Culling a layer asked for its paint bounds, which walk its whole subtree,
and then did the same for each child: every layer's subtree was walked
again at each level above it, and once more in each parallel band. The
bounds worked out during a render are now kept for it (layers with
children only; bounds the 64-level cap cut short are not kept, and kept
ones are read only where their levels still fit under the cap, so culling
is exactly as before).
Every render also looked through every layer of the document for the
largest background blur, to size the overlap of its bands: 900 000 layers
on one large file, on the main thread before the bands start. The
document now works it out when first asked after a change, like whether
it has masks.
A 1440x900 render on a 900 000-layer file, page of 118 358 layers: at
100% 13.0 -> 0.6 ms, at 25% 16.5 -> 3.4 ms, fitted to the page 56 -> 31 ms;
page of 246 204 layers: 12.6 -> 2.5 ms, 12.1 -> 2.0 ms, 69 -> 62 ms.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01YQxjkNSUJhTkTfY74aNeki
- Cursors: the engine names a cursor for every tool, modifier and hover
target (rotate turned to its corner, pen states, eyedropper, comment,
copy on Alt, not-allowed while an instance refuses the edit); the UI shows
the system's or draws its own; guides and handles keep their cursors;
ui.inspect reports it.
- Panels: each edge drags its panel within limits, a double-click resets,
widths are per window and kept in the preferences (view.panelWidths); a
small window keeps its canvas.
- Outline mode: Include hidden layers and Include object bounds
(view.outlinesHiddenLayers, view.outlinesObjectBounds), drawn and
clickable; light lines on a dark page; check marks in the View menu.
- A file or page made in the dark theme has a #1E1E1E page (sessions
without an interface keep #F5F5F5); text drawn on a dark page is white.
- Tests for Enter and Escape on a selected text.
**A paint and effects behaviour suite written from the public documentation, and fixes for every divergence it found.** Each documented rule (fill stacking and opacity, paint vs layer opacity, every blend mode per paint and per layer, pass-through and Normal containers, the four gradient kinds and their handles, stops, image scale modes, rotation and adjustments, the colour models and hex entry, the document colour profile, drop and inner shadows, showing shadows behind transparent areas, layer and background blurs, effects on groups, effect order, what exports include) is a table-driven case with a one-line derivation; where the documentation is silent the case says so and pins today's behaviour. Scenes are small and synthetic; pixel cases use tolerances (blurs are checked against the normal distribution with sigma = radius / 2).
**Fixes (13 render cases and 8 command/export cases fail on the old code)**
- **Pass-through and Normal containers**: a group or frame set to Normal now blends its children among themselves first (it never isolated), and a **clipping frame no longer isolates** its children: they were drawn on a fresh layer, so a Multiply child inside a frame (frames clip by default) met neither the frame's fill nor what is behind it. The clipped layer now starts as a copy of what lies under it and goes back in its place through the clip (a memcpy for rectangular clips, so no slower); backdrop effects see the right composite, also for a clipping frame inside a faded group. Same in exports: SVG gives Normal groups `isolation:isolate` and puts a clipping frame's clip on what blends instead of a clipped `<g>` (a clipped group is a stacking context, which isolates); PDF wraps Normal groups in an isolated group (`Node::isolates_children`, shared).
- **Plus darker** (linear burn) is drawn by its formula on the canvas and in pixel exports for paints, layers, shadows and noise (it was multiply); tiny-skia lacks the mode, so `fx::plus_darker` composites it and `paint::composite` routes every layer, shadow and noise composite through it.
- **Shadows hidden behind the layer**: a drop shadow that doesn't show behind transparent areas is now hidden behind what the layer covers, translucent and 0% fills included (it was cut out by the layer's alpha, so it showed through a 50% fill anyway); groups and layers whose pixels a layer blur or texture moves still hide it behind their pixels. One `shadow::Caster::new` serves the canvas, PNG and the PDF's shadow rasters. **SVG** never cut shadows out: its filters now composite them `out` of an image of the layer's outline (or `SourceAlpha` for groups), and the filter region reaches as far as the effects (a fixed 200% box cut off a small layer's long shadow).
