A chain of geometry effects makes at most 2 million anchors of a path (of a
type, symbol or image art's paths together) and about 8 million lines for the
renderer to draw at 1 px/pt, or what the path costs when that is more.
Roughen spaces its points further apart, Zig Zag makes fewer ridges a
segment, Free Distort, Twist and the warps split segments into longer pieces
(map_nonlinear_within) and Transform makes fewer copies where they would pass
it; a result drawn with too many lines is built again with fewer points, and
an effect that still doesn't fit is left out.
Three Roughens of a rectangle in a 25 KB file needed gigabytes of geometry,
and 2 million anchors of them flattened into 141 million lines (7 GB, past
vello's 2^27 lines a path); the file now opens in 0.4 s at about 450 MB.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator 30.0's Method choice in the Gradient panel
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-perceptual-interpolation-in-gradients.html).
- paint.editGradient takes `method: classic|perceptual` (one undo step);
paint.setFill/setStroke take it in `gradient`, and gradient params (swatches,
copied paints) carry it when Perceptual. Anything else is refused without
editing. One edit can set `method` and `dither` together.
- The Gradient panel shows a Method menu (Classic, Perceptual) for linear and
radial gradients, dimmed without a gradient; the Dither box stays under the
stops.
- i18n: "Perceptual" where a complete catalog lacked it, and the `method`
error in all 24 catalogs.
- Docs: G13 (estimate 14–24 h → 13–23 h, after Dither's 15–25 h → 14–24 h),
target-app-parity (row and evidence), ui-parity, mcp.md, plugins.md.
With the Artboard tool, File › Revert kept the active artboard, but a
command.batch with a file.revert step made artboard 1 the active one.
A batch that switched to another document and back, and the Actions
panel menu's Batch… over a folder whose files it closes or over data
sets with a Revert step, did the same. Each of them starts the tool
afresh and ends in the document it started in, and the app moved the
view to the fresh tool's artboard 1. Only a plain file.revert was
handled, by its command id.
The engine now counts the times switching or closing documents, or
replacing the active one, starts the tool afresh (Session::tool_resets),
and records whether the tool's options were set after that
(Session::tool_set_since_reset). When the count changes during a
command and nothing set the tool's options after it, the app starts
the tool on the active artboard, as it does when a command chooses
another document. When a later step chose the tool's artboards (a
Paste or Cut after the revert), the artboard the tool then has active
becomes the active one.
Docs: docs/mcp.md, docs/target-app-parity.md.
With Pick Color From Artwork, a Shape Builder merge took the look of
the front-most object over the first covered region the drag touched,
and the current fill when the drag touched only areas no object
covers. The reference app's combine page gives the look of the object
where the drag starts, else of the object where it ends, else of the
topmost selected object.
shapeBuilder.merge now follows that rule: the merged shape takes the
appearance, opacity and blending mode of the front-most of the objects
it is given (the selection by default) under the first point, else of
the one under the last point, else of the front-most of those objects.
A drag from a hole across a gray bar into a red square now gives a red
shape, where it gave the bar's look. A click in an area no selected
object covers, such as a hole that gray bars enclose or a triangle
that lines enclose, takes the front-most selected object's look
instead of the current fill. Pick Color From Color Swatches works as
before. The tool already sends the press point first and the release
point last.
Docs: docs/mcp.md, docs/target-app-parity.md.
PDF import measured each gap between two glyphs against the larger of
the line's first glyph size and the next glyph's. A word set beside a
much larger one, apart by positioning and no space glyph (a browser's
margin between two sizes), stayed under a fifth of that em: "≤ 4" at
20 pt and "hours" at 8 pt, 3.4 pt apart, came in as "≤ 4hours".
A gap is now measured against the smaller of the two glyphs beside it.
