VectorCraft had no Objects on Path. A click with the Objects on Path
tool attaches the selected objects to the path clicked. The tool is in
Edit Toolbar's Modify section and the Blend tool's flyout, and Object ›
Objects on Path › Attach and the context menu with two or more objects
selected choose it. The objects and the path go into an Objects on
Path group with the path at its bottom.
- object.objectsOnPath.attach orders the objects column by column from
left to right and top to bottom in each column. The first one sits
on the path's first anchor, the last one sits on the end of an open
path, and the rest are spread evenly by length; a closed path takes
them all the way round. Each object's attachment point (Pivot, one
of nine, default the center of its bounds without strokes) sits on
the path, and the object is turned to the path there. An object that
was rotated by an angle other than a multiple of 90° is first turned
to the nearest multiple of 90°. Rotate tilts every object by that
many degrees counter-clockwise. Symbol instances are measured by
their art. Guides, compound paths, type, paths without length and
graphs are refused with a reason.
- After every edit the objects go back on the path: editing the path
moves them, an object moved on its own goes back, and objects moved
into or out of the group in the Layers panel join the end of the
path or leave it. Scaling, shearing or reflecting the whole group
keeps each object's scale, shear or reflection, and the objects are
spread evenly along the transformed path again. Undo takes the path
and the objects back in one step, and a copied group stays live on
its own path.
- object.objectsOnPath.options changes Pivot and Rotate, and
object.objectsOnPath.expand leaves a plain group. Both act on the
groups that `ids` names, or on the groups of the selection when
`ids` is not given.
- The native file keeps the group live; SVG, PDF and the other exports
write plain art. The tool highlights the path under the pointer, has
a cursor entry, and Escape during a press cancels the click.
Part of #2545
Docs: docs/mcp.md, docs/target-app-parity.md.
PNG, PDF, EPS, legacy `.ai`, packaged zips and saved `.vectorcraft` files
record the wall-clock time they were made in, so the same commands run twice
gave different bytes although the pixels matched (#2880):
PDF /CreationDate and /ModDate D:20261018155816 vs D:20261018155817
PNG the `Creation Time` tEXt entry
.vectorcraft one byte of the stored date
SVG carries no time, and already repeated
`metadata::output_time` is the time a file records: `SOURCE_DATE_EPOCH` when it
holds a non-negative whole number of seconds, else the clock, as the
reproducible-builds specification defines it. A date a command is given
(`file.new {created}`, a save's `modified`) still wins over the variable, and a
blank, negative or non-numeric value is ignored so that an export is never
refused over the environment.
`metadata::now_unix` keeps the real clock and now has exactly two callers, both
of which must not be pinnable from the environment: the recovery heartbeat, and
the seed PDF encryption draws on.
Found while testing crates/doc/src/lib.rs:274 (Unit::named)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
A PDF of thousands of gradient meshes in a CMYK document with transparency
took minutes to export (186 s at 72 ppi for an 18,577-mesh page). Each mesh
was cut into quads coloured in RGB, and drawing a CMYK document by ink planes
separated every quad's colour back to CMYK through the profile, twice: the
4,096-colour separation cache, flooded by the meshes' interpolated colours,
cleared over and over.
- doc: GradientMesh::color_at mixes corners that are all CMYK (or all grey)
in that space, as a PDF shading mixes in its own: exact inks, nothing to
separate.
- render: the separation cache holds 65,536 colours.
- render: a mesh's quads are filled into one image by scanline (every pixel
to the quad its centre is in: no seams) and drawn through the mesh's
outline, instead of one path per quad; meshes over 16 MP on screen are
drawn quad by quad as before, backed by each opaque patch's outline (#2456).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Paragraph panel menu's Justification… was a disabled stub, and justified
lines stretched word spaces between fixed limits (80% to 150%).
Each paragraph now has Justification options: Word Spacing, Letter Spacing
and Glyph Scaling (Minimum, Desired, Maximum, in percent), Auto Leading and
Single Word Justification. Desired applies to every line; a justified line
fills its measure with word spacing first, then letter spacing, then glyph
scaling, each within its range, and past them its word spaces take the
rest. The Every-line Composer scores lines by that flexibility. Auto
Leading sets the leading of characters whose leading is Auto. A justified
line holding one word is spread between its letters (Full Justify) or
aligned left, centre or right.
