Add opaque RGB light color and up to ten independently adjustable lights to
Revolve, Extrude & Bevel, Inflate and Rotate. Keep light selection, Add/Delete,
selected-light gizmos and preview transactions on the existing command path.
Preserve legacy white-light Inflate polygons, paint composition and seam joins,
including the 0.05 seam minimum. Use shared smooth normals for colored Inflate,
and batch solid-fill RGB channel paths behind one surface clip. Keep source
paths editable and SVG/PDF output vector artwork.
Rebase onto main f7de3d6a, retaining both sides of progress docs and all 22
catalogs. Shade freeform points once through the shared paint mapper. Document
release measurements and a reproducible CLI fixture, including the remaining
source-gradient cost and the one-light timing tradeoff.
Validation: full cargo xtask ci passed all 10 steps; 7,978 tests passed, zero
failed and 11 ignored. Four legacy white-light PNGs match unchanged main byte
for byte. Three paired release bench/perf repetitions completed without busy
warnings; all six standard perf runs passed every budget. Two-light solid
Inflate improved from 136.2 to 96.8 ms/frame at 1200x1200, default eight threads.
Artboard Options showed Name, Width and Height only: the generic form
hides x and y, which in the shape dialogs are the click position. The
artboard's position could be dragged but not typed.
The dialog now draws its own rows after the form's, in the same grid:
the reference point locator the Transform panel, the Control bar and
Properties share, then X and Y. They show where the reference point
lies, counted from the ruler origin (#1212), as the Transform panel and
the Control bar show an artboard's position. A typed X or Y moves the
artboard so that its reference point lands there, and a new Width or
Height keeps the reference point in place. The fields still hold the
top-left corner in document points, so OK runs artboard.setProps as
before, in one undo step. The shape dialogs keep their x and y hidden.
form::grid_then lets a dialog add rows to the generic grid.
The Paragraph panel menu's Roman Hanging Punctuation was a disabled stub.
It is now a per-paragraph attribute: in a left-to-right paragraph of point
or area type with it on, the punctuation Optical Margin Alignment hangs
(quotation marks, hyphens, full stops and commas wholly; asterisks,
tildes, ellipses, en and em dashes, colons and semicolons by half) hangs
outside the margin when it starts or ends a line, on the same sides
(left-aligned lines at their left, right-aligned at their right, centered
and justified at both); letters don't hang. With Optical Margin Alignment
on as well, letters hang too. East Asian punctuation keeps hanging only
through burasagari. The layout shares Optical Margin Alignment's hanging
code, given the share of each glyph that hangs.
text.setFormat takes romanHangingPunctuation; it is off by default, saved
only when on, carried by paragraph styles (New and Redefine capture it)
and turned off by Reset Panel. The panel menu item is a checkbox enabled
with type selected.
Docs: docs/mcp.md, docs/type-parity.md, docs/gaps.md.
Closes#2756.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With anchor points selected with Direct Selection, the Contextual Task
Bar's anchor items were Remove Anchor Points and Cut Path. The
reference app's bar also offers to connect the selected end points and
to convert the selected anchors to corner or smooth.
The bar now offers Remove Anchor Points, Connect, Cut Path, Corner and
Smooth. Connect runs Join (path.join), and Corner and Smooth run
path.convertAnchors with `to` set to corner or smooth. These are the
commands of the Control bar's anchor buttons. "Connect" has a row in
every catalog; "Corner" and "Smooth" use the existing rows.
The reference app's Smooth item, which adjusts a path's curvature, is not
offered, because VectorCraft has no Object > Path > Smooth. Simplify,
which the reference app's bar also offers here, is still offered only
while no anchors are selected.
Docs: docs/target-app-parity.md.
path.reshapeSegment refused only a delta that was not finite. It moves
a segment's two handles by the delta divided by 3t(1-t), which is
0.1425 at t 0.05 or 0.95, so a finite delta above about 2.5e307 wrote
infinite handles into the path. object.blend.spine.reshapeSegment
refuses a delta of 1e9 pt or longer.
path.reshapeSegment now refuses a delta of 1e9 pt or longer, with its
"invalid delta" error. Two other path commands took a point with no
bound. path.convertAnchor with x, y at 1e308 put the two handles 2e308
apart, so the path's control box was infinitely wide, and path.freehand
through such points with keepSelected off fitted a path whose bounds
reached infinity. Both now refuse a point whose x or y is 1e9 pt or
more in size, with "x and y must be finite", the error
object.blend.spine.moveAnchor gives for the same bound.