Lines in one size read their gaps as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Illustrator 30.0's gradient Dither, from the public documentation
(https://helpx.adobe.com/illustrator/desktop/paint-and-fill/create-and-edit-gradients/control-dither-in-gradients.html):
a Dither checkbox in the Gradient panel; dither converts the gradient into
pixels with subtle noise, works with gradient fills only, and follows the
Document Raster Effects resolution.
- Gradient gains `dither` (serde default false, written only when on, so
older files open unchanged and new files keep it).
- The renderer draws a dithered linear or radial fill as an image paint: the
gradient sampled a cell per device pixel or finer (quarter-octave steps,
cached per thread), each channel given seeded triangular noise of up to a
level before rounding. Same pixels every run; strokes and undithered fills
draw exactly as before. PNG and other raster exports go through it.
- SVG and PDF write a dithered fill as an image at the document's raster
effects resolution, clipped to the shape (the freeform-gradient path);
characters' fills stay vector gradients in SVG, with a warning.
- paint.editGradient and paint.setFill take `dither`; strokes refuse it.
The Gradient panel's Dither box is dimmed behind the Stroke proxy.
- i18n rows in all 24 catalogs; docs: G13, target-app-parity, ui-parity,
mcp.md, plugins.md.
The File Handling preference Link Placed PDF and .ai Files
(linkPlacedPdf) is removed. File › Place with Link now places a page of
a PDF, .ai or .ait file read as PDF pages as a linked placed document,
as it links a raster image, and link: false embeds the page. Link is on
by default in the Place dialog and in file.place, so a PDF or .ai page
placed from a file, which used to be embedded, is now linked unless
Link is off. A password or textAs: "outlines" still embeds, and so do
EPS and PostScript .ai files.
The Place dialog's Link tooltip describes a PDF or .ai file as a
document.
A .ai file read from its editing data (its PDF part only a placeholder)
finds the files its art places by name, beside it. Package now copies
those files into the same folder as the .ai file, and warns when one has
to be copied under another name.
File › Place with Link kept a link only to raster images and VectorCraft
documents. A PDF, .ai or .ait page was always embedded as a group, so
Update Links never saw a newer version of the file.
A new preference, File Handling › Link Placed PDF and .ai Files
(linkPlacedPdf), is off by default. With it on, Link places the page as
a placed document, as it places a VectorCraft document: the object
keeps the file's bytes, a preview, the page number and the page's box
(crop, art, trim, bleed or media, stored as page_box). Links check,
update and relink it, Break Link and Object › Expand give the group
placing it without Link gives, every output draws the page's vectors,
and saving and reopening keep the link. With the preference off, or
with a password or textAs: "outlines", the page is embedded as before.
EPS and PostScript .ai files are still embedded.
Package copies a placed PDF or .ai file as it is. The Place dialog's
Link tooltip describes a PDF or .ai file as a document while the
preference is on. Relinking a placed document to a file that is not a
VectorCraft document, a PDF or a PDF-compatible .ai file says so.
Docs: docs/mcp.md, docs/target-app-parity.md.
Review follow-up (CodeRabbit): the two older G2 bullets counting 46 and 49
filters were superseded by Conté Crayon (57/57) and are folded into one
current bullet; the G2 row in the ranked table and the entry's estimate now
both say 4–6 h, as ROADMAP.md and roadmap.md do. ROADMAP.md's revision
history gains its 2026-10-22 row.
The SVG writer always wrote the document's title in <title>
(crates/svg/src/export.rs), so every file of Export As with Use
Artboards, Export for Screens or an `artboard`/`range` export was titled
after the document ("Icons"), whatever its artboard was called. The
writer's `artboard` option can't tell those apart from Save: Save writes
the first artboard too, standing for the whole document.
