An image whose decode needs more than the 2 GiB allowance (512 MB on the web) is not drawn.
A raster export says so since #1517; on screen it was still blank with no word. Open and
Place now carry a warning for it, and the Links panel's row a note (links.list: note).
Paste read PDF only from the Windows clipboard and EPS nowhere, so on macOS a copied
equation or drawing pasted nothing new (the last thing copied in the app came back).
- macOS: the pasteboard's PDF, EPS and SVG are read, ahead of text and bitmaps.
- Windows: EPS is read beside PDF.
- Everywhere: an .eps file copied in a file manager pastes.
- clipboard.importEps loads an EPS into the clipboard as document.open reads one.
Complete Polish catalog (4,492 rows): every menu string, tl! literal,
plural and status/error message, enforced by the existing completeness
tests (complete_menus, KEEPS_MENU_NAMES, COMPLETE_MESSAGES).
- pl.tsv: clean-room translation from the English meaning, following
common Polish desktop-software conventions (obszar kompozycji for
artboard, obszar roboczy for workspace, obrys, wypełnienie, próbki…)
- plural_polish: one / few (2–4, not 12–14) / many (0, 5–21, 25…)
- every pl-* locale (pl-PL, pl_PL.UTF-8) resolves to it
- tests: Polish plural forms, vocabulary, nested message translation;
Polish letters in the bundled-font coverage test
- docs: README, development.md, localization-parity.md
Drafted with AI assistance; native review welcome.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01DukHNvUY45rjRnvtz91x33
The public 3D and Materials panel options list Depth, Twist, Taper and Cap
for every 3D type; Inflate had only Depth.
- Twist (0° to 360°) and Taper (1–100 %) turn and scale the back about the
shape's centre, as Extrude & Bevel's do: a puffed back is turned and
lowered in proportion, and the sides follow in slices.
- Cap: Solid closes the back; Hollow leaves it off, so the inflated front is
a shell open behind. The documentation doesn't say what Cap means for
Inflate; this reading is stated in docs/three-d.md.
- The dialog's Object tab shows them in the documented order (Depth, Twist,
Taper, Cap), then Volume and Both sides.
At 0 % volume a twisted, tapered Inflate has the extrusion's outline from
every side (tested).
A twisted, tapered, hollow Inflate draws on the canvas exactly as it
exports, and expands to faces with their own ids (tested). ROADMAP and the
parity pages list the new options; the 3D score stays at ~25 %.
The public 3D and Materials panel options give Twist as up to 360°; it took
-360° to 360°. Values beyond either end now hold at that end (the effect is
a day old, so only fresh files carry a negative twist).
On macOS, native_menu::sync reads every row of the menus (each
command's enabled and checked state, and each label) whenever
state_hash changes, and the macOS backend updates the AppKit items
whose label, enabled or checked state changed. The hash included the
active document's revision, and Session::preview makes a new revision
at each step of a drag, so the app read every row again at each step
of a move, scale or shape drag. In a release build on an M2 Max, that
took about 1.5 ms a step with one object selected, and 13.8 ms a step
with 5,001 objects selected.
While an interaction is open, state_hash leaves the revision out.
Move, scale and shape drags, dialog previews and the font menu's
preview are interactions. The menus are read when an interaction
begins and again on the frame it ends: when a drag's button is
released, when Escape cancels a drag, when a move is dragged onto a
panel, when a dialog's preview is applied or canceled, when the font
menu's preview ends, or when a control request such as
ui.dialog.cancel ends it. They are still read on a click or a key
press during an interaction.
docs/development.md says when the menus are updated during an
interaction.
Rewords French entries to the feature names French-speaking users of vector illustration software know, as the catalog header asks: Repères commentés, Sélection directe progressive, Trait for Line Segment, Déformation for Shear, Associer for Group, Annuler for Release in the Make/Release submenus, Étape de dégradé, Redéfinir les couleurs de l'illustration, the graph and symbolism tool names. 27 terms are attested in Adobe's public French help pages; the others come from the reviewer's knowledge of the French interface. The eight strings pinned by french_reads_as_french and the MENU_KEEP_AS_IS strings are untouched. Keys with two meanings (Trim, Crop, Merge, Outline, Gradient) are left unchanged: they need @id entries.
