From 5851d8b1ade24bf26a635fd7833e466bf02a4633 Mon Sep 17 00:00:00 2001 From: dotCooCoo Date: Sat, 17 Oct 2026 19:17:38 -0700 Subject: [PATCH] Docs: target-app-parity.md lists seven Evidence items once each The Evidence list in docs/target-app-parity.md had two or three versions of several items. Seven items now have one line each: the Actions panel, Editing type, Releasing ruler guides, the Layers panel, choosing the Artboard tool, Image Trace Flat Logo mode and Create Strokes. Each kept line holds every number, path and pull request reference of the lines it replaces. The Layers panel line gains the #2260 note on layers dropped under the last row. The Create Strokes line keeps the newer of its two statements, which no longer lists the skeleton graph among the remaining work. Open pull requests edit the lines of seven other items, or the lines beside them (Preferences that act, Initial live Revolve, Live effects with previewing dialogs, Type, Masks and clipping, SVG/SVGZ, and EPS and DXF), and those items are unchanged. --- docs/target-app-parity.md | 10 +--------- 1 file changed, 1 insertion(+), 9 deletions(-) diff --git a/docs/target-app-parity.md b/docs/target-app-parity.md index 0bc8018b9..aaa133f4a 100644 --- a/docs/target-app-parity.md +++ b/docs/target-app-parity.md @@ -444,7 +444,6 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur - MCP server with 25 tools (drawing, text, effects, Pathfinder, transforms, graphs, text wrap, export, screenshots, any command), attached to the running app or headless. Tool descriptions and replies agree with the engine: format lists come from its format table, `save_file` says it keeps the document's own format, `inspect_document` reports the paint type's characters show, and selection exports report the encoder's warnings. `--automation-read-root` / `--automation-write-root` (on `vectorcraft-cli mcp` and on `vectorcraft --control`) confine the files commands read and write to chosen folders, links followed, with the flags PhotoCraft takes (#832). A long export can be cancelled (`notifications/cancelled` stops it at the next page or group and writes nothing), reports page progress to a client that sent a progress token, and does not make other requests wait: engine-free ones answer at once, the rest are refused as busy after two seconds (#2165, #2171, #2172). - MCP protocol: five prompts (`prompts/list` / `prompts/get`: poster, icon set, recolour, trace-and-style, export set), `completion/complete` for prompt arguments and template variables read from the live catalogues (formats, effect ids, command ids, trace presets, swatch and object ids), four resource templates (`vectorcraft://object/{id}`, `//command/{id}`, `//effect/{id}`, `//swatch/{name}`) so an agent reads one thing instead of the whole document, and `logging/setLevel` with `notifications/message`. `window.panel` ids are case-insensitive (display labels work too), `vectorcraft://object/{id}` reads through `document.node {summary: true}` (the same reply bytes from one lookup instead of summarizing the whole document: a leaf read on a 2,000-object document drops from ~20 ms to ~0.06 ms), large containers slice with `document.node {depth?, childLimit?}` (truncated levels report `childCount`), `document.inspect` and the `inspect_document` tool slice the same way so a depth-0 read is the layer skeleton (~9.7 KB instead of ~2 MB on a 2,000-object document), `document.find` locates nodes by name/kind/text with ancestor paths, and the CLI sweeps the protocol surface over stdio against the compiled binary. `docs/mcp.md` has a Protocol section covering the capability table and what is deliberately absent (subscriptions, progress, cancellation, sampling, elicitation, Streamable HTTP — all of which need the transport to interleave reads). - Headless CLI (`vectorcraft-cli run`, `convert`, `info`, `bench`, `perf`, `mcp`). A `run` step, like a `command_batch` step over MCP, can use an earlier step's result (`"$1.id"`, #785). - - Actions panel that records and plays back commands. - File › Scripts › Check Script… reads a script written for Illustrator (`.jsx`, `.jsxinc` or a compiled `.jsxbin`) without running any of it and reports what it needs (the document model, files, dialogs, menu commands, features only Illustrator has), what it would do outside the document, the menu commands and document-model members it uses, its directives and included files, and the problems that would stop it loading (`script.check`, which also reads `.js` files); File › Open and drag-and-drop show the report for `.jsx`, `.jsxinc` and `.jsxbin` files. - **UI:** Illustrator 2026 layout restyled to measured values: - Medium Dark theme, categorized and Advanced toolbars (a tool group's flyout opens on a right press, a long press