Highlight Substituted Fonts is now a preference in Preferences › Type,
next to Highlight Alternate Glyphs, on by default and saved with the
other preferences (`prefs.set highlightSubstitutedFonts`). The canvas
reads it through `RenderOptions::highlight_substituted_fonts` for every
open document; a document's own setup no longer decides it. File ›
Document Setup no longer shows the checkbox and keeps Highlight
Substituted Glyphs.
A file saved with Document Setup's Highlight Substituted Fonts off now
shows the pink highlight when it opens, while the preference is on.
The file still opens with the stored value, and saving it again keeps
that value.
`document.setup` no longer reports `highlightSubstitutedFonts`. It
ignores the key and adds a `warnings` entry that names `prefs.set` to
its reply, so an older reply passed back still applies its other keys.
The raster cache of type under a raster effect now also redraws when
Highlight Alternate Glyphs changes.
Pointer Events report a press of a pen's eraser end as the eraser button
(button 5). The browser build ignored that press. It now presses like the
tip, and the web runner writes the pen's samples into a stylus feed with
the end they came from, so the canvas selects the Eraser tool before the
press and the press erases. The next press of the tip selects the tool
used before, as on Linux and macOS. A hovering pen keeps the end it last
pressed with, since Pointer Events report no end while a pen hovers. A
mouse or finger takes the pen out of the feed; a palm rejected while the
pen presses does not.
Docs: docs/hardware-parity.md, docs/gaps.md (G14),
docs/target-app-parity.md.
With Windows Ink, winit reports a pen as a touch and drops its pen
flags, so on Windows the eraser end of a pen draws with the current
tool. The message hook that reads the barrel button now also reads
each pen pointer message's POINTER_PEN_INFO and writes the pen's
pressure and end into the canvas's pen feed: PEN_FLAG_INVERTED or
PEN_FLAG_ERASER is the eraser end. The canvas then selects the Eraser
tool and the tip brings back the tool used before, as on Linux and
macOS. A pen leaving detection range or the window, another pointer,
or a mouse message that Windows did not make from a pen or a touch
clears the feed, so a mouse presses fully.
Draw freeform paths with the Pencil tool says a small star appears on
the Pencil when it is ready to draw a freeform path, and Reshape paths
with the Pencil tool says the star disappears over a selected path the
drag reshapes. The Pencil cursor had no star.
- New Cursor::PencilNew: the Pencil's crosshair with a small star where
the closing cursor has its ring. It becomes the crosshair with Use
Precise Cursors and as a system cursor.
- The Pencil shows it before a press when neither find_extend nor
find_redraw (the lookups the press uses, within Edit Selected Paths)
finds a selected path under the pointer. Over such a path and while a
stroke is drawn, the cursor has no star.
Docs: docs/target-app-parity.md.
Art Brush Options' Width had no pen tablet option, so an art brush
drew at one width whatever the pressure. The Width row now has a
Fixed or Pressure menu and a second width. With Pressure the art is
Width wide at the lightest pen pressure and the second width at the
heaviest, following the pressure the Paintbrush recorded along the
stroke, and half way between the two on a stroke drawn without
pressure. brush.options takes width_mode and width_max; a brush
without them is saved as before.
Pencil Tool Options has a Live curve fitting checkbox, on by default.
With it off, the path shown while a Pencil stroke is drawn joins the
stroke's points with straight segments, and the release fits the curve
at the Fidelity, as it does with the option on. Choosing another tool
while a stroke is drawn also keeps the stroke fitted. The option is
saved with the tool's other options.
path.freehand takes fit (true by default): with fit false, a new path,
a continued path and a redrawn section join the points with straight
segments.
The reference app detects lists typed as 1., 1), A. or A), and makes
custom bullets from *, #, > or + followed by a space. In VectorCraft
the characters stayed as text.
When the Type tool types a space on its own after one of these at the
start of a paragraph in no list, the typing so far becomes one undo
step. The new command text.startList then removes the typed characters
and the space and makes the paragraph a numbered list in 1, 2, 3 or
A, B, C, or a bulleted list with the filled dot. A paragraph with no
indents gets the 18 pt hanging indent. One Undo puts the characters
back as text with no list, and the caret goes on after them; Redo
removes them again. The same characters later in a paragraph, list
characters pasted in one piece with the space and a paragraph already
in a list start nothing.
Docs: docs/mcp.md, docs/target-app-parity.md.
After imageTrace.setView, screenshot and render_preview still drew the
tracing result, because ui.render renders with the export options and only
the canvas turns on trace views. Only the app window showed the view.
ui.render now takes traceViews. With traceViews: true, Image Trace objects
draw in the view set with imageTrace.setView, as on the canvas, both
headless and in the running app. screenshot and render_preview take
traceViews and pass it on; without it they draw the tracing result, as
exports do. The trace-and-style prompt names the argument.
