A merge removed every piece of an open line that had a merged region on
both sides. The end of a line that stops inside a shape has the same
region on both sides, so a click or a drag on the shape, or deleting it
in erase mode, cut the line back to where it enters the shape.
A piece is now removed only when it runs between two different merged
or deleted regions. A line that crosses a shape still splits it, and
merging the two halves still removes the piece between them.
A drag tested points spaced by a step that grew with the selection (at
least 0.25 pt), and the tool's highlight tested points 2 screen pixels
apart. A region narrower than the step, such as a thin overlap, fell
between samples: it kept its piece of each source, the merge left strips
behind, or the drag failed with "no region under the pointer" while the
highlight showed the region. Zoomed out, the highlight could miss a
region the merge then took.
The drag now finds where each segment crosses a region outline and tests
the middle of every stretch between crossings, so every region it
crosses is picked. The tool's highlight and shapeBuilder.merge use the
same picking, and Shaper's scribble picks the faces it crosses the same
way. In erase mode the line pieces and edges are still found within the
tolerance, and a segment that crosses one also tests the crossing point.
Shaper's scribble found the strokes to erase at points at least 0.5 pt
apart, so with a tolerance below 1 pt it could pass over a stroke
without erasing it. It now also tests where the scribble crosses each
stroke and points tolerance / 2 apart.
A paragraph split between two threaded frames took its first-line
indent again at the top of the next frame, and a list paragraph drew
its bullet or number there again. Each frame is laid out on its own,
and its first paragraph kept every paragraph attribute there.
A text object now marks a frame whose first paragraph continues from
the frame before (first_para_continues, not saved). The thread re-flow
sets the mark where each frame's share starts inside a paragraph and
measures each share with it, and a restored document reads the marks
from its saved text. Area type and type on a path set the first line of
such a paragraph as a wrapped line: no first-line indent and no bullet
or number. The paragraph after it takes the next number. Release
Selection, Remove Threading, Convert To Point Type and copies of a
frame clear the mark, so the first paragraph there has its indent and
bullet or number again. When Create Outlines, Expand or Expand
Appearance takes frames out of a thread, a frame that stays keeps the
mark only while it is threaded and the frames before it end inside a
paragraph. A frame whose mark changes lays out its first line again,
and when it is still threaded, its thread re-flows. When the outlined
frame is the last one, the text it has no room for is measured as the
frame lays it out: without the first-line indent when it continues a
paragraph, and with its numbers counted on from the frames before it.
The frame before it now takes exactly the text the last frame has no
room for. Duplicates, copies dragged in the Layers panel, the copies
that Release to Layers (Build), Release Opacity Mask and Edit Opacity
Mask make, and Draw Inside's clipping copy then have their cached
bounds computed again, as paste already does for pasted type.
Docs: docs/mcp.md, docs/target-app-parity.md.
pdf_real_text_draws_svg_glyphs_as_art_and_keeps_their_characters counted
every line containing Tj or TJ. The file ID in the trailer and the XMP is
base64 derived from the timestamp, so about one run in a hundred it spells
one of them and the test saw two extra lines (main CI, 5c1185dd). Only
lines that begin a text object count now.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A document opened or created between edit.undoGroup.begin and
edit.undoGroup.end opens an undo group of its own with the begun
group's name, so an atomic command_batch that starts with file.new or
document.open is one undo step in the new document. The group opens
after the command that opens the document: when that command also
edits it (a command.batch), those edits stay the command's own undo
step, and a canceled group keeps them, so the journal still replays.
Both commands also run with no document open, and a command.batch that
fails rolls back a begun group. Switching to a document that was
already open does not open a group in it.
Review follow-up. A function-based shading is read once per import (kept
per shading pattern and inks), and all of them draw on one budget of
200,000 function evaluations; past it a shading comes in as its average
colour, then flat grey, each with a warning that names the cause. A
gradient read leaves enough of the budget to average another shading.
