Pattern Brush Options has a menu below the Outer Corner Tile and the Inner
Corner Tile. Each can be the brush's own corner art (Original), None, or one
of four tiles made from the side tile at each corner of the path:
- Auto-Centered stretches one side tile around the corner, centered on it.
- Auto-Between bends a side tile on each side into the corner, the two
meeting on the corner's diagonal.
- Auto-Sliced lays a side tile on each side past the corner and masks it
at the diagonal, so the two meet like a mitered frame.
- Auto-Overlap lays a side tile on each side past the corner, overlapping.
The tiles are straight at the corner and follow the path towards the side
tiles, so they meet a curve that runs into the corner. A side tile taller
than the corner can reach is stretched along until the two sides meet. On a
short path, a corner's tile is squeezed along so that it covers at most the
path up to an open path's end and half way to the next corner, and its two sides still meet on the
corner's diagonal.
The definition stores the choice as `outer_source` and `inner_source`
(`none`, `autoCentered`, `autoBetween`, `autoSliced`, `autoOverlap`), which
`brush.options` sets. Corner art wins over a source. A brush saved without
a source draws as before: a kind of corner without art takes the other
kind's art. None leaves that kind of corner empty.
Docs: docs/mcp.md, docs/target-app-parity.md.
After a click picked the first object with the Blend tool, Escape did
nothing: the pick stayed, and the next click on another object blended
the two. After a blend was made, Escape did not stop the next click
adding to it either.
Escape now drops the object picked first and stops the next click
adding to the blend just made, as a click on empty canvas does, so the
next click picks a new first object. The document and the selection
stay as they are, and no undo step is added.
Docs: docs/mcp.md, docs/target-app-parity.md.
Enter Isolation Mode worked while an opacity mask was edited, and Edit
Opacity Mask and View Opacity Mask worked in isolation mode, so each
mode replaced the other's isolated art. In the reference app, isolation
mode can't be entered while a mask is edited, and mask editing can't be
entered in isolation mode.
object.isolate and perspective.editText, which shows type in isolation
mode, are now off while an opacity mask is edited, and a call returns
an error that ends "stop editing the opacity mask first". In isolation
mode transparency.editOpacityMask and transparency.viewOpacityMask are
off, and transparency.makeOpacityMask refuses one target, an object or
a layer, which it would take into mask editing; a call returns an error
that ends "exit isolation mode first". Make Opacity Mask with two
objects still masks one with the other. Pattern editing mode does not
count as isolation mode for these commands.
Object > Perspective > Edit Text, the canvas context menu and the
Transparency panel's menu and Make Mask button follow the commands'
enablement. A click or Alt-click on the mask thumbnail in isolation
mode shows the error and does not edit the mask. While a mask is
edited, the Contextual Task Bar leaves out Isolate, and the Properties
panel's Quick Actions leave out Isolate Group.
Docs: docs/mcp.md, docs/target-app-parity.md.
The chips drew the first selected object's fill and stroke. They now show
the paints the Fill and Stroke proxies show, a group's painted art
included, and a "?" when the selected objects' paints differ. A click on
either chip shows the Swatches panel through `window.panel.activate`, so
it also appears when the panel is floating, closed or in an expanded dock
column; an open flyout stays open. The progress doc describes the
reference app's bar in its own words.
The task bar's Fill chip had no Stroke counterpart. A Stroke chip now sits
beside it, drawn as a ring with the selected object's stroke paint, as the
Control bar's Stroke chip is. A click on it brings the Stroke proxy forward
and opens the Swatches panel, as a click on the Fill chip does for the
Fill proxy. The chip is left out with the Artboard tool, as Fill is.
The bar's width estimate, which centers the bar under the selection, grows
by the chip's width. The drag test's first square moves 20 pt right so its
bar still starts inside the canvas.
Escape during a Selection tool move or Alt-drag copy, a bounding-box
scale or rotation, a marquee, or a drag of a corner widget, a pie widget
or the brackets of type on a path did nothing, and the release then
applied the drag. Only a ruler guide, mirror axis or grid repeat drag
and the loaded text took Escape.
Escape in any of these drags now cancels it, the way Direct Selection
cancels its drags: the art returns to its state at the press, an
Alt-drag leaves no copy, no undo step is added, and the release does
nothing.
Outside a drag Escape works as before.
Docs: docs/mcp.md, docs/target-app-parity.md.
Character Rotation turned a glyph's baseline shift and scaling with the glyph, and the Skew path effect slants a glyph's height away from the path's normal, so the x-height guide moved off the glyphs. Each positioned glyph now carries the transform that removes its Character Rotation (PositionedGlyph::unturned), and the guide goes through the glyph's x-height point placed without it, measured across the baseline. Snap to Glyph also takes Smart Guides being on in the tools, as View › Snap to Glyph already does in the engine.
With View › Snap to Glyph and Smart Guides on, a point drawn near a single
line of live type now also lands on the anchor points of its glyphs and lines
up with its x-height (raised or lowered by Baseline Shift) and with the edges
of each character's advance width along the baseline (proximity guides). In
rotated type the baseline, x-height and proximity guides run at the type's
angle, and type of one glyph also has angular guides along the glyph's slanted
straight segments; a segment that Shift keeps to its angle slides onto them.
A paragraph shows glyph bounds only, so its baselines are no longer guides.
