The built-in CMYK profiles embedded in CMYK exports had only the
perceptual and colorimetric tables. ICC.1 requires an output profile to
also have the saturation tables (A2B2, B2A2) and the gamut tag (gamt).
Windows colour management rejects the profile without them ("Bitmap color
context is not valid"), so Microsoft Photos couldn't show a CMYK TIFF
that embedded it, while the RGB export opened fine.
Write the saturation tables (same as colorimetric) and a 9x9x9 gamut
table (in gamut where a Lab colour separates and returns within dE 3).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
anchor_arc_distance measured every segment again for each anchor, so a reshape cost the square of the anchor count; path.reshape now measures the positions once, and the two helpers only it used are gone. The default radius stays half the subpath's bounding-box diagonal, now measured along the path: half its length reached the far corners of a square, moving art the grab is nowhere near (reshape_moves_the_grabbed_point_and_its_neighbourhood).
Found while testing crates/doc/src/lib.rs:274 (Unit::named)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
path.freehand takes redraw: {id, within}: the stroke's ends are placed on the path, anchors added there, and the section between them replaced by the fitted stroke, the shorter way round a closed subpath; a stroke that doesn't end on the path still draws a new one. The Pencil and Paintbrush send it for a stroke that starts on a selected path's outline away from its ends, within Edit Selected Paths' distance.
The cards turned to the chosen orientation in every category, so a portrait and a landscape A3 in Recent looked the same and both read as chosen. Only the built-in presets' cards turn now.
The marker ran from the anchor to the right edge of the bounds, so centred type showed half a line and right-aligned type none, and rotated type a level line. It now draws each line's baseline in text space (TextObject::baselines, the lines a click selects the type on), turned with the type.
style_weight reads W0–W9 style names (Hiragino, Morisawa…) as their weight classes before the English words, so SVG and CSS export write font-weight 600 for W6, and nearest-style matching weighs them too.
Font services (NexusFont, Adobe Fonts) register faces with the OS without
touching font-folder mtimes; only re-asking the platform lister sees them.
Check every two seconds as well as on window focus, and test that path churn
is detected on the system font scan.
Co-authored-by: Cursor <cursoragent@cursor.com>
Highlight Alternate Glyphs (8689863f) flagged any glyph that isn't its
character's cmap glyph, so the joining forms Arabic and other complex
scripts always take (init, medi, fina, isol, rlig, ccmp and the Indic
required set) covered ordinary text in pink. A glyph is now an
alternate only when required shaping alone doesn't give it: the text is
laid out again with every optional feature off (liga, clig, calt and
the features its characters turn on) and each candidate glyph compared
by cluster. The pink boxes are measured once per text geometry, only
when the preference shows them.
A group of four clip groups, each a placed image larger than its
rounded-square mask: one Selection click selects the group, which
shows the four masks' outlines and no image rectangle, with a bounding
box and bounds equal to the union of the masks. The behaviour landed
in #2650 (part of #2422); this covers the grouped case.
Three new Polish rows broke the catalog's own vocabulary:
- "By Artboard or Item" and "Artboard or Item Name" (Export for Screens)
read "obszar roboczy", which this catalog uses for Workspace; Artboard is
"obszar kompozycji" everywhere else (72 rows).
- "Enable Guides for 9-Slice Scaling" read "prowadnice"; Guides are
"linie pomocnicze" in the other 29 rows.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01DukHNvUY45rjRnvtz91x33
A right-to-left paragraph in an Illustrator editing copy (key 33 of its
paragraph attributes) stores its alignment relative to its direction:
"left" lays the line out ending at the anchor and "right" starting there.
The importer read the alignment alone, so RTL point type opened shifted by
its own width (Arabic headings past the artboard edge, subtitles starting
where their title ends, a label over a QR code).
Checked locally against ~1,440 single-line point-type stories in a user's
own files (never committed): RTL + left ended at the anchor in 332 of 336,
RTL + right started there in 51 of 51; LTR and centred type unchanged.
Justified alignments keep their current mapping (too few samples).
A plug-in's dialog (Effect › Plug-ins, Object › Plug-ins) lays out each
parameter of its manifest as a row, and a manifest may declare up to 64.
