Effect › Pathfinder left type in the group out of all ten operations,
on the canvas, in Expand Appearance and in exports. The text outliner
returns type as a group with one path per run. `leaves` in
crates/effects/src/group.rs took that group as one leaf, and
`geometry` gives no path for a group. A 100 x 100 pt square grouped
with a 100 pt "H" inside it kept all of its 10,000 pt² after Subtract
and Expand Appearance. In the shape modes a member group with type in
front also lost its paint, because it took the style of the outline
group, which has none.
`leaves` now takes the paths and compound paths of the outline art at
every depth, as it does for a member group, and gives each one the
type's opacity and blend mode. The same square keeps 8,684.88 pt² after
Subtract and Expand Appearance, its 10,000 pt² less the glyph's
1,315.12 pt².
Docs: docs/target-app-parity.md.
perf --deep printed the memory at eight points of its run, and no row
showed memory that the run took and freed between two readings. With
--paths 2000, a release build on Windows printed 430 MB as its largest
row, and the process's peak working set was 612 MB. On Windows the
memory row after rendering the photos also printed its value 3 columns
right of the others: its name is 55 characters, and the name column is
52 characters wide. The tracked row for the photos printed its value 2
columns right of the other tracked rows: its name is 54 characters, and
their name column is 52 characters wide. In the budget table the handle
and segment drag rows printed their values 1 and 2 columns right of the
other rows: their names are 41 and 42 characters, and the name column
is 40 characters wide.
Each memory row now also gives the peak so far: the peak working set
(PeakWorkingSetSize, from the same GetProcessMemoryInfo call) on
Windows, and VmHWM from /proc/self/status on Linux. On macOS the rows
give no peak. A new last row gives the memory after the SVG export and
the save → open → save at the end of the run. The name columns of the
memory rows, the tracked rows and the budget table are 56, 54 and 42
characters wide. The help says on which systems the rows give the peak.
Docs: docs/target-app-parity.md.
The renderer kept the shapes it drew for plug-in effects while the
object stayed the same. When a plug-in was installed for the first
time, installed again or removed, a renderer that had drawn the object
went on drawing the shapes from before the change.
When the plug-in registry's revision changes, the renderer now drops
the effect geometry and the effect art of objects with a plug-in
effect, and the cull bounds of every object that is or holds a symbol
instance or an object with a plug-in effect. Each thread then drops the
pattern tiles whose art has a plug-in effect or shows symbols or
patterns. The renderer adds the revision to the inputs of a raster
when its content has a plug-in effect, or shows symbols or patterns
while the document's symbol or pattern art has one, and to the key of
a live object's evaluation when the object, or an object it shows, has
a plug-in effect.
With other builds running, a temporary release test timed that key for
the 400 live objects in each of three documents at 11 to 609
microseconds a frame, against 9 to 433 before.
Docs: docs/target-app-parity.md, docs/gaps.md.
Object › Artboards › Fit to Artwork Bounds and Fit to Selected Art ran
artboard.fitToArt and artboard.fitToSelection without an index, so
they resized artboard 1 whichever artboard was active. The Artboards
panel menu's Fit to Artwork Bounds already passed the active artboard.
The app now passes its active artboard as the index of the two
commands when a call names none, as it passes the artboard to Align to
Artboard, All on Active Artboard and Paste in Place, in Front and in
Back. That covers the menu items, keyboard shortcuts, the command
palette and MCP's run_command in remote mode. A batch passes its
artboard as the index to their steps that name none, and a recorded
action leaves the index out, so an action resizes the artboard that is
active when it plays. The params texts of the two commands and of
command.batch describe where the index comes from.
Docs: docs/mcp.md, docs/target-app-parity.md.
For Auto Size area type in columns, every text edit, each keystroke of
the Type tool included, laid the text out in one column and then laid
the columns out at that height and at each step of a bisection for the
least height that holds the text. In the release-build timing test
auto_height_in_columns_typing_timing (stories of 5,000 to 50,000
characters at 9 pt in a frame 500 pt wide), a keystroke laid the
columns out 18 to 22 times, and typing at the start of the story of
50,000 characters in 2 columns took 1,670 ms a keystroke.
The bisection now runs on the lines of the one-column layout.
columns_hold computes where those lines would sit in the columns, with
each column's first line at its first baseline below the column's top
(LineInfo::first_baseline, new in vectorcraft-text). The columns are
then laid out at the upper height the bisection ends on and, when they
hold the text there, at the lower one, unless that is the 1 pt it starts
from. When they hold the text at the upper height and not at the lower
one, Auto Size takes the upper height. When taller columns always hold
the text, the old search ends between the same two heights. When the
text wraps around other objects or does not fit the one-column layout,
or when that check fails, the columns are laid out at every step as
before. The same keystroke now takes 292 ms.
