A PNG, JPEG, GIF or WebP image that takes more than the decode
allowance as RGBA (2 GiB, 512 MiB in the web app), such as a 24000 ×
24000 JPEG, was placed with the warning "too large to draw" and then
drew as a crossed gray box on the canvas and was left out of raster
exports. A 16-bit PNG whose decoded samples were past the allowance
was shown the same way, with the same warning, although its RGBA fits.
The renderer now decodes such an image at the largest size, keeping its
proportions, that fits the allowance as RGBA. Each pixel of the result
is the mean of the image's pixels it covers. A PNG that isn't
interlaced is read a row at a time; other images are decoded whole when
their decoded samples fit the allowance. A 16-bit PNG that isn't
interlaced and whose RGBA fits is read a row at a time at its own size.
An image of more pixels than the allowance has bytes still draws as the
crossed box, and so does one whose decoded samples are past the
allowance, other than a PNG that isn't interlaced. The renderer
decodes an image at reduced size only while the result and the memory
reading it takes (the image decoded whole, or the PNG reader's row
buffers) fit beside the images being painted; otherwise the image is
not decoded on that render (on the canvas it draws as the crossed box)
and is tried again on the next render. The document keeps the whole
file for saving and export. A placed document's saved preview past the
allowance is decoded the same way, at the size it is drawn at or at the
reduced size when that is smaller.
Open, Place and the Links panel say "an image of W × H pixels is shown
at reduced size" for an image drawn smaller. They say nothing for an
image drawn at its own size, and they say "too large to draw" for one
that is not drawn at reduced size.
Docs: docs/mcp.md, docs/target-app-parity.md (the crossed box's line
now names an image over the allowance that can't be drawn at reduced
size).
A command.batch that edited a document with an undo group and then a
document without one was dropped from the journal as a whole when the
group was canceled, so a replay lost the second document's edit, which
the session kept. Each batch step is now noted in the undo groups it
belongs to, by the same rule as a top-level command, and a cancel takes
only those steps out of the batch's journal entry. A step that changed
the active document becomes that change. Undo groups that stay open
follow the entry and step numbers that a cancel changes.
Found while testing crates/engine/src/cmd/fileio/screens.rs:168-177 (safe_file_name)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Found while testing crates/engine/src/cmd/fileio/screens.rs:49 (ScreenSize::parse)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
useArtboards: false writes one file of the visible art even when artboards are named. With useArtboards absent, naming artboards writes the same files as useArtboards: true, including the no-art exception for the central file. The option description and the document.exportEps params text now say so, and the EPS test covers both cases.
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.
In a file name pattern, <filename> is documented as the document's name
without its extension, but it expanded to the File Info title whenever the
document had one, so a saved my-logo.vectorcraft titled "Logo: final
version" exported as Logo--final-version__Artboard 1.png. The Full
Document file and the .zip took the same title.
Export for Screens and the dialog's Example line now take <filename> from
the document's file, as Save names it (save.rs), and fall back to the
title only for a document that has not been saved.
A paragraph split between two threaded frames took its first-line
indent again at the top of the next frame, and a list paragraph drew
its bullet or number there again. Each frame is laid out on its own,
and its first paragraph kept every paragraph attribute there.
A text object now marks a frame whose first paragraph continues from
the frame before (first_para_continues, not saved). The thread re-flow
sets the mark where each frame's share starts inside a paragraph and
measures each share with it, and a restored document reads the marks
from its saved text. Area type and type on a path set the first line of
such a paragraph as a wrapped line: no first-line indent and no bullet
or number. The paragraph after it takes the next number. Release
Selection, Remove Threading, Convert To Point Type and copies of a
frame clear the mark, so the first paragraph there has its indent and
bullet or number again. When Create Outlines, Expand or Expand
Appearance takes frames out of a thread, a frame that stays keeps the
mark only while it is threaded and the frames before it end inside a
paragraph. A frame whose mark changes lays out its first line again,
and when it is still threaded, its thread re-flows. When the outlined
frame is the last one, the text it has no room for is measured as the
frame lays it out: without the first-line indent when it continues a
paragraph, and with its numbers counted on from the frames before it.
