Conflicts in docs/gaps.md, docs/target-app-parity.md and docs/ui-parity.md:
kept main's status lines and rows and this branch's Type, selection-modifier
and Alt-wheel evidence. docs/scorecard.md regenerated.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
The layered TIFF export builds its layer data through the PSD exporter,
which now writes these modes in their own PSD mode (palette, 1 bit,
duotone). TIFF has no such layout and interleaves the merged image in
the pixel format, so the PSD model for it is made in that format (RGB or
Grayscale), as before.
Refs #4814
arboard 3.6 asks the clipboard for image/png only, so a screenshot tool or
clipboard manager that offers just image/jpeg, image/bmp or image/webp pasted
nothing ("the clipboard holds no image"). When arboard finds no image, read
the other image/* types through wl-clipboard-rs (already in Cargo.lock via
arboard's wayland-data-control) and decode them with photocraft-codecs.
Reads are capped at 1 GiB; TGA is trusted only when its type says so.
Claude-Session: https://claude.ai/code/session_01AbyXia7KGdFgbNjBeggY8J
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Indexed Color (mode 2): the flattened document as palette indices, the
Color Table as Color Mode Data (256 reds, greens, blues), its length in
resource 1046 and the transparent entry in 1047; the importer now reads
both back. Bitmap (mode 0): 1 bit per pixel, 1 = black. Neither mode has
layers in Photoshop, so both are written flat, like Multichannel; the
layerless file building is shared with multichannel_map.
A Duotone keeps the ink data it was imported with (undocumented, kept
verbatim in Duotone::psd_raw) over its grey plate. Duotones whose inks
were set in PhotoCraft have no such data and stay Grayscale with the
warning, as before.
Fixes#4814
* feat(channels): Channel Options dialog to make alpha channels spot colours (#3761)
Double-clicking an alpha channel's thumbnail in the Channels panel now opens
Photoshop's Channel Options dialog (double-clicking the name still renames it):
Name, Color Indicates Masked Areas / Selected Areas / Spot Color, the overlay
or ink colour (Color Picker) and Opacity, which becomes Solidity for spot
channels. A saved selection can now be turned into a spot channel with its own
ink for screen-print separations. The row context menu gains Channel Options…
and Quick Mask Options…, and `channel.options` without params from a menu
opens the dialog on the targeted channel. OK runs the existing engine command,
so agents can still call it directly with params.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* style: rustfmt module order in ui-egui lib.rs
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(channels): New Spot Channel dialog (#3761)
Channels › New Spot Channel… now opens Photoshop's dialog instead of adding
a channel straight away: Name (prefilled with the next free "Spot Color N"),
and Ink Characteristics: Color (opens the Color Picker) and Solidity. OK
creates the spot channel from the selection, as before, and remembers the ink
and solidity for next time. `channel.newSpot` with params still runs the
engine directly for agents, the CLI and MCP. The engine's `next_alpha_name`
helper is now public so the dialog's name matches the engine's default.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n: keep main's Czech rows, add Vietnamese strings (#3761 review)
- cs.tsv: main has removed its duplicate copies of Tool, Stroke Path…,
Clone Stamp, History Brush, Dodge, Burn and Sponge, so this branch keeps
main's single rows; the only Czech change is the Channel Options / New Spot
Channel block.
- vi.tsv: the Vietnamese catalog is complete since #2636, so it gets rows for
Channel Color, Color Indicates:, Solidity: and Ink Characteristics.
- it.tsv: main now translates Masked Areas and Selected Areas, so this
branch's duplicate rows are dropped.
Every catalog now only adds lines relative to main.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Channel Options: Serbian, Hungarian and Turkish rows for the new strings
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Brush: the Mode dropdown shows in every theme, not only Pro (fixes#4512)
* Options bar scroll test: wheel over Studio's bar clear of the Brush Mode dropdown
The Brush's new Mode dropdown takes the wheel to step through blend modes, so
the test's pointer at the bar's centre landed on it at 800 px in Studio.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Keep configured minimum values across Control changes and cover disabled input, independent controls and reactivation with UI regressions.
