VectorCraft had no lists. A bullet could only be typed as a character,
and the tab after it did not stop at the left indent. The reference app
turns paragraphs into a bulleted list from the Paragraph panel, the
context menu and Type › Bullets and Numbering › Apply Bullets.
text.setFormat takes list ("none" or "bullet") and bullet ("none",
"dot", "dash", "circle" or "square"). The layout draws the bullet before
the first line of each list paragraph that has text, in the font, size
and color of its first character, and starts the text at the next tab
stop, with the left indent counted as a stop. Wrapped lines start at
the left indent, and type on a path draws the bullet too. In a
horizontal right-to-left list paragraph the indents are mirrored: the
bullet hangs at the right, and the wrapped lines start at the right
where the first line's text starts after the bullet. The bullet is not
a character of the text. A paragraph whose left and first-line indents
are both 0 gets 18 pt and -18 pt when it joins a list. Return continues
the list, paragraph styles carry it, Reset Panel turns it off, and the
native file saves it only when it is set.
The Paragraph panel has a Bullets button with a list of the five
presets, and Type › Bullets and Numbering › Apply Bullets and the
context menu run type.applyBullets. Live SVG text writes the bullet's
character, and SVG writes type on a path with bullets as outlines. DXF
writes the bullet as a TEXT entity of its own, and legacy .ai export
warns that bulleted lists are left out. The caret, selections, Touch
Type and Show Hidden Characters skip the bullet.
Live SVG text of horizontally scaled type now writes each tab in a
tspan of its own. Before, the characters before a tab shared its tspan,
and its textLength made a viewer stretch them across the tab's gap.
Docs: docs/mcp.md, docs/target-app-parity.md.
Many tools note things on SVG objects in attributes of their own XML
namespace: a plotter's pen, a cutter's passes, a game engine's
collision flag. Import dropped them, so a file that went through
VectorCraft lost what other software had set on its objects. #522
asked for unknown and data-* attributes to survive a round trip; #580
kept the data-* ones, and this keeps the ones in other applications'
namespaces.
- Import keeps every attribute in a namespace that isn't SVG's,
XLink's, XML's, Inkscape's, Sodipodi's or VectorCraft's own, on the
object or layer it belongs to, in order, with its namespace URI and
the prefix the file gave it (ObjectAttributes::foreign, beside the
data-* attributes and the event handlers). The file is untrusted: at
most 64 per object and 64 KiB per value, and what is left out is
warned about. Files that declare no other namespace skip the scan.
- They are the object's own, as its data-* attributes are: a pasted
copy and a duplicate keep them, and deleting the object takes them
with it. The native file keeps them in the object's attributes, a
key written only when an object has some.
- Export writes them back on the same elements and declares each
namespace once, on the root, under the file's prefix. A prefix the
export uses itself, or that another namespace already has, becomes
prefix2, prefix3...; one XML keeps for itself (xml...) becomes ns. A
name or value XML can't hold is left out with a warning.
Nothing in VectorCraft reads them, and nothing in the UI lists them.
svg/tests/foreign_attributes.rs: a layer's and a shape's attributes
survive import, export and import again, Inkscape's and Sodipodi's
own aside and with no warnings, and the native form round-trips;
prefixes are made unique, and bad names and values are left out with
a warning; the caps hold and are warned about once.
engine tests_attributes.rs: a pasted copy and a duplicate keep them, a
deleted object leaves none behind, and the native file and SVG export
keep them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
The Artboard Options help pages describe two display options
(https://helpx.adobe.com/illustrator/desktop/create-manage-artboards/organize-manage-artboards/modify-display-settings-of-artboards.html,
.../set-video-display-options-for-artboards.html): a mark at the artboard's
center, and lines from the middle of each side through the center. The
document already had show_center_mark and show_cross_hairs on Artboard, but
nothing set or drew them.
artboard.setProps (each `artboards` entry too) and artboard.new take
showCenterMark and showCrossHairs as true/false, in the same single undo
step as the other fields; a locked artboard can still change them.
Artboard Options has both checkboxes, filled in from the artboard whether
it opens from the panel or a double-click with the Artboard tool, and its
New Artboard form passes them to artboard.new. The canvas draws them in the
new theme token artboard_mark, 1 point wide on screen at any zoom: a cross
12 points across at the center whose arms follow the artboard's sides, and
the two cross hairs. They are screen-only like the edges; exports and print
never read the fields. inspect_document reports them when on. Saved files
are unchanged: the two keys were already always written, so a document that
never shows them saves byte for byte as before, and a file without the keys
opens with both off. Video safe areas, video rulers and the pixel aspect
ratio are not part of this change.