The defaults are the documented ones (80/100/133, 0/0/0, 100/100/100, 120,
Full Justify), saved only when they differ. Because the default maximum
word spacing is 133%, justified paragraphs break differently than before;
the Every-line Composer's second pass is now unbounded for justified text
(it used to give up past four times the stretch and fall back to the
Single-line Composer, which the narrower default range would make common),
and lines that can't stretch at all are still refused.
text.setFormat takes wordSpacing, letterSpacing, glyphScaling ([min,
desired, max] or {min?, desired?, max?}), autoLeading and
singleWordJustification; Minimum ≤ Desired ≤ Maximum must hold or nothing
changes. Paragraph styles carry the options (New and Redefine capture
them), and Reset Panel resets them. Justification… opens a dialog
(ui.justification) with Preview; OK is disabled while a row is out of
order. Live SVG text places characters the options move, and a glyph that
Glyph Scaling scales is stretched to its width; PDF uses the glyphs'
transforms. Vertical type isn't glyph scaled; type on a path doesn't use
the options.
Docs: docs/mcp.md, docs/type-parity.md, docs/gaps.md.
Closes#2755.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Object > Expand and Object > Create Gradient Mesh mixed a freeform
gradient's points in display RGB and turned the result back into the
points' model with the profile-free formula. CMYK inks changed: points
of C50 M20 Y0 K10 gave mesh points of C45 M24 Y0 K22. RGB points were
stored as display sRGB, so with a working RGB space other than sRGB
the mesh showed other colors. Points colored along CMYK stops, a point
paint.freeform.splitLine added between CMYK points and a point
paint.freeform.addPoint added without a color came out as RGB.
Points that share a color model now mix in it: the C, M, Y and K
values mix as inks, and Gray, RGB and Lab components mix as they are.
Points in different models still mix in display RGB. Object > Expand
and Object > Create Gradient Mesh store the result in the working RGB
space, and in a CMYK document they store it as CMYK through the color
settings, as paint.setFill stores an RGB color. Freeform::recolor and
split_line mix with the new Color::lerp_keep_model, which
vectorcraft_doc::blend::lerp_color now calls.
Docs: docs/mcp.md, docs/target-app-parity.md.
A marquee measured an Intertwine group and a repeat by their bounding
box. A marquee in the gap between two members of an Intertwine group,
or between two copies of a repeat, selected the object, although a
click there misses and a plain group needs a marquee to meet one of its
members. Direct and Group Selection's marquees also selected the
Intertwine group whole beside the anchor points of its members.
The marquee now touches an Intertwine group by its members, as it
touches a plain group, and it touches a repeat by the copies the repeat
draws, as clicks hit them. Direct and Group Selection's marquees select
the anchor points of an Intertwine group's members, and Group
Selection's E marquee selects the members inside it. Blends, and
envelopes outside Edit Contents, keep their box, as clicks on them do.
Docs: docs/target-app-parity.md.
1-bit TIFFs compressed with CCITT Group 3 did not open, place or
relink: the image decoder reads Group 4 only and refuses Compression 2
(modified Huffman) and Compression 3 (ITU-T T.4).
They are now decoded with hayro-ccitt, the CCITT decoder that EPS
import uses. Compression 2 rows start at a byte and have no EOL codes.
Compression 3 rows follow an EOL code and are one-dimensional, or, with
T4Options bit 0, one- or two-dimensional as each row's tag bit says.
Fill bits, FillOrder 2, either PhotometricInterpretation, strips and
tiles are read.
A file whose pixels would take more than the decoding allowance as
RGBA is refused as too large to draw. A strip or tile whose data ends
before its last row is refused as damaged, and so is a tile larger
than the allowance. The strips and tiles together are read from at
most as many bytes as the file holds.
Part of #1466.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
A Shaper Group keeps its original shapes as a transparent first child.
Clicks skip them outside Construction mode, but a marquee did not: one
drawn over the outline of an original shape whose face the group had
erased selected the group, where nothing is shown. Group Selection's E
marquee selected an original shape that lay inside it, and Direct
Selection's marquee and clicks selected the anchor points of the
original shapes.
The marquee now skips a Shaper Group's original shapes with the same
check clicks use, which moves into shaper_hides, and Direct Selection's
walk over the art it can pick skips them too. In Construction mode, with
the original shapes isolated, the marquee still selects them and Direct
Selection still selects their anchor points.
Docs: docs/shaper.md, docs/target-app-parity.md.
A .vectorcraft file's type opened with the character and paragraph
values it held. With a size of 0, the characters were not drawn. With
a size, leading, horizontal scale, left indent or space before of
1.797e308, point type's bounds were infinite or over 1e308 wide or
high, and moving or scaling it failed with "result would exceed the
canvas".