Refs #3825 (minimum input state only).
Co-authored-by: augrclk <217665348+augrclk@users.noreply.github.com>
Co-authored-by: GPT-6 <noreply@openai.com>
* fix(input): translate Linux precision Ctrl-wheel pinch gestures
* fix(input): decode Wayland high-resolution point pinch events
* docs(input): describe precision pinch support on Windows and Linux
* rustfmt
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The Print dialog's Printer field was free text, so you had to type the
spooler's exact queue name (e.g. HP_OfficeJet_3830_series). It's now a
dropdown, like Photoshop's: "Default printer (<name>)" first (value "",
as before), then every printer craft_print::printers() reports (CUPS
queues and driverless destinations, or Win32_Printer on Windows).
- engine: new query command `file.printers` → {printers:[{name, default}],
default}, no document needed, not journaled (same shape as DesignCraft's).
- ui: the dialog asks once per opening and keeps the list in `__printers`,
which never reaches file.print's params. Labels show `_` as spaces; the
exact queue name is what's sent. A remembered printer the spooler no
longer lists stays selectable.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(tests): bound print fuzzing and serialize Windows crop fixtures
* Crop tests: hold the shared GPU lock in every WARP-backed test; drop the print fuzzing change main already has (#4467)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* feat(export): offer ICO in Export As with format-size guidance
* fix(export): use theme warning token for oversized icons
* i18n: translate the Export As ICO size warning
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(type): leave keyboard input to focused font search
* test(type): focused font search cannot alter the edited type layer
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* fix(batch): ignore recorded Quick Export and use batch output
* fix(batch): ignore recorded Quick Export and use batch output
* cargo fmt
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
mix_selection looked up the selection one pixel at a time
(`sel.pixel(x, y)`, which allocates a Vec and walks the tile map) for
every output pixel of every tile of a filter applied through a
selection: about 24 million allocations and map lookups at 24 MP.
It now reads the selection over the tile once (`read_region`) and
indexes it. The result is bit-identical: the old per-pixel version is
the test oracle, with fully selected, unselected and partial pixels,
with and without alpha, on a tile crossing the selection's tiles.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* perf(camera-raw): convert the refined preview in parallel bands, not per row (#4682)
#3427 colour-managed the refined (zoomed-in) Camera Raw preview by calling
the display transform once per row. A row is below photocraft-cms's 16K-pixel
parallel threshold, so every edit ran the whole conversion on one core of
the UI thread, plus two allocations per row. Read and convert 64K-pixel bands
instead, in parallel off wasm (as channel_view does); output is identical.
2560x1600 visible crop, median of 15 runs (22-thread laptop, dev profile):
- sRGB document: 31.5 ms -> 3.9 ms
- Adobe RGB document: 125.0 ms -> 12.5 ms
- ProPhoto document: 117.5 ms -> 12.7 ms
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01AbyXia7KGdFgbNjBeggY8J
* perf(camera-raw): the main preview converts in parallel bands too, without a full copy
CameraRawDialog::image copied the whole proxy into a Buffer and colour-converted
it on one thread on every edit. It now goes through the same banded, parallel
display_image as the refined preview, reading bands straight from the slice.
Median of 21 runs (22-thread laptop, dev profile):
- 858x572 sRGB: 4.72 ms -> 1.00 ms
- 858x572 Adobe RGB: 7.39 ms -> 2.06 ms
- 1716x1144 sRGB: 18.58 ms -> 2.48 ms
- 1716x1144 Adobe RGB: 28.78 ms -> 6.88 ms
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01AbyXia7KGdFgbNjBeggY8J
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The GPU ramp is 4096 entries, so stops at 0.4999 and 0.5 interpolated to gray while the CPU kept the step. Stops that share an entry now use the CPU composite. Fixes#3053.
