Recovery copies are unsaved documents. FolderStore made its folders with
create_dir_all, so on Unix they got the default mode and other accounts on
the machine could read the copies. Folders the store creates are now 0o700.
A store folder that already exists (it can be one picked in Preferences)
keeps its mode; the area made inside it is owner-only.
The same change as storytold/pdfcraft#3320.
With Use Preview Bounds on, a bounding-box handle drag scaled the art by
the ratio of the visual box, so margins that stay (a stroke with Scale
Strokes & Effects off, an Offset Path reach) or scale by another factor
moved the opposite visible edge: dragging the right edge of a square with
Offset Path 10 from 210 to 310 left its left edge at 98.33 instead of 90.
The Selection tool now previews object.setBounds with the dragged visual
size and the opposite handle (with Alt, the center) as the reference
point, so the scale is solved from the geometric box and the margins the
visual box adds, for strokes with Scale Strokes & Effects on or off and
for geometry effects. Shift and Alt drags follow the same rule; a drag
that flips the box, and one with anchors selected, still scale by the
matrix. A previewed object.setBounds runs as object.transform with the
transform it finds, so Transform Again repeats the drag and the journal
holds that transform. The drag transforms a path of a compound path
selected on its own, as object.transform does, and leaves the art at
least 1e-4 of its width and height.
The renderer clips a clip group by its clipping path's geometry before
the path's geometry effects, and paints the path's strokes over the
clipped art without clipping them, with those effects. With Offset Path
on a stroked clipping path, the stroke paints along the offset shape
while the group was measured by the path's own stroke.
With Use Preview Bounds on, a clip group or layer whose clipping path
has strokes with geometry effects is now measured as the clipping
path's geometry and those strokes as drawn, in the Transform panel, the
bounding box, Align and Distribute. This holds inside groups and for a
clip group with a fill or stroke of its own. A clipping path
without a stroke still measures as the region it clips to, and a hidden
one adds no stroke.
With Use Preview Bounds on, every hover frame's cursor and every
pointer move measured the selection again, and with Smart Guides on
each selected object too, evaluating their geometry effects each time.
The session now keeps a PreviewMemo, which ToolContext::preview_memo
passes to the tools. selection_bounds, selection_box and the object
bounds that Smart Guides find centers in while hovering read it. The
memo holds the measurements for one key: the document's uid and
revision, the selected objects and Use Preview Bounds. A new key
replaces them. VectorcraftApp::selection_box in the UI keys on the
uid, the revision and Use Preview Bounds. A ToolContext without a
memo measures on every call.
With Use Preview Bounds on, the bounding box, the Transform panel,
Align, Distribute, Distribute Spacing and object.setBounds measured
each object without its geometry effects. A square with Offset Path
10 measured as the square, and type with Outline Object measured by
its layout box instead of its glyphs.
The new vectorcraft_effects::preview module measures objects as they
are drawn. A path is measured by its effected shape, with the
geometry effects of each fill and stroke that paints. Type, images,
live objects and symbol instances are measured by their reshaped art.
A group or layer with geometry or Pathfinder effects, or with a fill
or stroke of its own that has geometry effects or paints members with
geometry effects, is measured by its evaluated art. A blend, envelope
or repeat whose objects have geometry effects is measured by its
evaluated art, with those objects measured after their effects. Raster
effects are not measured. In one object, the art of at most 4,096 symbol
instances is measured with its geometry effects, and the other
instances are measured without them. With Use Preview Bounds off, the
measures are unchanged.
object.setBounds sizes objects with geometry effects by measuring
them after each scale it tries, so type with Outline Object set to
100 pt wide gets a glyph box 100 pt wide.
Selection::anchors_box is split out of Selection::anchor_bounds. The
doc comment of VectorcraftApp::selection_bounds said that it includes
effects; it now says that it leaves them out.
Double-clicking the Shape Builder tool reported that the tool has no
options. The reference app opens Shape Builder Tool Options there.
The dialog sets Consider Open Filled Paths as Closed, Pick Color From
(Artwork or Color Swatches), Cursor Swatch Preview, Selection (Freeform
or Straight Line) and Highlight Fill. The defaults keep today's
behavior. With Consider Open Filled Paths as Closed off, a filled open
path cuts regions as an unfilled one does. With Color Swatches, a merge
fills the new shape with the current fill, and the Left and Right arrow
keys step the current fill through the document's color swatches.