These values are now read into range when a file opens, in the type of
the layers, symbols, graph designs, patterns and the pattern definition
that Cancel puts back in pattern editing mode, and in character and
paragraph styles. A size, horizontal scale or vertical scale of 0 or
less becomes 12 pt or 100%, and a negative leading becomes Auto. A
size, leading or scale past 4,000,000 (MAX_COORD) becomes 4,000,000,
and a baseline shift, indent or space before or after past 4,000,000
either way becomes 4,000,000 or -4,000,000. A tab stop is kept to the
0 to 100,000 pt that text.tabs.set takes. A leading of 0, which legacy
.ai import stores, and the sizes, scales and indents within these
limits that SVG, PDF and .ai import keep outside the panels' ranges
open as saved.
Docs: docs/mcp.md (Paragraph attributes per paragraph).
document.setup accepts a superscript and subscript size of 1 to 500%
and a position of -500 to 500%, and a small caps size of 1 to 200%.
text.setFormat copies these proportions into the characters it
formats. A .vectorcraft file's characters, character styles and graph
label styles opened with the proportions they held. With a superscript
size of 0, the superscript characters were not drawn, and with a
superscript or small caps size of 1.797e308, moving the type failed
with "result would exceed the canvas".
These proportions are now read as the nearer end of each range when a
file opens: in the type of the layers, symbols, graph designs, patterns
and the pattern definition that Cancel puts back in pattern editing
mode, in graph label styles and in character styles. Proportions in
range and the other character attributes open as saved.
Docs: docs/mcp.md (Small Caps, Superscript and Subscript).
The Paragraph panel menu's Roman Hanging Punctuation was a disabled stub.
It is now a per-paragraph attribute: in a left-to-right paragraph of point
or area type with it on, the punctuation Optical Margin Alignment hangs
(quotation marks, hyphens, full stops and commas wholly; asterisks,
tildes, ellipses, en and em dashes, colons and semicolons by half) hangs
outside the margin when it starts or ends a line, on the same sides
(left-aligned lines at their left, right-aligned at their right, centered
and justified at both); letters don't hang. With Optical Margin Alignment
on as well, letters hang too. East Asian punctuation keeps hanging only
through burasagari. The layout shares Optical Margin Alignment's hanging
code, given the share of each glyph that hangs.
text.setFormat takes romanHangingPunctuation; it is off by default, saved
only when on, carried by paragraph styles (New and Redefine capture it)
and turned off by Reset Panel. The panel menu item is a checkbox enabled
with type selected.
Docs: docs/mcp.md, docs/type-parity.md, docs/gaps.md.
Closes#2756.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
VectorCraft listed a variable font's named instances as styles, but
type could not be set between or past them. The reference app's
Character panel has a Variable Font control that adjusts a variable
font's axes, such as Weight, Width and Slant.
Type now keeps Variable Font settings by axis tag
(CharStyle::font_axes, saved as fontAxes only when set). text.setFormat
and text.setRangeStyle take fontAxes: each value is clamped to its
axis's range, a tag the font has no axis for is left out, and null
goes back to the style's own setting. Another font or style clears
them, including one from a character style that does not set them. A
character style captured from type sets them, with {} for none.
text.fontList {family, style} lists a font's axes.
Layout, outlines, the substituted-glyph highlight and PDF export use
the font instanced at the settings, and neighboring runs at different
settings are shaped apart, as runs in different fonts are. SVG export
writes them as font-variation-settings, the wght setting as the weight
and the wdth setting as font-stretch, and embeds the font instanced
there; SVG import reads font-variation-settings back. Legacy .ai export
warns that the settings are left out.
The Character panel shows a Variable Font button for a variable font.
It opens a slider and a field for each axis the font does not hide,
labeled with the font's name for the axis, and screen readers get each
slider under that name. A drag is one undo step. Reset Panel leaves
the settings, as it leaves the font and style.
Missing Glyph Protection now keeps the settings and the font version
on the characters that keep their font; before, it kept only the
family and style. A character style applied or redefined with another
font now clears the old font's version, as text.setStyle does, unless
the style sets one. SVG export with embedded fonts warns when faces of
one weight, style and width share characters, which browsers then draw
in one of the faces.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md.
A click with the Group Selection tool on a compound path selects the path
under the pointer (its outline within the pick tolerance, else the innermost
path whose area holds the click), so the outer shape and each hole can be
selected on their own; Shift-click adds another, and a click on a selected
path adds the compound path, as a click on a group member climbs to its group.
A path selected this way is an object of its own for Move, Transform, Rotate
and the other transforms, as it already was inside an isolated compound path:
the hole of a ring moves without the ring. Paint and the other commands still
go to the compound path, which holds the paint.
Docs: docs/target-app-parity.md, docs/ui-parity.md.
# Conflicts:
# docs/target-app-parity.md
A marquee measured a clip group, and the objects on a layer with a
clipping mask, by all of their art, including the art the mask hides.
