
1.84 at worst, 81 anchors for 5 lines (Line Art's filled outlines: 0.055, 0.96, 46).
Black and White read every pixel as a blend of "black" and "white", and took for those the mean luminance of
the image's black and white pixels. In blurred or scanned line art most black pixels are part paper, so the
mean black was a gray: the middle of every line counted as more than all ink, and by how much changed as the
line crossed the pixel rows, which put a ripple on its edges that the fit then followed with anchors.
- Black is the image's darkest black (the 2nd percentile of its black pixels' luminance).
- White is the lightest pixel within a few pixels of each crack: the paper as it is there. A scan's paper is
darker in one corner than in another, and read against the image's lightest white it counted as part ink.
On each preset's own inputs, all sizes and variants (docs/image-trace-quality.md), before -> after:
- Line Art: 78 -> 46 anchors, outlines 0.093 -> 0.055 px off on average (blurred lines 168 -> 53 anchors,
scanned 199 -> 70); before sub-pixel edges it was 25 anchors and 0.158 px off
- Technical Drawing: 56 -> 46 anchors, 0.092 -> 0.084 px off
- Sketched Art: 0.197 -> 0.186 px off; Default 0.092 -> 0.090; Black and White Logo 0.063 -> 0.059 with
27 -> 29 anchors
Not kept: reading lines up to six pixels deep by their ink's centroid and width, and a looser tolerance for
straight runs, neither of which measured better.
The font scan read /usr/share/fonts, /usr/local/share/fonts, ~/.fonts and the
XDG data folders. Packages add folders outside those to fontconfig's
configuration (TeX Gyre under /usr/share/texmf/fonts), so fc-list and other
apps showed fonts VectorCraft didn't have. The scan now also reads the <dir>
folders of /etc/fonts/fonts.conf and the files it includes (conf.d, the user's
own), as the fontconfig documentation describes them. The files are read as
they are: no library is linked and no program is run.
A drag near an anchor refitted the whole segments on either side of it, so a
short drag over a small bump on a long side turned the side into a curve from
end to end. The segments leading into the anchors under the drag are now split
where they enter the tool's reach, and only what is in reach is refitted.
A <textPath href="#id"> pointing at a basic shape imported as point type
with "textPath has no usable path", as only <path> was followed. SVG 2
allows any basic shape, and Inkscape writes one whenever text is put on
a circle. The shape now becomes its equivalent path as SVG 2 defines
it: circles and ellipses start at 3 o'clock and rounded rects after the
top-left corner, all clockwise; lines, polylines and polygons follow
their points. The shape's transform applies as for a <path>. Shapes
that render nothing (zero radius or size) still fall back to point
type with the warning.
Fixes#1527
Live Corners cut a corner between a curve and another side with the handles of
the arc between straight sides. The curve has turned by the time the cut meets
it, so those handles reached past where the tangents at the cut's ends cross,
and from a middling radius on the cut bulged out of the shape or looped. Each
handle is now the share an arc takes of its tangent up to that crossing.
Corners between straight sides are cut as before.
A PDF-compatible .ai keeps its art past the artboard edge unclipped (#646),
and its pages are laid out in a row 36 pt apart. Art that a page draws far
to the left of its artboard (notes beside a design, say) then lay over the
page before it. There it was taken for that page's art: the check against
the editing data found art its layers don't have and opened the file as
its PDF part, without the art outside its artboards, and place_pages left
that art behind when it moved the pages.
Such a page now moves right until its art clears the art before it.
Plain PDFs (clipped to the page) keep the 36 pt gap.
Every colour layer took a mask, component labels, a fill stack and an edge map the size of the whole image,
and as many layers were traced at once as the machine has cores.
- A layer is traced within the box its pixels lie in.
- The stack that fills components holds `u32` indices (a mask has at most 64 million pixels).
- Layers are traced as many at a time as fit in half a gigabyte (about ten bytes a pixel of the largest
layer's box each), on however many cores.
Peak memory above the image itself, photo-like image (docs/image-trace-quality.md), before -> after:
- 16 megapixels: High Fidelity Photo 3,856 -> 880 MB (2.85 -> 3.65 s), Low Fidelity Photo 1,972 -> 754 MB
(1.49 -> 1.80 s), 16 Colors 1,625 -> 298 MB, Shades of Gray 852 -> 407 MB, Default 256 -> 199 MB
- 4 megapixels: High Fidelity Photo 981 -> 643 MB, 16 Colors 408 -> 122 MB, times unchanged
The traces are the same, path for path.