With many of them the dialog ran off the top and the bottom of the
window, its heading and its OK and Cancel buttons off screen. A plug-in
of 64 number parameters got a dialog 2,329 px tall, its top at y = -755
in a 900 px window.
modal::scrolled_rows() puts rows in a vertical scroll area as tall as
the screen less the rest of the modal window and its edge gaps.
modal::show_at() measures that rest once it has drawn the window, for
the next frame, and asks for that frame at once if the rest changed.
The dialog then fits without waiting for input. schema_fields() puts the
parameter grid in it, for filters and effects alike. A dialog of a few
parameters is as tall as before.
a_plug_in_dialog_of_many_settings_fits_the_window opens an effect's and
a filter's dialog of 64 parameters in a 1280 × 900 window, and one of 4.
Before the change it failed with "effect: the dialog is at
[[457.0 -755.0] - [823.0 1574.0]] in the [1280.0 900.0] window".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
menu_strings() lists the strings a complete language catalog has to
cover, and it leaves out names that are user data: fonts, recent files,
saved views and libraries. An installed plug-in's name stayed in.
Plug-ins are installed for the whole process, and a test that installs
one before complete_languages_translate_every_menu_string runs made that
test fail with the plug-in's name as an untranslated menu string.
lists_plugin() tells an Object › Plug-ins filter or an Effect ›
Plug-ins effect by its command and params. Those are part of the menu
item itself and stay right while another test installs or removes
plug-ins. menu_strings() uses it, and so does
menu_catalogs_translate_every_menu_label in place of its own copy of the
rule.
plugins_are_listed_in_the_object_and_effect_menus checks it. Before the
change it failed with "Desaturate… is a menu string to translate".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
The image a mesh's quads are filled into is clipped to the frame; at 16 MP a
mesh filling a large canvas allocated up to 64 MB per frame. A larger mesh is
drawn quad by quad, backed by its patches' outlines.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01Dt49z1ubK9x1bPq51APgz3
Drawing each mesh as one image through its antialiased outline (dadfa06b)
left a thin line of the background wherever two meshes met: the two
partly covered edge pixels don't add up to full coverage. A page made of
thousands of small meshes (a PDF from a gradient-mesh illustration) showed
a grid of lines on screen and in raster exports.
- The outline is flattened and moved out by half a device pixel
(grown_outline), as the quads drawn one by one are, and filled once: no
doubled edge, so translucent meshes are grown too.
- The edge colours spread two pixels out of the quads (the grown edge
samples up to about a pixel and a half out), and the buffer has two
pixels of margin.
Tests: an_outline_grows_by_half_a_pixel_both_ways_round; the edge-spread
test checks the second pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A PDF of thousands of gradient meshes in a CMYK document with transparency
took minutes to export (186 s at 72 ppi for an 18,577-mesh page). Each mesh
was cut into quads coloured in RGB, and drawing a CMYK document by ink planes
separated every quad's colour back to CMYK through the profile, twice: the
4,096-colour separation cache, flooded by the meshes' interpolated colours,
cleared over and over.
- doc: GradientMesh::color_at mixes corners that are all CMYK (or all grey)
in that space, as a PDF shading mixes in its own: exact inks, nothing to
separate.
- render: the separation cache holds 65,536 colours.
- render: a mesh's quads are filled into one image by scanline (every pixel
to the quad its centre is in: no seams) and drawn through the mesh's
outline, instead of one path per quad; meshes over 16 MP on screen are
drawn quad by quad as before, backed by each opaque patch's outline (#2456).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
While an export runs in the background (Background Export), a dialog shows
what is being exported and how far it has got: artboard by artboard for a
raster export of several artboards, busy otherwise. Cancel (also Esc) stops
it and writes no file; Continue in Background leaves it to the status bar.
It opens after 0.4 s and never over another dialog.
Built on the shared vectorcraft_doc::cancel (#2546): fileio::progress::Progress
wraps its CancelToken and a progress sink, so a cancelled export stops
drawing and keeps no half-drawn pattern tile or effect raster.
- ui: background jobs carry their Progress; export_progress draws the
dialog; UI commands file.cancelExport and file.exportInBackground.
- i18n: the strings in every language with complete menus, Danish, Dutch
and Indonesian included; "{n} more exports waiting" is a plural (trn).