Cursor Swatch Preview shows the current fill and the swatches before
and after it above the pointer. With Straight Line, a drag merges what
the line from its first point to its last crosses. With Highlight Fill
off, merge mode shades no regions.
The options persist like other tools' options. shapeBuilder.merge
takes openFilledAsClosed and pickColorFrom, and shapeBuilder.regions
takes openFilledAsClosed. Gap Detection, "In Merge Mode, Clicking
Stroke Splits the Path" and Highlight Stroke When Editable are not part
of this change.
Docs: docs/mcp.md, docs/target-app-parity.md.
Holding Alt while drawing with the Paintbrush, or with the Pencil while
Alt key toggles to Smooth Tool is off, closes the path at the release,
but the cursor did not change. The reference app's Paintbrush shows a
small loop while Alt is held, and its Pencil shows a small circle.
Cursor::PaintbrushClose and Cursor::PencilClose show while Alt is held
with the Paintbrush, and with the Pencil while that option is off,
before the press and while drawing. Both tools still borrow the
crosshair, so the closing cursors are drawn as that crosshair with the
PenClose ring. Use Precise Cursors turns them into the plain crosshair,
as it does PenClose.
With Alt key toggles to Smooth Tool on, the Pencil shows the Smooth
cursor while Alt would smooth: with Alt held before a stroke begins to
draw, and through a smoothing drag even after Alt is let go. Before, it
showed the Smooth cursor whenever Alt was held, also during a stroke
that kept drawing, and not during a smoothing drag once Alt was let go.
Docs: docs/target-app-parity.md, crates/tools/src/cursors.toml.
With View › Snap to Grid on, a whole object moved with the Selection,
Group Selection or Direct Selection tool landed on the grid by
whichever of its two edges or its center was nearest a gridline on
each axis. An object on the grid whose width is an odd number of grid
steps has its center half a step between gridlines, so a short drag
could pull it half a step off the grid: on a 20 pt grid, a 100 pt
square at (100, 100) dragged by (8, 8) moved by (10, 10).
A move now lands the nearer of the two edges on a gridline on each
axis, as the reference app's help describes, and the center no longer
snaps. The square above stays at (100, 100). This changes the rule #769
chose for #740. The plain move and the Shift-constrained one both use
grid_pull, so both change.
Docs: docs/target-app-parity.md (Drawing aids).
object.isolate on a Shaper Group isolates the group's source group, but
the hidden and locked check ran on the Shaper Group itself, so a source
group hidden or locked with object.setProps was still isolated. The
check now runs on the object that isolation mode enters.
A click with the Selection tool does not select a hidden or locked
object, an object in a hidden or locked group or layer, or a guide path
while Lock Guides is on, but object.isolate isolated each of them. Once
a locked or hidden group, or a group on a locked or hidden layer, was
isolated, a Selection tool drag moved the member under the pointer. The
Layers panel's Enter Isolation Mode sent the same command for a locked
or hidden layer or group.
object.isolate now refuses a hidden or locked object, or one in a
hidden or locked group or layer, with "the object is hidden or locked"
(the text of layer.target), and a guide path while Lock Guides is on
with "guides are locked". Isolation mode stays off, and the selection
stays as it is.
Docs: docs/mcp.md.
- ui-egui: the font-install poll (#2576) only runs on native builds, but its
timestamp field, its initializer and FONT_INSTALL_POLL were compiled for
wasm too, where nothing read them. They're gated like the code that reads
them.
- engine: `Session::store_profile` is only called by the native Load
Profile (cmd/colormgmt.rs); gated the same way.
- app (macOS): `App::logic_frame` checked `!file_dialog_open()` twice, one
`if` nested in an identical one, with the comment repeated. One check.
`cargo xtask wasm` runs `cargo check` without `-D warnings`, so these
warnings didn't fail CI; after this change it prints none.
Optical Margin Alignment and Roman Hanging Punctuation hung punctuation
in point and area type only. Type on a path kept its first and last
glyphs inside its brackets with either option on.