or a press on its corner triangle), 35 pt document tabs, 33 pt panel tabs. @@ -548,9 +547,7 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur - **Graph column designs:** Object › Graph › Column (`graph.column`) draws the columns, bars or stacked segments and the legend swatch of the series picked with Group Selection with a graph design: Vertically Scaled stretches it to each column's length, Uniformly Scaled scales it both ways and centers it, Repeating stacks a copy for each Each Design Represents value and chops or scales the last one (For Fractions), and Sliding keeps the part above the design's guide line in proportion and stretches the part below. The dialog lists the designs with a preview; the choice is saved with the graph and follows the design's rename and delete. - **Other:** Eyedropper, Gradient annotator, Artboard (Alt-drag duplicates an artboard, and its art with Move/Copy Artwork with Artboard on; Copy, Cut and Paste take the artboard with its art, Paste right of the last artboard, Paste in Place where it was, into this or another document, #446; Object › Artboards › Rearrange All Artboards lays them out in a grid by row or by column, in one row or one column, left to right or right to left, from the menu, the Artboards panel or Properties' Rearrange All, #681; Scale Artwork with Artboard, in the Control bar and Properties beside Move Artwork with Artboard, resizes the artboard proportionally with the art fully inside it and its guides, strokes and corners per the Scale preferences, #602), Measure, Type, Hand, Zoom, Rotate View. - **Editing type:** double-clicking type with a selection tool (Selection or Direct Selection) switches to the Type tool with the caret where it was clicked; pressing Escape finishes editing and switches back to the selection tool used before double-clicking it (when in isolation mode, the first Escape exits text editing while preserving isolation mode, and a second Escape exits isolation). - - **Editing type:** double-clicking type with a selection tool (Selection or Direct Selection) switches to the Type tool with the caret where it was clicked. Duplicate Artboards, the Artboard tool's Alt-drag and Paste give the new artboard an id that no other artboard has, also when an artboard's id is the largest possible value (#1718). Deleting the copy or the original then leaves the other's guides. - - **Editing type:** double-clicking type with a selection tool switches to the Type tool with the caret where it was clicked. - **Touch Type:** a click with the Touch Type tool (Shift+T) selects one character and shows a box around it. Dragging the box or its lower-left handle moves the character. The upper-left handle scales it vertically, the lower-right handle scales it horizontally, the upper-right handle scales it proportionally, and the upper-middle handle rotates it. Each drag is one undo step that sets the character's kerning, baseline shift, scales or rotation, and the type stays editable (`text.touchType`; behavior reference: [Touch Type tool](https://web.archive.org/web/20261007185617/https://helpx.adobe.com/illustrator/using/tool-techniques/touch-type-tool.html), [Add text with the Type, Area Type, and Touch Type tools](https://web.archive.org/web/20260926095922/https://helpx.adobe.com/illustrator/desktop/design-with-text/add-manage-text/add-text-illustrator-text-tools.html)). - **Temporary tools:** Cmd with any other tool drags with the selection tool used last (Selection, Direct Selection or Group Selection). Held Space pans and Cmd+Space zooms (Cmd+Alt+Space out) whatever the tool. A Space+Shift drag rotates the view whatever the tool, as a Rotate View tool drag does, and Shift does not round the angle to 15°. @@ -561,10 +558,8 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur Keep selected in the Pencil and Paintbrush Tool Options is on by default; while it is off, the path a stroke draws or continues is not selected afterwards and the rest of the selection stays as it was (`path.freehand` `keepSelected`). The Blob Brush Tool Options have Keep selected and Merge only with selection, both off by default: while Keep selected is off, the blob a stroke draws or merges into is not selected afterwards, and while Merge only with selection is on, a stroke merges only with selected blobs of its color that it touches (`path.blob` `keepSelected` and `mergeOnlySelection`). - **Ruler guides as layer objects:** a guide goes on the current layer, shows, hides, locks and is deleted with it, is listed in the Layers panel (its row selects it) and moves to another layer (`guide.setLayer`, or its row dragged onto that layer's rows); guides on a hidden or locked layer can't be selected, moved or deleted, Duplicate copies a layer's guides and Merge Selected