The check of a selected object's masked art looked at its own place
only. A click goes down from the layer (or the isolated container) and
never reaches a Shaper group's original shapes outside Construction
mode, however deep the object lies in them; and below a layer whose
Preview is off it hits art in outline. A press inside such a path's
fill, or on a path in a Shaper group's hidden shapes, started a move.
The way down to the selected object is now checked as a click goes:
a Shaper group's part a click can't reach on it rules the object out,
and a Preview-off layer on it (below the isolated container) makes the
object count by its outline.
Tests also cover Shift with Direct and Group Selection (a marquee) and
an object a click hits over the masked art (it is selected).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
The selected object itself was checked for being hidden, locked or a
template, but not as a click checks it: a selected guide path was
grabbed where a mask hid it while guides were locked or hidden, though
a click on it there hits nothing.
The selected object now passes the same test a click applies to it
before its art is tried: guides while guides are locked or hidden, and
a Shaper group's hidden part, don't count.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
A selected group was grabbed by any of its contents under the pointer
where an outer mask hides them, including a hidden or locked child and
art the group's own clipping mask leaves out: none of these is drawn or
hit by a click.
A container's art now counts as a click would hit it: its contents as
the hit test tries them, through its own mask and without its hidden,
locked or template contents. The check for locked objects shares it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
An image in a clipping mask, picked in the Layers panel, shows its
whole frame, but a press on the part the mask hides hit nothing: the
Selection, Direct Selection and Group Selection tools started a marquee
there, which dropped the selection, so the image could be dragged only
by the part that shows.
Such a press now grabs the selection by that art, as a press on its
visible part does: a drag moves the selected object (the image, not its
clip group) and a click keeps it selected. With nothing of it selected
there, or with Shift, a press there starts a marquee as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
The two nested_instances_..._culled_in_bounded_time tests in the
renderer's tests checked that a frame with 2^30 differently placed
symbol instances finishes within 30 s of wall-clock time. On a loaded
machine the frame took longer than that, and both tests failed. The
time bound also passed when the frame did far more work than it should:
with the 4,096 limit on measured placements raised to 65,536, the frame
measured symbol art 131,118 times and finished in under 2 s.
SymbolBoxes now counts how many times measure_art runs a measure on
symbol art (art_measured), and FrameStats::symbol_art holds the count
for the frame's symbol boxes. The tests assert that the frame measures
symbol art at most 20,000 times. It measures it 8,234 times, and 4,160
times when each instance has a Transform effect of its own. The wait
for the frame is 300 s, as a guard against a frame that never ends.
A new test in vectorcraft-doc checks that each symbol's art box is
measured once however many instances of it are measured.
Envelope Options stored Anti-Alias and Preserve Shape Using, but nothing that
draws an image read them: a distorted image was always smoothed and always
cut into clip groups.
- With Anti-Alias off, each piece of a distorted image is marked pixelated
(saved as `pixelated`). The renderer draws it with nearest-neighbor
sampling and without mips, SVG export writes `image-rendering: pixelated`,
and PDF export writes it without /Interpolate.
- With Preserve Shape Using Transparency, each piece is the image with a
white opacity mask in the piece's shape instead of a clip group. The
renderer paints an image whose mask is one plain white path straight into
that path, as it does for an image in a clip group, when the path lies
inside the image's frame.
Docs: docs/mcp.md, docs/target-app-parity.md.
drop_beyond_canvas removed objects but left what names them: saved
selections, Asset Export entries and variable bindings kept their ids,
and layer guides of a removed sublayer named a layer that was gone. It now
runs tidy_saved_selections, prune_assets and prune_variable_bindings when
it removes objects, as edits do, and removes the layer guides of the
layers it removed.
A layer's bounds leave out its hidden objects and a clipping container's
are its clipping path's, so objects beyond the canvas inside them were
kept. Layers and groups are now looked into object by object.
A clipping path beyond the canvas goes with the objects it clips, so no
other object becomes the clip; a top-level clipping layer is emptied and
stops clipping. A removed artboard's ruler origin goes and its id is
retired, as deleting it does.
