- Type is picked on the baseline of any of its lines (point type and area
type, besides area type's frame), as in Illustrator, not only the first
one: the layout's baselines are cached with its bounds
(`TextObject::cached_baselines`, from `TextLayout::baselines`), with the
first one across the bounds as the fallback. Vertical type's runs down
each column's centre line.
- Type in perspective is picked where it is drawn (through its projection).
- The bounds rule type out before its path is built, so hovering stays
free of allocations away from type.
- The Type tools still edit type clicked among its characters (they made
new type there with the preference on), and the Eyedropper still samples
it there, as it does inside fills with Object Selection by Path Only.
- Tests for all of it; docs/mcp.md and ROADMAP say so.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Type on a path could only be repositioned by Type on a Path Options, whose menu item sent
`{start: 0}`, so OK threw the text to the start of its path; nothing showed or dragged its
brackets. Now, as in Illustrator:
- Type on a path flows between a start and an end bracket (`TextKind::OnPath { end }`, None:
the end of the path or once round a closed one; `TextKind::path_span`). Flipping
(`TextObject::flip_on_path`) reverses the path keeping a closed path's first anchor and swaps
the brackets, so the type keeps its stretch of the path.
- Type on a Path Options gains Align to Path (ascender, descender, center, baseline) and
Spacing (glyphs spaced as if set that far above the path: closed up round the outside of
curves, opened up round the inside), laid out by the text engine.
- `type.pathOptions {start?, end?, flip?, effect?, alignToPath?, spacing?, ids?}` sets them in
one undo step; with none of them it queries. The menu item opens the dialog with the selected
type's Effect, Flip, Align to Path and Spacing (dropdowns for the choices) and leaves the
brackets alone, so OK as opened changes nothing.
- The Selection and Direct Selection tools show selected type on a path's path and its start,
centre and end brackets (`tools::pathtype`, with a bracket cursor): dragging the start or end
bracket sets where the type runs, dragging the centre bracket slides it along the path and,
across the path, flips it (Cmd/Ctrl held: it only slides). Each drag is one undo step.
- Arc-length measuring moved to `vectorcraft_geom::ArcPath` (layout, the tools and
`text.createInPath` share it). SVG export outlines path type whose end bracket, alignment or
spacing `<textPath>` can't express.
- docs/mcp.md documents the command and the drags; ROADMAP updated; dialog strings translated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator sets a paragraph's direction (Left-to-Right / Right-to-Left
Paragraph Direction in the Paragraph panel, with the Middle Eastern
options) and keeps its alignment buttons physical; it has no automatic
alignment toggle. So:
- ParaStyle.direction (None: from each paragraph's first strong
character, as before; written only when set), the Paragraph panel's two
direction buttons with Show Indic Options (original icons), and
text.setFormat {direction: "auto"|"leftToRight"|"rightToLeft"}. The
layout uses it as the base direction.
- The Automatic alignment check box is gone. Justify::Auto stays as the
start of the paragraph's direction, set on new type only (text.create,
the Type tools, with the mojikumi default in one new_type_para()):
TextObject::point is Left again, so importers (PDF, SVG, DXF, EMF) keep
their own alignment. The alignment buttons show what Auto resolves to.
- Bidi only where there is something right to left: plain paragraphs skip
the algorithm (no per-layout allocation), it runs once per paragraph
(shaping takes the paragraph's levels instead of recomputing them; path
type computed it four times), and the shaper keeps Han, Hiragana,
Katakana and Bopomofo in one segment (splitting at every change of
script cost Japanese text a shaper call per kana-kanji switch).
- Vertical type keeps its logical order, so its glyphs and lines are not
marked right to left (the caret no longer runs backwards down a column).
- PDF import puts Hebrew and Arabic, which PDFs (and VectorCraft's own
export) draw in visual order, back in logical order with the direction
that shows it as drawn; with bidi layout it came back mirrored.
- SVG import pins the direction SVG implies (left to right unless
direction: rtl); SVG export also outlines right-to-left paragraphs.
- Docs (development.md), ROADMAP (folded into the Type entry, Type core
row) and README updated; catalog rows for the new labels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Unicode bidi (unicode-bidi, unicode-script, unicode-general-category):
each paragraph's direction from its first strong character, Hebrew and
Arabic shaped right to left, embedded Latin and numbers keep theirs,
lines wrapped in logical order and reordered per line by whole
clusters; source text, undo and style ranges stay logical.
- Caret, hit testing, selection and the arrow keys follow the visual
order.
- New text aligns automatically: right-to-left paragraphs right, others
left (Justify::Auto, text.setStyle {justify: "auto"}); the Paragraph
panel highlights the resolved alignment and has an Automatic alignment
toggle. Explicit alignments, and older documents', are kept.
- SVG export outlines bidirectional text (with a warning) until it can
be written as directional live text.
