Honor the requested text mode in the single-page importer, as Open does, instead of forcing outlines for Place and PDF clipboard import.
Add synthetic regressions for bytes, unlinked paths, selected pages and explicit outlines. Update format parity and milestone evidence without changing scores.
An effect raster too large to keep whole (a wide blur, a shadow or glow,
or any blur zoomed in) is cropped to what can show in the view, or made
at a lower resolution and resampled to the view's pixels, and kept while
the view stays the same. Dragging other art over the object then draws
its effects from the still frame instead of previewing them at the
drag's lower resolution on every frame. An interaction's frames stay on
the render worker once it drew the frame shown, since only its renderer
holds those rasters.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The renderer kept the art it made for an object's effects while the
object stayed the same. In the web build, type that a geometry effect
outlines, on its own, in a group or in a symbol's art, kept the
substitute font's outlines after its own font loaded. On the desktop,
Refresh Font List left them on a symbol instance whose art holds the
type. Objects with Revolve, Extrude & Bevel, Inflate or Rotate, and
objects and groups with a color adjustment, kept the colors they were
shaded or recolored with after the color settings changed. Live objects
already followed both.
The renderer now keeps that art with the inputs it keeps for the art
of live objects: the font generation when the art holds type, the art
of the symbols it shows, and the color settings. A temporary release
test timed the added key at 11 microseconds a frame for 400 type
objects with a drop shadow and 0.77 ms for 400 symbol instances of 100
paths each with a drop shadow, against warm frames of 5.3 and 72 ms.
Docs: docs/target-app-parity.md, docs/gaps.md.
With the Anchor Point tool, a drag from an anchor pulls out smooth handles.
Shift held at the press now moves the anchor instead, its handles keeping
their offsets; Shift kept down during the drag keeps the move at 45° steps
(the constrain angle), released it frees it. A Shift-click that doesn't
move leaves the anchor as it was. A selected blend's spine points follow
the same rule (object.blend.spine.moveAnchor).
The move goes through a new engine command, path.moveAnchor
{id, subpath?, anchor, x, y}, since path.moveAnchors only acts on the
direct-selected anchors and the Anchor Point tool keeps no anchor selection.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
VectorCraft had no Objects on Path. A click with the Objects on Path
tool attaches the selected objects to the path clicked. The tool is in
Edit Toolbar's Modify section and the Blend tool's flyout, and Object ›
Objects on Path › Attach and the context menu with two or more objects
selected choose it. The objects and the path go into an Objects on
Path group with the path at its bottom.
- object.objectsOnPath.attach orders the objects column by column from
left to right and top to bottom in each column. The first one sits
on the path's first anchor, the last one sits on the end of an open
path, and the rest are spread evenly by length; a closed path takes
them all the way round. Each object's attachment point (Pivot, one
of nine, default the center of its bounds without strokes) sits on
the path, and the object is turned to the path there. An object that
was rotated by an angle other than a multiple of 90° is first turned
to the nearest multiple of 90°. Rotate tilts every object by that
many degrees counter-clockwise. Symbol instances are measured by
their art. Guides, compound paths, type, paths without length and
graphs are refused with a reason.
- After every edit the objects go back on the path: editing the path
moves them, an object moved on its own goes back, and objects moved
into or out of the group in the Layers panel join the end of the
path or leave it. Scaling, shearing or reflecting the whole group
keeps each object's scale, shear or reflection, and the objects are
spread evenly along the transformed path again. Undo takes the path
and the objects back in one step, and a copied group stays live on
its own path.
- object.objectsOnPath.options changes Pivot and Rotate, and
object.objectsOnPath.expand leaves a plain group. Both act on the
groups that `ids` names, or on the groups of the selection when
`ids` is not given.
- The native file keeps the group live; SVG, PDF and the other exports
write plain art. The tool highlights the path under the pointer, has
a cursor entry, and Escape during a press cancels the click.