and Flatten Artwork keep them on the merged layer; guides from files saved before guides had layers go on the top visible, unlocked layer when the document opens. Not done: guides stacked among the art of their layer (they are listed above it), a guide row's own eye and lock. Lock Guides also locks the objects made into guides: they can't be selected, moved or deleted (#1543); they are drawn in the guide colour and style of Preferences, and a dragged selection snaps to ruler guides with Smart Guides on (#1583, fixes #1534). The Transform panel shows a selected ruler guide's X or Y, and typing a value moves it (#1659, part of #1597). This is not established by the documentation we could find: the public help pages on guides, rulers and the Transform, Control and Properties panels (read again on 2026-10-14) describe selecting and dragging unlocked guides and the panels' X and Y for a selection, not a guide's position in a panel, and the one public statement of it is a user's [community answer](https://community.adobe.com/questions-652/adding-a-new-custom-guide-785586), which is not documentation. It is kept as a convenience pending the owner's decision, with no parity claim and nothing counted towards a score. -- **Releasing ruler guides:** View › Guides › Release Guides turns the selected ruler guides into paths with no fill or stroke. An artboard guide becomes a line across its artboard, and a canvas guide becomes a line across the artboards (`view.guides.release {index?, ids?}`). -- **Layers panel:** every layer, sublayer, group and object is a clickable row at any depth: a click highlights it and makes its layer current (new art goes there), Shift-click a range, Ctrl/Cmd-click toggles. Sublayers are no longer treated as objects: clicks, marquees, Select All and the Select menu take the art inside them, and each sublayer selects in its own colour. Selection squares on rows with selected art (click selects a row's art, Shift adds or removes; dragging the square moves the selection to another row, Alt copies), the eye and lock on every row with drag-down-the-column (one undo step), Ctrl/Cmd-click an eye for per-layer Outline, Alt-click an eye or lock to hide or lock the other layers (again: show or unlock them all), triangles with Alt to open or close everything inside, drag and drop rows above, below or into layers and groups with a drop line (Alt copies) and a dimmed copy of the row under the pointer (layers dropped in the empty space under the last row go below the bottom layer, #2260; dropped on the trash rows are deleted, on New Layer duplicated, as in Illustrator), inline rename, Delete key on highlighted rows. Buttons and the full panel menu: New Layer/Sublayer (Alt: options, Ctrl: on top), Duplicate, Delete, Options for Selection, clipping mask, isolation, Locate Object, Merge Selected, Flatten Artwork, Collect in New Layer, Release to Layers (Sequence and Build), Reverse Order, Template, Hide/Outline/Lock Others and Show/Preview/Unlock All, Paste Remembers Layers, Panel Options (row size, thumbnails per kind, Show Layers Only). Layer Options: name, colour (presets, each with a chip of its colour, or custom), Template, Lock, Show, Print, Preview (outline drawing and clicking) and Dim Images to %. Every operation is a command (`layer.move`, `layer.highlight`, `layer.merge`…) with validation against cycles and invalid nesting. A document opens with only its top-level layers open; the rows left open are saved in the native file (nothing is written for the default) and reopen that way. Only the rows scrolled into view are laid out, from a row list made once per change: a layer of 5,000 groups of 10 paths, all open, draws the panel in 0.4 ms a frame instead of about 29 s (#638). - **Releasing ruler guides:** View › Guides › Release Guides turns the selected ruler guides into paths with no fill or stroke. An artboard guide becomes a line across its artboard, and a canvas guide becomes a line across the artboards (`view.guides.release {index?, ids?}`). A Cmd/Ctrl+Shift double-click with the Selection, Direct Selection or Group Selection tool releases the ruler guide or guide path under the pointer. -- **Layers panel:** every layer, sublayer, group and object is a clickable row at any depth: a click highlights it and makes its layer current (new art goes there), Shift-click a range, Ctrl/Cmd-click toggles. Sublayers are no longer treated as objects: clicks, marquees, Select All and the Select menu take the art inside them, and each sublayer selects in its own colour. Selection squares on rows with selected art (click selects a row's art, Shift adds or removes; dragging the square moves the selection to another row, Alt copies), the eye and lock on every row with drag-down-the-column (one undo