A save that couldn't write its file (a read-only folder, a file another
program holds open, a full disk) was only reported in the status bar, a line
the next message replaces; a background save's failure arrived there some
time after the user had moved on. Save, Save As, Save a Copy, Save as
Template, Export As and the commands that write one file now also say it in a
dialog naming the file and the reason, which stays until it is closed. The
document stays modified and keeps the file it had. A message that arrives
while another dialog is open waits for it to close instead of replacing it.
An agent's request gets the error as its reply, without a dialog; a failed
recovery write stays in the status bar.
A document opened off the UI thread became the active one as soon as it was
ready, also under an open dialog, whose OK acts on the active document: Save
As options confirmed after another file had finished opening wrote that
file's art under the first document's name. Files that are ready now wait
until the dialog is closed.
The web app's download callback returned nothing, so a save whose Blob, URL or
anchor couldn't be made was reported as written: the document counted as
saved, its recovery copy was dropped, and Save Changes closed it. The callback
now returns the error, which fails the save, export or file command like a
refused write on the desktop. A timer that can't be set after the download
started is not a failure.
The worker answered "timeout" after 60 s and left the request on the queue, so
the app ran it whenever it next drained the queue: an edit nobody was waiting
for, and a second one if the caller had retried. A request now leaves the
queue once: taken by the app, or given up by its caller, whichever comes
first. The timeout reply says which ("will not run" / "still running").
The preferences file was written only when the app quit normally, so settings
confirmed with OK were lost when the session ended any other way (the system
shutting down, the process being ended, a crash). OK now asks the host to
write the file at once.
Without group labels, the single column no longer draws a dash between
the groups: its tools are evenly spaced from top to bottom, as two
columns already run on from group to group. With the labels, each group
still starts under its name.
- Without group labels, the double-column toolbar fills every row: a
group no longer starts a half-empty row, as the reference's Basic
toolbar runs on in two columns. One column keeps its faint dashes, and
with the labels each group still starts its own row under its name.
- The All Tools drawer, now a tall single column, never goes above the
toolbar's top: on macOS it ran under the window's buttons. Its scroll
height is what is left from there to the window's bottom.
- Preferences › User Interface › Show Tool Group Labels is off as it
ships: the toolbar sets its groups apart with a faint dash, as the
Basic and Advanced toolbars of the public toolbar reference do (the
categories there are the Getting Started toolbar's). It no longer cuts
"Navigate" to "Navi...". The labels are a preference away.
- The All Tools drawer lists the tools one per row (icon, full name,
shortcut on the right), each flyout group framed together under the
heading most of its tools have (the Pencil's group, led by the Shaper,
under Draw). Tools already in the toolbar stay dimmed; dragging and
picking are as before.
- Its ☰ menu has Reset and the Basic and Advanced toolbars, the drawer's
flyout menu of the reference.
- Its Show section shows or hides the controls under the toolbar's tools
(Fill and Stroke, Coloring, Draw Mode, Screen Mode), as the reference
describes; `toolbar.show {control?, on?}`, saved with the preferences
(`ui.toolbar_show`, all on for older ones). Edit Toolbar's ••• stays.
- New strings in every catalog.
Reference: https://helpx.adobe.com/illustrator/using/tools.html (the look
is VectorCraft's own, with its own icons).
Each documented preset has an enhanced version (`enhanced: true` in
`imageTrace.make`, an Enhanced checkbox under the panel's preset): the preset
with Auto Grouping, and with Shapes in all but High Fidelity Photo. Gradients
stay an option. Flat Logo, a preset of our own, has none. The legacy presets,
and documents traced with them, are as they were.
So that an enhanced preset is no worse than its preset on that preset's inputs:
- A hole that one colour fills is the same shape as the path that fills it, so
the two still share one outline (a shape beside a fitted hole left slivers).
- A rectangle is as large as where its sides lie on average, not their farthest
points.
- Auto Grouping keeps the paths of a group in the order they were traced in. It
put a path first and what is inside it on top: a white counter traced under
its black letter was then painted over the letter's edge, a light seam
(Default with Auto Grouping, edge dE 10.24 -> 9.88; legacy 10.05).