The frame before it now takes exactly the text the last frame has no
room for. Duplicates, copies dragged in the Layers panel, the copies
that Release to Layers (Build), Release Opacity Mask and Edit Opacity
Mask make, and Draw Inside's clipping copy then have their cached
bounds computed again, as paste already does for pasted type.
Docs: docs/mcp.md, docs/target-app-parity.md.
With Use Artboards and two or more artboards, a document with no visible art gets only the artboard files. The useArtboards and range descriptions, the document.export and document.exportEps params text, the control protocol and the parity line now say so.
A document opened or created between edit.undoGroup.begin and
edit.undoGroup.end opens an undo group of its own with the begun
group's name, so an atomic command_batch that starts with file.new or
document.open is one undo step in the new document. The group opens
after the command that opens the document: when that command also
edits it (a command.batch), those edits stay the command's own undo
step, and a canceled group keeps them, so the journal still replays.
Both commands also run with no document open, and a command.batch that
fails rolls back a begun group. Switching to a document that was
already open does not open a group in it.
A save (document.save, file.saveAs, file.saveCopy) passes its options to
the export encoders, so an option an encoder refused was reported under
document.export: file.saveCopy with format pdf and range "5" on a
document of three artboards, or with format ai and compress "yes", or
document.save to a .vectorcraft path with compress "yes", failed with
"invalid parameters for `document.export`". The error now names the
save command that was run, for PDF, SVG, .ai, .ait and native files.
document.export's own errors are unchanged.
A native save was pretty-printed when the document had at most 2,000
layers and objects and its compact JSON was at most 1 MiB. Pretty
printing puts every coordinate on its own indented line, so traced art
with few paths and many anchors could pass that check and be written at
about five times the size of its compact JSON.
The 1 MiB limit now applies to the pretty-printed document, indented as
the file holds it and in the form the save writes: version 1 anchors,
and placed documents expanded for older versions or Include Linked
Files. Documents whose pretty-printed JSON is over 1 MiB are saved as
compact JSON, even when their compact JSON is under it. The 2,000-object
rule and compressed saves are unchanged. docs/mcp.md describes the rule.
The editing data's palette (%AI5_BeginPalette) was skipped, so a .ai file
opened with the default swatches plus only the spot colours its art used:
inks the art doesn't use (a Pantone set kept in the file) and colour groups
were lost. The palette is now read in order (process, spot in CMYK, RGB or
Lab, and global colours, gradients and patterns, colour groups; versioned
content read once) and replaces the default swatches.
Xs/Xz (Registration at a tint, as printer's marks use it) are read as the
Registration swatch: before, art painted with them stopped the editing data
from being read at all.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Use Artboards and two or more artboards, EPS export now writes a
central file under the path's own name before the file of each artboard.
The central file contains the whole document, and its bounding box is
the visible art, as in an export without Use Artboards. An export of a
single chosen artboard still writes one file at the path's name, and
Export for Screens still writes one EPS per artboard. When no art shows,
only the artboard files are written.
Docs: the useArtboards params text, the MCP export tool's range text,
docs/mcp.md, docs/control-protocol.md and docs/target-app-parity.md.
The title field of document.inspect and the document.open reply is the
document's tab name, which comes from the file name once the document
is saved to or opened from a file. A client had to call file.info or
document.info to read the File Info title, so reading a saved
document's title from these replies gave the file name instead.
Both replies now add fileInfoTitle, the title file.info reports, and
keep title as it was. docs/mcp.md's File Info section describes both.
A save without options reuses the options the document was last saved
with in that format. Their artboard, artboards and range name artboards
by number, so once artboards were deleted or moved, the save wrote
other artboards or was refused: with three artboards, a PDF saved with
range "2" wrote the third artboard after the first was deleted, and one
saved with range "1, 3" was refused after the third was deleted. The
same held for SVG saves, a legacy .ai, and .ai and native files saved
with separateArtboards. file.formatOptions and SVG Options showed the
same numbers.