- docs: ui-parity, gaps (G12) and ROADMAP rows.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01Dt49z1ubK9x1bPq51APgz3
The Paragraph panel menu's Justification… was a disabled stub, and justified
lines stretched word spaces between fixed limits (80% to 150%).
Each paragraph now has Justification options: Word Spacing, Letter Spacing
and Glyph Scaling (Minimum, Desired, Maximum, in percent), Auto Leading and
Single Word Justification. Desired applies to every line; a justified line
fills its measure with word spacing first, then letter spacing, then glyph
scaling, each within its range, and past them its word spaces take the
rest. The Every-line Composer scores lines by that flexibility. Auto
Leading sets the leading of characters whose leading is Auto. A justified
line holding one word is spread between its letters (Full Justify) or
aligned left, centre or right.
The defaults are the documented ones (80/100/133, 0/0/0, 100/100/100, 120,
Full Justify), saved only when they differ. Because the default maximum
word spacing is 133%, justified paragraphs break differently than before;
the Every-line Composer's second pass is now unbounded for justified text
(it used to give up past four times the stretch and fall back to the
Single-line Composer, which the narrower default range would make common),
and lines that can't stretch at all are still refused.
text.setFormat takes wordSpacing, letterSpacing, glyphScaling ([min,
desired, max] or {min?, desired?, max?}), autoLeading and
singleWordJustification; Minimum ≤ Desired ≤ Maximum must hold or nothing
changes. Paragraph styles carry the options (New and Redefine capture
them), and Reset Panel resets them. Justification… opens a dialog
(ui.justification) with Preview; OK is disabled while a row is out of
order. Live SVG text places characters the options move, and a glyph that
Glyph Scaling scales is stretched to its width; PDF uses the glyphs'
transforms. Vertical type isn't glyph scaled; type on a path doesn't use
the options.
Docs: docs/mcp.md, docs/type-parity.md, docs/gaps.md.
Closes#2755.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The blend, envelope and gradient mesh commands read their optional
numbers with f64_or or as_f64, which fall back to a default for a value
that is not a JSON number. object.blend.make {"steps": "8"} made a
Smooth Color blend and reported success. Blend Options did the same
with steps, distance and value. Make with Warp, Reset with Warp and
Envelope Options did the same with bend, h and v (and their long
names). Make with Mesh, Reset with Mesh and Create Gradient Mesh did
the same with rows, cols and columns. Envelope Options did the same
with fidelity, Create Gradient Mesh did the same with highlight, and
Set Mesh Point Color did the same with opacity.
These commands now fail with "`<key>` must be a number, not <value>"
for a value that is not a number or null, as the transform commands
do, and change nothing. Envelope Options refuses the warp keys whether
or not a warp envelope is selected. Create Gradient Mesh refuses an
`at` that is not exactly two numbers with "`at` must be [x, y]".
Before, it took the first two entries of a longer array, and for any
other value it made a mesh with no lines through the point.
Docs: docs/mcp.md, docs/target-app-parity.md.
Dragging a user slice's edge or corner handle with the Slice Selection
tool never snapped, while drawing a slice with the Slice tool snaps to
the grid, to whole pixels, to the art and to the ruler guides.
The handle drag now gathers its targets when the handle is pressed and
snaps what the handle moves through PointSnap::snap_scale, as the
Selection tool's bounding-box handles do: to the nearest gridline with
Snap to Grid, to whole pixels with Snap to Pixel, to the art and the
artboards with Smart Guides, and with Smart Guides off to the art's
anchors and the ruler guides with Snap to Point. Then a shown, unlocked
ruler guide within 5 px moves the side or corner onto it, as the Slice
tool moves a drawn slice's corner onto a guide. Shift still keeps the
proportions, and Alt still resizes about the center.
Docs: docs/target-app-parity.md.
A move that Shift kept level, upright or on a diagonal left that line
when it snapped. With View › Snap to Grid on, a level Shift-drag also
moved the selection up or down onto a gridline, and Snap to Pixel,
Smart Guides and Snap to Point moved it off the line in the same way.
Each axis snapped on its own after Shift had constrained the move.