The harness measures every enhanced preset beside its preset.
With Type › Show Hidden Characters on, the canvas laid out every
visible text object in view in every frame to place the dots on
spaces and the ¶ and # marks. With 1,000 two-line labels in view,
drawing the marks took a median of 19.7 ms per frame in a release
build.
The overlay now keeps each text object's marks in document space,
together with the node it laid them out from. In a frame it lays out
a text object only when its node is a new `Arc` (an edit makes one)
or the frame before did not draw it, and it lays out all type in view
again when the fonts or the hyphenation exceptions change. The marks
are still placed for the current view in every frame. With the same
labels, drawing the marks takes 0.8 ms per frame, and the shapes drawn
are the same as before.
Docs: docs/target-app-parity.md.
When the last frame took more than 8 ms to render, the desktop app's
canvas sends the next frame to the render worker and draws the last
one until the new one arrives. After a pan or a zoom it draws the last
frame moved and scaled. After the view angle changed, it drew no art
until a frame at the new angle arrived. The angle changes during a
Rotate View drag and when the status bar's angle menu, Reset Rotate
View or a saved view sets it. In a headless run of the canvas on a
document of 50,000 paths, none of the 60 frames of a turn from 0° to
90° drew any art.
The canvas now draws the last frame as a mesh turned into the new
view. Each corner goes where the new view puts the document point that
the corner showed. The frame at the new angle replaces it when it
arrives, as before. Pixel Preview's frames already turned with the
view and are drawn as before.
Docs: docs/target-app-parity.md.
The VPORT view direction fix and its test stay. The Export Strokes as
Centerlines option and the preset button are not in the documented DXF/DWG
export options, so they wait for the owner's decision.
The Corner Radius field in the Properties and Transform panels has a
link toggle behind it (the "singleCornerRadius" preference, on by
default). When the link is on, one field sets every corner, as before.
When it is off, the panels show one field for each corner of a live
rectangle: Top Left, Top Right, Bottom Right and Bottom Left. Each field
sets its own corner through object.setLiveShape {corners, radius}.
This is the part of #1594 that does not change the corner widget drag
or its modifier keys, split out for review.
Tests: a Properties panel test (the link on shows one field; off shows
the four labelled fields with each corner's radius, in line and in
order). The new labels are translated in all 15 catalogs.
The public 3D and Materials panel options give the Light Settings as
Intensity (0–100 %), Rotation (-180° to 180°), Height (0° to 90°),
Softness (0–100 %) and Ambient Light (0–200 %), with the light moved to
the back or the front of the object. The 3D effects (Revolve included)
had Direction and Elevation (an azimuth and elevation), Intensity and
Ambient (0–100 %).
- Rotation turns the light round the object on the page (our reading:
0° on its right, counterclockwise); Height raises it from beside the
object (0°) to straight in front (90°); Light behind the object puts
it at the back. The light gizmo's ring and line are Rotation and
Height.
- Softness wraps the light round the object: at 0 % it falls off with
the angle as before, at 100 % it reaches nothing only straight away.
- Ambient Light runs to 200 %; faces stay no brighter than the art.
- lightRotation, lightHeight, lightBehind and lightSoftness replace
lightAzimuth and lightElevation. An earlier light is read as the same
direction, so it shades exactly as before (old and new code give the
same colours for the four effects and five lights); effect.setParams
turns a stored one into the new form before applying new values, and
the parameter description names lightAzimuth and lightElevation as the
earlier form, so effect.apply and effect.setParams still take them. The
default light is the earlier default's: Rotation 125.26°, Height 30°.
- The dialog's Lighting tab shows the settings in the documented order;
Softness, Ambient Light and Light behind the object are in every
catalog, and the unused Direction, Elevation and Ambient are gone.
Light colour, presets, several lights and shadows are not built.
The public 3D and Materials panel options give Perspective as 0° to 160°
("how close or far the object appears"); it was a 0–100 % strength, for
Revolve, Extrude & Bevel, Inflate and Rotate alike.