step), Ctrl/Cmd-click an eye for per-layer Outline, Alt-click an eye or lock to hide or lock the other layers (again: show or unlock them all), triangles with Alt to open or close everything inside, drag and drop rows above, below or into layers and groups with a drop line (Alt copies) and a dimmed copy of the row under the pointer (dropped on the trash rows are deleted, on New Layer duplicated, as in Illustrator), inline rename, Delete key on highlighted rows. Buttons and the full panel menu: New Layer/Sublayer (Alt: options, Ctrl: on top), Duplicate, Delete, Options for Selection, clipping mask, isolation, Locate Object, Merge Selected, Flatten Artwork, Collect in New Layer, Release to Layers (Sequence and Build), Reverse Order, Template, Hide/Outline/Lock Others and Show/Preview/Unlock All, Paste Remembers Layers, Panel Options (row size, thumbnails per kind, Show Layers Only). Layer Options: name, colour (presets, each with a chip of its colour, or custom), Template, Lock, Show, Print, Preview (outline drawing and clicking) and Dim Images to %. Every operation is a command (`layer.move`, `layer.highlight`, `layer.merge`…) with validation against cycles and invalid nesting. A document opens with only its top-level layers open; the rows left open are saved in the native file (nothing is written for the default) and reopen that way. Only the rows scrolled into view are laid out, from a row list made once per change: a layer of 5,000 groups of 10 paths, all open, draws the panel in 0.4 ms a frame instead of about 29 s (#638). +- **Layers panel:** every layer, sublayer, group and object is a clickable row at any depth: a click highlights it and makes its layer current (new art goes there), Shift-click a range, Ctrl/Cmd-click toggles. Sublayers are no longer treated as objects: clicks, marquees, Select All and the Select menu take the art inside them, and each sublayer selects in its own colour. Selection squares on rows with selected art (click selects a row's art, Shift adds or removes; dragging the square moves the selection to another row, Alt copies), the eye and lock on every row with drag-down-the-column (one undo step), Ctrl/Cmd-click an eye for per-layer Outline, Alt-click an eye or lock to hide or lock the other layers (again: show or unlock them all), triangles with Alt to open or close everything inside, drag and drop rows above, below or into layers and groups with a drop line (Alt copies) and a dimmed copy of the row under the pointer (layers dropped in the empty space under the last row go below the bottom layer, #2260; dropped on the trash rows are deleted, on New Layer duplicated, as in Illustrator), inline rename, Delete key on highlighted rows. Buttons and the full panel menu: New Layer/Sublayer (Alt: options, Ctrl: on top), Duplicate, Delete, Options for Selection, clipping mask, isolation, Locate Object, Merge Selected, Flatten Artwork, Collect in New Layer, Release to Layers (Sequence and Build), Reverse Order, Template, Hide/Outline/Lock Others and Show/Preview/Unlock All, Paste Remembers Layers, Panel Options (row size, thumbnails per kind, Show Layers Only). Layer Options: name, colour (presets, each with a chip of its colour, or custom), Template, Lock, Show, Print, Preview (outline drawing and clicking) and Dim Images to %. Every operation is a command (`layer.move`, `layer.highlight`, `layer.merge`…) with validation against cycles and invalid nesting. A document opens with only its top-level layers open; the rows left open are saved in the native file (nothing is written for the default) and reopen that way. Only the rows scrolled into view are laid out, from a row list made once per change: a layer of 5,000 groups of 10 paths, all open, draws the panel in 0.4 ms a frame instead of about 29 s (#638). The Filter button at the right of Search All keeps the rows that are of an object kind ticked under By Object (paths, shapes, text, images, effects, groups, linked files, guides) and in a state ticked under By Layer (locked, hidden), with the rows that hold them; a section with nothing ticked takes every row. The filter combines with the search, the button is lit while a filter is on, and Clear All in its popup turns the filter off (`ui.layersFilter`). The filter lasts the session. The panel menu's Save Selection submenu has Save Selection…, Update Selection and Edit Selection…, enabled and run as in the Select menu, and lists the document's saved selections: choosing one selects its objects again (`select.recall`). `object.setProps` with `visible: false` or `locked: true` deselects every selected object that is then hidden or locked, the key object included, as the eye and lock columns do. @@ -581,7 +576,6 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur In Presentation