Panels other than Properties, Layers and Libraries live in the dock's icon
column, not as tabs. Dragging one onto the dock lit up the whole dock, tabs
included, and the drop put it back as an icon, so it seemed to vanish. The
drop zone now lights up the icon column for such panels (the whole dock still
for the tabbed ones), and the dropped panel pops out of its icon.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Other editors export a document with a single layer without a layer group:
the layer's name goes on the root <svg> (id, or data-name) and its art sits
directly inside. Such a file opened as "Layer 1"; now its one layer takes the
root's name. Files whose top-level groups are the layers are unchanged, and an
Inkscape root's generated id (with inkscape:version) isn't taken as a name.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The panel laid out a row (with its thumbnail and several whole-document
lookups) for every open row each frame. A layer of 5,000 groups of 10 paths,
all open, took about 29 s a frame headless. Now the rows shown are listed once
per document change (with their layer colour and dimming worked out on the
way down) and ScrollArea::show_rows lays out only those in view: 0.4 ms a
frame. A row highlighted out of view is scrolled to.
The open rows move from UI state into the document's state
(DocState::layers_open, OpenRows): a document opens with only its top-level
layers open, and native files save the open rows (Document::layers_open,
written only when not the default, at save time like the view, so opening or
closing rows never marks the document modified).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Top-level groups already opened as layers named from data-name, else their
id. Now that also holds when one more id-less group wraps them (a transform
on all the art, or a <switch>'s chosen group), and hidden objects inside a
<switch> are kept (hidden) instead of dropped.
Nested groups stay groups unless something marks them as layers: the SVG
export now writes data-vc-layer="sublayer" on layers inside layers, and
import makes such a group (or an Inkscape layer group) a sublayer of the
layer holding it, in that layer's colour. A marked group anywhere else
stays a group.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Pixel Preview only switched the pixel grid on from 600%: the art was still
rendered for the screen and drawn with linear filtering, so curves and
strokes stayed smooth vectors. Now, while a document pixel is bigger than a
screen pixel, the canvas renders the visible document pixels one per point
(anti-aliased by coverage), uploads them with nearest filtering and places
them over the document rect they cover, turning with a rotated view.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
French now sits between Spanish and Italian (es, fr, it, ru): the
plural rule, the LANGUAGES registry entry (so the Language menu lists
Français before Italiano), the locale tests, the fr() helper and
french_reads_as_french. README, ROADMAP and docs/development.md list
the languages in the same order.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Add fr.tsv with the full interface coverage: every menu string, every
tl! literal, the plurals and the status/error messages (@msg).
Registered as complete_menus with the French plural rule (0 and 1 are
singular); every fr-* locale (fr-FR, fr-BE, fr-CA, fr-CH …) resolves
to it. Keeps the product, workspace and perspective preset names in
English like the other complete catalogs.
Tests: french_reads_as_french; fr added to KEEPS_MENU_NAMES and
COMPLETE_MESSAGES; the Latin-script glyph test covers French letters
and the no-break space; locale tests use de-DE as the unsupported case.
Clean-room: written from the meaning of the English labels in the
vocabulary French-speaking users of vector illustration software know
(Plan de travail, Nuancier, Contour, Fond, Tracé, Calque). No other
application's localisation was copied.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Character panel menu › Character Alignment gains ICF Top/Right and ICF Bottom/Left, and
`charAlign` takes `icfTop` / `icfBottom`: a character smaller than the largest on its line lines
up its ideographic character face's top (right, vertical) or bottom (left) with the big one's.