When Optical Margin Alignment is on, or the first paragraph has Roman
Hanging Punctuation on, the glyphs at the ends of left-to-right type on
a path now hang outside its brackets by the same amounts, measured
along the path. The type hangs at the start bracket when its line is
placed there, hangs at the end bracket when the line is placed there,
and hangs at both when it is centered. Glyphs that hang past the end
bracket do not make the type overflow. On an open path a hang stops at
the path's end, and on a closed path the two hangs together take at
most the stretch between the end and start brackets. SVG export writes
type on a path that hangs as outlines, with a warning.
Docs: docs/mcp.md, docs/type-parity.md, docs/target-app-parity.md.
The reference app justifies Arabic text with kashidas, set per paragraph
with the Paragraph panel's Insert Kashidas list (None, Short, Medium,
Long, Stylistic). VectorCraft had no kashidas, so a justified Arabic
line was spaced out at its word spaces like a Latin one.
The Paragraph panel, with the Indic options shown, now has Insert
Kashidas. On a justified horizontal area type line that is shorter
than its measure, each Arabic word with joined letters gets one kashida
between its last pair of them, drawn as tatweels (U+0640) in the font
of the letter after it. The kashidas share the line's room equally,
each at most a quarter of an em (Short), half an em (Medium) or an em
(Long); a Stylistic kashida is a row of the font's own tatweels, up to
an em. The word spaces take the room the kashidas leave, so the line
keeps its width, and line breaks do not change. The letter after a
kashida advances over it, so the caret before that letter, a selection
of it and a click on it take the kashida in. None, the default, leaves
lines as they were.
In horizontal type that is not on a path, the caret in a letter drawn
with several glyphs (a letter with a vowel mark) is now placed by the
whole letter, as hit testing already measured it, instead of by its
first glyph.
text.setFormat takes kashida. The setting is saved with the paragraph
only when it is not None, paragraph styles carry it, and Reset Panel
sets it back to None.
Docs: docs/mcp.md, docs/target-app-parity.md.
Using a library's character or paragraph style, and scrubbing a
numeric field, closed their undo step with Session::end_undo_group,
which closes the open undo group of every document. An undo group open
in another document, such as one begun with edit.undoGroup.begin for
an MCP command_batch with atomic, was closed too, and that document's
next edits became undo steps of their own. When the style failed to
apply, or Escape ended the scrub, the other document's group was
canceled as well and the edits made in it were undone. Inside an undo
group already open in the same document, a scrub closed that group,
Escape undid the edits made in it before the drag, and a style that
failed to apply left the style it had added.
Session::begin_undo_scope and end_undo_scope make the edits in between
one undo step of the active document: the scope opens an undo group
there, or joins the one already open. Ending a scope closes only the
group it opened, in its own document, even when another document
became active in the meantime, and a canceled scope undoes only its
own edits, also inside a group that was already open. library.use and
the scrub use the scope, so Escape inside an open group also takes
back a scrub of the Transform panel's Shear field. edit.undoGroup.end
still closes the open group of every document.
When a cancel removes journal entries numbered below a recording's
start, the entries after them are numbered down. The recording's start
and the journal's hold kept the old number, so Stop Recording left out
as many of the recorded steps as there were entries removed, and the
hold no longer covered them. `Journal::remove` now moves the hold down
with the entries, and Stop Recording reads the start from the hold.
`Journal::replace` puts an entry in place of another and counts it at
its new size. A cancel uses it for the `document.activate` that takes
the place of a canceled group's entry that switched documents, so the
journal's size estimate does not keep the old entry's size.
A cancel cut the journal back to where the first canceled group began.
That also removed the commands run in other documents after it began,
which the cancel does not undo, so a replay of the journal lost them.
Each undo group now keeps the numbers of its own journal entries: the
commands that start and end in its document and the commands that edit
it. A cancel removes only those entries, and the later entries are
numbered down to close the gaps (`Journal::remove`). An entry of a
canceled group that also switched to another document, such as a batch
that draws and then activates another document, is replaced by a
`document.activate` of that document, so the commands after it replay
in the same document.
Session::end_undo_group with cancel cancels the open undo group of
every document. edit.undoGroup.end with cancel calls it, and so do a
field scrub ended with Escape and a library style that fails to apply.
