In Affinity Designer, Recolor Adjustment layers (RcRA) can be attached to
vector groups/shapes via AdCh. Lightness 1.0 recolors target elements to
white. Import visible RcRA layers as ColorOverlay effects and apply them
during node appearance evaluation.
A new reader, written from the ZSoft PCX Technical Reference Manual, decodes
the run-length encoded scan lines of 1-bit images in the header palette's
first two colors (black and white when the version has no palette or the two
colors are the same), 1-bit images in two to four planes and 4-bit images
with the header's palette (the EGA colors for versions 0 and 3), 2-bit CGA
images in the colors that the header's CGA background and palette settings
pick, 8-bit images with the 256-color palette after the image data (gray
levels without one) and 24-bit images in three planes. The image is stored as PNG at the resolution of the header's HDpi and
VDpi fields.
Open and Place list PCX, and pasting a copied .pcx file and Glass's Load
Texture… read it by its header. A file of another depth or plane count, one
cut short and one whose pixels as RGBA pass the pixel allowance are refused
with a message before its pixels are decoded. The desktop packaging does not
associate .pcx files, and no export writes them.
Docs: docs/file-format-parity.md, docs/target-app-parity.md, docs/mcp.md,
docs/releasing.md.
While the center was dragged out, the rays pointed at the pointer, as a
polygon's first corner does, and Shift put them back in their original
orientation. In the reference app they turn by a step for each update
of the drag as the pointer moves up or down, and Shift stops the turn
where it is.
Each update of the center drag in which the pointer's document y grows
now adds 0.1 radian (about 5.73°) to the rays' turn, one in which it
falls takes 0.1 radian away, and one at the same y leaves the turn as
it is. Shift held keeps the turn, and turning goes on from there once
Shift is let go. Space held moves the flare without turning the rays.
General › Constrain Angle no longer sets the turn under Shift.
Docs: docs/mcp.md, docs/target-app-parity.md.
The release that places the rings' end point applied the pointer's last
movement to the end point only, so with Space held the flare changed
shape instead of moving. The release now moves the center by that
movement as well. The progress doc says how Shift and General >
Constrain Angle set the rays' orientation.
The reference app's Flare tool rotates the rays as the center is dragged
out, Shift constrains them to their original orientation, and Space
held moves the shape being drawn. VectorCraft's Flare tool drew the
rays in one fixed orientation and ignored Shift and Space.
shape.flare takes rotation (degrees, clockwise), which turns the rays
about the center and leaves the halo, the center and the rings as they
are. While the center is dragged out, the rays turn with the pointer,
as a polygon's first corner does, and a drag straight up leaves them
unturned. Shift keeps them unturned, or turned by General › Constrain
Angle as a polygon drawn with Shift is. Space held during the center
drag or the drag that places the rings' end point moves the flare at
its current size, and the drag goes on from there when Space is let
go, as with the shape tools.
Docs: docs/mcp.md, docs/target-app-parity.md.
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.
CodeRabbit follow-up for #4293. Add 2026-10-26 revision-history rows and
status-line updates for EPS Save and Save As in file-format-parity, gaps
(G9), roadmap and target-app-parity; move the completed EPS Save note in
roadmap's M4 row out of "Left:". Save-back is recorded as done; G9 import
fidelity and Illustrator editing-data writing (#868) are unchanged. Scores
and estimates unchanged. Docs only.
File > Document Color Mode and document.open {colorMode} converted the
colors of the layers, symbols, pattern tiles and swatches only. Graph
designs, graphic styles, the art of opacity masks, the tile that
pattern editing's Cancel puts back and the art of brushes kept their
old color model (only a tint of a global swatch in a graphic style or
a mask followed the swatch), so a CMYK document could still apply,
place or print RGB colors from them.
These now convert with the rest, in the same undo step: their solid
colors, gradient stops, text runs and mesh points, nested masks
included. A Hue Shift brush's key color takes the converted color of
the art color it matches, a tint of a global swatch included. The
brush library is stored again only when one of its colors changed. A
tint of a global swatch in any of these places becomes the converted
swatch's color at its tint, as in the layers. The reply's changed
count covers the colors of the layers, symbols, graph designs, pattern
tiles and opacity masks; the colors of graphic styles and brushes
convert without being counted.
Docs: docs/mcp.md, docs/target-app-parity.md.
While an opacity mask or a pattern was edited, a Shaper scribble and
Object › Shaper › Release and Expand ended isolation, and a Shaper
double-click on a Shaper Group isolated the group's original shapes.
Each replaced the editing layer's isolation while the document stayed
in mask or pattern editing. A click on the Shaper Group's mode widget
did the same through object.isolate.
A scribble, Release and Expand now keep the editing layer isolated in
these modes, and end isolation as before outside them. A double-click
with Shaper selects the original shape under the pointer without
isolating the group's original shapes, and the mode widget does not
show while a mask or a pattern is edited.
Docs: docs/shaper.md, docs/target-app-parity.md.
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.
The Live Paint Selection tool acted only on the press, so a drag
selected at most the one face or edge under the pointer. The reference
app selects every face and edge a marquee touches, partly enclosed ones
included, and a Shift-drag adds them to the selection or removes them.
A drag of 3 pixels or more now draws a marquee. On release, select.set
selects the faces and edges it touches, or select.none runs when it
touches none. With Shift held at the press, select.toggle runs with
what it touches, and nothing runs when it touches none. A face that holds the whole marquee counts. Select Fills off
leaves faces out, and Select Strokes off leaves edges out.
A click now changes the selection on release instead of on the press,
so Escape between the press and the release, which also removes the
marquee, leaves the selection as it was. The tool no longer highlights
or selects the faces and edges of a Live Paint group that is locked, on
a locked layer or on a locked artboard, or that is outside the isolated
art in isolation mode.
Docs: docs/mcp.md, docs/target-app-parity.md.
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.
After a click picked the first object with the Blend tool, Escape did
nothing: the pick stayed, and the next click on another object blended
the two. After a blend was made, Escape did not stop the next click
adding to it either.
Escape now drops the object picked first and stops the next click
adding to the blend just made, as a click on empty canvas does, so the
next click picks a new first object. The document and the selection
stay as they are, and no undo step is added.
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.
bflatastic