The Character and Properties panels' font menu was a plain searchable
list of names. With hundreds of installed families (and Japanese names
that say little to someone who can't read them) a name isn't enough.
- Each row shows the family's name and a sample of the selected text set
in it (a generic sample when the font lacks its characters). Samples
are rendered off the UI thread, a few per frame, and only for the rows
in view (the list is virtualised).
- The row under the pointer or reached with ↑/↓ previews its font on the
selected text, as one live interaction with nothing in the history; a
click or Enter applies it as one step, Escape or closing the menu puts
the text back. The current family is highlighted and scrolled into
view, also when the document names it in another language.
- Filters by script (Japanese, Latin) and kind (serif/Mincho, sans
serif/Gothic, rounded, script/brush, monospaced, decorative), from the
font's OS/2 classification and, for CJK fonts whose tables seldom say,
its names. `FontTraits`/`FontClass` in the text crate; installed
families get them from the same scan as their names.
- ▸ (or →/←) lists a family's styles; a style row previews and applies
that style.
- ☆ stars a family; the ★ filter shows only the favourites (kept with
the UI state).
- Preferences › Type › Enable in-menu font previews and Font Preview
Size now turn the samples off and size the rows; the in-window Type ›
Font menu (Windows, Linux) shows a sample beside each name.
- Families whose name starts with a dot (the system's own) are hidden.
- Catalog rows for the new labels in zh-hant (complete) and ja.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The font database made one style per font file, so a variable font
such as Figtree[wght].ttf listed only its default instance (Light).
Faces now also yield their fvar named instances, each a style of the
family named by its subfamily name (the default instance is the face
itself; unnamed or duplicate instances are left out; axes and
instances read are capped). The system font scan reads the fvar table
beside the name table, so installed instances are listed before the
file is loaded and found by name and by PostScript name.
An instance face carries its axis settings: skrifa draws its outlines
and reads its metrics and advances at that location, harfrust shapes
with a ShaperInstance, so layout, the canvas, Create Outlines and hit
testing all use the instance. PDF export embeds it through krilla's
Font::new_variable, SVG @font-face through subsetter's
subset_with_variations: both write a static font of that instance.
Tests build a small variable font in code (test_fonts, via
write-fonts; no font file is committed) and check listing, resolving,
glyphs and advances, PDF and SVG export and damaged fvar/gvar tables;
Bahnschrift and Segoe UI Variable are checked where installed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Conflicts with #214 (fonts by PostScript name): this branch's name index (FaceKeys,
aliases) stays, and #214's `by_postscript_name` (used by PDF import) reads a PostScript
map filled from it, keyed by the same normalized names.
Removed: scanning ~/Library/Application Support/Adobe (CoreSync/plugins/livetype and
Fonts), and the preference that switched it (Type › Include Fonts of Other Design Apps'
Folders). Fonts activated through another vendor's subscription are licensed for use
through that vendor's own sync; reading their files from VectorCraft would go around that
licence, and the project's clean-room rules keep VectorCraft out of other vendors' files.
Fonts the user has installed in the system or user font folders are still found by every
name, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shippori Mincho (assets/fonts, from #145) moves to storytold/craft-fonts. crates/text/build.rs
embeds the fonts of a craft-fonts checkout when CRAFT_FONTS_DIR is set (web: BIZ UDPGothic
Regular only) as vectorcraft_text::CRAFT_FONTS; unset, it is empty and Japanese falls back to the
installed fonts. Document text gets the Japanese faces after the bundled fonts (Mincho first); the
UI adds them at the end of every egui family (BIZ UDPGothic first), before ui_fonts' system-font
discovery. Release and FreeBSD CI builds check craft-fonts out at a pinned commit; packages carry
the fonts' OFL texts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Builds on the vertical type from #145 (same data, commands and tools).
- Kinsoku (the strict set, horizontal Japanese too): no line starts with a
closing bracket, 、。, a middle dot, colon, !?, the long vowel mark,
iteration marks or small kana; no line ends with an opening bracket.
Hyphenation breaks obey it too.
- Tate-chu-yoko: a run of two or three half-width digits (10月, 第100回)
stands upright across the column as one block one em long, squeezed to
the em when wider; longer numbers stay on their side.
- Upright or on its side by Unicode's Vertical_Orientation: CJK and
symbols upright, marks that need a vertical form on their side when the
font has none; upright glyphs advance at least one em, centred, and turn
about the ideographic em box centre so they sit on the column's centre
line. Point type keeps its anchor on the first column's centre line.
- `vrt2` is no longer requested: its glyphs are already on their side, so
with the layout turning Latin and digits too they came out upside down
(and tate-chu-yoko blocks broke) in fonts that have it, e.g. Hiragino.
- The line→text mapping is one affine (`TextLayout::line_xf`, an exact
quarter turn plus the point-type offset); `logical_point` and
`physical_point` use it. Pixel snapping skips vertical type.
