Cause: with Snap to Point, the point of a moved selection that snaps to a
ruler guide is the grabbed point (#1534). Away from an anchor or center
that was the raw pressed spot (select.rs: `grab` fell back to `p`;
direct.rs: a straight segment's `grab: p`, MoveObject's `start`). A press
on a stroke or within the pick tolerance of an edge lies a few pixels
beside the path, so the pressed spot landed on the guide, "align" showed,
and the path stopped that far beside it: 0.096 pt at 3,891% and 0.0099 pt
at 28,757% in the #3701 screenshots, visible only when zoomed in.
Change: `guides::hold_on_path` finds the nearest point of the path (on a
straight segment exactly on its line). `select::hold_point` uses it for a
press on the stroke or outline, or within 6 px of it. The Selection tool
(`State::Moving::hold`), Direct and Group Selection moves
(`State::MoveObject::hold`) and Direct Selection's straight-segment drag
(`grab`) snap that point. The move delta still runs from the press, so
nothing jumps. A press in the middle of a fill still snaps the pressed
spot, as Snap to Point is documented to.
Verification: tests_prefs::a_move_held_by_a_paths_stroke_lands_the_path_on_a_ruler_guide
and tests_prefs::a_straight_segment_dragged_by_direct_selection_lands_on_a_ruler_guide
fail without the change (edge 0.0257 pt and anchors -0.0052 pt off the
guide) and pass with it (|gap| < 1e-9 pt). A headless egui/wgpu render at
3,891% and 28,757% puts the guide, the selection outline and the centre of
the 1 pt stroke band in the same pixel column. cargo xtask ci: all 10
steps passed; 9429 tests passed, 0 failed.
A filter plug-in had nowhere to keep settings that belong to the whole
document rather than to one object, such as the pens a plotter holds or
a machine profile: it could only ask for them again on every run.
- A filter's output may hold documentData: any JSON of at most 1 MiB
(objects::MAX_DOCUMENT_DATA) that replaces what the plug-in keeps with
the document, null removing it, in the same undo step as its objects
(objects::decode_output). Too much refuses the output and the
document stays as it was.
- A filter gets it back in _context.documentData (null until it keeps
something). A filter reads and writes only its own.
- It is the document's foreign data, Document::unknown["pluginData"] by
plug-in id (vectorcraft_doc::plugin_data), where the perspective grid
and the brushes keep theirs. So the native file needs no section of
its own for it, and hosts from before keep it when they save. An
exporter is given the whole document, so it can read every
plug-in's. Nothing else lists it, as the reference app's Document
Info lists no plug-in data.
A live effect isn't given it: its geometry is worked out from the
object alone wherever it is drawn.
Tests: plugin_data.rs (each plug-in its own entry, forgetting what isn't
kept copies nothing, a damaged value holds nothing), objects/tests.rs
(kept, forgotten, refused over the limit), tests_plugins.rs (one undo
step with the objects, read back, not given to another filter, kept by
the native file among its foreign data, refused over the limit with the
document unchanged, null removes it) and tests/plugin_export.rs (an
exporter finds another plug-in's). The size error has its row in each complete
catalog (COMPLETE_MESSAGES).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
The planar map found each edge's source input by scanning every input
segment, and the face around each hole or merge point by scanning every
face, so it was quadratic in the segments; the Shape Builder therefore
gave up past 4096 segments (traced or type outlines) and offered whole
shapes. Index outline segments and faces by bounds on both axes
(RectIndex), walk an edge's segments lazily when finding its leaving
angle, and raise SHAPE_BUILDER_MAX_SEGMENTS to 65,536. Divide with open
paths shares the cap; its cap test now follows the constant.
Tests: a 20,000-segment blob cut by two lines, a 300-line hatch, the
index against a brute-force scan, and the existing cap test at the new
cap. Progress docs updated (G11, parity evidence, roadmap).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
With In Merge Mode, Clicking Stroke Splits the Path on, the run a click
split off could run against its path. A click on a rectangle's top side
gave a side from (100, 0) to (0, 0) on a rectangle that runs from
(0, 0) to (100, 0) there, so arrowheads and other settings that follow
a stroke's direction moved to the other end. The run now goes the way
the path goes.
