Make Opacity Mask took the topmost target as the mask. When that target was
a layer (a targeted layer above the art, or `ids` ending in a layer id), the
whole layer was removed from the layer tree and became the mask art. A layer
on top now stands for its visible, unlocked art, as a layer below the mask
already does: its topmost object is the mask and the rest of its art is
masked with the art below. A top layer with no such art is refused and the
document is left unchanged.
print.yml still runs its own jobs, and CLAUDE.md (CI workflows) keeps additions out of such files.
The cache churn it causes goes to craft-common-actions instead. This PR is now the xtask change only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The test run builds --lib --bins --tests; a binary target's dependencies (the desktop app's
eframe features) could still resolve differently under --lib alone. Match the selection
exactly, and drop --quiet so a rebuild would show in the log.
- xtask ci: the i18n report selects the whole workspace as the test stage did. With
`-p vectorcraft-ui-egui` alone cargo resolved features differently and recompiled for about
3.5 minutes. `cargo xtask i18n-report` on its own still builds only that crate.
- print.yml: only main saves the desktop-print cache. Each PR saved its own 1.3 GB cache that
only that PR can read (6.3 GB across five PRs), pushing the repository past its 10 GB limit
and evicting caches main's gate restores.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
menus_and_tooltips_show_the_backtick_key_as_it_types put Edit › Clear on Cmd+~.
craft-keymap reserves Cmd+` on macOS, so the override is refused there and
the menu kept Delete. The test now uses Alt+~, which no platform reserves.
From the CodeRabbit review: the Serbian and Croatian quote marks name
their sources with the Pravopis's ISBN and links to CLDR's sr and hr
data, in the code and in docs/type-parity.md; the quotes test says what
it checks.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_011wCJ9DkszhZKxYL3LgcSfZ
Document Setup and Character › Language list Serbian: Cyrillic (sr-Cyrl),
Serbian: Latin (sr-Latn) and Croatian (hr). Text tagged Serbian is shaped
in it (#4940, #4959), so fonts draw their Serbian forms, the italic б,
г, д, п, т. Serbian quotes follow the Pravopis (Matica srpska 2010,
т. 168) and CLDR: „…” and ’…’; Croatian per CLDR: „…“ and ‚…‘.
Illustrator lists Croatian but not Serbian.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_011wCJ9DkszhZKxYL3LgcSfZ
symbol.delete {names} expands every instance of the named symbols,
round by round, before it removes any definition, so a symbol and the
one placed inside it delete alike in either order. The Symbols panel's
picks belong to the document they were made in, and a single picked
symbol is deleted only while symbol.unused still lists it.
symbol.unused lists the symbols nothing places: instances in the art
(opacity masks included), graph designs, pattern tiles and brush art
count, and so do instances in a used symbol's art. The Symbols panel
menu's Select All Unused shows them selected, and Delete Symbol asks
once and deletes those still unused in one undo step
(symbol.delete {names}).
The status bar's messages for relinked, replaced, updated and embedded
images, broken links, linked files that can't be read or changed on
disk, images that can't be decoded, added and unavailable fonts, copied
CSS, downloads and exports with notes read "1 image(s)" and similar.
They now say "1 image" and "2 images", and every catalog translates
both through @msgplural rows in the language's plural forms, as the
Package status does.
- i18n::msg_n writes such a message in English and fills its
placeholders in one pass; the status bar's translation fills them in
one pass too, so a path or name that holds "{n}" text stays whole.
- The old "(s)" @msg rows are replaced in all 26 catalogs, with new
rows for Replaced and Break Link.
- Sites: dialogs/missing_links.rs, dialogs/missing_fonts.rs,
app/links.rs, panels/css_properties.rs, dialogs/find_links.rs,
panels/links.rs, place.rs, canvas.rs, io/export.rs and
dialogs/save_for_web.rs.
The OpenType panel gains Stylistic Alternates (salt) and Titling Alternates
(titl) checkboxes after Swash. The Figure menu lists Default Figure, Tabular
Lining, Proportional Lining, Proportional Oldstyle and Tabular Oldstyle.
Proportional Lining sets pnum and lnum and turns tnum and onum off; Tabular
Lining keeps lnum, Proportional Oldstyle keeps pnum, and Default Figure and
Tabular Oldstyle turn both off. Every catalog has rows for the three new
labels.
A 16-bit piece holding half of a UTF-16 surrogate pair was placed with
U+FFFD in its place; the document is now refused. A pair split between
two pieces is decoded as one character.
A field with no result (no separator, never ended, or nested past 64)
is left out with its own warning, and the warning about fields placed
as their results is given only for fields that have one.
File > Place reads a Word 97-2003 document (a compound file named .doc,
or one that holds a WordDocument stream) and sets its main text as area
type, as it does for .rtf and .docx files. The text comes from the
piece table, in 16-bit Unicode or compressed 8-bit pieces. Formatting
is resolved from the style sheet's default font, the paragraph style,
the character style and the direct character and paragraph properties,
and keeps the same properties the .docx reader maps.