Part of #2545
Docs: docs/mcp.md, docs/target-app-parity.md.
Double-clicking the Live Paint Selection tool did nothing, and the tool
always selected faces and edges and highlighted them in red at 4 px.
It now opens Live Paint Selection Tool Options with Select Fills,
Select Strokes, Color and Width, the options the reference app's help
page on selecting objects lists.
- With Select Fills off, a click selects the edge nearest the pointer,
as Alt-click does. With Select Strokes off, Alt-click selects the
face under the pointer, as a click does. With both off, a click
selects no face or edge.
- Color (a layer color or a custom color) and Width (1 to 20 px) set
the highlight on the face or edge under the pointer.
- The defaults are the earlier behavior: both selections on, red
(#ff2a2a) and 4 px. The options are tool options (tool.setOption
{tool: "livePaintSelection"}): they last across tool switches and
are saved with the preferences.
Docs: docs/mcp.md, docs/target-app-parity.md.
With Locate Selected Objects on, an object selected on the canvas had the
layers and groups around it opened even when Show Layers Only, a search or
the filter left it without a row. The panel did not scroll to it, but the
rows stayed open, so they showed once the panel listed every row again.
The panel now opens the rows around the object only when the object has a
row once they are open. Otherwise it opens nothing and scrolls as with the
option off. The Layers panel entries in docs/mcp.md and
docs/target-app-parity.md describe this.
By default the Layers panel opens the layers around a row and scrolls
the row into view when its highlighted rows change, for example after
a click in the panel, a new layer or Locate Object. When no row is
highlighted and a selection makes another layer or sublayer the
active one, the panel does the same for that layer's row. Selecting
art on the canvas or by a command highlights no row, so by default
the panel does not open the layer or sublayer that holds the art or
the groups around it, and does not scroll to the art's row.
Panel Options gets Locate Selected Objects, off by default and kept
with the UI state. With it on, when the last selected object changes
on the canvas or by a command, the panel opens the layers and groups
around it and scrolls to its row, as after Locate Object, but does not
highlight the row. When the selection also changes the active layer,
the panel scrolls to the object's row instead of the layer's row.
When Show Layers Only, a search or the filter leaves the object
without a row, the panel scrolls as it does with the option off. A change made with the panel's own
rows, buttons or menu is not located, and a change made during a drag
is located when the drag ends. Locate Object is unchanged.
On a layer of 5,000 groups of 10 paths with every row open, the first
panel frame after a selection change took a median of 1.6 ms with the
option on and took a median of 1.4 ms with it off, in a release build.
Docs: docs/mcp.md (locateSelected), docs/target-app-parity.md.
A tab stop placed or dragged on the Tabs panel's ruler always landed
at a fractional position, and the ruler was numbered in inches with a
tick every 18 pt whatever the document's units. The reference app
snaps stops to the ruler units with Snap To Unit in the panel menu or
with Shift held during a drag, and numbers its tab ruler in the
document's units.
The ruler is now numbered in the General unit with the canvas rulers'
label step at the ruler's scale, and has a tick every tenth of a step.
The panel menu has Snap to Unit, checked while it is on. With it on,
or with Shift held, a stop placed by a click or dragged on the ruler
lands on the nearest tick, through Unit::snap_to_ruler_tick as a
Shift-dragged ruler guide does. A snapped click that lands on an
existing stop's tick selects that stop and records no undo step. The
stops still change through text.tabs.set. The reference app's page
names Shift for a drag only; Shift also snapping a click, and a
snapped click onto a stop's tick selecting that stop, are VectorCraft's
own rules.
Docs: docs/target-app-parity.md.
Extrude & Bevel and Inflate built one solid from the path, painted with
the object's top fill or, without a fill, its top stroke. A filled and
stroked object lost its stroke, and a stroked open path was extruded as
the area it would enclose if it were closed.
