* 32-bit: legacy Brightness/Contrast, Channel Mixer, Photo Filter and B&W tint unclipped
In 32-bit documents Photoshop keeps these adjustments' results above 1
and below 0. On the photoshop corpus's rgb32/gray32 files:
- Legacy Brightness/Contrast pivots its contrast at 127 of 255 (8/16-bit:
128) and is exact on every pixel.
- Channel Mixer cuts each source percentage to 1/1024 toward zero, counts
255/512 of the constant and is exact on pure red, green, blue, black
and white.
- Photo Filter works on the linear samples, negative results included.
- The Black & White tint is the Color blend mode without the clip at 1,
as the blend mode is there; white tints to (1.05, 1.00, 0.87).
We clipped all four to 0..1. The GPU kernels follow suit under F_HDR
(the legacy pivot and the mixer's steps come from the planner), and the
HDR parity test covers them.
Photoshop oracles: rgb32 and gray32 brightness-contrast-legacy, rgb32
channel-mixer and black-white-tint pass (145 -> 149 of 258); floor
145 -> 149. rgb32 photo-filter improves (0.19 -> 0.035 max); the rest is
its colour (#3790).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Levels: whole levels at every step and Photoshop's shadow toe
In 8 bits Photoshop rounds each of the three Levels steps to a whole
level (half up): the input-range stretch (already modelled), the
midtone gamma and the output range. A narrow output range therefore
merges neighbouring gamma levels: psd-tools levels_rgb maps R 43..48 to
58 through a 0.47 channel gamma and the master's 48..255, where the
unrounded curve gave 56..59 (3 levels off in blue).
The gamma above 1 starts along a toe a*u - b*u^q of slope a = 2^gamma
that joins the power curve with the same value and slope (q = 2.2,
fitted). With the rounding, that is exact on 1116 of the 1118 levels
of gamma 1.16, 1.22, 1.3, 1.78 and 2.0 oracles; the soft-min it replaces
missed 52. Gamma below 1 stays the plain power curve (0.67 and 0.7:
every level exact).
Oracles: psd-tools levels_rgb 0.0118 -> 0.0039 (PASS); photoshop
rgb8/stack-levels-curves-hue-posterize 0.2000 -> 0.0000 (PASS); rgb8 and
gray8 levels.psd 0.0039 -> 0.0000; rgb16/gray16 0.0039 -> 0.0020. Floors:
photoshop 145 -> 146, psd-tools 236 -> 238 (main is at 237).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Masks: feathers blur with exactly the feather's variance
A mask feather is a Gaussian with sigma = feather, which we approximate
with three box passes per axis. Whole-pixel boxes rounded the variance:
a 6 px feather blurred like 6.48 px and a 3 px one like 3.46 px, so
feathered edges were too soft by up to 4 levels against Photoshop
(psd-tools mask-parameters-no-real-channel.psd: a 6 px vector and 3 px
pixel feather).
Each pass is now an "extended box" (Gwosdek et al. 2011): weight 1 on
the whole radius and a fractional weight on the two samples beyond it,
so three passes have variance sigma^2 exactly. It stays O(n), reusing
the window's leaving sample for the low end weight (50 MP at a 1000 px
feather: 180 ms parallel, was 172).
psd-tools: mask-parameters-no-real-channel 0.0168 -> 0.0060 (PASS),
layer_mask_data.psd 26.9 % -> 3.9 % of pixels off (psb 25.9 % -> 1.8 %).
Corpus test 239 -> 240; floor 236 -> 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Lab: adjustment layers composite on the stored L, a and b
The compositor reads a Lab document's layers through display RGB, which
clips colours outside its gamut, so the adjustments Photoshop evaluates
on L, a and b (Invert, Posterize, Threshold, Brightness/Contrast, Levels
and Curves with Lab records) only saw the clipped colours: the photoshop
corpus's Lab oracles were up to 11 levels off on saturated colours.
compose::native_lab works a Lab stack of plain layers out on the stored
values instead, like the CMYK ink path: Normal mixes L, a and b
linearly, an opaque layer keeps them exactly, a layer mask scales the
mix, and adjustment layers run adjust::lab_stored_op on each pixel.
Stacks with such adjustments render for display this way; flattening a
plain Lab stack keeps its stored values (exports no longer clip).
Anything else (other blend modes, effects, other adjustments) keeps the
RGB compositor.
Photoshop oracles 145 -> 152: lab16 invert, posterize-4, levels, curves
and brightness-contrast-legacy; lab8 invert and posterize-4. lab8
levels and legacy B/C come within a level (their 8-bit rules are #5143
and #5132). psd-tools and io unchanged; every round trip unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Threshold: split on Photoshop's luminosity of whole samples
Photoshop's Threshold splits on the luminosity 0.30 R + 0.59 G + 0.11 B
(the blend modes' lum, as Gradient Map uses), not the Rec. 601 grey,
taken over the document's whole sample values:
- 8 bits: 30 R + 59 G + 11 B > 100 level - 50, i.e. the luminosity
rounded to a level with halves down reaches the level;
- 16 bits: 30 R + 59 G + 11 B >= 100 x the level in 16 bits
(round(level x 32768 / 255): mid grey 16448 is level 128);
- 32 bits: the luminosity reaches the level.