The journal was then cut back to where the group of the last document
in the document list began, not to where the first of the canceled
groups began. When the group that began first belonged to an earlier
document, the journal kept the commands of that group's edits, which
the cancel had undone. After a scrub ended with Escape, which journals
no end command, replaying the journal drew those edits again.
Session::end_undo_group now cuts the journal back to the earliest start
of the groups it cancels.
The reference app's graphs help describes adding totals to a column
design: type in the design holds a percent sign followed by two digits.
VectorCraft drew that type as typed, stretched with the design.
Type in a column design that holds a % followed by two digits now shows
the value of each column or stacked segment in place of the % and the
two digits. The first digit is the least number of places before the
decimal point, with zeros added in front (0 for as many as the value
needs), and the second is the number of places after it. Values are
rounded half away from zero. The type keeps its own size and moves to
where the design's copy puts the point it is set from. A repeating
design shows it once per column, where a whole copy ending at the value
end puts it, and Chop Design does not cut it. A sliding design moves it
with the part of the design on its side of the guide. Type inside a
group that clips or has its own opacity, blend mode, appearance or
opacity mask, or inside a blend, compound shape, envelope, repeat or
intertwine, stays in the design and shows the value in each copy. Type
inside a symbol stays as typed. The legend swatch leaves the totals
out.
Docs: docs/mcp.md, docs/target-app-parity.md.
object.objectsOnPath.attach took a path inside a compound path, blend,
envelope, repeat or Intertwine group, or a clipping path, as the path
and put it into the new Objects on Path group, so it was no longer a
part of its container. As objects, a blend's key path, a repeat's
source art, an envelope's content and a clipping path were put into
the new group the same way.
The Objects on Path tool highlighted a blend's key path or a clipping
path and attached the selection to it.
objects_on_path::held now finds the container that holds an object.
The command refuses such a path or object with a reason, and the tool
does not highlight it or attach to it. A member of a compound path
given as an object still attaches as its whole compound path. The four
new messages have rows in every complete-message catalog.
Docs: docs/mcp.md (Objects on Path).
Object › Live Paint › Merge built the merged group anew and copied
only the bottom Live Paint group's name, opacity and blend mode, so
its lock, visibility, appearance, opacity mask, graphic style link and
other properties were lost. Make with a Live Paint group selected, and
a Live Paint Bucket click on a selected path beside a selected Live
Paint group, made a new group with a new id instead, and every face
took the fill of its paths again.
Merge now starts from the bottom Live Paint group, as Gap Options
does, and replaces only its faces, edges and paths and its Gap
Options. Make, and livePaint.fill with ids when the point is outside
that group's faces, add the other objects to the bottom Live Paint
group among them as Merge does.
Docs: docs/mcp.md, docs/target-app-parity.md.
An edge hidden on its own (for example with Object > Hide) while its
Live Paint group stays visible could still be highlighted, selected or
stroked, and a hidden edge nearer the pointer kept a visible one from
being picked.
lp_part_at now takes the nearest visible edge (visible_edge_near), inside
and outside the faces, for the hover, the Live Paint Selection click and
the Bucket's Shift-click. The Bucket's Shift-click sends nothing where no
edge is highlighted, and livePaint.strokeEdge also skips hidden edges, so
the Bucket strokes the edge it highlights.
Distribute Objects and Distribute Spacing space the selected ruler
guides across the axis (vertical ones for the horizontal options,
horizontal ones for the vertical options) together with the selected
objects, as items with no size. Guides along the axis stay where they
are. Two or more guides selected without objects are enough, and the
Align panel's Distribute buttons are enabled for them. With Align to
Artboard, the outermost items go to the artboard's edges.
A key guide (select.key {guide}) is one of those items. With a spacing,
it stays put and the other items are spaced from it, as from a key
object with no size; a key guide along the axis leaves everything where
it is. The Align panel sends the Distribute Spacing value with both
rows of Distribute buttons while a guide is the key, and enables the
value for it.
brush.new and brush.options refused a Hue Shift colorization given
without a key color ("invalid brush: missing field `key`"), and only
Brush Options picked a default. The reference app's Brushes page says
that by default the key color is the most prominent color in the art.
A Hue Shift colorization without a key now takes the solid color that
the art's fills and strokes use most, the first one found on a tie, or
black when the art has no solid color, as Brush Options already does.
