On a hybrid laptop whose Wayland compositor runs on the discrete GPU
(Hyprland with AQ_DRM_DEVICES naming the NVIDIA card first), the built-in
panel still hangs off the integrated GPU, so the display rule put it first,
and the window stayed empty: the compositor took the frames and showed
nothing, with no error, so neither the restart on a failed adapter (#502)
nor the first-frame watch (#964) noticed.
Which GPU drives a display stands in for which GPU the compositor draws
with. Under Wayland the compositor says so itself: the main_device of its
linux-dmabuf feedback (version 4), the device it imports client buffers on,
which Mesa's Vulkan device-select layer reads for the same purpose.
compositor_gpu.rs asks for it on a short-lived connection, maps the dev_t
to PCI ids through /sys/dev/char, and under Automatic adapter_order ranks
that adapter ahead of the display GPUs. No answer (X11, an older compositor,
a GPU no adapter matches) leaves the existing rules in charge; a user's own
choice, WGPU_ADAPTER_NAME and the restart skip list still come first.
wayland-client and wayland-protocols are already in the tree through winit;
they become direct Linux-only dependencies.
Adds the Character panel menu's Digits option (with the Middle Eastern /
Indic options, beside Paragraph Direction in the Paragraph panel) as a
character attribute: CharStyle::digits, saved only when set, with
text.setFormat {digits} and text.setRangeStyle {id, start, end, digits}
("default" | "arabic" | "hindi" | "farsi"; a bad value is an error).
Shaping draws every digit of the Western, Arabic-Indic (U+0660–U+0669)
and Eastern Arabic-Indic (U+06F0–U+06F9) sets in the chosen system,
whatever was typed, before font fallback, so a font without the
Arabic-Indic digits gets a fallback for them. The text, its clusters,
the caret, selection and search stay as typed, as with All Caps; SVG
export writes the digits as drawn.
Catalog rows for Digits, Arabic, Hindi and Farsi in the ten translated
languages. Docs: docs/mcp.md (Digits), type-parity.md (digit types
done; Character Direction, kashidas, composers and the split caret
still missing), target-app-parity.md and gaps.md.
Behaviour from the public documentation (a character-level option with
the values Arabic, Hindi and Farsi in the Character panel menu):
https://helpx.adobe.com/indesign/desktop/language-and-proofing/arabic-and-hebrew/choose-digit-types.html
Tests: doc (the mapping and serialization), text (glyphs of "page 3" in
Hindi/Farsi equal the typed Arabic-Indic digits' on the typed clusters;
skips without a font covering the three sets), engine (setFormat,
setRangeStyle, undo, error), svg (digits written as drawn), ui-egui
(the menu shows with the Indic options).
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
The language switcher shows every language in its own name in every UI
language (language_and_appearance_are_in_the_app_menu), so "English" stays
"English" like in the other catalogs. "List Folder" is the file.list command
that arrived with #1181 and is a menu string the complete catalogs translate.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Own entry only, as AGENTS.md describes: credited by the name on my public
GitHub profile (sync_github_name), otherwise by @username.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Changes from an independent review pass over the Czech catalog. Short keys
shared between a menu and a dialog got the wording that fits both places
(All = "Vše", Add = "Přidat", Type: = "Typ:", Center = "Střed", Edge =
"Okraj", Advanced = "Rozšířené"); sentences that built a plural from a bare
count now read "Počet ...: {count}"; "Offset Path" is "Odsadit cestu", the
New... button is named consistently in the preset hints, "resolve" is not
translated as "rozlišit", and the rendering intent is "Záměr vykreslení".
Strings that need a context in the code to be right everywhere (Scale as a
dialog title, Random/Uniform as check boxes, Subset fonts below) are left as
they are.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Object › Expand, Expand Appearance and the rest of the catalog say
"Rozložit"; three older rows said "rozšířit" (widen) for the same
command: Expand Shaper Group and the two Revolve notes about expanding.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Czech is in COMPLETE_MESSAGES, so a new status or error message needs a
cs.tsv row too. czech_reads_as_czech checks the vocabulary (Nástroj
Pracovní plocha, Vzorník, Operace s cestami, Tah, Výplň), the three
plural forms of a layer count, the axis context and a nested message;
czech_plurals_have_three_forms now also runs every @plural row through
trn for one, few and other counts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Czech catalog covered every menu label (726 rows); panels, dialogs,
tooltips and status messages fell back to English. It now has a row for
every key of the complete catalogs: every menu string and tl! literal,
the 13 plurals in one/few/other form, the axis/effect/lighting/theme
contexts and every @msg status and error message (3,404 rows added,
4,130 in all). The existing rows are kept as they were; the header says
how the new ones were written and lists the vocabulary.
With the catalog complete, Czech sets complete_menus, so the coverage
tests now hold it to every menu string and tl! literal.