The two paths of a split, and what an Alt-click or a merge leaves of a
path, had a gradient fitted to the path's bounds fitted again to their
own bounds. They now keep it where it was on the path.
A run that left 0.05 pt or less of a path still split it, into the
run and a speck. Such a path now does not split, and the tool shows
no scissors over it.
Docs: docs/mcp.md (Shape Builder Tool Options).
Review follow-up (CodeRabbit): the kept 2026-10-05 assessment still read
"raster effects (~20%)" with no pointer, unlike the other rows of that
table this PR annotated. It now notes the 57/57 filters and the Effect
Gallery (#2883) and points to the area table, leaving the historical
number as it was.
A chain of geometry effects makes at most 2 million anchors of a path (of a
type, symbol or image art's paths together) and about 8 million lines for the
renderer to draw at 1 px/pt, or what the path costs when that is more.
Roughen spaces its points further apart, Zig Zag makes fewer ridges a
segment, Free Distort, Twist and the warps split segments into longer pieces
(map_nonlinear_within) and Transform makes fewer copies where they would pass
it; a result drawn with too many lines is built again with fewer points, and
an effect that still doesn't fit is left out.
Three Roughens of a rectangle in a 25 KB file needed gigabytes of geometry,
and 2 million anchors of them flattened into 141 million lines (7 GB, past
vello's 2^27 lines a path); the file now opens in 0.4 s at about 450 MB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator 30.0's Method choice in the Gradient panel
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-perceptual-interpolation-in-gradients.html).
- paint.editGradient takes `method: classic|perceptual` (one undo step);
paint.setFill/setStroke take it in `gradient`, and gradient params (swatches,
copied paints) carry it when Perceptual. Anything else is refused without
editing. One edit can set `method` and `dither` together.
- The Gradient panel shows a Method menu (Classic, Perceptual) for linear and
radial gradients, dimmed without a gradient; the Dither box stays under the
stops.
- i18n: "Perceptual" where a complete catalog lacked it, and the `method`
error in all 24 catalogs.
- Docs: G13 (estimate 14–24 h → 13–23 h, after Dither's 15–25 h → 14–24 h),
target-app-parity (row and evidence), ui-parity, mcp.md, plugins.md.
With the Artboard tool, File › Revert kept the active artboard, but a
command.batch with a file.revert step made artboard 1 the active one.
A batch that switched to another document and back, and the Actions
panel menu's Batch… over a folder whose files it closes or over data
sets with a Revert step, did the same. Each of them starts the tool
afresh and ends in the document it started in, and the app moved the
view to the fresh tool's artboard 1. Only a plain file.revert was
handled, by its command id.
The engine now counts the times switching or closing documents, or
replacing the active one, starts the tool afresh (Session::tool_resets),
and records whether the tool's options were set after that
(Session::tool_set_since_reset). When the count changes during a
command and nothing set the tool's options after it, the app starts
the tool on the active artboard, as it does when a command chooses
another document. When a later step chose the tool's artboards (a
Paste or Cut after the revert), the artboard the tool then has active
becomes the active one.
Docs: docs/mcp.md, docs/target-app-parity.md.
With Pick Color From Artwork, a Shape Builder merge took the look of
the front-most object over the first covered region the drag touched,
and the current fill when the drag touched only areas no object
covers. The reference app's combine page gives the look of the object
where the drag starts, else of the object where it ends, else of the
topmost selected object.
shapeBuilder.merge now follows that rule: the merged shape takes the
appearance, opacity and blending mode of the front-most of the objects
it is given (the selection by default) under the first point, else of
the one under the last point, else of the front-most of those objects.
