No command held Cmd/Ctrl+Alt+Shift+. and Cmd/Ctrl+Alt+Shift+,, so the
chords reached Increase and Decrease Font Size (Cmd/Ctrl+Shift+. and ,)
and changed the size by one Size/Leading increment.
Two commands, type.size.increaseByFive and type.size.decreaseByFive,
now hold the chords. They step the font size of the selected type, or
of the text the Type tool has selected, by five times the Size/Leading
increment (Preferences › Type). Agents reach them with press_key too.
Their labels have rows in every complete catalog.
Docs: docs/mcp.md, docs/target-app-parity.md.
PDF export and .ai saves wrote every page in points. ISO 32000-1
(Annex C.2) gives 14,400 units as the longest page side, and a page
with a longer side got a media box past that limit. A PDF/A-2b file
with such a page failed veraPDF's page size rule (6.1.13).
Such a page now gets a UserUnit (PDF 1.6): its longer side divided by
14,400 and rounded up to the next thousandth, with the page's sizes
and coordinates in those units. A 20,000 × 10,000 pt artboard is
written as a 14,398.85 × 7,199.42 page with /UserUnit 1.389, and
VectorCraft's PDF import reads it back at 20,000 × 10,000 pt. Pages
up to 14,400 pt, PDF 1.3 to 1.5 files, PDF/X files and printing are
written as before.
Docs: docs/mcp.md, docs/target-app-parity.md.
Fit to Artwork Bounds resized the active artboard to the bounds of all
the art in the document, wherever that art was. With art on two
artboards, fitting one of them stretched it over both.
artboard.fitToArt now takes `indices` and fits each artboard to the
art on it, in one undo step. An object counts for every artboard its
drawn bounds overlap, and the artboard is fitted to all of its bounds,
also where it reaches past the artboard's edge. Art flush with an edge
from outside does not count. An artboard with no art on it keeps its
size and place, and the command fails with "no artwork" when none of
its artboards has art. Object › Artboards and the Artboards panel menu
pass the selected artboards (the Artboard tool's, else the active one),
and a recorded action leaves them out. Fit to Selected Art still
resizes the active artboard.
Docs: docs/mcp.md, docs/target-app-parity.md.
In the Transform panel, the Properties panel's Transform section and
the Control bar, Ctrl+Enter (Cmd+Return on a Mac) in W or H left the
field active and applied nothing. Now it applies the value as Enter
does and sends `proportional: true` to `object.setBounds`, so the other
side scales by the same factor with the Constrain Width and Height
Proportions link off. With the Artboard tool, the Transform panel's W
and H keep the active artboard's proportions the same way. X, Y,
Rotate, Shear and the number fields of dialogs keep Ctrl/Cmd+Enter as
it was.
- widgets::size_field is a num_field that Ctrl/Cmd+Enter also commits.
- transform::proportional gives the `proportional` param of the W and
H fields: the link, or true after Ctrl/Cmd+Enter.
Docs: docs/target-app-parity.md.
A rotated object's bounding box stands at the object's angle. No
command turned the view to the angle of the selection: `view.rotate`
turns the view only to an angle passed to it.
View › Rotate View to Selection, between the Rotate View submenu and
Reset Rotate View, runs a new UI command, `view.rotateToSelection`. It
turns the view about the center of the canvas to the angle the
selected objects share, the angle `document.inspect` reports as
`selectionRotation`, so their bounding box is square to the window.
Objects turned to different angles share no angle, and the view turns
back to 0. The zoom and the view's center stay as they were. The
command returns `{angle}`. With nothing selected it returns "nothing
selected" and the menu item is disabled; without a document it
returns "no document".
Every catalog that translates the menus has a new "Rotate View to
Selection" row.
Docs: docs/mcp.md, docs/target-app-parity.md.
With a key object, the Align panel's six Distribute Objects buttons
ignored the Distribute Spacing value. They kept the outermost objects
in place, spaced the others evenly between them and could move the
key object.
object.distribute now takes spacing. While the selection has a key
object, the key object stays in place, with the compound path or
selected group that contains it, and the objects' left edges, centers
or right edges (top edges, centers or bottom edges) end up spacing
points apart, outward from the key object's, in their order on that
line. With 0, the field's default, every object ends on the key
object's line. Two objects are enough, and to and artboard are not
used. The panel sends the value with the Distribute Objects buttons
while there is a key object, as it does with the Distribute Spacing
buttons. Without a key object, or with anchor points selected,
object.distribute does not use spacing and works as before. A spacing
that is not a number is an error.