ExportOptions has a new `artboard_title` (set by the caller, as
`artboard` is, not deserialized): the file is that one artboard, exported
on its own, and its <title> is the artboard's name (XML-escaped as
before), or the document's title when the artboard has no name. The
engine's SVG encoder (fileio/svg.rs) sets it exactly when the export
names its artboards, which is also when a file holds only that
artboard's art (#550): Export As per artboard, document.export /
serialize with `artboard` or `range`, MCP export, and Export for Screens'
artboards, assets, layers and selections (each written as an artboard
named after it). Save and Save As keep the document's title. Export for
Screens' Full Document draws the art bounds as one artboard, which is now
named after the document, so its SVG keeps the document's title too.
docs/file-format-parity.md's SVG row says so.
Tests: title_control_chars::an_artboard_exported_alone_is_titled_after_it
(crates/svg: two named artboards, the second named with markup;
exporting either alone gives its escaped name, the default and an
artboard without artboard_title give the document's title, an unnamed
artboard falls back to it) and
tests_svgenc::an_svg_of_one_artboard_is_titled_after_it (the engine:
`artboard` 0 and 1, useArtboards range all, Save's SVG, Export for
Screens per artboard, an asset and Full Document). Both fail without the
change (the title was "Icons") and pass with it.
Wheel notches and the arrow keys over a focused number field step the
value its text shows (widgets::step_value), and nothing there knew the
field's bounds: the Stroke panel's Weight went on to -3 pt and its Limit
to 0 x in the field, while the panel only clamped what it applied (the
spinner's min, Limit's clamp to 1..500), so the next step went on from
the out-of-range text. A label scrub (scrub::field) had the same gap.
step_value and scrub::field now take the field's bounds and stop at
them, so the field shows where they stopped and the value applied is
the same. The fields that have bounds pass them:
- spin_field / spin_field_auto / spin_plain: their `min` (the spinner
and a typed value already stopped there);
- range_field: its range; it now also takes a value that may be blank
(None), as mixed_field does;
- opt_field (dash and gap lengths): 0;
- the Revolve dialog's values: their range.
Fields that clamped only what they applied now say their range with
range_field instead: the Stroke panel's Limit (1..500), the Transparency
and Properties opacity (0..100), the Transform panel's polygon sides,
and the dialogs' bounded counts, percentages and lengths (Blend Options,
Envelope, Flattener, Liquify, Freehand, Live Paint, Path ops, Perspective
Grid, PNG ppi, Print, Save for Web, Shape Builder, Slices, Swatch
Options, Symbol options, Justification, Dimension, PDF page, the effect
dialogs' number rows). docs/ui-parity.md's number-field row says so.
Test: panels::stroke::tests::the_wheel_stops_weight_at_zero_and_limit_at_one
(the Stroke panel in a headless frame; focus Weight at 1 pt and turn the
wheel down four notches: the field shows 0 pt and the stroke is 0 pt;
the same with Limit at 2 x: 1 x and a limit of 1). It fails without the
change (the field showed -3 pt) and passes with it; the other numeric
field, scrub and dialog tests still pass.
The MCP drawing tools ran the creating command (path.create, shape.*)
and only then paint.setFill, paint.setStroke, stroke.set,
object.setProps and effect.apply, each as a command of its own.
check_draw_options checked dash, cap, join, opacity, name and effects up
front, but not the paints: a fill or stroke the engine can't read
(stroke: "currentColor"), or a swatch the document lacks, failed after
the object was made, so the call returned an error and left the path,
its undo step and its SVG node behind. Each styling command was also an
undo step of its own.
The tools now send the creating command and the styling commands as one
command.batch (crates/mcp/src/tools.rs, draw): the engine rolls the
whole batch back when a step fails, so a refused paint leaves no object,
no undo step and nothing in the SVG, and a good call is one undo step
named as the creating command names its own (Pen, Rectangle, …). The
styling steps act on the new object, which the creating command selects,
with item: null (its whole appearance), as the ids did before. The
reply gives the failed step's own error, without the batch's prefix.
docs/mcp.md says so.
Test: tests_drawopts::a_bad_paint_draws_nothing (invalid fill, stroke,
a missing swatch and a non-numeric strokeWidth on draw_path and
draw_shape: error, node count, undo history and SVG export unchanged;
a good call adds one undo step named Pen / Rectangle). It fails without
the change (draw_path with stroke "currentColor" drew a path) and passes
with it; the other draw option and command_batch tests still pass.