Brush definitions read from a document get the same default.
brush.options replaced each field its params named, so an edit that
gave only the colorization method or only an art brush's start guide
was refused because the key or the end guide was missing. It now
merges colorization and an art brush's scale field by field.
Docs: docs/mcp.md, docs/target-app-parity.md.
Document Info had no Brushes category, and document.info refused
category "brushes". The reference app's Document Info panel menu lists
Brushes after Graphic Styles.
Document Info now has a Brushes category after Graphic Styles. For the
whole document it lists the Brushes panel's brushes. With Selection
Only it lists the brushes that the selected objects' strokes use, each
once. document.info gives the names as brushNames, the panel's flyout
offers the category, and the text report that Document Info › Save…
and File › Package write has a BRUSHES section.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app's View menu has Show Live Paint Gaps, which
highlights the gaps in the selected Live Paint group based on the gap
options set for that group. VectorCraft had no such item.
View > Show Live Paint Gaps (view.livePaintGaps) turns the highlight
on or off, and the item reads Hide Live Paint Gaps while it is on.
While it is on and edges show, the canvas draws the gaps of each
selected Live Paint group up to its Paint Stops At size, the gaps that
livePaint.info lists. It draws them as the Gap Options preview does,
as lines in the group's Gap Preview Color. The setting works as View >
Hide Text Threads does: one setting covers every document, it is saved
with the interface state, and Hide Edges hides the gaps. It is off by
default.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app's Brushes panel menu has Select All Unused, which
selects the brushes that are not used in the document. VectorCraft's
Brushes panel menu had no such item, and no command listed the unused
brushes.
brush.unused (Select All Unused) is a query that lists, in library
order, the brushes no stroke paints with. Strokes in the art and its
opacity masks, in symbols, graph designs, pattern tiles and graphic
styles count, and so do strokes in the art of a brush that is used.
The art of a brush that is not used does not count, so a brush whose
own art is the only art that paints with it is listed, and so is a
brush used only in the art of an unused brush. The Brushes panel
menu's Select All Unused selects these brushes, and Delete Brush and
Duplicate Brush then act on them.
Docs: docs/mcp.md, docs/target-app-parity.md.
Select > Object > Bristle Brush Strokes selected the objects whose
brush name contains "bristle". It missed objects with a bristle brush
of any other name, and it selected objects whose brush is of another
type with "Bristle" in its name.
select.object.bristleBrushStrokes now looks up the brush of each
object's topmost stroke in the document's brush library and selects the
object when the brush is a bristle brush, whatever its name.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app adds a new fill with Ctrl+/ on Windows and Command+/
on macOS, and it adds a new stroke with Ctrl+Alt+/ on Windows and
Option+Command+/ on macOS. VectorCraft had Add New Fill and Add New
Stroke on the Appearance panel, with no default key for either.
appearance.addFill now has the default Cmd+/ and appearance.addStroke
has Cmd+Alt+/, which are Ctrl+/ and Ctrl+Alt+/ on Windows and Linux.
Like the panel's buttons and menu items, each key runs its command with
no params and adds the item to every selected object. Keyboard Shortcuts
lists both under Window › Appearance with their keys, and press_key
runs them for agents.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
In a clip group or a clipping layer the bottom child is the clipping path.
Object › Arrange moved the selected children with no regard for that slot:
Send to Back (and Send Backward from just above it) put the art under the
clipping path, so the art became the clipping path, lost its role as art,
and the group drew nothing. Bring Forward / to Front on the clipping path
itself would likewise have made art the clip. Layers-panel moves already
keep the clipping path at the bottom (layer.rs, `index.max(1)`); arrange
didn't.
- object.rs `arrange`: in a parent that clips, the clipping path is left
where it is and the art is arranged within the slots above it (Back goes
to just above the clipping path, Backward stops there).
- tests: Back, Backward, several objects, and Forward/Front on the
clipping path in a clip group (with a render check); Send to Back in a
clipping layer.
craft-docpath follows a stored path only on this computer or on the
share the document is on, but its check is lexical and cannot see
mapped drives. fileio::document_path therefore followed a link stored
as Y:\img\logo.png, where Y: is mapped to \\server\other, from any
document: opening the document, links.check, Link Info and the
linked-file watch read or stamped the file on that server.