Exact on every pixel of psd-tools threshold_rgb (36432 px; Rec. 601 split
28 the other way), threshold_16bits_rgb (100) and threshold_16bits_
grayscale, and the photoshop corpus's rgb16 threshold-128. The sums are
exact in f32, on the CPU and in the GPU kernel, so ties (grey exactly on
the level) split the same way on both.
psd-tools: threshold_rgb and threshold_16bits_rgb pass; corpus test
239 -> 241, floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
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>
* Layers panel: Clip Thumbnails to Layer Bounds (#4281)
Add interface.clipThumbnailsToLayerBounds (off by default), toggled from the
Layers panel menu or Preferences > Interface. When on, a pixel layer's
thumbnail frames the layer's own pixels (cut to the canvas) instead of the
whole canvas, so small objects in a large document stay visible. Empty or
fully off-canvas layers keep the canvas frame.
The frame is computed only when the thumbnail is rebuilt (tile-cached
content bounds) and is part of the cache key, so toggling rebuilds it.
Closes#4281
* Regenerate docs/scorecard.md after merging main
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: badaaif <17384158+badaaif@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* 32-bit: legacy Brightness/Contrast, Channel Mixer, Photo Filter and B&W tint unclipped
In 32-bit documents Photoshop keeps these adjustments' results above 1
and below 0. On the photoshop corpus's rgb32/gray32 files:
- Legacy Brightness/Contrast pivots its contrast at 127 of 255 (8/16-bit:
128) and is exact on every pixel.
- Channel Mixer cuts each source percentage to 1/1024 toward zero, counts
255/512 of the constant and is exact on pure red, green, blue, black
and white.
- Photo Filter works on the linear samples, negative results included.
- The Black & White tint is the Color blend mode without the clip at 1,
as the blend mode is there; white tints to (1.05, 1.00, 0.87).
We clipped all four to 0..1. The GPU kernels follow suit under F_HDR
(the legacy pivot and the mixer's steps come from the planner), and the
HDR parity test covers them.
Photoshop oracles: rgb32 and gray32 brightness-contrast-legacy, rgb32
channel-mixer and black-white-tint pass (145 -> 149 of 258); floor
145 -> 149. rgb32 photo-filter improves (0.19 -> 0.035 max); the rest is
its colour (#3790).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Levels: whole levels at every step and Photoshop's shadow toe
In 8 bits Photoshop rounds each of the three Levels steps to a whole
level (half up): the input-range stretch (already modelled), the
midtone gamma and the output range. A narrow output range therefore
merges neighbouring gamma levels: psd-tools levels_rgb maps R 43..48 to
58 through a 0.47 channel gamma and the master's 48..255, where the
unrounded curve gave 56..59 (3 levels off in blue).
The gamma above 1 starts along a toe a*u - b*u^q of slope a = 2^gamma
that joins the power curve with the same value and slope (q = 2.2,
fitted). With the rounding, that is exact on 1116 of the 1118 levels
of gamma 1.16, 1.22, 1.3, 1.78 and 2.0 oracles; the soft-min it replaces
missed 52. Gamma below 1 stays the plain power curve (0.67 and 0.7:
every level exact).
Oracles: psd-tools levels_rgb 0.0118 -> 0.0039 (PASS); photoshop
rgb8/stack-levels-curves-hue-posterize 0.2000 -> 0.0000 (PASS); rgb8 and
gray8 levels.psd 0.0039 -> 0.0000; rgb16/gray16 0.0039 -> 0.0020. Floors:
photoshop 145 -> 146, psd-tools 236 -> 238 (main is at 237).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Masks: feathers blur with exactly the feather's variance
A mask feather is a Gaussian with sigma = feather, which we approximate
with three box passes per axis. Whole-pixel boxes rounded the variance:
a 6 px feather blurred like 6.48 px and a 3 px one like 3.46 px, so
feathered edges were too soft by up to 4 levels against Photoshop
(psd-tools mask-parameters-no-real-channel.psd: a 6 px vector and 3 px
pixel feather).
Each pass is now an "extended box" (Gwosdek et al. 2011): weight 1 on
the whole radius and a fractional weight on the two samples beyond it,
so three passes have variance sigma^2 exactly. It stays O(n), reusing
the window's leaving sample for the low end weight (50 MP at a 1000 px
feather: 180 ms parallel, was 172).
psd-tools: mask-parameters-no-real-channel 0.0168 -> 0.0060 (PASS),
layer_mask_data.psd 26.9 % -> 3.9 % of pixels off (psb 25.9 % -> 1.8 %).