A marquee around a rectangle drawn next to a clip group also selected
the group when it crossed the group's hidden art. A click already
counts only the art inside the clipping path.
The marquee now takes a clip group, or an object on a clipping layer
or sublayer, only when it meets the area inside the clipping path, and
it measures the art there within that area's bounds. The same rule
applies to the objects that Direct and Group Selection select whole,
to Group Selection's E marquee, and in isolation mode when the clip
group or clipping layer itself, or one object directly inside it, is
isolated. The anchor points that Direct Selection's marquee picks are
unchanged.
Docs: docs/target-app-parity.md.
Nothing locked the variables: any command or panel button could delete
or rename a variable that scripts and data sets name.
variable.lock {locked?} (Lock Variables: a lock button in the Variables
panel's bottom bar and an item in its menu) sets a flag that is saved
with the document. Without `locked` it toggles, and a change is one
undo step. While the flag is set, variable.define, variable.delete,
variable.rename and the four variable.make…Dynamic commands are refused
with "variables are locked", and the panel disables New Variable…,
Variable Options…, Delete Variable and Make … Dynamic. Binding,
unbinding and the dataset commands still run. variable.list
reports `locked`. A file without the flag opens unlocked.
Docs: docs/mcp.md, docs/target-app-parity.md.
On an edge two artboards share, the artboard to the right of it or below
it holds a point, except at the end of the edge that lies on that
artboard's bottom or right edge, such as where both artboards' bottom
edges meet. There the first artboard holds it, or the last when
topmost. The doc comment and the test comments now say so, and the test
asserts that corner.
Rearrange All Artboards, Select › All on Active Artboard (for objects
with no area), Copy's source artboard for Paste in Place, Align to
Artboard without an index, Crop Image, the Crop Image tool, Place with
`at`, CSS positions and a filter plug-in's artboard decided whether a
point or an object's center is on an artboard with Rect::contains,
which leaves out the right and bottom edges. A line along an artboard's right or
bottom edge was on no artboard: Rearrange left it behind, and All on
Active Artboard did not select it. Document::art_on_artboard counts
art flush with those edges (#890).
They now count the edges as art_on_artboard does, within a millionth
of a point. On an edge two artboards share, the artboard to the right
of it or below it still holds the point. All on Active Artboard
selects a line on a shared edge from either artboard. A press exactly
on a right or bottom edge now picks that artboard, and the Artboard
tool's cursor shows Move there.
dataset.select skipped every bound object inside a hidden layer or
group. Type on a hidden layer kept the previous row's text, which
showed when the layer was shown again, and dataset.list and the
Variables panel reported every row as matching that type while the
layer stayed hidden.
dataset.select, dataset.next and dataset.prev now rewrite type and
apply the other values on hidden objects and inside hidden layers and
groups. Those objects stay hidden unless a visibility value shows
them. Objects that are locked or inside a locked layer or group are
still skipped and counted in `skipped`. dataset.list, dataset.capture
and dataset.update read hidden objects as well. Binding still refuses
art inside a hidden layer or group.
The values now go in the order the variables are defined. The passes
that applied visibility values before and after the other values are
removed.
Docs: docs/mcp.md, docs/target-app-parity.md.
file.new takes a width and height up to 163,830 pt, 1 to 1,000
artboards, a spacing of 0 to 100,000 pt and a bleed of 0 to 72 pt a
side, but a saved or Recent New Document preset in the preferences
was read as it was stored. With a width of -5, file.new failed with
"width/height must be positive and within the canvas"; a spacing of
-50 overlapped the artboards, a preset with 5,000 artboards made 5,000
artboards, and a bleed of 100 reached the document. A .vectorcraft
file's Document Setup bleed, superscript and subscript proportions and
small caps size also opened as stored, and document.setup then failed
when its own report was passed back to it.
These values are now read as the nearer end of the range their
setter takes, and an artboard width or height of 0 or less is read as
1 pt. Presets and files with values in range read as before.
Docs: docs/mcp.md (Document Setup, New Document).
In a CMYK document, an RGB color from the Eyedropper, a hex value or
paint.setFill was stored as CMYK by the profile-free formula
(k = 1 - max(r, g, b)), not through the color settings. RGB 83/170/223
came in as C63 M24 Y0 K13. A CMYK image was sampled through the RGB its
decoder shows, so its inks came back only when the formula happened to
round-trip them.
paint_from now converts an RGB color into a CMYK document with
Cms::convert and the settings' intent, as Document Color Mode and Swatch
Options already do. This covers paint.setFill and paint.setStroke,
gradient stops, swatch.new {color} and the Eyedropper. With Generic CMYK,
83/170/223 now separates to C59 M12 Y3 K0, and #ff0000 now separates to
C0 M97 Y100 K0 instead of C0 M100 Y100 K0. keepModel: true still keeps
RGB. paint.sampleColor with a stop stores the color the same way.