A colour that changes in step with the sampling grid is checked across
the middle of the domain before an axis is chosen, so it isn't read
along the wrong one. The grey fallback warning for other shadings names
only them.
Tests: the same shading on 2,000 paths is read once; 40 distinct
shadings stay within the budget; a hostile file (5,000 fills, 20
shadings with 500-step functions) opens in 0.8 s, 253 s before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Flat Logo traces a copy of the image at most 1024 pixels on a side,
averaged down by a whole factor, so a 1025-pixel image is traced at
513 pixels. The trace's warnings did not say so, because they compared
the image only with the decoded raster. For an image over 1500 pixels
they said instead that it is traced more slowly, which Flat Logo does
not do.
The trace result now carries Flat Logo's working size when it averaged
the image down. imageTrace.make and imageTrace.makeAndExpand then name
both sizes in their warnings, and the status bar shows that note, in
place of the slower-trace and megapixel notes. Other modes keep their
warnings. The message has a row in each catalog that translates the
other Image Trace warnings.
Live Paint builds its faces and edges from path outlines alone. Make,
Merge and the Live Paint Bucket put every selected object among the
group's hidden sources, so type, an image, a symbol, a blend or a group
holding one of them vanished from the canvas. They now refuse such a
selection before changing anything ("Live Paint takes paths and compound
paths: convert type, images and other objects to paths first"), as type
and raster images can't go into a Live Paint group directly
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/learn-painting-basics/create-live-paint-groups.html).
One predicate, vectorcraft_tools::builder::live_paint_takes (Live Paint
groups, paths, compound paths and groups of them), decides it for Make,
Merge and the Properties panel's Merge Live Paint, which no longer shows
for a selection Merge refuses. The message has an @msg row in every
catalog.
Tests: tests_build::live_paint_refuses_type_and_images_and_changes_nothing
(Merge, Make and the Bucket with type, an image or a group holding type:
refused, document, selection and undo history unchanged; a group of
paths and a path still merge) and
panels::properties::tests::merge_live_paint_is_a_quick_action_for_a_live_paint_group_and_more
(hidden with type selected). Both fail without the change.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
A save (document.save, file.saveAs, file.saveCopy) passes its options to
the export encoders, so an option an encoder refused was reported under
document.export: file.saveCopy with format pdf and range "5" on a
document of three artboards, or with format ai and compress "yes", or
document.save to a .vectorcraft path with compress "yes", failed with
"invalid parameters for `document.export`". The error now names the
save command that was run, for PDF, SVG, .ai, .ait and native files.
document.export's own errors are unchanged.
A native save was pretty-printed when the document had at most 2,000
layers and objects and its compact JSON was at most 1 MiB. Pretty
printing puts every coordinate on its own indented line, so traced art
with few paths and many anchors could pass that check and be written at
about five times the size of its compact JSON.
The 1 MiB limit now applies to the pretty-printed document, indented as
the file holds it and in the form the save writes: version 1 anchors,
and placed documents expanded for older versions or Include Linked
Files. Documents whose pretty-printed JSON is over 1 MiB are saved as
compact JSON, even when their compact JSON is under it. The 2,000-object
rule and compressed saves are unchanged. docs/mcp.md describes the rule.
The editing data's palette (%AI5_BeginPalette) was skipped, so a .ai file
opened with the default swatches plus only the spot colours its art used:
inks the art doesn't use (a Pantone set kept in the file) and colour groups
were lost. The palette is now read in order (process, spot in CMYK, RGB or
Lab, and global colours, gradients and patterns, colour groups; versioned
content read once) and replaces the default swatches.
Xs/Xz (Registration at a tint, as printer's marks use it) are read as the
Registration swatch: before, art painted with them stopped the editing data
from being read at all.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Picking the two points of a Linear dimension snapped to anchors and to the
line under the pointer, but showed no guides and ignored the art around it.