A drag from a hole across a gray bar into a red square now gives a red
shape, where it gave the bar's look. A click in an area no selected
object covers, such as a hole that gray bars enclose or a triangle
that lines enclose, takes the front-most selected object's look
instead of the current fill. Pick Color From Color Swatches works as
before. The tool already sends the press point first and the release
point last.
Docs: docs/mcp.md, docs/target-app-parity.md.
PDF import measured each gap between two glyphs against the larger of
the line's first glyph size and the next glyph's. A word set beside a
much larger one, apart by positioning and no space glyph (a browser's
margin between two sizes), stayed under a fifth of that em: "≤ 4" at
20 pt and "hours" at 8 pt, 3.4 pt apart, came in as "≤ 4hours".
A gap is now measured against the smaller of the two glyphs beside it.
Lines in one size read their gaps as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator 30.0's gradient Dither, from the public documentation
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-dither-in-gradients.html):
a Dither checkbox in the Gradient panel; dither converts the gradient into
pixels with subtle noise, works with gradient fills only, and follows the
Document Raster Effects resolution.
- Gradient gains `dither` (serde default false, written only when on, so
older files open unchanged and new files keep it).
- The renderer draws a dithered linear or radial fill as an image paint: the
gradient sampled a cell per device pixel or finer (quarter-octave steps,
cached per thread), each channel given seeded triangular noise of up to a
level before rounding. Same pixels every run; strokes and undithered fills
draw exactly as before. PNG and other raster exports go through it.
- SVG and PDF write a dithered fill as an image at the document's raster
effects resolution, clipped to the shape (the freeform-gradient path);
characters' fills stay vector gradients in SVG, with a warning.
- paint.editGradient and paint.setFill take `dither`; strokes refuse it.
The Gradient panel's Dither box is dimmed behind the Stroke proxy.
- i18n rows in all 24 catalogs; docs: G13, target-app-parity, ui-parity,
mcp.md, plugins.md.
The File Handling preference Link Placed PDF and .ai Files
(linkPlacedPdf) is removed. File › Place with Link now places a page of
a PDF, .ai or .ait file read as PDF pages as a linked placed document,
as it links a raster image, and link: false embeds the page. Link is on
by default in the Place dialog and in file.place, so a PDF or .ai page
placed from a file, which used to be embedded, is now linked unless
Link is off. A password or textAs: "outlines" still embeds, and so do
EPS and PostScript .ai files.
The Place dialog's Link tooltip describes a PDF or .ai file as a
document.
A .ai file read from its editing data (its PDF part only a placeholder)
finds the files its art places by name, beside it. Package now copies
those files into the same folder as the .ai file, and warns when one has
to be copied under another name.
File › Place with Link kept a link only to raster images and VectorCraft
documents. A PDF, .ai or .ait page was always embedded as a group, so
Update Links never saw a newer version of the file.
A new preference, File Handling › Link Placed PDF and .ai Files
(linkPlacedPdf), is off by default. With it on, Link places the page as
a placed document, as it places a VectorCraft document: the object
keeps the file's bytes, a preview, the page number and the page's box
(crop, art, trim, bleed or media, stored as page_box). Links check,
update and relink it, Break Link and Object › Expand give the group
placing it without Link gives, every output draws the page's vectors,
and saving and reopening keep the link. With the preference off, or
with a password or textAs: "outlines", the page is embedded as before.
EPS and PostScript .ai files are still embedded.
Package copies a placed PDF or .ai file as it is. The Place dialog's
Link tooltip describes a PDF or .ai file as a document while the
preference is on. Relinking a placed document to a file that is not a
VectorCraft document, a PDF or a PDF-compatible .ai file says so.
Docs: docs/mcp.md, docs/target-app-parity.md.
Review follow-up (CodeRabbit): the two older G2 bullets counting 46 and 49
filters were superseded by Conté Crayon (57/57) and are folded into one
current bullet; the G2 row in the ranked table and the entry's estimate now
both say 4–6 h, as ROADMAP.md and roadmap.md do. ROADMAP.md's revision
history gains its 2026-10-22 row.