The Eyedropper samples a CMYK image's ink amounts (a four-component
JPEG, or an 8- or 16-bit chunky CMYK TIFF) and returns them unchanged
(ImageBlob::sample_cmyk_object), also in an RGB document. It takes an
RGB image's sRGB pixel into the working RGB space, as the screen color
sampler does, so the picked color shows as the pixel when the working
space is not sRGB.
Docs: docs/mcp.md, docs/target-app-parity.md.
The mesh covers the image's rectangle with its transform kept; each point takes the average colour and opacity of the picture around it. A linked image is refused.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
View › Rulers › Change to Global Rulers (Cmd+Alt+R) was a disabled
stub: the rulers always counted from one document zero point. The
reference app's public help describes two modes: artboard rulers, the
default, count from the active artboard's top-left corner, and each
artboard can have its own zero point; global rulers keep one zero point
for the whole document whichever artboard is active.
https://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/about-rulers.htmlhttps://helpx.adobe.com/illustrator/desktop/measure-and-align/grids-and-guides/use-rulers.html
`view.globalRulers {global?}` switches the mode (toggle by default),
undoable and saved with the document (`rulers`). The menu item reads
Change to Artboard Rulers while global rulers are on. A new document has
artboard rulers; a file saved before the mode existed has no `rulers`
key and opens with global rulers, so it measures as it did.
With artboard rulers, dragging the ruler corner sets the active
artboard's zero point, kept as an offset from its corner
(`artboard_ruler_origins`, by artboard id) so it moves with the
artboard, and double-clicking the corner resets it. The global zero
point (`ruler_origin`) stays separate. `document.rulerOrigin`,
`document.setRulerOrigin` and `document.resetRulerOrigin` take
`artboard`; `Document::ruler_origin_for` is the zero point with an
artboard active, falling back to the corner or the global one when a
stored value is out of range.
The rulers, the Transform, Properties and Control bar X/Y, the Info
panel's X/Y (which ignored the zero point before), ruler-guide
readouts and Shift ruler-tick snapping all count from that zero point:
the view's active artboard reaches the tools through `ViewInfo` and
`ToolContext::ruler_origin`. Command coordinates stay absolute.
Tests: engine/tests/ruler_origin.rs (default mode, per-artboard origin
following its artboard, global origin apart, toggle and undo, save and
legacy files, out-of-range values), ui-egui/src/tests_ruler_origin.rs
(position fields and corner drag on the active artboard, menu label and
shortcut), tools/src/rulerguide.rs (guide readouts and tick snapping).
Tests written for the single global zero point now turn global rulers
on first. "Change to Artboard Rulers" is translated in every catalog.
Docs: docs/ui-parity.md, docs/gaps.md (G7), docs/target-app-parity.md,
docs/mcp.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01U2JbUtM4MkzWLm9FgYiEsq
Object › Graph › Column… was a menu stub, so a graph's columns and bars
were always plain rectangles. The reference app fills them with a graph
design, vertically scaled, uniformly scaled, repeated with a value for
each copy, or stretched at a guide line.
graph.column (Column…) draws the columns, bars or stacked segments and
the legend swatch of the series picked with Group Selection with a
design saved by Object › Graph › Design. Vertically Scaled stretches the
design to each column's length at the column's width. Uniformly Scaled
scales it both ways to that length and centers it on the column.
Repeating stacks a copy for each Each Design Represents value out from
the zero line, and For Fractions chops the last copy at the value or
scales it down. Sliding keeps the part above the design's horizontal
guide line in proportion and stretches the part below. The design and
its options are saved with the graph, and the graph follows the design
when it is renamed or deleted. Columns drawn with a design cast no drop
shadow.
A marker or legend design made of one path is now drawn in a group of
its own. Painting a series with Group Selection then leaves the design's
paint alone, as it already did for designs of several objects.
Docs: docs/mcp.md, docs/target-app-parity.md.
Object > Live Paint > Gap Options was a stub, and paint leaked through
any gap between the paths of a Live Paint group. The reference app's
Gap Options stop paint at small gaps, close them with unpainted paths
and preview them on the canvas.
livePaint.gapOptions (Gap Options) sets a group's options: detect (Gap
Detection), size (small 3 pt, medium 6 pt, large 12 pt, or a custom
size over 0 up to 72 pt), color (the Gap Preview Color, #rrggbb or a
layer color's name) and closeGaps, which adds an unpainted path across
each gap to the group's paths. A gap runs from a loose end of a path
to the nearest point of any path within the size, unless the paths
already join the two close by. With detection on, the faces are made
again as if a line closed each gap, and each face or edge keeps the
look of the old one it lies in or on. The options are stored on the
group, so they are saved, copied and undone with it, and Expand drops
them. Merge keeps the bottom group's options when its Gap Detection is
on, or else turns Gap Detection on with Small when another merged
group has it on. When Gap Detection is off in every merged group,
Merge keeps it off. livePaint.info lists the options and the gaps up
to the size wide that no path closes.