- The eye stands where a sphere about the object's centre, √3 times its
half size (the box around it fits inside), fills that angle of the
view: 0° is none, wider brings the eye nearer, and at 160° it is just
outside the sphere, never inside the object. The documentation doesn't
say how the angle places the eye; docs/three-d.md says this is our
reading.
- `perspectiveAngle` (degrees) replaces `perspective` (%). A strength from
an earlier file or script is read as the angle that shows exactly the
same view: sin(angle / 2) = √3 × strength / 4, 100 % about 51.3°. An
angle given too wins. effect.setParams turns a stored strength into the
angle before applying new values. The parameter description names
`perspective` as the earlier form, so effect.apply and effect.setParams
still take it under the key check of #1592. Old and new code draw the four effects identically at 0, 25,
60 and 100 % (bounds equal to 1e-9).
- The dialogs' Perspective fields run 0–160°.
# Conflicts:
# docs/target-app-parity.md
When the desktop app opened a document on a thread of its own, that
thread parsed it, but open_read, which the app ran on the UI thread,
read the document's linked files, decoding BMP, PSD and RGB TIFF files
and storing them again as PNG, and laid out the type. In release builds,
a document with 12 linked 3000 x 2000 TIFFs kept the UI thread busy for
1.04 s, and one with 300 Auto Size area type objects, every second one
in three columns, kept it busy for 0.85 s.
read_for_open now reads the linked files and lays out the type on the
opening thread, with the path and the Update Links preference that
opening::start passes it, and open_read only adds the finished document.
open_read now takes 0.02 ms and 0.1 ms on those documents. For the
measured documents, the opened documents, results and undo states are
the same as on main.
Docs: docs/target-app-parity.md.
Every symbol instance was measured as its transform applied to the
20 × 20 square around the origin, which symbols made in the app keep
their art in. The SVG and DXF importers keep symbol art as drawn, so
the box of an instance of an imported symbol did not match its art.
The SVG Star instance at x 20, y 30 draws from (20, 30) to (40, 50)
and was measured from (10, 20) to (30, 40). Align moved such an
instance by the wrong amount, clicks and marquees beside its art
selected it, and the canvas, exports and prints left it out when its
art reached the view or the page and the square did not.
An instance is now measured by its symbol's art, which
Document::symbol_boxes looks up in the document each time
(Node::geometric_bounds_with, visual_bounds_with and
reach_bounds_with). With Use Preview Bounds on, the strokes in the art
count at their own weight, as the canvas draws them, and
object.setBounds counts them at that weight when it sizes an instance
or an object that holds one. When strokes do not scale and a width or
height of 0 or more is smaller than what a path's stroke adds,
object.setBounds now gives the path no width or height, as it does
for an instance whose art has strokes; before, it mirrored the path.
With Use Preview Bounds on, object.setBounds now measures the margins
that strokes add object by object, the members of groups and the
objects in symbol instances' art included, and solves for the width,
height and reference point asked for when the width and height are 0
or more. Before, it measured the margins of the whole selection and
could miss the size or the reference point asked for when strokes did
not scale and the objects' strokes added different margins, and when
strokes scaled and the width and height were out of proportion, even
for one path. A clip group, a Shaper Group, a compound path, type, and
a group or instance with effects or an opacity mask of its own are each
measured as one object, and so is an instance in perspective or one
turned or slanted relative to the bounding box, other than by quarter
turns. When the selection holds more than 4,096 objects to measure this
way, each selected object is measured as one. Instances inside symbol
art are measured by their own symbol's art. An instance is measured as
the square when its symbol is missing, when its symbol or a symbol
nested in its art holds an instance of itself, and when symbols nest 32
deep in its art.