Each visible stroke now builds a solid from its outline in its own
paint, beside the solid the top fill builds from the path, as Rotate
already turns each stroke's outline. When the fill and the strokes are
opaque with normal blending, the faces of all the solids are drawn in
one back-to-front order; otherwise each solid is drawn on its own, in
the order of the appearance. Under a light that is not white, a surface
drawn as one composite or with an opacity mask is also drawn on its
own. In that one order a flat cap turned toward the viewer is drawn
after every other face, untwisted solids included, so the stroke's
front cap covers the fill's walls inside it. The solids share one set
of bounds, and with Perspective one eye sees every inflated solid. A
stroke whose outline is past the 2,048-point limit is left out.
Inflate's cells cut by a hole now pass only the nearby contours to the
boolean. An inflated, outlined 72 pt "VectorCraft" takes about 8 ms
instead of 34 ms, and 66 ms with a 3 pt stroke.
Docs: docs/three-d.md (Fills and strokes), docs/target-app-parity.md.
Choosing a data set in the Variables panel, stepping through data sets
with the panel's arrows, and running `dataset.select`, `dataset.next`
and `dataset.prev` applied nothing and showed no message when no object
was bound to a variable that the data set has a value for. This
happens, for example, after Import Data Sets… defines new variables
without binding them.
The app now shows "nothing in data set A was applied: no object is
bound to a variable it has a value for" in the status bar, and the three
commands add it to the reply as `warning`. A data set with a value for
a bound variable gives no warning even when every object bound to it is
locked; `skipped` counts those objects. What applying a data set does
is unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
Preview in Browser wrote every page to one folder,
VectorCraft Save for Web in the system's temporary folder. A second
preview of a document with the same title, from the same app or from
another one running, overwrote the first preview's page, and any image
file of the same name (PNG-8 and PNG-24 both write .png), before the
browser read them. The same overwrite made
dialogs::tests_save_for_web::preview_in_browser_opens_the_page fail now
and then, when another Save for Web test in the same binary, or a test
run in another checkout on the machine, previewed Untitled-1 at the
same time.
Each preview now goes to a new folder inside that one, named after the
process id and a count of the process's previews. A name that an
earlier process with the same id left there is skipped for the next
count. The page keeps its name and its images folder. A preview first
removes the entries of VectorCraft Save for Web that were last changed
an hour ago or earlier, which also clears the files the single folder
held before.
Docs: docs/target-app-parity.md.
The errors of the parameter checks that many commands share had no
@msg row in any catalog: "`{key}` must be a number, not {v}" from
check_numbers (object.move, object.rotate, object.setBounds and the
other callers), "missing integer `{key}`" from index_param in
cmd/appearance.rs (appearance, effect and freeform gradient commands),
the three object id errors of checked_ids_param and checked_id, and
the Unix seconds error of date_param. A template
matches only the whole text, so the row for "`{key}` must be a
number" did not match the longer check_numbers message. These errors
showed in English in the status bar, and "no such object id {value}"
matched the general "no such object {0}" row and showed half in
English. The scan in complete_languages_translate_every_message does
not read messages built with bad(), so that test did not report them.
Each of the 6 messages now has a row in the 18 catalogs that translate
every status and error message and in Bulgarian, Danish, Indonesian and
Dutch, and "missing number `{key}`" has a row in Danish and Indonesian.
No English string changes.
Docs: docs/target-app-parity.md.
path.curvatureEdit, path.removeAnchor, path.convertAnchor,
path.reshapeSegment, path.split, path.setHandle and path.insertAnchor
read subpath as an unsigned integer and fell back to 0 for any other
value. A subpath of 1.5, -1 or "1" edited subpath 0 and the command
reported success. path.split read anchor and segment with as_u64 too
and treated any other value as absent, so a bad anchor beside a good
segment split at the segment.
These commands now refuse a subpath that is not a whole number of 0 or
more with "missing integer `subpath`", the error path.curvatureEdit,
path.removeAnchor, path.convertAnchor and path.reshapeSegment already
give for a bad anchor or segment, and path.split refuses such an anchor
or segment too. Without a subpath, or with null, they edit subpath 0 as
before. The document and the undo history stay as they were after each
error. The params text of the six commands that listed subpath as
required now marks it optional.