2026-10-13 06:38:10 +07:00
1122 changed files with 294352 additions and 28797 deletions
dropline ^crates/ui-egui/src/i18n/.*\.tsv$ :: \t(?!Part of ArtCraft\. ).*(?:ArtCraft|Discord|getartcraft)
dropline ^ASSETS\.md$ :: \|\s*`docs/brand/
sub (?<=\t)(?:(?:(?:Teil von|Součást|Parte de|Parte di|Часть|Частина|Part of) |Fait partie d’|Część |Một phần của )ArtCraft\. |Az ArtCraft része\. |ArtCraft의 일부입니다\. |ArtCraft (?:の一員。|的一部分。))(?=MIT) =>
# "Part of ArtCraft." before the licence line of the About box, in every language.
sub (?<=\t)[^\t]*?ArtCraft[^\t]*?\.\s*(?=MIT) =>
sub (?s)\nThe ArtCraft name, wordmark and logos in docs/brand/.*?LICENSE-brand\.txt\.\n =>
sub \s*The ArtCraft logos in `docs/brand/` are trademarks, not open source, under `docs/brand/LICENSE-brand\.txt`: never modify them or use them outside VectorCraft\. =>
# Every part the package must have, the craft-fonts licences included.
tar -tzf dist/release/vectorcraft-*-freebsd-x86_64.tar.gz >/var/tmp/contents.txt
for want in '/bin/vectorcraft$' '/bin/vectorcraft-cli$' '/share/applications/.*\.desktop$' '/share/icons/hicolor/' '/share/doc/vectorcraft/NOTICE$' '/share/doc/vectorcraft/OFL-.*\.txt$'; do
grep -Eq "$want" /var/tmp/contents.txt || { echo "missing from the package: $want"; exit 1; }
# Intentionally tracked at @main (not SHA-pinned) so org-wide CI improvements, security fixes, and build optimizations propagate without PR churn across all craftapp repos.
# Intentionally tracked at @main (not SHA-pinned) so org-wide CI improvements, security fixes, and build optimizations propagate without PR churn across all craftapp repos.
assert m["id"] == "ai.storyteller.vectorcraft" and m["command"] == "vectorcraft", m["id"]
for key in ("runtime", "runtime-version", "sdk", "finish-args"):
assert src[key] == bundle[key], f"Flatpak manifests disagree on {key}: {src[key]} vs {bundle[key]}"
print("Flatpak manifests ok")
EOF
# Intentionally tracked at @main (not SHA-pinned) so org-wide CI improvements, security fixes, and build optimizations propagate without PR churn across all craftapp repos.
echo "Draft release **$title** at \`${GITHUB_SHA::9}\`:"
echo
sed 's/^/ /' SHA256SUMS.txt
} >>"$GITHUB_STEP_SUMMARY"
# Intentionally tracked at @main (not SHA-pinned) so org-wide CI improvements, security fixes, and build optimizations propagate without PR churn across all craftapp repos.
if (Test-Path (Join-Path $dir 'vectorcraft.exe')) { throw 'uninstall left vectorcraft.exe behind' }
Write-Output 'ok uninstalled'
windows-arm64:
# Intentionally tracked at @main (not SHA-pinned) so org-wide CI improvements, security fixes, and build optimizations propagate without PR churn across all craftapp repos.
@@ -41,9 +41,11 @@ Formerly **DrawCraft** (renamed 2026-10-01): old `.drawcraft` files and `"format
-`vectorcraft_engine::guard` is the last line of defence. Every entry point (commands, tool events, MCP requests, the UI frame, control requests) catches a panic, rolls the document back and reports an internal error. It exists for bugs and doesn't replace `Result`: wasm aborts on panic, so the web app has no safety net.
- Untrusted input is fuzzed (`engine/tests/import_fuzz.rs`, `engine/tests/command_sweep.rs`, `format/tests/prop_format.rs`, `mcp/tests/protocol_props.rs`). Extend these when you add an importer, a parser or a protocol method.
- **Everything is a command.** User-visible behaviour = a command in `crates/engine/src/cmd/*` (id, label, menu path, shortcut, params doc, `enabled`, `run`) + tests. Tools emit commands (Begin/Preview/Commit). UI-only commands live in `crates/ui-egui/src/menus.rs` (`UI_COMMANDS`). The control channel and MCP reach all of them.
- **Adding a cursor.** The app decides which cursors exist; whoever draws them works from the list. For a new tool state with a cursor of its own: add the `Cursor` variant (`crates/tools/src/lib.rs`, with a doc comment), return it from the tool's `cursor()` with a tool test, cover it in `cursor_icon` (`crates/ui-egui/src/canvas.rs`), draw it in `crates/ui-egui/src/cursors.rs` or give it a stand-in in `Cursor::stand_in()` until it's drawn, and add its `[[cursor]]` entry to `crates/tools/src/cursors.toml` (when it shows, in plain behaviour terms, and its hotspot; never another app's look). A missing entry only warns (`cargo xtask cursors`): the cursor still works.
- **Layering** is enforced by `cargo xtask layers`. Nothing below L6 depends on egui/eframe/winit/rfd.
- **The UI is thin**: panels read engine state and act through `app.run(id, params)`. Colours come from `theme::Tokens`.
- **Time goes through `chrono`** (workspace dependency). Never hand-roll UTC/calendar conversion (days-to-date algorithms, leap-year math); a crate owns only its output format string. The one exception is range extension: past the years chrono can represent, shift the date by whole 400-year Gregorian cycles (146,097 days, after which the calendar repeats), let chrono compute the month and day, and add the cycles back to the year (splitting seconds into hours, minutes and seconds is plain arithmetic).