Adds the 423 keys that other catalogs translate and fr.tsv lacked. The 19 MENU_KEEP_AS_IS strings stay out of the catalog, as the menu tests require. Entries follow the existing catalog's wording and typography (no-break space before : ; %, typographic apostrophe); placeholders, edge spaces, trailing ellipses and plural forms are preserved.
egui reports drag_started only once the pointer is past its drag
threshold, farther from the press than the ruler's 5 px hit tolerance,
so hit-testing the current pointer usually missed the stop. Hit-test the
press origin instead, falling back to the pointer position.
Fixes#1458
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The theme's widget fill matches the dialog background, so the sliders of
Save for Web, the raster export options, Preferences and the opacity
popup showed only their handle. They share one slider widget now, with a
visible rail filled up to the handle.
One message translated when #1302 was merged addressed the user with
the formal verb form ("csatolja"); the catalog uses the informal second
person throughout ("csatold").
Selected text in a numeric or text field was drawn in the accent colour on the accent-tinted
selection, in every brightness. The fields that draw their own frame (panel and Control bar fields,
dialog fields, the hex field) now draw it in the strong text colour.
Object > Path > Split Into Grid took a number of rows and columns and one gutter, and split each
selected path on its own. The dialog now has the documented options, the rows beside the columns:
number, height or width, gutter and total, with Add Guides and Preview. Several selected paths
become one grid over them all, painted as the topmost one, as documented.
object.path.splitIntoGrid takes rowGutter and columnGutter (gutter still sets both), totalHeight
and totalWidth, height and width (the size of each row and column, which sets the total) and
addGuides, which adds ruler guides along the row and column edges on the grid's layer.
Behaviour reference:
https://helpx.adobe.com/illustrator/desktop/manage-objects/edit-objects/divide-or-split-objects.html
Adds 127 Czech entries the Hungarian/Spanish/German catalogs already
have: tool short names, recolor and swatch library labels, print/PDF
preset names and their differences lines, pie graph options, counts
and the about-box credits. "Reset <workspace>" entries keep the
built-in workspace names in English as MENU_KEEP_AS_IS requires.
Also [Default] -> [Výchozí] in the protected-preset hint, matching the
existing [Default] entry.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Bevel Shape, Space, Bevel Inside, Bevel both sides and Presets, as the public 3D and Materials panel
options page names them. The 3D effects' error messages get rows in the twelve complete catalogs.
The three 3D types besides Revolve, as live effects in the three-d crate,
drawn as shaded vector faces by the canvas, SVG/PDF export and Expand
Appearance alike, from the public 3D and Materials documentation:
- Extrude & Bevel: depth (0-2000 pt), twist, taper, solid or hollow caps,
and bevels in six original cross-sections (classic, rounded, cove, step,
ogee) with width, height, repeat, spacing, inside and both sides.
- Inflate: the shape as a membrane under pressure (a Poisson solve held at
zero along the outline and holes), so it rises vertically from the edge
and rounds without creases; volume, depth and both sides. Steep cells
near the outline are refined without cracks.
- Rotate: every fill and stroke turned in 3D and shaded as one plane.
All three share Revolve's view and lighting parameters, the rotation and
light gizmos (turning about the art's centre) and a dialog with Object,
Rotation and Lighting tabs, with Position presets (Front ... Isometric
Bottom, our own values). An object takes one 3D effect. Inflate cuts the
grid cells that straddle a hole's edge with pathops, hence the new
pathops -> three-d layer order.
Docs: docs/three-d.md, mcp.md, and the 3D rows of the parity docs.