With the Selection tool, and with Group Selection and Direct Selection
moving whole objects, a Shift-constrained move now slides along its
line until it snaps. With Snap to Grid or Snap to Pixel, the move
slides along the line by the shorter of the two distances that put it
on a gridline or a whole pixel on either axis. The bounds line up with
the other objects, or space evenly with them, only on the axes the line
runs along, and the grabbed point stops where the line passes an anchor
or crosses a ruler guide. A level or upright move snaps along its own
axis only. Moves without Shift snap as before.
Docs: docs/target-app-parity.md.
PathData::bounds measured each segment by its start, end and extrema,
as kurbo's bounding_box does. For a curve with a handle at about 1e308
in size, or an infinite one, kurbo's extrema computation overflows and
drops the extreme. The box then held only the anchors. The canvas check
after an edit reads that box for the selected objects, so path.create
kept a curve with handles at 1e308.
The new segment_bounds measures a segment by its control points when
one of them has an x or y that is infinite or larger in size than
f64::MAX / 16, and by its extrema otherwise, bit for bit as before.
curve_bounds joins those boxes as kurbo does, and PathData::bounds uses
it, so such a curve's box holds the whole curve and the canvas check
refuses an edit that leaves one selected.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel menu had no Clear History, and VectorCraft had no
command that removes the undo and redo steps. In the reference app,
Clear History in the History panel menu removes the states after the
selected state, and it removes the states before it while their
changes remain in the document.
edit.clearHistory (Clear History) removes every step to undo and to
redo in the active document and returns how many it removed. The
document and the selection stay as they are, and clearing is not an
undo step. Typing or a drag still in progress becomes a step first, as
Undo makes it one, so its change stays in the document. The command is
disabled when there is no step to clear, and it waits while an input
method composes, as Undo does.
The History panel menu has Clear History after Step Forward. It runs
the command and is disabled when there is no step to clear.
Docs: docs/mcp.md, docs/target-app-parity.md.
A .ai can keep its variables and data sets in a variable library in
its editing data. VectorCraft doesn't read that library, and such a
file opened with an empty Variables panel and no warning about it.
The reader now counts the library's variables and data sets in the
editing data's /Document dictionary, and opening the file adds a
warning: "the file's variables and data sets weren't read (2
variables, 3 data sets): the Variables panel doesn't list them". The
same warning appears when the layers can't be read and the file opens
from its PDF part. A PDF that opens from the editing data it carries
gets the warning too. A library with no variables and no data sets
gives no warning.
Docs: docs/target-app-parity.md.
The Export for Screens dialog built its Example line from its fields as
typed, so it often showed a name the export does not write. It used the
artboard's name with its spaces (Artboard 1.png where the export writes
Artboard-1.png) and the first artboard whatever the range, kept a
prefix, a suffix or a device name such as CON as typed, used the scale
text as the row folder instead of the row's own folder or its size,
kept a vector row's @2x suffix, left out the folder that Create
Sub-folders adds, and read a counter set as text as 1.
The line now comes from the export's own naming. The naming part of
document.exportForScreens moves into a Naming type that the export
uses for every file, and fileio::screen_first_file returns the path of
the first file the export writes for the given params, without encoding
or writing anything. The dialog passes it the params it exports with,
without the destination, so the line shows before a folder is chosen
and is left out while the settings choose nothing to export. The Start
at field shows the counter the export uses when it was set as text.
Docs: docs/target-app-parity.md.
The engine built the PDF options without a creation date, so the
writer dated every PDF and PDF-compatible .ai file with the time it
was written. A document created on 2020-01-01 (File › File Info
shows the date) exported as a PDF with today's date in /CreationDate
and xmp:CreateDate. SVG export with the metadata option already
writes the document's own date.
The options now carry the document's File Info created date and the
time of writing as the modification date. A document without a
creation date is dated with the time of writing, as before, so PDF/X
files still get their required date. The PDF writer writes one date
for both, so the export then sets /ModDate, xmp:ModifyDate and the
PDF/A history dates to the time of writing; /CreationDate and
xmp:CreateDate keep the document's date. The page information mark
and the embedded editing data's modification date keep the time of
writing.
Docs: docs/mcp.md (File Info), docs/target-app-parity.md.