Table cells are separated by tabs and each row is a paragraph, and a
field places as its result. Hidden and deleted text, pictures, headers,
footers, notes, comments and text boxes are left out, and the reply's
warnings name each kind of content left out or changed once. Word 6.0
and Word 95 documents, encrypted documents and documents last saved
with fast save are refused, and so are structures that lie outside
their streams.
The compound file is read with the cfb crate (MIT), which adds one
package to Cargo.lock.
The stop drop now checks Escape the way the indent-marker drop does, so Escape in the release frame leaves the stops as they were after a plain drag, a Ctrl-drag (Command on macOS) of all the stops, or a drag off the ruler.
In the Tabs panel, a stop dragged on the ruler with Ctrl held (Command on
macOS) moves every stop by the same distance, set in one text.tabs.set and
one undo step. The stops keep their order, alignment, leaders and Align On,
and the ruler draws them at their new positions during the drag.
Ctrl is read when the drag starts, as the Left Indent marker reads it. A drag
that would take the leftmost stop below 0 leaves it at 0, and one that would
take the rightmost past 100,000 pt leaves it at 100,000 pt, keeping the
spacing of the others. A Ctrl-drag released off the ruler deletes only the
dragged stop, as a plain drag does. A plain drag still moves one stop.
The Brazilian Portuguese catalog was marked complete under the tests, but 174 strings that the
German, French, Italian and Spanish catalogs already translate still fell back to English: smart
object and smart-filter editors, print presets and Japanese paper names, dimension lines and text,
the gutter, workspace names, swatch names and canvas messages.
Rows follow the catalog's vocabulary (dimension = cota, swatch = amostra, artboard = Mesa de
Trabalho, gutter = medianiz, line weight = espessura da linha) and are appended after the existing
entries; placeholders, ellipses and colons are unchanged. The parity doc records the new count
(6,126) with the commit it was measured on, following the rule in "How it is measured".
An open blend shows a <Spine> row below its key objects, where Release
leaves the spine. A click selects the blend (Shift/Cmd toggles it), so
Direct Selection edits the spine on the canvas; a locked blend's row
selects nothing, and the row is left out while searching or filtering.
EPS export wrote every gradient with a spot color stop in process
colors. A gradient of tints of one spot color and paper white is now
written in that ink's Separation space, at Level 2 and 3. At Level 3, a
gradient that mixes a spot color with CMYK or gray colors, or two spot
colors, is written in a DeviceN space of the process inks its stops use
and the spot inks, each spot ink with the CMYK equivalent its Separation
space has. An off-center midpoint is a stop with the inks halfway
between its two stops. Paper white is an exact white, whether or not
the stop is linked to a process swatch.
These gradients are still written in process colors, each with its own
warning: a mix with other inks at Level 2; a mix with RGB or Lab colors
in an RGB export (a CMYK export converts those stops to CMYK first); a
DeviceN space that would need more than 32 colorants or a spot ink named
Cyan, Magenta, Yellow, Black, All or None; and a Perceptual gradient.
The old warning for every spot gradient has been removed.
The header lists two or more spot colors with each %%+ line right after
the comment it continues: %%DocumentCustomColors and %%CMYKCustomColor
were interleaved, so a DSC reader took the second ink's name as part of
the first ink's %%CMYKCustomColor.
Cmd/Ctrl held with the Pen lends the last-used selection tool (Direct
Selection until one is chosen), which already moved anchors, straight
segments and curves of the path being drawn, one undo step each, and
handed the path back to the Pen.
With the Selection tool used last, the lent tool hit-tested the
bounding box even though the canvas hides it while anchors are selected
on their own, as the end anchor of a path being drawn is. Over the
path it showed a resize pointer, and the drag scaled the path by a
handle nobody could see: a flat path did nothing at all.
The Selection tool's handles now take the pointer only while the box is
shown (View > Show Bounding Box, no anchors selected on their own), so
the lent Selection tool moves the path being drawn.
Tests: select::tests::hidden_box_handles_take_no_press_while_anchors_are_selected,
tests::draw2::pen_cmd_drag_edits_anchors_and_segments_and_goes_on_drawing.
On a Wayland session Linux Display Server's default, Automatic, opened
the window on native Wayland. winit 0.30 doesn't bind the Wayland tablet
protocol, and KWin (since Plasma 6.3) and Mutter turn no tablet input
into pointer input, so the pen moved only the compositor's cursor and
the app got no motion or presses. Only X11 (XWayland) When a Pen Is
Attached, which users had to find and choose, sent the window through
XWayland, where the pen works as a mouse with its pressure.
Automatic now opens the window through XWayland when a pen is attached
as the app starts, as PhotoCraft does by default.
VECTORCRAFT_NATIVE_WAYLAND=1 keeps the window on Wayland, like
PhotoCraft's PHOTOCRAFT_NATIVE_WAYLAND. The X11 choice is unchanged.
dotCooCoo