The Place dialog's title and button, its undo step and the Libraries panel's Place item read "Yer" (a place, a location). They all name the command, "Yerleştir".
The Turkish catalog translated the bare "Open" as the adjective (Açık), so the Home screen's Open button and the History panel's first row read "open" rather than "open it". The Arc tool's Type choice, where Open is the adjective, now looks its labels up in a "shape" context (falling back to the plain row in the other languages), and Turkish gives it Açık there.
In typography and Illustrator, Shift+Enter inserts a soft return (forced
line break) rather than ending the paragraph. Text wraps to the next line
without applying paragraph-level spacing (space before/after, first-line
indents), list continuation lines keep their parent item without repeating
markers, and justified text does not stretch lines ending with a soft return.
- Forward active modifier keys for Enter in ui-egui shortcuts so the tool
detects Shift+Enter.
- Type tool inserts U+2028 (LINE SEPARATOR) on Shift+Enter.
- Text shaping and layout treat U+2028 as an invisible zero-advance control
character, breaking the line in point and area type.
- Paragraph spacing and list markers apply once per paragraph as intended.
The document point under the pointer (Object Highlighting, the rulers' marks, the status bar and the Info panel) was taken wherever the pointer was over the canvas's rectangle, even over a dialog, a floating panel or a menu on top of it, so objects under the Print or Export for Screens dialog lit up as the pointer moved over the dialog. It now takes the same check as the tool's hover (the canvas's own layer under the pointer), except during a drag that began on the canvas.
The commands opened the panel as an icon column's flyout, but Separations Preview isn't in an icon column, so the dock dropped the request on the next frame and nothing showed. They now show it the way Window › Separations Preview does (in its group, its remembered place, or floating), and leave it showing when it already does.
In single-line text and numeric inputs across panels and dialogs, egui
0.37 defaulted TextEdit alignment to Align2::LEFT_TOP, placing the text
galley at the very top of the allocated input box (e.g. 1pt top margin,
11pt bottom margin in 26pt rows).
Align single-line TextEdit instances to Align2::LEFT_CENTER across
recessed_text, opt_field_named (dash/gap cells), hex fields, search
fields, and dialog inputs, matching DesignCraft's vertical centering.
Add regression assertions in look_tests verifying balanced vertical
spacing.
With ruler guides selected on their own (a click on one), the
Properties panel showed the Document sections, so a guide's position
could be typed only in the Transform panel.
The panel now has a Guides heading and a Transform section with the
Transform panel's guide fields (#1597): X moves the vertical guides and
Y the horizontal ones, together. With art selected too, it shows the
art's sections as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
The link applied its state only when its button was clicked, so turning
it off and on again through `ui.dialog.set` kept the old proportions,
and the next dialog didn't open with the state set that way. A link
turned on at a side of zero also took new proportions on the next frame
once that side was a size again.
The dialog now keeps the link state it last applied and applies any
change from it, however it was made: turned on, the link keeps the
sizes the dialog shows then; turned off, it forgets them; either way
the next dialog opens with the new state. Nothing else recalculates the
proportions, so a link turned on at a side of zero stays unconstrained
until it is turned off and on again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
A click with the Rectangle, Rounded Rectangle or Ellipse tool opens a
dialog with Width and Height. It now has a Constrain Width and Height
Proportions link beside the two rows, drawn like the Transform panel's:
while it is on, typing one side sets the other at the proportions the
shape had when the link was turned on. The next of these dialogs opens
with the link as the last one left it.
Width now comes before Height in these dialogs: the fields were listed
by name, so Height came first.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
The Color Guide kept the base color it took when the panel first showed,
and only the base chip changed it. In a new document the current fill is
white, so every harmony and variation was white or gray until the base
chip was clicked with another current color.
A color chosen in the Color panel (spectrum, sliders, fields, chips and
Recent Colors), in the Swatches panel or a swatch library panel, or with
OK in the Color Picker for a fill or stroke now becomes the guide's base
color, and the guide shows its harmonies. A color applied from the guide
itself leaves the base as it is, and so does selecting artwork. The base
chip (Set base color to the current color) still makes the current color
the base. A new base clears the cells selected for Save Colors as
Swatches.
The base moves from egui's temporary memory to UiState::color_guide_base,
which is not saved, so the Color panel, the Swatches panels and the Color
Picker can set it.
Rows the other catalogs already had: new-document presets, color
harmony rules and swatch names, arrowheads, the keyboard shortcut
editor, and the print, PDF and Save for Web options. The workspace
names, OpenType and the perspective grid presets stay in English as
MENU_KEEP_AS_IS requires. Written from the English meaning by a native
speaker.
object.isolate's errors "type objects can't be isolated", "the object
is hidden or locked" and "missing id" had no row in any catalog, so the
status bar showed them in English in every language. The same was true
of layer.target's "the object is outside the isolated group", the other
isolation-mode error in the commands.
Each of the four messages now has an @msg row in every catalog that
translates all status and error messages and in Bulgarian, Danish,
Indonesian and Dutch. layer.target also gives "the object is hidden or
locked", and several other commands that take an id also give "missing
id", so the same rows translate those errors.
Docs: docs/target-app-parity.md.
On a machine busy with other builds, four tests each failed once and
passed when run again alone.