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Filter Gallery, Adaptive Wide Angle, Vanishing Point and every parameter dialog (Lens Correction, Image › Adjustments, …) now keep a history of their own settings: ⌘Z / ⇧⌘Z step through it, one drag is one step, and the document's History beneath is left alone. Camera Raw is left to #4136.
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Surface::convert / try_convert and map_color converted tile by
coordinate, and the ICC path (color_cmds::convert_surface) staged and
converted every coordinate's tile. A tile shared across the grid, such
as a filled background (one Arc for all of it), therefore came out as
one fresh tile per coordinate: a white 2048×1024 background went from
1 to 32 tile allocations, a 24 MP one to 384.
Each distinct tile is now converted once and the result shared by
every coordinate that shared the original. Pixels are unchanged; tests
compare against a per-pixel conversion and check the sharing for
convert, try_convert, map_color and Image › Mode › CMYK.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
canvas::display_doc runs 3–4 times a frame (canvas, Navigator, beyond-
canvas and texture paths). For a Duotone document it cloned the whole
document on every call to add the ink display layer, before any cache
check; while an adjustment slider is dragged it cloned it again on every
call to swap in the previewed settings.
memo_display keeps the built document per document id, keyed by the
snapshot (a Weak) and the preview key, so each is built once per edit
or setting and shared after that. The Channels panel borrows the masked
layer instead of cloning it every frame, and the adjustment Properties
copy the two flags they read instead of the whole layer.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Layers: Add vector mask makes the mask from the selected path and targets it (fixes#4728)
* Pen menu test: the vector mask made from a path becomes the active path
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Select > Sky: a white or grey backdrop that reaches the bottom is not sky
The colour prior counts bright, nearly neutral colour as overcast sky,
so a seamless studio backdrop starting at the top edge flooded the
whole background (79 % of a product shot). A sky never reaches the
bottom of a photo; a backdrop does. A region that also covers most of
the bottom rows and is nearly neutral (mean saturation under 0.1) is
now taken for a backdrop and nothing is selected; blue sky reaching
the bottom, as in a photo taken upward, still is.
Fixes#4634
* Sky: read the bottom rows of the mask with get()
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
lift read the whole copied area into one f32 buffer (16 bytes per RGBA
pixel, about 366 MiB at 24 MP), multiplied in the selection and wrote
everything back into new tiles, so the clip shared nothing with the
layer: 273 ms for a plain Copy of a 24 MP layer and 341 ms after Select
All.
It now goes tile by tile. A source tile the copy takes whole (inside the
canvas, no selection or a fully selected tile, already in the clip's
format) is shared copy-on-write; the other tiles go through the old
per-pixel path one at a time. Measured on the same layer: 17 ms and
42 ms. The clip is bit-identical: the old whole-area version is kept as
the test oracle across depths, with and without alpha, no selection,
Select All, a partial feathered selection and one off the tile grid,
and content past the canvas.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* feat(color): Dot Gain 20%-compatible default working gray, as in Photoshop
Photoshop's default working gray is Dot Gain 20%, and its RGB -> Grayscale
measured in Photoshop 27.11 (default Color Settings) is D50 luminance
encoded with gamma 1.732: sRGB 64 / 128 / 192 grey and pure red become
46 / 105 / 177 / 107. PhotoCraft defaulted to sGray, which kept the sRGB
value (64 / 128 / 192 / 130), up to 24 levels off.
Adds the built-in "Dot Gain 20%-compatible (gamma 1.732, Photocraft)"
gray profile (id dot-gain-20-compat; our own fitted curve, not Adobe's
profile, the same gamma PhotoCraft already uses for gray adjustments) and
makes it the default working gray and the fallback for untagged gray
documents. sGray and Gray Gamma 2.2 stay selectable.