The document now keeps the ids of the artboards it had when it was
saved, and the remembered pick follows them: an artboard deleted since
is left out, one that moved is named by its new number, and the rest of
the pick is kept. A range open at its end ("2-") is written out as the
artboards it named once artboards are added. When none of the artboards
the save used is left, the pick is left out, and the save writes the
artboards it writes when none is named. A range of "all" stays as it
is. An artboard given to the save is still refused when the document
does not have it.
A new artboard no longer takes the id of an artboard deleted earlier in
the same document (Document::retire_artboard_id), or of one an undo took
away: the highest id given out is shared with the undo history, so a
new artboard is not taken for an earlier one.
file.revert keeps the pick only when the file read back has the
artboards the document had at the save, with the same ids in the same
order. A PDF saved with a range holds only those pages, and one saved
without preserveEditing reads back with new ids in page order, so their
picks are left out.
* Links: use resolve_absolute for stored paths
* CI: release only with git dependencies from storytold
* Release: check git sources from the parsed Cargo.lock and cargo config
The grep let any character stand for the dot in github.com, passed a missing or stale
Cargo.lock, and missed source replacement in .cargo/config.
Export for Screens and the Asset Export panel's Export encoded and wrote
every file on the UI thread, so the window stopped responding until the
last file was written. For 50 artboards in PNG at 1x, 2x and 3x, PDF and
SVG (250 files, 47 MiB), the dialog's OK took a median of 43.8 s in a
release build on Windows.
With Enable Background Export on (Preferences › File Handling), OK now
checks the settings, remembers them and takes a snapshot of the
document, and the dialog closes. The thread that writes background
saves and exports then encodes the files and writes them into the
folder, or one ZIP in it, and the export progress dialog's Cancel stops
it before the next file. The same OK takes under 0.001 s, and the files
have the same names and bytes. With the preference off, without a
folder, on the web and over MCP and scripts (document.exportForScreens
and assets.export), the files are made at once with the same reply as
before.
Both commands report one progress step per file, so the progress dialog
shows "File 3 of 250" and MCP progress notifications count the files in
place of the encoders' artboards and pages.
Docs: docs/target-app-parity.md, docs/control-protocol.md, docs/mcp.md.
The SVG writer always wrote the document's title in <title>
(crates/svg/src/export.rs), so every file of Export As with Use
Artboards, Export for Screens or an `artboard`/`range` export was titled
after the document ("Icons"), whatever its artboard was called. The
writer's `artboard` option can't tell those apart from Save: Save writes
the first artboard too, standing for the whole document.
ExportOptions has a new `artboard_title` (set by the caller, as
`artboard` is, not deserialized): the file is that one artboard, exported
on its own, and its <title> is the artboard's name (XML-escaped as
before), or the document's title when the artboard has no name. The
engine's SVG encoder (fileio/svg.rs) sets it exactly when the export
names its artboards, which is also when a file holds only that
artboard's art (#550): Export As per artboard, document.export /
serialize with `artboard` or `range`, MCP export, and Export for Screens'
artboards, assets, layers and selections (each written as an artboard
named after it). Save and Save As keep the document's title. Export for
Screens' Full Document draws the art bounds as one artboard, which is now
named after the document, so its SVG keeps the document's title too.
docs/file-format-parity.md's SVG row says so.
Tests: title_control_chars::an_artboard_exported_alone_is_titled_after_it
(crates/svg: two named artboards, the second named with markup;
exporting either alone gives its escaped name, the default and an
artboard without artboard_title give the document's title, an unnamed
artboard falls back to it) and
tests_svgenc::an_svg_of_one_artboard_is_titled_after_it (the engine:
`artboard` 0 and 1, useArtboards range all, Save's SVG, Export for
Screens per artboard, an asset and Full Document). Both fail without the
change (the title was "Icons") and pass with it.
- One budget for the whole read (layers, pixels, characters, table
cells), shared with embedded documents and charged also when their
reading fails; the first reading is dropped before the second.