- Tests: kinsoku in both directions, tate-chu-yoko blocks, upright vs
sideways, anchor on the centre line, arrows along columns.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Documents made elsewhere often name a font differently from the family
name VectorCraft lists: a localized family name (ヒラギノ角ゴシック), a
legacy family/style pair (Hiragino Sans + W3) or a PostScript name
(HiraginoSans-W3). FontDb now indexes every name in a face's name table
and resolves a request to the right face, telling the caller whether it
matched exactly, by another name, by substitution or not at all
(FontMatch).
- text: FaceKeys/aliases, FontDb::resolve, canonical, find_postscript;
fix a race where a face loaded by another thread was reported missing.
- engine: text.fonts reports status, the resolved face and missing
glyphs; Replace Font resolves the same way.
- render: substituted-font highlighting uses resolve, so a font found
by another name is no longer shown as missing.
- Find Font notes how each font was found.
- Preferences › Type › Include Fonts of Other Design Apps' Folders
(macOS, on by default).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Opening, placing, pasting or importing a file, the font menus and MCP now find
the installed system fonts (Arial, Times New Roman...) in a fresh session, so a
file renders the same whatever happened earlier, and PDF import keeps the real
family names (Microsoft YaHei, not "Microsoft Ya Hei").
Root cause: FontDb only consulted the system font catalog, which stayed empty
until a CJK fallback or Character panel > Show System Fonts happened to scan
the font folders. Every lookup by family name (face, families, styles,
has_family) now waits for one cataloging scan per session: the app starts it
in the background, other processes run it on first use. The scan reads only
each file's table directory and name table (about 70 ms for 780 faces here,
instead of reading every font file whole), the catalog is indexed by family,
the family list is cached, and an installed style of a loaded family (a
bundled family also installed with more weights) loads when asked for.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Convert Text to Outlines off (advanced.outlineText: false), type is
written as selectable, searchable text: each glyph in its font, embedded
as a subset with a ToUnicode map, where its outline would be (rotated,
scaled, skewed and on-path type too; gradients keep their place). Fonts
whose licence forbids embedding, or allows only whole fonts, fall back to
outlines with a warning; a subset threshold below 100% is accepted with a
warning. Laid-out glyphs now carry their glyph id and transform.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
SVG export writes UTF-8, UTF-16 (big-endian with a byte order mark) or
ISO 8859-1 (other characters as character references) and SVG/SVGZ
open in any of them. The Tiny 1.2 profile (simplified) writes
presentation attributes only and leaves out filters, masks, blend
modes and symbols with warnings. embedFonts embeds the fonts type uses
as @font-face subsets of the characters used, honouring the fonts'
fsType (whole when subsetting is forbidden, left out when embedding
is). New options: encoding, profile, embedFonts (SVG Options dialog,
document.formats); document.serialize also returns dataBase64 for
non-UTF-8 files.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
PNG is written by an in-code chunk writer with the resolution in pHYs and optional Adam7
interlacing (JPEG stores the resolution in JFIF). document.export takes ppi (72/150/300/other,
wins over scale), background (transparent, white, black or a colour) and antiAlias (none, art,
type: text snapped to whole pixels); Export for Screens rows take them too (plus one top-level
antiAlias, and a row's ppi names its @Nx suffix), and so does object.rasterize. Hard edges stay
hard in every offscreen pass (groups, masks, filters), whatever the thread count.
RenderOptions.anti_alias and render::encode::RasterExportOptions; PNG/JPEG/WebP Options dialog
(pngOptions/jpgOptions/webpOptions) after File > Export As PNG.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
File > Document Setup is a tabbed dialog over one engine command,
document.setup (no params: a query; any keys: one undo step;
document.setUnits stays as the units alias).
- General: units, bleed (four sides with a link toggle), Edit Artboards,
Show Images in Outline Mode (greyscale pixels under the frame),
Highlight Substituted Fonts/Glyphs (pink boxes on screen only).
- Transparency: grid size and colour presets or custom colours, Simulate
Colored Paper, the flattener preset (built-in or saved) and Discard
White Overprint (Overprint Preview keeps white overprints visible).
- Type: language with its quotes, Use Typographer's Quotes for the Type
tool and Smart Punctuation, superscript/subscript size and position and
small caps size (Character panel position/smallCaps; changing the
setup restyles the text in the same undo step), text export (SVG text
as text or outlines by default).
- The canvas draws a red bleed outline and the grid in the document's
colours and cell size as one textured quad, also in rotated views; a
white Background Contents exports raster formats opaque.
Model: Document.setup (DocSetup, defaulted, skipped when default) and
CharStyle position/small_caps; old files load unchanged.
tests_transparencygrid's helper now finds the grid by its texture (the
grid is one textured mesh instead of per-cell rectangles).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