Written clean-room from the meaning of the English text, drafted with AI
assistance; not yet reviewed by a native speaker.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The leading of a text object made from the file's text document was the
distance between the first two lines of the file's own layout. Those lines
are where the paragraph spacing has put them, and the text object applies
that spacing again, so paragraphs with a space after (or before) came in with
their lines too close (negative space) or too far apart (positive).
The leading is now that distance less the space after the paragraph before
and the space before the paragraph after; two lines of one paragraph have
none between them.
Tests on synthetic stories: negative and positive spacing, a frame scale,
line breaks inside a paragraph, a single line.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The private data a .ai file opens with names fonts by PostScript name, and
the importer split the name at its first hyphen: rounded-x-mplus-1c-black
became the family "rounded", style "x-mplus-1c-black", which no font has,
so the type fell back to Source Sans 3 although Rounded-X M+ 1c is
installed. An installed or bundled face of that exact PostScript name now
gives its own family and style; other names split as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Read through its editing data, a .ai put the copies of area type and type
on a path on top of their original: the text document's frame of a copied
object keeps the original's path (with a matrix of its own that isn't
understood yet). The object's `/Art` path, which the layers' data keeps
for each text object, is where the file places it: area type and type on
a path now take it as their frame or path, by story and frame.
On a file of cards made by copying one, the type laid out from the text
document now lands on each card (515 text objects where its PDF part has
them, against 467, many on one card, before).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Smart Guides on, a selection moved by the Selection tool only lined
its bounds up with the other art: grabbed by an anchor and dropped near
another object's anchor, it could stop a fraction of a point beside it
where an edge lined up instead. When the grabbed point comes within the
snapping tolerance of an anchor or a centre, it now lands on it, as
Smart Guides' anchor snapping does.
With anchor points selected by Direct Selection, the Align buttons moved
the whole path, so two points couldn't be lined up. As in Illustrator,
they now align the selected points: to the points' own bounds (Align To
Selection) or to the artboard. A path selected whole still aligns as an
object.
wgpu's default DX12 shader compiler loads whichever dxcompiler.dll the
DLL search path finds first; VectorCraft ships none, so it was another
program's, and one without its dxil.dll warns that the DXIL is unsigned.
wgpu takes the warning for a compile error, the device is lost before
the first frame, and the app falls back to OpenGL. FXC (d3dcompiler_47,
part of Windows) compiles everything the window needs, as LightCraft
does since its #484; WGPU_DX12_COMPILER still picks another.
tests_place::a_file_placed_while_idle_follows_its_changes failed at
random in CI (twice on 2026-10-11): while the link scan ran on its
worker thread, the test's clock moved on by whole simulated seconds per
5 ms of real time, so on a busy machine the 10 simulated seconds ran out
before the scan had read the changed file. The clock now waits for the
scan (up to 20 real seconds).
Make Compound Path kept each path's direction under the non-zero fill
rule, so a shape drawn inside or across another, running the same way,
left the overlap filled instead of making a hole. The paths in front of
the backmost one now run against it, so where they overlap it they cut
holes, as users expect from a compound path.
Releases pinned craft-fonts at its first commit, with the Japanese fonts
only. The pin moves to its current main, as PdfCraft, LightCraft and
WordCraft have moved theirs: desktop builds embed Noto Sans Thai, Noto
Sans Arabic and Noto Sans CJK SC too (the web build still embeds only
the UI font and fetches Thai and Arabic beside the wasm). Packages
already copy every embedded font's licence.
The Thai loanword test no longer assumes the bundled fonts' widths: it
checks that no line ends inside โปรแกรม, whichever Thai font sets it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Ctrl/Alt+arrows and double-click treated a run of Thai (Lao, Khmer,
Myanmar) without spaces as one word, and stopped at a word's tone and
vowel marks, which didn't count as part of a word. They now stop at the
word boundaries the line segmenter finds in those scripts (shared with
line breaking, so no more data ships), and combining marks count as
part of a word, also for combining accents in other scripts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The web build has no installed fonts, so Thai there showed as empty
boxes. With a craft-fonts checkout that has Noto Sans Thai, its Thai
font joins the document font database after the Arabic ones (the
fallback for Thai where no Thai font is installed) and the web build
fetches it before the app starts, as it does Noto Sans Arabic.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The font menu's script filter offered Japanese and Latin only, so Thai
fonts had to be found by name among every installed family. It now has
Thai too: the families whose character map has Thai. Latin lists the
families with neither Japanese nor Thai.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
These scripts don't separate words with spaces, and lines only broke at
spaces, hyphens and CJK characters, so a Thai paragraph in area type ran
on to the next space (or was cut wherever it overflowed). Each
paragraph's glyphs now carry the word ends ICU4X's line segmenter finds
in text of those scripts (its dictionaries on the desktop, its far
smaller LSTM models on the web), and a line may break after them as
after a space. Other text keeps its own breaks, and clusters (a
consonant with its vowel and tone marks) still never split.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Two branches' status lines both landed in a merge; they are one line
again, naming both changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
BFlat