Docs: docs/mcp.md, docs/target-app-parity.md.
Escape never changed the view's rotation.
Now a second Escape less than a second after the first runs Reset
Rotate View (`view.rotateReset`) when the view is rotated and the
second press has nothing else to end: no Presentation Mode, pattern
editing, isolation mode or open tool flyout, no tool that is busy or
takes the key, no open menu, dialog, command palette or Edit Toolbar
drawer, no text field or input method that takes the key, no number
field being dragged and no drag of the ruler origin. The first Escape
may end something, such as isolation mode, but it does not count as the
first when a menu, a dialog, the command palette, the drawer, a field
or an input method takes it. After a click, a press of another key that
is not a modifier (Shift, Control, Alt/Option or Command) or a held
Escape's repeats, the next Escape counts as the first. With the Rotate
View tool chosen, one Escape resets the view.
Docs: docs/target-app-parity.md.
Tab set the panels, the toolbar and the Control bar to one value on
each press. Two presses turned on a Control bar that had been off.
When the toolbar was hidden with Window › Tools, Tab showed the toolbar
and the Control bar instead of hiding the panels.
Tab now records which of the three showed when it hides them, and the
next Tab shows those again. Panels shown with Shift+Tab in between
stay shown. While the panels are hidden and the toolbar or the
Control bar shows, as after Shift+Tab, Tab hides those bars instead of
showing all three. When the toolbar or the Control bar was shown another way
after Tab hid them, the next Tab hides what shows and records that
instead. A switch of workspace clears the record. When none of the
three shows and Tab hid none, Tab shows all three, as before. The
record is saved with the other UI settings, so the first Tab after a
restart shows the same bars.
Docs: docs/target-app-parity.md.
On macOS the canvas paints the tool cursor into the window and hides
the system pointer. winit hides the pointer with a cursor rect that
holds a transparent cursor, and AppKit applies cursor rects only in the
key window. Over a VectorCraft window behind another app, or under its
own File › Open… sheet, macOS showed its arrow next to the painted tool
cursor.
On macOS the canvas now paints the tool cursor only while the window
has the focus. Without the focus it sets the tool's system cursor icon,
and the system pointer shows alone. Windows, X11, Wayland and the web
are unchanged.
Part of #2020.
Docs: docs/target-app-parity.md.
In the Swatches panel, a swatch dragged onto another swatch moved next
to it whether or not Alt was held. With Alt held at the release, a
swatch dropped on a swatch of its kind now gives that swatch its color,
gradient or pattern in one undo step, and the swatch keeps its name and
place. Art linked to a global swatch takes the new color. Drags of
None, Registration or color groups, and drops on a tint swatch or on a
swatch of another kind, work as before.
A color dragged in from outside the panel, such as from a Fill/Stroke
proxy, and Alt-dropped on a tint swatch failed with an error that the
swatch is a tint. It now becomes a new swatch, as a drop on a swatch of
another kind does.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
dataset.select, dataset.next and dataset.prev rewrite bound type with
the data set's text but replied only {name, applied, skipped}. A long
value could push lines out of a fixed frame and the reply had no
overflow key, while text.setText answers overflow: [id] for the same
text.
The three commands now add overflow: [id...] with the area type and
type on a path whose text they rewrote and that doesn't fit, through
typecmd::with_overflow, as text.setText does. An object that two text
variables rewrite is named once. Type that the data set left alone is
not named, and the key is left out when all of the rewritten text
fits.
Docs: docs/mcp.md, docs/target-app-parity.md.
As in the reference app's Contextual Task Bar, which offers "options like
Image Trace, Retype, and Crop Image" for images and lets you "quickly
expand traced artwork from the bar" (public announcement:
https://community.adobe.com/announcements-651/contextual-task-bar-in-illustrator-2025-quick-actions-when-you-need-them-1546580):
- One image selected: Image Trace traces it at once with the Default
preset, leaving the Image Trace panel as it was (like the quick trace
from Properties and the Control bar); Crop Image shows the crop box.
Offset Path and Simplify, which don't apply to an image, are gone.
- One Image Trace object selected: Expand keeps only the traced paths,
in place of Ungroup and Isolate.