Corpus test 239 -> 240; floor 236 -> 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Threshold: split on Photoshop's luminosity of whole samples
Photoshop's Threshold splits on the luminosity 0.30 R + 0.59 G + 0.11 B
(the blend modes' lum, as Gradient Map uses), not the Rec. 601 grey,
taken over the document's whole sample values:
- 8 bits: 30 R + 59 G + 11 B > 100 level - 50, i.e. the luminosity
rounded to a level with halves down reaches the level;
- 16 bits: 30 R + 59 G + 11 B >= 100 x the level in 16 bits
(round(level x 32768 / 255): mid grey 16448 is level 128);
- 32 bits: the luminosity reaches the level.
Exact on every pixel of psd-tools threshold_rgb (36432 px; Rec. 601 split
28 the other way), threshold_16bits_rgb (100) and threshold_16bits_
grayscale, and the photoshop corpus's rgb16 threshold-128. The sums are
exact in f32, on the CPU and in the GPU kernel, so ties (grey exactly on
the level) split the same way on both.
psd-tools: threshold_rgb and threshold_16bits_rgb pass; corpus test
239 -> 241, floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Empty commit to resync the pull request head
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Pen tool: Shift constrains segments and handles to 45° (TOOL-214-10, #3751)
Shift-click puts the next Pen anchor on the nearest 45-degree ray from the
previous anchor (at the pointer's projection onto it); Shift held while
dragging out direction handles turns them to 45-degree steps, read live
per move. The first anchor, closing on the first anchor and the last-anchor
break are unaffected; after Alt breaks the pair Shift constrains the
outgoing handle alone. The rubber band previews the constrained point.
Reuses stroke_constraint::snap45. Flips scorecard TOOL-214-10 to done.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Brush Settings: a response curve per dynamic control (#3294)
Every brush Dynamic (Size, Opacity, Flow, Roundness, Scatter, Count,
Depth, Foreground/Background...) now carries its own response curve for
its control (Fade, Pen Pressure, Pen Tilt, Stylus Wheel, Rotation),
applied after the global Preferences pen curve. It is part of the brush
JSON, so tools.setBrush sets it (e.g. shapeDynamics.size.curve), actions
record it and presets keep it; linear by default, so existing brushes
paint unchanged.
- paint: ResponseCurve, the global pen curve's monotone cubic moved down
from the engine as a fixed-size Copy type (no allocation per dab);
serialises as its point list. dynamics::dynamic_value applies it.
- engine: prefs::PressureCurve is now that type.
- ui-egui: each Control row gets a curve button (lit when the curve isn't
linear) that shows the same editor as Preferences > Tools.
- scorecard: TOOL-213-11 done.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n: Response curve for hu, tr
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: regenerate scorecard after merging main
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Fix i18n after merge: Serbian Response curve, drop duplicate hu row; regenerate scorecard
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Brushes: import an image file as a brush tip (#3279)
`brush.presets.importImage` reads an image (path, or base64 data with
an optional fileName) through the normal importer, so any format and
bit depth File > Open reads works. Its composite becomes a sampled tip
the way Define Brush Preset reads a selection: darkness x alpha,
cropped to the painted extent, at most 2500 px a side. The bounds are
found band by band first, so a large mostly-white image never needs a
full-size buffer. The preset is named after the file (never replacing
an existing one) and becomes the current brush unless select is false.
Import Brushes... in the Brushes panel and the brush preset picker now
opens a picker for .abr and image files; images go to the new command,
.abr files to brush.presets.importAbr as before. Automation refuses an
ambient `path` for it like the other import commands.
Define Brush Preset and the new command share `sampled_brush`.
Scorecard TOOL-213-12 -> done.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Regenerate scorecard
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: regenerate scorecard after merging main
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* fix(ui): remember the selected tool between launches
* fix(ui): preserve explicit Eraser selection during temporary tool overrides
Clear temporary pen and spring state for explicit toolbar, menu, preset and control selections. Keep spring-loaded key behavior; only permanent key choices clear the pen marker. Add exit/relaunch coverage for explicit Eraser with pen and spring overrides.
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Batch: Include All Subfolders (AUTO-219-5, #3753)
File > Automate > Batch and File > Scripts > Image Processor take an
optional "includeSubfolders" (default false): a folder input also yields
the images in its subfolders, walked depth first in name order, bounded at
32 levels and 100000 files, with a seen-set of canonical folders against
symlink loops and the output folder left out. Each result keeps its
relative subfolder under the output folder, so same-named files in
different subfolders no longer collide. A non-boolean value is BadParams.
Both dialogs gain an "Include All Subfolders" checkbox (translated in
every complete catalog). Scorecard AUTO-219-5 stays partial (naming
template, progress/cancel, error log file); gaps.md G11 updated.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Batch: translate Include All Subfolders for Hungarian and Turkish
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The filter row's "Kind" was painted text. It is now a dropdown, as in
Photoshop: Kind keeps the five layer-kind toggles, Name lists layers whose
name contains the typed text (ignoring case), and Mode lists layers with
one blend mode (Pass Through included), filtering by Normal at first.
The criteria live in UiState (layer_filter_by, layer_filter_name,
layer_filter_mode; serde defaults, so saved settings still load) and are
drivable with ui.set {layerFilter: {by, kinds, name, mode}}, validated
before anything changes. ui-parity.md gets a partial row: Effect,
Attribute, Color, Smart Object, Selected and Artboard are still missing.
