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.
Character Rotation turned a glyph's baseline shift and scaling with the glyph, and the Skew path effect slants a glyph's height away from the path's normal, so the x-height guide moved off the glyphs. Each positioned glyph now carries the transform that removes its Character Rotation (PositionedGlyph::unturned), and the guide goes through the glyph's x-height point placed without it, measured across the baseline. Snap to Glyph also takes Smart Guides being on in the tools, as View › Snap to Glyph already does in the engine.
With View › Snap to Glyph and Smart Guides on, a point drawn near a single
line of live type now also lands on the anchor points of its glyphs and lines
up with its x-height (raised or lowered by Baseline Shift) and with the edges
of each character's advance width along the baseline (proximity guides). In
rotated type the baseline, x-height and proximity guides run at the type's
angle, and type of one glyph also has angular guides along the glyph's slanted
straight segments; a segment that Shift keeps to its angle slides onto them.
A paragraph shows glyph bounds only, so its baselines are no longer guides.
FontFace::x_height gives a face's x-height in font units.
PDF export writes a CMYK image whose opacity mask is a gray image on its
own pixel grid with the mask as the image's soft mask. That path always
asked viewers to smooth the image, so a pixelated piece of an envelope
with Anti-Alias off was still written with /Interpolate when it had such
a mask. It now takes the pixelated flag as images without a mask do, and
caches the smoothed and pixelated versions apart.
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.
The reference app keeps the inner radius of a star constant when Ctrl
or Command is held after the drag starts. VectorCraft's Star tool took
the held radius from the first drag event that carried the key, using
that event's outer radius. The canvas sends a drag only once the
pointer moves, so a key pressed with the pointer still scaled the
inner radius with the next move before holding it.
Ctrl/Cmd now holds the inner radius the star showed at the last drag
position before the key went down, with Alt's straight shoulders when
Alt was held. A new press and Escape clear the held radius. Before,
after a drag canceled with Escape, the next star took the canceled
star's inner radius when Ctrl/Cmd went down before that star's first
drag event.
Docs: docs/target-app-parity.md.
Escape did not cancel a drag with the Anchor Point, Mesh, Shape Builder
and Measure tools, or a Direct Selection drag of a mesh point, a corner
widget or the brackets of type on a path: the drag went on until the
mouse was released. Escape cancels every other Direct Selection drag
and a drag with the Free Transform, Rotate, Reflect, Scale, Shear and
Gradient tools.
Escape now cancels an Anchor Point drag, a Mesh tool drag of a mesh
point or handle, and a Direct Selection drag of a mesh point or handle,
a corner widget or the brackets of type on a path. The art goes back to
how the press found it, no undo step is added, and the rest of the drag
and the release send nothing. Escape during a Shape Builder drag ends
it, so the release merges and deletes nothing; the tool takes Escape
only during the drag. Escape during a Measure tool drag ends it and
brings back the measurement shown before the press. Escape after an
Anchor Point or Direct Selection press that has not moved yet drops the
press. Otherwise, outside a drag, Escape does what it did before.
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.
In Turkish, Brazilian Portuguese, Indonesian, Bulgarian and Vietnamese
the Character panel's Leading field and the rows that name leading used
different words: Auto Leading in the Justification dialog, the Type
preferences' Size/Leading increment, and the Paragraph panel menu's
Top-to-Top and Bottom-to-Bottom Leading.
Turkish had four words, and its Leading field read "Lider", a leader.
Turkish now uses "Satır Aralığı", its Auto Leading word, in every
leading row, the Leading field included. In pt-br, id, bg and vi the
other rows now use the Leading field's word ("Entrelinhamento",
"Leading", "Междуредие", "Giãn dòng"). A new test checks that every
word of the Leading field appears in the four other rows of each
catalog.
When a recorded chord takes the shortcut from a command that needs a value, that command
leaves the list. The dialog now clears its Go to Conflict target as well as its recording
and selection.
When Clear, Use Default, Reset to Defaults or another set takes the
shortcut from a command that needs a value, its row leaves the list. A
recording started on that row now stops and the row is no longer
selected, so the next key press does not give the hidden command a
shortcut or take one from another command.
A command that needs a value stayed listed when a saved or imported set held an empty shortcut
for it, showing no key. It is now listed only while its saved shortcut is not empty.
Edit › Keyboard Shortcuts listed every engine command with a menu path,
whatever its params. A shortcut runs a command with no params, so a key
given to File › Document Setup › Units ran document.setUnits with {}
and failed with "unknown units".