Docs: docs/mcp.md, docs/target-app-parity.md.
craft-docpath follows a network path only on the share the document is
on, and its caller contract asks for a document opened from a mapped
drive to be passed by its UNC path. fileio::document_path passed the
drive path as given, so a document opened as Z:\jobs\doc.vectorcraft
treated a link stored as \\server\share\img\logo.png, on the share
behind Z:, as on another computer: the image was missing, and
document.open, links.check and links.info gave refused: "the path is on
another computer".
On Windows, when a stored path is refused as on another computer and
the document is on a drive, document_path now reads the final path of
the document's folder (std::fs::canonicalize). When that names a share
(\\?\UNC\server\share\...), the path is checked again against the
document's path on that share. Links on other computers stay refused,
and paths that were followed resolve as before. Opening a document,
Link Info, links.check and the linked-file watch all use it. Other
systems are unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
Transform Each, Rasterize, Create Object Mosaic, Create Trim Marks and
Rearrange All Artboards read their optional numbers with f64_or, which
falls back to a default for a value that is not a JSON number.
object.transformEach {"scaleH": "50"} left the selected objects at
their size and reported success. Rasterize did the same with ppi,
Create Object Mosaic did the same with width, height, spacingX and
spacingY, Create Trim Marks did the same with offset, length, bleed and
weight, and Rearrange All Artboards did the same with spacing. Crop
Image cropped to the artboard when rect was a string or another value
that is not an array.
These commands now fail with "`<key>` must be a number, not <value>"
for a value that is not a number or null, as the transform commands
do, and change nothing. Transform Each checks scaleH, scaleV, moveH,
moveV and rotate. Crop Image refuses a rect that is not an array of
four numbers with "rect must be [x, y, width, height]", the message it
already gave for an array of the wrong length; a null rect crops to the
artboard, as a missing one does.
Docs: docs/mcp.md, docs/target-app-parity.md.
document.pdfInfo refused PostScript (an EPS, a .ps file, or a .ai in
PostScript form), mostly with "this is a PostScript file ..., not a
PDF", although document.open and file.place read the same file
through the EPS reader as one page.
It now answers {pages: 1, needsPassword: false, pageInfo: [{width,
height, rotation: 0, boxes: {}}]}. The page is the file's bounding box
(%%HiResBoundingBox when it has one, a US Letter page without one),
read from its comments without running its program. thumbnail: 1 is a
PNG of what that page prints, read by the EPS reader without any
editing data the file carries. A program whose header is only %! is
read as PostScript, as clipboard.importEps reads it.
Docs: docs/mcp.md, docs/target-app-parity.md.
The PostScript interpreter that reads EPS and PostScript .ai files
accepts a FlateDecode or LZWDecode filter with Predictor 2 at
BitsPerComponent 1, 2, 4, 8 and 16, but undid the horizontal
differencing only at 8 bits. At the other depths the filter gave back
the stored differences, and the image drew them instead of its
samples.
The predictor is now undone at every depth it accepts, as ISO 32000-1
§7.4.4.4 describes: each component adds the same component of the
pixel to its left, within its bit width, and each row starts again.
16-bit components add as big-endian 16-bit numbers. The padding bits
at the end of a row stay as they are, and 8-bit data takes the same
path as before. The PNG predictors are unchanged.
Docs: docs/target-app-parity.md.
While a Type tool edited text, a click on blank canvas ended the
editing and also placed new point type at the click. Area Type and
Type on a Path did the same with a click on a path.
Such a click now only ends the editing. The typing session is
committed, empty point type that a click placed is discarded as before,
and the Type tool in use stays active; the next click makes new type.
The same applies when the editing began with a double-click from a
selection tool. A click on other type still edits it at once, and a
drag that draws an area-type frame still makes the frame.
