With one clip group selected, the Properties panel has Edit Clipping
Path and Edit Contents at its top, under the Clip Group heading, as the
reference app does: "With the clip group selected, click the Edit
Clipping Path button at the top of the Properties panel to select and
edit the mask, or click the Edit Contents button to select and edit the
masked content"
(https://www.adobe.com/learn/illustrator/web/crop-using-masks). They
run the existing object.clippingMask.editMask and editContents, which
select the clipping path or the clipped art for the selection tools, as
Object > Clipping Mask does. Edit Contents shows only when the group
clips something. With several objects selected they don't show (the
tutorial describes one selected clip group); the Contextual Task Bar
does the same. Both labels are already in every catalog.
Test: panels::properties::tests::one_clip_group_has_edit_clipping_path_and_edit_contents_at_the_top
(first under the heading, each selecting its part; Edit Clipping Path
alone once the clipped art is deleted; neither for a clip group
selected with another object in either order, or for a plain group).
Documented in docs/target-app-parity.md, docs/ui-parity.md and
docs/gaps.md.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Rows two PRs of the batch both changed came out twice in localization-parity, target-app-parity and type-parity; the newest of each is kept. prefs_dialog.rs is formatted.
A Word paragraph justified with w:jc lowKashida, mediumKashida or
highKashida placed as plain justified type, and its kashida length was
dropped. ECMA-376 Part 1, 17.18.44 (ST_Jc) gives these values a
slightly longer, a medium and the widest kashida length.
Such a paragraph now places justified with Insert Kashidas set to
Short, Medium or Long. A paragraph justified with both, and every other
alignment, still places with Insert Kashidas set to None. VectorCraft
writes no Word or RTF files, so this change does not affect export.
Docs: docs/mcp.md, docs/target-app-parity.md.
A click on the Tabs panel's ruler added a stop, and a drag moved one,
at the fraction of a point under the pointer. The reference app's Tabs
page says that the tab ruler does not set stops in increments smaller
than 1, and that the X or Y field sets them as finely as 0.01 point.
The page does not name the unit of 1. The ruler here uses 1 point, the
unit the page gives for the X or Y field, in every General unit.
With Snap to Unit off and Shift not held, a stop placed or dragged on
the ruler now lands on the nearest whole point. With Snap to Unit on,
or Shift held, it still lands on the ruler's nearest tick, which on a
millimeter ruler is a fraction of a point. A position typed in the X
or Y field keeps its hundredths of a point.
Docs: docs/target-app-parity.md.
The PDF writer's metadata has no copyright fields, so the XMP packet of
PDF exports and PDF-compatible .ai and .ait saves left out File Info's
copyright status, notice and URL. A PDF exported without its editing
data opened with the status Unknown and an empty notice and URL,
although the reader takes them from dc:rights, xmpRights:WebStatement
and xmpRights:Marked.
The export now adds those three properties to the XMP packet after
the writer has written it, as it does for the modification date.
Marked is True for Copyrighted and False for Public Domain, and is left
out for Unknown. The notice and URL are escaped for XML, and characters
XML 1.0 does not allow are left out. A document without a copyright
gets none of the properties.
Docs: docs/mcp.md (File Info), docs/target-app-parity.md.
The Print dialog's Media list only had Letter/Legal/Tabloid and the ISO A
and B papers, so Japanese papers had to be entered as a custom size, and
"B4"/"B5" were ISO 216 (250 × 353 and 176 × 250 mm) although Japanese
printing uses the JIS sizes (257 × 364 and 182 × 257 mm, JIS X 6310).
Media gains JIS B4, B5 and B6 next to the ISO ones, and はがき
(japanese postcard, 100 × 148 mm), 往復はがき (japanese double postcard,
148 × 200 mm), 封筒 長形3号/長形4号 (japanese envelope #3/#4, 120 × 235
and 90 × 225 mm), 角形2号/角形3号 (kaku #2/#3, 240 × 332 and 216 × 277 mm),
四六判 (yonroku-ban, 127 × 188 mm) and A6, all in millimetres at 72/25.4.
b4 and b5 keep their ISO 216 dimensions so print settings and presets
saved before the Japanese papers existed keep their paper; the dialog
labels say "B4 (ISO)"/"B5 (ISO)" beside "B4 (JIS)"/"B5 (JIS)".