Retype isn't offered: the app doesn't have it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A `.ai` opened from its editing data lost a text object on a layer that
shows and has Print off when its page drew no type for it. prune_unseen
weighs each text object made from the text document that the page's
type doesn't match against the page, and the layers are drawn for that
comparison as they print (as_printed), with such layers hidden. Taking
one of these objects out never changed the comparison, so each was
removed with the note "text objects that the file keeps but its page
doesn't draw ... are left out".
unmark now carries a print flag next to the shown flag, and a layer
with printable off clears it for everything it holds. Only made text
objects that show and print are weighed against the page; the others
stay on their layer.
Docs: docs/mcp.md, docs/target-app-parity.md.
Commands that read the selection through edit::selected_roots leave
out an object whose group is also selected (edit::roots_of). Fourteen
places that read `ids` kept an object listed together with its group.
Given ids that list an object and a group that holds it, Make Repeat
failed with "no such object", New Symbol failed or stored the object
twice in the symbol, and object.transform moved it twice (20 pt for a
10 pt move).
These places now pass explicit ids through edit::outermost, which
drops an id whose ancestor is also listed, with the filter that
roots_of runs on the selection (now edit::without_inner). Nothing else
is dropped or replaced: unlike roots_of, it keeps layers and
compound-path members. A list without nesting gives the same result as
before. Commands that take both ids and the selection as listed, such
as paint.setFill without item, are unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
Effect › Distort › Glass… offered only its four built-in textures. The
reference app's Texture menu also has Load Texture, which takes an
image file as the glass surface.
The Glass dialog now has a Load Texture… button. It reads a PNG, JPEG,
GIF, WebP, TIFF, BMP, PSD or PSB file within the pixel allowance the
renderer draws images in, and the Texture menu gains Loaded Texture.
The effect stores the image's gray levels in `textureImage` as a
grayscale PNG in base64, so the document saves the texture with the
effect, and copies of the effect carry it. effect.apply and
effect.setParams take `textureImage` as {path}, {name, dataBase64} or
the stored string; any other value is an error.
The texture lies one image pixel per point at Scaling 100%, centered on
the object and repeated. Each pixel's luma is the surface's height,
from 0 for black to 1 pt for white, and a transparent pixel counts as
middle gray. A Glass without `textureImage` draws and saves as before.
Docs: docs/mcp.md (Glass textures), docs/effects-parity.md,
docs/gaps.md, docs/target-app-parity.md.
Unit fields and length strings read a percentage operand as a share of
a value. After * or /, the percentage scales the term before it:
3cm*50% is 1.5 cm and 3cm/50% is 6 cm. After + or -, it adds or takes
away that share of everything before it: 50pt+25% is 62.5 pt and
100pt+20pt-50% is 60 pt. Before this change these expressions read as
nothing, and the field kept its old value.
The parser now splits a sum at its last + or -, so a percentage applies
to the whole sum before it. Text without % gives the same values as
before, apart from float rounding. A percentage on its own (50%) still
reads as nothing, and percent and degree fields still read % as their
suffix.
Command length strings use the same parser: file.new's width and
height, the distance params and the length preferences.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
Exports bake live effects into plain art, and a Transform effect on
type or on its group or layer turned the type into glyph outlines, even
when the effect only moved it or made moved copies. A PDF reader could
not select or search that text.
The export bake now keeps such type as type, moved into each place the
effect puts its outlines. It does this for Transform effects without
scale, rotation, reflection or Random, for type whose characters are in
solid colors without underline or strikethrough, and that has no fills
or strokes of its own, inline graphics or perspective, and when the
copies do not overlap. Type under such an effect on its group or layer
also needs no transparency or effects of its own, and the group or
layer needs no fill, stroke or Pathfinder effect of its own. The export
still outlines other type under geometry effects, and the canvas and
Expand Appearance still draw outlines.
Docs: docs/mcp.md, docs/target-app-parity.md.
The PostScript interpreter that reads EPS and PostScript files turned
the samples of a CMYK image into display RGB and stored an RGBA PNG,
so the image lost its ink amounts. The DCTDecode filter decoded a CMYK
JPEG to RGB, so it lost its ink amounts too. The PDF importer keeps
the ink amounts of 8- and 16-bit CMYK images (in a CMYK TIFF, or the
CMYK JPEG itself).