Verification: artboard_display_marks_are_set_and_cleared_in_one_undo_step,
artboard_display_marks_round_trip_through_the_native_format,
artboard_display_marks_stay_out_of_exports (SVG and PDF identical with the
marks on and off), an_artboard_shows_its_center_mark_and_cross_hairs
(positions, screen-constant size under zoom, rotated view) and
artboard_options_show_center_mark_and_cross_hairs. cargo xtask ci: all 10
steps passed.
Export for Screens and the Asset Export panel's Export encoded and wrote
every file on the UI thread, so the window stopped responding until the
last file was written. For 50 artboards in PNG at 1x, 2x and 3x, PDF and
SVG (250 files, 47 MiB), the dialog's OK took a median of 43.8 s in a
release build on Windows.
With Enable Background Export on (Preferences › File Handling), OK now
checks the settings, remembers them and takes a snapshot of the
document, and the dialog closes. The thread that writes background
saves and exports then encodes the files and writes them into the
folder, or one ZIP in it, and the export progress dialog's Cancel stops
it before the next file. The same OK takes under 0.001 s, and the files
have the same names and bytes. With the preference off, without a
folder, on the web and over MCP and scripts (document.exportForScreens
and assets.export), the files are made at once with the same reply as
before.
Both commands report one progress step per file, so the progress dialog
shows "File 3 of 250" and MCP progress notifications count the files in
place of the encoders' artboards and pages.
Docs: docs/target-app-parity.md, docs/control-protocol.md, docs/mcp.md.
Hyphenation... and Justification... already shipped upstream (#2310,
#2755). This ports the part of the archived fork PR #10 that upstream
lacked: a paragraph's Justification > Auto Leading now also sets
- the Leading the Character (and Properties) panel shows for Auto type,
blank where the selected paragraphs differ;
- the leading Alt+Up/Down (type.step) steps from, per paragraph (a run
spanning paragraphs is split so each takes its own);
- the lines Fill with Placeholder Text counts in area type.
ParaStyle::effective_leading mirrors the layout (exactly
CharStyle::effective_leading at the default 120%). Tests in doc, engine
and ui-egui; parity docs no longer list Hyphenation/Justification as
missing.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
A filter plug-in had nowhere to keep settings that belong to the whole
document rather than to one object, such as the pens a plotter holds or
a machine profile: it could only ask for them again on every run.
- A filter's output may hold documentData: any JSON of at most 1 MiB
(objects::MAX_DOCUMENT_DATA) that replaces what the plug-in keeps with
the document, null removing it, in the same undo step as its objects
(objects::decode_output). Too much refuses the output and the
document stays as it was.
- A filter gets it back in _context.documentData (null until it keeps
something). A filter reads and writes only its own.
- It is the document's foreign data, Document::unknown["pluginData"] by
plug-in id (vectorcraft_doc::plugin_data), where the perspective grid
and the brushes keep theirs. So the native file needs no section of
its own for it, and hosts from before keep it when they save. An
exporter is given the whole document, so it can read every
plug-in's. Nothing else lists it, as the reference app's Document
Info lists no plug-in data.
A live effect isn't given it: its geometry is worked out from the
object alone wherever it is drawn.
Tests: plugin_data.rs (each plug-in its own entry, forgetting what isn't
kept copies nothing, a damaged value holds nothing), objects/tests.rs
(kept, forgotten, refused over the limit), tests_plugins.rs (one undo
step with the objects, read back, not given to another filter, kept by
the native file among its foreign data, refused over the limit with the
document unchanged, null removes it) and tests/plugin_export.rs (an
exporter finds another plug-in's). The size error has its row in each complete
catalog (COMPLETE_MESSAGES).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
A chain of geometry effects makes at most 2 million anchors of a path (of a
type, symbol or image art's paths together) and about 8 million lines for the
renderer to draw at 1 px/pt, or what the path costs when that is more.
Roughen spaces its points further apart, Zig Zag makes fewer ridges a
segment, Free Distort, Twist and the warps split segments into longer pieces
(map_nonlinear_within) and Transform makes fewer copies where they would pass
it; a result drawn with too many lines is built again with fewer points, and
an effect that still doesn't fit is left out.
