The check of a selected object's masked art looked at its own place
only. A click goes down from the layer (or the isolated container) and
never reaches a Shaper group's original shapes outside Construction
mode, however deep the object lies in them; and below a layer whose
Preview is off it hits art in outline. A press inside such a path's
fill, or on a path in a Shaper group's hidden shapes, started a move.
The way down to the selected object is now checked as a click goes:
a Shaper group's part a click can't reach on it rules the object out,
and a Preview-off layer on it (below the isolated container) makes the
object count by its outline.
Tests also cover Shift with Direct and Group Selection (a marquee) and
an object a click hits over the masked art (it is selected).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
The selected object itself was checked for being hidden, locked or a
template, but not as a click checks it: a selected guide path was
grabbed where a mask hid it while guides were locked or hidden, though
a click on it there hits nothing.
The selected object now passes the same test a click applies to it
before its art is tried: guides while guides are locked or hidden, and
a Shaper group's hidden part, don't count.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
A selected group was grabbed by any of its contents under the pointer
where an outer mask hides them, including a hidden or locked child and
art the group's own clipping mask leaves out: none of these is drawn or
hit by a click.
A container's art now counts as a click would hit it: its contents as
the hit test tries them, through its own mask and without its hidden,
locked or template contents. The check for locked objects shares it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
An image in a clipping mask, picked in the Layers panel, shows its
whole frame, but a press on the part the mask hides hit nothing: the
Selection, Direct Selection and Group Selection tools started a marquee
there, which dropped the selection, so the image could be dragged only
by the part that shows.
Such a press now grabs the selection by that art, as a press on its
visible part does: a drag moves the selected object (the image, not its
clip group) and a click keeps it selected. With nothing of it selected
there, or with Shift, a press there starts a marquee as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
With ruler guides selected on their own (a click on one), the
Properties panel showed the Document sections, so a guide's position
could be typed only in the Transform panel.
The panel now has a Guides heading and a Transform section with the
Transform panel's guide fields (#1597): X moves the vertical guides and
Y the horizontal ones, together. With art selected too, it shows the
art's sections as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
With a layer selected, Object > Hide > Unselected Artwork hid every object
on that layer, since the selected layer was dropped from the objects to
keep. The objects of a selected layer now count as selected.
While Lock Guides is on, a group that held a guide path was hidden whole,
which hid the guide with it. Guide paths now count as selected, so the
command keeps such a group visible and hides its other members one by one.
Found while testing crates/pathops/src/edit.rs:342-364 (smooth_level calls smooth_seam after the fit)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
svg_darkness_uses_rendered_shadow_in_non_srgb_working_space runs itself
again in a child process with --exact and checked only the exit status.
libtest exits 0 when --exact matches no test, so a rename of the test
would have left the parent passing without running the non-sRGB check.
The parent now also requires "1 passed" in the child's output, as
layout_cache_follows_fonts_added_later in crates/tools does.
The link applied its state only when its button was clicked, so turning
it off and on again through `ui.dialog.set` kept the old proportions,
and the next dialog didn't open with the state set that way. A link
turned on at a side of zero also took new proportions on the next frame
once that side was a size again.
The dialog now keeps the link state it last applied and applies any
change from it, however it was made: turned on, the link keeps the
sizes the dialog shows then; turned off, it forgets them; either way
the next dialog opens with the new state. Nothing else recalculates the
proportions, so a link turned on at a side of zero stays unconstrained
until it is turned off and on again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
A click with the Rectangle, Rounded Rectangle or Ellipse tool opens a
dialog with Width and Height. It now has a Constrain Width and Height
Proportions link beside the two rows, drawn like the Transform panel's:
while it is on, typing one side sets the other at the proportions the
shape had when the link was turned on. The next of these dialogs opens
with the link as the last one left it.
