Distribute Objects and Distribute Spacing space the selected ruler
guides across the axis (vertical ones for the horizontal options,
horizontal ones for the vertical options) together with the selected
objects, as items with no size. Guides along the axis stay where they
are. Two or more guides selected without objects are enough, and the
Align panel's Distribute buttons are enabled for them. With Align to
Artboard, the outermost items go to the artboard's edges.
A key guide (select.key {guide}) is one of those items. With a spacing,
it stays put and the other items are spaced from it, as from a key
object with no size; a key guide along the axis leaves everything where
it is. The Align panel sends the Distribute Spacing value with both
rows of Distribute buttons while a guide is the key, and enables the
value for it.
A plug-in could filter objects or reshape them as a live effect, but
nothing it made could leave the app: pen plotters, cutting machines and
laser cutters read formats VectorCraft doesn't write. An exporter is a
third kind of plug-in ("kind": "exporter", with the file "extensions"
it writes), in the same sandbox and with the same ABI v1 exports.
- It adds a write-only format, plugin.<id>. document.formats lists it
with its plug-in id, and document.export writes it by that id, or by
a path ending in one of its extensions that no built-in format has;
"params" carries its parameters, checked against its manifest as a
filter's are.
- File › Export › Export As lists it after the built-in formats, with
Use Artboards greyed out, since the plug-in writes the whole
document. One with parameters asks for them in a dialog generated
from its schema (pluginExport) once the file is picked.
- The plug-in is given the native file's JSON (format::json_part:
images of 8 KiB or more without their data) and _context {mode:
"export", extension, name}. It returns {"dataBase64", "warnings"?}
or {"error"}. The host writes the file, and nothing when the plug-in
declines or returns bad data.
- An export gets 10 G instructions plus 4,000 per byte and 300 s.
Background Export's Cancel stops it between two slices of that
budget (Error::Cancelled), and a cancelled live-effect run is not
cached as a failure.
- plugin.run and Object › Plug-ins say where an exporter is instead of
calling it a live effect.
engine/tests/plugin_export.rs reads back what an exporter is handed
with wat::echo_exporter, an exporter whose file is its input or its
parameters (its base64 encoder is written in WAT). The document it is
given is document.save's JSON, without the large image's data, and its
parameters arrive defaulted, clamped and with the file's name and
extension. It also covers listing and removal, built-in extensions
winning, selectedOnly, declines, bad base64, missing data, warnings,
and Cancel stopping a plug-in that never returns. It is a test binary
of its own: installed plug-ins are process-wide, and the format-list
unit tests check exact lists. dialogs/tests_plugin_export.rs drives
Export As headlessly; plugins/tests/abi.rs covers the budget, the
parameters and the echo exporter; format/tests/native_v4.rs covers
json_part.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
Squashed from #2533 onto #2525 (Smudge Stick, Sponge, Watercolor): both sets in PIXEL_EFFECTS (45), the catalogs and the docs, whose counts now read 45/57.
The list fills the panel down to its bottom bar and scrolls, also while a drag nears its top or
bottom edge (in the dock and in a flyout, as the Layers panel does).
Dragging in the list:
- an item (colour, text style or graphic) dropped on another of its kind lands just before or
after it, by the pointer's half, an accent line showing where, and joins that item's group;
- dropped elsewhere on a group (its header too, even collapsed) it goes into that group, and on
the ungrouped items out of its group, the section outlined; with every item grouped, a
"Drop here to take it out of its group" strip shows while one is dragged;
- a group dragged by its header goes before or after another group.
Colours and graphics still drag onto art and the canvas as before.
Engine: library.moveItem takes `before` / `after` (an item of the same kind) to place the item
in its kind's order, which the panel shows; the new library.moveGroup {group, to} moves a group.
Text styles drag as PanelDrag::LibraryItem, groups as PanelDrag::LibraryGroup, and a library
colour's Paint drag names its library item, so the panel tells it from a swatch dragged in.
Tests: reordering and moving in the engine, the commands in the library fuzz test, and panel
tests that drop styles and group headers and check the list scrolls and scrolls while dragging.
Strings translated in the 23 catalogs; docs/mcp.md and the parity row updated.
The renderer kept the art it made for an object's effects while the
object stayed the same. In the web build, type that a geometry effect
outlines, on its own, in a group or in a symbol's art, kept the
substitute font's outlines after its own font loaded. On the desktop,
Refresh Font List left them on a symbol instance whose art holds the
type. Objects with Revolve, Extrude & Bevel, Inflate or Rotate, and
objects and groups with a color adjustment, kept the colors they were
shaded or recolored with after the color settings changed. Live objects
already followed both.