Align and Distribute, the Transform panel, the bounding box and the
selection outline, clicks, the marquee, document.inspect and
document.node, Fit to Artwork Bounds and Fit to Selected Art, canvas
culling, thumbnails, the SVG filter region of an instance with a
raster effect, raster effect images, Export Selection, the SVG of an
artboard, printing, and the PDF, EPS, EMF/WMF and DXF writers use the
new box. The renderer also culls an instance by the effects and
brushed strokes in its art, and it culls a blend, envelope or repeat
by the brush art of what it holds and the effects in the art of the
instances in it. It culls an instance with geometry effects of its own
by the effects in its art after those geometry effects reshape the art.
It measures the effects in a symbol's art once for each symbol and
linear part of the transform that places it. For symbols whose art
holds instances, it measures at most 4,096 placements a frame, and at
most 4,096 more for each pattern tile it rasterizes and each placed
document it draws. Past that, it estimates the reach from the symbol's
reach with no transform, which it measures once. When the drawn
document's symbols change, the renderer drops the cached bounds of the
instances and of the objects that hold them.
The PDF and EPS writers, the SVG of an artboard and Skip Blank
Artboards grow the box of an instance whose art holds brushed strokes
by 16 times the widest stroke (at least 1 pt) of the objects in that
art that have a brushed stroke, plus 8 pt, as the renderer grows the
cull bounds of a brushed path. They keep an instance whose brush art
reaches the page. The SVG of an artboard also keeps an object that
holds an instance when what the canvas paints for it, the effects in
the symbol's art and the instance's own included, reaches the artboard.
Not yet: other commands that measure objects, such as Select › All on
Active Artboard, Transform Each and Convert to Artboards, still measure
an instance by the square.
Docs: docs/mcp.md, docs/target-app-parity.md.
General > Use Precise Cursors already worked and is saved with the other
preferences. This adds a `view.preciseCursors` command that toggles that same
preference, so it can be given a shortcut in Edit > Keyboard Shortcuts. It has
no default shortcut and no View menu item.
The comment in canvas.rs claimed Caps Lock gave precise cursors; nothing reads
Caps Lock (egui has no state for it), so it now describes what the code does.
Tests: for the tools whose own pointer the preference replaces (Pen, the anchor
tools, Curvature, Mesh, Eyedropper, Slice, Blend, Shape Builder) the pointer is
their own when off and a crosshair when on; every state of the Pen's pointer
turns into a crosshair; the preference round-trips through
to_json/apply_prefs; the command toggles it, updates the saved UI state, is
listed in the shortcut editor without a key and can be assigned one; switching
it creates no undo step and leaves the document saved; with system cursors the
glyph fallback is the system crosshair either way. The new label is translated
in the languages that claim complete menus.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The rail used the fields' border, which on Medium Dark (the default) is all but
the panel's colour; it now uses the buttons' border, which stands out on every
brightness.
Up and Down move the highlighted result (wrapping at the ends), the pointer
moving over a result highlights it, Enter runs the highlighted one, and a new
query starts from the first again.
The typed [ and ] now reach the Blob Brush, the Eraser and the Symbolism
tools, whose bracket keys are in the public shortcut lists. A size of the
Paintbrush's own (and path.freehand's scale) is left out until its
behaviour is decided: #1661 stays open for that.
The tools took `[` and `]` (the Blob Brush's and the Eraser's size, the
Symbolism tools' diameter and, with Shift, intensity), but the app never
passed the keys on: only `ui.key` over MCP reached them.
- The keyboard handler gives a typed `[`, `]`, `{` or `}` (Shift) to the
active tool when it claims the key. It reads the typed character, so
layouts where a bracket takes Option or AltGr (Option-8 on a Turkish
Mac) work too. A field with the keyboard, the Type tool and Cmd/Ctrl
shortcuts are left as they were.
- The Paintbrush has a size of its own, 10 to start as the Blob Brush's:
`[` and `]` take a point off or add one, and the next stroke is drawn
at size / 10 of the stroke weight (path.freehand `scale`). Public
references describe the keys as changing the size the Paintbrush draws
with, before drawing, the brush definition left as it is; so the
stroke weight new art takes stays, and the selected path keeps its
stroke. Every brush type, as the report and the Tuts+ guide describe;
the step is our own.
bflatastic