Deselecting made the panel jump to the swatch of the paint new art gets
(White). It now keeps the deselected art's swatch until the paints for new
art change (a swatch or colour picked with nothing selected) or another
document shows; selecting other art highlights its swatch.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The editing data's palette (%AI5_BeginPalette) was skipped, so a .ai file
opened with the default swatches plus only the spot colours its art used:
inks the art doesn't use (a Pantone set kept in the file) and colour groups
were lost. The palette is now read in order (process, spot in CMYK, RGB or
Lab, and global colours, gradients and patterns, colour groups; versioned
content read once) and replaces the default swatches.
Xs/Xz (Registration at a tint, as printer's marks use it) are read as the
Registration swatch: before, art painted with them stopped the editing data
from being read at all.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Picking the two points of a Linear dimension snapped to anchors and to the
line under the pointer, but showed no guides and ignored the art around it.
The picks now go through the drawing tools' Smart Guides (DrawSnap), hovering
too, so the guides show before each click: a point slides into line with other
objects' anchors and centres, and the second onto the construction guides
through the first. An anchor of the line under the pointer still wins (it
links the dimension to that path), then a guide, then the closest point of the
line (#2432). The guides go once the dimension is being placed.
Test: linear_picks_show_and_snap_to_smart_guides (fails on the old tool, which
showed no overlays while hovering). docs/dimensions.md updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
When an agent followed the trace-and-style prompt step by step, it
failed at the second step: open_file leaves the image unselected, so
imageTrace.make returned "nothing selected". The text did not say that
the Default preset traces in black and white. No step expanded the
trace, so the source image stayed in the document. The set_paint step
gave every traced shape the same paint. Step 2 also said that
screenshots show the Image Trace view, while render_preview and
screenshot without window draw the tracing result. Step 1 said that
the image opens at its own pixel size, while an image that declares a
resolution opens at its size at that resolution.
The steps now select the image with select.all (or name its id), say
which presets keep colors, expand the trace with imageTrace.expand or
imageTrace.makeAndExpand, recolor with recolor.colors and recolor.apply,
and check the result with render_preview or screenshot. The prompt's
name, arguments and defaults are unchanged.
With model "keep" (the default), a row whose new color is in another
color model gives linked art the color converted into the art's model.
That art no longer stays linked to the rewritten group swatch, which
holds the color in its own model, and the reply's note reports the
conversion.
When recolor.apply with a group rewrites a global swatch with another
color than the row of the art linked to it, and that row leaves the art's
color as it is, the art now keeps the row's color and is no longer linked
to the swatch. Before, the link stayed and the group's rewrite gave the
art the swatch's new color.
Art linked to a global swatch of the group that recolor.apply rewrites stays
linked when the swatch takes its row's new color: it shows that color at its
tint, and a later swatch.edit still reaches it. Before, the art took the new
color unlinked. With group, the reply adds relinked, the count of other linked
paints that followed the group's new colors.
With Use Artboards and two or more artboards, EPS export now writes a
central file under the path's own name before the file of each artboard.
The central file contains the whole document, and its bounding box is
the visible art, as in an export without Use Artboards. An export of a
single chosen artboard still writes one file at the path's name, and
Export for Screens still writes one EPS per artboard. When no art shows,
only the artboard files are written.
Docs: the useArtboards params text, the MCP export tool's range text,
docs/mcp.md, docs/control-protocol.md and docs/target-app-parity.md.
document.find took only name, kind and text, so removing hairline slivers or
every object in one region needed the whole inspect tree and a filter
written outside the app. It now also takes within and intersects
([x, y, width, height] in document points), min and max width, height,
thickness (the smaller side) and area of the geometric bounds, and min and
max anchor count (a compound path counts its members together). Each given
filter must match, and limits are inclusive.
select: true also selects the matches, leaving out hidden and locked
objects, matches inside another match, and compound path members unless
the compound path is isolated; the reply adds selected. Select > Reselect
repeats the find, and an action being recorded records a find that
selects. The count that select.color, the Select > Same commands and the
Select > Object commands report is now the number of objects selected,
after Lock Guides leaves out guide paths.