Docs: docs/mcp.md, docs/target-app-parity.md.
VectorCraft listed a variable font's named instances as styles, but
type could not be set between or past them. The reference app's
Character panel has a Variable Font control that adjusts a variable
font's axes, such as Weight, Width and Slant.
Type now keeps Variable Font settings by axis tag
(CharStyle::font_axes, saved as fontAxes only when set). text.setFormat
and text.setRangeStyle take fontAxes: each value is clamped to its
axis's range, a tag the font has no axis for is left out, and null
goes back to the style's own setting. Another font or style clears
them, including one from a character style that does not set them. A
character style captured from type sets them, with {} for none.
text.fontList {family, style} lists a font's axes.
Layout, outlines, the substituted-glyph highlight and PDF export use
the font instanced at the settings, and neighboring runs at different
settings are shaped apart, as runs in different fonts are. SVG export
writes them as font-variation-settings, the wght setting as the weight
and the wdth setting as font-stretch, and embeds the font instanced
there; SVG import reads font-variation-settings back. Legacy .ai export
warns that the settings are left out.
The Character panel shows a Variable Font button for a variable font.
It opens a slider and a field for each axis the font does not hide,
labeled with the font's name for the axis, and screen readers get each
slider under that name. A drag is one undo step. Reset Panel leaves
the settings, as it leaves the font and style.
Missing Glyph Protection now keeps the settings and the font version
on the characters that keep their font; before, it kept only the
family and style. A character style applied or redefined with another
font now clears the old font's version, as text.setStyle does, unless
the style sets one. SVG export with embedded fonts warns when faces of
one weight, style and width share characters, which browsers then draw
in one of the faces.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md.
The Automatic palette counts flat art's colours by area (a colour needs
about 1% of the picture, 0.5% at Colors 100) and fits that count with
median cut and area-weighted k-means. A stem, a highlight, or a near
white beside a pale background (within 24 levels, so in one box) was
averaged into a large neighbour; mixed-colour merging and Noise could
then remove what was left.
On the flat route only, after the count is fitted, rare_colours finds
the colours too rare or too close for it and keeps those that are
distinct (at least 2.5 in Oklab x 100 from every palette colour and from
the main colour each stands for), flat (mostly one histogram bin) and
drawn (a 4-connected region of their own unblended pixels of at least 8
pixels, or three of at least 4); a colour lying between two others, as
anti-aliasing mixes them, must also have an inside. At most six, largest
region first. They stay fixed while the other colours are refitted
around them; merge_mixed leaves them alone; denoise_keeping keeps their
regions of 4 pixels or more whatever Noise is (smaller specks still go).
Full Tone, Limited and Automatic's continuous-tone route are unchanged,
and denoise without kept labels is as before.
Methods cited in the code: median cut (Heckbert 1982), k-means (Lloyd
1982), Oklab (Ottosson 2020), salient-colour preservation (Fukuda et al.
2019, doi:10.1117/12.2521607). The rule and its numbers are VectorCraft's
own; Adobe does not document how its palettes are chosen.
Tests (code-drawn): a rare stem or patch over 2-8 flat colours, hard
and anti-aliased at 1x and 2x; near-white highlights on #FFF4E0 kept and
still paths at Noise 16; a 3 px #909090 stem on #808080; scattered
single pixels of the same areas add no colour; denoise_keeping at Noise
0-32.
Measured on 66 synthetic flat logos (22 designs x hard 1x, anti-aliased
1x and 2x; local inputs): every key colour and no spurious one in 66
(was 39); missing key colours 0 (was 43), spurious 0 (was 2), merged
pairs 0 (was 46); rendered dE00 0.348 -> 0.138. Four public-domain scan
crops take the continuous-tone route and are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The public documentation says Image Trace warns about images larger
than 1500 pixels on a side but traces them, only more slowly. VectorCraft
traced them silently, and refused any trace of more than 2,000,000
anchors, which a 4000 x 3000 photo at High Fidelity Photo nearly reaches
(1.9 million on a code-drawn photo) and a noisier one passes.