This changes a default: untagged gray documents now convert and display
as Photoshop shows them (midtones lighter than under sGray); documents with
an embedded profile are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Status bar test: the default working gray is now Dot Gain 20%-compatible
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* .atn test: #202020 in the Dot Gain 20%-compatible working gray
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Pen: a close-path pointer over the first anchor (#4596)
* Canvas: the close-path pointer arm before the pen tools' own cursors
The pen tools' icon cursors (#4650) matched first and made this arm unreachable.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A layer with Blending Options › Blend If made the planner refuse the
whole document, so every refresh of it ran the CPU compositor: on the
#209 layered document an opacity edit took 140 ms instead of 6 ms.
Blend If is compose::apply_blend_if: the composite with the layer mixed
back towards the backdrop by a per-pixel weight from the layer's own
content with its masks ("This Layer"; an adjustment's result) and the
backdrop ("Underlying Layer"). The planner now keeps the backdrop,
composites the layer as before (channel restrictions included, as on
the CPU), renders its own content and emits one Lerp pass with the new
F_BLEND_IF flag and the ranges packed exactly in its parameters. Base
and clipped layers both go through it; Advanced Blending still falls
back to the CPU.
Hard points: compositing can leave an 8-bit level a few millionths
below itself (a level-20 backdrop at partial alpha reads 19.999998),
which put it on the wrong side of a hard point at that level on the
CPU, and the GPU's arithmetic differs there. Both now treat a value
within 1e-4 of a level as that level; 8/16-bit values off a level are
at least 1/257 away. On 16/32-bit documents the GPU reads layers as
RGBA16F, so a value within about a tenth of a level of a hard point can
still land on the other side, as with the GPU Threshold adjustment.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
#4651 re-added Japanese rows that #3893 and earlier work already had, so
bundled_catalogs_are_consistent failed on duplicates. #4605's mask thumbnail
menu landed without its three Serbian strings.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* OpenRaster: never overwrite an .ora with less than the document has (#3806)
File › Save wrote any document back to its .ora, though OpenRaster
drops adjustment layers, layer styles, vector masks and clipping,
applies masks and fill opacity to the pixels and rasterises type and
shape layers; the save then marked the document saved, so the edits
were lost without asking.
An OpenRaster file now counts as the document's own file only while
it holds everything in it. photocraft_io::ora_losses lists what a save
would leave out, from the same checks the writer warns with but
without encoding anything, and file_cmds::holds says whether a format
keeps the whole document (PSD, PSB and .pcraft always; OpenRaster when
nothing is lost). When it doesn't:
- File › Save opens Save As on a PSD of the same name, with a notice
listing what OpenRaster would drop, instead of overwriting the .ora;
- a save to an .ora path writes a copy, as Photoshop does for formats
that can't keep everything: the document keeps its file and stays
unsaved;
- automation (app.save, the headless doc.save) refuses a pathless save
with the reasons and treats an .ora save as a copy.
An sRGB profile is no longer reported as lost, as OpenRaster readers
assume sRGB. A plain document still saves back to its .ora.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n(vi): translate the OpenRaster save notice
vi.tsv is now a complete catalog, so the two new strings need
Vietnamese rows. Terms follow the catalog's own: Không thể for
can't, như for such as, Lưu bản sao for Save a Copy.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CiFWEfKibLnwb6oSy6ZBE
* i18n(hu, tr): translate the OpenRaster save notice
main added complete Hungarian and Turkish catalogs after this branch
was cut, so every_tl_literal_is_translated needs their rows for the
two new strings. Wording follows each catalog: informal Hungarian
with "{name}" after a colon; formal Turkish with Biçim for format.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CiFWEfKibLnwb6oSy6ZBE
* i18n(sr): translate the OpenRaster save notice
Main gained a complete Serbian catalogue (#4436); every_tl_literal_is_translated
needs the notice's two strings there too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Lab and CMYK: Invert, Posterize and Threshold work on the document's channels
Photoshop applies these to each stored channel, not to RGB:
- Lab: Invert and Posterize work on L, a and b, and Threshold cuts on L
to a neutral black or white.
- CMYK: Invert and Posterize work on each ink, black included, so
paper inverts to 400% ink. Threshold gives paper or 100% black ink.