`FontFace::icf_margins` places the ICF inside the em box as the OpenType baseline tags define it
(https://learn.microsoft.com/en-us/typography/opentype/spec/baselinetags): `icfb` / `icft` of the
BASE table's horizontal and vertical axes against `ideo` / `idtp` (else the OS/2 typographic
descender and one em), for Han ideographs (else kana, else the first script). Without them, as that
page allows, the average ink box of some ideographs and kana; a face without ideographs uses its
em box.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Document symbols placed inline in a run of type (beyond Illustrator; like
InDesign inline anchored objects): TextRun.inline holds the symbol, scale and
shift; the run is one U+FFFC laid out as a glyph sized to the art, centred on
the cap height. text.insertInline and Type > Insert Inline Symbol; editing
keeps the graphic whole; canvas, SVG (<use>) and PDF draw the art; Create
Outlines turns it into a symbol instance.
The DirectWrite font lister (#594) was installed in the desktop app only:
`vectorcraft-cli` (convert, run, MCP) didn't see fonts that font services
such as Adobe Fonts load on Windows, so its exports set such type in a
fallback font.
- The CLI shares the app's `system_fonts.rs` and installs it first thing
on Windows (not the win7 build). The text crate stays free of unsafe
code; the CLI denies unsafe code instead of forbidding it, so the
shared module's own allowance applies.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Preferences › Devices › Enable Touch Gestures (on by default) was stored
but nothing read it: no touch gesture was implemented.
- `touch::Taps` follows the fingers egui reports (winit reads them from
the system: WM_POINTER on Windows): fingers down together and lifted
within half a second, none moved more than 16 points, is a tap. Two
fingers undo, three redo, with the preference on.
- egui makes the first finger the pointer too, so it has pressed on the
canvas by the time a second lands: that press is dropped then (its tool
interaction rolled back), and the rest of the gesture presses nothing.
The tap so undoes what came before it, not the first finger's mark.
- A pen is one contact, so pen strokes and taps are unaffected; pinch zoom
is unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
While the Free Transform tool (E) is active, a small box at the canvas's
top left holds Constrain over the tool's three modes: Free Transform,
Perspective Distort and Free Distort. Before, the modes were reachable
only by modifier keys or `tool.setOption`.
- The buttons set the tool's `constrain` and `mode` options through
`tool.setOption`, as agents do. Constrain acts as Shift held and is
greyed in the distort modes, where it does nothing. The modifier keys
keep working while dragging.
- Theme tokens; Constrain shows the link icon, Free Transform the tool's
own icon, the distort modes are drawn in code. Tooltips translated
(cs, es, it, ja, pt-br, ru, zh-hans, zh-hant).
- `ui.inspect` reports where it shows (`freeTransformWidget`).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A browser's Copy Image puts the picture on the clipboard with the image's
address as text (and HTML). Paste takes text before bitmaps, as word
processors offer a picture of copied text, so it pasted the address.
- `clipboard::is_address`: text that is only an address (http, https,
file, ftp, data or blob).
- Desktop paste (Windows, macOS, Linux): such text gives way to the
clipboard's bitmap when it has one. An address alone pastes as text, as
before; nothing is fetched.
- Web: a paste whose text is only an address takes its picture file.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
File › Open, Other Library… and the User Defined library folder read
.ase files. Colors keep their model, global and spot colors stay global
and spot, and color groups stay groups. The library readers take a
file's bytes. On the web, File › Open passes a swatch library file to
swatch.library.load as dataBase64 instead of as lossy UTF-8 text.
Swatch and group names in a library are now unique, in .gpl files too.
Add to Swatches puts each color group of a library into one document
group when the document already has a swatch with the group's name.
The library fuzz helpers fail when a command panics.
An anchor was picked within the selection tolerance (3 px), the same reach
as its segments: a press a little off the anchor's 5 px square took the
curve instead.
- `ToolContext::point_tol`: anchors and direction handle ends are picked
within the selection tolerance, but at least 2 px past the drawn point
(4.5 px at the default Size 3, more with a larger Size). Anchors are
tested before segments, so where both are within reach the anchor wins.
- Direct Selection (presses, Highlight anchors on mouse over, blend spine
points and handles), the Anchor Point, Delete Anchor Point and Scissors
tools, and the Pen (its Alt conversions; its close/continue reach stays
5 px unless the points are drawn larger) use it. Segments, objects and
frame edges keep the selection tolerance.