Mode, → and ← go to the next and the previous artboard, and a click anywhere goes to the next one, as the status bar navigator's Next and Previous do (`view.goToArtboard`): on the last artboard → and a click leave the view as it is, and so does ← on the first. The arrow keys do not move the selection there, and the tool does not receive a click, so a click selects and draws nothing (behavior reference: [View artwork](https://helpx.adobe.com/illustrator/using/viewing-artwork.html)). In Presentation Mode no key press other than ←, → and Escape runs a command or reaches the tool (tool keys, Delete, Enter, Tab, F, Shift+F and every command shortcut, the macOS menu bar's key equivalents included), a right click or a long touch opens no context menu, a tap of two or three fingers undoes or redoes nothing, and the pointer over the canvas is the default one instead of the tool's cursor. Align to Artboard uses the active artboard, the one the Artboards panel highlights (`object.align {artboard}`). A press with a selection tool inside an artboard makes that artboard active; with the Selection tool, a Shift-click on an empty spot inside an artboard makes it active and keeps the selection. One selected object is aligned to the active artboard too, whatever Align To says (a lone object is never the key object). When an action plays, its Align to Artboard, All on Active Artboard, Paste in Place, Paste in Front and Paste in Back steps that name no artboard use the artboard that is active then. - Choosing the Artboard tool (Shift+O, its toolbar button, or Edit Artboards in Properties or Document Setup) starts it on the active artboard: the canvas outlines that artboard, and Delete, Cut, Copy, the Transform panel and Artboard Options act on it. With the Artboard tool in use, a Shift-click on a row of the Artboards panel selects the artboards from the last row clicked without Shift to the clicked row, and the clicked row's artboard becomes the active one. When the artboard of the last row clicked without Shift is no longer selected, the range starts from the active artboard, and later Shift-clicks start from there too. A Ctrl/Cmd-click still adds or removes one artboard. A Shift-click used to add or remove one artboard as well. The public [Select artboards](https://helpx.adobe.com/illustrator/desktop/create-manage-artboards/add-edit-artboards/select-artboards.html) page lists Shift-click in the Artboards panel for selecting several artboards. In the Artboards panel, a click on the active artboard's options icon, or a double-click on another row's icon, opens Artboard Options for that row's artboard, and the panel menu's Artboard Options… opens it for the active artboard (part of #1876). Both used to choose the Artboard tool instead. Opened while another tool is in use, the dialog moves the art with a new X or Y when the Artboard tool's Move Artwork with Artboard option is on. Artboard Options has X and Y fields beside a reference point locator (#1876), so an artboard's position can be typed as well as its size. X and Y are where the reference point lies, counted from the ruler origin (#1212), as the Transform panel and the Control bar show an artboard's position, and the locator is the one they and Properties share. A typed X or Y moves the artboard so that its reference point lands there, and a new Width or Height keeps the reference point in place; OK applies everything in one undo step. The shape dialogs still keep their X and Y to themselves (the click position). Pointer and key tests in `dialogs/tests.rs` cover both. Public references: [Resize artboards](https://helpx.adobe.com/illustrator/desktop/create-manage-artboards/add-edit-artboards/resize-artboards.html) and [Create and add new artboards](https://helpx.adobe.com/illustrator/desktop/create-manage-artboards/add-edit-artboards/add-new-artboards.html) (a reference point in a nine-point grid, then X and Y). @@ -644,12 +638,10 @@ Moved from the ROADMAP's "Shipped so far" on 2026-10-10. Update it when a featur - **Image Trace, same shift from either side of an edge:** a crack's sub-pixel shift is averaged from its two sides, so abutting regions on one- and two-pixel slivers get the same points and leave nothing uncovered; code-drawn regressions in `crates/trace` (see [quality notes](image-trace-quality.md#same-sub-pixel-shift-from-either-side-of-an-edge)). - **Image Trace, simpler contour walk:** `contour::trace_mask` works out each turn from the pixels during the walk, with no precomputed direction table and no assertion; identical loops to the previous walk on every 4 × 4 mask (see [quality notes](image-trace-quality.md#a-simpler-contour-walk)). - **Image Trace, measured:** `crates/trace/tests/quality` traces drawings made from known vector art with