Every change in the Image Trace panel traced the selected Image Trace
object again at once, and there was no way to adjust several settings
first and trace once.
The panel now has a Preview checkbox before Trace. It is on by default
and kept with the UI preferences; Reset to Default leaves it. With
Preview off, setting changes wait in the panel until Trace applies them
as one undo step, or until Preview is turned on again. When Preview is
turned on with no Image Trace object selected, the object is traced
with the waiting changes when it is selected again. A change of view
keeps the waiting settings, and selecting another Image Trace object
shows that object's own settings. The control channel's ui.set takes
imageTracePreview.
To check what it kept for a live object, or for effect art made from
live objects, type or symbols, the renderer walked the object in every
frame to hash the symbols, patterns and placed files it shows, and it
looked up each symbol instance it found by name in the list of every
symbol. At 1000 x 1000 pixels, the walk took most of the frame on a
page of 2,000 envelopes around instances of the last 2,000 of 10,000
symbols: 83 ms a frame when every frame walked them.
The renderer now keeps what the walk found with the node, which it
holds weakly, and with the document's symbols and patterns as the walk
read them. A later frame makes the key from what was kept while the
node and the document's symbols and patterns stay the same, and walks
the node again when any of them changes. A walk that finds a placed
file is not kept. An evaluation that the live cache does not keep, such
as a thumbnail's copy, is no longer walked. The same page now takes
30 ms a frame, with the same pixels.
Docs: docs/target-app-parity.md
Brush art leaves out the symbol instances and pattern paints whose art
draws a brushed stroke. The brush cache now records whether a brush's art
or the stroke's paint can show a symbol or a pattern, and drops those
entries when the art of the document's symbols or patterns changes, so an
edit that makes a symbol or pattern start or stop drawing a brushed stroke
draws as a new renderer does.
The parity line gives the median and fastest-frame figures of the
benchmark for both documents it names.
The title field of document.inspect and the document.open reply is the
document's tab name, which comes from the file name once the document
is saved to or opened from a file. A client had to call file.info or
document.info to read the File Info title, so reading a saved
document's title from these replies gave the file name instead.
Both replies now add fileInfoTitle, the title file.info reports, and
keep title as it was. docs/mcp.md's File Info section describes both.
With --connect, open_file, save_file, export and screenshot {path} sent a
relative path to the app unchanged, and the app resolved it against its
own working directory (/ when started from the Finder). A relative path
then named a different file than it does headless, where the server
resolves it against its own working directory.
The server now makes these paths absolute against its working directory
before it sends them, including export's options.path and the path a
screenshot reply reports. Paths inside run_command and command_batch
params go to the app as given. docs/mcp.md describes the rule.
ui.render, which render_preview and screenshot call in the headless
session and in the app, rendered the artboard with the canvas options:
8-bit compositing and edges smoothed shape by shape. A PNG export
composites in floating point and supersamples edges, so the preview
showed edge colors the exported file does not have, most visibly where
shapes meet edge to edge.
ui.render now renders with the options of a PNG export on white, so
its pixels equal the export's at the same scale. render_preview also
no longer enlarges an artboard smaller than max_side: with the default
max_side of 1024, a 612 x 792 page came back as an interpolated
791 x 1024 image, and it now comes back at 612 x 792. docs/mcp.md and
docs/control-protocol.md describe this.
Auto Grouping compared the box of every traced path with the box of every
path that can hold something, and with Overlapping it also compared each
grouped path with every path below it. On a 1400 x 1400 px noise image
traced with Limited 8, Overlapping (18,653 paths), parents() made
442,998,298 box tests and took 3.0 s in a release build.
parents() now keeps the holders and, for stacked traces, the paths below in
a grid of about one cell per path. A path's candidates are the holders in the
cell of its box center, smallest first, and the paths below it come from the
cells its box reaches. When a box reaches more cells or entries than there
are paths below it, the old scan is used. The cells grow larger when the
boxes would otherwise be listed in more than 32 cells each on average. The
same trace now takes 142,289 box tests and 0.08 s, and every parent is the
same as before. The 20,000-path limit is unchanged.
