Font services load their fonts with GDI at run time, from files in their
own folders, without installing them: neither the font folders nor the
registry list them, so the font scan never saw them. DirectWrite's system
font collection holds them since Windows 10 1607.
- vectorcraft-text: `set_platform_font_files` lets the app name font files
the platform knows; each scan and each check for installed fonts asks
again and reads those outside the font folders. A file named by itself
is read whatever its extension (font services keep fonts in files
without one).
- The desktop app lists the local files of DirectWrite's system font
collection on Windows (`system_fonts.rs`, through the windows crate
already in the build), read in place.
- The check for fonts installed while the app was in the background runs
on a thread: DirectWrite's check for updates takes about 50 ms.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
#583 kept ligatures within +-50/1000 em. Adobe's composers are described
as dropping them past about -8% and +22% of the word space (John Hudson,
www-style, 2012-07): about -20 and +55 for a typical 250/1000 em space.
Condensed type shows a fixed ligature sooner than expanded type does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Gradient panel's colour chip opens the stop popover on a click. The
popover closes on a click elsewhere, and the opening click itself, which
is released in the frame the popover first draws and lies outside it,
counted as one: the popover closed at once (a double-click got through,
as the popover lets the double-click that opens it from the canvas pass).
The popover now records the frame it first drew in and only a click in a
later frame closes it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Add ru.tsv with the full interface coverage: every menu string, every
tl! literal, the plurals (one/few/many) and the status/error messages
(@msg). Registered as complete_menus with the Russian plural rule;
every ru-* locale resolves to it. Keeps the product, workspace and
perspective preset names in English like the other complete catalogs.
Tests: russian_reads_as_russian, russian_plurals_have_three_forms,
russian_glyphs_are_available_without_system_fonts; ru added to
KEEPS_MENU_NAMES and COMPLETE_MESSAGES.
Clean-room: written from the meaning of the English labels in the
vocabulary Russian-speaking users of vector illustration software know
(Слой, Образцы, Обработка контуров, Монтажная область, Обводка,
Заливка), matching the Russian catalog of the sibling app PhotoCraft.
No other application's localisation was copied.
An SVG used as an animation rig lost its hidden alternates and their
rotation pivots: the exporter left hidden objects out (only hidden layers
could be kept), and the importer dropped data-* attributes.
- SVG export: hiddenLayers (on by default for document.save, as before)
now keeps hidden objects too, each written display="none" on its own
element (path, image, text or group). Exports still leave them out
unless asked; the CLI's convert asks, as a conversion keeps the
document.
- An object's own data: ObjectAttributes.data, the data-* attributes in
order (ours, data-name and data-vc-*, aside). The importer keeps them on
the objects and layers they belong to (at most 64 per element), the
exporter writes them back, the native format saves them (missing in
older files), and object.setProps {data: {key: value|null}} sets or
removes them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
file.saveAs and document.save wrote a PDF-compatible .ai, but
document.export (and with it the CLI's run --export x.ai and convert
in.svg out.ai, and MCP's export) refused it as a format that can only be
opened, and --help didn't list it as writable.
The .ai encoder is now shared: save.rs's ai_params and encode_ai (a PDF
of every artboard with the PDF options, carrying the native document,
blank pages with pdfCompatible: false) serve Save As and the exports
alike. The .ai format is writable, so document.formats, --help and the
MCP export tool list it; an export leaves the document's own path alone.
Export As and Export for Screens keep leaving .ai to Save As.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merging regions united the faces' outlines with a boolean union. Each
face had been refit on its own, so two faces' shared edge could come out
a hair apart: the union then kept the edge between them, or a spur of
it, and a stroked merged shape (unfilled art) showed a stray line inside.
Subtracting the merged shape from the others left slivers along it too.
pathops::FaceMerger merges faces from the planar arrangement itself,
made once per merge: their contours share their edges exactly, so the
edges between merged faces vanish. The Shape Builder builds the merged
shape that way, and what is left of each shape from its faces not merged
(rather than subtracting the merged shape from it). Selections with open
paths keep the old union.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Only real letterspacing (|tracking| > LIGATURE_TRACKING_LIMIT = 50/1000 em)
drops standard ligatures now, and an explicit liga/clig in the character's
features always wins. The OpenType panel's hint follows the same rule.