Docs: docs/target-app-parity.md.
On each pointer move of an Alt-drag with the Perspective Selection
tool, Session::preview put the drag's snapshot back and ran
perspective.move with copy again, and persp_edit copied every selected
object again. An Alt-drag of a plane widget with the Perspective Grid
or Perspective Selection tool ran perspective.plane.move with objects
"copy" again, and plane_move copied every object on the plane again.
Both commands now take their copies from preview_copies, as
apply_transform does for the Selection and transform tools: the first
preview copies the objects into a clone of the snapshot, and each later
preview of the same objects on the same snapshot maps only those
copies. The copies keep their ids, and the document, the selection,
the undo step and the journal are the same as before. When the stored
grid still lists attachments of its own, as grids saved before
attachments were kept on the objects do, both commands copy on every
preview as before. With 25,000 rectangles attached to the left plane,
a release build of vectorcraft-cli took a median of 424.8 ms for each
Alt-drag move of the objects after the first preview and takes
328.9 ms with this change. An Alt-drag of the plane's widget took
340.3 ms a move and takes 256.9 ms.
Docs: docs/target-app-parity.md.
The canvas drew artboard 1's edge in black, 1 px wide, whichever
artboard was active, and drew every other artboard's edge in gray,
0.6 px wide.
It now draws the active artboard's edge in black and draws the other
artboards' edges in gray, at the same widths. The active artboard is
the artboard that the status bar's navigator shows and that Align to
Artboard and Paste in Place use. With several artboards selected by
the Artboard tool, it is the one the tool draws with handles and its
name.
Docs: docs/target-app-parity.md.
The Layers panel narrowed its rows by name (Search All) or to layers
alone (Show Layers Only).
The panel now has a Filter button at the right of Search All. Its
popup holds Clear All and a check box for each object kind under By
Object (Paths, Shapes, Text, Images, Effects, Groups, Linked Files,
Guides) and for each row state under By Layer (Locked, Hidden). A row
stays when it is of a ticked kind, is in a ticked state and has the
search text in its name, and a section with nothing ticked keeps every
row. The rows that hold a kept row stay too, as they do for the
search. The button is lit while a filter is on. The filter lasts the
session and does not change the document, its open rows or the
selection. ui.layersFilter {objects?, layers?} sets it. The button
shows a new icon, assets/icons/dc-filter.svg, with its row in
ASSETS.md.
The panel lists its rows again when the filter changes, as it does
when the search changes. On a layer of 5,000 groups of 10 paths, a
release build lists the rows for a filter in 2.9 to 3.6 ms.
Docs: docs/mcp.md (Layers panel), docs/target-app-parity.md.
In Presentation Mode the arrow keys moved the selection, and the
active tool received a click and selected or drew as it does in
Normal Screen Mode. No key or click moved the view to another
artboard.
Left Arrow and Right Arrow now go to the previous and the next
artboard, and a click anywhere goes to the next one, through
view.goToArtboard, as the status bar navigator's Previous and Next
buttons do. On the first artboard Left Arrow leaves the view as it
is, and on the last artboard Right Arrow and a click leave it as it
is. No arrow key moves the selection in the mode, and the tool gets
no press, drag or hover, so a click selects and draws nothing. A drag
with the middle button or with Space held no longer pans the view
there; the mouse wheel still zooms and scrolls it.
Docs: docs/target-app-parity.md.
The status bar's artboard navigator showed only the active artboard's
number between its first, previous, next and last buttons, and it had
no list of the artboards.
The number is now a drop-down field that shows the active artboard's
number and name. Its list shows every artboard by number and name, as
the Artboards panel lists them. Choosing one runs view.goToArtboard,
the command the buttons run, which makes that artboard the active one
(and the Artboard tool's, while that tool is in use) and fits it in
the window. The list lays out only the rows in view and at most one
more, and opens with the active artboard's row in view. In a test
build with 1,000 artboards, the two frames that open the list take
0.12 ms and 0.04 ms, and a frame with the list open takes 0.03 ms. The
timed frames are headless and draw only the status bar.
Docs: docs/target-app-parity.md.
With the Artboard tool, the Properties panel showed the active
artboard's name as a label, and no control in the panel opened
Artboard Options.