Object > Expand and Object > Create Gradient Mesh mixed a freeform
gradient's points in display RGB and turned the result back into the
points' model with the profile-free formula. CMYK inks changed: points
of C50 M20 Y0 K10 gave mesh points of C45 M24 Y0 K22. RGB points were
stored as display sRGB, so with a working RGB space other than sRGB
the mesh showed other colors. Points colored along CMYK stops, a point
paint.freeform.splitLine added between CMYK points and a point
paint.freeform.addPoint added without a color came out as RGB.
Points that share a color model now mix in it: the C, M, Y and K
values mix as inks, and Gray, RGB and Lab components mix as they are.
Points in different models still mix in display RGB. Object > Expand
and Object > Create Gradient Mesh store the result in the working RGB
space, and in a CMYK document they store it as CMYK through the color
settings, as paint.setFill stores an RGB color. Freeform::recolor and
split_line mix with the new Color::lerp_keep_model, which
vectorcraft_doc::blend::lerp_color now calls.
Docs: docs/mcp.md, docs/target-app-parity.md.
The FreeBSD job fails
fx::tests::a_drag_renders_raster_effects_within_the_drag_budget at
fx.rs:2822 with 1 previewed instead of 2.
pixels_do_not_depend_on_the_thread_count called set_default_threads
with 0, 1, 4 and 8. The override is process-wide, so a Renderer::new()
in a test running at the same time took that count. With 0 threads a
drag renders the drop shadow at full resolution, as
RenderOptions::dragging documents, so stats.previewed counts only the
filtered content (1 instead of 2).
The thread-count test now sets each renderer's threads. The drag test
gives its renderers 3 threads, so it also passes where default_threads()
is 0 (one CPU, or VECTORCRAFT_RENDER_THREADS=0).
On Linux the save dialog is the XDG desktop portal's, shown through
rfd. rfd sends no `current_filter` and reads only the file name from
the portal's answer, and the GTK file chooser keeps the typed name
when another file type is picked. With "PDF-compatible .ai" picked,
`poster` typed for a new document was saved as a native
`poster.vectorcraft`, and so was the suggested
`Untitled-1.vectorcraft` left as it was.
When a save offers two or more file types (Save As, Save a Copy, Save
as Template and the first Save of a new document), the app now calls
the portal's SaveFile itself over D-Bus. The dialog starts on the
suggested file's type, and its answer names the type picked. A name
typed without an extension, or the suggested name left as it was,
gets that type's extension. A name typed with another save format's
extension, other than the suggested file's (for Save as Template, a
template format's), is saved in that format, and any other extension
gets the picked type's added. The dialog keeps the window as its
parent on X11 and Wayland, and rfd shows the dialog when the portal
can't. The same code runs on the BSDs; Windows, macOS and the web
build keep their dialogs.
Docs: docs/target-app-parity.md.
pattern.options refused a new name that another pattern had, but not
one that a color swatch, a gradient swatch, a second swatch of the
pattern or a color group had. The rename then gave the pattern's swatch
that name, so two swatches, or a swatch and a color group, had one
name. The rename also gave the new name to every swatch that had the
old one, a color swatch included, and art linked to that color swatch
kept a link to a name no swatch had. Make and Save a Copy numbered a
pattern's or a swatch's name, but not a color group's.
pattern.options now refuses a name that a swatch or a color group has,
with "a swatch or color group named `<name>` exists". It takes a name
that only the pattern's own swatches have, such as a name Swatch
Options gave the pattern's swatch, when none of them still has the old
name. A rename gives the new name only to the pattern's swatches that
had the old one. Make and Save a Copy number a color group's name as
they number a swatch's. The new message has a row in the 17 catalogs
that translate every message (COMPLETE_MESSAGES) and in bg, da, id and
nl.
Docs: docs/mcp.md, docs/target-app-parity.md.
file.saveAsTemplate with format ait and aiVersion: "7" wrote the
legacy PostScript .ai of version 7 under the .ait name: for a
one-artboard test document, a 7,556-byte file starting %!PS-Adobe-3.0.