The renderer now keeps that art with the inputs it keeps for the art
of live objects: the font generation when the art holds type, the art
of the symbols it shows, and the color settings. A temporary release
test timed the added key at 11 microseconds a frame for 400 type
objects with a drop shadow and 0.77 ms for 400 symbol instances of 100
paths each with a drop shadow, against warm frames of 5.3 and 72 ms.
Docs: docs/target-app-parity.md, docs/gaps.md.
With the Anchor Point tool, a drag from an anchor pulls out smooth handles.
Shift held at the press now moves the anchor instead, its handles keeping
their offsets; Shift kept down during the drag keeps the move at 45° steps
(the constrain angle), released it frees it. A Shift-click that doesn't
move leaves the anchor as it was. A selected blend's spine points follow
the same rule (object.blend.spine.moveAnchor).
The move goes through a new engine command, path.moveAnchor
{id, subpath?, anchor, x, y}, since path.moveAnchors only acts on the
direct-selected anchors and the Anchor Point tool keeps no anchor selection.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The PostScript interpreter that reads EPS and PostScript .ai files
accepts a FlateDecode or LZWDecode filter with Predictor 2 at
BitsPerComponent 1, 2, 4, 8 and 16, but undid the horizontal
differencing only at 8 bits. At the other depths the filter gave back
the stored differences, and the image drew them instead of its
samples.
The predictor is now undone at every depth it accepts, as ISO 32000-1
§7.4.4.4 describes: each component adds the same component of the
pixel to its left, within its bit width, and each row starts again.
16-bit components add as big-endian 16-bit numbers. The padding bits
at the end of a row stay as they are, and 8-bit data takes the same
path as before. The PNG predictors are unchanged.
Docs: docs/target-app-parity.md.
A .ai can keep its variables and data sets in a variable library in
its editing data. VectorCraft doesn't read that library, and such a
file opened with an empty Variables panel and no warning about it.
The reader now counts the library's variables and data sets in the
editing data's /Document dictionary, and opening the file adds a
warning: "the file's variables and data sets weren't read (2
variables, 3 data sets): the Variables panel doesn't list them". The
same warning appears when the layers can't be read and the file opens
from its PDF part. A PDF that opens from the editing data it carries
gets the warning too. A library with no variables and no data sets
gives no warning.
Docs: docs/target-app-parity.md.
Object > Expand and Object > Create Gradient Mesh mixed a freeform
gradient's points in display RGB and turned the result back into the
points' model with the profile-free formula. CMYK inks changed: points
of C50 M20 Y0 K10 gave mesh points of C45 M24 Y0 K22. RGB points were
stored as display sRGB, so with a working RGB space other than sRGB
the mesh showed other colors. Points colored along CMYK stops, a point
paint.freeform.splitLine added between CMYK points and a point
paint.freeform.addPoint added without a color came out as RGB.
Points that share a color model now mix in it: the C, M, Y and K
values mix as inks, and Gray, RGB and Lab components mix as they are.
Points in different models still mix in display RGB. Object > Expand
and Object > Create Gradient Mesh store the result in the working RGB
space, and in a CMYK document they store it as CMYK through the color
settings, as paint.setFill stores an RGB color. Freeform::recolor and
split_line mix with the new Color::lerp_keep_model, which
vectorcraft_doc::blend::lerp_color now calls.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Appearance panel's inline effect editor still showed eight choice
parameters as text fields holding the stored value: Revolve's edge,
Extrude & Bevel's bevel, every Warp style's orientation, Rasterize's
Color Model, Background and Anti-aliasing, and the channel of Levels
and Curves. Their dialogs built these lists in their own bodies, so
effect::choices did not hold them. Nothing checked a channel's value:
a typo was stored, and Levels or Curves drew it as RGB.
effect::own_choices now holds these lists, each label as its dialog
passes it to its dropdown or radio buttons. The dialogs read the lists
from it (Rasterize's Anti-aliasing from the AntiAlias list it is built
from), and the inline editor shows each one as a dropdown with the
dialog's translated labels; Rasterize's Color Model reads CMYK or RGB
by the document's mode. effect.apply and effect.setParams refuse a
Levels or Curves channel other than rgb, red, green or blue (r, g, b
and any letter case are read too) with "`channel` must be one of rgb,
red, green, blue", and the document and its undo history stay as they
were.
