Conflict: crates/compose/src/shape.rs: #81 collects paint-only pieces and shapes them later, #126 shapes composite-font note labels inline. A footnote reference in a composite font becomes a Piece with `composite_note`, shaped alone in the piece pass with #126's per-entry label code (from the run's env, as in #126); other references stay ordinary pieces. #126's label fallback in shape_segment passes #81's StyleRuns.
Conflict: crates/fonts/src/fontdb.rs: #126's canonical_family lookup sits at the top of exact_style_traits, so #81's styles/traits_of/linked_style and #247's format-suffix fallback all use it; face() resolves canonical, then canonical without the format suffix, then #126's substitute_family, through #247's find_or_load; has_family is canonical_family as named or without the suffix
Conflict: crates/ui-egui/src/lib.rs: kept #84's system-clipboard copy match and added #126's Find Font on open and _fonts reset after it
Conflict: crates/ui-egui/src/dialogs.rs: OK label match has #146's Save and #126's Replace All; #80's alert-only OK kept, #126's Done label for findFont; find_font keeps #143's font_combo with #126's FALLBACK_FAMILY default
Conflict: crates/compose/src/tests.rs, crates/idml/src/tests.rs: tests only; kept both
Conflict: ROADMAP.md: kept both entries
Conflict: crates/compose/src/shape.rs: inline object on the baseline: #124's rule (its box alone sets the extents, not max with the font's) applied to every metric #83 tracks (ascent, typo_ascent, cap, xh); the above-line arm keeps #83's four fields
Conflict: crates/compose/src/tests.rs: tests only; kept both
Conflict: crates/engine/src/tests.rs: tests only; kept both
Conflict: crates/idml/src/tests.rs: tests only; kept both
Conflict: crates/idml/src/import.rs: kept #230's Underline/StrikeThru colour line (Text Color resets) and #83's tint() helper
Conflict: ROADMAP.md: kept the chain's Text engine line and added #230's FID2 line
Resolve imported composite fonts by resource identity and preserve literal
display names. Export AppliedFont as an object reference instead of registering
a composite definition as an ordinary font family.
Share composite lookup and typed font usage between composition, font inventory,
and preflight. Include nested cells and notes, and report only component fonts
selected by the document's characters.
Add synthetic coverage for reference round trips, footnote character mapping
and metrics, nested font inventory, component replacement, and undo.
Resolve forward story references before importing embedded frames and groups.
Compose embedded stories, retain anonymous-story objects for screen and PDF
rendering, and invalidate layout caches when embedded frame geometry changes.
Measure inline objects by geometry, fill open contours, reject cyclic frame
references, and distinguish unplaced stories from located overset text.
Add synthetic round-trip, composition, preflight, pixel-rendering, and PDF
regressions. Update the roadmap with the supported import and rendering paths.
An empty paragraph's mark format now also supplies #83's first-baseline
heights through line_metrics.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
#83's Keep Lines Together tests change expectation: with the last baseline
allowed on the bottom inset, the first frame holds one more line, so the
10-line paragraph splits 7/3 instead of 6/4 (the keep rule is unchanged).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Vertical Type is now the story's direction: the full-descent check reads
FrameSpec::vertical, and the vertical-extent test sets the story vertical.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Pieces of a paragraph that differ only in how they are painted are
shaped together; the kenten character only picks the emphasis mark drawn
over the text, so it is one of those paint attributes, like kenten
itself.
Text is shaped in pieces that differ only in paint, so each piece group,
and each piece shaped apart, takes its style's environment: a missing
font's substitute draws the characters it lacks from fallback fonts
whatever Draw Missing Glyphs from Fallback Fonts says.
A drop cap set in one of the document's own fonts measures its side
bearing in that font, through the document's font scope, so Align Left
Edge puts its ink at the indent.
The bullet or number a paragraph's list adds no longer counts toward the
first line's tallest typographic ascender: with First Baseline Offset
set to Ascent, only the line's own text places the first baseline. The
label still counts toward the line's ascent, descent and leading, and
toward the Cap Height and x Height offsets. An empty list paragraph
places its first baseline as an empty paragraph does.
Characters that don't draw, such as spaces, keep counting toward the
Ascent offset; a test pins that.
A text frame's text area starts at the inner edge of its stroke: the
frame edge, then the part of the stroke inside the frame, then the
inset, on all four edges. A centred stroke takes half its weight, an
inside stroke all of it and an outside stroke none. A stroke without a
colour (or with no weight) doesn't count.
Composition, hit testing and vertical frames all take the text area
from the frame, so they agree. Graphics frames, wraps and the frame's
bounds are unchanged, and type on a path, which has no inset, ignores
the stroke as well.
With First Baseline Offset set to Ascent, the first baseline sits the
font's typographic ascender times the nominal point size below the top
of the text area: vertically scaled characters no longer push it down.