Co-authored-by: Brandon Thomas <echelon@gmail.com>
With a selection, ⌘T and the Move tool's Show Transform Controls framed the
layer's content clipped to the selection, so the box was smaller than the
marching ants wherever the layer did not fill the selection. The ants then
stayed where the selection started until the transform was applied.
- transform_frame / target_frame (engine): the box is the selection's own
bounds when a selection limits the transform. transform_bounds is unchanged,
so snapping and the command defaults are as before.
- The selection outline is drawn through the open box (homography, or the warp
in Warp mode), so it follows move, scale, rotate, skew, distort, perspective
and warp before the transform is applied. The whole outline is traced while
such a box is open, not only the part in view where it started.
- marching_ants_lines: ants along screen-space lines; non-finite lines are
skipped and very long ones are clipped to the view.
Part of #3402.
Claude-Session: https://claude.ai/code/session_015vKPoMXFhSvWmX5D9XM646
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* 32-bit: legacy Brightness/Contrast, Channel Mixer, Photo Filter and B&W tint unclipped
In 32-bit documents Photoshop keeps these adjustments' results above 1
and below 0. On the photoshop corpus's rgb32/gray32 files:
- Legacy Brightness/Contrast pivots its contrast at 127 of 255 (8/16-bit:
128) and is exact on every pixel.
- Channel Mixer cuts each source percentage to 1/1024 toward zero, counts
255/512 of the constant and is exact on pure red, green, blue, black
and white.
- Photo Filter works on the linear samples, negative results included.
- The Black & White tint is the Color blend mode without the clip at 1,
as the blend mode is there; white tints to (1.05, 1.00, 0.87).
We clipped all four to 0..1. The GPU kernels follow suit under F_HDR
(the legacy pivot and the mixer's steps come from the planner), and the
HDR parity test covers them.
Photoshop oracles: rgb32 and gray32 brightness-contrast-legacy, rgb32
channel-mixer and black-white-tint pass (145 -> 149 of 258); floor
145 -> 149. rgb32 photo-filter improves (0.19 -> 0.035 max); the rest is
its colour (#3790).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Masks: feathers blur with exactly the feather's variance
A mask feather is a Gaussian with sigma = feather, which we approximate
with three box passes per axis. Whole-pixel boxes rounded the variance:
a 6 px feather blurred like 6.48 px and a 3 px one like 3.46 px, so
feathered edges were too soft by up to 4 levels against Photoshop
(psd-tools mask-parameters-no-real-channel.psd: a 6 px vector and 3 px
pixel feather).
Each pass is now an "extended box" (Gwosdek et al. 2011): weight 1 on
the whole radius and a fractional weight on the two samples beyond it,
so three passes have variance sigma^2 exactly. It stays O(n), reusing
the window's leaving sample for the low end weight (50 MP at a 1000 px
feather: 180 ms parallel, was 172).
psd-tools: mask-parameters-no-real-channel 0.0168 -> 0.0060 (PASS),
layer_mask_data.psd 26.9 % -> 3.9 % of pixels off (psb 25.9 % -> 1.8 %).
Corpus test 239 -> 240; floor 236 -> 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Threshold: split on Photoshop's luminosity of whole samples
Photoshop's Threshold splits on the luminosity 0.30 R + 0.59 G + 0.11 B
(the blend modes' lum, as Gradient Map uses), not the Rec. 601 grey,
taken over the document's whole sample values:
- 8 bits: 30 R + 59 G + 11 B > 100 level - 50, i.e. the luminosity
rounded to a level with halves down reaches the level;
- 16 bits: 30 R + 59 G + 11 B >= 100 x the level in 16 bits
(round(level x 32768 / 255): mid grey 16448 is level 128);
- 32 bits: the luminosity reaches the level.
Exact on every pixel of psd-tools threshold_rgb (36432 px; Rec. 601 split
28 the other way), threshold_16bits_rgb (100) and threshold_16bits_
grayscale, and the photoshop corpus's rgb16 threshold-128. The sums are
exact in f32, on the CPU and in the GPU kernel, so ties (grey exactly on
the level) split the same way on both.
psd-tools: threshold_rgb and threshold_16bits_rgb pass; corpus test
239 -> 241, floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
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>
* Masks: feathers blur with exactly the feather's variance
A mask feather is a Gaussian with sigma = feather, which we approximate
with three box passes per axis. Whole-pixel boxes rounded the variance:
a 6 px feather blurred like 6.48 px and a 3 px one like 3.46 px, so
feathered edges were too soft by up to 4 levels against Photoshop
(psd-tools mask-parameters-no-real-channel.psd: a 6 px vector and 3 px
pixel feather).
Each pass is now an "extended box" (Gwosdek et al. 2011): weight 1 on
the whole radius and a fractional weight on the two samples beyond it,
so three passes have variance sigma^2 exactly. It stays O(n), reusing
the window's leaving sample for the low end weight (50 MP at a 1000 px
feather: 180 ms parallel, was 172).
psd-tools: mask-parameters-no-real-channel 0.0168 -> 0.0060 (PASS),
layer_mask_data.psd 26.9 % -> 3.9 % of pixels off (psb 25.9 % -> 1.8 %).