- imageTrace.make and makeAndExpand return `warnings`: one for an image
over 1500 px on a side (traced, but more slowly; a lower-fidelity
preset or a smaller copy is quicker), one for an image over 64 MP
that was traced from a scaled-down copy. The app shows the first in
the status bar.
- MAX_TRACE_ANCHORS is 8,000,000 natively (2,000,000 on wasm, where a
page has at most 4 GB). Measured through imageTrace.make on
code-drawn photos: about 90 bytes an anchor kept in the document;
7.9 million anchors kept 685 MB with an 876 MB peak (4000 x 3000,
Full Tone at Colors 100, Paths 100, Noise 1, 37 s).
- The refusal keeps its translated advice: raise Noise, lower Paths or
Colors, or pick a lower-fidelity preset.
Tests: a_large_image_traces_with_a_warning (1600 x 40 and 1500 x 8
code-drawn images, make and make-and-expand),
trace_warnings_name_a_large_or_scaled_down_image, a compile-time check
of the limit's range, and a UI test that the status bar shows the note.
Source:
https://helpx.adobe.com/illustrator/using/image-trace-results-optimization.html
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Raster::new checked its RGBA length with assert_eq!, so bytes of the
wrong length (from a file, a plug-in or a control message) would abort
instead of reporting an error. It now returns Result<Raster, TraceError>
and gives TraceError::Decode naming the byte count and the size (the
existing variant, whose text is already translated, instead of a new
message every language would need). The size product is checked for
overflow.
Raster::pixel indexed the bytes directly; it now gives transparent
black outside the raster, or past the end of a raster whose public
fields were set to a size its bytes don't have (which mosaic reads).
The public signature changes: every caller in the workspace was a test
(trace unit tests, Flat Logo tests and the quality harness), updated to
unwrap. No shipped code built a Raster with new; decode, decode_to_fit
and from_fn always make the right length, and trace_within already
refuses a raster whose fields disagree.
Test (code-drawn): a_raster_of_the_wrong_length_is_an_error_not_a_crash
(short, long, empty, zero-width and overflowing sizes; pixel, trace and
mosaic on a raster whose fields disagree).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
Place junction clusters at their deepest pixel and prune terminal branches
by significance beyond their maximal discs. Merge overlapping junctions
and split crossings with continuing outer arms, then join degree-two runs.
Bound nodes, branches and simplification work, using checked data access.
Keep whole-blob selection, ink refinement, cap detection and fitting rules.
Test junction degrees, crossings, 24-angle lines, pruning, graph caps and
random-blob determinism. Record improved junction degrees and remaining
spur and extra-junction limitations in the centre-lines measurements.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Co-Authored-By: OpenAI <noreply@openai.com>
Compute exact squared Euclidean distances per blob with separable parabola
lower envelopes. Thin with bounded Guo–Hall active sets and retain diagonal
ends during staircase cleanup. Keep the whole-blob width rule and existing
graph, ink, cap and fitting rules, with checked access in the moved module.
Verify EDT against brute force, active sets against plain rounds, and both
diagonal slopes for length and connectivity. Record the centre-lines rerun
and its remaining limitations without changing feature scores.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Co-Authored-By: OpenAI <noreply@openai.com>
Measure Create Strokes on exact code-drawn scenes in aa and hard variants,
including centre/width error, topology, ends, spurs and painted coverage.
Keep the existing allocator report in one ignored test and document the
current baseline without changing tracing behaviour or dependencies.
Co-Authored-By: Codex <noreply@openai.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Each swatch or graphic style library now opens in a panel of its own,
`library:<kind>:<library id>`, in the shared docking system: several can be open
at once, and they float, group as tabs, dock and close like any panel.
Opening a library that is open brings its panel forward; Previous / Next
Library show the neighbouring library in the same panel.