The dialog and shortcuts.list now leave out a command with a menu path
and no default shortcut when no item of the menu bar runs it without
params, it opens no dialog when run without them, and its params doc
names a required field. This leaves out 38 commands, among them the
Graphic Styles, Swatches and character and paragraph style commands
that take a name. A command whose shortcut the user has changed is
still listed, where the key can be changed or cleared, and a saved key
still runs and conflicts as before. Every command with a default
shortcut stays listed.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app disables its Lock, Hide and Show All menus in
isolation mode. In VectorCraft every item of Object › Lock and
Object › Hide, Unlock All and Show All worked there.
In isolation mode, object.lock, object.lock.above,
object.lock.otherLayers, object.hide, object.hide.above,
object.hide.otherLayers, object.unlockAll and object.showAll are now
off. Their menu items are greyed out, and a call returns an error
that ends "exit isolation mode first". The Contextual Task Bar's
Lock button is greyed out too, and the Properties panel's Quick
Actions leave out Lock. Pattern editing mode and opacity mask editing do not count as
isolation mode for these commands. The check is outside_isolation in
cmd.rs, with has_selection_outside_isolation beside it.
Docs: docs/mcp.md, docs/target-app-parity.md.
Escape did not cancel a drag with the Puppet Warp, Perspective Grid,
Perspective Selection and Liquify tools: the drag went on until the
mouse was released. Escape cancels a drag with the Direct Selection,
Gradient and Artboard tools.
Escape now cancels a Puppet Warp pin drag or turn, a Perspective Grid
handle or plane widget drag, a Perspective Selection move, resize or
plane widget drag, and a Liquify stroke. The art and the grid go back
to how they were when the drag began, the undo history does not
change, and the rest of the drag and the release send nothing. Puppet
Warp selects again the pins that were selected before the press.
During a Liquify Alt-drag that sizes the brush, Escape puts the brush
size back; the tool claims Escape only then. Escape during a
Perspective Selection press that has not moved past the drag threshold
ends the press, so moving on does not start a move. Otherwise, outside
a drag, Escape does what it did before.
Docs: docs/mcp.md, docs/target-app-parity.md.
A closed arc from Arc Segment Tool Options, an Arc tool drag or
shape.arc with lengthX and lengthY closed through the box's bottom-left
corner with Base Along X, which makes a convex arc a quarter-ellipse
sector. With Base Along Y it closed through the corner a convex arc
bulges toward, so it drew the thin sliver between the arc and that
corner instead.
Such a closed arc now closes through the corner across from the one a
convex arc bulges toward with either base, so the Y-axis arc, open or
closed, convex or concave, is the X-axis arc mirrored top to bottom.
Open arcs and arcs with Base Along X are unchanged. The two-point
shape.arc form, whose params list no baseAlong, now closes through
(x1, y2) whatever baseAlong says.
Docs: docs/target-app-parity.md.
The Tabs panel drew its X: and Y: label untranslated, so French showed
"X:" in place of its catalog's "X :" with a no-break space, and Chinese
showed an ASCII colon. The label now goes through the catalogs, and the
Polish and Vietnamese catalogs get their X: and Y: rows.
The Character Styles and Paragraph Styles panels took only clicks on
their rows. The reference app copies a style dragged onto Create New
Style and deletes a style dragged onto Delete.
A style row can now be dragged. Dropped on Create New Style, the style
is copied with charStyle.duplicate or paraStyle.duplicate, as the panel
menu's Duplicate does, and the panel highlights the copy. Dropped on
Delete, the style is deleted with charStyle.delete or paraStyle.delete,
as the Delete button deletes the highlighted style, and Delete accepts
a dragged style even when the highlighted one is Normal or none. Normal
is not deleted. Each button is outlined while a row it accepts is held
over it, and each drop is one undo step.
Docs: docs/target-app-parity.md.
The merge test covered adjacent matches and a path of another color
between two matches. It now also covers a matching path the stroke
does not touch, between two it touches: both touched paths merge into
the upper one and the untouched path is left as it was.
A Blob Brush stroke used to merge with every closed path of its fill
color and no stroke that it touched, anywhere in the document, across
layers and groups and past objects of other kinds. It now merges with
the topmost such path it touches, and with the other touched matching
paths in the same group or layer that are next to that path in
stacking order, with no other kind of object between them. Merge only
with selection still limits the candidates to selected paths. The
merged path keeps the topmost path's id and place.
The reference app places a new layer below the selected layer with
Ctrl+Alt-click (Command+Option-click) on the New Layer button, and a
new sublayer at the bottom of the layer list with the same click on
the New Sublayer button. In VectorCraft that click opened Layer
Options, and New Layer and New Sublayer always added the layer above
the current layer and the sublayer on top of the layer's contents.
layer.new takes below, which adds the layer directly below the current
layer at its level, and layer.newSublayer takes bottom, which adds the
sublayer under the parent's contents. In a clipping layer the new
sublayer goes above the clipping path. Each is one undo step, and
below is refused together with top. A Cmd/Ctrl+Alt-click on the
Layers panel's New Layer and New Sublayer buttons runs them. A plain
click, an Alt-click and a Cmd/Ctrl-click work as before.