- **Shared test corpora.** Real-file test oracles (Photoshop-authored PSDs, etc.) live in [`storytold/photocraft-corpus`](https://github.com/storytold/photocraft-corpus), explained in [craftrules `standards/test-corpora.md`](https://github.com/storytold/craftrules/blob/main/standards/test-corpora.md). Never commit large binary fixtures to this repo; fetch them pinned by commit and sha256-verified, as PhotoCraft does with `cargo xtask corpus`.
- **Quality gates** before every commit: `cargo xtask ci` (fmt, clippy -D warnings including the no-panic lints, tests, layers, wasm). One task id per commit (`M2.1: pen tool`).
@@ -109,6 +109,7 @@ Generated-in-code art is original and has no file to list. This covers the defau
| `assets/icons/dc-cube.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-dash-align.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-dash-exact.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-dimension.svg` | Osama Amin | Original work, drawn for VectorCraft: a dimension line with arrowheads between two extension lines | MIT OR Apache-2.0 | |
| `assets/icons/dc-dir-off.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-dir-on.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-direct.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
@@ -125,6 +126,7 @@ Generated-in-code art is original and has no file to list. This covers the defau
| `assets/icons/dc-draw-normal.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-ellipse.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-fill-none.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-filter.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-flare.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-folder.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-free-transform.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
@@ -157,6 +159,7 @@ Generated-in-code art is original and has no file to list. This covers the defau
| `assets/icons/dc-new-fill.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-new-item.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-new-stroke.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-objects-on-path.svg` | VectorCraft contributors | Original work, drawn for VectorCraft: three small squares along a curve | MIT OR Apache-2.0 | |
| `assets/icons/dc-options.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-para-center.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
| `assets/icons/dc-para-justify-all.svg` | VectorCraft contributors | Original work, drawn for VectorCraft | MIT OR Apache-2.0 | |
@@ -315,6 +318,11 @@ Generated-in-code art is original and has no file to list. This covers the defau
| `docs/images/shot-3-sheet.png` | VectorCraft contributors | Screenshot of VectorCraft itself, editing `examples/feature-sheet.vectorcraft` | MIT OR Apache-2.0 | |
| `docs/images/shot-4-bezier.png` | VectorCraft contributors | Screenshot of VectorCraft itself, editing `examples/feature-sheet.vectorcraft` | MIT OR Apache-2.0 | |
| `docs/images/shot-5-perspective.png` | VectorCraft contributors | Screenshot of VectorCraft itself, editing `examples/perspective-city.vectorcraft` | MIT OR Apache-2.0 | |
| `docs/images/shot-6-revolve.png` | VectorCraft contributors | Screenshot of VectorCraft itself, editing `examples/still-life.vectorcraft` | MIT OR Apache-2.0 | |
| `docs/images/shot-7-dimensions.png` | VectorCraft contributors | Screenshot of VectorCraft itself, editing `examples/bracket-drawing.vectorcraft` | MIT OR Apache-2.0 | |
| `docs/images/art-still-life.png` | VectorCraft contributors | Rendered by VectorCraft from `examples/still-life.vectorcraft` | MIT OR Apache-2.0 | |
| `examples/still-life.vectorcraft` | VectorCraft contributors | Original artwork built through the VectorCraft command API | MIT OR Apache-2.0 | |
| `examples/bracket-drawing.vectorcraft` | VectorCraft contributors | Original drawing built through the VectorCraft command API | MIT OR Apache-2.0 | |
| `docs/images/art-neon-drive.png` | VectorCraft contributors | Rendered by VectorCraft from `examples/neon-drive.vectorcraft` | MIT OR Apache-2.0 | |
| `docs/images/art-ribbons.png` | VectorCraft contributors | Rendered by VectorCraft from `examples/ribbons.vectorcraft` | MIT OR Apache-2.0 | |
| `docs/images/art-pathfinder.png` | VectorCraft contributors | Rendered by VectorCraft from `examples/feature-sheet.vectorcraft` (artboard 1) | MIT OR Apache-2.0 | |
@@ -325,3 +333,27 @@ Generated-in-code art is original and has no file to list. This covers the defau
| `examples/ribbons.vectorcraft` | VectorCraft contributors | Original artwork built through the VectorCraft command API | MIT OR Apache-2.0 | |
| `examples/feature-sheet.vectorcraft` | VectorCraft contributors | Original artwork built through the VectorCraft command API | MIT OR Apache-2.0 | |
| `examples/perspective-city.vectorcraft` | VectorCraft contributors | Original artwork built through the VectorCraft command API | MIT OR Apache-2.0 | |
## Assets embedded by the PDF backend
The shared PDF backend keeps the existing standard-font and CMap features. These files remain in dependency sources; no font files are copied into this repository. Hashes identify the pinned dependency contents.
@@ -41,9 +41,11 @@ Formerly **DrawCraft** (renamed 2026-10-01): old `.drawcraft` files and `"format
-`vectorcraft_engine::guard` is the last line of defence. Every entry point (commands, tool events, MCP requests, the UI frame, control requests) catches a panic, rolls the document back and reports an internal error. It exists for bugs and doesn't replace `Result`: wasm aborts on panic, so the web app has no safety net.