A supersampled render drew Outline view's lines, type outlines and dotted
guides as little as a quarter of an output pixel wide, so they came out
pale gray. The renderer now scales those widths and the guides' dashes by
the supersampling factor in the larger frame, so the lines stay one output
pixel wide.
Docs: docs/mcp.md (render_preview, screenshot), docs/control-protocol.md
(ui.render).
ui.dialog.set stored any field name it was given, so a misspelled field
(`discrad` for `discard`) was kept without effect and the dialog then
ran with its old value. It now answers such a field with an error that
lists the dialog's fields, and leaves the dialog unchanged.
A dialog accepts the fields it holds, `__` fields, `discard` with a
discard button, `preview` with a live preview, the fields it reads
before a control adds them (each spec's `inputs`, for example Copy and
the object options of the Transform dialogs, Move's `distance` and
`angle`, the reference point, `path` of the export options dialogs,
`searchFolder`, Brush Options' `tips`, the Justification and
Hyphenation values that open blank, the Corners `kind` and `radius` of
corners that differ, the Gradient Stop popover's `color`, `opacity`,
`location` and `spread`, and a new artboard's `color` and display
marks), and the fields it passes to the command it runs: every
parameter of the generic `command` dialog's command, and the
`textureImage` that Load Texture… sets in the Glass and Texturizer
effects. Edit Selection now opens holding `deleted<i>` for each of its
rows, so setting a row number it does not have returns an error, and
Transparency Flattener Presets opens holding the selected preset's name
and options instead of adding them on its first frame.
With Preview off, changes made in the Image Trace panel for one Image
Trace object were lost when another object was selected: selecting the
first object again showed its stored settings. The panel now keeps the
waiting changes for each object and shows them again when that object
is selected, unless the object's own settings changed in the meantime.
When Preview was turned on while another object was selected, the
object is traced with its changes when it is selected again.
Preview is now the UI command imageTrace.preview ({on?}: on, off or
toggle), and both the panel's checkbox and ui.set's imageTracePreview
run it. The command label has a row in every catalog.
With the Document Library palette, each pixel took the library color
nearest in plain Oklab distance. A 50% gray lies nearer in that distance
to a saturated blue of the same lightness than to black or a light
cream, and a muted brown is also nearer to the blue than to either. With
a black, cream and blue library, both traced as the blue.
This changes how Document Library matches pixels: each pixel now takes
the library color nearest with differences in hue and chroma (Oklab a
and b) counted three times as much as lightness. The same measure picks
which library colors are used. Neutral and muted tones take a neutral
library color, and the other palettes are unchanged.
With Method Overlapping, each color layer covered every pixel of the colors
above it in the stack. A small dot or square on a background was then traced
once in its own color and again, at the same bounds, in every color between
the background and it, and with Shapes on each copy became its own live shape.
Those layers also ended on edges they never touched and showed through the
anti-aliased rim there.
Each layer now leaves out every 4-connected part of its stacked area that holds
no pixel of its own color. This changes the result of many Overlapping traces,
the photo presets included: fewer paths (High Fidelity Photo 121 to 69.6 on its
own quality inputs, Low Fidelity Photo 37.1 to 26.1) and no rim, around a
shape, of a color that sits apart from it. One existing test that counted the
extra copies now expects one layer per area, and another that compared layer
pixel counts now checks that the bottom layer covers the whole image.
CodeRabbit on #4080: `needed` summed footprint pieces before insertion
deduplicated them, so on a degenerate grid (ten collinear lines, 4,096 pieces
each in ten cells) every item exceeded the budget and went to the scanned list,
making the per-cell assertion vacuous. The cells are now collected in piece
order and consecutive repeats dropped before the budget check and the filing;
the horizontal fixture asserts `rest` is empty and that the lines are filed.
docs/target-app-parity.md: the Path operations area row, the Shape Builder
row and the evidence list record the bounded index (scores unchanged).
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
Follow-up to #4021. The grid filed each piece of a segment under its cells
without checking, so a degenerate grid (collinear horizontal lines: cells a
hundred points wide and a hair tall) stored one segment ~400 times per cell,
and coincident vertical segments (one column, a row per segment) filed every
segment under every row: a quadratic number of references, about a GiB for
16,384 segments within the Shape Builder's limit.
Now a segment is filed once per cell (its pieces come in order, so the cell's
last entry is enough to check), and the grid holds a budget of references
(64 per item plus four rows' or columns' worth, `reference_budget`); the
items past it go to the scanned list, so the index stays O(n·sqrt(n)) in
memory and every lookup still finds every segment through its point.