every preset and [`image-trace-quality.md`](image-trace-quality.md) records the numbers against the baseline. Black and White, Grayscale and Color place each edge by the blend of the pixels across it (to a fraction of a pixel on anti-aliased and blurred images; hard-edged images are read as staircases) and fit outlines as Flat Logo does. *Measured* on each preset's own inputs, all sizes and variants: Default's outlines went from 0.31 px off on average to 0.09 (largest 1.51 to 1.02), Black and White Logo's from 0.27 to 0.06 with 0.3 kinks per trace where it had 15, and the gaps between abutting paths from 64 px to 22. On clean curved shapes Black and White Logo is 0.02 px off (the open tracer measured beside it: 0.20). The palette is made of the picture's own colours (blends along edges take none of it, colours that noise made of one colour merge, a blend pixel goes to one of the two colours it lies between; #1504): 16 Colors on flat art, all variants, went from 70 paths to 4.2 and from 5.1 px off to 0.13, with no path left in a colour the art doesn't have (5.9 before). Photos are smoothed within their tones before they are quantised and stacked layers go by lightness (#1516): High Fidelity Photo went from 3,653 paths to 121 with its colour error down from 2.30 to 1.75, and a 16 megapixel photo-like image is traced in 3.5 s where 4 megapixels were refused. Since then, by the same harness: outlines are cut at their junctions and each shared piece is fitted once (#1535: gaps and overlaps between abutting paths 22 to 50 px of area down to under 2); layers are traced within the box of their pixels and a few at a time (#1546: a 16 megapixel photo 3.9 GB to 0.9 GB); black and white are read against the image's own black and the paper near each edge (#1563, for thin lines in blurred and scanned art); Ignore Color and the Auto Color and Outline presets (#1574); Snap Curves To Lines levels lines within 2.5 degrees of level or upright (#1593, the angle our choice); Create: Strokes puts centre lines in the middle of their ink and makes them as wide as it (#1595: Outline 0.295 to 0.052 px from the true centre line, 18.4 to 2.7 anchors a stroke); sharp corners whose pixel is mostly outside the shape stay corners (#1609: Default 69% to 76% kept). Three options, each off unless asked for as the legacy presets have them: Shapes (#1609: 57 to 62% of plain circles, ellipses, rectangles and regular polygons come out as live shapes, rounded rectangles rarely), Auto Grouping (#1618: paths grouped with what lies inside them, the same picture) and Gradients (#1627: linear gradients traced as one gradient-filled path; on gradient inputs 6 Colors' colour error 2.12 to 0.62 with 6.4 to 3.4 paths, none found in flat art). Snap Curves To Lines moves no end of a line by more than 1.6 px, so long lines a degree or two off stay as the image has them (#1647: Technical Drawing's largest distance 4.21 px to 1.46). Flat Logo takes the tones a scan's uneven paper makes of one colour for one colour (#1657: on scans 470 paths and 21 px off to 8.5 paths and 0.09 px). Shapes finds rounded rectangles and shapes in aliased, blurred and scanned art (#1845: 57 to 62% of the plain shapes up to 98 to 100%, no false shape but one line 2 px wide). Stroked lines get square caps where their ink is cut square, and a wide end that turned towards a corner goes back on its line (#1846: Outline's largest distance 2.94 px to 0.88, 14 anchors to 10). Each of the 14 documented presets has an enhanced version with Auto Grouping and, in all but High Fidelity Photo, Shapes (#1847), measured beside its preset: equal or better within 0.005 px and 1% of edge ΔE on every preset's own inputs (Default 0.091 to 0.083 px); Auto Grouping keeps traced order in its groups, which removed a light seam along the counters of letters. Gradients grows a gradient over the pixels noise and soft rims took off it (#1848: blurred and noisy linear gradients 3 to 11 paths beside the gradient down to 0.5 with 6 Colors, 24 to 56 down to 0.5 to 1.5 with High Fidelity Photo). Silhouettes is 0.52 px off because its threshold is 200 (0.11 px at 128). Still weak, by the same numbers: rounded rectangles and other line-and-arc outlines take 12 to 16 anchors (the fitter does not split lines from arcs), blurred and scanned polygons lose corners, hairlines under half a pixel are lost to the threshold, aliased art is about 0.25 px off, a scan's uneven paper splits into tones when more colours are asked for than the art has, stroke junctions stay at their skeleton pixels, a three-stop gradient in a small or scanned disc is not found, radial gradients stay bands (a draft, #1849, traces them; the documented option is for linear ones, so it waits for a decision), near-regular polygons a few