A CMYK image (image or colorimage in DeviceCMYK, CIEBasedDEFG or a
four-component ICCBased space) now keeps its samples in a CMYK TIFF
(ImageBlob::cmyk_tiff), read through its Decode array, at every bit
depth the interpreter reads. A CMYK JPEG gives its samples as stored,
and the image's Decode array reads them: [1 0 1 0 1 0 1 0] undoes the
inverted samples of Adobe's CMYK JPEGs. The pixels that a MaskColor
or an ImageType 3 mask hides become a grayscale opacity mask over the
image, as in PDF import. A mask that hides nothing adds no mask. Gray,
RGB, indexed and spot color images and image masks stay RGBA PNGs.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
When a graphics driver crashed the process while the window started,
as Intel's Direct3D 12 driver (igd12umd64.dll) did on an Intel UHD
Graphics 605 (#2243), the next start picked the same adapter again. The
restart without a failing adapter and the first-frame watch run inside
the process, so the crash ended them along with it.
Each start now writes graphics-start.json in the log folder before the
graphics start, adds the adapter once one is picked, and clears both
when the first frame reaches the screen or the app ends without
crashing. A start that finds an earlier start still recorded there
leaves that adapter out, as a restart does, logs it and shows a note in
the status bar. When the crash came while the adapters were being
listed (wgpu's Direct3D 12 backend creates a device on each GPU to list
it), the next starts list OpenGL's adapters alone, except on macOS. The
adapters stay left out until the app version or the Graphics Processor
preference changes, a start shows its first frame on one, or no adapter
is left. WGPU_BACKEND and WGPU_ADAPTER_NAME choose regardless of the
record.
Docs: docs/development.md, docs/target-app-parity.md.
A PDF, PDF-compatible .ai or .ait opened from its pages had an empty
File Info. Nothing read the file's document information
dictionary or its XMP packet, so file.info reported no author,
description or keywords, even for a PDF that VectorCraft exported.
vectorcraft_pdf::file_info reads both. The author, description,
keywords, copyright status, notice and URL and the created and modified
dates come from the XMP packet (dc:creator, dc:description, dc:subject
or pdf:Keywords, xmpRights:Marked, dc:rights, xmpRights:WebStatement,
xmp:CreateDate, xmp:ModifyDate), else from the dictionary's Author,
Subject, Keywords, CreationDate and ModDate. document.open,
file.newFromTemplate and file.revert put each value through file.info's
checks and leave out a value that file.info refuses. A packet that is
not well-formed XML leaves the dictionary's values. File Info does not
set the title, and a file restored from the document it carries keeps
that document's File Info. vectorcraft-pdf depends on roxmltree 0.21,
which usvg already brings into Cargo.lock.
Docs: docs/mcp.md (File Info), docs/file-format-parity.md,
docs/target-app-parity.md.
When type had used a font, removing the font while the app ran left
it in the font menus, and the type kept drawing in it until the app
restarted. The font list is the loaded faces plus the scanned catalog,
and a scan replaced the catalog but kept every loaded face.
A scan now drops each loaded face whose file it did not catalog, with
the face's cached outlines. A family with no face left leaves the font
lists, and type set in it lays out in the fallback font and is
reported missing, as when a document opens without the font. When the
font is installed again, the next scan lists it and the type draws in
it again. Bundled fonts and fonts added as bytes have no file and
stay.
Docs: docs/mcp.md, docs/target-app-parity.md.
Play an action on every file in a folder or every data set, with destination
and Override Open/Save/Export. Actions panel and File › Automate › Batch…
open the dialog; new strings in pt-br.
Co-authored-by: Cursor <cursoragent@cursor.com>
VariableKind::Graph binds a graph root; dataset rows supply CSV as graph.setData.
Make Graph Dynamic, Variables dialog, capture/apply, and pt-br for the new strings.
Co-authored-by: Cursor <cursoragent@cursor.com>
Load and save variable datasets as CSV for data-merge pipelines, and
translate the new Variables panel commands in Brazilian Portuguese.
Co-authored-by: Cursor <cursoragent@cursor.com>
# Conflicts:
# docs/target-app-parity.md
Expose existing Warp styles, orientation and percentage controls through the shared live effect dialog while preserving preview history and effect targets. Keep ordinary Enter owned by focused non-searchable combo controls.
Co-authored-by: Codex <noreply@openai.com>
assets.export of abutting fills must leave no ghost edge (#983 / #1037); panel thumbnails use the same Art Optimized supersample. Progress docs mark the gap closed.
Keep surviving drawable runs separate when Delete or Backspace removes an open-path anchor. Preserve appearance, selection and one-step Undo.
Co-authored-by: Codex <noreply@openai.com>
The Curvature tool built its curve as a uniform Catmull-Rom: both handles of a
smooth point a sixth of the chord between its neighbours, the ends of an open
path without handles. Uneven spacing overshot or looped, a J or U from three
points bent sharply at the middle with straight legs, and the end segments
looked flat.