Edits refuse to leave anything beyond MAX_COORD (doc_sane checks the
artboards, the guides, the ruler origin and the objects an edit touches),
but the native loader didn't check them. A file with one object, artboard,
guide or ruler origin out there opened without a warning, and then every
move failed with "result would exceed the canvas", in-range objects
included; saving kept it that way.
Document::drop_beyond_canvas removes objects whose geometric bounds aren't
finite or reach past MAX_COORD (a layer or non-clipping group keeps its
children within it), artboards with their artboard guides, and guides out
there, and puts the ruler origin back at the origin. load_file runs it
after the depth limit and reports what it did with the other load notes; a
file whose artboards all lie beyond the canvas is refused.
NodeKind's reader buffers the fields that come before `type` as
serde_json::Values. VectorCraft writes `type` first, but a crafted file
can put a long array there: a group whose children held 50M numbers before
its type (a 96 KB gzip) peaked at 1.6 GB, and the cost grows with the
array up to MAX_JSON, before any object in it is counted.
The buffer is read through a counting visitor: each JSON value counts
against MAX_BUFFERED_VALUES (32M, 4M on wasm32) as it is read, and values
replayed from the buffer aren't counted twice. load_file reads within it;
the same file is now refused at a 1.1 GB peak.
Opening a native document now reads at most MAX_READ_NODES objects (4M,
512K on wasm32) and refuses the file past that with a message naming the
budget. Paths already read within MAX_READ_ANCHORS and the web build's JSON
cap is 256 MB, but the number of objects had no bound: a gzip'd document of
empty groups costs about 270 bytes per object once read against some 50 in
its JSON, so 10M groups in a 24 MB file took 2.7 GB to open.
NodeWire's id is read through counted_id, so each object counts once as it
is read. load_file reads through a private load_file_within so a test can
exercise the budget without a 4M-object document.
A blend whose keys are blends draws each of its steps as a copy of a key,
and that copy makes its own steps when it is drawn, so step counts capped
per pair multiplied with nesting: five levels of 15 steps were 1.3 million
steps from a 23 KB file, 3.4 GB to export.
A blend now makes at most 100,000 steps in all (MAX_BLEND_STEPS), counting
the steps of the blends inside its keys and steps. Past the budget each pair
of keys keeps the same share of its steps; a copy of a blend spaced by
distance counts the most steps its spacing can make, since scaling it up
adds steps. Blends within the budget draw every step as before.
Review follow-ups:
- items_per_target maps each requested row on its own. Rows deleted or
duplicated together, one shared and one not, fell back to the literal
indices in every object, so the other objects could lose the wrong
items. The first object takes its own rows; each other object takes
its copies of the shared ones only.
- effect.dialog takes `aligned` (the panel passes it on a mixed
selection's shared effect row), and its OK and preview run
effect.setParams with it, so the dialog edits each object's own copy
of the effect instead of the first object's index in every object.
Tests: removing a shared stroke with an unshared fill leaves the other
object's fills; an aligned dialog's command carries `aligned`.
With several objects selected whose appearances differ in anything (two
circles whose fills differ but whose stroke and effect are the same),
the Appearance panel showed only "Mixed Appearances": no stroke, effect
or opacity row, so attributes the objects share couldn't be edited
together. It now lists what they share, as the issue describes:
- `vectorcraft_doc::appearance::SharedStack` (with `align`, a stacking-
order longest-common-subsequence match) gives the fills, strokes and
object-level effects every object has an equal copy of, and where each
is in every object's own stack.
- The panel's object row names the objects' common kind ("Path",
"Ellipse"; "Mixed Objects" only when kinds differ, as the Control bar
does), with an italic "Mixed Appearances" row under it when they
differ, then only the shared rows with their usual controls. The
Opacity row reads "Mixed" when opacity or blend mode differ (an edit
sets them all). The object row shows no fill chip when the fills
differ. Rows aren't dragged in a mixed selection: where a row would go
in each of several different stacks isn't one place.