The name is now a text field. Typing a new name and pressing Enter or
clicking elsewhere renames the active artboard in one undo step
through artboard.setProps, as the Artboards panel's rename does;
pressing Escape or leaving the field empty keeps the old name. A click
on the Artboard Options icon beside the field runs tool.options with
tool "artboard", which opens Artboard Options for the active artboard,
as a double-click on the Artboard tool's button does.
Docs: docs/target-app-parity.md.
In the View menu, Reset Rotate View was the only rotation item. The
status bar's angle menu set its twelve preset angles by writing the
view's rotation itself, and no command took an angle to turn the view
to.
View › Rotate View now lists the status bar's angles (0°, 15°, 30°,
45°, 60°, 90°, 180°, -15°, -30°, -45°, -60° and -90°) and checks the
one the view is turned to. The new UI command `view.rotate {angle}`
turns the view to any angle about the center of the canvas and
returns the angle it set, normalized to (-180, 180] as a Rotate View
drag normalizes it. The menu's items and the status bar's angle menu
run it from one list of angles; the status bar sets the same angles as
before. Without a document the command returns "no document" and the
items are disabled. Run from the command palette, which passes no
angle, Rotate View opens a dialog that asks for the angle, with the
view's current angle filled in.
The de, it, ja, ko, pl, pt-br, ru, uk, vi and zh-hant catalogs have a
new "Rotate View" row. The strings the catalogs cover leave out the
angle labels, as they leave out Type › Size's point sizes.
Docs: docs/mcp.md, docs/target-app-parity.md.
Export for Screens opened on the artboard choice the document last
exported with (all artboards by default), whichever artboards were
selected with the Artboard tool or in the Artboards panel.
While the Artboard tool is in use, File › Export › Export for Screens…
now opens with the artboards the tool has selected checked, and Export
Artboard writes only those. They are the artboards the Artboards panel
highlights, and they are checked even after a Full Document export.
With another tool in use, the dialog still opens on the saved artboard
choice. The other fields show the saved settings in both cases, and the
params text of file.exportForScreens describes the rule.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
Free Distort's dialog showed the four corners as read-only text, and
so did the Appearance panel's inline editor. Only effect.apply and
effect.setParams could set them.
The dialog now shows a box in the proportions of the first selected
object's bounds with a handle on each corner. Dragging a handle moves
that corner, and the preview follows. A handle focused by a click or
Tab moves 1% of the box with each arrow key, and 10% with Shift. Reset
puts the four corners back on the box. Each handle has a
screen-reader name. On the corners row of the Appearance panel's
inline editor, Edit… opens the dialog.
Docs: docs/effects-parity.md, docs/target-app-parity.md.
Show Options and Hide Options were kept in egui's temporary memory, so
the Color panel showed its options again after every restart. No
command set them or the panel's mode.
- `UiState::color_hide_options` holds Hide Options and is saved with the
preferences. Its reader reads `true` as hidden and any other value as
shown, so a bad value leaves the other preferences as they are.
- `ui.colorPanel {mode?, options?}` picks a mode as the panel menu does
(the active color converts to the mode's model as one undo step) and
shows or hides the options. It answers `{mode, options, shown}`. A mode
the menu does not list, `lab` included, answers an error. The panel
menu's Show Options and Hide Options call the command's function.
- `ui.inspect` reports the setting as `ui.color_hide_options`.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
File › Save as Template always wrote a .vctemplate. The save panel
offered only that type, file.saveAsTemplate ignored its format param,
and a name typed with .ait got .vctemplate added. New from Template
already opened a .ait as an untitled document.
Save as Template now also writes a .ait: the PDF-compatible file Save
As writes for .ai, carrying the document. The desktop save panel lists
VectorCraft Template first and the .ait type beside it, and the web
build's Save as Template dialog gets a Format menu with the same two
types. file.saveAsTemplate writes .ait for format: "ait", or for a path
ending in .ait when no format is given, and takes the .ai options;
file.formatOptions answers for ait. .vctemplate stays the default.
Exports and Export As still do not write .ait.
Docs: docs/mcp.md, docs/file-format-parity.md (.ait row),
docs/target-app-parity.md.
Paste takes a file copied in a file manager by its flavor, which
file_flavour tells from the file's first 4,096 bytes through
fileio::detect. detect names gzip data SVGZ unless it is a compressed
native file, and file_flavour gave no flavor for the format id svgz.
So a copied .svgz file did not paste as its art, although
clipboard.importSvg, the SVG flavor's command, reads SVGZ data.