- One budget for the whole read (layers, pixels, characters, table
cells), shared with embedded documents and charged also when their
reading fails; the first reading is dropped before the second.
- Tables: at most 65 536 cells; lines and cell formats that don't
match the grid are left out instead of shifted.
- Paragraph formats matched to runs by binary search; font names
longer than 256 bytes are dropped.
- Overlays: one work budget per import; encoded originals decoded
within their layer's size; table cell outlines recoloured too.
- Engine: master page copies capped, each page's master found in
linear time, line gaps looked up once per font, the working CMYK
table built once, objects past MAX_COORD left out.
- Embedded content stays with its node; pixel masks under artistic
text are read whole and include stroke reach; gradient overlays on
hidden layers are kept.
- Render: contexts and raster effect images stay within
MAX_RASTER_SIDE per side (vello overflowed near u16::MAX; found by
the new fuzz target).
- Tests: affinity tests/import_limits.rs, feature samples in
import_fuzz.rs, shared builders in engine/tests/support/.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
- Strokes set to None no longer import as black 1px strokes.
- Underline and strikethrough are kept.
- Frame text starts at cap height; lines hanging out of a frame make it taller;
mixed-alignment artistic text lines up within its longest line; line breaks
inside a paragraph get no paragraph spacing.
- Table cell text taller than its cell is centred and stays visible.
- Outline effects on stroked shapes are drawn around the stroke.
- CMYK pixel layers go through the document's embedded CMYK profile; without
one, opaque layers stay CMYK.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
An export through the desktop save panel kept any typed extension
that names a known format, whatever format it wrote. Export As with
PNG chosen and card.svg typed wrote PNG data to card.svg, and Save as
PDF, Save for Office Documents, Text Export Options, Export Library
and the other writes that go through pick_path did the same.
document.exportSelection with a format suggested and added .png
whatever the format.
Such an extension is now replaced with the written format's, as Save
As has done since #3372: card.svg is written as card.png. An extension
of the written format stays as typed in any letter case (photo.JPEG
for JPEG), Export As SVG (and file.exportAs, file.export.svg) keeps
art.svgz and writes it compressed, and document.exportSelection
without a format still writes the format the typed extension names.
With a format, it suggests and adds that format's extension.
Docs: docs/target-app-parity.md.
File › Package… read every linked file and font and wrote the package
on the UI thread, so the window stopped responding until the package
was written. For a document that links 50 images of 21 MB each, OK
with Background Export off, which does the same work, takes a median
of 2.25 s in a release build on Windows.
With Enable Background Export on (Preferences › File Handling), OK now
takes the options, the report's Document Info text and a snapshot of
the document, and closes the dialog. The thread that writes background
saves and exports then collects the links and fonts and writes the
package. The same OK takes 0.001 s, and the package holds the same
bytes. A save of unsaved changes that Package starts is written first.
With the preference off, on the web and over MCP and scripts, the
package is made at once with the same reply as before.
Docs: docs/target-app-parity.md.
With the Artboard tool, Paste and Paste in Place select the pasted
artboards, Cut gives the tool the artboard before the first cut one
(the new first artboard when artboard 1 is cut), and tool.setOption
sets its selected or active artboard. The active artboard, the view's,
stayed where it was, so the navigator showed another artboard than the
tool and the Artboards panel. document.activate and File › Revert
started the tool on artboard 1, while choosing a document's tab starts
it on that document's active artboard.
After a command that changes the artboards the Artboard tool has
selected, the app now makes the tool's active artboard the active one,
as a click with the tool does. After a command that chooses another
document, and after Revert, the tool starts on the document's active
artboard.
Docs: docs/mcp.md, docs/target-app-parity.md.