The picks now go through the drawing tools' Smart Guides (DrawSnap), hovering
too, so the guides show before each click: a point slides into line with other
objects' anchors and centres, and the second onto the construction guides
through the first. An anchor of the line under the pointer still wins (it
links the dimension to that path), then a guide, then the closest point of the
line (#2432). The guides go once the dimension is being placed.
Test: linear_picks_show_and_snap_to_smart_guides (fails on the old tool, which
showed no overlays while hovering). docs/dimensions.md updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With model "keep" (the default), a row whose new color is in another
color model gives linked art the color converted into the art's model.
That art no longer stays linked to the rewritten group swatch, which
holds the color in its own model, and the reply's note reports the
conversion.
When recolor.apply with a group rewrites a global swatch with another
color than the row of the art linked to it, and that row leaves the art's
color as it is, the art now keeps the row's color and is no longer linked
to the swatch. Before, the link stayed and the group's rewrite gave the
art the swatch's new color.
Art linked to a global swatch of the group that recolor.apply rewrites stays
linked when the swatch takes its row's new color: it shows that color at its
tint, and a later swatch.edit still reaches it. Before, the art took the new
color unlinked. With group, the reply adds relinked, the count of other linked
paints that followed the group's new colors.
With Use Artboards and two or more artboards, EPS export now writes a
central file under the path's own name before the file of each artboard.
The central file contains the whole document, and its bounding box is
the visible art, as in an export without Use Artboards. An export of a
single chosen artboard still writes one file at the path's name, and
Export for Screens still writes one EPS per artboard. When no art shows,
only the artboard files are written.
Docs: the useArtboards params text, the MCP export tool's range text,
docs/mcp.md, docs/control-protocol.md and docs/target-app-parity.md.
document.find took only name, kind and text, so removing hairline slivers or
every object in one region needed the whole inspect tree and a filter
written outside the app. It now also takes within and intersects
([x, y, width, height] in document points), min and max width, height,
thickness (the smaller side) and area of the geometric bounds, and min and
max anchor count (a compound path counts its members together). Each given
filter must match, and limits are inclusive.
select: true also selects the matches, leaving out hidden and locked
objects, matches inside another match, and compound path members unless
the compound path is isolated; the reply adds selected. Select > Reselect
repeats the find, and an action being recorded records a find that
selects. The count that select.color, the Select > Same commands and the
Select > Object commands report is now the number of objects selected,
after Lock Guides leaves out guide paths.
The title field of document.inspect and the document.open reply is the
document's tab name, which comes from the file name once the document
is saved to or opened from a file. A client had to call file.info or
document.info to read the File Info title, so reading a saved
document's title from these replies gave the file name instead.
Both replies now add fileInfoTitle, the title file.info reports, and
keep title as it was. docs/mcp.md's File Info section describes both.
imageTrace.make and imageTrace.makeAndExpand checked their own keys, but
not the keys inside `params`. A misspelled setting such as `colours` was
dropped, and the trace ran with the preset's value and no error.
A key inside `params` that is not a trace setting is now an error that
names the nearest setting, as for a command's own keys. Errors from
imageTrace.makeAndExpand, including those for `enhanced` and a missing
swatch library, name that command instead of imageTrace.make.
recolor.colors and recolor.reduce were unavailable with nothing selected, so
listing a document's colors needed a select.all first, which also changed the
selection. Both now take ids and read the selection when ids is left out.
With nothing selected they read the objects Select All takes and the objects
inside them: hidden and locked objects are left out with what they hold, also
inside a group, as are the objects of hidden, locked and template layers, and
in isolation mode only the isolated art is read. The selection is left
unchanged. An object named in ids or selected is read with everything it
holds, and an object listed twice, or listed together with a group that holds
it, counts once. recolor.apply still recolors only the selection.
The params descriptions of Same Fill Color, Stroke Color, Fill & Stroke,
Graphic Style and Appearance Attribute say that a member path of a
compound path selected first compares as its compound path, except in
isolation mode inside that compound path.