A paper is named by its JSON id or by its dialog label, any case and
spacing ("b5 (jis)", "B5 (JIS)" and "b5jis" all mean the JIS B5), so
agents and the control channel need not know the id spelling; an unknown
name is still refused. Media is written out instead of through the
choice! macro to carry that lookup.
The print.setup/file.print parameter docs and docs/mcp.md list the new
papers; the Print dialog picks them up from Choice::ALL with no UI code
change, and the Japanese labels are translated in ja.tsv (はがき,
往復はがき, 長形3号, 長形4号, 角形2号, 角形3号, 四六判).
Tests: japanese_paper_sizes checks every added size in points, that the
ISO B4/B5 values did not change, name resolution and id/label round
trips, and that each paper prints a PDF page with its own MediaBox size.
Validation: cargo fmt --all -- --check clean; cargo clippy
-p vectorcraft-pdf --all-targets -- -D warnings clean; cargo test
-p vectorcraft-pdf -> 330 passed, 0 failed (328 lib + 2 integration).
PDF import read every gap wider than a fifth of an em between two
glyphs as a space. Letter-spaced type (Tc, or glyphs placed one by one
with tracking) has such a gap between every pair of letters, so
"OPEN DAILY" came in as "O P E N D A I L Y".
A line now records every gap between its glyphs and decides which are
spaces when it finishes: the spacing its letters share (the gap a third
of the way up from the narrowest, when the line has three or more) is
taken off each gap first. That shared spacing is at most half an em, so
glyphs set wider apart, such as figures in columns, keep their spaces.
Right-to-left lines and glyphs along a curve read their gaps as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Scatter, Art and Pattern Brush Options had no Tips button. The
reference app's Brushes page has one for Colorization, with information
and samples about each method.
A Tips button beside Method now opens Colorization Tips. For each
method it shows the name, what the method does, and a sample of the
brush as OK would make it, painted with that method on a blue stroke.
Hue Shift's sample uses the dialog's Key Color. A second click on Tips,
Escape or a click outside the popover closes it, and the dialog field
tips opens it from a command. Screen readers name the button, the
popover and each sample.
In every dialog, Escape with a dropdown list open now closes the list
and leaves the dialog open. Before, it canceled the dialog and
discarded its edits.
The stroke preview and the samples no longer panic when ui.dialog.set
writes a brush definition (__def) that is not a JSON object.
Docs: docs/target-app-parity.md.
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.
The reference app creates a new symbol with F8 on Windows and macOS.
VectorCraft opened Symbol Options for a new symbol from the Symbols
panel's New Symbol button, from the panel menu's New Symbol… item and
from Help › Search Commands…, but no key ran it, and F8 did nothing.
ui.symbolOptions (Symbol Options…) now has the default F8 on every
platform. With a selection the key opens Symbol Options for a new
symbol, as the New Symbol button does: OK makes the symbol and puts an
instance of it in place of the art, and Cancel makes none. With nothing
selected the key opens no dialog, and the status bar says that nothing
is selected. Shift+F8, Cmd+F8 and Cmd+Shift+F8 keep their commands.
Keyboard Shortcuts now lists the command with its key.
Docs: docs/ui-parity.md, docs/target-app-parity.md,
docs/control-protocol.md.
A dialog's slider could take the keyboard focus from Tab, but it
responded only to the pointer, so an arrow key moved the focus to the
nearest widget in the arrow's direction and a keyboard user could not
move the slider. Screen readers could not step it either.
These dialog sliders, each beside a number field, now respond to the
keyboard. A click or Tab gives a slider the focus, which an outline
shows. Then the Right and Up arrows step the field's number up to the
next whole number and the Left and Down arrows step it down to the
next whole number. Shift with an arrow, Page Up and Page Down step it
by ten, and Home and End set the slider's first and last value. No
step goes past either end, and a number past the slider's range steps
from its nearer end. Screen readers' increment and decrement actions
step the slider as the arrows do. A step sets the field's number in
the field's own unit, so a Move slider in a millimeter document steps
one millimeter. When the field holds a number past the slider's range,
Home, End or a drag to that end of a form slider now sets the end's
number; before, such a drag left the field's number as it was.