- The engine maps a shared row to each object's own item: the active
item (a row of the first selected object's stack) always does, so the
Color, Stroke and Transparency panels edit every object's matching
item, and the item and effect commands do with `aligned: true`
(appearance.setItem / removeItem / duplicateItem, effect.remove /
duplicate / setParams / lightingPreset, transparency.set), each as
one undo step. moveItem and effect.move refuse aligned rows of
differing stacks. Without `aligned`, explicit indices keep their
meaning for single objects and scripts.
- "Mixed" is added to every catalog.
Tests: the shared stack of the issue's case, of a stroke at another
index, of nothing alike and of equal stacks, and that matches never
cross; editing the shared stroke edits both strokes (at index 1 and 2)
in one undo step that restores both, also through stroke.set on the
active row; removing a shared effect and adding a fill reach both, and
reordering differing stacks is refused; the panel lists kind, note,
Stroke, Feather and Opacity, not Fill, the full stack for alike objects
and "Mixed Objects" for a path and type. The existing object-row test
now expects the kind for two rectangles and the shared rows when their
opacity differs.
proxy_png decoded with image's default limits and no header check, while
every other decode path in the project uses MAX_RASTER_ALLOC counted as
RGBA. The header now decides first, and the decoder gets the same budget,
so an image too large to draw gets no preview by header alone, and a
large-but-in-cap image the app itself can open now gets its preview.
Co-authored-by: rahul05ranjan <11793455+rahul05ranjan@users.noreply.github.com>
A document keeps up to 25 saved views, but the View menu listed only the
first 10, so views 11 to 25 could be saved and never chosen. All 25 are
listed now, by name, and choosing one changes the current window to its
zoom, centre and rotation (within the canvas's zoom range).
Edit Views… used to open the generic parameter dialog on the first view,
where the name of the view to change had to be typed. It now opens a list
of the document's views, like Edit Selection…: pick one to rename it or
delete it; OK applies every change as one undo step and Cancel leaves the
views as they were. view.saved.edit takes {edits: [{name, newName?,
delete?}…]} for that, the one-view form still works, and the command is
off while the document has no saved view.
A file's views are untrusted: on open at most 25 are kept, names are
trimmed, capped at 255 characters and unique, and views without a finite
centre and a positive zoom are dropped. New View… starts from the first
free "View N" and caps names the same way.
Behaviour from the public help page "Use multiple windows and views":
https://helpx.adobe.com/illustrator/using/viewing-artwork.html
docs/gaps.md (G7) and docs/target-app-parity.md take New View/Edit Views
off the missing list; docs/mcp.md documents the view.saved commands; the
catalogs get the Saved View 11-25 rows in the pattern of 1-10.
Highlight Substituted Fonts is now a preference in Preferences › Type,
next to Highlight Alternate Glyphs, on by default and saved with the
other preferences (`prefs.set highlightSubstitutedFonts`). The canvas
reads it through `RenderOptions::highlight_substituted_fonts` for every
open document; a document's own setup no longer decides it. File ›
Document Setup no longer shows the checkbox and keeps Highlight
Substituted Glyphs.
A file saved with Document Setup's Highlight Substituted Fonts off now
shows the pink highlight when it opens, while the preference is on.
The file still opens with the stored value, and saving it again keeps
that value.
`document.setup` no longer reports `highlightSubstitutedFonts`. It
ignores the key and adds a `warnings` entry that names `prefs.set` to
its reply, so an older reply passed back still applies its other keys.
The raster cache of type under a raster effect now also redraws when
Highlight Alternate Glyphs changes.
The reference app detects lists typed as 1., 1), A. or A), and makes
custom bullets from *, #, > or + followed by a space. In VectorCraft
the characters stayed as text.
When the Type tool types a space on its own after one of these at the
start of a paragraph in no list, the typing so far becomes one undo
step. The new command text.startList then removes the typed characters
and the space and makes the paragraph a numbered list in 1, 2, 3 or
A, B, C, or a bulleted list with the filled dot. A paragraph with no
indents gets the 18 pt hanging indent. One Undo puts the characters
back as text with no list, and the caret goes on after them; Redo
removes them again. The same characters later in a paragraph, list
characters pasted in one piece with the space and a paragraph already
in a list start nothing.