Each pointer move of a drag applies the move to the interaction's
snapshot, so the dragged object is a new node in every frame. The
renderer kept the rasters of an object's drop shadows, outer glows and
filtered content (Gaussian Blur, Feather and the Photoshop-style
filters) only for the same node, so every frame of a drag ran those
effects again. On main, a moved frame of texture_drag_perf (a CMYK
rounded rectangle at 190.07% and DPI 1.5 in an 1800 x 1500 view) took
112 to 197 ms in a release build.
The canvas now renders with RenderOptions::interacting while a drag or
a dialog's preview is in progress. When an object misses its cached
raster in such a frame, the renderer takes the raster an earlier frame
made for an object with the same id, slot and ink at the same zoom and
rotation, made by the same effects from content of the same size (to
within 0.000001 pt). It draws the object's content into a raster
placed as that one was and compares the pixels byte for byte (only the
alpha under a shadow or glow). For Feather it also compares the points
of the clip outline, to within 0.000001 pt. When they match, the old
raster is drawn at the new place, rounded to a whole pixel, as a pan
draws a cached raster. Content under De-Interlace never takes a moved
raster, and a raster made over moved rasters counts as moved itself.
A frame rendered without interacting never draws such a raster, or a
raster made over one: the frame after the drag runs the effects again
and draws what a fresh renderer draws. The canvas's cache key includes
whether an interaction is in progress. On the desktop, the canvas
sends the frame after an interaction to the render worker when the
frame shown drew moved rasters. Each cached raster keeps the content it
was made from, within the existing 512 MiB budget. The pixels kept
with a filtered raster take as many bytes as the raster, and the alpha
kept with a shadow or glow takes a quarter as many as the shadow.
texture_drag_perf now renders a drag's frames as the canvas does, then
the frame after the drag, and that frame once more with every raster
cached. A moved frame now takes 20 to 26 ms, close to the 18 to 25 ms
of the cached frame; the frame after the drag takes 110 to 189 ms.
Docs: docs/target-app-parity.md.
Area type whose frame is too short for a line of the font it shows in here
drew nothing: a font that isn't available shows in the fallback font, whose
line may be taller than a frame made for one line of the file's font (overset
type isn't drawn). Where the file itself lays lines out in the frame, the
frame of the imported text object is made taller, from its top, by what its
first line needs, and the open result says how many frames were.
A dialog opened by a click is drawn in the frame of that click, and in that
frame egui takes the focus from any field the click missed. The first time a
dialog's window shows, that frame only measures it, so its first field took
the focus a frame later and kept it; every later time the field took it in
the click's frame and lost it at once. The field now takes it the frame after
the click.
A .ai file with placed files opened from its PDF part (no guides, no sublayers,
no hidden objects), because the editing-data reader stopped at them.
- Lexer: a placed file's preview section is one token (it was skipped).
- Reader: %AI5_BeginPlace ... ~ becomes a linked image with the file's path,
showing the preview the data keeps of it (premultiplied ARGB, capped at
MAX_PIXELS, its rows checked against the bytes there), in its place: the
matrix takes the file's pixels from the canvas, where they start at the point
of art space's origin. A placed file without a preview, a path or a matrix
still makes the file open from its PDF part.
- The open result lists one warning saying linked pictures show the
low-resolution preview until their files are found (rows in the catalogs).
- Engine: a link nothing is known of whose image shows a preview is read where
it is found as the document opens, into the image's bounds, and isn't
reported as modified.
- Tests: lexer, reader (hand-written data), engine open with the link missing
and found, fuzz tokens.
- Docs: file-format-parity, target-app-parity, gaps, ROADMAP.
Its View row asked for the row's whole width for its menu before its label was laid out, so
the row ran past the panel, the panel's content grew and the start of every label was cut off.
The buttons were placed (WIDTH - 36) / 2 from the panel's content edge, but
the docked panel's content is narrower than WIDTH: the 1.5 pt frame stroke on
both sides and the 1 pt separator line egui reserves on the right leave 44 pt.