The library panel menu gains Persistent. The panels' view, Show Find Field
and Persistent are kept in the UI preferences (`library_panels`); at startup
the persistent panels reopen where the saved layout had them, a library
loaded from a file read again from its path (a missing file is skipped with
a status-bar note). `ui.libraryPanel {panel, library?, view?, showFind?,
persistent?}` reaches all of it; docs/mcp.md documents the panels.
Install Plug-in (plugin.install) now keeps the plug-in's module in a
Plug-ins folder next to the preferences, as Illustrator keeps plug-ins in
its Plug-ins folder, and the desktop app and vectorcraft-cli install the
ones there at startup (a module that doesn't load is skipped with a log
record, at most 512 MB are read). Remove Plug-in deletes it from the
folder. The Additional Plug-ins Folder preference is still loaded from
where it is. Confined MCP servers and VECTORCRAFT_NO_PREFS keep nothing,
as with the PDF preset and colour profile stores.
Docs: docs/mcp.md, docs/plugins.md, docs/target-app-parity.md.
The History panel looked up each step's name with tl!, which reads only
a plain catalog row. 95 of the 427 names that the engine, the tools and
the shell give their undo steps had no such row in at least one complete
catalog, and 83 had no row at all (Make Blend, New Guide, Pen, Reshape
Spine and others). A step named after an effect has the effect's menu
name without its ellipsis. For many effects, and for steps such as New
Layer, the catalogs hold that name only with the ellipsis. The panel
listed those steps in English.
Each complete catalog now has a row for every step name, written in the
catalog's own terms: 1,437 rows in the 19 catalogs. The History panel
reads a step's row, or else the row of the same name with an ellipsis,
without the ellipsis, and shows the name as recorded when the catalog
has neither. A new test reads the step names from the sources, as the
tl! and message tests read theirs, and requires a row for each in every
complete catalog.
Docs: docs/target-app-parity.md.
A click with the Group Selection tool on a compound path selects the path
under the pointer (its outline within the pick tolerance, else the innermost
path whose area holds the click), so the outer shape and each hole can be
selected on their own; Shift-click adds another, and a click on a selected
path adds the compound path, as a click on a group member climbs to its group.
A path selected this way is an object of its own for Move, Transform, Rotate
and the other transforms, as it already was inside an isolated compound path:
the hole of a ring moves without the ring. Paint and the other commands still
go to the compound path, which holds the paint.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
# Conflicts:
# docs/target-app-parity.md
With the Artboard tool in use, a Shift-click on a row of the Artboards
panel selects the artboards from the last row clicked without Shift to
the clicked row, and the clicked row's artboard becomes the active one.
When the artboard of the last row clicked without Shift is no longer
selected, the range starts from the active artboard, and later
Shift-clicks start from there too. Ctrl/Cmd-click still adds or removes
one artboard, and a plain click selects one. The public Select
artboards page lists Shift-click in the Artboards panel for selecting
several artboards.
A Shift-click used to add or remove one artboard, as Ctrl/Cmd-click
does (#1139).
Docs: docs/target-app-parity.md.
Print and Print Preview name the area type and type on a path that
prints without the text past the end of its frame (#2308). The exports
that draw type gave no such warning: a PDF, EPS, SVG, EMF, WMF or
raster export of a frame too small for its text answered with no
warning about it.
These exports now add the same warning, with "isn't drawn in the
export" in place of "doesn't print". Each export counts the visible
objects that it draws. Those are the objects on the pages or artboards
it writes, or all of them in an EPS of the visible art and in an SVG
without chosen artboards. A PDF leaves out layers that don't print
unless includeNonPrinting or createLayers is set. The objects are found
with the walk that fonts::printed_type runs for Print, and typecmd.rs
builds the message with the code that builds Print's. A .ai file keeps
the whole text in its editing data and gives no warning.
Docs: docs/mcp.md (Fitting area type), docs/target-app-parity.md.
With View > Guides > Lock Guides on, Session::select drops the paths
made into guides from the selection (#1534), but commands that set the
selection another way skipped that filter and left a locked guide
selected, so the next move moved it. object.exitIsolation selected an
isolated guide path. Undo, Redo, a canceled undo group, a canceled
drag or dialog preview and a failed command.batch brought back locked
guide paths and ruler guides in the selection. Unlock All, Show All
and Paste selected the guide paths they unlocked, showed or pasted.