Exporting a CMYK document to PDF/X-1a or PDF/X-3 flattens transparency
first. Where the flattener has no single colour (an image with see-through
pixels over a flat fill, gradients, masks, raster effects) it renders the
area into an image, and that image was always an RGB PNG. The PDF writer
then separated it back to CMYK, so CMYK art behind the image came back with
other inks: a C100 M6 Y41 K3 panel printed C75 M14 Y35 K5 under a
transparent logo, with a hard edge against the rest of the panel, and K
moved into C, M and Y.
For files without transparency the flattener's images are opaque and
clipped to their regions anyway, so in a CMYK document it now draws them
as ink amounts over the paper (Renderer::render_region_inks) and stores a
CMYK TIFF, which the PDF writer keeps as DeviceCMYK samples. An area too
large for a CMYK image falls back to the PNG it made before. In-app
Flatten Transparency and other flattening, whose images keep alpha, are
unchanged.
Test: tests_pdfx::pdfx_1a_flattening_keeps_the_inks_behind_an_image_in_a_cmyk_document
exports a CMYK panel under a half see-through PNG to PDF/X-1a, opens the
file again and checks the inks behind the see-through half.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
ui.libraryPanel.locate decided whether a panel's library was missing
through missing_file, which answers only for a persistent panel. A
command that turns Persistent off leaves the panel open on its missing
library until the next drawn frame closes it, and while the window is
hidden the app draws no frame between control requests. Locate
Library… on that panel answered "isn't missing its library" and read
no file.
The check now asks whether the panel's library can be found, the
lookup the tab label and the per-frame tidy use. A panel whose library
is there is still refused, persistent or not.
window.swatchLibrary and window.graphicStyleLibrary had the same
check: given the library id of such a panel, they answered "no
library". They now bring the open panel forward and answer its file's
name with count 0; the panel still closes at the next tidy.
Docs: docs/mcp.md (ui.libraryPanel.locate, window.swatchLibrary).
The panels and dialogs draw in their own egui families (`ui`,
`ui-semibold`, `mono`), and egui panics drawing text in a family no
font is bound to. Only `theme::install_fonts` binds them, and only
`VectorcraftApp::logic` calls it, on its first frame. An embedder that
draws the panels or dialogs itself (`dialogs::show`, a panel's `ui`)
on its own context, without `logic`, panics on the first semibold
title it draws, an effect dialog's for one. Calling `install_fonts`
avoids that, but it embeds the interface's five faces (about 2 MB)
whatever the embedder wants: today such an embedder keeps them out of
its binary only by never calling it, so that the linker drops them.
vectorcraft-ui-egui gets an `interface-fonts` feature, on by default,
that embeds those faces. Without it `install_fonts` binds the same
three families to egui's built-in fonts, so an embedder can always
call it. Those lack some symbols the panels show (→ ▾ ● ✓), which the
docs say. With the feature, `install_fonts` installs exactly what it
did before: the same font data and the same family stacks.
`tests/install_fonts.rs` draws an effect dialog on a context only
`install_fonts` prepared, and checks the face at the head of each
family in both configurations. `cargo xtask ci`'s `no-bundled-fonts`
step runs it without default features and lints the crate that way.
Without the `install_fonts` call, or without the semibold binding,
both tests fail with egui's "FontFamily::Name(\"ui-semibold\") is not
bound to any fonts". The two lib tests about the interface faces are
adjusted: the graphics-loss test checks a family install_fonts binds,
and the catalogs' glyph coverage test needs `interface-fonts`.
docs/development.md says when an embedder calls `install_fonts`, and
that it replaces the context's font definitions.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Exercise Selection-tool busy state before takeover and verify it is idle after tab activation, drop, Escape and outside release. Session::set_active already reconstructs the tool via reset_tool_for_doc_switch, so the reported missing-Up busy state does not reproduce and no additional synthetic release is needed.
Narrow documentation to the internal clipboard asserted by the regressions and correct the stationary-pointer sentence. All 10 cargo xtask ci gates pass.