Width now comes before Height in these dialogs: the fields were listed
by name, so Height came first.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01EjfPR4a1jPek7r3nyFFNYv
The Color Guide kept the base color it took when the panel first showed,
and only the base chip changed it. In a new document the current fill is
white, so every harmony and variation was white or gray until the base
chip was clicked with another current color.
A color chosen in the Color panel (spectrum, sliders, fields, chips and
Recent Colors), in the Swatches panel or a swatch library panel, or with
OK in the Color Picker for a fill or stroke now becomes the guide's base
color, and the guide shows its harmonies. A color applied from the guide
itself leaves the base as it is, and so does selecting artwork. The base
chip (Set base color to the current color) still makes the current color
the base. A new base clears the cells selected for Save Colors as
Swatches.
The base moves from egui's temporary memory to UiState::color_guide_base,
which is not saved, so the Color panel, the Swatches panels and the Color
Picker can set it.
Found while testing crates/text/src/hyphen.rs:74-90 (parse_exception)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Main replaced the glob import of the command helpers in fileio/eps.rs
with an explicit list; the EPS Save path's selectedOnly check uses
bool_or, so it is added to that list.
Messhias is right that a sampled check cannot promise a run is straight, and my
own write-up overstated what the grid did: I said the fit was "used only where
it reproduces the real map", which five sample positions cannot establish. A
bend narrower than the sample spacing passes between the samples, and the grid
then approves an affine that is simply wrong.
It is not a theoretical gap. A zigzag of amplitude 4 pt and half-period 20 pt,
turning 11.3 degrees (under CORNER_DEG, so the vertices are not corners and
their tangents blend flat), lands its y = 0 vertices exactly on the five sample
positions. All 25 grid points then agree with the affine to the last digit while
the art between them is thrown 4.000 pt off, against the 0.0613 pt tolerance the
grid believed it was enforcing: 65 times over, measured, not estimated.
`Track::is_straight(s0, s1)` reads the answer off the track instead. A bend in
the span is two segment directions that differ, so no bend can hide in it
whatever its size. It also checks the vertex tangents, because `frame` blends
them across a segment unless the vertex is a corner, so a neighbour outside the
span can bend the tangent inside it: directions alone would call `d, d, e`
straight over the first two segments and be wrong. It fails closed on a closed
track's seam, a non-finite bound and a track with no segments.
`AlongMap::is_linear` covers the other half: Between Guides bends the arc-length
map itself, which no amount of looking at the track would reveal.
The grid stays, demoted to a second opinion that can reject and never admit, and
`affine_fit`'s doc comment now says that rather than claiming to be the gate.
Tests. `a_bend_shorter_than_the_sample_grid_is_still_a_bend` builds the zigzag
above, asserts the sampled check accepts it, measures how far out the approved
affine is, and then asserts the track-based gate refuses it; end to end through
`bend` it asserts the aliased bend is subdivided while a genuinely straight run
of the same span keeps the tile's four anchors. Restoring the sampled gate reds
it with `the aliased bend is subdivided, not affine-mapped: 4 anchors`, so the
old code really did lay a flat tile along a waving track.
`straightness_is_read_off_the_track_not_sampled` covers the predicate directly:
collinear segments and their extrapolation, a 0.2 pt detour, a span around it
and a span before it, the blended-tangent case above, the closed seam and a NaN
bound. Writing it caught a bug in my own guard: `f64::min` discards a NaN rather
than propagating it, so `is_straight(NAN, 10.0)` was reporting straight until
the finiteness check moved ahead of the min/max.
FredApps noted a real divergence: the affine route kept whatever the tile held
(it only required bounds) while warp_node drops every node kind but paths,
groups, layers and compound paths, and it did not clear `live` on paths. For a
tile of paths and groups the result was the same, so nothing was visibly wrong,
but "this changes the curves and nothing else" was a wider claim than the code
made: a symbol instance arrived untouched on a straight run and vanished on a
bend.
affine_node now mirrors warp_node's walk through `prepared` and applies one
transform at the end: the same kinds are kept and the rest dropped, `live` is
cleared on every path, an empty path or a group left with no children is
dropped, and strokes are scaled by `width_scale` rather than by the transform's
own factor. The two routes now differ in the tile's curves and in nothing else,
which is what the change was always meant to be.