Three Roughens of a rectangle in a 25 KB file needed gigabytes of geometry,
and 2 million anchors of them flattened into 141 million lines (7 GB, past
vello's 2^27 lines a path); the file now opens in 0.4 s at about 450 MB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/lib.rs:379 (number_unit, reached from parse_measure at :374)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Illustrator 30.0's gradient Method, from the public documentation
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-perceptual-interpolation-in-gradients.html):
Classic or Perceptual; perceptual interpolation matches colour transitions to
how the eye perceives differences between colours, and perceptual gradients
are rasterised when saved as PDF or SVG.
- Gradient gains `method` (Classic | Perceptual; serde default Classic,
written only when Perceptual, so older files open as Classic and Classic
files are written as before). The colour crate's OKLab helpers open up for it.
- Perceptual mixes neighbouring stop colours in OKLab (sample, and
sample_keep_model for the stroke meshes, Expand and blends); opacity stays
linear. Renderers that mix linearly get stops on the perceptual curve,
placed by halving each half segment where a straight line strays more than
0.4 of a colour level (a nearly straight segment needs none). Classic
gradients expand exactly as before.
- draws_as_pixels includes Perceptual gradients, so SVG and PDF write a
Perceptual fill or stroke as an image at the document's raster effects
resolution, clipped to what it paints. A gradient along or across a stroke
stays slices (PDF no longer draws it as a within-stroke image).
- With Dither: a dithered Perceptual fill is the perceptual mix with dither's
noise (the canvas's dithered grids are keyed by method too); SVG and PDF
write it as an image with the noise, and a dithered Perceptual stroke as an
image without it, as the canvas draws it (GradientPaint::pixels, SVG's
raster_paint and PDF's area are told whether they paint a fill).
File › Place with Link kept a link only to raster images and VectorCraft
documents. A PDF, .ai or .ait page was always embedded as a group, so
Update Links never saw a newer version of the file.
A new preference, File Handling › Link Placed PDF and .ai Files
(linkPlacedPdf), is off by default. With it on, Link places the page as
a placed document, as it places a VectorCraft document: the object
keeps the file's bytes, a preview, the page number and the page's box
(crop, art, trim, bleed or media, stored as page_box). Links check,
update and relink it, Break Link and Object › Expand give the group
placing it without Link gives, every output draws the page's vectors,
and saving and reopening keep the link. With the preference off, or
with a password or textAs: "outlines", the page is embedded as before.
EPS and PostScript .ai files are still embedded.
Package copies a placed PDF or .ai file as it is. The Place dialog's
Link tooltip describes a PDF or .ai file as a document while the
preference is on. Relinking a placed document to a file that is not a
VectorCraft document, a PDF or a PDF-compatible .ai file says so.
Docs: docs/mcp.md, docs/target-app-parity.md.
Review feedback on #3498: dimmed neighbours share one opacity composite
before the centre tile and one after, preserving overlap paint order
without per-copy compositing.
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
## Summary
In pattern editing mode, preview copies were drawn in row-major order and the
centre tile was always composited on top, so Pattern Options Overlap had no
visible effect when negative spacing made tiles overlap (as in Illustrator).
Preview copies now paint in the same order as tiled pattern fills.
## Tests
- vectorcraft-doc: preview_paint_order_respects_overlap
Closesstorytold/vectorcraft#3480
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
- Add crates/ui-egui/src/i18n/tr.tsv covering all menu strings, commands, UI labels, and status/error messages with standard Turkish vector software vocabulary.
- Register Turkish in LANGUAGES with plural_none and complete_menus: true.
- Support tr, tr-TR, tr_TR.UTF-8, tr-CY locale mapping in lang_from_tag.
- Add Turkish typographic quotation marks in crates/doc/src/setup.rs.
- Add turkish_reads_as_turkish unit test and register tr in KEEPS_MENU_NAMES and COMPLETE_MESSAGES.
- Include RTF diagnostic message with exact TSV escaping.