The form sliders get this through the new color_slider_stepped, next
to color_slider_valued, and so do the Pencil, Paintbrush and Smooth
Fidelity, the Perspective Grid's Opacity, the 3D dialogs' sliders and
the flattener's balance, which the Flattener Preview panel also shows.
The Color panel, Swatch Options, the Color Picker's channel slider,
the Navigator and the Character panel keep their sliders as they were.
Docs: docs/target-app-parity.md.
Delete Brush and a rename in Brush Options changed only the strokes in
the layers. Strokes in symbol definitions, graph designs, pattern
tiles, opacity masks, graphic styles and the art of other brushes kept
the old brush name. After a rename they drew as plain strokes, and
after a delete a brush made later with the same name painted them.
brush.delete and brush.options with newName now rename the brush, or
clear it, in every stroke in those places, and in the tile that
pattern editing's Cancel puts back. Only the objects that change, and
the groups that hold them, are copied. It is still one undo step.
Docs: docs/target-app-parity.md.
The reference app reorders a brush that is dragged to a new place in
its Brushes panel, among the brushes of its type only. VectorCraft's
Brushes panel could not reorder brushes, and no command moved one.
brush.move {name | names, to?, type?} moves brushes to index to among
the brushes of their type, in brush.list order, as one undo step. A
move that keeps the order records no step. Brushes of different types,
or a type other than theirs, are refused with "brushes move only within
their type". In the Brushes panel, a brush dragged onto another brush
of its type goes before or after it by the half of the tile or row
under the pointer, and a bar marks the slot while it is held there. A
brush dropped on a brush of another type stays where it is, and the
status bar shows the refusal.
Docs: docs/mcp.md, docs/target-app-parity.md.
At startup, a persistent swatch or graphic style library panel whose
file could not be read was closed and left out of the preferences,
with only a status-bar note. The next preferences save dropped it, so
moving or renaming the file once lost the panel and its settings.
Such a panel now reopens where the saved layout had it and stays in
the preferences. Its tab shows the file's name without the extension,
and its body shows "Missing:" with the file's path and a Locate
Library… button. The new command ui.libraryPanel.locate {panel,
path?} loads the library from the file given, or from one picked in
an open dialog, and shows it in the same panel, which keeps its view,
Show Find Field and Persistent. When the file's library is open in
another panel, the missing panel closes and that panel is brought
forward and made persistent.
A persistent panel whose User Defined library file is deleted while
the app runs shows the library as missing the same way; other panels
still close. window.swatchLibrary and window.graphicStyleLibrary take
a missing library's id, so a closed missing panel opens again.
Previous Library and Next Library are dimmed in a missing panel's
menu.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
Since #3355, Ctrl+Alt+L is New Layer Options… and opens Layer Options
for a new layer instead of adding a layer. On main merged with this
branch, ctrl_alt_chords_without_typed_text_still_run failed: its
Ctrl+Alt+L steps expected a new layer. They now expect Layer Options
in mode new with no layer added, while the Type tool edits and with
the Selection tool, and the test cancels the dialog between the two.
The doc comment of altgr_characters_typed_in_text_run_no_command names
New Layer Options… (Cmd+Alt+L) instead of New Layer, and the
docs/target-app-parity.md line says AltGr+L does not also open Layer
Options for a new layer.
Firefox on Windows reports AltGr as Ctrl and Alt held. In the web
build, while the Type tool edited text, a character typed with AltGr
was typed and also ran the command chord of its key: AltGr+L (ł on a
Polish layout) added a layer through Cmd+L, AltGr+Q (@ on a German
layout) ran Reset Tracking and Kerning, AltGr+E (€) opened Export for
Screens, AltGr+A (ą) ran Select All on Active Artboard, and AltGr+Z
(ż) undid the typing through Cmd+Z.