A copied file whose gzip data unpacks to SVG markup now pastes through
the SVG flavor. file_flavour unpacks the head it is given with the
gzip decoder the SVGZ reader uses, up to where the head ends, and
checks the first 4,096 unpacked bytes with looks_like_svg, as detect
checks an uncompressed file, reading them as UTF-16 after a UTF-16
byte order mark. Other gzip files get no flavor, as before.
Docs: docs/target-app-parity.md.
Paste takes a file copied in a file manager by its flavor, which
file_flavour tells from the file's first 4,096 bytes through
fileio::detect. detect names PDF or PostScript bytes in a file called
.ai or .ait by that extension, and file_flavour gave no flavor for
the format ids ai and ait. So a copied .ai or .ait file did not paste
as its art, while the same bytes in a .pdf or .eps file did.
A copied .ai or .ait file whose bytes are a PDF now pastes through the
PDF flavor (clipboard.importPdf), and one whose bytes are PostScript
pastes through the EPS flavor (clipboard.importEps). Other files
with those extensions paste as before. A .ai saved without its PDF
part also gets the PDF flavor, and Paste answers it with
clipboard.importPdf's error, as it does for the same file named .pdf.
Docs: docs/control-protocol.md, docs/development.md,
docs/target-app-parity.md.
A PDF can define spot inks that have different names and the same
alternate space and tint transform, such as Blue1 and Blue2, both RGB
0 0 255. The interpreter drops the ink name, so the importer matches an
interpreted color to the file's Separation and DeviceN spaces by the
tint transform. The spaces of two such inks matched the same color, so
their paths imported as plain RGB and neither ink became a spot swatch.
This happened with both inks on one page, with each on its own page,
and in the PDF part of a .ai file.
The page walk in import_scan.rs, which follows the interpreter's order
for layers and overprint, now also records the ink of each path, from
the color space set by cs and CS or from the shading of the pattern set
by scn and SCN or drawn by sh, and the ink of the color space of the
text between two paths. When the spaces of several inks match a color,
the importer takes the space with the walk's ink names. It applies
these names to a page only when the page uses such an ink and a
counting pass of the interpreter draws as many paths there as the walk
counted. Otherwise the import works as before.
The file now opens with a spot swatch for each ink. Solid fills and
strokes of paths and type, and the stops of gradients on paths, link
to the swatch of their ink, the points of a gradient mesh keep the
ink's color, and PDF export writes each ink as its own separation.
Paint in these inks inside pattern cells, soft masks and type 3 glyphs,
and gradients on type in these inks, still import as RGB. Type in one
of these inks can also import as RGB when type in another Separation or
DeviceN ink is shown with no path drawn between them.
A PDF page's UserUnit (PDF 1.6) sets the size of its user space unit
in multiples of 1/72 inch. The PDF reader has applied it since #1894, so
a page with /UserUnit 10 and a 36 × 50.4 media box opens at 360 × 504
pt. A .ai whose editing data has its artboards in the page's own units
then no longer matched its PDF part. It opened from the PDF part,
without its layers, its hidden objects and the art outside its
artboards, and with its artboards in a row instead of where the
editing data puts them. document.pdfInfo gave such a page's size in
points and its boxes in the file's numbers.
Editing data whose first artboard has the page's size in the page's
units, and not in points, is now compared with the PDF part scaled
down by the UserUnit. The document read from it is then scaled up by
the UserUnit, with its stroke weights, dashes, effects and pattern
tiles. When the layers can't be read, the artboard layout taken from
the editing data is scaled the same way. document.pdfInfo gives the
boxes in points, as it gives the size.
Docs: docs/mcp.md, docs/target-app-parity.md.
When a .ai file, or an EPS with editing data, opened from its editing
data, the reader converted each embedded 8-bit CMYK image to RGB and
stored it as a PNG, so the document lost the image's ink amounts. When
the same .ai opens from its PDF part, the PDF importer keeps them in a
CMYK TIFF.
The reader now stores those samples with ImageBlob::cmyk_tiff, as the
PDF importer does (crates/pdf/src/import_image.rs). An alpha channel
that hides part of the image becomes the image's opacity mask, a
grayscale image over it, as in PDF import. Grayscale, RGB and 1-bit
images still open as RGBA PNGs.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
#2227 renamed them Flip Horizontal and Flip Vertical; what they do is unchanged. The reference app's Properties panel calls them Flip Along Horizontal Axis and Flip Along Vertical Axis (the Transform panel's menu keeps Flip Horizontal and Flip Vertical), so the labels and their catalog rows come back.