Docs: docs/mcp.md (effect params), docs/target-app-parity.md.
When a PDF, PDF-compatible .ai or .ait opens, crates/pdf/src/file_info.rs
reads its File Info from the XMP packet with roxmltree, which parses
nested elements recursively and has no limit on their depth. A packet
with elements nested 10,000 deep (70 KB) overflowed a 1 MB stack, and
one nested 100,000 deep (700 KB) overflowed an 8 MB stack. A stack
overflow aborts the app.
File Info now counts how deep the packet's elements nest before roxmltree
parses it, and leaves out a packet nested more than 256 deep, as it
leaves out a packet that is not XML. The document information
dictionary then gives the File Info.
dataset.import refused every header cell that wasn't the name of a
variable the document defines. A data source file could only fill
variables made beforehand, and `#` and `@` in a header were read as part
of a variable's name.
A header cell that names no variable now defines a new, unbound
variable in the import's undo step. `#Shown` defines a visibility
variable `Shown`, `@Photo` defines an image variable `Photo`, and a
cell without a prefix defines a text variable. A prefixed cell whose
name is already a variable of the prefix's kind names it. A cell that
is a variable's exact name keeps naming it, even when the name starts
with `#`, `@` or `%`, so files that dataset.export writes import back
as before. The import fails, naming the column, on a prefixed cell
whose name is a variable of another kind and on a `%` cell that names
no variable (graph data files). While the variables are locked, a
header that would define a variable fails the import with "variables
are locked", as New Variable does. The reply's `defined` lists the new
variables.
Docs: docs/mcp.md, docs/target-app-parity.md.
File > Place could not place a Word document: a .docx file was "not a
format VectorCraft reads". The reference app's File > Place reads
Microsoft Word files as text.
File > Place now reads .docx files, written from ECMA-376 Part 1
(WordprocessingML, Transitional and Strict), and sets their text as
area type the way a text or RTF file is placed. The package is read
through its relationships. The formatting comes from the document
defaults, the paragraph style (else the default paragraph style), the
character style (else the default character style), the styles each
is based on, and direct formatting. Bold, italic, caps, small caps,
strikethrough and hidden text are toggle properties: a style that
turns one on reverses the state the styles before it give.
Each run keeps its font (theme fonts from the theme part), size, bold
and italic, underline, strikethrough, all caps, small caps,
superscript or subscript (in Document Setup's proportions), raised or
lowered text and color. Each paragraph keeps its alignment, start,
end, first-line and hanging indents, space before and after, and
direction; the start indent of a right-to-left paragraph is its right
indent. Table cells are separated by tabs and each table row is a
paragraph. Text in insertions, hyperlinks, content controls and
fields' results is read. Hidden and deleted text, field instructions,
pictures, text boxes, headers, footers, notes and list numbers are
left out.
A ZIP archive named .docx, or one that holds word/document.xml, is
read as a Word document. fileio/zip.rs gains a reader for stored and
deflated files that checks each file's CRC. A package with more than
10,000 files, a part that unpacks to more than 16 MiB or nests
elements more than 256 deep, and a document with more than 4 MiB of
text or 100,000 paragraphs or runs are refused with an error. The
Place dialog lists Word files, and file.place, file.place.info and
file.place.queue report the format `docx`. .doc files are still not
read.
The Word document tests in tests_textimport.rs fail without the
change, and text_import_fuzz.rs places random and damaged packages.
Docs: docs/file-format-parity.md, docs/mcp.md,
docs/target-app-parity.md.
1-bit TIFFs compressed with CCITT Group 3 did not open, place or
relink: the image decoder reads Group 4 only and refuses Compression 2
(modified Huffman) and Compression 3 (ITU-T T.4).
They are now decoded with hayro-ccitt, the CCITT decoder that EPS
import uses. Compression 2 rows start at a byte and have no EOL codes.
Compression 3 rows follow an EOL code and are one-dimensional, or, with
T4Options bit 0, one- or two-dimensional as each row's tag bit says.
Fill bits, FillOrder 2, either PhotometricInterpretation, strips and
tiles are read.
A file whose pixels would take more than the decoding allowance as
RGBA is refused as too large to draw. A strip or tile whose data ends
before its last row is refused as damaged, and so is a tile larger
than the allowance. The strips and tiles together are read from at
most as many bytes as the file holds.
Part of #1466.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
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.
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.
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.
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
Three original Artistic filters on the pixel pipeline, each with a
catalogue row, the generic live dialog, translations and tests.