Corpus test 239 -> 240; floor 236 -> 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Threshold: split on Photoshop's luminosity of whole samples
Photoshop's Threshold splits on the luminosity 0.30 R + 0.59 G + 0.11 B
(the blend modes' lum, as Gradient Map uses), not the Rec. 601 grey,
taken over the document's whole sample values:
- 8 bits: 30 R + 59 G + 11 B > 100 level - 50, i.e. the luminosity
rounded to a level with halves down reaches the level;
- 16 bits: 30 R + 59 G + 11 B >= 100 x the level in 16 bits
(round(level x 32768 / 255): mid grey 16448 is level 128);
- 32 bits: the luminosity reaches the level.
Exact on every pixel of psd-tools threshold_rgb (36432 px; Rec. 601 split
28 the other way), threshold_16bits_rgb (100) and threshold_16bits_
grayscale, and the photoshop corpus's rgb16 threshold-128. The sums are
exact in f32, on the CPU and in the GPU kernel, so ties (grey exactly on
the level) split the same way on both.
psd-tools: threshold_rgb and threshold_16bits_rgb pass; corpus test
239 -> 241, floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
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>
* Threshold: split on Photoshop's luminosity of whole samples
Photoshop's Threshold splits on the luminosity 0.30 R + 0.59 G + 0.11 B
(the blend modes' lum, as Gradient Map uses), not the Rec. 601 grey,
taken over the document's whole sample values:
- 8 bits: 30 R + 59 G + 11 B > 100 level - 50, i.e. the luminosity
rounded to a level with halves down reaches the level;
- 16 bits: 30 R + 59 G + 11 B >= 100 x the level in 16 bits
(round(level x 32768 / 255): mid grey 16448 is level 128);
- 32 bits: the luminosity reaches the level.
Exact on every pixel of psd-tools threshold_rgb (36432 px; Rec. 601 split
28 the other way), threshold_16bits_rgb (100) and threshold_16bits_
grayscale, and the photoshop corpus's rgb16 threshold-128. The sums are
exact in f32, on the CPU and in the GPU kernel, so ties (grey exactly on
the level) split the same way on both.
psd-tools: threshold_rgb and threshold_16bits_rgb pass; corpus test
239 -> 241, floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
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>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
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>
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* ACEScg: File Handling option opens colour-less EXR renders in the ACES working space
Our render pipelines write ACEScg (AP1 primaries, ACES white ~D60,
linear) and — like most — state no colour space in the EXR header, so
io's linear-sRGB default misrepresented them (saturated hues shifted).
- cms: AcesCg joins the built-in profiles, generated from the published
AP1 primaries and ACES white point with a linear TRC (id "aces-cg",
aliases acescg).
- engine: File Handling gets "Open color-less EXR as ACEScg". When on,
an EXR that io tagged with the linear-sRGB default opens as ACEScg
instead; embedded or EXIF-declared profiles stay untouched.
Translated in every catalog. ACES view transforms (OCIO-based display)
remain future work; this covers the document's source colours.
* scorecard: 26 of 158 (main's #3472 preference added one too)
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Clicking a snapshot now selects it (highlighted in place of the current
state) until the history moves on. With a snapshot selected the footer's
trash runs history.deleteSnapshot instead of history.deleteState, as in
Photoshop. Snapshot rows and past state rows can also be dragged onto
the trash to delete them.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Interface: a preference to hide the Home screen's recent files (#4382)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n: drop the hu/tr 'Enable animations' lines, #4362 adds them
Both PRs added the same two lines; whichever merged second would leave a duplicate key (bundled_catalogs_are_consistent rejects it).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: regenerate scorecard after merging main
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge main; fix i18n (duplicate ja row, missing sr row) and regenerate scorecard
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Drop the duplicate hu row
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>
* Record action layer selections by name and show their targets
* Use document pixel format in grouped-layer regression
* Document the named layer action UI with a synthetic capture
The layers were only in document.inspect, together with history,
channels and much more, so agents looked for a layer.* command that
didn't exist.
layer.list returns the layers top-down with id, name, kind, visibility,
bounds, selected and active; groups list their children, or with
"flat": true every layer is one row with its depth and parent group.
It takes the same optional "document" index as document.inspect, is not
journaled and bad params are errors.
* Smart Objects: inspect and Replace Contents show shared instances (#4075)
Placed layers that share a source have imported as one set of contents
since #2222, and Replace Contents changes every instance, but nothing
reported it: `linkGroup` is Link Layers, and `smartSource` can't tell
copies of one contents from independent copies of the same file.
document.inspect now gives each smart object `smartContents`: the
contents `id` its copies share and how many `instances` there are.