The reference app resets tracking and kerning to 0 with Cmd/Ctrl+Alt+Q.
VectorCraft had no command for it.
type.resetTracking (Reset Tracking and Kerning, default Cmd+Alt+Q) sets
tracking to 0 and kerning to Auto, which the Character panel shows as 0,
in the text the Type tool has selected, or else in all the text of
every selected type object. At a caret it resets only the kerning of
the character before it, where Alt+Left/Right kerns. It is one undo
step. The range logic of type.step moves into a shared type_ranges.
When a call gives ids, type.step and type.resetTracking change all the
text of those type objects even while the Type tool edits text, as
paint.setFill does. Before, type.step changed the Type tool's selected
text instead.
Docs: docs/mcp.md, docs/target-app-parity.md.
A Ctrl/Cmd+Alt-click on a row's eye in the Layers panel ran Hide Others
or Show All Layers, as an Alt-click does. It now runs Outline Others for
the row's layer (layer.outlineOthers), or Preview All Layers
(layer.previewAll) when every other top-level layer is in Outline
already. Each is one undo step. Alt-click and Ctrl/Cmd-click on an eye
keep their actions.
Docs: docs/mcp.md, docs/target-app-parity.md.
document.export, document.serialize and document.exportSelection write
a PDF-compatible .ai (format: "ai"), and document.formats lists ai as
writable, but none of their params texts named it. The params text of
document.exportSelection named only png, jpg, webp, svg, svgz and pdf,
although the command writes all 20 writable formats. The description
of the MCP export tool and its row in docs/mcp.md named every format
of the tool's format enum except ai, and the range text and the row
said that only PDF writes several artboards.
The three params texts now list every format their command writes,
and document.export's range and useArtboards texts name .ai beside
PDF. The MCP export tool's description names ai, and its artboard and
range texts say that .ai, like PDF, writes one page per artboard. The
range text and the row also say that SVG, SVGZ and EPS write one file
per chosen artboard, and that rasters, DXF, EMF and WMF do so with
options.useArtboards: true.
Docs: docs/mcp.md (the export tool).
The Print section of docs/mcp.md said that File → Print writes the job
as a print-ready PDF and that there is no printer driver. The desktop
app sends the PDF to the system's print service, the web build opens
the browser's print dialog on it, and the PDF File entry in the
Printer list saves it. The section now says so, points to Printing,
and marks the `file.print` reply that follows as the headless one.
Type is drawn as its glyph outlines under a geometry effect, in EMF and
WMF export, in DXF export when it is written as outlines, through
Flatten Transparency with Convert All Text to Outlines, and inside an
envelope. Those outlines differed from the type the canvas draws in
four ways. They had no underline or strikethrough bars. A character
stroke on scaled type kept its unscaled weight. An unplaced gradient was
fitted to the glyphs it painted instead of the layout box. A run's
pattern tiles stayed in document space instead of scaling and turning
with the type. A group's or layer's own fills and strokes also painted
the glyphs of the type in it without the bars.
The outlines now include each run's underline and strikethrough bars,
as the canvas has drawn them since #850. Each run's path is made in
text space with its unplaced gradients fixed to the layout box, then
placed by the type's transform, which also scales its stroke weight
and dashes and transforms its pattern tiles. The type's own fills and
strokes have their unplaced gradients fixed to the bounding box of the
layout box in the document, where the canvas fits them.
Geometry effects that move or scale the outlines move and scale the
type's gradients with them: the type's own effects, also inside an
envelope and after Flatten Transparency has converted the type to
outlines, and the effects of a group, symbol instance or envelope that
holds the type. outline_text marks its group with a new node field,
type_outlines, which is saved with the document. reshape_leaves maps
the placed gradients in each marked group through the map that takes
the group's bounds before the effects onto its bounds after them. A
scale out of proportion stretches a radial gradient into an ellipse
and turns the isolines of a diagonal linear gradient, as it does on
type scaled by its own transform. Placed gradients outside those
groups stay where they are.
Export Selection, Asset Export, the Assets tab of Export for Screens
and the rasterized art of CSS Properties cropped each object to its
visual bounds, which leave out live effects. A path with an 8 pt drop
shadow was exported with the shadow cut off at the path's edge, and
a group's own shadow was cut off the same way.