- `curvature_spline` (draw2.rs) makes each stretch of three points follow the
circle through them: a smooth point's tangent is that circle's
(`smooth_handles`), each handle `chord / (3 cos²(α/2))` long, α between
handle and chord capped at 90° (`arc_handle`). The ends of an open path
mirror their neighbour's tangent in their chord (`end_handle`). A turn
tighter than 30° (`TIGHT_TURN`) shortens its handles, so a narrow V comes to
a point. Degenerate points become corners. `path.curvature` and the rubber
band use it.
- `catmull_rom` is unchanged for the Pencil and Paintbrush fitting.
- `bend_last` (from: smooth), `curvature_move` on a smooth point, the point
`curvature_insert` adds on a straight segment, and `path.convertAnchor` to
smooth without x/y (`curvature_smooth`) use the same rule.
- `curvature_extend` gives the new end its end handle unless Alt-clicked
(`corner` param on `path.curvatureEdit`).
- Neighbours of a point dragged on an existing path keep their tangents (a
Pen-drawn shape isn't reshaped); the path being drawn re-curves throughout.
When entering text edit mode via double-click from a selection tool
(Selection or Direct Selection), pressing Escape now returns to the specific
tool used before double-clicking (rather than always falling back to
Selection).
Additionally, when editing text while in isolation mode (such as when drilling
into nested groups with the Selection tool), pressing Escape exits text editing
while keeping isolation mode active; a second Escape press is required to exit
isolation mode.
- Record the previous tool in TypeTool on double-click from canvas.
- Return to prev_tool on ToolKey::Escape, consuming the key in shortcuts when claimed.
- Add unit test in vectorcraft-tools verifying Escape returns to prev_tool.
- Add integration tests in vectorcraft-ui-egui verifying Escape returns to Direct
Selection and that isolation mode persists until a second Escape.
- Update docs/target-app-parity.md and ROADMAP.md.
With the Direct Selection tool ("white arrow", shortcut 'a'), double-clicking
a text element (either standalone or nested inside a group) now switches to
the Type tool and immediately positions the caret at the clicked character,
matching the behavior previously introduced for the Selection tool in #284.
- In DirectSelectionTool::pointer, detect double-click hits on NodeKind::Text
when !self.group and emit Action::SwitchTool("type").
- Group Selection (group: true) retains its existing group cycling behavior.
- Add unit test in vectorcraft-tools verifying tool switch on both standalone
and grouped text.
- Add headless egui integration test in vectorcraft-ui-egui verifying tool switch,
caret positioning, and inline editing without triggering shortcuts.
- Update docs/target-app-parity.md and ROADMAP.md.
The 'Last updated · Change' status lines in docs/roadmap.md, docs/target-app-parity.md and docs/image-trace-quality.md change with almost every merge to main, so this PR's edits to them conflicted each time main moved. They are reverted to main's text; this PR's evidence bullets, history rows and table entries stay.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The 'Last updated · Change' status lines in docs/roadmap.md, docs/target-app-parity.md and docs/image-trace-quality.md change with almost every merge to main, so this PR's edits to them conflicted each time main moved. They are reverted to main's text; this PR's evidence bullets, history rows and table entries stay.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The reference app's Scribble Options have a Variation for each of Path
Overlap, Curviness and Spacing. Scribble had one `variation`, which
moved each line's ends both along the line and across it, and every
turn of a scribble took the same curviness. An angle such as 270 was
stored as given.
Scribble now takes `overlapVariation` (pt, default 0.5), which moves
the ends along the line, `spacingVariation` (pt, 0.5), which moves
them across it, and `curvinessVariation` (%, 0), which varies the
curviness from one turn to the next. The dialog shows each Variation
after the option it varies, and the Appearance panel lists all three.
A Scribble saved or scripted with the earlier `variation` reads it as
the Path Overlap and Spacing variations. With the defaults, and with
the earlier `variation`, Scribble draws the same outline as before.
`effect.apply` and `effect.setParams` store an angle above -180 and up
to 180, so 270 is stored as -90, and the dialog shows the stored value.
The Appearance panel's inline editor lists an effect's values in
their current form, as the dialog does. It listed an earlier key next
to the defaults of the keys that replace it.
Docs: docs/effects-parity.md (Stylize row), docs/target-app-parity.md.