Replace Contents, Relink to File and Convert to Embedded/Linked list the
`instances` they changed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Test rendered caches after shared Smart Object replacement
---------
Co-authored-by: jonathnwxh <258340642+jonathanwxh-cell@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Linux: a virtual keyboard claiming BTN_TOOL_PEN no longer sends the window through Xwayland (#5284)
On Wayland the app opens its window through Xwayland when a pen is attached
(#639), and it took any input device whose key bitmap has BTN_TOOL_PEN for a
pen. A virtual keyboard made with uinput (RustDesk's, for one) claims every
key code, that one included, so the window went through Xwayland on machines
with no pen at all. On a fractionally scaled desktop (GNOME 46 at 125%) the
X11 window is drawn at the logical size and upscaled by the compositor, so
the UI came out blurred even though Auto UI Scale already followed the
system's 1.25 (#1237): native Wayland, where winit negotiates
wp_fractional_scale_v1 and renders at the physical 3840 px, was never used.
A pen now also needs ABS_X and ABS_Y in its absolute-axis bitmap, as
libinput asks of a tablet tool; a keyboard has no axes. Regression tests
with the virtual keyboard's own bitmaps, a pen beside it, and a pen display.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
* Docs: on a fractionally scaled Wayland desktop, Xwayland is blurred and native Wayland has no file drops (#5284)
Say where the trade-off is: a native Wayland window is sharp at 125%,
150% and 175% but takes no dropped files (#386); an Xwayland window takes
drops and pen input (#639) but is enlarged by the compositor. List the ways
to open through Xwayland and what counts as a pen.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Fable 5.1 <noreply@anthropic.com>
* feat(commands): find the Elliptical Marquee by 'ellipse' or 'marquee' (#5060)
The Elliptical and Single Row/Column Marquee are options of select.rect
("ellipse":true, "line"), but the command-list filters only looked at
the id and the label ("Rectangular Selection"), so 'ellipse' and
'marquee' found nothing.
Commands can now carry search keywords. command.list / engine.commands
rows include them as "keywords", and the three filters (CLI commands
--filter, the engine.commands RPC and the MCP command_list) share one
matcher over id, label and keywords. select.rect gets the Photoshop
marquee names as keywords.
* Command list replies: document the optional keywords key
The reply-shape test from #3684 pins the exact keys of each row; select.rect
now also carries keywords, so the test and docs/control-protocol.md allow
that one optional string.
Photoshop's Gradient Map picks each pixel's place on the gradient by
0.3 R + 0.59 G + 0.11 B, the luminosity of the blend modes. We used the
Rec. 601 grey (0.299, 0.587, 0.114). That is a few thousandths off, but
it is enough to land two levels away on steep stretches of a gradient.
The photoshop corpus's rgb8 and rgb16 gradient-map.psd now pass (they
were 2 levels off on 0.8-1.7% of pixels). Sampling the gradient through
a 256- or 1024-entry table didn't help; the weights did.
CPU (compose::adjust) and GPU (the shader's lum) both change. Lab
documents keep their Gradient Map driven by L, and grey pixels map as
before.
Photoshop oracles 145 -> 147 of 258; floor 145 -> 147.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The merged image carries its transparency in the first extra channel
when the layer count is stored negative, or when a "Saving Merged
Transparency" global block (Mtrn, Mt16, Mt32) is present. Photoshop
saves 32-bit documents the second way: a positive layer count, Mt32,
and a fourth channel named "Transparency" (psd-tools transparentbg).
merged_has_alpha only knew the first, so opening such a file added a
"Transparency" alpha channel to the document, and the oracle compared
it as if it were opaque white (83.7 % of pixels off; now 0.9 %, all on
the shape's edge).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* test(engine): add Color Range fuzziness 0 exact-match test (#214)
Adds an explicit test for Sampled Colors at Fuzziness 0 (point sampling
and hex colors) asserting that exact matches are fully selected and
adjacent shades are rejected. Updates scorecard TOOL-214-3 to done.
* docs: regenerate scorecard (TOOL-214-3 done)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_017WeVmjnnPPKdxVTpr2Vjtw
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
- ROADMAP.md: the oracle floor is 145 of 258 (crates/io/tests/corpus.rs,
gaps.md G1), not 133 of 256; 953 open issues, not 579.
- docs/architecture.md: ~539,000 lines in ~1,310 files and ~8,040
#[test] functions, recounted 2026-10-13.
- README.md: "a layer kind filter" instead of "layer filters"; only the
Kind filter exists.
- AGENTS.md: drop an empty bullet at the end of section 7.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Testers report ~50 ms input-to-pixel while painting on Linux and macOS, and asked for a
per-stage breakdown. With PHOTOCRAFT_STROKE_TRACE=1 the app prints, per stroke, p50/p95 of
the frame interval, pointer moves per frame, the live stroke's render, the canvas refresh
(composite + upload), the UI build, eframe's CPU time (UI, tessellation, submission) and the
remaining vsync/swap-chain wait, with the GPU backend; =<file.csv> also appends every frame.
The last summary is in the control channel's perf.strokeTrace.
RTX 5090, Vulkan, 120 Hz: interval 8.33, cpu 2.2 (ui 0.9, stroke 0.8, canvas 0.4), wait 6.0 ms.