The menu item opens a Gap Options dialog. With Preview on, the options
apply live and the gaps show on the canvas in the preview color, and
OK keeps them as one undo step. vectorcraft-pathops gains find_gaps
and live_paint_with_gaps.
Docs: docs/mcp.md, docs/target-app-parity.md.
i18n: the 19 complete catalogs have rows for the dialog's labels, and
bg's Gap Options menu label now names gaps instead of line spacing.
Window › SVG Interactivity was a disabled menu item. VectorCraft could
not attach JavaScript to an object's events or link JavaScript files
for SVG export.
The SVG Interactivity panel lists 19 events, from onfocusin to
onscroll. Pick one, type its JavaScript and press Enter to add it to
the selected objects; the list shows their events. Remove Selected
Entry removes the picked event, and the panel menu's Clear Events
removes all of them. Link JavaScript Files… opens the JavaScript
Files dialog, which adds a path or URL to the document's list and
removes the selected one. Its Choose… button puts a picked file in
as a file:/// URL. The commands are svgInteractivity.info,
setEvent, removeEvent, clearEvents, addFile and removeFile, and
ui.javascriptFilesDialog. Each edit is one undo step. A document
links at most 64 files.
SVG export writes each event as an event attribute on the object's
element and each file as a <script xlink:href> element. With the SVG
Tiny 1.2 profile, export leaves the events out with a warning. SVG
import reads the listed event attributes and the script links back
as text. It never reads a linked file or runs a script, and it leaves
inline scripts and the links after the first 64 out with a warning.
The native format keeps both.
An unnamed <g> with data-* attributes of its own around a single
object now imports as a group. Before, import folded it into the
object, which then took the group's data-* or, when it had its own,
dropped the group's. An unnamed <g> with event attributes stays a
group in the same way. The SVG import fuzz tests now include event
attributes and <script> elements.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md,
docs/ui-parity.md.
Type › Optical Margin Alignment was a disabled menu item. The reference
app's Optical Margin Alignment hangs Roman punctuation and the edges of
letters such as W and A outside the margins of every paragraph of a
type object.
type.opticalMarginAlignment (Type › Optical Margin Alignment) turns it
on or off for the selected type in one undo step, and the menu item is
checked while the type has it on. In every left-to-right paragraph of
point and area type, quotation marks, hyphens, full stops and commas at
a line's start or end hang wholly outside the margin there. Asterisks,
tildes, ellipses, en and em dashes, colons and semicolons hang by half
their width, and A, V, W, Y, v, w and y hang by a tenth of theirs. A
punctuation mark followed by a quotation mark hangs with it.
Left-aligned lines hang at their left margin, right-aligned lines hang
at their right margin, and centered and justified lines hang at both.
Lines break where they did before, and the space that justification
adds between glyphs leaves out the gaps next to a hanging punctuation
mark.
The setting is off for new type and for documents from before it, and
the type object saves it only when it is on.
The Type menu's checks for Optical Margin Alignment, Type Orientation
and the Type on a Path effects now read the type inside a selected
group, as the commands do.
Docs: docs/mcp.md, docs/target-app-parity.md, docs/type-parity.md.
Object > Expand with Fill expanded gradient fills only. A pattern fill
stayed a live pattern, and object.expand.info did not report it, so the
dialog's Fill option was disabled for it. In the reference app, Expand
with Fill turns a pattern fill into the pattern's tiles, and the shape
becomes their clipping mask.
The Fill step now turns each visible pattern fill of a path or compound
path into a clip group shaped like the object, holding the tiles the
pattern lays over the object's box with fresh ids. The group isolates
the tiles' blending and takes the fill's opacity, blend mode and other
effects. Geometry effects of the fill or the object, such as Offset
Path, shape the group's outline and the box the tiles cover. A path in
the tile art with a random Transform effect is baked with its own id
first, and a path with a brush that varies at random (calligraphic or
scatter with Random variation, or bristle) is baked where the pattern
defines it first, so every tile matches the canvas. The object's other
fills and strokes stay on copies of it in paint order, and Expand stays
one undo step. Type with a pattern fill expands the same way once
Object outlines it, and object.expand.info reports pattern fills under
fill. It also reports gradient fills under a new gradient key, and the
dialog enables Expand Gradient To only when the selection has one. A
pattern fill stays as it is when it lays no tiles over the box, when a
group or type in its art has a random Transform effect, when the
pattern is scaled, rotated, reflected, stretched or sheared and its art
holds a symbol instance, and when the pattern is rotated, reflected,
stretched or sheared, or scaled while its art has geometry effects, and
its art has raster or 3D effects, or a geometry effect on a group or
type.