- Tables: at most 65 536 cells; lines and cell formats that don't
match the grid are left out instead of shifted.
- Paragraph formats matched to runs by binary search; font names
longer than 256 bytes are dropped.
- Overlays: one work budget per import; encoded originals decoded
within their layer's size; table cell outlines recoloured too.
- Engine: master page copies capped, each page's master found in
linear time, line gaps looked up once per font, the working CMYK
table built once, objects past MAX_COORD left out.
- Embedded content stays with its node; pixel masks under artistic
text are read whole and include stroke reach; gradient overlays on
hidden layers are kept.
- Render: contexts and raster effect images stay within
MAX_RASTER_SIDE per side (vello overflowed near u16::MAX; found by
the new fuzz target).
- Tests: affinity tests/import_limits.rs, feature samples in
import_fuzz.rs, shared builders in engine/tests/support/.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
- Strokes set to None no longer import as black 1px strokes.
- Underline and strikethrough are kept.
- Frame text starts at cap height; lines hanging out of a frame make it taller;
mixed-alignment artistic text lines up within its longest line; line breaks
inside a paragraph get no paragraph spacing.
- Table cell text taller than its cell is centred and stays visible.
- Outline effects on stroked shapes are drawn around the stroke.
- CMYK pixel layers go through the document's embedded CMYK profile; without
one, opaque layers stay CMYK.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Exporting a CMYK document to PDF/X-1a or PDF/X-3 flattens transparency
first. Where the flattener has no single colour (an image with see-through
pixels over a flat fill, gradients, masks, raster effects) it renders the
area into an image, and that image was always an RGB PNG. The PDF writer
then separated it back to CMYK, so CMYK art behind the image came back with
other inks: a C100 M6 Y41 K3 panel printed C75 M14 Y35 K5 under a
transparent logo, with a hard edge against the rest of the panel, and K
moved into C, M and Y.
For files without transparency the flattener's images are opaque and
clipped to their regions anyway, so in a CMYK document it now draws them
as ink amounts over the paper (Renderer::render_region_inks) and stores a
CMYK TIFF, which the PDF writer keeps as DeviceCMYK samples. An area too
large for a CMYK image falls back to the PNG it made before. In-app
Flatten Transparency and other flattening, whose images keep alpha, are
unchanged.
Test: tests_pdfx::pdfx_1a_flattening_keeps_the_inks_behind_an_image_in_a_cmyk_document
exports a CMYK panel under a half see-through PNG to PDF/X-1a, opens the
file again and checks the inks behind the see-through half.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
## Summary
Linux file portals grey out files that do not match the open dialog's default
filter. Other Library… and Locate Library… used File › Open filters, whose
first entry is All readable files and omits swatch-library extensions such as
.ase. Add library_open_filters with the library formats first (matching
Illustrator's Swatch Libraries › Other Library…) and use it from swatch and
graphic style library pickers.
## Tests
- engine: library_open_filters_list_library_formats_first
- ui-egui: other_swatch_library_asks_off_the_ui_thread asserts Swatch libraries
is the default filter and includes ase
Closesstorytold/vectorcraft#3465
Co-authored-by: nrq6993-a11y <nrq6993-a11y@users.noreply.github.com>
EPS, EMF, WMF and DXF exports gave each image they left out because it
couldn't be decoded its own warning, "image '<key>' could not be
decoded and was left out", which names the internal key the document
stores the image under. A version 7 .ai said "an image that can't be
decoded or is too large was left out".
The four writers now give the note raster exports, PDF and the legacy
.ai flattening give, "an image couldn't be decoded and is missing from
the picture", once per export. In a version 7 .ai it is one line with
the note for flattened art. The other image notes in the same
functions no longer name the key: EPS's note for an image too large to
write, and DXF's notes for an image with no pixels (its rows in 23
catalogs are reworded) and one that could not be written. Legacy .ai
gives a separate note for an image that is empty or too large.
Docs: docs/mcp.md (EPS, DXF export, EMF and WMF, aiVersion "7").
aiongg