Select > Same > Fill Color, Stroke Color, Stroke Weight, Fill & Stroke,
Opacity, Blending Mode, Appearance and Shape skipped containers, so they
never selected a compound path, even when the compound path was the
object selected first. With a member path of a compound path selected
first, these commands and Same Graphic Style and Appearance Attribute
compared the other objects with the member, which has no paint or style
of its own. Graphic Style then reported that the selection had no
graphic style, and Appearance Attribute that the object had no fill,
stroke or effect.
The eight commands now match a compound path on its own paint and
attributes, as select.color does, and skip its member paths. When a
member path is selected first, all ten commands compare the other
objects with its compound path. In isolation mode inside a compound
path, the member paths are matched as before.
Review of #3925: the spooled job turned every sheet wider than tall, so
custom paper that is wide in Portrait (a 4 × 2 in label) went to the queue
tall, and a Portrait + Transverse page was turned back. Only the sheets
whose paper the layout turned to landscape (not transverse) are written
upright now.
The desktop print service asked for upright pages on every platform, but
craft-print already turns each sheet to its own orientation on Windows:
only macOS asks for them now; Linux keeps main's behaviour.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
A landscape print job was a page wider than tall, and `lp` on macOS puts
each page on the paper as it is: on upright Letter it printed unturned,
cut off on the right (checked with cupsfilter through an AirPrint
driver). Saving the PDF and printing it from Preview worked because
Preview turns the page.
`file.print` takes `forPrinter`: a page wider than tall is written
upright, the art turned a quarter anticlockwise as a printer driver turns
a landscape job. Page by page, so auto-rotated jobs that mix wide and tall
artboards print right too. The desktop print service asks for it
(`PrintService::turns_landscape`); saved PDFs, PostScript, the preview and
the browser's print dialog keep landscape pages as they are.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
With Alt key toggles to Smooth Tool off, holding Alt when a Pencil drag
starts now draws one straight segment from the press point to the
pointer, at the angle the pointer takes, as Shift does at 45° steps.
Pressed on an end of a selected open path, the line continues the path
from that end. Both ends snap to Smart Guides as a stroke's ends do, and
the line stays open when Alt is still held at the release. Shift and Alt
together keep the 45° steps.
Before, a drag started and released with Alt held drew a closed freehand
path. Alt pressed after the drag has started still closes the path at
the release, and with Alt key toggles to Smooth Tool on, Alt still switches
to the Smooth tool. Before a Pencil press, Alt no longer shows the closing
cursor.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
A save without options reuses the options the document was last saved
with in that format. Their artboard, artboards and range name artboards
by number, so once artboards were deleted or moved, the save wrote
other artboards or was refused: with three artboards, a PDF saved with
range "2" wrote the third artboard after the first was deleted, and one
saved with range "1, 3" was refused after the third was deleted. The
same held for SVG saves, a legacy .ai, and .ai and native files saved
with separateArtboards. file.formatOptions and SVG Options showed the
same numbers.
The document now keeps the ids of the artboards it had when it was
saved, and the remembered pick follows them: an artboard deleted since
is left out, one that moved is named by its new number, and the rest of
the pick is kept. A range open at its end ("2-") is written out as the
artboards it named once artboards are added. When none of the artboards
the save used is left, the pick is left out, and the save writes the
artboards it writes when none is named. A range of "all" stays as it
is. An artboard given to the save is still refused when the document
does not have it.
A new artboard no longer takes the id of an artboard deleted earlier in
the same document (Document::retire_artboard_id), or of one an undo took
away: the highest id given out is shared with the undo history, so a
new artboard is not taken for an earlier one.
file.revert keeps the pick only when the file read back has the
artboards the document had at the save, with the same ids in the same
order. A PDF saved with a range holds only those pages, and one saved
without preserveEditing reads back with new ids in page order, so their
picks are left out.
Create Outlines on a frame of threaded text removed the frame, and the
thread's re-flow then added the frame's text to the story, as it does
for a frame that was deleted. The other frames held that text a second
time while the outlines drew it. Object › Expand, and Expand Appearance
where it outlines type or groups it with a shadow, outer glow or Crop
Marks, did the same.