While the Type tool edits text, a key press with Ctrl and Alt held
that is followed by the text it typed is now dropped before the
command chords are matched. A Ctrl or Ctrl+Alt chord that types no
character runs its command as before, and key presses outside text
editing are handled as before. The desktop app receives AltGr
without Ctrl and Alt, and a press with Ctrl held types no text
there, so it behaves as before.
Docs: 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.
The web build has no render worker, so every frame of a pan, zoom or
rotation of the view rendered the whole canvas on the browser's main
thread before it was shown. In Chrome, each of the 20 steps of a
Space-drag over a document of 50,000 paths took a frame of 533 to
900 ms.
In the web build the canvas now waits while only the view changes on
a document whose last render took more than 8 ms. It draws the last
frame moved, scaled or turned with the view, as the desktop app does
while its worker renders, and it renders once the view has been still
for 0.2 s. The same Space-drag now keeps every frame within 17 ms and
renders once, in 667 to 767 ms, after the view stops. After an edit, a
preview or an option change the canvas renders at once. The desktop
app renders as before, with or without its worker.
Docs: docs/target-app-parity.md.
PDF import gives a space read from a gap between two glyphs tracking of
its own when the line's tracking cannot place the glyphs after it. A
space glyph that the file draws was not measured this way: the gap
before or after it was spread over the whole line as one tracking
value, so the words after it moved. VectorCraft's own PDF export draws
a tracked space and leaves its tracking after it.
A space the file draws between two glyphs on a line is now measured
from the end of the glyph before it to the start of the glyph after it,
and takes tracking of its own on the same terms as a space read from a
gap. Two or more spaces in a row, and a space at the start or end of a
line, keep the line's tracking. The tracking calculation builds a map
of the line's laid-out advances by byte offset once.
A wrapped line whose spaces each have tracking of their own, within a
fiftieth of an em of the first space's tracking, can still come back as
part of justified area type. Wrapped lines whose spaces' trackings
differ by more than that stay point type with their words in place.
Double-clicking the Shape Builder tool reported that the tool has no
options. The reference app opens Shape Builder Tool Options there.
The dialog sets Consider Open Filled Paths as Closed, Pick Color From
(Artwork or Color Swatches), Cursor Swatch Preview, Selection (Freeform
or Straight Line) and Highlight Fill. The defaults keep today's
behavior. With Consider Open Filled Paths as Closed off, a filled open
path cuts regions as an unfilled one does. With Color Swatches, a merge
fills the new shape with the current fill, and the Left and Right arrow
keys step the current fill through the document's color swatches.
Cursor Swatch Preview shows the current fill and the swatches before
and after it above the pointer. With Straight Line, a drag merges what
the line from its first point to its last crosses. With Highlight Fill
off, merge mode shades no regions.
The options persist like other tools' options. shapeBuilder.merge
takes openFilledAsClosed and pickColorFrom, and shapeBuilder.regions
takes openFilledAsClosed. Gap Detection, "In Merge Mode, Clicking
Stroke Splits the Path" and Highlight Stroke When Editable are not part
of this change.
Docs: docs/mcp.md, docs/target-app-parity.md.
With the Artboard tool, a Shift-press on an artboard toggled it in the
selection and started a move, which Shift kept at 45° steps. A
Shift-drag on the pasteboard drew a square artboard. The reference
app's documentation gives Shift-drag inside an artboard as the way to
draw an artboard there, and Shift-drag on the canvas as a marquee that
selects artboards.
A Shift-click now toggles its artboard when the button comes up. A
Shift-drag inside an artboard draws a new artboard (artboard.new), and
a Shift-drag on the pasteboard toggles every artboard it touches, the
last one added becoming active. Shift no longer constrains an artboard
move or keeps a new artboard square, and no other modifier does. Shift
on the active artboard's handles still resizes it proportionally. The
hint bar names the Shift gestures in every complete catalog, and the
cursor is a crosshair over an artboard while Shift is held.
Escape while a new artboard was being drawn left the tool. Escape
during any drag, the new marquee included, now cancels the drag and
keeps the Artboard tool, as it already did during a move or a resize.
Docs: docs/target-app-parity.md.