* Use chrono for UTC/calendar conversion instead of hand-rolled copies
Replaces the hand-rolled Howard Hinnant civil/days-from-civil copies and the
leap-year/days-in-month tables with chrono as a workspace dependency:
- apps/vectorcraft/src/logging.rs: timestamp (log line time)
- crates/doc/src/metadata.rs: civil (Unix seconds -> [y,m,d,h,mi,s]) and iso8601
- crates/pdf/src/file_info.rs: unix (date -> seconds) and in_month, used by the
PDF/XMP date parsers (pdf_date, xmp_date)
Output formats and parsing semantics are unchanged and pinned by the existing
tests (PDF D:... and XMP dates, offsets, leap-year rejection, year clamp 0-9999,
pre-epoch clamp). chrono uses only std, so wasm stays safe. AGENTS.md/CLAUDE.md
now say time goes through chrono.
Follow-up to storytold/cadcraft#1785
* Never panic on a clock outside chrono's range; keep 5-digit years unprefixed
chrono's From<SystemTime> unwraps, so a clock past year 262143 panicked
inside the logger. timestamp now uses the fallible DateTime::from_timestamp
and reads such a clock (or a pre-epoch one) as the epoch instead. Years past
9999 are written with {:04} like before, because %Y would add a '+'. Tests
cover the out-of-range and 5-digit-year cases.
* Don't build an unrepresentable SystemTime in the far-future test
UNIX_EPOCH + Duration::from_secs(u64::MAX / 2) overflows Windows'
SystemTime and panicked before timestamp() ran, failing the Windows
test job. Build it with checked_add and only assert where it exists.
* time: preserve old out-of-range date conversion (no epoch fallback)
`DateTime::from_timestamp(...).unwrap_or_default()` silently reset any instant
past chrono's year range to 1970-01-01. Restore the old conversion domain with
a cycle-based helper that routes the calendar through chrono (the calendar
repeats every 400 years = 146_097 days, so month/day/time come from chrono and
only the year is carried in i128, keeping every i64 exact).
- apps/vectorcraft/src/logging.rs: `timestamp` via `utc_parts`; keep the
pre-1970 epoch clamp; u64 secs past i64::MAX saturate, not epoch.
- crates/doc/src/metadata.rs: `civil` cycle-based, keeping its clamp EXACTLY
as the old code had it: the input is clamped to 0000-01-01..9999-12-31 first
and the year is clamped to 0..=9999 afterwards. (With the input clamp the old
`unwrap_or_default()` was already unreachable; this drops it and makes the
conversion explicit, with identical output.)
Pinned old outputs in tests:
logging u64::MAX/2 s -> 292277026596-12-04T15:30:07.000Z (was epoch),
10_000_000_000_000 s -> 318857-05-20T17:46:40.000Z
metadata civil(i64::MIN)[0]=0, civil(i64::MAX)[0]=9999;
iso8601(i64::MIN)=0000-01-01T00:00:00Z,
iso8601(i64::MAX)=9999-12-31T23:59:59Z (year clamp, as before)
* Don't build a year-318857 SystemTime unchecked in the logging test
Windows' SystemTime only reaches about year 30828, so
UNIX_EPOCH + Duration::from_secs(10_000_000_000_000) panicked before
timestamp() ran and failed the Windows test job. Build it with
checked_add and assert where the platform can hold it. The year-10000
case fits everywhere and stays unconditional.
* Name the 400-year range extension as the one exception to the time rule
The rule said never to hand-roll calendar math, but the range fix
(shifting by whole 400-year Gregorian cycles so dates past chrono's year
range keep their old output) is cycle arithmetic, so the rule and the code
disagreed. The rule now names that exception: the library still computes
month, day and time, and only whole cycles are carried in the year.
* Say the library computes month and day; time-of-day is plain arithmetic
Narrows the range-extension wording: the date library computes the
calendar fields, and splitting seconds into hours, minutes and seconds
is ordinary arithmetic, which is what the code does.
Document Info had no Repeat Objects category, and document.info
refused category "repeats". The reference app's Document Info panel
menu lists Repeat Objects after Font Details.
Document Info now has a Repeat Objects category after Embedded Images.
It lists each radial, grid and mirror Repeat object by name with its
kind and the number of instances it makes. For a grid it gives the
rows and columns instead, followed by the number of instances it
draws when that is fewer. The count comes from the new
RepeatSpec::instances, which gives the number of instances a repeat
draws. That number is smaller than its options give when repeats
nested in its source would pass the instance budget. With Selection
Only the category lists the Repeat objects in the selection.
document.info gives them as repeatObjects, the panel's flyout offers
the category, and the text report that Document Info › Save… and
File › Package write has a REPEAT OBJECTS section. The title has a row
in every catalog.