- Untrusted input is fuzzed (`engine/tests/import_fuzz.rs`, `engine/tests/command_sweep.rs`, `format/tests/prop_format.rs`, `mcp/tests/protocol_props.rs`). Extend these when you add an importer, a parser or a protocol method.
- **Everything is a command.** User-visible behaviour = a command in `crates/engine/src/cmd/*` (id, label, menu path, shortcut, params doc, `enabled`, `run`) + tests. Tools emit commands (Begin/Preview/Commit). UI-only commands live in `crates/ui-egui/src/menus.rs` (`UI_COMMANDS`). The control channel and MCP reach all of them.
- **Adding a cursor.** The app decides which cursors exist; whoever draws them works from the list. For a new tool state with a cursor of its own: add the `Cursor` variant (`crates/tools/src/lib.rs`, with a doc comment), return it from the tool's `cursor()` with a tool test, cover it in `cursor_icon` (`crates/ui-egui/src/canvas.rs`), draw it in `crates/ui-egui/src/cursors.rs` or give it a stand-in in `Cursor::stand_in()` until it's drawn, and add its `[[cursor]]` entry to `crates/tools/src/cursors.toml` (when it shows, in plain behaviour terms, and its hotspot; never another app's look). A missing entry only warns (`cargo xtask cursors`): the cursor still works.
- **Layering** is enforced by `cargo xtask layers`. Nothing below L6 depends on egui/eframe/winit/rfd.
- **The UI is thin**: panels read engine state and act through `app.run(id, params)`. Colours come from `theme::Tokens`.
- **Time goes through `chrono`** (workspace dependency). Never hand-roll UTC/calendar conversion (days-to-date algorithms, leap-year math); a crate owns only its output format string. The one exception is range extension: past the years chrono can represent, shift the date by whole 400-year Gregorian cycles (146,097 days, after which the calendar repeats), let chrono compute the month and day, and add the cycles back to the year (splitting seconds into hours, minutes and seconds is plain arithmetic).
- **Shared test corpora.** Real-file test oracles (Photoshop-authored PSDs, etc.) live in [`storytold/photocraft-corpus`](https://github.com/storytold/photocraft-corpus), explained in [craftrules `standards/test-corpora.md`](https://github.com/storytold/craftrules/blob/main/standards/test-corpora.md). Never commit large binary fixtures to this repo; fetch them pinned by commit and sha256-verified, as PhotoCraft does with `cargo xtask corpus`.
- **Quality gates** before every commit: `cargo xtask ci` (fmt, clippy -D warnings including the no-panic lints, tests, layers, wasm). One task id per commit (`M2.1: pen tool`).
<img src="assets/app-icon/hicolor/256x256/apps/ai.storyteller.vectorcraft.png" width="128" height="128" alt="VectorCraft icon: an engraved dragon on a red tile">
</p>
<h1 align="center">VectorCraft</h1>
<p align="center">
<b>Vector illustration; an open-source, clean-room reimplementation of Adobe Illustrator, rebuilt in pure Rust.</b>
<b>Vector illustration; an open-source, modern vector art application, built in pure Rust.</b>
</p>
<p align="center">
A fast, open-source, clean-room take on the Adobe Illustrator workflow. It runs natively on
A fast, open-source vector illustration workflow. It runs natively on
macOS, Windows, Linux and FreeBSD, and in the browser via WebAssembly.
</p>
<p align="center">
<img alt="Status: in active development" src="https://img.shields.io/badge/status-in%20active%20development-e8573f">
<img alt="Written in pure Rust" src="https://img.shields.io/badge/pure-Rust-b83a24?logo=rust&logoColor=white">
<img alt="Runs on macOS, Windows, Linux, FreeBSD and the web" src="https://img.shields.io/badge/runs%20on-macOS%20%C2%B7%20Windows%20%C2%B7%20Linux%20%C2%B7%20FreeBSD%20%C2%B7%20Web-555555">
<img alt="MCP server for agents" src="https://img.shields.io/badge/agents-MCP%20server-555555">
<img alt="License: MIT OR Apache-2.0" src="https://img.shields.io/badge/license-MIT%20OR%20Apache--2.0-555555">
<img alt="Status: in active development" src="https://img.shields.io/badge/status-in%20active%20development-e8573f?style=flat-square">
<img alt="Written in pure Rust" src="https://img.shields.io/badge/pure-Rust-b83a24?style=flat-square&logo=rust&logoColor=white">
<img alt="Runs on macOS, Windows, Linux, FreeBSD and the web" src="https://img.shields.io/badge/runs%20on-macOS%20%C2%B7%20Windows%20%C2%B7%20Linux%20%C2%B7%20FreeBSD%20%C2%B7%20Web-555555?style=flat-square">
<img alt="MCP server for agents" src="https://img.shields.io/badge/agents-MCP%20server-555555?style=flat-square">
<img alt="License: MIT OR Apache-2.0" src="https://img.shields.io/badge/license-MIT%20OR%20Apache--2.0-555555?style=flat-square">
<br>
<a href="https://sonarcloud.io/project/overview?id=storytold_vectorcraft"><img alt="Scanned by SonarCloud" src="https://img.shields.io/badge/Scanned_by-SonarCloud-4b9fd5?style=flat-square&logo=sonarqubecloud&logoColor=white"></a>
<a href="https://coderabbit.ai"><img alt="Reviewed by CodeRabbit" src="https://img.shields.io/coderabbit/prs/github/storytold/vectorcraft?style=flat-square&label=Reviewed%20by%20CodeRabbit&logo=coderabbit"></a>