With the Artboard tool, a Ctrl/Cmd double-click on the name of an
artboard that was not selected added it with the first click and took
it out again with the second, so the name field renamed that artboard
alone. The panel menu's Rename opened the field on the active artboard
even when it was not selected. Paste with the Artboard tool leaves it
outside the selection: it selects the pasted artboards and keeps the
active one. Rename then renamed the active artboard alone.
The second click of a Ctrl/Cmd double-click now leaves the row's
artboard selected, and the field renames the selection with it. A
Ctrl/Cmd double-click on a selected row works as before. When the
active artboard is selected, Rename opens the field on its row;
otherwise Rename opens the field on the first selected row.
Docs: docs/target-app-parity.md.
path.create read closed only when it drew from anchors. Given path
data, {"d": "M0 0 L10 0 L10 10", "closed": "true"} drew the path and
recorded an undo step, while the same closed with anchors fails with
"`closed` must be true or false". shape.rectangularGrid and
shape.polarGrid read rows, columns, concentric and radial given as text
as the count left out, so {"rows": "3"} drew the default 5 horizontal
dividers instead of 3.
path.create now checks closed before it reads d or anchors, and the
grid commands refuse such a count with "`rows` must be a number, not
"3"". Neither command changes the document or its undo history then.
With d, a closed of true, false or null still leaves the path as its
path data draws it.
Docs: docs/mcp.md, docs/target-app-parity.md.
Add the three Turkish catalog entries requested by the maintainer on #3479. Preserve upstream catalog additions and place existing tab-drag entries beside stable menu labels to avoid append conflicts. Update feature progress notes for all 24 catalogs.
Simplify an equivalent Effect Gallery selection predicate required by the Rust 1.95 clippy gate. Full cargo xtask ci passed all 10 checks, including tab-drag regressions and wasm.
ui.libraryPanel.locate checked only that the panel was open. Run on an
open panel whose library was there, such as the built-in Pastels, it
loaded the file given or picked and showed that library in the panel
in place of Pastels.
It now answers "library panel `{given}` isn't missing its library" for
such a panel, before it asks for a file or loads one, and the panel
keeps its library. A persistent panel whose library's file is gone
locates as before.
Docs: docs/mcp.md (ui.libraryPanel.locate).
object.transformEach refused reflectX, reflectY, random and copy given
as text, but read strokes, corners, objects and patterns given as text
as the key left out. With Scale Strokes & Effects on,
{"scaleH": 200, "scaleV": 200, "strokes": "false"} scaled the stroke,
recorded an undo step and kept the params for Transform Again, which
repeated the call. artboard.rearrange, artboard.move and
artboard.duplicate read their patterns option the same way, and
artboard.setProps reads its patterns, strokes and corners options the
same way.
These commands now refuse such a value with "`<key>` must be true or
false" before they change anything. So do the other options and
numbers of artboard.setProps and artboard.move, the art of Duplicate,
Copy and Cut Artboard, the shape commands and path.create, path.close,
path.setHandle, path.moveAnchors, the Pencil, Curvature, Reshape
Segment and Blob Brush options, text.create, text.createInPath,
text.setRangeStyle, text.editRange, text.getRange, text.touchType,
text.areaOptions, type.step, the font size steps,
type.opticalMarginAlignment, type.systemLayout, type.fractionalWidths,
type.ruby, the symbol and swatch commands, the Appearance panel's
commands, the gradient and freeform gradient commands, Shape Builder,
Live Paint, Image Trace, the opacity of object.setProps, the radius,
sides and relativeRadii of object.setLiveShape, the reference point of
object.setBounds and the artboard of Align, Distribute and Distribute
Spacing. They refuse a number given as text with "`<key>` must be a
number, not <value>", and a gradient stop's tint with "stop <n>:
`tint` must be a number". A null still reads as the key left out.
Docs: docs/mcp.md, docs/target-app-parity.md.
Taha-Mahmoodi