The line's ascent and descent, its leading, the Cap Height and x Height
offsets and drop caps still follow the vertical scale.
Pieces carry their style's shaping settings (a missing font's glyph
fallback) and group only with pieces that share them; jidori pieces stay
apart, since jidori fits its own run. shape_run / shape_run_raw take the
per-byte style runs; the digit substitution takes main's multi-byte
ranges and fallback lookup.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Trailing spaces and drop caps both join the placed line; hit testing checks
the drop cap first, then the closest line (hit_line). hit_char also picks
the drop cap's character under the point, so a double click on the cap
selects from it (the follow-up both PRs named).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Resolve conflicts with the CJK/Arabic work: trailing spaces follow the line
only in left-to-right paragraphs without right-to-left glyphs (layout_line
now takes the bidi info); style linking moves to ScopedFonts so the
document's own fonts count (FontDb delegates to scope 0); threading keeps
the receiving story's direction and Vertical Type, and frames split off by
threading or removed from a thread keep theirs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Resolve conflicts with the CJK/Arabic composition work: line metrics keep
the first-baseline tops and add the CJK alignment shift; the CJK line
reference adjustment applies before baseline-grid snapping; layout_line
takes the bidi info and the drop cap is spliced in after it; vertical text
is now the story's direction (FrameSpec::vertical); IDML insets use main's
validated inset_spacing over the object style chain; format's JSON upgrade
(vertical frames) and model upgrade (format v2 defaults) both run.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Story::char_format_at returns the preceding run at a boundary (the format
typing takes), so a run ending at the empty paragraph's start gave it the
previous paragraph's mark format. Add Story::char_format_of (the run
containing the byte) and use it; regression test with differing marks.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The line height of a paragraph without glyphs came from the paragraph style; InDesign uses the
format of the paragraph mark (the CharacterStyleRange holding its <Br/>).
IDML names some languages by locale code
(AppliedLanguage="$ID/de_DE_2006", "$ID/nl_NL_2005") beside names such
as "English: USA" and "Spanish: Castilian". language_tag maps any locale
code (ll, ll_CC, ll-CC, with a reform year after them) to its BCP 47 tag
(de-DE, nl-NL; kept once per process, at most 512 distinct tags), ignores
IDML's $ID/ prefix, and knows Spanish: Castilian (es-ES) and Swiss French
and Italian. The stored name stays as written, so IDML round trips are
unchanged.
What depends on the language now goes by the tag: typographer's quotes
(by language subtag; Swiss regions take guillemets), English
hyphenation and spelling (is_english), Korean word breaking and the CJK
fallback chains (ja-JP, ko-KR are Japanese and Korean whatever the
region).
A character the applied font lacks is drawn as that font's missing-glyph
box (its .notdef, gid 0), on screen and in PDF, and Preflight lists the
characters by font ("Missing glyphs in <family> <style>: …", an error,
at most 20 named). A .notdef without an outline is drawn as a hollow box
across its advance, so a missing character never disappears. PDF draws
.notdef glyphs as paths, which PDF/A and PDF/UA accept. Kenten marks are
set in their text's font the same way.
The document setting Draw Missing Glyphs from Fallback Fonts
(DocSettings::glyph_fallback; Preferences > Composition,
document.preferences {glyphFallback}, undoable) draws them from fallback
fonts instead (the language-aware chains, then any font; kenten marks
from a fallback font, else a bullet). It is off in new documents and
IDML imports and on in files saved before it existed, which keep
drawing as they did. A missing font's substitute always uses fallback
fonts. The composition cache's signature includes the setting. Tests
whose Arabic comes from a fallback font turn the setting on.
The fonts in a document's Document Fonts folder are registered under a
font scope that the document holds while it is open (Document::font_scope,
runtime only; DocState keeps the scope alive and closes it when the last
copy of the state goes: file.close, closing a tab, revert, a book
chapter's export, the session ending). Composition, preflight, font.list,
Package and the font menus, Glyphs panel and previews look fonts up
through FontDb::scoped(scope): the document's own faces first, then the
shared ones. Other open documents don't see them, and two documents with
fonts of the same name each set text in their own. Composite fonts'
member fonts and the fallback for kenten marks are looked up the same
way.
Font files stay in memory for the session (FaceRef keeps faces for the
process); a document opened again reuses the faces of its unchanged files
(same path, length and modification time) instead of reading them again.
The composition cache's signature includes the scope; the word cache and
the outline and PDF font caches are keyed by face. Variable font
instances are kept per base face.
A family's installed faces join the shared fonts all at once, and a
face two lookups load at the same time is kept once, so a parallel
fallback lookup never takes a family's bold before its regular has
loaded.
Vertical is a story property: every frame of a thread is vertical or
horizontal together, a frame threaded onto a story takes its direction,
and frames split off by threading or breaking a thread keep theirs.