Docs: docs/mcp.md, docs/target-app-parity.md.
After scaling groups, type.scaleTextAttributes matches panel sizes to what draws on canvas without leaving scale in the affine.
Co-authored-by: Cursor <cursoragent@cursor.com>
Star corners with a large uniform radius kept None in the panel because fitted draw radii differ per tip; tests and UI expect the value the user set.
Co-authored-by: Cursor <cursoragent@cursor.com>
Store corner radii as fractions of each corner's max so rounding scales with the shape; expose via Corners dialog and object.setLiveShape relativeRadii.
Co-authored-by: Cursor <cursoragent@cursor.com>
Optical Margin Alignment and Roman Hanging Punctuation left every
right-to-left paragraph of point and area type, and type on a path
whose first paragraph runs right to left, as it was: the quotation
marks, full stops and commas at the ends of its lines stayed inside
the margins.
A right-to-left line now hangs at the margins its alignment places it
against, as a left-to-right line does. Auto aligns a right-to-left
line at its right, so it hangs there. The line is read from right to
left: where it hangs at its left margin, a full stop and the quotation
mark after it that end the line hang together. In vertical type,
where the characters of a right-to-left paragraph run from the top
down, the pair is read from the top.
Type on a path whose first paragraph runs right to left hangs at its
brackets by the same rule. In horizontal type, Auto places it at the
end bracket, so it hangs there. On a closed path, its hang at the end
bracket gets the space between the end and start brackets before its
hang at the start bracket does, as in right-aligned type.
A justified right-to-left line of one word is spread between its
letters as they are drawn. The gap after each letter went to the
letter that follows it in the text, so the two leftmost letters
touched and the word ended one gap short of the right margin.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
With Use Preview Bounds on, the bounding box, the Transform panel,
Align, Distribute, Distribute Spacing and object.setBounds measured
each object without its geometry effects. A square with Offset Path
10 measured as the square, and type with Outline Object measured by
its layout box instead of its glyphs.
The new vectorcraft_effects::preview module measures objects as they
are drawn. A path is measured by its effected shape, with the
geometry effects of each fill and stroke that paints. Type, images,
live objects and symbol instances are measured by their reshaped art.
A group or layer with geometry or Pathfinder effects, or with a fill
or stroke of its own that has geometry effects or paints members with
geometry effects, is measured by its evaluated art. A blend, envelope
or repeat whose objects have geometry effects is measured by its
evaluated art, with those objects measured after their effects. Raster
effects are not measured. In one object, the art of at most 4,096 symbol
instances is measured with its geometry effects, and the other
instances are measured without them. With Use Preview Bounds off, the
measures are unchanged.
object.setBounds sizes objects with geometry effects by measuring
them after each scale it tries, so type with Outline Object set to
100 pt wide gets a glyph box 100 pt wide.
Selection::anchors_box is split out of Selection::anchor_bounds. The
doc comment of VectorcraftApp::selection_bounds said that it includes
effects; it now says that it leaves them out.
Optical Margin Alignment and Roman Hanging Punctuation hung punctuation
in point and area type only. Type on a path kept its first and last
glyphs inside its brackets with either option on.
When Optical Margin Alignment is on, or the first paragraph has Roman
Hanging Punctuation on, the glyphs at the ends of left-to-right type on
a path now hang outside its brackets by the same amounts, measured
along the path. The type hangs at the start bracket when its line is
placed there, hangs at the end bracket when the line is placed there,
and hangs at both when it is centered. Glyphs that hang past the end
bracket do not make the type overflow. On an open path a hang stops at
the path's end, and on a closed path the two hangs together take at
most the stretch between the end and start brackets. SVG export writes
type on a path that hangs as outlines, with a warning.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
The reference app justifies Arabic text with kashidas, set per paragraph
with the Paragraph panel's Insert Kashidas list (None, Short, Medium,
Long, Stylistic). VectorCraft had no kashidas, so a justified Arabic
line was spaced out at its word spaces like a Latin one.