dozen pixels across are made regular with Shapes (up to 0.5 px off), and aliased stroked lines are 0.8 px off at worst. -- **Image Trace Flat Logo mode:** a fourth mode beside Black and White, Grayscale and Color, for flat-colour logos. Each pixel is read as a blend of the logo's colours (found automatically or named), the blend is interpolated smoothly and every outline is placed where two colours are equally present, so edges are accurate to a fraction of a pixel. Outlines are then cleaned: corners the blur rounded are put back, near-straight runs and near-circular arcs become exact lines and arcs, the rest is fitted with as few Béziers as the tolerance allows, touching colours overlap by a hair so no gap opens, and an outline that strays from the raw contour is fitted plainly instead. Gradients and photos are refused with advice to use Color. *Measured* (a local experiment, not run in CI): a flat-colour logo's vector original was rendered down to a soft 199 × 100 px transparent PNG, traced, and the result compared with the original at 1600 px wide. The built-in colour presets (6 Colors, 16 Colors, High Fidelity Photo, Low Fidelity Photo) had a mean edge error of 2.5 to 3.4 px and region overlap of 0.88 to 0.91; Flat Logo had 0.78 px and 0.966 (0.48 px and 0.975 from a crisp source), in about 0.1 s. Limits: flat-colour art only; needle-thin sharp tips are shortened by about 1.7 source pixels because the blur erases them; it works at no more than 1024 px on the long side (larger images are averaged down first); only one logo family has been scored against a vector original. - **Gradient mesh from an image:** Object › Create Gradient Mesh (`object.mesh.create`) on an embedded image makes a mesh of 1 to 50 rows and columns over the picture's rectangle, placed with the image's transform; each point takes the alpha-weighted average colour and the opacity of the area around it, and Appearance and Highlight apply. A linked image is refused with a message to embed it (#1676). Scores and hours unchanged. - **Image Trace Flat Logo mode:** a fourth mode beside Black and White, Grayscale and Color, for flat-colour logos. Each pixel is read as a blend of the logo's colours (found automatically or named), the blend is interpolated smoothly and every outline is placed where two colours are equally present, so edges are accurate to a fraction of a pixel. Outlines are then cleaned: corners the blur rounded are put back, near-straight runs and near-circular arcs become exact lines and arcs, the rest is fitted with as few Béziers as the tolerance allows, touching colours overlap by a hair so no gap opens, and an outline that strays from the raw contour is fitted plainly instead. Gradients and photos are refused with advice to use Color. Line art whose only solid area is white paper (strokes a pixel or two wide) takes its colours from the strokes' cores, with the lighter shades along a stroke's anti-aliased edge folded into its ink; a page whose ink (a channel at least 48 below white) covers under 1% of it traces to nothing, as blank paper does. *Measured* (a local experiment, not run in CI): a flat-colour logo's vector original was rendered down to a soft 199 × 100 px transparent PNG, traced, and the result compared with the original at 1600 px wide. The built-in colour presets (6 Colors, 16 Colors, High Fidelity Photo, Low Fidelity Photo) had a mean edge error of 2.5 to 3.4 px and region overlap of 0.88 to 0.91; Flat Logo had 0.78 px and 0.966 (0.48 px and 0.975 from a crisp source), in about 0.1 s. Limits: flat-colour art only; needle-thin sharp tips are shortened by about 1.7 source pixels because the blur erases them; it works at no more than 1024 px on the long side (larger images are averaged down first); only one logo family has been scored against a vector original. - **Advanced art:** live Blends (steps/distance/smooth colour, editable spine, anchor-targeted Blend tool, faithful interpolation, knockout), Envelope Distort (warp/mesh/top object, Reset, full Envelope Options, mesh handles, Edit Contents; type, images, symbols, gradients, patterns and appearance distorted everywhere), Liquify tools with options and pen pressure, Puppet Warp with rotating pins, Perspective Grid with presets, movable planes and projected type (choosing a perspective tool shows the grid; Hide Grid hides it with the tool still chosen), Gradient Mesh, Shape Builder (stroke-only open paths and lines cut the regions they cross and enclose regions of their own, and regions they bound merge without seams where the lines cross at rounded coordinates (#893); filled open paths count as closed; erase mode while Alt/Option is held: a minus pointer, red highlights of what will go, a click or drag deletes the regions touched, the pieces of