An outlined frame now leaves its thread with the text it shows, and the
other frames keep the text they hold. When the thread's last frame is
outlined, the text it has no room for goes after the text of the last
frame that stays. When Expand Appearance keeps a frame as type in a
group, the type takes the frame's place in the thread. A thread left
with one frame is no longer a thread, and undo restores the thread.
Docs: docs/mcp.md, docs/target-app-parity.md.
CodeRabbit findings #2, #16, #31, #103, #114, #124, #162, #179, #182, #183, #185:
- Shortcut import review: example names for each code in one pass over the rows.
- Gradients: a midpoint stop is mixed from its two stops; freeform recolor samples its
increasing positions with one advancing search (`Gradient::sample_increasing_with`).
- Recovery: image entry names are looked up by address, and dead ones swept when the map
doubles, not on every image.
- Script checker: include cycles from strongly connected components (iterative Tarjan), not
a reachability row per file.
- Batch step references copy at most 256 MB of values for one step.
- DOCX: style ids over 256 bytes are ignored where defined and where used.
- DXF: layouts keep at most 4 MB of names; a hatch's loops count against the node limit.
- Freehand and Liquify: past 1000 samples a drag previews every n/1000 samples, strokes keep
at most 100,000 samples, and the stroke kept is previewed in full before it is committed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
CodeRabbit findings #7, #72, #92, #94, #95, #99, #100, #140, #158, #174:
- Link search hashes at most the size it looked at (a growing file no longer matches).
- Resolving links reads, decodes and previews each linked file once, shared by every key.
- Placed documents read inside one another resolve links at most 8 deep, never one already
being read.
- A data set's image path and the placed-document rereader follow stored paths through
`document_path` (no other computer's share).
- The Links panel looks at a linked file within the roots of the automation caller that
opened the document.
- A fonts folder set by a confined caller is scanned without following links out of it.
- Recovery refuses an area folder that is a link or another account's.
- Atomic saves keep the replaced file's group and Linux access ACL, or make the replacement
owner-only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
CodeRabbit findings #58, #75, #82, #113, #159, #175, #187:
- Live evaluation (expansion, envelope mapping and everything inside) makes at most 4M
objects (`MAX_GENERATED`); deep expansion counts what each live object makes, and envelope
image pieces count before they are cut.
- Clipping runs copy at most 8M clip path elements together; past it runs are plain groups.
- Exports read at most 256 placed documents; the rest show their previews.
- Graph design and marker budgets count opacity-mask art (`Node::count_with_masks`).
- Native files read at most 32M anchors (4M on wasm) of paths; the web build allows 1 GiB of
entries after the JSON.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CI: line tables only for workspace crates, no debug info for dependencies
* CI: one integration-test binary per crate
Each crate's tests/*.rs files become modules of tests/it/main.rs. Files that change
process-wide state (Color Settings, the font database, installed plug-ins, the working
directory), the fuzz sweeps and the test targets the Affinity corpus workflow names stay
their own binaries.
* Docs: name the integration tests' new paths
* CI: xtask test with nextest and doctests, one wasm check, clippy --keep-going
cargo xtask ci runs the tests with cargo nextest (cargo test when it is not installed),
builds them with --lib --bins --tests, runs the doctests as their own step, and checks
the wasm crates in one cargo check --keep-going call.
With objects and ruler guides selected together, object.nudge moved the
guides by the art's delta turned through General > Constrain Angle, so at
90 degrees a Right nudge moved a horizontal guide vertically. The guides
in that edit now move by the page-axis delta, as guides selected alone
already did (CodeRabbit finding on #3745).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
* Links: use resolve_absolute for stored paths
* CI: release only with git dependencies from storytold
* Release: check git sources from the parsed Cargo.lock and cargo config
The grep let any character stand for the dot in github.com, passed a missing or stale
Cargo.lock, and missed source replacement in .cargo/config.
dotCooCoo