An InDesign document holds a screen preview of each placed graphic, which
InDesign shows while the linked file is missing. indd-utils returns them
beside the IDML (`Conversion::previews`); opening an .indd now passes them
to the importer through `import_idml_report_with_previews`, and a graphic
whose file neither the package nor the folder provides takes its preview.
The graphic keeps its link, so relinking replaces it; IDML import without
previews is unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
LYH Studio episode 6 builds every gradient from C=0 M=100 Y=0 K=0 to
C=100 M=0 Y=0 K=0. InDesign blends a gradient's process stops as inks:
halfway is C 50 M 50, a light lilac. DesignCraft converted both ends to
RGB and blended there, so the middle came out a darker violet (117, 88,
189 instead of 135, 119, 181), and every Episode 6 gradient looked
different. A midpoint between CMYK stops also became an RGB colour, so
the PDF shading turned RGB with a conversion warning.
- color: `Color::lerp` blends CMYK with CMYK (or grey), and grey with
grey, in ink space; anything with RGB still blends in RGB.
- `Gradient::display_stops`: the expanded stops plus samples through
each span that isn't RGB at both ends, for renderers that interpolate
in RGB; the screen renderer uses it.
- pdf: a midpoint's expanded stop now keeps the stops' space; the
colour-space test expects no conversion for CMYK or grey midpoints.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Preferences OK stored whatever number the dialog held as the Story
Editor font size. One that is not finite ("nan", "inf", or a number
too large for an f32) was written to ui.json as null; the next launch
could not read the file, started with the default UI settings and
saved them over it on exit. The size is now kept between 8 and 36 pt,
the slider's range, and a value that is not a finite number leaves
the size as it was.
An EPS that came in with a document (InDesign embeds its QR codes as
EPS) drew nothing: only File › Place converted EPS to a proxy. Now
`decode_rgba` draws any EPS through `eps_proxy` and `natural_size` measures
it by its bounding box in points, so screen, PNG and PDF show it while the
document keeps the EPS itself.
`eps_proxy` also draws PostScript that only fills rectangles in solid
colours (setcmykcolor, setrgbcolor, setgray, rectfill and procedures that
stand for them, as InDesign's QR codes are written), at 8 px per point so
modules stay crisp. Anything else keeps the preview or placeholder. Input is
bounded: tokens, rectangles, painted area and procedure definitions.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
LYH Studio episode 6 starts with "Window > Workspace > Essential
Classic" and opens panels with "Window > Color > Gradient & Swatches".
DesignCraft's Window menu had no Workspace or Color submenu (panels sat
in one "Panels" list) and no Essentials Classic workspace.
- Window menu: Arrange, Workspace, then the panels alphabetically with
InDesign's groups (Color: Color, Gradient, Swatches; Editorial;
Interactive; Object & Layout; Output; Styles; Type & Tables;
Utilities). Every panel stays reachable; Next/Previous Document moved
into Arrange.
- Window > Workspace: the built-in workspaces as "[Essentials]", the
current one checked, Reset <current>, New Workspace. The app bar's
switcher uses the same list and order.
- Essentials Classic: the Control panel, no Properties stack, and an
icon column of named panel groups ([Pages, Layers, Links] [Stroke,
Color] [Swatches] [Effects] [Paragraph] [Text Wrap] [Character
Styles, Paragraph Styles] [Gradient]); Window > Pages opens Pages
from its group. Saved workspaces keep the groups.
- Flyouts and floating panels name Pages, Layers and Properties.
- Translations for Editorial, Object & Layout, Styles and Essentials
Classic.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The paragraph composer counted a trailing space (or several) before the
paragraph end or a forced line break in the line's width, so "2 VOOR " in a
frame exactly as wide as "2 VOOR" broke before "VOOR" and the frame went
overset. InDesign lets those spaces hang past the edge. They now add no
width; the line's visible range already left them out.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
LYH Studio episode 6 (1:36-2:05) builds its gradient in the Gradient
panel: it drags C=0 M=100 Y=0 K=0 from the Swatches panel onto the left
stop, drops C=100 M=0 Y=0 K=0 on the ramp (a new stop at 68.636 %), then
drags the black stop off. DesignCraft's Gradient panel took no swatches,
showed only a hint until the fill was a gradient, and laid out its
fields differently.
- Gradient panel: InDesign's layout (thumbnail; Type; Location % and
Angle; Reverse; the ramp with midpoint diamonds above and stops below).
Until the fill is a gradient it shows the default White -> Black ramp;
clicking the thumbnail or using the ramp starts one. Midpoints drag
and take a Location. A stop's colour picker moved to its right-click
menu, so selecting a stop no longer grows the panel.
- Swatches panel rows are drag sources (the chip follows the pointer):
dropped on a stop a swatch colours it, elsewhere on the ramp it adds
a stop there.
- Stops keep their colour model through panel edits (CMYK used to turn
into hex RGB whenever a stop moved).
- engine: `object.gradient` stops accept `swatch` (its colour; gradient
swatches and [None] are refused) and colours accept `{gray}`.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
LYH Studio episode 6 (8:28) gives the "1969" headline the "New Gradient
Swatch" (magenta → cyan) from the Swatches panel. InDesign runs a gradient
on text across its text frame's box. DesignCraft resolved a character
fill to one solid colour, so a gradient swatch drew no text at all.
- render: a character fill or stroke that names a gradient swatch is
painted with that gradient over the frame's box in text space (type on
a path: the path's box).
- pdf: text runs take a gradient paint: the shading is laid out in the
frame's text space and mapped into each run's origin, so skew and
horizontal scale don't bend it; outlined runs and type on a path too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Adds a Polish catalog (i18n/pl.rs, 1,698 strings), registers Polski in
Edit › Interface Language, uses category-first count captions for Polish
(as for Ukrainian) and adds catalog and language-switch tests.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01DukHNvUY45rjRnvtz91x33
A gradient swatch on a stroke drew nothing: strokes were painted with a
single resolved colour. LYH Studio episode 6 gives the loop on the right
page (9:13) and, at first by accident, the circle (1:19, "right now it
is on the stroke") a gradient stroke.
- doc: Stroke::gradient_angle / gradient_vector (as Fill's) and
Stroke::as_fill(), the stroke's paint as a fill.
- render and PDF: a gradient stroke is painted like a gradient fill,
across the path's box (dash gaps and arrowheads keep their paints).
- engine: object.gradient {target: stroke} edits the stroke's
gradient (kind, stops, angle, the Gradient Swatch tool's from/to);
scaling moves the stroke's vector with the shape.
- IDML: GradientStrokeStart/Length/Angle round-trip.
- Gradient panel: acts on the stroke when the toolbox's Stroke box is
in front, as InDesign's follows the Fill/Stroke proxy.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Preferences OK read the vertical units by indexing the dialog's
fields. A dialog opened through `ui.dialog.open` with horizontal
units only made that panic on the UI thread, outside the crash
guard, and the app exited. The units are now read with `get`, and a
ruler the dialog doesn't name keeps its units.
aiongg