The tests compare parents() with the pairwise version on rings, faces and
noise traced Abutting and Overlapping, check that a dense trace takes at most
64 box tests per path while the pairwise version takes more, check that 300
nested discs take no more box tests than the pairwise version, and check
that boxes covering the whole image make the cells larger.
imageTrace.make and imageTrace.makeAndExpand checked their own keys, but
not the keys inside `params`. A misspelled setting such as `colours` was
dropped, and the trace ran with the preset's value and no error.
A key inside `params` that is not a trace setting is now an error that
names the nearest setting, as for a command's own keys. Errors from
imageTrace.makeAndExpand, including those for `enhanced` and a missing
swatch library, name that command instead of imageTrace.make.
The renderer kept brush art per node id and stroke. The copies drawn
for symbol instances, inline graphics and repeat copies share their
art's ids, so they replaced each other's brush art and it was made
again in every frame. The pieces were drawn as plain nodes, so brush
art that is a live object, such as an envelope that a scatter brush
places, was evaluated again in every frame, for a path on the page too.
The brush cache now also keys brush art by the stroked path, so each
copy keeps its own. Kept pieces are drawn through the renderer's
caches: their stroke outlines, live-effect geometry and live object
evaluations are kept between frames. Each frame draws what a new
renderer draws. On one thread at 1000 x 1000 pixels, 2,000 paths on
the page whose scatter brush art is an envelope took 400 ms a frame on
main and take 94 ms, and the fastest frames of 2,000 instances of a
symbol whose art is a brushed path went from 16 ms to 12 ms, with the
same pixels.
Docs: docs/target-app-parity.md
A pixel on the edge of a cut-out image with an alpha of 128 or more was
traced with its own color. When that color was a darkened edge tone, it
took whichever palette color lay nearest, and the edge traced as 1 px
slivers of a color that appears nowhere near it.
In Color and Grayscale, a pixel with an alpha of 128 to 254 next to a
pixel under half opaque now takes a color of the fully opaque pixels
within two pixels of it when its own color is that color or a darker
shade of it, counting only pixels it reaches without crossing a
transparent gap; of several such colors, it takes the one the most of
those pixels have. It keeps its own color when one of those pixels has
it, or when its color is not a shade of any of theirs, so a thin
semi-transparent outline of another color stays as it is. Ties go to the color nearest its own, by its gray
in Grayscale. Opaque images trace as before.
recolor.colors and recolor.reduce were unavailable with nothing selected, so
listing a document's colors needed a select.all first, which also changed the
selection. Both now take ids and read the selection when ids is left out.
With nothing selected they read the objects Select All takes and the objects
inside them: hidden and locked objects are left out with what they hold, also
inside a group, as are the objects of hidden, locked and template layers, and
in isolation mode only the isolated art is read. The selection is left
unchanged. An object named in ids or selected is read with everything it
holds, and an object listed twice, or listed together with a group that holds
it, counts once. recolor.apply still recolors only the selection.
The params descriptions of Same Fill Color, Stroke Color, Fill & Stroke,
Graphic Style and Appearance Attribute say that a member path of a
compound path selected first compares as its compound path, except in
isolation mode inside that compound path.
Fitting straightens the pieces of an outline that lie close to a line, and
Snap Curves To Lines straightens more of them. The outline of a single
pixel, or of a region one pixel thick along an edge such as an opaque row
of a mid tone under a light shape, can then have all its pieces on one
line. The trace held a selectable path with no area, for example a path
140 x 0 px with Snap Curves To Lines.
In a Color, Grayscale or Black and White trace with Fills, a fitted
outline or hole whose area is below 1e-6 px^2 is now left out. A path
with no area paints nothing, so the traced result paints the same pixels
as before. Without Fills, the 1 px stroke that outlines each area draws
such a loop, so it is kept. A single closed loop keeps its area as
before.
Review of #3925: the spooled job turned every sheet wider than tall, so
custom paper that is wide in Portrait (a 4 × 2 in label) went to the queue
tall, and a Portrait + Transverse page was turned back. Only the sheets
whose paper the layout turned to landscape (not transverse) are written
upright now.
The desktop print service asked for upright pages on every platform, but
craft-print already turns each sheet to its own orientation on Windows:
only macOS asks for them now; Linux keeps main's behaviour.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Taha-Mahmoodi