The Paragraph panel, with the Indic options shown, now has Insert
Kashidas. On a justified horizontal area type line that is shorter
than its measure, each Arabic word with joined letters gets one kashida
between its last pair of them, drawn as tatweels (U+0640) in the font
of the letter after it. The kashidas share the line's room equally,
each at most a quarter of an em (Short), half an em (Medium) or an em
(Long); a Stylistic kashida is a row of the font's own tatweels, up to
an em. The word spaces take the room the kashidas leave, so the line
keeps its width, and line breaks do not change. The letter after a
kashida advances over it, so the caret before that letter, a selection
of it and a click on it take the kashida in. None, the default, leaves
lines as they were.
In horizontal type that is not on a path, the caret in a letter drawn
with several glyphs (a letter with a vowel mark) is now placed by the
whole letter, as hit testing already measured it, instead of by its
first glyph.
text.setFormat takes kashida. The setting is saved with the paragraph
only when it is not None, paragraph styles carry it, and Reset Panel
sets it back to None.
Docs: docs/mcp.md, docs/target-app-parity.md.
object.objectsOnPath.attach took a path inside a compound path, blend,
envelope, repeat or Intertwine group, or a clipping path, as the path
and put it into the new Objects on Path group, so it was no longer a
part of its container. As objects, a blend's key path, a repeat's
source art, an envelope's content and a clipping path were put into
the new group the same way.
The Objects on Path tool highlighted a blend's key path or a clipping
path and attached the selection to it.
objects_on_path::held now finds the container that holds an object.
The command refuses such a path or object with a reason, and the tool
does not highlight it or attach to it. A member of a compound path
given as an object still attaches as its whole compound path. The four
new messages have rows in every complete-message catalog.
Docs: docs/mcp.md (Objects on Path).
A clip group answered a press only strictly inside its clipping path,
and there the art above the path came first in the hit test, so where
the clipped art extends past the mask's edge the clipping path's
segments could not be reached on the canvas.
With the new HitOptions::clip_outlines, which the Selection, Direct
Selection and Group Selection tools set
(ToolContext::selection_hit_options), a press within the selection
tolerance of a clipping path's outline, inside or just outside it,
hits the clipping path (HitKind::Outline) before the art it clips:
Direct Selection takes its segments and the Selection tool the clip
group. It applies to a clip group's clipping path and to a layer's
clipping mask, and only to one a click may hit (may_hit: visible,
editable, within reach). Inside the mask the art is hit as before.
The other tools, which act on what is drawn (the eyedropper, type,
gradients...), leave the option off, and hit_test_visible never
applies it, so they still take the art at the mask's edge rather
than the mask's empty appearance. Select Behind's one-pass walk takes
a layer mask's outline first too, so it lists what the repeated hit
test finds. Object Highlighting and a right-click's selection in the
canvas (selection_hit_at) take what those tools take; dropping a
swatch on art still hits what is drawn.
The reference app reshapes a clipping path with Direct Selection:
https://helpx.adobe.com/illustrator/desktop/manage-objects/edit-objects/edit-clipping-masks.html
Tests in doc: a_clipping_path_is_hit_on_its_outline_before_its_art,
only_the_selection_tools_hit_a_clipping_path_on_its_outline and
select_behind_takes_a_layer_masks_outline_first; the random Select
Behind test now clips layers and sublayers and sets clip_outlines,
and fails without the Select Behind change. In tools,
a_press_on_a_clipping_path_takes_its_segment_over_the_art fails
without the change; select::a_press_on_a_masks_edge_selects_its_clip_group
fails when the Selection tool uses the plain options; the eyedropper
copies the art on the edge. Recorded in docs/ui-parity.md,
docs/gaps.md and docs/target-app-parity.md.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
The reference app's Brushes panel menu has Select All Unused, which
selects the brushes that are not used in the document. VectorCraft's
Brushes panel menu had no such item, and no command listed the unused
brushes.
brush.unused (Select All Unused) is a query that lists, in library
order, the brushes no stroke paints with. Strokes in the art and its
opacity masks, in symbols, graph designs, pattern tiles and graphic
styles count, and so do strokes in the art of a brush that is used.
The art of a brush that is not used does not count, so a brush whose
own art is the only art that paints with it is listed, and so is a
brush used only in the art of an unused brush. The Brushes panel
menu's Select All Unused selects these brushes, and Delete Brush and
Duplicate Brush then act on them.
Docs: docs/mcp.md, docs/target-app-parity.md.
Found while testing crates/doc/src/xml_id.rs:80 (strip_unique), triggered by from_object_name at :32
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
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