Regression: `rect_index_holds_a_bounded_number_of_references` (fails without
the change: 4,100 references per cell for ten collinear lines).
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_014gCpjL3yUhaH3jRp7ksufh
draw_path, draw_shape and object.setProps take opacity in percent (0-100),
but the document.inspect / document.node summary behind doc_inspect,
inspect_document and vectorcraft://object/{id} reported the stored 0-1
fraction under the same name. An agent that read 0.55 and wrote it back
got a nearly invisible object.
The summary now adds opacityPct (0-100, rounded to 1/100 of a percent)
beside the unchanged opacity, and the tool, resource and command
descriptions say which scale each field uses. Round-trip test in the mcp
crate: draw at 55 %, read 55 back from doc_inspect, inspect_document and
the object resource, write it back unchanged.
An undefined number (--) in `-- -- angle length Bh` is read as a radial
gradient with no highlight, and XC (a color space name after a linked
image's file name) is ignored like its neighbours. Either one used to make
the whole editing data unreadable, so the file opened as its PDF part and
lost its layers and live text. A -- anywhere else is still an operator the
reader doesn't know.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
wasmi compiles each function of a plug-in when it is first called and,
by default, charges the run that calls it 7 instructions for each byte
of the function. The host hands a run its budget in 20 M-instruction
slices and resumes it when a slice runs out. But when a slice runs out
while a function compiles, wasmi returns an error from the call, not an
out-of-fuel pause, and the host reports it as Limit("instruction
budget"). So a plug-in's first run could fail with most of its budget
left, depending on where the slices fell, and the next run, with its
functions compiled, succeeded.
StitchCraft's PES exporter hit it on a design of 98 × 148 mm. In
VectorCraft 0.17.0's host its first export failed with 10 G and with
275 G instructions alike, and its second succeeded, taking under 1 G.
Run on wasmi directly, with the host's slices, the first export failed
in its 36th slice ("required_fuel=174139"), and with compiling free it
finished in 49.
Compiling now costs nothing: wasmi's fuel costs with no cost for
translating or validating, and its default cost for copying. A run pays
for its own instructions only, as many on its first run as on the next.
Compiling every function when the plug-in loads (CompilationMode::Eager)
also fixes it, but loads a 1.4 MB module in 42 ms instead of 10.
The new test fails without the change: a run that takes 1,040
instructions once its functions are compiled failed within them on a
plug-in just loaded.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
* Build: craft-libs at 2869b8cc
Pin craft-pdf, craft-print, craft-docpath, craft-ui, craft-keymap,
craft-window and the patched hayro/krilla backends to craft-libs
2869b8cc1077530bd07a7e192fb2b0e1304a1354, with the pdf-deps gate,
NOTICE, ASSETS.md and docs/pdf-backend.md at the same revision.
PDF: no modification date beyond the creation date, DeviceN images
are not JPEG-encoded, and clipping text draws nothing (its outlines
arrive as a clip path).
* Docking: compile against craft-ui at 2869b8cc
Floating windows are trees of groups: window_panels and window_active
read one as a flat group, and windows rebuilt from the legacy groups
keep their ids. Unknown dock actions are rejected, the new ones are
checked like the old, and every panel a close action removes keeps its
return location.
* Docking: panels and canvas on craft-ui's docking area
* Docking: tests for the dock area, flyouts, floating panels and the Tools panel
* Docking: catalogs without the old dock's strings
* Build: craft-libs at 8a503cfe
* Docking: floating panels in OS windows of their own on the desktop
* Docking: modal dialogs block panel windows; their keys and dropped files reach the main window
* Docking: art dragged onto a panel in its own window drops there
* Docking: module doc names the OS windows
* Build: craft-libs at a042cf26
* Docking: onto, above, below, collapsed, icon and column places on Float and Dock Panel; ui.docking
* Docking: command descriptions of Float, Dock, Move and Collapse Panel for the craft-ui layout
* Docking: control protocol describes the craft-ui layout, its commands and ui.docking
* Docking: rustfmt
* Docking: layouts saved before the canvas joined convert on load
Saved ui.json files and workspaces from before the shared layout held the
canvas (a dock-only tree plus floating_panels, docking_icons,
docking_collapsed, dock_collapsed and dock_width) convert into one layout:
the dock tree's groups in the main column, the icon column with the panels
dropped on it, floating groups and sets, sets docked as columns, collapsed
groups, the dock width and the places of closed panels. The legacy fields
are read, never written. A ui.json read only in part is copied to
ui.unreadable.json before anything saves over it.