</p>
<br>
@@ -49,6 +56,16 @@
</td>
</tr>
<tr>
<td width="50%" valign="top">
<img src="docs/images/shot-6-revolve.png" alt="A still life of a vase, a bowl, a sphere and a bottle made with 3D Revolve; the vase is selected and the Revolve dialog shows its rotation, cap and view settings beside the rotation gizmo" width="100%">
<p align="center"><sub><b>3D Revolve</b>: smooth vector shading, caps and a rotation gizmo · <code>examples/still-life.vectorcraft</code></sub></p>
</td>
<td width="50%" valign="top">
<img src="docs/images/shot-7-dimensions.png" alt="A bracket drawing in the light theme with linear, angular, diameter and radius dimensions; the Dimension tool is active and the Properties panel shows the selected dimension's units, precision and style" width="100%">
<p align="center"><sub><b>Dimension tool</b>: lengths, angles and radii that follow the art they measure · <code>examples/bracket-drawing.vectorcraft</code></sub></p>
</td>
</tr>
<tr>
<td width="50%" valign="top">
<img src="docs/images/shot-5-perspective.png" alt="Two lit building facades drawn on the left and right planes of a two-point perspective grid at sunset, with the Perspective Selection tool and the Plane Switching Widget" width="100%">
<p align="center"><sub><b>Perspective Grid</b>: art attached to its planes stays editable in perspective · <code>examples/perspective-city.vectorcraft</code></sub></p>
@@ -84,6 +101,12 @@ exposes to agents, and exported by VectorCraft's own renderer. The source files
</td>
</tr>
<tr>
<td colspan="2" valign="top">
<img src="docs/images/art-still-life.png" alt="Still life: a teal vase, a coral bowl, a white sphere and a mustard bottle on a warm table, all made with 3D Revolve" width="100%">
<p align="center"><sub><b>Still Life</b>: four revolved profiles with smooth vector shading</sub></p>
</td>
</tr>
<tr>
<td width="50%" valign="top">
<img src="docs/images/art-repeat.png" alt="Radial Repeat mandala: teal petals around a coral center, ringed by yellow dots" width="100%">
<p align="center"><sub><b>Radial Repeat</b>: a live mandala</sub></p>
@@ -107,7 +130,7 @@ exposes to agents, and exported by VectorCraft's own renderer. The source files
## Why VectorCraft
- **Familiar.** Illustrator's layout, tools, menus, panels and shortcuts: the Pen, Direct Selection,
- **Familiar.** A familiar layout, tools, menus, panels and shortcuts: the Pen, Direct Selection,
Pathfinder, Smart Guides, Appearance, Swatches, Layers and more. You already know how to use it.
- **Fast.** Multithreaded SIMD rendering off the UI thread. 20,000 shapes render in about 27 ms at
full retina resolution while the interface stays at 120 fps.
@@ -123,6 +146,8 @@ exposes to agents, and exported by VectorCraft's own renderer. The source files
## Quick start
For posters and sewing patterns, see [Print a large poster across multiple pages](docs/print-tiling.md).
On Linux with Wayland, under KDE Plasma 6.3 or later and under GNOME, VectorCraft doesn't respond to a drawing tablet's
pen yet (#491, #2028). Open the window through XWayland instead, where the pen works as a mouse and the app reads its
pressure: set the same preference to **X11 (XWayland)**, or to **X11 (XWayland) When a Pen Is Attached** to use
XWayland only when a pen is attached as VectorCraft starts, and restart; or start the app with
`WAYLAND_DISPLAY= vectorcraft` (see [`docs/development.md`](docs/development.md#linux-wayland-and-x11)).
### Use it from Claude Code and other agents
@@ -182,36 +211,36 @@ VectorCraft is under active development. [**ROADMAP.md**](ROADMAP.md) has the st
and what's next; [`docs/target-app-parity.md`](docs/target-app-parity.md) the full parity assessment and
[`docs/gaps.md`](docs/gaps.md) the ranked list of what's missing.
**Where we are (2026-10-10): alpha.** About 88% of Illustrator 2026's menu items, tools, effects and formats exist
(92.5% of menu items do something), feature depth is ~75%, and we estimate ~65% "ready for real work" for a mainstream illustrator (~62% against
all of Illustrator): everyday
**Where we are (2026-10-10): alpha.** About 88% of core menu items, tools, effects and formats exist
(92.5% of menu items do something), feature depth is ~75%, and we estimate ~65% ready for real work for a mainstream illustrator (~62% across all tracked features): everyday
vector illustration is close to usable: drawing and path tools,
Pathfinder and Shape Builder, paint, gradients, appearance and transparency, type with styles, threading and Hebrew/Arabic bidirectional layout, and
files (SVG, PDF and PDF-compatible `.ai` with PDF/X, EPS, DXF, EMF/WMF, raster formats, PSD out and PSD/PSB in as their merged image, Print, Package).
files (SVG, PDF and PDF-compatible `.ai` with PDF/X, legacy version 7 `.ai` keeping layers, groups and type, EPS, DXF, EMF/WMF, raster formats, PSD out and PSD/PSB in as their merged image, Print, Package).