* Blur Gallery: Field Blur pins on the image (#3373)
Field Blur opened a parameter dialog with one centre, though the engine
already blends any number of pins. It now works as Photoshop's Blur
Gallery workspace: the image under the dialog takes the pointer. A
click adds a pin and selects it, a drag moves a pin, and a drag around
the selected pin's ring turns its blur up or down (one turn is the
0-500 px range; the arc shows the amount). Delete or Backspace removes
the selected pin. The dialog shows the selected pin's Blur and Preview,
and opens at the right edge, beside the image, so the pins stay in view.
The pins live in the dialog's fields (`pins`, `__selected`), so the
existing filter preview follows every change, OK applies
filter.blurGallery.fieldBlur with them in one step, and automation
drives it with ui.dialog.set. Pins are fractions of the selection's
bounds when there is one, else the canvas, as the engine reads them.
Proxy previews now scale Blur Gallery pins' pixel blur like other pixel
params.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n(vi): translate the Field Blur pin strings
main added the Vietnamese catalog after this branch was cut, so
every_tl_literal_is_translated failed on the merge for "No pin
selected" and the pin hint. Terms follow the catalog's own: ghim
(pin), Bấm (click), Delete kept as the key name.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CiFWEfKibLnwb6oSy6ZBE
* Blur Gallery: Alt+Cancel Reset starts again from one pin
main's Alt+Cancel → Reset (#3871) restores a filter dialog's schema
defaults, and the schema has none for Field Blur's pins, so Reset
left the workspace with no pins. blur_pins::reset now puts back the
opening pin (in the middle, selected), and reset_fields runs it for
the Blur Gallery. init is reset plus capturing the bounds, which
Reset keeps.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CiFWEfKibLnwb6oSy6ZBE
* i18n(hu, tr): translate the Field Blur pin strings
main added complete Hungarian and Turkish catalogs after this branch
was cut. Terms follow each catalog: tű / Mezőelmosás (informal
Hungarian), pim / Alan Bulanıklığı (formal Turkish).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CiFWEfKibLnwb6oSy6ZBE
* i18n(sr): translate the Field Blur pin strings
Main gained a complete Serbian catalogue (#4436); every_tl_literal_is_translated needs these strings there too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Brush: remember the last selected brush across restarts (split from #2516)
The persistence half of #2516 on its own, so it can merge and be maintained
apart from the brush-outline half. The tool's brush (settings, tip
references, and the name of the preset it was picked from) is saved once the
pointer is up and restored at launch: options bar, painting cursor and
Brushes panel highlight all start where the session left off.
Review fix from #2516 -- no per-frame work:
- `ToolState::brush_rev` is bumped by every brush/preset setter
(`tools.setBrush`, preset save/delete/rename/setCurrent/deleteGroup,
`brush.defineFromSelection`, `brush.presets.importAbr`, the store's tip
re-linking, and the shell's tool-switch/reset paths); `remember_brush`
serialises only when it moved since `brush_saved_rev`, so an unchanged
brush costs a counter compare per frame, not a clone and a JSON dump of
the whole brush (sampled tip previews included).
- Restoring counts as saved: the launch value is never rewritten.
Bitmaps stay out of the preferences document: remembered tips and patterns
are references (a loaded stored tile drops its full bitmap), and a sampled
bitmap too big to embed is skipped, keeping the previous value so a preview
never enters the prefs file. A malformed remembered brush falls back to the
default.
docs/scorecard.md regenerated with `cargo xtask scorecard` (34 of 154).
Tests: engine 1267 lib (5 new: revision gating, rejected changes, picked
preset, restore round trip, no embedded bitmaps), ui-egui 1982 lib; clippy,
layers, wasm green.
* rustfmt the StoredTile line and regenerate the scorecard after the main merge
* engine tests: destructive Levels keep the signed float overshoot at 32 bits (#2592)
* Scorecard: regenerate after merging upstream/main
* Export As: compare batch paths without the Windows separator
* font fix ?
* fix(ui): only Filter menu dialogs get the in-dialog preview window
#3877 drew the preview window in every schema dialog with a Preview
checkbox, including Image > Rotation > Arbitrary. Photoshop's Rotate
Canvas and adjustment dialogs have no preview window, and the taller
dialog covered the canvas, which broke
arbitrary_rotation_preview::size_changing_rotation_preview_is_visible_and_preserves_the_panned_center
on main. The window and its reserved height now apply to filter.*
commands only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* cargo fmt --check max_width = 160 fix
---------
Co-authored-by: JJ <jj@dot.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(text): split hyphenless PostScript style suffixes
A PostScript name without a hyphen kept its style in the guessed family:
`GmarketSansBold` became the family "Gmarket Sans Bold" at weight 400.
The guess now drops a trailing capitalised style word (Gmarket Sans, 700).
A lowercase ending ("Daylight") is not a style, and a style word after the
vendor tag MT stays in the legacy family ("Arial Rounded MT Bold").
Hyphenated names keep the last-hyphen parsing from #3878.