* Docking: catalogs without the old collapse message
* Docking: converted floating sets start at most 720 points tall
* Docking: closed icon panels convert into the icon column; old floating rects, set heights and a copy of the file before conversion
* Build: craft-libs at 27e60765
* Docking: dock column places and icon count from the icon column; a docked column moves to a later place
* Build: craft-libs at d24e4bcc
* Build: craft-libs at 5bbe9f62
* Docs: floating panels in OS windows of their own close the other-monitor gap
* Docking: keys forwarded from a floating panel's OS window run shortcuts while the main window is unfocused
The old pen glyph was a crude pentagon with a floating dot and a stray
stem. Redraw it as the precision instrument it is: the pen-tool icon's
nib — sharp point on the hotspot, shoulders flaring to their widest
two-thirds back, a narrower flat heel, a slit widening into the round
breather hole — swung round onto the selection arrow's midline
(arrow_axis), so holding Cmd/Ctrl to swap between the Pen and the
selection tools no longer rotates the cursor under the pointer.
Badges keep their meanings (*, +, -, o, /, j, ^, ~) and multi-stroke
ones now draw all halos under all ink via strokes(), so neighbouring
strokes no longer cut each other into blobs.
Without an artboard choice an EPS export writes one file of the visible
art, not one file per artboard. options.rect is also refused with
options.artboards, as page_rect checks every artboard param.
With nothing selected and no ids, set_paint changes only the paint for
new art, but its reply was the same as when it painted objects, so a
caller could not tell that no object changed.
paint.setFill, paint.setStroke, paint.none, paint.lastColor,
paint.lastGradient and stroke.set now reply {objects}: how many objects
took the paint, as the commands resolve their targets (a selected group
counts the objects inside it). set_paint adds the largest of those
counts to its reply as `objects`, and when it is 0 a `note` says that
only the paint for new art changed. The tool description and the
set_paint row in docs/mcp.md describe the reply.
With Shift or Alt held (Alt only while Alt key toggles to Smooth Tool
is off), a Pencil press on an end of a selected open path draws a
straight line that continues the path, but before the press the cursor
was the plain straight-line cursor. Draw straight lines with the Pencil
tool says a path-continuation icon appears on the Pencil over that end:
https://helpx.adobe.com/illustrator/desktop/draw-shapes-and-paths/draw-shapes/draw-straight-lines-with-the-pencil-tool.html
Over such an end the cursor is now PencilContinue, the straight-line
cursor's line leaving a small filled square.
The check is the one the press makes (Edit Selected Paths, the same
end lookup). Away from the ends, with Edit Selected Paths at 0 pixels,
with nothing selected and while the line is drawn, the cursor is as
before.
Docs: docs/target-app-parity.md and docs/ui-parity.md, where the
duplicate Pencil lines and rows left by earlier merges are cut to one.
A misspelled parameter key got a did-you-mean suggestion, but a
misspelled command id only got "unknown command `select.al`", through
the CLI, MCP and the control channel alike. Session::execute now names
the nearest command id, using the same matching as parameter keys
(ignoring case), and action.batch does the same for an unknown step. An
id with no near match keeps the plain error.
The matching skips candidates whose length differs by more than the
allowed number of edits, so a very long unknown command id or parameter
key is answered at once instead of being measured against every command
id or accepted key.
The new message has a row in every catalog, and docs/mcp.md's
Parameter keys section shows it.
New Symbol and Redefine Symbol replaced a frame of threaded text by a
symbol instance whose art holds a copy of the frame. The thread's
re-flow then added the frame's text to the story, as it does for a
frame that was deleted, so the other frames held that text a second
time while the instance drew it.
A frame that New Symbol or Redefine Symbol puts in the symbol now
leaves its thread with the text it shows, and the other frames keep
the text they hold, as with Create Outlines, Expand and Flatten
Transparency. When the thread's last frame goes into the symbol, the
text it has no room for goes after the text of the last frame that
stays, and the copy in the symbol's art holds only the text the frame
shows. When every frame of a thread goes into the symbol, the copy of
the last frame keeps all its text. Undo restores the thread.
Docs: docs/mcp.md, docs/target-app-parity.md.
With Method Abutting, neighboring colors share one exact edge. The canvas
smooths each path's edges on its own, so each path covers only part of the
pixels along that edge, and a thin line of the background can show between
the colors. The adjustments page did not say so. It now describes the line,
names the default and the presets that use Abutting (Default, Auto Color,
3 Colors, 6 Colors and 16 Colors), says which exports show it (SVG and PDF
in most viewers; raster exports with Type Optimized, or with Art Optimized
above 10 million pixels or 16,384 pixels on a side), and points to
Overlapping, which stacks the colors and shows no background along shared
edges.
dotCooCoo