Holding Alt while drawing with the Paintbrush, or with the Pencil while
Alt key toggles to Smooth Tool is off, closes the path at the release,
but the cursor did not change. The reference app's Paintbrush shows a
small loop while Alt is held, and its Pencil shows a small circle.
Cursor::PaintbrushClose and Cursor::PencilClose show while Alt is held
with the Paintbrush, and with the Pencil while that option is off,
before the press and while drawing. Both tools still borrow the
crosshair, so the closing cursors are drawn as that crosshair with the
PenClose ring. Use Precise Cursors turns them into the plain crosshair,
as it does PenClose.
With Alt key toggles to Smooth Tool on, the Pencil shows the Smooth
cursor while Alt would smooth: with Alt held before a stroke begins to
draw, and through a smoothing drag even after Alt is let go. Before, it
showed the Smooth cursor whenever Alt was held, also during a stroke
that kept drawing, and not during a smoothing drag once Alt was let go.
Docs: docs/target-app-parity.md, crates/tools/src/cursors.toml.
With several artboards selected with the Artboard tool, the Artboards
panel menu's Rename opened the name field on the active artboard's row
and renamed that artboard only.
Rename now opens an empty name field on the active artboard's row, and
so does a double-click on a name with Shift or Ctrl/Cmd held that
leaves several artboards selected. The name typed there goes to every
selected artboard, numbered in panel order (abc-1, abc-2, abc-3), in
one undo step through the artboards list of artboard.setProps. With
one artboard selected, Rename and a double-click on a name rename that
artboard as before.
Docs: docs/target-app-parity.md.
A scatter brush whose art held type drew the type in its own colors
whatever the brush's colorization: Tints, Tints and Shades and Hue
Shift recolored the art's paths but not its characters. The Key Color
list in Brush Options left the type's colors out as well.
Colorization now maps the solid fills and strokes of each run of type
in the art as it maps the fills and strokes of paths. The Key Color
list, whose first color is Hue Shift's default key, counts each run's
fill, and its stroke when the stroke is wider than 0. The Symbol
Stainer now mixes the characters' strokes of type toward the stain,
as it already mixed their fills.
Docs: docs/target-app-parity.md.
With View › Snap to Grid on, a whole object moved with the Selection,
Group Selection or Direct Selection tool landed on the grid by
whichever of its two edges or its center was nearest a gridline on
each axis. An object on the grid whose width is an odd number of grid
steps has its center half a step between gridlines, so a short drag
could pull it half a step off the grid: on a 20 pt grid, a 100 pt
square at (100, 100) dragged by (8, 8) moved by (10, 10).
A move now lands the nearer of the two edges on a gridline on each
axis, as the reference app's help describes, and the center no longer
snaps. The square above stays at (100, 100). This changes the rule #769
chose for #740. The plain move and the Shift-constrained one both use
grid_pull, so both change.
Docs: docs/target-app-parity.md (Drawing aids).
Shrink Text to Fit scales area type down at layout time, and the canvas,
PDF export and the exports that write type as outlines draw it at that
size. SVG export wrote the live text at its stored font size, letter
spacing and baseline shift, so a viewer drew it larger than the canvas
does. Legacy .ai saves wrote the stored size, leading and baseline shift
into the text objects, DXF export took the TEXT heights from the stored
size, and the CSS Properties panel gave the stored font size, letter
spacing and line height.
The text crate's scaled, which the layout scales shrunk text with, is
now public. SVG export, legacy .ai saves and the CSS Properties panel
take the type's styles from it at the layout's fit scale, and DXF
export multiplies the TEXT heights by that scale. Positions and
textLength in SVG still come from the layout.
Docs: docs/target-app-parity.md.
The reference app adds a layer while opening the New Layer dialog with
Ctrl+Alt+L on Windows and Option+Command+L on macOS. VectorCraft opened
that dialog from an Alt-click on the Layers panel's New Layer button,
from Help › Search Commands… and from the panel menu's New Layer…
item. It had no key for it, and a Cmd+Alt+L press ran New Layer as
Cmd+L does.
ui.newLayer (New Layer Options…) now has the default Cmd+Alt+L, which
is Ctrl+Alt+L on Windows and Linux. The key opens Layer Options for a
new layer, as the Alt-click does: OK adds the layer above the current
layer, and Cancel adds none. Cmd+L still adds a layer without the
dialog. Keyboard Shortcuts now lists the command with its key.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
A Blob Brush stroke followed the pointer whatever modifier keys were
held. The reference app's shortcut list has Shift constrain the Blob
Brush path horizontally or vertically.