PatternDef gains instances_in_with, which places the tiles with a given
Scaling. Expand has stroke weights, effect distances and the tiles' own
pattern paints scale with the pattern's transform. When the pattern is
rotated, reflected, stretched or sheared, or scaled while its art has
geometry effects such as Roughen, the strokes and geometry effects of
the tiles' paths become filled art first (bake_appearance, and Outline
Stroke's conversion for brushed strokes), and their live shapes become
plain paths, in their opacity masks too. Tiles place their opacity
masks with them, unlinked ones included (place_art), which also fixes
unlinked masks in pattern tiles in PDF, EPS, EMF and WMF export and in
Distort Pattern Fills.
Faults in the shared code are fixed for every caller. assemble
dropped the effects of a sole part, so Expand lost a lone gradient
fill's own effects and Outline Stroke lost those of a stroke with a
gradient along or across it. Outline Stroke also dropped a brushed
stroke's raster effects from its brush art. Expand replaced an object
whose gradient fill could not be expanded with a plain copy; it now
leaves it as it was. Expand left the geometry effects of a gradient
fill, and with Object off those of the object, on the expanded art,
where they reshaped every strip; they now shape the clip group's
outline, and the gradient fits it, as for pattern fills.
bake_appearance dropped a stroke's raster effects from its filled
outline and filled the outline of a stroke with a gradient along or
across it with a gradient across the outline's box; it now keeps the
effects and makes the gradient meshes clipped to the outline, as
Outline Stroke does. Envelope Options > Distort Appearance uses it too.
PatternDef::offsets_covering overflowed on a region too large to count
in integers, as for a pattern scaled by 1e-20; it now gives no offsets.
Docs: docs/mcp.md, docs/control-protocol.md, docs/target-app-parity.md.
Native files remember the grid like the saved view, so reopening restores it.
Toggling it is still view state: no undo step, document not marked modified.
Fixes#1968
rgba_within checked an image's size as RGBA against the allowance it
was given (2 GB on the desktop), then decoded the image within the
image crate's default limit of 512 MB. An image whose decoded pixels
take more than 512 MB, such as an RGBA image of 11,586 × 11,586 pixels,
was refused although the canvas draws it: the Eyedropper picked up
nothing from it, and Edit Colors, Recolor Artwork, print separations
and the color adjustment effects in export and Expand Appearance left
its pixels as they were.
The decoder's limit is now the allowance that rgba_within is given.
An image decoded as RGBA is no longer copied before it is used.
TIFFs that store each channel as its own plane (PlanarConfiguration 2)
did not open, place or relink when they were CMYK or grayscale with
extra channels: the image decoder refuses planar CMYK, and the readers
for CMYK inks and for extra samples returned nothing for planar files.
The two readers now read every plane through the tiff crate and put
each pixel's samples together. A planar CMYK TIFF keeps its ink
amounts and is stored as a CMYK TIFF with each pixel's inks together,
at the file's resolution. Grayscale TIFFs with an alpha channel or
other extra channels, and CMYK TIFFs with alpha, read as their chunky
versions do.
A TIFF whose header claims more strips or tiles than the tiff decoder
can count is refused as too large to draw. The decoder multiplies
those counts without a check, which panics in builds with overflow
checks.
Part of #1466.
Docs: docs/file-format-parity.md, docs/target-app-parity.md.
The MCP server read one line, ran it and answered it before reading the next,
so notifications/cancelled was never seen during a call and every request
(even ping) waited behind a running export.
- vectorcraft_doc::cancel: a thread-local cancel token and progress sink that
long work polls. Checkpoints: PDF pages, PDF flattening, geometry bake,
raster-effect flattening, drawing objects, raster artboards, and before any
file is written. A cancelled command returns EngineError::Cancelled and
changes nothing.
- Server::serve reads on its own thread: notifications/cancelled drops a
queued request or stops the running one (no reply, as the MCP spec says),
engine-free requests (ping, the list methods, prompts/get) are answered at
once, a request that would wait behind a call running for 2 s is refused
with -32003 naming that call, and _meta.progressToken gets
notifications/progress (page n of m). Queue and output are bounded.