Test: a_straight_run_keeps_the_same_node_kinds_as_a_bend puts a symbol instance
beside a path in one tile and asserts both routes return the same kinds. On the
old code it reds with `left: ["group", "path", "symbol"] right: ["group",
"path"]`.
Bending flattens every path it maps: warp_path runs kurbo::flatten and
emits SubPath::polyline, so a circle tile is drawn as a polygon. That
shows in the live stroke, not only after Expand Brush Strokes, and it
happens even on a perfectly straight path where the tile needs nothing
more than an affine.
Bending is only non-linear where the track bends. On a straight run the
arc-length map and the normal offset are both linear, so affine_fit
derives the affine from three corners of the art and then checks it
against a five by five grid, including those corners. Within the
tolerance the flattening would have used, the art is transformed
instead, which keeps its Beziers. Outside it, nothing changes: the old
path runs and the result is what it was.
Strokes are scaled by the same factor the bent path uses rather than by
the affine's own, so curves are the only thing this changes.
Corner tiles already took this route, which is why they kept their
curves while the tiles between them did not.
Two existing tests moved with it, both because they read anchor counts
that only held while straight runs were flattened:
pattern_places_corner_tiles told corner tiles from side tiles by
"four anchors", true only because the side rectangles arrived as
polylines. It now tells them apart by a kept handle, which is what
actually distinguishes an ellipse from a rectangle, and additionally
asserts the side tiles keep their own four anchors.
pattern_output_is_capped_across_subpaths_not_only_per_run counted on
sixteen tracks passing the #3594 anchor budget. A tile is about four
times cheaper in anchors now, so the budget engages later; the test
derives how many tracks it needs from what one costs.
Rows the other catalogs already had: new-document presets, color
harmony rules and swatch names, arrowheads, the keyboard shortcut
editor, and the print, PDF and Save for Web options. The workspace
names, OpenType and the perspective grid presets stay in English as
MENU_KEEP_AS_IS requires. Written from the English meaning by a native
speaker.
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.
remote_call_reports_nothing_sent_when_reconnect_is_refused set up the
closed connection once, so only its first run went through the
stale-connection probe. Each run now sets up its own closed connection
before the timed call.
The vectorcraft-mcp tests of the remote backend in tests.rs gave a fake
app 2 or 5 s to accept a connection or to read a request, and waited
2 s for a connection to end or a line to arrive. When a busy machine
held the client's thread for longer, the fake app gave up and the test
failed. These waits now use WAIT (20 s).
remote_connect_fails_fast asserted that a refused connect returned
within 5 s, and remote_call_reports_nothing_sent_when_reconnect_is_refused
asserted that the call returned within 2 s. On Windows a refused local connect
ends at the backend's own 800 ms connect timeout. A connect without
that timeout takes about 2 s. The 5 s bound did not tell the two apart,
and the 2 s bound left 1.2 s for any pause of the thread. Both tests
now bound the connect by FAILED_CONNECT (1.5 s) and run it up to five
times, until one run is under the bound. The second test checks the
error of every run.
While an opacity mask or a pattern is edited, a press on a selected Shaper
original shape now moves it when it is not the first selected object or
shares the selection with shapes of another Shaper Group. An object in
front of the Shaper Group at the pointer is selected instead.
While an opacity mask or a pattern was edited, a Shaper double-click
selected a Shaper Group's original shape without isolating the group's
original shapes. A Selection tool press on that shape then selected and
moved the whole Shaper Group over the art the group shows, and started
a marquee over a part of the shape the group does not show.
A press on the selected original shape now holds it for a move, and
the pointer shows the move cursor over it.
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.
