Selecting art scrolls the tiles to its swatch once (centred) and clears the
panel's own selection, so the art's swatch is the one highlighted; so does a
change of the selection's paint (after Recolor Artwork). An unlinked process
colour highlights the swatch of that very colour. A selected image, or text
in a colour no swatch has, highlights nothing (not None).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Control bar's file name is a menu: Replace…, Go To Link, Edit Original,
Update Link and Placement Options…. Replace… (also in the Properties panel,
in place of Relink…) puts the picked file in the image's place fitted inside
the old bounds and centred, keeping the new file's aspect ratio instead of
stretching it into the old one. links.relink takes `preserve` (transforms,
bounds, fileDimensions, fit or fill) to override the Placement Options for
that read.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Limit to Library, a row's new colour is the library swatch itself: art
links to a global or spot colour (a Pantone-style spot colour stays a spot
colour in its own model, tints keep their tint) and a process swatch gives
its colour in its own model, instead of being converted to the model of the
colour it replaces. The swatches used join the document's swatches (one the
document already has, same name and colour, is reused); recolor.apply
reports them as `swatches`. A folder button next to Limit to Library loads a
library file (.ase, .acb, .gpl, .vcswatches or a document's swatches) and
limits to it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A palette button opens Recolor Artwork when the selection has colours to
recolour (solid colours, gradient stops or mesh points, inside groups too):
in the Contextual Task Bar, before Lock, and in the Control bar, after the
Graphic Style picker. Art painted with None shows no button.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Zoom Out and Zoom In sit to the right of the font family and style menus. They step the preview cells through 16, 22, 30, 42, 56, 72 and 96 pt; the grid still opens at 30 pt, and the buttons stop at the ends. The step is stored on the UI state and written with the other panel choices in ui.json when the app quits. Zero is the default and is left out of the file, so older preferences stay as they are.
Abutting traces must draw each edge between two neighbouring regions once:
the filled paths on either side follow one curve, one of them reversed, and
together cover the image without gaps or overlaps. These tests check that
from the trace output alone, with no renderer: points along each path's
outline must lie within 0.001 px of another path's outline, the paths' areas
must sum to the image's, and every point of a 4 x 4 per-pixel grid must lie
in exactly one path.
The images are drawn in code, hard-edged and anti-aliased, and traced in
Color (Abutting) and Black and White, each at the default settings, Paths and
Corners 0 and 100, Snap Curves To Lines, and Shapes. They cover a closed island
in a background, a ring with and without a core of a third colour, a wavy
two-colour seam, a three-region junction, outlines that leave a junction and
return to it (the 111 / 101 / 110 pattern at 1, 2, 3 and 6 px, and framed),
squares touching at a corner, a one-pixel hole and a one-pixel island (kept at
Noise 1, dropped together with what they leave at Noise 25), separate areas of
one colour, and slanted hatches with one-pixel paper channels. A further test
shows the check finds a 0.01 px shift and stacked (Overlapping) layers.
Two tests are ignored as documented current gaps:
- At Paths 0 and Corners 0, a piece returning to its own junction collapses:
its region is dropped and its area left uncovered (draft #2205 fixes it).
- With Shapes, a region whose outline runs through a junction becomes an exact
shape its neighbour does not share (up to 0.0039 px in Black and White).
No tracer code changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
In Grayscale mode with Gradients on, the trace could fill paths with
coloured linear gradients (for example a blue-to-orange ramp) beside
grey flat fills. Gradient detection ran on the RGB image, so the stops
and the gradient's palette colour (its middle) were the source colours,
while Grayscale's flat fills come from each pixel's luma.
Grayscale now finds gradients, and settles their edges, in a copy of the
image reduced to the same Rec. 601 luma the flat grays are quantised
from. Every channel of that copy is equal, so the fitted stops, the ends
carried to the area's edges and the palette entry are all grey. Color
mode is unchanged: it still detects on the RGB image (trace output for
gradient fixtures is byte-identical before and after).
Adds grayscale_gradients_are_grey: a code-drawn sky ramp over flat
shapes with a ramp rectangle, traced in Grayscale with 4 grays and
Gradients on, must still produce a gradient, and every path colour,
gradient stop and palette entry must be grey.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
When a long horizontal or vertical run crosses a three-colour junction one
or two pixels before a corner, the corner correction for that run borrowed
a neighbouring crack's shift that the region on the other side of the
junction never applied, leaving hairline gaps between abutting colours.
The correction now applies only when all three cracks it uses lie in the
same shared piece.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The 'Last updated · Change' status lines in docs/roadmap.md, docs/target-app-parity.md and docs/image-trace-quality.md change with almost every merge to main, so this PR's edits to them conflicted each time main moved. They are reverted to main's text; this PR's evidence bullets, history rows and table entries stay.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The 'Last updated · Change' status lines in docs/roadmap.md, docs/target-app-parity.md and docs/image-trace-quality.md change with almost every merge to main, so this PR's edits to them conflicted each time main moved. They are reverted to main's text; this PR's evidence bullets, history rows and table entries stay.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018tBcdwNhptqtmX32JCGFzB
The reference app's Scribble Options have a Variation for each of Path
Overlap, Curviness and Spacing. Scribble had one `variation`, which
moved each line's ends both along the line and across it, and every
turn of a scribble took the same curviness. An angle such as 270 was
stored as given.
