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.
In the Color Picker, Tab out of an edited field gives the next field the
focus in the same frame, and the picker applies the edit once it has
drawn its fields. The # field after Y took the focus showing the color
from before the edit and kept that text while it had the focus, so the
next Tab committed it and reset every other field. Shift+Tab into the #
field from K had the same effect. Swatch Options and New Swatch draw a
copy of the field, and Tab from the last component field into it had the
same effect there.
widgets::hex_field and the Swatch Options copy now show the current
color until something is typed into them, also while they have the
focus, and commit only what was typed. The change covers the # fields of
the Color Picker, Swatch Options, New Swatch, the Color panel, Color
Themes, Recolor Artwork, Document Setup and Define Perspective Grid.
widgets::opt_field, which draws the Stroke panel's dash and gap fields,
kept its text the same way: passing through a blank gap after typing a
dash committed the blank, and the panel applied the same dash pattern
again. It gets the same change. When its value changes while it has the
focus and nothing has been typed into it, all of the new value is
selected, as on keyboard focus.
The Color Picker drew its value fields as one grid, row by row. Tab
moves through the fields in the order they are drawn, so it went H, L,
S, a, B, b, R, C, G, M, B, Y, # and K, from one color model to the
other on every row.
HSB, RGB and the hex field are now in one grid, and Lab and CMYK are in
a second grid beside it. Tab goes through H, S, B, R, G, B and #, then
L, a, b, C, M, Y and K. The dialog looks as before: K's row is as tall
as the hex field's row beside it.
The Color panel and the Color Picker preview a colour in an interaction.
While typing, that interaction joined the open typing session and
previewed from the document before the typing, so new type came back as
its placeholder text. Typing in progress is now kept as its own step
before another interaction begins, as Undo already does.
object.setBounds read x, y, width and height with f64_or, which falls back
to the current value for anything that isn't a JSON number, so
{"width": "60 mm"} returned ok and changed nothing. object.move,
object.nudge, object.rotate, object.scale (sy) and object.shear did the
same with their optional numbers. A value that is neither a number nor
null is now a BadParams error naming the key, as a missing required
number already is.
The importer wraps its reason in "the file's layers weren't read ({why}):
it comes in as its page, in one layer" (and, for an .ai, "... from its
editing data ({why}): they come from its PDF part"). The reasons had @msg
rows, the wrappers none, so after "Opened with 1 note(s):" the whole note
stayed English. The two templates are now in every language that
translates messages (and pt-br, which has the reasons), and the reason
inside is translated through them. These notes are pushed as warnings, so
the message scan doesn't see them: a test checks them in each language.
"<Clip Group>" already has a French entry on main; layer names such as
"Layer 1" are stored names and stay as they are.
The profile is registered in the process's colour registry only, so the
next `vectorcraft-cli run` (or the next launch of the app) doesn't know it
and edit.colorSettings falls back to the built-in profile. The command's
description now says so, and that the profile has to be loaded again in
each run that names it. Keeping profiles across runs would need a place in
the preferences to remember them, which is left for the maintainers.
The tool's default key is "+", and `shortcuts::parse` split a bare "+" as a
separator with nothing on either side: the key part came out empty, so the
shortcut didn't parse, `tool_for_key` found no tool for a typed "+" and the
key did nothing. "-" (Delete Anchor Point) has no separator to trip on, which
is why it worked. A bare "+" is now the key itself, the "=" key, as "Cmd++"
already was, so "+" typed with Shift on a US layout, by a layout's own "+"
key or on the numpad selects the tool.
inflate built an edge index (Edges) of the shape's rings, and
Membrane::solve, which inflate calls first, built a second index of the
same rings. Membrane::solve now takes the index that inflate builds.
In a release build, one Edges::new takes 0.08 ms of the 27 ms that
inflate takes on a ring of 2,000 points, and 2.0 ms of 219 ms on a ring
of 1,000 spikes whose 2,000 edges fill 693,816 bucket entries. The
facets do not change: for nine shapes, three views and 96 combinations
of the Inflate settings, the Debug text of all 2,592 results is byte
for byte the same on main and with the change.
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 document.exportForScreens params text listed png, png8, jpg, webp,
gif, svg, svgz and pdf for a row's format, and its settings keys left
out svgz. A row of another format VectorCraft writes, such as eps, was
refused with "Export for Screens writes png, png8, jpg, webp, gif, svg,
svgz or pdf". Rows of tiff, bmp, tga and psd are written too, and the
Export for Screens dialog offers TIFF rows.
The params text, its settings keys and the error now list the 12
formats a row writes: png, png8, jpg, webp, gif, tiff, bmp, tga, psd,
svg, svgz and pdf. Which formats a row accepts does not change.
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.
The Russian catalog's Isolate row began with a Latin "A" (U+0041),
"Aизолировать", and the Create New Sublayer and New Sublayer… rows
spelled "подслой" with a Latin "c" (U+0063). The rows now read
"Изолировать", "Создать новый подслой" and "Новый подслой…".
A new test fails when a word in any catalog's translation holds letters
from more than one of the Latin, Cyrillic and Greek scripts.
hayro-syntax's Dict::entries still unwraps each value it reads, so a
dictionary cut short (or with a stray token) aborts the import. The
craft-libs ArrayIter now stops at the first unreadable item instead of
panicking, which also means a hostile item after a self-referencing
function or colour space is silently dropped from nests_without_end.