In number fields, Up/Down and a wheel notch added a whole step and kept
the fraction, so 5.1 mm stepped up to 6.1 mm. A plain step now goes to
the next whole unit in its direction (5.1 goes up to 6 and down to 5; 5
goes up to 6 and down to 4), and a Ctrl/Cmd step goes to the next tenth,
in the field's own unit. Repeated presses or notches of one size add or
take one step each, and presses and notches are applied in the order
they came. A Shift step still adds or takes ten and keeps the fraction.
The number fields that widgets.rs draws for the panels, the Control bar
and the dialogs (unit, percent, degree and count fields) all use this
step (widgets::step_value).
The Evidence list in docs/target-app-parity.md had two or three
versions of several items.
Seven items now have one line each: the Actions panel, Editing type,
Releasing ruler guides, the Layers panel, choosing the Artboard tool,
Image Trace Flat Logo mode and Create Strokes. Each kept line holds
every number, path and pull request reference of the lines it
replaces. The Layers panel line gains the #2260 note on layers dropped
under the last row. The Create Strokes line keeps the newer of its two
statements, which no longer lists the skeleton graph among the
remaining work.
Open pull requests edit the lines of seven other items, or the lines
beside them (Preferences that act, Initial live Revolve, Live effects
with previewing dialogs, Type, Masks and clipping, SVG/SVGZ, and EPS
and DXF), and those items are unchanged.
The blend, envelope and gradient mesh commands read their optional
numbers with f64_or or as_f64, which fall back to a default for a value
that is not a JSON number. object.blend.make {"steps": "8"} made a
Smooth Color blend and reported success. Blend Options did the same
with steps, distance and value. Make with Warp, Reset with Warp and
Envelope Options did the same with bend, h and v (and their long
names). Make with Mesh, Reset with Mesh and Create Gradient Mesh did
the same with rows, cols and columns. Envelope Options did the same
with fidelity, Create Gradient Mesh did the same with highlight, and
Set Mesh Point Color did the same with opacity.
These commands now fail with "`<key>` must be a number, not <value>"
for a value that is not a number or null, as the transform commands
do, and change nothing. Envelope Options refuses the warp keys whether
or not a warp envelope is selected. Create Gradient Mesh refuses an
`at` that is not exactly two numbers with "`at` must be [x, y]".
Before, it took the first two entries of a longer array, and for any
other value it made a mesh with no lines through the point.
Docs: docs/mcp.md, docs/target-app-parity.md.
Dragging a user slice's edge or corner handle with the Slice Selection
tool never snapped, while drawing a slice with the Slice tool snaps to
the grid, to whole pixels, to the art and to the ruler guides.
The handle drag now gathers its targets when the handle is pressed and
snaps what the handle moves through PointSnap::snap_scale, as the
Selection tool's bounding-box handles do: to the nearest gridline with
Snap to Grid, to whole pixels with Snap to Pixel, to the art and the
artboards with Smart Guides, and with Smart Guides off to the art's
anchors and the ruler guides with Snap to Point. Then a shown, unlocked
ruler guide within 5 px moves the side or corner onto it, as the Slice
tool moves a drawn slice's corner onto a guide. Shift still keeps the
proportions, and Alt still resizes about the center.
Docs: docs/target-app-parity.md.
A move that Shift kept level, upright or on a diagonal left that line
when it snapped. With View › Snap to Grid on, a level Shift-drag also
moved the selection up or down onto a gridline, and Snap to Pixel,
Smart Guides and Snap to Point moved it off the line in the same way.
Each axis snapped on its own after Shift had constrained the move.
With the Selection tool, and with Group Selection and Direct Selection
moving whole objects, a Shift-constrained move now slides along its
line until it snaps. With Snap to Grid or Snap to Pixel, the move
slides along the line by the shorter of the two distances that put it
on a gridline or a whole pixel on either axis. The bounds line up with
the other objects, or space evenly with them, only on the axes the line
runs along, and the grabbed point stops where the line passes an anchor
or crosses a ruler guide. A level or upright move snaps along its own
axis only. Moves without Shift snap as before.