Locking the guides deselected them in the active document only.
The filter is now deselect_guides, which also clears the selected
ruler guides. Session::select and Session::edit run it while Lock
Guides is on, and so do object.exitIsolation, Undo, Redo,
Session::cancel_interaction, a canceled undo group and a failed batch.
Locking the guides deselects them in every open document. With Lock
Guides off, the selection is set as before.
Docs: docs/mcp.md.
A marquee measured a clip group, and the objects on a layer with a
clipping mask, by all of their art, including the art the mask hides.
A marquee around a rectangle drawn next to a clip group also selected
the group when it crossed the group's hidden art. A click already
counts only the art inside the clipping path.
The marquee now takes a clip group, or an object on a clipping layer
or sublayer, only when it meets the area inside the clipping path, and
it measures the art there within that area's bounds. The same rule
applies to the objects that Direct and Group Selection select whole,
to Group Selection's E marquee, and in isolation mode when the clip
group or clipping layer itself, or one object directly inside it, is
isolated. The anchor points that Direct Selection's marquee picks are
unchanged.
Docs: docs/target-app-parity.md.
Nothing locked the variables: any command or panel button could delete
or rename a variable that scripts and data sets name.
variable.lock {locked?} (Lock Variables: a lock button in the Variables
panel's bottom bar and an item in its menu) sets a flag that is saved
with the document. Without `locked` it toggles, and a change is one
undo step. While the flag is set, variable.define, variable.delete,
variable.rename and the four variable.make…Dynamic commands are refused
with "variables are locked", and the panel disables New Variable…,
Variable Options…, Delete Variable and Make … Dynamic. Binding,
unbinding and the dataset commands still run. variable.list
reports `locked`. A file without the flag opens unlocked.
Docs: docs/mcp.md, docs/target-app-parity.md.
A selection with more than 100,000 anchors shows its bounds instead of
every outline and anchor (#525). The count took in path anchors only.
Type, images, symbol instances, placed documents, gradient meshes and
envelopes counted nothing, although the selection overlay outlines each
of them: a box, an area type frame or a type path, a baseline marker
for point type, and the points and mesh lines of meshes and envelopes.
The PDF importer makes type objects from a page's text lines, one image
object per image and one gradient mesh per patch or triangle of a mesh
shading, so selecting all of a large PDF outlined each of them: 131,072
selected mesh pieces need 16.8 million vertices, a 336 MB vertex
buffer, past wgpu's 256 MiB buffer limit.
The count now takes in what the overlay draws for each kind. Paths
count their anchors. Area type and type on a path count the anchors of
their frame or path, and point type counts six: its box's corners and
the ends of its baseline marker. Images, symbol instances, placed
documents, and area type or type on a path in perspective count the
four corners of their box, and gradient meshes and envelopes count
their points and the ends of their mesh lines. The selection's outline,
the key object's outline and the hover highlight all use the count.
Docs: docs/target-app-parity.md.
Rearrange and Select › All on Active Artboard measured a symbol
instance as its transform applied to the 20 × 20 square around the
symbol's origin, not by the symbol's art. An instance whose art lies
away from that square moved with, or was selected on, the artboard
the square was on. Convert to Artboards, Transform Each, Lock and
Hide › All Artwork Above, Paste and Place from Library at a point,
and the clipboard imports measured the instance the same way, as did
Copy and Cut when they recorded the source artboard and library.add
when it sized a graphic.
These commands now measure an instance by its art through
Document::symbol_boxes, as Document::art_on_artboard, Fit to Artwork
Bounds and the Align commands do. Clipboard::bounds measures with the
symbols the clipboard holds. clipboard.exportPng, clipboard.exportPdf
and the PNG and PDF that Copy offers other apps are now cropped to
the instance's art.
Docs: docs/mcp.md.