- Of the topmost path with anchors in reach, the nearest anchor is picked.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Each paragraph has its own alignment, indents, spacing, hyphenation, tab
stops and paragraph style (TextObject.paras; para stays paragraph 0's, so
old files and readers work). Layout, editing (split/merge), threads, the
Paragraph/Tabs/Paragraph Styles panels, ranged text.setStyle/setFormat/
tabs/paraStyle.apply, SVG export/import and the fuzzers follow.
VectorCraft asks for a path where it needs one and goes on with it at
once, so its file dialogs ran on the UI thread. Windows and macOS dialogs
run the window's events meanwhile; on Linux nothing answered the Wayland
compositor's pings while a dialog was open, and Hyprland offered to kill
the window as not responding.
- ui-egui `picks`: every file dialog (open, save, folder, place) goes
through one place. With the host's `start_pick` (desktop Linux) the
dialog shows on a thread of its own; what asked (the command, the
dialog's OK, a panel's or dialog's button) gives up for now and runs
again with the picked path when the dialog answers. Another dialog
waits for the open one.
- The desktop app passes its window as the dialogs' parent on Linux (the
portal can then associate its window, "Unhandled parent window type"
before) and Windows; macOS shows them as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Area Type Options gain a fit: none, autoHeight (Illustrator's Auto Size:
the frame's height follows the text after every edit, resolved in
refresh_bounds inside the edit so it shares the edit's undo step) and
shrinkText {minPercent} (beyond Illustrator: overflowing text scales its
sizes, leading and baseline shifts down at layout time by the largest
factor, in 0.1 pt steps of the first run, that fits). The Auto Size New
Area Type preference now applies. text.areaOptions and document.inspect
report overflow and the shrink factor; the Area Type Options dialog
offers fit and first baseline as dropdowns.
A `.ai` file's PDF part is what apps that don't read VectorCraft's native
document open. It had no PDF layers: hidden layers and sublayers were left
out of it and everything else was flat page content.
- `.ai` files (Save As, exports, the CLI) write PDF layers unless
`createLayers` is false (a PDF standard still decides for itself).
- createLayers writes sublayers too, as optional content groups listed
under their layer's in `/Order`, hidden ones off with their art.
- A layer's form gets a box round the whole page instead of its art's
bounds, which readers made a clipping group of, gathering a layer's art
and its sublayers' in one group.
- PDF import: art inside a group, clip or form that dissolves into its
parent keeps the layer it was drawn in, so sublayers nested in their
layer's content import as sublayers.
- Save PDF: "Create PDF layers from layers and sublayers" (ja, es, it,
pt-br, ru, zh-hans, zh-hant).
Hidden objects (not layers) still aren't in the PDF part.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Area Type Options > Align: Top / Center / Bottom / Justify (AreaOptions.verticalAlign,
LayoutOptions.vertical_align). Each row/column cell is aligned on its own; rectangular
cells shift their lines, other frames and text wrap reflow until settled without
losing text. Justify shares the leftover space equally between line gaps. Area Type Options
shows Align and First Baseline as dropdowns (the parameter dialog's choices table).
Font services load their fonts with GDI at run time, from files in their
own folders, without installing them: neither the font folders nor the
registry list them, so the font scan never saw them. DirectWrite's system
font collection holds them since Windows 10 1607.
- vectorcraft-text: `set_platform_font_files` lets the app name font files
the platform knows; each scan and each check for installed fonts asks
again and reads those outside the font folders. A file named by itself
is read whatever its extension (font services keep fonts in files
without one).
- The desktop app lists the local files of DirectWrite's system font
collection on Windows (`system_fonts.rs`, through the windows crate
already in the build), read in place.
- The check for fonts installed while the app was in the background runs
on a thread: DirectWrite's check for updates takes about 50 ms.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator's Every-line Composer balances the breaks of the whole
paragraph for left/centre/right aligned text too, not only justified
text. VectorCraft only composed justified area text; ragged text was
always broken greedily.