Affinity documents (`.af` from Affinity 3, `.afdesign`, `.afpub` and, by their content, `.afphoto` from Affinity 1 and 2) open
and place natively: layers, groups, artboards and pages, curves and shapes, fills, gradients and strokes, clipping
and masks, text and images, with what didn't come in (effects, adjustments, brushes, master pages…) listed in the
import warning; a file whose native data can't be read opens as its embedded preview, saying why. VectorCraft
and masks, text with each paragraph's indents, spacing and leading, tables (astext frames and lines), master
pages, shadows, glows, outlines and overlays, embedded Affinity documents and images, with what didn't come in
(adjustments, blurs, bevels, brushes…) listed in the import warning; a file whose native data can't be read opens as its embedded preview, saying why. VectorCraft
doesn't write Affinity files. Current `.af` validation includes 33 pinned files, native save/reload
and every-board SVG/PDF/PSD export, with fixes for Affinity 3 artboards, source-backed JPEGs and text runs.
[Scope and limits](crates/affinity/README.md); [source audit and remaining gaps](docs/affinity-validation.md).
The interface
speaks English, German, Japanese, Korean, Vietnamese, Traditional and Simplified Chinese, Spanish, French, Hungarian, Italian, Polish, Russian and Ukrainian (and Czech and Brazilian Portuguese in the menus);
speaks English, German, Japanese, Korean, Vietnamese, Traditional and Simplified Chinese, Spanish, French, Hungarian, Italian, Polish, Brazilian Portuguese, Russian, Swedish, Ukrainian, Finnish, Bulgarian, Greek, Czech and Georgian;
[localization-parity.md](docs/localization-parity.md) has the details.
The scores are self-assessed from our code against Illustrator's public documentation;
The scores are self-assessed from our code against public documentation;
[target-app-parity.md](docs/target-app-parity.md#how-this-was-measured-2026-10-10) explains how far to trust them.
**What's missing:**
- reliable exchange of Illustrator's own `.ai` files (layer structure in real files; Illustrator's editing data isn't written);
- reliable exchange of .ai files (layer structure in real files; proprietary editing data isn't written);
- an interaction-fidelity pass covering every tool's modifiers and small behaviours;
- 3D and Materials beyond the initial live Revolve (Extrude & Bevel, Inflate, Rotate, materials);
-about half of the Photoshop-style raster effects (28 of 57 still missing; Film Grain is available under Artistic) and the Effect Gallery;
-filter thumbnails and a preview area inside the Effect Gallery (the gallery itself and all 57 Photoshop-style raster filters, approximated, are in);
- CJK composition for vertical type (vertical type itself has initial support, with a Japanese interface);
- scripting, and the rest of Variables (image and graph kinds, dataset import);
- generative AI features.
**Where we're going:** next is the interaction-fidelity pass, `.ai` files from real users and start-up stability,
alongside the raster-effects package; then type, the Illustrator 2026 additions and 3D. The ranked list is in
alongside the raster-effects package; then type, recent additions and 3D. The ranked list is in
@@ -299,5 +328,3 @@ Simplified Chinese and Arabic faces; SIL Open Font License 1.1).
The app icon (an engraved dragon on VectorCraft red, `#e8573f`) is the owner's original artwork; its
palette and files are in [`assets/app-icon/`](assets/app-icon/README.md).
<sub>Adobe, Photoshop, Illustrator, Premiere Pro, Lightroom, Acrobat, After Effects and InDesign are trademarks or registered trademarks of Adobe Inc. in the United States and/or other countries. VectorCraft is an independent, open-source project and is not affiliated with, sponsored by or endorsed by Adobe Inc.; these names are used only to describe the workflows it is compatible with.</sub>
returnErr("--automation-read-root and --automation-write-root confine the headless server; a running app enforces its own roots: start it with `vectorcraft --control <port> --automation-read-root <dir> --automation-write-root <dir>`"
"The graphics processor tried first couldn't show the window, so VectorCraft started again on {summary}{hint}"
));
}elseifletSome(crash)=&crash{
app.status(matchcrash{
gpu::Crash::Adapter{name,..}=>format!(
"The last start of VectorCraft ended on {name} before its window appeared, so it started on {summary}. To try that graphics processor again, change Preferences › Performance › Graphics Processor or start with WGPU_BACKEND set"
),
gpu::Crash::Listing=>format!(
"The last start of VectorCraft ended while it listed the graphics processors, so it started on {summary} with OpenGL alone. To try the other graphics backends again, change Preferences › Performance › Graphics Processor or start with WGPU_BACKEND set"
| Pages, Publisher spreads (one or two pages) | artboards, spreads side by side |
| Master pages (`MpCh`) shown on pages through master page instances (`MPIN`: master, page offset, master page, count) | a locked "Master A, B…" layer at the bottom holding each master page's objects on the pages that show it |
| Artboards (legacy `ABEn` or Affinity 3 `phrp`/`aprp`), with name, paint and any transform | artboards plus a clip group with the actual vector outline, background and stroke |
| Layers (`Scop`), groups (`Grup`), pass-through or isolated | layers and sublayers, groups |
| Curves (`PCrv`): cubic subpaths, closed flags, live corners (`CnrD`) | paths (multi-subpath curves fill even-odd) |
@@ -21,22 +22,24 @@ Affinity files.