With the Selection tool, a click (no drag, no modifier) on one object of a
selection of several makes it the key object (select.key); a click on the
key again lets it go. The key object is drawn with a thicker outline,
Align aligns to it (the Align panel shows Align to Key Object while there
is a key, and choosing Selection or Artboard lets it go), and
object.align without `to` aligns to the key when there is one, so the
Control bar's and the Properties panel's Align buttons do too. With a
spacing, Distribute Spacing keeps the key object still and spaces the
others from it, and it reports too few objects instead of indexing an
empty list.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
egui's combo box puts its own scroll area around a combo's list, so the
font menu, which scrolls its families itself, had two scrollbars: once
the families reached their end the wheel scrolled the outer one, taking
the search field and the filters out of view.
The font menu (widgets::combo with searchable) now opens its list in a
popup of its own, drawn like the combo box, without that outer scroll
area: below the button, or above it when there is more room there. The
families list fills the popup's room under the search field and filters,
which stay at the top while the list scrolls.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Exporting one artboard of many to SVG wrote the whole document's art into
that artboard's file, the other artboards' art outside its viewBox: an
editor opening it showed every artboard's art. A file for an artboard
named in the export (Use Artboards with a range or All, Export for
Screens) now holds the objects over that artboard only, at any depth of
layers, as DXF's crop leaves them; objects reaching into it stay whole
and a clipping layer keeps all of its objects. An SVG with no artboard
named (Save As) still holds the whole document.
Part of #546: Export As with a range writes the chosen artboard alone in
SVG, DXF, PDF and PNG, each file with that artboard's art (tested from
the dialogs).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Tracing a 2048 x 2048 photo with High Fidelity Photo made 733,000 paths
and 7.8 million anchors. The selected result's outlines and anchor
squares then made an egui mesh of 1.8 GB, over the GPU's largest buffer:
wgpu panicked while painting and the app quit (or ran out of memory
first, at 6.4 GB).
- Canvas: a selection with more than 100,000 anchors shows its bounds
instead of every outline and anchor, and the hover highlight skips
such an object. The Contextual Task Bar and that outline read the
selection's bounds from a per-revision cache (VectorcraftApp::
selection_bounds): a selected trace drew a frame in 20 ms, not 170.
- Image Trace: the colour layers are traced in parallel (26 s to 1.9 s
for that photo; the web traces them in turn). trace_within stops once
the paths pass an anchor budget; imageTrace.make allows two million
and otherwise reports the trace as too complex, with what to change.
Images over 64 megapixels are refused from their header, before they
are decoded.
- The trace crate's messages are translated (es, it) and scanned.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Make… and Make and Expand… opened the generic parameter form, whose
preset was a text box holding a preset's name (Black and White Logo,
6 Colors), so the other presets looked missing. As in Illustrator, Make
and Make and Expand now trace at once with the Default preset, as the
Control bar's Image Trace button does; the button's arrow and the Image
Trace panel's Preset list choose among the 12 presets. The catalogs drop
the two "…" labels; Czech gets Make and Expand.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The clipboard keys already went to a focused text field, but on Windows,
Linux and the web the press that opens a menu takes the keyboard from the
field, so Edit > Copy (and Cut, Paste, Select > All) acted on the art.
The menu bar now keeps the field that had the keyboard, and its
selection, while the menus are open; those four commands go to it as the
events their keys send, the frame after the click that chose them, and
give it the keyboard back. Everything else, and those commands with no
field, run as before. The macOS menu bar shares the same helpers.
Tests: Copy, Cut and Paste events in the W field and the Color panel's
hex field edit the text, never the art; Select > All, Edit > Copy and
Edit > Paste clicked in the in-window menus act on the field.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The drawing language is process-wide, so a Japanese frame translated the
tests running beside it (Appearance, Attributes, menus). The test now
checks that each frame hands the engine its language without leaving
English.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Rust 1.98's clippy adds `chunks_exact_to_as_chunks`, which `-D warnings`
turns into an error, so `cargo xtask ci` fails on main with the current
stable toolchain. The EPS stencil-mask loop and the cursor rasterizer
(and two cursor tests) now use `as_chunks`, which yields fixed-size
arrays; like `chunks_exact`, it skips an incomplete last chunk, so
nothing changes in behaviour.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
On macOS the menus are in the system menu bar, laid out as a Mac app's (Illustrator on the Mac as
the reference), and the app settings sit in the VectorCraft menu: About, Settings ▸ (one item per
Preferences page, General… ⌘K), Language ▸, Appearance ▸ (UI brightness), Services, Hide
VectorCraft ⌃⌘H (⌘H stays View › Hide Edges), Hide Others ⌥⌘H, Show All and Quit ⌘Q (the app's own
quit, so unsaved documents are asked about); they leave Edit and Help. Window gets Minimize ⌃⌘M,
Zoom and Bring All to Front; Help is the system's Help menu. Windows, Linux and the web keep the
in-window menu bar unchanged; --in-window-menus or VECTORCRAFT_IN_WINDOW_MENUS keeps it on macOS
too, and so does a menu bar AppKit refuses to build.