The blend spine commands and the gradient mesh point commands read
their anchor, segment or index as a number and dropped its fraction,
so object.blend.spine.moveAnchor with anchor 1.5 moved point 1 and
reported success. object.envelope.setMeshPoint did the same and also
read a negative index as 0. Specified Steps in object.blend.make and
object.blend.options, and the rows and columns of object.mesh.create,
object.envelope.makeWithMesh and resetWithMesh, dropped their fraction
in the same way.
These commands now fail with "`<key>` must be a whole number" for a
fraction, and object.envelope.setMeshPoint fails with "index must be
≥ 0" for a negative index, as the other point commands do. Whole
numbers written as 4.0, as the Blend Options and Make with Mesh
dialogs send them, still work.
Docs: docs/target-app-parity.md.
dataset.select skipped every bound object inside a hidden layer or
group. Type on a hidden layer kept the previous row's text, which
showed when the layer was shown again, and dataset.list and the
Variables panel reported every row as matching that type while the
layer stayed hidden.
dataset.select, dataset.next and dataset.prev now rewrite type and
apply the other values on hidden objects and inside hidden layers and
groups. Those objects stay hidden unless a visibility value shows
them. Objects that are locked or inside a locked layer or group are
still skipped and counted in `skipped`. dataset.list, dataset.capture
and dataset.update read hidden objects as well. Binding still refuses
art inside a hidden layer or group.
The values now go in the order the variables are defined. The passes
that applied visibility values before and after the other values are
removed.
Docs: docs/mcp.md, docs/target-app-parity.md.
A two-finger rotation on a Mac trackpad did not turn the view. With
the new General preference Trackpad Gesture to Rotate View
(`trackpadRotateView`, on by default) and the pointer over the canvas,
the rotation turns the view about the pointer, keeping the document
point under it in place. The view does not turn until the rotation
reaches 5°; it then turns by the whole rotation and follows each later
rotation event. A rotation ends 0.25 s after its last event. A rotation
in the same frame as a pinch zooms and turns about the same point.
egui reports the gesture as `Event::Rotate`: egui-winit makes it from
winit's macOS rotation gesture, and eframe makes it from Safari's
gesture events in the web build. Rotation events that arrive while
fingers are on a touch screen do not turn the view. With the
preference off, the gesture does not turn the view.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/hardware-parity.md.
The Selection and Direct Selection tools drew the start, center and end
brackets of every selected type on a path, and hit-tested each of
them, however large the selection was: 32,768 selected type on a path
objects added 1,310,720 vertices to the frame's mesh, 40 for each
object. The PDF importer makes type on a path for curved text lines,
so selecting all of a large PDF can reach that size.
With more than 10,000 type on a path objects selected, the tools now
neither draw nor hit-test any bracket: a press where a bracket would
be does not start a bracket drag, and the pointer does not change to
the bracket cursor there. The tools draw 10 points for each object's
brackets, so 10,000 objects take 100,000, the same number as the
canvas's limit on the anchor points it outlines. The tools crate has
its own constant with the same value.
Docs: docs/target-app-parity.md.
Object > Rasterize, Crop Image, Flatten Transparency, Expand
Appearance of raster effects and Vector Halftone draw the art with the
renderer and replace it with the result. When the art held an image
that could not be decoded, the renderer drew nothing for it, and the
result lacked the image with no message. A raster export of the same
art warns that "an image couldn't be decoded and is missing from the
picture".
These five commands now compare decode_failures before and after they
draw, as raster exports do, and their replies carry that text as
`warning`. They still make their result in one undo step. The app
shows a command's `warning` in the status bar: after a menu command,
after OK in a dialog with a preview, and after a tool runs a command
(Crop Image's Apply).
Docs: docs/mcp.md (Flatten Transparency, Expand Appearance, Document
Raster Effects Settings, Vector halftone).
A selected clip group drew the outline of everything inside it: the
clipping path, the whole rectangle of a clipped image, and the whole
outline and anchors of each clipped path. The Selection tool's
bounding box, which fits the clipping path, showed on top of them.
The hover highlight and the key object outline drew the same hidden
art.
The selection overlay, the hover highlight and the key object outline
now show only the clipping path of a clip group or clipping layer,
its first child. The overlay's limit on anchors counts only that path
too, so a clip group that hides a large trace still shows its
clipping path's anchors and hover highlight. The art inside still
shows its whole outline when it is selected on its own: with Edit
Contents, a Direct or Group Selection click, or in isolation mode.