Effect › Blur › Smart Blur had only its Normal mode: the dialog and
blur.smart took Radius, Threshold and Quality and drew the blur.
Smart Blur now takes a `blurMode` param ("normal", "edgeOnly" or
"overlayEdge"; "normal" by default), which its dialog shows as a Mode
menu. Edge Only draws the edges in white on black, and Overlay Edge
draws them in white over the Normal blur. A pixel is on an edge when
one of its four nearest pixels differs from it by more than the
threshold in a channel and its channels, alpha included, add up to at
least that pixel's. The white and the black keep each pixel's
coverage. Normal draws the same pixels as before, and an effect saved
without `blurMode` draws as Normal.
Docs: docs/effects-parity.md, docs/gaps.md, docs/target-app-parity.md.
Copy and Cut made the system clipboard's formats in the frame that ran
them. The formats include the SVG markup and a PNG of the selection at
1 px per pt, up to 4,096 px a side. In a release build on Windows, Copy
of 50,002 rectangles on a 1600 x 1200 pt page took 1.00 s in its frame.
The thread that writes background saves and exports now makes the
formats from a copy of the clipboard, and the app writes them in a
later frame. The same Copy takes 0.18 s in its frame, and the SVG and
PNG are the same bytes. While that thread has a save, an export, a print or
a recovery copy to finish, Copy and Cut make and write the formats at
once. A later Copy or Cut, or text copied in a field or with the Type
tool, drops formats that are not written yet. Until they are written,
Paste on the canvas takes the internal clipboard, and while a text
field or the Type tool has the keyboard the app waits for them.
Docs: docs/mcp.md, docs/target-app-parity.md.
In the Artboards panel, a click or a double-click on a row's options
icon (the page at the right end of the row) chose the Artboard tool on
that row's artboard and opened no dialog. The panel menu's Artboard
Options… also only chose the Artboard tool.
A click on the active artboard's icon, or a double-click on another
row's icon, now opens Artboard Options for that row's artboard. The
first click on another row's icon makes its artboard active, as a
click on the row does. The panel menu's Artboard Options… opens the
dialog for the active artboard. Both run tool.options with tool
"artboard", as a double-click on the Artboard tool's button does, and
they no longer choose the Artboard tool. The icon's tooltip is now
Artboard Options, and the old tooltip's row is removed from the 15
catalogs.
Opened with another tool, Artboard Options did not move the art with a
new X or Y. It now moves the art when the Artboard tool's Move Artwork
with Artboard option is on, as it does while that tool is in use.
Docs: docs/target-app-parity.md.
Effect › Pathfinder left type in the group out of all ten operations,
on the canvas, in Expand Appearance and in exports. The text outliner
returns type as a group with one path per run. `leaves` in
crates/effects/src/group.rs took that group as one leaf, and
`geometry` gives no path for a group. A 100 x 100 pt square grouped
with a 100 pt "H" inside it kept all of its 10,000 pt² after Subtract
and Expand Appearance. In the shape modes a member group with type in
front also lost its paint, because it took the style of the outline
group, which has none.
`leaves` now takes the paths and compound paths of the outline art at
every depth, as it does for a member group, and gives each one the
type's opacity and blend mode. The same square keeps 8,684.88 pt² after
Subtract and Expand Appearance, its 10,000 pt² less the glyph's
1,315.12 pt².
Docs: docs/target-app-parity.md.
perf --deep printed the memory at eight points of its run, and no row
showed memory that the run took and freed between two readings. With
--paths 2000, a release build on Windows printed 430 MB as its largest
row, and the process's peak working set was 612 MB. On Windows the
memory row after rendering the photos also printed its value 3 columns
right of the others: its name is 55 characters, and the name column is
52 characters wide. The tracked row for the photos printed its value 2
columns right of the other tracked rows: its name is 54 characters, and
their name column is 52 characters wide. In the budget table the handle
and segment drag rows printed their values 1 and 2 columns right of the
other rows: their names are 41 and 42 characters, and the name column
is 40 characters wide.
Each memory row now also gives the peak so far: the peak working set
(PeakWorkingSetSize, from the same GetProcessMemoryInfo call) on
Windows, and VmHWM from /proc/self/status on Linux. On macOS the rows
give no peak. A new last row gives the memory after the SVG export and
the save → open → save at the end of the run. The name columns of the
memory rows, the tracked rows and the budget table are 56, 54 and 42
characters wide. The help says on which systems the rows give the peak.
Docs: docs/target-app-parity.md.
dotCooCoo