Type > Story Direction is type.storyDirection {vertical} (checked in the
menu) for the stories of the text selection or selected frames;
object.textFrameOptions {vertical} and frame.create {vertical} set the
frames' stories. Documents that stored Vertical on the frame open with
each story taking its first frame's direction. IDML StoryOrientation is
read into and written from the story, beside its column direction
(StoryDirection), which stays a separate setting.
In vertical frames upright runs are shaped TopToBottom (vert; vkrn/vpal
when asked), advance by their vertical metrics and hang from their
vertical origins on the em box centre, on screen and in PDF; their line
ascent and descent are the em box. Turned runs stay horizontal without
vrt2 (rather than every run taking vert and vrt2), and tate-chu-yoko
stays horizontal and centres on the em box, its offsets moving it along
and across the line. Horizontal Kana in upright runs takes vkna. Each
run is shaped with the text around it, as horizontal runs are.
Korean is set word by word (KLREQ): Hangul, in any language, and Han
ideographs in Korean-language text take no line breaks between
characters, so lines break at spaces. Glyphs carry their language tag
for this. A paragraph attribute, koreanCharBreaks (type.para, paragraph
styles, Paragraph Style Options > Justification), breaks between
syllables instead. It is DesignCraft-only; IDML doesn't carry it.
A paragraph's kinsoku set decides which breaks it forbids, and Korean
still breaks at spaces under one.
Kinsoku still holds, also when the single-line composer has to split a
word wider than the measure: the split moves back so no line starts
with closing punctuation.
Characters the primary font lacks try a fallback chain by language
before the language-blind search: Japanese (the craft-fonts Japanese
faces first, Mincho first), Simplified Chinese (also plain Chinese),
Traditional Chinese and Korean each list their macOS, Windows and Linux
system families. Hangul, kana and Bopomofo pick their language's chain
whatever the character language; ideographs and CJK punctuation follow
it, and keep today's fallback without a CJK language. Chain families
load from the system font catalog the first time they are needed.
designcraft_fonts::testing (feature `testing`) builds synthetic fonts
with a given family name and coverage for tests.
The character's language (as IDML names it) maps to a BCP 47 tag
(designcraft_doc::language_tag) and is the shaping context's language
on the harfrust buffer, so OpenType locl applies for every language in
the list (Japanese, Chinese, Korean, Turkish, ...), not only Arabic,
Persian, Urdu, Hebrew and English: other names used to reach the
shaper as they were written, which it doesn't know, so their locl never
applied. designcraft_fonts no longer maps names itself. The word-shaping
cache is keyed by the tag. Chinese: Simplified and Chinese: Traditional
join the language list (plain Chinese stays, tagged zh); Simplified
Chinese takes curly quotes, Traditional Chinese corner brackets.
Drop caps get the Drop Cap Detail options as paragraph attributes: Align
Left Edge (on by default) and Scale for Descenders (kept and
round-tripped; no layout effect yet). With Align Left Edge the drop
cap's origin moves left by its first letter's left side bearing so its
ink starts at the indent, and the lines beside it start where its
advance ends. Right-to-left drop caps are unchanged.
Drop cap characters are counted as code points, extended to the end of
the grapheme cluster so a letter keeps its combining marks.
IDML imports and exports DropcapDetail (bit 1 Align Left Edge, bit 2
Scale for Descenders). DropCapStyle is still imported but no longer
exported: IDML applies the drop cap's character style through a Dropcap
nested style instead.
Format 1 documents keep their drop caps unaligned where nothing set the
option. Paragraph Style Options > Drop Caps has Align Left Edge and Scale
for Descenders checkboxes.
Paragraph rules can be in Text Color: they take the colour of the
paragraph's first character (rule above) or last character (rule below).
That is the default, and IDML maps RuleAboveColor / RuleBelowColor
"Text Color" both ways.
Defaults for what a file leaves unset, in the model and in IDML import:
text frames auto-size from the centre, numbered lists don't continue
across stories, and alternating table and table style fills start
Black 20 % then None 100 %. Kashidas (DefaultKashidas / KashidasOff)
import and export. A tint of -1 is the colour's own tint everywhere tints
are imported (underline and strikethrough, footnote rules included), and
tints are capped at 100 %.
Format 1 documents load as saved: they wrote rules, text frame options,
lists and table fills in full, so nothing relied on the old defaults.
Keep Lines Together now defaults to "At Start/End of Paragraph" (2/2):
new paragraphs, and IDML that sets Keep Lines Together without
KeepAllLinesTogether anywhere in the style chain, keep lines at the
start and end instead of moving the whole paragraph.
The native format is now version 2. Loading a version-1 document pins
"all lines" where that document resolved it from the old default (the
start of each paragraph style chain that leaves it unset, and
paragraphs whose style is missing), so saved documents keep their
layout.
aiongg