Adjustment layers now do the same:
- compose::adjust::apply_mode goes through the document's Lab or CMYK
channels.
- The GPU falls back to the CPU for these, as it already does for
Lab/CMYK Levels and Curves.
- The destructive Image > Adjustments path works on the stored samples
directly, so it is exact.
Photoshop oracles (lab/cmyk 8 and 16 bit), bad pixels before -> after:
- lab threshold: PASS (was 12%)
- lab invert: 72-99% -> 1%
- lab posterize: 89% -> 0.1%
- cmyk invert: 77% -> 10%
- cmyk posterize: 71% -> 9%
- cmyk threshold: 37% -> 1.6%
Floor 133 -> 139 (137 already passed on main).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK: Invert, Posterize and Threshold on the inks; 16-bit Lab Invert keeps greys neutral
Builds on main's adjust::apply_in (#4038):
- apply_in's mode dispatch gains CMYK. Invert and Posterize work on each
ink, black included, so paper inverts to 400% ink. Threshold gives
paper or 100% black ink alone. cmyk_channel_adjustment says which
adjustments do this.
- Lab Invert mirrors a and b around neutral at 16 bits; 8-bit bytes
still become 255 - v. stored_channels holds both rules, and
apply_lab uses it.
- Destructive Image > Adjustments on a Lab or CMYK layer works on its
stored channels directly, so it is exact; a selection mixes the
stored values.
- The GPU leaves CMYK Invert, Posterize and Threshold to the CPU.
Photoshop oracles, bad pixels:
- cmyk invert: 77% -> 10%
- cmyk posterize: 71% -> 9%
- cmyk threshold: 37% -> 1.6%
- lab16 invert: 52% -> 1.2%
The count stays at 145/258, which main already passes, so the floor
goes 133 -> 145.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Carry only the linked-source records referenced by copied layers through Copy/Paste and save/reopen. Preserve raw records, avoid duplicate payloads on same-document paste, and reject ambiguous or incomplete selected identities before replacing the clipboard.
Co-authored-by: skylar taylor-barrick <hi@skylar.cc>
Photoshop 27.11's round tip, measured on single dabs (hardness 0-100 in
steps of 10 at 40 px, checked at 100, 9, 7, 5, 3, 2 and 1 px): a solid
core of radius r0*R, then a Gaussian shoulder exp(-((d - r0) / s)^2) of
width s*R, both from a table by hardness. A soft tip reaches well past its
nominal radius (hardness 0 is a Gaussian of sigma 0.47 R: 8 % at 1.05 R);
PhotoCraft's (1 - t^2)^4 ended at R and kept far less coverage (a 40 px
hardness-0 dab held 251 coverage units against Photoshop's 542). The edge
stays at least ~1 px wide (0.3 R on small tips, never under 1/4 px).
exp is (1 - u/64)^64 by squaring, so it is the same on every platform.
Dab rectangles, reaches and the retouch footprint grow to the tip's reach
(tip_reach); the brush cursor's 50 % ring (half_coverage_radius) follows the
new curve. Tests that hard-coded the old curve now check measured values;
tests that bounded a stroke by the nominal radius use the reach.
Measured against Photoshop (max levels / mean): 40 px dabs, hardness 0-70:
70-156 / 12-15 -> 2-6.5 / <0.7; 100 px dabs 70-177 -> 2-27; strokes
(probe 13) soft and medium 20-60 px 133-178 / up to 17 -> 4-26 / <=0.5;
spacing sweeps 134-221 -> 7-9; soft Flow build-up 85 / 7.5 -> 5 / 0.16;
small 1-7 px total error lower in 21 of 30 cases (medium hardness at
2-5 px a little higher: a follow-up).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
A shape layer's thumbnail shows its pixels like any other layer, so nothing
in the row said it was a vector shape. It now carries a badge in the
bottom-right corner, in the same frame as the smart-object badge: a path
with an anchor point on each corner.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