On Windows, document_path now reads the final path of the root folder
of a link's drive (std::fs::canonicalize). Windows opens that root
folder on the drive's server to answer, so the check still contacts
the server once per lookup; no file on it is read, stamped or watched.
When the final path names a share, the link is checked against the
document's path on its share, and a link on another share is refused
as on another computer, as a link stored with that share's own path
is. Links on this computer's drives and on the document's share are
followed as before, and a link on the document's own drive is not
looked up. A document opened as \\?\Z:\... is looked up on its share
as Z:\... is. Other systems are unchanged.
Docs: docs/mcp.md, docs/target-app-parity.md.
The version 7 .ai writer wrote the %_Bs color stops of every gradient
from ramp point 100 down to 0. The Adobe Illustrator File Format
Specification version 7.0 lists a linear gradient's stops in that order
(section 1.4.3). Its radial definition, "White & Purple Radial", lists
them from 10 to 100 (section 3.5.2). As reported on #2807, the
reference app reads both stops of #2687's radial gradient, written from
100 down to 0, at ramp point 100 and draws the circle in #1b2a6b. It
reads a radial gradient with three stops written that way in reverse
order.
The writer now lists a radial gradient's stops from the first to the
last. Each stop is written with its own midpoint to the next stop, and
section 3.5.2 says the last stop's midpoint is ignored. Linear
gradients are unchanged.
The desktop app reads the User Defined swatch and graphic style
libraries while it creates its window: set_user_dir runs
Libraries::rescan, which read and parsed every file in the folder
outside the panic guard that commands have. A parser bug that panicked
on one file stopped the app before its window appeared, at every
launch while the file stayed in the folder.
rescan now reads and parses each file inside guard::catch_panic and
skips a file whose reading panics, as it skips one that can't be read.
The other libraries are listed.
A live-effect plug-in was given only its object's geometry. An effect
that draws as wide as the stroke it sits on, or tells its fills apart,
had to ask for them again as parameters, which then went stale when
the paint changed.
A live effect's input object now holds the object's fills and strokes
too, read only and in the form a filter gets them (one encoder,
objects::paint_lists, for both), and _context.item says where the
effect sits: "object", or {"fill": i} / {"stroke": i} for an effect in
a fill's or a stroke's own effects. effects::GeomContext carries the
object's appearance and the item, and the plug-in cache keys on the
paints, so a change of paint runs the plug-in again. Hosts from before
this give geometry only; nothing in the output changes.
Expand worked a fill's geometry effects out in the object's context, so
a plug-in effect there would be told "object" and a gradient fill was
expanded into a shape the canvas doesn't draw: fill_shape now gives them
the fill's context, as drawing does (expand.rs).
Siblings named with a declared prefix, the other half of such context,
are left out: the effected geometry is worked out from the object alone
wherever it is drawn, measured, hit-tested or expanded.
wat::when_given is a plug-in whose output depends on whether its input
or parameters hold a text. tests_plugins.rs uses it to check that an
effect sees the stroke's width and the fill, runs again for a thinner
stroke, and on a second stroke is told so; effect.rs checks the item
counting; a gradient fill under such an effect is drawn and expanded
into the same triangle. CRAFT_PLUGIN_PAINTS_WASM=<folder> saves a test
effect to try in the app.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
A plug-in could filter objects or reshape them as a live effect, but
nothing it made could leave the app: pen plotters, cutting machines and
laser cutters read formats VectorCraft doesn't write. An exporter is a
third kind of plug-in ("kind": "exporter", with the file "extensions"
it writes), in the same sandbox and with the same ABI v1 exports.
- It adds a write-only format, plugin.<id>. document.formats lists it
with its plug-in id, and document.export writes it by that id, or by
a path ending in one of its extensions that no built-in format has;
"params" carries its parameters, checked against its manifest as a
filter's are.
- File › Export › Export As lists it after the built-in formats, with
Use Artboards greyed out, since the plug-in writes the whole
document. One with parameters asks for them in a dialog generated
from its schema (pluginExport) once the file is picked.