The SVG writer always wrote the document's title in <title>
(crates/svg/src/export.rs), so every file of Export As with Use
Artboards, Export for Screens or an `artboard`/`range` export was titled
after the document ("Icons"), whatever its artboard was called. The
writer's `artboard` option can't tell those apart from Save: Save writes
the first artboard too, standing for the whole document.
ExportOptions has a new `artboard_title` (set by the caller, as
`artboard` is, not deserialized): the file is that one artboard, exported
on its own, and its <title> is the artboard's name (XML-escaped as
before), or the document's title when the artboard has no name. The
engine's SVG encoder (fileio/svg.rs) sets it exactly when the export
names its artboards, which is also when a file holds only that
artboard's art (#550): Export As per artboard, document.export /
serialize with `artboard` or `range`, MCP export, and Export for Screens'
artboards, assets, layers and selections (each written as an artboard
named after it). Save and Save As keep the document's title. Export for
Screens' Full Document draws the art bounds as one artboard, which is now
named after the document, so its SVG keeps the document's title too.
docs/file-format-parity.md's SVG row says so.
Tests: title_control_chars::an_artboard_exported_alone_is_titled_after_it
(crates/svg: two named artboards, the second named with markup;
exporting either alone gives its escaped name, the default and an
artboard without artboard_title give the document's title, an unnamed
artboard falls back to it) and
tests_svgenc::an_svg_of_one_artboard_is_titled_after_it (the engine:
`artboard` 0 and 1, useArtboards range all, Save's SVG, Export for
Screens per artboard, an asset and Full Document). Both fail without the
change (the title was "Icons") and pass with it.
Wheel notches and the arrow keys over a focused number field step the
value its text shows (widgets::step_value), and nothing there knew the
field's bounds: the Stroke panel's Weight went on to -3 pt and its Limit
to 0 x in the field, while the panel only clamped what it applied (the
spinner's min, Limit's clamp to 1..500), so the next step went on from
the out-of-range text. A label scrub (scrub::field) had the same gap.
step_value and scrub::field now take the field's bounds and stop at
them, so the field shows where they stopped and the value applied is
the same. The fields that have bounds pass them:
- spin_field / spin_field_auto / spin_plain: their `min` (the spinner
and a typed value already stopped there);
- range_field: its range; it now also takes a value that may be blank
(None), as mixed_field does;
- opt_field (dash and gap lengths): 0;
- the Revolve dialog's values: their range.
Fields that clamped only what they applied now say their range with
range_field instead: the Stroke panel's Limit (1..500), the Transparency
and Properties opacity (0..100), the Transform panel's polygon sides,
and the dialogs' bounded counts, percentages and lengths (Blend Options,
Envelope, Flattener, Liquify, Freehand, Live Paint, Path ops, Perspective
Grid, PNG ppi, Print, Save for Web, Shape Builder, Slices, Swatch
Options, Symbol options, Justification, Dimension, PDF page, the effect
dialogs' number rows). docs/ui-parity.md's number-field row says so.
Test: panels::stroke::tests::the_wheel_stops_weight_at_zero_and_limit_at_one
(the Stroke panel in a headless frame; focus Weight at 1 pt and turn the
wheel down four notches: the field shows 0 pt and the stroke is 0 pt;
the same with Limit at 2 x: 1 x and a limit of 1). It fails without the
change (the field showed -3 pt) and passes with it; the other numeric
field, scrub and dialog tests still pass.
The MCP drawing tools ran the creating command (path.create, shape.*)
and only then paint.setFill, paint.setStroke, stroke.set,
object.setProps and effect.apply, each as a command of its own.
check_draw_options checked dash, cap, join, opacity, name and effects up
front, but not the paints: a fill or stroke the engine can't read
(stroke: "currentColor"), or a swatch the document lacks, failed after
the object was made, so the call returned an error and left the path,
its undo step and its SVG node behind. Each styling command was also an
undo step of its own.