Docs: docs/target-app-parity.md.
file.new takes a width and height up to 163,830 pt, 1 to 1,000
artboards, a spacing of 0 to 100,000 pt and a bleed of 0 to 72 pt a
side, but a saved or Recent New Document preset in the preferences
was read as it was stored. With a width of -5, file.new failed with
"width/height must be positive and within the canvas"; a spacing of
-50 overlapped the artboards, a preset with 5,000 artboards made 5,000
artboards, and a bleed of 100 reached the document. A .vectorcraft
file's Document Setup bleed, superscript and subscript proportions and
small caps size also opened as stored, and document.setup then failed
when its own report was passed back to it.
These values are now read as the nearer end of the range their
setter takes, and an artboard width or height of 0 or less is read as
1 pt. Presets and files with values in range read as before.
Docs: docs/mcp.md (Document Setup, New Document).
object.createObjectMosaic read columns and rows with as_u64 and fell
back to 10 for anything else, so 2.5, -3 or "4" made a 10 x 10 mosaic
and reported success. Transform Each read reference and seed the same
way (a reference of 2.5 used the center point, and a seed of 7.5 used
the default seed), and Rearrange All Artboards cut 1.5 columns to 1
and read "1" as the default 2.
These five parameters now take a whole number, written 4 or 4.0 as the
Rearrange All Artboards dialog sends it. A fraction or a negative
number is refused with "`columns` must be a whole number", the message
object.slice.divide gives. A string or another value that is not a
number is refused with the check_numbers error. The command then
changes nothing. The existing ranges stay: 1 to 1000 mosaic tiles
across and down, a reference of at most 8, and 1 to the artboard
count of columns.
Docs: docs/mcp.md, docs/target-app-parity.md.
In a CMYK document, an RGB color from the Eyedropper, a hex value or
paint.setFill was stored as CMYK by the profile-free formula
(k = 1 - max(r, g, b)), not through the color settings. RGB 83/170/223
came in as C63 M24 Y0 K13. A CMYK image was sampled through the RGB its
decoder shows, so its inks came back only when the formula happened to
round-trip them.
paint_from now converts an RGB color into a CMYK document with
Cms::convert and the settings' intent, as Document Color Mode and Swatch
Options already do. This covers paint.setFill and paint.setStroke,
gradient stops, swatch.new {color} and the Eyedropper. With Generic CMYK,
83/170/223 now separates to C59 M12 Y3 K0, and #ff0000 now separates to
C0 M97 Y100 K0 instead of C0 M100 Y100 K0. keepModel: true still keeps
RGB. paint.sampleColor with a stop stores the color the same way.
The Eyedropper samples a CMYK image's ink amounts (a four-component
JPEG, or an 8- or 16-bit chunky CMYK TIFF) and returns them unchanged
(ImageBlob::sample_cmyk_object), also in an RGB document. It takes an
RGB image's sRGB pixel into the working RGB space, as the screen color
sampler does, so the picked color shows as the pixel when the working
space is not sRGB.
Docs: docs/mcp.md, docs/target-app-parity.md.
A PDF-compatible .ai read through its editing data kept the PDF part's
warnings that text was kept as outlines ("text was converted to
outlines", the U+FFFD warning and the warning on glyphs that differ
from the installed font). The layers take from the page only text
nodes and the stroked paths around them, so filled outlined glyphs
don't reach the document, and type made from the text document holds
every character.
- The warnings are dropped when the document holds no glyphs kept as
outlines. Stroked glyphs that come in with stroked type keep them.
- A text object that takes the page's type, next to glyphs the page has
only as outlines, lacks those characters: a new warning counts such
objects.
- vectorcraft_pdf exports the three warnings, is_outlines_note,
is_glyph_outlines and holds_outlines.
Docs: docs/target-app-parity.md.