- Cutout: colours softened by Edge Simplicity (less with Edge Fidelity),
split into Number of Levels steps per channel and painted as flat
pieces in their average colour; slivers along softened edges take the
nearest large piece's colour.
- Poster Edges: channels posterized to Posterization + 2 levels, black
lines on the edges of any channel and of the outline, widened by Edge
Thickness and darkened by Edge Intensity.
- Neon Glow: dimmed greys screened with a glow colour from the light
areas (positive Glow Size) or the dark ones (negative), as strong as
Glow Brightness.
All keep coverage and work in document units at any Document Raster
Effects resolution. Photoshop filters 33/57; cargo xtask ci passes all
9 steps.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Object › Graph › Column… was a menu stub, so a graph's columns and bars
were always plain rectangles. The reference app fills them with a graph
design, vertically scaled, uniformly scaled, repeated with a value for
each copy, or stretched at a guide line.
graph.column (Column…) draws the columns, bars or stacked segments and
the legend swatch of the series picked with Group Selection with a
design saved by Object › Graph › Design. Vertically Scaled stretches the
design to each column's length at the column's width. Uniformly Scaled
scales it both ways to that length and centers it on the column.
Repeating stacks a copy for each Each Design Represents value out from
the zero line, and For Fractions chops the last copy at the value or
scales it down. Sliding keeps the part above the design's horizontal
guide line in proportion and stretches the part below. The design and
its options are saved with the graph, and the graph follows the design
when it is renamed or deleted. Columns drawn with a design cast no drop
shadow.
A marker or legend design made of one path is now drawn in a group of
its own. Painting a series with Group Selection then leaves the design's
paint alone, as it already did for designs of several objects.
Docs: docs/mcp.md, docs/target-app-parity.md.
Window › SVG Interactivity was a disabled menu item. VectorCraft could
not attach JavaScript to an object's events or link JavaScript files
for SVG export.
The SVG Interactivity panel lists 19 events, from onfocusin to
onscroll. Pick one, type its JavaScript and press Enter to add it to
the selected objects; the list shows their events. Remove Selected
Entry removes the picked event, and the panel menu's Clear Events
removes all of them. Link JavaScript Files… opens the JavaScript
Files dialog, which adds a path or URL to the document's list and
removes the selected one. Its Choose… button puts a picked file in
as a file:/// URL. The commands are svgInteractivity.info,
setEvent, removeEvent, clearEvents, addFile and removeFile, and
ui.javascriptFilesDialog. Each edit is one undo step. A document
links at most 64 files.
SVG export writes each event as an event attribute on the object's
element and each file as a <script xlink:href> element. With the SVG
Tiny 1.2 profile, export leaves the events out with a warning. SVG
import reads the listed event attributes and the script links back
as text. It never reads a linked file or runs a script, and it leaves
inline scripts and the links after the first 64 out with a warning.
The native format keeps both.
An unnamed <g> with data-* attributes of its own around a single
object now imports as a group. Before, import folded it into the
object, which then took the group's data-* or, when it had its own,
dropped the group's. An unnamed <g> with event attributes stays a
group in the same way. The SVG import fuzz tests now include event
attributes and <script> elements.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md,
docs/ui-parity.md.
File > Place read text files only as plain `.txt`, and an RTF file
could not be placed. The reference app lists RTF among the formats it
places as text, keeping the file's font and style settings.
File > Place now reads RTF files, written from the Rich Text Format
Specification 1.9.1, and sets their text as area type the way a text
file is placed. Each run keeps its font from the font table, its size,
bold and italic, underline, strikethrough, all caps, small caps,
superscript or subscript (in Document Setup's proportions), baseline
shift and its color from the color table. Each paragraph keeps its
alignment, left, right and first-line indents, space before and after,
and direction. Table cells are separated by tabs and each table row is
a paragraph. Unicode characters, Windows-1252 and Mac Roman bytes and
the special-character control words are read, and of a \upr group's
ANSI and Unicode text, the Unicode text is read. Hidden text, pictures,
objects, headers, footers, notes, field instructions and other
destinations are left out, and unknown control words are skipped.
A file is read as RTF when it starts with {\rtf, whatever its name,
except a .txt file, which stays plain text. RTF files share the 4 MiB
limit of text files. Groups nested more than 512 deep share the
formatting of the deepest one read, the font and color tables keep at
most 4,096 entries, and a file with more than 100,000 paragraphs or
runs is refused. The Place dialog lists RTF files, and file.place,
file.place.info and file.place.queue report the format `rtf`.
