Found while testing crates/doc/src/lib.rs:269-297 (parse_measure, used by Unit::parse and parse_number)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Cmd-drag part of #1881 landed in #1897. This covers the two other
paths: an edit from outside the typing session (the Transform panel) and
a new interaction such as a dialog's preview now end the typing first.
With Align to Artboard chosen, the Align panel's six Distribute Objects
buttons and its two Distribute Spacing buttons acted on the selection.
object.distribute and object.distributeSpacing took no to or artboard
param. Distribute Objects kept the outermost objects where they were
and did nothing with two objects, and Distribute Spacing kept the first
object's left or top edge and the last object's right or bottom edge
where they were.
Both commands now take to ("selection", "artboard" or "key") and
artboard, and the panel sends its Align To choice as to. When to is
"artboard", the first object's left or top edge goes to the artboard's
left or top edge, and the last object's right or bottom edge goes to
the artboard's right or bottom edge. Distribute Objects spaces the
other objects evenly by its button's line, and two objects are enough.
Distribute Spacing without a spacing value makes the gaps between the
objects equal. Both commands use the same artboard as object.align.
The app passes the active artboard to both commands, and recorded
actions leave it out, so an action plays on the artboard that is
active when it plays. With "selection" or "key", or without to, both
commands work as before. Distribute Spacing with a spacing value still
keeps the key object in place with each of the three to values. With
anchor points selected, both commands still space the points among
themselves and do not use to.
Docs: docs/mcp.md, docs/target-app-parity.md.
The catalog holds the 4,789 rows the other complete catalogs hold: the whole
interface (every menu string and `tl!` literal) and the status and error
messages, in the Bulgarian vocabulary of vector illustration, following
Adobe Illustrator's Bulgarian conventions; one/other plural forms.
Clean-room from VectorCraft's English meaning, drafted with AI assistance
(Gemini); a native speaker has not reviewed it yet. `bg-BG` and every other
`bg-*` locale resolve here.
`cargo test -p vectorcraft-ui-egui i18n::tests` passes (46 tests, including
complete menu, literal, message and font coverage).
Place flattened every top-level layer into its objects, so an SVG's clipped top-level group lost
its clip and its clipping path came in as a loose, invisible path; sublayers lost their clips the
same way. A clipping layer is now placed as one clip group, for SVG/DXF and for the art placed from
an artboard (PDF, EPS, placed documents) alike.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
every_pathfinder_operation_is_pinned built its stars with shapes::star,
which calls the platform's cos and sin. At the star angle
2.204350845268838, cos on macOS x86_64 (measured under Rosetta on
macOS 27.0.1) returns 0xbfe2f1c59f37cbf4, where the correctly rounded
value, which macOS aarch64 returns, is 0xbfe2f1c59f37cbf5. In the set
of five shapes with seed 7, this moves one star vertex by one ulp, and
the set's Unite hashes to 60181664961792917, where PINNED has
9388160212451732406. Under Rosetta, 21 of the 40 hashes differ.
The test now builds each star from a table of the correctly rounded
cosine and sine of the star's ten angles, written as f64 bit patterns,
with the arithmetic of shapes::star. PINNED is unchanged. With these
inputs, all 40 hashes equal PINNED on aarch64 and under Rosetta.
Rust 1.95 clippy -D warnings rejects the nested if under TypedInstruction::Shading
(collapsible_match). Fold the shading lookup into the match arm guard so the Ubuntu
xtask ci gate can pass on the same toolchain Actions pins.
Co-authored-by: Cursor <cursoragent@cursor.com>
Documents are now at most vectorcraft_doc::MAX_DEPTH (32) deep, so the writer's MAX_DEPTH of 256
and its warning for art nested deeper can go; symbols and live objects nested in one another keep
their limit.
The file had an empty prolog, so a PostScript interpreter stopped at its first operator: it
couldn't be printed, placed or previewed by anything that runs PostScript. The prolog's
procedure set (VectorCraft_Legacy, written from the PostScript Language Reference and the
version 7 specification) now gives every operator the writer emits its meaning: paths and their
painting with separate fill and stroke colours and overprints, the fill rule, compound paths
painted as one path, clipping groups and masks, guides that don't print, layers that are hidden
or don't print marking nothing, and images drawn from the hex samples on the comment lines after
XI. Gradients fill with the colour set before them (the first stop's), and the type and encoding
operators take their operands and mark nothing.
VectorCraft opens a file with that prolog from its program, as before: its page has flat
gradients and no type.
Every file the writer's tests write is now run through import_with(bytes, false) and must draw
what the document it was written from draws: its paths, fills, strokes and images in the same
places and colours, with type left out (type the writer outlines is compared as its glyphs'
outlines), gradients as their first stop, layers that don't print left out and hidden objects
shown when the options write them visible. A new test prints the sample with every layer shown.
The engine's flattened-image test also opens the file as PostScript.
The page trailer the version 7 specification gives (section 3, Script Setup) is
`gsave annotatepage grestore showpage`, and annotatepage is a procedure of the app's own
prolog, which the file didn't have. The file now carries a procedure set of the writer's own
(VectorCraft_Legacy 1 0, listed in %%DocumentSuppliedResources) in a dictionary the setup begins
and the trailer ends, which defines annotatepage as marking nothing.