- The remote backend stops waiting for the app when the call is cancelled.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A corner's radius was capped at half its shorter side whatever its neighbours did, so one corner of a 100 pt square rounded alone stopped at 50 pt. Each corner now rounds until its cut reaches the cuts its neighbours ask for: the whole side when the neighbour is square, halfway when both ask for more. The corner widget drag, the red limit outline and CSS border-radius export follow the same limit.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/graph.rs:429 (GraphSpec::to_csv) and crates/engine/src/cmd/graph.rs:85 (parse_csv)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Multiply squared a colour overprinting itself (stroke over same-colour fill showed a darker band). Darken keeps the stronger ink per plate/channel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Found while testing crates/doc/src/xml_id.rs:31 (from_object_name) / :10 (to_object_name)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Before the Eyedropper samples an image, or Edit Colors, Recolor Artwork
or a color adjustment effect recolors an embedded one, `rgba_within` reads
the image's size from its header and checks its size as RGBA against the
allowance. The check multiplied width × height × 4 in 64 bits. A TIFF's
sides go up to 2^32 - 1 pixels, so a header of 2^31 × 2^31 pixels
overflowed that product: debug and test builds panicked with "attempt to
multiply with overflow", and release builds wrapped it to 0 before the
decoder's own 512 MB limit refused the image.
The check now compares width × height with the allowance divided by 4.
Every size whose RGBA bytes fit in 64 bits gets the same answer as
before, and a larger one is refused.
The Paragraph panel menu's Hyphenation… was always disabled, and
automatic hyphenation used fixed limits: words of 6 letters or more,
3 letters on each side of the hyphen, any number of hyphenated lines
in a row, and capitalized words hyphenated.
Each paragraph now has hyphenation options: Words Longer Than, After
First, Before Last, Hyphen Limit, Hyphenation Zone and Hyphenate
Capitalized Words. The defaults are the fixed limits, and documents
keep their line breaks. The options are saved only when they differ
from the defaults. text.setFormat takes wordsLongerThan, afterFirst,
beforeLast, hyphenLimit, hyphenationZone and hyphenateCapitalized, and
paragraph styles carry the options. Hyphen Limit applies with both
composers. Hyphenation Zone applies with the Single-line Composer: a
line whose text before the next word already ends within the zone
breaks before that word instead of hyphenating it.
Hyphenation… is enabled with type selected and opens a Hyphenation
dialog (ui.hyphenation) on the values the Paragraph panel shows. OK
runs text.setFormat with the values that changed, as one undo step.
Docs: docs/mcp.md, docs/target-app-parity.md.
The characters' stroke takes Align Stroke like an object stroke: CharStyle
keeps stroke_align (written only when not centred), stroke.set and
text.setRangeStyle strokeOptions apply align to type, and the Stroke panel
enables the buttons for type. Canvas, PDF and EPS draw it around the glyphs
through stroke_layer(); SVG keeps the text live and writes the aligned
stroke on the glyph outlines, clipped or masked. Type's visual bounds grow
with its character strokes.
A right-click on the canvas now records the locked objects under the
pointer with vectorcraft_doc::hit::locked_objects_at, topmost first and
at most 20. A locked group is listed instead of the objects it holds.
Hidden objects and objects on hidden, locked or template layers are not
listed, and in isolation mode only the isolated group's contents are
listed. While the menu is open, it has an Unlock submenu after Undo
and Redo that lists each of them by the name the Layers panel shows.
Choosing a name runs layer.setProps {ids: [id], locked: false}, as the
Layers panel's lock column does, in one undo step. ui.contextMenu.list
shows the same items.
Docs: docs/control-protocol.md, docs/target-app-parity.md.
Unit fields and length strings read a percentage operand as a share of
a value. After * or /, the percentage scales the term before it:
3cm*50% is 1.5 cm and 3cm/50% is 6 cm. After + or -, it adds or takes
away that share of everything before it: 50pt+25% is 62.5 pt and
100pt+20pt-50% is 60 pt. Before this change these expressions read as
nothing, and the field kept its old value.
The parser now splits a sum at its last + or -, so a percentage applies
to the whole sum before it. Text without % gives the same values as
before, apart from float rounding. A percentage on its own (50%) still
reads as nothing, and percent and degree fields still read % as their
suffix.
Command length strings use the same parser: file.new's width and
height, the distance params and the length preferences.
Docs: docs/mcp.md, docs/ui-parity.md, docs/target-app-parity.md.
VariableKind::Graph binds a graph root; dataset rows supply CSV as graph.setData.
Make Graph Dynamic, Variables dialog, capture/apply, and pt-br for the new strings.
Co-authored-by: Cursor <cursoragent@cursor.com>
Store the registration point with the symbol and place instances so that point lands on (x, y). Symbol Options exposes the same 9-point control as Transform.
Co-authored-by: Cursor <cursoragent@cursor.com>