- The plug-in is given the native file's JSON (format::json_part:
images of 8 KiB or more without their data) and _context {mode:
"export", extension, name}. It returns {"dataBase64", "warnings"?}
or {"error"}. The host writes the file, and nothing when the plug-in
declines or returns bad data.
- An export gets 10 G instructions plus 4,000 per byte and 300 s.
Background Export's Cancel stops it between two slices of that
budget (Error::Cancelled), and a cancelled live-effect run is not
cached as a failure.
- plugin.run and Object › Plug-ins say where an exporter is instead of
calling it a live effect.
engine/tests/plugin_export.rs reads back what an exporter is handed
with wat::echo_exporter, an exporter whose file is its input or its
parameters (its base64 encoder is written in WAT). The document it is
given is document.save's JSON, without the large image's data, and its
parameters arrive defaulted, clamped and with the file's name and
extension. It also covers listing and removal, built-in extensions
winning, selectedOnly, declines, bad base64, missing data, warnings,
and Cancel stopping a plug-in that never returns. It is a test binary
of its own: installed plug-ins are process-wide, and the format-list
unit tests check exact lists. dialogs/tests_plugin_export.rs drives
Export As headlessly; plugins/tests/abi.rs covers the budget, the
parameters and the echo exporter; format/tests/native_v4.rs covers
json_part.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01HhvnnnD5fTFupK8WWq35un
With Include SVG Code on, Copy offered the SVG markup as plain text with every placed image
embedded as base64: a 13 MB photo made 17 MB of text. A paste reads the text first (eframe on
every paste key; on Linux and macOS it is the one format written, and holds_ours reads it again),
so each paste moved it through the system clipboard on the UI thread, and on GNOME the app
stopped responding.
The SVG markup now goes out as text only while the images it embeds total at most 1 MiB; above
that it is offered as image/svg+xml and PNG. Type keeps its text, and vector art keeps its SVG
text at any size (only embedded image bytes count).
Windows 11, Ryzen 5 2600X, 13 MB PNG, real Ctrl+C: the longest UI stall fell from 823-1021 ms
to 133 ms. Not run on Linux.
Squashed from #2533 onto #2525 (Smudge Stick, Sponge, Watercolor): both sets in PIXEL_EFFECTS (45), the catalogs and the docs, whose counts now read 45/57.
A lone object selected with ruler guides can be the key (the Selection
tool's click on it), and Align to the key moves the other selected
guides to its edge or centre: vertical guides to left, centre or right,
horizontal ones to top, centre or bottom. Parallel guides line up on a
key guide. Aligning to the selection or the artboard leaves guides alone.
A click with the Selection tool on a guide selected with objects makes
it the key (select.key {guide}), drawn thicker; a click on it again
cancels it. Align to Key Object is on with one object and a selected
guide and makes the guide the key. object.align lines the objects (or
selected anchors) up on the guide's line and leaves the guide where it
is: a vertical guide sets x only, a horizontal one y. The selection
keeps key_guide beside key, never both; it goes with the guide or the
objects, and follows the guide when earlier guides are deleted.
Distribute Spacing doesn't space from a key guide.
The list fills the panel down to its bottom bar and scrolls, also while a drag nears its top or
bottom edge (in the dock and in a flyout, as the Layers panel does).
Dragging in the list:
- an item (colour, text style or graphic) dropped on another of its kind lands just before or
after it, by the pointer's half, an accent line showing where, and joins that item's group;
- dropped elsewhere on a group (its header too, even collapsed) it goes into that group, and on
the ungrouped items out of its group, the section outlined; with every item grouped, a
"Drop here to take it out of its group" strip shows while one is dragged;
- a group dragged by its header goes before or after another group.
Colours and graphics still drag onto art and the canvas as before.
Engine: library.moveItem takes `before` / `after` (an item of the same kind) to place the item
in its kind's order, which the panel shows; the new library.moveGroup {group, to} moves a group.
Text styles drag as PanelDrag::LibraryItem, groups as PanelDrag::LibraryGroup, and a library
colour's Paint drag names its library item, so the panel tells it from a swatch dragged in.
Tests: reordering and moving in the engine, the commands in the library fuzz test, and panel
tests that drop styles and group headers and check the list scrolls and scrolls while dragging.
Strings translated in the 23 catalogs; docs/mcp.md and the parity row updated.
oracola91