| Pixel masks (`MRst`, attached or as a layer in a group) | opacity mask |
| Solid fills: RGBA, HSLA, CMYK, grey, Lab (D50) | fill appearance (alpha as fill opacity) |
| Linear, elliptical and radial gradients with Affinity's midpoint bias | gradients (the bias as the midpoint where the blend is half way) |
| Strokes: weight, scale with object, dash pattern and phase, alignment, miter limit, behind the fill | stroke appearance |
| Strokes: weight, scale with object, dash pattern and phase, alignment, miter limit, behind the fill; a stroke whose style is None (every shape stores one, black and 1 px) is left out | stroke appearance |
| Fill layers (`FRst`) | filled rectangles |
| Artistic and frame text: Unicode scalar-indexed runs, stored fallback font, family/weight/style, boolean OpenType features, all caps, size, tracking, fixed leading, colour, paragraph alignment, first baseline | point type and area type |
| Artistic and frame text: Unicode scalar-indexed runs, stored fallback font, family/weight/style, boolean OpenType features, all caps, underline, strikethrough, size, tracking, horizontal scale, fixed leading, colour, outlined characters, first baseline; each paragraph's alignment, indents, space before and after, fixed and automatic leading; frame text sized by its text scale (`FTxS`), not its frame's transform | point type and area type, one paragraph style per paragraph; artistic text whose paragraphs align differently keeps them aligned within its longest line (by indents), as Affinity draws it; a frame's first line hangs from its capitals' tops, and a frame whose last lines' descenders hang out of it is made just tall enough to show them; line breaks inside a paragraph become paragraphs without spacing between them; table cells place their text as Affinity does (centred from the capitals' tops to the last baseline, reaching out of a cell too short for it) |
| Tables (`TxtT`): grid, cell text, merged cells, cell insets and vertical alignment, the line on every cell edge | a group of area type per cell and a stroked line per edge (VectorCraft has no tables) |
| Placed images (`ImgN`): the original JPEG/PNG embedded in the file | embedded images |
| Pixel layers (`Rstr`): RGBA 8/16-bit and CMYK 8-bit tiles, cropped to their content; source-backed RGBA8 JPEG/PNG tiles with matching dimensions and zero origin | embedded PNG images |
| Embedded documents and symbols (`EmbN`) | the picture Affinity cached of them |
| Pixel layers (`Rstr`): RGBA 8/16-bit and CMYK 8-bit tiles, cropped to their content; source-backed RGBA8 JPEG/PNG tiles with matching dimensions and zero origin; the document's CMYK colour profile (`CMYP`) | embedded PNG images; CMYK layers through the document's profile (relative colorimetric, black-point compensation, as Affinity converts them), or, without one, CMYK images that keep their inks |
| Embedded Affinity documents (`EmbN` with an `EmDc` entry), four deep at most | their first page's content, editable (their artboards only clip, they don't become artboards; their master pages are left out); other embedded documents and symbols as the picture Affinity cached of them |
| Layer effects: drop shadows, outer glows, inner shadows; outlines; colour and gradient overlays in any blend mode | Stylize › Drop Shadow and Outer Glow, Inner Glow at the edge (approximated); one more stroke on shapes (around their own stroke), the characters' stroke on text; overlays baked into fill, stroke, text colours and pixels (a group's over its children's) |
| Opacity, visibility, lock, names, the blend modes VectorCraft has | the same |
Everything else is reported in the import warnings, one line per kind with a count, never
dropped silently: layer effects, adjustment layers and live filters, brush and pressure strokes,
dropped silently: bevel, blur and other layer effects, adjustment layers and live filters, brush and pressure strokes,
transparency gradients, fill opacity, bitmap fills, master pages based on other master pages, conical gradients (as radial),
special shapes (cloud, heart, cog, callouts, arrows…, imported as their bounding ellipse), corner
types other than round or straight, stars with rounded points, several fills or strokes on one object (the
active one is used), outlined or scaled text, text fields such as page numbers, frames with
columns or a curved outline, paragraph indents/spacing, mixed paragraph alignments, unsupported font selectors, grey/Lab/32-bit pixels, CMYK pixels (converted to RGB without the
document's profile) and Affinity-only blend modes (Add, Linear Light… as Normal).
active one is used), skewed or flipped text, characters of different transparency in one text, text fields such as page numbers, text threading, frames with
columns or a curved outline, table cell fills, unsupported font selectors, grey/Lab/32-bit pixels, CMYK pixels with transparency in a document
without a CMYK profile (converted through VectorCraft's working CMYK profile) and Affinity-only blend modes (Add, Linear Light… as Normal).
When the native document can't be read at all, the engine opens the embedded PNG preview instead,
with a warning that names the reason; that preview can't be placed, used as a template or mined
@@ -78,10 +81,22 @@ of CC0 sample files.