The tests in tests_textimport.rs fail without the change, and
text_import_fuzz.rs places random RTF token streams.
Docs: docs/file-format-parity.md, docs/mcp.md,
docs/target-app-parity.md.
A .ai or EPS opened from its editing data lost the opacity and blend
mode of its text objects. text_slot made the slot without the graphics
state's opacity and blend mode, which paths, meshes and images take, so
an Xy before a text object was lost. An Xy after it reached the slot,
but fill_slots then put type made from the text document in the slot's
place with only its visibility and name, and style_marker dropped the
transparency that a text object with an appearance carries on its look.
text_slot now takes the state's opacity and blend mode. fill_slots
gives made type the slot's opacity, blend mode, isolation and knockout.
The page's type gets them too, in place of its own transparency when
that is none, the slot's, or the slot's combined with that of the
objects around it; otherwise the page's type and the strokes around it
keep their own (a fill's, for example). When the type has transparency
and comes with other art (the strokes the page draws around it, or page
type that goes with it), a group of them takes the transparency. A text
object with an appearance takes the transparency from its look; where
the look draws more than the type and has transparency, the look and
the type go into a group that has it, and that group is not taken as
the look of a later object. The import fuzz's .ai tokens now include a
commented text object, 1 /FreeUndo , and a group's state marker
(6 () XW).
Docs: docs/mcp.md, docs/target-app-parity.md.
The PostScript interpreter that reads EPS and PostScript files had no
CCITTFaxDecode filter. Reading a file whose image data went through it
stopped at an error naming the filter, and the file opened from a
fallback, such as its preview or the art drawn before the image, or
did not open.
CCITTFaxDecode now decodes CCITT Group 4 (ITU-T T.6) and Group 3
one-dimensional and mixed (ITU-T T.4) data to rows of 1-bit samples.
It reads K, Columns, Rows, EndOfBlock, EndOfLine, EncodedByteAlign and
BlackIs1 (PLRM 3rd ed., §3.13; ISO 32000-2, §7.4.6). With EndOfBlock
the data ends at its EOFB or RTC regardless of Rows, and the RTC of
mixed Group 3 data, six EOLs each with a tag bit, is found by the
filter. Damaged data keeps the rows decoded before it, and damage in
the first row is an ioerror. Columns outside 1 to 65,535 and Rows
below 0 are a rangecheck, and data that would decode to more than
256 MiB is refused. hayro-ccitt 0.3.0, already in Cargo.lock through
hayro-syntax, becomes a dependency of vectorcraft-eps.
The tests encode their images in the test, with the fax crate's
Group 4 encoder and T.4 run codes (a dev-dependency, already in
Cargo.lock through tiff), and fail without the change. The import fuzz
tests read a Group 4 and a Group 3 image coded by hand from the T.4
and T.6 tables, read the same file with random damage, and add the
filter and its parameters to the hostile programs.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
The EPS reader read PostScript by any name, but the Open and Place
dialogs hid .ps and .epsf files, and a .ps or .epsf file whose header
is only %! could not be opened or placed ("not a format VectorCraft
reads"). The reference app lists .eps, .epsf and .ps under Open and
Place.
- A read-only PostScript format (ps) joins the format table. A .ps
file opens and places through the EPS reader and reports the
ps format. document.export does not write .ps; file.print does.
- .epsf is an EPS extension.
- OPEN_EXTS and PLACE_EXTS list epsf and ps, so the dialogs, the CLI
help and the MCP open_file description list them.
UNASSOCIATED_EXTS lists them too: the macOS bundle declares neither.
- A .ps or .epsf file whose header is only %! now pastes as EPS when
copied in a file manager, as one with a %!PS header already did, and
clipboard.importEps reads PostScript whose header is only %!, which
it rejected before.
Docs: docs/mcp.md, docs/file-format-parity.md (.ps row),
docs/target-app-parity.md.
effect.apply and effect.setParams stored any string as the color of
Drop Shadow, Inner Glow, Outer Glow and Shift to Color. When the
effect could not read it, it drew its default color with no message,
so a typo such as #ff00 in the Drop Shadow dialog turned the shadow
black.
The commands now refuse such a color before they edit, with
"`color` must be a #rrggbb color", and the document and its undo
history stay as they were. Hex colors, the five named colors,
[r, g, b] and color objects still pass. The check runs in the
commands, so the app, command.batch steps and replayed journals get
it too. The effect dialog's OK shows the error and keeps the dialog
open, with Preview on or off. Saved documents open as before.