So the single column sat 6.5 pt from the left border and 1.5 pt from the right
(2.5 pt right of centre), and the double column's second button ran over the
right border. Centre each row on the panel's inside instead, and widen the
double column to 80 pt so its two buttons fit with 2 pt either side.
A click with the Polar Grid tool opens the shared shape dialog (width, height, concentric and
radial dividers), as the Rectangular Grid tool does, and keeps the divider counts as the tool's
options.
Object › Align ran object.align without to, so it aligned to the key
object while there was one and otherwise to the selection. With Align
to Artboard chosen it aligned two objects to the selection's bounds,
and it left a single selected object where it was, while the align
buttons of the Align panel, the Control bar and the Properties panel
move that object to the active artboard. The Align To choice was kept
in egui's temporary memory, so it went back to Align to Selection at
each launch, and ui.inspect did not report it.
The choice is now the UiState field align_to, which the desktop app
saves with its preferences and ui.inspect reports. A saved value other
than "artboard" reads as Selection, and the other preferences still
load. Object › Align now sends the to that the align buttons send: the
artboard when one object is selected, else the key object while there
is one, else the Align To choice. With anchor points selected it sends
its parameters as before, and the points align to their own bounds.
While one object is selected, the Align To row shows Artboard. Agents'
object.align calls without to keep the engine's default.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
Preferences › Appearance of Black › On Screen was stored and never read.
Display All Blacks Accurately (the default) shows pure CMYK black, black
ink alone at 100%, through the working CMYK profile, a dark grey, as the
canvas always did. Display All Blacks as Rich Black now shows it on the
canvas as RGB black: fills, strokes, type, gradient stops, effect colours
and pattern tiles, and in CMYK documents drawn by ink planes a pixel
whose inks come out as black ink alone. Rich blacks, black tints and
placed images show the same either way; exports and printing are
unchanged (Printing / Exporting is a separate option).
The renderer gets RenderOptions::rich_black, painted with a new
Ink::RichBlack (screen colours with pure black as RGB black) and applied
by ink::compose. The canvas sets it from blackOnScreen and keeps it in
its cache key, so changing the preference redraws.
A headless frame test reads the canvas raster: K100 shows its profile
grey by default, RGB black with rich, a rich black unchanged, and grey
again with accurate. A render test covers the opaque and ink-plane paths
and checks that rich blacks, tints and images don't change.
Docs: docs/mcp.md (blackOnScreen), docs/target-app-parity.md,
docs/gaps.md, docs/ui-parity.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Add a Korean catalog (crates/ui-egui/src/i18n/ko.tsv, 4,151 rows) covering
every menu string, every tl! literal and the status and error messages, and
register `ko` in i18n::LANGUAGES (plural_none; every ko-* locale resolves).
- tests: korean_reads_as_korean, ko locale tags, ko in KEEPS_MENU_NAMES and
COMPLETE_MESSAGES; is_cjk covers Hangul so the bundled-font glyph check
leaves Hangul to installed fonts, as it does CJK without craft-fonts.
- Hangul is drawn with an installed system font on the desktop; the web
build still needs a Korean UI face in craft-fonts.
- docs: localization-parity (Korean row, 12-language score 54% -> 63%,
60-100 h), ROADMAP, README, development.md, gaps.md G16,
target-app-parity.
Clean-room: written from the meaning of the English strings in ordinary
Korean vocabulary; no other product's Korean localisation was used.
AI-drafted; native-speaker review welcome.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Save serializes JSON straight into the compressor and writes images from their Arc into the
file; open reads each image into its own buffer, and NodeKind reads its tag first instead of
buffering every node. Already-compressed images are stored rather than deflated again in the
same gzip stream. Limits apply per section, so any file VectorCraft writes opens again. Data
Recovery writes each image once, content-addressed, instead of every interval. Native files open
on a background thread. Files stay readable by main both ways; JSON-only saves are identical.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01VmMmc1J8XeNLxhRihWv9cc
bflatastic