The web's Save as Template dialog showed the .ai Version menu for
.ait, whose Legacy (version 7) choice set aiVersion 7.
aiVersion 7 for a .ait is now an error, "aiVersion 7 writes legacy .ai
files; a .ait template is always PDF-compatible", and nothing is
written. The 17 catalogs that translate every message have a row for
it. The dialog shows no Version row for .ait, and aiVersion "pdf"
still writes the PDF-compatible template.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/file-format-parity.md
(two stale rows for .ai and .ait removed).
document.export, document.serialize, document.exportSelection and
Export for Screens rows answered "PDF-compatible .ait template files
can be opened but not written" for a .ait, although
file.saveAsTemplate writes them. The CLI's convert and run --export
call document.export, so vectorcraft-cli convert in.pdf out.ait
failed with that error.
The error now reads "PDF-compatible .ait template files are written
by file.saveAsTemplate", with a row in the 17 catalogs that translate
status messages and in bg, da, id and nl. convert and run --export
write a .ait with file.saveAsTemplate, which writes every artboard
with the .ai options. convert passes --replace-lossy and its .ai flags
on, and refuses --artboard and --range for a .ait.
Docs: docs/mcp.md, docs/target-app-parity.md.
In a CMYK document, paint.setFill stores an RGB color as CMYK through
the color settings, but the other commands that take a color stored it
as RGB: text.create, text.createInPath, text.setStyle and
text.setRangeStyle colors, a shapeBuilder.merge hex fill,
paint.editGradient stops, freeform gradient points, gradient mesh
points, the Symbol Stainer's color, and swatch.new {colors},
swatch.newGroup, swatch.editGroup and swatch.edit. The Mesh tool sent
the fill as a hex value, so a CMYK fill came in as RGB.
These commands now store such a color through paint::new_color, as
paint.setFill does, and take keepModel to keep RGB (shapeBuilder.merge
inside its fill object). A color the swatch
or gradient already has keeps its model, so stops sent back with a
moved offset keep their colors (the Gradient panel's ramp and the
Gradient tool send keepModel), and a stop that names a process
swatch takes the swatch's color as it is, in paint.setFill gradients
too. Where the app copies an existing color, it keeps the color's
model: the Color panel's sliders for gradient stops and freeform
points, a swatch put on a stop or a point (the stop popover, Alt-click
in the Swatches panel, a drop on the Gradient panel's ramp), the fill
the Mesh tool gives a new point or the Symbol Stainer applies, and the
colors the Color Guide, Color Themes and Recolor Artwork save as
swatches.
swatch.new {color, mode} converted RGB into CMYK before converting it
into mode, so the New Swatch dialog in RGB mode stored #00ff00 as
R101 G176 B62 in a CMYK document. With mode, the color is now
converted once.
Docs: docs/mcp.md, docs/target-app-parity.md.
The History panel and Edit › Undo and Redo did not translate the steps
that apply or redefine a character or paragraph style, or redefine a
graphic style. The engine built their names with format! ("Apply Body",
"Redefine Body", "Redefine Graphic Style “S”"), and the panel looks a
name up as a whole, so no catalog row matched a name with a style's
name in it. A name cannot be matched against template rows instead: a
character style named Brush gives "Apply Brush", which is also the name
of the brush step.
The engine now names these steps with Session::edit_named, and each
such step keeps its template and the style's name
(HistoryEntry::named) through undo and redo. The History panel and
Edit › Undo and Redo show the template's row with the name in it
(panels::history::entry_name). The name stays as the document holds
it, and the Normal styles' names are shown in the interface language.
Every complete catalog has rows for Apply {name} and Redefine {name},
and Redefine Graphic Style “{name}” had one.
every_undo_label_is_translated also requires a row for each template,
and the only step name it allows to be built with format! is the
Liquify tools' "{} Tool".
Docs: docs/target-app-parity.md.
A marquee measured an Intertwine group and a repeat by their bounding
box. A marquee in the gap between two members of an Intertwine group,
or between two copies of a repeat, selected the object, although a
click there misses and a plain group needs a marquee to meet one of its
members. Direct and Group Selection's marquees also selected the
Intertwine group whole beside the anchor points of its members.
The marquee now touches an Intertwine group by its members, as it
touches a plain group, and it touches a repeat by the copies the repeat
draws, as clicks hit them. Direct and Group Selection's marquees select
the anchor points of an Intertwine group's members, and Group
Selection's E marquee selects the members inside it. Blends, and
envelopes outside Edit Contents, keep their box, as clicks on them do.
Docs: docs/target-app-parity.md.