The mesh covers the image's rectangle with its transform kept; each point takes the average colour and opacity of the picture around it. A linked image is refused.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
View › Rulers › Change to Global Rulers (Cmd+Alt+R) was a disabled
stub: the rulers always counted from one document zero point. The
reference app's public help describes two modes: artboard rulers, the
default, count from the active artboard's top-left corner, and each
artboard can have its own zero point; global rulers keep one zero point
for the whole document whichever artboard is active.
https://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/about-rulers.htmlhttps://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/use-rulers.html
`view.globalRulers {global?}` switches the mode (toggle by default),
undoable and saved with the document (`rulers`). The menu item reads
Change to Artboard Rulers while global rulers are on. A new document has
artboard rulers; a file saved before the mode existed has no `rulers`
key and opens with global rulers, so it measures as it did.
With artboard rulers, dragging the ruler corner sets the active
artboard's zero point, kept as an offset from its corner
(`artboard_ruler_origins`, by artboard id) so it moves with the
artboard, and double-clicking the corner resets it. The global zero
point (`ruler_origin`) stays separate. `document.rulerOrigin`,
`document.setRulerOrigin` and `document.resetRulerOrigin` take
`artboard`; `Document::ruler_origin_for` is the zero point with an
artboard active, falling back to the corner or the global one when a
stored value is out of range.
The rulers, the Transform, Properties and Control bar X/Y, the Info
panel's X/Y (which ignored the zero point before), ruler-guide
readouts and Shift ruler-tick snapping all count from that zero point:
the view's active artboard reaches the tools through `ViewInfo` and
`ToolContext::ruler_origin`. Command coordinates stay absolute.
Tests: engine/tests/ruler_origin.rs (default mode, per-artboard origin
following its artboard, global origin apart, toggle and undo, save and
legacy files, out-of-range values), ui-egui/src/tests_ruler_origin.rs
(position fields and corner drag on the active artboard, menu label and
shortcut), tools/src/rulerguide.rs (guide readouts and tick snapping).
Tests written for the single global zero point now turn global rulers
on first. "Change to Artboard Rulers" is translated in every catalog.
Docs: docs/ui-parity.md, docs/gaps.md (G7), docs/target-app-parity.md,
docs/mcp.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01U2JbUtM4MkzWLm9FgYiEsq
The Appearance panel's inline effect editor showed a parameter that
picks one of some values (Roughen's Points, Offset Path's Joins, the
menus of Smart Blur, Glass, Texturizer and De-Interlace) as a text
field holding the stored value, where the effect's dialog has a
dropdown. Its labels did not have the dialog's mappings ("Channel1"
and "Max Radius" for "Channel 1:" and "Max. Radius:"), and a plug-in
choice named mode whose value is a blend mode name showed the blend
mode list.
The editor now shows the other parameters that effect::choices lists
as dropdowns with the dialog's labels (Drop Shadow's Shade keeps its
radio buttons), translated in the "effect" context, and a pick sends
the dialog's value with effect.setParams. Glass's Texture menu ends
with Loaded Texture once a texture is loaded. A plug-in's choice lists
the plug-in's values, and the blend mode dropdown is only for our own
effects. The labels are form::humanize's without the colon. The dialog
and the panel both call form::choice_label and effect::glass_textures.
Docs: docs/target-app-parity.md.
In a rotated view the resize and rotate cursors were the ones for an
unturned view. With the view turned 90°, the right-middle handle of a
selection's bounding box shows at the middle of the box's bottom edge
and drags up and down, but its cursor was the left-right arrow. This
affected the Selection, Free Transform, Artboard, Slice Selection, Crop
Image, Perspective Grid and Perspective Selection tools, ruler guides,
and the spread handle of a freeform gradient.
Now each of these cursors turns with the view to the nearest 45°. The
Selection tool and the Perspective Selection tool turn the handle's
direction by the view's angle before they round it to a cursor.
ToolContext::view_angle reads the view's angle from the screen frame,
and Cursor::turned turns a resize or rotate cursor by it. The new
Cursor::rotate_about_in_view turns the pointer's direction from the
center by the view before it picks one of the rotate cursor's eight
directions. Cursor::rotate_about keeps its signature and behavior. At
0° every cursor is as it was.
Docs: docs/target-app-parity.md.
alpha-rock