With Shift held during a drag, each point of a Blob Brush stroke now
goes on the horizontal or vertical line through the press point that
is nearer in angle to the pointer, at 90-degree steps from the
Constrain Angle preference, and keeps its distance from the press
point. When the pointer crosses to the other line, the points dragged
since Shift went down move to it, each on its own side of the press
point. Each point reads the Shift state of its own event, so the
points dragged while Shift is up follow the pointer. The stroke still
runs path.blob once on release.
Docs: docs/target-app-parity.md.
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.
A paragraph with one character in a different type size was broken
with the Single-line Composer, even when Every-line was chosen: the
composer gave up whenever the paragraph's glyphs did not all have the
same line metrics (ascent, descent, leading, cap height, x height and
em box top).
In rectangular area type without text wrap, rows and columns included,
the width of a line does not depend on how far down the frame it is.
There the Every-line Composer now composes a paragraph whose
characters differ in line metrics (type size, font, leading or
vertical scale, or an inline graphic taller than the text), and each
line takes its height from its own text, as with the Single-line
Composer. Area type of another shape, or with text wrap, still breaks
such a paragraph with the Single-line Composer.
Docs: docs/mcp.md, docs/target-app-parity.md.
An EPS or PostScript file that stops on a PostScript error named the
error, such as typecheck or rangecheck, with the operator and the
procedure, but did not say what the name means in any language.
The warning or error now gives the name as PostScript spells it,
followed by VectorCraft's own wording of what it means in the reader:
"a PostScript error (typecheck in `add`; a value has the wrong type for
the operator)". vectorcraft_eps::POSTSCRIPT_ERRORS lists the 14 names
the reader raises other than undefined, with their meanings, and a
test checks that each of those names has one. Each meaning and the
new message shapes have a row in every catalog. i18n::message now
translates placeholder values five levels deep instead of three, which
the status bar's line for an EPS file that can't be opened needs.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app's graphs help describes adding totals to a column
design: type in the design holds a percent sign followed by two digits.
VectorCraft drew that type as typed, stretched with the design.
Type in a column design that holds a % followed by two digits now shows
the value of each column or stacked segment in place of the % and the
two digits. The first digit is the least number of places before the
decimal point, with zeros added in front (0 for as many as the value
needs), and the second is the number of places after it. Values are
rounded half away from zero. The type keeps its own size and moves to
where the design's copy puts the point it is set from. A repeating
design shows it once per column, where a whole copy ending at the value
end puts it, and Chop Design does not cut it. A sliding design moves it
with the part of the design on its side of the guide. Type inside a
group that clips or has its own opacity, blend mode, appearance or
opacity mask, or inside a blend, compound shape, envelope, repeat or
intertwine, stays in the design and shows the value in each copy. Type
inside a symbol stays as typed. The legend swatch leaves the totals
out.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Tabs panel named its alignment buttons Left-, Center-, Right- and
Decimal-Justified Tab and labeled the position field X for every text.
The reference app's alignments for vertical text include Top-Justified
Tab and Bottom-Justified Tab, and its position field is Y for vertical
text.
In vertical type the Left-Justified button is now named Top-Justified
Tab and the Right-Justified button is named Bottom-Justified Tab, in
their tool tips and for screen readers, and the position field is
labeled Y. The reference page does not say which buttons these are;
VectorCraft's own mapping follows the line direction: a line of
vertical type runs from top to bottom, so a Left stop aligns the text
to the top and a Right stop aligns it to the bottom. Screen readers now
call every alignment button by its name; before, they read its glyph.
In horizontal type the tool tips and the X label do not change.
Docs: docs/target-app-parity.md.