* **Read-only.** Nothing is written in Affinity's format; export waits until someone can check
written files in Affinity itself.
The reader also has an independent copy in PhotoCraft's `photocraft-affinity`.
The reader also has independent copies in PhotoCraft's `photocraft-affinity` and DesignCraft's
`designcraft-affinity`. Tables, paragraph formats, text scale, master pages, layer effects,
overlays, embedded documents, large pixel layers and HEIC photos were added in DesignCraft
([storytold/designcraft#291](https://github.com/storytold/designcraft/pull/291)) and brought back
here, from the same public fixtures and the thumbnails of documents their owners made, used only
locally. Automatic leading (the font size plus the font's line gap, for artistic and frame text)
was fitted on the thumbnails of one such local document with 56 artboards and on the public Patchy
text-frame fixture.
## Validation
* `engine/tests/affinity_features.rs` covers pages, several artboards per canvas and per spread,
master pages, tables, paragraph formats, text scale, layer effects, overlays and embedded
documents (whose artboards don't become artboards) on synthetic documents, and mutates them.
`engine/tests/affinity_local.rs` compares every artboard of local documents with their thumbnail
when `AFFINITY_SAMPLES` points at a folder (never in CI; nothing is committed).
* Unit tests on synthetic containers built by the `synth` feature (stored, zlib and zstd entries,
checksums, budgets, cycles, hostile streams, every truncation) and property tests of random
mutations.
@@ -104,9 +119,14 @@ The reader also has an independent copy in PhotoCraft's `photocraft-affinity`.
pass CI. Run locally with `AFFINITY_CORPUS_REQUIRED=1` for the same strict gate.
patchy-text-caps.af dpi=72;spreads=1;model_crc32=b5527e72;counts={"depth": 1, "nodes": 2, "text_chars": 21, "text_runs": 2, "texts": 2};boards=[];fonts={"Arial:ArialNarrow:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font) (2×)"]
patchy-text-frame.af dpi=72;spreads=1;model_crc32=7a2cd32d;counts={"depth": 1, "nodes": 1, "text_chars": 11, "text_runs": 1, "texts": 1};boards=[];fonts={"Arial:ArialMT:400:false"};warnings=["paragraph indents or spacing (imported with defaults)"]
patchy-text-indent.af dpi=72;spreads=1;model_crc32=30ee834c;counts={"depth": 1, "nodes": 2, "text_chars": 104, "text_runs": 2, "texts": 2};boards=[];fonts={"Arial:ArialNarrow:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font) (2×)", "paragraph indents or spacing (imported with defaults) (2×)"]
patchy-text-para-spacing.af dpi=72;spreads=1;model_crc32=3d580ad2;counts={"depth": 1, "nodes": 1, "text_chars": 13, "text_runs": 1, "texts": 1};boards=[];fonts={"Arial:ArialNarrow:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font)", "paragraph indents or spacing (imported with defaults)"]
patchy-text-rotated.af dpi=72;spreads=1;model_crc32=ad77772a;counts={"depth": 1, "nodes": 1, "text_chars": 7, "text_runs": 1, "texts": 1};boards=[];fonts={"Arial:ArialNarrow:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font)"]
patchy-text-runs.af dpi=72;spreads=1;model_crc32=a8da3052;counts={"depth": 1, "nodes": 1, "text_chars": 7, "text_runs": 5, "texts": 1};boards=[];fonts={"Arial:ArialNarrow:400:false", "Courier New:CourierNewPSMT:400:false", "Segoe UI Emoji:SegoeUIEmoji:400:false", "Times New Roman:TimesNewRomanPSMT:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font)", "paragraph indents or spacing (imported with defaults)", "text uses a stored fallback font (imported with that font)"]
patchy-text-indent.af dpi=72;spreads=1;model_crc32=dc36dfc5;counts={"depth": 1, "nodes": 2, "text_chars": 104, "text_runs": 2, "texts": 2};boards=[];fonts={"Arial:ArialNarrow:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font) (2×)"]
patchy-text-para-spacing.af dpi=72;spreads=1;model_crc32=6408f39b;counts={"depth": 1, "nodes": 1, "text_chars": 13, "text_runs": 1, "texts": 1};boards=[];fonts={"Arial:ArialNarrow:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font)"]
patchy-text-rotated.af dpi=72;spreads=1;model_crc32=3d1de559;counts={"depth": 1, "nodes": 1, "text_chars": 7, "text_runs": 1, "texts": 1};boards=[];fonts={"Arial:ArialNarrow:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font)"]
patchy-text-runs.af dpi=72;spreads=1;model_crc32=7820b881;counts={"depth": 1, "nodes": 1, "text_chars": 7, "text_runs": 5, "texts": 1};boards=[];fonts={"Arial:ArialNarrow:400:false", "Courier New:CourierNewPSMT:400:false", "Segoe UI Emoji:SegoeUIEmoji:400:false", "Times New Roman:TimesNewRomanPSMT:400:false"};warnings=["font width variants (exact face depends on the installed PostScript font)", "text uses a stored fallback font (imported with that font)"]
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