Docs: docs/mcp.md (effect params).
An object whose art style had a Drop Shadow with Darkness (a csrc
other than 0 in the shadow filter's dictionary) came in as its drawn
look, with a warning that its appearance isn't editable yet. With a
Color shadow instead, the same object comes in as itself with its
fill, stroke and shadow.
The reader now reads such a shadow as Drop Shadow with shade
"darkness" and darkness set to the filter's dark value, a percentage
kept within 0 to 100, or 100 when the value is missing or not a
finite number. The shadow's other keys are read as for a shadow with Color,
and the object comes in as itself wherever it would with a shadow with
Color. A shadow with Color comes in with the same params as before.
The import fuzz's .ai tokens now include csrc and dark.
Docs: docs/target-app-parity.md.
TIFFs that store each channel as its own plane (PlanarConfiguration 2)
did not open, place or relink when they were CMYK or grayscale with
extra channels: the image decoder refuses planar CMYK, and the readers
for CMYK inks and for extra samples returned nothing for planar files.
The two readers now read every plane through the tiff crate and put
each pixel's samples together. A planar CMYK TIFF keeps its ink
amounts and is stored as a CMYK TIFF with each pixel's inks together,
at the file's resolution. Grayscale TIFFs with an alpha channel or
other extra channels, and CMYK TIFFs with alpha, read as their chunky
versions do.
A TIFF whose header claims more strips or tiles than the tiff decoder
can count is refused as too large to draw. The decoder multiplies
those counts without a check, which panics in builds with overflow
checks.
Part of #1466.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
dataset.import read only commas between cells and refused a file whose
first header cell wasn't `name`. A value that didn't match its
variable's kind, and a repeated data set name, were reported with the
row's record number, which is not the file line after a blank line or a
quoted line break. A data set name over 255 characters gave no line.
- When the header row, read with tabs between cells, has a tab and no
comma outside quotes, tabs separate the cells. A quoted cell may then
hold tabs and commas.
- Without a `name` column every header cell is a variable, and the rows
take the first free names Data Set 1, Data Set 2 and so on, as Capture
Data Set and blank name cells do. A first header cell `name`, in any
case, still holds the data set names.
- Value errors, a repeated data set name and a name over 255 characters
give the file line the row starts on.
- The Variables panel's Import Data Sets… dialog also lists .tsv files.
- import_fuzz.rs imports random text, random bytes and mutated exports,
comma- and tab-separated, into a document with bound text, visibility
and graph variables, selects up to three of the imported data sets in
turn, and exports every data set.
Docs: docs/mcp.md, docs/target-app-parity.md.
file.print, print.preview and print.setup took print settings only as
settings, so an agent had to read a preset with print.presets.list and
copy its settings into the call. They now take preset, the name of
[Default] or of a saved print preset in any case. The preset's settings
are used instead of the document's, settings applies over them, and
print.setup saves them with the document as one undo step. An unknown
name is a parameter error that lists the presets. The app's file.print
with params passes preset on to the engine.
Docs: docs/mcp.md, docs/target-app-parity.md.
The snap ring on an anchor (or a dot on a line) and the rubber band now follow the snapped point, so both measured points visibly land on anchors.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Shift click already snapped the second point to 45-degree steps, but the dashed line from the first point followed the raw pointer, so the constraint looked absent until the click.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Node editing as the public manual describes it: Direct Selection's anchor squares (hollow
or filled), Reshape Segment over a curved segment, Group Selection's plus (also Direct
Selection with Alt), the arrow hollow while a drag snaps, and Alt-copy arrowheads. The
Anchor Point caret, the Curvature pen and Free Transform's side-shear arrows (ShearH,
ShearV) are drawn in code. Lasso, the freehand, symbolism and other tools return cursors
of their own that borrow their old look until drawn (Cursor::stand_in).
crates/tools/src/cursors.toml lists every Cursor value, when it shows and its hotspot,
for whoever draws them; `cargo xtask cursors` (in ci) warns about a missing, unknown,
repeated or incomplete entry and never fails. The busy cursor is listed as missing (G1).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
A double-click on an object or group fits one artboard to the visible bounds and does not open Artboard Options. The second click does not fit another artboard. Other artboards stay. Double-clicking empty artboard space still opens Artboard Options. Double-clicking the name drawn above an artboard renames it.
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.
Found while testing crates/engine/src/cmd/typemenu.rs:668 (find_replace / edit_runs)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
bflatastic