Docs: docs/mcp.md, docs/target-app-parity.md.
A .ai swatch library without layers comes in as its PDF part with the
swatches of its editing data's palette. A pattern swatch was kept only
when the PDF part defined its pattern, and a pattern library's PDF part
usually defines none, so its pattern swatches were dropped.
ai::palette now gives pattern swatches for the patterns the editing
data defines too, and returns the definitions the PDF part lacks that a
palette swatch paints with, with the images their art shows. The
document gets them with new object ids.
A .ai file whose editing data has no layers, as swatch libraries are
saved, opens from its PDF part, and the PDF part has the default
swatches. layered_ai applied the editing data's palette only when it
built the document from the layers, so Other Library… listed the
default swatches for such a library, and File › Open gave the file the
default swatches as well. A .ai whose layers can't be used (an image
too large for the editing data's reader, or a read error) lost its
palette the same way, and so did an EPS that opens as its page.
The reader now reads the palette on its own (ai::palette, which shares
palette_swatches with the layer reader), and its swatches and color
groups replace the default swatches in those three cases. Spot and
pattern swatches of the PDF part's art that the palette does not have
follow the palette's swatches.
Fixes#4100. Part of #3349.
The Type tool heard of Undo and Redo only when they ran as top-level
commands. As steps of command.batch, they left the caret where it was,
and the tool took the batch for an outside edit. Session::execute now
tells the active tool about each nested edit.undo and edit.redo.
command.batch also tells the tool when it begins, ends or rolls back.
The Type tool keeps its caret and its edit records at the start of each
batch and puts them back when a failed batch rolls the documents back.
While the Type tool edits type, Edit > Undo and Redo (the menu, the
keyboard, the History panel and MCP all run edit.undo and edit.redo)
left the caret at its byte offset, clamped to the text. Typing "abc"
before "XYZ" and pressing Undo left the caret after "XYZ".
The engine now tells the active tool about edit.undo and edit.redo
before it finishes the command. The Type tool keeps the edited text and
a list of the steps that changed it, and puts the caret, with nothing
selected, at the end of the span the step changed: where typed text
began after its Undo, after restored text after the Undo of a deletion,
and after retyped text after Redo. For the steps the tool made, it keeps
where the span ended, so text that repeats the characters next to it
puts the caret at the right end. A step that changes no characters,
such as a formatting change, leaves the caret and the selection as they
are. Typed lists keep their caret positions.
In Brazilian Portuguese the Character panel's Kerning field was named
Entrelinhamento, the word the catalog uses for Leading, so the two
fields had the same name. In Danish, Turkish, Indonesian and Dutch the
Reset Tracking and Kerning command named tracking with a different word
from the Tracking field, and in Dutch, Bulgarian and Greek the Info
panel's type line did the same.
The pt-br Kerning field is now Kerning (0 = Automático). The reset row
in da, tr, id and nl and the Info panel row in nl, bg and el now use
the word of the catalog's Tracking field. A new test checks that the
three fields have different names in every catalog and that the reset
row and the Info panel row use the field words.
An axial or radial shading's stops are the samples that linear
interpolation does not reproduce. An ink that changes nothing in RGB,
such as a varnish, could paint at dropped samples only, and its spot
swatch was then missing. Every sample now marks the inks it paints with
as used; the stops are unchanged.
A DeviceN color with a spot ink at a tint above 0 together with a process
plate or a second ink imports as RGB. The importer returned before marking
those inks as used, and only used inks become spot swatches, so the spot
ink was missing from the document and from every later export. Shading
stops take the same path, so a DeviceN gradient lost its ink the same way.
The art still imports as RGB with the existing warning; each ink it paints
with now becomes a spot swatch with its 100% color.
GIF, WebP and Targa files hold no resolution field, so document.formats and
the export docs now say that ppi, and the resolution that width or height
gives, are stored in the file except in those three formats.
PNG, PNG-8, JPEG, WebP, GIF, TIFF, BMP, Targa and PSD exports take
`width` or `height` in pixels. Each file is scaled so that its own
artboard, `rect` or art bounds is that wide or high, so with
`useArtboards` every file gets its own scale. `width` wins over
`height`, and either wins over `ppi` and `scale`, in the order an
Export for Screens row reads its size. The scale stays within 0.01 to
64 pixels per point and the file stores the resolution that results.
A value that is not a positive number is refused.
The per-file scale comes from `ScreenSize::scale_for`, which Export for
Screens rows already use. Rows keep their own size: their format
settings still drop `width` and `height`. `document.formats` lists the
two options for every raster format.
bflatastic