The crop is now the bounds the renderer measures for what it draws
(`vectorcraft_render::effect_bounds`): `painted_bounds` without its
room for brush art. A brushed path is cropped to its visual bounds as
before, and a Shaper group leaves out its transparent source art as
its visual bounds do. `assets.list` reports the same crop. The
renderer measures a shadow's or glow's reach on every side of the
object, so the image also has transparent room on the side away from
an offset shadow.
Docs: docs/mcp.md, docs/target-app-parity.md.
PDF, EPS, EMF/WMF and raster exports, and SVG exports that outline or
embed fonts, warn when type is set in a font family that isn't
available, but file.print and print.preview gave no such warning. A job
in a missing family printed in Source Sans 3 with no warning, and the
Print dialog's Summary showed none.
Both commands now add the exports' warning for the type that prints:
visible type that fits its frame or path, on the layers that Print
Layers picks, where what it paints (its effects applied) lands on the
paper of an artboard or tile that prints, inside its clipping paths.
The type in the symbols, inline graphics, patterns, scatter brushes,
opacity masks and placed documents of the art that prints counts too.
file.print reads the fonts before raster effects and Print as Bitmap
turn type into images, for PDF and PostScript output.
Docs: docs/mcp.md (Print), docs/target-app-parity.md (Fonts).
dataset.select applied a row's values in the order the variables were
defined, and it skips an object inside a hidden group. When a row
showed a group and set an object inside it, and the object's variable
was defined first, the object was skipped while the group was still
hidden: one selection applied the row in part, and selecting the row
again applied the rest. A text variable on type inside the group was
skipped the same way, and a row that hid a group skipped the objects
inside it whose variables were defined after the group's.
dataset.select, dataset.next and dataset.prev now apply the visibility
values that show objects first, outermost object first, then the other
values in definition order, then the visibility values that hide
objects, innermost object first. Of two variables of the same kind on
one object, the one defined last still wins.
Docs: docs/mcp.md.
A data set can hold values for only some variables: `dataset.new` and
`dataset.set` store only the values they are given, and selecting the
data set leaves the other variables alone. Update Data Set replaced the
active data set's values with the values the art reports for every
variable. After one Update, a data set that set only a visibility
variable also held the current text of the bound type, and selecting it
again wrote that text back. Update also dropped a variable's value when
its objects were locked or inside a hidden or locked layer or group,
because such objects report no value.
`dataset.update` now writes the art's current value for each variable
the active data set holds, and keeps the data set's value when the art
reports none. A variable that the data set does not hold stays out of
it, including one defined after the data set was captured;
`dataset.update {all: true}` also adds the other variables that the art
reports a value for. The reply adds `left`, the variables it did not
write. The Variables panel's Update Data Set button and menu item run
it without `all`.
Docs: docs/mcp.md, docs/target-app-parity.md.
The Pen's pointer showed the new-path asterisk before the first anchor
and also while a path was being drawn, where a click adds the path's
next anchor. A new Cursor::PenDrawing, the pen nib without a badge, now
shows there. The close, convert and join badges still show over the
first anchor, the last anchor and another open path's end. The asterisk
shows only where a click starts a new path.
The Continue, Add and Delete badges now also show after another path
was selected while the Pen was still drawing (for example with a
Cmd-click). A click there already continued the path or added or
deleted an anchor, but the pointer showed the asterisk.
View › Proof Setup had two color blindness items, protanopia and
deuteranopia. A third item, Color blindness – Tritanopia-type, proofs
the canvas with a tritanopia simulation, and the Separations Preview
panel's Proof Setup list offers it too. `view.proofSetup` takes
`target: "tritanopia"`.
The simulation follows Brettel, Viénot and Mollon (1997): a color
keeps its L and M cone responses, and its S response is replaced so
that it lies on one of two half-planes. Both contain the neutral
axis; one passes through the 485 nm color and the other through the
660 nm color. The neutral axis runs to the display's white, so grays
keep their value. The matrices are computed at
compile time from the published inputs cited in the code. The
protanopia and deuteranopia matrices are unchanged.
In the Transform panel, the Properties panel's Transform section and
the Control bar, Alt+Enter (Option+Return) in X, Y, W, H, Rotate or
Shear ended editing as Enter does, and the selection itself moved,
resized, turned or sheared. Now the field's command gets `copy: true`
when the Enter that committed it was pressed with Alt. The copy takes
the value, the original stays where it was, and the copy is selected,
in one undo step. A press elsewhere with Alt held applies the value
without a copy. With anchor points selected with Direct Selection,
Alt+Enter applies the value to them, as Enter does.
- widgets::enter_modifiers returns the modifiers of the frame's Enter
press.