The tools now send the creating command and the styling commands as one
command.batch (crates/mcp/src/tools.rs, draw): the engine rolls the
whole batch back when a step fails, so a refused paint leaves no object,
no undo step and nothing in the SVG, and a good call is one undo step
named as the creating command names its own (Pen, Rectangle, …). The
styling steps act on the new object, which the creating command selects,
with item: null (its whole appearance), as the ids did before. The
reply gives the failed step's own error, without the batch's prefix.
docs/mcp.md says so.
Test: tests_drawopts::a_bad_paint_draws_nothing (invalid fill, stroke,
a missing swatch and a non-numeric strokeWidth on draw_path and
draw_shape: error, node count, undo history and SVG export unchanged;
a good call adds one undo step named Pen / Rectangle). It fails without
the change (draw_path with stroke "currentColor" drew a path) and passes
with it; the other draw option and command_batch tests still pass.
- One budget for the whole read (layers, pixels, characters, table
cells), shared with embedded documents and charged also when their
reading fails; the first reading is dropped before the second.
- Tables: at most 65 536 cells; lines and cell formats that don't
match the grid are left out instead of shifted.
- Paragraph formats matched to runs by binary search; font names
longer than 256 bytes are dropped.
- Overlays: one work budget per import; encoded originals decoded
within their layer's size; table cell outlines recoloured too.
- Engine: master page copies capped, each page's master found in
linear time, line gaps looked up once per font, the working CMYK
table built once, objects past MAX_COORD left out.
- Embedded content stays with its node; pixel masks under artistic
text are read whole and include stroke reach; gradient overlays on
hidden layers are kept.
- Render: contexts and raster effect images stay within
MAX_RASTER_SIDE per side (vello overflowed near u16::MAX; found by
the new fuzz target).
- Tests: affinity tests/import_limits.rs, feature samples in
import_fuzz.rs, shared builders in engine/tests/support/.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
- Strokes set to None no longer import as black 1px strokes.
- Underline and strikethrough are kept.
- Frame text starts at cap height; lines hanging out of a frame make it taller;
mixed-alignment artistic text lines up within its longest line; line breaks
inside a paragraph get no paragraph spacing.
- Table cell text taller than its cell is centred and stays visible.
- Outline effects on stroked shapes are drawn around the stroke.
- CMYK pixel layers go through the document's embedded CMYK profile; without
one, opaque layers stay CMYK.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
An export through the desktop save panel kept any typed extension
that names a known format, whatever format it wrote. Export As with
PNG chosen and card.svg typed wrote PNG data to card.svg, and Save as
PDF, Save for Office Documents, Text Export Options, Export Library
and the other writes that go through pick_path did the same.
document.exportSelection with a format suggested and added .png
whatever the format.
Such an extension is now replaced with the written format's, as Save
As has done since #3372: card.svg is written as card.png. An extension
of the written format stays as typed in any letter case (photo.JPEG
for JPEG), Export As SVG (and file.exportAs, file.export.svg) keeps
art.svgz and writes it compressed, and document.exportSelection
without a format still writes the format the typed extension names.
With a format, it suggests and adds that format's extension.
Docs: docs/target-app-parity.md.
File › Package… read every linked file and font and wrote the package
on the UI thread, so the window stopped responding until the package
was written. For a document that links 50 images of 21 MB each, OK
with Background Export off, which does the same work, takes a median
of 2.25 s in a release build on Windows.
With Enable Background Export on (Preferences › File Handling), OK now
takes the options, the report's Document Info text and a snapshot of
the document, and closes the dialog. The thread that writes background
saves and exports then collects the links and fonts and writes the
package. The same OK takes 0.001 s, and the package holds the same
bytes. A save of unsaved changes that Package starts is written first.
With the preference off, on the web and over MCP and scripts, the
package is made at once with the same reply as before.
Docs: docs/target-app-parity.md.
Angelo Bernardini