Docs: docs/target-app-parity.md.
PathData::bounds measured each segment by its start, end and extrema,
as kurbo's bounding_box does. For a curve with a handle at about 1e308
in size, or an infinite one, kurbo's extrema computation overflows and
drops the extreme. The box then held only the anchors. The canvas check
after an edit reads that box for the selected objects, so path.create
kept a curve with handles at 1e308.
The new segment_bounds measures a segment by its control points when
one of them has an x or y that is infinite or larger in size than
f64::MAX / 16, and by its extrema otherwise, bit for bit as before.
curve_bounds joins those boxes as kurbo does, and PathData::bounds uses
it, so such a curve's box holds the whole curve and the canvas check
refuses an edit that leaves one selected.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel menu had no Clear History, and VectorCraft had no
command that removes the undo and redo steps. In the reference app,
Clear History in the History panel menu removes the states after the
selected state, and it removes the states before it while their
changes remain in the document.
edit.clearHistory (Clear History) removes every step to undo and to
redo in the active document and returns how many it removed. The
document and the selection stay as they are, and clearing is not an
undo step. Typing or a drag still in progress becomes a step first, as
Undo makes it one, so its change stays in the document. The command is
disabled when there is no step to clear, and it waits while an input
method composes, as Undo does.
The History panel menu has Clear History after Step Forward. It runs
the command and is disabled when there is no step to clear.
Docs: docs/mcp.md, docs/target-app-parity.md.
A .ai can keep its variables and data sets in a variable library in
its editing data. VectorCraft doesn't read that library, and such a
file opened with an empty Variables panel and no warning about it.
The reader now counts the library's variables and data sets in the
editing data's /Document dictionary, and opening the file adds a
warning: "the file's variables and data sets weren't read (2
variables, 3 data sets): the Variables panel doesn't list them". The
same warning appears when the layers can't be read and the file opens
from its PDF part. A PDF that opens from the editing data it carries
gets the warning too. A library with no variables and no data sets
gives no warning.
Docs: docs/target-app-parity.md.
The Export for Screens dialog built its Example line from its fields as
typed, so it often showed a name the export does not write. It used the
artboard's name with its spaces (Artboard 1.png where the export writes
Artboard-1.png) and the first artboard whatever the range, kept a
prefix, a suffix or a device name such as CON as typed, used the scale
text as the row folder instead of the row's own folder or its size,
kept a vector row's @2x suffix, left out the folder that Create
Sub-folders adds, and read a counter set as text as 1.
The line now comes from the export's own naming. The naming part of
document.exportForScreens moves into a Naming type that the export
uses for every file, and fileio::screen_first_file returns the path of
the first file the export writes for the given params, without encoding
or writing anything. The dialog passes it the params it exports with,
without the destination, so the line shows before a folder is chosen
and is left out while the settings choose nothing to export. The Start
at field shows the counter the export uses when it was set as text.
Docs: docs/target-app-parity.md.
The engine built the PDF options without a creation date, so the
writer dated every PDF and PDF-compatible .ai file with the time it
was written. A document created on 2020-01-01 (File › File Info
shows the date) exported as a PDF with today's date in /CreationDate
and xmp:CreateDate. SVG export with the metadata option already
writes the document's own date.
The options now carry the document's File Info created date and the
time of writing as the modification date. A document without a
creation date is dated with the time of writing, as before, so PDF/X
files still get their required date. The PDF writer writes one date
for both, so the export then sets /ModDate, xmp:ModifyDate and the
PDF/A history dates to the time of writing; /CreationDate and
xmp:CreateDate keep the document's date. The page information mark
and the embedded editing data's modification date keep the time of
writing.
Docs: docs/mcp.md (File Info), docs/target-app-parity.md.