- transform::alt_enter_copies gives the `copy` param of the three
surfaces' commands.
Docs: docs/target-app-parity.md.
A Pencil or Paintbrush stroke always left the path it drew or continued
selected. The reference app's Pencil and Paintbrush options have Keep
selected for this, and VectorCraft's Tool Options had no such row.
The Pencil and Paintbrush Tool Options now have a Keep selected
checkbox, on by default, which keeps today's behavior. When it is off,
a new path is not selected and the selection stays as it was, and a
continued path is removed from the selection while the rest stays. The
stroke is still one undo step. The option persists like the tools'
other options, and path.freehand and brush.freehand take keepSelected.
Docs: docs/target-app-parity.md, docs/ui-parity.md, docs/control-protocol.md.
Ctrl/Cmd+Shift-clicking New Swatch in the Swatches panel opened New
Swatch for a spot color, as a Ctrl/Cmd-click does. It now opens the
dialog for a global process color, and with Alt also held it saves one
at once. `ui.newSwatch` takes `global`.
An Alt+Ctrl/Cmd-click with a gradient or pattern as the active paint
failed with "spot, mode and group apply to solid colours only". It now
saves a gradient or pattern swatch, as a Ctrl/Cmd-click does through
the dialog.
The reference app's Drop Shadow has a Color and a Darkness, the
percentage of black added to the object's own colors. Drop Shadow had
only a Color, so every shadow was one color. Choosing one or the other,
and the defaults, are VectorCraft's own.
Drop Shadow now takes `shade` ("color" or "darkness", default "color")
and `darkness` (%, default 100). Its dialog and the Appearance panel's
inline editor show Color and Darkness as radio buttons. With Darkness
d, a CMYK document keeps the object's cyan, magenta and yellow and
raises its black from K to K + d × (1 − K), and an RGB document
multiplies each channel by 1 − d, so in RGB 0% gives the object's
color and 100% gives black. A shadow saved without these keys draws as
before. SVG export writes a Darkness shadow with feComponentTransfer
and SVG import reads it back; CSS export leaves it out.
Docs: docs/target-app-parity.md.
Shift+Tab ran Tab's command and hid the toolbar and the Control bar
along with the panels. egui matches a chord without Shift when Shift
is also held.
A new UI command, window.panels (default Shift+Tab), shows and hides
the dock and the floating panels and leaves the toolbar and the
Control bar as they are. The shortcut table tries chords with more
modifiers first, so Tab's chord no longer takes Shift+Tab. Hiding the
panels with Tab or Shift+Tab also closes a panel popped out of the
icon column, which stayed on screen at the window's right edge.
Docs: docs/target-app-parity.md.
In Draw Inside, a double-click with the Selection, Direct Selection or
Group Selection tool outside the object being drawn into now sets the
drawing mode to Draw Normal (view.drawMode {mode: "normal"}), as
Shift+D does. The object's geometric bounds, grown by the selection
tolerance, count as inside, and a double-click after the object was
deleted also returns to Draw Normal. The tool then takes the
double-click as before: with the Selection tool, a double-click on the
empty canvas still exits isolation mode, and one on another object
still isolates that object. Other tools leave Draw Inside on.
Docs: docs/target-app-parity.md.
The Color Picker gets an eyedropper button beside the New and Original
chips, and `ui.sampleScreenColor {stroke?, picker?}` shows the system's
color sampler. The command answers at once. When the person clicks a
color anywhere on the screen, the color becomes the fill or the stroke
through paint.setFill / paint.setStroke as one undo step, or with
`picker` it becomes the open Color Picker's color, which previews on the
selection as any pick does. Escape cancels the sampler. The sampled sRGB
color goes through Cms::srgb_to_rgb, so in a Display P3 working space a
color inside sRGB shows as it did on the screen. `ui.inspect` reports
`screenSampler` while the sampler is open.
- macOS uses NSColorSampler (apps/vectorcraft/src/mac_screen_color.rs).
- The web app uses the browser's EyeDropper API where the browser has
one.
- Without a sampler (Windows, Linux, other browsers) the button is gray
and the command returns an error. Keyboard Shortcuts lists the
command, so it can be given a key.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
The Control bar had no isolation controls. In isolation mode it now
shows an Exit Isolation Mode button (`object.exitIsolation`), except
while a pattern is edited: the isolation bar's Done and Cancel end
that edit. Outside isolation mode, with one group, compound path,
path, image, mesh or placed file selected, it shows an Isolate
Selected Object button (`object.isolate`). After a Direct Selection
click on a path inside a group, the button isolates that path. An
envelope's contents get no button: for them the Control bar shows the
envelope's Edit Envelope and Edit Contents buttons.