open lines and the edges (outline pieces between the points where paths meet, opening their paths there) it passes over, one undo step, `shapeBuilder.merge {erase}` and `shapeBuilder.regions` edges over MCP), Live Paint (every path an edge, open lines included), Image Trace (12 presets, colour layers traced in parallel; a trace past two million anchor points is refused with advice rather than running out of memory, an image over 64 megapixels is traced scaled down to that size (aspect kept, paths at the image's own size) and one over 192 megapixels is refused, and a selection too large to outline shows its bounds (#525); Object › Image Trace › Make and Make and Expand trace at once with the Default preset, #543; with an image selected the Control bar and the Properties panel show Image Trace, whose arrow traces with any preset, Mask (`object.maskImage`: a clipping path on the image's outline, selected so its handles crop), Crop Image (a crop box on the image, starting on its part over the artboard, dragged by its handles or inside it, the outside dimmed, with X/Y/W/H, Apply and Cancel in the Control bar, Enter and Escape, #734; `object.cropImage {rect}` for agents, `{trim: true}` cuts an image to its pixels that aren't fully transparent, pixel for pixel) and Embed or Unembed in place of Fill and Stroke; with an Image Trace object selected, its Preset (choosing another traces again), View, the Image Trace panel and Expand, plus Release in Properties; the five View modes (Tracing Result, with Outlines, Outlines, Outlines with Source Image, Source Image) redraw a trace on screen without tracing again, are saved with it and `imageTrace.setView` sets them, while exports and Expand keep the result; the panel's Advanced section is a header that stays open or closed as it was left (part of #641); Color mode's Palette: Limited, Full Tone (as many colours as the tones need, Less … More), Automatic (flat art with its own colours, else Full Tone; a heuristic) and Document Library (the most used colours of the document's swatches or a swatch library, filled with the swatch colours as they are), part of #641; Advanced › Create: Fills and/or Strokes, where lines up to the Stroke width trace as stroked centre lines (distance transform, thinning, a skeleton graph with spurs pruned, curve fitting; one width per line; without Fills, wider areas become stroked outlines), part of #641), pattern swatches with pattern editing mode, live Repeat (radial/grid/mirror). Object › Expand turns radial, grid and mirror repeats into groups of their instances (#1765, #1756). - Create Strokes uses exact squared Euclidean distances and Guo–Hall thinning in bounded per-blob crops. Maximal-disc pruning, split-crossing merges and degree-two joins simplify its skeleton graph. The whole-blob width rule and ink fitting remain; 46 code-drawn inputs measure ends and junctions in [`image-trace-quality.md`](image-trace-quality.md#centre-lines). Junction degrees measure 44/45 correct in each input variant; remaining spurs are recorded. This is a measured skeleton improvement; the Image Trace score, missing per-feature selection and width controls, and estimates remain unchanged. - - Create Strokes uses exact squared Euclidean distances and Guo–Hall thinning in bounded per-blob crops. The whole-blob width rule, graph and ink fitting remain; 46 code-drawn inputs measure ends and junctions in [`image-trace-quality.md`](image-trace-quality.md#centre-lines). This is a measured skeleton improvement; the Image Trace score, missing per-feature selection and width controls, and estimates remain unchanged. Live Paint Gap Options (Object › Live Paint › Gap Options…, `livePaint.gapOptions`): with Gap Detection on, paint stops at the gaps that run from a loose end of a path to the nearest path, up to Small (3 pt), Medium (6 pt), Large (12 pt) or a custom size; Close Gaps With Paths adds an unpainted path across each gap; Preview applies the options live and draws the gaps in the Gap Preview Color. The options are saved, copied and undone with the group, and Merge keeps the bottom group's options when its Gap Detection is on, or else turns Gap Detection on with Small when another merged group has it on. When Gap Detection is off in every merged group, it stays off. Window › Blend opens the Blend panel: Make, the selected blend's Spacing and Orientation (with no blend selected, the options new blends start with), Reverse Front to Back, Reverse Spine, Replace Spine, Expand and Release, each running its Object › Blend command. Make is dimmed until two or more objects are selected. Spacing and Orientation are dimmed until a blend or two or more objects are selected, and the other buttons are dimmed until a blend is selected. - **Paint and appearance (M3):**