- Model: ParaStyle.composer (vectorcraft_doc::Composer, re-exported by
vectorcraft-text), Every-line by default like Illustrator, saved only
when Single-line. layout() reads it from the object;
LayoutOptions.composer is now an Option override for tests.
- Composer: the justified gate is gone. Ragged lines never shrink (a
line that doesn't fit ends the node), badness is 100*r^3 with r = the
line's leftover space over a rag zone of 1/6 of the width (finite for
lines without spaces); the last line is free unless shorter than 1/3
of the width (measured in zones of 1/3), so a lone short word on the
last line pulls a word down. Hyphens cost 25 in ragged text (50 in
justified). Knuth-Plass fitness classes with adjacency demerits
(justified 10000, ragged 1000). Lines past the last width change
share one node key, active nodes are capped (4096) and paragraphs
over 200k glyphs break single-line, so work stays bounded; ragged
tries a tolerance of one rag zone, then any fitting breaks, then
falls back to greedy.
- text.setFormat {composer: "singleLine"|"everyLine"}; the Paragraph
panel menu's composer items work with a check mark (Reset Panel goes
back to Every-line).
- Tests: ragged Every-line moves "or" down in "Destroy all creatures
with toughness X or less." where greedy leaves "less." alone; the rag
of long paragraphs is no worse than greedy (sum of squared leftover
and of neighbour differences); Single-line is greedy; the 10k-char
layout budget covers ragged text; command test with undo; native
format round trip (rich_session's text is now Single-line).
No existing test needed changing: the justified tests and
hyphenated_layout_adds_hyphens (ragged, now Every-line) still pass.
Auto alignment (start of the paragraph direction) is ragged; a wrapped
line's Mojikumi flush opening bracket gives its half em back to the
composer, as in the line loop; tests cover Auto in both directions.
Layout of 10k chars, release: justified Every-line 5.6 ms, ragged
Every-line 5.8 ms, ragged Single-line 4.8 ms.
The Color panel shows the out-of-gamut and out-of-web warnings under its
proxy only when the colour needs them, so the panel grew and shrank with
the colour. Dragging on the spectrum's pale top edge, a colour out of
gamut added a warning, the spectrum moved down under the pointer, the
pointer then picked white (above the spectrum), the warning went away,
the spectrum moved back up: the colour flipped every frame.
The panel now keeps room for the warnings its mode can show, so its
height no longer depends on the colour.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
#583 kept ligatures within +-50/1000 em. Adobe's composers are described
as dropping them past about -8% and +22% of the word space (John Hudson,
www-style, 2012-07): about -20 and +55 for a typical 250/1000 em space.
Condensed type shows a fixed ligature sooner than expanded type does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Gradient panel's colour chip opens the stop popover on a click. The
popover closes on a click elsewhere, and the opening click itself, which
is released in the frame the popover first draws and lies outside it,
counted as one: the popover closed at once (a double-click got through,
as the popover lets the double-click that opens it from the canvas pass).
The popover now records the frame it first drew in and only a click in a
later frame closes it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Add ru.tsv with the full interface coverage: every menu string, every
tl! literal, the plurals (one/few/many) and the status/error messages
(@msg). Registered as complete_menus with the Russian plural rule;
every ru-* locale resolves to it. Keeps the product, workspace and
perspective preset names in English like the other complete catalogs.
Tests: russian_reads_as_russian, russian_plurals_have_three_forms,
russian_glyphs_are_available_without_system_fonts; ru added to
KEEPS_MENU_NAMES and COMPLETE_MESSAGES.
Clean-room: written from the meaning of the English labels in the
vocabulary Russian-speaking users of vector illustration software know
(Слой, Образцы, Обработка контуров, Монтажная область, Обводка,
Заливка), matching the Russian catalog of the sibling app PhotoCraft.
No other application's localisation was copied.