Docs: docs/mcp.md, docs/target-app-parity.md.
* Audit: document model bounds (id hashing, ranges, overprint migration, auto slices)
* Audit: nested Repeat bounds are measured once per level
* fix(slices): bound auto_slices accumulation strictly by MAX_AUTO_SLICES
* chore(text): use is_some_and instead of unnecessary map_or (clippy)
* Refuse automatic slice layout past a cut-rectangle bound
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/lib.rs:363-373 (parse_measure pica branch)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
A paragraph split between two threaded frames took its first-line
indent again at the top of the next frame, and a list paragraph drew
its bullet or number there again. Each frame is laid out on its own,
and its first paragraph kept every paragraph attribute there.
A text object now marks a frame whose first paragraph continues from
the frame before (first_para_continues, not saved). The thread re-flow
sets the mark where each frame's share starts inside a paragraph and
measures each share with it, and a restored document reads the marks
from its saved text. Area type and type on a path set the first line of
such a paragraph as a wrapped line: no first-line indent and no bullet
or number. The paragraph after it takes the next number. Release
Selection, Remove Threading, Convert To Point Type and copies of a
frame clear the mark, so the first paragraph there has its indent and
bullet or number again. When Create Outlines, Expand or Expand
Appearance takes frames out of a thread, a frame that stays keeps the
mark only while it is threaded and the frames before it end inside a
paragraph. A frame whose mark changes lays out its first line again,
and when it is still threaded, its thread re-flows. When the outlined
frame is the last one, the text it has no room for is measured as the
frame lays it out: without the first-line indent when it continues a
paragraph, and with its numbers counted on from the frames before it.
The frame before it now takes exactly the text the last frame has no
room for. Duplicates, copies dragged in the Layers panel, the copies
that Release to Layers (Build), Release Opacity Mask and Edit Opacity
Mask make, and Draw Inside's clipping copy then have their cached
bounds computed again, as paste already does for pasted type.
Docs: docs/mcp.md, docs/target-app-parity.md.
Found while testing crates/doc/src/xml_id.rs:32 (from_object_name), decoded by escaped() at :72
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/metadata.rs:108 (stamp_from_env)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
A save without options reuses the options the document was last saved
with in that format. Their artboard, artboards and range name artboards
by number, so once artboards were deleted or moved, the save wrote
other artboards or was refused: with three artboards, a PDF saved with
range "2" wrote the third artboard after the first was deleted, and one
saved with range "1, 3" was refused after the third was deleted. The
same held for SVG saves, a legacy .ai, and .ai and native files saved
with separateArtboards. file.formatOptions and SVG Options showed the
same numbers.
The document now keeps the ids of the artboards it had when it was
saved, and the remembered pick follows them: an artboard deleted since
is left out, one that moved is named by its new number, and the rest of
the pick is kept. A range open at its end ("2-") is written out as the
artboards it named once artboards are added. When none of the artboards
the save used is left, the pick is left out, and the save writes the
artboards it writes when none is named. A range of "all" stays as it
is. An artboard given to the save is still refused when the document
does not have it.
A new artboard no longer takes the id of an artboard deleted earlier in
the same document (Document::retire_artboard_id), or of one an undo took
away: the highest id given out is shared with the undo history, so a
new artboard is not taken for an earlier one.
file.revert keeps the pick only when the file read back has the
artboards the document had at the save, with the same ids in the same
order. A PDF saved with a range holds only those pages, and one saved
without preserveEditing reads back with new ids in page order, so their
picks are left out.
CodeRabbit findings #32, #38, #41, #44, #102:
- A frame (and a PDF export) draws symbol instances holding at most 16M objects together
(`vectorcraft_doc::MAX_SYMBOL_NODES`): nested instances multiplied past the depth limits.
- A dotted guide whose control polygon would make more than 100,000 dashes is drawn solid.
- Groups blending with their backdrop, drawn twice each, are drawn isolated past 4 nested.
- An image is decoded only while it and the images paints hold fit twice the decode allowance.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