PSD import stores this guess when the exact face is absent. A legacy family
that ends in a style word without MT before it ("CooperBlack") is stored as
the shorter family (Cooper, 900) until the face is installed.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* fix(type): missing-font checks follow layout's PostScript resolution
When a run's stored family is not installed, layout draws it with its exact
PostScript face, or with the family guessed from that name if installed.
Missing-font detection compared only the stored family label, so such a run
was reported missing, and Replace Missing Fonts rewrote it whenever an
unresolved run shared the label. missing_fonts, missing_fonts_in_layer and
the replacement now use layout's decision.
#1406 already corrects the label when a PSD or Affinity file is opened with
the face installed, and #1844 finds exact faces outside the family prefix.
The label still stays on a run reopened from .pcraft after its font was
installed, on fonts that arrive after opening, and on a run created with
both "font" and "postscriptName". The tests take the .pcraft and command
paths.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
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Co-authored-by: kijoong <gijoong.gim@gmail.com>
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Docs: document the engine.commands reply shape (#3684)
engine.commands, the engine command command.list and the MCP tool
command_list reply with a bare JSON array of command objects, which the
docs never said. Document the shape (keys, types, an example element,
how filter/enabled_only narrow it) in control-protocol.md and mcp.md,
state it in the MCP tool description, and pin it with an rpc test so
the docs cannot drift. The shape itself is unchanged, so existing
agents and scripts keep working.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Command list docs/test: include main's disabledReason and needsDocument keys
Main added `disabledReason` and `needsDocument` to every command list row
(#3664), so the documented shape and the pinning test now list all eight keys.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
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Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
When a document with unsaved changes was closed, reverted, or the app was
asked to quit, the Save / Don't Save / Cancel prompt showed in the window
but not in ui.inspect, and a control client had no way to answer it: the
app stayed open until someone clicked.
ui.inspect now lists the prompt among its dialogs with the id "discard":
the waiting command, the document it asks about, how many are left and
the choices. ui.dialog.confirm {"dialog": "discard", "choice":
"save"|"dontSave"|"cancel"} answers it through the same code as the
buttons (one document at a time when quitting), and ui.dialog.cancel
cancels it. The automation policy sees the parked command before a save
or don't-save answer runs it.
Fixes#4920
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
In Photoshop the order of smart filters matters (the bottom one is applied
first: Unsharp Mask over a Gaussian Blur sharpens the blurred image, under it
the sharpening gets blurred), and a filter row is dragged up or down the stack
to change it. The engine already had `layer.smartFilter.move` and re-renders in
the new order, but the Layers panel had no way to reach it: a filter row could
only be dragged onto another smart object or onto Delete (#4271).
Dragging a filter row over another row of its own stack now draws an insertion
line above or below that row (the Smart Filters row: on top of the stack), and
the release runs `layer.smartFilter.move`, one undo step. The moved filter ends
up selected with its smart object active, as after a click. Drops next to the
filter's current place, or on itself, do nothing.
Tests: `smart_ui::tests::a_filter_dropped_above_or_below_a_row_lands_next_to_it`
(the index math) and `smart_filter_rows_tests::dragging_a_filter_up_or_down_its_stack_reorders_it`
(whole app: above, below, onto the Smart Filters row, selection, undo).
Co-authored-by: abc2cb <271337822+abc2cb@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Use the shared percentage row so the jitter amount does not look like a hue selection. Cover the rendered themed track, numeric and pointer edits, neighboring settings and engine journal replay.
Addresses the Hue Jitter appearance item in #3825; other assessment items remain open.
Co-authored-by: augrclk <217665348+augrclk@users.noreply.github.com>
Co-authored-by: GPT-6 <noreply@openai.com>
⇧⌘N opens the New Layer dialog, as Layer › New › Layer… does in Photoshop.
Photoshop's companion shortcut, the same keys with ⌥ (Ctrl+Alt+Shift+N on
Windows and Linux), makes the layer at once; PhotoCraft didn't handle it,
so there was no way to get 0.7.0's dialog-free behaviour from the keyboard.
New Layer's shortcut with ⌥ added now runs layer.new.layer directly. It
follows a rebound New Layer shortcut, and a command bound to that key
itself keeps it.
Fixes#4794
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
When appearance mode was toggled between dark and light with default
settings, PhotoCraft switched from Pro Medium (Pro layout) to Studio Light
(Studio layout), altering the UI and displaying a Fit button in the status
bar.
Now that the Photoshop Pro light brightness levels exist (#2661), default
the saved light theme to Pro Light so the Pro interface layout and status
bar are preserved when toggling appearance. Also map the "light" alias to
Pro Light and list the Pro options first under Light Theme preferences.
Fixes#5016.
#426 gave smart objects a projective placement (`SmartObject.perspective`,
with `transform` as its affine approximation): Distort and Perspective set
it, the layer re-renders from its source through the homography, Warp
composes with it, and the PSD placement reads and writes
`nonAffineTransform` / `Trnf`. The scorecard row still said "missing" with
the pre-#426 note, as did the ui-parity row and the #579 mention in gaps.md.
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>
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>
* 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>