FontFace::x_height gives a face's x-height in font units.
PDF export writes a CMYK image whose opacity mask is a gray image on its
own pixel grid with the mask as the image's soft mask. That path always
asked viewers to smooth the image, so a pixelated piece of an envelope
with Anti-Alias off was still written with /Interpolate when it had such
a mask. It now takes the pixelated flag as images without a mask do, and
caches the smoothed and pixelated versions apart.
Envelope Options stored Anti-Alias and Preserve Shape Using, but nothing that
draws an image read them: a distorted image was always smoothed and always
cut into clip groups.
- With Anti-Alias off, each piece of a distorted image is marked pixelated
(saved as `pixelated`). The renderer draws it with nearest-neighbor
sampling and without mips, SVG export writes `image-rendering: pixelated`,
and PDF export writes it without /Interpolate.
- With Preserve Shape Using Transparency, each piece is the image with a
white opacity mask in the piece's shape instead of a clip group. The
renderer paints an image whose mask is one plain white path straight into
that path, as it does for an image in a clip group, when the path lies
inside the image's frame.
Docs: docs/mcp.md, docs/target-app-parity.md.
The reference app keeps the inner radius of a star constant when Ctrl
or Command is held after the drag starts. VectorCraft's Star tool took
the held radius from the first drag event that carried the key, using
that event's outer radius. The canvas sends a drag only once the
pointer moves, so a key pressed with the pointer still scaled the
inner radius with the next move before holding it.
Ctrl/Cmd now holds the inner radius the star showed at the last drag
position before the key went down, with Alt's straight shoulders when
Alt was held. A new press and Escape clear the held radius. Before,
after a drag canceled with Escape, the next star took the canceled
star's inner radius when Ctrl/Cmd went down before that star's first
drag event.
Docs: docs/target-app-parity.md.
Escape did not cancel a drag with the Anchor Point, Mesh, Shape Builder
and Measure tools, or a Direct Selection drag of a mesh point, a corner
widget or the brackets of type on a path: the drag went on until the
mouse was released. Escape cancels every other Direct Selection drag
and a drag with the Free Transform, Rotate, Reflect, Scale, Shear and
Gradient tools.
Escape now cancels an Anchor Point drag, a Mesh tool drag of a mesh
point or handle, and a Direct Selection drag of a mesh point or handle,
a corner widget or the brackets of type on a path. The art goes back to
how the press found it, no undo step is added, and the rest of the drag
and the release send nothing. Escape during a Shape Builder drag ends
it, so the release merges and deletes nothing; the tool takes Escape
only during the drag. Escape during a Measure tool drag ends it and
brings back the measurement shown before the press. Escape after an
Anchor Point or Direct Selection press that has not moved yet drops the
press. Otherwise, outside a drag, Escape does what it did before.
Docs: docs/mcp.md, docs/target-app-parity.md.
drop_beyond_canvas removed objects but left what names them: saved
selections, Asset Export entries and variable bindings kept their ids,
and layer guides of a removed sublayer named a layer that was gone. It now
runs tidy_saved_selections, prune_assets and prune_variable_bindings when
it removes objects, as edits do, and removes the layer guides of the
layers it removed.
A layer's bounds leave out its hidden objects and a clipping container's
are its clipping path's, so objects beyond the canvas inside them were
kept. Layers and groups are now looked into object by object.
A clipping path beyond the canvas goes with the objects it clips, so no
other object becomes the clip; a top-level clipping layer is emptied and
stops clipping. A removed artboard's ruler origin goes and its id is
retired, as deleting it does.
Edits refuse to leave anything beyond MAX_COORD (doc_sane checks the
artboards, the guides, the ruler origin and the objects an edit touches),
but the native loader didn't check them. A file with one object, artboard,
guide or ruler origin out there opened without a warning, and then every
move failed with "result would exceed the canvas", in-range objects
included; saving kept it that way.
Document::drop_beyond_canvas removes objects whose geometric bounds aren't
finite or reach past MAX_COORD (a layer or non-clipping group keeps its
children within it), artboards with their artboard guides, and guides out
there, and puts the ruler origin back at the origin. load_file runs it
after the depth limit and reports what it did with the other load notes; a
file whose artboards all lie beyond the canvas is refused.
NodeKind's reader buffers the fields that come before `type` as
serde_json::Values. VectorCraft writes `type` first, but a crafted file
can put a long array there: a group whose children held 50M numbers before
its type (a 96 KB gzip) peaked at 1.6 GB, and the cost grows with the
array up to MAX_JSON, before any object in it is counted.
The buffer is read through a counting visitor: each JSON value counts
against MAX_BUFFERED_VALUES (32M, 4M on wasm32) as it is read, and values
replayed from the buffer aren't counted twice. load_file reads within it;
the same file is now refused at a 1.1 GB peak.
Opening a native document now reads at most MAX_READ_NODES objects (4M,
512K on wasm32) and refuses the file past that with a message naming the
budget. Paths already read within MAX_READ_ANCHORS and the web build's JSON
cap is 256 MB, but the number of objects had no bound: a gzip'd document of
empty groups costs about 270 bytes per object once read against some 50 in
its JSON, so 10M groups in a 24 MB file took 2.7 GB to open.
NodeWire's id is read through counted_id, so each object counts once as it
is read. load_file reads through a private load_file_within so a test can
exercise the budget without a 4M-object document.
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