Scribble now takes `overlapVariation` (pt, default 0.5), which moves
the ends along the line, `spacingVariation` (pt, 0.5), which moves
them across it, and `curvinessVariation` (%, 0), which varies the
curviness from one turn to the next. The dialog shows each Variation
after the option it varies, and the Appearance panel lists all three.
A Scribble saved or scripted with the earlier `variation` reads it as
the Path Overlap and Spacing variations. With the defaults, and with
the earlier `variation`, Scribble draws the same outline as before.
`effect.apply` and `effect.setParams` store an angle above -180 and up
to 180, so 270 is stored as -90, and the dialog shows the stored value.
The Appearance panel's inline editor lists an effect's values in
their current form, as the dialog does. It listed an earlier key next
to the defaults of the keys that replace it.
Docs: docs/effects-parity.md (Stylize row), docs/target-app-parity.md.
Effect › Blur › Smart Blur had only its Normal mode: the dialog and
blur.smart took Radius, Threshold and Quality and drew the blur.
Smart Blur now takes a `blurMode` param ("normal", "edgeOnly" or
"overlayEdge"; "normal" by default), which its dialog shows as a Mode
menu. Edge Only draws the edges in white on black, and Overlay Edge
draws them in white over the Normal blur. A pixel is on an edge when
one of its four nearest pixels differs from it by more than the
threshold in a channel and its channels, alpha included, add up to at
least that pixel's. The white and the black keep each pixel's
coverage. Normal draws the same pixels as before, and an effect saved
without `blurMode` draws as Normal.
Docs: docs/effects-parity.md, docs/gaps.md, docs/target-app-parity.md.
Copy and Cut made the system clipboard's formats in the frame that ran
them. The formats include the SVG markup and a PNG of the selection at
1 px per pt, up to 4,096 px a side. In a release build on Windows, Copy
of 50,002 rectangles on a 1600 x 1200 pt page took 1.00 s in its frame.
The thread that writes background saves and exports now makes the
formats from a copy of the clipboard, and the app writes them in a
later frame. The same Copy takes 0.18 s in its frame, and the SVG and
PNG are the same bytes. While that thread has a save, an export, a print or
a recovery copy to finish, Copy and Cut make and write the formats at
once. A later Copy or Cut, or text copied in a field or with the Type
tool, drops formats that are not written yet. Until they are written,
Paste on the canvas takes the internal clipboard, and while a text
field or the Type tool has the keyboard the app waits for them.
Docs: docs/mcp.md, docs/target-app-parity.md.
In the Artboards panel, a click or a double-click on a row's options
icon (the page at the right end of the row) chose the Artboard tool on
that row's artboard and opened no dialog. The panel menu's Artboard
Options… also only chose the Artboard tool.
A click on the active artboard's icon, or a double-click on another
row's icon, now opens Artboard Options for that row's artboard. The
first click on another row's icon makes its artboard active, as a
click on the row does. The panel menu's Artboard Options… opens the
dialog for the active artboard. Both run tool.options with tool
"artboard", as a double-click on the Artboard tool's button does, and
they no longer choose the Artboard tool. The icon's tooltip is now
Artboard Options, and the old tooltip's row is removed from the 15
catalogs.
Opened with another tool, Artboard Options did not move the art with a
new X or Y. It now moves the art when the Artboard tool's Move Artwork
with Artboard option is on, as it does while that tool is in use.
Docs: docs/target-app-parity.md.
At 180° and 360° of twist, Extrude & Bevel and Inflate drew some wall
strips in the wrong order, and a far strip showed through a near one.
Each strip ran the whole length of an outline edge and was sorted by
the depth of its center, while a twisted wall can cross it far from
that center. The caps were sorted the same way.
Twisted walls and bevels are now drawn in pieces about as long as a
wall slice is wide (fewer near the 32,768-facet limit), and twisted
bevel steps turn at most 6° each, as wall slices do. A cap, or
Inflate's flat back, that faces the viewer is drawn after the walls,
and edge-on pieces of a twisted wall keep their own depth. Pieces that
face the viewer are drawn where their strip as a whole faces away, so
a twisted solid seen from behind shows its walls' corners around the
back cap. Untwisted solids give the same facets as on main.
Over 80 twisted squares, the facet seen over a point lay up to 79.7 pt
behind a nearer facet on main and now lies at most 5.0 pt behind.
"Twisted" in 72 pt type, extruded with a 360° twist, takes 12,311
facets instead of 7,622 and 3.1 ms instead of 1.9 ms.
Docs: docs/three-d.md.
BFlat