One menu model: the in-window menus and the native bar draw the same rows (menus::entry), and the
platform-free native_menu module lays them out, decides when to update (a cheap state hash; labels,
enabled and checked in place, a rebuild only when the structure changes) and hands key equivalents
back to egui as the key presses they were, so shortcuts, user overrides and focused text fields
behave as in the window and nothing fires twice. The muda backend (pinned =0.21.1, macOS only, no
unsafe) is apps/vectorcraft/src/mac_menu.rs, mirroring PhotoCraft's. ui.inspect reports
nativeMenuBar. Translations for the new labels in ja, es, zh-hans, zh-hant, cs and pt-br.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The PostScript Language Reference (3rd ed., §3.7.3 "Save and Restore")
has `restore` reset composite objects in local VM to their values at the
`save`. The reader only restored the graphics state, so dictionary
entries changed between `save` and `restore` stayed changed: a program
that counts its open saves in a dictionary and refuses to go past a depth
stopped after that many saves in sequence, and the file fell back to its
preview. EPS files with many images, each drawn between `save` and
`restore`, are a likely case of #505; its reporter hasn't sent a file, so
this is part of it.
- While a `save` is open, `def`, `store`, `put`, `undef` and dictionary
`copy` keep each entry's old value in a journal (counted against the
memory budget); `restore` undoes it, newest change first, down to its
save. A save restored already, itself or through an outer one, is no
longer valid (`invalidrestore`, §3.7.3).
- `cachestatus` reports a device's cache sizes (chapter 8) instead of
zeros: its last value, the most bytes one cached glyph may take, is what
programs divide by.
- Tests (programs written from the reference): 100 saves counted in a
dictionary under a depth limit, each dictionary change undone, saves
restored twice, `cachestatus`'s glyph limit. Mutation-checked: without
the journal or with a zero `cachestatus` the test fails. The import fuzz
vocabulary has saves and restores around dictionary changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An image can take one data source per colour component
(MultipleDataSources, or `colorimage` with multi true). The PostScript
Language Reference (3rd ed., §4.10 "Images" and `image`/`colorimage` in
chapter 8) has the operator read the sources in turn, the same amount
from each. The reader drained each source on its own instead: when the
sources are procedures reading one file a row at a time, the first plane
took the rows of every component and the image came out in sheared
horizontal bands, as in #498.
- Data sources are read in turn by one reader, `read_sources`: a procedure
once a round, a file or string a row a round, until each plane is full or
its source ends. Single sources, procedure filters and masked images use
it too; a string source resumes where it left off.
- Tests (`tests_images.rs`, programs written from the reference):
procedures reading one file in the dictionary and `colorimage` operand
forms (fails without the fix), separate string sources, rows padded to a
byte at 1, 2, 4, 12 and 16 bits with an odd width (one and several
sources), Flate PNG predictors with every row filter at an odd width.
The import fuzz vocabulary has several sources reading one file and
sources of uneven lengths.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Two EPS import tests become programs written from the PostScript Language
Reference (3rd ed.), with their own names and structure, covering the
interpreter features the importer relies on:
- `level_2_and_3_probes_read_as_vectors`: a resource category made from
Generic, resources defined and found in it (§3.9), local and global VM
(`currentglobal`, `setglobal`, `gcheck`, §3.7.2), `internaldict` probed
through `stopped`, a halftone dictionary set and restored, `cachestatus`,
`rootfont` and `currentcolorrendering`, drawing with its own procedures.
- `executable_strings_and_integer_keys`: shading dictionaries closed by an
executable string (`(>>) cvx`, or a Level 1 builder with `counttomark`),
procedures kept under integer keys run with `load` through `stopped`,
`cvx`/`cvlit`/`xcheck` on strings.
Each was mutation-checked: making any of findresource, defineresource,
currentglobal, setglobal, gcheck, internaldict, sethalftone,
currenthalftone, currentcolorrendering, cachestatus, rootfont, stopped,
cvx, load, counttomark, cvlit or xcheck unknown fails a test, and so do
strings that `cvx` leaves literal, `load` refusing integer keys and
`gcheck` answering true.
The ROADMAP's EPS paragraph, file-formats row and last-updated line state
the PostScript features the reader supports; the legacy `.ai` comments in
the import module and the interpreter cite that format's published
specification (PRONOM fmt/423) for the `%AI` header comments and `u`/`U`
group operators the reader keys on.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