Object > Expand and Object > Create Gradient Mesh mixed a freeform
gradient's points in display RGB and turned the result back into the
points' model with the profile-free formula. CMYK inks changed: points
of C50 M20 Y0 K10 gave mesh points of C45 M24 Y0 K22. RGB points were
stored as display sRGB, so with a working RGB space other than sRGB
the mesh showed other colors. Points colored along CMYK stops, a point
paint.freeform.splitLine added between CMYK points and a point
paint.freeform.addPoint added without a color came out as RGB.
Points that share a color model now mix in it: the C, M, Y and K
values mix as inks, and Gray, RGB and Lab components mix as they are.
Points in different models still mix in display RGB. Object > Expand
and Object > Create Gradient Mesh store the result in the working RGB
space, and in a CMYK document they store it as CMYK through the color
settings, as paint.setFill stores an RGB color. Freeform::recolor and
split_line mix with the new Color::lerp_keep_model, which
vectorcraft_doc::blend::lerp_color now calls.
Docs: docs/mcp.md, docs/target-app-parity.md.
On Linux the save dialog is the XDG desktop portal's, shown through
rfd. rfd sends no `current_filter` and reads only the file name from
the portal's answer, and the GTK file chooser keeps the typed name
when another file type is picked. With "PDF-compatible .ai" picked,
`poster` typed for a new document was saved as a native
`poster.vectorcraft`, and so was the suggested
`Untitled-1.vectorcraft` left as it was.
When a save offers two or more file types (Save As, Save a Copy, Save
as Template and the first Save of a new document), the app now calls
the portal's SaveFile itself over D-Bus. The dialog starts on the
suggested file's type, and its answer names the type picked. A name
typed without an extension, or the suggested name left as it was,
gets that type's extension. A name typed with another save format's
extension, other than the suggested file's (for Save as Template, a
template format's), is saved in that format, and any other extension
gets the picked type's added. The dialog keeps the window as its
parent on X11 and Wayland, and rfd shows the dialog when the portal
can't. The same code runs on the BSDs; Windows, macOS and the web
build keep their dialogs.
Docs: docs/target-app-parity.md.
pattern.options refused a new name that another pattern had, but not
one that a color swatch, a gradient swatch, a second swatch of the
pattern or a color group had. The rename then gave the pattern's swatch
that name, so two swatches, or a swatch and a color group, had one
name. The rename also gave the new name to every swatch that had the
old one, a color swatch included, and art linked to that color swatch
kept a link to a name no swatch had. Make and Save a Copy numbered a
pattern's or a swatch's name, but not a color group's.
pattern.options now refuses a name that a swatch or a color group has,
with "a swatch or color group named `<name>` exists". It takes a name
that only the pattern's own swatches have, such as a name Swatch
Options gave the pattern's swatch, when none of them still has the old
name. A rename gives the new name only to the pattern's swatches that
had the old one. Make and Save a Copy number a color group's name as
they number a swatch's. The new message has a row in the 17 catalogs
that translate every message (COMPLETE_MESSAGES) and in bg, da, id and
nl.
Docs: docs/mcp.md, docs/target-app-parity.md.
file.saveAsTemplate with format ait and aiVersion: "7" wrote the
legacy PostScript .ai of version 7 under the .ait name: for a
one-artboard test document, a 7,556-byte file starting %!PS-Adobe-3.0.
The web's Save as Template dialog showed the .ai Version menu for
.ait, whose Legacy (version 7) choice set aiVersion 7.
aiVersion 7 for a .ait is now an error, "aiVersion 7 writes legacy .ai
files; a .ait template is always PDF-compatible", and nothing is
written. The 17 catalogs that translate every message have a row for
it. The dialog shows no Version row for .ait, and aiVersion "pdf"
still writes the PDF-compatible template.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/file-format-parity.md
(two stale rows for .ai and .ait removed).
document.export, document.serialize, document.exportSelection and
Export for Screens rows answered "PDF-compatible .ait template files
can be opened but not written" for a .ait, although
file.saveAsTemplate writes them. The CLI's convert and run --export
call document.export, so vectorcraft-cli convert in.pdf out.ait
failed with that error.