The two render tests that count the rasters a drag moves draw content
painted with a pattern or showing a symbol, whose raster key holds the
font generation. The fonts change even while a test holds
fonts_steady(): the first lookup by family name catalogs the installed
fonts, and resolving a cataloged family or a fallback character loads a
face. When that happened between the two frames of a drag, the count
was 0. The new with_fonts_unchanged runs a step up to 100 times, until
the generation is the same after a run as before it, and the two tests
take their frames from it. The second render test,
a_moved_group_draws_the_shadow_of_the_instance_art_in_it_while_interacting,
was not seen failing but has the same fault.
The screenshot test's allow_due moved the capture's due time but not
its 8 s wall-clock deadline, so on a slow run the reply was the timeout
error. allow_due now also sets the deadline to f64::MAX; the two timeout
tests set it in the past themselves.
The persistent control server test gave the server 2 s to wait for
each request, 120 ms to read a line and 150 ms to write a reply. It now
gives the line and the reply 1 s each and the wait 30 s. The handler
sleeps 1.25 s, longer than both budgets, so a deadline kept from the
first request still runs out.
The idle expiry test read until the server closed the connection after
its 150 ms idle budget, and the client gave up after 3 s, so a pause of
about 3 s in the server's thread failed it with TimedOut. Every test in
control_server/tests.rs that waits for the server to reply, to close a
connection or to return its slot now waits up to WAIT (20 s), and
line_timeouts() gives the wait for a request and the reply 30 s. The
budgets under test stay 120 and 150 ms (1 s in the persistent test).
OK used to save None for a corner tile the dialog showed as None because
the brush had no art or source for it, so that corner stopped drawing the
other kind of corner's art once the brush got some. It also copied the
art a corner borrows from the other kind of corner when that corner kept
its art. Now OK saves a corner tile's choice only when it was set from its
menu or with `ui.dialog.set`, or when the art it borrows goes away.
Pattern Brush Options has a menu below the Outer Corner Tile and the Inner
Corner Tile. Each can be the brush's own corner art (Original), None, or one
of four tiles made from the side tile at each corner of the path:
- Auto-Centered stretches one side tile around the corner, centered on it.
- Auto-Between bends a side tile on each side into the corner, the two
meeting on the corner's diagonal.
- Auto-Sliced lays a side tile on each side past the corner and masks it
at the diagonal, so the two meet like a mitered frame.
- Auto-Overlap lays a side tile on each side past the corner, overlapping.
The tiles are straight at the corner and follow the path towards the side
tiles, so they meet a curve that runs into the corner. A side tile taller
than the corner can reach is stretched along until the two sides meet. On a
short path, a corner's tile is squeezed along so that it covers at most the
path up to an open path's end and half way to the next corner, and its two sides still meet on the
corner's diagonal.
The definition stores the choice as `outer_source` and `inner_source`
(`none`, `autoCentered`, `autoBetween`, `autoSliced`, `autoOverlap`), which
`brush.options` sets. Corner art wins over a source. A brush saved without
a source draws as before: a kind of corner without art takes the other
kind's art. None leaves that kind of corner empty.
Docs: docs/mcp.md, docs/target-app-parity.md.
Enter Isolation Mode worked while an opacity mask was edited, and Edit
Opacity Mask and View Opacity Mask worked in isolation mode, so each
mode replaced the other's isolated art. In the reference app, isolation
mode can't be entered while a mask is edited, and mask editing can't be
entered in isolation mode.
object.isolate and perspective.editText, which shows type in isolation
mode, are now off while an opacity mask is edited, and a call returns
an error that ends "stop editing the opacity mask first". In isolation
mode transparency.editOpacityMask and transparency.viewOpacityMask are
off, and transparency.makeOpacityMask refuses one target, an object or
a layer, which it would take into mask editing; a call returns an error
that ends "exit isolation mode first". Make Opacity Mask with two
objects still masks one with the other. Pattern editing mode does not
count as isolation mode for these commands.
Object > Perspective > Edit Text, the canvas context menu and the
Transparency panel's menu and Make Mask button follow the commands'
enablement. A click or Alt-click on the mask thumbnail in isolation
mode shows the error and does not edit the mask. While a mask is
edited, the Contextual Task Bar leaves out Isolate, and the Properties
panel's Quick Actions leave out Isolate Group.
Docs: docs/mcp.md, docs/target-app-parity.md.
The chips drew the first selected object's fill and stroke. They now show
the paints the Fill and Stroke proxies show, a group's painted art
included, and a "?" when the selected objects' paints differ. A click on
either chip shows the Swatches panel through `window.panel.activate`, so
it also appears when the panel is floating, closed or in an expanded dock
column; an open flyout stays open. The progress doc describes the
reference app's bar in its own words.
The task bar's Fill chip had no Stroke counterpart. A Stroke chip now sits
beside it, drawn as a ring with the selected object's stroke paint, as the
Control bar's Stroke chip is. A click on it brings the Stroke proxy forward
and opens the Swatches panel, as a click on the Fill chip does for the
Fill proxy. The chip is left out with the Artboard tool, as Fill is.
The bar's width estimate, which centers the bar under the selection, grows
by the chip's width. The drag test's first square moves 20 pt right so its
bar still starts inside the canvas.
Escape during a Selection tool move or Alt-drag copy, a bounding-box
scale or rotation, a marquee, or a drag of a corner widget, a pie widget
or the brackets of type on a path did nothing, and the release then
applied the drag. Only a ruler guide, mirror axis or grid repeat drag
and the loaded text took Escape.
Escape in any of these drags now cancels it, the way Direct Selection
cancels its drags: the art returns to its state at the press, an
Alt-drag leaves no copy, no undo step is added, and the release does
nothing.
Outside a drag Escape works as before.
Docs: docs/mcp.md, docs/target-app-parity.md.
bflatastic