The button offers the kinds of object that the Selection tool's
double-click isolates. The double-click's check moves unchanged into
`vectorcraft_tools::select::isolates`, and both use it.
Docs: docs/target-app-parity.md.
Geometry effects on a group or layer, and effects on a symbol instance,
blend or repeat, outline the type inside it. outline_nested_text
replaced each type object with a plain group of its outlines, so the
type lost its opacity, blend mode, opacity mask, knockout shape
option, own effects and perspective, and hidden type was drawn,
exported and made visible by Expand Appearance.
outline_nested_text now replaces type with the art that as_art makes
for it, which is also what reshape makes for type with geometry
effects of its own. That art has the type's own geometry effects and
perspective applied and keeps its name, transparency, opacity mask
and other effects. as_art also keeps the object's visibility and
knockout shape option, so hidden type with a geometry effect of its
own is left out of exports. Type in a clip group's clipping path still
becomes its plain outlines and now keeps its visibility.
Duplicate Artboards, the Artboard tool's Alt-drag (artboard.move with
copy) and Paste of a copied artboard gave the new artboard the largest
artboard id plus one, saturating. In a document with an artboard id
of 4,294,967,295 (u32::MAX), which only a hand-made file has, the copy
got that same id. Artboard guides record the id of their artboard.
Deleting either of the two artboards with that id then deleted the
guides of both, and guide.list reported the copy's guides on the
other one.
push_artboard_copy now takes the id from Document::next_artboard_id,
as artboard.new and Convert to Artboards do. Since the #1718 fix, that
function returns the smallest free id when the largest is u32::MAX.
In a document whose artboard ids are all below u32::MAX, a copy gets
the same id as before.
Docs: docs/target-app-parity.md.
Transform Each had Reflect X and Reflect Y swapped relative to Effect › Distort ›
Transform and the Transform panel. Properties flip buttons also used inverted
tooltips. Align them so Horizontal is left-right and Vertical is top-bottom.
Co-authored-by: Cursor <cursoragent@cursor.com>
With Align to Artboard chosen, the Align panel's six Distribute Objects
buttons and its two Distribute Spacing buttons acted on the selection.
object.distribute and object.distributeSpacing took no to or artboard
param. Distribute Objects kept the outermost objects where they were
and did nothing with two objects, and Distribute Spacing kept the first
object's left or top edge and the last object's right or bottom edge
where they were.
Both commands now take to ("selection", "artboard" or "key") and
artboard, and the panel sends its Align To choice as to. When to is
"artboard", the first object's left or top edge goes to the artboard's
left or top edge, and the last object's right or bottom edge goes to
the artboard's right or bottom edge. Distribute Objects spaces the
other objects evenly by its button's line, and two objects are enough.
Distribute Spacing without a spacing value makes the gaps between the
objects equal. Both commands use the same artboard as object.align.
The app passes the active artboard to both commands, and recorded
actions leave it out, so an action plays on the artboard that is
active when it plays. With "selection" or "key", or without to, both
commands work as before. Distribute Spacing with a spacing value still
keeps the key object in place with each of the three to values. With
anchor points selected, both commands still space the points among
themselves and do not use to.
Docs: docs/mcp.md, docs/target-app-parity.md.
The file had an empty prolog, so a PostScript interpreter stopped at its first operator: it
couldn't be printed, placed or previewed by anything that runs PostScript. The prolog's
procedure set (VectorCraft_Legacy, written from the PostScript Language Reference and the
version 7 specification) now gives every operator the writer emits its meaning: paths and their
painting with separate fill and stroke colours and overprints, the fill rule, compound paths
painted as one path, clipping groups and masks, guides that don't print, layers that are hidden
or don't print marking nothing, and images drawn from the hex samples on the comment lines after
XI. Gradients fill with the colour set before them (the first stop's), and the type and encoding
operators take their operands and mark nothing.
VectorCraft opens a file with that prolog from its program, as before: its page has flat
gradients and no type.
Every file the writer's tests write is now run through import_with(bytes, false) and must draw
what the document it was written from draws: its paths, fills, strokes and images in the same
places and colours, with type left out (type the writer outlines is compared as its glyphs'
outlines), gradients as their first stop, layers that don't print left out and hidden objects
shown when the options write them visible. A new test prints the sample with every layer shown.
The engine's flattened-image test also opens the file as PostScript.
dotCooCoo