- **Fill images cover the box to its edges**: an upscaled Fill (or covering Crop) image faded to transparent over a source pixel at the box's edge.
- **"Normal" meant pass-through** when named: `BlendMode::from_name("normal")` found pass-through first (its CSS keyword is also `normal`), so `node.set {blend: "normal"}` and the blend menu's Normal set pass-through. Labels now win, and the menu sends labels.
**Added**
- A blend mode menu for each paint in the colour picker (no pass-through for paints), sharing `right::blend_menu` with the Design panel's layer menu; strings already translated.
- Inspect (`node.get`, MCP) reports a solid paint's `blend` when it isn't normal.
Animated GIF image fills keep their frames (first frame on the canvas and in exports; the presenter and preview play them, capped frames and memory, idle when not playing). TIFF images open, import, place and drop (pure-Rust decoder already in the tree); SVG exports embed TIFF and BMP as PNG. HEIC and video stay out (non-Rust decoders).
The last three catalogued menu items got commands: File > Open recent (recent files kept in preferences, capped, missing files greyed and dropped when picked, Clear recent), outlines for the selected layers only, and mask outlines. Menu breadth 100%.
`band_tests` and `lod_tests` both stored a different PNG under the image id "img". Image ids are
content hashes in real documents and key the process-wide decode cache, so when the tests ran in
parallel one could draw the other's picture (`inner_shadow_leaves_the_interior_alone` failed about
one run in twenty, a pixel off by one). Each fixture now has its own id; 40 consecutive runs pass.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
- Background blur sees the whole backdrop under the layer: the renderer keeps the stack of
isolated surfaces it draws into (clipping frames, rounded clips, faded groups, masks) and
flattens it for the layer's area, reading past the layer's own box. A blur inside a clipping
frame now shows the frame's fill instead of the sharp layers below, on the canvas and in PNG
exports. The PDF export draws background blur and glass through the same code from a render of
what lies under the node (`backdrop::render_beneath`, which the PDF's backdrop now shares), and
its images match the PNG's pixels.
- Shadow spread offsets the outline: the shape filled and stroked twice the spread wide with
mitred joins (grow) or cut away (shrink), the stroked bands cached per outline. Ellipses stay
ellipses, stars keep sharp points, text keeps its letterforms, rounded corners grow their
radius. Inner shadows shrink the outline the same way. Canvas, PNG and PDF share the shadow
code; SVG writes spread shadows as the same geometry and now exports inner shadows.
- Glass effect (light angle and intensity, refraction, depth, dispersion, frost, splay): the
frosted backdrop bent towards the inside within `depth` of the edge, colour fringes, light on
the rim, from an exact distance transform with smoothed normals.
- Noise: mono, duo and multi colour modes, grain size, density, opacity and blend mode; grains
live in the layer's coordinates (stable when panning and zooming). Texture is now drawn
(pixels scattered by the radius, grain size, clip to shape).
- Design panel rows for noise mode/colours/opacity, texture clip to shape and every glass value;
`effect.add` takes `glass`; REST import of NOISE, TEXTURE and GLASS; Inspect rows and CSS;
the scale tool scales grain sizes, texture radius, glass depth and frost.
- Tests in new modules: render backdrop/spread/grain tests, PDF backdrop tests, SVG, doc,
engine and REST effect tests.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Canvas previews zoomed out to 50% or less draw levels of detail
(crates/render/src/lod.rs): subtrees under 2 device px are splatted as
their averaged paint colours (box filter, no paths or effects), text
under 4 px is greeked into bars, small solid rectangles are splatted and
rectangular clip layers are composited without the blend pipeline.
Image paints and masks keep the exact path. Exports, thumbnails and
every other render stay exact (Options::lod is off by default); render
bands are assembled with a row copy instead of a pixmap draw.
.figcraft documents are serialized straight into the compressor and
parsed straight from the text (a header pass reads version and image
index without building a value tree); layer and text fields at their
default values are left out (63 -> 22 MB of JSON at 50k layers, older
files still load); JSON members use deflate level 3.
At 50k layers: zoomed-to-fit render ~58 -> ~8 ms, save ~1.0 s -> ~0.09 s,
load ~0.86 s -> ~0.16 s.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