- import_color: `readable(array)` checks every item parses; `items()`
yields nothing for an unreadable array; `entries()` reads a dictionary
key by key through get_raw, skipping values that don't parse.
- pages/editing/import_scan: use the helpers instead of raw_iter() and
Dict::entries().
- nests_without_end refuses a file with an unreadable array.
- Tests: two refusal cases in pdf tests and an .ai cut inside an array
or dictionary in engine/tests/import_fuzz.rs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01KcHisW1vt6pkVPYbzL6Cpg
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.
Binding art in a hidden group or layer failed with "node N is locked",
even when nothing was locked. The error now says whether the object is
locked, is in a locked group or layer, or is in a hidden group or layer.
Make Text Dynamic and Make Visibility Dynamic reported their errors under
`variable.makeDynamic`, which is not a command id. They now name
`variable.makeTextDynamic` or `variable.makeVisibilityDynamic`.
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.
A knockout group that is not isolated, and whose elements blend, is
drawn over a copy of the art below it when the renderer has no layer
open around it. Each element was drawn over the whole copy in a layer,
and the layer was cut to the element's knockout shape with DestIn.
Where the shape covers part of a pixel, the cut counted the element's
coverage a second time. With Page Knockout Group on and Page Isolated
Blending off, the page is drawn this way as soon as an object on it
outside an isolated group has a blend mode other than Normal, on itself
or on a fill or stroke. On a test page, adding a Multiply square
changed the half-covered edge of a blue square over orange from
[115, 115, 141] to [172, 159, 147] on white.
Each element is now drawn over the copy offscreen, over its own
bounds. With the DestOut pass before it, each pixel gets (1 - shape)
times what was below plus shape times the element composited with the
copy at a shape of 1, as ISO 32000-1 section 11.4.6 describes. Pixels
that the shape covers fully or not at all are drawn as before.
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.
In a dev build, opening a native file whose area type has 2^60 rows
or 2^60 columns failed with an internal error ("capacity overflow"),
and opening one with 2^32 rows and 2^32 columns failed with "attempt
to multiply with overflow". Text layout reserved room for rows times
columns frame cells. `text.areaOptions` keeps both counts within 1 to
100, but reading a document kept the counts the file gave.
Reading a document now clamps each count to 1 to 100
(`AreaOptions::MAX_ROWS_COLUMNS`): a larger count reads as 100, and 0
reads as 1, as layout already treated it. Text layout clamps both
counts the same way. Area type with 1 to 100 rows and columns lays out
as before.
The cells of a frame now share one copy of the frame's flattened
polygons and one copy of the flattened text wrap shapes. Each cell held
its own copy: in a dev build, a test process that laid out text in 100
rows and 100 columns of a circle frame of radius 1,000,000 pt peaked at
1.33 GB of memory, and now peaks at 100 MB.
The Shape Builder merges faces by uniting their contours, and the edges
two faces share cancel out. The sweep can give two faces copies of a
shared edge whose ends lie a few times its tolerance apart, with the
difference left as pieces shorter than the tolerance. The union could
then keep the space between the copies: a hairline that joined a hole
as a spur, or a seam that cut a petal tip off the ring's outer outline
as an outline of its own. On Apple Silicon, turning one petal of the
rosette test by -180 degrees instead of 180 leaves a spur.
A Shape Builder action unites the picked faces first, and then what is
left of each shape. When two copies of a shared edge differ in the
first of these unions that unites the faces' contours, each point of
the faces' contours that lies within 16 times the sweep's tolerance of
a point kept before it now moves onto that point before that union and
each later one, with the handles next to it. A piece left within that
distance of one point is dropped. The planar map joins the ends of
copies of an edge within the same distance. Copies that share their
ends leave at most a hairline contour, which the merge drops as a
sliver. When the copies in that union all match exactly, the unions
take the contours unchanged. Only the Shape Builder's merges and
deletions unite faces this way, so Pathfinder output does not change.
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.
The key of a raster made for content that shows a symbol includes the
font generation, and since c348b384 (#1723) the key for content
painted with a pattern includes it too. FontDb::add_font increases
that generation, and the six tests in tests_fontchange.rs call it. Two
tests in fx.rs draw such content and count the rasters moved between
frames: moved_rasters_need_the_same_content_and_effects and
a_moved_group_draws_the_shadow_of_the_instance_art_in_it_while_interacting.
Neither held fonts_steady(). When a font test added a font between
their frames, the renderer made the raster again and the test counted
0 rasters moved instead of 1. Under CPU load on Windows, with the font
tests in the same process, the first test failed in 12 of 100 runs and
the second failed in 36 of 70.
Both tests now hold fonts_steady().
translucent_blended_and_shadowed_type_redraws_when_its_font_becomes_available
added its font without the font lock that fonts_steady() holds shared,
and it now takes adding_fonts(), as the other five font tests do. With
the change, the first test passed in all 200 runs and the second
passed in all 120 runs under the same load.
file.new stamps metadata.created from the clock in whole seconds. Four
Alt-drag tests in tests_xform.rs compare the document under test with
one that a second session builds, and both sessions start from
session()'s file.new. When the clock reached a new second between the
two calls, the documents differed in created, and the test failed.
With a temporary change that made each clock read on a thread at least
one second later than the one before, all four failed.
session() in tests_xform.rs and persp_session() in
tests_persp_select.rs now pass "created": null to file.new, as #1894
did for doc_with_rect() in tests_ids_without_selection.rs. Two new
tests in #2067 compare two documents built on persp_session().
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