The error now reads "PDF-compatible .ait template files are written
by file.saveAsTemplate", with a row in the 17 catalogs that translate
status messages and in bg, da, id and nl. convert and run --export
write a .ait with file.saveAsTemplate, which writes every artboard
with the .ai options. convert passes --replace-lossy and its .ai flags
on, and refuses --artboard and --range for a .ait.
Docs: docs/mcp.md, docs/target-app-parity.md.
In a CMYK document, paint.setFill stores an RGB color as CMYK through
the color settings, but the other commands that take a color stored it
as RGB: text.create, text.createInPath, text.setStyle and
text.setRangeStyle colors, a shapeBuilder.merge hex fill,
paint.editGradient stops, freeform gradient points, gradient mesh
points, the Symbol Stainer's color, and swatch.new {colors},
swatch.newGroup, swatch.editGroup and swatch.edit. The Mesh tool sent
the fill as a hex value, so a CMYK fill came in as RGB.
These commands now store such a color through paint::new_color, as
paint.setFill does, and take keepModel to keep RGB (shapeBuilder.merge
inside its fill object). A color the swatch
or gradient already has keeps its model, so stops sent back with a
moved offset keep their colors (the Gradient panel's ramp and the
Gradient tool send keepModel), and a stop that names a process
swatch takes the swatch's color as it is, in paint.setFill gradients
too. Where the app copies an existing color, it keeps the color's
model: the Color panel's sliders for gradient stops and freeform
points, a swatch put on a stop or a point (the stop popover, Alt-click
in the Swatches panel, a drop on the Gradient panel's ramp), the fill
the Mesh tool gives a new point or the Symbol Stainer applies, and the
colors the Color Guide, Color Themes and Recolor Artwork save as
swatches.
swatch.new {color, mode} converted RGB into CMYK before converting it
into mode, so the New Swatch dialog in RGB mode stored #00ff00 as
R101 G176 B62 in a CMYK document. With mode, the color is now
converted once.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel and Edit › Undo and Redo did not translate the steps
that apply or redefine a character or paragraph style, or redefine a
graphic style. The engine built their names with format! ("Apply Body",
"Redefine Body", "Redefine Graphic Style “S”"), and the panel looks a
name up as a whole, so no catalog row matched a name with a style's
name in it. A name cannot be matched against template rows instead: a
character style named Brush gives "Apply Brush", which is also the name
of the brush step.
The engine now names these steps with Session::edit_named, and each
such step keeps its template and the style's name
(HistoryEntry::named) through undo and redo. The History panel and
Edit › Undo and Redo show the template's row with the name in it
(panels::history::entry_name). The name stays as the document holds
it, and the Normal styles' names are shown in the interface language.
Every complete catalog has rows for Apply {name} and Redefine {name},
and Redefine Graphic Style “{name}” had one.
every_undo_label_is_translated also requires a row for each template,
and the only step name it allows to be built with format! is the
Liquify tools' "{} Tool".
Docs: docs/target-app-parity.md.
A marquee measured an Intertwine group and a repeat by their bounding
box. A marquee in the gap between two members of an Intertwine group,
or between two copies of a repeat, selected the object, although a
click there misses and a plain group needs a marquee to meet one of its
members. Direct and Group Selection's marquees also selected the
Intertwine group whole beside the anchor points of its members.
The marquee now touches an Intertwine group by its members, as it
touches a plain group, and it touches a repeat by the copies the repeat
draws, as clicks hit them. Direct and Group Selection's marquees select
the anchor points of an Intertwine group's members, and Group
Selection's E marquee selects the members inside it. Blends, and
envelopes outside Edit Contents, keep their box, as clicks on them do.
Docs: docs/target-app-parity.md.
Mirko Kerezovic