Since #2664, swatch.new separates an RGB color into CMYK through the
color settings in a CMYK document unless keepModel is given. The Color
Guide, Color Themes and Recolor Artwork send keepModel when they save
colors they show, but the Color panel menu's Create New Swatch, the
Swatches panel and the Gradient panel did not. An RGB object's color
saved from them became a CMYK swatch, and a gradient's RGB stops
became CMYK stops.
These now send keepModel: Create New Swatch, an Alt-click on New
Swatch, the New Swatch dialog for a gradient, a Fill or Stroke proxy
or the Gradient panel's thumbnail dropped on the Swatches panel or
Alt-dropped on a swatch of its kind, and the Gradient panel's Add to
Swatches and Save to Swatches. A new swatch_paint_params returns
paint_params with keepModel: true added for an unlinked color or a
gradient. swatch.new without keepModel still converts RGB input.
Docs: docs/target-app-parity.md.
Object › Live Paint › Merge built the merged group anew and copied
only the bottom Live Paint group's name, opacity and blend mode, so
its lock, visibility, appearance, opacity mask, graphic style link and
other properties were lost. Make with a Live Paint group selected, and
a Live Paint Bucket click on a selected path beside a selected Live
Paint group, made a new group with a new id instead, and every face
took the fill of its paths again.
Merge now starts from the bottom Live Paint group, as Gap Options
does, and replaces only its faces, edges and paths and its Gap
Options. Make, and livePaint.fill with ids when the point is outside
that group's faces, add the other objects to the bottom Live Paint
group among them as Merge does.
Docs: docs/mcp.md, docs/target-app-parity.md.
The selection tools' clipping-path outline hit was also used where the
Selection and Direct Selection tools act on what is drawn rather than
select. Near a layer's clipping mask edge, with art drawn over it:
loaded text threaded into the unpainted mask instead of the art, a
double-click on type entered isolation on the mask instead of editing
the type (Selection) or did nothing (Direct Selection), and Cmd/Ctrl+
Shift double-click could not release a guide path there. These now
take the ordinary hit (ToolContext::hit_options); a press or hover
that selects keeps the outline hit.
Tests (each fails with the selection hit options):
select::tests::loaded_text_threads_into_the_art_on_a_layer_masks_edge,
a_double_click_on_type_at_a_layer_masks_edge_edits_it (Selection and
Direct Selection) and a_guide_on_a_layer_masks_edge_is_released, over
the new testutil helpers add_masked_layer and
doc_with_type_on_a_layer_masks_edge. Recorded in
docs/target-app-parity.md.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
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>
A tab stop moved past another stop in the Tabs panel, by a drag on the
ruler or by a value typed in X, lost the selection. The panel sorts the
stops by position after the move but kept the selected index, so the
ruler highlighted another stop and the X, Leader and Align On fields
showed and changed that stop. With stops at 30 and 50 pt and the 50 pt
stop dragged to 10 pt, the panel selected the stop at 30 pt.
After a drag or an X value re-sorts the stops, the panel now selects
the moved stop at its new place, found by its position as a click that
adds a stop does. When text.tabs.set refuses the new position (an X
past 100,000 pt), the stops and the selection stay as they were.
Docs: docs/target-app-parity.md.
Pattern Brush Options' Scale and Art Brush Options' Width were number
fields only. The reference app's Brushes page documents a Scale slider
for pattern brushes and a Width slider for art brushes.
Each row now has a slider beside its field, as the Bristle Brush
Options sliders do. The slider covers the value's whole range, 1% to
10000% for Scale and 1% to 1000% for Width, in whole percents. Screen
readers name the slider as its row and read the field's number and
text.
Docs: docs/target-app-parity.md.
docs/control-protocol.md and the tool.options params text say that 0
turns the Pencil and Paintbrush options Edit selected paths within and
Close paths when ends are within off. A stroke that
started exactly on an end of a selected open path still continued that
path at 0, and a stroke that ended exactly where it started was still
closed at 0, because both checks compared the distance with <= 0.
At 0, a stroke that starts on an end of a selected open path now draws
a new path, as one that starts on the path away from its ends already
did, and a stroke that ends where it started stays open.
Docs: docs/target-app-parity.md.
